by Shem El-Jamal, March 13, 2017
This episode of the series was unique specifically because it featured an individual who has been a significant source of inspiration for the Gaia team. Mr. Jay Weidner is a well-known film director, scholar and student of multiple ancient mystery schools. Much like David Wilcock, Weidner has spent a good portion of his life observing the world from a significantly unique perspective.
Over time, Weidner has maintained and expanded upon multiple areas of study and from these studies, has developed a keen insight into worlds beyond our present perception. This insight has given Jay a unique view into the perceivable world, and we can see this in many of his films. The quality of this unique perspective is one of the many reasons why Jay is able to view the subjects of human evolution, of alchemy and transcendence of human consciousness in the unique way which he does.
Cosmic Disclosure with Corey Goode and David Wilcock – The Law of One and the Secret Space Program – Exploring the Striking Correlations between the Law of One and Past Testimonies of the SSP
This and many attributes give this episode and discussion an extra dimension of depth and significance.
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The Great Solar Flash
David Wilcock: All right, welcome back to “Cosmic Disclosure”. I’m your host, David Wilcock. We’re here with Corey Goode, and we’re also here with one of the only guys who’s been in the scene longer than I have, Jay Weidner.
I got into what you were doing a long time ago, and I think one of the first things . . . The way I first encountered you was through Richard C. Hoagland.
Jay Weidner: Yeah, right.
David: So you worked with him for a long time.
Jay: Yeah, about 10 years I spent with him.
David: And you did some pretty phenomenal analysis of “2001”, . . .
David: . . . which I’d never really seen the full extent of that. So since this episode’s on the solar flash, and, of course, “2010” has a flash of Jupiter . . .
Jay: Which was based on Hoagland’s theory, too, by the way.
David: Oh, really?
Jay: Yeah. The “2010”, the followup novel by Arthur C. Clarke, it says at the end, “based on a theory by Richard Hoagland.”
David: No kidding?
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To be honest, I never watched the first 2001 movie in its entirety. Though I have seen excerpts of it numerous times, and I understand the general plot line, the thought simply never came to me to watch the entire film in one sitting.
One thing I notice about entertainment from that period is that at that time, many of the motion pictures consisted of actual artistic films, whereas now, we are only acclimated to mere movies. Today we have Hollywood entertainment. This entertainment has plenty of visually intriguing scenery and CGI effects, but when it comes to true artistic content, most movies don’t hold up to the traditional standard of intellectual, artistic expression.
2001 came from a time in film when this artistic standard was the norm among productions. Though when 2001 first debuted, I was a child too young to sit through such artistic films. There was very little activity in the film and not much action that the average child would take much interest in (not that I was very average). It was not a kid’s movie by any means. However, if I knew then what it was truly about, it may have been a different story, as I was extremely interested in the subject of transcendence as a child.
It might seem strange to the average person that this film was a documentary of true past and future events. However, according to what we have heard on the Cosmic Disclosure series, this very much seems to be the case.
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David: What do you think the message of “2001” was? What were they trying to tell us in that movie?
Jay: That we are on the edge of a great transformation – the human race is. And that we are faced with kind of a Hobson’s choice, where we can go down the AI thing with Hal and have AI run our lives, or we can rebel against the AI, cut it short like the astronaut Bowman does in the movie, and then physically, organically ascend – ascend like he does, by going through the stargate.
So the aliens, whoever the high intelligence is, are trying to initiate humanity, and he’s the first one through the gate.
David: Corey, do you think that “2001” might have been an effort to disclose the reality of Ancient Builder Race ruins, considering there’s this black, obelisk-type slab on the Moon?
Corey Goode: Oh, yeah. That’s obvious. Yeah.
David: So, Jay, when the original obelisk shows up, a lot of people are confused by “2001” at the beginning. They say, “What the hell? There’s 15 minutes of monkeys running around, screaming.”
Jay: Right. Yes.
David: And then this obelisk shows up, and the first thing that happens when one of the monkeys touches it is he becomes aggressive.
Jay: Yes. He learns how to kill and eat meat. They’re eating veggies before, plants, but after the encounter with the monolith, they turn into meat eaters.
And clearly, the next shot is a guy eating raw meat.
And then the first killing, the first murder, happens over the waterhole.
And, again, Kubrick is telling us that transformations are messy. They can be very messy, and that violence can come from transformation, especially if they’re not ready, and the first murder happened.
And then, of course, Bowman kills Hal at the end, near the end of the movie, before his transformation.
And then Hal, the AI computer, murders all the astronauts. So the whole thing is about Hal is trying to stop them from becoming enlightened, because he’s reaching his own form of sentience.
And in the beginning, the monkeys were headed for extinction, for sure . . .
Jay: . . . because they’re hiding at night from the wild animals, and the monolith intervenes to bring about the first wave of enlightenment.
David: Why do you think that the bone that the monkey uses as the weapon to kill gets thrown up in the air, and then it turns into the Odyssey.
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