UFO'S of UAP'S, ASTRONOMIE, RUIMTEVAART, ARCHEOLOGIE, OUDHEIDKUNDE, SF-SNUFJES EN ANDERE ESOTERISCHE WETENSCHAPPEN

A professor from Spain says we’re not ready to meet extraterrestrial life
Gabriel De la Torre surveyed 116 students from the US, Italy and Spain
He found that many had a lack of knowledge in a number of areas
They also had religious beliefs that would make finding ET a ‘big shock’
We also focus too much on daily problems than bigger things like Earth
He concludes we need to improve our ‘global consciousness’

Finding extraterrestrial signals has been dreamed about for decades.

But a researcher from the University of Cádiz in Spain says we shouldn’t be looking – because we’re not ready to meet aliens.

Gabriel De la Torre revealed to MailOnline how his survey of students showed the general level of ignorance and influence of religion would leave us shocked if we made first contact.

A study by Professor Gabriel De la Torre from the University of Cádiz in Spain claims that we’re not ready to make first contact. He claims we’re not prepared mentally or ethically to meet beings unlike ourselves and we should try to improve our ‘global consciousness’

Since 1984 the Search for Extraterrestrial Intelligence (Seti) Institute has been looking for signs of intelligent life elsewhere in the universe.

To date nothing has been found, although the search continues unabated.

Members of the project are now going further by sending out messages from Earth (Active Seti) to try and contact other lifeforms.

But De la Torre, a professor in the Department of Psychology at the University of Cádiz and participant in previous projects such as Esa’s Mars 500 (a simulated mission to Mars on Earth), has carried out a study that he claims indicates we are not ready to make contact.

In the study he sent a questionnaire to 116 students in Spain, the US and Italy.

De la Torre tells MailOnline he used students because they ‘will be the future politicians, scientists, the people in charge, so I wanted to know what their knowledge was.’

THE RESULTS AT A GLANCE

Of the 116 students…

72.8% believe that demons and angels exist.

33.7% don’t think humans are the origin of global warming.

82.1% think it is important to have a space agency.

71.4% think the military should have the main role in the event of contact with an alien civilisation.

80% believe if we find aliens more advanced than us they will try to conquer us.

78% believe there is a chance we’ve been visited by aliens in the past.

The Search for Extraterrestrial Intelligence (Seti) Institute was established in 1984. Since then it has used a number of observatories around the world, like the Allen Telescope Array (pictured), to try and find alien signals from another world, but so far nothing has been found

The questions were split into five sections: religious beliefs, the environment, space-related knowledge, their daily activities and their opinions on life issues.

‘In all those areas I defined a different type of question based on other studies that I think related to Seti research,’ De la Torre says.

These included questions such as how likely they thought life was to exist on other planets, what year man first walked on the moon and what the largest planet in the solar system is.

The results were somewhat disconcerting for De la Torre. For example only 82 per cent of the students knew the first moon landing was in 1969.

‘The conclusions were that scientific knowledge, especially the knowledge related to space among college students, is not good,’ he continues.

‘So I think space agencies should increase education efforts.’

Another conclusion by De la Torre was that religious beliefs seem to be very strong in general.

While not necessarily a problem, he says this may influence the opinions of people facing major events in future such as making first contact.

On 16 November 1974 the Arecibo radio telescope in Puerto Rico (pictured) was used to send out a signal called the Arecibo message, a ‘calling card’ from Earth to potential alien races. However De la Torre says we shouldn’t perform ‘Active Seti’ like this as we aren’t ready to make contact

But ultimately it is our lack of appreciation for our own planet and our place in the universe that would be our downfall, he says.

‘We’re not ready to talk to extraterrestrials because global consciousness is not developed enough in the population,’ he concludes.

‘People have daily life problems and the government doesn’t pay attention to global issues like the planet and the environment.

‘That makes us a species too focused on daily life problems, we don’t have an awareness of our surroundings.

‘It’s like when a meteor falls in some place on the planet, it’s big news. But that’s a regular real possibility.

‘If we have a more global consciousness about our situation on the planet, how fragile the planet is, maybe that’s a step in the evolution of our consciousness as a species.

‘There could be other intelligent life out there and it could be really different from us physically, mentally, socially and even morally.

‘They could maybe not even be biological, they could be robots.

‘Right now I don’t think as a species we are ready.

‘Of course some people are ready, but as a species I think it would be a big shock.’

Source www.dailymail.co.uk

{http://locial.info/ }

Owls and UFOs. To those with no interest in either, the two might seem like chalk and cheese, but these ‘phenomena’—one assumed to belong exclusively to our world, the other thought to originate elsewhere—often go hand-in-hand, at least according to the testimonies UFO experiencers the world over.

It has long been theorized in the UFO research community that the sighting of an owl shortly prior to, during, or soon after a UFO close encounter is a strong indication of a repressed abduction experience, the image of the owl acting as a screen memory for the traumatized abductee. The logic here is that the large, penetrating eyes of an owl closely resemble those of the archetypal alien Grey. Owls also swoop from the skies—the domain of the UFO.

In his fascinating book, The Messengers, author Mike Clelland considers the psychological function of owl imagery in abduction reports, but, ultimately, he ascribes it a more profound and mystical meaning, confidently speculating that the owl in these circumstances may be “part of a shamanic initiation,” a wake-up call from the universe itself for those who suspect but refuse to acknowledge their lifetime of hidden experiences with intelligences beyond the realm of everyday perception.

Owl imagery was used very explicitly in the context of abduction in the 2009 movie The Fourth Kind. Before that, it was used prominently in the 1989 big screen adaptation of Whitley Strieber’s bestselling Communion. For the purposes of this article, I’m interested in how owl imagery can be linked to UFO phenomena by filmmakers very subtly, even subconsciously. Examples that spring to mind are Twin Peaks(“The owls are not what they seem”), or even Labyrinth, in which Bowie’s Goblin King, Jareth, adopts the form of an owl to spirit away an infant to an other-dimensional realm.

A couple of years back, soon after a chat with “owl guy” Mike Clelland (and having owls on the brain as a result), I switched on the TV. The 1986 movie Short Circuit was playing. A family-friendly sci-fi flick, the movie follows the adventures of Johnny 5, an escaped experimental military robot who gains sentience—and apparently even a soul—after being struck by lightning.

Synchronistically, the scene that happened to be playing was a pivotal one: Johnny 5’s first meeting with the character of Stephanie Speck (Ally Sheedy). The scene is shot to resemble a distinctly Spielbergian “close encounter” style event, with Stephanie under the impression that Johnny 5 is not a robot, but an extraterrestrial. As Stephanie steps outside her house one night to investigate a disturbance, she sees a mysterious glow emanating from her van. “Hey, get outta there!” she yells, nervously. It is at this point that we cut to a close-up of an owl perched atop Stephanie’s personalized mailbox. The bird turns its head to her, almost expectantly.

As Stephanie approaches her van, its side panel flips open to reveal an alien-looking Johnny 5 bathed in misty light. We then cut once more to the owl, which turns its head to Johnny 5, and, in that moment, one can’t help but draw a visual parallel between the robot and the bird—both having large, round, yellow and black eyes harshly accented by a “frown” (metal eyebrows in Johnny’s case, and ‘ear’ tufts in the owl’s).

Short Circuit (1986)

Stephanie exclaims: “Oh, my God! I knew they would pick me, I just knew it!” perhaps indicating that she expects—even wants—to be abducted. “Welcome to my planet,” she says, excitedly.

It goes without saying that owls have always been a permanent fixture in the iconographic landscape of the horror genre. But Short Circuit is sci-fi, not horror, and, while Johnny 5 isn’t actually an alien, in this crucial scene, the filmmakers have gone out of their way to present him as alien-esque and as a potential abductor. Also significant is the positioning of the owl directly on top of Stephanie’s mailbox, which clearly bears her name, as if the bird has come for her specifically (just as Mike Clelland feels the owls in his own life are communicating something to him on an intensely personal level). We might expect an owl to be perched on a tree branch, but here the owl prefers a mailbox—a ‘message’ box, a communications receptacle. In Western culture, owls are often associated with knowledge and wisdom, and so it is fitting that, in the very same scene, the first thing Johnny 5 demands of Stephanie is “input.” She’s delighted: “That’s information,” she replies, “I’m full of it!” As an aside here, it’s also worth remembering that Harry Potter’s beloved owl, Hedwig, was also a messenger, serving Harry faithfully for years by delivering his mail to him.

The prominent inclusion of the owl in Short Circuit was most likely little more than an effort to enhance the spooky atmosphere of Stephanie’s introduction to Johnny. Nonetheless, in the implied context of the scene (a close encounter with an alien entity), and in light of Mike Clelland’s work, the presence of the owl assumes a deeper meaning, whether or not it was consciously intended.

The mystical connection between owls and otherworldly entities also presents itself in an entirely different film: the 1982 inspired-by-real-events domestic chiller, The Entity, starring Barbara Hershey.

This disturbing film follows the plight of Carla (Hershey), a young, essentially single mother of three. One day, without warning, Carla is viciously beaten and raped in her bedroom by a powerful but invisible entity. In the days and weeks that follow, Carla continues to be sexually assaulted by the entity and, fearing for her sanity, seeks help, first from a skeptical psychotherapist, and later from a team of parapsychologists. All the while, the entity is relentless in its aggressive sexual pursuit of this traumatized woman.

In many respects, The Entity can comfortably be classed as a horror movie, but it also flirts with science fiction. It constantly defies genre expectations; perhaps, in part, because it is based on a true story—the rigidity of genre rarely applying to life as we live it.

The film’s sci-fi element is particularly identifiable in an onscreen debate surrounding just what the entity actually is, and where it comes from. In the third act, the team of university parapsychologists devises a plan to capture and kill the entity for scientific study. Their weapon of choice: liquid helium.

One of the parapsychologists explains:

“What we’re seeking is to determine if this entity has mass. If in fact this is the case, then we should be able to freeze it, verify its objective existence, and prove that it isn’t just a psychic projection, but rather an independent force from some other level of reality that has never been isolated.”

Spoken about in these terms, the entity seems to have less in common with the traditionally supernatural (ghosts, for example) and more with the interdimensional trickster intelligences theorized by the likes of Jacques Vallee and John Keel.

The interdimensional hypothesis posits that UFO entities might exist beyond space-time and can flit in and out of our reality at will, assuming a multitude of forms—from the faeries, goblins, and incubi of ages past, to the UFOs and aliens of modern times. This theory is explicitly brought to mind in The Entityduring a scene in which Carla’s psychiatrist, Dr Sneiderman (Ron Silver), attempts to dispel her “irrational” belief in the literal existence of her invisible tormentor, showing her old drawings of goblins, demons, and faerie folk: “They were supposed to abuse people sexually,” he tells her, “they were supposed to impregnate people. Do you think these things really existed then!?”

It is notable that the true nature of the entity is never discovered, and there is no indication that it is anything so mundane as the lingering ghost of a deceased man; indeed, no indication that it was ever human at all. In the movie, the entity’s few physical manifestations take the form of dazzling lights, bright, fast-moving orbs, and electrical discharges—phenomena typically associated with UFOs. In one scene, when asked by parapsychologists to reveal itself, the entity appears literally as an unidentified flying object, a vaguely spherical green light that calls to mind the green fireballs frequently sighted over US nuclear installations throughout the late 1940s and which lead directly to the formation of the USAF’s Project Twinkle. The stunned parapsychologists look on in awe in shots that wouldn’t seem out of place in Spielberg’s Close Encounters of the Third Kind.

The woven owl in Carla’s kitchen. Here she appears to be smiling at the owl. This is never explained in the movie.

So where do owls come into this? Well, they’re onscreen throughout the movie, from beginning to end, as decorative wall ornaments. In the hallway, directly by Carla’s front door, we can see a board displaying five owls made from coloured felt. In Carla’s kitchen we can see a woven owl on the wall near the sink. At one point, in Carla’s bedroom, her dressing chair even appears owl-like. The camera never dwells on any of these images, but they are noticeable to the perceptive viewer. Why this owl motif pervades the film and whether or not there was conscious purpose behind its inclusion is debatable.

Five owls stand watch over Carla’s front door. Is their purpose to keep something out, or to keep her in?

The Native American Hopi people traditionally associate owls with sorcery and evil. In Mesoamerican cultures, the owl is considered a symbol of death and destruction. In the Mayan religious text, the Popol Vuh, owls are described as messengers of Xibalba (the Mayan “Place of Fright”). In these folkloric and religious contexts, owl imagery perfectly complements the nature and intent of the malevolent entity in the movie.

The owl is noticeably skewed on the wall as Carla feels the strain of her abuse.

I could waffle on about all of this for quite some time without threatening to reach anything resembling a conclusion. So, I’ll leave it here. Next time you watch a movie—any movie—keep your eyes peeled for sneaky owls… you never know where they might decide to put in an appearance.

{ http://mysteriousuniverse.org/ }