consciousness energy pat..blade runner

8/12/2019 Consciousness Energy Pat..BLADE RUNNER

1/14

"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

View my complete profile

Blue Flame of URBlue Flame of URBlue Flame of URBlue Flame of UR

2014(10)

2013(509)

December(12)

November(6)

October(4)

September(32)

August(23)

July(22)

June(46)

May(47)

April(84)

March(44)

February(109)

January(80)

3 Wise Women 'talk' for asec

The Triskele ~ Symbol OfCeltic Myth, Lore &Magic...

Christ+SS+TV+ Magic 7Last Days Of January2013

Goddess, God &Dryghten ~ The WiccanTrinity

Charge of the Goddess

Quantum Entanglement:What It Is & Why ItsReleva...

111 Logbook Archive111 Logbook Archive111 Logbook Archive111 Logbook Archive

Partilhar 1 Mais Blogue seguinte Criar blogue Iniciar sesso


2/14

&&&

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

Blogpost by: RogerV

May 20, 2012

Higher Purpose: GreatChange Is Coming. AreYou Pr...

Revelations: ArizonaWilder & David Icke ~Satanic...

Adyashanti's Wisdom

Higher VibrationsEliminate FeedingCords

Medical Astrology & TheDecans

Embracing The Goddess& The Living Library

Dr. Steven Greer &Presidential BriefingDocuments...

Green Renaissance:Orangutan & Beluga

The Truth In The Matrix:Enertainment IndustryHid...

Awake & Aware: The Inner

Teacher Of The HumanHear...

One Giant Leap: WorldPeace Treaty & WorldPeace C...

Zodiacal Human

Astro-Gnostic Fables:Gnostic Themes inBlade Runn...

Tips On How toRemember Your PastLives

Giving up the GreenBitch: Reflections onCannabis...

Rainbow Love Stroms &Galactic Mantra & ADream

Proving The Secret OfThe Pyramids: WhereTheory E...

Oneness Magician ~Vibration Of Today

Russians ExposeFinancial Tyranny:Benjamin Fulfor...

A Time for New

Beginnings

So Come, Return To TheRoot Of The Root OfYour Ow...

Tree Consciousness &Seth & The Celtic WayOf Life...

Universal Gaia-HumanityBond Of Love & ...

The Way Of Truth

A New Male-Female-Duality Transcending &

Empathic ...

God within our HigherSelves

Spiritual Alchemy ~ ATrue Rosicrucian Story

A reminder that Gods


3/14

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

Do Artificial Minds Dream?Do Artificial Minds Dream?Do Artificial Minds Dream?Do Artificial Minds Dream?

Thematic ConnectionsThematic ConnectionsThematic ConnectionsThematic Connections

Epic of Gligamesh

walked on planet Earth

Exopolitics UK:Psychedelics, ETs &Visual Languag...

Ancient Egyptian CatGoddess: Bast akaBastet

The Dhammpada ~ TheBuddha's Path ToWisdom

Pandora's Box: TheUltimate 'Unseen Hand'Behind T...

NuoViso Mystery ~German Documentary

Kundalini Experience orPure Self ~ Mooji

Excellent divinecosmosarticle: 'December 21,2012...

EL ASTRO: 17+T+S+ ~XVII The Star

Path of the Middle Pillar &Venus Energies

Sumerian Seal: SerpentDragon Wormhole &Pleiades ...

The Noble Eightfold Path& The Four NobleTruths

Buddhist Symbols &Mudra Gestures

Around The World: Kiew,Rio de Janeiro & Seoul

Know Thy Self ~ 15minutes on 15thJanuary

Magical Egypt: InvisibleScience & Cosmology&...

The Divided Influence ofGnosticism

Quantum-Language-Parse-Syntax-Grammarof the Corre...

Isis' Golden Third EyeSunRay HeartMeditation: 46...

443: Properties of thenumbers 43+4*100 ~

Symbolis...

425 Inner Wisdom BlueWhite Archangel BearVibrati...

Architects of Light &Secrets of the IndigoChildr...

Emerald Eyes & EmeraldCovenant of Aramatena& Cra...

187 Isis Ra +++ BeyondLife & WisdomMeditations: ...

Angel #353 'The BiggestSecret' & Laura 222Sophia...

Syncretism in January2013: J.Maxwell &S.Bonacci ...

Mystic Knowing: 'Our


4/14

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.

More Akkad/Sumer Linkage

Yet More Akkad/Sumer

Pyramidal Buildings

BODIES and DNA'

Secret Of Secrets +++Global 666-BabylonUnveiled

A.A.A.= AstrosophyAstronomy Astrology ~Spiritual...

Apocalypse: GrassrootsSolutions ForConsciousness...

Meta-terrestrials, Intra-terrestrials & other ALF...

Vortex Based 111-MatrixTriangulation & MagicOf 2...

Wisdom by L. MagdaleneE. & ArcturianLiberation F...

Here's The Pinkprint:Follow This 1 ~ C.M.C.

The Crooked House OfWindsor: Black BearCalculati...

Numerology,Alphanumerics, Love &A Goethe Quote

Brilliant.+ B.I.B.L.E.+Angels+ 00X

O.W.L. +++ Lion HeartPath Lore

Reincarnation and theSearch for Knowledge ~Dolor...

Etheric Archon Grid ~update by Cobra

MEN IN BLACK

Documentary & DeathCard 13 Vibration...

Kryst Spiral vs. FibonacciSpiral ~ Spirit Science...

Interference Theory AndThe Venus Blueprint

Devi Durga 'theinaccessible' or 'theinvin...

Gnosis WithoutGnosticism ~ Aeon Byte

We Are Here To ChangeThe World ~ David Icke

Benjamin Fulford: Do notgive the cabal time tore...

2012(1081)

2011(40)

Multiverse Channels

111 Ra111 Ra111 Ra111 Ra

ReadersReadersReadersReaders path 111path 111path 111path 111


5/14

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

Join this site

w ith Google Friend Connect

Members (37) More

Already a member? Sign in


6/14

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


7/14

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.)


8/14

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


9/14

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


10/14

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


11/14

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.


12/14

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


13/14

Newer Post Older PostHome

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

Note: Only a member of this blog may post a comment.

Enter your comment...

Comment as: Google Accou

Publish

Preview

No comments:

Post a Comment


14/14

Subscribe to: Post Comments (Atom)

Awesome Inc. template. Template images by merrymoonmary. Powered by Blogger.