January 7, 2012

Sleepless in Roswell [Part 2]


This the concluding part of Colin Bennett’s Sleepless in Roswell, part one of which was published yesterday.


 

5. Weaponisation of the Narrative

Alien under ConstructionIn this sense meant by Errol Morris, can we deconstruct “fact”? Is the universe meant to work properly, or does the fabled “noise in the machine” function (like the UFO) as an anomalistic destabiliser? Does the slightest anomaly blossom out like the proverbial butterfly’s wing and throw any and every partially-stabilised system into chaos?

Certainly belief structures, from Jesus to UFOs, from Nazism to Capitalism, can be designed, managed and cultivated as crops in a cosmological nutrient. The symbiotic relationship of we might call a “soft” Lady GaGa mass-media system to the “hard” spines of rational belief structures appears to  concern the somewhat political management of different degrees of counter-ritualization concerning metaphor structure. Story-lines dispute fact and fact does not like story lines in the sense that they tend to destabilize the inner dimensions of fact which propagandistically (and all culture is propaganda) would like to be seen as absolutes.

This leads to the somewhat postmodern thought that live consciousness is a manipulation of theatres managing a scaling of allowances rather than objectivities. Thus in our New Model Ufology here we may say that the “extraterrestrial alien” (for example) is permanently “under construction” rather than being either strictly factual or strictly fictional.

Thus the answer to Fermi’s question “where are they?” is that  the alien is under construction…

http://www.paranoiamagazine.com/backissues.html

Therefore (as is happening) bits and pieces of a whole thing may arrive before the main body. This is a good model for Darwinism and the 19th century Eugenics movement forming eventually into the main body of Nazism in the form of Adolf Hitler. In the same as Eugenics were under discussion…

Such a model of such an intermediate form of Matter and Idea gives us great flexibility with regard to resolving  the gridlocks involving absolute claims and absolute denials concerning such matters as the Roswell crash, alien abductions, the claims of Colonel Corso or the MJ-12 papers, ideas seriously attacked by the live algae of our binary colonisations. Thus in our post-modern New Ufology the extraterrestrial alien (rather like Jesus), becomes a quasi-magical form forever moving between the theoretical limits of absolute fact and absolute fiction.

The locus of the impacts of the denial/acceptance sets sculpts the shape of our post-modern extraterrestrial alien. Like the UFO again, this liminal creature has a partial structure suspended between fact and fiction composed of various degrees of allowances rather than mere fact versus fiction oppositions. In the fullest sense this is an intermediate state which hangs in the conceptual air like an unfinished portrait or an incomplete tale. How are such states created? How do they work?

6. Big Dolls and Story-line Initiation

People don’t reason by facts. From Jesus to Marilyn Monroe, from Elvis Presley to Michael Jackson and Orwell’s Big Brother, people reason by inspirations supplied by such Big Dolls of one kind or another. These Dolls range from those within Royalty, Hollywood and Priesthood cults to the domains of New Age gurus to the blogs of those pan-fried basket cases who think extraterrestrial aliens are helping to clean up the oil spill in the Mexican Gulf. As for knocking out the firing mechanisms of intercontinental ballistic missiles, I think it is reasonable to assume that any extraterrestrial alien (as a Big Doll under construction) would not be able to distinguish such a singular mechanism from Aunt Jemima’s rice pudding. Culture is essentially about such attempts at image-manipulation. It launches on a whim enough smoke and mirrors to run entire ranges of mass-suggestion, with Science “discoveries” and “breakthroughs” being no exception.

Big Dolls are made and controlled by Big Media which may or may not be electronic in nature. The older sandalled and robed prophets were called “magical” figures but there is no difference between them and modern showbiz stars in that both place images in heads by whatever technology may be available. In this sense all image-based systems may be called magical in that they initiate audiences into a story-line or narrative, from the Vril Society to American Idol and the UK X Factor. Similar figures range from Royals to Priests and Prophets, although these latter are now losing their power at the end of the first decade of the twenty-first century, where the Pop Star reigns supreme with the Scientist and Jesus trailing behind.

7. Bar-Coding the Believers

Once bar-coded by the story-line as it were, individuals become active customers for the current range of stories on offer from In our case) corporate Product Culture. This is Doll Culture by any other name, and it will sell us anything, even goods to our own design, that is if the process can persuade us to buy into a particular belief-system. The target of the Big Dolls is therefore to make human beings into willing hatcheries for particular story-lines, each one of us secreting different episodes, much in the manner of the honey bee. With powerful support affording the expansion of themes, a particular story-line can indeed easily become a universal viral panacea, a cannibal tale eating all other tales competing for Prime Time in the cultural Petri dish. Nazism and Communism were both examples of systems going into psycho-social fission, as it were. Certainly the scientific narrative tragically supported both Nazism and Communism, through Eugenics and the philosophy of Dialectical Materialism, which purported to be a “scientific” view of history, no less. Now Science identifies itself with massive corporate fascism, with the glorious exceptions described in The Hippies Who Saved Physics.

Within such a story-framework model, each heavily propagandised scientific “breakthrough” morphs gradually into yet another ancient soap-opera withering on the bough. This is the eventual fate of the MJ-12 tales, the Area 51 aliens, and the “crashed discs” stories of UFO lore, which are little more than well-managed semi-corporate liturgies with SF and “techno” trimmings to sweeten the injected story-lines of various agendas. In time, such things will be regarded as the equivalent to Percy’s Reliques (1765), Totell’s Miscellany(1557), or the wonders of Sir John Mandeville’s Travels (published between 1357 and 1371):

8. Deconstructing  Fact

It follows that cultures are run by scalable and best-selling designer-narratives, not facts. We conceive therefore our cosmological Big Media model of New Ufology as being built of steadily evolving and equally deteriorating claims and episodes, not facts. Whether within the Jesus narrative or the scientific narrative, facts perform only as the final development stage or “show-room” stage of any product, which once launched, appears to be objective in that it appears to be free of all the chattering subtexts of the advertisements which go to make up cultural product ranges.

Fact appears therefore merely as fine-tooled programme independent of any ideology. This tactic helps divorce the Product from History, hence concealing the agendas and targets of the Product, whether that Product Range be Science, the Ten Commandments, the MJ-12 papers, the film Mars Needs Moms, or the UK Royal Wedding (which was bigger than anything Science can offer). The UFO itself is at the fine-tooling stage of fact after being under construction for a long time. In the same sense, Adolf Hitler the man and Eugenics the philosophy were both under construction throughout the 19th century, reaching out towards one another like strands of rogue story-protein.

Here by analogy is the interior of the Roswell atom, as it were. Deconstructed, this can be seen as being an expression of the architecture of such cultural advertising protein,

Fact is therefore the final development of the long chain of advertisements which help run and support the Big Dolls that hold us in thrall, whether they are Einstein, Lady GaGa, Hitler, or Mickey Mouse. Each and every one of these Dolls can be regarded as intelligent non-carbon life forms in themselves. They can be deconstructed to reveal that they are built of competing archetypal advertisements. Such Dolls can be inserted into the head as easily as can commercial TV programs, whether they express a nudist philosophy, religious software or “scientific” claims for UFO “reality” (surely the favourite word of UFO investigators). The Big Dolls themselves fight for prime time consciousness, and they come in different sizes and pseudo-physical forms. Examples from world Literature include Hamlet’s Elsinore , Hardy’s Edgon Heath, and Kafka’s Castle. From “real world” culture we have our Media and Entertainment complex, manufacturing the biggest non-cerebral dolls of all history. Thus Literature and Life are mirror-like reflections: like Hitler again, Goneril and Regan of King Lear become massive savage Dolls laying waste to anything and everything, just as Big Media and its non-cerebral systems have laid waste to what was once called Intellect.

The cult of objectivity destroyed the relationship between Mind and Landscape. This is why when 911 happened we had no language to describe just exactly what hit us.

911: Did a Fishmonger Do It​?

A Theory of Explanations: a Fortean Essay in Story Technology by Colin Bennett. This article appeared in UFO magazine Vol. 22 No.8 August 2007

9. Showroom Culture: the Invisible Head of Mr. X

Basiago and Webre, Bill Ryan and Dan Burische know what they are doing. It is nothing to do with accusations of insanity, DARPA time-machines travelling to Mars with President Obama aboard. It is about image-fertilisation. They are making ideological hatcheries, and it works in the following way.

Suppose Mr X claims that he has two heads on his shoulders, but only one is visible. A torrent of claims that the invisible head has been seen or partially seen will surely follow. Clusters of images will swarm as if in a process of crystallisation. Sketches and screen-shots of the invisible head will doubtless appear, only to be denied by the original Mr X who might insist that these attempts at portrayal of his invisible head are not “accurate.” This situation is created not by facts but by images. Others will claim to have a similar invisible head themselves, and a whole viral meme will have been created. The many pseudo-heads will cross breed, Mr X will be interviewed by Project Camelot, Jerry Springer Ufologists and Foil-Hat Radio, in which (in most cases) pseudo-evidence of a particular pseudo-event will be produced. It follows that the beloved scientists as commissar/gauleiters managing the Thou Shalt Not control system will weigh in with numberless denials of anything and everything beyond the sun and moon.

Here is the structure of the narrative meme-cell exposed, complete with all its claims and sets of counter-claims. The locus sculpted by the relative motion between these competing sets provides the driving energy producing a swarm whose suggestive power will secrete partial forms of (in this case) the Invisible head of Mr X. The much more powerful forms of Elvis Presley, Marilyn Monroe, Michael Jackson and the UFO follow, necessarily. Once such memes as suggestion-domains are activated, we can regard such a swarm as existing in an intermediate state, that is, poised eternally between fact and fiction. The two-state-switch binary culture of absolute fact versus absolute fiction is far too crude a mechanism to describe such a Big Media Swarm and how it works.

The meme of course is a Web-borne story-machine (see DARPA). It is as much a part of the cyberspace body of the Web as the biological cell is conceived as part of the body. Conceived as meme-cells, such Product Dolls as Michael Jackson, Marilyn Monroe, Elvis Presley and the UFO (now a star as big as either of this pair), now live their shadow lives in such a liminal story-region suspended between Fact and Fiction. All three of these “personalities” (and consequently their cohorts of countless other harpies bidding for Prime Time) may be described as system-animals whose indestructible and self-replicating images possess utterly whole and entire world populations. Cerebral functions are quite dismantled by such images; therefore resistance to Michael Jackson is not an option for anyone one, and conceiving the Product as a life-form, it does not even make much difference whether such a Big Doll is alive or dead, or whether the UFO is “believed” in yeah or nay. Whether human beings like it or not, they cannot help looking and listening at such hypnotic Dolls, implicitly and explicitly. Hence they become transformed into elements of the virtual life lived by such pseudo-beings without being conscious of such a change within themselves.

The dolls create and control those narratives which hold us all in thrall. They establish the Prime Time agendas, from fashion and glamour to styles in both Art and Science.

Nick Redfern in his foreword to Martin Kottmeyer’s An Alien’s Who’s Who makes the point that many of the aliens of the 1950s had names that “were invariably made up of a lot of Q’s, Z’s and X’s.” The same of vocabulary can be seen in the naming of commercial post-war cosmetics, pharmaceuticals beauty treatments, and skin and hair-care products. These names represented a new experimental consumer vocabulary. After 1945 a new generation of professional beauticians, wannabee starlets and media “personalities” appeared. Their images symbols and metaphors formed virtually part of the same universe as “aliens” Motag, Nokyle, and Aura Rhanes from the planet Clarion.

http://www.retro-housewife.com/1950-beauty-and-cosmetics.html

Nick concludes by saying that he’s going to join Solar-Commander Xzzobovaxxx for a spot of dinner, followed by a flight around Venus with the bikini-clad Amazonians of Delta-Zorvog 12!

It is difficult not to reach the conclusion is that all is media. In this sense human beings can be deconstructed. We consist of sets of archetypal commercials as much as a Big Ben clock tower can be made of up of tiny Swiss watch parts. Reduced to sets of commercials in this sense, the “story” of Science has a lot in common with the sequential tales say, of Batman or Rupert the Bear.  New adventures within this continuum are the equivalent to the “breakthrough” mythology of Science which is a sequential development of the consumer experience.

That this might be how the mind of an alien might work is a thought to be reckoned with.

Put away your clocks and measuring rods ladies and gentlemen, for now the world is not measurable.

Colin Bennett

www.combat-diaries.co.uk

 







6 Comments

  1. avatar

    There is much to digest in Colin’s excellent, if somewhat densely packed article. One line, perhaps, best sums up the whole (from my unique point of view):

    “Thus the answer to Fermi’s question ‘where are they?’ is that the alien is under construction…”

    Of course, the alien is also asking, ‘where are they’ — is there intelligent life on this planet (Earth)? The answer is, ‘the human is under construction’…”

    Now, do please excuse me as I too must be off to join Solar-Commander Xzzobovaxxx for a spot of dinner, followed by a flight around Venus with the bikini-clad Amazonians of Delta-Zorvog 12!

    Comment by Gary Bekkum — January 9, 2012 @ 2:09 am

  2. avatar

    I used to think that Colin Bennett’s writings on this (and related) subject(s) were amongst the best, and the most important to understanding the Soap Opera.

    I was wrong.

    Now, I know they are.

    Comment by Kit Green — January 9, 2012 @ 10:56 pm

  3. avatar

    “Thus the answer to Fermi’s question ‘where are they?’ is that the alien is under construction…”

    Indeed it is … by us.

    Comment by James Carlson — January 10, 2012 @ 8:06 pm

  4. avatar

    I must say that Colin Bennett’s writings are the best antidote to stereotypes and cliches that I can think of. Whenever I come across a viewpoint that reeks of superficial mass-minded think, I cannot help but wonder to myself “What would Colin say about this?” I am never disappointed in what I find – it’s like taking an aesthetic shower to wash off the mundane grime.

    Comment by Hal Puthoff — January 13, 2012 @ 10:21 pm

  5. avatar

    Yet …if you have the MAJIIC clearance to see a Tall White cadaver retrieved from Granada in the 1980s like I had, you would have a different opinion

    Comment by Dr Roy Gordon — January 20, 2012 @ 5:54 am

  6. avatar

    I don’t know whether Dr. Gordon is here referring to me personally as a kind of sceptic against claims of the existence alien corpses, but as the editor of the New Fortean Times (www.combat-diaries.co.uk) , and the author of a prize-winning autobiography of Charles (Politics of the Imagination), I have no problem with the idea of the existence of a tall white cadaver .
    Fort combined the two ideas of Plato’s cave-shadows and Shakespeare’s idea of “all the world’s a stage” to achieve the rather postmodern view of all conscious consisting of approximations, the real and false being approximations to some ineffable absolute, rather like the limit in the Calculus.
    In these terms, the future continuum consists not of facts versus fictions but of an allowance spectrum within an architecture of stories, some stories being almost real (eg “scientific”) claims, other stories being extremely thin approximations to the objective real ( HRH the Queen is a lizard) for example.
    The idea of all thought-forms idea being approximations frees us from those digital binary colonisations which are poisoning our thinking. Postmodernism accepts that human groups form acceptance and denial-schedules the locus of which forms the dynamic body of changing experience.
    Colin Bennett
    Author, London
    Editor, the New Fortean Times
    http://www.combat-diaries.co.uk

    Comment by Colin Bennett — January 26, 2012 @ 9:35 pm

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