Around four years ago, I discovered Christopher Knowles blogspot The Secret Sun. It was and is a consistently brilliant source of history and insight, and a doorway into the mysteries of our culture. Thanks to The Secret Sun, I also discovered many other writers in the blogosphere, many of which proved to be just as thought provoking.
I had been an avid reader and student of most of the major names of occult and esoteric field since college, and felt that I had, as Robert Anton Wilson so eloquently put it, constructed a pretty good bullshit detector. I was confident that these new voices I was reading were no bullshit, and that I was very lucky to have found them.
It was a very lonely journey on the path, but with each new writer I discovered, I couldn't help feel that I had found "the others". Slowly, and awkwardly (and sometimes a bit bizarre), I started to not just read the emerging dialogue, I started to also participate in the dialogue. To be honest, it was probably one of the happiest times of my life.
And then at some point Stanley Kubrick entered the picture. I don't know the specific article that did it (probably Rob Ager, another brilliant writer and source of endless insight) but I became obsessed. I had seen most of Kubrick's films, or at least I thought I had, but I had never realized the depth of genius that everyone seemed to be arguing was on display. I had to know more. This is where Mark LeClair enters the picture. No other writer seemed to hint at the Truth (whatever that is) more than Mark.
Over the next few weeks/months, I am going to share the entire e-mail correspondence that occurred between Mark Leclair (The Wrong Way Wizard, Artislav Mel) and myself. This correspondence reflects the work that ultimately led to the discovery of the Kubrick Transformer.
Unless noted, this will be completely unedited and uncensored. It is a completely honest account of the research Mark and I shared as we hunted down the mystery.
This first section is a conversation Mark and I had in the comments section at the Wrong Way Wizard blogspot. I had posted this Top Secret comment in the oldest post at the blog, so that only Mark could read it. Like I said, awkward, geeky, and a bit mad. It led to the beginning of the email correspondence that follows.
*I can only speak for myself here, but this correspondence documents an eight month period of intense experimenting and research, and will reflect a process of learning. At times other people's work will be questioned, and hubris will always be lurking in the shadows.
From the Comment Section of Angel In The Morning. I am WK23, and Mark LeClair is Herbie Mimbitz:
March 6-10, 2011
WK23-
March 6, 2011 2:38 AM
Herbie Mimbitz: The Ping Pong Pandava said...
Hey WK23,
I am a Cosmic Class Procrastinator. I have yet to go to the mall which is just across the street, and buy that media. Now I will add Inception to the list. Truth is, doing these Meddle plays has been on my mind non-stop. Why I have delayed allows me to share a bit about my life, in the spirit of our Net Friendship.
I suffer from pretty bad agorapohbia. I don't mind being around others, I have no fear, so to speak, but I can't bring myself to step outside my front door.
The problem started when I was in a bike accident in the summer of 2000. I suffered a head injury and well, I haven't been the same since. For a while things were pretty rough.
Anyhow, I hope this isn't the proverbial "too much information". I don't really feel the need to tell you my life story or anything, but I feel you deserve a comprehensive explanation for why I am so desultory with so much data at the doorstep.
You can count on it that I am very interested in what you may choose to share regarding your own research. I'm am downloading Inception and Meddle right now, and will do the lab tonight.
Pax Owt for Now
Da WWWiz
I am a Cosmic Class Procrastinator. I have yet to go to the mall which is just across the street, and buy that media. Now I will add Inception to the list. Truth is, doing these Meddle plays has been on my mind non-stop. Why I have delayed allows me to share a bit about my life, in the spirit of our Net Friendship.
I suffer from pretty bad agorapohbia. I don't mind being around others, I have no fear, so to speak, but I can't bring myself to step outside my front door.
The problem started when I was in a bike accident in the summer of 2000. I suffered a head injury and well, I haven't been the same since. For a while things were pretty rough.
Anyhow, I hope this isn't the proverbial "too much information". I don't really feel the need to tell you my life story or anything, but I feel you deserve a comprehensive explanation for why I am so desultory with so much data at the doorstep.
You can count on it that I am very interested in what you may choose to share regarding your own research. I'm am downloading Inception and Meddle right now, and will do the lab tonight.
Pax Owt for Now
Da WWWiz
WK23 said...
Wiz-
This Meddle/Inception is just a monster, and I am looking forward to hearing your interpretations.
No need to apologize for sharing personal info with me. Too much info is almost impossible these days. Agoraphobia is an awful state of mind. I can imagine how difficult the simple things I take for granted must be. Keep the faith Mark.
This Meddle/Inception is just a monster, and I am looking forward to hearing your interpretations.
No need to apologize for sharing personal info with me. Too much info is almost impossible these days. Agoraphobia is an awful state of mind. I can imagine how difficult the simple things I take for granted must be. Keep the faith Mark.
Herbie Mimbitz: The Ping Pong Pandava said...
My Dear WK23,
I have done the Meddle w/ 2001 and The Shining.
Awesome... I mean, what a trip. Jay Weidner proposes the use of "Echoes" over the same 2201 sequence you recommend and all I can say is...score one for WK.
The Shining Meddle is great too, and I spent my day (all of it) looking at it and sliding it over a bit here and there--totally wicked. I have some ideas about the perfect place for it to sit that are a little different than you suggest, and I want to experiment a bit more... but it is all you man. Totally bitchin'.
Haven't done the Incept yet... my download failed.
And what a great album is "Meddle". I had heard only Echoes previously, but I like side one muchos grande.
Thak you, my friend, for the gift of your vision. I might like to do a post on this matter, but will talk more w/you first.
DaWWWiz
Pax Owt for Now
I have done the Meddle w/ 2001 and The Shining.
Awesome... I mean, what a trip. Jay Weidner proposes the use of "Echoes" over the same 2201 sequence you recommend and all I can say is...score one for WK.
The Shining Meddle is great too, and I spent my day (all of it) looking at it and sliding it over a bit here and there--totally wicked. I have some ideas about the perfect place for it to sit that are a little different than you suggest, and I want to experiment a bit more... but it is all you man. Totally bitchin'.
Haven't done the Incept yet... my download failed.
And what a great album is "Meddle". I had heard only Echoes previously, but I like side one muchos grande.
Thak you, my friend, for the gift of your vision. I might like to do a post on this matter, but will talk more w/you first.
DaWWWiz
Pax Owt for Now
Herbie Mimbitz: The Ping Pong Pandava said...
WK23,
It is 7 am and I'm still at it.
Boy have I got a find for you, to return the joy as it were. If I am telling you something you have already discovered, then it is a double thank-you from me. Either way, thanks to your Meddle Mash, we both win.
Here are your instructions.
Put your music player on ALL PLAY REPEAT. Very important.
Proceed with the 2001/Meddle Mash according to your discovery. I find it easier to use visual cues, so I line up the first track to begin exactly as the Monolith begins to fade away, at about 2:01:31.
Watch your own discovery unfold before your eyes and prepare yourself for a treat.
When the movie ends, let it (and the music) play on to the final title card which reads THE END.
Here you will need a little volume on the movie track. Listen for the final note of The Blue Danube. When Danube has ended, quickly slide the movie time bar selector all the way back to the beginning of the DVD. The slide should be executed in 1.5 to 2 secs, maximum.
This should take you back to nearly 3 min of black screen (overture) followed by the MGM Title Card, and then the credit sequence and so on. "Echoes" will have been playing for a while by the time the movie proper begins.
Let it play and you will be fucking blown away, my friend.
I'm still watching now, onto the second play of "One of These Days". Up to this point is it really splendid, and I'm gonna stick with it a while longer...
... but up to the end of "Echoes" is fah shizzle most hizzy my nizzy.
Jay Weidner should be so on the money...
Your Meddle Mash is killer.
Pax Owt 4 Now
It is 7 am and I'm still at it.
Boy have I got a find for you, to return the joy as it were. If I am telling you something you have already discovered, then it is a double thank-you from me. Either way, thanks to your Meddle Mash, we both win.
Here are your instructions.
Put your music player on ALL PLAY REPEAT. Very important.
Proceed with the 2001/Meddle Mash according to your discovery. I find it easier to use visual cues, so I line up the first track to begin exactly as the Monolith begins to fade away, at about 2:01:31.
Watch your own discovery unfold before your eyes and prepare yourself for a treat.
When the movie ends, let it (and the music) play on to the final title card which reads THE END.
Here you will need a little volume on the movie track. Listen for the final note of The Blue Danube. When Danube has ended, quickly slide the movie time bar selector all the way back to the beginning of the DVD. The slide should be executed in 1.5 to 2 secs, maximum.
This should take you back to nearly 3 min of black screen (overture) followed by the MGM Title Card, and then the credit sequence and so on. "Echoes" will have been playing for a while by the time the movie proper begins.
Let it play and you will be fucking blown away, my friend.
I'm still watching now, onto the second play of "One of These Days". Up to this point is it really splendid, and I'm gonna stick with it a while longer...
... but up to the end of "Echoes" is fah shizzle most hizzy my nizzy.
Jay Weidner should be so on the money...
Your Meddle Mash is killer.
Pax Owt 4 Now
Herbie Mimbitz: The Ping Pong Pandava said...
WK
By the end of Danube I mean the end of the phrase. Time code 2:24:25. Slide to the start at this point.
By the end of Danube I mean the end of the phrase. Time code 2:24:25. Slide to the start at this point.
WK23 said...
Wiz-
Right on. I am excited to take it further with 2001 as you suggest.
Make sure to complete this Meddle Mash with both Inception, and, of course, A Clockwork Orange. ACO doesn't work as a whole as well as the others, but starting at 1:56:00, it delivers some worthy moments. Inception, for me, is really the true fireworks, especially reflecting on the experience of watching it the first time. I really stress taking it in first without subtitles, and second with.
A few notes:
I have been equating the iPhone/iPod with the Monolith for a while now, as I am sure you do as well. In 2001, right before the start of the Meddle Mash, the image of the planets in vertical alignment with the Monolith/iPod completing the Cross resonates with my own completed picture of 2001/Inception/The Shining/ A Clockwork Orange all being projected at once, stacked on top of each other, a cinema totem pole (another Inception image, and a totem)and synched to Meddle. Each film than becomes a planet.
The McCluhan first edition of Understanding Media is eerily similar to the cover of Meddle. The eye on UM, the ear? on Meddle. I forget where I read this but it is dead on.
Weidner's article of the hypersphere is excellent, and ties into the totem image of Inception.
I really believe that the synch of all films together will bring much added value to some of the images.
I actually expect a post from you on this, I don't think there is any one else who can map this out. Just make sure to digest the Inception Mash (one spoiler: Nolan actually works in the image of the album cover).
Right on. I am excited to take it further with 2001 as you suggest.
Make sure to complete this Meddle Mash with both Inception, and, of course, A Clockwork Orange. ACO doesn't work as a whole as well as the others, but starting at 1:56:00, it delivers some worthy moments. Inception, for me, is really the true fireworks, especially reflecting on the experience of watching it the first time. I really stress taking it in first without subtitles, and second with.
A few notes:
I have been equating the iPhone/iPod with the Monolith for a while now, as I am sure you do as well. In 2001, right before the start of the Meddle Mash, the image of the planets in vertical alignment with the Monolith/iPod completing the Cross resonates with my own completed picture of 2001/Inception/The Shining/ A Clockwork Orange all being projected at once, stacked on top of each other, a cinema totem pole (another Inception image, and a totem)and synched to Meddle. Each film than becomes a planet.
The McCluhan first edition of Understanding Media is eerily similar to the cover of Meddle. The eye on UM, the ear? on Meddle. I forget where I read this but it is dead on.
Weidner's article of the hypersphere is excellent, and ties into the totem image of Inception.
I really believe that the synch of all films together will bring much added value to some of the images.
I actually expect a post from you on this, I don't think there is any one else who can map this out. Just make sure to digest the Inception Mash (one spoiler: Nolan actually works in the image of the album cover).
WK23 said...
Wiz-
I have a MAJOR work to share with you, probably sometime next week. It connects a lot about what we are discussing in this thread, and I know it will be crystal clear to your critical vision. There are elements that I am happy to broadcast here, buried in this, the first comments section of your blog, but it might be prudent to communicate the initial components of this next discussion via email. I really believe it will be a catalyst to a possible integration of a lot of your ideas.
I have a MAJOR work to share with you, probably sometime next week. It connects a lot about what we are discussing in this thread, and I know it will be crystal clear to your critical vision. There are elements that I am happy to broadcast here, buried in this, the first comments section of your blog, but it might be prudent to communicate the initial components of this next discussion via email. I really believe it will be a catalyst to a possible integration of a lot of your ideas.
This series of messages led to the email correspondence that begins here. The emails are grouped by the title of the email thread.
Back To OZ:
March 10-15, 2011
Klaus :
My plan was to see if I could synch a film correctly the first time I ever saw it, with out any knowledge of the film.
I think I can carefully go on record as saying that I might be the only person in the world to have experienced this next connection in the theater, and very possibly the only person ever (unless it was executed with intent). I didn't want to broadcast this one until you have the opportunity to take it in. Only one other person knows about this, and he's a good guy, also a fan of your work.
I identified my film. I had a good feeling the film was going to be loaded with imagery conducive to a good synch, but what album?
I had to choose between Meddle and DSOTM, and it became quite obvious which one to use without much thought.
So, I bought a ticket the first week the movie was our, sat in the last row with my iPod, and trusted that I would know when to push play.
Who would have known that it fucking worked. So well, that I had to leave after one cycle of the album just to process what I had seen (once you see it, you'll also understand that there was almost a built in instruction to leave after one cycle).
I proceeded to go back and watch two cycles, and once again leave the theater.
I returned and finished the film on the third viewing, which took almost three cycles of DSOTM. I went back a fourth and finally watched the movie without DSOTM.
Just imagine if someone somehow experienced 2001/Meddle the first time they ever saw the film? Also, to know that the packed audience in front of me was experiencing something completely different--unravelling that dynamic is central to the debate.
Well, I hope you haven't seem the film I'm referring to so you can take it in fresh.
I'm going to see if you can guess the film.
LeClair :
OK, from the hip, I'm gonna guess either No Country or True Grit, but there are a few others that seem possible. The Social Network?
I remember a comment you once made that expressed a mutual interest in the Coen Bros., but I admit I am grabbing at straws. If I am wrong, I'd love a chance at another guess. Give me some kind of a hint. Or if you aren't a fan of such games... please SPILL THE BEANS... you're killin' me here (and I love it).
I am seriously intrigued, and if the flick is still on the big screen, I would love to go and give this a try myslef. I see two or three movies in theater per year, at most, but I can--will--make it happen. For a look at the wonders you have intimated, I would make it happen ASAP. Am I too late?
By the way, now that we are on email and in case you don't already know, my real life name is Mark LeClair.
Pleasure to meet you William Klaus of Yahoo.
Pax Owt and I Await Your Dispatch
You've really got me going. Your title "Back to OZ" makes me think maybe it's Tron Legacy.
Klaus :
The ultimate chaos magick initiation flick for the next generation: Harry Potter and the Deathly Hallows.
I've seen the previous films, and actually did this same experiment for the previous Potter. It is quite thrilling to walk into a movietheater and know that you are "sacrificing" it in some way, in essence, altering the director's version, by receiving it through a filtered lens the very first time. It is taking control of virtual reality, especially when the masses around you are all under the directors spell, while you are fully aware that you are the only person under a different spell.
I had done the first Dark Potter with "The Half Blood Prince" as a kind of media dare: I would not know the plot, the dialogue, new characters names. I would have to tell myself my own story based on image and soundtrack alone. It was incredibly entertaining; I have only seen this movie once, that initial time, and will some day revisit it.
It would be two years before I retried this experiment, but this time I KNEW, or rather, expected some definite marriage between the two.
To repeat, I have not read these books, and in regards to the previous movie, I had "remixed" it into my own story. "Hallows" was the organic sequel to my own Dark Potter vision. (Obviously, we always tell ourselves our own story of reality, but, well, you know what i'm saying here)
There is no doubt that whatever is bubbling beneath the surface of these types of media marriages/synchs/mash/eclipses is in full focus with DSOTM and the Deathly Hallows.
The film comes out on DVD next week.
Til then: No Country/Side One of Meddle is nice. Do this at the BEGINNING of the film.
Tron:Legacy with DSOTM was, in hindsight, actually pretty awesome.
After "Deathly Hallows" registered so completely, I pretty much saw all movies with DSOTM, not necessarily for the synchs (which are there) but mostly to divorce soundeffects/dialogue from film, and focus on IMAGE, and to see what story my brain was telling me based on these images alone These experiments were over a one month period, and all funnel into my initial readings of McCluhan, and all greatly influenced by a lot of your writing. Heavy stuff bro. King's Speech, Mega Mind. Narnia, The Fighter, some Russel Crowe movie I walked into late. Taking in these films this way had a profound effect on me.
That most amazing part of this process, based on my experiences, is how this affected my dreams. I'm thinking that this is major breakthrough type shit, not sure which direction it will take.
Needless to say, there is a lot going on here.
To conclude: the synchs made way to the process, the process opened up a conscious dream state. I call it iAhuasca.
LeClair :
You are becoming my hero. iAhuasca indeed! Brilliant.
The Deathly Hallows Mash, eh? I am into to it. I have yet to see the film, so I have a clean slate for the experience. I'll pop you a line when I've got the movie, to receive my instructions.
Have you tried the Meddle/2001 loop around yet. You won't be disappointed.
Klaus :
Re: 2001/Meddle Wrap Around: Majestic. Just a beautiful transition and book end to this work. Thank you for sharing. The return "ping" when Moonwatcher looks at the bones about killed me. Plus, I don't think I'll look at that floating pen in the same way ever again.
I equate the line "One of these days I'm going to cut you into little pieces" as this type of editing, something impossible in the 1970's.
Google "Meddle Mash", you should get the lyrics to a song by an aptly named artist.
I think the wrap around ends nicely with San Tropez, around 41:28, when the photographer (young Kubrick) announces that he is through, so that they can announce Dr. Floyd, who begins his speech. Let the movie take over from there...perfect balance.
One last note: starting Echoes at 1:37:52. Subtitles on.
I'm going to say that starting "Seamus" at 1:35:36, and letting the album play out is the one. Gotta love the teamwork.
Start Inception at 1:37:21 with Seamus. The story of Mal.
LeClair :
Your interpretation of the lyrical reference to "cut up" is chilling, and I do not choose this term lightly. I hope I can live up to your standard on this, because right about now, I'm feeling it bro, and I am shaken. Have you seen "The Phantom of the Paradise". There are certain pieces of music that are remarkably similar to those found on "Meddle". There is a reference to "cut up", vis, "...all this cutting up ain't easy and it isn't for the queasy or the weak of heart...". The song, called "Life at Last", is on my blog at the very bottom of "Quiz Show Holocaust". There is a musical riff in "Echoes" that is found quite literally note for note in "Somebody Super Like You".
And my dreams are off-the-hizzy lately.
Life at last.
http://www.youtube.com/watch?v=3mQ0nzo_rU4
Somebody super like you.
http://www.youtube.com/watch?v=l2iHPnmAT0o&feature=related
Something interesting about the initials WK. "Meddle" is 46 minute and 44 seconds long. With track spacing that's about 46:46
Listening to Weidner on RedIce radio.
http://www.youtube.com/watch?v=ssnlbnAGGV0&feature=feedu
Klaus :
Using my iPod, I'm starting Seamus at 1:35:35.5, and I'm just in AWE
Gonna check out that Weidner later tonight.
Owsley Stanley died today, nicknamed Bear. Amazing guy.
Thoughts on Weidner:
It's always hard to process talk of Satanism, especially the whole pedophile/sex/death cult. I know that it existed or exists in some form, but it just doesn't seem to register as a cult institution. It seems essentially a societal mirror, or a psychological moat that one must cross. No one crosses with the guilt of knowing they create damage in the realms of children, sex, and violence. It seems like a test of some kind. The Monarch thing seems somewhat legit as a technology. I have trouble processing those angles.
I do think that the most evil thing vampiring the world today is pornography, especially Internet pornography. Vampire city.
The whole Elite thing is an intellectual trap to me, the final tempation of Christ/Buddha. Maybe Kubrick was deceived, and is atoning with these embedded confessions. The creepiest connection to his insider knowledge is the sound of the tennis ball in The Shining, echoes of the bodies hitting concrete on 9/11. I think I might buy into that angle you suggest, that Kubrick knew of the plan.
I don't really like that Weidner sells his info, makes DVD's. There has to be some disinformation going with that. I have to say your blog always has the authenticity of a true seeker.
Start "Seamus" at 1:37:21 in Inception with subtitles. For 2001, I'm going with 1:35:35.5. Shame On Us indeed Stanley.
LeClair :
Yeah, I agree about Weidner... he seems to be holding back as much as he reveals. Good for business, I guess. Nevertheless the Monarch, Pedophilia angle is present in Kubrick, especially in The Shining and EWS.
I basically agree with your idea that it is all "some kind of test". But what a test!!
I keep on digging. I have no doubt you do the same. Perhaps we can really break this wide open. I don't know, but I do know I am committed.
Klaus :
So, starting The Shining with Seamus, to complete through side one, the first pings of Echoes strike when Hal and Charlie appear on the radio.
I'm starting Seamus at 1:36:30. Over Larry's right shoulder is an ad for "pooch" air fresheners, as well as what appears to be a dog in the cartoon on TV. The Garage is a male version of the Kitchen. Dig. It.
There's that Grand Piano behind Jack...
The climax to Echoes in The Shining and 2001 seem to focus on the major conspiracies. Or not. But something was orchestrated.
Careful With That Axe You Gene:
March 16 -18, 2011
Klaus:
Rob Ager's essays have a wealth of insight, but I agree with your opinion that he seems to stop short of piercing certain veils.
I like his cycles of abuse, culminating in the picture of Jacks grandfather at the end. The abuse/amnesia component works perfectly with "shining". Sexual and violent abuse is an archaic form of mind control, with healing psychic eruptions, manifested as waking dreams, paralyze with insight. But does Kubrick hint at the newer tech, a cleaner form of mindcontrol? Something not done in shadows, but out in the open? This newer mindcontrol, Kubrick might be suggesting, is escapable as well. A genetic "shining", deeper than repressed unconscious "shining", that works with codes rather than simpler forms. (PKD with his visions).
Ager doesn't seem to make that leap into the non-local weirdness, which is fine, but it shouldn't be ignored. This must be Kubricks Finnegans Wake, the nighttime to compliment 2001's daytime Odyssey. In space, it is always daytime, the sun always shines. In the Overlook, it is the son that shines.
LeClair:
I am overwhelmed by events in Japan. My brother and his family live in Tokyo, and he isn't taking it well. My mom has aged 5 years in the last week. I feel , for myself, like I am in suspended animation. I can't seem to think or make decisions. I sleep and listen for updates and nothing else.
Anyway, just wanted to touch base. I have enjoyed your discoveries so much, and hope there is more adventure in the future. Please keep in touch.
Klaus:
Mercy. Completely understand. My thoughts go out to you and your family.
LeClair:
I appreciate your thoughts. It's weird. I feel like the world is coming to an end. I want to just forget it and move on, or even revel in it, as I have in past catastrophe, but for some reason this event has heavy hooks in me and I can't shake them.
There are six reactors a Fukushima, each housed in a Cubical Cooling Tower. The two color paint job on the cooling towers are white and pale blue, and looks like sun dappled water. The tower colors are eerily like those on the flag of Israel, which sports the hexagon and in turn the Cube. The Hebrew letter Mem means "water", and the letter form for Mem is described by Kaballists as "cubical". Mem also means "forty". Forty years ago were the events of "Watergate" and not coincidentally, the Fukushima Daiichi Facility goes on line in 1971. The Tepco Logo is devised of Six Rings which harkens both the number Six and also Saturn and its hexagonal polar anomaly. From "tepco" I find "octep" like "octopus" and also "optec" as in "optic".
As silly as is seems, I consider the possibility that Stanley planned all of it.
It is madness, I admit, a divine madness, though.
My thoughts are also with you, WK, whoever you are. Take care of yourself and loved ones in these crazy times... and as it all unfolds, keep in touch.
