Monthly Archives: April 2015

Looney Tunes

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LooneyTunes

Looney Tunes is an American animated series of comedy short films produced by Warner Bros. from 1930 to 1969. Looney Tunes initially showcased Warner-owned musical compositions through the adventures of cartoon characters.

Since its success during the short film era of cartoons, Looney Tunes has become a worldwide media franchise.

What are cartoons?

Cartoon:

1. a simple drawing showing the features of its subjects in a humourously exaggerated way, especially a satirical one in a newspaper of magazine.
2. a motion picture using animation techniques to photograph a sequence of drawings rather than real people or objects.

(see What are graven images?, Mickey Mouse and Movies and Magic)

Now let us examine the origin of the word ‘cartoon’:

A car, the prefix of cartoon (car + toon) by definition is:

1. a vehicle moving on wheels: as

a) archaic: a carriage, chariot
b) a vehicle designed to move on rails (as of a railroad)
c) automobile

2. the passenger compartment of an elevator
3. the part of an airship or balloon that carries the passengers or cargo
A car is in summation something that has motion (animation) and carries a person, a living soul, an animal, an inanimate object, an idea and/or an energy.

The etymology of the word toon, as the suffix to cartoon:

A toon, as a suffix phonetically sounds to be a derivative of the Punjabi word tuna, which means: witchcraft; unfavourable; unfavourably; unfortunate; miserable; necromancy; magic; inexcusable; hocus pocus (see Wake Up! It’s 1984).

Witches and witchcraft is a recurring theme in animated films. Arguably, a car + toon = cartoon is a vehicle, is a vessel that uses sights and sounds (tunes); to harness and carry witchcraft, magic. Thus, a cartoon is a form of witchcraft, magic, which often uses sounds (tunes = frequencies) to reinforce the spells. It casts; misdirecting and locking the conscious and subconscious mind.

It is little to no wonder that children raised on inordinate amounts of fantasy and fiction have a very difficult time dealing in logic and reality, as adults.

The intent to programming a child with Looney Tunes is to make the child tune into fantasy and tune out of reality, so that when he/she becomes an adult, he/she will mentally malfunction as a mental incompetent (see Age of the TV slaves and The Music Man).

 

 

 

Roman Holiday

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roman_holiday_poster

Roman Holiday is a 1953 film shot in Rome, Italy. ‘Roman holiday’ is a metaphor for dissociation and madness (see Monarch slaves).

Let’s take a look at the film:

While in Rome during a multi-city goodwill tour, Princess Anne (Audrey Hepburn), the youthful heir to a European crown, impresses the guests of an embassy ball with her charm and poise.

Some children from royal families are turned into Monarch slaves. They are driven mad through torture, rape and severe beatings, then demons are installed during a Satanic ritual using witchcraft. These demons possess the slave and take control of their life, becoming their alter personas (see The Great Deception, Pagan gods and Pagan feasts).

Later, as she is preparing for bed, Anne, feeling overwhelmed by her tedious, endless, schedule, starts to scream uncontrollably at her efficient secretary, Countess Vereberg.

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Anne is fighting her demonic possession. When Monarch slaves fight their demonic possession, their lunacy manifests, the madness becomes uncontrollable, and they become destructive — screaming, lashing out, smashing objects, etc. Countess Vereberg is her handler.

To calm her, Anne’s doctor injects her with a sedative, but before the drug takes effect, Anne sneaks out of the palatial embassy and hides in the back of a truck.

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The doctor is also a witch and handler. The sedative is a hallucinogen to calm the slave’s madness before ritual sodomy is performed to facilitate demonic possession. Anne ‘sneaking out’ is the beginning of the ‘roman holiday’ or dissociation, she has been sodomised and more demons invoked to possess her — she has now resumed state of a Monarch slave, whereby slaves live in a permanently dissociative state of fear and terror.

Anne jumps out when the truck reaches a lively part of town, but is already starting to yawn from the sedative. Soon after, American reporter Joe Bradley (Gregory Peck) spots her prostrate on some stairs and hears her mumbling in English.

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Joe represents the doctor, who is the chief witch/abuser/handler.

Joe is unaware of her identity and assumes she is drunk, but reluctantly drags her into a cab. When Joe asks the increasingly groggy Anne for an address, she insists that she lives in the Colosseum. Not knowing what else to do, Joe takes Anne to his tiny apartment. There, while trying to undress herself so that she can don Joe’s pajamas, Anne admits that she has never been alone with a man and starts to recite poetry.

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The car/cab is a symbolic chariot — chariots are heavenly vehicles used in transiting from one dimension to another; Anne is transitioning from the world of reality (madness) to the world of fantasy (dissociation/spiritual binding through demonic possession). The Colosseum is where Roman slaves used to perform. Pajamas symbolise the relaxed state surrounding sleep; Anne has now completely dissociated. Monarch slaves are forced to dissociate so that more demons can be installed to control them, or so that the demons that already possess them can regain control.  So Anne, who surfaced when the madness manifested, and who is a dysfunctional maniac, has been calmed. The reciting of poetry represents the texts and pictures from certain books, such as The Wonderful Wizard of Oz and Alice in Wonderland used in witchcraft to create Monarch slaves.

Frustrated, Joe goes out for coffee, after instructing her to sleep on his couch. When he returns, however, he finds her curled up on his bed and rolls her onto the couch.

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Coffee is taken in the morning to help one ‘wake up’: It represents the awakening; Anna has been possessed by a new demon. The couch is a metaphor for the grave, Anne’s real self has been ‘buried’.

The next day, Joe, who was scheduled to interview the princess that morning, wakes up late and rushes out, leaving behind the still sleeping Anne. At his newspaper office, Joe, unaware that the princess’ activities for the day have been cancelled, lies to Hennessey, his editor, that he conducted the interview. When Hennessey shows him a newspaper report about the princess’ sudden ‘illness’, Joe stares at the accompanying photograph and realises that the princess is the woman on his couch. Seeing his opportunity, the perpetually broke Joe gets Hennessey to agree to pay him $5,000 dollars if he produces an exclusive, revealing interview with the princess, complete with photographs.

Back at Joe’s apartment, Anne finally wakes up and introduces herself as Anya.

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Anya is Anne’s alter persona or the demons that possess her.

After drawing Anne a bath, Joe slips out and telephones his photographer friend, Irving Radovich, telling him only that he needs him for an important story. Now bathed and dressed, a grateful Anne borrows 1,000 lire from Joe and leaves on foot. Joe follows her, watching with amusement as she buys herself a pair of shoes from a street vendor.

During torture, slaves are locked in cells, strapped into strait-jackets and half drowned in ice baths. Anne is being subjected to this method of torture. Telephones represent demonic invocation from hell. In occult symbolism, 1000 is the number of completeness. So Anne’s madness has been successfully contained.

Shoes in symbolism represent authority and power, but they can also represent humility and servitude. So here we see Anne being subdued as a slave.

Anne then enters a barber shop and insists that the barber, Mario Delani, cut her long hair into a stylish bob.

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Anne with a different hairstyle represents demonic installation.

Mario is taken with the transformed Anne and invites her to a barge dance that night. With her last bit of money, Anne buys a gelato and at the Trevi Fountain, is joined by Joe, who pretends he has run into her.

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An ice cream cone represents the mental brain freeze of the Monarch slave, or their madness and helplessness; the gelato in this case is an alternate of the ice cream cone (in Italian, gelato means ‘frozen’). The central figure of the Trevi Fountain, standing in a large niche, is Neptune, god of the Sea. He rides a shell-shaped chariot that is pulled by two sea horses. Each sea horse is guided by a Triton. One of the horses is calm and obedient, the other one restive. They represent the fluctuating moods of the sea.

Restive horse

Restive horse

Calm horse

Calm horse

This is an allusion to Anne fighting her demonic possession (restive horse), then her madness being contained (calm, obedient horse).

Anne, in turn, claims she is a runaway schoolgirl and admits that her only desire is to spend the day having fun. Anxious to please, Joe takes her to a nearby café, where she meets Irving, who, unaware of Joe’s scheme, almost reveals Joe’s identity. After Joe fills him in, Irving, using a miniature camera hidden inside a cigarette lighter, snaps pictures of Anne smoking her first cigarette.

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Etymology of school:

From Middle English schole ‎(group of persons, multitude, host).

Anne is a ‘schoolgirl’ — symbolising that she is possessed by a multitude or legion of demons.

To create Monarch slaves, demons possess the slaves and completely control every aspect of their lives. A cigarette is a symbol of this ‘taking of the body’. The smoke from the cigarette represents the spirit/demon (all alters personas are demons) replacing the slaves.

The three then go sightseeing, and Anne, whom Irving nicknames ‘Smitty’ after she states that her last name is Smith, jumps on a motorscooter Joe has rented and takes a wild ride around the plaza.

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Etymology of Smith:

From Middle English smithen ‎(to work metal, forge, beat into, torment, refine, create).

Monarch slaves are created by tormenting or torturing the slaves until they become mad, then they are drugged and ritually sodomised for spiritual doors to open for demons to possess them.

The sightseeing and wild ride is the assignment or mission undertaken by the demons that possess the Monarch slave.

The ride gets them arrested, but when Joe claims that he and Anne were on their way to get married, the police let them go. Anne and Joe test their truthfulness at the ancient sculpture Bocca della Veritá, or Mouth of Truth, and then visit a wall on which passersby post their hopes and wishes.

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‘Getting arrested’ is code for electrocution. High voltage electroshock is used to subdue Monarch slaves fighting their demonic possession when the lunacy manifests.

Bocca della Veritá is a round medallion made of Pavonozzetto marble, which comes from Dominium in Frigia (modern Turkey). It is a worn mask of a deity in the shape of a bearded man, with two oddly shaped horns and two round protuberances on the lower part of the beard (testicles). It has two holes mid-height on both sides, indicating that L-shaped chips were used to hold it in position or to prevent it from falling.

The medallion depicts The Roman Forest god Faunus, the equivalent of the Greek god Pan, who is Satan. It was originally in the temple of Jupiter Juranius in the Tiberian island, where oaths were taken, as the cover of a temple water collector, hanging in the middle with an opening in the roof.

Witches force Monarch slaves to make blood covenants, contracts, oaths and to shed innocent blood. What various witchcraft and Illuminati slaves experience is Satan drawing blood from their left hand, and causing them to write in their own blood a formal contract entering his service in the Great White Book; an important Illuminati document.

The medallion in the film represents Anne taking an oath to bind her with Satan, which is what is referred to as ’on their way to get married’.

Having made her wish, Anne asks to be taken to the barge dance near the Castel Saint Angelo and there enjoys a romantic dance with Joe.

The barge dance is yet another assignment or mission undertaken by the demons that possess Anne, given by the barber who represents one of the handlers or witches in the real world.

When Mario shows up and cuts in, Joe and Irving become excited imagining the publicity potential of the headline ‘The Princess and the Barber’. Just then, secret service agents from Anne’s homeland grab her and try to drag her away. Anne screams for Joe, who races to the rescue and instigates a brawl. Anne gleefully joins in the fracas and jumps in the Tiber River with Joe to escape capture. After swimming to safety, Joe and Anne embrace and kiss, then return to Joe’s apartment. There, Anne hears a radio report about the distress her illness is causing her people and sadly tells Joe she must leave. Stopping near the embassy, Joe and Anne share a final, passionate kiss before Anne runs off into the night.

Etymology of kiss:

The word ‘kiss’ is derived from the French baiser (from Latin basiare), which means ‘to have sex’.

Monarch slaves are created during a Satanic ritual that involves ritually sodomising the slave in order to open up spiritual doors for demons to possess the slave.

Roman Holiday 13

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The river stands for the irreversible passage of time and, in consequence, for a sense of loss and oblivion. It symbolises the loss of her identity or free will.

In the embassy, Anne’s advisors scold her for neglecting her duty, but Anne silences them by stating that duty was the only reason she came back. The next day, Hennessey drops by Joe’s apartment, anxious to collect his story, and is dismayed when Joe insists he does not have one. Irving then shows up with the pictures he took of Anne, but Joe refuses to use them. Later, Anne appears at the previously scheduled press conference and is pleasantly surprised to see Joe and Irving there. After Joe lets her know through his public comments that her secrets are safe with him, Anne deviates from protocol and shakes hands with the reporters. Irving then gives her the photos he took, and with tears in her eyes she tells Joe how much she has enjoyed meeting him. Heartbroken, Joe watches Anne retreat with her advisors and walks out of the embassy alone.

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All this represents the dissociative state in which Anne permanently lives, as a demonically possessed dysfunctional maniac. The photos represent the pictures of Akashic records taken by the slave during time travel (see Time Travel).

My Soul’s Journey

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“Life is a journey, not a destination.” — Ralph Waldo Emerson

The structure of a person is Body-Soul-Spirit. Human nature is revealed as a tripartite (consisting of three parts). Technically speaking, we are a Spirit, we have a Soul and we live in a Body.

We have three different dimensions of human awareness: the conscious mind (personality), the subconscious mind (soul) and the superconscious mind (spirit). Now specifically, the soul is comprised of the Intellect-Emotion-Will. It usually describes the inner person. The root Hebrew word is ‘nephesh’, the same word used to describe how man became a ‘living soul’. Although it is commonly rendered as ‘soul’ in English translations, the word refers to the tangible aspects of life, and human beings and animals are both described as having a nephesh.

However, man is really four-dimensional:

The human spirit looks human, it’s an exact replica of you. It grows… but does not age. Our human body is operated by our spirit — the spirit is the Breath of Yahweh, breathed into man to give him Life; it gives Life and Movement to the Flesh.

The body is the house of the spirit and the soul; life is in the blood. Dead bodies lose or stop pumping blood.

The soul is energy and energy cannot be naturally created or naturally destroyed. Something beyond nature created all the energy and matter that is in the universe, and something beyond nature is able to destroy it. Only Yahweh can destroy the soul or any energy in the universe.

All living things have a protective psi-field around them, called an aura, that ensures optimal conditions for sustaining multicellular life forms and protecting them from the influence of other psi-fields. This is where our thoughts, feelings and emotions are stored.

In addition, the psi-field holds a large supply of energy derived from the primary matters released from disintegrating food ingested by the organism.

When demons find an organism with a low psi-field or a weakened aura (due to depression, fear, anger or other negative emotions), they penetrate the shield, invade its spiritual structure and steal a portion of its life energy, the energetic potential generated by the creature’s physical, body.

They use it to strengthen and energise themselves. This is called ‘energetic vampirism’. They are able to identify a creature with a weakened aura from its colour — a strong aura, or one infused with positive emotions — will be light and airy and colourful, like a rainbow, while a weak aura will be dark and cloudy.

This hastens the exhaustion of the creature’s physical body and leads to premature death either violently or from natural causes. Energetic invasion of this kind can be intermittent or continuous. To effect such penetration, demons must break through the qualitative barrier between the physical and etheric levels of the planet, and in some cases rupture an additional barrier — that between the etheric and astral levels.

Another factor is the thickness of the barrier, which varies according to the time of day. It is maximum during the day and minimum at night, especially between midnight and 4.00 a.m. Thus, these evil spirits are night predators. The density of the barrier also depends upon variations in the energetic structure of different places on the planet’s surface. In planetary regions of positive geomagnetic influence, the barriers between the planetary spheres is dense and strong; while in regions of negative geomagnetic influence, the barriers may be very weak or completely absent, even during the day.

Primal creative energy can be generated from human emotions and physical activities, such sexual energy. This is the aim of pornographic films and ritualistic orgies. Demons also stalk a potential victim they wish to possess by gradually weakening their aura, through intimidation to cause fear: throwing objects in the home, knocking on ceilings or doors, opening and closing drawers, doors and windows, switching on electric appliances, appearing in mirrors (which are portals), appearing as black cats or shadows, turning on taps, making hissing sounds or noisy footsteps, drumbeats or laughter and shrieking, causing the room temperature to drop to an icy level, causing objects to levitate, and even physically attacking the victim.

Mass murder, such as ethnic clashes, mass suicides by cults, mass shootings and bombings, are sacrifices to demons and fallen angels, who feed off the atmosphere of fear, anger and hate created during these massacres. The same with wars, whether regional or international. The Islamic State of Iraq and Syria (ISIS) executions are basically sacrifices to demons. Music concerts and festivals are also forums for generating energy for demons, and Satanic symbols are placed on stage and around the venue to attract the spiritual, emotional and physical energy to the symbols, and not the artiste toward whom the adoration is directed. The evil spirits then draw the energy from the symbol — for example, the pyramid stage used in the annual Glastonbury concert in England.

We are on this earth as spiritual beings having a physical experience. The spirit, having been separated from its Creator, Yahweh Almighty, through sin and the worship of false gods, must now make a return journey back to Him.

The soul is never disconnected from Him, it is our intuition that is eternally connected to the heavenly realm; what tells us right from wrong.

“You don’t have a soul. You are a soul. You have a body. — George MacDonald, Annals of a Quiet Neighborhood (1867)

So you can see what a wondrous, powerful creature man is, created in the image of Yahweh Almighty:

“And Yahweh said, ‘Let Us make man in Our image, after Our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the Earth, and over every creeping thing that creeps on the Earth.’ So Yahweh created man in His own image, in the image of Yahweh He created him; male and female He created them.” Genesis 1:26-27

(see The Great Deception, The Body, the Soul and the Spirit, Where do we go when we die? and Revisiting the Holocaust)

A caryatid is a sculpted figure serving as an architectural support taking the place of a column or a pillar, supporting an entablature on its head, that is used to symbolise a perfected human being; one who has found or attained the eternal divinity within, by balancing, or aligning, the soul with the spirit and the body.

Caryatid, Louvre, Paris, France

Caryatid, Louvre Museum, Paris, France

 The Caryatid Porch of the Erechtheion on the Acropolis at Athens, Greece

The Caryatid Porch of the Erechtheion on the Acropolis at Athens, Greece

Caryatid from the Edward J. Berwind mansion in New York, U.S.

Caryatid at the Edward J. Berwind House in New York, U.S.

Caryatid pillars, Austrian Parliament Building, Vienna, Austria

Caryatid pillars, Austrian Parliament Building, Vienna, Austria

Caryatids flank Palais Pallavicini doorway, Vienna, Austria

Caryatids flank Palais Pallavicini doorway, Vienna, Austria

Row of caryatids on Via delle Quattro Fontane, Rome, Italy

Row of caryatids on Via delle Quattro Fontane, Rome, Italy

In order to align ourselves with our soul, our Divine Self, we must align ourselves with the Will of Almighty Yahweh.

This way, we steadily make our way back home.

Your blood, Your life

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“For the life of every creature is in its blood; its blood is its life. That is why I have said to the children of Israel, ‘You must not eat the blood of any creature, because the life of every creature is in its blood; anyone who eats it must be cut off.” Leviticus 17:14

Pints of blood

Pints of blood

Blood is the red fluid that circulates in our blood vessels — veins and arteries. The main function of blood is to act as the body’s transport system, but it also has a major role in the body’s defence against infection.
It delivers necessary substances such as nutrients and oxygen to the cells and transports metabolic waste products away from those same cells.

When it reaches the lungs, gas exchange occurs when carbon dioxide is diffused out of the blood and into the pulmonary alveoli and oxygen is diffused into the blood.

An average-size adult has a blood volume of about 4.5-5.5 litres.
There is no substitute for blood. It cannot be made or manufactured.
Almighty Yahweh, the Living God and our Creator said: ‘the life of every creature is in its blood’, our blood is our lifeline and we should hold is as precious and dear. Once blood is drained from a creature, it dies.

We have been conditioned into donating blood ‘to save lives’. However, the thousands of litres of blood we give is not used for transfusions, rather, it is for the purpose of feeding the Nephilim (demons) and their descendants — the ruling elite: the worlds’ royal families and the interconnected families (see Pagan gods, Monarch programming, Who is the Neanderthal man? Bigfoot and the Yeti, Lord Cholmondeley’s crime and Hell’s Gate, Naivasha, Kenya).

The myth of vampires was created to cover up for these humans mutants, who would hunt humans and animals for blood.

This is why the Red Cross organisation was founded, a blood bank to harvest fresh blood from living humans, so they no longer have to hunt them openly or secretly. They are the product of an unholy and unnatural union and, therefore, have defects; one of which is an iron deficiency, so they need human blood, which contains iron, to supplement it.

Demons drink blood and eat human and animal flesh to survive when they manifest physically into our world; blood is necessary for them to progress genetically and to have the ability to shape-shift, they also get adrenalchrome from human blood. However, this kind of manifestation is temporary.

(Adrenalchrome (Adrenal Chromaffin) is a naturally occurring yellowish-brown chemical produced by the pineal gland. It controls moods and emotions in the brain. The powers that be have worked very hard to keep the existence of this chemical a secret.)

Blood is so precious, we are not to eat meat with blood still in it:

“And any Israelite or any foreigner living among you who hunts any animal or bird that may be eaten must drain out the blood and cover it with earth.” Leviticus 17:13-14

Cook all meat thoroughly, until you can no longer see any trace of blood in it (see Birds’ eggs are FOETUSES, Meat man is allowed to eat and All animals are Born Free).

We are also forbidden to shed human blood:

“Everything that lives and moves about will be food for you. Just as I gave you the green plants, I now give you everything. But you must not eat meat that has its lifeblood still in it. And for your lifeblood I will surely demand an accounting. I will demand an accounting from every animal. And from each human being, too, I will demand an accounting for the life of another human being. Whoever sheds human blood, by humans shall their blood be shed; for in the image of Yahweh has Yahweh made mankind.” Genesis 9:6

This is also a reference to cannibalism (see A Study of Cannibalism).

So next time you donate blood, remember you’re giving away your life. When being tested for disease or infection, a pap smear or urine will suffice.

“Blood is a very special fluid.” — Faust, Act II, Scene 4, Johann Wolfgang von Goethe

In this poem we are shown how Faust, the representative of the highest human effort, enters into a pact with evil powers, who on their side are represented in this poem by Mephistopheles, the emissary of hell. Faust is to strike a bargain with Mephistopheles, the deed of which must be signed with his own blood. Faust, in the first instance, looks upon it as a jest. Mephistopheles, however, at this juncture utters the sentence which Goethe without doubt intended should be taken seriously: “Blood is a very special fluid.”

Now, with reference to this line in Goethe’s Faust Professor Minor, a commentator of the famous poem, remarks that “the devil is a foe to the blood”; and he points out as the blood is that which sustains and preserves life, the devil, who is the enemy of the human race, must, therefore, also be the enemy of the blood. He then — and quite rightly — draws attention to the fact that even in the oldest versions of the Faust legend — and indeed in legends generally — blood always plays the same part. In an old book on Faust it is circumstantially described to us how Faust makes a slight incision in his left hand with a small penknife, and how then, as he takes the pen to sign his name to the agreement, the blood flowing from the cut forms the words: “Oh man, escape!”. All this is authentic enough; but now comes the remark that the devil is a foe to the blood, and that this is the reason for his demanding that the signature be written in blood. Cold you imagine any person being desirous of possessing the very thing for which he has an antipathy? The only reasonable explanation that can be given — not only to Goethe’s meaning in this passage, but also to that attaching to the main legend as well as to all older Faust poems — is that to the devil blood was something special, and that it was not at all a matter of indifference to him whether the deed was signed in ordinary neutral ink, or in blood.

We can here suppose nothing else than that the representative of the powers of evil believes, nay, is convinced, that he will have Faust in his power if he can only gain possession of at least one drop of his blood. This is self-evident, and no one can really understand the line otherwise. Faust is to inscribe his name in his own blood, not because the devil inimical to it, but rather because he desires to gain power over it.

Now there is a remarkable perception underlying this passage, namely, that he who gains power over a man’s blood gains power over the man, and that blood is a ‘very special fluid’ because it is that about which, so to speak, the real fight must be waged, when it comes to a struggle concerning the man between good and evil.

It is by way of the blood that the ‘inner man’ comes into contact with that which is exterior, and that in the course of this process man’s blood absorbs oxygen, which constitutes the very breath of life. Through the absorption of this oxygen the blood undergoes renewal. The blood which is presented to the in-streaming oxygen is a kind of poison to the organism — a kind of destroyer and demolisher — but through the absorption of oxygen the blue-red blood becomes transmuted by a process of combustion onto red, life-giving fluid. This blood that finds its way to all parts of the body, depositing everywhere its particles of nourishment, has the task of directly assimilating the materials of the outer, and of applying them, by the shortest method possible, to the nourishment of the body. It is necessary for man and the higher animals first to absorb the oxygen from the air into it, and to build up and maintain the body by means of it. Thus, the blood with its circulation is like a second being, and in relation to the man of bone, muscle and nerve, acts like a kind of exterior world. For, as a matter of fact, the entire human being is continually drawing his sustenance from the blood, and at the same time he discharges into it that for which he has no use. A man’s blood is therefore a true double ever bearing him company, for which he draws new strength, and to which he gives all that he can no longer use. ‘Man’s liquid life’ is therefore a good name to have given the blood, for this constantly changing ‘special fluid’ is assuredly as important to man as cellulose is to the lower organisms.

We have seen how the external formless substances enter the human body, and how the etheric body turns these materials into living forms. Further, the astral body fashions pictures of the external world, and this reflection of the external world resolves itself into inner experiences, and this inner life then reproduces from within itself pictures of the outer world. Now when this metamorphosis extends to the etheric body, blood is formed. The blood vessels, together with the heart, are the expression of the transformed etheric body, in the same way in which the spinal cord and the brain express the transformed astral body. Just as by means of the brain the external world is experienced inwardly, so also by means of the blood this inner world is transformed into an outer expression in the body of man.
The blood absorbs those pictures of the outside world which the brain has formed within, transforms them into living constructive forces, and with them builds up the present human body. We then have a process in which the blood extracts from its cosmic environment the highest substance it can possibly obtain, viz., oxygen, which renews the blood and supplies it with fresh life. In this manner our blood is caused to open itself to the outer world.

We now see that blood originates when man confronts the external world as an independent being, when out of the perceptions to which the external world has given rise he in his turn produces different shapes and pictures on his own account, thus himself becoming creative , and making it possible for the Ego, the individual Will, to come to life. A being in whom this process had not yet taken place would not be able to say ‘I’. In the blood lies the principle for the development of the Ego. The ‘I’ can only be expressed when a being is able to form within itself the pictures which it has obtained from the outer world. An ‘I-being’ must be capable of taking the external world into itself , and of inwardly reproducing it.

Thus the blood stands midway, as it were, between the inner world of pictures and the exterior living world of form. This role becomes clear to us when we study two phenomena, viz., ancestry — the relationship between conscious beings — and experience in the world of external events. Ancestry, or descent, places us where we stand in accordance with the law of blood relationship. A person is born of a connection, a race, a tribe, a line of ancestors, and what these ancestors have bequeathed to him is in his blood. In the blood is gathered together, as it were, all that the material past has constructed in man; and in the blood is also being formed all that is being prepared for the future. Yet, on the other hand, the man of today is no longer conscious of what he possessed in his inward bodily life by inheritance from his ancestors. He knows naught concerning the forms of his inner organs; but in earlier times this was otherwise. There then lived within the blood not only what the senses had received from the external world, but also that which is contained within the bodily from; and as that bodily form was inherited from his ancestors, man sensed their life within himself.

Such a man sensed what was within him, and as this inner experience was the result of heredity, he passed through the experience of his ancestors by means of his inner faculty. He remembered not only his own childhood, but also the experiences of his ancestors. This life of his ancestors was, in fact, ever present in the pictures which his blood received, for, incredible as may seem to the materialistic ideas of the present day, there was at one time a form of consciousness by which men considered not only their own sense — perception as their own experiences, but also the experiences of their forefathers. In those times, when they said, “I have experienced such and such a thing,” they alluded not only to what had happened to themselves personally, but also to the experience of their ancestors, for they would remember these.

In earlier times tribes held aloof from each other, and the individual members of families intermarried. You will find this to have been the case with all races and all peoples; and it was an important moment for humanity when this principle was broken through, when foreign blood was introduced, and when marriage between relations was replaced by marriage with strangers, when endogamy gave place to exogamy. Endogamy preserves the blood of the generation; it permits the same blood flowing in the separate members as flows for generations through the entire tribe of the entire nation. Exogamy inoculates man with new blood, and this breaking-down of the tribal principle, this mixing of blood, which sooner or later takes place among all peoples, signifies the birth of the external understanding; the birth of the intellect.

At the present time everything in a man’s environment fashions the inner man in accordance with the outer world. In the case of primitive man it was that which was contained within the body that was more fully expressed in the blood. In those early times the recollection of ancestral experiences was inherited, and, along with this, good or evil tendencies. In the blood of the descendants were to be traced the effects of the ancestors’ tendencies. Now, when the blood was mixed through exogamy, this close connection with the ancestors was severed, and the man began to live his own personal life. Thus, in an unmixed blood is expressed the power of the ancestral life, and in a mixed blood, the power of personal experience.

When Yahweh commanded the Israelites not to intermarry with other nations, this was one of the reasons: To preserve the purity of their genealogy and retain their ancestral wisdom and knowledge imprinted in their blood.

Your blood is your life.

Israeli industrial design graduate student Naomi Kizhner developed a concept for an invasive jewellery collection that converts kinetic energy (energy that a body possesses by virtue of being in motion) from the body’s involuntary movements into electricity, as part of her BA graduation project at Jerusalem’s Hadassah College in Israel.

Blood jewellery

Blood jewellery2

The three pieces — Blinker, Blood Bridge, and Pulse Conductor — are embedded into the surface of the skin to capture the energy of subconscious movements, such as the flow of blood through the veins and blinking, transforming it into electricity.

Made of gold and 3D-printed biopolymer, each design in the collection would be worn on different parts of the body to harvest energy from specific physiological functions.

Spikes at each end of the Blood Bridge would insert into a vein in two places on the lower arm, redirecting the blood past a wheel inside the casing. The blood flow would then turn the wheel to create movement that the device could convert into electricity.

Blood Bridge

Blood Bridge

Blood Bridge2

The E-pulse Conductor would harvest energy directly from the electric pulses sent by the neurological system through the wearer’s spine.

Pulse Conductor

Pulse Conductor

Pulse Conductor2

Sat on the bridge of the nose and across the eyelids, the Blinker would transform the energy generated during the opening and closing of the eyes into electricity.

Blinker

Blinker

Blinker2

This is not new; this jewellery was available in the pre-flood world — to harvest human energy and exploit and abuse human bodies. The energy produced by our blood and bodies is as precious and sacred as our blood (1 Corinthians 6:19-20).