The Abduction of Satan

Satan’s deceptive approach to claiming human souls is akin to authoritarian disinformation campaigns which target hearts and minds in the cognitive domain. In both contexts, there is a war going on outside and inside of the self which no human is safe from. You can run but you cannot hide forever from these threats. Combatting Satan and disinformation requires keeping it real by embracing the truth. In both cases, the long term consequences for the individual soul and collective humanity hang in the balance.

The biblical portrayal of Satan offers a profound understanding of the motivations and tactics driving disinformation campaigns, particularly when considering the historical and ongoing presence of anti-Semitism. Satan emerges throughout scripture as a figure of deception, division, and a relentless pursuit of power, exhibiting a particular hatred towards God’s chosen people, the Jews, and towards Jesus Christ, who is the embodiment of God’s divine truth and love for Christians.

Christ and Antichrist – Ilya Glazunov (Russian nationalist) – 1999

In the Old Testament, Satan’s adversarial role is evident in his temptation of Eve in the Garden of Eden (Genesis 3), leading to humanity’s fall from grace and separation from God. This act of deception sets the stage for a long history of conflict and distrust between humanity and the divine. Further examples of Satan’s influence include his role in Job’s suffering (Job 1-2) and his attempts to thwart God’s plans for the Israelites (Zechariah 3).

The New Testament further emphasizes Satan’s hatred for Jesus and his mission to bring salvation to humanity. The temptation of Christ in the wilderness (Matthew 4:1-11) illustrates Satan’s attempt to corrupt Jesus and lure him away from his divine purpose by offering worldly power and dominion. This act reflects Satan’s desire to usurp God’s authority and establish his own reign of darkness and deceit. Additionally, Satan’s influence is seen throughout the Gospels in the actions of those who oppose Jesus, culminating in his crucifixion.

Further, the New Testament portrayal of Satan provides more compelling understanding of the motivations and tactics employed in disinformation campaigns. Most notably, Revelation 12:9 depicts Satan as the “deceiver of the whole world,” underscoring his rebellion’s ability to manipulate and mislead us on a global scale.

Across various Christian scriptures, Satan continues to be portrayed as a complex figure whose strategies to mislead humanity are characterized by deceit, division, and a lust for power. In John 8:44, he is identified as a “murderer from the beginning” and the “father of lies,” highlighting his association with violence and deception. Mark 3:23-27 further emphasizes Satan’s role as a divider, seeking to sow discord and break apart nations and communities, and separate people from the truth and God.

To this extent, 1 Peter 5 reminds the faithful to be “self-controlled and alert. Your enemy the devil prowls around like a roaring lion looking for someone to devour. Resist him, standing firm in the faith, because you know that your brothers throughout the world are undergoing the same kind of sufferings.”

The psychological implications of the Satanic archetype as a disinformation paradigm are multifaceted. He represents the shadow self, embodying the darker aspects of human nature that we often repress or deny, including envy, hatred, the desire for power and control, and the willingness to transgress moral boundaries. Disinformation campaigns exploit these vulnerabilities, appealing to our fears, biases, and prejudices to manipulate our beliefs and behaviors. Succumbing to disinformation in this context is akin to giving into the temptation to sin through the Devil’s deception.

In this regard, 1 Peter reminds us of the value of information literacy and self-awareness when assessing the validity of information in a globally-conscious context. He also reminds us that resisting giving in to temptation despite the suffering in the world is something which unifies “God-believers”.

Furthermore, the recurring theme of anti-Semitism throughout history can be viewed as a manifestation of the Satanic archetype converging with disinformation. Satan’s hatred for the Jews, as God’s chosen people, fuels a narrative of “othering” and scapegoating, blaming Jews for societal problems and portraying them as a threat to national identity and security. This aligns with Satan’s role as a divider, sowing discord and conflict between groups.

The identification of Jews as Jesus’ crucifiers negates Jesus’ command to “forgive them for they know not what they do” in alignment with his clear message and mission (Luke 23:34-38). As a result, anti-Semitism based in the perception of Jews as the murderers of Jesus defies his commandment to forgive those who judged him wrongly; and is as a result an anti-Christian practice by definition.

Disinformation campaigns often utilize these anti-Semitic tropes and conspiracy theories to manipulate public opinion and justify discriminatory policies.

Satan means “adversary” and specifically in context the adversary of God. His name is self referential to his role. In this adversarial arrangement where Satan challenges God, it seems evident that because they were the people chosen by God to bring his message to mankind, Satan hates Jews. As God’s only son who he was also unable to lead astray, Satan clearly hates Jesus; and it results in his efforts to tempt Christians into anti-Christian behavior through the seduction of sin as represented in the temptation to embrace anti-Semitism.

From despotic leaders like the Pharaoh, to Nebuchadnezzar, Herod, and the “many antichrists” (1 John 2:18) observed by Christians throughout history, a common thread between Jews and Christians has been their opposition to wicked and tyrannical rule as a core aspect of the culture of monotheism, and a narrative of rising above worldly oppression. In this sense, the disinformation apparatuses of modern authoritarian regimes also suggest an inherent connection to the Satanic archetype, and an opposition to the core values of Judeo-Christian societies. Like the leaders of authoritarian countries, Satan is symbolic of the tyrannical autocrat who tempts us to partake in beliefs and behaviors which are contrary to our individual and social best interests.

By understanding the biblical foundation and psychological implications of the Satanic archetype, we can better recognize and deconstruct the tactics employed in disinformation campaigns and their connection to historical and ongoing anti-Semitism; as well as their relationship to the concept of sin in general. The emphasis on deception, division, and the pursuit of power serves as a stark reminder of the dangers of succumbing to the shadows of human nature and the importance of upholding truth, unity, and compassion in the face of manipulation and hatred.

(Context and Disclosure of AI Tool Use: The above text was constructed using a forensic semiotic approach to narrative and analysis of disinformation. The title draws inspiration from Charles Peirce’s concept of “Abduction”, and specifically in the forensic semiotic context as articulated by Marcel Danesi. The title is thus a play on words, with multiple meanings relating to the context and analytical method. This narrative was constructed using a large language model based on training by Michael Hotchkiss using content themes from n01r.com and applying computational forensic semiotics methods in Gemini Pro 1.5. It represents the author’s true feelings, beliefs, and expertise in disinformation research.)

Does “BTK” mean “Billy the Kid”?

Is there a cultural connection to Wichita KS which caused Dennis Rader to call himself “BTK”?

Henry McCarty, AKA William H. Bonny, AKA “Billy the Kid” was born in 1859 in New York City. In 1870, his family moved to Kansas, where his mother, Catherine McCarty signed the charter incorporating Wichita.

Catherine McCarty seems to have contracted tuberculosis over the next several years, and the family relocated to New Mexico territory. At age 14 or 15, Billy the Kid was orphaned after Catherine died of tuberculosis and his stepfather abandoned the family.

By age 21 in 1881, he’d be dead, but not before securing one of the most legendary reputations in the outlaw history of the American West. It seems that McCarty intentionally cultivated his own outlaw legend, claiming 21 murders: “one for every year of his life”; but experts seem to think the total was really 9.

Compare with Dennis Rader, AKA the “Bind Torture Kill”, or “BTK Killer”, who grew up in Wichita Kansas. Continue reading “Does “BTK” mean “Billy the Kid”?”

Ivan the Terrible Husband

Russian Orthodox nationalist ideologists close to the Izborsky Club such as Andrei Fursov, Metropolitan Tikhon (Shevkunov), and Vladimir Medinsky (among several others) have been responsible for creating a neo-Stalinist perspective on Ivan the Terrible which recognizes him as the victim of Western information warfare.

Although I think they are wrong, I will gladly indulge their perceptions of this Western tradition by presenting the argument here that Tsar Ivan likely intentionally poisoned his first three wives in order to achieve contemporary political objectives.

Ivan the Terrible and Dracula: The DNA of Cobra’s poisonous Emperor

Continue reading “Ivan the Terrible Husband”

Roman Polanski in ‘Confession[s] of a Blue Movie Star’

In working to build a case that Roman Polanski was involved in an anti-American  influence scheme involving communism, surrealism/satanism, and murder – evoking Orson Welles’ potential involvement in the murder of Elizabeth Short (a.k.a. ‘The Black Dahlia’); I purchased  my first VHS tape in maybe 20 years: ‘Confession[s] of a Blue Movie Star‘ (also known as ‘The Evolution of Snuff‘ (1978)).

Given prior statements of Roman Polanski on the Dick Cavett show that he was a suspect of a criminal profiler in the murder of his wife – and good evidence he was a cruel husband – some of the quotes I’d seen referenced to Confessions of a Blue Movie Star seemed compelling and concerning in the potential context of both ‘murder as a fine art’ as well as information warfare. Having watched the film, it makes me think that snuff itself is likely a propaganda scheme designed to create a mass hysteria, yet around the usual kernel of truth (in these cases, murders or deaths linked to potential communists). In this sense, snuff as a genre and meme seems quite similar to – and derivative of – the satanism hysteria which followed the murder of Polanski’s wife and friends by the Charles Manson group.

“Yeah I do think a camera can be as dangerous in the hands of a ‘filmmaker’, in quotes, as a bazooka.” – Roman Polanski

Cover of the version of the movie I received. It apparently has several variations. In movie, the title seems to actually be ‘Confessions of a Blue Movie Star’, but you’ll most popularly find it cited as ‘Evolution of Snuff’. (VHSCollector.com)

Continue reading “Roman Polanski in ‘Confession[s] of a Blue Movie Star’”

Conspiracism and Death: Kenneth Anger’s Multiple Rumors of Snuff Films

Kenneth Anger (born Kenneth Anglemyer in 1927) seems to be a central figure in a network which connects Surrealist directors to the Black Dahlia and Tate-LaBianca murder cases. Active as a Hollywood artist since 1947 (the same year as Elizabeth Short, the Black Dahlia was murdered) he was later instrumental in building public interest in the case by posting graphic crime scene photos in his ‘Hollywood Babylon II’ book. Anger is very close in network to John Gilmore who was well-known for his writing on the case as well.

It is interesting that Anger too was close to the Surrealist school of art which is considered as a possible factor in the psychological profile of the Black Dahlia murderer. Anger’s film making was inspired by the Surrealist artist Maya Deren, and his 1947 film ‘Fireworks’ led to his romantic involvement with older French artist Jean Cocteau, whom he lived with in France . (Much of the Surrealist school – including Deren – can be placed close to Communism, and Anger also seems to have boycotted Hollywood in the HUAC era, despite Anger’s precedence of using Nazi images in his films.)

This technically places Anger in a contemporary network close to the Surrealist figures whom have been associated with the network of George Hodel — and the supposed influence of Man Ray’s ‘Minotaur’ on the secondary staging of Elizabeth Short’s body. Interestingly. the aesthetics of Short’s murder have also been compared in at least one essay to the opening scenes from Maya Deren’s ‘Meshes of the Afternoon’ (1943).

Anger was also a lifelong friend of John Gilmore’s lifelong friend Curtis Harrington – a famous filmmaker associated with the occult scene in Hollywood. In addition he was connected to at least 3 of the Manson Family murderers. In this sense, Anger straddles both the Surrealist network hypothetically associated with the Black Dahlia case and the ‘satanist-cultist’ network which might be associated with the Tate-LaBianca murders.

Kenneth Anger (via IMDB)

Continue reading “Conspiracism and Death: Kenneth Anger’s Multiple Rumors of Snuff Films”

Building a Network to Connect the Black Dahlia and Tate-LaBianca Cases

While I run with the possibly flawed assumption that 1. Orson Welles was a credible suspect in the Black Dahlia case, and that 2.  there is a connection between Surrealism and the Black Dahlia case, and that 3. there may be some parallels in Orson Welles’ behavior relative to the time of the Black Dahlia murder and Roman Polanski’s behavior relative to the time of the murder of his wife Sharon Tate (all of which are more thought experiments than anything), I built out a little network mimicking the network from the ‘Exquisite Corpse’ book.

Network demonstrating overlap with surrealism and satanism in context of Black Dahlia and Tate-LaBianca cases

Continue reading “Building a Network to Connect the Black Dahlia and Tate-LaBianca Cases”

Communist Conspiracy and Murder as a Fine Art

As one of two ‘American’ film directors to be honored in the Russian Golden Eagle film awards category of ‘Contribution to World Cinema’ (the other being Francis Ford Coppola), it seems somewhat obvious to me that Roman Polanski is a filmmaker who closely aligns with the Orson Welles style of film as (Russian / Communist) propaganda.

Much like Coppola – who based his ‘Apocalypse Now’ movie on Welles’ unmade anti-fascist ‘Heart of Darkness’ film and used Welles’ narration in the documentary ‘Hearts of Darkness’ about the making of Apocalypse Now (arguably therefore making an anti-fascist film in the Gothic tradition about American imperialism in Vietnam); Polanski has lauded Welles at times as his film-school idol.

The school was tightly connected with the Polish film archives and we could see anything we wanted… Personally, I was part of the [Orson] Welles group, but there were also groups of neorealists and students who liked the heroic Soviet cinema.” – Roman Polanski

As the seeming propaganda inspiration for both of these apparent influencers – were Welles still alive today, I am most confident that Russia would have honored him as well.

In another long and diverging parallel, I truly enjoyed Mary Pacios’ book ‘Childhood Shadows’, about the January 15, 1947 murder of Elizabeth “Bette” Short – best known as ‘The Black Dahlia’, in Los Angeles California. Pacios offered a fascinating and plausible suggestion that Orson Welles could be a credible suspect in the unsolved case. Welles left the United States shortly after the death. This kind of behavior is common for murder suspects. While Pacios did not explore the politics, my prior research suggests Welles had similar motivations to flee around this time due to his Communist Party linked politics and connections to Russian espionage.

Image result for bette short"
Justice Unserved: Elizabeth Short, a.k.a. The Black Dahlia

Continue reading “Communist Conspiracy and Murder as a Fine Art”