alien intrusion or social psychosis

ALIEN INTRUSION OR SOCIAL PSYCHOSIS
Andrew Hennessey

The end of the 20th century and the beginning of the 21st Century has seen the rise of two social phenomenon that may have a direct correlation.
One is a complex phenomenon centered around the educational process within the institutions that has seen a growth of digital software and media based education and recreational experience and the other is the rise of the subculture of the alien which is also driven by the obvious and global presence of alien contact.

There are indicators that the growth of technology and the alien presence are harmlessly co-incidental e.g. Moores [pseudo] law suggests that computing power has an ongoing doubling effect every few years. Also, culturally the explosion of the digital paradigm and its spread into every aspect of communication, recreation and education suggests the existence of a supply and demand driven industry than any overt alien influence.
But then who or what creates the supply and demand – these factors don't have to be innocent – theoretically they could be engineered.
There are however, one or two clues available that show that what is happening to our society and culture is already an accepted paradigm within alien society.

Some factor is certainly driving the quality of culture down producing a negating and nihilist effect.

The emergent human social paradigm from these new and wonderful technologies is severely flawed in that it clearly cannot illustrate with any digital resolution or clarity to the masses the high detail of fine art masterpieces or the sonic clarity of any aspect of the music industry.

Nor could such miniature technologies and their uses adequately represent such cultural assets.

Instead the proliferation of various recreational formats on numerous digital platforms has seen a decrease rather than an increase in diversity on display on the high street as duplicate works catering for all the formats squeeze out the specialist artistic creations from their places on the crammed shelves.
Small screens and display units with low resolution and low visibility language seem to create an atmosphere where social meaning and values are deprioritised.
In this cultural atmosphere of what also amounts to a reduction of social diversity and quality, a new social reality and subculture has emerged that is based upon pseudo-creative behaviour that utilises fragments or samples of bigger and often more established works.
In music these mixes take fragments of songs and incorporate them into other works on a different theme. In the illicit but patronised multimedia countercultures, key fragments are borrowed from established film and TV and recycled into mixes that are a similar sort of pastiche to the music DJ.
The UFO internet and channelling dialogs tend to recycle self-referential pastiches to a formulaic theme which borrow their vocabulary and labels from human mythology and phonetics produced by human palette and vocal chords – often remixing and fusing names of gods or other personages together in an attempt to sound original.
Even politicians speak in sound bytes for the masses.
In writing for book and TV and film, there are book and script wizards rolling out formulaic processes, and in TV reality talent shows, tribute acts recycle themes of days gone by either in fashions or in musical idioms.
Where is a new and definitive Elvis of the 21st Century for example ?

Being multimedia and creatively orientated myself, I am not against the use of such tools but are we exhibiting senescence as a society when what we consider original work is only representation of the work of others.

In the schools, children are reported more and more as leaving education without the ability to read or write and their own psychological complaints can include attention deficient disorder, perhaps itself related to the vacuous educational strategy known as outcomes based education – a touchy feely idiom that deals with emotions rather than the ability to calculate and analyse and inherited from Nazi Germany, or, diet or other chemicals could contribute to this too.

It is true after all that those people born in the 50's and 60's etc had less of their growing and formative cellular biology exposed to the industrial processing of nitrites and E additives in meats and other foods and drinks etc.

It isn't food intake or the ingestion of physical nutrients that can be solely responsible for this creative malaise of the spirit and I strongly suspect that the real drivers and causes are not rooted in the human paradigm at all.

I suspect that alien priorities are being asserted upon us.

There does seem to be evidence of a generic social malaise that should be telling us that things are going wrong within our social and recreational institutions.

In tandem with this, there are the tales of many abductees that speak of alien farming techniques that extract experience samples from their targets.
It is as if alien DJ's are uploading and downloading and exchanging human experiences – allegedly feeding them to their hybrid progeny to supply an experiential basis for their newly acquired tendencies that are grafted on from the human condition.
These new kinds of complex emotional intelligence software that the aliens may be manufacturing and extracting are about attitudes to ordinary things that the average human being does; coping behaviour, psychological strategies for conflict resolution and problem solving in numerous human contexts.
The capacity for creative thinking amongst these negative extra terrestrials is not so abundant as that to be found amongst the creatives of humanity. The seeming endless negation that some creative humans experience at the hands of their alien tormentors may well be caused by the refinement and beta testing in alien process-modelling software that could be fed to their hybrids, or indeed a blatant attempt to entrap and entangle the human soul for more long term farming and re-use.
Given that the intruding aliens themselves seem to be masterful at stripping and mixing and remixing experiences according to; Streiber, Jacobs, Schneider, Schroeder, Collier, Hennessey, then it does seem rather too much of a co-incidence that a totally invaded and intruded upon human society is now exhibiting the same creative dysfunction as its alien invaders.
This is a synchronicity that may indicate that creative human problem-solving strategies with software in a bottled and modular environment may be a research necessity for the alien dataminers and strippers – given that these human adaptations to this kind of media could be considered innovative and re-usable and accessible by a more regulated and monotonic mindset of a large alien megapopulation.
I propose therefore that the cultural issues within human creatives and their output in the 21st Century are being driven and steered by the social and evolutionary needs of the Greys and their new semi-creative hybrid population that is currently surviving on pirated uploads from the human population.
It will probably be the goal of this hybrid population to get as self-sufficient as they can with all the tools, samples and art libraries and human teaching resources at their disposal.
That may well be at the expense human cultural evolution though.
I propose that we negotiate a claim for licensing fees for the stuff that they take from us. It is after all, our copyright.

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