The Temple of Set II
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human thought architecture to neutralize murderous and destructive emotions. 115
Many readers of MindWar have suggested that an illustration of its application might be a useful supplement.
Perhaps a satire of a “classified/ leaked” PERRO? Such an “exposé” would diverge from its official forerunner by
various extrapolations and elaborations, to be sure:
PERRO-1:
Fred was designed for a select group of people to have a superfeelgood time: sort of one of the old
1960s’ Be-Ins or perhaps Kesey’s Acid Tests dialed all the way up.
MW-1:
MW is designed to overcome and end the curse of physical warfare (PW) on a global scale. It
produces an atmosphere of enlightened cooperation towards acceptable compromises, that’s all.
[While its ParaPolitics function goes on to replace destructive, predatory communities with
morally-beneficial ones, that comes later.]
PERRO-2:
PERRO portrays the U.S. government, and presumably subordinate/ allied ones, as evil; Fred must
be kept from them at all costs.
MW-2:
MW is a concept which is designed for government implementation. It presumes that the PW
habits of the government are not intentionally evil, simply events-reactive and containment-
oriented. When the government’s band-aid diplomatic efforts fail, it knows nothing else to do
except lash out with PW force. MW provides it with a positive alternative.
PERRO-3:
In PERRO Mt. Shasta is vague and fictional, its influence unclear.
MW-3:
After PERRO appeared, I did considerable research into the history and lore of the mountain [Cf.
Part 3], and of course have the background to draw these out in terms of precise esoteric principles
involving the planetary electromagnetic grid, ley lines, feng-shui, geomancy, and sacred geometry.
Relative to MW, Shasta can serve as a laboratory for experimentation with and evaluation of these
various geophysical forces and influences on local humans, providing a schematic for such analyses
and applications in actual foreign crises.
PERRO-4:
In PERRO Australia’s significance is also unclear.
MW-4:
I took a close look at it too [Cf. Part 4], and as it happens it is quite a complex place, mixing
historical mystique with modern troubles of its own. [Some years ago an Aussie Setian sent me a
copy of John Pilger's A Secret Country, which was quite the eye-opener.] As it happens, the
Australia of the 21st century is beset with a number of its own internal and external political and
social stresses, and might indeed make a good test-subject for a MW campaign to address them.
PERRO-5:
In PERRO Paul & Grace go to space, but where, why, and how?
115 MindWar was published in book form in 2013 (2nd Edition 2016), and was both circulated within the U.S. government and
released to the public. It can be obtained here:
http://www.amazon.com/Michael-A.-Aquino/e/B01GEWRIMU
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MW-5:
In FireForce I took them to Andromeda, in slightly different bodies, of course, and with available
translite technology kindly detailed by STF General Dakkar. 116 While there’s an international space
station up in Earth orbit, Blows’ starship has yet to materialize. Nevertheless we are getting closer.
In MW-the-novel they will doubtless get their conspiratorial feet wet in collusion with Space
Adventures, 117 and by the time of their cornered escape hitch a ride on Virgin Galactic. 118 Does this
have anything to do with MW? Not really, but it would be a fun way to finale the story!
PERRO-6:
In PERRO Grace/“Lilith” was a telepath, though what sort of one or how it came about is
unexplained. Some of the malign interest of the Blue Meanies, presumably, has to do with getting
control over her for research or exploitation purposes. This prompts her and Paul’s flight to
Australia, and, when cornered there, final escape into space.
MW-6:
MW has to do not just with external physical and sensory principles which condition human
thought, but with increasing one’s control over and coherence of one’s own thought-processes
through recognition and direction of such externalities. The result is in effect a “supermentality”,
which does not generate mythical powers; it just refines and perfects the ones which are presently
incoherent and confused. Here there are two different possibilities:
•
Grace’s exposure to an alignment of geophysical confluences at Shasta affects her in this
respect.
•
Paul’s original, traumatic exposure to the “Bell” at Cheyenne Mountain [see below]
permanently mutates his brain: somewhat similar to the Krel mind-expansion procedure in the
film Forbidden Planet.
Thus mentally-enhanced in somewhat different ways, Paul and Grace are uniquely qualified to
apply MW to Australia, including a nationwide adaptation of FRED to all of its national media. For
a bit of extra fun, scenes and settings from a number of suitably-themed Jefferson Airship songs
will make real-life appearances: Rock and Roll Island, Song to the Sun, Lawman, Crown of
Creation, Dark Ages, When the Earth Moves Again, Holding Together ...
What portends our dynamental duo’s extraterrestrial exodus? In the original PERRO they and a
number of their friends/disciples were besieged, and it was an escape of desperation. With a
successful MW campaign, however, Australia is not hostile to them, certainly. Space/dimensional
“escape” finales, as in 2001: A Space Odyssey, Close Encounters of the Third Kind, and Indiana
Jones and the Kingdom of the Crystal Skul l have all fallen back on enigmatic fade-out, for the
obvious reason that the writers have no idea where to go next. I do, but will wait until I get to this
point to make it explicit.
Paul Kantner’s original libretto and accompanying novel for PERRO were blissfully artistic and vague
concerning the structural locations, events, organizations, and personalities of the adventure. As much attention as
he devoted to such interactivity, he was limited to sketching them from “the outside”. A MW version of these same
events would pass behind the veils into the actual machinery of the visible and shadow governments of the United
States [and Australia]. Indeed so highly-charged is some of this that coming up with a too-explicit “PERRO
backstory” could cause real-world difficulties, and even personal danger, to the story’s nonfictional models. What
follows here, therefore, should be considered an illustrative outline only:
* * *
As recounted in Part #5, the “classified backstory” of PERRO dates back to Paul’s 1972 notice by and eventual
1975 contact from the Defense Intelligence Agency DI/MSIC. Though understandably dubious about such ominous
institutions, Paul’s fascination with space finally convinced him to accept appointment as a DIA Contract Agent,
upon which he was given a Top Secret/Special Compartmented Intelligence (TS/SCI) clearance, with access to
MSIC’s MJ/Majestic compartment, concerned with active extraterrestrial intelligence [as complement to the TK/
Talent Keyhole passive compartment]. In this capacity he was called upon occasionally as a consultant for
evaluation of “peculiarities” of undisclosed origin and function at Groom Lake, Nevada and the U.S. Space
Command at
Peterson Air Force Base, Colorado.
116 See Part VII. The book FireForce (2016) is also available at:
http://www.amazon.com/Michael-A.-Aquino/e/B01GEWRIMU
117 http://www.spaceadventures.com
118 http://www.virgingalactic.com
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It was at USSPACECOM’s nearby Cheyenne Mountain facility that Paul was summoned in 1977 to assess what
would later be fictionalized as the “stargate” of the eventual movie and television series. He was severely, but
fortunately only temporarily injured when it was activated. That device served to artificially enhance the brainwaves
of humans in its transmission range, but only through simultaneous increase in magnetic fields to physiologically-
harmful levels. The source of the device Paul never learned, though he later suspected it was either the original or a
copy of the legendary “Bell” originally invented by Luftwaffe scientists in Nazi Germany and later acquired by the SS
Advanced Projects Section under the notorious SS General Dr. Ing. Hans Kammler.
After his emergency evacuation to the nearby hospital of the U.S. Air Force Academy, Paul returned to San
Francisco. During his convalescence he wondered whether a much-milder version of the Cheyenne artifact could be
used to enhance the effects of music. Over the years he had become very familiar with his band’s ability to, as he
once put it, “become a great churning air machine, capable of moving people to the unknown, of making you cry,
laugh, march in silly parades”. Clearly this was a composite effect of both the liminal (=lyrics) and subliminal
(=music) elements of songs, transmitted within the audio range of the electromagnetic spectrum (16-16,384 Hz).
What might happen if the same mathematical pulses and proportions were recreated throughout the entire EMS?
Could human audiences detect them through sub/supra-resonance? The result might be a sort of “metamusic” that
would penetrate not just to audiencees’ conscious pleasure centers, but to their very souls.
Through Majestic Paul was able to obtain in 1978 both tasking and funding for such a mechanism to be
engineered and constructed by the Defense Advanced Research Projects Agency (DARPA) in Arlington. It was given
the classified project name FRED (Frequency Resonance Enhancement Device), and consisted of miniaturized,
extremely high-velocity counterrotating electrocharged cylinders, LOX-cooled and insulated by a synthetic
rubberized compound of extraordinary molecular density.
By 1980 FRED was deemed ready for testing beyond DARPA’s secure laboratories. Disguised as just another
unremarkable amplifier case, FRED was delivered to Paul in San Francisco, whereupon he installed it in Jefferson
Starship concert apparatus and began to activate it at its lowest energy level.
The results were immediate, astonishing, and audience-indetectible. Tension and discord, always something
of a problem at emotion-stimulating concerts, suddenly and completely vanished, to be replaced by a sense of
ecstatic pleasure and affection almost tangible in its pervasiveness. The ever-pervasive scent of marijuana
disappeared completely, as did any indication of other drugs and alcohol; audiences clearly felt no further need of
them whatever. Starship concerts became something much more than mere entertainment events; they were mass
rejuvenations of both the minds and bodies of those who experienced them. There were indications that certain
bodily infections and diseases were either completely cured or substantially lessened, though in order to preserve
the security surrounding FRED, no direct medical confirmation of this was possible.
If this effect could be generated through concert speaker systems, which were clearly emitting frequencies
beyond the audio spectrum, wondered Paul, could the same results be achieved through recording? Again through
Majestic he requested and received a specially-insulated facility within the NASA compound at Moffett Naval Air
Station, a short distance south of San Francisco. Constructed as a massive “Faraday cage”, this remarkable
engineering enclosure, whose interior was a complete forest of pyramidal dead zones, made it possible to modify
instrumental and voice recordings in which every single frequency was precisely configured. The result was a
composite wave assemblage which, while sounding like perfectly ordinary music to the human ear, extended
through radios or other conventional playback systems to almost the entire range of the EMS.
In 1983 Paul, Grace, and several of their friends recorded a new “personal” album of his, Planet Earth Rock
and Roll Orchestra, in San Francisco. He then took the master tapes down to Moffett, where their frequencies were
processed through FRED and then in the “clean room” re-imprinted on to full-range digital media provided by
DARPA. This was then reduced to a new set of master tapes used to create the PERRO commercial record, cassette,
and later CD.
Neither DIA nor DARPA possessed the resources to attempt to collect and measure the results of PERRO
sales, of course, and once again there were obvious security constraints. The 1980s had already seen “witch hunt”
scares of “hidden messages”, “back-masking”, “satanism”, and similar nonsense rippling around the country. Even
the slightest hint of anything like FRED would have unleashed a storm of paranoia and hysteria. In March of 1984
there was a joint DIA/MSIC, DARPA, and FBI meeting at Fort McNair, Washington, D.C. to determine whether the
FBI, which had federal authorization for domestic intelligence, could examine any “unusual impact” of the PERRO
album on listeners. Exactly what that “impact” might be, and for that matter even the existence of Majestic, were
undisclosed. The cover story was that the album, like its Blows Against the Empire predecessor, contained
politically-subversive themes. Surviving memoranda of that meeting indicate that the FBI was unconvinced of any
serious necessity for such an investigation, and declined it. To this day the FRED-configuration of the album, and its
impact if any upon its audience, remains a statistical mystery.
And there the story of Paul, Grace, FRED, and PERRO might have ended, except for the aftereffects of an
impulsive visit by Grace to Mount Shasta in 1981. While hiking with friends in the wilderness above Bunny Flat at
the end of the access road, Grace apparently became separated from her companions [though two of them were to
insist she had simply vanished from sight right before their startled eyes]. A frantic search ensued, in which by
nightfall the Forest Service was asked to help. But before formal emergency rescue procedures were activated, she
was found, unconscious but apparently unharmed, at the edge of Panther Meadow. When she awoke, she curtly and
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steadfastly claimed that she could not remember what had happened to her, although certain themes in PERRO
suggest that she later gave a far different story to Paul.
The Shasta incident had one definite and immediate consequence: The two of them postponed work on the
PERRO album for a sudden, and equally-unexplained trip to Australia. There they rented a Land Rover and set out
for the Ayers Rock, with overheard-mention of the “City of Dreams”. The several days that followed were marked by
a series of intense lightning storms at the Rock, together with explosions of colored lighting effects that locals
guessed were some sort of freak displacement of the well-known Aurora Australis. A short time later the two
Americ
ans were back in Sydney to return the car and catch a return flight to the United States. Once again they
made no direct comment to anyone concerning their trip, but once again the contents of PERRO, when they
subsequently resumed work on it, went through some extremely odd and suggestive changes. When years later Paul
was contacted by DIA to recommend a suitable test-situation for the newly-developed MW concept, he proposed
Australia.
* * *
Whether this “classified backstory” of PERRO ever sees novelization remains to be seen. Meanwhile:
______________________________
Part VII: FireForce Introductory Documents
-from FireForce by Michael A. Aquino
May 1, 2016
http://www.amazon.com/Michael-A.-Aquino/e/B01GEWRIMU
Preface
By the mid-1970s the social-revolutionary euphoria of the 1960s had run its course: Realization set in that the
utopian paradise vaguely envisioned by the Hippies and Yippies was not going to materialize after all. The United
States and the rest of the world were going to continue trudging along in the same materialistic, repressive, and
oligarchic way as before. If anything, the future outlook was worse, not better.
One of the reactions to this, especially among the disillusioned post-World War II generation, was escapism: the
“drop out” advocated and romanticized by gurus such as Timothy Leary. This was most directly reflected in
“survivalist” movements: individuals and groups who cut their community ties nd moved to remote locales in
emulation of Henry Thoreau’s Walden or John Steinbeck’s Travels With Charley.
Sometimes such reclusion reached paranoid and violent extremes, resulting in armed “militias” confronting
state or federal law-enforcement.
One of the more novel and exciting expressions of this escapism was its ultimate extreme: rejection of the entire
planet. The advent of the Space Shuttle seemed to presage an age in which personal or group access to space would
be practical, and in 1975 physicist Gerard O’Neill founded the L5119 Society to work towards the establishment of