Stanley Kubrick and the Roswell Working

How 2001: A Space Odyssey presaged AI, Mars hype, and the Disclosure Cult

What’s with all this “UFO Disclosure” business going on in Washington? There’s no hue and cry amongst the public for it. And there’s no real need for disclosure either, considering everything we know about the UFO subject came from the Military-Industrial Complex in the first place.

If you know my work you probably realize I don’t see UFOlogy as a science, but a religion. And it’s a religion that has methodically embedded itself into some of the highest levels of power in the Federal Government.

By which I mean I hadn’t been paying a whole lot of attention to the disclosure circus. That is, until one of the performers in that circus became the new Secretary of State, meaning “fourth in line in Presidential succession.”

I just did a big livestream on the Disclosure Cult on Sunday for the Secret Sun Institute and in my research I realized how closely tied it all is to Artificial Intelligence, the drone situation, the ramping up of the Cold War, and even Elon Musk’s obsession with Mars.

And all that also ties in with a movie that all Synchronauts are very well familiar with…

A lot of ink has been spilled explaining what 2001: A Space Odyssey is really about, which seems kind of a waste considering that the men who actually made the film weren’t shy about coming out and saying what it’s really about:

“I will say that the God concept is at the heart of 2001-- but not any traditional anthropomorphic image of God. I don’t believe in any of Earth’s monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God.”

Stanley Kubrick, Playboy interview, Sept 1968

“Quite early in the game I went around saying, not very loudly, ‘M-G-M doesn't know this yet, but they're paying for the first $10,000,000 religious movie.’”

Arthur C. Clarke, Report on Planet Three and Other Speculations, 1972

What they are saying is that 2001 is about is God. Or perhaps, gods.

And considering the film is based on a story called “The Sentinel” — a synonym for “Watcher” — it’s worth looking to see how the film ties into a host of other mysteries connected to the Angels Who Kept Not Their First Estate.

Kubrick was not normally given to spilling his guts in the press, which makes his epic interview in 1969 all the more remarkable. All the more so when you read what he has to say.

[Extraterrestrials] may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit.

Their potentialities would be limitless and their intelligence ungraspable by humans. These beings would be gods to the billions of less advanced races in the universe, just as man would appear a god to an ant. They would be incomprehensible to us except as gods; and if the tendrils of their consciousness ever brushed men's minds, it is only the hand of god we could grasp as an explanation.

In many ways, what Kubrick is describing sounds less like any concept of extraterrestrials found in science fiction film, and more like something found in ancient religious texts.

First Enoch, Chapter 7-8: Azazel taught men to make swords, and knives, and shields, and breastplates, and made known to them the metals of the earth and the art of working them...

Semjaza taught enchantments, and root-cuttings, 'Armaros the resolving of enchantments, Baraqijal (taught) astrology, Kokabel the constellations, Ezeqeel the knowledge of the clouds, Araqiel the signs of the earth, Shamsiel the signs of the sun, and Sariel the course of the moon. And as men perished, they cried, and their cry went up to heaven.

So what the gifts of the Watchers actually brought to Earth wasn’t cosmic enlightenment like what the nameless aliens in 2001 bring at the end of the film, they brought war.

But in looking at the symbology of 2001 more carefully, we see war is exactly what the nameless aliens bring to Earth at the beginning of the film.

And the film is structured in a way that it directly parallels themes in UFOlogy that everyone is familiar with today:

• First Act : Classic Ancient Astronaut Theory

• Second Act : Recovered UFO technology leading men into space

• Third Act : Classic UFO Abduction

  

In order to unpack this messaging in 2001, you need to look closely at what we actually see onscreen, without the filter of interpretation:

• 2001 tells us that mankind's rapid evolution was not the result of blind forces of nature, but through intervention by an alien race.

• The evolution from simple toolmaking to high technology was a blink of an eye in geological time.

• After that eyeblink, we meet Heywood Floyd, a hush-up artist sent up to the Moon to cover up the discovery of an ancient alien artifact.

• Floyd and his team visit the Monolith, which sends a signal to something in the orbit of Jupiter.

• A mission is sent to locate the signal's recipient, but the onboard AI quite reasonably interprets Floyd's obsessive secrecy as orders to kill.

• The main conflict of the film then becomes a fight to the death between Astronaut Dave Bowman and HAL 9000, an AI who believes has a directive to eliminate the human crew and take over the mission.

• The AI ultimately yields to the intelligence of man, although both are ultimately the product of the Monoliths.

• After disabling the AI, an astronaut takes a shuttle out to another alien artifact, which then shoots a signal at the astronaut's brain which triggers a joyride similar to the experiences reported by abductees and DMT users.

• Just like many of those experiences, the astronaut's joyride brings him to a weird, oddly-lit white-room, which becomes the venue of his apotheosis. From ape to man to god.

All of which brings us to one of the most encompassing rituals that the UFO cultists embedded in the Military-Industrial-Complex pulled off…

THE ROSWELL WORKING ITSELF

What have come to be known as the “Roswell Crash” events - the alleged crash and recovery of a UFO in 1947 - are so laden with symbolism that it all begins to look like an elaborate ritual and not any kind of accident at all.

• The actual crash event took place outside the town of Corona, meaning "crown".

• The constellation Corona Borealis is named for the crown given by Dionysus to Princess Ariadne.

• Dionysus also granted secret knowledge, particular that of the sciences.

• The crash took place on the Plains of San Agustin, named after the Church father Augustine of Hippo, who wrote on the nature of the "demons of the air."

• Augustine quoted Roman author and ritual magician Apuleius quite extensively in The City of God when speaking of the nature of daimones.

Apuleius gave his dissertation while on trial for sorcery:

The same Apuleius, when speaking concerning the manners of demons, said that they are agitated with the same perturbations of mind as men; that they are provoked by injuries, propitiated by services and by gifts, rejoice in honors, are delighted with a variety of sacred rites, and are annoyed if any of them be neglected. Among other things, he also says that on them depend the divinations of augurs, soothsayers, and prophets, and the revelations of dreams, and that from them also are the miracles of the magicians.

Legendary UFOlogist John Keel would claim that the UFO phenomenon was in fact the latest manifestation of these same daimones, “the miracles of the magicians” being indistinguishable from any sufficiently-advanced science.

From a Lucifer’s Rising post:

• The exact latitude for the "Roswell Crash Site" on the Plains of San Agustin is 33.968418, which rounds off to 34 degrees, zero minutes North (34º0'N).

• 34º0'N is also the exact latitude of Baalbek, the massive megalithic site that is a favorite of ancient astronaut theorists. Again, we see the mysterious Phoenicians appear in a context that makes no exoteric sense.

• 34º0' is also the latitude of the Socorro, NM UFO event, the sighting that got a huge amount of attention in 1964.

• Corona, NM is on same exact latitude (34º15”) where Jack Parsons and L. Ron Hubbard performed Babalon Working.

• David Flynn credited Baalbek to the work of the Watchers, who fell to earth at Mount Hermon, which stands at 33°24′58″N. If you follow that line almost halfway across the planet you'll find yourself standing smack dab in downtown Roswell, NM.

The etymology of the name Roswell itself - the Red Well - is highly significant.

• Wells have a long and lofty place in mythological tradition, linked to Elves, Faeries, Nymphs and other beings.

• A Well also plays a central part in the Eleusinian Mysteries of Demeter and Persephone. Demeter was also worshipped at Samothrace, home of the Mysteries of the “Great Gods.”

THE WELL OF MARS

Another figure, also linked to Samothrace, brings us right back to Roswell in many powerful symbolic ways.

Cadmus, in Greek, Roman and Phoenician mythologies, was a Phoenician prince. He was said to journey to Samothrace, where he was initiated into the mysteries of the Great Gods. Cadmus also has a powerful connection to wells, in this case, the Well belonging to the god Mars.

"While seeking water Cadmus came to the fountain of Castalia, which a Draco, the offspring of Mars, was guarding. It killed the comrades of Cadmus, but was killed by Cadmus with a stone.”

The Well of Mars is interesting for another reason, that being that Mars is the Red Planet. So the “Well of Mars” is also the "Well of the Red Planet,” or even the “Red Well.” '

Or the “Ros-Well.”

These Great Gods or Cabieri, the ultimate source of Cadmus's secret knowledge, were said to be great craftsmen. But there's a more salient parallel to Roswell with these Great Gods:

"The Great Gods came to Earth in a flaming star, which shattered the rocks when it crashed into the island of Samothrace, there the Great Gods made their home.

In other words, the bringers of technology to ancient man crashed to Earth in a space vehicle.

So what does any of this have to do with 2001: A Space Odyssey?

Well, it’s long been my belief that Kubrick was drawing on stories he’d heard through channels about Roswell and recovered technology and the rest of it.

You don’t need to believe those stories to see that the “Dawn of Man” sequence in 2001: A Space Odyssey isn’t just a standard ancient astronaut narrative, but in fact an allegory of the postwar tech boom allegedly using discoveries reverse-engineered from a crashed spaceships found at Roswell.

What Kubrick and Clarke are saying is a lot more interesting than what most writers think they’re saying.

• Kubrick shows us apes — jungle creatures by definition — lounging around in the desert. Establishing shots were filmed in Monument Valley, just a few hours drive from Roswell.

• Two groups of apes are fighting over a watering hole. Or a well.

• Heywood Floyd's speech at Clavius paraphrases talking points from a 1960 Brookings Institution report about possible social impacts from the discovery of alien artifacts.

• The Stargate sequence replicates the experience of subjects using powerful doses of hallucinogens.

• The oddly-lit white room Bowman is in afterwards has been recounted by several 'alien abductees', particularly Betty and Barney Hill, whose account was first published during the filming of 2001.

• Bowman's experience is preceded by an electronic signal, matching stories of abductions being preceded by subjects being struck with an electronic beam.

Whatever your opinion of the provenance of these accounts, we're far past what can be rightly called coincidence here.

Things get quite a bit less coincidental when you look more carefully at what we’re seeing onscreen in ‘The Dawn of Man’.

• The Moonwatcher tribe wakes up one morning and finds the Monolith -- by definition an alien artifact -- in its midst.

• In much the same way, ranchers of Corona, NM woke up one morning and allegedly found an alien artifact in their midst as well.

• Roswell Army Air Field was no ordinary fort-- it was also the site of the world's only atomic weapons arsenal.

• Keeping that in mind, note Moonwatcher is going to take debris he found in the desert and transform it into a weapon.

• Later Moonwatcher will supply the strong-arms of his tribe with these bone weapons. They alone will have these weapons. Their enemy tribe will not.

• This is exactly the same situation as the US and USSR in 1947, when the US had nukes and the Soviets did not.

Note those walls: they seem oddly unnatural or manufactured. They look like embankments, as if the tribe has built a fort. That's a classic OOPart--out of place artifact.

So what we actually see onscreen is primitive weapons research taking place inside some kind of fortification (from which we derive the word “fort,” meaning a military encampment. Like Roswell Army Air Base, for instance).

• We soon see a lot of yelling and screaming over the well by the opposing tribes, punctuated by the death of an enemy warrior.

• In other words, we see a cold war — a verbal war — go hot, with the death of a combatant.

• That death is caused by a weapon made of debris found in the desert and constructed under the direction of an alien intelligence.

Following this victory at the well, Moonwatcher throws the bone into the air and it immediately becomes a spaceship.

• One might assume that this bone symbolizes the remains of a spaceship, since that's what it instantly becomes.

• What this bone is in fact is a secret weapon-- that's exactly what the narrative is describing the bone as being.

• All of which implies that the screaming apes are the US and USSR screaming at each other across the Iron Curtain

This connection seems inarguable in light of this fact from the Wiki:

"Stanley Kubrick originally intended that when the film does its famous match-cut from ancient bone-weapon to orbiting satellite that the latter and the three additional technological satellites seen would be established as orbiting nuclear weapons by a voice-over narrator talking about nuclear stalemate."

That the bone becomes a spaceship, that it was found in a pile of debris in the desert (where apes don't live), and that this was filmed less than a day's drive from Roswell Army Air Base all suggests that whether or not the Roswell reverse engineering stories are true, Kubrick and Clarke thought they were compelling enough to tell a story around.

The Cold War moves from symbolic to explicit: the scene with Heywood Floyd meeting the Russians is meant as a parallel to the watering hole scene, and proves that the latter is a parody of the global politics of the former.

• Floyd stands at center between adversaries, as Moonwatcher during the watering hole battle scene.

• Bars are commonly nicknamed “watering holes.”

• Kubrick conjoins these two scenes with enemies meeting around wells - the watering hole and the lounge - with red symbolism in the chairs and the Russians ("Rus", "Reds") themselves.

• Red-Rus-Well —> Roswell

Again, too much of a coincidence to be a coincidence.

This scene at this futuristic watering hole isn't much different than the previous one; the players are cordial, but are clearly playing on opposite sides of the field.

Where does this leave us with Roswell then? Here’s what I think:

• The "crashed saucer" was a cover story for an elaborate, massive, multi-year occult ritual that produced earth-shaking results in the form of solid state technology.

• It’s hard to believe an entire atomic-armed military base went into lockdown over Mogul balloons, or kites, or balsa wood and Silly String.

• A balloon wouldn’t leave wreckage over an area of the size reported.

• The Roswell witnesses saw something unusual. They reported the facts as they saw them and as they remembered them.

• What the witnesses saw was in fact manufactured to be seen, as part of a very elaborate operation with deep and resonant ritual overtones.

• There's been a disinformation machine at work over the event since before it began.

• Roswell always popped during times of major breakthroughs in computer tech: 1947, 1978, 1990s, 2010’s

The purpose of this operation?

I think there were many, but the primary goal was to create a convenient cover story for where all the strange new technology that soon began emerging from companies like Bell Laboratories was actually coming from.

Meaning not from crashed flying saucers.

If anyone in Hollywood would know about this, it would be Stanley Kubrick. Both as a result of his partnership with British intelligence agent Arthur C. Clarke and his own contacts in the military and intelligence worlds, particularly in the wake of Dr. Strangelove.

And it seems apparent to me that he wanted to tell this particular tale out of school.