by Joaquin Flores, Strategic Culture:

Genesis 11:5 – And the Lord came down to see the city and the tower, which the children of men builded.

The Great Reset, the 4^th Industrial Revolution, the 4^th Turning, the Great Awakening, and Artificial Intelligence. These are the real themes that are shaping the socio-political, cultural, and ideological landscape of our lives in 2020.

The push for lockdown and quarantine towards a Great Reset is increasingly understood by critics as program of mass enslavement and collective punishment, population reduction, presented within the trappings progressive talking points. In our last piece on the Great Reset, ‘Whose Great Reset? The Fight for Our Future – Technocracy vs. the Republic’, we confronted the Orwellian nature of the term itself, showing that the ostensibly technocratic new proposal was being made in a way that appears to short-cut the decision making processes of sovereign states as well as democratic processes within republics.

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In the eternal words of the Irish author, Oscar Wilde, ‘Life imitates art far more than art imitates life’.

“That we live in a time where the plans of the elite are more openly and more brazenly spelled out, in fiction, in public mythology, in culture, and are manufactured in a way entirely out of the hands of the vast majority of people whose lives will be forever changed, likely for the worse, is hands-down the real catastrophe of our time.”

There is a strange, if little known fact about the lived lives of prisoners. Now that humanity faces the real daunting probability of a lockdown regime on the flimsy pretext of a virus with a 99.9% survival rate, we need to understand something about prisoners and the Great Awakening. The Great Awakening is the product of how actually imprisoned people respond to imprisonment. Just as a person deprived of vision develops an outstanding sense of smell and hearing, a person deprived of physical freedom develops a profound and reified spiritual or supernatural freedom, which is the awakening. In a strange twist of fate, the more that people are locked down, the more they awaken.

We are caught between two seeming contradictions which in fact reconcile each other. On the one hand we understand that everything happens for a reason and that justice always prevails in the end, and on the other hand we know that the possible destiny that we can have only comes at the cost of tremendous struggle, self-discipline, moral fortitude, and sacrifice. This much is the mindset of the awakened, of the political soldier, in the course of the fight against the Great Awakening and within the age of the 4^th Turning.

Censoring Facts, Reifying Fiction

Last month, the father of UK PM Boris Johnson, Stanley Johnson, was caught at a second time in public, not wearing a mask. Was he unaware that there is a highly contagious pandemic, one which affects his age group in particular? Does he not know what is going on in the UK and around the world?

Or does he know something that the rest of us do not? The folly that it may be, it came to be learned that it was Stanley Johnson who wrote the dystopian fiction novel, The Virus, one that describes much of what we are living through today. He is also the author of World Population and the United Nations: Challenge and Response, a non-fiction primer on the subject described in its title. In The Virus,

In both the narrative arc of the novel, and in his own introduction, Stanley Johnson lays out the necessity of a virus in the eyes of an insidious elite to curb population growth. This coincidence with the actual Agenda 21/2030 of the UN on population control, and the commitment of vaccine advocate and WHO beneficiary Bill Gates to decrease world population, is absolutely disconcerting and raises questions about further coincidences that have since arisen. This of course includes the very position that Boris Johnson holds today in managing the real-life version of the virus in Britain today.

But is this a mere matter of coincidence, or not? That question has become the subject of a vigorous debate, with one side of the debate arguing that it is not a coincidence being tremendously censored by social media and effectively barred from giving their side, and the other side being the only voice one hears and sees across social and legacy media.

The fact of this censorship over this question alone appears to lend credence to those being censored, as is often the unintended consequence of censorship, and perhaps the last hope of man.

This is an astonishing example of life imitating art, and now with an increasing public awareness on the relationship between vaccines and infertility, we arrive at the predicate to the film ‘Children of Men’.

Children of Men depicts a world in global chaos, war, strife, open street battles between members of quasi-governmental forces and various radical and religious cults, a jihadist military push through the streets of Paris, a paramilitary junta, the effects of mass migration, open air prisons, and worse. This has taken hold of most of Europe and presumably the world. This breakdown seems to have been the product of a global pandemic of infertility of an unknown origin. A film from 2008, anyone seeing the film today would instantly recognize the scenes as approximating real-life footage seen on the news in the world of 2020.

The global infertility crisis creates a pervasive sense of insecurity, the impossibility of a stock market, and a conscious sense of impending doom and nihilist response on the part of elites.

Taken together with Johnson’s ‘The Virus’, we can make a rather educated guess how such an outcome would manifest in a reality where life is imitating art: the virus or the vaccine created to the cure the virus, in fact lends towards infertility.

It isn’t difficult to make such a guess, for the reason that, day by day, we see this dystopia becoming our everyday reality. It has become a matter of fact much more than of fiction.

This compels us to approach, soberly, a reassessment of the concept of progress and where it leads

The themes of a virus used as a predicate for both population control and a total social transformation, as we wrote about in ‘Whose Great Reset’, is one which mirrors the effects of war: both in terms of a mass casualty event and the need to ‘build back better’ after an apparent socio-economic collapse induced either by the calamity or by the government’s heavy-handed response.

The Ideological State Apparatus of Technocratic Late Modernity

For any number of years, social critics and public philosophers have raised concerns about the never-ending rise of the technocratic and futurist cult of late modernity. In many ways, this is caught up with the entire ideological project of our epoch, as a left-façade over a technocratic thought-police-state has been weaponized as what Louis Althusser had called the Ideological State Apparatus (ISA) in his landmark text of the same name, “Idéologie et appareils idéologiques d’État (Notes pour une recherche)“.

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