DeanHartwell (my emphasis) wrote:The bottom line is that a lot of people still believe in the official theory even though they acknowledge that they cannot prove it!
Yes, a brilliant summary. Thank you for your efforts, Dean.
The problem is that they cannot disprove video or photography.
They cannot do so because they simply do not have enough technical experience or understanding about video.
They watch "Making Of" documentaries about their favorite movies and shows but they do not understand what they are watching. It is magic to them. And because this magic is perceived as a benevolent force that brings entertaining art (or artistic entertainment) to them, it is not perceived as a normal tool. It is perceived as a magic tool which can only be yielded by good wizards — wizards that see their thoughts of beauty and raise them a fully rendered visual representation of it.
Who wants to deny such good entities access to one's dreams? If you deny this magic access to your dreams, how will your dreams get accomplished — some kind of personal effort in the world? Bah! Too much work! Too wrought with risk of failure.
Just get behind an artistic vision and batter everyone with it. Buy the keychain. Buy the book. Buy the movie of the book of the magazine of the reality show of the sports bottle. Everyone uses the magic dream wizards. You are up against too hard a battle without doing the same thing
, they say and lead themselves to believe.
Imagery is a magic force, beyond their comprehension — or so they may prefer
to believe, either overtly or secretly.
The same goes for music and sound or acting or humor or other art forms. All magic. If you specialize in one form, the others may typically serve as the refuge.
To complicate matters, belief is something that everyone must have, but which very few develop from critical analysis. The most
people must use communication with others to emphasize and trust their own beliefs. That is to say: first, they feel the need to reinforce their belief by talking about it with others; second, they feel the desire, or need, or are understandably inclined to use available artworks to do so; thirdly, they naturally adopt the supportive artwork as a whole, and use the artwork as a safe starting point to explore unknown topics about which they do not yet have belief. In short, an 'endorsement' of a single Hollywood movie can result in a hundred false starts on questions that the Hollywood producers, directors and actors have set up, each with rewards for one's belief
in the movie. The willing suspension of disbelief helps them internally 'endorse' a movie and forgive its flaws so that they can still use it as communication with others. This communication with others through the medium of the movie reinforces the belief they have, which they are not prepared to support based on personal research or sometimes even their own personal feeling of the belief's merit. The belief feels too frail if they do not support it with the power of movies and imagery, which they inherently sense are extremely powerful persuaders on themselves and others.
Part of the deep trauma of the 9/11 experience (which Lenon Honor talks about for good reason) must be the experience of having a fantasy like 9/11 repeatedly ask us to swallow a lot of lies about the experience of 'waking up'. According to 9/11, 'waking up' is a traumatizing, annoying, scary and hurtful experience. According to 9/11, 'waking up' is synonymous with a suspension of belief, and that suspension of belief results in an awareness of violence, death and destruction which you have no control over, and which you can more easily control by going back to hiding in the motivations of the good wizards who feed your dreams' power through movies.
Because those who operate the war machine sense that most people are magical thinkers, they also inherently sense that a simulation of this scale will help many people who are slightly uncomfortable
with the lies feel justified in returning to the Nutwork's wizard program. They know that letting off a little "steam" (read: dissatisfaction with lies, building up in the public) and even sucking the steam out entirely into a terrifyingly cold void of a world view (e.g.; "the world is a dangerous unbalanced place pulsating with criminals that want to destroy you, and are actively working to if you don't watch your every step and every step of your neighbor") appears to do them a twofold favor.
One of these psychological effects may be: it gets people to feel temporarily sated with a "dose of harsh reality" they subconsciously prepared themselves to experience in their own self-awakening process, thereby entirely wasting their patience for harsh reality and simultaneously building up a learned fear of it. The military believes that this preemptive self-defense that humans naturally are equipped with, and which serves them well when gearing up to face scary things, has to be scared out of us the moment we are about to use it. The trauma cancels our "prepare to wake up" routine before it can happen. This prevents a revolution in local
governance for fairer conditions and gets people to rely on the fictional heroes of so-called documentaries. They learn to fear their own dissatisfaction with the lies; it traumatizes them to remain with the status quo, even as it continues to put "the squeeze" on them.
The other major psychological effect seems to be: permanently creating in people's subconscious experiences the notion that they have personal experience with the "harsh reality" simulated by the 9/11 debacle, thereby souring popular opinion on the idea of a collective awakening and change in larger governance, because it results in "extremism" — synonymous with "terrorism", which means the government is going to be directly, violently targeting the unpleasant reality they told you about at you
In short, the 9/11 movie can be summarized, in metaphor, as a criminal policeman robbing and entering your home, holding a very impressive looking gun to your head and saying "You and your family go back to fucking sleep right fucking now or I'm going to make you wake up from this reality entirely by blasting your brains out."
The last 13 years of American life has almost been one long experience of everybody describing either their fitful dreams or the admirable artistry of the impressive gun which people think they know the design (or ethnicity) of. But nobody can figure out how to get that gun away from the motherfucker that just broke into our fucking home and seems to have taken up permanent residence. I don't think this is a hopeless
situation, if it seems rather serious at times.
Although I don't have a solution, I have a different dream, not written by Hollywood or anyone else that I know of. It is a dream shared by Simon and others. It is that if we put enough brains on the subject and the situation, that criminal will fade to the sands of time. It starts with, perhaps, some of us pretending
to go back to sleep while remaining in good communication with each other through sites like these. Perhaps it is just about peacefully outliving them with a better dream, and more hopeful art.
I also think that simply being art critics and pointing out the ways in which the Nutwork's creations do not match reality is good in itself. It helps more people (and Simon has always been good at this) to wake up to their own ability to discern reality in a peaceful and funny way. Not everyone will recognize the truth of this kind, but to those whom we cannot present evidence and truth, we can present a more positive (and less unrealistically horrific) representation of it that makes the mere investigation of personal truth less odious than the media monopolies sometimes seem to make it out to be.