Artist's Statement

 SPY 1099

THE SPYWHISPERER: The Dark Muse of Actionable Intelligence

I'm a spy in the house of love. I know the dream, that you're dreamin' of. I know the words that you long to hear. I know your deepest, secret fear." --The Doors, "The Spy"

"It is our task to seek art, for without seeking it we shall never learn the secrets of the world. . . You must go to it yourself." --Paracelsus

The Underground Arts: Spies Like LVX

We are seekers, whether of personal or global truth, of knowledge, of spiritual revelation, or the hidden wonders of science or the frontiers of raw experience. The sap of life is its physical aspects but its essence is mystery. Expression is the essence of essence, refining the raw prima materia into the 'cooked.' We yearn for transparency, for disclosure, for revelation, for the truth that cannot be hidden. It is the eternally sought Stone of the Wise. "In-Tell" speaks to us from deep within.

I've always worked as an edge-artist and metaphysician, far outside the mainstream of production and institutions, niche publishing in the underground press, scene zines and using free servers as 'squatter sites.' In lifestreaming I don't distinguish between esoterics and pro bono therapeutic arts, visual and written works and personae (living out loud) or enterprises. They illuminate my experience equally.

De Lux Cosmic Couture

In his 1989 book, The Game Player: Confessions of the CIA's Original Political Operative, top spook Miles Copeland brags of the intelligence agency's control over both Moral Re-Armament and L. Ron Hubbard's Scientology movement. Copeland reports that he served in the 1950s as head of an agency entity known as The Political Action Staff. Under this umbrella, his assistant, Bob Mandlestam, developed an operation called "OHP," or "occultism in high places," described by Copeland as "a theory of political activism based on an impressively detailed study of ways in which leaders of the world based their judgments on one form or another of divine guidance." One of Mandlestam's projects was to "plant astrologists on certain world leaders." Another was to deploy "mystics" in the Georgetown section of Washington, D.C., home to many government figures, who would use "voodoo magic," based on rites prescribed by the CIA itself, to manipulate Congressmen. --Larry Hecht, EIR, Dec. 2002

It is through this Force that all the nervous centres secretly communicate with each other; from it--that sympathy and antipathy are born; from it--we have our dreams; and that the phenomena of second sight and extra-natural visions take place...Astral Light [acting under the impulsion of powerful wills] ... destroys, coagulate, separates, breaks, gathers in all things...God created it on that day when he said: "Fiat Lux!" ... It is directed by the Egregores, i.e., the chiefs of the souls who are the spirits of energy and action.

In Latin "U" is written as a "V", so the word becomes "Lux", which means "Light." Light is the first object -- the essence of creation and the universal speed limit. It is also the basis of our existence as photonic/electronic beings -- Homo Lumen. Physics shows that without LVX we are literally Nothing.

The occult light can now be related to biophotons that sustain our interconnected bioplasmic energy bodies. LVX shows us how to be alive, how to penetrate the depths of the universe and illuminate the nature of reality. LVX is also a trope, a metaphorical turn of phrase, an ancient meme that allows us to penetrate the cosmic code.

It's all about the effects. My current project involves disbelieving all previous versions of my self and my understanding of the hyperflux nature of reality. I hope to contradict and supersede myself -- to go supraluminal and  strip off any tactical corset that becomes too confining.

Innovative Content

My mixed-media include not only physical and digital gestures and words, but living light and the entire geopolitical or psychosocial landscape. Spies like us are really spooked up with esoterics, psi-ence and spy-ence. With smartphones we've entered the era of Extra Sensory Computing, with external eyes and ears linking our extradimensional nervous systems.

Both intelligence and mystics or occultists are obsessed with mind control -- their own and others. Mind is the ultimate medium and all that really matters. Theosophical notions of consciousness and thoughtforms are still with us in the cliche that 'thoughts are things' and in New Age theories of "intentionality." Extraordinary human capacities can be amplified and tapped with soft and hard, hot and cold technologies. The web is an astral playground and ESP factory of PSISIGs (psi signals).

This year I've added filmmaking to my repertoire of modalities, dynamically animating my formerly static works, history, concepts and ideas. It has changed my storytelling. But it all still begins with a feeling for the arc of a story that wants to be told -- "In-Tell."

I like to think what I do works by contagion and perhaps chaos theory. In my works on Chaosophy, I've discussed those mechanisms at length. Chaos can be a more fertile state than order.

Hence, my current koan -- 'Nothing' can prove anything." No one is telling us the truth, not even ourselves. Our internal dialogue and narrative is another form of "In-Tell." Nevermind "them." What else are you hidding from yourself? Maybe I just have a Rubik's complex, and just want to solve the puzzle.

Paradoxically, we can just as well say the truth cannot be hidden. But it does often take time to reveal. You must wait for someone to come to their own revelations, because even if issues or solutions are telegraphed to the therapist, pre-empting the process with a concept is not the same as the moment of personal discovery. The difference is between 'knowing' and 'telling.' It is wise to know the difference and respect it.

Touchpoint: Decade of Trauma

Whether in therapy, graphics, psi research or cultural engineering, art (including the mystic and predictive arts) is a vocation, not a trade. It’s a cliche - that art is a process, not a product. Yet, one is ‘called’ to create -- to manifest -- by one’s inner being, and we ignore the call at our own peril.

The vagaries of commercial markets, self-serving gallerists and museum trends cannot drive creativity in any direction. In human cultures small disturbances can bring about large, unpredictable reactions, similar to the butterfly effect. You can never anticipate where that influence, inspiration or 'happy accident' will originate.

My own path is a chaotic aboriginal 'walkabout,' a sort of 'Forest Gumping' collusion of synchronicity and 'Being There' good fortune. In therapy, we are taught to "trust the process," but in PSYOP the social engineering "process" imposed on the global playing field is precisely the problem, not the cure. 

We are all victims of transition trauma in our Post-Traumatic Culture. Some of the traumas of Shock Doctrine inflicted on the nation were deliberate, others just circumstantial but all marked us with scars and lingering effects of emotional, financial and existential havoc. The climate of terror is the real 'climate problem.'

All strata of society have been impacted. No one escapes the effects of the traumatic events happening globally these days. The economic bloodbath left many if not most depressed, discouraged, even suicidal. It is disappointing that a change in administration did not lead to hoped for progressive changes in policy.

Our PTSD nation and population are in dire need of multidimensional healing. Though deeply penetrated by tragedies we remain in deep denial of forthcoming shortages and changes on the horizon. In denial of the nature of cultural collapse, we stay distracted or hyperactive rather than feel our feelings beyond our control. This hypermanic condition fueled a series of financial bubbles with groundless optimism.

We try to stave off the spectre of death with self-absorbed naval-gazing...or drift into the latest 3-D Avatar world, selecting virtuality over blunt reality. But 3D is the magic word of the decade, with trade showsrolling out affordable consumer models of 3D TV, 3D cameras, and 3D desktop prototype printers. We've added a dimension to our looking-glass screens.

Harvard Medical School researcher, Van Der Kolk highly recommends feeling our feelings: "...effective treatment of PTSD", he writes, "must involve promoting awareness, rather than avoidance, of internal somatic states." He uses the term "mindfulness", a word often used by practitioners of meditation, stating that, "Mindfulness, awareness of one's inner experience, is necessary for a person to respond according to what is happening and is needed in the present, rather than reacting to certain somatic sensations as a return of the traumatic past. Such awareness will free people to introduce new options to solve problems and not merely to react reflexively."

Newsweek featured an article on "Survivalism Lite" and TV has Apocalypse Man and other shows describing the destruction of mankind. There is a trend in families around the nation preparing for the worst. Of course, it's all about amassing vast quantities of food, medical supplies, and ammunition. Nowhere is there mention of how these people intend to cope emotionally and spiritually when all the cans of Chef Boyardee run out and the batteries go dead. Forget local game, which disappears in the first week or two.

This movement fizzles out in traumatized people preparing to inflict more trauma on themselves and others.  So the cycles of victim/victimizer continue. We need a GPS to find our lost souls. Our culture has the sickness unto death that is truly a "dark night," heading toward a cataclysmic century. "underground" takes on new meaning in this context as "bunkered mentality."

Fields of Power

We've all been thoroughly "processed." Culture is the field that makes it possible for us to cultivate the world, so that human beings may become fully human and achieve their fullness. Culture is the specific form of human nature. The nature of humankind is cultural and that culture is indeterminate. But PSYOP makes us a different kind of culture, a sort of bacteriological experiment gone awry in a global petrie dish.

There is chaotic self-organization in cultural fields, but also extreme turbulence. Dissipative structures are constantly fed energies from their surroundings and give off energies to them, and transfer the entropy produced in them to their surroundings. Such structures maintain both their energetic potential and their identity by being open to influences from the outside. But at the same time they avoid the destructive power of such energy concentration by exporting entropy to their surroundings.

James Hillman contends the artful leader uses two dozen kinds of power with finesse and subtlety. Power has many faces, many different expressions. "Empowerment," he says, "comes from understanding the widest spectrum of possibilities for embracing power." They include: the language of power, control, influence, resistance, leadership, prestige, authority, exhibitionism, charisma, ambition, reputation, fearsomeness, tyranny, purism, subtle power, growth, decisiveness, and efficiency.

Hillman reconceptualizes power in terms of sustaining continuity, conserving, teaching, caring, bringing out the innate potential in each person or task. There is also power in personal and collective vision, power among us. The social construct is both a vertical and horizontal field of power; in fact, there are numerous interpenetrating or nested fields of power.

Power is something we seek or, more frequently, deny. We deny we want "power" for ourselves, and resist efforts at leadership as efforts to assert power over us. Freedom from desire's materialism and denial's formalism is found in the poetic, the fantastic, the numinous, where things are not "one way or the other." The concept of power extends beyond the political and material world into the regions of feeling, intellect and spirit that reach beyond the exercise of power by the human will.

As poet W. H. Auden observes, "We are lived by powers we pretend to understand. Its shadow then comes back to haunt us." As colleagues in spirit, we are finding ways to transcend the fixation for power (competition, domination, control, reward) and for the material goods that show that we have manifested power that we are a "success."

Hillman deconstructs the context that invites systematic theology and systematic paranoia in favor of the assertion that all delusion is revelatory and all revelation, delusional -- "an intelligible event which make all other events intelligible." The assumption that the Deity is hidden necessarily brings revelation to religion, and delusion as well.

Our culture has religious madness because the culture requires revelation for its religion. Each group yearns for its own Holy Grail. Christians yearn for the Rapture, UFOlogists for Disclosure, tekkies for Singularity, and New Agers for Ascension.

These 'revelations' all represent a radical upgrade of society and the individual as well as collective. Without literal revelation from concealment to disclosure the interplay of light and shadows make the world inherently intelligible in its aesthetic presentation, requiring no revelation for its divinity or hiddenness for its meaning. Soon, our very thoughts will be revealed to one another.

"Bleeding Edge"

Poised at the cutting edge -- the creative edge of chaos -- emergent art and artists have the capacity to carry the artistic dialogue into the future. We are on the verge of realizing  age-old esoteric dreams in our increasingly "techlepathic" society. Perhaps that alone will jump-start our telepathic ability, with or without biomechanical interface or fancy neural data conversion.

We are set to bypass the acoustic signal altogether as neural interface bridges motor function and communication. We already crave mind-to-mind communication. In contrast to implants, nonlinear mapping equations could directly correlate auditory speech signals and subvocal signals recorded at the same time.

True telepathy would mean seamless bidirectional transference of consciousness and emotions to one or more receiving persons, sharing thoughts and experiences. What happens once we eliminate all possible observers? Maybe that is when we cross the threshold to communicating with the thought invariants of this universe.

Simple arrays can pick up signal but no one is yet sure how to use extracellular field stimulation to get information into cortical neural networks. If we tap the brain's language center, muscular movement isn't required at all to produce a neural signal. Sheer thought alone would transmit language output. It raises the spectre of how we will protect our thoughts and the whole array of body information from the hive-mind.

Both pain and beauty can be a source of inspiration and creativity. It’s one thing to have vision that resonates, and quite another to articulate it and get it out into the world and informational flow where it can go 'viral' without being buried in dataglut. The flip side of that is "doing better than we know" when others mirror our content in the field beyond our immediate knowledge. Often, it winds up in unlikely places, penetrating both the fringe and the core.

My Millennial collected works archive of the '90s and earlier was 'burned' by Geocities last year when Yahoo stopped hosting free sites. But this original Geocities mega-site and others have been 'salvaged' by 'reocities,' dredged from the flotsam and jetsam of obsolete webcontent without bias for ownership or true 'value.'

A single individual took on the self-appointed task of downloading as much as he could grab onto his server. Anything that could be technically captured was 'resurrected' and its shelf life renewed without notification to site owners. This is just one of an increasing numbers of gambits now possible in the datascape, where so many are streaming vital details of their existence, making us the first 'downloadable humans.' Our data has taken on a separate life of its own, in worship of the Android Meme.

Art has a certain restoring, healing, negentropic, even 'spiritual' capacity -- the capacity to counter the entropic energies of social breakdown, decay, and meaninglessness. In this sense, great art -- authentic art -- feeds us, as it has fed mankind from the earliest times. In an an-aesthetic world, we yearn for the zen moment of aesthetic arrest that stops us dead in our tracks with multisensory wonder. It comes in the gaps between breaths, in suspended animation.

The Hidden Environment

The occult was a crucial influence on the Renaissance, and it obsessed the popular thinkers of the day. But with the Age of Reason, occultism was sidelined; only charlatans found any use for it. Occult ideas did not disappear, however, but rather went underground.

It developed into a fruitful source of inspiration for many important artists. Works of brilliance, sometimes even of genius, were produced under its influence. The esoteric has been a foundation of many cultural endeavors but remains "outside," unrecognized by many academics and scholars.

Hermes means "secret" or "sealed." So, we get the Hermetic Arts and hermetically sealed concepts. In therapy, the therapist/client relationship is hermetically sealed so the alchemical process can unfold. It is a sacred space sealed off from outside influences. Transformation is the drama of a universe in miniature.

Hermes is also the Lord of Illusion - the Magician, the Trickster, the Illusionist. Being under cover is a deliberately secret penetration of the outside with stealth. Some things can only be comprehended by being inside them, like love. Yet, some things are so exceedingly subtle they cannot be perceived or expressed as they are beyond categories.

Life, lived both underground and under cover is "hidden" or shadey with the clandestine aim of metaphorming the living symbolic structure, personal or collective. The mundane or banal takes on new symbolic meaning, from idiosyncratic to global. Global chaos theory is an intellectually elegant concept that may or may not prove itself, but it is a good model of instability and an apt metaphor for using minimum leverage to achieve optimal effect on the global culture machine.

Manipulating dark and light forces, shadow and light, artists reveal that which is fundamentally occult -- the hidden environment in which we truly live -- a world enlivened by both electricity and imagination. But we cannot understand social, economic and cultural systems from the "will" or "intentions" of individuals.

Too much harmony is not bearable either for the human organism or for society. As soon as the fractal chaotic structure of electric waves around the heart begins to become symmetrical, the heart begins to flicker uncontrollably. More harmony than this is the moment of cardiac arrest. Similar processes can be seen in society, where enforced conformity is a sign of social death.

Explanations and theories don't tell us what is, but only offer degrees of belief to a world where thinking has become exceedingly dangerous. This is the double-bind of the shadow of the collective psyche. As in days of old, you can lose the game or lose your head. Chaos and order can suddently slip into their opposites.

Paramedia ecologist, Bob Dobbs describes the problem, including social fragmentation by digital media, whose effect is hidden in plain sight in the "Bread & Circuits" of the global theatre:

The hidden environment is what's really motivating everybody, and creating a lot of obsession or neurosis, and the stress of life is always caused by the new invisible environment. Therefore, an antidote or an anaesthetic to that is the past environments, but to use them as props. So, all human creativity is now provided as the content, but the mixed corporate-media create the stress on people, and they're trying to find out how that stress is affecting them. They'll never be able to find out how that stress is affecting them. But all they have to do is understand what I'm talking about.

"Process" is what is affecting all of us, that's the hidden ground, and they just reflected the need, subconsciously, for psychology to adapt to the new electric environment in the '60s and '70s, the electric environment being processual. So they came up with concepts of "process". Now that concept is obsolete because they've exhausted it, people are no longer using it, but they are stuck in an environment that is process incarnate. So, they've got a problem.

Process has gone wrong in the secret machinations of institutions such as Tavistock and the Covert Action of espionage in such "black" operations as MK Ultra that led to mass deployment of indictrination, drugs and biowarfare on both domestic and foreign "adversaries."

No laws protect the public from national security experimentation. Process itself has become the true "enemy" of the people. Self determination is the first casualty. The hidden environment demands that art must be subversive to fulfill its function beynd mere docoration. Abuse has replaced truth.

Truth is a necessary fiction. Truth is just a faction of reality, usually stranger than fiction. History is infused by a fictional spirit. Truth gains traction from 'friction,' the mythic element of events. The real news arises in our gaps of awareness when reality values collapse.

The deep popular need for historical truth is a re-creation myth, reconstructed by answering the question 'whose truth'? Most people never experience truth, but view reality through a hypercluster of mindwarping archetypal lenses. Imagination isn't limited by scholarship. In some instances, fiction makes history. Imagination reshapes reality.

Mystery Ground Zero

So, it's a long and winding road to describe how 'Iona Miller' went from uncommodified, unwikified, underground artist, researcher, Qabalist, magician and practicing therapist to working with the even deeper and more arcane underground of transnational Esoterics, Espionage and Entertainment as the Spy Whisperer, Spy in the Triangle, and Blue Sky Spy for LOA. In the sphere of informational security, Special Access Programs (SAPs) use disinformation and 'believable' cover stories to disguise their activities.

I guess I went so far to the Left into the groundless now that I came out of the conspirituality rabbithole in the Esoteric Right. I stood at the paradox, seeing both sides equally radical and serving a similar watchdog agenda with a Law of Attraction intentional bias. Most of us are thoroughly unsatisfied with either 'forced choice' party and its puppet representatives, serving the voracious corpoglomerates, warlords, and monopolistic robber barons.

Despite the odds against us we're still trying to create a world we would like to live in, to retrieve as much of our falsely so-called 'freedoms' and humanity as possible before 'humanity' disappears entirely into 'insanity.' That is, into the subtext of dictated trends and predictive programming or hypermodalities, such as genetic and cybernetic transhumanism. We are the first generations to penetrate the vastness of the cosmos, to discern the entire history of the solar system, the life cycles of the Earth and the rhythms of life upon it. Let's hope we are not the last.

One percent of the population has lockdown control of the vast majority of real wealth and many, if not most of the minds of the global population. Manipulated economic bubbles have retrieved the original meaning of piracy which gutted the American middle-class. "Robber 'Boomer' Baron" has been used to describe the undisciplined greed of financial 'robbers' during calculated financial meltdowns in 2008-2009. Will gold be the next bubble?

The mystery ground is a field where the Word is power. In magick such wordsof power have the capacity to in-form reality.  We are learning that our DNA can be reprogrammed by frequencies and words because the genetic code follows the same rules of grammar our languages do.  There is a grammar and syntax to the modulation of reality much like metaphysics has taught throughout history. Thoughts are things, so our intentions are written in the vacuum where the morphology of our material world is rooted. We are connected to this informational field by our DNA.

The Spy Who LVXed Me

We're still not sure what to do for our 'critical care' beyond raising the hue and cry, but intend, at least, to not go down without a fight. So, we make outrageous political art and satire, and write manifestos and ultimatums to the cosmos, hoping for a reply from the Great Beyond as our final freedoms erode into dim memory.

Our democracy arose as a great utopian experiment framed by Sir Frances Bacon as a "New Atlantis," rooted in Dee's colonization dream. Its 'words of power' were contained in the Constitution but manifest in our national destiny.

Bacon was head of the Freemasons and Rosicrucians in Britain in his day. Spymaster Dee and Bacon are the Godfathers of the Enlightenment and these philosopher/magicians were not confined to the corporeal body. They deployed magical Words of Power that resonated with their open vision. All were cultural exorcists who cleared the way for new paradigms to emerge.

Their occult influence -- effects of the hidden environment -- survives to this day. They promoted an essentially 'spiritual' agenda I call 'conspirituality' -- the fusion of conspiracy and spiritual aims. They "seeded" human consciousness with radical new ideas in this case about human potential we now call "memes."

Spying is among the mystic arts, rooted in its association with the shape-shifting chameleon Hermes, who crosses boundaries, discovers and deduces secrets, writes in arcane codes, and is the Lord of Magic. He is also the mentor of the Information Age, informing our Open Source connectivity. The predictive arts have morphed from astrology to futurism, trendspotting, social engineering, cooked intelligence, and tech forecasting.

This blend of mystery, foreign intrigue, mind control, misdirection and the occult has always been around. They meet in the merger of symbolism, propaganda and the hypnotic half-truths and myths of politics and partisanship.  At root, the spy is a Trickster in a world of hidden messages and synchronous events. This essential nature forms the basis of my joke aphorism, "Scratch a Magus, Find a Spy."

Angelic magic is another kabbalistic art. It was the forte of John Dee. Imperial skryer and necromancer, Dee, Sir Francis Bacon and his brother Anthony were among the many men-about-court who were recruited as spies by one faction or another, such as Walsingham's "secret police." Dee was Bacon's tutor. All employed complicated ciphers, secret codes such as Gematria, for the initiated only.

What Bacon learned from Dee besides the importance of cyphers was not to have one's political and esoteric-artistic identity defined exclusively by the outside world. There was inner power for Bacon that no matter what happened to him he could still sacrifice his name, bury his staff like Prospero and wield a protective persona to express his artistic views for himself and his secret group of "Good Pens." This is responsible wisdom in action as a response to difficult political pressures.

Some occultists believe that adept Francis Bacon continued his mastership in another life as Comte de St. Germaine. The Count was an international spy, ringleader of secret societies, enlightened visionary and proponent of U.S. freedom, urging on the Founding Fathers in their faltering moments. He carried much of Bacon's agenda and political philosophy forward in a rapidly changing world, ratifying the magical current of Roger Bacon, conjurer John Dee, Sir Francis Bacon, and himself.

Dr. John Dee was both Magus and spy in Elizabethan times.  Walsingham used court astrologer Dee frequently on overseas missions, where he acted as an agent for England. In this capacity, he always signed his correspondence with the Queen with the mark "007," and was used loosely as the model for Ian Fleming's super spy James Bond. Dee was also well acquainted with William Shakespeare, who apparently based his characters "King Lear" and "Prospero" (of "The Tempest") on Dee's highly complex life.

Mdm. Blavatsky has been accused of being a Russian spy in India, making her an agent of the Great Game with Britain, which also became her residence. Aleister Crowley produced agit-prop for MI6 and was friends with James Bond creator Ian Flemming.

The real X-files are much weirder than Chris Carter ever imagined when the 90s were upon us. For starters, they were subcontracted. Watergate burgler E. Howard Hunt was a CIA agent since 1949. Former "Watergate conspirator" and CIA intelligence officer E. Howard Hunt was also a remarkably prolific novelist who published numerous thrillers under various aliases (e.g., David St. John, Gordon Davis, Robert Dietrich), sometimes spicing his novels with the occult (The Coven, The Sorcerers). The X-Files episode, "Musings of a Cigarette-Smoking Man," was inspired by the real-life Hunt.

The cast of my artful collaborators includes a wide variety of PSI-KICKS and adventures in the Draconian Utopia: Intel, Spooks, Kooks, Spymasters, Spyentists, Spy-Co-Somatics, Psientists, Spycologists, Esoterics, Bliss-Bunnies, Om-ers, Edge-Celebs, Meta-physicians, Homo Lumen, Hip-gnotists, Pre-Cogs, Cure-ismatics, Shamaniacs, Mage-icians, Therapeutes, Para-Noids, Cyber-Allies, Private Eyes, Psychotties, Beamers, Watchers of the Watchers, and Squints. Here's to staring backatcha.

The Secret: To Dare, To Will, To Know, To Keep Silent

Intelligence is the key to understanding the world today. What spies have in common with magicians is an uncanny ability to connect the seemingly unconnected, to notice what goes on behind the scenes and to see through misdirection ~ it takes one to know one. Both have learned to synthesize and interprete data, how to pace and lead people (hypno-patsies) with rapport. The opening gambit of psychological warfare and mind control is flattery.

As trained observers, magicians and spies are adept at people-reading and keeping secrets; both are actors -- performers. Both are in secret societies that rely on craft and often use collaborators or confederates, and mentors. How much different is stealth and surveillance than a spell of invisibility? Each have their rules of engagement in the Great Work and the Great Game.

Clandestine Craft

Even some of the elements of tradecraft are the same. Both are cryptic, using encryptions and codes. Each has its own arcane language, symbols and rituals veiled from the profane. Remote Viewing or psychic spying is virtually identical with clairvoyance. Ceremonial psychodrama is played out in public, in personality cults and "ritual" murders.

Both use passwords and slogans for security. Cryptography is now ubiquitous. All domestic and foreign electronic communication is monitored by programs like Echelon. Spies and magicians both are cracking the Brain Code, the wetware of humanity.

Cryptocracy refers to a type of government where the real leaders are hidden. There may possibly be a fake government that appears to be in charge and this fake government might not know themselves that they are not in charge. It can also be used when referring to similar arrangements in organisations, orders, sects and cults. We know them best by their effects, not what they say about themselves.

Everywhere is Ground Zero

In military terms, psychic operations are called psychotronics, PSYOP. Adversaries are rogue psi operatives, psiwarriors who battle like sorcerers. Psychic self defense employs thought disruption, shielding techniques, mind drain and energy manipulation. Psionics is scientific magic ~ magecraft, the product of extraordinary human potential. Precogs, like analysts, are attuned to the future.

Issues range from the unclassifiable strangeness of "Pig's Wing" cases to unidentifiable Black Sky cases and paranormal Blue Rose cases and cover ups. Contacts are shapeshifters, "sheep dipped" military coverts, technical wizards and Wise Men.

"Supernatural Counterintelligence" was renamed "Strategic Counterintelligence" in 1976. It's all Sensitive Compartmentalized Information. Access to all sensitive information is strictly limited by imposing special controls and handling on dox and personnel. TOP SECRET UMBRA and TOP SECRET COSMIC documents are two examples of this sort of compartmentalization.

CIA Operations Group C972 was formed in 1982, led by Senior Comptroller Robert A. "Bob" Schnoblin. C972 consists of Schnoblin and an unknown, but small number of hand-picked operatives loyal to Schnoblin alone. Within the CIA, they are known as "Schnoblin's Goblins," because of his his theories on the paranormal.

There has been an informal, working relationship between the "Goblins" and FBI-SAD since 1984. CIA has been involved in many Special Affairs Department operations since that Agency's formation in 1947. The first recorded incident was in 1956, during surveillance operations targetted at a suspected vampire, who was also a Russian illegal.

Special Affairs Department (or SAD) is a division within FBI dedicated to investigating crimes and criminal activity involving supernatural creatures or occult phenomena. Founded in the early 50’s, it investigates threast posed by the supernatural or occult. The division’s resources and manpower in recent years have almost solely been devoted to criminal cases with paranormal overtones. The Department’s official purpose was to “investigate cases of a strange and persistent nature with the intent of determining, once and for all, whether such cases represent a nationwide hoax, or if they in fact possess some validity of truth”.This special arm of the Bureau  investigates so-called “bizarre occult-style crimes” and, arguably, it is under this auspice that the Department has made some of its most startling discoveries.  Special Affairs Department agents were in fact the cause of many of the 'Men in Black' of the period. Although S.A.D. agents are still secretive about their true mission they have also taken steps to work within the infrastructure of the Bureau mainstream. If the Department’s agents do work with other Bureau divisions it is always with the hidden agenda that such cases involve something far more monstrous, something that only S.A.D. is aware of and has the power to hunt down and destroy.

Deep Cover

We understand viscerally that things are often not what they seem, being manipulated by unseen forces. They are masters of disguise, the hidden environment, intelligence, espionage, and covert action. Both mages and intelligence 'tweak the timeline' with small perturbations that pump up to macroscopic results, setting up currents of intentional influence. They also tweak minds by controlling the environment. No one can resist what they cannot detect.

They are Inside Outsiders, working at the fringes of the System. The "outsider" aesthetic is charged by a desire to break free from the contrivances of tradition. They look boldly outside the system and deep within themselves for inspiration that arises directly from Creative Source.

They work sub rosa. This phrase comes from the Latin meaning 'under the rose' for confidentiality, black ops. It comes from the Masonic fraternal tradition. The rose is the emblem of Horus, God of Silence and Secrecy. 

Horus and Hermes are identical, and Hermes is also an interpreter. In the end we have our beliefs and interpretations of our illusory myths of reality...whether it is the occult interpretation myth, the Jungian interpretation myth, the postmodern interpretation myth, the intelligence interpretation myth, the scientific, the religious, the idiosyncratic or whatever combination of those informs our spirit with dark and light forces.

I can say no more...

I'm a spy in the house of love
I know the dream, that you're dreamin' of
I know the word that you long to hear
I know your deepest, secret fear
I'm a spy in the house of love
I know the dream, that you're dreamin' of
I know the word that you long to hear
I know your deepest, secret fear
I know everything
Everything you do
Everywhere you go
Everyone you know

I'm a spy in the house of love
I know the dream, that you're dreamin' of
I know the word that you long to hear
I know your deepest, secret fear
I know your deepest, secret fear
I know your deepest, secret fear
I'm a spy, I can see
What you do
And I know. --"The Spy" The Doors

http://www.youtube.com/watch?v=NmKpUyIAqok&feature=related

NEW STRATEGIES IN ART & MEDIA
* Beyond the obsolete models of artist or author as genius and their
fetish objects, what collective and collaborative practices are inventing
new terrains and flows?
* As information and communication technologies saturate our world, how is
art giving way to new forms of cultural symbolic manipulation?
* Can we identify new models to replace the auteur and the artwork? If so,
where do they come from and what might that say about the future of
critical practices?
* What new kinds of “virtual” spaces are opening up for cultural practice
in electronic media? As “old media” begin to collapse under the pressures
of the virtual, what new media can we find?
* How are didactic illustration and channelled dissidence giving way to
new forms of surprise and intensity?
* What strategies elude the creative industries’ seemingly infinite
appetite for things radical? Are there any strategies that can elude being
reduced to styles in the service of sales, or are critical practices
doomed to play cat and mouse with the forces of consumerism?

EDGE ARTISTS AS ‘STRANGE ATTRACTORS’
A Source of Negentropy in Society

By Iona Miller, 3-2004
 

Artists are the chaotic attractors of the social field. While conventional artists may enjoy great favor, the ‘strange attractors,’ including leading edge and extreme artists have a special role as catalysts in contemporary life. Artists have always drawn others beyond the limits of their ordinary awareness, confronting them with another reality, initiating them into a world of profound meaning without conventional boundaries.

The beginning of the history of modern man traces back to primordial art, such as that found in the Paleolithic caves of Lascaux. From the beginning, art spoke of magic, of the supernatural, of imagination - the fantastic and disturbing. Always strong in content and aesthetic sophistication, it grew, hand in glove, with the emergence of technological skills.

The emergence of art was and continues to be an unparalleled innovation, confronting our psyches with a giant leap in human evolution whose transformative influence continues opening and exploring brave new worlds to this day. Art has been a driving force and living thread woven into the fabric of society since modern man emerged.

cont. http://ionamiller2010.iwarp.com/whats_new_23.html