Cinema of the Matrix (1)

The programming of consciousnesses in the Matrix of illusion, the 3rd terrestrial dimension, passes in particular through the subliminal suggestion of human beings by their Master slavers *, in order to avoid their awakening to What They really Are. This is particularly what the image - an anagram of magic - allows on the screen of consciousness, both literally and figuratively. It translates the power of the imaginary, in other words of the illusion that is the universe (a "simple" field of frequencies and informational vibrations), the projection of images in the air, that is to say the state of our thoughts nourished by the beliefs and conditionings that are there generating the false reality in 3-D that we imagine to be true!

It is this know-how that has been appropriated with contemporary technological developments by the Hollywood industry, the Mecca of world cinema, whose artificers perfectly master the principles governing electromagnetism, one of the great physical keys governing What Is. Its power of influence and manipulation of consciences by its officiating magi is thus very powerful, resulting from the fabrication of ancient myths * ² by the pagan priesthood and their artistic symbolic representation (painting, engraving, sculpture, etc.), which made it possible to engrave in the collective unconscious by the memory signature their misguided meaning because it is diverted from the original version.

Hollywood

Hollywood means holly wood or forest, not holy wood. Holly is a plant, like mistletoe, both prized by druids or ancient magi. One, the mistletoe forest, celebrates light; the other, the holly forest, celebrates darkness. Between white magic and black magic, the matrix system and its governing "elites" have chosen the polarity where they put the cursor ...

The film of Life

In life, we are in turn each of the five great roles of the film industry: screenwriter / author - producer - director - actor - spectator.

We control the whole chain, putting on each garment to know the attached emotions, in which the secret of Who We Are is found. The film, theater of illusions ceaselessly renewed and unfolding at every moment, is our life. We have within us all the keys to its success and its failure. It's up to us to play for the Oscar or the César award. Fiat Lux , let there be light!

However, as these keys are most of the time hidden from us, we play the film of Life illusioned, dispossessed of what allows us to access the Seventh Art, the dimension of Unity, that of the original atom. .

The 7th art

Cinema is the seventh art, the 7th discipline which was qualified as art in 1919 at the initiative of one of the pioneers of film criticism, the Italian writer Riccioto Canudo (1877/1923) ... well six arts before the cinema, the German philosopher Georg Wilhelm Friedrich Hegel (1770/1831) having defined the first five, from the more material and less expressive to the most expressive and less material, as follows:

1. Architecture

2. Sculpture

3. Painting

4. Music

5. Literature (poetry)

Then came new disciplines:

6. Dance, Theater and Circus (the performing arts)

7. Cinema (since the beginning of the 20th century)

8. Photography, Television, Radio (media arts)

9. Comic strip.

The number 7 expresses the will *. Or that of the predatory system, which freezes us in the linear flow of enslaving time designed by the Babylonian master artificers. That is, the one which, by our inner sublimation * ², leads to the revelation - the Apocalypse - of Who We really Are.

The making of the illusion

The Matrix cassette contains a tape which contains all the sequences of the film being screened, and which we naively think "reality". We ignore that as long as we are in the terrestrial experience, 3-D - the sandbox - we are entirely at the mercy of our predatory master geneticists of the 4th dimension of reality, the death field of Astral. Our life is thus entirely programmed, scripted, from A to Z, leading us in a completely illusionary way by believing that we are in the controls to interpret in our attributed specificities (sexual gender, race, environment of birth, physical and psychological criteria ... ) the assigned role, in the three modes of the nonindividual illusioned being: executioner, victim and savior *. Over the lifetimes renewing themselves as long as our awakening of consciousness has not solved the "Game / I of the Living" by understanding our multi-dimensional nature and our deep unity - the scenery with the other performers are only the mirror effect of our separation from Unity - we accumulate memories, nourished by the psycho-emotional traumas experienced through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. has not solved the "Game / I of the Living" by understanding our multi-dimensional nature and our deep unity - the setting with the other performers is only the mirror effect of our separation from the Unity - we accumulate memories, nourished by psycho-emotional traumas experienced through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. has not solved the "Game / I of the Living" by understanding our multi-dimensional nature and our deep unity - the setting with the other performers is only the mirror effect of our separation from the Unity - we accumulate memories, nourished by psycho-emotional traumas experienced through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. by understanding our multi-dimensional nature and our deep unity - the setting with the other performers are only the mirror effect of our separation from the Unity - we accumulate memories, nourished by the psycho-emotional traumas experienced in through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. by understanding our multidimensional nature and our deep unity - the setting with the other performers are only the mirror effect of our separation from the Unity - we accumulate memories, nourished by the psycho-emotional traumas experienced in through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. Unity - we accumulate memories, nourished by the psycho-emotional traumas experienced through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it. Unity - we accumulate memories, nourished by the psycho-emotional traumas experienced through the journey of our soul. This karmic framework weighs us down and ballasts us a little more each time, preventing the vast majority from leaving the enclosing matrix, the cave of illusions, except for taking and access to knowledge when we encounter great suffering on the way and that we decide, finally by our will and by our discernment, to look it in the face and to put an end to it.

These sequences are in fact programs made up of information housed both in our conscious - our beliefs as it is - and in our unconscious (subconscious), and because of the fact that our DNA conceals, the thought emitting an energetic vibration on the cells. of our biological body * ². This one projects them like a projector in our daily life, its resonance leading to the life situations that we encounter. We ourselves make the film of our life as author, producer, director and actor, and contemplate it as a spectator!

The culture of effects replaces that of causes

With the successive development of great civilizations of a patriarchal nature, ambitious, ruled by tyrants, religions and various strategies of conquest provoked voluntary cultural divisions in order to more easily control the peoples who were growing in population. They were thus instilled with a very fragmented false culture, like a mental straightjacket that we call today "the single and global thought" - the doxa -, the basic Manichean principle being "to divide to better reign". If the most important causal knowledge proper to the functioning of the universe - What Is - was transmitted secretly by initiation to a small reigning elite, a watered-down knowledge was distributed in a very fragmented way, according to the strict necessity of the social roles and according to the docility of each one. Then it was the crowning of the intellectual element, reason, which came to completely suppress the entire ancestral shamanic system with the so-called Revolution of the Lights in the 17th century. It consecrated scientific exploration as the source of phenomena. As if the analysis of the tangible elements of a phenomenon would be able to reveal the causes of its origin ... 

However, only the engineer who designed a project can explain to us the original motivation *. Therefore, the physical world is only a projection of the spirit, containing no original source if it is not connected to the Spirit, the great field of universal or cosmic Consciousness. It is the world of effects and manifestations, not that of causal intentions. It is the showcase, not the workshop. The origin and source of phenomena occurring in the physical plane lie in other planes or dimensions, constituting the so-called "causal" world. This works like a projector, and the physical world like a screen. This means that all that is seen, heard, tasted, touched by the physical senses is only a small part of what exists, as well as a TV or cinema screen contains only a small part of reality. We thus live on a daily basis in a permanent projection of effects of which we do not really know the causes, except, of course, when the single thought explains them to us in detail and in its own way. We feel a very comfortable mental assurance, our knowledge thus becoming encyclopedic thanks to this illusion.

We have therefore entered en masse, for three centuries, into the so-called modern era, which turns out to be a gigantic illusory dead end, because we call real what is not. It is only a reflection of reality, decoded by our retina and our neurons, via our brain, itself conditioned by the single thought. In order for the illusion to be complete, the one thought explains to us very well, and in detail, what to think about it and how to talk about it. We do not doubt for a second that reality can extend beyond our delusional perception. This blindness is pathological when it is massive, collective, and the fact of people believing themselves to be educated, "cultivated", the great knowledgeable expressing themselves incessantly through all the institutional apparatus and its official trash,  

From there we created the necessary diplomas for biological robots orchestrating totalitarian ideology, so that the students are sufficiently well deluded in order to properly serve the illusory system in place * ². The loop is thus closed. It constitutes the reality, as real as possible, that to which everyone adheres, including teachers through their supervisory authorities. Everything we see is therefore only an artificial projection, in relief, in color, on the large screen of normality in force, but without any natural causal reality. It's like the 3D experience of a video game console, with the added bonus of being physically in the game itself. If we focus enough, it is gradually becoming our only reality. By entering the console, we are fully in life. How can we be surprised when our young people too easily manage to confuse their virtual game with the daily reality that we claim to be real? As adults indulge in this illusory practice, they reflect it with their technology that we have designed for them. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. we are thoroughly into life. How can we be surprised when our young people too easily manage to confuse their virtual game with the daily reality that we claim to be real? As adults indulge in this illusory practice, they reflect it with their technology that we have designed for them. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. we are thoroughly into life. How can we be surprised when our young people too easily manage to confuse their virtual game with the daily reality that we claim to be real? As adults indulge in this illusory practice, they reflect it with their technology that we have designed for them. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. then wonder that our young people also easily manage to confuse their virtual game with the daily reality that we claim to be real? As adults indulge in this illusory practice, they reflect it with their technology that we have designed for them. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. then wonder that our young people also easily manage to confuse their virtual game with the daily reality that we claim to be real? As adults indulge in this illusory practice, they reflect it with their technology that we have designed for them. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep. They play like crazy, just like us. How could we dissuade them not to do it themselves with their virtual games, since we do it ourselves, in life size, within the narrow framework of our own artificial and affirmed real lives? A real dystopian world, for which we bear the total responsibility, so deeply we sleep.

These programs (information) that the DNA contains are "implant memories" which have been engramed (printed, encoded) there by the expression of our emotional during all our incarnations of life unfolding in an eternal present on a plane. multidimensional, or our various experiments with terrestrial matter, the 3rd dimension of reality. They are constitutive of "karma", sum of memories linked to all the characters played, known as "alter", in the different roles of executioner, victim, savior. As long as we have not reunified them, our Soul, link with the “divine” Higher Self when it is unified, remains fragmented, scattered. We cannot then extricate ourselves from the Involving Matrix, this one doing everything to continue to delude us * and prevent us from passing into a dimension of reality as of higher consciousness. This is normal, since we are the psychic food of predation which enslaves us and keeps us prisoner of the involuting loops of limited time * ²of the 3rd dimension ...

The regenerative power of DNA

DNA, by its biochemical and electromagnetic nature (chemical substances that produce amino acids), thanks to its semiconductor properties, allows reprogramming or intracellular reinitialization work, especially on stem or master cells from the bone marrow, which have priority in the field. report to disease and body regeneration (hormonal balance, elimination of toxins, longevity ...). This work is activated by the nature of the thoughts and feelings arising from them. The human being can thus activate by the effect of harmonic resonance the beneficial genes and circumscribe those which are not. He can also activate memory banks capable of delivering information hitherto unknown, and discover how to activate unidentified talents.

This is the whole stake of reconstituting its "amputated" DNA strands, that is to say the "trash" DNA as named by scientists ( junk DNAin English, term coined by the researcher Susumu Ohno in 1972) which designates all the sequences of the genome which are not translated into proteins. If the biological functions of this class of DNA were still poorly understood until very recently and therefore underestimated, in 2015 a group of scientists published more complete data on the human epigenome, i.e. all of the modifications which intervene in the regulation of genes and which play an important role in the development and in the appearance of certain diseases. Epigenetics is thus able to gradually reveal the role of DNA in the relationship between humans and living beings, the way in which genes are used by a cell.

When the film is screened and for the projection of the film to take on meaning, there must necessarily be a spectator watching it. In this case, this spectator is us, since it is our film. As long as we watch the film with our identity self, the ego *, we are deceived by the hypnosis of the images projected on the screen of our consciousness, evaluating the quality of the film - good or not good - and estimating the actors, the others, in their respective roles - I like or I don't like -. This is how the two polarities of the * ² (good / bad) duality linked to the structuring of the thought of the ego take effect through the judgment, either of the quality of the film, or of the role of the actors. The Matrix took us through her cinema wherever she wanted, in the division and in the feeling, basis of its nourishment as of our enslavement, and of course in the future, dystopian society, the transhumanism of the New World Order to come. Who does not say a word consent, this is the motto of our master predatory enslavers!

What is the Matrix?

The easiest way is to ask Morpheus, character from the Matrix cinematographic saga, played in the three episodes by Laurence Fishburne. He initiates Neo into the real world, who can be either "the Chosen One", the Antichrist called to free the human species trapped in machines, or "the Chosen One" by himself, who having understood the illusory trap set, frees itself from the illusions of the Matrix ... * This is the choice we all have to make on the path to awakening to Who We Are.

The principle to be understood is that the reality of the film of the Matrix takes on a meaning only when the observer - us in this case - gets caught up in the game of the "I", by identifying with the main actor and by forgetting the four other roles to be carried out concurrently. However, as soon as there is an emotional implication, there is automatically identification, and by that very resonance which attracts its manifestation in his life. That is to say that taken by an underlying emotion, we automatically enter into an egotistical game which consists in taking sides with one or the other of the actors in the film, in judging such and such a scene (of our life) worthy of interest or not.

Thus, caught up in the emotional, we attach importance to the role of the actor or to the scene with which or with which we identify. For example by identifying ourselves with the role of the good guy, we will automatically "support him emotionally" and give him our energy to defend himself or to fight against "his enemy". We react to the situation in the unfolding film, which then dispossesses us of our free creative power because it is inspired by Who We really Are, not by the pawn on the chessboard that the Involving Matrix wants us to do. let's be * ² ...

rities of the * ² (good / bad) duality linked to the structuring of the thought of the ego take effect through the judgment, either of the quality of the film, or of the role of the actors. The Matrix took us through her cinema wherever she wanted, in the division and in the feeling, basis of its nourishment as of our enslavement, and of course in the future, dystopian society, the transhumanism of the New World Order to come. Who does not say a word consent, this is the motto of our master predatory enslavers!

What is the Matrix?

The easiest way is to ask Morpheus, character from the Matrix cinematographic saga, played in the three episodes by Laurence Fishburne. He initiates Neo into the real world, who can be either "the Chosen One", the Antichrist called to free the human species trapped in machines, or "the Chosen One" by himself, who having understood the illusory trap set, frees itself from the illusions of the Matrix ... * This is the choice we all have to make on the path to awakening to Who We Are.

The principle to be understood is that the reality of the film of the Matrix takes on a meaning only when the observer - us in this case - gets caught up in the game of the "I", by identifying with the main actor and by forgetting the four other roles to be carried out concurrently. However, as soon as there is an emotional implication, there is automatically identification, and by that very resonance which attracts its manifestation in his life. That is to say that taken by an underlying emotion, we automatically enter into an egotistical game which consists in taking sides with one or the other of the actors in the film, in judging such and such a scene (of our life) worthy of interest or not.

Thus, caught up in the emotional, we attach importance to the role of the actor or to the scene with which or with which we identify. For example by identifying ourselves with the role of the good guy, we will automatically "support him emotionally" and give him our energy to defend himself or to fight against "his enemy". We react to the situation in the unfolding film, which then dispossesses us of our free creative power because it is inspired by Who We really Are, not by the pawn on the chessboard that the Involving Matrix wants us to do. let's be

"Everything we see is a dream within a dream"

Edgar Allan Poe ( 1809/1849) - American poet, novelist, short story writer, literary critic, playwright and publisher

Reminder of the creative process

If the New Age adage is that "we create our own reality", which has become through repetition a fundamental assumption, it is more correct to say that we "model" varying versions of "Reality", What Is, within a context specific to our dimension of reality - the 3rd dimension -, constituting an implicit reflection of the "standard" informing of the Whole Ontological Reality.

Indeed, the situations and circumstances of life have no other meaning than that which is given to them. Everything being in the neutral Absolute, the fact of appending a meaning to it leads to the relativity of Truth. There are only then "truths", which translate the creation of experience within That Which Is.

It is giving meaning which constitutes an act of creation.

If giving a meaning brings experience, that means that the experience is already imbued with meaning, except considering that Creation - What Is - is a process that unfolds, this one not being completed, and of this imperfect fact, which annihilates any concept of an omniscient, omnipotent God (this is the position of orthodox scientism). And if this field is neutral because Absolute, integrating the Alpha and the Omega of All That Is, then we do not create it, and therefore all the "realities" are not equivalent even if each has its own. purpose. Therefore, this field of experiences pre-exists. Reality - that which is neutral - is that which is constant, which persists beyond "illusory" fluctuations. "Neutrality" is therefore a "meaning" that we do not inject into reality, but in which we already find ourselves. And it is the state of consciousness that allows access to it by adapting our identity - our biological specificity - to the nature of this field. "Sense" is therefore the expressive function of "identity". Both, the fields of experience and consciousness, are inseparable.

The Game of Life is nothing other than what Identity (the egotistical I) must find, in its full expression, that is, a Unity full of meaning, an alignment of the whole being, a conscious congruence. It is then the Self realized by the reunified Soul, able to free the Spirit *. It follows that freedom is not the capacity to arbitrarily choose what one wants, but the capacity to accept or reject Reality as It Is, to accept or reject the intrinsic value of things (the meaning / the eigenvalue inscribed in the continuity of the whole).

"Sense" cannot be separate or independent from a neutral "field of experience", which just reflects whether such is the case with arbitrary whims. It expresses a "specific meaning" to the fields of experience. It is the value of the Consciousness, this one not being a detached "creator" which would carry out all its wills on neutral flows of experience, and therefore without consequences.

It follows that we are not capricious "creator gods", who create their "own reality", avoiding us or relieving us of the effort to seek "meaning" in the fields of experience. This is why teaching total detachment is worthless if you cannot detach yourself from your situation. This apparent guilt-free experience to experience What Is * leads us astray and keeps us trapped in the misguided Matrix. The field of experiences and the being being entangled, one not going without the other, all realities are not equivalent. By saying that everything is neutral to justify everything in the act of "creation", it is to endorse an identity which is not implied. The field of experience is not "neutral in itself", since it is the expression of Consciousness. And the Unity that there is between "the world" and "the being" has a psychic value: it is the emotional value of Love.

Therefore, the "meanings" that each (e) produces reveal the degree of congruence or inharmony, the degree of agreement or disagreement between our "behaviors" (thought patterns) expressed and the "Standard" of the total awareness.

Therefore, things, phenomena, natural qualities and behaviors are not "neutral" in themselves, separate from consciousness and its "bag of meanings". On the contrary, they reveal to us the harmony or disharmony of our relations with the world. The meanings are therefore not products of the will, but of the field of interaction (affective symbolization) with the world. The latter being governed by the predatory system, we can only transcend it by the awareness of its existence and the deep cleaning of its miasmas instilled in us

Programming the black screen of consciousness

By drawing a parallel with astrophysics, the field of consciousness of the human being is distributed between 5% of known universe, either the conscious (light), 25% of dark matter in formation, or potentially susceptible information. to be conscious (the penumbra), and 70% of dark energy, that is to say the unconscious (the shadow).

The programmers of the Matrix strive to keep human beings deluded both by the misguided content of their consciousness when it is not questioned, and by nourishing the awakening unconscious, that is to say the 25% of "penumbra", and this through manipulated information. To do this, they act on the fabrication of false beliefs or their limitation by means of direct conditioning (distilled teaching) and subliminal (induced teaching).

As for the 70% of the unconscious, the shadow, they characterize the great universal field of consciousness, that is to say all the information of What Is, implied has been and will be ... Only the superconsciousness, the Higher Self, in allows access, subject to having cleaned all the memories constituting deleterious programs which are there, that is to say the "wounds" of the Soul, its fragmentation in alter ...

The eclipse of consciousness

The films always begin with an eclipse followed by total darkness, before seeing the false light appear on the screen and unfold the scripted story ... Without understanding the Sun (the light of the Higher Self) and Moon ( predation hidden in the depths of our psyche) and the work of inner transformation, we remain the manipulated spectators of the film of our life.

Everything is played on the black / white contrast, the colors only coloring the projected film. Also the black screen - our unconscious - is prior to the arrival of light, our conscious. If it is not pure - white - it will feed a flood of parasitic thoughts - the false light - creating emotional turmoil in our experience of the film. We are then cut off from our superconsciousness and its luminous, transparent, crystal, Christic guidance.

This is why we have to concentrate on the dark, the "darkness", to cleanse there all the parasitic memories which are buried there and which prevent us from accessing the power of the great universal field of consciousness *. This liberation, however painful it may be, makes it possible to establish the sensory acuity (the subtle senses such as intuition, clear hearing ...) necessary for the perception of the non-visible, for the messages of our Soul indicating to us the exit path of the Involutive Matrix. Without the inner stillness freed from emotional affects we cannot achieve it, and this is what the predation work through our identity self, the ego-mind, focuses on.

The recourse to symbolic archetypes - the "super models" - is essential for the mind, since in them reside the keys to the Game of Life giving the meaning to be followed. In other words, the archetype is the luminous Star which emerges from the darkness (Cf. image). It can either be that of the Guardian Angel (the "lower" Self, the Soul), of an evolutionary nature, or that of the false light, Lucifer (the I, the Ego-mind), of an involutive nature for the one. / the one who does not know how to show judgment.

These archetypes are present both in the deep memory of Who We Are - the unconscious - and in the sacred books and the great explanatory myths of the Game of Life. However, these have been manipulated and misled by the politico-religious "elites" in charge of teaching human beings, largely emptied of their sacred substance

This is why the "battle" of the unconscious is decisive. It is the nurturing seat of our presuppositions and beliefs leading to the nature of our experiences. It constitutes the main essence of our creative force. If all our concepts and referents are mainly based on the dual vision of things, the linearity of our resulting choices then constitute obstacles and conflicts within our psyche, between the higher aspiration, that of our Soul, and the aspiration. lower, that of the ego-mind. This explains why the Babylonian temple of Hollywood is particularly used by the forces of predation at this end of the cycle

The archetypes of the Matrix (Western frame of reference)

Examples

What Is - The Living - The Universe

The cosmos

The Higher Self, divine

Soul, Lower Self

The awakened human being

The electric energy principle

The magnetic energy principle

The nuclear principle

---

The original Matrix

The Source / One (The Essence)

God (the Substance)

 Christ consciousness

The Archangel ("ark in I")

The Angel ("in I")

The sacred masculine

The sacred feminine

Love (Service to Others)

---

The Falsified Matrix

Osiris, Baal, Yahweh / Jehovah (the biblical God), Zeus, Jupiter, ...

Jesus Christ crucified

The list of archangels (Mickaël, Raphael, ...)

The list of holy guardian angels

The Sun and its deities (Horus ...)

The Moon and its divinities (Isis ...)

Love (Service to Self)

* The two +/- polarities are always present in his archetypes. It's up to the human being to decide which one to use ...

Claude Nougaro's Cinema (1929/2004)

On the black screen of my sleepless nights Me, I make myself cinema Without money and without camera

Bardot can go on vacation My star is always you (...)

I shoot every evening Including Sunday ... Sometimes the doorbell rings, I open, it's you ...

Will I take you by the hips Like on the screen of my sleepless nights?

No, I'm telling you: "How are you?" And I'll take you to the movies.

The Art of Tricking the Brain

Swedish specialist Henrik Ehrsson, a nervous system scientist who works at the Karolinska Institute in Stockholm, is able to change our perception of our own body, instructing how the brain processes information. The kind of experiences he regularly engages in involves resorting to illusions to explore, expand, and displace people's perceptions of themselves. Thus, using only a camera, video glasses and two sticks, he manages to convince his subjects that they are floating a few meters behind their own bodies (see diagram below), or make them wince when they see a knife sink into their virtual chest *. He has thus already persuaded people that they had exchanged their bodies for that of someone else, that they had a third arm, that they had become tiny or giant ... He shows that if a large number of people think that their perception of themselves is permanently anchored, it does not is nothing. It can actually change very quickly!

If his work intrigues nervous system specialists as much as philosophers, it's because he transforms a complex, metaphysical concept - the ego - into something scientists can dissect.

Henrik Ehrsson's illusions show that sight and touch are also an integral part of the equation, with the brain building its own body by constantly analyzing the information obtained from all the signals from its sensory sensors. According to him, these illusions depend on multisensory neurons, which have mainly been studied in apes and which allow these animals to interact with objects through sight and touch. Thinking in this way that the neurons register the information collected through all the senses to create a unique representation of the body, he simply modifies during the illusions the data communicated to the neurons to manipulate this representation. His hypothesis is that it is the ventral premotor cortex that participates in the visual guidance of movements. For his part, Olaf Blanke, from the University of Lausanne in Switzerland, one of the few other researchers working in this field, has shown that the temporo-parietal crossroads, a region of the brain located not far from the ventral premotor cortex, becomes active in people. who experience illusions of leaving the body. He points out that brain damage or tumors that affect this area can make people feel disembodied. 

The lesson of the illusionists

The film Diversion (Focus) directed by Glenn Ficarra and John Requa released in 2015 shows the techniques of a professional crook leading a team of many scammers and pickpockets, just like Apollo Robbins does on stage (photo 2), an American pickpocket artist. They demonstrate in their own way that the illusion only works when individuals are emotionally involved ...

The programming strategy

Enslaving Matrix programmers are well aware of the laws and principles that govern What Is. They know that the Living is based on the law of polarities, of apparent opposites *. They also know that each thing, each element, each creature, is a (re) production of That Which Is, carrying within it the original constitutive code. They know that the human being, by the endowed spirit of reflection, possesses within him the power of the creative power .

By the genetic manipulation of its DNA carried out, this one is limited, maintained by "the veil of the forgetting" of its true origin in a state of enslavement by the predatory corpus which dominates it starting from the frequency of the 4th dimension of reality, not accessible to his physical senses. But he can wake up at any time, ceasing to look outside and finding deep within himself the keys to What He is, especially at this end of the cycle which sees the installation of a new energy intended to correct the errant functioning of human civilization, and this in accordance with the law of balance of the universe.

The f able of the Plowman and his children, or the inner search

Written by Jean de La Fontaine in 1668, this fable inspired by Aesop (Greek writer, 620-564 BC, of ​​Phrygian origin and to whom we attribute the authorship of the fable as literature or literary genre) indicates to us that the he invisible is an immense treasure, which is revealed only to the one who goes to meet it. It tells the story of a rich plowman who, sensing his imminent death, brings in his children and tells them to be careful not to sell the inheritance. A treasure would indeed be hidden there, and with a little courage it will be found. The Father dead, the sons are turning over the field, in all its seams. Money, no hidden. But the Father was wise to show them before his death that there was a treasure.

At first reading, it is the celebration of the value of work, this intangible good necessary for the proper functioning of society, and of unity being strength. Could it be otherwise in the canons of the time for a good people with a majority of craftsmen and peasants, united behind their ruling King? Behind this reading, as very often in symbolism, hides another key left to human sagacity for those who take the trouble to find it. It is "celestial agriculture", that of work on oneself, of the search for truth through deep knowledge so as not to continue to delude ourselves and to gain access to the only real treasure that is worth the trouble, the realization of its most big dream, of his personal legend, as creator of authentic life. VS' is the true seed, that of a corruptible body to be resurrected as a spiritual body in order to give its true golden fruits. And this like a game of discovery, a child's play, to be led with enthusiasm together, all together - in this case the siblings, that of humans - because it is in our relationship with others that we learn about oneself and that one realizes his raison d'être within a universe where nothing is separate, where Everything is unity.

And as everything that is not transmitted is lost, or misplaced for a long time, time is running out to get to the point, especially when the level of suffering reaches such peaks at the end of the cycle. Every human being has a treasure awaiting him, access to his Higher Self, his heart being able to show it, like the torch lighting up the darkness. Where the heart is, there is the treasure, the meaning of life, the raison d'être of his liberation as an inspired co-creator of the Living. Only the state of harmony, which allows the transcendence of time and space, the dissolution of its limitations and conditionings, the deep intuition and the feeling of unity with the Whole, leads to it .

It is the sixth sense, the missing link in the current consciousness of a large number of individuals still asleep by the collective hypnotic anesthesia dispensed, walled up in the fortress of illusions of a profane and desecrated world.

This is why the programmers endeavor to orient the state of our knowledge, of our mental construction, to prevent our awakening. Their strategy * is that the apparent sense of reality gives the human being the feeling that he has a choice - I believe, I do not believe - while obscuring the deeper meaning. They are therefore attached to the fact that we are satisfied with the apparent form, the external image, with the feeling of a possible choice (true or false), without perceiving the depth of everything. This is what is called the light of Lucifer, that which is celebrated in their own way by exoteric churches such as secret and occult societies, such as Freemasonry * ².

The work thus consists in organizing our beliefs and therefore our convictions, and this through a repetitive conditioning ritual of the unconscious (the subconscious) by the relay actors under control (politicians, journalists, philosophers, scientists, experts. various, academic educators ...), most of them without their knowledge. This cognitive dissonance leads to habits, in other words the little routine that creates a feeling of security towards the system, and which gradually destroys our ability to question ourselves. As long as we remain very docile and subject to the system of control instituted, we have the illusion of a certain margin of comfort, that of a choice. As soon as we set out to change the trajectory of our destiny by another way of thinking,

"La Caverne", or Plato's cinema

The famous Greek philosopher (428/427 BC - c. 348 BC) described by his allegory of the Cave the ancient version of the contemporary staging of this "other way of saying" by means of a figurative image or figurative, and whose film industry (like television) has become a master silversmith. It is addressed to those who have ears to hear, eyes to see, and a heart to feel the essentials, giving a pictorial representation of the state of our nature in relation to knowledge and ignorance. , that is to say the darkness and the sequence. It is collective alienation in the "collective unconscious", which is distilled to all without our knowing it, by repetitive suggestions like those of advertising.

The man sees external forms, shadows projected on the wall of the Cave, as when watching a movie, in a cinema hall or behind his television screen. The scrolling images are certainly part of the apparent reality, that of the moment, but are in fact only part of the Reality. They are virtual, fictitious, because they are manufactured. They constitute Māyā , which in Hindu philosophy is the illusion of an objectively existing world.

The actors, like the real sets, are in fact located in the little stream of light that pierces in a corner. You still have to move your head to see it. As for the director, the Director, who thought and imagined every detail of the scenario, it is the star thanks to which this net of light pierces inside the thickness of the granite walls, the Sun. There is the Real, either in its involutive version - the Luciferian Sun - or in its evolutionary version, the Sun of the Higher Self. Man as he is is a puppet, attached to illusory images themselves succeeding other equally illusory images. The illusory of the illusory. For the creatures of the abyss, plunged into perpetual darkness, true light cannot exist ...

The Cave is thus the place of a passage, of a test, unavoidable in the path of man's return to Truth and Unity, by rising to extricate himself from his ignorance and his dependence. to erroneous social certainties. This passage is a quest for intellectual autonomy, for knowledge. It requires learning to think for yourself, to find the answers yourself to the fundamental questions that arise throughout your existence, and not by relying on a pseudo savior, as our addiction to it requires. Providential, political or other "man"… It means that when beings live in the illusion of darkness, the one who becomes wise sees things as they are and, awakening to this vision, celebrates their perfection.

Conversely, what the world calls "day", "luminous", "real" is an illusion, in other words the "night of ignorance". The "bright" things in life that most people are looking for are actually uninspiring and unnecessary. It is only by scanning the darkness, turning away from the shining side of what others call "day", that we can see Light, perceive Clarity.

The hypnotic trance

"Trance" comes from the verb transir, an ancient term which means to leave. It constitutes a modified state of consciousness, which allows for a perceptual experience different from everyday "reality". When we enter the "reality" of the projected film, the story told to us by the interposed screen, we enter a hypnotic trance, comparable to therapeutic hypnosis. Except that the predatory practitioner has a very specific intention, in this case a manipulation based on the lure, which is not the case for most professionals trained in this practice, even if many of them are manipulated to their knowledge by their predator (posture of savior by their "self denying"

Entering the hypnotic state is called hypnotic induction. It constitutes an organized trance rite of the cataleptic type (immobility of the subject) and pseudo-lethargic (passivity), allowing to live an experience which modifies the perception. In the case of the therapeutic approach, it does not apply in the same way to each patient, the preparatory interview between the two parties allowing the practitioner to construct a tailor-made induction (called protocol) appropriate to the patient and with his agreement. It's a bit like putting the right key in the right lock. It goes without saying that this is not the case in film or television trance.

The framework of the scenario and the special effects dedicated to it (image & sound) aim to increase the intensity of our vigilance in order to nourish our emotional reactivity, food for predation. But also to induce in the unconscious a perception of reality which, even if it is considered as fictional, is established as such. Indeed, as we vibrate what we think, we construct by the creative mind the content of our reality in a binary way - I believe / I do not believe, I like / I do not like -. By giving it grip by our emotions, whether they are + or -, we register the apparent fiction as an element of our decor, and validate its content. If the latter is nourished by battles, murders, conflicts, robots, aliens ... it doesn't matter if we think of them as fiction. They are anchored in us, which means that we act as part of our reality, even if our manipulated consciousness lets us think the opposite. This is of course the goal of predatory programming, no matter what the state of our gaze.

As in therapeutic trance, there are very few cases of total amnesia, the individual remembering absolutely everything that happened during the session. Only the memory is variable according to the individuals. Some remember everything, others only part of it; still others remember the missing part a few minutes later, or the next day. It is the patient's unconscious which does what it deems useful to do, depending on what is there. But if it has not been cleansed of all the memories prejudicial to the expression of the Higher Self, as much to say that it will continue to nourish the mechanism of the ego-mental necessary for the functioning of the predatory system. The individual will have had the feeling of having a "good" or "

The American-British science fiction film Inception , written, directed and produced by Christopher Nolan (2010), is an allegory of a dream. There are great similarities between the plot of his screenplay and what the filmmakers aspire to achieve for their viewers, with neurological studies indicating that brain activity is very similar between watching a movie and sleeping. *. Either way, the visual cortex is very active, and the prefrontal cortex - which deals with logic, deliberate analysis, and self-awareness - is calm.

What is more, having the experience of going to the cinema is in itself a shared dream exercise, the spectator endeavoring to maintain the coherence of the film, to understand it in order to share its meaning with himself as with himself. others. This demand for the production of images on the part of the public, in parallel with its consumption, is analogous to the dream itself. Each spectator enters the dream of another, in this case that of the director, to share it and as with any work of art, to read it influenced by his own desires and the content of his subconscious. This entails the risk inherent in any idea, any concept, which, like a virus, can be very resistant, most contagious. The smallest seed of an idea that can germinate,

Entry into hypnosis

Once you enter the projection room, comfortably seated, all the artifices of sound, light, colors and figures (circles, stars, moon, goddess carrying light ...) establish a choreography destined in less than thirty seconds when the spectator enters hypnosis as soon as the room is plunged into darkness ... He will henceforth forget himself, identifying himself with the plot and with the characters interpreting it *. It is the same with the master illusionists of "real" life - politicians and consorts -, who exist only because we give them and give them credit and attention (a tension), positive or negative. It is indeed only us who create our reality of illusion!

Because the predatory system knows perfectly the laws of the Living, among which the essential balance of the contrary forces, it always delivers by the "fictional reality" all the keys to the human beings, of their manipulation as of their liberation, being itself by ignoring it under the domination of a superior force with an evolutionary character which nevertheless respects its free will, in accordance with the main principles of the functioning of the universe.

In order to continue to play the predation card for its own benefit since such is its nature, it endeavors to obtain human consent induced by the lure. The free will of the latter is thus "respected", but by manipulative diversion, the delegation given by the acceptance of the unconscious being worth discharge for its predation ... This is the whole reason for the programming of image by the film industry, especially Hollywood.

So it is up to the human being to wake up in his turn if he wants to escape the death trap which is set for him by the false "Luciferian" light which is constantly addressed to him. It is not enough for him to philosophize by meditating Cogito, ergo sum ("I think therefore I am") or To be or not to be("To be or not to be") as Descartes and Shakespeare invite him to experience his humanity. The Game of Life is much more subtle. Without seeking knowledge that enlightens, and work on oneself that liberates, he remains at the stage of a biological puppet manipulated and enslaved by the system. However, all the keys are permanently delivered to him, put before his eyes and brought to his ears, because what better than art to bring, imagine and freeze another "reality". But there is no worse deaf and blind than the human primate deeply asleep and aspiring to remain in his existential passivity ...