The Death of the Festival

Dear Reader, Please take a little time to enjoy this article. While reading, I found myself looking at gatherings of people and celebrations on an even deeper level. Apply these ideas to the international lockdown, the death of social gatherings, the eruption of violence by the disenfranchised and the enormous struggle of the average human to remain sane. Humour has also been affected; read about the gulags. And understand the importance of humour in the survival of our species ~ and why I do what I do every week with my weekly offerings.

This is an interesting read. That is all I can say. I hope to get the entire series up over the next short while.

Meanwhile, here are a few gems to get you started.

‘Because it undermines conventional reality, humor is also a primal peace offering.’

‘More generally, locked in, locked down, and locked out, the population’s confinement within the highly controlled environment of the internet is driving them crazy.’

‘That hunger for unprogrammed, wild, real experiences ~ real food for the soul ~ intensifies beneath the modern diet of canned holidays, online adventures, classroom exercises, safe leisure activities, and consumer choices.’

‘A society of good humor is likely to be a healthy society that needn’t veer into sacrificial violence.’

By Charles Eisentstein

June 2021 

SOURCE

(Part 1 of a multi-part series)

We live a double life, civilized in scientific and technical matters, wild and primitive in the things of the soul. That we are no longer conscious of being primitive makes our tamed kind of wildness all the more dangerous. ~ Hans Von Hentig

The natural order is unraveling. Plagues, floods, droughts, political unrest, riots, and economic crises strike one upon the next, before society has recovered from the last. Cracks spread in the shell of normality that encloses human life.

Societies have faced such circumstances 

repeatedly throughout history, 

just as we face them today.

We would like to think we are responding more rationally and more effectively than our unscientific forebears; instead, we enact age-old social dramas and superstitions dressed in the garb of modern mythology.

No wonder, 

because the most serious crisis we face 

is not new.

None of the problems facing humanity today are technically difficult to solve.

~ Holistic farming methods could heal soil and water, sequester carbon, increase biodiversity, and actually increase yields to swiftly solve various ecological and humanitarian crises.

~ Simply declaring a moratorium on fishing in half the world’s oceans would heal them too.

~ Systemic use of natural and alternative healing modalities could vastly reduce Covid mortality, and reverse the (objectively more serious) plagues of autoimmunity, allergies, and addiction.

~ New economic arrangements could easily eradicate poverty.

~ However, what all of these easy solutions have in common is that they require agreement among human beings. There is almost no limit to what a unified, coherent society can achieve. That is why the overarching crisis of our time ~ more serious than ecological collapse, more serious than economic collapse, more serious than the pandemic ~ is the polarization and fragmentation of civil society.

With coherency,

anything is possible.

Without it,

nothing is.

The late philosopher Rene Girard believed that this has always been true: since prehistoric times, the greatest threat to society has been a breakdown in cohesion. Theologian S. Mark Heim elegantly lays out Girard’s thesis:

“Particularly in its infancy, social life is a fragile shoot, fatally subject to plagues of rivalry and vengeance. In the absence of law or government, escalating cycles of retaliation are the original social disease. Without finding a way to treat it, human society can hardly begin.”

The historical remedy is not very inspiring. Heim continues:

The means to break this vicious cycle appear as if miraculously. At some point, when feud threatens to dissolve a community, spontaneous and irrational mob violence erupts against some distinctive person or minority in the group. They are accused of the worst crimes the group can imagine, crimes that by their very enormity might have caused the terrible plight the community now experiences. They are lynched.

The sad good in this bad thing is that it actually works. In the train of the murder, communities find that this sudden war of all against one has delivered them from the war of each against all. The sacrifice of one person as a scapegoat discharges the pending acts of retribution. It “clears the air.” The sudden peace confirms the desperate charges that the victim had been behind the crisis to begin with.

If the scapegoat’s death is the solution, the scapegoat must have been the cause. The death has such reconciling effect, that it seems the victim must possess supernatural power. So the victim becomes a criminal, a god, or both, memorialized in myth.

The buildup of reciprocal violence and anarchy that precedes this resolution was described by Girard in his masterwork, Violence and the Sacred, as a “sacrificial crisis.” Divisions rend society, violence and vengeance escalate, people ignore the usual restraints and morals, and the social order dissolves into chaos. This culminates in a transition from reciprocal violence to unanimous violence: the mob selects a victim (or class of victims) for slaughter and in that act of universal agreement, restores social order.

A detail from the Friese Chronicles showing the 1349 massacre of Erfurt Jews in Germany, who were blamed for the Black Death.

The Age of Reason has not uprooted this deep pattern of redemptive violence. Reason but serves to rationalize it; industry takes it to industrial scale, and high technology threatens to lift it to new heights. As society has grown more complex, so too have the variations on the theme of redemptive violence. Yet the pattern can be broken. The first step to doing that is to see it for what it is.

In order that full-blown sacrificial crises need not repeat, an institution arose that is nearly universal across human societies: the festival. Girard draws extensively from ethnography, myth, and literature to make the case that festivals originated as ritual reenactments of the breakdown of order and its subsequent restoration through violent unanimity.

A true festival is not a tame affair.

It is a suspension of normal rules,

mores, structures, and social distinctions.

ED Noor: The social experiment known as Woodstock is an excellent example of the above statement. 

Girard explains:

Such violations [of legal, social, and sexual norms] must be viewed in their broadest context: that of the overall elimination of differences. Family and social hierarchies are temporarily suppressed or inverted; children no longer respect their parents, servants their masters, vassals their lords. This motif is reflected in the aesthetics of the holiday ~ the display of clashing colours, the parading of transvestite figures, the slapstick antics of piebald “fools.” For the duration of the festival unnatural acts and outrageous behaviour are permitted, even encouraged.

As one might expect, this destruction of differences is often accompanied by violence and strife. Subordinates hurl insults at their superiors; various social factions exchange gibes and abuse. Disputes rage in the midst of disorder. In many instances the motif of rivalry makes its appearance in the guise of a contest, game, or sporting event that has assumed a quasi-ritualistic cast. Work is suspended, and the celebrants give themselves over to drunken revelry and the consumption of all the food amassed over the course of many months.

Festivals of this kind serve to cement social coherence and remind society of the catastrophe that lays in wait should that coherence falter. Faint vestiges of them remain today, for example in football hooliganism, street carnivals, music festivals, and the Halloween phrase “trick or treat.” The “trick” is a relic of the temporary upending of the established social order. Druidic scholar Philip Carr-Gomm describes Samhuinn, the Celtic precursor to Halloween, like this:

Samhuinn, from 31 October to 2 November was a time of no-time. Celtic society, like all early societies, was highly structured and organized, everyone knew their place. But to allow that order to be psychologically comfortable, the Celts knew that there had to be a time when order and structure were abolished, when chaos could reign. And Samhuinn was such a time. Time was abolished for the three days of this festival and people did crazy things, men dressed as women and women as men. Farmers’ gates were unhinged and left in ditches; peoples’ horses were moved to different fields...

In modern, “developed” societies today, neither Halloween nor any other holiday or culturally sanctioned event permits this level of anarchy. Our holidays have been fully tamed. This does not bode well. Girard writes:

The joyous, peaceful facade of the deritualized festival, stripped of any reference to a surrogate victim and its unifying powers, rests on the framework of a sacrificial crisis attended by reciprocal violence. That is why genuine artists can still sense that tragedy lurks somewhere behind the bland festivals, the tawdry utopianism of the “leisure society.” The more trivial, vulgar, and banal holidays become, the more acutely one senses the approach of something uncanny and terrifying.

That last sentence strikes a chord of foreboding. For decades I’ve looked at the degenerating festivals of my culture with an alarm I couldn’t quite place. As All Hallows Eve devolved into a minutely supervised children’s game from 6 to 8pm, as the Rites of Resurrection devolved into the Easter Bunny and jellybeans, and Yule into an orgy of consumption, I perceived that we were stifling ourselves in a box of mundanity, a totalizing domesticity that strove to maintain a narrowing order by shutting out wildness completely. The result, I thought, could only be an explosion.

It is not just that festivals are necessary to blow off steam. They are necessary to remind us of the artificiality and frailty of the human ordering of the world, lest we go insane within it.

More generally,

locked in, locked down, and locked out,

the population’s confinement

within the highly controlled environment

of the internet

is driving them crazy.

Every human being knows, if only unconsciously, that we are not the roles and personae we occupy in the cultural drama of life. We know the rules of society are arbitrary, set up so that the show can be played out to its conclusion. It is not insane to enter this show, to strut and fret one’s hour upon the stage. Like an actor in a movie, we can devotedly play our roles in life. But when the actor forgets he is acting and loses himself so fully in his role that he cannot get out of it, mistaking the movie for reality, that’s psychosis. Without respite from the conventions of the social order and without respite from our roles within it, we go crazy as well.

We should not be surprised that Western societies are showing signs of mass psychosis. The vestigial festivals that remain today ~ the aforementioned holidays, along with cruise ships and parties and bars ~ are contained within the spectacle and do not stand outside it. 

As for Burning Man and the transformational music & art festivals, these have exercised some of the festival’s authentic function ~ until recently, when their exile to online platforms stripped them of any transcendental possibility. Much as the organizers are doing their best to keep the idea of the festival alive, online festivals risk becoming just another show for consumption. One clicks into them, sits back, and watches. In-person festivals are different. They start with a journey, and then one must undergo an ordeal (waiting in line for hours). Finally you get to the entrance temple (the registration booth), where a small divination ritual (checking the list) is performed to determine your fitness to attend (by having made the appropriate sacrifice ~ a payment ~ beforehand). Thereupon, the priest or priestess in the booth confers upon the celebrant a special talisman to wear around the wrist at all times. After all this, the subconscious mind understands one has entered a separate realm, where indeed, to a degree at least, normal distinctions, relations, and rules do not apply. Online events of any kind rest safely in the home. Whatever the content, the body recognizes it as a show.

More generally,

locked in, locked down, and locked out,

the population’s confinement

within the highly controlled environment

of the internet

is driving them crazy.

By “controlled” I do not here refer to censorship, but rather to the physical experience of being seated watching depictions of the real, absent any tactile or kinetic dimension. On line, there is no such thing as a risk. OK, sure, someone can hurt your feelings, ruin your reputation, or steal your credit card number, but all these operate within the cultural drama. They are not of the same order as crossing a stream on slippery rocks, or walking in the heat, or hammering in a nail. Because conventional reality is artificial, the human being needs regular connection to a reality that is non-conventional in order to remain sane. 

Ed Noor: These Scottish government workers, business folk, secretaries, dentists, servers, executives, have paid to participate in organized chaos and, after a day of wild carousing, will return to their every day lives, satisfied with their release and the temporary exorcism of the modern world.  

That hunger for unprogrammed, wild, real experiences ~ real food for the soul ~ intensifies beneath the modern diet of canned holidays, online adventures, classroom exercises, safe leisure activities, and consumer choices.

ED Noor: When did "safety" become our prime goal in life?

Absent authentic festivals, the pent-up need erupts in spontaneous quasi-festivals that follow the Girardian pattern. One name for such a festival is a riot. In a riot, as in an authentic festival, prevailing norms of conduct are upended.

Boundaries and taboos around private property, trespassing, use of streets and public spaces, etc. dissolve for the duration of the “festival.”

This enactment of social disintegration culminates either in genuine mob violence or some cathartic pseudo-violence (which can easily spill over into the real thing). An example is toppling statues, an outright ritual substituting symbolic action for real action even in the name of “taking action.” Yes, I understand its rationale (around dismantling narratives that involve symbols of white supremacy and so forth) but its main function is as a unifying act of symbolic violence.

However, this cathartic release of social tensions does little to change the deep conditions that give rise to those tensions in the first place. Thus it helps to maintain them.

I became aware of the festive dimension to riots while teaching at a university in the early 2000s. Some of my students participated in a riot following a home-team basketball victory. It started as a celebration, but soon they were smashing windows, stealing street signs, removing farmers’ gates from their hinges, and otherwise violating the social order. These violations also took on a creative dimension reminiscent of street carnivals. One student recounted making a gigantic “the finger” out of foam and parading it around town. “It was the most fun I’ve had my whole life,” he said.

More than any contained, neutered holiday, this was an authentic festival seeking to be born. And it wasn’t safe. People were accidentally injured. A real festival is serious business. Normal laws and customs, morals and conventions, do not govern it. It may evolve its own, but these originate organically, not imposed by authorities of the normal, conventional order; else, it is not a real festival. A real festival is essentially a repeated, ritualized riot that has evolved its own pattern language.

The more locked down, policed, and regulated a society,

the less tolerance there is for anything outside its order.

Eventually but one micro-festival remains ~ the joke. To not take things so seriously is to stand outside their reality; it is to affirm for a moment that this isn’t as real as we are making it, there is something outside this. There is truth in a joke, the same truth that is in a festival. It is a respite from the total enclosure of conventional reality.

That is why totalitarian movements are so hostile to humor, with the sole exception of the kind that degrades and mocks their opponents. (Mocking humor, such as racist humor, is in fact an instrument of dehumanization in preparation for scapegoating.)

ED Noor: In China Winnie the Pooh was banned because their dictator did not like the comparisons made between him and the hunny lover.

In Soviet Russia one could be sent to the Gulag for telling the wrong joke; in that country, it was also jokes that kept people sane. Humor can be deeply subversive ~ not only by making authorities seem ridiculous, but by making light of the reality they attempt to impose.

Because it undermines conventional reality,

humor is also a primal peace offering.

It says, “Let’s not take our opposition so seriously.” That is not to say we should joke all the time, using humor to deflect intimacy and distract from the roles we have agreed to play in the drama of the human social experience, any more than life should be an endless festival. 

But that hunger for unprogrammed, wild, real experiences ~ real food for the soul ~ intensifies beneath the modern diet of canned holidays, online adventures, classroom exercises, safe leisure activities, and consumer choices.

And a society that attempts to confine its jokes within politically correct bounds faces the same “uncanny and terrifying” prospects as a society that has tamed its festivals.

Humorlessness is a sign

that a sacrificial crisis is on its way.

The loss of sanity that results from confinement in unreality is itself a Girardian sacrificial crisis, the essential feature of which is internecine violence. One might think that with little but hurt feelings at stake, online interactions would be less fraught with conflict than in-person interactions. But of course it is the reverse. One way to understand it is that absent a transcendental perspective outside the orderly, conventional realm of “life,” trivial things loom large and we start taking life much too seriously. This is not to deny the substance of our disagreements, but do we really need to go to war over them? Is the other side whose shortcomings we blame for our problems really so awful?

As Girard observes,

“The same creatures who are at each other’s’ throats during the course of a sacrificial crisis are fully capable of coexisting, before and after the crisis, in the relative harmony of a ritualistic order.”

Surveying the social media landscape, it is clear that we are indeed at each others’ throats, and there is no guarantee that that will remain a mere figure of speech as something uncanny and terrifying approaches.

THE WORLD OF MIND CONTROL THROUGH THE EYES OF AN ARTIST WITH 13 ALTER PERSONAS

A scene of sexual programming titled with a double bind (always used in mind control programming) suggestive title 'You're Special, Shut Your Mouth!" Note the small victim to the side and the miniscule teddy bear (representative of the child's person) on the floor, "Teddy" tossed aside.

   .

These drawings ARE very disturbing! But whats more DISTURBING is that this woman lived through this, and the sad thing about it is that the specialists are just going to reduce it to a mere mental problem. This is a tragedy considering that this is a rare view into the mind(s) of a satanic MK ultra trauma based victim. Ms. Noble is exceedingly fortunate to have escaped because by their late 20’s or early 30’s these created slaves are destroyed because the even greater hell is the artificial walls begin to melt and memories flood back. That would never do! The few who have escaped and told their tales speak of horrors few of us can comprehend.

I have added more images than in the VC version as well as elaborated on the breakdown of many of them. Remember, boys and girls, this stuff harks back to the ancients only is much closer to the world today.  Kathy Obrien and Bryce Tailor and Svali's tales of their tragic backgrounds fits every detail given here. But then so does this fit the childhood of many I have loved, including the husband I have referred to with such love several times. This was his childhood as well but he survived at great cost, for many years. His siblings all spoke of different aspects of this part of their childhood.Yes it is satanic at the core.

 Symbolic/kabbalistic Hexagon piece titled "Beware Nursery Rhymes Are Not What They Seem" which is so true, highlighting the use of them in mind control. The image isn't great quality but you can make out the symbolic breaking into pieces allegorical mind shattering 'Humpty Dumpty' (nursery rhyme which is also in Alice in Wonderland. 'Jack and Jill' is another one used in mind control (listed in Illuminati Formula) you can imagine it's usage with the alliteration of the protagonist's names and it's themes of physical labour (climbing up the hill to the well) resulting in head trauma and physical abuse from their mother's berating of them. 

'Jack Be Nimble' is certainly a good one for fire traumas (note the boy above the candle; "Jack be nimble, Jack be quick, Jack jump over the candlestick.", and it sounds like it would be used to program ultra-flexible gymnasts and the like). 

By VC

September 22, 2011

 

Many articles on this site point out the presence of mind control symbolism in popular culture. Photo shoots, music videos and movies often glamorize and trivialize mind control and its symbolism by associating it with famous stars and trendy happenings. 

The fact however remains that these references celebrate one of the most abominable practices known to man: trauma based mind control, also called Monarch programming. Originating from the secret CIA project called MK-Ultra, Monarch programming subjects its victims to some of the most sadistic tortures conceivable (for more details on Monarch programming see the article entitled Origins and Techniques of Monarch Mind Control).

The works of Kim Noble vividly document the life of a mind control slave through the eyes of 13 alter personas. While a few of these alters paint peaceful landscapes and nature scenes, most of them depict horrific aspects of mind control such as physical torture, electroshock, violent sexual abuse, dehumanization and dark occult rituals. 

The stories told by these paintings are almost too much to bear, yet they likely actually happened to Kim Noble as they precisely reflect accounts of other Monarch survivors. 

Looking at the works of Kim Noble not only reveals gritty details of an abominable practice carried on by “elite” organizations, it reveals the symbolism that is also thrown in our faces on a daily basis through corporate-owned mass media. Let’s look at the life and works of Kim Noble.

 

WHO IS KIM NOBLE?

I have the feeling that Kim Noble herself would have trouble answering this question. Here’s the biography found on her official website.

“Kim Noble is a woman who, from the age of 14 years, spent 20 years in and out of hospital until she made contact with Dr Valerie Sinason and Dr Rob Hale at the Tavistock and Portman Clinics.  In 1995 she began therapy and was diagnosed with Dissociative Identity Disorder (originally named multiple personality disorder). 

D.I.D is a creative way to cope with unbearable pain. The main personality splits into several parts with dissociative or amnesic barriers between them. It is a controversial disorder but Kim has had extensive tests over 2 years by leading psychology professor at UCL, John Morton, who has established there is no memory between the personalities and that she has the misfortune of representing the British gold standard over genuine dissociation.

Having no formal art training, Kim and 13 of her personalities (alters) became interested in painting in 2004 after spending a short time with an art therapist. These 12 artists each have their own distinctive style, colours and themes, ranging from solitary desert scenes to sea scenes to abstracts, collages, and paintings with traumatic content. Many alters are unaware that they share a body with other artists.

What is remarkable to all is both the quality of their work and the speed of their progress. Within five years of starting to paint they have already had seventeen successful solo exhibitions and participated in an equal number of group exhibitions. Kim was also the first Artist in Residence at Springfield University Hospital in Tooting, South West London.” ~  kimnoble.com

Despite the fact that she has to live with 13 alter personas ~ who randomly take control of her body ~ Kim Noble is fortunate enough to be living a relatively normal life. The fact that the programming stopped at a young age has helped her become “well-adjusted”. She has a teenage daughter named Aimee, who was mostly raised by the motherly alter named Bonny.

In the past few years, Kim Noble enjoyed some mainstream exposure and was featured in national newspapers such as The Telegraph, The Guardian, The Independent and several others. She even appeared at the Oprah Show, where she was interviewed and was shown switching personas. 

As you might expect from mainstream media, the coverage of Noble’s condition was extremely superficial and focused on exploiting the “freak” aspect of her condition for shock value. The true cause of her condition, trauma-based mind control, which is extensively described in her works, is almost never mentioned.

Although most articles and interviews about Noble “applauded” her courage and whatnot, none of them dared discussing the core message of her work and the system that it describes. Many of Noble’s paintings depict terrible scenes of organized, institutionalized and systematic violence, torture, and child abuse combined with elaborate occult symbolism. 

It is obvious that the trauma Noble went through was not caused by a single sadistic father but by an organized entity that held many children. 

The only article I found delving into the mind control aspect of Noble’s work was The Art of Dissociation from the excellent website Pseudo-Occult Media. However, to most newspapers, Noble’s work is nothing more than an example of “outsider art” (a term popularized by trendy art-world douches to identify art created by people with mental problems). 

Most observers are fascinated by the fact that each one of Noble’s alters paint with a distinctive style, but it’s as easy to recognize that her collective works describe her past as a Monarch programming victim.

The “real” Kim Noble does not recall any of the abuse she suffered ~ several of her alters do, however, and they express all of it in their paintings.

“To all intents and purposes, each of Kim’s personalities is an artist in their own right: Patricia paints the solitary desert landscapes, Bonny’s pictures often feature robotic dancing figures or “frieze people”, Suzy repeatedly paints a kneeling mother, Judy’s canvasses are large, conceptual pieces while Ria’s work reveals deeply traumatic events involving children.

These disturbing images are at the root of Kim’s extraordinary condition; DID is a creative mental survival strategy whereby the personality splits at a young age due to severe and chronic trauma. 

The number of personalities that exist often depends on how long the trauma lasts. But Kim herself has no memory of being abused as a child; she has been protected over the years by her alters.

“I’ve been told I was abused and to me at this moment in time, it’s too much. It goes in one ear and out the other. It’s no good retraumatising me and telling me something I don’t want to know ~ in any case, there would be a switch.”

Kim has good reason to fear learning about her past as it’s possible that if she acquires too much information, she won’t be able to cope and will “disappear”. It’s happened twice before. (omega)

This is where it gets really weird ~ for Kim isn’t Kim at all. The personality I am interviewing is Patricia and it is she who manages her and Aimee’s lives, but Patricia wasn’t always the dominant personality. Before Patricia took over, Bonny held the fort and two years previous to Bonny, it was Hayley.

Kim watches me closely as she explains: “You see Kim is just the ‘house’, the body. There isn’t a ‘Kim’ at all ~ she has completely split. So we answer to the name Kim but really I am Patricia. When people call us ‘Kim’ I suppose many of us just assume it’s a nickname, but once people know you they don’t use your name very often in conversation.”

Of the 20 or so personalities who share “Kim”, some are easily identifiable: there is 15-year-old Judy who is anorexic and bulimic, maternal Bonny, religious Salome, depressed Ken, sensible Hayley, Dawn, Patricia and elective mute MJ. There are also a handful of children “frozen” in time. A few of the alters know about the DID but many are unaware ~ or refuse to accept it.

“Judy doesn’t believe in the DID,” explains Kim. “She’s only a teenager and she calls our therapist a nutter when she tries to explain it to her. She’s so young she doesn’t even think Aimee is her daughter. She knows about me and she thinks that I’m a terrible mother because I’m always leaving Aimee. To her, it’s totally normal to keep coming and going. She probably thinks that you come and go too.”

There are certain “triggers” that can force a change and gradually Kim has learnt what they are in order to avoid them ~ but it doesn’t stop her switching up to three or four times a day.”~  The Independent, “Kim Noble, a Woman Divided”

Let’s look at some of the works created by some of Kim Noble’s alters as they each provide a different look at the shady world of Monarch programming. Regular readers of the Vigilant Citizen might realize that a lot of the symbolism found in Noble’s paintings is also found in popular culture.

Warning: Several of these paintings depict disturbing scenes which might not be suitable for young or sensitive readers.

BONNY

Bonny, who was Kim’s “dominant” alter for a few years, is a warm and motherly figure. Most of her paintings portray humans as mechanical robots ~ which is one of the ways one could describe a mind control slave. Other pieces are more directly related to Monarch programming such as this one, aptly titled “I’m Just Another Personality”.

"I'm Just Another Personality" visually represents the splitting of the subject in several alters. The central figure, or the core personality, has become simply "another personality". It is blindfolded, representing the victim’s total blindness to its condition.

This kind of imagery is sometimes found in popular culture by acts who exploit mind control imagery.

Lady Gaga on the cover of V with two alter personas

Another piece made by Bonny, ironically named I-Test, and symbolically depicts the reality of a mind control slave
.

"I-Test" portrays a blank, emotionless face with blindfolded eyes. The skull is cracked, representing the fracturing of the psyche. One of the eyes is bloody and we can assume that it has been poked out. 

The symbol of the missing/hidden eye is extremely important in the world of Monarch mind control. It symbolically represents the loss of half of victim's vision of the world ~ the other half being "taken out" and controlled by the handlers. 

In occult symbolism, the emphasis on one eye can refer to the Eye of Horus, the All-Seeing Eye, a symbol of the occult elite.

A promotional t-shirt of the movie Sucker Punch (which was all about Monarch Programming - see “Sucker Punch” or How to Make Monarch Mind Control Sexy) featuring a bloodied eye.

.

A cracked face on a promotional poster of Black Swan 
~ another movie with heavy mind control elements.

GOLDEN DAWN

Golden Dawn is the alter that saw the birth her daughter Aimee. However, Dawn believes that Aimee is still a baby and does not recognize the teenage girl that lives with her. The name “Golden Dawn” has a heavy occult connotation as it is the name of an important and powerful secret society that taught Hermetic Kabala, astrology, occult tarot, geomancy, and alchemy to its initiates. 

It held within its ranks prominent occultists such as Arthur Edward Waite and Aleister Crowley. The process of Monarch mind control combines state-of-the-art “science” (if you can call torture “science”) with ancient occultism, whether it be in hermetic theories, kabalistic symbolism or invocation rituals. It is therefore no surprise that she was given this occult-inspired name.

Her piece entitled “The Naming” visually depicts the process of creating and naming a new alter.

"The Naming" is an auto-portrait of Kim with one eye that was removed from the face and placed above her, bloody, which conveys the violent nature of the process. Once again, mind control is symbolized by the loss of an eye which appears to have been replaced by a text/poem that was probably used to program her.

Most of Dawn’s other paintings feature limbless, mannequin-like figures who are subjected to various methods of torture.

"Armless Goddess" portrays a hopelessly powerless figure, ironically referred to as goddess.

 .

"Armed Goddess" depicts another traumatic torture scene.

KEY

The alter “Key” appears to have a profound understanding of the process of mind control and its underlying occult aspect. The name “Key” might refer to terms such as the “Key of the Mysteries” or “Solomon’s Key” as she seemed to have been programmed to understand some of the occult concepts utilized in mind control. Most of this alter’s works describe the programming process as a kabalistic “Great Work”, with the Tree of Life (the main symbol of the Kabala) as the main object of focus.

“It Happens” is an extremely detailed work describing the several layers of programming required to traumatize and program a mind control victim. The title “It Happens” is a disabused way of saying that … all of this really happened.

As well as tortures and rapes by both human and animal, these images are just loaded with Kabalist symbolism!

"It Happens" is comprised of overlapping layers surrounding a central figure: a helpless person strapped to a bed. The head is symbolically "decapitated" from the body using a line, representing the concept of dissociation. Each one of the overlapping layers contains a set of pictographs representing either traumatic events or occult symbolism. 

The outer layer depicts scenes of victims being elect shocked, hung from a tree, being caged, raped (sometimes with animals), caged, buried alive and more. 

From this outside layer, arrows point towards the second layer, which contains zodiac signs. According to F. Springmeier, zodiac signs are used as a code to assign and file body programs. 

The center layer surrounding the victim contains words such as "Hell", "Devil", "Blood" and "Kill" which are shock words used to further traumatize the victim.

 .

This one, entitled "Golden Kabala", uses the same basic layout as the previous image but replaces scenes of trauma with occult symbols and the central figure with the kabalistic Tree of Life. Each one of the Tree of Life's colourful spheres, named Sephirots, are used in Monarch mind control as "compartments" to store alter personas. The outer layer of the work contains the name of each of the ten spheres of the Tree of Life with its associated Hebrew letter.

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By overlapping the trauma depicted in “It Happens” with occult aspects of “Golden Kabala”, we get a rather complete idea of the process of mind control. They schematize, with near mathematical precision, a process that is described by authors on mind control such as

Fritz Springmeier.

“The Cabala is synonymous with Hermeticism or Hermetic magic. The Cabala was jewish-babylonian magic. The Jewish black magicians brought it to Europe. It began to get widespread notice in Europe after Enlightenment period. The great pyramid according to the occult is a symbol of the Cabalistic Tree of Life–the branches of the tree form the four streams or lines to the base of the pyramid. Because the Cabala is the basis of their hermetic magic, Illuminati systems will be fairly consistent in the wake of a slave’s internal Tree of Life and Tree of Evil. (…)

The rooms of the tree of life have names. Essentially, every Illuminati hierarchy victim has the Cabalistic tree of life placed in them. This tree lies below the other trees. The circles that make up the internal Cabalistic Tree of Life are called rooms or quads by the various survivors. Alters can use the internal Tree of Life to work magic internally. It also reminds deeper alters of cult control. The circles of the tree are rooms that can be entered into. Mt. Qabbalah is a figurative mountain in the Cabala.” ~ Fritz Springmeier, The Illuminati Formula to Create a Mind Control Slave

This next piece, entitled “Seven Levels” is another highly detailed account of the process of dissociation.

Comprised of several layers, this works depicts, from bottom to top, the “evolution” of a slave from the hell of trauma to the “heavenly” feeling of dissociation. The bottom two layers depict several horrific scenes of trauma. 

For example, we see in the bottom left corner a pregnant woman giving birth to a dead child in a pool of blood under disturbing phrases such as “No Life”, “Death” and “Blood Death All Around”. There are also several caged children, others being electro-shocked and others hung upside down. Inverted crosses are found all around these two bottom layers, reminding us that these traumatic events are Satanic Ritual Abuse (SRA).

All of this trauma, pain and suffering seem to be “channeled” towards the layers above, consisting of a plethora of occult symbols such as the Tree of Life, the signs of the zodiac and All-Seeing eyes. It is during this occult level that the transformation occurs.

The top layer represents the (only) escape to all of this trauma: dissociation. It is represented by an angelic figure rising to the sky. Looking closely however, we see an All-Seeing Eye in the sky, which reminds us that this escape is not true freedom, but a controlled state that has been induced by the handlers.

JUDY

This alter is a teenage girl who is anorexic.  Most of her paintings place a heavy emphasis on the concept of duality ~ one of the most basic occult concepts exploited by mind control rituals. Duality is an ancient hermetic concept which is traditionally represented with the juxtaposition of the colors black and white, as with the Masonic checkerboard pattern or the symbol of the Ying Yang.

Judy’s works often give a prominent place to the Masonic checkerboard floor, the surface on which occult rituals and ceremonies take place in secret societies. She was probably heavily exposed to the concept of duality (good girl vs. evil girl ~ something that is also found in popular culture) and the symbol of the checkered floor was probably physically used during programming.

"Crying Rose" fully exploits the theme of duality used on mind control victims to create a "split of personality". The crying girl, who is dressed in a checkered dress, reflects the checkerboard pattern floor, therefore insinuating that duality is occurring within her.

This piece, titled "Symbolic or What", is indeed ... symbolic. Two girls (or two personas of the same girl) avoid stepping on the checkerboard floor due to the presence of a snake. They appear to be covering their genitals, implying that the snake is phallic symbol. The painting also attests to the great psychic power of the checkerboard pattern on victims, a trait that was probably part of the programming.

Victims on the mind control programming checkerboard, many thrown off the edge because they are entirely expendable to the controllers, no misses them or reports them (it's really incomprehensible when you think of just how many victims there will have been throughout history). She may have a checker/chessboard in her system (may also just symbolize the numerous "pieces" that exist in her head; 'different/opposing sides' in the same head).

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This self-portrait depicts Judy as a person divided into opposite entities. The concept of duality is therefore very present and represented by the juxtaposition of the colors black and white. The shock words and insults on the image recall the violent and abusive process that leads to the fragmentation of the personality.

RIA PRATT

The paintings made by Ria Pratt are the most graphic and disturbing but also the most revealing. The alter believes she is a 12 year old girl and has vivid recollections of the trauma she has been subjected to, whether it be sexual, physical or dehumanizing. Simply watching these paintings is a difficult experience ~ it is further disheartening to realize that she actually lived these situations

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"It's a Dog's Life" depicts mind control victims being held on a leash like dogs - a technique to humiliate and dehumanize the victims. Notice the "transparent" version of the children floating in the air, representing their dissociated alter personality. An inscription on the wall says "Pratt Was Here" which emphasizes the fact that she saw and lived these things first hand.

Entitled "Too Much", the painting depicts a victim being electro shocked by a handler with a sick smile. The pain is "Too Much" to handle, resulting in the victim's dissociation.

This one is called 'What Ted Saw'; Ted presumably being the Teddy bear in the picture; sometimes during abuse dissociation can take the form of going 'out of body', either viewing the abuse from above or I think this may be the case viewing it through the eyes of the Teddy [so it's not happening to her], teddy bears/dolls/toy animals etc all have relatively similar uses in mind control (child is emotionally attached to them + they often give them personalities which helps in creating alters).

'Nowhere to Run' is the feeling Monarch slaves are kept in pretty much constantly but here it is more literal with the cult programmers/abusers all with electro-shocks (as shown before that line is clearly supposed to symbolize an electric current), note the abusers' green colours.

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In "Ted's Legless", Ria's handler rips off one of her best friend's legs while forcibly holding her on the ground. The trauma causes dissociation, which is represented by the transparent version of the girl. Haunting words are inscribed on the wall: "Help Me Please" and "Pratt was Here".

The symbol of a torn up teddy bear sometimes utilized by mass media in works containing hidden references to mind control. This scene is from a music video from pop singer Jessie J's (see full article here), which contains several references to Monarch programming.


"Unspeakable" depicts the unspeakable: the abuse of small children by their handlers. Strange phrases a written on the wall along with an inverted cross, a symbol that appears to be hardwired into the brains of Monarch slaves.

"No No!" depicts a forced abortion or premature birth. The bloody operation is witnessed by Ria, probably to traumatize her. It possibly depicts a programmer inducing a premature birth (early trauma for a Monarch baby to increase the likelihood they will be highly dissociative, and trauma for the mother) or aborting a fetus in the most traumatic, bloody way possible (with a child to watch as part of its programming with what looks like a dog bowl for the child's dehumanization [looks to be forced to drink it's mother's blood as you can see blood in the bowl]).

According to Ellen P. Lacter, fetuses are either sacrificed in rituals or used as slaves.
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Another of abuse involving children, in this rape scene the two fragmented floating figures (the children dissociated, having dissociated (transparent bodies floating).

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Children caged up like animals about to be tortured by a handler (who also appears to have dissociated).

 This sums up the life of a Monarch slave.

IN CONCLUSION

Although Kim Noble enjoyed some mainstream exposure, the true source of the artist’s condition ~ Monarch programming ~ is nowhere to be found in mass media. Analyzed in its entirety, Noble’s body of work describes a highly organized and complex system that appears to hold great amounts of knowledge- occult and scientific ~ as well as material resources. 

This system also appears to literally own humans, mostly children, who are abused and traumatized to create within them programmable alter personas. The fact that no newspapers dared to investigate (or even mention) anything related to MK-Ultra, a program that was proved to use the exact techniques described in the paintings, tells volumes about the power of those operating it. 

The soulless handlers depicted in Noble’s paintings are not lone psychopaths, but high level officials of the Illuminati system who enjoy media immunity. In fact, they are sometimes part of the media as the worlds of the entertainment business and Monarch programming often collude.

Partly for this reason, the symbolism used during Monarch programming has spilled over to the mainstream entertainment business. Some of the world’s biggest stars are products of mind control. 

The same symbols used in the programming of Monarch slaves are sent to the world through mass media.

High level mind control handlers and slaves (those who have “succeeded” at the various levels of programming) end up operating in show business. 

Some of our favorite entertainers are nothing more than puppets whose strings are pulled by unseen handlers. 

These handlers are “unseen” to most, but they certainly make themselves “seen” through the symbolism placed in the media.

Many of the symbols described on this site directly originate from the shady world of Monarch programming, which uses a complex system of occult images and powerful triggers. 

Although most of us are fortunate enough not to live through the hell endured by these MK slaves, we are still subject to a form of programming using movies, television, music and other forms of mass media. 

Those who operate behind the scenes attempt to slowly normalize their existence and their depraved behaviour. 

Why are children being so aggressively sexualized in mass media? 

Is it because people in the entertainment business are connected with the people who commit the horrific acts portrayed above? 

Sadly, the reality is sicker than the fiction.

RELATED

Gallery of Kim Noble’s Paintings

Origins and Techniques of Monarch Mind Control

For much more information and art:

THE ART OF DISASSOCIATION