Merely the Method to Continue the Lie of a Fictitious Political Paradigm.

“Americans are being treated to political theater at its finest. It's not a theater of entertainment, however, but a coliseum of enslavement where in the world of deception, perception becomes reality. This theater requires audience participation, where we, the theater-goers, become part of the play. We are a truly captive audience, entranced into mindlessly choosing sides at the frenzied urging of the corporate media and partisan cheerleaders firmly seated behind the microphones and television cameras of the nationally syndicated media.

As the play progresses, we, the American people, become part of each act, believing that we actually have a voice in this pre-scripted performance. We are bombarded with lie after lie, each worse than the previous in an attempt to convince us that we can making a difference by choosing and cheering seemingly opposing sides on the stage before us. The biggest lie of them all is that there are not two sides, but just one. It’s “them versus us” in a fight to the death playing out before us in this 21st century Shakespearean tragedy. It’s not just death, but the premeditated murder of the middle class and anyone without a reservation at the globalists’ table. And the space at that table is limited.

The actors of this play are ostensibly at odds over funding the Affordable Care Act while a peek behind the curtain tells a different story altogether. Like any play, the ending of this has already been determined. The ending, however, is not the same as written in the commemorative program you were given upon your arrival at this theater.

The house lights have been dimmed not just for the performance, but to induce us into a hypnotic trance further enabled by the media mouthpieces of malice. As you gradually become accustomed to the theater lighting, you’ll see that it’s not just a play, but you’re being played. You’re being manipulated into believing that the government shutdown is the actual plot of the play, while it is merely the method to continue the lie of a fictitious political paradigm.

Audience members who remain seated and captivated by the stellar performances of the actors, while maintaining a mental death-grip on the media cheering “their side,” are sadly in the majority. They are yelling at just above a throaty whisper at us and others who see beyond and behind the curtain, telling us to sit down and shut up, as we are reaching a critical moment in the performance.

Meanwhile, the clock is ticking toward the October 17th deadline when we the U.S. will officially run out of money in this scripted, manufactured crisis. As the play builds up to its epilogue of evil, it serves its critical purpose of entertaining the masses and diverting our attention from the real issue, which is the killing of the U.S. dollar. The premeditated murder of the United States Petro-dollar is the real act taking place behind the velvet curtain. The play merely buys the actors, the murderers of the working class and the world as we will have once known it, time to arrange their own exodus from this coliseum turned theater.

The actors. aided by the media of malice, continue to perform brilliantly and are effectively distracting the majority of us through the final curtain call. Then, as the actors take their bows amid thunderous applause by the uninitiated, the majority of the audience will never see “it” coming.

They will not see the stagehands open the cages of the lions while simultaneously closing the doors and blocking the exits. The thunderous applause at the curtain call will hide the sound of the engines on the Lear jets and the rotor noise on the helicopters that will whisk the actors to safety, away from the unspeakable carnage that was planned from the beginning.

By the time the screams from those who remained dutifully seated become unbearable, the globalist bankers, the money changers, the power brokers pulling the strings of the political puppets, will be far from earshot. When the house lights are turned on, the remaining theatergoers who survived will suddenly awaken to a different life. For it was never about what was seen, but always about what was hidden. It was never about the government shutdown, but the shutdown of the majority. The same majority that continues to cheer for their side, unable or unwilling to comprehend that there is only one side. Their side." -- -- Global Research

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Reading Shakespeare Excites Your Brain

Shakespeare uses a linguistic technique known as functional shift that involves, for example using a noun to serve as a verb. Researchers found that this technique allows the brain to understand what a word means before it understands the function of the word within a sentence. This process causes a sudden peak in brain activity and forces the brain to work backwards in order to fully understand what Shakespeare is trying to say.

Professor Philip Davis, from the University’s School of English, said: “The brain reacts to reading a phrase such as ‘he godded me’ from the tragedy of Coriolanus, in a similar way to putting a jigsaw puzzle together. If it is easy to see which pieces slot together you become bored of the game, but if the pieces don’t appear to fit, when we know they should, the brain becomes excited. By throwing odd words into seemingly normal sentences, Shakespeare surprises the brain and catches it off guard in a manner that produces a sudden burst of activity - a sense of drama created out of the simplest of things.”

Experts believe that this heightened brain activity may be one of the reasons why Shakespeare’s plays have such a dramatic impact on their readers.

Professor Neil Roberts, from the University’s Magnetic Resonance and Image Analysis Research Centre, (MARIARC), explains: “The effect on the brain is a bit like a magic trick; we know what the trick means but not how it happened. Instead of being confused by this in a negative sense, the brain is positively excited. The brain signature is relatively uneventful when we understand the meaning of a word but when the word changes the grammar of the whole sentence, brain readings suddenly peak. The brain is then forced to retrace its thinking process in order to understand what it is supposed to make of this unusual word.”

Professor Roberts and Professor Davis together with Dr Guillaune Thierry, from the University of Wales, Bangor, monitored 20 participants using an electroencephalogram (EEG) as they read selected lines from Shakespeare’s plays.

In this initial test electrodes were placed on the subject’s scalp to measure brain responses.

Professor Roberts said: “EEG gives graph-like measurements and when the brain reads a sentence that does not make semantic sense it registers what we call a N400 effect – a negative wave modulation. When the brain reads a grammatically incorrect sentence it registers a P600 effect – an effect which continues to last after the word that triggered it was first read.”

Researchers also found that when participants read the word producing the functional shift there was no N400 effect indicating that the meaning was accepted but a P600 effect was observed which indicates a positive re-evaluation of the word. The team is now using magnetoencephalography (MEG) and functional magnetic resonance imaging (FMI) to test which areas of the brain are most affected and the kind of impact it could have in maintaining healthy brain activity.

Professor Davis added: “This interdisciplinary work is good for brain science because it offers permanent scripts of the human mind working moment-to-moment. It is good for literature as it illustrates primary human thinking. Through the two disciplines, we may discover new insights into the very motions of the mind.”

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