Thursday, May 15, 2014

L'Estate of State

Young Daughter: "Daddy, we can't go in here too?  [Just] like Greece?"  - 10.11.2013

A forthcoming discussion of the first three US Presidents coming soon... this summer.

Book Discussion :
Achenbach's -  The Grand Idea: George Washington's Potomac and the Race to the West
McCullough's -  John Adams 
Meacham's - Thomas Jefferson: The Art of Power

This post will pick apart relevant business decisions of America's first three Presidents; consequentially, an analysis of private property rights being "self evident" and "unalienable" will be examined.  How are these "truths" "upheld"?

A contrast, if any, will be identified from other western nation states as issues raised below.

How do micro-nation's continue?  E.g. Vatican and Monaco.

What are the functions of mini-nation's?  Luxembourg or Lichtenstein.

Why are some monarchies still operating?  UK, Spain, Sweden and Norway?

What gave rise to nationalistic "republics?"  Germany, France, Greece?

Why do none of the America's founders' families hold fee title to their ancestor's estates?

Sunday, February 2, 2014

Decoding Dystopia

Linear narratives, in any media (i.e. books to digital tablets), trace query ideas that logically link each factual corroboration into thematic usage. 

Short brimmed hat.  Sharp pine covered peaks.  One quarter horse.  Hatchet.

Large brimmed hat. Creosote brush dotted with cacti. Three wild horses.  Pick-axe.

You might expect an 18th century trapper somewhere approaching a Shallotte of the Rockies in the former, but a 19th century ranching-cowboy in the second.
In each instance, common attribute traits, born from a habitat's necessity, lend credibility to a character's pursuit in relation to nature.
Film series such as "Back to the Future", Memento (1999) and Sixth Sense (2002), are serious attempts at audience simulated time travel via narrative.  Elliptical editing omits portions of the action... with the purpose of startling viewers [with guesses] about what occurred in the missing stretches.  (see Thompson & Bordwell, 820). 
Sharp pine covered peaks.  One quarter horse.
The omission of any character costume (i.e. Short brimmed hat) or prop-tools (i.e. Hatchet) leaves the reader with few guesses into what narrative they view: possibly a nature documentary? 
How about this? 
A zoom out of the close up hatchet, into medium angle, reveals the male in a short brimmed hat.  There's our 18th century marauder/trapper (Readership, please choose your preference).  But this is a logical thematic expression in timely narrative.
Ellipsis, in narrative, is the omission of certain scenes or portions of the action.  Ibid.  It is from a purposefully disorienting omission of today's day-to-day, or reasonable expectations, that a discussion of the last four years' "serious" attempts at science fiction portrayals may begin.     
Decoding Dystopia intends to analyze four recent years of "Sci Fi" (or Science Fiction) (but see Rickels' Psy Fi, V. 3, beginning at p. 3) genre films with a niche in dystopia, they are:
Inception (2010)
In Time (2011)
Loopers (2012)
Oblivion (2013).
As I have written what I have written, (IV Gospells [sic]) it may be worth a read to review "In Time" here_________. I will pay an abstracted aphorism or two to it below, only where relevant.
Telos, as a philosophical semiotic, assumes that time evolves into a better state of being (relative to mankind's desires and minimization of burden).  In contrast, atrophy is a scientific label that characterizes time as either becoming more ordered or chaotic.  In the former, a general anthropological valuation can be discerned with common sense.  In the latter, numerical charts, tables and formulaic equations assert empirical hypotheticals asserting truth within esoteric schools of thought.  By denser explanations of theory, the (esoteric) "expert" attempts to cloak them self within some damask of authority.
Once again, time commands front stage as each film elapses, integrating elliptical discovery plot facts; but of course DiCaprio, Timberlake, Hewitt and Cruise are all the recognized stage talents that attract what's possible, as plausible, in these Sci Fi (Psy Fi?) motion pictures. 
Inception's unique technique exhibits a medication that intoxicates its patient into an immediate somatic unconscious (sleep); simultaneously, the user's mental state can both delay and suspend their biotic time, or "our" bio-chemistry and physics of time, simultaneously, in a seemingly alert, awake state of awareness (such as the, still relevant, colloquium of a "day dream").  
              "Ten minutes can get me two hours."    -Inception.
What it should read, is: "Ten minutes (of induced sleep) can get me two hours (of equivalent fact finding discovery)."  In essence, each character lacks the economic  opportunity, in a gulag-casino system (Keiser), to seek to realize what outcome they quest after: such as in a Command Economy (Quigley).  They seek Telos, but atrophy is assumed sans this drug induced mental state where concentration can reveal pertinent facts in the natural, chronistic world.  Heavily inveigled by foreign finance capital, no mockery is intended at its American consumer audience; rather, only vicious maliciousness of a portending corporate espionage: which DiCrapio's character "Snowden-style" waives to finally be... a family man.
But d' encore!
To fulfill his performance to his patronizing, foreign client, DiCarpio, passes hour one (minute five?), and medicates himself with a second dosage within the second dream state (risking brain hemorrhaging - or irrevocable coma - a modern death as a matter of law).  
In each instance, Inception characters stupefy themselves with said depressant-medication (Barbiturates?  Opiates ? Clearly not an analgesics) so that they might better explore their discovery's efforts. The complex crafting of graphics and ellipses obfuscates the main plot of the film.
This team of "medicinal-ingesting-experts" is hired to facilitate foreign espionage on American companies.  DiCaprio expresses a Stockholm sydrom succumbed idiot ex-patriot with success.  He acts somewhat bewildered and mildly motivated, but totally overcome with confusions throughout his scheming.  More than willing to sell out his native land with a skeptical zeal as to the consequences, his personal pursuits are impliedly sanctioned (a theme that aligns in each of these films; namely, the breach of loyalty to a citizen's sovereign).  In total, nation-state means nothing, your obligation to it is strictly economic.  By selling your tradition, accepting extortion, imprisonment and civil rights usurpations is wrapped in some twisted mythological value: you might be allowed to be a family man some day. 
In this film's (patriotic) defense, the foundation shot, acting also as a closing shot, reveals reasonable doubt that the agent may have permanently inveigled his patron client into the dream state, from which he might then return to his family in America.  Was it not truly the unlicensed pharmacist-doctor-corporate-raider who turned the tables of control?
Filled with allusions to Penrose and Escher, checkerboards and British inculcated "commonwealth" system, is this complex technology ([controlled?] drug medication) a subliminal hint that it can return its viewer to a phantasmal, often stigmatized, nuclear family (hetero with offspring)?  Or perhaps it's a plain ridicule of whatever has proven to be anti-Malthusian; so un-B. Shaw (see "Population" in About Marriage
In Time
A maximum 25 years of life is the guaranteed life span for the characters of "In Time."  Depending on their obeisance to their pre-destined role as economic cog in Dayton's inner-urban police-state, do they receive extra time; notwithstanding the nominal time they're permitted to trade (or collectively thieve). 
A neatly dystopic, part Communist, remainder Fascist system, where both the ownership and control of manufacturing is vertically integrated to "immortal" managers living in Greenwich only quickens the gloom of any viewer within orbit of any airport frequented metropolitan city.
In contrast to breaches of sovereignty and its nation-state identity (Inception above), In Time contrasts class struggle from national loyalty.  A century and more ago, the template cultures were recognized: ruling elites (Czars) versus Bolsheviks, or Bourgeois versus proletariat; here, immortals from Greenwich versus inner-city Dayton residents. 
Not unlike Brad Pitt's character Tyler Durden, from Fight Club (1999), a stark contrast between managers versus the many-managed does not taunt the audience in subtlety. 
Fight Club's American terrorists, of no particular political or religious affiliation, demolish multiple bank high-rises with an overall scheme of causing data deletion of previous debtor accounts (as though destroying recognizable commercial buildings would cause the erasure of such financial data, simultaneously bankrupting its merchant owning-partners and associates, the film does date itself as last millennium). 
Indeed, one only need reference the September 11, 2001's attack on the World Trade Center in NY, NY.  That owner, incidentally, obtained an insurance policy a year before its tragic demise, in which the current, "new and improved" Freedom Tower was prominently displayed on 2.2.14 halftime talk where one team was the hero with a 22 point lead to zero).  Lots of American flags were waving, and recognizable propagandists gloried on about the Declaration of Independance whilst Americans were denied access to the very buildings placed on this year's Super Bowl for part of 2013!  Does Freedom have a cost?  A fee of "no cost" to said insured.  Lucky him.  A close up of First Lady Obomba saying "Civil War" was no veiled joke during the Super Bowl's "half time"; neither was Lewis' White House performance as Linkcon [sic]... based in Richmond, VA (poetic justice cannot, and should never, be marred in irony; but you can't teach a liberal to read.  They only know how to recite)
But unlike the physical violence implicit in a film with a title such as "Fight Club, "In Time" resolves the plot's conflict via distribution of a million years of genetic life is successfully misappropriated from the Philippe (time-banker of In Time).   Hence, little more than a decade later, the MPAA "green lights" that class struggle can be resolved peacefully, through cultural revolution, as opposed to social unrest or " to day fighting in a theater of war[, though it] be [sic] an expanding concept."  (See Youngstown, J. Stone).
9.11.11, incidentally, made its own record as it saw and sawed a peak in precious metals valuation.  To date, 5.5.13, their metrics have seen a 34-44% drop in average price decrease. 
The same year, "Loopers" (2012) was being filmed. 
In it, "blind" mercenaries murder victims fantastically appearing before them.  How?  Through time travel!  (of course)
This is confusing, let me explain.
Assuming a narrative based around 2050, a small cadet of mercenaries are permitted to live, and to live a life of, apparently, incentivized privilege (cars, female liaisons, medically induced intoxications of grandeur) their dystopic urban mass of contemporaries lack.  Their employers are from the future.  (or are they?)
Said employers expropriate bullion bars "from the past, into their future" via said remote assassins through strapping the treasure to the chest of a victim.  They are only then "timed travel" them back to this 2050 setting.  Their homicidal patterns implicate city-state authorized mercenary brigades.   
Unhinged by any national Constitution (notice the Declaration of Independence was emphasized in 2014's Half Stime, not the US Constitution), any local employer's racketeering passes under color of law via futuristic-looking, unidentifiable firearm (rail guns?). 
By later delivering the criminally obtained booty of bullion to a non-descript, highly guarded grimy concrete office barrier, the murdering-block of mercenaries are paid a fiat wage (the currency exchanged has writings clearly Hong Kong Mandarin in content).
They murder for bullion, but obtain a life of privileged hedonism through the exchange of this currency. 
Noone.  None.  Know what their final job will be.  Suicide!  Never expressed, but through reason observed, sufficient time and clues lead to an awareness that time is their most valuable commodity; but the price of their suicidal tendencies is presumed, much as BF Skinner's fowl would learn to tap at flashing colors to be rewarded with more feed in his laboratory.
Their metropolitan home-city remains in grimy, soot covered destitution, where only the law of nature, homogenized anarchy, appears the lasting vestige of order in this dystopic film.  The film's autor feigns no mistake about his emphasis that a lack of a uniformed police implies para-military mercenaries will be necessary.  As though most developed nations aren't already blanketed in so many other layers too.
So once again, money changers are a theme.  Economics is a lynch pin, and the absence of a police state implies a chaotic city state of renegades as the final outcome.
Unlike Inception, a potential respite to an American nuclear family is not an option; rather, there is no sovereign here.  But in line with In Time, Loopers presupposed nation-state existence reminds us of a pre-19th century renascence to ancient civilizations where there was no idea such as a province or nation-hood united; rather, these Super Cities are the loci from which the impressed characters seek a currency of... time... of a life-line... elongated (In Time) or exchanging such notes (for precious metals - Loopers).  In each instance, death is presumed, but premature death could be prolonged by cunning, whereas a certain suicide was crassly overlooked so long as debauch was provided.  Cleverness and a turn of luck permits each character to seek telos, to perhaps, change what their cudgel carrying employers intend to pawn them into. 
This broad leap, from a nuclear American family, to the absolute obliteration of national or familial  identity has been perfected in the 2011 and 2012 versions of these Sci Fi (but see Psy Fi, Rickels). 
Rickels' identifies the historically close relation to all propagandist mediums, implicating no demarcation in viewers' immersions process.  Witnessing oppressive absurdity and violent offense in organized groups constitutes as governmentally sanctioned therapy (i.e. censorship approved - "green lit" - MPA imprimatur of approval) and consent by mob rule to the traumatic experience that National Socialists like Nipkow invented.  It is now referred to as television, or any film, or media, study.  
The veneration, or glorification, of hallucinogenic-induced exalted states is carried on with In Time onto Loopers.  In the former, pharmaceutical usage is a necessitated, if not prescribed[?], as a means to rectify an escape from any return to the nuclear family. In the latter, drug usage (i.e. eye medication) heightens the dynamics of the character's interactions with the world, where motions of floating and rotating (an absence of gravity) is emphasized by the cinematographers and editors.
Throughout all three movies, two elements are intentionally raised to the viewers cognition:
              1) Destruction of nation state identity and family)
              2) Glorification of drug usage (and the implied permission of violence sans any enforcement of       the rule of law [aka Anarchy managed via oligarchy and technocracy]).
The penultimate paragraph's conclusion segues, fittingly, into the most recent oveur d'expression dystopia: Oblivion (post-civilization. See Popper, Wittgenstein and Lord Russell's writings - or Wittgenstein's Poker in particular for reference).  
Depopulation and genetic replicants have been the golden bone of military obsession (no homo). 
Movies like "Replicant", inter alia, deal with transmutations with technology, but not of the derivation Darwin studied and pontificated about.  Oblivion utilizes ellipsis to integrate that a final drone technician, Cruise, was once destined to marry and have a family life in New York.  His up state life is tranquil, much as his previous "Minority Report" debut ended in, with an absence of a matricized systems approach that his code, inevidbly, becomes obligated to manage on behalf of his Big Blue-esque chess-like competitor employer.  Why?  Well.  Cruise cannot remember, and really, we the dumbed down masses are never really offered an explanation.  But his marriage to a Russian fiancĂ© was to be grande; instead, he finds himself literally in the sky (floating around somewhere in the stratosphere, with a stepford-like "robiotic" wife [sic, reminder, contact PTO] -  a red headed Shannon Bream - sorry Shannon, you're my type too) 
Not unlike Hawk's brilliant and memorable performance in Gattaca, the world is once again revealed to be limiting, the population has moved off to a water blessed moon here inside our intrastellar system. 
Here, however, the major revelation begins, the elite, of which Cruise is a genetic pawn who perpetuates a machine operated pyramidal space station, operates the machines at the cost of the few remaining human populations (who survived under grown and wear protective armor from excessive radiation exposure).  Cruise's character believes himself to be a saver of the planet, to be repopulated once again; yet the people and the machine-alien employer know all about his genetic encoded purpose.  That is one, namely, of a non-unique, obedient servant.
The most bizarre iconography is not the pyramid, nor the ruined Liberty statue, but the camera-like Univision that interviews the seemingly free willed, empowered Cruise and Freeman Trojan Horse visit to the "Mother Space Station" (for a lack of better description). 
It was, rather, the embryonic filled pods of Cruise replicants that replace their human robot that Cruise "might" overcome.  A mixture of Foucoult's impressed ponoptocon is measured with a Goddard like self reflexivity.  For an actor seeking saint-like visiage as a Sciontologist, we wonder what other omissions were not publicized during the making of Kurbik's "Eyes Wide Shut," which spelled the final act in Cruise's marriage to Kidman.  Resembling The Matrix's pods, its different when a human cannot only remember what was to be his nuclear family, but cannot facilitate a deliberate choice to go off line. 
In contrast to the first three films, Cruise, or a some replicant of Cruise, gets to have a human-like nuclear family experience, but the threat of alien-machines in intrastellar space remains (much as in the class based Elysium dispolic Psy Fi). 
Dicaprio's wife is dead forever, the reason giving rise to initially fleeing America in "Inception."  He escaped from a frame job, and committed the corporate espionage against fellow American citizens who are lit in a vortex of compromised, energy-greedy interested lobbiests. 
Timberlake's never settling down with the banker's daughter from whom he stole a million years of time.  In most metro areas, that's maybe an extra year of life for its inhabitants.  He may get to live a few extra years, but the regulators can still change that with immunity of a governmental authority.  What changed in time there?  Perhaps only that the rich suitor should never cohort with inter-city scum (sarcasm intended)         
Hewitt's enlightened self, Bruce Willis, stubbornly chastizes the younger-blinder Hewitt from predicted suicide; but the break results in a long evasion from local corrupt government and definite murder of a child who is expected to be a tyrant. 
In all these scenarios, the hypotheticals bombard their audiences with the obliteration of the nuclear family, except Oblivion, maybe.  2001 - Odyssey, dealt with man's overcoming via HAL, who I-Beamed control over human inventive design and extinguished males as a scientific character in telos.  From there, degenerate entertainment morphing as hallucinogenic exhilaration crosses into confusion, from which few but those trained in articulating the designs can point out and decode. 
The one incident of interest to me remains the absence of flat-screen self-reflexivity (anti-Goddard).  Blade Runner and Running Man would be exemplars in which our apparent heroes can both be human, notorious and, finally, victorious through the usage of photos and publically viewed flat screens. 
With a HAL like beam of light, Oblivion's pyramidal space station indicates technology offers no mental state of privacy.  Further, that not even our genetic code is not our own property; and American jurisprudence, often lauded as a pillar of impartial arbiter concurs.
Perhaps a variety of Science Non-Fiction would be more fitting, as though the technologies revealed in the film medium have not already been developed. 
But how do we decode the future as it is revealed?  Would it be dystopic to do so? 
Processing thought.  Tired eyes.  Camera embedded computer.  Smart phone vibrates. 
A chip off the old block?  Another brick in the wall?  Is it in the cards, or is the writing on the wall?

You're a 21st century character.  Indeed.

Friday, November 30, 2012

Tax to Death, then Tax Again?

Balancing a ledger, "budgeting", is as old as civilized society.

A citizenry's decision makers are authorized to maintain status quo, but are constrained by an on going counter party risk of legitimacy from external forces.

July, 2011 witnessed a recent example.   

America's steep sell off  arose by way of America's Constitutionally expressed separation of powers.  The law makers and its main enforcer (President) were conflicted, agreeing only to challenge the each other on recent electorate expectations and forward going goal making.

Ultimately, no principled agreement could be reached.  "Kicking the can down the road," deferring any definite policy practice in spending and taxation was the only settlement to be had.


The "Fiscal Cliff" has returned to humble our nation's solvency.

From a policy perspective, I hope that budget negotiation fails.  The major reason is that America's most reliable patriots, but for our veterans, the farmer, are at risk.

What will the "hand suffer?"  This historical and intellectual allusion offered by the leaders of western civilization still provokes.  Essentially, does an elected body allow its "producers" to retain their property intergenerationally?

2012 is all but passed, with 2013 firmly in view.

I believe that while the electorate may have only good intentions at choice, short sightedness will eventually be discovered as the resulting outcome, not solution. 

Counter parties seek to lawfully, by taxation, divest America's producing families with tax bills.  If a farmer, for example, seeks to pass along their operation to children, it must not exceed $600,000 dollars at time of farmer's death; otherwise, every dollar in excess of that amount will be taxed at roughly 50 percent.

This results in outrageous consequences as heirs, or any beneficiary, will likely be forced to write checks the government purposefully expects they CANNOT do.

Thus, a "selling of family farm" is the likely outcome.

To the more economically and politically astute, if you have conflicted ties that know no national boundaries, this is a quick method to raise funds at the expense of those politically distant, in favor of personal gains, at the cost of our nation's heritage, and reliable future.

The opportunity to behold the American experience can be grande, but uprooting its very fabric by confiscation, for redistribution, presents a lethal predicament for the fate of the body it is sworn, by loyalty oath, to uphold.

Given the rise in prices in the cost of living, disregarding the lack "of inflation" that economists parrot without waver, most know by native intelligence that day to day expenses require an ever growing allowance for the same, or less, purchasing power.  

Taking land and producing businesses from Americans is wrongful.  This tax deal should be rejected on principle.

If not, the precedent and its effects will be set; and when our lawmakers' lack compunction to defend this part of our country, then we do live in a lawless nation, and it no longer is a nation of the free as it has been compromised and treasonously inveigled.

America's sovereignty will have been toppled, and the time to complete ruin (i.e. social unrest and waxing violence, only begin to portend further uncertain grounds.

Monday, July 30, 2012

Good Old Gold

Game theory is a branch of economics that assesses outcomes by factoring probabilities of reward and risk.

Do these “factors” sound familiar?

1) Federal Reserve.

2) CFTC (Commodities and Futures Trading Comission).

3) NYSE-Next-LIFFE (the inter-national [sic] stock market).

The undergirding issue is the recent high valuation of precious metals.  Why have they increased in value so substantially?

2001-2011: Before the turn of the millennium, US equities consistently trended higher.  This past decade, however, equities have traded sideways.

1960's-1980's: this was the last period the market traded range bound.

Market Crashes: 1929, 1937, 1987 and 2007 were years that witnessed the largest sell offs in equities.


I refresh this post with these generally known facts because they lend context to the most recent years.  Arguably, the height of equities was in the mid part of the last decade.  This preceded the most recent 2007-2008 "crash."

The most material economic mover in America was "housing."  A plethora of new macro economic reports gained reliance, like the Yale Professor's Case-Schiller index, which, in essence, aggregates home purchase data.

The ripple effect, creating a healthy economy, is base around housing booms as services and products (appliances, fixtures, among others) become more routine as new owners and lessees "upgrade" their life styles.

This boom, then bust, also traipsed on the heels of, effectively, two wars.  For younger readers, America long ago abandoned its Constitutional principle of requiring Congress to declare war (see the Joint War Resolution).

Congress, unlawfully (to my view), then went on to permit Presidents’ authority to conduct six-month “mini-wars” when they… wait… yes… NO!.. feel like it.

The Cost of War:  1929 saw the beginning of War World 1.  1937 preceded America's involvement with War World 2.  

In both of these cases, America had to finance its way.  In the previous 19th century, America had been mostly "debt" free before the Civil War.  This was the first war that caused a substantial debt in America.  It was eventually paid in full.

Logic, then, would ask whether America ever paid off these first two wars.  Since the end of World War 2, America has seen "police actions" (read "war") in Korea, Vietnam, Cambodia, Laos, Afghanistan, Iraq-Kuwait, Libya (though not generally admitted) and, to date, interference in Syria.

The Dragon Claim: can you imagine suing the United Nations, a European President and US Government for property that your great-great-Grandparents loaned out?

Well.  This is what a few families in Japan and China have done.  What do they want?  They demand redress of 1 trillion US dollars because of a wrongful taking of a financial instrument that evidences a large collateral value based on underlying gold bullion.  Start at page 17 here

If we accept this claim as true, then we assume that America's previous 19th century assistance with Japan in defending/evading Chinese conflict created good will for an initial loan (recall, America carried no debt at this time).

America made use of this loan so as to create a militia large enough to do successful battle in the War Worlds.

These loans, instead of being repaid, were further collateralized into bond notes.  

Arguably, the US paper currency system of a FRN ("Federal Reserve Note") bulk manufacture arose from this financed arrangement for these wars.  Previous to Democratic President F. Rosevelt's confiscation of gold and silver, most Americans would pay in gold and silver ounces (though barter was the usual method of exchange).  A gold ounce indicated $20 US dollars, while silver was a valued at $ 1.  

According to this claim, Kennedy bonds were the next "phase" in America's debtor status so that it would continue with "police actions" in the 60's.  This time, in south Asia.

The Present State of War:  what would you do if you might never pay off a debt?  What if war is the only answer?  

Does war pay?

The (alleged) theft of the Dragon Family financial instruments indicates it should.

Mortgage Fraud: the US government created securitization of mortgage loans in the 1970's.  In it, brokers oversee the sale of real estate with bond yields as the investor side of the transaction.  

In 2008, the precipice of the newly unemployed did battle with their mortgage payments, many opted for strategic default (leave the lender the keys to the house).  A newly elected, political environment encouraged the judicial system (especially federal and state Attorney Generals) to label these real estate sales fraudulent (i.e., meaning the banks could not regain possession, let alone title). 

Someone had to pay, but who was it?  

This chart shows the severity of the losses that banks hemmoraged.  2007-2009 saw a dramatic loss of valuation in American banks.  

This particular fund (including all major US banks) lost 660%.

Arguably, the most conflicted profiteers from the last decade's mortgage business either moved their accounts, or homes, or both.  

Here's one excerpt (, among many, that details how the Department of Justice investigated transfer of mortgage proceeds into Switzerland: 

The Department of Justice announced that on February 2, 2012, Wegelin & Co., a Swiss bank, was indicted for conspiring with U.S. taxpayers and others to conceal from the IRS more than $1.2 billion in secret accounts.  The Department of Justice alleges that the conspiracies occurred from 2002 through 2011.

Among other things, the Department of Justice alleges that in 2008 and 2009, after UBS ceased servicing undeclared accounts for U.S. taxpayers, Wegelin, sought to acquire those U.S. taxpayers as clients.  In order to do so, they opened and serviced accounts for U.S. taxpayers.
There is, conspicuously, a significant correlation between the time period that these "tax evasion conspiracies" occurred and the banking sector, followed by every other sector lossed material valuation.

UBS is the United Bank of Switzerland.  The short story is that economic sanctions were threatened against Switzerland, led largely by the US, unless they disclosed account information.

Eventually, Switzerland conceded.  The "truth" can be viewed in a chart. 

Look at the currency rates between the US dollar and Swiss Franc "CHF".

Spanning from 2000 to 2012, this chart shows that it would have taken almost 2 Francs to get 1 Dollar in 2000-2002.

Notice when the "conspiracy" was said to begin from the above excerpt: 2002.

The 2007-2008 crash is reflected in by the change in the purchase power of the Dollar versus the Franc.

Ultimately, if 2001 saw the pinnacle of America's Dollar purchasing power; 2011 indicates the dreary lows, it means Americans must not pay a dollar, quarter and dime for every one Franc.


Returning to the Dragon Family case, they alleged that the US and UN effectively stole possession of THEIR financial instrument.

Guess where the claim arose from?



2007: the US market crashes.

2008: mortgage "fraud" suits commence.

2009: Federal Reserve beings "Quantitative Easing".  Stock market "rebounds."

2010: gold and silver go "parabolic", gold increased in value from $1,000 to nearly $2,000 (2011) / $ 15-$50 for silver.


·        Summer: Greek and Italian Presidents are forced into retirement (fired?).
o   Connections:  was (French) IMF President “DSK” forced under criminal scrutiny (before a critical Presidential election? – politics as usual???).
·        Fall: MF Global files for bankruptsy protection.  While account holders will likely see a mere nickel for every dollar former US Senator (NJ) Corzine oversaw.  (Now) Former CEO Corzine has bought a large, French castle during this “scandle.” 
o   NOTE: MF clients CANNOT use, access or withdraw their funds. 

    • Gold and Silver contracts were the main commodity account holders intended to take possession of.  
      • Was MF unable to deliver the precious metal contracts?
  • Winter: 
    • JP Morgan and Goldman Sacs experience silver contract shortage.
    • CFTC sells all "brick and morter" assets.  Enters into substantially lesser lease arrangement for operations.
  • Winter: 
    • JP Morgan and Goldman Sacs experience silver contract shortage.
    • CFTC sells all "brick and morter" assets.  Enters into substantially lesser lease arrangement for operations.


  • Spring: JP Morgan announces $ 9 billion loss.  
  • Summer: SFO Magazine and PFG CEO Wassendorf, Sr., is investigated for massive Securities violations - commingling/embezzlement and forgery.
Conclusion: I have attempted to point out the major factors in this game theory that strategically implements war, institutional regulation (or, rather, the conflicted dealing by supposed guardians), finance and hard versus paper assets debate in causal sequence.

The sole linchpin that holds this bridge, a global narrative, between the 19th through into the 21st centuries, is that precious metals maintain value.

As seen, nations and their currencies, banks and companies come and go.  



Tuesday, February 14, 2012

Zoning in on Arizona

Celebrating an American state’s birthday seems, a tad, “UnAmerican.”  Interstate rivalries have been the thing of old tribal, tributary trial that the US Constitution intended to thwart.

This next week, I’ll continue in my land forays, celebrating, and investing in Arizona’s 100th birthday.  Not unlike President Thomas Jefferson, author of our Constitution, the plans include participating in caveats (a topic, perhaps, for another day).

The sixth largest brother amongst large “western” states, this "Top Ten" of the largest United States occupies the “west coast.”  I won’t mention them in order, but found these sets of state admission to the Union particularly astonishing. 

Am I the only citizen to find surprise in the fact California was admitted before West Virginia (in 1850, vis. 1863)?  How about Oregon, taking Kansas, Nebraska and “the Dakotas” by as little as two years and as stretched as three decades! 
--- - ---

Vexillology is the study of flags.  In the context of the Colonial flag, there were “13 colonies.”  Of the 50 that “came to be”, only seven prominently display a single star.  The majority of them domiciled in the “west coast.”  There are even less that acknowledge multiple stars in bulk, with the state displaying all of them, with their star, in proper, ordinal admission to the union. 

This give and take, of state emphasis (with a single star), versus a new state recognizing its place in the demure (numerously, but particularly counted stars, united), hearken onto an ancient sense of proximity and vicinity.  But, as we see, the notion of the United States is not so simple.

A number of states, not so modestly, maintain a "Coat of Arms", with no inherently geographic derivation.  In the latent sense, they're all so novel and American.  Only a few display an analogous "Coat" of American Indian origins.

Maryland boasts the only flag bearing an English Coat of Arms, that of the Calverts, who, as Loyalists, fought against American sovereignty.  Washington’s Coat of Arms would offer an alternative to the rule, except that the “District” of Columbia is not a “state.”

Interpreting flags becomes an altogether time consuming matter, rivaling attempts at deciphering Coat of Arms.  It can ware and teem a laborious project.  A cadence, for example, is the subtle distinction in a Coat of Arms, in a family, that distinguishes one family member, or branch, from another.  Specifically, the extra use of two  escallops, or “sea shells”, mark the difference between Princes William and Harry, of the House of Windsor (the English Crown). 
--- - ---
Returning to restate the tour of the facts, I look forward to an exciting opportunity to partake in the bounties of our nation’s youngest, “contiguous” state.

Also, New Mexico, happy belated 100th Birth Day  (this January past).  

Saturday, November 19, 2011

"In Time", a film review

This post is about the 2011 film “In Time.” 

But first, here’s my take on the state of the movie business. 

At the macro level, “Hollywood” has suffered for two reasons: a) intellectual property theft (led largely by the Chinese) and b) the “lowest common denominator” effect.

By destroying props, injuring at least one character and frenetic-paced montage sequences, modern productions intend to traumatize their audience into submission; ultimately seeking to "condition the unconscious" through symbolism (see Carl Jung)  Even patrons with low scoring intelligence quotients can follow along.  Hence, the denominator effect.  

It is via this post-“shock” acceptance, that the audience can be rehabilitated by our "developed" economy's inculcated, MPAA censorship-approved lessons.
“Green lit” productions from the “left” imbue their captives with evolving lessons about expected and permissible social mores, or at least fantasies as to what is crossing a line should be versus what bending it is is

Film theorists explain the history behind this, but the concise form is that film has always been used an economic and political “propagandized” connection.  All the world leaders since the industrial world occurred have so framed their constituencies in this fashion. 

For those who haven't seen this film, wiki’s synopsis reads fair:

The key issue involves the notion of time consumption.  In this science fiction world, the material categories of raison d’etre are assumed: shelter, sustenance and basic safety.  Thus, there is “no need” for currency, as we know it to be in a capitalist world - as in one US dollar. 

Currency, economically, means denominated consideration.  Currency is not inherently an asset, it’s a governmentally regulated means of benefit and detriment, from which the body politic creates relations to one another via state rules.

Will Salas, the effeminately played protagonist played by Justin Timberlake, makes, ironically, time-denominating, or regulating, machines.  It is ironic because he has so little time left in his life, only about two days from the movie’s commencement.  Thus, he was given three years of life as he is age 28.
The movie accurately explains human’s biology, the body no longer “matures”, but begins to degrade, at about the age of 25.  The characters are reminded of this by a thirteen digit time display embedded in each person’s forearm.

The working assumption is that the world’s populace can hypothetically live into eternity because of a scientific, genetic discovery.   

Will’s plight is typical of most “little guy” characters, his origins derive from an industrialist city where his opportunities for financial discretion and advancement is unfortunately predestined. 

He works in a factory so that he can earn more time, which is exchanged for things like rent or coffee.  But the governmental authorities, called “time keepers”, as well as all merchants, exclusively deal with the “inner-city” patrons from behind barriers (such as one encounters in most banks).

So it is with barriers or numbered zones, by which this dystopic city of Dayton (shot largely in Beverly Hills, Los Angeles and Pasadena) both confines and constricts its time-deprived subject from more desirable locations like New Greenwich.

Without startle, Will, whose name has a noted Nietzschean connection, shall inevitably escape and travel outside the impoverish Zone 12 from which he derives. 

He achieves this by a gratuitous gift from an existential, Solomaic immortal-like male suit in a bar named Hamilton.  Immortal because Hamilton has nearly a 100 years of life on his displayed clock.  Wise, yet nihilistic, because Hamilton wastefully lacks any appreciation of his good fortune so many prize.  Will saves this well dressed and coifed gentleman from some local criminals who take substantial steps in attempt to thieve [sic], and thus kill, him.

In return, the suicide desiring Hamilton surreptitiously gifts Will his years upon their reaching a terminal shelter from the crime scene.

With all this newly found time, Will can purchase services and goods that lead to his journey into New Greenwich (shot at the Avenue of the Stars – Beverly Hills).  

Not unlike the US Dollar’s color, green, this class based setting is a highly sought after location (shot in Irvine and Beverly Hills). 

Will’s successful gambling places him in a better creditor status, but he is concurrently pursued by the investigating time keepers.

Will accepts a redux gambling opportunity from his previously defeated competitor, a majorly trademark named-branded time seller (representing a banker-type), named Phillipe.

But Will's seemingly pre-destined fate of economic cog is scoured after by the politce state agents - the Time Keepers. 

In the process of Will’s seeking time, he must now protect his attainment of it.  Contingencies of survival become more crucial, with time "on his side."  Genetically, he was not so entitled, but the carrot of possibility in economic progression and advancement is dangled, for him, and thus the audience, to be worthy bate.  
The forgoing analysis of the base facts present the most consequential question.  It is, whether American’s, or citizen’s of developed and emerging economies, accept the material apparatus from which valuations are attached and class relations are constructed.

In the battle of ideas, In Time poses a plain dillemma to its English speaking audience, will you accept the time allocated to your young, “generation alphabet” life?

In a Hegelian fashion, a centralized state is contrasted with a free market, propertied one. 

On the one hand, the Marxist and Leninist articulated writings are relied on to juxtapose need from want.  On the other, wanting more time, alone, can be achieved by mere association with “propertied circle’s, who, paradoxically, create it (value, or time).
The very concept of nation-state identity, or Social Contract (as Rouseau wrote of), is questioned in the film when Will replies to the initial intake investigation by the Chief Time Keeper: “It’s not illegal to travel.” 

 One of the many Francophile founders, Alexander Hamilton, is thought of by the above said “immortal” who gifts Will the bountiful time to life.  Hamilton was also one of the founders of our Constitution and first Secretary of Treasury.

Once again, a post-industrialized, post-rust belt, post “manufacturing” America is called into question.  There are leading questions, with one unifying theme: will it last?

Can “the western” world of production and entitlements survive?

Is the year really 2011? 

Perhaps it is the year 5772 or 4709 as Hebrew or Chinese calendar’s might say.

The “seven” time categories (second, minute, hour, day, week, month and year) are denominated in 13 digit arrangements (following the Astrological, or Helenic, calendar, in contrast to the Augustan twelve hour and month cycles).    

The most seemingly trivial satire was the number of years Will, with the aid of his new love interest Silivia (played by the lovely Amanda Seyfried), eventually burglar (lawfully[?] by public necessity) from her father Phillipe (above mentioned banker).  It is a million years. 

Why a million?

Perhaps a reference to being a “millionaire,” it was confounding, I found it undeveloped.

Perhaps Phillipe’s statement: “We can always create more”, shines some light on the notion that the undergirding assumption of evolution, that science can study and propound further development of whatever valuable material is necessary to our interconnected world, is (hu)man made.

In this sense, social engineering has been reduced to a science, a premise without objection, from which no Supreme Being is recalled, let alone mentioned.

Will is thus left free, within  time, to remove the economic institution that is “cost of living.”  

Indeed, this is what he and Silvia do, by spreading the one-million year time credit machine taken from Phillipe’s vault, they gift it to the time expiring pedestrians in front of the neon-colored charity doing business as “The Mission.”

In the 21st century, one questions how many in the audience would appreciate the The Scope Trial:

In it, Tennessee sought to criminalize any public school's cirricula that explained man's origins with an evolutionary premise. 

Nearly one-hundred years later, the reverse is true, any form of "spiritual" acceptance is banned from implied, generally accepted opinion.  

In reference to my earlier thoughts on the state of Hollywood, I contend "In Time" proved a bona fide production, and return to, an "adult movie" (in the 20th century sense of the phrase).