consciousness energy pat..blade runner
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"The world is like a ride at an amusement park. It goes up and down and round and round. It has thrills and chills and its very brightlycoloured and its very loud and its fun, for a while. Some people have been on the ride for a long time, and they begin to question: Is thisreal, or is this just a ride? And other people have remembered, and they come back to us, they say: Hey dont worry, dont be afraid,ever, because, this is just a ride quote ~ Bill Hicks
Consciousness Energy Path 111
Tuesday, January 22, 2013Tuesday, January 22, 2013Tuesday, January 22, 2013Tuesday, January 22, 2013
Astro-Gnostic Fables: Gnostic Themes in Blade Runner,
Prometheus & Alien
Beyond originating from the Gnosis of Philip K.
Dick, Blade Runner is loaded with Gnostic and
Esoteric themes. The movie is also part of a mystic
narrative, beginning with Alien and culminating
in Prometheus. We get acquainted with all three
movies and their spanning occult messages,including the notions of Transhumanism and
Astro-Gnosis. And what Sophia wanted the world
to know when she spoke through Ridley Scott.
~ M.C.
http://www.thegodabovegod.com
Astral Guest:Roger Voss
author of
Blade Runner An Astro-Gnostic FableRoger's Articles
More information on Roger
Gnostic Themes in Blade Runner, Prometheus and Alien
01/26/2013
Dado Ra
From a relativisticsubjective perspective,truth is but a restingplace until the next
revelation. The deeper truth itself isnot relativistic. It is absolute. Yet withinthe absolute truth there are subjective,objective, intersubjective andinterobjective perceptions of it. Thebottom line is: "Know thyself" &"Sapere aude" - (Sapere aude is a
Latin phrase meaning "dare to bewise", or more precisely "dare toknow") - but please do not think thatI'm advocating any ideologies here. I'mmerely presenting items of reflection. --- Kwak wha Lolmani, In Lakech Ala Kin,Ptah TA-UM, Namaste, In Living Love,Light & Shadows, Sincerely, VladimirGvozden
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&&&
Blade Runner An Astro-Gnostic Fable
(of the past not the future)
Introduction
Mary Sean Young recently appeared as guest on a RedIce
interview. Mary is the actress that portrayed the character Rachel
in the 1982 Ridley Scott sci-fi classic film, Blade Runner.
In the film, Rachel ultimately becomes the love interest of leading
actor Harrison Fords character,
Rick Deckard.
Secrets of Prometheus Film Leaked
Philip K Dick - The Blade Runner Interview
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May 20, 2012
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There was a bit of discussion during the RedIce interview about
the film and its symbolism. The mention of owls perked my
attention and I recalled that, yes, the owl was indeed a very
pronounced symbol in that film (I encounter the owl meme
frequently so its appearance in a film is intriguing). This prompted
me to go and re-watch the film, as I had not done so in a few years.
I was curious to see what the symbolism of this film would say to
me today?
Lets start with the source material. Blade Runner is based on a
science fiction novel by Philip K. Dick, "Do Androids Dream of
Electric Sheep?" P. K. Dick is a legendary writer and is quite the
topic unto himself just go hit a search engine for material on P. K.
Dick. What I will note is that an over arching theme of many of his
works is that apparent reality is illusory there is some deeper
hidden, or less apparent context as to what is really going on. So in
respect to the film Blade Runner is there possibly a veiled subtext
that is actually what is being told as the story? After all, why all the
trappings of the symbolism? Such things may be messages in and
of themselves or serve as pointers or guides as to a more proper
understanding. Lets just dive in and start making thematic
connections and see what we come out with.
The apparent story of Blade Runner revolves around a group of
Replicants, led by Roy Batty (actor Rutger Hauer), that have made
their way back to planet Earth in search of a longevity of life span
comparable to that of their creators. Replicants only live for four
years. Replicants have a short life span but enhanced abilities.
They are sent to outer space to take on the harsher challenges that
are involved in colonizing other worlds.
Roys quest is reminiscent of the demi-god Gilgamesh and the
arduous journey he undertook to search for the longevity of the
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gods as recounted in the Sumerian Epic of Gilgamesh. Gilgamesh
was born part mortal and part god. He is a superman in prowess
(as is Roy) but is fated to a mortal lifespan. After the death of his
companion Enkidu, Gilgamesh sets out on a quest to obtain the
longevity of life span enjoyed by the gods. He travels to a land
where the gods have permitted the hero of the Deluge (Noahs
Flood), Utnapishtim, to reside. Utnapishtim tells Gilgamesh, The
life that you are seeking you will never find. When the gods
created man they allotted to him death, but life they retained intheir own keeping. These words closely echo what Roys creator,
Dr. Eldon Tyrell (actor Joe Turkel), says in the movie when Roy
finally confronts him with the object of his quest. Thus in both
stories we have mighty men undertaking risky journeys and in
each case are rebuffed of their objective (which is an identical one)
by the creator gods. Both Roy and Gilgamesh in the end must
find solace in the accomplishments of their mortal lives. The Epic
of Gilgamesh is amongst the earliest of literature and thought to be
Sumerian in origin, though extant versions of it date to latter
derivative Mesopotamian civilizations.
We also learn during the course of the movie that the shortened
lifespan of the Replicants is quite deliberate. They are intended to
be an artificial species purposed to slavery. The shortened lifespan
should keep the slaves from becoming too highly self aware or
from developing a sense of their personhood. They need to be
rather intelligent in order to be effective slaves, but they shouldnt
be overly mindful of a sense of individuality to the point they
recognize and place value on their own sense of inward identity.
We see this theme of constraining lifespan likewise coming down
to us from ancient literature:
Genesis 6:3 And Yahweh said, My Spirit shall not always
plead with Man; for he indeed is flesh; but his days shall be a
hundred and twenty years.
Earlier in Genesis 3 there was a sense of anxiety expressed
regarding the potential lifespan of Mankind:
Genesis 3:22 And Yahweh Elohim said, Behold, Man is
become as one of us, to know good and evil. And now, lest
he stretch out his hand, and take also of the tree of life, and
eat, and live forever ...!
This matter of gods wanting to artificially constrain the lifespan of
their created species looks to be sourced from the same
motivation as depicted in Blade Runner to thwart the arising of a
possibly rival species.
My 2010 article Heiser vs. Sitchin, as well as this very recent link,
explores these associations in greater detail and builds the case
that this literary material and the events in Genesis of the Hebrew
Bible are derivative from the earlier Akkad/Sumer civilization that
the Biblical patriarch Abraham migrated out of. So weve identifiedtwo themes from the Blade Runner story outline that can be tied to
ancient Sumer.
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The cityscape of the Blade Runner environ is dominated by huge
pyramidal buildings. These more resemble the style of the step
pyramids of Mesopotamian civilizations than the smooth (by
comparison) Egyptian pyramids. In Blade Runner, the pyramid
buildings are where the elite class resides and those that serve the
elites come to work. The Anunnaki gods of Sumer were said to
reside in the topmost floors of the step pyramids that were built as
temples to them.The Replicant Roy goes to confront his creator
god in a top chamber of one of these pyramidal complexes.
In the Atra-Hasis tablets, the Anunnaki gods were recounted to be
the creators of Mankind and that Mans purpose was to do the work
of the gods, as per this Wikipedia synopsis excerpt:
Enlil assigned junior divines to do farm labor and maintain
the rivers and canals, but after forty years the lesser gods or
dingirs rebelled and refused to do strenuous labor. Instead of
punishing the rebels, Enki, who is also the kind, wisecounselor of the gods, suggested that humans be created to
do the work. The mother goddess Mami is assigned the task
of creating humans by shaping clay figurines mixed with the
flesh and blood of the slain god Geshtu-E, a god who had
intelligence (his name means ear or wisdom). All the
gods in turn spit upon the clay. After ten months, a specially
made womb breaks open and humans are born.
In my Heiser vs. Sitchinarticle we see that Man, as related in the
first chapters of Genesis from the Hebrew Bible, is created by the
Elohim and assigned to toil at the task of food cultivation. The
Sumerian word for Mankind is Adamu (Adam in the Bible). So
substituting Replicant for Adamu (or vice versa), and the
parallelism of these mythologies (one presumably futuristic, the
others ancient) distill to the same essential narrative. Highly adept
beings create an order of subordinate beings to do arduous labor
for them. In each of these accounts the creators work from a pre-
existent substrate (as opposed to ex nihilo creation).
The atmosphere of the Blade Runner world is ecologicallydamaged.
In Zechariah Sitchin's thesis, as presented in his 1976 book, The
Twelfth Planet, the atmosphere of the Annunaki gods home world
is in crisis and they journeyed to Earth to obtain gold in large
quantities. From the ore they would presumably refine it into a
form suitable to be dispersed into their home world's upper
atmosphere. (NASA has used a thin layer of gold shielding in
astronaut helmet visors is it conceivable to deploy gold into an
atmospheric layer for similar purpose?).
A viewer of Blade Runner presumes that that worlds dilapidated
environment is the result of poor environmental stewardship. A
cause of the Annunaki Nibiru atmospheric crisis is indeterminate.
This factor of the movie is a more indirect or tenuous connection
Sumerian Creation Story of Mankind
A Damaged Planetary Atmosphere
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to ancient Sumer mythology, but its still plausible to make. It is the
gamut of the other Sumerian connections that tend to likewise
suggest this one.
Iapetus
Dr. Eldon Tyrells chambers gets a lot of screen
shots in Blade Runner thus its really a rather heavy handed
symbolic reference.
The Replicants are a product of genetic engineering. In many ways
the designers sought to enhance their creations. Rachel is
representative of their state of the art. She is perfect physically
an ideal feminine form but also neurally she is much more
sophisticated than previous generations. She, more so than other
Replicants, has a human-like emotional construct to her
consciousness (its one thing to be intelligent like Roy, but its also
vital to feel as a human does). Instead of wanting to constrain
Replicant mental development, as was the case with the off-world
slave models, the Rachel model represents an effort to go the
other way see how human-like a Replicant can be engineered tobe in respect to the seat of consciousness, that is. Director
Ridley Scott accentuates this understanding of Rachels genetic
perfection through the manner that Rachel first makes an
appearance in the film. Even though it was 30 years ago I can still
recall a sense of my first time reaction. Rachels entrance was one
of those moments in film like when Ingrid Bergman enters Ricks
bar in Casablanca, or when Grace Kelly leans over to kiss Jimmy
Stewart in Alfred Hitchcocks Rear Window.
Transhumanist Singularity Agenda
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Rachel appears suave, urbane, and stunningly attractive but
within an appropriate dystopian ambience via the film noir style of
low key lighting, shadows, framing...the close fitting outfit, the high
heels, a unique slant on a 1940s hair style:
And there will naturally be the obligatory film noir cigarette
smoking:
(From the scene where Rachel is tested we also become introduced
to a sense of underlying vulnerability in Rachel thats always there both in her speech and in her eyes. Despite the initial impression
conveyed by her entrance, we begin to see that Rachel is fragile.
This plays to another angle of this character as meshed to over-
arching themes of the film that well circle back to later.)
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In this perfected Rachel Replicant there is an inference here as
we listen in on the dialog between Dr. Tyrell and Deckard in the
aftermath of Rachels test that the genetic engineers are working
toward an ultimate Raymond Kurzweil Transhumanist
Singularity. That is, a point at which the advanced Rachel model
would be a truly suitable host for downloading an existing human
consciousness into. So-called immortality achieved via the
technological means of genetic engineering and a mechanistic
view of consciousness pragmatic immortality, if you will. Ofcourse weve seen this particular theme more recently in the SyFy
Battlestar Galatica TV series. However, Blade Runner was touching
on this idea in 1982. Star Trek episodes dealt in this concept as
well but Blade Runner conveys more realism with respect to the
tangibility of the genetic engineering it portrays. Through this lens
of transhumanism we infer that the ruling elites of the Blade
Runner world are looking to obtain immortality and enhanced
vibrancy of life through materialist technological pursuit. Perhaps
this is their means to a pathway to salvation.
From Rachels testing scenes, we also see Rachel confronted with
the realization that she is an artificial being that she is a Replicant
too. This begins to visibly dawn on her as she is asked by Dr.
Tyrell to leave the room so he can talk privately with Deckard.
Later she confronts Deckard at his flat. She is in shock and denial
at the outset of this traumatic realization. Yet Deckard is able to
recite some of her private memories as they have been merely
implanted in her mind so as to simulate having an historical past.
Its a shattering moment for her sense of self-identity as a person.
(The operating presumption in the Blade Runner world is that a
Replicant, as an artificial being, is not truly a person.) The
vulnerability we detected in Rachels speech and the look in her
eyes during her testing by Deckard suggests she had already been
harboring doubts well before being subjected to the test. For the
moment, Rachel is crushed psychically.
So far we have seen how Blade Runner is a recasting of narratives
that come to us from ancient Mesopotamian sources and that the
film has symbolic references that connote association to that
particular milieu of ancient civilizations. As such, the film can be
seen to work as an allegorical retelling of the creation of Mankind
by the Annunaki/Elohim the gods of these Mesopotamian
civilizations, or their close cousin derivatives such as Abrahamic
influenced Hebrew culture. In the debut of Rachel, her testing
scene, and subsequent dialog from Dr. Tyrell, we see possible
implication of a transhumanism agenda to be afoot. The trauma of
Rachels self-realization of whom and what she really is works
allegorically as representing the existential crises of those that
encounter the Ancient Astronaut Theory of human origins, and areexposed to the voluminous circumstantial evidence thereof (e.g.,
the allegorical parallel of Deckard telling Rachel of her presumably
private memories proving theyre not authentic memories). The
Rachel character, then, is representative of each of us of the
Rachels Trauma
Taking Stock
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human race in grappling with the ramifications of AAT. Those are
some potent themes to be telling as an occulted back story in
1982. Yet let us now switch gears as the film will take us into a
rather different slant of symbology (still holding off for now on the
owl, though).
Up to this point the narrative of Blade Runner has been decidedly
dystopic. The viewer receives no particular satisfaction (theres no
resounding moral affirmation) in watching Deckard terminating the
Replicants. Hes a tool of the ruling elite and is compelled to carry
through regardless. Replicants strike back sometimes in defense
or in desperation to obtain their quest, but mostly from a sense of
nihilism that ebbs from the starkness of their fate due to what they
are. The film moves through various bleak and unsettling
exchanges and acts of deadly violence. Of course, its also the
kind of plot conflict narrative that fuels the ticket sells for
Hollywood sci-fi action movies. Yet in the concluding scenes of
Deckard having his show down with Roy, Blade Runner in its ownfashion repudiates the nihilism inherent in the preceding violence.
It does so through the device of Gnostic transcendence. Instead of
culminating in a final pitched struggle to the death between the
two combatants, in Roys last moments he chooses to spare
Deckards life. Roys life essence at this point is rapidly ebbing
away and he knows he will soon die. Instead of spitefully insuring
that Deckard dies with him, he saves Deckard and then begins to
recount the wonders of things hes seen and done. (It is a
memorializing of Roys mortal life that parallels the memorializing
that Gilgamesh accomplished as King, where his deeds were later
recounted to his glory thereby achieving a form of immortality.)
We also see use of visual symbols in this portion of the movie that
portray Roy as a Christ figure not a Christ as sacrificial lamb but
Christ as Gnostic Revealer.
Gnostic Revelation
The Gnostic Revealer
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The Christ association is established by these visual cues: Roy
pulls a nail from a plank, a long, wedge shaped nail that resembles
a Roman crucifixion nail. He then pierces his hand with this nail.
Later when Roy finally breathes his last, he releases a dove that
ascends into the sky symbolizing his spirit released and
ascending into Heaven. It is a manner of visual allusion to the
baptism of Jesus
where the Spirit descends on Jesus as though a dove:
John 1:32 And John bare witness, saying, I have beheld theSpirit descending as a dove out of heaven; and it abode upon
him.
Coauthors Marvin Meyer and Willis Barnstone
in their book The Gnostic Bible: Revised and Expanded Edition
write this describing Christ as a Gnostic Revealer:
The role of the gnostic savior or revealer is to awaken
people who are under the spell of the demiurgenot, as in
the case of the Christ of the emerging orthodox church, to die
for the salvation of people, to be a sacrifice for sins, or to rise
from the dead on Easter. The gnostic revealer disclosesknowledge that frees and awakens people, and that helps
them recall who they are.
Roy as Gnostic Revealer initiates a gnosis in Deckard that awakens
him. He awakens to the worth of all life even the lives of an
artificial slave species that his society has dehumanized. Later this
revelatory gnosis culminates in Deckards understanding that his
dream of a unicorn racing through the forest indicates that he too
is a Replicant that he's really in the same lot and just as
expendable as the those he'd previously helped herd and cull on
behalf of the ruling elites. [Update] Masonic scholar Manly Palmer
Hall, in his 1928 book, The Secret Teachings of All Ages, cited the
unicorn as mythical symbol of the awakened pineal gland:
The single horn of the unicorn may represent the pineal
gland, or third eye, which is the spiritual cognition center
in the brain. The unicorn was adopted by the Mysteries as
a symbol of the illumined spiritual nature of the initiate. . .
.
As the movie ends, both Rachel and Deckard have now fully
confronted their existential crisis of personhood. For both Rachel
and Deckard, their internal crisis arises because of what their
societal context has programmed them to believe. They ultimately
must reject those external precepts of normalcy and trust in their
personal gnosis of their own individual sense of personhood and
thus self value. The allegory here to the perceptive audience: It is
not for others to determine personhood; in the final analysis we
each have only our individual conscious experience from which
we assert our full sense of personhood. It doesnt matter really
what we are in terms of the physical shell (artificial slave species
or not). It is instead the spirit that sojourns therein (the spirit rising
to Heaven as a dove) that is the true seat of our personhood.
The Owl Archtype
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Excerpts from Graham Hancocks 2007 book,
Supernatural, pages 324-325:
The abduction experience of a woman on the west coast of the
U.S.A began when an entity that she construed as a five-foot-tall
owl strode down the highway towards her parked Jeep and
started at her over the hood.
A registered nurse from the north-eastern United States, Carolsabductions were of special interest to me because another of her
encounters with strange, compelling owls included further levels
of transformation, as well as unexpected symbolism that she
herself recognized as shamanic.
Remembering his childhood in the Amazon, he told John Mack
about an occasion during a tribal ceremony when the figure of an
owl was seen perching at the top of a tree. The elders chanted,
Ikuya! Ikuya! Ikuya! Bernardo asked them why they thought the
creature was an ikuya and not simply an owl: They said that,
because they were in a trance, they could see light and force
around the owl, which told them it was a humanoid in disguise.
Also when they shoot arrows at the ikuyas disguised as owls, the
arrows seem to pass through them without killing them.
Excerpt from page 328:
That the onset of some shamanic initiations and of some UFO
abductions should be marked by the sudden materialization of
owls or of other birds and animals with huge owl-like eyes is
mysterious enough in itself. But what I thought made the
coincidence even stranger was the way this sort of imagery seems
to pick up a reflection from the caves of Upper Paleolithic Europe.
A prehistoric engraving on the wall of Trois Freres in south-west
France, described in Chapter Four, features two large owls, which
archaeologist judge to have distinctly humanoid characteristics.
In Babylonian demonology, Lilith was a monster who roamed at
night taking on the appearance of an owl. The visage of the
humanoid owl figures frequently in the realm of reported incidents
and phenomena that are characterized as manifestations that are
not of conventional physical nature that, say, accord with what we
regard as the normal operation of our reality context. Often the
humanoid owl is recounted as an implacable silent observer
(though not always) to these incidents of high strangeness. In the
Blade Runner movie, the owl is an implacable and present
observer of the travails of the human drama.
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That director Ridley Scott chose to reference the owl (to the point
that it has become iconic as evidenced in the poster) as such a
high profile symbol back in 1982 no less is perhaps the most
intriguing riddle in respect to this film. It is intriguing as to what
does Ridley Scott really know about such things? And how did hecome about such knowledge at that time frame? The owl
symbolism speaks to a whole other level of special occluded
knowledge than just mere Ancient Astronaut Theory it hints that
there lurks a possible cognizance about the very fabric and nature
of reality (or super reality). That really would be something
surprising for a film director to be plugged into in some fashion.
Blade Runner began as a dystopic tale of a world run by a ruling
elite bent on a materialistic transhumanist agenda all the while
artificially crafting beings as slaves with no respecting of the lives
of said slaves. To be found as one of the slave race is a despairing
condition if that reality is realized for what it is (hence the various
precautions to keep the slaves in the dark). Some would say that
pretty well summarizes the human condition today on planet Earth
(the ruling elites determined to keep the masses in the dark as to
what and who humanity really is, as well as various other matters
that may be going down).Yet Blade Runner, via the methods of its
various symbolic overlays, imparts at its conclusion that waking up
to the nature of slave status is merely incidental it is not reallycrucial in respect to authenticity of personhood. What is crucial is
Gnostic awaking. The spirit that ascends from the physical shell
into Heaven is that which is our vital selves and is what we need to
awaken to.
Thank you, Mary...for being a catalyst or muse, as you
Epilogue
Acknowledgments
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8/12/2019 Consciousness Energy Pat..BLADE RUNNER
13/14
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Posted by Dado Ra at Tuesday, January 22, 2013
Hollywood folk would say. The act of penning and then
sharing that brief synopsis with you was a nudge that
caused one of those instant insights to fire in the brain:
there are some really significant underlying themes to this
film and those are even more relevant in todays situation
than 30 years ago. Those themes deserved to be
expanded on in light of our current zeitgeist.There is now a
much broader and more developed public domain
knowledge base by which to understand and interpretthose themes, there is the Internet, and in riding the wave
of synchronicity we can go at this all together.
MyCoreArticles(and some related links)
[awakening, synchronicity,
Gnosticism, AAT, nature of
reality/consciousness, etc.]
RogerV
+1 Recommend this on Google
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8/12/2019 Consciousness Energy Pat..BLADE RUNNER
14/14
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