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Article by Leo Zagami
In Confessions of an Illuminati Volume 8: From the Rise of the Antichrist to the Sound of the Devil and the Great Reset, I explained how “Hollywood is preparing for the ‘Great Reset,’ which will also be the rise of Artificial Intelligence.”[1] A rise that will change the music and cinematic landscape of what used to be art, and soon will only be ALGOL (short for “Algorithmic Language”). ALGOL is a family of imperative computer programming languages originally developed in 1958, a little over ten years from the “Roswell incident” that, as I point out in Confessions of an Illuminati Volume 9: Seven Steps to The Secrets of the New World Disorder from Transhumanism and Immortality to Gnostic Jesus, UFOs, and Insect Witchcraft, is one of the most important moments for the start of the U.S. trend in Reverse engineering alien technology that has been building an alien digital gulag around us for the past year.
ALGOL heavily influenced many other languages and was the standard method for an algorithm description used by the Association for Computing Machinery (ACM) in textbooks and academic sources for more than thirty years, but incredibly enough, no one mentions that the word which probably originated from Algol: Tragedy of Power (German: Algol. Tragödie der Macht), a 1920 German science fiction film about an alien from the planet Algol.[2] This incredible revealing film based on the infamous German theme of the Faustian Bargain I analyzed so well in Volume 9 of my Confessions, also in relation to technology, was directed in another pivotal time in human history, by Hans Werckmeister featuring stars Emil Jannings and John Gottowt who played Professor Bulwer (Abraham van Helsing)one year later in the classic silent film Nosferatu directed by F.W. Murnau. Arabic astrologers referred to Algol as the eye of the Devil.
The story of Algol: Tragedy of Power centers on a human who is given a machine by an alien spirit which, if used, would allow him to rule the world. This Sci-fi inspired melodrama with political undertones, is an early, example of German expressionism that would later offer revealing pearls like Faust – A German Folktale, by F. W. Murnau, and other seemingly “prophetic” movies like Fritz Lang’s Metropolis (1927). German expressionism was born out of the strange predicament that the German film industry was in at the time, as well as the social restlessness between the two world wars, and the rise of artistic movements such as surrealism and modernism. Having been taxed with heavy war retributions to pay, Germany was economically in a bad situation, which also hit the film industry hard. On the other hand, the war worked as a vitamin shot for the German movie production, as the demand for domestic films skyrocketed when the government banned films from allied countries, which basically meant all major film industries except neutral Denmark. Between 1914 and 1918 the number of German movies quadrupled from 40 to 120 a year.[3]
Many of those actors and film directors would eventually land in Hollywood, but the messages contained in some of their films are still relevant today. Over the summer, Buzzfeed posted an article of photos that were generated by asking an AI platform to recreate beloved Disney characters in the style of Tim Burton. The results depicted Elsa from “Frozen” and Princess Aurora from “Sleeping Beauty” as if they were the stars of Burton’s stop-motion “Corpse Bride.” The article went viral, but not to the amusement of Burton himself. In a recent interview with The Independent, Burton reacted in horror to the AI recreations of his trademark style.
“They had AI do my versions of Disney characters,” Burton said. “I can’t describe the feeling it gives you. It reminded me of when other cultures say, ‘Don’t take my picture because it is taking away your soul.’ “Adding in disdain: “What it does is it sucks something from you,” he continued. “It takes something from your soul or psyche; that is very disturbing, especially if it has to do with you. It’s like a robot taking your humanity, your soul.”[4]
That description by Burton seems like the alien offerings described in Algol: Tragedy of Power, and in the end, it will take “away your soul” if we don’t stop it like the protagonist of the film does at the end by destroying it. In Volume 8 of my Confessions, I explained how artificial intelligence aka “Cyber Satan” is already able to generate “various musical genres” and how “it’s starting to produce its own films as well.”
Earlier this month Warner Music made history by signing the first AI musician that released a debut single, “Dominoes,” on September 1, 2023, accompanied by a nearly 3-minute music video of the 12-year-old “creepy” artificial intelligence-generated pop star named Noonoouri, prancing in a sexy bikini from Kim Kardashians Skims collection. Hollywood is putting us right in the arms of Cyber Satan, who is already starting to normalize pedophilia. And guess what? The virtual blue-haired artist was created in 2018 by a 43-year-old German graphic designer Joerg Zuber, who officially conceived Noonoouri as a 19-year-old metaverse avatar even if she looks much younger. Yes! Once again, we are back in Germany, but to understand more about this you should read the sub-chapter of my latest book (Volume 9) “All Roads to The Devil Lead to Germany and France.”[5]
[1] Leo Lyon Zagami, Confessions of an Illuminati Volume 8: From the Rise of the Antichrist To the Sound of the Devil and the Great Reset, p. 505.
[2] https://en.wikipedia.org/wiki/Algol_(film)
[3] https://scifist.net/2018/05/30/algol/
[4] https://variety.com/2023/film/news/tim-burton-slams-artificial-intelligence-recreations-disturbing-1235719666/
[5] Leo Lyon Zagami, Confessions of an Illuminati Volume 9: Seven Steps to The Secrets of the New World Disorder from Transhumanism and Immortality to Gnostic Jesus, UFOs, and Insect Witchcraft, pp. 199- 204.
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Leo Zagami is the author of the groundbreaking book Confessions of an Illuminati Vol. 6.66 The Age of Cyber Satan, Artificial Intelligence, and Robotics
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