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Thursday, November 8, 2012

Memetracking and PSYOPS

http://visupview.blogspot.com/2011/11/memetracking-and-psyops.html               

Memetracking and PSYOPS


We are the cause of our own suffering.

This is a phrase that is running through my mind more and more each day. Maybe its the epic practical joke otherwise known as the U.S. Presidential elections that is creeping up upon us, or simply the bluntness of the headlines as revelation of method creeps into overdrive. Either way, the common American glories in their own enslavement as no other peoples in history ever have before. Let us simply consider two recent items, one concerning the social media, the other addressing PSYOPS in the MSM. We shall begin with the so-called 'vengeful librarians' and their infiltration of the social medias:
"The Associated Press reports that the CIA maintains a social-media tracking center operated out of an nondescript building in a Virginia industrial park. The intelligence analysts at the agency's Open Source Center, who other agents refer to as "vengeful librarians," are tasked with sifting through millions of tweets, Facebook messages, online chat logs, and other public data on the World Wide Web to glean insights into the collective moods of regions or groups abroad. According to the Associated Press, these librarians are tracking up to five million tweets a day from places like China, Pakistan and Egypt...
"The CIA facility wasn't built specifically to track the ebb and flow of social media: The program was established in response to a recommendation by the 9/11 Commission with the initial mandate to focus on counterterrorism and counterproliferation. According to the Associated Press, the center shifted gears and started focusing on social media after watching thousands of Iranian protesters turn to Twitter during the Iranian election protests of 2009, challenging the results of the elections that put Iranian President Mahmoud Ahmadinejad back in power.
"In the past few years, sentiment and mood analysis have become mainstays in the defense and intelligence communities. Last October, an Electronic Frontier Foundation lawsuit revealed how the Department of Homeland Security has carefully monitored a variety of public online sources, from social networks to highly popular blogs like Daily Kos for years, alleging that 'leading up to President Obama's January 2009 inauguration, DHS established a Social Networking Monitoring Center (SNMC) to monitor social-networking sites for 'items of interest.' 'In August, the Defense Advanced Research Projects Agency (DARPA), invited analysts to submit proposals on the research applications of social media to strategic communication. DARPA planned on shelling out $42 million in funding for 'memetrackers' to develop 'innovative approaches that enable revolutionary advances in science, devices, or systems.' "


Yes dear reader, DARPA has know embraced 'memetrackers.' Let us briefly consider the meme.
"Attempts to understand the tidal wave that is the copycat effect have also been undertaken by the protoscience of the meme or 'idea virus.' In terms of the history of the acceptance of the copycat effect, this is significant because the concept has moved from acceptance to explanation.
"While the concept had been in the air since 1976, Richard Dawkins formalized the notion of memes in his 1990 book The Selfish Gene. A meme... is a contagious idea that replicates like a virus, passing from mind to mind. 'Memes function the same way genes and viruses do, propagating through communication networks and face-to-face contact between people,' noted David S. Bennahum, editor and founder of the newsletter MEME in 1995. ' 'Memetics,' a field of study, postulates that the meme is the basic unit of cultural evolution. Examples of memes include melodies, icons, fashion statements and phrases.' "
(The Copycat Effect, Loren Coleman, pgs. 253-254)


The effects of memes can go well beyond trivial things such as fashion trends, however.
"Memes are applied to suicides and murders via the Werther effect, of course, the concept coined by David Phillips. One of Phillips's first associates, Paul Marsden, has been working on a book called Contagion: The Science of Infectious Ideas, which essentially reworks his psychology doctorate thesis. The subjects he covers illustrate how widespread the memetics people think memes are: reflex contagion (e.g., yawning and laughter), emotional contagion (e.g. fear, anxiety, sadness, and depression), crowd contagion (e.g., aggression and panic), hysterical contagion (e.g., psychogenic disorders such as anorexia, deliberate self-harm, and chronic fatigue syndrome), suicide contagion (e.g., suicidal thoughts and acts), financial contagion (e.g. speculative trading) and consumer contagion (e.g. fads, fashions, and crazes).
"Marsden has become a firm convert to the meme. He feels that 'mind viruses spread through a Darwinian process of imitation. We know for example that if a suicide is reported in the mass media, the suicide rate will rise in the following month. A few people with poor immunity to this mind virus will become infected and display similar symptoms to the original victim -they will commit suicide.' Furthermore, writes Marsden, 'the amount of violence seen on US television screens correlates positively with US homicides. We know as well that suicide victims following a publicized suicide story will more likely than not resemble the reported victim.' "
(ibid, 254-255)
I will now remind the reader that the Arab Spring revolts were essentially triggered by the suicide of Mohamed Bouazizi, a Tunisian street vendor who set himself on fire, an event that received mass media coverage in addition to setting social media networks ablaze (har har). The CIA (specifically the after mentioned 'vengeful librarians') claims that it was able to predict the revolution that spread to Egypt via these various social media networks:
"From Arabic to Mandarin, from an angry tweet to a thoughtful blog, the analysts gather the information, often in a native tongue. They cross-reference it with a local newspaper or a clandestinely intercepted phone conversation. From there, they build a picture sought by the highest levels at the White House. There might be a real-time peek, for example, at the mood of a region after the Navy SEAL raid that killed Osama bin Laden, or perhaps a prediction of which Mideast nation seems ripe for revolt.
Yes, they saw the uprising in Egypt coming; they just didn't know exactly when revolution might hit, says the center's director, Doug Naquin.
The center already had 'predicted that social media in places like Egypt could be a game-changer and a threat to the regime,' he said in an interview."



As much as I love the Internet, it is an invaluable data mine for organizations like DARPA and the CIA. The notion of 'memetracking' that is being publicly revealed is possibly the most effective way of predicting the future (other than creating it, of course) available to the Cryptocracy. This blog itself is something that I've often been torn over in that I have a burning desire to bring more attention to obscure pieces of history, religion, and myth but am also afraid that it will do more harm than good. The vengeful librarians are yet another consideration in the latter feeling.

As for PSYOPS, consider this nugget:
"Environmental activist Sharon Wilson showed up to an oil industry event in Houston last week and caught a startling glimpse into how the fracking industry approaches residents in towns where they drill.

"Wilson recorded industry insiders confirming they hire military psychological operation veterans, and use procedures pulled straight from the Army's counterinsurgency manual."
The article from Business Insider goes on to give various examples of how PSYOPS are possibly being used by multinational corporations on the general public. Of course, this is nothing new -Corporations have been engaged in PSYOPS on the public for decades now, most notably in the entertainment and media industries. Consider this piece from the Washington Post (which was a major part of Operation Mockingbird) on the perception change the movie Top Gun had on the American public's view of war and the military:
"A country questioning its overall military posture, and a military establishment engaging in a counter-campaign for hearts and minds — if this feels like deja vu, that’s because it’s taking place on the 25th anniversary of the release of 'Top Gun.'
"That Jerry Bruckheimer blockbuster, made in collaboration with the Pentagon, came out in the mid-1980s, when polls showed many Americans expressing doubts about the post-Vietnam military and about the constant saber rattling from the White House. But the movie’s celebration of sweat-shined martial machismo generated $344 million at the box office and proved to be a major force in resuscitating the military’s image.
"Not only did enlistment spike when “Top Gun” was released, and not only did the Navy set up recruitment tables at theaters playing the movie, but polls soon showed rising confidence in the military. With Ronald Reagan wrapping military adventurism in the flag, with the armed forces scoring low-risk but high-profile victories in Libya and Grenada, America fell in love with Maverick, Iceman and other high-fivin’ silver-screen super-pilots as they traveled Mach 2 while screaming about 'the need for speed.'
"Today, 'Top Gun' lives on in cable reruns, in the American psyche and, most important, in how it turned the Hollywood-Pentagon relationship into a full-on Mav-Goose bromance that ideologically slants films from their inception.
"The 1986 movie, starring Tom Cruise and Kelly McGillis, was the template for a new Military-Entertainment Complex. During production, the Pentagon worked hand-in-hand with the filmmakers, reportedly charging Paramount Pictures just $1.8 million for the use of its warplanes and aircraft carriers. But that taxpayer-subsidized discount came at a price — the filmmakers were required to submit their script to Pentagon brass for meticulous line edits aimed at casting the military in the most positive light. (One example: Time magazine reported that Goose’s death was changed from a midair collision to an ejection scene, because 'the Navy complained that too many pilots were crashing.')
"Although 'Top Gun' was not the first movie to exchange creative input for Pentagon assistance and resources, its success set that bargain as a standard for other filmmakers, who began deluging the Pentagon with requests for collaboration. By the time the 1991 Persian Gulf War began, Phil Strub, the Pentagon’s liaison to the movie industry, told the Hollywood Reporter that he’d seen a 70 percent increase in the number of requests from filmmakers for assistance — effectively changing the way Hollywood works."


Earlier we noted that the US Intelligence community is looking for a few good memetrackers. Here, we see that PSYOPS is being directly used by multinational corporations on the American public, especially via the media and entertainment industries. This means that not only are the spooks tracking memes, but they're directly implanting them into the Group Mind. In fact, DARPA is attempting to make an actual science out of storytelling (and by default, the memes that weave their way through the stories). Wired notes:
"Mark Twain once tried to distinguish between the storyteller’s art and tales that a machine could generate. He observed that stringing 'incongruities and absurdities together in a wandering and sometimes purposeless way, and seem innocently unaware that they are absurdities,' was the province of the American storyteller. A machine might imitate simple formulas behind yarns, but never quite master them.
"The Pentagon’s freewheeling research arm is hoping to prove Twain wrong. Darpa is asking scientists to 'take narratives and make them quantitatively analyzable in a rigorous, transparent and repeatable fashion.' The idea is to detect terrorists who have been indoctrinated by propaganda. Then, the Pentagon can respond with some messages of its own.
"The program is called 'Narrative Networks.' By understanding how stories have shaped your mind, the Pentagon hopes to sniff out who has fallen prey to dangerous ideas, a neuroscience researcher involved in the project tells Danger Room. With this knowledge, the military can also target groups vulnerable to terrorists’ recruiting tactics with its own counter-messaging.
“ 'Stories are important in security contexts,' Darpa said in an Oct. 7 solicitation for research proposals. Stories 'change the course of insurgencies, frame negotiations, play a role in political radicalization, influence the methods and goals of violent social movements.' The desire to study narratives has been simmering for a while in the Defense Department. A Darpa workshop in April to discuss the “neurobiology of narratives” added momentum to this project...
"Once scientists have perfected the science of how stories affect our neurochemistry, they will develop tools to 'detect narrative influence.' These tools will enable 'prevention of negative behavioral outcomes … and generation of positive behavioral outcomes, such as building trust.' In other words, the tools will be used to detect who’s been controlled by subversive ideologies, better allowing the military to drown out that message and win people onto their side.
“ 'The government is already trying to control the message, so why not have the science to do it in a systematic way?' said the researcher familiar with the project.


Indeed. It is for this reason that I'm often wary of addressing pop culture, especially newer music and films, in this blog. Many across the blogosphere are obsessed with 'exposing' the occult symbolism that dominates the entertainment industry. Unfortunately, I think this quest simply provides a justification to continue watching and listening to the products of what can be charitably described as highly comprised industries. Thus, they same memes that are implanted by the US Intelligence community continue to spread regardless of whether the individual in question is 'awakened' or not. What's more, even those that are 'awakened' are being manipulated towards negative actions. Hence, the rise of what I like to think of as the 'Soldier-of-the-Apocolpyse' types that have watched Fight Club and V For Vendetta one to many times. I've already chronicled the fall out of to much V For Vendetta before here.

Be wary dear readers.

Blade Runner: 30 Years of Synchromysticism - Part 1 (Tyrell 2019 + Weyland 2023)

http://copycateffect.blogspot.com/2012/06/blade-runner1.html               

Blade Runner: 30 Years of Synchromysticism - Part 1 (Tyrell 2019 + Weyland 2023)

Blade Runner: 30 Years of Synchromysticism - Part 1 (Tyrell 2019 + Weyland 2023)
by Loren Coleman ©2012

Frankly, watching Ridley Scott's Blade Runner is recommended to Prometheus analysts who wish to understand the genetic engineering of both treatments, more so that re-viewing the Alien films. (Of course, what might be happening on 10.11.12 - October 11, 2012 or November 10, 2012 - from the Weyland Corporation, remains to be understood.)

The term replicants is used nowhere in Philip K. Dick's writing. The creatures in the source novel are called Androids or Andies. The movie abandoned these terms, fearing they would sound comical spoken on screen. Replicants came from screenwriter David Webb Peoples' daughter, Risa, who was studying microbiology and biochemistry. She introduced her father to the theory of replication - the process whereby cells are duplicated for cloning purposes. (Peoples' is also known for his screenplays on Unforgiven and Twelve Monkeys.)

Replicants are slaves, and this movie is about slavery. As William Kolb writes in Blade Runner Film Notes: "Nexus is a Latin word meaning ‘to bind’ and refers to the tie between members of a group, e.g. members of a series. The replicants who arrive on Earth are literally and metaphorically the Nexus-6."

Synchromystic Tidbits

Various random synchromystic tidbits that make Blade Runner all the more enjoyable to watch during this 30th year, include:
Philip K. Dick first came up with the idea for his novel Do Androids Dream of Electric Sheep? in 1962, when researching The Man in the High Castle which deals with the Nazis conquering the planet in the 1940s. Dick had been granted access to archived World War II Gestapo documents in the University of California at Berkley, and had come across diaries written by S.S. men stationed in Poland, which he found almost unreadable in their casual cruelty and lack of human empathy. One sentence in particular troubled him: "We are kept awake at night by the cries of starving children." Dick was so horrified by this sentence that he reasoned there was obviously something wrong with the man who wrote it. This led him to hypothesize that Nazism in general was a defective group mind, a mind so emotionally flawed that the word human could not be applied to them; their lack of empathy was so pronounced that Dick reasoned they couldn't be referred to as human beings, even though their outward appearance seemed to indicate that they were human. The novel sprang from this.
While the film is loosely based on Philip K. Dick's Do Androids Dream of Electric Sheep, the title comes from a book by Alan Nourse called The BladerunnerWilliam S. Burroughs wrote a screenplay based on the Nourse book and a novella entitled Blade Runner: A Movie. Ridley Scott bought the rights to the title but not the screenplay or the book. The Burroughs composition defines a blade runner as "a person who sells illegal surgical instruments."


In the strange Japanese advertisement shown on the side of a blimp, in which a Geisha-like woman is swallowing a pill, the loud speakers play a line from a Japanese Noh play, saying "Iri Hi Katamuku," literally "the setting sun sinks down." According to special photographics effects supervisor David Dryer the pills being swallowed are birth control pills.

Blade Runner Curse

Among the folklore that has built up around the film over the years is the infamous Blade Runner Curse, which is the belief that the film was a curse to the companies whose logos were displayed prominently as product placements. While they were market leaders at the time, many of them experienced disastrous setbacks over the next decade and hardly exist anymore. RCA, for example which at one time was the leading consumer electronics and communications conglomerate, was bought out by one time parent GE in 1985, and dismantled. Atari, which dominated the home video game market when the film came out, never recovered from the next year's downturn in the industry, and by the 1990s had ceased to exist as anything more than a brand. The Atari of today is an entirely different firm, using the former company's name. Cuisinart similarly went bankrupt in 1989, though it lives on under new ownership. The Bell System monopoly was broken up that same year, and all of the resulting Regional Bell operating companies have since changed their names and merged back with each other and other companies to form the new AT&T. Pan Am suffered the terrorist bombing/destruction of Pan Am Flight 103 and went bankrupt in 1991, after a decade of mounting losses. The Coca-Cola Company, although still tremendously popular, suffered losses during its failed introduction of New Coke in 1985.  
Eldon Tyrell (Joe Turkel)
The (Frankenstein's Monster) giant head in Prometheus alludes to the fact the aliens & humans are Frankensteins, genetic engineers. Eldon Tyrell filled that role in Blade Runner, and Peter Weyland in Prometheus. The humanoid alien giants are too.
Guy Pearce (Peter Weyland)

 



Sources on linkages and symbolic connections in Blade Runner and Prometheus are to be found in the hundreds throughout the Internet, and specifically include various trivia authored by many contributors to IMDb and these movies' critics' websites. Additionally, Wikipedia has been used, when appropriate, for general information that is well-cited and generally known. Please do your own background original research, if you wish, to dig into any specific area discussed. For more insights on Prometheus, please see also here.

Glossary ~
Synchromystic = from Late Latin synchronus, from Greek sunkhronos, from syn- + khronos time + Middle English mistik, from Latin mysticus of mysteries, from Greek mystikos, from mystēs initiate
Synchromysticism was first coined by Jake Kotze in August 2006, on his website-at-the-time, Brave New World Order. Kotze defined the concept as: "The art of realizing meaningful coincidence in the seemingly mundane with mystical or esoteric significance."

Synchromysticism is defined as the drawing of connections in modern culture (movies, music lyrics, historical happenings and esoteric knowledge); and finding connections that could be coming from the "collective unconscious mind"; and finding connections between occult knowledge (i.e. esoteric fraternities, cults and secret rituals), politics and mass media, according to Wiktionary.
The term synchros (short for synchromystic practitioners) was coined by Loren Coleman at the Twilight Language blog to capture the spirit of the researchers, chroniclers, and bloggers who employ active synchromystic analysis, in the tradition of James Shelby Downard and other twilight language intellectuals (as noted here).
Synchros examine the world through a variety of methodologies, including the following:
Onomastics or onomatology is the study of proper names of all kinds and the origins of names. The word is Greek: ὀνοματολογία [from ὄνομα (ónoma) "name"].
Toponymy or toponomastics, the study of place names, is one of the principal branches of onomastics.
Anthroponomastics or anthroponymy, a branch of onomastics, is the study of anthroponyms (anthropos, "man," + onuma, "name"), the names of human beings.
Etymology is the study of the history of words — when they entered a language, from what source, and how their form and meaning have changed over time. In languages with a long detailed history, etymology makes use of philology, the study of how words change from culture to culture over time. The word "etymology" itself comes from the Ancient Athens ἐτυμολογία (etumologia) < ἔτυμον (etumon), “‘true sense’” + -λογία (-logia), “‘study of’”, from λόγος (logos), "speech, oration, discourse, word."

Blade Runner: 30 Years of Synchromysticism - Part 2 (Aztec-Mayan Symbolism)

http://copycateffect.blogspot.com/2012/06/blade-runner2.html                  

Blade Runner: 30 Years of Synchromysticism - Part 2 (Aztec-Mayan Symbolism)



Blade Runner: 30 Years of Synchromysticism - Part 2 (Aztec-Mayan Symbolism)
by Loren Coleman ©2012

Set in November 2019, director Ridley Scott's Blade Runner celebrates its 30th anniversary on June 25, 2012. Director Scott's immediate previous film was Alien (1979) and his most recent film, of course, is Prometheus (2012). These two films share with Blade Runner a look at our future worlds impacted by genetic engineers. Scott's 1982 American science fiction film is based on a Philip K. Dick short story, and stars Harrison Ford, Rutger Hauer, and Sean Young. For three decades, synchos (see definition at bottom) have found cinematic and real world coincidences, synchronicities, and linkages within this highly textured movie.

Ridley Scott has always maintained that Blade Runner is merely a piece of entertainment, nothing more, yet it is his "most complete and personal film." When Scott met Philip K. Dick during the post-production process, he specifically told Dick that he was not interested in "making an esoteric film."

Despite plans that did not include a journey to the "esoteric," Blade Runner's director seems to have not understood that synchronicity, as Carl Jung might observe, is something that Ridley Scott may have not seen coming his way. It just happens.
Synchronicity takes the coincidence of events in space and time as meaning something more than mere chance, namely, a peculiar interdependence of objective events among themselves as well as with the subjective (psychic) states of the observer or observers. 
~ Carl G. Jung
Over the weekend, I watched the anniversary showings of the original 1982 Blade Runner and the 2007 "Final Cut" of Blade Runner on the Encore cable channel (repeat screenings are scheduled). Considering that the movie was set in 2019, it was intriguing to see how unimaginative the film's producers were only three decades ago about telephones, pay telephones, computers, and such. Everything was shown as retaining their then-contemporary bulkiness. Some innovative science fiction thinking was released in the flying urban vehicles and fashion, most of which has not really happened, and through grand corporate architecture, which has. In general, the film does hold up well, and is filled with synchromystic connections. It is one of my personal favorites.

Aztec Sawfish Rostrum


In Blade Runner, this time, one seemingly small item did jump out at me (I'd never noticed it in previous viewings), as seemingly out-of-place but symbolic. It was found in the apartment of Rick Deckard (Harrison Ford). What I saw, momentarily, and identified quickly was a large-toothed sawfish (a type of ray, genus Pristis) rostrum (snout) mounted on Deckard's wall, below some glyphs.


I once noticed Fortean researcher, cryptozoologist and author Ivan T. Sanderson (1911-1973) had been pictured with a sawfish rostrum at his New Jersey's SITU headquarters. Above is Sanderson's conversation/living room area in his so-called "mansion house," with the sawfish rostrum, photos by Richard Grigonis.

When I saw one, decades ago, I obtained it. That sawfish rostrum is now displayed in the International Cryptozoology Museum today (seen in the middle of the midcentury installation, above).
What is a sawfish rostrum doing in Blade Runner? I did a little research, and quickly found a link that may explain its placement.

The most frequently found large animal artifacts interred beneath the center of the Aztec universe were sawfish rostra. Above is pictured a rostrum of the sawfish Pristis pectinata in Offering 58 of the Great Temple, photo courtesy of CNCA-INAH-MEX. Used as tools of sacrifice, these rostra symbolized the blood-spilling swords that fed Cipactli. The ruins of the Aztec Great Temple was discovered in 1978 beneath the central plaza of Mexico City. This pyramid was the center of the Aztec cosmic order and used to sustain the gods. Among the offerings were the sawfish rostra. Among the codices art, there were the stylized sawfish rosta (directly below).


The Aztec-designed sword was made in imitation of the sawfish's rostrum. Matthew T. McDavitt wrote in the Florida Museum of Natural History Ichthyology Department's Shark News (March 2002), on their significance:
In Aztec belief, the world had been founded on the premise of divine sacrifice. The gods had drained all their life-force into creation and no longer had the power to sustain themselves. In a kind of cosmic conservation of energy, the Aztecs believed that the sun could not rise, crops could not grow, and rain would not fall without the regular release of life energy back to their creators. To keep the gods alive, humans were obligated to feed them their blood and hearts, the most potent source of life energy. Although the Aztecs recognized hundreds of gods, these diverse deities were just manifestations of the primary forces of the universe such as sun and earth. The sun was a giver of life and a protector of the Aztec people. The earth however, was considerably more hostile....In reality, sawfish rostra appear commonly in the Aztec codices....In Aztec language, the sawfish rostrum was known as imacuauh "its sword"....Sawfish rostra are most often depicted as symbolic 'swords' in the shield / spear bundles which symbolize warfare in Aztec iconography. There is even a structural similarity between the Aztec glass-edged swords and the sawfishes' toothy appendage.
Tyrell Corporation Buildings/Aztec-Mayan Pyramids

In the Blade Runner, the twin towers of the Tyrell Corporation dominate the landscape. They are pyramids. 
Blade Runner

Aztec
Mayan
The pyramids appear to have been based specifically on Aztec-Mayan temple pyramids, on top of which were made human sacrifices (using sawfish rosta and rostra-modeled swords by the Aztecs). In general, Aztecs, which came after the Mayas, had the simpler top on their pyramids, as did the Tyrell/Blade Runner pyramids. The movie's structures are clearly not Egyptian (below) in nature.
Behind the scenes, we do know that one pyramid model was apparently used for the illusion of two.
The model of Tyrell's pyramid was 9 feet at the base and 2½ feet high. This was a ratio of 1:750. The model ultimately caught fire and melted.
You may have noticed a Tyrell pyramid in a three-part 2009 TV British miniseries, Red Dwarf: Back to Earth. On the right, a very Blade Runner-like pyramid, appears rising out of the landscape of London (visible with Big Ben and the House of Parliament).

One other thing about some Mesoamerican pyramids is worthy of noting. At the equinoxes, the shadow of a Great Feathered Serpent (e.g. Quetzalcoatl) appears on the side of the pyramids, as seen here on the Mayan Chichen-Itza. Snake symbolism, overtly (as in Zhora and her snake) and covertly, is part of Blade Runner.



Blade Runner Insight mentions the Mayan influences and beyond:
Blade Runner's...architecture reveals several different styles. The first few shots of the film show futuristic looking refineries, but then concentrate on a futuristic building that is a pastiche of Mayan architecture. The interiors of the Tyrell Corporation that are shown, however, are designed in an Establishment Gothic look. The police headquarters of the film was designed to echo the Art Deco look of the Chrysler Building, in New York City, and the Bradbury Building, in which the final chase scene of the film is set, is an architectural anomaly, built in 1883 by an architect heavily influenced by a utopian book he had read about the year 2000. Animoid Row, where Deckard goes to discover the origins of the snake scale, seems to resemble a Middle Eastern bazaar. Blade Runner’s presentation of Los Angeles in 2019 as a postmodern architectural entrepot accentuates the ahistorical nature of postmodernist art.
Deckard's Mayan Apartment 

Los Angeles' Ennis-Brown House was used in one drive up scene, and as the studio inspiration for shooting in Rick Deckard's apartment. The style used is called Mayan Revival, and the Mayan influence is undeniably strong in the employment of the glyphs throughout.
Deckard's apartment, drawn by set designer Charles William Breen and built on stage at Warner Brothers, was inspired by the Frank Lloyd Wright-designed Ennis-Brown House. Breen actually had plaster casts taken from the textile blocks of the Wright-designed house and used them for the walls in the stage set. 
Governor's Palace at Uxmal
Wright designed the house in 1923, and built it in 1924. He based the relief ornamentation on its textile blocks, inspired by the symmetrical reliefs of Mayan buildings in Uxmal.


The Ennis-Brown House was in shambles before the 2007 restoration began.
Newly restored.
Bradbury Moments




Blade Runner in the Bradbury Building

The Bradbury Building is an architectural landmark in downtown Los Angeles, California. Built in 1893, the building was commissioned by LA mining millionaire Lewis L. Bradbury and designed by local draftsman George Wyman.

Wyman at first refused the offer, but then supposedly had a ghostly talk with his brother Mark Wyman (who had died six years previously), while using a planchette board with his wife. The ghost's message supposedly said "Mark Wyman / take the / Bradbury building / and you will be / successful" with the word "successful" written upside down. 
After the episode, Wyman took the job, and is now regarded as the architect of the Bradbury Building. Wyman's grandson, the science fiction publisher Forrest J. Ackerman, owned the original document containing the message until his death. Coincidentally, Ackerman was a close friend of science fiction author Ray Bradbury.
Wyman was especially influenced in constructing the building by the 1887 science fiction book Looking Backward by Edward Bellamy, which described a utopian society in 2000.

In Bellamy's book, the average commercial building was described as a "vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above ... The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior." This description greatly influenced the Bradbury Building.





In 1979, William S. Burroughs wrote Blade Runner (a movie), the rights of which Ridley Scott bought for the title of his Blade Runner. In the novel/screenplay, Burroughs and then Scott in 1982 film, both of them use, as Todd Campbell writes,
The Bradbury Building (which serves as home to Toymaker/Replicant designer J.F. Sebastien), and eerily acts as a character in the film...directly across the street in downtown Los Angeles is the Million Dollar Theater which is also featured prominently in the film. And now, we take a detour down "The Street With No Name" or 5th and Main St. downtown Los Angeles to be precise...just around the corner from Blade Runner central we find the curious Rosslyn "Million Dollar" Hotel. Those of you up on your Templar lore will surely be tempted by the significance of Rosslyn (or Rose Line).
"Rose Line," of course, is "red line." 
Campbell shares various intriguing synchromystic links, and continues:
The Rosslyn (built in and owned by the Hart Brothers) was once the largest building in downtown L.A., and had a rather odd feature...it actually consisted of two buildings joined only by an underground tunnel which connected the two.
Adam Parfrey (coauthor of 2012's Ritual America), Bill Grimstad (author of 1978's Weird America) and I were recently talking about Blade Runner. They were reminded of the long ago plans of a LA subway system, and the bygone days of the old red line (humm, "Rosslyn") that was dismantled in 1961. Parfrey points out that the current subway downtown, called the Red Line (one of six color coded lines), is the "indirect descendant of the Pacific Electric Red Car."

In Blade Runner, the frequently used Bradbury Building, located at 3rd and S. Broadway, was a character, indeed, as was the 2nd Street tunnel that appears in the movie too.
One last Bradbury coincidence during this Blade Runner 30th anniversary month. The Red Planet author (The Martian Chronicles), Ray Bradbury, died on June 5, 2012. 
Sources on linkages and symbolic connections in Blade Runner are to be found in the hundreds throughout the Internet, and specifically include, but are not limited to such good resources as Gary Willoughby's important article on Deckard's apartment, Blake Runner Insight, an essay at "Everything2," and Todd Campbell's two-parter (here and here).

Glossary ~

Synchromystic = from Late Latin synchronus, from Greek sunkhronos, from syn- + khronos time + Middle English mistik, from Latin mysticus of mysteries, from Greek mystikos, from mystēs initiate
Synchromysticism was first coined by Jake Kotze in August 2006, on his website-at-the-time, Brave New World Order. Kotze defined the concept as: "The art of realizing meaningful coincidence in the seemingly mundane with mystical or esoteric significance."

Synchromysticism is defined as the drawing of connections in modern culture (movies, music lyrics, historical happenings and esoteric knowledge); and finding connections that could be coming from the "collective unconscious mind"; and finding connections between occult knowledge (i.e. esoteric fraternities, cults and secret rituals), politics and mass media, according to Wiktionary.
The term synchros (short for synchromystic practitioners) was coined by Loren Coleman at the Twilight Language blog to capture the spirit of the researchers, chroniclers, and bloggers who employ active synchromystic analysis, in the tradition of James Shelby Downard and other twilight language intellectuals (as noted here).
Synchros examine the world through a variety of methodologies, including the following:

Onomastics or onomatology is the study of proper names of all kinds and the origins of names. The word is Greek: ὀνοματολογία [from ὄνομα (ónoma) "name"].

Toponymy or toponomastics, the study of place names, is one of the principal branches of onomastics.

Anthroponomastics or anthroponymy, a branch of onomastics, is the study of anthroponyms (anthropos, "man," + onuma, "name"), the names of human beings.

Etymology is the study of the history of words — when they entered a language, from what source, and how their form and meaning have changed over time. In languages with a long detailed history, etymology makes use of philology, the study of how words change from culture to culture over time. The word "etymology" itself comes from the Ancient Athens ἐτυμολογία (etumologia) < ἔτυμον (etumon), “‘true sense’” + -λογία (-logia), “‘study of’”, from λόγος (logos), "speech, oration, discourse, word."