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Beethoven′s Ninth at the G20: Peace, joy - and provocation | Music | DW | 07.07.2017
IAN HIOB "DAS WORT ZUM SONNTAG" / LIBERTE LIVE G20 ANALYSE
Beethoven's Ninth at the G20: Peace, joy - and provocation
Classical music's greatest hit, being performed Friday at the G20, has a political dimension. If the 20 world leaders listen closely they'll hear the subtext - probably exactly as Chancellor Angela Merkel intended.
"It will be an easy task to write as badly for voices as is done in the last movement," he wrote in 1878. Much more recently, the late conductor Gustav Leonhardt said, "That 'Ode to Joy,' talk about vulgarity! And the text! Completely puerile!"
Everyone hears what he wants to hear
That choral finale made Beethoven's Ninth a projection surface for every kind of ideology. The poem on which it is based, Friedrich Schiller's "An die Freude" ("Ode to Joy"), had interested Beethoven since his youth. But when the chorus sang "All men shall become brothers" at the first performance, it must have rung hollow to some in the audience.
Like Beethoven, many of them had placed their hopes in the French Revolution in their youth and later in Napoleon Bonaparte, only to see the Frenchman plunge Europe into a devastating war, after which came the restoration of monarchies big and small. Beethoven even dedicated his Ninth Symphony to a king, Friedrich Wilhelm III of Prussia.
Yet it is a text which Karl Marx could describe as a "solemn mass of earthly joy" and Richard Wagner could hail as a "cry of the universal love of man." Wagner, in fact, took Beethoven's Ninth as the point of departure for his own work, and this was the only piece of music - other than his own - that had Wagner's blessing to be performed in his festival theater in Bayreuth.
The memorable piece of music is an integral part of 20th century history. Soviet leader Josef Stalin saw the Ninth as "the right music for the masses." To deliver optimism to other masses, Nazi propaganda minister Joseph Goebbels ordered it played effusively on the radio in the hopeless final months of World War II. The symphony had been performed ritually on Adolf Hitler's birthday, and prisoners at the concentration camp in Auschwitz were forced to sing the tune.
The apartheid regime in former Rhodesia (now Zimbabwe) made it the country's national anthem, and in 1988 demonstrators in Chile sang it at the ousting of dictator Augusto Pinochet.
A durable and flexible symphony
The myth and mystery of Beethoven's Ninth are such that the United Nations included the original score in the Memory of the World Register in 2001. In 1972, the European Council declared the hymn Europe's official anthem, and in 1985, it became the anthem of the European Union, expressing, even without the words, "the European values of freedom, peace and solidarity."
Rob Ager's film analysis pagehttp://www.collativelearning.com/FILMS%20reviews%20BY%20ROB%20AGER.html
So in the same way that detectives, scientists, judges and juries allow themselves to explore a variety of abstract lines of investigation, it’s ok for you to explore conspiracy theories …
because sometimes real corruption can be uncovered in the middle ground.
In the context of this review such areas of study will give you greater insight into one of the most talented film makers of all time.
"The great nations have always acted like gangsters and the small ones like prostitutes." - Stanley Kubrick
As already demonstrated in my reviews of A Clockwork Orange, Eyes Wide Shut and The Shining, Stanley Kubrick undoubtedly had a conspiratorial view of society and he carefully expressed these views in his films.
And we’ve already explored similar territory in this review with regards to the technological enslavement of man by corrupt computing corporations and in the idea that HAL may be representing or taking orders from human sources.
There are many conspiracy orientated reviews of 2001 that claim the film is embedded with secretive religious symbols.
Personally I haven’t found any of these reviews convincing, but as I said earlier sometimes the truth is in the middle ground.
My main disagreement with the idea of 2001 being a promotion of ancient elitist and secret philosophies is that it is not consistent with Kubrick’s other work.
His hidden narratives are often viciously critical of corrupt establishments and elitist ideologies.
The most commonly perceived of these symbols in 2001 are the egyptian pyramid and sun worship symbols.
For those of you not familiar with these symbols, the eye in a triangular capstone at the top of a pyramid represents the all seeing and light bringing eye of God.
It is also said to represent the illuminated ones who have been initiated at the highest levels.
The large base section of the pyramid represents the hierarchical structure of society or the masses who have not reached enlightenment.
This may sound like an airy fairy mystical religion, but it’s basically the same philosophical ideology that most elitist organisations have fostered for themselves across history – the belief that they as a group are intellectually or spiritually superior to the common man and therefore have both the divine right and the responsibility to be our rulers.
Ok, so where does this stuff make its appearance in 2001?
Well, the most blatant example that I’ve found is the space pods, which are basically large eyeballs.
The slight elongation of the corneal window and additional design features make this metaphor difficult to notice unless it's pointed out.
There are many clues that not only the pod is an eyeball, but that it has the blazing illumination of the eye of God. Its bright head lights shine directly at the camera in several shots.
Some other eye or sun references include the circular blue and white logos on either side of the astronauts helmets (based upon the NASA insignia) ...
... and this production photo of a yellow suited astronaut stood inside the airlock staring at us. The bright bar patterns on the walls are emanating from him like sunrays. He is an enlightened being.
The following poster features colour alterations communicating the same theme with the octagonal door representing an elongated cornea.
An obscure observation that could just be accidental – it’s difficult to tell with Kubrick – is that in the first shot of Jupiter a small blue moon is seen on the left. It has a dark pattern that looks very remotely like an eye. Whether this is part of 2001’s symbolism I’m unsure, but according to the brief research I’ve done, none of Jupiter’s moons match up with this image.
So putting these clues together, how else can we interpret the octahedron shot?
Well first of all the bright white letter “i” is probably another illuminated “eye” symbol.
It’s presence in the sky section of the landscape may also represent the rising sun or emerging starchild. As for the octahedrons, a brief bit of reading on geometry reveals that this shape is actually created by two mirror image pyramids joined at the base.
So the concept of horizontal mirroring reveals that these shapes are actually the capstones of esoteric pyramid symbolism.
The fact that they are sucking light in is most likely Kubrick’s statement that secretive religious orders do not bring enlightenment as they claim to.
They actually suck enlightenment away and leave the Earth in spiritual darkness.
Their absence in the second shot allows the sky to be truly illuminated by the sun.
So what we are probably seeing here is two depictions of the same landscape – one in darkness and one enlightened.
Likewise the two shots of the sun emerging from a pyramid base with a crescent eye at the apex are most likely depicting night and day in the same landscape shot.
Just like with Dr Strangelove, A Clockwork Orange, The Shining and Eyes Wide Shut, the hidden narratives of 2001 reveal Kubrick’s distain and distrust for secrecy associated with authority.
Whether you believe in conspiracy theories or not, they were a central pillar of Stanley’s artistic output and were undoubtedly the main reason for his public silence on the meaning of his films.
It took a while to uncover this one, but thanks to the keen observations of an email correspondent, here it is.
At many points in 2001 Kubrick gives us hints that we should be viewing his cinematic creation as a flat universe.
The best example I can offer is this view of Bowman reaching out to touch the monolith.
Being that the monolith is the cinema screen, it is neither far nor distant.
Bowman's hand can touch it because it is just inches from him.
Another example of this flattened out screen paradigm is the monolith's low angle appearance as a pyramid.
And continuing with the flattened universe concept, let's look at the council meeting again. When Floyd says:
"This is the view of the council", the camera angle changes so that we see the rooms tables in a pyramid formation with Floyd at the apex.
Remember that the end of the stargate began to whiten out and reveal a blank cinema screen, thus making a visual connection to the blank screen behind floyd.
Being that the stargate then cut away to a shot of an eye and then the explosion of consciousness, what happens if we project those images on the screen behind Floyd?
What we now see is Kubrick's uncompromising message
that Dr Floyd does indeed represent the illuminated eye,
as seen in freemasonic art,
with the council table the pyramid base.
The shot which preceeded the council meeting further supports this.
The moonbase is presented as a sublimnal connection to the dazzling stargate explosion.
Our "view of the council" as Floyd puts it, was Kubrick's attempt to expose a secretive organisation which he clearly was convinced play a key role in world events.
His follow up film to 2001, A Clockwork Orange, also featured the masonic eye in a triangle on it's marketing poster.
ddbnews.wordpress.com ddbnews R.
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