Sent:                                               Monday, September 03, 2018 1:28 PM

To:                                                  ''


Subject:                                         Metropolis - Butoh & AI   2010 RE: Man-Machine handshake in propaganda as script for AI domination deployment  - domination - ViFrU Ellul colloquy 180902


Importance:                                 High


Metropolis - Butoh & AI   2010 RE: Man-Machine handshake in propaganda as script for AI domination deployment  - domination - ViFrU Ellul colloquy 180902


p~j~, l~s~ et al:


Bcc.: M.F.T. – ViFrU Think Tank


The Babylon machine (AI) must have a “pretty face”, like “Maria!!!” in Metropolis ( Motivational Research – Psychological Warfare,  C3I = Command Control Counter Insurgency = Internet & Media (Power) Addictions ) i.e.: Brave New World

( Huxley’s thesis was homogenized and then cloned from the source: S.P.R. Charter)


and what we are not doing about it

i.e.: CANARIE and A.I. ethics without ethicists?


The inner teaching of the religion of media (money power / Moloch “God of the City”) is the imperial techno fascist “reason” rationalization, that J.R. Saul’s Voltaire's Bastards: The Dictatorship of Reason in the West perhaps reiterates the line of thinking that builds on the Rosa Luxemburg premise of the necessity, to paraphrase the GAGA artists term: “constant flux”  


…the machine must have a pretty face (“Maria” ) …iron fist / velvet glove …the underground Vaudevillian stream and “gothic” movement (“Butoh” - the Japanese Dance of Darkness, and Buddhist Compassion) are symbolic and profound, deeply imbedded deeply humanistic philosophical mystical resistance theatre, that few tattoo artists will be able tell the now gen xyz “rebels without a clue”  about.


But we must remember to through white on our faces, to protect us from the new inquisition.


Ultimately –ZPG is the only peaceful neutralization of the machine that cannibalizes, the physical and psychological human hive, to sustain itself and must indoctrinate breeders to keep doing so.


Note the gothic religion/state v. proletariat scene on the steps of the Cathedral, reminiscent of Tawney’s Religion and the Rise of Capitalism


I am indebted to the tutorship from Will Mutch ( “Zip” ) for the insights to interpret the hidden (encrypted) meanings of the heretical “underground stream”, in the mime / commedia dell’ arte ( Geisha)  systems , cloned in early cinema / comedy and comics.


His passing on…the timely quotes from i.e.: Krazy Kat… the BDSM game (mouse v. fascist state)


Kat: “He Luff’s Me


See the source image


and many other gems of the vaudevillian Kabbalistic (Buddhist) oral tradition. e.: “ cops need the robbers and the robbers need the cops “ (Assassination of the Kennedys $ M.L. King)

 …  “Yah gotts tu larfs ta keeps frum cryin’ ”  i.e.: 12 Step programs


Again the women philosophers of the 20th CE shine above the male … Sanger, Weil and in this case  Thea von Harbou


You probably have the complete Metropolis 2010 version at OCADU / Robarts,   if not it should be there for the newbies studying media ethics (note the grainy cut scenes) … I wonder if our “What is Nada” collection that we donated to the OCADU Visual Resources 30 years ago is still there?   


Here is the link for TPL :

Due to censorship of our communications we are unable to upload the version to the cloud …it is now available via our ViFrU library server on loan for members “by appointment only


…alternatively the pirate torrent/magnet info cc. highlighted magnet to FreeDownLoadManager if you have VPN:









I published this cartoon in my Media Free Times Vol. 2 No. 1 1975 …it a came to mind today when I was thinking about how to reply with my views on the “soft sell” approach to social change, in the rhetoric of “free speech” that we, as a democratic society, presumably cherish so dearly.



AI and UNESCO teaches the breeders moral code via the 3R’s: “Increase and multiply” :







The Virtual Free University*

 Media Free Times*  (t.m.)

Vol.[ __ ] No. [ __ ]

(c) 1972- 2018 The George Kasey Foundation Inc.  / Media Free Times / HeartCalm productions  / Virtual Free University* - All world rights reserved

(c) 1972 - 2018 Media Free Times  / Media Addicts Anonymous / HeartCalm productions  (t.m.)(inc.)

Media Addicts Anonymous World Services - Media Anonymous – A 12 Step Media / Power Addiction Recovery Program

All world rights reserved
ISSN #: 0316-1447,  1195-759X  and  1489-792X

  Copyright Information:

Please be aware that any and all texts, spoken words, images, games, pictures, photos, designs and other literary works on the Media Free Times websites have obtained legal approval for publication. The copyrights of any and all texts, spoken words, performance, conceptulizations, motion pictures, photos, designs, games and other literary works in all VoIP, telephony, telecommunications transmissions i.e.: emails and on the websites, are owned by The George Kasey Foundation Inc., unless otherwise designated, not permitting reproduction or copying of any of them without the prior consent of the copyright owner, which constitutes infringement on the copyright of the websites:

Without policies and practices, the message and intellectual property of Media Free Times / The ( PeaceMaker) Virtual Free University* is vulnerable to being misquoted and having others use our materials in ways we cannot approve.  We have formalized our policies for lending our logo, other visual representations and text materials to registered M.F.T._V.F.U.* groups and others upon request. This information will be soon available at our website.



From: []
Sent: Sunday, September 02, 2018 10:38 PM
Subject: Man-Machine handshake in propaganda as script for AI domination deployment - domination - ViFrU Ellul colloquy 180902
Importance: High


Man-Machine handshake in propaganda as script for AI domination deployment  - notes on Surveillance Valley  -ViFrU Ellul colloquy 180902



Aloha p~j~, l~s~:



Attached is the PDF of Metropolis, the novel by Harbou …a link to the 3gp of the reconstructed film will be posted on ViFrU_BB ASAP


…I have repeatedly made references to this work …In terms of the “revealed concealment” mystic practice, the work is “an open book” should anyone decide to decrypt it’s symbolic form for “those who have eyes” to see and can connect the dots, but will be unintelligible for the “rebels without a clue” …the “handshake” happened in the ‘20’s, it is 2018 now…well past the endgame for AI deployment. Try to explain that to CANARIE groupies.


I trust you will be able see the “heart” is missing in the equation …and  “ if you destroy the machine you die” is not an allegory.





The popularity is going down of Eagle Eye …but if want to see “Maria” as AI “Babylon” and what the MIGRc dominetrix can do? Check it out:


Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.






Metropolis (1927 film)




original 1927 theatrical release poster

Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang. Written by Thea von Harbou, with collaboration from Lang himself,[5][6] it starred Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge and Brigitte Helm. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G. (Ufa). The silent film is regarded as a pioneering work of the science-fiction genre in movies, being among the first feature-length movies of the genre.[7] Filming took place over 17 months in 1925–26 at a cost of over five million Reichsmarks.[8]

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city's master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes of their city, and bring the workers together with Joh Fredersen, the master of the city. The film's message is encompassed in the final inter-title: "The Mediator Between the Head and the Hands Must Be the Heart".0.

Metropolis was met with a mixed reception upon release. Critics found it pictorially beautiful and visually powerful—the film's art direction by Otto Hunte, Erich Kettelhut and Kurt Vollbrecht draws influence from Bauhaus, Cubist and Futurist design,[9] along with touches of the Gothic in the scenes in the catacombs, the cathedral and Rotwang's house[3]—and lauded its complex special effects, but accused its story of naiveté.[10] H. G. Wells described the film as "silly", and The Encyclopedia of Science Fiction calls the film's story "trite" and its politics "ludicrously simplistic".[3] The film's alleged Communist message was also criticized.[11]

The film's extensive running time also came in for criticism, and Metropolis was cut substantially after its German premiere, removing a large portion of Lang's original footage. Numerous attempts have been made to restore the film since the 1970s. Music producer Giorgio Moroder released a truncated version with a soundtrack by rock artists such as Freddie Mercury, Loverboy and Adam Ant in 1984. A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001. In 2008, a damaged print of Lang's original cut of the film was found in a museum in Argentina. After a long restoration process that required additional materials provided by a print from New Zealand, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.

In 2001, the film was inscribed on UNESCO's Memory of the World Register, the first film thus distinguished.


In the future, in the city of Metropolis, wealthy industrialists and business magnates and their top employees reign from high-rise towers, while underground-dwelling workers toil to operate the great machines that power the city. Joh Fredersen is the city's master. His son Freder idles away his time at sports and in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of their rich "brothers". Maria and the children are ushered away, but Freder, fascinated, goes to the lower levels to find her. On the machine levels he witnesses the explosion of a huge machine that kills and injures numerous workers. Freder has a hallucination that the machine is Moloch, and the workers are being fed to it. When the hallucination ends and he sees the dead workers being carried away on stretchers, he hurries to tell his father about the accident; Fredersen asks his assistant, Josaphat, why he learned of the explosion from his son, and not from him.

Grot, foreman of the Heart Machine, brings to Fredersen secret maps found on the dead workers. Fredersen again asks Josaphat why he did not learn of the maps from him, and fires him. Freder secretly rebels against Fredersen by deciding to help the workers, after seeing his father's cold indifference towards the harsh conditions they face.

Fredersen takes the maps to the inventor Rotwang to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes that he could fill the role and declares his love for Maria. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can ruin her reputation among the workers to prevent any rebellion. Fredersen is unaware that Rotwang plans to use the robot to kill Freder and take over Metropolis. Rotwang kidnaps Maria, transfers her likeness to the robot and sends her to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent amongst the workers.

Freder recovers and returns to the catacombs. Finding the false Maria urging the workers to rise up and destroy the machines, Freder accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine rooms, leaving their children behind. They destroy the Heart Machine, which causes the workers' city below to flood. The real Maria, having escaped from Rotwang's house, rescues the children with the help of Freder. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception until the fire reveals her to be a robot. Rotwang is delusional, seeing the real Maria as his lost Hel, and he chases her to the roof of the cathedral, pursued by Freder. The two men fight as Fredersen and the workers watch from the street. Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together.

Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a 1928 speech he declared that "the political bourgeoisie is about to leave the stage of history. In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission".[52] Shortly after the Nazis came to power, Goebbels told Lang that, on the basis of their seeing Metropolis together years before, Hitler had said then that he wanted Lang to make Nazi films.[53]

Internationally, German cultural critic Siegfried Kracauer later wrote of Metropolis that "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] Wagner and [armaments manufacturer] Krupp, and on the whole an alarming sign of Germany's vitality."[54]


Roger Ebert noted that "Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made."