by peartreed » Sat May 12, 2012 4:57 pm
I'm with JackRiddler.
Our genetic lineage, like Laurel Canyon's linking of militarized generations to their iconic New Age offspring is informative but it's too much of a projected pattern that leads nowhere specific in terms of the the techniques of the tampered scripts, even in sixties songs.
One of the reasons my previous post on this thread discussed the publicly-declared influences on the writers and producers of “The X-Files” and, with the same production crew, its spinoff, “The Lone Gunmen”, was to try to help focus discussion on a television series about intelligence agents and one most often openly accused of being manipulated by psyops intel.
In particular, an episode of “The Lone Gunmen” had preceded 9/11 with a story involving an aircraft targeting the twin towers in New York. I also mentioned my participation on a prior televised panel discussion with one of the cast members of that show and the panel’s topic of government support during its production. The government clearly supported the show and, we thus assume, its subject matter.
My intent was to encourage further exploratory discussion here of the precise points in the production process, the people and positions involved, the probable methods and the means that might be brought to bear on such a production to alter its message(s) to a covert control agenda and compromised content.
That was the original purpose of this thread topic or, at least, my tentative hope for it. While some of our offshoots have led to other exciting turf to explore elsewhere on site, I’d like to get back a bit closer to the starting track here, if you’ll allow it.
My selection of those shows was, admittedly, in part, based on my familiarity with them and the shared interest with participants here in finding out how media and culture gets corrupted. Unfortunately, the discussion has since been diverted to an extent by polarized opinion apparently unprepared to discuss or exchange any ideas, rather just simply pronounce absolute, inviolate convictions (and their source books listing chapters about techniques) and then denigrate all those differing.
Those convictions might be more germane if we were allowed to analyze them in a civil discussion that included exchanges, challenges and idea source explorations.
What I have never witnessed in any of the dozens of production sets I’ve been on is a writer, editor or director sitting down with a script, a red marker and a pile of reference books on Keyword Hijacking, Hypnotic Homonyms, Mnemonics Made Easy, Neuro-linguistic Programming or Inserting CIA Citations for Dummies.
Some people here contend that all media/culture is controlled, period, and that there’s no merit in challenging that. Others detect only limited covert interests tainting media in the making when subject matter of national security interest is activated. Still others see shows just reflecting the culture that, itself, has been corrupted by propaganda generally. Some cite fascinating social studies that skewer our instinctive tribal conditioning. But that’s all a macro overview or mind set.
What we’re missing is evidence illustrating the way in which the (“covert”) corruption is actually inserted into specific scripts. The “who, what, where and how” it’s done. If it is so pervasive it must also be perceived in its process.
Still, while interesting so far, I’m not sure now that this thread will ever get there.
To the extent it continues to deteriorate into declarative dementia or pejorative pissing contests (that I’ve also made my meaner mark in), I might just take a pass.
That’s the trouble with such sensitive soirees; the debating at diversion points detours the road to discovery. And some of us lack the energy to sustain the perilous climb through all the cascading crap and on up to peak enlightenment.
Or maybe the view from up there will only reveal yet another guru know-it-all.
