Analysis: “Cloud Atlas”

After you have seen the 2012 movie, Cloud Atlas, and if you really want to get the full value of this story, you need to read the book by the same title from which this cinematic mind-boggler is derived.  For, as talented as the Wachowskis and their filmmaking team prove to be as re-formulators of the original vision, the real genius is author David Mitchell. In the paragraphs below PluribusOne™ will go beyond all other breakdowns and analyses—no ordinary deconstruction is adequate—to reveal the meaning and significance of the story told by Mitchell and his muse. 

Those who seek to study this enchanting story at its deepest level—including, quite possibly, the author and filmmakers—will come to realize that they have been neurologically rewired and have already begun growing toward a more conscious grasp of the origin, purpose, functioning, and meaning of Omniverse and of their own unlimited potential for heightened experiencing of the fabric and fabricating of Life. Yes, “…there is a method to this tale of madness,” says Cavendish, and the following abbreviated analysis intends to support and speed the process of enhanced perception and expanded awareness on wings of which one may live more intentionally and fearlessly.  

The main key to understanding this story, which every critical reviewer seems to have overlooked as such, is the title. Mitchell has reported that the title of a piece of music by Toshi Ichiyanagi: Cloud Atlas, was an element of inspiration for his multi-genre novel—just the title, not the music. What inspired Ichiyanagi? While listening to his composition, we imagined Ichiyanagi drawing on feelings evoked by watching various kinds of clouds. Perhaps he found some connection to Alexander George McAdie’s 1923 book, A Cloud Atlas, which is literally an atlas of cloud types and formations as well as weather patterns while also exploring technological potentials for rainmaking.  

All phenomena arise from out of the same matrix of foundational principles of Omniverse, as I discovered in 1993 and expressed via PluribusOne™’s Rosetta Stone-like Noetitek™. There is synchrony and repetitiveness, with variations upon themes, among all universes and across all phenomena, including the patterns of creatures and clouds, weather and politics, events and locations, etcetera and etcetera. And, if Mitchell is a student of occultism or shamanic practices, his use of a sextet of plot-threads within which appears a sextet of personal dramas along with a musical sextet and many other sixes may be more than fruit of pure intuition. Six is the number correspondent with the emergence of quantum Consciousness from out of the blue and into the hazardous skeins of space-time physicality where archetypal plays are set upon literal stages. 

All “threads”—all histories of all creatures and all nations on all planets in all star systems in all universes, now and in the past and future—are facets of one interwoven story, one orchestrated masterwork: the endless tale of the One, its boundless process of experiencing every possible circumstance and condition of limitation and every imaginable scenario of escape to freedom from bondage as, by necessity and design, freedom from one state leads to imprisonment in another. Singular personal being is an illusion—we know ourselves through our intimate relationships with others—and the traveling of apparently separate souls from incarnation to incarnation, place to place, and time to time is equally illusory. Cloud Atlas is fiction and yet creative-nonfiction because every story imaginable is actual in the infinitude of Space-Time-Mind. This is why the story is so magnetic and “somehow real” to those becoming attuned to the higher reality where we find (to quote Zachry): “…all voices tied-up into one.”

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