Seeding Human Consciousness: How Their Movie Becomes Our Reality

Australia’s indigenous peoples represent the oldest continuous culture on Earth. For around 60,000* years they remained at one with the land, highly tuned to the frequencies of nature and brilliantly able to adapt to their surroundings as each millennium unfolded.

Many indigenous Australians refer to themselves as Anangu (pronounced an nah new). Anangu simply means “human being, person.” Other local variations of the term Anangu exist, depending on geographic region, such as Koori, Noongar, Nunga and Murri. We’ll stay with Anangu to keep things simple. It is certainly preferable to using the maladroit and outmoded 18^th century English term ‘Aboriginal’ (from the Latin Aborigine, ab: from, and origo: origin, beginning).

The Dreaming

Within Anangu cosmology, the Dreaming (aka Dreamtime, Altjeringa) refers to both the creation story and a spiritual realm of ‘time outside of time,’ a co-existing confluence of past, present and future out of which all phenomena emanate. It is perhaps, the Australian equivalent of the Toltec Shamanic concept, the Nagual.

The term Dreaming was made popular by anthropologist W.E.H. Stanner, after an Anangu man had told him "white man got no Dreaming", which Stanner subsequently entitled one of his books. Stanner even coined his own alternative term for the Dreaming; he called it the "everywhen." T.G.H. Strehlow favoured "Eternal, Uncreated".

Robyn Davidson, in a recent quarterly essay on nomads, writes: "No matter how much I read about the Dreaming, the confidence that I understand it never quite takes root in my mind. To me it is on a par with, say, quantum mechanics, or string theory – ideas you think you grasp until you have to explain them. Each time I attempt it, I have to feel my way into it again, and I am never sure of my ground. One could say that the Dreaming is a spiritual realm which saturates the visible world with meaning; that it is the matrix of being; that it was the time of creation; that it is a parallel universe."

The Anangu consider the Dreaming to be entirely objective, whilst linear time is understood to be a subjective construction of the individual’s waking consciousness. This is diametrically opposed to European and Western thinking which views dreaming as subjective and linear time as objective.

Within this context, we may understand that our reality is a subjective construction of our own consciousness. It is existent in the sense that we can touch it, see it and feel it. It was there yesterday and it will be there tomorrow when we wake up. Yet the whole thing has no independent existence outside of consciousness.

The Anangu are taught by their elders to believe that only through Dreaming can they return to authentic reality. Life in normal time is simply a fleeting fantasy, a bird flying by the moon. It has a beginning and it has an end. The Dreaming has no beginning and no end. Before, during and after our life on Earth, the true source of our existence is anchored there. It is the origin and the return. A 'piece' of the Dreaming is only downloaded into earthly life by being born through a mother. Upon birth, the child is considered to be a special custodian of that part of their country, their spiritual landscape, and so is taught the stories and unique characteristics of that place.

In the Dreaming creation story, ancestral totemic spirit-beings formed the World. These shapeshifting spirits embodied forms of animals, plants, people, natural phenomena, even inanimate objects. Their existence is expressed by their formative journeying and the signs they deposited through the landscape. Their dreaming and journeying trails are referred to as songlines (or Yiri). Traces may be encountered as spiritual essence or physical marks, such as petrosomatoglyphs (body impressions or footprints usually incised in rock). A good example would be the journey of the Rainbow Serpent itself (the key figure in the Anangu creation story) which followed a path across Northern Australia, creating rivers and mountains as she went, and stopping at especially sacred places such as Ubirr. Her song is still sung by Anangu, and describes the features of her journey. These songs may also be used to navigate vast distances and also to locate waterholes in the desert. Songlines are an ancient tool of recording, navigating and identification.

Sowing Seeds

And so to our society. To the modern expression of the Dreaming. Why do movies like Independence Day, The Day After Tomorrow, Deep Impact, Armageddon, War Of The Worlds and I Am Legend get to be so pervasive? Cheesy disaster flicks with nothing to offer but cheap thrills, eye candy and melodramatic inevitability. Just why do these shallow tales win big every time? Simple. Their high profile and colossal backing reflects the crucial role they play in fulfilling the Control System’s manufactured reality.

Disaster movies are not for entertainment. The acting is utterly inconsequential. The images, the special effects and above all, the emotional outpouring are the critical components. These sensual productions are designed to program human consciousness with a reality tunnel that is so intense, so awe inspiring and compelling, that it has the essential juice required to seed group-consciousness and turn it into the reality. When we see those gigantic waves engulfing city streets and tossing cars aside like toys, we are articulating our own dreamscape and contributing to a Dreaming feedback loop. When the tsunami crashes against the Empire State Building throwing millions of tonnes of seawater across the parking lots, the libraries and college campuses - and the audience in the movie theatre gasps - they copy & paste that piece of imagery into their own quantum hologram, ready to manifest it into a definite and probable reality tunnel. Together, we are winching up steel girders, painting cross beams, tightening nuts and bolts, putting new blocks into place. Psychic construction workers manifesting someone else's blueprint.

What is sought in these disaster movies? What is conjured when the fire consumes the children and the comet smashes into a famous landmark? A powerful emotional response. It may be sadness, empathy, dread, fear, hopelessness. This is important. Emotion is a special frequency of energy; powerful and difficult to control. It is a quantum bonding agent we use to formulate our personal constructs within the holomovement. It also has a tendency to swirl around, burn up energy and generally overwhelm the ‘conductor’, thus ensuring that we usually just suppress it. Keep it in the box. Suppression over an extended time is tiresome and arduous. We want to let it out and express it but we are fearful to do so in an uncontrolled manner. So when an opportunity comes along to pour out our emotions in a safe, archetypal and populist context – as presented to us in a movie, or the ritual sacrifice of Princess Diana, or the trauma of 911 – we do it willingly. Especially the feminine element (in both men and women), which has more powerful energetic access to this frequency. The emotional torrent that we emit can be harvested and directed to a predetermined purpose; a function designed by the Control System to infuse their chosen reality tunnel with the emotional charge of a critical mass of human imaginations, like Frankenstein conducting lightning into his monster. Once harnessed, this supreme charge enables their reality tunnel to become the dominant and probable destination for the consensus reality construct.

Spirit encompasses matter. The circle contains the square. Imagination is the engine of holographic potentiality. Grasping this concept is the key to shifting one’s consciousness to the next level and embracing mindful self-control and personal creation within the holomovement. If we are to develop our own inner crucible of manifestation, we must reject the Control System’s movie screens and brush away their fake songlines. In understanding the mechanism, we automatically drift away from the manipulation. Our creation is their destruction.

* In 1788, the British invaded Sydney, Australia. At the time, this style of invasion was called colonisation. Initially, local Anangu were hospitable and traded peacefully with King George III’s military men. They soon realized however, that the Imperialist Brits were forcibly displacing Anangu and taking their land. Conflict ensued and a massive campaign of cultural genocide was prosecuted. As if that weren’t bad enough, the British introduced smallpox to Australia which wiped out around 30% of the native population. By 1870, all fertile areas of Australia had been appropriated and indigenous communities were reduced to impoverished remnants living either on the fringes of communities or on lands deemed unsuitable for settlement. As Illuminati placeman Arthur James Balfour became Prime Minister Of Great Britain in 1902, the Anangu population of Australia had been reduced by 90% through a combination of loss of land, war, destroyed habitat and disease. Some reports suggest as few as 32,000 Anangu remained on the entire continent.