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Prometheus, the artist who opened the prison door

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Prometheus, the artist who opened the prison door

Prometheus, the artist who unchained humanity

by Jon Rappoport

December 28, 2012

http://www.nomorefakenews.com

Through what mirror are we looking at ourselves in these ancient tales?

The Prometheus story makes absolutely no sense unless we acknowledge there is a reason for rebellion. But not just any rebellion. One man assaulting the supernatural mountain of the Olympians to steal fire, escape, and bring it back to man is more than audacious, if the Greek poets invented the pantheon of gods and their aerie in the first place.

In that case, the theft of fire is an acknowledgment that power is returned home.

“We invented the gods. Now we re-invent ourselves.”

Down through blood-soaked history, the priest class has said, “No, that is too much. That is hubris. Pride goeth before a fall. Don’t think too much of yourselves. Be humble. Submit. Through us, you can connect to the greatest force in the universe, but you must do it in the prescribed ways.”

PS: “Drop a few coins in the basket for the privilege.”

What is the fire Prometheus stole? What power does it signify? The power of money? Of position? Of control over others? Of domination? Is it the power to hypnotize? To make binding and cruel laws? To deceive? To claim divine right? To enslave? To impose limits? To blind the masses?

What Prometheus retrieved was what had been forgotten and surrendered by humans: their own power to imagine and create. The true fire.

We are the artists.

Imagine what might have happened if Freud had plumbed the Promethean myth for his nascent psychology, instead of the Oedipal tale.

“No, no, no,” our leaders say. “We can show you example after example of what happens when humans believe they have power. It always ends in horror. There is no way out except through obedience to the external Truth we peddle.”

Religion is frozen poetry. The poets began by writing outside the boundaries of the tribe, and the priests appointed themselves the sacking editors.

They hammered and cut and polished the wild free poems into tablets and catechisms and manuals of stern disapproval. They gathered up workers to build the temples where the new laws would be preached and taught. They established the penalties for defection. They staked an exclusive claim to revelation.

Prometheus wasn’t a thief. The priest-class were the thieves.

They established the false and synthetic universal centrality of myth disguised as revelation, and they sold it, and they enforced it, and they prepared a list of enemies who were threatening the Law of Laws.

And all that raw material, which they stole? It came from the poets. It came from the free and boundless creation of artists.

So Prometheus was setting the record straight. He was cracking the system like an egg. He was bringing imagination back where it belonged.

Of course, in the ancient myth, he paid a high price for his actions. But that’s merely more propaganda. The high priests write that retribution-ending on every story springing from freedom. They call the punishment by various names, and they naturally claim it is brought down by hammer from the Highest Authority. They work this angle with desperate devotion.

Prometheus was the liberator. He was the Chinese painters of the Dun Huang, the Yoruba bead artists, the Michelangelo of David, the Piero della Francesca of Legend of the True Cross, the Velazquez of The Maids of Honour, the Van Gogh of Irises and lamp-lit Arles, the Gauguin of Who Are We, the Yeats of Song of the Wandering Aengus, the Dylan Thomas of Fern Hill, the Walt Whitman of The Open Road, the Henry Miller of Remember to Remember, the Orson Welles of Citizen Kane, the Lawrence Durrell of The Alexandria Quartet, the de Kooning of Gotham News.

He was Tesla and Rife and Dr. William Koch.

Wherever individual human imagination was launched as the fire, Prometheus was there.

Of course, he wasn’t. He was the story we told ourselves about what we could do. That story is meant to remind us that all centralized collective vision is a fraud. It may not begin that way, but sooner or later, it becomes a gargantuan slippage into narcosis of the soul.

Prometheus is the story we tell ourselves to remember the line between what the individual can learn and what he can create, and how many horses have been pulled up to that line and refuse to cross it and drink from the wells of imagination.

Prometheus is the story of a recapture of what we are. We may have buried the understanding deep in our psyches, but it is there. How many ways we try to refuse it!

We huddle in groups and pretend all progress flows from the mass. We diddle and fiddle with this limit and that limit. We adjust and make more room for the Average. We build machines to think at a higher level than we can. We watch theatrical spectacles of “new hybrid humans.” We proclaim healing virtues and forget about what the healing of the spirit might actually entail, what revolution, what vital energies, what leaps of imagination, what assertions of our inherent power.

We keep thinking of peace, when peace means, as defined by the “wise ones,” the death of the soul. Their peace is what is left over after the war of the creative human has been surrendered without a single burst of energy being fired.

Their peace is syrup poured over the possibility of dynamic action. Their peace is submission to some Glob of “universal consciousness.” Their peace is a column of grinning idiots guarding a self-appointed tower of learning. Their peace is the survival and organization of damaged goods. Their peace is: “if it is meant to happen, it will.” Their peace is: the universe decides, we oblige. Their peace is a cosmic junk-heap.

Followers, little messianic morons, throng to their temples. Candles are lit, ceremonies are enacted, glazed-over joy is celebrated.

From this mob of singing castrati, Prometheus emerged, untangling himself from wet strands of delusion, resignation, and fear. He soared. He advanced. He took back our basic and vital character. He breathed crackling energy into bloodstreams. He tore away Central Authority from its perch.

From the Promethean perspective, Reality is waiting for imagination to revolutionize it down to its core.

This is not an invitation to manipulate and tinker. On the contrary, it’s a call to make Dream into Fact, again and again, without end.

Beyond systems. Beyond structures. Beyond authoritative teaching.

For most, imagination lifts the outer layers of desire and expresses a minor operation in a minor field of engagement. A flicker of a breath here, a struck spark there, and it’s done.

At that point, exhaustion sets in. People lean back and resume their precious expectation of 24 frames per second of emotional rescue from a vacuum.

Hope clings to, and is managed by, what happens on a screen.

But under massive boredom, energies churn in subterranean caverns. Where will those rivers run for the next thousand years or thousand incarnations?

What would create an internal revolution?

What would start the water wheels spinning and the torrents surfacing?

How would creation begin?

On that Promethean question rests the fate of every civilization, past, present, and future.

Every thread, atom, quark, and wavicle of this Matrix is imbued with the impression that “what already exists” is superior to what the individual can now invent. The causal chains of history seem to produce the present and the present seems to produce the future. Somewhere, we are old, there is an ultimate state of mind to which we can attain: a house we can move into. Once we take up residence, everything is settled. We have won.

These are the grand deceptions. These are the illusions of the Matrix.

Jon Rappoport

The author of an explosive collection, THE MATRIX REVEALED, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at http://www.nomorefakenews.com

Jon Rappoport

The author of an explosive collection, THE MATRIX REVEALED, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at http://www.nomorefakenews.com

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Crypto-Eugenic Media Group: Population Control Brainwashing A “Smash Hit” | ExplosiveR eports.Com

http://explosivereports.com/2012/12/28/crypto-eugenic-media-group-population-control-brainwashing-a-smash-hit/

Crypto-Eugenic Media Group: Population Control Brainwashing A “Smash Hit” Gallery

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Jurriaan Maessen
ExplosiveReports.Com
December 28, 2012

President of the Population Media Center, Bill Ryerson, recently bragged that its population control brainwashing campaign in developing nations has been “a smash hit.”

The Population Media Center is an American population group producing fictional programs for worldwide dissimination purposes. Its mission: to spread the message of population reduction through works of fiction. Ryerson, the Center’s president, also heads the Washington-based Population Institute. Both groups are active in the modern day “population movement”, striving for worldwide population reduction in the name of the earth.

During an interview with PeakProsperity’s Chris Martenson, Ryerson boasted that (radio) soap-opera’s are the most effective way to cull populations worldwide.

“One of the things that we do – and that is the primary thing we do – is to use a strategy of communications that has turned out, from everything we have been able to measure, to be the most cost-effective strategy for changing behavior with regard to family size and contraceptive use on a per-behavior change basis of any strategy we have found on the planet.”

Ryserson explains that fictional platforms have proven to be successful carriers of the crypto-eugenic message:

“(…) the use of long-running serialized dramas, melodramas like soap operas, in which characters gradually evolve from the middle of the road in that society into positive role models for daughter education, delaying marriage and childbearing until adulthood, spacing of children, limiting of family size, and various other health and social goals of each country. [bill_ryerson] And we have now done such programs in forty-five countries.”

Ryerson continues to brag about the Center’s propaganda campaigns, especially those in Nigeria:

“(…) a program we ran from 2007 to 2009 was listened to by 70% of the population at least weekly. It was a twice a week program. It was clearly a smash hit. And it was a smash hit because it was highly suspenseful and highly entertaining. But it had a storyline dealing with a couple deciding to use family planning, which is almost taboo in northern Nigeria because less than 10% of the people in that region use any modern method of contraception. We had eleven clinics have healthcare workers ask clients what had motivated them to come in for family planning, and 67% percent of them named the program as the motivation.”

“That”, Ryerson explained, “is the kind of thing that can dramatically change demographic trends globally. We need to greatly expand this type of work.”

The Center is heavily sponsored by the corporate and “philanthropic” elites. On its slick-looking website, the Center states “contributions from and partnerships with the following organizations have enabled us to do work which initiates improved health in people all around the world, while providing engaging entertainment!”. Their list counts many UN organizations among its “contributors” as well as USAID divisions operating in so-called “high-fertility nations”:

“The Population Institute, Population Matters, PSI, RAES, Rare, Rollins School of Public Health at Emory University, Save the Children Norway/ Ethiopia, Save the Children US, Texas A&M University, Tree Aid, UCLA School of Public Health, UNDP Burkina Faso, UNDP Headquarters, UNDP Kyrgyzstan, UNDP Papua New Guinea, UNDP Swaziland, UNDP Sierra Leone, UNFPA Burkina Faso, UNFPA Ethiopia, UNFPA Headquarters, UNFPA Jamaica, UNFPA Kyrgyzstan, UNFPA Malawi, UNFPA Nigeria, UNFPA Papua New Guinea, UNFPA Philippines, UNFPA Rwanda, UNFPA Senegal, UNFPA Sierra Leone, UNFPA Vietnam, UNICEF Ethiopia, UNICEF Headquarters, UNICEF Kyrgyzstan, UNICEF Sierra Leone, The Unitarian Society, University Research Co. LLC, UN Women, USAID Jamaica, USAID Kyrgyzstan, USAID Mali, USAID Niger, USAID Rwanda, USAID Senegal, US Embassy/Department of State, U.S. Fish & Wildlife Service.”

In addition, the Center receives funding from literally all the major foundations including the Academy of Television Arts & Sciences Foundation, Bank of America Charitable Gift Fund, The David Rockefeller Fund, Ford Foundation, and the IMF Employees’ Fund.

When we take a look at the Center’s program advisory board we encounter some familiar names, including Paul and Anne Ehrlich, as well as World Bank luminary Herman Daly (who recently called for smaller, less “resource-intensive” people top bred into existence). Interestingly, some names from Hollywood pop up, advising the population center on how to best convince audiences worldwide to cull themselves. Among the names mentioned we find director Jeremy Kagan, renound because of his many film and television projects.

These population reduction propaganda efforts have been going on for a good while. A 1973 UNESCO-publication called Mass Media, Family Planning and Development: Country Case Studies on Media Strategy proposes the creation of “family planning communication resource units” for every nation concerned within the UN-system, especially third-world nations. The reason being, so the report states, that “culturally, there is an emphasis on fertility, and the birth of children to the family is celebrated, as a symbol of prosperity and for status for women.”

“A Communication Resource Unit”, the document reads, “is responsible for the implementation of media policy for one, or more than one field.” The document proceeds with outlining the functions of such a unit in regards to family planning messages:

[massmedia1]
“The integration of messages is a matter which concerns the Communication Resource Unit, in that an integrated approach to family planning needs to be worked out. (…) These (messages) may be ‘family planning for maternal health’, ‘family planning for family prosperity’, ‘family planning for your figure’, ‘family planning for national prosperity’, family planning for child development.’ These messages will be pretested to find those which seem to appeal most to the eligible age groups.”

conveying the message to unsuspecting audiences: “(…) There are two ways in which the family planning message can be included in feature films. The first is for the family organisation to commission a film specifically for the campaign. (…) if it is to be successful, well known and popular actors must be chosen, and the scripting and direction has to be professionally executed. Another method is for the family planning theme to be introduced into feature films which are already planned and prepared by local commercial production companies. In this case, the family planning organisers must be aware of the possible ways in which the theme can be subtly incorporated, as producers are not likely to respond to a suggestion which involves the total re-thinking of the plot. (…) Suitable opportunities can be found in love stories, in stories based on conflicts between men and women (…).”

As it turns out, these subtle media tactics have indeed proven extremely effective- or, as Ryerson puts it, “a smash hit.”

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