WHY THE "APOCALYPSE"?

Apocalypse doesn't mean Destruction, or The End.

It means the Revelation.

Earth is a Free Will planet.

But in practice, it isn't.  It was made into a Truman Show.

For thousands of years.  Because, I suppose, the usurpers had Free Will too. And they misused their free will to negate ours.

So there had to be an Awakening.

A Revelation.

Of Biblical proportions, because it has to be planetary, global.  And there are --- how many by now? --- 9 Billion humans on Earth.

We cannot choose if we don't know we can.

And humans are born here, they grow up, they die, believing they can choose what kind of cell they want to live and die in.  To get that cell --- deluxe or cockroach motel --- they have to get access to the information on how to work the system, so they can have the best kind of prison cell, and it means that those who don't know how to work the system, because they don't get born to the few families who know how --- they get .00000000000000000000000000001% of the resources for their prison cell, for themselves and their children and the children of their children.

What's happening now?

The Revelation.

Because we do have Free Will, even though it was negated.  But the Divinity has decided that it's time for the Awakening, and those whose Free Will has deep-sixed ours, must go exercise their BSFW somewhere else now.  Their rent-free slumming on Earth is over.

Why?  Because Earth's suffering has affected the rest of Creation and, besides, it is our spiritual free will to be liberated from suffering.  The spirit is like the operating system in the background.  So even if on the ego level we seem to be automatons, we are still crying to heaven:  Freedom.  Those of us who have a spirit.

However, first we must Awaken.  

We need INFORMATION.  We need to open our eyes to the Truth. 

This is going to be VERY PAINFUL for the majority who have gotten so used to living in prison that they love it.

But there are enough humans on Earth now who are Awake, and whose Free Will is operational.

And the Energy of the Universes is being channeled down to Prison Planet for Liberation.

This is the simplest way I have understood what is going on, this very morning.

Here's a video that explains it a little more complicatedly.

The Committee of 300

https://rumble.com/v7blao6-the-committee-of-300.html?e9s=src_v1_eh_us

In the blink of an Awakened Eye, We Humanity can exercise our Free Will and put an end to the Imprisonment of Body and Spirit.  

We just stop being Volunteer Enforcers of a System that requires our Consent for us to continue living in False Imprisonment.

The Decision must happen Between our Two eyes, our Two ears.

There _is_ a small detail:

Ideally, we should awaken in such Massive Numbers

that the Control Program can't roll out its

customary Terror Menu.

Watch that Video.  Take your time.

It's long.

But it's really, really GOOD.

Another interesting testimony:

https://rumble.com/v7bmobq-joseph-spencer-deathbed-confession-1990s.html?e9s=src_v1_eh_us

WRITING AND AI

I left a comment on a video on YT that's entitled: 

"If you write with AI, you're not a writer".  

https://www.youtube.com/watch?v=EEDnXfNWoIY

Here it is.  It's a pretty acceptable summary of how I feel about my own experience.

Literature is essentially the creation of a world that a reader can experience as real, psychologically, emotionally, because the writer has an inner world that he/she is continually in process of submerging in, experiencing, in a totally unique, irreplaceable, uncopiable way.

Writing is a multidimensional phenomenon, which is why it takes so long to reach the final stage: words on paper or onscreen.

AI is a more sophisticated typewriter/search engine/copy editor. It can replace difficult, agonizing steps in literary creation (turning research and imagining into the linguistic signs that create mental landscapes, architectural environments, materialized ideas --- truly creative agony) into easy-peasy cut and paste --- but it will show.

The reader will feel it. Because we humans are icebergs. AI is a great fridge/cooler. AI works with the language. But we turn the iceberg into the words that evoke the mystery that we are channeling and metamorphosing.

Now that I've written down this description of how I write, it can be fed into the training database. But this description isn't really writing. Writing is world creation. It is ineffably mysterious, and limitless potentiality. We train and train for years, in solitary, to be able to tap into it. You can't replace that with a machine that spits out text.

Even if you are a good counterfeiter.

But... it's definitely an interesting tool. Like everything else, your character (if you have any) will determine the outcome. If you'll continue to create honestly, originally, or if you'll turn AI into your cash cow.

Humans are ICEBERGS.

We must experience that iceberg.

It is what gives us meaning.

("us" meaning the crazy masochists)

This is why literature is essential for humanity.

Why all the forms of cultural creation are the greatest wealth.

Artists make it possible for humans who are unable to experience their iceberg directly, to do it vicariously, through the artist as their bridge.

I'll leave it here.  It's a very deep ocean cave to dive into.

Why we can't become human without culture.

Without stories.

LA IGLESIA FILIPINA INDEPENDIENTE

 

                                   Una captura de pantalla durante un video contando sobre 

                                    los graves problemas aquejando el sector de turismo en Filipinas.

                                                                           Me encantó.

https://www.youtube.com/watch?v=t4IWz9z_4gw&t=945s

AT THIS POINT THE PHILIPPINES SITUATION IS WORSE THAN WE THINK!! NOTHING IS WORKING , EVERYONE IS LEAVING

The past never leaves.  It stays, unnoticed.  It waits.

                                                            My poor country just gets poorer and poorer.

                                              At least this little chapel is nicely painted and looked after.

FREE REINER - A DOCUMENTARY

 This is the trailer:

https://www.bitchute.com/video/Hcc0h37ZJ7X4

Extraordinary

  

A historian none of us have heard about.  Explains a lot to me.

British.  History was his passion but he didn't become an academic because he didn't like paper pushing and hierarchies.  He decided to be a researcher into the archives, and to interview people still living who were direct witnesses of historical eras and figures.  Early in his twenties he found a job in a steel factory owned by Thiessen, who took him on as an unskilled worker. In the course of that work he learned German.

https://www.bitchute.com/video/NW8bFLN45guZ/?list=notifications&randomize=false

41:14   Falsification of documentation. For example, alleged Nazi documentation referring to the gassing of Jews in Auschwitz.  He pointed out the lack of stamps and codes on what had to be highly classified documentation, alleged to have been issued by the high German command and referring explicitly to the gas chambers for death camps.  

He pointed out that a series of diaries "by Hitler" were all written in identical notebooks, more than 20.  Diaries are never bought in one store in large quantities outright. Journals are always kept in notebooks that are all different because they are bought at different times, in different shops. Bingo.

42:43  "Holocaust" as referring to the gassing of Jews is a new word: it was not in the press before 1970. (There was a famous TV series with that title in the U.S. in the 70s that made it part of our vocabulary, I remember this.)

 43:38  "Holocaust Denier".  "Bits of the story are undoubtedly true." But if you question it, or are skeptical about the 6 million figure, you better run for the hills. 

Irving asks: "Was it done premeditatedly?  On the orders of Hitler as head of state? Or did it just happen? Was it premeditated, or was it second degree murder?" Was Auschwitz equipped to kill four million people by gassing them, then incinerating the bodies?

45:53   "Genocide vs Inocenticide. The killing of innocent people in war.  It wasn't a crime because they were Jews, it was a crime because they were innocent Jews that were being killed.  To make it only about Jews is to exclude all the other innocents killed during WW II, in Europe, in Asia. Genocide limits the concept and who is entitled to reparations (money).  It wasn't their race that made it a crime.  It was their innocence.  But an entire industry has been built around it."  

(And it became a religion that is unquestionable. If you question anything about it --- off to get burned at the stake you go.)

"It's Big Money.  American taxpayers paid 4 billion dollars are year to Israel because they were "guilty". (This was in 1995; actually it's more like per month now.)  You're guilty because you are the same religion and the same race as the Germans who perpetrated the Holocaust.  If anyone complains, he is instantly accused of being anti-Semitic.  Germany was paying a billion per year to Israel."

I'm amazed he hasn't gotten a plug of lead in the head. But at one point he did lose everything and was put in prison. He spent ---if I remember correctly--- four years in solitary confinement.

48:05   "I haven't got an ax to grind.  But I am a truthful historian and I'm going to ask certain questions."

 48:57   The Questions.  A problem of mathematics.  The original figure was that 4 million Jews were killed in Auschwitz concentration camp. "Since we revisionists, as we're called, began campaigning about this four or five years ago, suddenly the four million figure has been abandoned; there's now only one million. It's extraordinary. They wiped off four million from Auschwitz and yet the overall figure of six million hasn't changed." 

You can watch the video. It's interesting, to say the least.  He won the trust of all Hitler's former typists and got them to pull out from under bed all their cardboard boxes full of papers...

                                                                     Now in his eighties.

I left this comment:  

I imagine he wrote about the ghettoes, which were open-air concentration camps, before the war began and the bombings of Germany. They preceded the train transports to the real camps. It's all very complex, and we are invariably fed versions that are abridged, from sources with institutional bias who don't state their bias. Independent historians abounded in the 19th century, often independently wealthy scholars motivated by personal vocation. Irving is one from the 20th century. Time is needed to start to understand the past, but it's still a battle between factions who want to control the narrative.

 Individuals who decide to do their own investigating are rare, and they are absolutely needed.  The ones who break out of obscurity while they're still alive, are very rare.

Mircea Eliade (EN and SP)

 

April 30, 1997

Mircea Eliade said to Claude-Henri Rocquet:

(Cannibalism in religions)

"Set in the whole of which they are a part, these terrible, grotesque, revolting things recover their original significance, which was to provide a meaning for life that would incorporate the unavoidable fact that any life necessarily implies the death of others --- that one is doomed to kill in order to live.

They express the condition imposed on the human mind and spirit by history, a tragic condition, true, but very creative, too!

Confrontation with the void, with nothingness, with the demonic, the inhuman, the temptation to regress into the animal world --- all those extreme and dramatic experiences are the source of man's greatest spiritual creations.

Because, given those terrifying conditions, man was still able to say yes to life and find a meaning in his existence."

And:

"We don't live in a world of angels or spirits or in a purely animal world, either.  We are "between".

And I believe that confronting the revelation of this mystery always leads to an act of creation.  I believe that the human spirit is at its most creative when faced with great ordeals."

Ordeal by Labyrinth, 124-5.

.......................................................................................................................................................................

(El canibalismo en las religiones)

Mircea Eliade dijo a Claude-Henri Rocquet:

«Cuando se las sitúa dentro del conjunto del que forman parte, estas cosas terribles, grotescas y repulsivas recuperan su significado original, que era proporcionar un sentido a la vida capaz de incorporar el hecho inevitable de que toda vida implica necesariamente la muerte de otros; de que estamos condenados a matar para poder vivir.

Expresan la condición impuesta a la mente y al espíritu humanos por la historia: una condición trágica, sin duda, pero también sumamente creadora.

El enfrentamiento con el vacío, con la nada, con lo demoníaco, con lo inhumano, con la tentación de regresar al mundo animal: todas esas experiencias extremas y dramáticas constituyen la fuente de las más grandes creaciones espirituales del ser humano.

Porque, aun en medio de esas condiciones aterradoras, el hombre fue capaz de decir sí a la vida y de encontrar un sentido para su existencia.»

Y también:

«No vivimos en un mundo de ángeles ni de espíritus, pero tampoco en un mundo puramente animal. Estamos "entre" ambos.

Y creo que la confrontación con la revelación de este misterio conduce siempre a un acto de creación. Creo que el espíritu humano alcanza su máxima creatividad cuando se enfrenta a grandes pruebas.»

Prueba del laberinto (Ordeal by Labyrinth), pp. 124-125.

July 15, 1997 Joseph Campbell (traducido al esp.)

 

Joseph Campbell taught me something important last night.  He clarified what I'm going through, and why it was useless to approach Antonio Skármeta.

...in a small community like Athens, the relationship of the creative artist to the local social leaders would be forthright and direct, they would have known each other since boyhood; whereas in such a community as, say, our modern New York, London or Paris, the artist who would be known has to go to cocktail parties to win commissions, and those who win them are the ones who are not in their studios but at parties, meeting the right people and appearing in the right places. They have not been quite enough engaged in the agony of solitary creative work to press beyond their first acquisitions of marketable styles and techniques.

And the next consequence is "instant art," where some individual with as little formal agony as possible simply renders something unforeseen --- which is then criticized and either advertised or suppressed by either friendly or unfriendly newspaper folk (his language is quaintly dated), who have also had a lot of socializing to attend to and, with insufficient time for extracurricular study or experience, find themselves baffled before anything really complex or significantly new.

................................................................................................

Joseph Campbell me enseñó algo importante anoche. Me ayudó a entender lo que me está pasando y por qué era inútil ponerme en contacto con Antonio Skármeta.

En una comunidad chica como Atenas, la relación entre el artista creador y los líderes sociales del lugar era franca y directa; se conocían desde chicos. En cambio, en una comunidad como, digamos, nuestro Nueva York, Londres o París actual, el artista que quiere hacerse conocido tiene que ir a cócteles para conseguir encargos. Al final, los que se los llevan son los que no están en sus talleres sino en las fiestas, conociendo a la gente adecuada y dejándose ver en los lugares de moda. No le han dedicado el tiempo suficiente a la agonía del trabajo creativo en solitario como para ir más allá de sus primeros estilos y técnicas comerciales.

Y la siguiente consecuencia es el "arte instantáneo", donde cualquiera, ahorrándose toda la agonía formal posible, simplemente arma algo imprevisto. Luego, la gente de los periódicos (el lenguaje de Campbell es simpáticamente anticuado), ya sea por buena o mala onda, critica eso, lo publicita o lo censura. Ellos también tienen que ir a un montón de eventos sociales y, como no tienen tiempo para estudiar o ganar experiencia por su cuenta, se quedan colgados ante cualquier cosa que sea realmente compleja o significativamente nueva.

---

From my diaries. Volume 11. 27 April to 26 July 1997

 

24 April 1997

Started reading Morris Berman's book and I'm surprised to find that what I aspire to mobilize 

is the 5th body, the Zeitgeist!

21 April 1997

On the bus I started to cry at the thought of my new loss, but I discovered my motherless child self was the source of the pain. The other part of me simply accepts loss, accepts what is, neutrally.

And that is the part of me that I love and that I wish to follow always.

It seems capable of holding me steady on my course.  It's a tower I can lean on, 

it will never let me down.

The words carry me forward, and their inexhaustible source: Meaning.

Oh words, how you've led me to my destiny.

I can only thank you by giving you praise all my life.

Mi padre, Juan Medina Ortega, circa 1965, con sus amigos de San Miguel Brewery.

 

Mi padre fue un señorito mestizo de español.

Era muy sociable, cálido, educado, para nada fanfarrón, mantenía un bajo perfil.

Era vividor.  Amaba a las mujeres pero no las trató muy bien tampoco.  Era paliquero.

Me amaba a mí.  Admiraba mi buen inglés.  

Hablaba español pero nunca en casa, solo con aquellos amigos, mestizos como él.

Me acuerdo mucho de ese hombre en el centro, alto, moreno, muy atractivo.

Todos los hombres que trabajaban en la Cervecería San Miguel, en el edificio antiguo cerca del Palacio de Malacañán, eran buenmozos, mestizos de español muchos de ellos.  Filipinos de otra época.

Mi papá peleó contra los japoneses como guerrillero, porque su tío Ángel era un líder y lo salvó a él y a su medio hermano Críspulo, de ser asesinados por los guerrilleros filipinos hijos de puta.

Mi papá no era cobarde. Tenía principios.  Nunca lo sorprendí diciendo una mentira.  

Perdió a su papá cuando él tenía 19 años y su padre, 49.

Yo también lo perdí cuando él tenía 49 años y yo, por cumplir 20.  Le dio un tercer infarto, cuando viajaba a San Francisco, California para reunirse con nosotros.  Colapsó en la fila de la inmigración en Honolulu, Hawái.

Menos mal, alguien lo reconoció y pudieron llamar a mi mamá en San Francisco.

Yo en 1997

                                                      Mi abuelo paterno, Emilio Medina Lazo

My father was a young man of mixed Spanish heritage.  What's called a "señorito".

He was very sociable, warm, and polite; not at all boastful—he kept a low profile.

He was a bon vivant. He loved women but didn’t treat them very well either. He was a womanizer.

He loved me. He admired my good English.  

He spoke Spanish but never at home—only with those friends, mestizos like him.

I remember that man standing beside him very well: tall, dark-skinned, and very handsome.

All the men who worked at the San Miguel Brewery, in the old building near Malacañán Palace, were handsome—many of them mestizos of Spanish descent.  Filipinos from another era.

My dad fought against the Japanese as a guerrilla fighter because his uncle Ángel was a leader and saved him and his half-brother Críspulo from being killed by those Filipino guerrilla bastards.

My dad wasn’t a coward. He had principles.  I never caught him telling a lie.  

He lost his father when he was 19 and his father was 49.

I lost him, too, when he was 49 and I was about to turn 20.  He had a third heart attack while traveling to San Francisco, California, to join us.  He collapsed in the immigration line in Honolulu, Hawaii.

Thankfully, someone recognized him, and they were able to call my mom in San Francisco.

Iglesia de la Veracruz, Barrio Lastarria, Santiago de Chile

 

La iglesia del barrio Lastarria que sufrió un grave incendio durante el estallido social es la Iglesia de la Veracruz. 

Este templo, declarado Monumento Histórico en 1983, fue incendiado el 12 de noviembre de 2019 por un grupo de encapuchados en medio de las manifestaciones que ocurrían en el sector. 

Detalles relevantes sobre el suceso y el estado del templo:

• Ubicación: Calle José Victorino Lastarria 124, Santiago Centro.
• Daños: El fuego consumió gran parte de su interior, incluyendo el salón principal, el piano, cuadros históricos, mobiliario, puertas y parte del frontis.
• Historia: Fue diseñada originalmente por el arquitecto francés Claude Brunet de Baines y terminada por el chileno Fermín Vivaceta a mediados del siglo XIX.
• Estado actual: Tras permanecer cerrada por varios años, ha pasado por procesos de rehabilitación y se ha mantenido abierta al público en un estado de "ruina abierta" o museo vivo, mostrando las huellas del incendio como parte de su historia reciente. Según reportes de medios como The Clinic y La Tercera, existen proyectos en curso para su restauración definitiva.