HTTP://WWW.STOPNATO.ORG.UK
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This is obviously the case; however the MK Ultra/Project Monarch mind
control programs used by the CIA (still today) tend to be motivated by
the reverse of the one used in A Clockwork Orange. In other words, using
trauma to cause someone in a post-hypnotic/triggered state to do
something that conflicts with their better morals, usually to use them
as an assassin/prostitute/drug courier etc. 

I would strongly recommend reading Trance: Formation of America by Mark
Phillips and Cathy O'Brien, or indeed any of the multitude of first hand
accounts from survivors of MK Ultra programmes on the net. I'd only say
it is just about as distressing an account as can be imagined and many
people simply refuse to believe the horrors that the CIA's victims went
through, primarily through self-denial. Still, it's important to know
about these things...


-----Original Message-----
From: Miroslav Antic [mailto:[EMAIL PROTECTED]] 
Sent: 14 October 2002 14:36
To: YUGO; 'BALKAN'; 'NATO'; 'SNN'; [EMAIL PROTECTED]; 'SNN-Yahoo'
Subject: A Clockwork Orange [WWW.STOPNATO.ORG.UK]

HTTP://WWW.STOPNATO.ORG.UK
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http://www.freerepublic.com/focus/news/768273/posts

CIA mind-control trials revealed as secret inspiration behind 'A
Clockwork Orange'

The Independent (UK) | 13 October 2002 | James Morrison

Anthony Burgess was inspired to write his most famous novel A Clockwork
Orange by his real-life
involvement in CIA-run mind-control experiments, a new biography claims.

The revelations, published next month, come as the controversial film
version gets its first mainstream
British television screening.

The new biography claims A Clockwork Orange's central theme - the use of
brainwashing to quell evil
impulses in the criminal mind - arose from Burgess's involvement with
the British secret service and
the CIA experiments.

It argues that many of the novel's other trademarks, including Nadsat,
the fictional slang in which it is
written, stem from the author's dealings with secret agents.

Burgess, a curmudgeonly interviewee, always refused to be drawn in any
detail on his inspiration for A
Clockwork Orange. When asked about the famous scene in which government
scientists pump images
of torture into the mind of its delinquent antihero, Alex, to rid him of
violent thoughts, he dismissed it
as an idea that came to him in a dream.

Now, a decade after Burgess's death, respected biographer Roger Lewis
believes he may have
uncovered the truth, thanks to a mysterious retired British intelligence
agent.

According to the anonymous source, Burgess became involved with the CIA
while working as a
Colonial Service education officer in Malaya in the 1950s.

There he became a party to trials for a mind-control process designed to
trigger emotional responses
in the brain using pain and pleasure - the inspiration, it is claimed,
for the chilling Ludovico Technique
in A Clockwork Orange.

The ex-spy's most compelling claim was that a sequence of capital
letters seen on Alex's bedroom wall
in Chapter 3 of the novel and supposedly lifted from Alex's school
trophies is actually an encryption
for the location of a US military base where "psychotronic warfare"
experiments took place. The
coded wording reads: "SOUTH 4; METRO COR-SKOL BLUE DIVISION; THE BOYS OF
ALPHA."

According to the spy, the figure 4 refers to the conjunction of four US
states, Utah, Colorado, Arizona
and New Mexico. To the south of this is a military reservation, based in
a metropolitan location. The
base is a training school (skol in Russian), initially supervised by the
US Navy's Blue Division, which
experimented with the Alpha waves of the human unconsciousness. Its name
was Fort Bliss; the word
"bliss" appears repeatedly in the chapter.

Another clue, Mr Lewis argues in Anthony Burgess, is the novelist's use
of Americanisms in A
Clockwork Orange. Amid the Russian-inflected flow of Nadsat are
scattered words like pretzel and
liquor, yet Burgess had not visited the US before the novel's
publication in 1962.

He adds that linguistic analysis of the writings of Burgess's alleged
collaborator, the former CIA
officer Howard Roman, suggests the latter may have even worded large
chunks of the novel himself.

When Mr Lewis asked the CIA for access to files pertaining to Burgess,
he was turned down with the
words,"By this action, we are neither confirming nor denying the
existence or nonexistence of such
records ..."

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