Mind Scanner: Beams Of Light And Telepathic Control

It’s very common that we encounter deep in the forest psychic forces which easily comb through our brain. They already know about our deepest fears and read any memory. What is happening in many stories reflects a lot of real accounts of close encounters both in UFO-sightings as in supernatural encounters. In the darkest places, there is not only telepathic reading of the mind, the strange entities are creating lively scenarios taken from the individual’s memories and driving the victim into madness.

Mind control and “cockpit” intrusion is a theme running through many books and films by Stephen King. The most elaborate description could be found in “Dreamcatcher” (Duddits). The individual human mind becomes the battleground and there is even a strategy to create a safe place where to store secrets in order to protect them from the alien entity.

King develops an interesting concept where we can see our mind as a non-material universe along the normal world. It’s like a building with storerooms with images of the past.

The “rooms” with the memories are always an interesting playground for evil entities. Another very good example is “IT”. Pennywise, the monster, has obviously the same abilities as an experienced psycho-analyst. He finds the weak spots. These dark entities skip through our memories like the files on a hard disk. When the psychotherapist needs years to bring back hidden or suppressed memories they act like a data reader. In a quick scan, they find what’s useful for them.

They have the ability to let these memories overwhelm the victim and they put you on a ride to the darkest corners of your life. They provoke reactions when the memories, for example, lead to a discussion and a fight inside a group of friends. The alien entities create also some sort of “fake news” or “fake memories” they mix with the real memory. They want to activate strong emotions like shame, guilt, and anger. In the end, there is violence and panic.

It can happen in a way that present reality mixes with images from the past. Places, situations, and people enter the reality like ghosts. A new virtual reality is created.

An excellent example is Adam Nevill’s recent successful forest horror novel and film “The Ritual” where the past overwhelms the group of friends in the middle of the forest. Somebody seems to know exactly about their backstories.

The concept appears also in prominent ghost house movies and books. Here is the house or the ghosts inhabiting the house are the mind scanners and creators of tormenting visions of the past.

In “The Shining”, the hotel knows everything about Jack Torrance and what he did to his son and his family. In the “Awakening”, written by Stephen Volk, the hero becomes overwhelmed by her past in a tragic way.

Is this just as convenient concept for any writer? Of course, it is a way which makes it easier to reveal backstories and there is also in my project an element where the forest triggers memories.

This comes not surprisingly since horror is always a road back into our childhood. Horror works best if the creator puts us back into the state of a child. Therefore we see in some stories these journeys back into the childhood but not necessarily. Also, traumatic experiences of adults are often the motive which comes up.

However, this is not something which came with fiction, fiction borrowed from reality. Alien entities that can read our minds are a very common experience.


It is a universal and archetypical experience with a long tradition. We see also similar images and stories which run straight through religious accounts, visionary experience, and modern Ufo-lore. A typical description is the grey aliens with their black impenetrable eyes looking directly into the human soul.

A very prominent motive is the light beam scanning the mind. The light beam originally often appears in a religious context and can be seen in many paintings in churches and illustration. Light beams are a central element in close encounters but interestingly also in visionary experience as out of body experiences. Light Beams scanning an observer are an element in records about dangerous lights in the forest.

Jacques Vallee found an example (in “Dimensions”) in Robert Monroe’s book “Out Of The Body”: “I suddenly felt bathed in and transfixed by a very powerful beam that seemed to come from the North, above 30 degrees above the horizon. I was completely powerless, with no will on my own, I felt as if I were in the presence of a very strong force, in personal contact with it. It had intelligence of a form beyond my comprehension, and it came directly (down the beam) into my head, and seemed to be searching every memory in my mind. I was truly frightened because I was powerless to do anything about this intrusion”.

Here we have all the key elements of this kind of paranormal experience of getting “scanned” by an unknown entity, which also happens in Ufo encounters a lot. There is often the mention of a cold intelligence, not benevolent but also not hostile in a common way. There is something very “technical” about this. Its as if the scanner is sort of a machine hiding behind different masks. Another good example is the Whitley Strieber experience in his book “Communion”, one of the most frightening books I ever read.

We see it also in the near-death experience. The traveler is often scrutinized and a “vivisection” of his character does happen.

Perhaps sometimes cultural knowledge and interpretation of anomalous experiences mix. The “reading of the past” of a person, of the sin or the guilt, is part of the Christian Beyond. When we are dying we will have to face last judgment. Thus, it is questionable what was there in the first place.

As Carol Zaleskis says in “Otherworld Journeys” the experience is often influenced by education. A Christian education with its rich world of images certainly had an influence on the interpretation of visionary experience, particularly in medieval times.

But one thing is for sure. The possibility that some “things” or entities have the abilities to look straight into our mind, data reading our innermost fears, is one of the terrifying aspects when the other world enters our world. Our very concept of survival lasts on the assumption that we can protect our thoughts and our memories. What if we can’t? What if there is right now some supernatural hacker sitting somewhere in a dimension close to our dimension and reading our thoughts like a remote controller? And even more, what if we are not any longer in control of our thoughts and our memories?

In the forest, there are places where a demonic twisting of the thoughts we already have can happen. In Algernon Blackwood’s masterpiece “The Willows” it’s not the physical assault which puts the forlorn heroes in deadly dangers. It is the intrusion into their minds because they stopped in the wrong place, where the veil between the dimensions is thinner. And sometimes there is somebody – the elder gods – sitting on the other side, waiting and listening, looking to find a victim.

There are more disturbing possibilities: What if “knowing somebody’s soul” is meaning more then scanning the mind? Could it mean there is someone out there even knowing about the souls’ past lives experiences and individual character? Sometimes we feel we meet the hidden screenwriter or director of our lives at certain points who doesn’t need a big scan of the mind since he already knows.

The Origin Of Evil

Stories about the other world often explore the origin of evil. My work is no exception. The question about the origin of evil lies at the bottom both of philosophical work as work of art. In philosophy and theology, the question is often discussed as “theodicy”, which also implies the question why is there evil in the world?

Season Three Of Twin Peaks, already mentioned in the latest post “Ontological Shock“, is not only an example of a visionary experience but also a breathtaking meditation about the origin of evil by David Lynch in episode 8 of the outstanding series.

 

Episode 8 led to many discussions and became a milestone in modern TV, its central sequence of a nuclear blast turning into a surreal trip compared to Kubrick’s Odyssey 2001.

Along the convincing creative work of David Lynch there are a couple of remarkable things: on one side there is a near-literal visualization of gnostic ideas and also neo-platonic philosophy where things getting transformed from the world of ideas into the material world. The gnostic dualism has never been so obvious as in episode 8. On the other side, it evokes a feeling of a cosmic evil without explaining too much. On some level, there is no explanation necessary.

I wouldn’t even say this is an explanation of evil or the creation of evil (the appearance of Bob – the later killer-demon triggered that interpretation).

There could not be an explanation where there is no real explanation. There might be belief-systems or philosophical systems but episode 8 let us feel a darkness which can’t be understood in an intellectual way. There is no explanation. The atomic blast might not have created evil but perhaps it was something like a door-opener. If we imagine a universe full of life, full of conscience there are always elemental cosmic powers waiting in their otherworldly realm for an invitation.

Todd VanDerWerff is right when he writes in his article on Vox.com, “you can try to evoke evil in the audience”. What we can do in a movie or a series is that kind of meditation which let people remember something which they do know but what has been forgotten.





Furthermore, words fail to explain what evil is. What David Lynch does brilliantly in his work, is to make the invisible a visible and palpable thing through an atmosphere, through stories told in pictures and the interplay of actors who can express something which works like a virus and can possess you completely.


We get it that the ancient gnostic idea is true that the material world itself carries the energy of evil, that is is always around us and looking for expressing itself in horrible manifestations. You can show how it is always at work and be shaping our lives if we don’t care.

It always finds a way into our world, and there are endless forms or masks or ways of deception. It needs chaos to prevail and tempts us in ways we don’t imagine.

In the Forest Dark Movie Project, I will present my own vision about the origin of evil. I believe there is something we all know about this, but the definition is also a thing of individual belief and experience in life. A problem I see at the core of this question is that words fail to describe precisely what it is. As we have seen in “The Demonic Principle” even Goethe struggled with appropriate definitions.

Maybe there is even a relationship between creativity and the origin of evil. Longtime creative work is often also an attempt to express what is unspeakable, and it can be a gift or a curse to deal with certain things – it can mean for the artist to undergo his own dark journeys or he risks to become the sorcerer’s apprentice and gets abused in the cosmic battle between light and dark. Even more, the artist might be chosen a long time before by higher forces without knowing himself and given the task to communicate and to give us insight into the real order of the world.

Ontological Shock

Those who return from the other world are never the same. A visionary experience is an ontological shock.

Agent Cooper’s journey in “Twin Peaks – The Return” appears to be like the aftermath of a shock. It resembles both real cases and the endless chain of mythological stories.

This is not an interpretation of the new landmark series by David Lynch. The story of “Twin Peaks – The Return” is very special and leaves room for a lot of interpretations.

I am talking about underlying themes and archetypical patterns. It’s about something which happens also in reality not only in fiction.

“Ontological shock” as a theme had been a driving force in the development of the Forest Dark. These things happen more often as we think and sometimes in a more subtle way.

What do we mean by “ontological shock”? This is a philosophical term; It is the state of being forced to question one’ worldview. The term appeared – not surprisingly – in connection with the MATRIX movie and was one of the titles in the soundtrack.

So, many phenomena, as described earlier, like dangerous lights in the forest, UFOS, apparitions in the forest could create an ontological shock. If we see something which is simply not possible, this could lead to an ontological shock.




It is interesting, however, that in dreams we experience a lot of things which are not possible, like being able to fly, but we don’t remember them as a shocking experience.

In theological terms, an ontological shock is also related with non-being. This is an interesting aspect of visionary experiences. They open up the question of existence and non-existence.

Furthermore, the return from the other world is probably the shocking moment. We are not any longer in awe of the wonder or occupied by questioning what’s going on but being back in the “normal world” is the most difficult time. We can’t pretend like nothing has happened.

In Agent Coopers’ journey, we find mythological archetypes as “Orpheus” or classic folk-story motives like “Rip Van Winkle”. Somebody vanishing and reappearing years later has always been a very prominent motive in legends and folklore throughout all times.

Even in modern UFO-stories “missing time” is a typical part of the narratives of alien abduction victims. When David Lynch did “Twin Peaks – The Return” there had already been a long tradition of these stories.

However, another interesting question is if the ontological shock is something which happens after the return from the other world, is it because we learned about something which opened another reality upon us or is it because we can’t understand our everyday world not any longer?

Agent Cooper has obviously forgotten about the normal world after his return and the normal reality is for him the otherworld.

Perhaps it is also the moment of shock when we understand what our world really is (facade, a kind of stage).

Furthermore, the ontological shock seems to be related on one side with a realisation (my whole idea of reality was wrong) but on the other side with the loss of memory.

Agent Cooper, when returned from the black lodge, has forgotten about nearly anything. He needs to “wake-up”. In his forlorn state, the everyday-like world appears like a dream.

The most interesting part of this is that it is a familiar thing. It needs a little shift of point-of-view, and we can see the strangeness of our world ourselves in certain moments of heightened awareness.

People who had a visionary experience like near-death-experiences are sometimes conflicted that they cannot any longer relate to the “normal worldview”. They can see “through things”.

Carol Zaleski writes in “Otherworld Journey”: “Several accounts describe a liminal period after recovery, during which the near-death subject, with one foot still in the other world, finds it excruciatingly difficult to adjust to normal life”.

Zaleski finds that in many accounts the “visionary transformed” has completely changed his life, doesn’t speak about what happened, doesn’t laugh and expresses a deep seriousness. This applies both to medieval accounts of otherworld journeys as modern near-death experiences. Agent Cooper has a lot in common with medieval visionaries.

If we look at David Lynch’s cosmogony everything makes sense. In a BFI article (Remain In Light…) B. Kites writes convincingly about the obvious elements of gnostic religion and Indian Vedanta in Lynchs Work. It’s a view which has been discussed in Anamnesis earlier, the soul reborn entering our world and forgetting what has been before. “The Soul take on the guise of individual identity and enters the theatre of the world…where it forgets its origins”.

In this context Plato’s End of Republic with the “Vision Of Er” is very interesting to compare. It is like the very fundament of both works of fiction and real accounts of visionaries about otherworld journeys.

However, things are a bit more complicated. In otherworld journeys, it is not about simply being shocked because one sees suddenly what’s really going in, it is also disorientation and pain because one can get caught in the treacherous maya other world (this is also part of Eastern theological systems).

In these spheres, there might be forces which want to forget the soul about its origins. It wants us to get in a state of shock and it is not about revelation it is about deception. Thus in some cases the visionary transformed can be the victim of deception.

Ontological shocks happen also in our everyday world. It might not even imply the witnessing of supernatural events but sometimes an incredible set of circumstances leading to mind-shattering events. It looks like somebody is doing this and this makes us fear. Or, somebody wants us to have fear.

The important question is who is behind certain cases. Is there somebody out there who can give us an “ontological shock” if he wants to? B. Kites mentions the corrupt gnostic demiurg as part of Lynch’s cosmogony, which sounds convincing, if we think of the “theatre of our lives” as a battleground of cosmic forces of good and evil.

The Local Gods

Walter Evan-Wentz, a student of folklore, developed some very interesting ideas about the ancient gods, religion and paranormal phenomena. Among the famous “Tibetan Book Of The Dead”, he is also well-known for his book “The Masked Gods” in his time. It’s common knowledge now that the ancient gods are continued to live under different names.

However, Jaques Valleé speaks in his book “Dimension” about an even more interesting discovery by Evan-Wentz: “Could it be, he asked, that every land has its own psychic and telluric forces, contributing to the appearance of certain spirit entities, regarded by human beings as gods and goddesses? (Jacques Vallee, “Dimensions”)”

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As I said in The Summoning I think that rituals and secret practices are often the expressions of the hidden forces at a certain place. It is an interesting thought that these gods are an expression of a psychic and telluric force rather than universal beings, which are usually imagined as celestial beings. However, if we look at ancient and even Christian tradition it makes sense. There are many saints which are special and have some sort of “local identity”.

The most interesting thought by Evan-Wentz is that not only the locals but the visitors, the new settlers, the intruder comes under influence of these gods.

Evan-Wentz writes in Masked Gods: “They had confronted here that great psychic entity which was the spirit-of-place, the heart of a new continent. It shattered them completely. But each succumbed in a different way”.

I believe that is what often also folk horror stories are about. It’s not only a potential confrontation with the locals but the visitor comes under influence of the landscape and its psychic forces. These forces find expression in paranormal phenomena but not necessarily.

Evan-Wentz reported that he heard about “shining beings”, which appeared to the Indians in California on sacred mountains which were very similar like the encounter the founder of the “Church Of Latter-Day”, Joseph Smith, had. It seems that in the new world resides a powerful psychic force, which triggers people to change in a certain way. It tends to create its own kind of belief-system. The otherworldliness of the new world is a different one as in Europe or Asia.

Sometimes it is all about atmosphere and a sort of hidden influence felt by visitors or by inhabitants. Often we can’t lay our finger on it. It’s difficult to describe what it exactly is, but we know it is there. Imagining these psychic forces as gods is a logical way to give these forces some face. In stories, it’s a challenge because if you want to stick true to otherworldy realities you might not have a Bigfoot-like monster or an ax-swinging madman as an antagonist. Therefore it’s sometimes difficult to explain the story.

Often we deal with’s what left of paranormal events a long time ago. Some supernatural-god-like force left its footprint on the landscape and the local population. Wonders and unexplainable mind-shattering events lead to weird belief-systems. Maybe the spiritual entity is already gone for a long time. But what happened is alive in a tribal memory.



If we look deeper into this, we are confronted with more mind-boggling questions: How could it be the place, the landscape? Why does it happen? My opinion is it even we not necessarily find a paranormal element either in a true story or legend or a fictional story it always tells us that there must be some sort of otherworld. It means there is an otherworld even more powerful than we think: our literal world, the landscapes, the forests, the mountains are more or less the surface on a windows-screen. The real world lies beneath. The otherworld carries our world.

And why? Maybe there is a spiritual control system. One favorite theory of Valleé and other ufologists is that men are the object of a control system engaged by invisible gods.

In the same chapter in “Dimensions” Jacques Valleé mentions a former Jesuit priest who implied in conversations with Vallee that “the “phenomenon originates with entities that manipulate our reality and our destiny for their own purposes”(Dimensions).

But what do we know? We can only develop our models or speculate what’s going on but the enormous impact both of real stories and fiction dealing with “the local gods” make us sure of the underlying truth.