1000 Words


Advertisements

The Manna Machine

The Kabbalah, a body of Jewish traditional knowledge, was kept secret until the 13th Century AD, it s content was regarded from the magical-mystical point of view particularly so with respect to the Ancient of Days. This was considered to be a Jewish demi-god until in 1978 two English engineers, George Sassoon and Rodney Dale, concluded that the description of the Ancient of Days in the Zohar, one of the books of the Kabbalah, was not of an ominous god-figure, but rather a machine. A close investigation of the text convinced them that the machine produced the biblical manna which fed the Israelites during their forty-year wandering in the desert and was probably of extraterrestrial origin.

Othiq Yomin
The machine, called the Othiq Yomin in the Zohar, worked on the basis of the cultivation and processing of an algae-culture, probably one of the chlorella species, which was maintained by a supply of dew, or water, and of radiation from a nuclear-powered light-source.

Ark of the Covenant
The complete machine was regarded as a deity or demi-deity consisting of male and female parts. It was given to the Israelites at the beginning of their wandering in the wilderness, possibly by extraterrestrials and produced the manna which enabled them to survive. By all accounts, the machine was kept in the so-called Ark of the Covenant, which served as a transport container for the nuclear-powered machine, which was easily damaged under desert conditions. In the time of David and Solomon it found its place in the Holy of Holies in Solomon’s Temple in Jerusalem, while before that it was kept in the Holy Tent, or Tabernacle.

bonus exclusive:

Upon the third viewing on Inception (infer from this the quality of Dubai nightlife) it continues to blossom underneath the complexity and elegance of the writing, direction and acting. Inception goes deep. The film manages to straddle a thin border of the sophomoric ideas of “it was all a dream,” and “what is reality,” while staying on the right side of these questions leaving behind the heavy handed symbolism of Matrix and opting instead for the genuine discoveries of catharsis. It has called the masses to consider their dreams, it has left the audience to the wilds of our own subconscious, it has asked us to seek out the answer left at the end and rewarded us with only more questions and interpretations. But really, none of this matters as much as the experience of the film: the shattering stares of the estranged wife, the all white war zone, Paris folding on top of itself, We are left with the shared dream of Inception.

Thus far the film been compared to all sorts of films; but the one closest to its heart and most intrinsically related; and one of the finest of the last decade, is The Eternal Sunshine Of The Spotless Mind. The differences are in the aesthetic, low-tech indie vs. super sleek cool, the devices in which we are enabled to reach the sub-conscious of our protagonist, memories vs. dream; but really we are dealing the same thesis: the most powerful element in the world is an idea. It has the power to change a man and define his entire existence. In Inception the idea is that this world is not real. In Eternal Sunshine Of The Spotless Mind the idea is (to a degree) of love lost. In life we are forced to fight through the gauze of memories and dreams to level ourselves against the facts, to rationalize our fantasies against the slow march of time; to level the power of the singularity of our belief against the overwhelming proof of the opposite. This is the Sisyphean task of sanity; we must do it every day or be lost to the shores of the unconscious. The way in which these films tango with this Thesis is Herculean. And if there could be a conclusion to the comparison it is that an Idea, no matter the complexity, easily simmers away the fat and leaves us very alone in the consideration of its outcomes. Where ESOTSM is squared up in it’s dealing with Clementine and Joel – Inception leaves us with a bit more, a subtext to the film that can only be applauded for its absolute elegance.

Mol inhabits a space beyond the wife. In some interview or the other Leonard Dicaprio is hanging around looking gorgeous in his slicked back hair and talking about Fellini and 8 ½. Leo can do as he likes, but when he gets to talking about Fellini eyes spastically role. But for now we can entertain those elements. He is the director, Fisher is the audience, Eaves is the lead actor, Saito is the money (“I bought the airlines, it seemed cleaner” is all time gangster), Adrian is the writer; you get the idea, so on and so forth. On the third viewing we paid particular attention to this and there is so much going on the film it hard to forget this element to it. And we see the end as the catharsis from the art and the ability to create without being destroyed by which we are trying to create. So give Leo his Fellini comments, it works brilliantly within the story. There is more, but let that unfold later.

Next Page »