On Mar 30, 2010, at 3:51 PM, COLIN BENNET wrote:
Jack Sarfatti wrote:EdWho is honest? Who is guilty in your opinion? Frankly I am not following these details and only consider it a humorous opera buffa side show in the sense defined by Colin Bennett. I am only interested in hard evidence like in the excellent documentary I Know What I SawColin Bennett wrote:The Thinking Man's Crumpet
Yes well "I Know What I Saw" represents credible Ufology. This quite in contrast to Exopolitics, which is a post-modern meme-based prototypal entertainment system. Facts and fictions do not relate to such virtual superliminal constructs as SERPO and Project Camelot, any more than this kind of plasma relates to the Yellow Brick Road of OZ or Bob Hope's Road to Morocco. If anything good could be said about Exopoliticians, it is that they represent cerebral Pop Art of a very high standard. This is a relatively new genre of highly wrought modern social comedy: it was born between the burgeoning games systems of web virtuality, and got caught between cyber culture, science fiction hallucinations, and countless elitist conspiracies of many a kidney. Having said that, I accept that Exopolitics is an authentic form of post-modern expression, and I rank it with Thunderbirds, Mission Impossible, and the UK Dr. Who.In that it contains techno and futurist elements Exopolitics is far superior to broad-ass TV sitcoms. Once one accepts Exopolitical culture as a form of multimedia expressionism, it becomes interesting in itself. Most of these Exopolitical people are well educated, highly intelligent, powerfully motivated, quite different to the usual Pippin-style foil-hat okies from Muskokie. That they are all most probably quite sane is an interesting psychological mystery in itself. That they do not turn into script writers is another mystery. Conventional media may be too small and conventional a form of expression for them.Like the aliens of Dr. Boylan, Exopolitical aliens are always engaged in some form of Flash-Gordon daring-do adventures against various Men In Black cabals. Such do not appear near gasworks or sewage treatment farms. They always appear in glamorous hi-tech inspirational backgrounds environment and appear to be complete functions of the techno world of image, symbol and metaphor rather than alien flesh.
Undoubtedly Exopolitics is Ufology as Art Form. Warhol would have loved these sculpted multimedia manifestations and their do-anything say-anything claims for human habitations on Mars and Aliens in the White House.
Exopolitics also has the purely erotic nature of instant throw-away consumerism. Let's face it - Exopolitics gives give good intellectual sex. It represents the thinking person's Lady GaGa in the manner (in Britain) that "arts" TV woman Joan Bakewell once was said to represent "the thinking man's crumpet."
Asking Exopoliticians for "evidence" of their claims and belief is rather asking Alf or Yogi bear what kind of ice-cream they like. "Fact" in the strictest sense cannot be applied to Big Media any more than it can be applied to Webre & Co. Their a much deeper game being played in terms of the movement and change within image, symbol, and metaphor. The liminal memes which make up the body of Exopolitics just don't work the "factual" way; they are performers in a comic metaphysical drama. We must remember that in our burgeoning Global Village there is no such thing as Cartesian distance.
Exopolitics is now at a stage in the Web Petri dish where they are about to mutate and transform themselves into at least imitation toy political systems relating to whole new systems of experience which relate minimally to the politics and economies old industrial world.
In that these things are are political, they are new forms of existential control. where old industrial facts and evidence are no more relevant than the horse-drawn carriage.
Here we have a completely new stage of story technology (see my feature for UFO magazine "Did a Fishmonger Do It?").
Colin Bennett M.A. (oxon)Author, LondonEditor, The New Fortean Times