“Hosti humani generis”

“Hosti humani generis” means the “enemies of all mankind”. I was happy to come across that Latin term the other day because I hadn’t felt right calling the current adversaries and a very active groups/Alien connect behind the current great reset. (Pseudo/fake).

An Occult concept representing a distinct non-physical entity that arises from a collective group of people. “Egregore (also spelled egregor; from French égrégore, from Ancient Greek egr? goros ‘wakeful’) is an Historically, the concept referred to angelic beings, or watchers, and the specific rituals and practices associated with them, namely within Enochian traditions.

More contemporarily, the concept has referred to a psychic manifestation, or thoughtform, occurring when any group shares a common motivation—being made up of, and influencing, the thoughts of the group. In there background you find a + and signs of connect/involvement with aliens (33+):

The basis of the new global economy is significant, not only for it inclusivity, but also for its significant and shifting exclusions, marginalization’s, and hidden bypasses fraught through its great grid or network of power relations.

Perhaps most revealing of all is the dissolution of the boundary between fantasy and reality – the
presentation of the vampire as an historical agent rather than a fictional character. Deeply ironic and radical, this slippage of fact and fantasy drives the vampire legacy much closer to its critical core.

If the traditional vampire articulates dissent, it also distorts the representation of real relations, which are displaced into the realm of the imaginary. In the form of the Anunnaki, however, vampires have infiltrated the field of conspiracy theories, spilling from the page onto the pavement, as it were. Moving from metaphor to a kind of mimesis of the grotesque, the vampire legacy shape-shifts – its implicit charge evolving into an explosive critique.

Anunnaki vampires are perfectly suited to, and a perfect representation of, a global economy in the scope of their engagement and their profile in emergent industries, but there are other ways as well.

This is because their secret agenda has always already been the creation of a one-world government –
a New World Order – bypassing nations and creating a system or web from which there is no escape.
The New World Order figures prominently in conspiracy theories and in literature such as Aldous Huxley’s
Brave New World (1932) and George Orwell’s Nineteen Eighty-Four (1949). But during the millenium and start of the 21st century, demonstrations against globalism have been on the rise, responding to rapid developments in transnationalism.

Icke

shapeshifting reptiles who have colonized earth and have in fact secretly been in control for some time. The Anunnaki form of the vampire – in its immersion in the constellation of contemporary conspiracy theories, in its reflection on global capitalism, and in its blurring of historical and fictional narratives – has moved this structure of dissent from the cloak of darkness to the light of day.

The Anunnaki, whose name is Sumerian, meaning “[t]hose who from Heaven to Earth Came” (Icke 5), refer to a reptilian race that originated from the legendary planet known as Nibiru (Planet X), or the place of the crossing, which has a 3,600 year elliptical orbit that takes it between Jupiter and Mars and then out into space (5).

For the past 450,000 years, according to Icke, the Anunnaki have been ruling earth in different guises and
from different dimensions. Through genetic engineering, the Anunnaki have manipulated the evolution of humans as a slave race. “[T]he Anunnaki created bloodlines to rule humanity on their behalf,” he writes, “and these are the families still in control of the world to this day” . The interbreeding of the rich and powerful (primarily, for Icke, the European aristocracy and the Eastern Establishment of the US) is not done for reasons of snobbery but rather “to hold a genetic structure that gives them certain abilities, especially the ability to ‘shape-shift’ and manifest in other forms” (9).

Working with these crossbreeds are full-blooded Anunnaki, some physically present on earth, others influencing individuals and events psychically from what Icke calls “the lower fourth dimension” (25). Forming a “Brotherhood” or secret society network, the Anunnaki have effectively “hijack[ed] the planet”/.The Anunnaki, like traditional vampires, enjoy eternal or extenuated life spans.

Icke claims that “[t]he fourth dimensional reptilians wear their human bodies like a genetic overcoat and when one body dies the same reptilian ‘moves house’ to another body and continues the Agenda into another generation”.

One type of creature Icke describes is a reptilian “inside” a human physical body; “[i]t seems that the Anunnaki need to occupy a very reptilian dominated genetic stream to do this, hence certain bloodlines always end up in the positions of power. Other less pure crossbreed human-reptilians are those bodies which are possessed by a reptilian consciousness from the fourth dimension and these are people who psychics see as essentially human, but ‘overshadowed’ by a reptilian” (46). Crossbreeding to infuse reptilian genetics into human bloodlines, the Anunnaki gain the means to defy death, as we conceive it.
In the sexual connection between slayer and victim, the Anunnaki also share another similarity with the
traditional vampire. However, depictions of the Anunnaki by Icke contain none of the erotic allure and
seductiveness that distinguish many vampire texts.

Instead, the sexual bond between the Anunnaki and their victims is characterized by violence – rape, murder, and Satanic ritual. “Satanism at its core is about the manipulation and theft of another person’s energy and consciousness,” writes Icke, who states that “[s]ex is so common in Satanic ritual because at the moment of orgasm, the body explodes with energy which the Satanists and the reptiles can capture and absorb” (295). For Icke, of course, the demons honored or appeased by satanic sex rituals are none other than the reptilian Anunnaki (34). Sex is also a fundamental tool of the Anunnaki mind control program and, more prosaically, it figures prominently as a means of blackmail.

The picture that emerges is one involving vast networks of sexual abuse and ritual murder – graphic accounts of satanic practices at the playgrounds for world leaders, such as the Bohemian Grove, a 2,700 acre compound north of San Francisco -mass graves for victims drained of their blood and libidinal energies – and the cultivation of sexual crimes to create an energy field that nourishes these rapacious ETs.
There are other shared traits between the traditional vampire and the Anunnaki, for example, the role of
secret societies. One of Icke’s chief contributions to the discourse on the vampire lies in his immersion of
this figure into a vast web of clandestine organizations, from ancient mystery schools and cults like the
Brotherhood of the Snake to the Knights Templar and the Masonic Order, from global entities like the UN, the Trilateral Commission, and the Council on Foreign Relations to drug cartels, satanic churches, and the Black Nobility. A keystone in this architecture of conspiracy is the Order of Draco, which conjures up the most famous of all vampires – Count Dracula – and underscores his demonic, draconian, and reptilian associations.

Another aspect of the Anunnaki relevant here is their multicultural image. The Anunnaki have been written retroactively into all mythological systems, making them true transnationals. For example, they people the pages of the Indian Vedas, Babylonian myths, as well as the books of the Bible, and they are at the heart of ancient snake-worshipping cults worldwide. Moreover, they are literally seeded into the human genome through the Anunnaki engineering of the race, interbreeding alien genetics into all peoples, symbolized, for example in Genesis, as the saliva Jehovah mixes with clay to form the first man.

Furthermore, in some of the earliest European vampire legends, the undead feed off the living members of their own families (Murgoci 18), which at first glance mitigates the social-class dynamic often conjured up in the image of aristocratic vampires draining the lifeblood of their locals.

From parasite into a political metaphore. There is, nevertheless, a critical and even radical dimension to the figure of the vampire, who, as a parasite, circulates as a political metaphor. The word vampire has from the start been used in oppositional literature as a symbol of an exploiting class, government, industry, or institution. A decade, “after the introduction of the word ’vampire’ in an English publication in 1732, (an account of the investigation of Arnold Paul in Serbia) … a serious utilization of the vampire as a political metaphor occurred in Observations on the Revolution of 1688 (… published in 1741)”

Anunnaki narratives and the selfs, have a lot to say in terms of the location, construction, and
commodification of the self. Unlike traditional vampires who feed solely off a victim’s blood or soul, the
Anunnaki 4 density beings thrive off of negative energies such as fear and aggression. These ETs drain individuals of their sense of wellbeing through the manipulation and absorption of libidinal energies and – ultimately – the theft of consciousness and agency.

On the one hand, the location of the self that the Anunnaki attack seems closely linked to consumerist notions.
For example, New Age self-actualization products as well as the market for energy drinks –
even caffeine-enhanced water – not to mention designer drugs – are only a few of the new industries catering profitably to the very malady Icke derives from Anunnaki domination.

You may love animals and grow plants inside your home and flowers in your garden, but every time you eat, you destroy the life of something. A something with a consciousness/awareness, that feels and desires to live, as we do.
To be aware of an insidious thread woven through biological life. We are born, we feed, and we die.
Life is a process of consuming other living things in order to stay alive as long as possible until death
in turn consumes us.

We tell ourselves life is a whole lot more, but it\s reduced to that as long as
we must feed to survive. If we can\t stay alive more than a few months without food, how can eating
not be fundamental to how we define our existence.

There are another number of things not discussed and hidden in this respect. We humans are not only part of the food chain and in addition an also preferred food source. Especial for the invisible lifeforms/spirits who are involved her in our psychical energy based universe. Energy/food is king.

The vampire, an archetypal figure who pops up in many myths from around the world, is most familiar to Western audiences in the form Bram Stoker’s Dracula and Anne Rice’s Lestat – aristocratic bloodsucking immortals of unholy origin.

In more paranoid circles, vampires have been re-imagined as a race of alien beings called the
Anunnaki, who have traveled from beyond to control and colonize the planet Earth (in fact, they’ve been in control on earth for a very long time. For quite a while now).

Returning to planet earth after 1940 in much larger numbers and now reproducing here in some underground bases.

Electronic banking, credit, and the dimidiation of stock exchange through on-line trading are some of the key elements in the recent development of the finance industry (Castells 152-53). But we can go deeper than this kind of analysis, and discover in the discourse on the Anunnaki examples of remarkable changes, not in select markets, but rather in the very structure of the economy.

The Anunnaki are linked/driving force behind the Cabal, to present-day capitalism and through their association with global control. Icke consistently depicts these alien bloodsuckers as monopolizing world leadership positions in government, finance, religion, and the media. In this sense, Anunnaki vampires represent a demonized expression of the unique form capitalism has taken during the very period in which Icke’s theories were formulated, published, and popularized.

The late 1990s issued in – for the first time in history – a global economy, defined by Manuel
Castells as, “an economy whose core components have the institutional, organizational, and technological capacity to work as a unit in real time, or in chosen time and on a planetary scale”.

The forces spearheading this change derive in part from key industries, notably information technology –
centering on the Internet – finance, and biotechnology (Castells). Other contributing factors in the formation of the global economy are government policies that restructured capitalism through laws deregulating and liberalizing economic activity (148). The global economy has, of course, catapulted the scale of capitalism;

“For the first time in history the whole planet is capitalist or dependent on its connection to global capitalist networks”/control.

However, as Castells also points out, the global economy, “is not a planetary economy … because it does not embrace all economic processes in the planet, it does not include all territories, and it does not include all people in its workings, although it now does affect directly or indirectly the livelihood of all humankind” .

Thus the global economy is significant, not only for it inclusivity, but also for its significant and shifting
exclusions, marginalization’s, and hidden bypasses fraught through its great grid or network of power relations.

Revolutionary or reactionary, however, these theories are inimical to the governing elite and represent a
tradition of oppositional practice. As Knight puts it, “conspiracy theory has become the lingua franca of a
countercultural opposition that encompasses a vast spectrum of political thinking from the committed to the casual”.

An initial difficulty in seeing the vampire as a symbol of the ruling class – capitalist or otherwise –
lies in the diverse variations taken on by vampires in different places and times. As Brian Frost puts it, “the vampire is a polymorphic phenomenon with a host of disparate guises to its credit” .

Among the various legendary “guises” of the vampire inventoried by Frost are spirit vampires, astral vampires, psychic vampires, animal vampires, and real-life vampires who are, “sadistic criminals … urged on by a physical craving for blood” and elexir/drugs.

Complicating the picture is the fact that Bram Stoker’s character of Count Dracula, who for many encapsulates the aristocratic ethos of the vampire, “lacks precisely what makes a man ’noble’: servants. Dracula stoops to driving the carriage, cooking the meals, making the beds, cleaning the castle” (Moretti 90).

Furthermore, in some of the earliest European vampire legends, the undead feed off the living members of their own families (Murgoci 18), which at first glance mitigates the social-class dynamic often conjured up in the image of aristocratic vampires draining the lifeblood of their locals.

There is, nevertheless, a critical and even radical dimension to the figure of the vampire, who, as a
parasite, circulates as a political metaphor. The word vampire has from the start been used in oppositional
literature as a symbol of an exploiting class, government, industry, or institution.

A decade, “after the introduction of the word ’vampire’ in an English publication in 1732, (an account of the investigation of Arnold Paul in Serbia) … a serious utilization of the vampire as a political metaphor occurred in Observations on the Revolution of 1688 (… published in 1741)” which identified foreign investors as “’Vampires of the Publick’” (Melton 538).

Only “a few years later, in 1764, Voltaire, in his Philosophical Dictionary,” refers to “vampires” as
“’stock-jobbers, brokers, and men of business who sucked the blood of the people in broad daylight’” (538).

But it was Marx who first suggested that the vampire can be interpreted as a metaphor of capitalism and who also implied a method for this interpretation. In volume one of Capital (1867), he writes that, “capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more
labour it sucks” (342).

Extrapolating on this analogy, Franco Moretti provides a reading of Bram Stoker’s Dracula, writing,

“If the vampire is a metaphor for capital, then Stoker’s vampire, who is of 1897, must be the capital of 1897” (92).

Accordingly, Moretti sees Count Dracula as the expression or figure of monopoly capitalism, which, to the 19th century bourgeoisie, could not be recognized as an emerging force but only as a relic of the past displaced into the present (93). Whether or not one agrees with Moretti’s reading of the Count, it is his method that’s of most value. As Rob Latham pus it,

“Moretti stresses that, while the vampire is a perfect general image for the basic mechanism of capitalist
development, individual vampire texts illuminate specifically the historical phases of capitalism in which they are produced” (129).

In their networked, post-subjective form of the vampire, the Anunnaki are metaphorical of the precise
trajectory assumed by contemporary capitalism. Network is the same term Icke uses to describe the reptilian base of operations today, writing,

“after thousands of years of evolution, the reptilian network is now a vast and often unfathomable web of
interconnecting secret societies, banks, businesses, political parties, security agencies, media owners, and
so on” (259).

Discourse on the Anunnaki vampire is in step with broader trends in American conspiracy theories, themselves responses to ideological crises associated with post-modernism and the growth of a network society. Writing on conspiracy theories in the postwar US, Timothy Melley points out that, “the term ’conspiracy’ rarely signifies a small, secret plot any more. Instead, it frequently refers to the workings of a large organization, technology, or system, a powerful and obscure entity so dispersed that it is
the very antithesis of the traditional conspiracy” (59).

Melley argues that conspiracy theories in the US have historically been an ideological means of validating
individualism. And this new, impersonal breed of conspiracism reflects anxiety over the loss of individuality and agency and stands as both “an acknowledgment, and rejection, of postmodern subjectivity” (65).

The Alien connect:

<20> Another revealing dimension of Anunnaki vampires lies in their collective depiction; unlike many accounts of
the vampire, Icke’s theories do not revolve around distinct Anunnaki individuals but rather focuses on them as a
class or group; in this sense the Anunnaki do not convey the same individualistic focus so often encountered in
vampire narratives. Even Anunnaki forms of consciousness are best described as a “groupthink” mentality. On this,
Icke writes that,

“the reptilians seek … to influence everyone by stimulating the behavioral patterns of the reptile region of the
brain:

hierarchical thinking

aggression

conflict

division

lack of compassion

a need for ritual” (46)

Symbolic of contemporary capitalism, this collective depiction of the Anunnaki reflects the rise of networks, and
their decentering development, which have instrumentally caused – and are themselves produced by – the new global
economy. The network supersedes the individual as the subject of the vampire narrative. Here Castells, speaking on
the network society of global economics, is instructive:

“For the first time in history, the basic unit of economic organization is not a subject, be it individual (such
as the entrepreneur …) or collective (such as the capitalist class, the corporation, the state)” (214).

Instead,

“the unit is the network, made up of a variety of subjects and organizations, relentlessly modified as networks
adapt” (214).