I have a new book about to be published this November titled, Orion’s Door: Symbols of Consciousness & Blueprints of Control – The Story of Orion’s Influence Over Humanity. One of the themes running throughout the book relates to ‘cyborgs’, ‘artificial intelligence’ and what most call ‘alien life’. In this post, I am going to highlight a few snippets from the book and illustrate some of the connections to the current ‘dystopian movie-like’ scenario we find ourselves today.
Masks and Robots
The word ‘robot’ was introduced to the public by Czech interwar writer Karel Apek in his play R.U.R. (Rossum’s Universal Robots), published in 1920.1 But the word ‘robot’ itself was not new, existing in the Slavic language as ’robota’ (forced labourer), a term used to classify peasants obligated to ’compulsory service’ under a feudal system. It certianly feels as though we are entering a futuristic ‘master and serf’ society at the moment. The mask and robots have recently merged, too. As face coverings become the madated ‘new norm’ amid the coronavirus pandemic, Japanese startup Donut Robotics developed an internet-connected ‘smart mask’ that can transmit messages and translate from Japanese into eight other languages.2 As I show in the book, there are numerous connections to ancient-future gods, technology and the coming ‘AI controlled’ global Cyber-Grid Empire.
The word ‘mask’ seems to have appeared in English in the 1530s, from Middle French ‘masque’ (a covering to hide, or guard the face), derived in turn from Italian ‘maschera’, from Medieval Latin masca ‘mask, ‘spectre’ or ‘nightmare’. The oldest masks discovered are roughly 9000 years old, at the Musée ‘Bible et Terre Sainte’ in Paris, and the Israel Museum in Jerusalem. The mask also comes from Ancient Greek Bacchanalia and the Dionysus cults; it relates to ‘controls on behaviour’ being temporarily suspended, as ‘something else’ comes through the wearer to cavort; often causing mayhem. Have you been ‘challenged’ in a shop, supermarket or on public transport yet by the robot-like, mask wearing member of the Orwellian thought police? I have, and I have kindly told whoever to mind their own business. The mask is also symbolic of a ‘face without a body’, or a ‘head without a body’, often called the ‘faceless one’, or ‘Little Face’. All of this relates to Orion symbolism, as I show in great detail in the book. The Lone Ranger figure made popular as the fictional masked, former Texas Ranger who fought outlaws in the American Old West (with his Native American friend, Tonto) is another classic Orion archetype. Simillar concepts can be found in the American and UK Masked Singer – reality singing competition television series (part of the original South Korean Masked Singer by Munhwa Broadcasting Corporation franchise) see figure.
It was no surprise to see the word ‘Orion’ used in a movie called The Man Who Would Be King (2015). A film that tells the story of Jimmy Ellis – an unknown ‘masked’ singer plucked from obscurity and thrust into the spotlight as part of a crazy scheme that has him masquerade as Elvis, returned from the grave (see figure). The King, Queen, Empress or Emperor, etc., are all Orion archetypes related to empire building on Earth .
The use of carnivalesque masks in Jewish Purim festivities of the late 15th century also seem to have been part of Judaic tradition, and connected to the Orion archetype, Kesil Horeth (see Orion’s Door). Elsewhere, North American Iroquois tribes also used masks for healing purposes and in the Tibetan culture, masks functioned above all as mediators of supernatural forces.3 The Mayan bat God, Camazotz, which translates to either ‘death bat’ or ‘snatch bat’ relates to mediators of dark, supernatural forces connected to what the Mayans’ (in the Popol Vuh) referred to as, Xibalba, which is in Orion. The use of bat symbols concerning ‘dark forces’ operating from the shadows is common, see the ‘official’ narrative for the ‘origins’ of Covid-19. The archetypal Batman figure in movies like Dark Knight Rises (2012), which features the ‘masked’ villain, Bane, also seems to be symbolic of billionaire Cult operatives (see psycopaths like Bill Gates) and otherworldly forces behind the global problems we are currently enduring (see figure).
The psycopaths creating ‘malevolent’, dark, global problems we endure (which seems to be nothing but Covid at the moment) can be summed up in one image below.
Robots, or mask wearing gods/goddesses and technology are not entirely Science fiction, the concepts go back to the ancient world and can even be found in the Middle Ages, from Iron Maidens, to the technological inventions by fifteenth-century Venetian physician, engineer, and alleged ‘magus’, Johannes de Fontana (1395-1455). Author, Adrienne Mayor, in her book, Gods and Robots: Myths, Machines and Ancient Dreams of Technology (2018), even suggests that robots (like the goddess Pandora) lived amongst the gods of the ancient world.
Opening Pandora’s Box
It is said in Greek myth, after humans received the stolen gift of fire (knowledge of technology) from Prometheus, an angry Zeus decided to give humanity a ‘punishing gift’ to compensate for the knowledge brought by Prometheus. Zeus commands Hephaestus (the god of fire and technology) to mould from earth the first woman, a ‘beautiful evil’, whose descendants would torment the human race for millennia. After Hephaestus creates this beautiful figure, the goddess Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver stars. As I mentioned in my previous blog, the crown relates to the ‘corona’ and the the ‘Keter’ in the Kabbalah, which connects to a higher state of awareness and therefore our ability to become conscious, or truly aware of our spirit.
The mysterious ‘synthetic’ woman created by Hephaestus remains unnamed in Hesiod’s poem, Theogony (c. 8th–7th century BC), but is presumably ‘Pandora’, whose myth Hesiod revisited in Works and Days in the same century.
The Ancient Greek Pandora is nothing like the Pandora in the American science fiction television series, of the same name that aired in 2019; the ancient Greek Pandora was ‘totally’ artificial. She had a key position on the Acropolis in Athens, with a massive line-up of gods and goddesses on either side of her. Pandora was eventually brought to earth by Hermes (Mercury), according to the myths; her jar, or ‘pythos’, was thought to be made of metal (possibly bronze) and considered unbreakable. Pandora’s jar (mistranslated as a box) probably contained both benevolent and malevolent ‘non-physical’ life forces, possibly the Jinn, likely where the notion of the genie in the bottle originates. Fate, duality and hope were also said to be contained within Pandora’s jar but the releasing of these forces created pain and suffering on humanity. The Gnostics, as I have mentioned in other blogs and talks, called these non-physical forms, ‘chaos’, the home of the Archons, demons and the ‘ghosts in the shell’ that still haunt human life. Another story is the ancient myth of ‘Pygmalion’ and his love for a nude, ivory statue of his own making, probably the first ancient ‘adult doll’. The amount of female celebrities (singers) adorning robot imagery gives credence to the theme of robot (artificial intelligence) controlling the elite, too. Beyoncé, Kylie Minogue, Christina Aguilera, Lady Gaga to name just a few have flaunted the Pandora-Maschinenmensch look (see figure).
When Pandora first appears before gods and mortals, it is said ‘wonder seized them’ as they looked upon her. But she was ‘sheer guile, not to be withstood by men’. Hesiod elaborates (590–93):
From her is the race of women and female kind: of her is the deadly race [of robots] and tribe of women who live amongst mortal men to their great trouble, no helpmates in hateful poverty, but only in wealth.
Of course, Hesiod is limited by the perceptions of his time, referring to an ‘artificial life force’ that supposedly ‘animated’ Pandora and her kind. The concept of the Jewish Golem, an animated stone, or clay manikin is similar in concept. One ancient story concerns the bringing-to-life of inanimate objects by fiat. At the time of the great deluge, Deucalion (Noah) and his wife, Pyrrha (Naamah), would toss rocks over their heads that turned into men and women. So are the concepts found in Goethe’s play, Faust and his homunculus (a fully formed ‘replicated’ individual). So are the 14th century Kabbalistic teachings of Rabbi Loew on how God created Adam (Orion).4 Was Hesiod referring to a ‘race of robots’? We cannot know for sure but Pandora is clearly depicted as a classic ‘kore’, a Greek statue of a young woman (maiden), standing and clothed in long robes, with an unusual ‘Stepford Wife-like’ stare (see figure).
Like the original 1972 movie The Stepford Wives, there is a ‘gentlemen’s club’ (the Cabal) working ‘behind the scenes’ creating the fawning, submissive, impossibly beautiful ‘android wives’. There are so many movies and TV series in recent years that have pursued themes relating to future human life-like androids populating the world, from HSBO’s Westworld (2016), to the Channel 4 and Kudos production Humans (2015-2019). The synthetic humans in Humans are identified by enhancing the ‘eyes’ only.
The third series of Westworld actually has a ‘Transformer-like’ robot in the plot which makes me wonder if there is more to know about such sentient machines. Interestingly, the original Westworld (1973) poster featuring Yul Brynner’s half exposed robot face offers a visual connection to the obsession with ‘mandatory mask wearing’ across the world because of the coronavirus pandemic (see figure). I go into the Transformer subject in more depth in Orion’s Door.
Only the logic of fear can be applied to compulsory ‘mask-wearing’, which came into effect in the UK at the time of writing. You have to ask, if it is crucial to wear a mask, then why was it not made mandatory at the beginning of the ‘Lockdown’ in March 2020, or in June when the population were taking Boris Johnson’s confusing ‘baby steps’ back to normality? As many are starting to realise, the Covid-19 pandemic is more about mind control and has nothing to do with a ‘disappearing’ coronavirus, if there was a deadly virus at all? At the time of writing, 95% of the world’s population lives in countries that require or ‘recommend’ mask wearing (including China, the USA, Germany, Russia, South Korea, Brazil, India, and France). What happened and why did this all change so rapidly, especially after the ‘curve’ was flattened from May onwards? Total propaganda happened. In March, a group of researchers and scientists started #Masks4All after realising (yeah, right!) that there was clear scientific evidence showing that ‘cloth’ masks limit the spread of Covid-19.5 Again, its all propaganda! The personnel fronting Masks4All include an Australian ‘data scientist’ and ‘entrepreneur’, Jeremy Howard, who is ‘connected’ to the World Economic Forum (WEF), a 1% (elite) front for the Cabal (Cult). There is an agenda beyond ‘stopping the so-called virus’ for mandatory wearing of masks, etc., which is clearly about ‘eradicating’ what we considered ‘normal’ before March 2020. Hence the constant use of the phrase in the media, ‘The New Normal’. You’d be forgiven for thinking the whole Covid Circus was a ‘psyop’ designed to alter behavioural patterns of nations. Look around, we are becoming ‘robot-like’ (see figure).
It’s time for people to get informed, debate politely with anyone who attempts to enforce such insanity. Adverse health issues, caused by the constant wearing of masks, will have huge repercussions on the populace, as many medical experts are now saying. Covering the mouth and nose is akin to denying ourselves the ‘breath of life’, which is a crucial symbol or statement that the psycohpaths want to reinforce. Our breath is our soul, our spirit; therefore, forced mask wearing is an attempt to deny our true spirit.
At the time of the coronavirus outbreak a leading Chinese AI firm, SenseTime, were enabling contactless temperature detection software deployed across underground stations, schools and community centres in Beijing, Shanghai and Shenzhen. The technology used can recognise faces, even if they are wearing masks, with a relatively high degree of accuracy. Another Chinese AI firm, Megvii, boasts a similar temperature detection product, deployed in Beijing at the time of the coronavirus outbreak. The Chinese newspaper, Global Times, reported in 2020 that officials in Chengdu city, Sichuan province, had been issued with ‘smart helmets’ that could measure the temperature of anyone within a 5m radius, sounding an alarm if they were found to have a fever. The world is being moved into an AI dystopian society where those who control the Cyber-Grid Empire will control everyone on earth. China is the model for such massive surveillance and control and it’s coming to us all unless we wake up fast!
What next? The Handmaid’s Tale? We are been forced to wear mouth covers (muzzles) just as the handmaid’s mouths were forced shut by ring piercings in that dystopian narrative. It seems, tyranny-in-the-making has never been so fashionable for some folk.
Cyborg Queens – Controlling the Hive Mind
The Maschinenmensch (German for ‘robot’ or literally ‘machine-person’) is a fictional character in Fritz Lang’s film Metropolis (1927), played by German actress Brigitte Helm, in both its robot form and human incarnation (see figure). In the movie, she is a gynoid (a female robot or android) created by the scientist, Rotwang. Named Maria in the film, and ‘Futura’ in Thea von Harbou’s original novel Metropolis (1925), she was one of the first robots ever depicted in cinema.
The Maschinenmensch has been given several names through the decades: Parody, Ultima, Machina, Futura, Robotrix, False Maria, Robot Maria, Roboria and ‘Hel’ (from where the word ‘Hell’ originates). Maschinenmensch and Metropolis, symbolic of Pandora’s presence over her otherworldly jar, uses conceit, creating a reality where workers (worker bees) live below the ground. In contrast, the aristocracy live in skyscrapers high above the worker slaves of ‘Metropolis’. Pandora and Maschinenmensch are the ‘fallen Eve’, revealed to the world as the robot Sophia, a citizen of Saudi Arabia in 2017 (see figure). Similar themes can be seen in the 2014 movie, Ex Machina. The American Cyberpunk action film based on the 1990s Japanese manga series, Alita Battle Angel, seemed to connect all the dots in terms of symbolism and themes relating to human cyborgs. Produced by Jon Landau and James Cameron, the movie depicts another ‘fallen’ Eve/Sophia figure who emerges from the wreckage of one world to become a beacon in a new ‘tyrannical world’, ruled over by an unseen technological dictatorship and policed by cyborg serial killers. The word ‘Elita’, in Latin, means ‘chosen one’ and in Hebrew means ‘high above’ or ‘most excellent’.
In the American science fiction franchise Star Trek, the ‘Orions’, also known as the ‘Orion Syndicate’ (a fictional extraterrestrial humanoid species) made their first appearance in the original TV pilot series Star Trek: The Cage (1965). In this episode, the USS Enterprise, under the command of Captain Christopher Pike (not Kirk), receives a radio distress call from the fourth planet in the ‘Talos’ star group, Talos IV from whence the ‘Talosians’ originate. The use of the word ‘Talos’ again hints at the exoskeleton, Tactical Assault Light Operator Suits, otherwise known as ‘TALOS’, being built by the US military (see figure). There is much more to the symbolism relating to the Greek god, Talos, Knights (living armour) and the ancient race of gaints, which is covered in my book.
More engagingly is the portrayal of Orion females in these episodes of Star Trek. They are often Osiris (Orion) green and renowned for their use of pheromones to influence men sexually, so to ‘distract’, and in this scenario, used for an attempted theft of the starship Enterprise. You could say they are ‘Pandora-like’ in their approach. The Talosians are portrayed as a subterranean race of humanoids with bulbous heads that use ‘technology’.
They are described as sentient humanoid natives, who over 100,000 years ago, fought a nuclear war, leaving most of the planet’s surface uninhabitable – a common theme in many movies since 2010. Living under the surface of their planet, the Talosians developed powerful psychic abilities, able to create illusory realities through the use of memories. The Talosians also seem to appear as part human, part-grey, part reptilian in appearance and I am certain the Grey alien is a ‘hive mind’ species, connected to the Zeta Reticuli star system and Rigel in Orion. Orion women have also been portrayed in the movies Star Trek (2009) and Star Trek Into Darkness (2013), where one is seen seducing Captain Kirk. The Pandora aspect of these fictional characters is obviously hinting at the power of ‘sex magic’ and also the mesmerising allure of such otherworldly creatures. I’ve met a few in my time and you have to wonder how many males and females we encounter who are not under the influence of some kind of mind control. The Orion’s in these science fiction narratives operate a mafia-style syndicate (in space) where aliens are ‘trafficked’ and Orion women/girls are seen as (sex) slaves (see figure).
The Orion girl slave image is popular amongst the bizarre Japanese Cosplay characters. Such topics seen in these science fiction scripts makes me wonder if they are inspired by the very real, and utterly vile, global sex trafficking activities that have come to the surface in recent years. The late Jeffrey Epstein story of underground facilities (dungeons) on Little St. James in the Caribbean is one such story of such vile activities.6 Male Orions also made their first appearance in the Star Trek: (the Animated Series) episode The Pirates of Orion (1974), but did not appear in live action until the Star Trek: Enterprise episode, Borderland, which also featured female Orions. I feel that the so-called ‘Orion Federation’ talked about in numerous books and channelled texts is an actual empire very similar to the Galactic Empire seen in George Lucas’ Star Wars movies. Orion’s stars could be home to a vast array of alien species and I am convinced that sentient mechanical beings are part of that mix of alien life, along with other human types including reptilian-greys. The movie Jupiter Ascending (2014) gives a fictional peek into the vast array of alien lifeforms operating through a hive mind hierarchical structure affecting other planets, including earth. Ridley Scott’s Prometheus (2012), the Alien prequel, includes the android, ‘David 8’, who is responsible for unleashing the ‘Alien’ species on humanity. The symbolism around the biblical figure, David, is hugely relevant to the bloodlines connected to the giants, are also covered in the book.
AI Controlled Borgs
The plan to turn humans into AI-controlled cyborgs has been symbolised many times in science fiction movies and television series, and few more accurately than Star Trek and its concept of the ‘Borg’. These are portrayed as a ‘collective species’ – part biological, part technological – that have been ‘turned’ into cybernetic organisms functioning as drones within a hive mind called the ‘Collective’, or the ‘Hive’. The Nefilim, Watchers, Reptilians, Greys and others Archontically-controlled are also a ‘hive’ species. The Borg are portrayed as emotionless drones, malevolent just like the Gnostic Archon entities; all are coordinated by a ‘Borg Queen’ in the way a queen bee controls a hive.
Similiar themes appeared in the movie The Great Wall (2016), where a collective reptilian species called the ‘Tao Tei’, all controlled by a Queen that had come to earth in ancient times, directs her hoard to feed off humanity. The aliens and their hybrids (like the Greys and Reptilians, found in so many books and literature) are said to have a similar structure based on a Queen. Therefore, would it be too much of a stretch of the imagination to think of the archetypal alien ‘Queen’ as pure artificial intelligence? Are we being manipulated by a technological species that is also using other alien species to create a technological prison on earth? Cyborg Orions, as I call them are also epitomized in the I Robot movie (2004) which shows ‘VIKI’ (Virtual Interactive Kinetic Intelligence) as the central ‘Queen intelligence’ controling all of the robots. She makes Google’s Alexa look like an Abacus compared to a Cell Phone. The Alexa-like cyborg world is where we are going in the not-too-far distant future. ‘Skynet’ is waiting unless we become conscious and awakened to our true state. When the likes of Bill Gates, likens AI to “simply better software”, then we all need to be worried. Especially in relation to autonomous weapons systems controlled by AI.
The key to understanding alien life is to look at the devices we are now using and if you’re of my generation, when there was no digital world, no Wi-Fi interference or none of this ‘other’ intelligence, the world felt very different. All of this technology has come from ‘somewhere’ – it hasn’t just evolved. Humans haven’t decided that they’re suddenly going to build robots that are artificially intelligent, this is not a ‘natural’ evolution for humanity. As I am hinting at here, we’re dealing with an infusion of artificial intelligence giving us the tools to ‘reconstruct’ our world to the detriment of future generations. The coronavirus pandemic is playing its part, but, reconstructing our world to the detriment of future generations, is the conspiracy! We are destroying our world, courtesy of alien (artificial) intelligence (which operates through an elite) that wants the world to resemble a synthetic playground, such that alien intelligence can purely interact with and control – the goal being the end of the organic human species as we know it. I think we will reach a point that hasn’t happened yet – where it’s going to be very difficult for a highly-evolved human, interacting with their Superconsciousness (or Infinite Awareness), to NOT see the alien, the digital beast for what it is – pure evil.
It’s time to bring this madness to an end, or our children will have to live in a dystopian Covid movie indefinitely.
1) Roberts, Adam. Introduction to RUR & War with the Newts. London, Gollancz, 2011, pp.vi–ix
3) François Pannier, Stéphane Mangin. Masques de l’Himalaya, du primitif au classique. Paris: Editions Raymond Chabaud, 1989, p44 / Lisa Bradley & Eric Chazot. Masks of the Himalayas. New York: Pace Primitive Gallery, 1990.
4) Wilson, Eric G. The Melancholy Android: On the Psychology of Sacred Machines. State University New York Press, 2006, p80-81