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1998 from Boylan Website
This
information has been confirmed by a second source, Dr. Michael Wolf
of the National Security Council’s unacknowledged subcommittee, the
MJ-12 Special Studies group. I have talked with Dr. Wolf about the
notes’ author, Jesse’s relative. Dr. Wolf said that that CIA
official "was like an uncle to me."
The Monolith acted like a communication beacon. Jesse said,
The Apollo 10 astronauts brought back the message captured on film.
The Monolith’s energy affected Apollo 10’s instrumentation, so that
its crew almost didn’t get back. As soon as the film Apollo 10 took
came back to Earth, those Intelligence compartments which deal with
UFOs were busy poring over information from the Monolith.
Dr. Michael Wolf shed additional light on the beacons.
Among the scientists who worked on it were famed astronomer Dr. Carl Sagan, U.S. Army Intelligence and Security Command General William Stubblebine, (ret.), National Security Council consultant Dr. Michael Wolf, and a former division head of CIA. Everyone who had prolonged close physical contact with the Monolith got cancer, Jesse says.
The CIA Counter-Intelligence official and
Dr.
Wolf got colon cancer. The CIA man required surgery, but Dr. Wolf’s
cancer later went into a spontaneous remission. Dr. Sagan eventually
died of his cancer.
Jesse also revealed a 1973 formula for gravity control, used by the military to construct antigravity aerospace vehicles. [a] He disclosed that noted quantum physicist Jack Sarfatti was in a position to be familiar with this gravity formula used by the government. Jesse observed,
Jesse added that Sarfatti noticed that the captured UFO’s field propulsion guidance was focused on the ET pilot.
(Continued in Article: "Extraterrestrial Base On Earth, Sanctioned By Officials Since 1954")
click above image to watch Flash Video Presentation
I am very intrigued by artists who
convey a message concealed in a plot, film or painting. One work
that has caught my attention is Kubrick’s "2001" and I think it is
very relevant to the "Secret Rulers of the World" debate. Kubrick
was very interested in secret societies, as his last film, "Eyes
Wide Shut", illustrated.
This is my interpretation of the film, garnered from reading various
interpretations, mixed with some of my own:
(Notice the subtle imagery, in the above picture, of a kind of truncated pyramid, topped by the "eye" of the sun.)
The ape men are afraid and jump around but the leader approaches the object and reaches out to touch it but at the last moment withdraws. The music becomes more ethereal and the ape man leader reaches out to make contact with it again and this time he successfully touches its jet black, perfectly smooth surfaces. This is the last moment of sensuality in the whole of the rest of the film. Simultaneous to this portentous event, the sun is eclipsed by the moon and the monolith withdraws far away to a distant location. What a tease!
The ape man’s childlike curiosity was aroused and then frustrated - like a child that is given a toy and then it’s suddenly taken away! Kubrick is telling us that something very profound has happened here - that the masonry and the position of the planets have had an influence on the destiny of mankind.
As a perfectionist, Kubrick planned and agonized over every scene and so they are all important and should not be discarded by the viewer.
In the next scene, we see the ape man with a pile of bones. He has
one in his hand and he realizes that it can be used as a tool. Kubrick was definitely making a specific statement here because it
comes immediately after the contact with the black masonry. The
strains of "Also Sprach Zarathustra" are heard again and during this
musical episode the ape man wields the bone above his head and
realizes that the bone can be used as a weapon, a weapon with which
he can kill! It is the dawning of a new age for mankind.
He and his colleagues are completely
without emotion, they seem so lifeless and pitiful. The green
pastures and blue skies of home are left behind and the inhabitants
of the space station have become like the computers and machines
that they operate. For the next two hours of the film there will
only be sterile environments and a tightly trapped mind in an
infinitely large universe.
Again, the men involved here are humourless, lifeless and soulless and the men eat revolting food as they discuss the importance of the most important discovery in all the history of humanity.
A magnetic survey of the moon has revealed that something was giving
off an anomalous reading just below the surface of the moon. It has
been dug up. They discover that the object giving off the anomalous
reading is in fact a black monolith. When we actually see it, we
find that it is the same one that appeared to the ape men at the
beginning of the film. Kubrick does not tell us who buried it there
or why.
Without explanation, we are on this ship, on its way to Jupiter, with two astronauts, David Bowman and Frank Poole. The other crew are hibernating in sealed capsules. The two astronauts, Bowman and Poole, are even more lifeless than the men on the moon.
There is,
though, a third "living" entity onboard the ship and this character
actually does seem to have a soul, or at least the beginnings of
one! He is HAL, the onboard computer that runs the ship. It is
strange but the two astronauts never even wonder or question the
purpose of the trip.
All of Frank’s other pieces are undeveloped,
which in chess is equivalent to "hibernation". HAL has
focused on
the development of his own pieces towards Frank’s king. With Frank’s
queen and knight conveniently out of the way, busy capturing pawns,
HAL is able to checkmate Frank. The activity in the chess game
appears remarkably similar to what is going on in the mission. Most
of the humans are hibernating. HAL baits both Frank and
Dave out of
the ship pursuing relatively minor problems with the AE35, while he
(HAL) continues on with his plan of taking over the mission by
killing all the crew members and locking Dave out.
As a perfectionist, Kubrick planned and agonized over
every scene and so they are all important and should not be
discarded by the viewer. Later in the movie, HAL is portrayed by a
glowing camera lens. I have noticed that in real life camera lenses
don’t glow, so why did Kubrick choose to portray HAL with glowing
eyes? Kubrick is making a link here between the predatory tiger and
HAL. HAL is a predator. If HAL had succeeded he would have been just
like the tiger, glowing eyes sitting over the carcasses of the dead
crew members in Discovery.
But where does evolution lead
from HAL? To the monolith itself! HAL is still a predator, the
destroyer of life, but as we saw with the ape men and later at the
end of the film with the birth of the star child, the monolith
without the glowing eye is the creator of new life, the bringer of
the next step in evolution! It appears that the evolutionary path
from organic life, to computer, to monolith is one possible
evolutionary path.
What he seems to be
saying here is that it is not the monolith itself that is bad but
the forces that are in control of it. The monolith is 99% truth and
1% poison and that poison is powerful enough to destroy millions of
times over. It is only because humanity has been negligent and in
some cases willfully so, that it has had to go to hell and realize
the power of the Divine in order to find redemption.
The last stretch of the film takes place wholly inside the human
mind. In a way, we all have the potential to be Dave Bowman.
Bowman is just following
orders and he must now investigate the strange monolith that is
circling Jupiter. Like Odysseus, Bowman will be transformed by this
voyage beyond all recognition. When, and if, he does return, Bowman
will be the wisest of all - for he was the one brave enough to enter
the waters of eternity and come back home to tell us about it.
The very last shot in this sequence is the monolith crossing at a ninety degree angle with the moons of Jupiter. At that moment the famous ’light show’ sequence starts. The monolith is a gate that allows Bowman to witness the infinite. He is the first man who has ever experienced the truth of the monolith and what it has to offer.
Bowman first falls through a web of geometries and colours. The universe is passing by at light speed and it has become porous and blended together. Seven octahedrons - all changing colour and form - appear over the sliding universe. The core of a distant galaxy explodes. A sperm cell-like creature searches for something. An ovary? A cloud-like embryo is forming into a child. Now alien worlds fly by, all of their colours and hues gone wild.
Bowman is experiencing overload and looks like he might not be able to handle the amount of information that is being given.
This is humanity’s initiation. Bowman is our representative in this process. He is the first man through. In this experience of passing through the monolith, Bowman is transformed by a completely psychedelic experience. Real information is being passed to Bowman by the monolith.
Finally, the scene ends in the strange hotel room. This is the mysterious ending that Stanley struggled to shoot. The set is that of both a modern and baroque French-style room with startlingly modern lighting coming up through the floor. This is no normal hotel room. The light just seems to glow out of the bottom of the scene causing everything to carry this numinous, incandescent quality to it. There are weird voices on the soundtrack that are laughing at Bowman. The uncomfortable feeling of incomprehension encourages us to look to physical features for familiarity; something solid to grasp onto. Kubrick does not offer us this.
This ambiguity heightens our sense of curiosity.
Bowman goes through three series of transformations during this
scene. He gets older with each transformation. Dave’s environment,
the decorated white room, becomes a metaphor for the human body. The
body, Dave Bowman, becomes a metaphor for the human mind. At the
beginning of the scene, as Dave taps into a new level of
consciousness, he is initially shocked. This can be seen by the
alarming contrast between the red space suit Dave initially wears
and the near pure white background. As Dave begins to accept his
surroundings, we can see his body ’age’ rapidly: the mind is
maturing.
On the other hand, the elements, namely
the artwork, tiles and furniture, that make up the contents of the
room appear to indicate a myriad of human achievements spanning
centuries and continents. High technology, a yearning for
innovation, human creativity, classical architecture, cleanliness,
calculated precision and high art are just a few elements that
spring to mind; factors which distinguish the human race from the
rest of the animal kingdom. Already the viewer has received a
universally positive statement, whether or not they are aware of it
on a conscious level..
The
furniture itself appears to be sophisticated and stylized, as though
it came direct from an upper class nineteenth century western
European home. This furniture implicitly suggests the idea of human
sentimentality and an appreciation for the old and the aesthetic.
The artworks which appear to be in the renaissance style put forth
this idea also.
Dave is thereby about to enter the new level of conscious existence.
Finally, right after the scene where Bowman breaks the wine glass,
the monolith appears again for the last time. Bowman is in the bed
now and he is extremely old. He stares at the monolith, the single
stone that stands like a huge stone book at the foot of his bed.
The Starchild comes more in focus. In the next shot, Kubrick tracks
his camera into the very body of the monolith - coming from the
direction of the bed. He is showing us that the Starchild has
entered into and passing through the monolith. In the very next
scene - which is the last scene in the movie - the Starchild is
passing the moon and is heading towards the Earth.
With the realization of his own fallibility, and his
own trapped spirit, he is finally liberated from the realm of the
hotel prison, or the world of illusion. In that instant he
understands what the book of stone is trying to tell him. He lifts
his hand in a gesture of understanding. And in that moment he is
transformed - without dying - into the Starchild.
This film director has made the ultimate religious movie.
The film is the monolith. In a secret that seems to never have been seen by anyone -- the monolith in the film has the same exact dimensions as the Cinerama movie screen on which 2001 was projected in 1968. This can only be seen if one sees, or rents, the film in its wide-screen format. Completely hidden from critic and fan alike is the fact that Kubrick consciously designed his film to be the monolith, the stone that transforms.
Like the monolith, the film
projects images into our heads that make us consider wider
possibilities and ideas. Like the monolith, the film ultimately
presents an initiation, not just of the actor on the screen, but
also of the audience viewing the film. That is Kubrick’s ultimate
trick. He slyly shows here that he knows what he is doing at every
step in the process. The monolith and the movie are the same thing.
Stanley Kubrick has truly made the
Book of Nature into film. Using powdered
silver nitrates, glued onto a strip of plastic that is then
projected onto the movie screens of our mind, Kubrick has proven
himself to be one of the ultimate esoteric artists of the late 20th
century.
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Chapter 2
The third chapter of the film now begins unfolding - it’s title,
"The Discovery Mission to Jupiter - 17 months later". Each chapter
ends with the monolith changing the direction not only of the story
line but of the human race too.
In the first scenes of the movie, the "Dawn of Man",
Kubrick made a
point of showing us a tiger sitting over the carcass of a zebra. In
this scene the eyes of the tiger were glowing, probably because the
tiger was looking into the setting sun. The ape-men were hiding in
their cave and could hear the roar of the tiger not to far away and
they were fearful. Why did Kubrick show us these scenes, were they
just poetry?. 
All the shots show HAL as a glowing eye inside a monolith shape in
the brain room (see picture left). The implications are astonishing
and profound. 2001 is about evolution, and HAL appears to be the
next stage in evolution after man. 
This part of the saga ends with
Dave "murdering" HAL. As its
circuits are shut down, one by one, it garbles out the song: "A
Bicycle Built for Two". It is only after HAL dies that Dave
discovers the real reason for the Jupiter mission. A video of
Heywood Floyd comes onto a TV screen as HAL dies. The tape was made
for the astronauts for when they were to come out of hibernation.
Now that all the hibernating astronauts are dead, it is only Dave
who gets the message. According to Floyd, the reason for the mission
was to find out why the monolith was emitting the strange signal
towards Jupiter.
The dance of the celestial bodies and the monolith continues.
Kubrick consciously has chosen Ligeti’s music because it evokes a
religious or spiritual feeling within the listener. He brilliantly
juxtapositions this music with the sacred geometrical alignments of
the monolith and the moons of Jupiter. 
