Thursday, April 9, 2009
Hollywood's Satanic Agenda (13): 2001: A Space Odyssey
We know what you're thinking: "It's about time the Elite Unit of Intellectuals at NWOIB gave us the final world on Stanley Kubrick's 2001: A Space Odyssey." And to that we say, "You're welcome."
This film has been called everything from a masterpiece to a baffling piece of artistic onanism, a stylistic masterpiece to a boring snoozefest. Well we're going to add our two cents to the pile and toss it onto the growing stack of Gnostic-Luciferian films--although "Neoplatonic" might be more apropos here.
The first section, The Dawn of Man, shows our monkeys sitting near a very interesting rock which we'll come back to later. But evolution is the starting point here, and as we've written about several times evolution is an essential component to the "Ye shall be as gods" deception that will be used to establish the final global superstate. God must be removed in order for man to become gods, and man must become "gods" in order for the global dictator to be worshiped as a god in human form.
The monolith appears. It is completely at odds with the environment, which is jagged, rough, and natural while the monolith is symmetrical, geometric, and man-made. This monolith has been left here by an extra-terrestrial intelligence, as Kubrick himself had said. But why, and what does it mean?
One of the more prominent interpretations of the monolith is that it represents the movie screen turned 90 degrees (It appears that Jay Weidener gets the credit for this). We like this one; it works within the Gnostic/Neoplatonic framework because one could view the Monolith as a revelation of the material world as merely an illusion, or theater, put on by the demiurge.
Other commentators have called it a door. This also works as a door with which one escapes from the material world, which happens at the end of the film.
But we here at NWOIB tend to think of the monolith as the unknowable, or that which spurs intellectual pursuits. Just finding this strange geometric shape causes the apes to wonder, ask questions, and eventually find answers to those questions. It kick-starts their intellectual evolution.
Recall how the demiurge in The Island said human curiosity was the cause of defiant behavior. This gnosis point represents our "space brothers" bringing light to humanity to begin a process of escape. These advanced being are what have been interpreted as "gods" throughout history, and they have been guiding our evolution.
After the monolith is found and the intellectual process starts, tools are discovered.
The famous bone throw. As the bone twirls in the air we skip through history to the next phase of evolution.
The bone is transcribed into a space vehicle. While the bone was used as a weapon to gain control of the water hole, this space vehicle looks like a tank, another tool of control. This design has also been interpreted as a symbol of the "menace" of technology.
Another twirling bone-like tool is Dr. Heywood Floyd's pen. This recalls the expression, "The pen is mightier than the sword" and the use of propaganda as a tool of control--this is actually Floyd's mission.
Floyd's ship docks in a wheel-shaped space station. This has been compared to a reel of film, but we tend to liken this to a hamster wheel, i.e., mankind thinks he has advanced his position, but he is merely spinning his wheels, going nowhere.
It also resembles the Gnostic cross.
We see this hamster-wheel point reiterated on the door of the "Zero Gravity Toilet." Here in space a process as simple as going to the restroom has become so technical it requires ten paragraphs of instructions before using.
Aboard the space station we find that it is a cold, desolate, and highly structured environment. The technology has grown to gigantic proportions, while humans look like ants inside it. The space station, like the space ship that Floyd came in on, has more seats than occupants; it is mostly void of life. This contrast between empty chairs and people emphasizes the lifelessness of this false "ascension."
It seems that Kubrick's point is that technology is merely a tool on the way to enlightenment, not a substitute. Moreover, the elevation of technology, or deification, not only leaves humanity spiritually lifeless, but can become destructive.
From the space station, Floyd flies to the moon in an oddly shaped craft. It looks like a human head, almost as though the technology has surpassed human levels and is itself becoming human, or neo-human.
On the moon base, Floyd gives a talk about the importance of maintaining the "cover story." Another monolith has been discovered buried on the moon. And to prevent panic from a public unready to know the truth about the existence of extra-terrestrial life, a cover story has been devised involving an epidemic.
Kubrick's briefing scene is a clear allusion to Salvador Dali's The Sacrament of the Last Supper. This piece is often viewed as a "Christian" work as Dali was a convert to Catholicism. But we don't see it that way; we see this as a Gnostic representation of a christos figure instructing the others as to how to become enlightened and escape the material prison, symbolized by the dodecahedron--the "bars" of the prison (the boundary of the universe is thought to be a dodecahedron shape).
Floyd, whose pen is associated with the bone/tool, is in the christos position, but he's no christos. He is merely a stand in, an errand boy, for the Church. What this scene really represents is the suppression of knowledge; this is the Church hiding the monolith from the public, and thus hiding the unknowable, that which propagates the intellectual process.
This is a standard Gnostic theme: Knowledge is power, but the Church governs through ignorance.
The monolith was buried there forty million years ago and is emitting a radio signal toward Jupiter--almost as if it is pointing them, or guiding them, in that direction. This anomaly, which was uncovered, is then covered up with a cover story; but what's really being covered up by the Church is the direction toward enlightenment, or escape. When Floyd said the cover story was to prevent panic, what he really meant was that this knowledge had to be suppressed in order to maintain control over the herd.
Soon the monolith emits a high-pitched squeal, maybe as a punishment for the cover up.
The next phase is the Jupiter mission. This spacecraft has been compared to a ball and chain, but our reaction is mixed between a match (a lucifer) and a cane, or a form of crutch. The crutch and ball and chain are probably the same: as man has progressed technologically into space he has actually hobbled himself spiritually and is in fact becoming more dependent. Humanity in vast expanses of space is more confined, more limited.
Not only is the crew on a hamster wheel, but so is the whole of humanity; this wheel/life cycle is in the form of reincarnation. Man doesn't get off the wheel and unite with the One until man becomes enlightened.
Above we see the living and the dead, but not dead; they're in a stasis to conserve resources, signifying the continuity of the soul. Man will continue being born and reborn in this cycle/material prison until he frees himself from the material bonds.
The infamous HAL-9000 computer is the machine threat pseudo-personified. Here technology isn't only limiting but dangerous too. The computer turns on the crew.
Now we don't know jack about chess, but apparently HAL lies about the status of the game, his checkmating of Dave Bowman; Bowman believes him because he assumes the computer knows more than he.
HAL then convinces the crew that a part on the communications antennae needs to be replaced. Here we see Dave Bowman emerging from the pod. Their space suits look curiously reptilian, and this appears to be some kind of baby lizard hatching from an egg. While mankind thinks he has progressed, he has actually regressed into a more primal state of evolution.
Consider M.C. Escher's Reptiles. The reptile comes out from the primordial soup, it passes by the drink (abstains from vice) then climbs onto a book (begins learning). From the book it moves onto the triangle (basic geometry, or a basic understanding of the world), then onto the dodecahedron (advanced geometry, or probing the limits of the material world). There is a great huff of pride before descending back into the primordial soup. A failed attempt. The cycle begins anew.
Compare the face of the Jupiter mission ship with the rock face from The Dawn of Man. This also may be suggestive of a cycle of life, wherein one age of man becomes the fossilized relics of the next.
Dave and Frank become suspicious of HAL. They decide to shut him down, but HAL is reading their lips. Now begins a contest between man and machine--man's own creation.
HAL kills Frank Poole and later locks Dave Bowman out of the ship when he leaves in a pod to retrieve Frank's body. But Dave eventually gains access to the ship and shuts down HAL. It is then that a video begins telling the crew (Dave) about the monolith.
Then begins the final part of the film: Jupiter and Beyond the Infinite. We see a third monolith floating toward Jupiter, which in Roman mythology was the king of the gods (Latin: god-father). Jupiter represents the Gnostic Monad, or the Neoplatonic One and Infinite. The goal of man's existence is to unite with this infinite source (henosis)--essentially to become god.
Dave Bowman leaves the Jupiter ship in a pod and goes through the three stages of initiation (These three stages of initiation were also seen in the comedy Semi-Pro).
This is often called the "star-gate" scene, but we see it as the first, katharsis, stage. Purification of the soul.
His pod ends up in a bedroom. Dave now looks older, his skin wrinkled, and he looks almost traumatized, as though he has been through a process. We can see here that the floor is the same as the ceiling in the space station. Before the source of light was above them, now it is below him indicating that he has ascended.
The second stage of initiation: communion.
Then we find another, older version of Dave wearing black, dressed for his own funeral. This is his last supper. He is the christos preparing for his death. Notice the oval shape on the ceiling as well as on the headboard; this is symbolic of the ovum. This bedroom is his final resting place, and also the place where he will be reborn.
A third and even older Dave is then lying in the bed and sees the monolith. At this point Dave has a gnosis experience: his hand rises and he points to it having understood the unknowable. He now knows what it is, what it's for.
Then he is reborn.
But he isn't reborn in a mother's womb; he has escaped from the birth cycle and thus is now free from the material world.
The third stage: salvation.
Dave Bowman, a descendant of apes, whose ancestors have been guided by alien intelligence, has attained enlightenment and communion with the Source via gnosis, self salvation. He finally becomes a celestial body.
It's no wonder 2001 is on the Vatican's Top 45 in the art category:
"Director Stanley Kubrick's epic work, co-written with Arthur C. Clarke, is both science fiction and metaphysical poetry using an unconventional mixture of visuals and music to bridge humanity's reconstructed past, identifiable present and projected future, all tied together by the recurring image of a monolith as symbol of a superhuman existence."
at 3:22 PM