Tron poster. Notice that the life disc is actually the energy “on” symbol.
By: Jay
“The grid. A digital frontier. I tried to picture
clusters of information as they moved through the computer. What did
they look like? Ships? Motorcycles? Were the circuits like freeways? I
kept dreaming of a world I thought I’d never see. And then, one day, I
got in.” -Flynn
One of the elements I’ve sought to analyze here the convergence of
technology and esoterica which is a connection generally overlooked.
Despite modernity’s religious obsession with technology as the god of
its own hands, the mythological nature of techne is largely unknown and
forgotten. Having reached a point of godlike abilities, the power and
exponential growth of technology is both wondrous and ominous. Disney’s
1982
Tron is remembered for its advanced special effects (for
the time) and spectacular art direction, yet the deeper elements of its
story have remained hidden. In this article, I intend to highlight the
many revelations
Tron gave us about the future, especially in
light of the open sourced information we have seen in the last few years
revolving around DARPA and the Pentagon’s black projects.
As most of us are now approaching two decades of familiarity with the
Internet, it becomes fuzzier and fuzzier to recall those bygone days
when we needed to find an actual phone line and make a call. It is even
more difficult to think of the close of the 70s and the early 80s and
what must’ve been in the minds of most viewers in 1982 after they viewed
Tron. As a child of the 80s, I recall seeing it as a kid, but
nothing stuck with me other than its surreal mix of German Expressionism
and Atari-style visuals. Luring below all of this was actually a highly
sagacious form of predictive programming and acclimatization. Disney
has long been united with the Pentagon and of more recent alliance, the
Siemens Corporation, in implementing the latest technological advances
for its films and theme parks. I have highlighted this dark alliance
here,
detailing the revelation of its psychological warfare prowess.
Since 80s films are some of my most popular articles, upon reviewing
Tron (after many years), and
having analyzed the recent sequel,
I was struck by how much was subtly revealed in the original. Since the
film references Artificial Intelligence, the Internet, virtual worlds,
game theory and video gaming, the shadow military establishment, and
much, much more, we can begin to gain a picture of the reality of the
whispered notion that the technological elite truly are 30-40 years
ahead of the public. Again, it is crucial to keep in mind as you read
and perhaps review the film, you are watching something that was in
theaters in 1982! While people were playing Pac-Man and Atari arcade
games, the establishment tech elites were integrating the
already-existing Internet across the US to form the emerging Skynet tech
grid we are now going under. Long before The Matrix, a similar plot had
already described the heart of the coming “new world order.”
The apex of the pyramid shines its red Illuminist light.
In fact, it is not well-known that video games themselves arose from
Pentagon military training ideas, combined with high level mathematics
and game theory. Thinkers from the Rand Corporation as well as the work
of John Nash would come together to produce the foundation for the rise
of the virtual. Also significant was James Bamford’s 1982 book
The Puzzle Palace,
which revealed the existence of the NSA at that time. Meanwhile, the
public has only now come to realize there is such an organization, while
the media was denying there was such an entity up into the late 90s!
Tron
was truly a preparatory acclimatization to the coming aeon like few
films were, and it has been largely missed (but not by JaysAnalysis).
The movie-going public of 1982 had been awestruck by sci-fi spectacles
like
2001: A Space Odyssey and
Star Wars, both of which are superior films to
Tron, yet neither epic had revealed what
Tron would reveal. On top of all this,
Tron
is not merely a revelation of secret, advanced technology, but is in
fact laced with occult, gnostic and Platonic, which I will now examine.
Don’t lose your electronic life Frisbee.
The film begins with Flynn (Jeff Bridges) coming together in a new
creation sequence, where the virtual world emerges from a point of
light, like an alternate version of the creation story of Genesis 1.
Here the narrative is inverted, as Flynn is the “programmer” or “User”
as they are called in the film, becomes the new Logos for the alternate
world of “Master Control,” known as the Grid. Master Control is the
demiurge created by ENCOM, the private tech giant that seeks to
implement in the “real world” the level of control it exercises in the
Grid. In the opening sequence the pathways of the circuits and chips
fade into a large “real world” city, cluing the viewer into the idea
that the two worlds are flip sides of the same “reality.”
Flynn, who formerly worked for ENCOM, had all of video game ideas
stolen, relegating him to the lowly status of video arcade owner. With a
renegade band of programmer buds, Flynn plans to hack back into Master
Control to gain his vindication. Like Neo in the Matrix, Flynn is
tricked by Master Control, who zaps him into the virtual world, which is
an autocratic dictatorial police state. Interestingly, the elite
guardian class of MCP (Master Control Program), and MCP itself, are all
red, hinting at a possible Cold War connection. Indeed, it was under the
guise of the Cold War that the secret shadow technological grid of our
world was erected, and this is part of the film’s point: The Grid world
is actually what is being erected in our world.
Commie Master Control.
Once inside the Grid, Flynn cannot remember anything from his real
life. In Platonic fashion, he has forgotten his origins and his “higher
self,” known in the Grid as a User. AI programs are all “alive” in the
Grid, but they are unsure of the existence of the Users. While Master
Control knows the Users are real, and seeks to gain control of the real
world, in the Grid, MCP enforces atheism and mandates that no programs
may accept the existence of the Users. Meanwhile, MCP in the real world
has a plan to hack the governments and banks for a takeover – a 1982
reference to the Internet! Amazingly, this is exactly what has happened
in our own world, as the major tech companies have all built back doors
into the world’s web and PCs. I needn’t even cite the countless articles
to prove this, as it is now well-known, but what
Tron demonstrates is that
the Pentagon and its shadow tech establishment knew decades ago where we were headed.
THE GRID
Tron even mentions within the Grid “STRATCOM” and its
purpose as a “war gaming” central command, where the entire Grid is
surveilled to locate and destroy dissent. I regret to inform you that
this is the big secret in our real world -
Shadow military entities like STRATCOM and CENTCOM and the regional control grid established under the auspices of the Cold War have now been revealed by one of
our world’s Flynn’s, William Binney, to be real.
While “activists” scurry about fighting ridiculous and pointless
battles, few and far between are the warnings about the real danger –
the Skynet Grid being erected all around us. PKD, William Binney, Alan
Watt, and now even Elon Musk a handful of others have consistently been
warning about the incremental creeping tech terror that is rising.
Alternate 80s worlds of hexagonal design.
While
Tron was likely intended to be read in a gnostic way,
we can speculate that it is not as heterodox as one might suppose. Since
MCP’s Grid is an atheistic dictatorship built around the idea of a
strata of mundane programs, the guardian class that fights in the
gladiatorial games, and MCP at the top, we can read it as a genuine
warning. However, the fact that the Users function like gods, or the
idea of the “higher self” of occult lore, it is more likely a gnostic
fable. The teaching of multiple realities in which our “higher selves”
are battling a great architect or demiurge is pure Platonic gnosis.
The Platonic presuppositions are also evident in the structure and
architecture of the Grid. The similarities between the Grid and the real
world are constantly compared in the film, as Flynn seeks to liberate a
select few programs, and this explains why Flynn’s name in the Grid is
CLU. “CLU” is a clue to the fact that more is going on here. The
hexagonal and pyramidal structures are particularly significant as
emblems of the platonic and possibly kabbalistic basis for the
construction of the GRID. It suggests a deeper meaning in the fact that
our world is structured according to the platonic solids, as I have
detailed elsewhere.
Since
the world is infinitesimally ordered and structured, the entire basis
behind the ability to construct virtual worlds proves the structure of
our own world. In other words, as I’ve argued many times, the
Darwinian narrative of ultimate chaos and disorder is completely false.
World atheism is basically like MCP in the film – intent on keeping
everyone “programmed,” while hiding real metaphysics.
Hexagonal and pyramidal structures.
CLU, functioning as a kind of philosopher king from the Allegory of
the Cave, sacrifices himself to destroy MCP by diving into its power
center (hacking it, in other words), but the formal structure around MCP
has now shifted from hexagonal to pentagonal, and gives the impression
of actually being inverted. Considering that the hexagon can also be a
pentagram, it makes this usage all the more significant. This creates an
opening in MCP’s firewall, and TRON is able to destroy MCP with his
electrical life frisbee. Flynn’s sacrificial death brings him back to
the real world where ENCOM’s CEO is outed as a fraud, gaining the
evidence he needed to vindicate his ownership of the programs.
Unfortunately, our real world is not as happy-ever-after, as the
military industrial complex’s shadow tech grid has a virtual life
frisbee version of all humans, tracking and tracing them from womb to
tomb, gathering all this data for the future Skynet/Grid takeover.
Remember
the words of William Binney:
“The ultimate goal of the NSA is total population control”, Binney
said, “but I’m a little optimistic with some recent Supreme Court
decisions, such as law enforcement mostly now needing a warrant before
searching a smartphone.”
Pentagonal structure of MCP.
We are willingly in the Grid, and we willingly accept our
PROGRAMming. Let’s break free from the virtual gaming casino gulag.
Tron is about forging our way into a new frontier, the nano frontier.
However, the establishment is not interested in you forging that
frontier, but
in trapping man in a virtual matrix of synthetic reality.
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