Из Басе Об эффекте бабочки

Триптих

***
Маленькая снежинка на заснеженный склон громадной горы упала:
Огромная  лавина ураганом в долину сошла:
Погибли невинные дети ...

***
Маленький мальчик из шалости убил воробья:
Другие мальчики собезьянничали:
Мор поразил страну ...

***
Маленькая песчинка из жерла песочных часов мне на голову упала:
Лопнул хрупкий кровяной сосуд:
Мое время истекло ...


Мои другие стихи:
http://www.stihi.ru/2014/09/15/7734


Примечание 1:
______________

Butterfly effect

In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane's formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.

Примечание 2:
______________


Эффект бабочки
Материал из Википедии — свободной энциклопедии
 
Эффект бабочки — термин в естественных науках, обозначающий свойство некоторых хаотичных систем. Незначительное влияние на систему может иметь большие и непредсказуемые эффекты где-нибудь в другом месте и в другое время.

История термина
Детерминировано-хаотические системы чувствительны к малым воздействиям. В хаотическом мире трудно предсказать, какие вариации возникнут в данное время и в данном месте, ошибки и неопределённость нарастают экспоненциально с течением времени. Лоренц Эдвард Нортон назвал это явление эффектом бабочки: бабочка, взмахивающая крыльями в Айове, может вызвать лавину эффектов, которые могут достигнуть высшей точки в дождливый сезон в Индонезии («эффект бабочки» вызывает и аллюзию к рассказу 1952 г. Р. Брэдбери «И грянул гром», где гибель бабочки в далёком прошлом изменяет мир будущего. Также можно увидеть аллюзию к сказке братьев Гримм «Вошка и блошка», где ожог главной героини в итоге приводит к всемирному потопу).
«Небольшие различия в начальных условиях рождают огромные различия в конечном явлении… Предсказание становится невозможным» (А. Пуанкаре, по: Хорган, 2001).

В культуре

Данная теория косвенно имеет место в фильме «Оксфордские убийства», где вскользь брошенная фраза изменяет всё понимание происходящего и даёт логическое объяснение совершённым преступлениям.
Также данная теория (и само использование термина) есть в «Героях», где в первой серии третьего сезона Питер Петрелли из будущего вернулся в прошлое. Почти убив своего брата, он повернул всё будущее вспять. Во второй серии Питер пытается вернуть всё на круги своя, и поэтому на вопрос «а почему ты сам не сделаешь?», он ответил «я передавил слишком много бабочек» (что является отсылкой к рассказу «И грянул гром»).
В основу фильма «Взмах крыльев мотылька» положен миф о том, что взмах крыльев мотылька над Атлантикой способен вызвать ураган в Тихом океане. Причиной глобальных изменений в фильме служат, казалось бы, совершенно незначительные вещи.

 Фильмы
«Эффект бабочки»
«Эффект бабочки 2»
«Эффект бабочки 3: Откровения» — продолжение американского телевизионного фильма 2004/2006 года.
«Назад в будущее»
«Назад в будущее 2»
«Назад в будущее 3»
«Машина времени в джакузи»
«Исходный код»
«Оксфордские убийства»
«Взмах крыльев мотылька»
«Герои»
«Случай»
«Армия машин» (англ.)русск.
«Осторожно, двери закрываются»
«Скользящие»
«Беги, Лола, беги»
«Сука любовь»
«И грянул гром»
«Терминатор 2: Судный день»
«Пиджак»
«Радиоволна»
«Господин Никто»
«Снова голый»
«Зеркало для героя»
«День сурка»
«Внутри моей памяти»
«Патруль времени»
«Парк Юрского периода»
«Девочка, покорившая время»
«Steins;Gate»
«Донни Дарко»
«Далеко по соседству»
«Лексс»
«Доктор Кто»
«11:14»
«Теория хаоса»
«Люди в чёрном 3»
«Сообщество»(3 сезон,4 серия)
«Touch»
См. также Теория хаоса
Теория домино
Принцип домино
Эффект снежного кома
Конец Вечности (про организацию, использующую эффект бабочки для изменений реальности)

***
И грянул гром

Материал из Википедии — свободной энциклопедии

И грянул гром

A Sound of Thunder

Обложка первого издания сборника шести рассказов Рэя Бредбери Dinosaur Tales, 1984 г.
Жанр: рассказ
 
Автор: Рэй Брэдбери
 
Язык оригинала: английский
 
Дата первой публикации: 1952
 
Электронная версия
 
«И грянул гром» (англ. A Sound of Thunder) — знаменитый научно-фантастический рассказ американского писателя Рэя Брэдбери. Впервые опубликован 28 июня 1952 года в журнале Collier’s. Входил в авторские сборники «Золотые яблоки Солнца» (The Golden Apples of the Sun, 1953), «Р — значит ракета» (R is for Rocket, 1964) и др. Занимает первое место по количеству переизданий среди всех научно-фантастических рассказов, согласно информации журнала Locus. На русском языке впервые опубликован в 1965 году[1].


Сюжетная линия

Экельс, охотник-любитель, за большие деньги отправляется на сафари в мезозойскую эру вместе с ещё несколькими охотниками. Однако охота на динозавров обставлена жёсткими условиями: убить можно только то животное, которое должно и без этого вот-вот погибнуть (например, убитое сломавшимся деревом), а возвращаясь, необходимо уничтожить все следы своего пребывания (в том числе вытащить из тела животного пули), чтобы не внести изменения в будущее. Люди находятся на антигравитационной тропе, чтобы случайно не задеть даже травинку, поскольку это может внести непредсказуемые потрясения в историю. Руководитель сафари Тревис предупреждает:

Раздавите ногой мышь — это будет равносильно землетрясению, которое исказит облик всей Земли, в корне изменит наши судьбы. Гибель одного пещерного человека — смерть миллиарда его потомков, задушенных во чреве. Может быть, Рим не появится на своих семи холмах. Европа навсегда останется глухим лесом, только в Азии расцветёт пышная жизнь. Наступите на мышь — и вы сокрушите пирамиды. Наступите на мышь — и вы оставите на Вечности вмятину величиной с Великий каньон. Не будет королевы Елизаветы, Вашингтон не перейдёт Делавер. Соединенные Штаты вообще не появятся. Так что будьте осторожны. Держитесь тропы. Никогда не сходите с неё!

Во время охоты Экельс, увидев тираннозавра, впадает в панику и сходит с тропы. После возвращения в своё время охотники неожиданно обнаруживают, что их мир изменился: иная орфография языка, у власти вместо президента-либерала стоит диктатор. Причина этой катастрофы тут же выясняется: Экельс, сойдя с тропы, случайно раздавил бабочку. Тревис поднимает ружьё. Щелкает предохранитель. Последняя фраза повторяет название рассказа: «…И грянул гром».

Значение

Рассказ часто цитируется в работах по теории хаоса, поскольку иллюстрирует так называемый эффект бабочки. Однако, этот термин появился позже и не связан с бабочкой, раздавленной Экельсом, термин закрепился после опубликования в 60-х годах научной работы Эдварда Лоренца под названием «Предсказуемость: может ли взмах крыльев бабочки в Бразилии вызвать торнадо в Техасе?».

Экранизации

В период с 1985 по 1992-й год был снят, а затем и показан телесериал «Театр Рэя Брэдбери», в одной из серий был экранизирован этот рассказ.
По мотивам рассказа в 2005 году снят одноимённый фильм.
Идея фильма «Эффект бабочки», снятого в 2004 году, также исходит из этой книги.

Интересные факты

Сюжет данного произведения пародируется в мультсериале «Симпсоны» (эпизод «Время и наказание») и в советском мультфильме «На задней парте» (2-й выпуск).
Рассказ упомянут в повести Кира Булычёва «100 лет тому вперёд». Один из персонажей упоминает сюжет, не говоря однако названия и автора.
Примечания[править | править вики-текст]; В кн.: Библиотека фантастики и приключений в 5-ти томах. Том 2. М.: Молодая гвар­дия, 1965.
Ссылки
Текст рассказа в переводе Л. Жданова



***
http://www.universeofsymbolism.com/butterfly-symbolism.html

***
Примечание 3:
______________


Этот день в истории: Китай объявил войну воробьям


В этот день в 1958 г. в Китае было издано постановление о начале борьбы с воробьями. Кампания по борьбе с воробьями охватила всю страну. За короткое время птицы были почти полностью уничтожены.

Вот как описывали происходящее очевидцы:

"Ранним утром меня разбудили женские крики, от которых кровь застывала в жилах. Бросившись к окну, я увидел, как по крыше соседнего дома носилась молодая женщина, неистово размахивая бамбуковым шестом с привязанной к нему большой тряпкой. Неожиданно она остановилась, очевидно, для того, чтобы перевести дыхание, но тут на улице раздалась барабанная дробь, и она вновь принялась истошно орать, нанося удары своим странным флагом в разные стороны, как сумасшедшая. Это продолжалось еще несколько минут, после чего звук барабанов затих и женщина упала в изнеможении. Тут до меня дошло, о чем в последнее время все говорили в гостинице: женщины, одеты в белое, размахивали тряпками и полотенцами для того, чтобы держать воробьев в воздухе, не давая им присесть на здание. Весь день звучали барабаны, слышались выстрели и крики, люди махали простынями… Сражение продолжалось без перерыва вплоть до полудня, и в нем принимал участие весь персонал гостиницы: швейцары, портье, переводчики, горничные и все остальные… Стратегия в этой войне с воробьями состояла в том, чтобы не давать бедным птичкам сесть отдохнуть на крышу или дерево… Говорили, что если воробья продержать в воздухе больше четырех часов, он замертво упадет наземь".

В результате этой борьбы воробьев в Китае не осталось. Но поскольку  воробьи поедают не только зерновые, но и насекомых — вредителей полей, и семена сорных растений, в результате оглушительной победы над воробьями расплодились гусеницы и саранча, поедающие побеги. Ранее популяции гусениц и саранчи регулировалась воробьями. В результате нашествия саранчи урожай был уничтожен полностью, в стране наступил голод, от которого погибло предположительно до 30 миллионов человек. А для восстановления экологического равновесия Китаю пришлось закупать воробьев  у СССР и Канады.

Tags: Китай, экология

Примечание 4:
______________



Самуил Маршак
Гвоздь и подкова
_________________
 
 


                Не было гвоздя -
                Подкова
                Пропала.


                Не было подковы -
                Лошадь
                Захромала.


                Лошадь захромала -
                Командир
                Убит.


Конница разбита               
Армия
Бежит.

                Враг вступает в город,
                Пленных не щадя,
                Оттого, что в кузнице
                Не было гвоздя.

Примечание 5 :
______________


vladmodfacker, 29.01.2013 14:33(#)


Выстраивание "образа общества" как некоей фундаментальной пирамиды гносеологически порочно. Любая механистическая модель общества крайне упрощённая, а статическая - вообще за гранью познавательной полезности.
Всё в социуме пронизано спонтанностями, которые никакая модель, даже самая мультифакторная (и, соотвественно, самая малополезная в целях прогнозирования), не может учесть. В конечном итоге, честный математик только одно может сказать определённо: всё может быть.
В каком-то рассказе Шукшина совсем никакая шестёрка вдруг уделывает своего авторитета-покровителя. И эта, подобная спонтанность пронизывает всю жизнь общества, во всех слоях-уровнях и масштабах. Потом, - потом можно, конечно, некие логические цепочки провести от результата к предпосылкам. Но не до того. Без возможности предсказать.
Вавилонскую башню из социума, сколько-нибудь длительное время устойчивую (в историческом масштабе, конечно) построить невозможно. Наиболее устойчив на Земле океан. Океан - это жизнь. Жизнь - это океан. Кстати, особая кондовость российского социума именно с этим и связана, - с "резко-континентальностью", с конкретно географическим удалением от океана. Прорубленное Петром окошечко то самое исключение, что подтверждает правило.
Если уж использовать физматмодели, то волновые (впрочем, "америк" не открываю: все социологи, даже самые "нематематики", давно к этому пришли; не говоря уж о хитрецах астрологах).
Среда волновых процессов - как бы ничто. Вплоть до вакуума, - с нулевой плотностью, нулевой жёсткостью. Но это не умаляет, в конечном итоге, силищи волновых процессов, идущих в этих средах, через эти среды, этими средами. Фердинанд был убит не атомной бомбой, а из какой-то пукалки. А какая волна пошла? Кнут пастуха трухлявый сыромятно-верёвочный, но, благодаря его волновой механике, позволяет волосинкой на конце вырубить глаз, хоть дракону. Медленно шевельнулись плиты коры, медленно шевельнулся океан над ними, медленно это шевеление пошло по сторонам. И вот уже бешенной силой и скоростью цунами эти шевеления сносят всё и вся... "Ярость смиренных".
 

Примечание 6 :
______________

The meaning of the butterfly
 
Why pop culture loves the 'butterfly effect,' and gets it totally wrong

By Peter Dizikes
June 8, 2008

SOME SCIENTISTS SEE their work make headlines. But MIT meteorologist Edward Lorenz watched his work become a catch phrase. Lorenz, who died in April, created one of the most beguiling and evocative notions ever to leap from the lab into popular culture: the "butterfly effect," the concept that small events can have large, widespread consequences. The name stems from Lorenz's suggestion that a massive storm might have its roots in the faraway flapping of a tiny butterfly's wings.
Translated into mass culture, the butterfly effect has become a metaphor for the existence of seemingly insignificant moments that alter history and shape destinies. Typically unrecognized at first, they create threads of cause and effect that appear obvious in retrospect, changing the course of a human life or rippling through the global economy.
In the 2004 movie "The Butterfly Effect" - we watched it so you don't have to - Ashton Kutcher travels back in time, altering his troubled childhood in order to influence the present, though with dismal results. In 1990's "Havana," Robert Redford, a math-wise gambler, tells Lena Olin, "A butterfly can flutter its wings over a flower in China and cause a hurricane in the Caribbean. They can even calculate the odds."
Such borrowings of Lorenz's idea might seem authoritative to unsuspecting viewers, but they share one major problem: They get his insight precisely backwards. The larger meaning of the butterfly effect is not that we can readily track such connections, but that we can't. To claim a butterfly's wings can cause a storm, after all, is to raise the question: How can we definitively say what caused any storm, if it could be something as slight as a butterfly? Lorenz's work gives us a fresh way to think about cause and effect, but does not offer easy answers.
Pop culture references to the butterfly effect may be bad physics, but they're a good barometer of how the public thinks about science. They expose the growing chasm between what the public expects from scientific research - that is, a series of ever more precise answers about the world we live in - and the realms of uncertainty into which modern science is taking us.
The butterfly effect is a deceptively simple insight extracted from a complex modern field. As a low-profile assistant professor in MIT's department of meteorology in 1961, Lorenz created an early computer program to simulate weather. One day he changed one of a dozen numbers representing atmospheric conditions, from .506127 to .506. That tiny alteration utterly transformed his long-term forecast, a point Lorenz amplified in his 1972 paper, "Predictability: Does the Flap of a Butterfly's Wings in Brazil Set Off a Tornado in Texas?"
In the paper, Lorenz claimed the large effects of tiny atmospheric events pose both a practical problem, by limiting long-term weather forecasts, and a philosophical one, by preventing us from isolating specific causes of later conditions. The "innumerable" interconnections of nature, Lorenz noted, mean a butterfly's flap could cause a tornado - or, for all we know, could prevent one. Similarly, should we make even a tiny alteration to nature, "we shall never know what would have happened if we had not disturbed it," since subsequent changes are too complex and entangled to restore a previous state.
So a principal lesson of the butterfly effect is the opposite of Redford's line: It is extremely hard to calculate such things with certainty. There are many butterflies out there. A tornado in Texas could be caused by a butterfly in Brazil, Bali, or Budapest. Realistically, we can't know. "It's impossible for humans to measure everything infinitely accurately," says Robert Devaney, a mathematics professor at Boston University. "And if you're off at all, the behavior of the solution could be completely off." When small imprecisions matter greatly, the world is radically unpredictable.
Moreover, Lorenz also discovered stricter limits on our knowledge, proving that even models of physical systems with a few precisely known variables, like a heated gas swirling in a box, can produce endlessly unpredictable and nonrepeating effects. This is a founding idea of chaos theory, whose advocates sometimes say Lorenz helped dispel the Newtonian idea of a wholly predictable universe.
"Lorenz went beyond the butterfly," says Kerry Emanuel, a professor in the department of earth, atmospheric, and planetary sciences at MIT. "To say that certain systems are not predictable, no matter how precise you make the initial conditions, is a profound statement." Instead of a vision of science in which any prediction is possible, as long as we have enough information, Lorenz's work suggested that our ability to analyze and predict the workings of the world is inherently limited.
But in the popular imagination, that one picturesque little butterfly became a metaphor for the surprising way that long chains of events unfold. A SmartMoney.com market analysis from 2007 cites Lorenz, then suggests that hypothetical problems at Sony could affect a string of shippers, retailers, and investors: "One butterfly, in this case a Japanese butterfly, sets off the entire chain." Even applied to society, rather than nature, such claims merit skepticism.
That we imagine the butterfly effect would explain things in everyday life, however, reveals more than an overeager impulse to validate ideas through science. It speaks to our larger expectation that the world should be comprehensible - that everything happens for a reason, and that we can pinpoint all those reasons, however small they may be. But nature itself defies this expectation. It is probability, not certain cause and effect, that now dictates how scientists understand many systems, from subatomic particles to storms. "People grasp that small things can make a big difference," Emanuel says. "But they make errors about the physical world. People want to attach a specific cause to events, and can't accept the randomness of the world."
Thus global warming may make big storms more likely - "loading the die," Emanuel says - but we cannot say it definitively caused Hurricane Katrina. Science helps us understand the universe, but as Lorenz showed, it sometimes does so by revealing the limits of our understanding.

Peter Dizikes is a science journalist living in Arlington.
 
© Copyright 2008 Globe Newspaper Company.

Примечание 7:
______________

Нам не дано предугадать, / Как слово наше отзовется

____________________________________________

Из стихотворения без названия (1869) Федора Ивановича Тютчева (1803-1873).

Нам не дано предугадать.
Как слово наше отзовется, —
И нам сочувствие дается.
Как нам дается благодать.


Цитируется: как призыв быть осторожным со словом, поскольку оно может и оживить, и глубоко ранить, «убить» человека.

 
Энциклопедический словарь крылатых слов и выражений. — М.: «Локид-Пресс». Вадим Серов. 2003.


***

http://www.spiritanimal.info/butterfly-spirit-animal/

Butterfly Spirit Animal & Totem
By Elena Harris, SpiritAnimal.info Editor
 
The butterfly is one of the most emblematic totem animals symbolizing personal transformation. If you see the butterfly as your totem or spirit animal, pay attention to the areas in your life or personality that are in need of profound change or transformation. Perhaps, this animal totem guides you to be sensitive to your personal cycles of expansion and growth, as well as the beauty of life’s continuous unfolding. An important message carried by the spirit of the butterfly is about the ability to go through important changes with grace and lightness.

Butterfly Symbolism

What is the meaning of the butterfly? This animal totem is primarily associated with symbolism of change and transformation.

Powerful transformation, metamorphosis in your life, personality
Moving through different life cycles
Renewal, rebirth
Lightness of being, playfulness
Elevation from earthly matters, tuning into emotional or spiritual
The world of the soul, the psyche
A secondary meaning of the butterfly is about finding joy in life and lightness of being.


Butterfly totem and transformation

The butterfly is a symbol of powerful transformations. By analogy to the development of this animal, the meaning associated with the butterfly emphasizes the ability to move from one state, perspective, lifestyle to another.

When the butterfly comes into your life as spirit guide, you may be going through or expect important changes in your life. More than changes in your environment, the transformation the butterfly totem points to are more internal: They could be related to your own perspective on a subject, aspects of your personality, or personal habits. Personal transformation is emblematic of the butterfly symbolism.

Butterfly totem symbol of joy and lightness of being
When the butterfly shows up in your life as a spirit animal or totem, it might indicate the need to look at a conflicting situation with more lightness and different perspective. This totem animal is symbolic of lightness of being and elevation from the heaviness of tensions.

This power animal invites those who have a connection with it to bring joy and bliss into their lives. Butterflies often have bright colors. By extension, they are associated with aliveness and brightness. The message of this totem animal is to lighten up and add more color to your life. Perhaps it’s time to express yourself more fully and show your colorful personality.

The Butterfly and the world of the Soul

In many traditions around the world, the butterfly is a symbol of the soul or soul world. For example, in Chinese symbology, it can represent immortality. For the Japanese, a white butterfly symbolizes the soul the departed ones.

In Ancient Greece, butterflies represent the psyche or soul, and its attribute of immortality.

Calling the butterfly totem for support

The butterfly is a powerful animal to call when you need support in times of transition, whether it’s at work, in a relationship, or when you’re doing inner work. Great ally during intense periods of personal transformation, it will add ease and lightness to the process.

This power animal is a good inspiration for adding more color into your life and self-expression. Those who have the butterfly as a totem animal may be naturally inclined to express themselves openly, to reflect their colors into their environment.

***

Знаменитый сон Чжуан-цзы, который побудил его к созданию своей концепции. Однажды Чжуан-цзы заснул и ему приснилось, что он бабочка, которой снится, что она Чжуан-цзы. Проснувшись, философ долго не мог понять, кто же он — Чжуан-цзы, которому снилось, что он бабочка или бабочка, которой снилось, что она Чжуан-цзы

***

One night, Zhuangzi (369 BC) dreamed that he was a carefree butterfly, flying happily. After he woke up, he wondered how he could determine whether he was Zhuangzi who had just finished dreaming he was a butterfly, or a butterfly who had just started dreaming he was Zhuangzi

***

https://de.wikipedia.org/wiki/Zhuangzi

Einst traeumte Dschuang Dschou, dass er ein Schmetterling sei, ein flatternder Schmetterling, der sich wohl und gluecklich fuehlte und nichts wusste von Dschuang Dschou. Ploetzlich wachte er auf: da war er wieder wirklich und wahrhaftig Dschuang Dschou. Nun weiss ich nicht, ob Dschuang Dschou getraeumt hat, dass er ein Schmetterling sei, oder ob der Schmetterling getraeumt hat, dass er Dschuang Dschou sei, obwohl doch zwischen Dschuang Dschou und dem Schmetterling sicher ein Unterschied ist. So ist es mit der Wandlung der Dinge.“

***
Притча о бабочке во сне

В один прекрасный день собрались, как обычно, ученики, чтобы послушать своего духовного учителя Чжуан-цзы. Это был великий мудрец и знаменитый китайский философ, и каждый день к нему приходили люди послушать житейской мудрости.

Чжуан-цзы в этот день выглядел хмуро и задумчиво, что было несвойственно мудрецам. Ученики забеспокоились и спросили:

- Учитель, что с Вами? Обычно Вы такой веселый и жизнерадостный, а сегодня угрюмы и задумчивы. Не случилось ли что-то плохое?

Мудрец неспешно отвечал:
- Сегодняшней ночью во сне я был бабочкой. Мне приснилось, что я – бабочка, порхающая над луговыми цветами, и это было так прекрасно!

Чжуан-цзы закрыл глаза и погрузился в яркие воспоминания полета бабочки во сне. Кто-то из учеников спросил:
- Но в чем же проблема? Почему это вас расстроило? Похоже, это очень красивый и приятный сон.

Тогда учитель сказал:

- Когда мне снилось, что я бабочка, я летал и не осознавал, что я Чжуан-цзы, который видит сон. Вот в чем дело. Утром я проснулся, и первое, что подумал – «я вовсе не бабочка, а Чжуан-цзы». Но сейчас я сижу перед вами и не могу понять: я Чжуан-цзы, которому во сне казалось, что он бабочка, или, быть может, я мотылек, который сейчас спит и во сне видит, что он Чжуан-цзы?

Эта притча о бабочке и мудреце, возможно, является невыдуманной историей, но даже если это и выдумка чистой воды, подобного рода притчи заставляют нас задуматься о том, кто мы такие: а может ты бабочка, которой во сне кажется, что она - человек, читающий эти строки?

***

Dream argument

From Wikipedia, the free encyclopedia

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The dream argument is the postulation that the act of dreaming provides preliminary evidence that the senses we trust to distinguish reality from illusion should not be fully trusted, and therefore any state that is dependent on our senses should at the very least be carefully examined and rigorously tested to determine whether it is in fact reality.

Synopsis

While people dream, they usually do not realize they are dreaming (if they do, it is called a lucid dream). This has led philosophers to wonder whether one could actually be dreaming constantly, instead of being in waking reality (or at least that one cannot be certain, at any given point in time, that one is not dreaming). In the West, this philosophical puzzle was referred to by Plato (Theaetetus 158b-d) and Aristotle (Metaphysics 1011a6). Having received serious attention in Ren; Descartes' Meditations on First Philosophy, the dream argument has become one of the most prominent skeptical hypotheses which clearly has an archetype in elements of Plato's Allegory of the Cave also.

In Eastern philosophy and especially Chinese philosophy, this type of argument is well known as "Zhuangzi dreamed he was a butterfly" ( Zhu;ngzh;u m;ng di;): One night, Zhuangzi (369 BC) dreamed that he was a carefree butterfly, flying happily. After he woke up, he wondered how he could determine whether he was Zhuangzi who had just finished dreaming he was a butterfly, or a butterfly who had just started dreaming he was Zhuangzi. This was a metaphor for what he referred to as a "great dream":

He who dreams of drinking wine may weep when morning comes; he who dreams of weeping may in the morning go off to hunt. While he is dreaming he does not know it is a dream, and in his dream he may even try to interpret a dream. Only after he wakes does he know it was a dream. And someday there will be a great awakening when we know that this is all a great dream. Yet the stupid believe they are awake, busily and brightly assuming they understand things, calling this man ruler, that one herdsman ; how dense! Confucius and you are both dreaming! And when I say you are dreaming, I am dreaming, too. Words like these will be labeled the Supreme Swindle. Yet, after ten thousand generations, a great sage may appear who will know their meaning, and it will still be as though he appeared with astonishing speed.[1]

Some schools of thought in Buddhism (e.g., Dzogchen), consider perceived reality literally[citation needed] unreal. As a prominent contemporary teacher, Ch;gyal Namkhai Norbu, puts it: "In a real sense, all the visions that we see in our lifetime are like a big dream [...]".[2] In this context, the term 'visions' denotes not only visual perceptions, but appearances perceived through all senses, including sounds, smells, tastes and tactile sensations, and operations on received mental objects.

Simulated reality

See also: Simulated reality and Simulation hypothesis
Dreaming provides a springboard for those who question whether our own reality may be an illusion. The ability of the mind to be tricked into believing a mentally generated world is the "real world" means at least one variety of simulated reality is a common, even nightly event.[3]

Those who argue that the world is not simulated must concede that the mind—at least the sleeping mind—is not itself an entirely reliable mechanism for attempting to differentiate reality from illusion.[4]

“ Whatever I have accepted until now as most true has come to me through my senses. But occasionally I have found that they have deceived me, and it is unwise to trust completely those who have deceived us even once. ”
—Ren; Descartes [5]
 
Recent discussion[edit] This section requires expansion with: Summary of arguments and counterarguments. (November 2013)

Many contemporary philosophers have attempted to refute dream skepticism in detail (see, e.g., Stone (1984)[citation needed]). Perhaps most notably, Ernest Sosa (2007) has devoted a chapter of a recent monograph to the topic. There, Sosa presents a new theory of dreaming and argues that his theory raises a new argument for skepticism, which he attempts to refute. Jonathan Ichikawa (2008) and Nathan Ballantyne & Ian Evans (2010) have offered critiques of Sosa's proposed solution.

In popular culture

In Lewis Carroll's Through the Looking-Glass, Alice finds the Red King asleep in the grass; Tweedledum and Tweedledee tell her that the Red King is dreaming about her, and that if he were to wake up she would "go out—bang!—just like a candle...." A similar theme is explored in The Legend of Zelda: Link's Awakening, told from the perspective of the dreamer in his own realm of dreams.

In the 1999 movie The Matrix, machines imprison the human race and plug them into "the Matrix", an enormous machine system that uses human bioelectricity and body heat as a biological battery to power the machines. Connected to the Matrix, the humans are kept in a dream-like state, in which they dream of being in the world as it is today; they have no reason to suspect that it is anything other than the real world. Certain people sense the innate artificiality of the illusion and, through various means, "wake up", breaking free of the Matrix. The overall theme of the series is the "waking dream" scenario, and speculations on which reality is preferable. This concept is further explored during the second Matrix film where one of the main characters appears to be able to utilize abilities usually used in the "dream" in what the character currently believes is "reality", leaving the viewer to question if the character is in fact in reality, or if they are still inside the dream.

In the original television series The Twilight Zone, the episode Shadow Play (written by Charles Beaumont, originally aired May 5, 1961, Season 2, Episode 26) concerns a man trapped in a recurring nightmare in which he dreams he is a prison inmate sentenced to death and to be executed; he tries to convince the characters in his dream that they are only figments of his imagination and that they will cease to exist if the execution is carried out.

In the Star Trek Deep Space Nine episode Far Beyond the Stars, After losing a close colleague in the Dominion War, Captain Sisko confides in his father about leaving Starfleet. Sisko suddenly experiences visions that he is an African-American named Benny Russell who lives in 1950's America and writes stories for a Science-Fiction pulp magazine. Inspired by a drawing of a space station, Benny writes a story about a Captain Sisko set on Deep Space Nine in a future where the racial prejudices of the period no longer exist. Benny then faces backlash from the publishers who refuse to run a story about a black Captain resulting in Benny suffering a nervous breakdown. The episode left it ambiguous whether Sisko's life in the 24th century is real or the result of imagination combined with mental illness.

Richard Linklater's Waking Life deals mostly with this subject, revolving around a man being aware of having been trapped inside his own dream.

In the Buffy the Vampire Slayer episode Normal Again Buffy is poisoned by a demon, causing her to flash between her life as usually portrayed on the series and another reality, where he has been in a mental institution for 6 years for believing the original reality. The viewer and Buffy herself are presented with uncertainty as to which reality is the hallucination; Buffy even mentions that she was institutionalized after she saw her first vampire and wonders whether she might have been hallucinating a life with exciting, supernatural elements since then. (Her psychologist discusses how Buffy had snapped back to "reality" for a few months, corresponding to the period when Buffy the Vampire Slayer was dead in the show's usual narrative.) The non-supernatural world has both her parents alive and together. Both realities appear completely plausible, in a paradox of sorts. She opts for the world with no vampires or other supernatural beings, as her life as a Slayer is full of pain and grief. However, when her mother tells her she is strong and capable, she returns to her "Slayer" reality. The last scene shows her sitting in the mental institution, in a vegetative state and hallucinating her life as a Slayer.

Christopher Nolan's movie Inception deals with the fictional science of shared dreaming. The characters enter others' minds, to steal ideas, or in the rare case of inception itself, plant them while the target is unaware they are dreaming. Once in a dream, the characters can enter other layers or dreams within dreams. In the movie, characters can distinguish a dream by using totems, unique items whose properties and behavior are different in a dream than in the waking world. In the end, the film leaves open the question of whether the protagonist is himself dreaming.

Films such as Total Recall and Blade Runner, which are both based on stories by Philip K. Dick, also hinge upon the idea that what you remember and perceive is not always real.

Metal Gear Solid 2: Sons of Liberty greatly explores the protagonist Raiden's (and by extension, the player's) diminished sense of reality, and that what you perceive may not be what is truly reality.

Ted Dekker's Circle Series protagonist wakes up in an alternate reality every time he goes to sleep.

In the ninth episode of the fourth series of the science fiction television series Doctor Who, "Forest of the Dead", the Doctor's companion Donna is "saved" into the Library's hardrive and begins to live out an imaginary and fake reality; she is unaware that the reality she is living in an illusion until a disfigured woman who had been killed in the "real" world and respectively submitted into the hard drive convinces her that her life is not real.

See also

Consensus reality
Evil demon
False awakening
Maya (illusion)
Meta-universe
Reality in Buddhism
Simulated reality
Social simulation
Solipsism
Notes[edit]Jump up ^ , 12. Zhu;ngzi, "Discussion on making all things equal," 12. from Zhu;ngzi, Burton Watson trans., Chuang Tzu (New York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8 [1]
Jump up ^ Ch;gyal Namkhai Norbu Dream Yoga And The Practice Of Natural Light Edited and introduced by Michael Katz, Snow Lion Publications, Ithaca, NY, ISBN 1;55939;007;7, pp. 42, 46, 48, 96, 105.
Jump up ^ Joseph Barbera, Henry Moller, Dreaming, Virtual Reality, and Presence.
Jump up ^ Giuliana A. L. Mazzoni and Elizabeth F. Loftus, When Dreams Become Reality.
Jump up ^ Ren; Descartes, Meditations on First Philosophy.
References[edit]Ballantyne, Nathan; Evans, Ian (2010). "Sosa's Dream". Philosophical Studies 148 (2): 249–252. doi:10.1007/s11098-008-9309-y. 
Ichikawa, Jonathan (2008). "Skepticism and the Imagination Model of Dreaming". The Philosophical Quarterly 58 (232): 519–527. doi:10.1111/j.1467-9213.2007.546.x. 
Sosa, Ernest (2007). A Virtue Epistemology: Apt Belief and Reflective Knowledge. New York: Oxford University Press. ISBN 978-0-19-929702-3. 
Stone, Jim (1984). "Dreaming and Certainty". Philosophical Studies 45 (3): 353–368. doi:10.1007/BF00355443. 
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***

Zhuang Zhou

From Wikipedia, the free encyclopedia
This article is about the Chinese philosopher. For his work, see Zhuangzi (book).
Zhuangzi
Zhuang Zhou 
 
Born 369 BC
Died 286 BC (aged 83)
 
Era Ancient philosophy
Region Chinese philosophy
Influences 
Zhou Era Chinese thought: Confucius, Laozi, Mozi, Hui Shi, Yang Zhu
 
Influenced 

Daoism, Chinese Buddhism, Zen, and other East Asian philosophies
 
 
Zhuang Zhou, often known as Zhuangzi ("Master Zhuang")[1] was an influential Chinese philosopher who lived around the 4th century BC during the Warring States period, a period corresponding to the summit of Chinese philosophy, the Hundred Schools of Thought. He is credited with writing—in part or in whole—a work known by his name, the Zhuangzi, which expresses a philosophy which is skeptical, arguing that life is limited and knowledge to be gained is unlimited. As a Daoist philosopher, some claim his writings reflect a form of Western relativism,[citation needed] while others question this revisionist interpretation.[2]

Life

The only account of the life of Zhuangzi is a brief sketch in chapter 63 of Sima Qian's Records of the Grand Historian, where he is described as a minor official from the town of Meng (in modern Anhui) in the state of Song, living in the time of King Hui of Liang and King Xuan of Qi (late 4th century BC).[3] Sima Qian writes:

Chuang-Tze had made himself well acquainted with all the literature of his time, but preferred the views of Lao-Tze; and ranked himself among his followers, so that of the more than ten myriads of characters contained in his published writings the greater part are occupied with metaphorical illustrations of Lao's doctrines. He made "The Old Fisherman," "The Robber Chih," and "The Cutting open Satchels," to satirize and expose the disciples of Confucius, and clearly exhibit the sentiments of Lao. Such names and characters as "Wei-lei Hsu" and "Khang-sang Tze" are fictitious, and the pieces where they occur are not to be understood as narratives of real events.
But Chuang was an admirable writer and skillful composer, and by his instances and truthful descriptions hit and exposed the Mohists and Literati. The ablest scholars of his day could not escape his satire nor reply to it, while he allowed and enjoyed himself with his sparkling, dashing style; and thus it was that the greatest men, even kings and princes, could not use him for their purposes.
King Wei of Chu, having heard of the ability of Chuang Chau, sent messengers with large gifts to bring him to his court, and promising also that he would make him his chief minister. Chuang-Tze, however, only laughed and said to them, "A thousand ounces of silver are a great gain to me; and to be a high noble and minister is a most honorable position. But have you not seen the victim-ox for the border sacrifice? It is carefully fed for several years, and robed with rich embroidery that it may be fit to enter the Grand Temple. When the time comes for it to do so, it would prefer to be a little pig, but it can not get to be so. Go away quickly, and do not soil me with your presence. I had rather amuse and enjoy myself in the midst of a filthy ditch than be subject to the rules and restrictions in the court of a sovereign. I have determined never to take office, but prefer the enjoyment of my own free will."[4]
The validity of his existence has been questioned by some, including himself (see below) and Russell Kirkland, who writes:

According to modern understandings of Chinese tradition, the text known as the Chuang-tzu was the production of a 'Taoist' thinker of ancient China named Chuang Chou/Zhuang Zhou. In reality, it was nothing of the sort. The Chuang-tzu known to us today was the production of a thinker of the third century CE named Kuo Hsiang. Though Kuo was long called merely a 'commentator,' he was in reality much more: he arranged the texts and compiled the present 33-chapter edition. Regarding the identity of the original person named Chuang Chou/Zhuangzi, there is no reliable historical data at all.[5]

However, Sima Qian's biography of Zhuangzi pre-dates Guo Xiang (Kuo Hsiang) by centuries. Furthermore, the Han Shu "Yiwenzhi" (Monograph on literature) lists a text Zhuangzi, showing that a text with this title existed no later than the early 1st century CE, again pre-dating Guo Xiang by centuries.

Writing
Main article: Zhuangzi (book)

Zhuangzi is traditionally credited as the author of at least part of the work bearing his name, the Zhuangzi. This work, in its current shape consisting of 33 chapters, is traditionally divided into three parts: the first, known as the "Inner Chapters", consists of the first seven chapters; the second, known as the "Outer Chapters", consist of the next 15 chapters; the last, known as the "Mixed Chapters", consist of the remaining 11 chapters. The meaning of these three names is disputed: according to Guo Xiang, the "Inner Chapters" were written by Zhuangzi, the "Outer Chapters" written by his disciples, and the "Mixed Chapters" by other hands; the other interpretation is that the names refer to the origin of the titles of the chapters—the "Inner Chapters" take their titles from phrases inside the chapter, the "Outer Chapters" from the opening words of the chapters, and the "Mixed Chapters" from a mixture of these two sources.

Further study of the text does not provide a clear choice between these alternatives. On the one side, as Martin Palmer points out in the introduction to his translation, two of the three chapters Sima Qian cited in his biography of Zhuangzi, come from the "Outer Chapters" and the third from the "Mixed Chapters". "Neither of these are allowed as authentic Chuang Tzu chapters by certain purists, yet they breathe the very spirit of Chuang Tzu just as much as, for example, the famous 'butterfly passage' of chapter 2."[6]

On the other hand, chapter 33 has been often considered as intrusive, being a survey of the major movements during the "Hundred Schools of Thought" with an emphasis on the philosophy of Hui Shi. Further, A.C. Graham and other critics have subjected the text to a stylistic analysis and identified four strains of thought in the book: a) the ideas of Zhuangzi or his disciples; b) a "primitivist" strain of thinking similar to Laozi; c) a strain very strongly represented in chapters 8-11 which is attributed to the philosophy of Yang Chu; and d) a fourth strain which may be related to the philosophical school of Huang-Lao.[7] In this spirit, Martin Palmer wrote that "trying to read Chuang Tzu sequentially is a mistake. The text is a collection, not a developing argument."[8]

Zhuangzi was renowned for his brilliant wordplay and use of parables to convey messages. His critiques of Confucian society and historical figures are humorous and at times ironic.

Zhuangzi's philosophy

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In general, Zhuangzi's philosophy is skeptical, arguing that life is limited and knowledge to be gained is unlimited. To use the limited to pursue the unlimited, he said, was foolish. Our language and cognition in general presuppose a dao to which each of us is committed by our separate past—our paths. Consequently, we should be aware that our most carefully considered conclusions might seem misguided had we experienced a different past. Zhuangzi argues that in addition to experience, our natural dispositions are combined with acquired ones—including dispositions to use names of things, to approve/disapprove based on those names and to act in accordance to the embodied standards. Thinking about and choosing our next step down our dao or path is conditioned by this unique set of natural acquisitions.

Zhuangzi's thought can also be considered a precursor of relativism in systems of value. His relativism even leads him to doubt the basis of pragmatic arguments (that a good course of action preserves our lives) since this presupposes that life is good and death bad. In the fourth section of "The Great Happiness" (zh;l;, chapter 18), Zhuangzi expresses pity to a skull he sees lying at the side of the road. Zhuangzi laments that the skull is now dead, but the skull retorts, "How do you know it's bad to be dead?"

Another example about two famous courtesans points out that there is no universally objective standard for beauty. This is taken from Chapter 2 ( "On Arranging Things", or "Discussion of Setting Things Right" or, in Burton Watson's translation, "Discussion on Making All Things Equal".

Men claim that Mao [Qiang] and Lady Li were beautiful, but if fish saw them they would dive to the bottom of the stream; if birds saw them they would fly away, and if deer saw them they would break into a run. Of these four, who knows how to fix the standard of beauty in the world? (2, tr. Watson 1968:46)

However, this subjectivism is balanced by a kind of sensitive holism in the famous section called "The Happiness of Fish" .

Zhuangzi and Huizi were strolling along the dam of the Hao Waterfall when Zhuangzi said, "See how the minnows come out and dart around where they please! That's what fish really enjoy!"

Huizi said, "You're not a fish — how do you know what fish enjoy?"

Zhuangzi said, "You're not me, so how do you know I don't know what fish enjoy?"

Huizi said, "I'm not you, so I certainly don't know what you know. On the other hand, you're certainly not a fish — so that still proves you don't know what fish enjoy!"

Zhuangzi said, "Let's go back to your original question, please. You asked me how I know what fish enjoy — so you already knew I knew it when you asked the question. I know it by standing here beside the Hao." (17, tr. Watson 1968:188-9, romanization changed to pinyin)

The traditional interpretation of this "Daoist staple", writes Chad Hansen (2003:145), is a "humorous miscommunication between a mystic and a logician". The encounter also outlines part of the Daoist practice of observing and learning from the natural world.

Anarchism

Zhuangzi said the world "does not need governing; in fact it should not be governed," and, "Good order results spontaneously when things are let alone." Murray Rothbard called him "perhaps the world's first anarchist".[9]

Ecology

In Chapter 2, Zhuangzi outlines concepts describing the interdependence of things in a way that foreshadows modern ecological thinking. As is typical in Daoism, the emphasis is on the interdependence of opposing concepts, and in Zhaungzi's distinctive style this point is pushed to absurdity:

There is no thing that is not that; there is no thing that is not this. That doesn't see itself as that. Self-knowledge precedes knowing others. So it's said, "That arises out of this, but this is also caused by exactly that. This is the theory that this and that are born together." And although this is true enough, where there's birth, there's death; where there's death, birth. Where there's a possible, there is the impossible; with the impossible, the possible. Cause right and you cause wrong; cause wrong, cause right. Right? So be it.[10]
See also

Dream argument
Liezi
Tao Te Ching

***

Monarch Programming

Although there has never been any official admittance of the existence  of Monarch programming, prominent researchers have documented the systematic use of trauma on subjects for mind-control purposes. Some survivors, with the help of dedicated therapists, were able to “deprogram” themselves to then go on record and disclose the horrifying details of their ordeals.

Monarch slaves are mainly used by organizations to carry out operations using patsies trained to perform specific tasks, who do not question orders, who do not remember their actions and, if discovered, who automatically commit suicide. They are the perfect scapegoats for high-profile assassinations (see Sirhan Sirhan), the ideal candidates for prostitution, slavery and private movie productions. They are also the perfect puppet performers for the entertainment industry.

“What I can say is I now believe that ritual-abuse programming is widespread, is systematic, is very organized from highly esoteric information which is published no-where, has not been on any book or talk show, that we have found it all around this country and at least one foreign country.

People say, “What’s the purpose of it?” My best guess is that the purpose of it is that they want an army of Manchurian Candidates, ten of thousands of mental robots who will do prostitution, do movies, smuggle narcotics, engage in international arms smuggling, all sorts of very lucrative things, and do their bidding and eventually the megalomaniacs at the top believe they’ll create a Satanic Order that will rule the world”. 4

Monarch programmers cause intense trauma to subjects through the use of electroshock, torture, abuse and mind games in order to force them to dissociate from reality – a natural response in  some people when then are faced with unbearable pain. The subject’s ability to dissociate is a major requirement and it is ,apparently, most readily found in children that come from families with multiple generations of abuse. Mental dissociation enables the handlers to create walled-off personas in the subject’s psyche, which can then be programmed and triggered at will.

“Trauma-based mind control programming can be defined as systematic torture that blocks the victim’s capacity for conscious processing (through pain, terror, drugs, illusion, sensory deprivation, sensory over-stimulation, oxygen deprivation, cold, heat, spinning, brain stimulation, and often, near-death), and then employs suggestion and/or classical and operant conditioning (consistent with well-established behavioral modification principles) to implant thoughts, directives, and perceptions in the unconscious mind, often in newly-formed trauma-induced dissociated identities, that force the victim to do, feel, think, or perceive things for the purposes of the programmer. The objective is for the victim to follow directives with no conscious awareness, including execution of acts in clear violation of the victim’s moral principles, spiritual convictions, and volition.

Installation of mind control programming relies on the victim’s capacity to dissociate, which permits the creation of new walled-off personalities to “hold” and “hide” programming. Already dissociative children are prime “candidates” for programming”. 5

Monarch mind control is covertly used by various groups and organizations for various purposes. According to Fritz Springmeier, these groups are known as “The Network” and form the backbone of the New World Order.

Origins of the Name
Monarch mind control is named after the Monarch butterfly – an insect who begins its life as a worm (representing undeveloped potential) and, after a period of cocooning (programming) is reborn as a beautiful butterflies (the Monarch slave). Some characteristics specific to the Monarch butterfly are also applicable to mind control.

“One of the primary reasons that the Monarch mind-control programming was named Monarch programming was because of the Monarch butterfly. The Monarch butterfly learns where it was born (its roots) and it passes this knowledge via genetics on to its offspring (from generation to generation). This was one of the key animals that tipped scientists off, that knowledge can be passed genetically. The Monarch program is based upon Illuminati and Nazi goals to create a Master race in part through genetics. If knowledge can be passed genetically (which it is), then it is important that parents be found that can pass the correct knowledge onto those victims selected for the Monarch mind control.” 6

“When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique.” 7

Method
The victim/survivor is called a “slave” by the programmer/handler, who in turn is perceived as “master” or “god.” About 75% are female, since they possess a higher tolerance for pain and tend to dissociate more easily than males. Monarch handlers seek the compartmentalization of their subject’s psyche in multiple and separate alter personas using trauma to cause dissociation.

The following is a partial list of these forms of torture:

1. Abuse and torture

2. Confinement in boxes, cages, coffins, etc, or burial (often with an opening or air-tube for oxygen)

3. Restraint with ropes, chains, cuffs, etc.

4. Near-drowning

5. Extremes of heat and cold, including submersion in ice water and burning chemicals

6. Skinning (only top layers of the skin are removed in victims intended to survive)

7. Spinning

8. Blinding light

9. Electric shock

10. Forced ingestion of offensive body fluids and matter, such as blood, urine, feces, flesh, etc.

11. Hung in painful positions or upside down

12. Hunger and thirst

13. Sleep deprivation

14 Compression with weights and devices

15. Sensory deprivation

16. Drugs to create illusion, confusion, and amnesia, often given by injection or intravenously

17. Ingestion or intravenous toxic chemicals to create pain or illness, including chemotherapy agents

18. Limbs pulled or dislocated

19. Application of snakes, spiders, maggots, rats, and other animals to induce fear and disgust

20. Near-death experiences, commonly asphyxiation by choking or drowning, with immediate resuscitation

22. Forced to perform or witness abuse, torture and sacrifice of people and animals, usually with knives

23. Forced participation in slavery

24. Abuse to become pregnant; the fetus is then aborted for ritual use, or the baby is taken for sacrifice or enslavement

25. Spiritual abuse to cause victim to feel possessed, harassed, and controlled internally by spirits or demons

26. Desecration of Judeo-Christian beliefs and forms of worship; dedication to Satan or other deities

27. Abuse and illusion to convince victims that God is evil, such as convincing a child that God has abused her

28. Surgery to torture, experiment, or cause the perception of physical or spiritual bombs or implants

29. Harm or threats of harm to family, friends, loved ones, pets, and other victims, to force compliance

30. Use of illusion and virtual reality to confuse and create non-credible disclosure 8

“The basis for the success of the Monarch mind-control programming is that different personalities or personality parts called alters can be created who do not know each other, but who can take the body at different times. The amnesia walls that are built by traumas, form a protective shield of secrecy that protects the abusers from being found out, and prevents the front personalities who hold the body much of the time to know how their System of alters is being used. The shield of secrecy allows cult members to live and work around other people and remain totally undetected. The front alters can be wonderful Christians, and the deeper alters can be the worst type of Satanic monster imaginable–a Dr. Jekyll/Mr. Hyde effect. A great deal is at stake in maintaining the secrecy of the intelligence agency or the occult group which is controlling the slave. The success rate of this type of programming is high but when it fails, the failures are discarded through death. Each trauma and torture serves a purpose. A great deal of experimentation and research went into finding out what can and can’t be done. Charts were made showing how much torture a given body weight at a given age can handle without death.” 9

“Due to the severe trauma induced through ECT, abuse and other methods, the mind splits off into alternate personalities from the core. Formerly referred to as Multiple Personality Disorder, it is presently recognized as Dissociative Identity Disorder and is the basis for MONARCH programming. Further conditioning of the victim’s mind is enhanced through hypnotism, double-bind coercion, pleasure-pain reversals, food, water, sleep and sensory deprivation, along with various drugs which alter certain cerebral functions”. 10

Dissociation is thus achieved by traumatizing the subject, using systematic abuse and using terrifying occult rituals. Once a split in the core personality occurs, an “internal world” can be created and alter personas can be programmed using tools such as music, movies (especially Disney productions) and fairy tales. These visual and audio aids enhance the programming process using images, symbols, meanings and concepts. Created alters can then be accessed using trigger words or symbols programmed into the subject’s psyche by the handler. Some of the most common internal images seen by mind control slaves are trees, Cabalistic Tree of life, infinity loops, ancient symbols and letters, spider webs, mirrors, glass shattering, masks, castles, mazes, demons, butterflies, hour glasses, clocks and robots. These symbols are commonly inserted in popular culture movies and videos for two reasons: to desensitize the majority of the population, using subliminals and neuro-linguistic programming and to deliberately construct specific triggers and keys for base programming of highly-impressionable MONARCH children. 11 Some of the movies used in Monarch programming include The Wizard of Oz, Alice in Wonderland, Pinocchio and Sleeping Beauty .


The movie The Wizard of Oz is used by Monarch handlers to program their slaves. Symbols and meanings in the movie become triggers in the slave’s mind enabling easy access to the slave’s mind by the handler. In popular culture, veiled references to Monarch programming often use analogies to The Wizard of Oz and Alice in Wonderland.

In each case, the slave is given a particular interpretation of the movie’s storyline in order to enhance programming. For example, a slave watching The Wizard of Oz is taught that “somewhere over the rainbow” is the “happy place” dissociative trauma slaves must go to in order to escape the unbearable pain being inflicted upon them. Using the movie, programmers encourage slaves to go “over the rainbow” and dissociate, effectively separating their minds from their bodies.

“As mentioned before, the hypnotist will find children easier to hypnotize if they know how to do it with small children. One method that is effective is to say to the small children, “Imagine you are watching a favorite television show.” This is why the Disney movies and the other shows are so important to the programmers. They are the perfect hypnotic tool to get the child’s mind to dissociate in the right direction. The programmers have been using movies since almost day one to help children learn the hypnotic scripts. For children they need to be part of the hypnotic process. If the hypnotist allows the child to make up his own imagery, the hypnotic suggestions will be stronger. Rather than telling the child the color of a dog, the programmer can ask the child. This is where the books and films shown the child assist in steering its mind in the right direction. If the hypnotist talks to a child, he must take extra precaution not to change the tone of his voice and to have smooth transitions. Most of the Disney films are used for programming purposes. Some of them are specifically designed for mind-control.” 12