Fiction as a Precursor to Fact: Sci-fi "Predictive Programming" and the Emergent World Religion (

The New Religious Consciousness

Aldous Huxley first presented the "scientific dictatorship" to the public imagination in his book Brave New World. In Dope, Inc., associates of political dissident Lyndon LaRouche claim that Huxley's book was actually a "mass appeal" organizing document written "on behalf of one-world order" (Dope, Inc. 538). The book also claims the United States is the only place where Huxley's "science fiction classic" is taught as an allegorical condemnation of fascism (Dope, Inc. 538). If this is true, then the "scientific dictatorship" presented within the pages of his 1932 novel Brave New World is a thinly disguised roman a clef--a novel that thinly veils real people or events--awaiting tangible enactment.

Such is often the case with "science fiction" literature. According to researcher Michael Hoffman, this literary genre is instrumental in the indoctrination of the masses into the doctrines of the elite:

?Traditionally, 'science fiction' has appeared to most people as an adolescent genre, the province of time-wasting fantasies. This has been the great strength of this genre as a vehicle for the inculcation of the ideology favored by the Cryptocracy. As J.H. Towsen points out in Clowns, only when people think they are not buying something can the real sales pitch begin. While it is true that with the success of NASA's Gemini space program and the Apollo moon flights more serious attention and respectability was accorded 'science fiction,' nonetheless in its formative seeding time, from the late 19th century through the 1950s, the predictive program known as 'science fiction' had the advantage of being derided as the solitary vice of misfit juveniles and marginal adults.? (205)

Thus, "science fiction" is a means of conditioning the masses to accept future visions that the elite wish to tangibly enact. This process of gradual and subtle inculcation is dubbed "predictive programming." Hoffman elaborates: "Predictive programming works by means of the propagation of the illusion of an infallibly accurate vision of how the world is going to look in the future" (205). Also dubbed "sci-fi inevitabilism" by Hoffman, predictive programming is analogous to a virus that infects its hosts with the false belief that it is:

* Useless to resist central, establishment control.
* Or it posits a counter-cultural alternative to such control which is actually a counterfeit, covertly emanating from the establishment itself.
* That the blackening (pollution) of earth is as unavoidable as entropy.
* That extinction ('evolution") of the species is inevitable.
* That the reinhabitation of the earth by the "old gods" (Genesis 6:4), is our stellar scientific destiny. (8)

Memes (contagious ideas) are instilled through the circulation of "mass appeal" documents under the guise of "science fiction" literature. Once subsumed on a psychocognitive level, these memes become self-fulfilling prophecies, embraced by the masses and outwardly approximated through the efforts of the elite.

In addition to spreading virulent strains of thought, sci-fi has also been instrumental in the promulgation of Darwinism. For instance, the sci-fi literature of Freemason H.G. Wells would play an important role in promulgating the concept of evolution. J.P. Vernier reveals Wells' religious adherence to the concept of evolution and its inspiration on him as an author of science fiction:

?The impact of the theory of evolution on his [Wells'] mind is well known: it was first felt when he attended the Lectures of T.H. Huxley, at South Kensington, in 1884 and 1885, and, ten years later, evolution was to provide him with the fundamental theme of his "scientific romances" and of many of his short stories.?
- "Evolution as a Literary Theme in H.G. Wells's Science Fiction," 70

J.P. Vernier elaborates on the role of sci-fi literature, particularly Wells' "scientific romances," in promulgating evolutionary thought:

?Science fiction is admittedly almost impossible to define; readers all think they know what it is and yet no definition will cover all its various aspects. However, I would suggest that evolution, as presented by Wells, that is a kind of mutation resulting in the confrontation of man with different species, is one of the main themes of modern science fiction.?
- "Evolution as a Literary Theme in H.G. Wells's Science Fiction," 85

In Orthodoxy and the Religion of the Future, Bishop Seraphim Rose expands on the role of sci-fi in the promulgation of evolutionary thought:

?The center of the science fiction universe (in place of the absent God) is man--not usually man as he is now, but man as he will 'become' in the future, in accordance with the modern mythology of evolution.? (73)

Reiterating Vernier's contention that the sci-fi notion of evolution is "a kind of mutation resulting in the confrontation of man with different species," Rose observes:

?Although the heroes of science fiction stories are usually recognizable humans, the story interest often centers about their encounters with various kinds of 'supermen' from 'highly-evolved' races of the future (or sometimes, the past), or from distant galaxies. The idea of the possibility of 'highly-evolved' intelligent life on other planets has become so much a part of the contemporary mentality that even respectable scientific (and semi-scientific) speculations assume it as a matter of course. Thus, one popular series of books (Erich von Daniken, Chariots of the Gods?, Gods From Outer Space) finds supposed evidence of the presence of 'extraterrestrial' beings or 'gods' in ancient history, who are supposedly responsible for the sudden appearance of intelligence in man, difficult to account for by the usual evolutionary theory.? (73)

According to Rose, science fiction's traditional depiction of religion suggests that the future will inherit a nebulous and indefinable spirituality:

?Religion, in the traditional sense, is absent, or else present in a very incidental or artificial way. The literary form itself is obviously a product of the 'post-Christian' age (evident already in the stories of Poe and Shelley). The science fiction universe is a totally secular one, although often with 'mystical' overtones of an occult or Eastern kind. 'God,' if mentioned at all, is a vague and impersonal power, not a personal being (for example, the 'Force' of Star Wars, a cosmic energy that has its evil as well as good side). The increasing fascination of contemporary man with science fiction themes is a direct reflection of the loss of traditional religious values.? (73)

Expanding on the "mystical" themes of sci-fi, researcher Carl Raschke asserts that the literary genre invariably extends itself into the realm of the occult:

?The snug relationship between occult fantasy and the actual practice of the occult is well established in history. Writers such as H.P. Lovecraft and Edgar Rice Burroughs, progenitor of the Tarzan and Jane tales, were practicing occultists.? (303)

Raschke explains that sci-fi presents a future that has rediscovered the occult traditions of its past:

?Increasingly, science fiction with its vistas of the technological future intertwines with the neopagan and the medieval. The synthesis was first achieved with polished artistry in Lucas' Star Wars trilogy.? (398)

Eloquently summarizing the close correlation between science fiction and occultism, Raschke states: "Science fiction, 'science fantasy,' pure fantasy, and the world of esoteric thought and activity have all been intimately connected historically." (303)

Clearly, such ideas are fantastic to say the least. Yet, they have been given serious credence by contemporary scientists:

?Serious scientists in the Soviet Union speculate that the destruction of Sodom and Gomorrah was due to a nuclear explosion, that 'extraterrestrial' beings visited earth centuries ago, that Jesus Christ may have been a 'cosmonaut,' and that today 'we may be on the threshold of a 'second coming' of intelligent beings from outer space.' Equally serious scientists in the West think the existence of 'extraterrestrial intelligences' likely enough that for at least 18 years they have been trying to establish contact with them by means of radio telescopes, and currently there are at least six searches being conducted by astronomers around the world for intelligent radio signals from space.? (Rose 73-74)

According to Rose, the sci-fi genre's influence upon science could, in turn, provoke a shift in religious thinking:

?Contemporary Protestant and Roman Catholic 'theologians'--who have become accustomed to follow wherever 'science' seems to be leading - speculate in turn in the new realm of 'exotheology' (the 'theology of outer space') concerning what nature the 'extraterrestrial' races might have (see Time magazine, April 24, 1978). It can hardly be denied that the myth behind science fiction has a powerful fascination even among many learned men of our day.? (74)

In his final assessment of science fiction, Rose concludes that this ostensibly "scientific and non-religious" genre is, in truth, the "leading propagator (in a secular form) of the 'new religious consciousness'" that is gradually supplanting Christianity (77). Laced with occultism and intimations of an emergent pagan spirituality, science fiction could be facilitating a paradigm shift in religious thinking.