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WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE
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THE LIGHT IS RISING NOW RISING IS THE LIGHT
AVATAR 3 AVATAR
THE FULCANELLI PHENOMENON Kenneth Rayner Johnson 1980 THE ULTIMATE MYSTERY Page 275 'For the Philosopher, death is simply a transformation like that of the caterpillar into butterfly, which links the material plane to the divine. It is the earthly door opened to the heavens, the link between nature and divinity; it is the chain which joins those who yet live to those who have passed on. And if human evolution, in its physical sense, can of its own will dispose of the past and present, then in its turn it is death alone which belongs to the future.
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BLESSED BE THE FRUIT OF THAT WOMBS FOETUS
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Age of Enlightenment - Wikipedia The Age of Enlightenment (also known as the Age of Reason or simply the Enlightenment)[1][note 2] was an intellectual and philosophical movement that dominated the world of ideas in Europe during the 17th and 18th centuries.[3] The Enlightenment emerged out of a European intellectual and scholarly movement known as Renaissance humanism and was also preceded by the Scientific Revolution and the work of Francis Bacon, among others. Some date the beginning of the Enlightenment to René Descartes' 1637 philosophy of Cogito, ergo sum ("I think, therefore I Am"), while others cite the publication of Isaac Newton's Principia Mathematica (1687) as the culmination of the Scientific Revolution and the beginning of the Enlightenment. French historians traditionally date its beginning to the death of Louis XIV of France in 1715 until the 1789 outbreak of the French Revolution. Most end it with the beginning of the 19th century. Philosophers and scientists of the period widely circulated their ideas through meetings at scientific academies, Masonic lodges, literary salons, coffeehouses and in printed books, journals, and pamphlets. The ideas of the Enlightenment undermined the authority of the monarchy and the Catholic Church and paved the way for the political revolutions of the 18th and 19th centuries. A variety of 19th-century movements, including liberalism and neoclassicism, trace their intellectual heritage to the Enlightenment.[4]
AGE OF ENLIGHTENMENT
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AGE OF ENLIGHTENMENT What is Enlightenment, where the phrase Sapere aude (Dare to know) can be found.
Sapere aude (Dare to know)
Sapere aude is the Latin phrase meaning "Dare to know";
I AM THE OPPOSITE OF THE OPPOSITE I AM THE OPPOSITE OF OPPOSITE IS THE AM I ALWAYS AM
GREETINGS CHILD OF THE RAINBOW
THE HOURS OF HORUS THAT I OF THAT I OF THAT I THAT I AM SALUTES THE ALMIGHTY THAT IS THEE PEACE BE UNTO YOU GOODWILL UNTO ALL SENTIENT BEINGS
THE VIRGIN OF THE WORLD
THE SUN RED SUN
I SAW ESAU SITTING ON A SEE SAW I SAW ESAU HE SAW ME
CHRIST C RISH CHRIST CHRIST C RISH SEE
GLOBAL WARNING GLOBAL SOLD HIS BIRTHRIGHT FOR A MESS OF POTTAGE GLOBAL WARMING GLOBAL
I SAW ESAU SITTING ON A SEE SAW HE SAW I SAW HE SAW ME
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UTOPIA DYSTOPIA
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REAL REALITY REVEALED 9 9 9 9 9 9 9 9 9 9 REAL REALITY REVEALED
From Wikipedia, the free encyclopedia For other uses, see Dystopia (disambiguation). See also: Utopian and dystopian fiction A dystopia (from Ancient Greek d?s- "bad" and t?p?? "place"; alternatively cacotopia[1] or simply anti-utopia) is a community or society that is undesirable or frightening.[2][3] It is an antonym of utopia, a term that was coined by Sir Thomas More and figures as the title of his best known work, published in 1516, which created a blueprint for an ideal society with minimal crime, violence and poverty. Dystopias are often characterized by dehumanization,[2] tyrannical governments, environmental disaster,[3] or other characteristics associated with a cataclysmic decline in society. Dystopian societies appear in many fictional works and artistic representations, particularly in stories set in the future. Some of the most famous examples are Aldous Huxley's Brave New World (1932), George Orwell's Nineteen Eighty-Four (1949), and Ray Bradbury's Fahrenheit 451 (1953). Dystopian societies appear in many sub-genres of fiction and are often used to draw attention to society, environment, politics, economics, religion, psychology, ethics, science or technology. Some authors use the term to refer to existing societies, many of which are, or have been, totalitarian states or societies in an advanced state of collapse. Some scholars, such as Gregory Claeys and Lyman Tower Sargent, make certain distinctions between typical synonyms of dystopias. For example, Claeys and Sargent define literary dystopias as societies imagined as substantially worse than the society in which the author writes, whereas anti-utopias function as criticisms of attempts to implement various concepts of utopia.[4] In Dystopia: A Natural History, Claeys offers a historical approach to these definitions.[5] Here the tradition is traced from early reactions to the French Revolution. Its commonly anti-collectivist character is stressed, and the addition of other themes—the dangers of science and technology, of social inequality, of corporate dictatorship, of nuclear war—are also traced. Though several earlier usages are known, dystopia was used as an antonym for utopia by John Stuart Mill in one of his 1868 Parliamentary Speeches (Hansard Commons) by adding the prefix "dys" (Ancient Greek: d?s- "bad") to "topia", reinterpreting the initial "u" as the prefix "eu" (Ancient Greek: e?- "good") instead of "ou" (Ancient Greek: ?? "not").[6][7] It was used to denounce the government's Irish land policy: "It is, perhaps, too complimentary to call them Utopians, they ought rather to be called dys-topians, or caco-topians. What is commonly called Utopian is something too good to be practicable; but what they appear to favour is too bad to be practicable".[8][9][10][11] Decades before the first documented use of the word "dystopia" was "cacotopia"/"kakotopia" (using Ancient Greek: ?a??s, "bad, wicked") originally proposed in 1818 by Jeremy Bentham, "As a match for utopia (or the imagined seat of the best government) suppose a cacotopia (or the imagined seat of the worst government) discovered and described".[12][13] Though dystopia became the most popular term, cacotopia finds occasional use; Anthony Burgess, author of A Clockwork Orange, said it was a better fit for Orwell's Nineteen Eighty-Four because "it sounds worse than dystopia".[14] Dystopias typically reflect contemporary sociopolitical realities and extrapolate worst-case scenarios as warnings for necessary social change or caution.[15] Dystopian fictions invariably reflect the concerns and fears of their creators' contemporaneous culture.[16] Due to this, they can be considered a subject of social studies.[citation needed] In a 1967 study, Frank Kermode suggests that the failure of religious prophecies led to a shift in how society apprehends this ancient mode. Christopher Schmidt notes that, while the world goes to waste for future generations, people distract themselves from disaster by passively watching it as entertainment.[17] In the 2010s, there was a surge of popular dystopian young adult literature and blockbuster films.[18][17] Some have commented on this trend, saying that "it is easier to imagine the end of the world than it is to imagine the end of capitalism".[19][20][21][22][23] Cultural theorist and critic Mark Fisher identified the phrase as encompassing the theory of capitalist realism - the percieved "widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it" - and used the above quote as the title to the opening chapter of his book, Capitalist Realism: Is There No Alternative?. In the book, he also refers to dystopian film such as Children of Men (originally a novel by P. D. James) to illustrate what he describes as the "slow cancellation of the future".[23][24] Theo James, an actor in Divergent, explains that "young people in particular have such a fascination with this kind of story [...] It's becoming part of the consciousness. You grow up in a world where it's part of the conversation all the time – the statistics of our planet warming up. The environment is changing. The weather is different. There are things that are very visceral and very obvious, and they make you question the future and how we will survive. It's so much a part of everyday life that young people inevitably – consciously or not – are questioning their futures and how the Earth will be. I certainly do. I wonder what kind of world my children's kids will live in."[18] eople Leaving the Cities, photo art by Zbigniew Libera, imagines a dystopian future in which people have to leave dying metropolises Politics?[edit] In When the Sleeper Wakes, H. G. Wells depicted the governing class as hedonistic and shallow.[25] George Orwell contrasted Wells's world to that depicted in Jack London's The Iron Heel, where the dystopian rulers are brutal and dedicated to the point of fanaticism, which Orwell considered more plausible.[26] The political principles at the root of fictional utopias (or "perfect worlds") are idealistic in principle and result in positive consequences for the inhabitants; the political principles on which fictional dystopias are based, while often based on utopian ideals, result in negative consequences for inhabitants because of at least one fatal flaw.[27][28] Dystopias are often filled with pessimistic views of the ruling class or a government that is brutal or uncaring, ruling with an "iron fist".[citation needed] Dystopian governments are sometimes ruled by a fascist regime or dictator. These dystopian government establishments often have protagonists or groups that lead a "resistance" to enact change within their society, as is seen in Alan Moore's V for Vendetta.[29] Dystopian political situations are depicted in novels such as We, Parable of the Sower, Darkness at Noon, Nineteen Eighty-Four, Brave New World, The Hunger Games, Divergent and Fahrenheit 451 and such films as Metropolis, Brazil, Battle Royale, FAQ: Frequently Asked Questions, Soylent Green, Logan's Run, and The Running Man. Economics?[edit] The economic structures of dystopian societies in literature and other media have many variations, as the economy often relates directly to the elements that the writer is depicting as the source of the oppression. There are several archetypes that such societies tend to follow. A theme is the dichotomy of planned economies versus free market economies, a conflict which is found in such works as Ayn Rand's Anthem and Henry Kuttner's short story "The Iron Standard". Another example of this is reflected in Norman Jewison's 1975 film Rollerball. Some dystopias, such as that of Nineteen Eighty-Four, feature black markets with goods that are dangerous and difficult to obtain or the characters may be at the mercy of the state-controlled economy. Kurt Vonnegut's Player Piano depicts a dystopia in which the centrally controlled economic system has indeed made material abundance plentiful but deprived the mass of humanity of meaningful labor; virtually all work is menial, unsatisfying and only a small number of the small group that achieves education is admitted to the elite and its work.[30] In Tanith Lee's Don't Bite the Sun, there is no want of any kind – only unabashed consumption and hedonism, leading the protagonist to begin looking for a deeper meaning to existence.[31] Even in dystopias where the economic system is not the source of the society's flaws, as in Brave New World, the state often controls the economy; a character, reacting with horror to the suggestion of not being part of the social body, cites as a reason that everyone works for everyone else.[32] Other works feature extensive privatization and corporatism; both consequences of capitalism, where privately owned and unaccountable large corporations have replaced the government in setting policy and making decisions. They manipulate, infiltrate, control, bribe, are contracted by and function as government. This is seen in the novels Jennifer Government and Oryx and Crake and the movies Alien, Avatar, RoboCop, Visioneers, Idiocracy, Soylent Green, THX 1138, WALL-E and Rollerball. Corporate republics are common in the cyberpunk genre, as in Neal Stephenson's Snow Crash and Philip K. Dick's Do Androids Dream of Electric Sheep? (as well as the film Blade Runner, influenced by and based upon Dick's novel). Class?[edit] Dystopian fiction frequently draws stark contrasts between the privileges of the ruling class and the dreary existence of the working class.[citation needed] In the novel Brave New World, written in 1931 by Aldous Huxley, a class system is prenatally determined with Alphas, Betas, Gammas, Deltas and Epsilons, with the lower classes having reduced brain-function and special conditioning to make them satisfied with their position in life.[33] Outside of this society there also exist several human settlements that exist in the conventional way but which the class system describe as "savages". In Ypsilon Minus by Herbert W. Franke, people are divided into numerous alphabetically ranked groups. Family?[edit] Some fictional dystopias, such as Brave New World and Fahrenheit 451, have eradicated the family and keep it from re-establishing itself as a social institution. In Brave New World, where children are reproduced artificially, the concepts of "mother" and "father" are considered obscene. In some novels, such as We, the state is hostile to motherhood, as a pregnant woman from One State is in revolt.[34] Religion?[edit] Religious groups play the role of the oppressed and oppressors. In Brave New World the establishment of the state included lopping off the tops of all crosses (as symbols of Christianity) to make them "T"s, (as symbols of Henry Ford's Model T).[35] Margaret Atwood's novel The Handmaid's Tale takes place in a future United States under a Christian-based theocratic regime.[36] One of the earliest examples of this theme is Robert Hugh Benson's Lord of the World, about a futuristic world where the Freemasons have taken over the world and the only other religion left is a Roman Catholic minority.[citation needed] Identity?[edit] In the Russian novel We by Yevgeny Zamyatin, first published in 1921, people are permitted to live out of public view twice a week for one hour and are only referred to by numbers instead of names. In some dystopian works, such as Kurt Vonnegut's Harrison Bergeron, society forces individuals to conform to radical egalitarian social norms that discourage or suppress accomplishment or even competence as forms of inequality. Violence?[edit] Violence is prevalent in many dystopias, often in the form of war, but also in urban crimes led by (predominately teenage) gangs (e.g. A Clockwork Orange), or rampant crime met by blood sports (e.g. Battle Royale, The Running Man, The Hunger Games and Divergent). It's also explained in Suzanne Berne's essay "Ground Zero", where she explains her experience of the aftermath of September 11, 2001.[37] Nature?[edit] Fictional dystopias are commonly urban and frequently isolate their characters from all contact with the natural world.[38] Sometimes they require their characters to avoid nature, as when walks are regarded as dangerously anti-social in Ray Bradbury's Fahrenheit 451, as well as within Bradbury's short story "The Pedestrian".[citation needed] In C. S. Lewis's That Hideous Strength, science coordinated by government is directed toward the control of nature and the elimination of natural human instincts. In Brave New World, the lower class is conditioned to be afraid of nature but also to visit the countryside and consume transport and games to promote economic activity.[39] Lois Lowry's "The Giver" shows a society where technology and the desire to create a utopia has led humanity to enforce climate control on the environment, as well as to eliminate many undomesticated species and to provide psychological and pharmaceutical repellent against human instincts. E. M. Forster's "The Machine Stops" depicts a highly changed global environment which forces people to live underground due to an atmospheric contamination.[40] As Angel Galdon-Rodriguez points out, this sort of isolation caused by external toxic hazard is later used by Hugh Howey in his series of dystopias of the Silo Series.[41] Excessive pollution that destroys nature is common in many dystopian films, such as The Matrix, RoboCop, WALL-E, April and the Extraordinary World and Soylent Green. A few "green" fictional dystopias do exist, such as in Michael Carson's short story "The Punishment of Luxury", and Russell Hoban's Riddley Walker. The latter is set in the aftermath of nuclear war, "a post-nuclear holocaust Kent, where technology has reduced to the level of the Iron Age".[42][citation needed] Science and technology?[edit] Contrary to the technologically utopian claims, which view technology as a beneficial addition to all aspects of humanity, technological dystopia concerns itself with and focuses largely (but not always) on the negative effects caused by new technology.[43] Typical dystopian claims?[edit] 1. Technologies reflect and encourage the worst aspects of human nature.[43] Jaron Lanier, a digital pioneer, has become a technological dystopian. "I think it’s a way of interpreting technology in which people forgot taking responsibility", he says. “'Oh, it’s the computer that did it, not me.' 'There’s no more middle class? Oh, it’s not me. The computer did it'” (Lanier). This quote explains that people begin to not only blame the technology for the changes in lifestyle but also believe that technology is an omnipotence. It also points to a technological determinist perspective in terms of reification.[44] 2. Technologies harm our interpersonal communication, relationships, and communities.[45] 3. Technologies reinforce hierarchies - concentrate knowledge and skills; increase surveillance and erode privacy; widen inequalities of power and wealth; giving up control to machines). Douglas Rushkoff, a technological utopian, states in his article that the professional designers "re-mystified" the computer so it wasn't so readable anymore; users had to depend on the special programs built into the software that was incomprehensible for normal users.[43] 4. New technologies are sometimes regressive (worse than previous technologies).[43] 5. The unforeseen impacts of technology are negative.[43] “ 'The most common way is that there’s some magic artificial intelligence in the sky or in the cloud or something that knows how to translate, and what a wonderful thing that this is available for free. But there’s another way to look at it, which is the technically true way: You gather a ton of information from real live translators who have translated phrases… It’s huge but very much like Facebook, it’s selling people back to themselves… [With translation] you’re producing this result that looks magical but in the meantime, the original translators aren’t paid for their work… You’re actually shrinking the economy.'”[45] 6. More efficiency and choices can harm our quality of life (by causing stress, destroying jobs, making us more materialistic).[46] In his article "Prest-o! Change-o!,” technological dystopian James Gleick mentions the remote control being the classic example of technology that does not solve the problem "it is meant to solve". Gleick quotes Edward Tenner, a historian of technology, that the ability and ease of switching channels by the remote control serves to increase distraction for the viewer. Then it is only expected that people will become more dissatisfied with the channel they are watching.[46] 7. New technologies cannot solve problems of old technologies or just create new problems.[43] The remote control example explains this claim as well, for the increase in laziness and dissatisfaction levels was clearly not a problem in times without the remote control. He also takes social psychologist Robert Levine's example of Indonesians “'whose main entertainment consists of watching the same few plays and dances, month after month, year after year,’ and with Nepalese Sherpas who eat the same meals of potatoes and tea through their entire lives. The Indonesians and Sherpas are perfectly satisfied". Because of the invention of the remote control, it merely created more problems.[46] 8. Technologies destroy nature (harming human health and the environment). The need for business replaced community and the "story online" replaced people as the "soul of the Net". Because information was now able to be bought and sold, there was not as much communication taking place.[43]
OH WE DID LAUGH HA HA HA HA HA! HEE HEE HEE HEE!. OR TO PUT IT ANOTHER WAY OH WE DID LAUGH 9 9 9 9 9! 9 9 9 9! BUT LIKE I ALWAYS SAY YOU WOULD A HAD TO HAVE BEEN THERE.
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