Fifty Shades of Grey, the Libido Dominandi and the Attack on the Image of Woman

Earlier this spring, Fifty Shades Darker, the second installment of the notorious sadomasochistic film series based upon the books written by British novelist E. L. James, was released on DVD in America. The original novel, Fifty Shades of Grey, has sold over one hundred and twenty-five million copies, and its movie adaptation has made over four hundred thousand dollars world wide. Despite its financial success, Fifty Shades as a franchise has been subject to incredible (and often hilarious) derision from critics–the Iranian novelist and author of The Satanic Verses, Salman Rushdie, said of the first novel, after reading a couple of pages, “I’ve never read anything so badly written that got published. It made ‘Twilight’ look like ‘War and Peace.” Nonetheless, Fifty Shades of Grey is one of the most important and influential cultural artefacts of the twenty-first century and has caused a radical sea-change in Western sexuality.

Certainly, Fifty Shades of Grey has initiated some people into sadomasochism and has further normalized the use of pornography by women. However, perhaps the most deleterious effect the series has had is in programming women into violent and selfish predators, thus destroying their treasured role as the heart and soul of not only families, but of civilizations.

Called “Mommy porn,” by some of its critics, Fifty Shades has been a gateway for many women into the world of pornography, yet its lure is not simply sexual.  Fifty Shades appeals to the dreams and desires of both many women and men for success, affirmation, love, and power. The novels tell the story of Anastasia Steele, a young college student who ends up in a manipulative and violent relationship with the very wealthy Christian Grey. The cartoonish plot that unravels over three novels and soon to be three movies is not worth mentioning in detail. The corrupter of young Ana, Christian himself as young man was initiated into sadomasochistic sex, which, we later learn in the deceptively titled third book, Fifty Shades Freed, enabled him to take control of his life (the ploy here is obvious and similar to many attempts to normalize degenerate sexual behavior by erroneously pitching the therapeutic benefits). There are some bizarre and ridiculous plot twists as the intricacies of Christian’s character as both a manipulative sociopath and a tender but wounded father figure are clumsily fleshed out. Following the ancient “Cinderella story,” Ana ends up rising from the level of an administrative assistant to the wife of the owner of the publishing company, and she and Christian get married and form a family.

 

As some critics have noted, Fifty Shades of Grey is about making sado-masochism seem normal and a part of any healthy relationship. However, what many critics miss is that Fifty Shades appeals to what St. Augustine of Hippo calls in his Confessions the libido dominandi, or the desire for power. In Fifty Shades, James does not simply depict the desire for power over the other; rather, it is Ana’s rise to wealth and power, her control over her own publishing house, and her ability to have servants and bodyguards at her beck and call, which is just as alluring to the “desperate housewives” and others who have imbibed the poison of Fifty Shades of Grey. Oddly, this aspect may be one of the most alluring baits in Fifty Shades: the lure of power as such–even aside from any sexual element. It is the dream of every young college student and administrative assistant–whether male or female–to hold the reigns of power of the company at which they currently serve at the bottom of the totem pole.

However, Fifty Shades of Grey is about sex, and Fifty Shades does especially attack female sexuality, for the series is meant not simply to degrade women but to teach and encourage women to pursue their own interests and power in and outside of the bedroom, thus furthering the agenda of the culture of death in destroying marriages and families and ultimately societies.

Fifty Shades of Grey as a movie phenomenon is nothing new in American film history; it is part of a long tradition of radically altering female sexuality and drawing women away from roles as chaste mothers and changing them into individualistic, pleasure-seekers.

Fifty Shades of Grey  would not be possible without the precedent set by Basic Instinct (1992), the movie that, not too ironically, initiated the Clinton era–six years later President Clinton would run the gauntlet of the Monica Lewinsky scandal in which American culture would be further degraded as previously unmentionable sexual acts were referenced in prime time news. The Clintonesque Basic Instinct presented Sharon Stone as Catherine Tramell, a vicious, narcissistic psychopath who, nonetheless, alluringly appears as a strong, confident woman. To a certain degree, Stone’s character is an anti-Anastasia Steele who, in Fifty Shades, despite her powerful name, is subject to the brutalizing of Christian Grey. However, like Ana, Catherine Tramell is depicted as a powerful woman who seeks her own pleasure while exerting power over the men she encounters. She is, like a black widow, a murderer who holds the power of life and death of men. This display of power via self-degradation in Basic Instinct is found in the most iconic moment in the movie, the notorious “leg crossing,” police interrogation scene in which Tramell uses nudity to dominate and control a host of Los Angeles police officers. In both Basic Instinct and Fifty Shades, a woman is taught that she will be praised and admired by men if she exposes of herself to them and both brutalizes and is brutalized by them.

Basic Instinct is only one of many works that have targeted women to seek out sex as merely an opportunity for pleasure and domination. Even supposed romantic comedies contain this same message. When Harry Met Sally’s (1989) famous “deli scene” between Billy Crystal and Meg Ryan brought the topic of female sexual pleasure in the mainstream. Now known as the quintessential “feel good” romantic comedy, When Harry Met Sally introduced a bombardment of movies in the 1990s and 2000s that specifically targeted women, drawing them away from the traditional role as mothers and wives sacrificing themselves and their desires for the greater good of their families and the wider community. Even James Cameron’s Titanic (1997), a sweetheart drama directed toward teenage girls, had its nude Kate Winslett and love scene with the heart throb Leonardo Dicaprio.

More recently, Black Swan (2010), Darren Aronofsky’s tale of a ballerina’s desire for the lead role in a production of Swan Lake, like Basic Instinct and Fifty Shades of Gray, celebrates mental illness, sexual violence, as well as lesbianism. What’s more, like Titanic, Black Swan targeted young girls, deconstructing the the classic image of the ballerina (thus paralleling Brokeback Mountain’s destruction of the classic image of American masculinity, the cowboy). Like its cinematic parents and offspring, Black Swan promotes selfishness in women and the use of sex and murder (the main character, Nina, initially appears to kill one of her rivals during a hallucination) to gain power over males and females. Rewarded for her efforts, Nina, played by Natalie Portman, finally perfects her dancing, literally becoming the black swan in Swan Lake to which she had aspired and is applauded by the audience. All of these movies in some sense promise women and girls power, affirmation from both males and females, as well as pleasure if only they willing to commit the degrading and wicked acts necessary to achieve power.   

Fifty Shades, Basic Instinct, Black Swan and the septic flood of other movies directed at the women of the world are part of a demonic social engineering project meant to destroy and corrupt the foundation of civilization. The diabolical forces behind these works of art know that women are the literal heart of every civilization, and the deconstruction of women will lead to the destruction of the family and ultimately society. It goes without saying that any of the Fifty Shades movies and books (or any of the other works mentioned in this article) make completely inappropriate viewing or reading for Christians or anyone else for that matter. However, understanding the war on the minds and hearts (and bodies) of not only Western women but of people the world over who are suffocating under what the poet William Blake called the “mind forged manacles” of Hollywood is the first step to liberating ourselves and creating a true civilization of love that beats with a strong and pure heart.

The Gnostic Tradition and Renaissance Occultism

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THE GNOSTIC TRADITION AND RENAISSANCE OCCULTISM

By Thomas Molnar

University5 Modern scholarship has found that the stereotyped image we used to have of the Renaissance was considerably falsified by the retrospective view that educated Westerners were until recently casting on the fourteenth, fifteenth, and sixteenth centuries. It has become clear, thanks to such scholars as Hans Baron, Frances Yates, Oscar Kristeller, Eugenio Garin, and others, that the Renaissance did not only revive the memory and the monuments of Greece and Rome, but it also rediscovered the pagan myths which used to shape the inner life of the Hellenistic and Roman citizens. “Pagan myth” is not to be equated with Oxford 2“mythology,” but with a plurality of currents of religious, spiritual, and esoteric inspiration whose origin goes back to prehistoric times and which took shape in Egypt, India, Mesopotamia, and Iran. This is not the place to explore their varied history and…

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A Note on John Argyropoulos

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In my last post, I suggested that the transmission of the ancient pagan mysteries, which later were to bloom into the poisonous flower of Freemasonry in the Enlightenment was not accomplished by the Knights Templar, but was transmitted to Italy from Greek Orthodox philosophers and theologians who brought Plato and other Greek pagan works to the Medici family who, in turn, had Marsilio Ficino translate the works of Plato as well as the Corpus Hermeticum. Today, I would like to take a look at John Argyropoulos a forgotten Greek scholar who became a critical figure in the Florentine Renaissance and helped to transmit the “hidden teaching” of Plato into the West.

Appointed by the Medici family to the Florentine Studio, John Argyropoulos (1415-1487), who although today is largely forgotten, was among the most famous philosophers and humanists in Florence, lecturing on the language as well as philosophy. In fact, it is Argyropoulos’s coterie of students who formed the Platonic Academy that, in many ways, gave birth to the Renaissance. While Marsilio Ficino is rightly best known as the great translator of Plato, the famous Florentine humanist, Donato Accialiuoli praised Argyropoulos for bringing Plato to Italy, but, again, it was not a purely rational and philosophical Plato that Argyroplous brought, but rather the Plato of the occult. Accialiuoli stated that Argyropoulos not only taught philosophy but revealed the hidden teaching of Plato to his students: “With great elegance and manner of the ancients, he has taught and is teaching moral and natural philosophy. Many books of Aristotle he has translated into Latin, and he has diligently opened up Plato’s beliefs, and those secrets of this and the hidden teaching as well, to the great wonder of those who hear him lecture.” Argyropoulos himself similarly wrote of a hidden teaching that existed before the flood that Deucalion survived (which was a pagan Greek retelling of Noah’s ark), and which was being revived, “One should also realize… that the sciences had a beginning, not only in our opinion but also in that of the pagans, who nevertheless held that he sciences have continuously sprung up: because at one time things were lost through a flood (one which did not cover the whole world), and at another time things were recovered…” Argyropoulos, like Plato himself as well as the author of the Corpus Hermeticum and occultists from the Renaissance forward, held that there was a pre-flood wisdom that was lost (during the Christian Middle Ages) but can be recovered. The history of the West in the past three hundred years is the history of the recovery of this information as the pre-flood Satanic civilization is being built into the New World Order.

This discussion of the transmission of occultism from the Orthodox East to the Catholic West is especially pertinent to contemporary geopolitics. Recently, I have been revaluating my perspective on Putin, Russia, and Dugin as well as the post-Vatican II view of Eastern Orthodoxy as what John Paul II called the Church’s second lung. It is clear that the perception of Russia in the West as a bastion of traditional conservativism is largely false, and the views of Alexander Dugin are Satanic and totalitarian in origin. Furthermore, while I do not know if Orthodox apologists and Russophiles in the Alt Right community such as Jay Dyer (on whose show Dugin appeared), Mark Hackard, and The Soul of the East crowd are paid by the Kremlin, I do strongly believe they are at least useful idiots in the advancement of a Russian totalitarianism, which is a key building block in the emergence of a New World Order and about which Our Lady of Fatima warned us.

Our Lady of Fatima, pray for us.

Fatima

Masonry Before Masonry

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We are all familiar with the standard history of masonry and secret societies that is oft present among Protestant researchers. The story usually begins in the 12th and 13th centuries with the Knights Templar who discovered a secret teaching while dwelling among the ruins of the Temple of Solomon. The Knights brought Lucifereanism and its attended teaching of ritualistic sodomy, demon worship, and Gnosticism into Christian Europe. This teaching is, in turn, passed down through the medieval craft guilds which transformed into Free Masonic associations, which, in turn, are later infiltrated by Zionists. While this story is largely false and typically seeks to tar the Catholic Church as being an incubator of paganism (which it will be later), the impulse to uncover a hidden teaching passed down from antiquity and ancient Egypt or antediluvian human history is largely correct. It is my contention, as I hope to demonstrate over the next couple of days, that this magic tradition was brought into the West 100 years later by Eastern Orthodox intellectuals fleeing crumbling Constantinople as “Platonism” but was in fact an occult teaching embedded in Platonism.

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Those Orthodox thinkers who attended the Council of Florence (1438-1439), including Gemistus Pletho (1355-1452) who actually advocated a return to paganism, did not simply bring Greek poetry and philosophy but actually pagan religion with them. This first entrance of Hellenistic paganism continued throughout the 15th century. John Argyropoulos (1415-1487), an Eastern Orthodox scholar-refugee from Constantinople who fled to Italy instructed his students in the “secret teaching of Plato,” which was actually a form of occultism. This paganism was picked up by Marsilio Ficino, Giordano Bruno, and others who embedded pagan and gnostic teaching in their texts. These thinkers gave a wink to readers “in the know” by telling them that there was a hidden teaching buried in their seemingly orthodox or at least orthodox-sounding works. In his discussion of Parmenides, Ficino discusses how both numbers and poetic figures are “‘veils’ that hid the nakedness of truth from the vulgar gaze, or as a ‘rind’ that protects its sweet kernel;” these figures could also serves as “intellectual baits that will lure the subtle into the paths of righteous inquiry….There are veils that need to be drawn aside but only the adept, the Platonic philosopher-interpreter, is in a position to do with success: only he can reveal the naked purity of the truth…” In his preface to his translation of the Corpus Hermeticum, a key gnostic text, Ficino writes, “The ancient theologians covered all the sacred mysteries of divine things with poetic veils, that they might not be diffused among profane people.” This notion of a hidden teaching in the work is found in other Renaissance Magi as well, including those who embraced magic openly.

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Cornelius Agrippa (1486-1535) who drew from Ficino’s teaching, was the Renaissance magus par excellence—both Christopher Marlowe and Goethe used Agrippa as the basis for their Faust, and Shakespeare’s Prospero from The Tempest was as much drawn from Agrippa as from the English John Dee. Like Ficino, Agrippa writes of hiding the true teaching behind veils.  Corresponding with Agrippa with whom he “conferred together of diverse things concerning chemistry, magic, and Cabalie, and of other things, which as yet lie hid in secret sciences, and arts…,” Johannes Trithemius (1462-1516), the Abbot of Sponheim Germany, a notorious occultist, writes, “Yet this one rule I advise you to observe, that you communicate vulgar secrets to vulgar friends, but higher and secret to higher, and secret friends only. Give hay to ox, sugar to a parrot only; understand my meaning, lest you be trod under the oxens feet as often times it falls out.” The fact that an abbot of a monastery in fifteenth century Germany would be an occultist should give us some pause and cause for reflection on the relationship between these secret societies and the Reformation. William Thomas Walsh’s magnificent biography of Philip II presents  evidence of coordination among “reformers” as well as those who would benefit financially from the Reformation via secret lodges.  Regardless, the abbot of Sponheim clearly is “in the know” of some teaching that is actually hidden in Agrippa’s De Occulta, which, although being a manual of magic, actually leaves some essential ingredients and rituals for magic buried in his text—the actual formulas for magic are not explicitly stated in the text but must be somehow uncovered by the reader. Agrippa himself in his letter to his “Judicious Reader,” published at the beginning of his book of magic writes, “There is the outside, and the inside of philosophy; but the former without the latter is but an empty flourish; yet with this alone most are satisfied.” Agrippa also writes of his veiling in Book 3 of De Occulta, “For we have delivered this art in such a manner, that it may not be hid from the prudent and intelligent, and yet may not admit wicked and incredulous men to the mysteries of these secrets, but the leave them destitute and astonished in the shade of ignorance and desperation,” and “we have folded up the truth of this science with many enigmas, and disperse it in diverse places, for we have not hidden it from the wise…” The same language used by Ficino and others indicates there is a hidden teaching for those who know buried in the text. It is my contention that this is the Luciferean-gnostic religion derived from some ur source in what the Greeks called Orphic and Eleusian mysteries, which themselves are rooted in the religion of Cain and demonic, near eastern paganism.

The question then is especially pertinent to contemporary geopolitics. Contemporary Russia under the helm of Vladimir Putin has been presented as a burgeoning Christian utopia. However, Putin seems very close to Kabbalist groups such as Chabad Lubavitch, and one of the key thinkers of the Russian Renaissance is Alexander Dugin who was influenced by the teachings of the notorious Satanist Alastair Crowley. If it is true that some Orthodox monks in the Renaisance (and perhaps earlier) were gnostics and Lucifereans, and they brought their teaching to the West, which inaugurate the Renaissance, and contemporary Orthodox nationalists themselves are practicing forms of Satanism and Kabbala, which are essentially the same thing, this may suggest cells of Lucifereanism and Satanism in Eastern Orthodoxy. Thus, if this is true, both the Masonic-Zionist West and the Orthodox East are part of the same controlled dialectic.

 

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Reexamining the Golden Age

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Dear Reader,

It is a common method beginning in the Renaissance and reaching a crescendo today to “baptize” pagan literature as being amenable to Christianity. There is some truth to this method. The Church Fathers certainly saw much of Platonic philosophy as being serviceable for Christians and even found some ethical truths in pagan literature. However, this method has some dangerous consequences, and I would like to examine the pagan idea of the Golden Age, demonstrating the true meaning of this myth is not Christian at all.

The golden age appears in Hesiod’s Works and Days:

First of all the deathless gods who dwell on Olympus made a golden race of mortal men who lived in the time of Cronos when he was reigning in heaven. And they lived like gods without sorrow of heart, remote and free from toil and grief: miserable age rested not on them; but with legs and arms never failing they made merry with feasting beyond the reach of all evils. When they died, it was as though they were overcome with sleep, and they had all good things; for the fruitful earth unforced bare them fruit abundantly and without stint. They dwelt in ease and peace upon their lands with many good things, rich in flocks and loved by the blessed gods.

The Golden Age was thus time of peace and tranquility in which humans lived without law, close to nature, and under the protection of the god Chronos or the Roman Saturn.

We also see in Plato’s Statesman the Eleatic Stranger describe the Golden Age as a period superior to the present world:

I see that you enter into my meaning;—no, that blessed and spontaneous life does not belong to the present cycle of the world, but to the previous one, in which God superintended the whole revolution of the universe; and the several parts of the universe were distributed under the rule of certain inferior deities, as is the way in some places still. There were demigods, who were the shepherds of the various species and herds of animals, and each one was in all respects sufficient for those of whom he was the shepherd; neither was there any violence, or devouring of one another, or war or quarrel among them; and I might tell of ten thousand other blessings, which belonged to that dispensation. The reason why the life of man was, as tradition says, spontaneous, is as follows: In those days God himself was their shepherd, and ruled over them, just as man, who is by comparison a divine being, still rules over the lower animals. Under him there were no forms of government or separate possession of women and children; for all men rose again from the earth, having no memory of the past. And although they had nothing of this sort, the earth gave them fruits in abundance, which grew on trees and shrubs unbidden, and were not planted by the hand of man. And they dwelt naked, and mostly in the open air, for the temperature of their seasons was mild; and they had no beds, but lay on soft couches of grass, which grew plentifully out of the earth. Such was the life of man in the days of Cronos, Socrates; the character of our present life, which is said to be under Zeus, you know from your own experience. Can you, and will you, determine which of them you deem the happier?

The Golden Age also shows up in Ovid’s Metamorphoses:

This was the Golden Age that, without coercion, without laws, spontaneously nurtured the good and the true. There was no fear or punishment: there were no threatening words to be read, fixed in bronze, no crowd of suppliants fearing the judge’s face: they lived safely without protection. No pine tree felled in the mountains had yet reached the flowing waves to travel to other lands: human beings only knew their own shores. There were no steep ditches surrounding towns, no straight war-trumpets, no coiled horns, no swords and helmets. Without the use of armies, people passed their lives in gentle peace and security. The earth herself also, freely, without the scars of ploughs, untouched by hoes, produced everything from herself. Contented with food that grew without cultivation, they collected mountain strawberries and the fruit of the strawberry tree, wild cherries, blackberries clinging to the tough brambles, and acorns fallen from Jupiter’s spreading oak-tree. Spring was eternal, and gentle breezes caressed with warm air the flowers that grew without being seeded. Then the untilled earth gave of its produce and, without needing renewal, the fields whitened with heavy ears of corn. Sometimes rivers of milk flowed, sometimes streams of nectar, and golden honey trickled from the green holm oak.

Finally, we have the famous example from Virgil’s Eclogue 4 of the return of the Golden Age:

Now the last age of the Cumaean prophecy begins:

the great roll-call of the centuries is born anew:

now Virgin Justice returns, and Saturn’s reign:

now a new race descends from the heavens above.

Only favour the child who’s born, pure Lucina, under whom

the first race of iron shall end, and a golden race

rise up throughout the world: now your Apollo reigns.

Christians have traditionally viewed this Golden Age as a memory of the Garden of Eden and an earlier period of human history in which we were at peace with one another and God. I do not dispute this view. It is my firm belief that this myth is a memory of Garden of Eden passed down from generation to generation form Noah’s descendants. However, there is another reading of this myth found in the occult tradition. In this view, the Golden Age is an image of the pre-flood Atlantian world of a pristine paganism in which men lived under the rule of demons who manifested themselves more clearly. Virgil’s prophecy in the Eclogues is then a prophecy of the return of Saturn, Apollo and the other gods in the New Age. Yes, maybe, Virgil is speaking of a great Golden Age under Caesar Augustus. However, there is a deeper, occult meaning. Apollo and Saturn are demons or, at best, demonic parodies of God the Father and Our Lord Jesus Christ. Thus, there return and their age will be the return of some form of “high” paganism.

However, the key, I believe to uncovering the true meaning of the Golden Age can be found in the Corpus Hermeticum, a gnostic text attributed to the famous Hellenic-Egyptian magician and philosophy, Hermes Trismegistus.

In the Asclepius, the second writing of the work, we hear of Egypt as a land in which the things of heaven came down to earth. Hermes tells Asclepius, “…Egypt is an image of heaven, or to be more precise,…everything governed and moved in heaven came down to Egypt and was transferred there…If truth were told, our land is the temple of the whole world” (24). Thus Egypt was a place privileged to have the gods come dwell in its midst and probably contained the “purest” form of pre-flood paganism.

Hermes also warns of a falling away of Egyptian paganism in which foreigners will exterminate the Egyptian religion:

a time will come when it will appear that the Egyptians paid respect to divinity with faithful mind and painstaking reverence—to no purpose. All their holy worship will be disappointed and perish without effect, for divinity will return from earth to heaven, and Egypt will be abandoned. The land that was the seat of reverence will be widowed by the powers and left destitute of their presence. When foreigners occupy the land and territory, not only will reverence fall into neglect but, even harder, a prohibition under penalty prescribed by law (so-called) will be enacted against reverence, fidelity and divine worship. Then this most holy land, set of shrines and temples, will be filled completely with tombs and corpses.

O Egypt, Egypt, of your reverent deeds only stories will survive, and they will be incredible to your children! Only words cut in stone will survive to tell your faithful works….For divinity goes back to heaven, and all the people will die, deserted, as Egypt will be widowed and deserted by god and human. (24)

This is clearly not a fall from Eden to the savage world of Cain and Abel. Rather, it is a lament of the eradication of Egyptian paganism and its replacement with Christianity, which has relegated Egyptian religion to being merely artefacts in a museum—that is, until the return of a new paganism, Islam, and the later revival of Egyptian religion, beginning in the Renaissance and exploding on the scene in the 20th century.

In the text Hermes consoles Asclepius with the belief that some god will bring about a restoration of the “old time religion” of Egypt: “he will restore the world to its beauty of old so that the world itself with again seem deserving of worship and wonder, and with constant benedictions and proclamations of praise the people of that time will honor the god who makes and restores so great a world” (26). This restoration will, of course, we the return of Saturn, to use the name of a Roman god. It will be the new order of the ages, the construction of the Anti-Christ, beast system, and the great apostasy. We are witnessing this event in our own time.

Thus, we again see that, while it may be true that some pagan philosophy and thought is salvageable, we should be careful in trying to baptize everything from classical antiquity.

 

A god Is in the TV

Dear Reader,

Have you noticed a certain queerness to electronics and mechanical things? Do you think that such things are more of an oppressive burden than a help?  As Nicholas Carr has pointed out in his work The Shallows: What the Internet is Doing to Our Brains, the psychological effects of 21st century technological are almost overwhelming. Novus Ordo conservative Catholics argue ad nauseam of the good of TV that allows them to watch EWTN’s daily servings of Vatican II Catholicism. Even Jay Dyer has made the argument that the internet could serve as a koine Greek for contemporary evangelization. However, let’s take a look at what both Catholic visionaries as well as occultists say about technology. For usually when both are in agreement (from radically different perspectives) on an issue, there is truth.

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In the Bible, the Children of Cain are those who build cities and develop technology. In Genesis, it is Cain who founds the first city, city named “Henoch” after the name of his son (Genesis 4.17). Cain’s descendent Tubalcain develops metal working; he “who was a hammerer and artificer in every work of brass and iron” (Genesis 3:22). Thus, from the inception there is a clear divide between high and low technology peoples–the latter being more noble. Babylon and Egyptian as well are both places of high technology and evil in the Bible, and apocalyptic discussion of the end times describes the wicked world of the future as being filled with technology. The prophet Daniel is told that in the end times “knowledge shall be manifold” (Daniel 12.4). Clearly this has been the effort of masonic forces who have pushed for the distribution of any and all information to as many people as possible.

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Catholic mystics as well have pointed to technological advance as a sign of man’s diabolical pride and separation from God. Our Lady of Good Success famously said, “Unbridled passions will give way to a total corruption of customs because Satan will reign through the Masonic sects, targeting the children in particular to insure general corruption.” This is clearly a reference to the American and French revolutions as well as the transformation of the world with American and French liberalism over the past several centuries of wars for democracy , but it is also a clear reference to the transformation of the world through technology, which has enabled the spread  art deliberately meant to stir up the passions—this is one of the ironic and unintended messages of the movie Cinema Paradiso in which a small Italian town’s morals are destroyed by American movies that the Church can no longer censure.

Our Lady further stated in Quito, “In those times the atmosphere will be saturated with the spirit of impurity which, like a filthy sea, will engulf the streets and public places with incredible license.… Innocence will scarcely be found in children, or modesty in women.”  This image of the “saturation” of “the atmosphere” with impurity is a probably reference to advertisements distributed via billboards, television, the internet, that are now almost universally impure.

Our Blessed Mother makes a clear reference to the luxurious abundance that modern technology has enabled as well as the impurity inspired by modern technology: “Further, in these unhappy times, there will be unbridled luxury, which will ensnare the rest into sin and conquer innumerable frivolous souls, who will be lost. Innocence will almost no longer be found in children, nor modesty in women. In this supreme moment of need of the Church, the one who should speak will fall silent.” How many children of the most recent generation have viewed pornography on their phones–even before the age of puberty?

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St. Elizabeth Anne Seton also prophesized in the eighteenth century: “Every American would have a black box in their home through which the devil would enter.” While many have suggested that St. Elizabeth is talking about TV,  Emmett O’Regan has suggested that these black boxes are smart phones, but it is my view that it is both, for both technological objects have accomplished the same goal: the destruction of souls.

Conservative Catholics might plug their ears or laugh off such accusations of their precious toys as the product of the fevered minds of traditionalists who always bring up fuddy duddy books like the Bible or messages from the Mother of God. Or they might retort that Game of Thrones or Fifty Shades of Grey has some redeeming value. Or, perhaps, they might respond that the scandal-riven EWTN network has some good content sometimes. However, lets take a look at what the forces of evil themselves say about technology.

In mythology, it is the Luciferan character such as Prometheus or Thoth or the Watchers of the apocraphal Book of Enoch who give technology to men. Prometheus in the Greek playwrite Aeschylus’s Prometheus Bound boasts to the daughters of Ocean:

Hear the rest and you will be even more

amazed at the arts and inventions I

devised. The greatest was this: before,

if a man fell sick, there was no remedy—

nothing, no pill, ointment, nor drink—and without 480

drugs they wasted away. I showed them how

to mix healing medicines that could ward off

all diseases. I also gave them skills so that

they could predict the future: I showed them

which dreams were true; how to interpret

strange voices and sayings, and how to

understand chance meetings during travel.

I taught Man to understand the flight of the

taloned bird, what was beneficial, and

what meant harm, their daily lives, loves and hates, 490

and how they mate. Then I taught about the

smoothness of entrails, the right color of gall

so that it please the gods, and how to read

the liver’s lovely mottled lobe. I showed Man

thighbones wrapped in fat, and how to burn

the long backbone, and thus I taught Man the

obscure art of prophecy, sacrifice, and

the language of fire, which had not yet been

understood. But so much for that. Who could claim

before me that he discovered the hidden 500

treasures that lay buried under earth: bronze,

iron, silver and gold? No one. That’s clear,

unless some fool babbles nonsense. I’ll make

a long story short: all the arts and crafts

that Man possesses came from me, Prometheus,

the god you see suffering before you now.

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Iamblichus, the 3rd century AD, Egyptian Neoplatonist writes in his On the Egyptian Mysteries of theurgy or “god working”, a type of magic that normally one associates with wizards and magicians such as Faust who summon spirits to help perform some task. He further discusses the phenomenon of statues becoming animated by spirits in ancient Egypt. These animated statues sound remarkably like robots or machines, and what is especially weird is that throughout much of the modern period, many scientists have attempted to recreate this phenomemon.

Recently, reading Frances Yates’s masterful The Theatre of the World, I came across an interesting discussion of early modern thinkers and scientists and their attempt to revive theurgy that paralleled  their efforts to revive ancient science, math, and technology—the magus John Dee produced some sort of mechanical flying bug at a performance of Aristophanes’s Pax. Of course, Enlightenment thinkers and inventors such as Robert Fludd, Rene Descartes, Francis Bacon, Sir Isaac Newton, Thomas Edison, and in our own time Robert Parsons all saw magic and theurgy as means of obtaining technological and scientific information.

The occult-infested pop culture of our own time also verifies this idea of advanced, industrial and electronic age technology as being essentially (yes, essentially) demonic. The popular and deeply Satanic Puppet Master 80s horror film series is about a group of murdering puppets animated by “Egyptian magic”, which means that the directors and writers of these movies were likely dabbling in theurgic magic when they were directing and writing horror films.

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 In his song “Rock is Dead” from Mechanical Animals and The Matrix soundtrack, Marilyn Manson croons, “god is in the TV.”—this is also a title of a Marilyn Manson live album.  The suggestion here is that the content of television teaches and molds the people of the world who worship the television as a good, but there also could be a suggestion that there is some sort of demonic force animating television–and all electronics. You and I both know enough to recognize the ironic posturing of shock rockers, but you and I also know that if the mystics of the Church as well as the servants of the devil both are saying the same thing: we should listen. Iamblichus, John Dee, Cornelius Agrippa as well as our own beloved American St. Elizabeth Anne Seton would agree with Marilyn Manson: there is a “god” in the TV.