ALICE IN WONDERLAND TACIC

Alice in Wonderland Tactic

CONFUSION TECHNIQUE  Trigger warning: The material in this article could be very triggering for survivors of ritual abuse or mind control as it contains graphic descriptions of programming; it is best to check with your therapist before reading material such as this. 

The following excerpt is from KUBARK Counterintelligence Interrogation (CIA torture guide) dated July 1963: The aim of the Alice in Wonderland Tactic or confusion technique is to confound the expectations and conditioned reactions of the interrogatee, or in its current mainstream application, to force the controlled narrative onto an unsuspecting public through the use of Psychological Operations tactics spread through the mainstream media. Most people are accustomed to a world that makes some sense, at least in their mind and that which supports their sense of identity. They may believe in a world based on continuity and logic, a predictable world. The individual or the public may cling to this belief system that makes up their world view in order to reinforce their ego identity and powers of resistance to not bend to the will of others superimposed narratives and agendas.

The confusion technique is designed not only to obliterate the familiar but to replace it with the weird and nonsensical, normalizing lunatic behaviors and states of madness portrayed as sane. Although this method can be employed by a single interrogator, it is better adapted to use by two or three or more. When the subject enters the room, the first interrogator asks a Doubletalk question — one which seems straightforward but is essentially nonsensical. Whether the interrogatee tries to answer or not, the second interrogator follows up (interrupting any attempted response) with a wholly unrelated and equally illogical query. Sometimes two or more questions are asked simultaneously. Pitch, tone, and volume of the interrogators’ voices are unrelated to the import of the questions. No pattern of questions and answers is permitted to develop, nor do the questions themselves relate logically to each other. In this strange atmosphere the subject finds that the pattern of speech and thought which he has learned to consider normal have been replaced by an eerie meaninglessness. The interrogatee may start laughing or refuse to take the situation seriously. But as the process continues, day after day if necessary, the subject begins to try to make sense of the situation, which becomes mentally intolerable. Now he is likely to make significant admissions, or even to pour out his story, just to stop the flow of babble which assails him. This technique may be especially effective with the orderly, obstinate type. [1]

Contents [hide]
1 Rule 13 for Disinformation
2 Alice Mind Control
3 Monarch Mind Control Symbolism
4 Stress Induction for Mind Control
5 Themes in Alice’s Adventures in Wonderland
6 References
7 See Also

Rule 13 for Disinformation

Alice in Wonderland Logic. Avoid discussion of any of the issues by reasoning backwards or with an apparent deductive logic which refrains from giving out any actual material facts.[2]

Alice Mind Control

A slightly off-beat and idiosyncratic but gentle introduction to a unapproved topic or subject which for most 3D people, most of the time is safely relegated to the realm of fictional horror, ridiculous conspiracy theories or a similar mental pigeon-hole, so that life can proceed according to their belief systems or resume as normal.[3]

The relevant work of Albert Biderman were also used in the training of interrogation specialists, an in-depth class on Biderman’s Principles – in Guantánamo (New York Times, July 2nd 2008). To break a person’s will, it suffices to deprive him of all human contact, to disorient him, to disrupt his biological rhythms and subject him to great stress. By using a suitable combination of very simple elementary techniques, such as disorientation, sleep deprivation, sensory deprivation, or degrading, the subject’s psychological integrity swiftly disintegrates, he quickly regresses to an infantile stage and his will is broken. [4]

Monarch Mind Control Symbolism

The movie The Wizard of Oz is used by Monarch handlers to program their slaves. Symbols and meanings in the movie become triggers in the slave’s mind enabling easy access to the slave’s mind by the handler. In popular culture, veiled references to Monarch programming often use analogies to The Wizard of Oz and Alice in Wonderland. [5]

Stress Induction for Mind Control

“A leaked psychological study from the Big “G” tells us all we need to know about about how Big Tech works to induce stress in people so that corporations, the Health Complex and NGOs can rake in the cash”. Video details how Alice in Wonderland CIA based psychological operations have invaded the mainstream media and big tech to incite aggravated stress and confusion for the purpose of normalizing madness and lunatic behaviors, designed to stress people out and confuse them. [6]

Themes in Alice’s Adventures in Wonderland
Abandonment/Loneliness

Alice’s Adventures in Wonderland provides an inexhaustible mine of literary, philosophical, and scientific themes. Here are some general themes which the reader may find interesting and of some use in studying the work.

Alice’s initial reaction after falling down the rabbit-hole is one of extreme loneliness. Her curiosity has led her into a kind of Never-Never Land, over the edge of Reality and into a lonely, very alien world. She is further lost when she cannot establish her identity. Physically, she is lost; psychologically, she also feels lost. She cannot get her recitations right, and she becomes even more confused when her arithmetic (a subject she believed to be unchanging and solid) fails her. Every attempt to establish a familiar basis of identity creates only the sense of being lost — absolutely lost. Alice becomes, to the reader, a mistreated, misunderstood, wandering waif. Trapped in solitude, she finds herself lapsing into soliloquies that reflect a divided, confused, and desperate self.
The Child-Swain

Alice is the most responsible “character” in the story; in fact, she is the only real person and the only “true” character. At most, the other creatures are antagonists, either a bit genial or cruel, depending on how they treat Alice at any given point in the story. Alice’s innocence makes her a perfect vehicle of social criticism a la Candide. In her encounters, we see the charmingly pathetic ingénue — a child whose only purpose is to escape the afflictions around her. By implication, there is the view that a child’s perception of the world is the only sane one. Conversely, to grow and mature leads to inevitable corruption, to sexuality, emotionalism, and adult hypocrisy. The child as an innocent, sympathetic object has obvious satirical utility, but only to the point that the child must extend sympathy herself — and Alice fails to do this when she describes her cat Dinah to the Mouse, and later when she confesses to having eaten eggs to the frightened mother pigeon.
Children and Animals

In an age such as our own, where philosophers earnestly debate the rights of animals, or whether machines can “think,” we cannot escape the child’s affinity for animals. And in Wonderland, except for the Gryphon, none of the animals are of a hostile nature that might lead Alice to any harm. (And the Gryphon is a mythical animal so he doesn’t count as a “true” animal.) Most of the Wonderland animals are the kind one finds in middle-class homes, pet shops, and in children’s cartoons. Although they may not seem so in behavior, most of them are, really, pets. Alice feels a natural identity with them, but her relationship ultimately turns on her viewing them as adults. So her identity with the animals has a lot to do with her size in relationship to adults. Alice emphasizes this point when she observes that some ugly children might be improved if they were pigs. In her observation lies the acceptance of a common condition of children and animals: Each is personified to a degree. Thus, it is not surprising that in the world of the child, not only animals, but dolls, toys, plants, insects, and even playing cards have the potential to be personified by children (or adults).
Death

Growing up in Wonderland means the death of the child, and although Alice certainly remains a child through her physical changes in size — in other ways, death never seems to be far away in Wonderland. For example, death is symbolized by the White Rabbit’s fan which causes Alice to almost vanish; death is implied in the discussion of the Caterpillar’s metamorphosis. And death permeates the morbid atmosphere of the “enchanted garden.” The Queen of Hearts seems to be the Goddess of Death, always yelling her single, barbarous, indiscriminate, “Off with their heads!”
Nonsense

One of the key characteristics of Carroll’s story is his use of language. Much of the “nonsense” in Alice has to do with transpositions, either of mathematical scale (as in the scene where Alice multiplies incorrectly) or in the scrambled verse parodies (for example, the Father William poem). Much of the nonsense effect is also achieved by directing conversation to parts of speech rather than to the meaning of the speakers — to definitions rather than to indications. When Alice asks the Cheshire-Cat which way to go, he replies that she should, first, know where she’s going. The Frog-Footman tells her not to knock on the door outside the Duchess’ house; he can only open the door when he is inside (though Alice, of course, manages to open the door from the outside). And some of the nonsense in Wonderland is merely satirical, such as the Mock Turtle’s education. But the nature of nonsense is much like chance, and rules to decipher it into logical meaning or sense patterns work against the principal intent of Carroll’s purpose — that is, he wanted his nonsense to be random, senseless, unpredictable, and without rules.
Nature and Nurture

The structure of a dream does not lend itself to resolution. A dream simply is a very different kind of “experience.” In this sense, Alice does not really evolve into a higher understanding of her adventure. She has the memory of Wonderland but she brings nothing “real” from Wonderland — only her memory of it. This is a powerful testament to the influence of her domestication. In Alice’s case, good social breeding is more important than her natural disposition. But if Alice leaves Wonderland without acquiring any lasting, truly worthwhile knowledge, neither can she give any wisdom to the creatures whom she has met there. Nature, in each case, sets limits on the ability to assimilate experiences.

In the Caucus-race, for instance, the race depicts the absurdity of democracy. Yet, Alice’s critical attitude — a product of her class education — is also satirized. The object of the race is to have everyone dry off; so it doesn’t matter who wins or loses, and clearly the outcome of the race is irrelevant. To think otherwise, as Alice does, is absurd. The point of the running about is to dry off, which, incidentally, makes it equally absurd to call moving about for that purpose a “race.”

Wonderland offers a peculiar view of Nature. For one thing, all the animals have obviously been educated. There is literally not a “stupid” one in the bunch (unless it is the puppy or the pig/baby). In general, the basic condition common to all the creatures is not ignorance — but madness, for which there seems to be no appropriate remedy. A Victorian reader must have wondered how the animals were “trained”; after all, the assumptions that Alice makes all rest on her “training.” On this point, however, the reader can only speculate.

In Wonderland, much of the fun depends on the confusion of “training.” Nature and natural feelings seem to more often than not mean danger or potential violence. (But except for the puppy and the pig/baby, there are no natural creatures, however much natural feelings are expressed.) The Duchess, for example, seems to be only the epitome of rage; she conveys a kind of sadistic delight in digging her chin into Alice’s shoulder; anger even seems to motivate her didactic morals (that is, “Flamingoes and mustard both bite”).

Finally, nature seems superior to nurture in Wonderland, as the personification of beasts seems to be no improvement on the actual beasts themselves. The pig, for example, is a more content creature as a pig, for the baby was not happier when it was a baby.
Justice

Although there are plenty of “rules,” the laws of Wonderland seem a parody of real justice. The Queen of Hearts, for example, thinks nothing of violating the law which protects people from illegal prosecution; she seeks the head of the Knave of Hearts for having been only accused of stealing the tarts. Thus, the Queen violates the spirit of the law against stealing to satisfy the logical necessity that every trial must have an execution. The spirit of the law is, so to speak, sacrificed to satisfy the reversibility of the symbolic letter of her logic. In the croquet game, anyone can be executed for reasons known only to the sovereign Queen, who acts as though she is a divinity with the power to take or give life. Under a monarchy, the monarchs are above the law. In Wonderland, however, the monarch’s will is flaunted when the command is to execute someone. Ignoring the Queen’s command to behead someone is a matter of survival as well as justice.

The trial of the Knave of Hearts satirizes both too much law and law by personal edict. Someone may have stolen the tarts, and it may well have been the Knave. But the offense is trivial, and the sentence is only a joke. One of the problems with the law in any context is its application. When the law ceases to promote harmony, then its purpose as a regulator of human affairs is subverted. In Wonderland the idea of a law seems ridiculous because the operative principle of Wonderland is chaos. Injustice, then, is a logical consequence of living in Wonderland. The rule of the strongest person must be the law — that is, the law of anarchy. The trial of the Knave is proof of this woeful state of affairs. Fortunately, Alice is the strongest of the lot, and she overthrows the cruel Queen’s sentence of execution and the savage kangaroo court. There is no way to change the law because no “law” exists. By her rebellion, Alice serves both the cause of sanity and justice.
Time and Space

Time, in the sense of duration, exists in Wonderland only in a psychological and artistic sense. When we ordinarily conceive of time, we think of units of duration — that is, hours, minutes, and seconds; or days, weeks, months, and years. We may also think of getting older and having lived from a certain date. We assume that the time reflected on a clock and our age are essentially the same kind of process. But a clock may repeat its measure of duration, whereas we have only one lifetime. Our age is therefore a function of an irreversible psychological sense of duration. We live in the conscious knowledge that we can never return to a given point in the past, as we might adjust a clock for daylight savings time. Our personal, psychological time is absolute and irreversible. And that is the kind of time that creatures like the Mad Hatter employ in Wonderland. (We never know whether the White Rabbit uses a mechanistic time, only that he has a watch.)

When Alice looks at the Mad Hatter’s watch, she sees a date, but she sees neither hours nor minutes. Because Time and the Mad Hatter do not get along, Time has “frozen” the tea-party at six o’clock. But it turns out that time is also reversed so that a year has the duration of an hour and vice versa. Reckoned in hour-lengths, the tea-party must go on for at least a year (unless Time and the Mad Hatter make up their quarrel). But because of psychological time, the creatures are able to leave and return to the tea-party. And because of psychological time, Wonderland’s experience comes to an end, and just as our uniquely, individual lives will one day end, so will our nightmares and dreams. [7]

References

1.↑ Obscurantist
2.↑ The Gentleperson’s Guide To Forum Spies
3.↑ [Tim Baber, Mind Control Researcher]
4.↑ Torture and Psychology
5.↑ Origins of Monarch Mind Control
6.↑ Amazing Polly
7.↑ Cliffnotes

Operation Mind Control

by Walter Bowart.

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Walter Bowart’s seminal work on covert programs under the umbrella of MKULTRA used to precipitate Multiple Personality Disorder (MPD (or Dissociative Disorder – DID – as it is now more commonly known), for the military, special operations and espionage purposes.

• ISBN 0440167558

Alice in Wonderland & Wizard of Oz MK-ULTRA Programming Unpacked

Similarly, when I was recently attacked on all sides by Cult scum, I got angry, more focused, and more determined. I used the emotion that the attacks on me triggered, to unravel an aspect of the MK-ULTRA Matrix – i.e., where Alice in Wonderland and The Wonderful Wizard of Oz featured in ‘Comrade’ John Gittinger’s programming.

The more creative and visual the child victim, the more highly skilled the programmer, the more sophisticated the technology used – the more seamless the result. Gittinger was the greatest brainwashing genius the world never knew. My programming took place at the top CIA / Military Intelligence facilities in Australia and the USA. And I possessed maximum creative and visual-spatial capacity. These factors combined may explain why I have always been co-conscious during the memory retrieval process, and how I managed to basically self-direct my recovery. Plus I had God and His Holy Ghost guiding me.

All mind control programming is a variation on a theme, determined in part by the victim’s own imagination and their set role in the Cult. Hence, while Oz and Alice programming are uniformly employed, their application differ for every victim. Think of this process as a computer game in which the player can partly determine its design. The recovering victim has the ability to subvert the program, like Neo in The Matrix, because everything is occurring within the recovering victim’s mind in the absence of the original programmer.

In DID, what is commonly called a ‘multiple personality’ or an ‘alter’ is nothing more than a brain area sectioned off by trauma induced amnesia walls. A group of behaviors and memories may be separated from the victim’s general brain functioning. As a result, different ‘personalities’ within an individual can possess independent neural circuitry.

MK-ULTRA deprogramming Pioneers Fritz Springmeier and Cisco Wheeler wrote of how the Illuminati conducted research on what might happen when the victim’s Core was introduced to their trauma-induced personality splits. The result was instant integration. The Core Self is the victim’s Soul or consciousness, i.e., the bit that leaves a person’s physical body during astral projection or death.

I experienced this integration phenomenon when I recalled the Eastern Star pentagram configuration that Antony Kidman laid over Dr. West’s basic color programming. I was able to open the five, multi-colored pentagram doors (blue, green, red, yellow, white) and meet the myriad of personalities who emerged from behind the doors.

To quote Gittinger, Antony Kidman was “a fucking idiot.” Kidman’s tampering with my programming caused it to malfunction and eventually break down. That is why he was sentenced to death by the Cult’s Grande Council. And die he did. I know because I witnessed his judgement. My therapist and my husband were both present for an experience that blew their minds.

I believe that the initial five brain splits are laid inter-dimensionally. I will explain why I believe this. Springmeier and Wheeler documented that the individual’s brain naturally splits into five basic components, and that this process is achieved using John Lilly’s sensory deprivation tank combined with LSD. Lilly famously dabbled in inter-dimensional research, and this research contributed to the Gateway Process employed by Western Military facilities and the CIA (as documented in released CIA documents).

When I opened the 5 pentagram doors, I was actually in another place. I physically walked through a dark pentagon-shaped room, and physically opened 5 doors.

Immediately after this integration experience, I began to scream for justice. I was lying on a couch during this process, with my husband adjacent to me. As I screamed to God for justice, I reached my hand in the air. My husband thought he should support me and tried to hold my hand – something I didn’t want. Every time he touched me, I returned to the room he and my therapist were in. But each time he released my hand, I entered another dimension. I oscillated between two dimensions.

In the other dimension, I stood in a long, rectangular shaped room that looked like an ornate palace ballroom. Tall elders were seated alone the two long sides of the hall. They wore stately robes and gold crowns. They looked down at the floor in solemn concentration as I delivered my witness testimony against Antony Kidman. My screams in this world were translated into a language in the other dimension. These elders listened with reverent silence at my testimony. Then I saw them pass judgement against Kidman. I saw the elders condemn Kidman to Death and Hell. I witnessed how reluctant they were to condemn a human being to eternal Hell, and their reverence for human life, despite Kidman being the most wicked type of person to have ever lived.

I explained everything I saw, to my therapist and my husband who thought I was simply emotional and imagining things. Yet to their astonishment, the following day, the mainstream media reported that Antony Kidman was dead. As it turned out, Kidman died immediately after my bizarre inter-dimensional experience of witnessing his judgement.

I concluded that I was able to access that judgement hall because my core programming had been laid inter-dimensionally, and I entered another dimension in order to rupture the programming.

People are so smug. We live for what we can see, the here and now. But how many of us have seen eternity? Who knows the fate that awaits the Luciferian pedophiles who delight in tormenting innocent, helpless children? Or those who were themselves victims but now devote their energies to attacking survivors like me? Be warned: Jesus Christ is Lord and will not be mocked. You too will suffer the same fate as Antony Kidman.

What my enemies intend for evil, God uses for good.

Triggers are necessary for prompting the mind to cough up forgotten memories. They are to be embraced, not avoided. This is the secret to integration. So when I was recently triggered by my enemies’ threats, I used the feeling that trigger induced, to explore my past, make more connections, and further integrate.

One of my previously therapy drawings featured a treasure chest that contained a key. This was the key to the back door that Gittinger installed, and which he kept secret from Antony Kidman whom he rightly described as a “fucking idiot” following an incident that occurred at age 10 years.

At age 10, I was present at a ritual in which children were being thrown over a cliff in the national park bush land near Engadine. I had had enough of the killing and so I ran at the cliff and jumped – to be caught by one of the men who risked his life to stop and catch me. If I had died, all in attendance would have paid with their lives. It costs the government 1 million dollars to train a modern soldier. It cost many millions to train a child MK-ULTRA soldier. As Gittinger told me, I was a “national asset.”

I was aged 10 and 11 years old when my mother spent a year in hospital, paralyzed with lead poisoning. I spent most of that year at my Luciferian grandparents’ Engadine home. I have relatively little memory of that time because the Cult had unlimited access to me during that year.

Following my suicide attempt, Gittinger himself was called to Australia from the USA to repair my programming. The problem was that the bit he had to fix was an integral component of my programming – Intellectual Alice. Gittinger reassigned Intellectual Alice as the Gatekeeper in the rabbit hole foyer. There she had limited access to the green door which led to the Mad Hatter’s tea party garden setting.

Gittinger’s remedy consisted of his flat lining my heart, to bring my heart into submission. He explained that the heart and brain work independently of each other. The heart is connected to the right, visual side of the brain, and to emotion.

There were 5 different colored doors in the Wonderland Foyer, based on Dr. West’s color programming. Here is my drawing of these 5 doors:

Each door represents an amnesia wall. Behind each door sits a personality with their own neural circuitry. As the Gatekeeper, Intellectual Alice was able to unlock the doors. To access the doors and these compartmentalized brain sections, I did as follows:

I visualized falling backwards through the rabbit hole with 10-year-old Intellectual Alice. I knew the landing on the checkered floor to be hard and painful, so I said to Alice, “The landing doesn’t have to be hard. We can make it soft because we are in our head and can control what happens in our head.”

After landing, I asked Intellectual Alice to locate the key to the green door, which she did. Alice unlocked the door and I accompanied her to the fully laden Tea Party. I used my redundant counseling skills to communicate with Alice and win her trust. I asked her, “Have you ever actually sampled this spread?”

She shook her head.

I suggested, “Why don’t you pour yourself a cup of tea? You like watching the way the tea comes out of the spout and into the cup. I know that because I am you.”

We watched the black tea arc into the cup. Then I said, “Why don’t you eat something? Go on, try a doughnut. I know they are your favorite.”

Long story short – we returned to the foyer. There Alice retrieved a second key from beneath a mat in front of the red door. She opened the door and released 6-year-old Ritual Alice. Ritual Alice stood on Intellectual Alice’s shoulders to retrieve a third key hidden in the chandelier. Ritual Alice opened the blue door to release 14-year-old Soldier Alice. Note that all three Alice’s were created at ages at which I interacted with Gittinger.

Together, the three Alices opened the white door to reveal a cloud of hypnosis. When this cleared, 12 year old Dorothy appeared. She had a fourth key in her right pocket. All four keys were designed according to playing cards: heart, club, spade and diamond.

Dorothy opened the final, yellow door which contained the spiraled yellow brick road to the Emerald City. Here is a drawing of the opened doors:

The 3 Alices plus Dorothy joined hands and followed the yellow brick road to the Emerald City. We avoided all obstacles on the way, including:

• Poison apples
• Winged monkeys
• Tin Man
• Cowardly Lion
• Scarecrow
• Poppy field

When we reached the Emerald City gate, I recalled and tapped a sequence and sang a five-note tune to gain entry. Once inside, the spiral turned green. We boarded the carriage pulled by the horse that changes colors. We avoided the Wizard which is a trap, and the Ruby Slippers – the final trap.

Once we reached the end of the spiral, Glinda appeared in a bubble. Glinda is the final programmed alter. Here is my drawing of the Oz maze:

Glinda is the Grande Dame program, she is ‘Illuminated’ which indicates she is a member of the Illuminati. Glinda was attached to Disney Princess Programming, including the following characters:

• Cinderella
• Sleeping beauty
• Snow White
• Snow White & Rose red

In the context of Grande Dame preparation, the purpose of the Princess Programming is – ‘The end justifies the means.’ I will explain. Every princess loses her mother, father, or both. Each endures hardship of some kind, usually at the hands of a wicked step-mother (the original Sleeping Beauty suffered an evil mother-in-law). But at the end of their ordeal, each marries a prince and becomes Queen.

In a Cult context, this story line translates into the journey a Grande Dame candidate undertakes. The child victim’s attachment to their birth parents is severed and they are reattached to a Grande Dame and a new ‘Family’ who put the victim through a grueling, torturous training regime. But in the end, the victim is ‘rewarded’ for all their pain and suffering by being crowned Grande Dame.

Here is my illustration of this:

Cinderella, Sleeping Beauty, Dorothy, Alice and Snow White all wear pale royal blue, indicating their training status. The wicked step-mothers wear purple, a color indicating royalty and high Cult status. The Disney wicked step-mothers are dressed like real-life Grande Dames: