The Omega Manifesto

The Omega Manifesto establishes Christian worldview for the last days while exposing the end game of the global elite and the New World Order they have long envisioned. Author, Theologian, and Researcher Scott Keisler packs over nine years of in-depth research into this uncompromising volume as he skillfully shatters the false-reality matrix of establishment politics, economics, the media and more. The Omega Manifesto covers a wide range of fascinating topics including but not limited to creation / evolution, Israel in prophecy, the Illuminati, the Purpose Driven / Church Growth movements, Genesis 6 and the Nephilim, UFOs, and Satanism. The final chapter of is a blockbuster in which the previous nine chapters come together in a startling and unexpected way. After reading this explosive book you’ll never look at the world the same again!

History's biggest lie is that there's one "God" and he created the universe out of nothing. Nothing has done more damage to the human psyche than monotheism - the doctrine of an all-powerful "Spy God", the divine peeping Tom, who sentences to hell anyone who doesn't slavishly obey him. In fact, the universe is a mathematical "God factory" and creates infinite Gods over eons of time. The universe, via dialectical ontological mathematics, is converging on the perfect answer to everything: the condition known as the Absolute or the Omega Point. The universe travels, mathematically, from Alpha to Omega, from perfect potential to perfect actualization. The ancient secret society of the Illuminati has waged a war against Abrahamic monotheism and promoted the doctrine of "becoming God". Mathematics is the Philosopher's Stone that can transmute base metal (ordinary humans) into gold (Gods). You too can complete your cosmic journey, across countless reincarnations. Are you ready to become an Omega Human?

From Karl Marx to Wyndham Lewis, this book examines Max Stirner's influence on the modern manifesto. Max Stirner has long proven to be an elusive figure at the fringes of 19th-century German idealism. He has been portrayed as the father of the philosophical dead end that was egoistic anarchism: a withered branch of an ineffectual movement, remembered largely because of its suggestion that crime was a valid form of revolutionary action. From this perspective, egoists subscribed to extreme forms of anarchism and defended acts of theft, assault, and even murder; egoism only held lasting appeal to rebels, nihilists, and criminals; and Stirner's ideas could – and should – be consigned to the dustbin of history accordingly. The Ego Made Manifest argues that many of the accepted truisms about Stirner and his reception are false and that his contribution to modernist and avant-garde manifesto-writing traditions has been overlooked. Beginning with his influence on Marx's Communist Manifesto, Wayne Bradshaw reinserts Stirner into the history of manifestos that not only rebelled against tradition but sought to take ownership of history, culture, and people's minds. This study documents the trajectory of Stirner's reception from mid-19th-century Germany to his rediscovery by German and American readers almost 50 years later, and from his popularity among manifesto writers in fin de siècle Paris to the birth of Italian Futurism. Finally, it considers how American and British interest in egoism helped inspire Vorticism's satirical approach to revolt, and how, in an age of extremism, Stirner's ideas continue to haunt the modern mind.

The years before World War I were a fertile period for artists in Europe and the United States who were challenging aesthetic convention in music, writing, and the visual arts. These early pioneers of modernism sometimes preferred to work alone, but just as often they were associated with groups whose boundaries were permeable and freely changing. While these individual groups_including the Futurists, Imagists, Blue Rider, and the Second Vienna School_have been thoroughly studied, scholars of the period have often neglected the formative and pervasive interactions of these groups across geographic and artistic boundaries. Providing a historical taxonomy of this influential milieu, Milton Cohen demonstrates how these groups were largely responsible for the artistic innovation and nearly all the avant-garde agitation and major events of these years. With concluding appendices intended for scholars and specialists, this engagingly written book will be useful not only for classroom use and scholarly research, but will appeal to anyone interested in reading a fresh approach to the history of early modernism.

Modernism à la Mode argues that fashion describes why and how literary modernism matters in its own historical moment and ours. Bringing together texts, textiles, and theories of dress, Elizabeth Sheehan shows that writers, including Virginia Woolf, D.H. Lawrence, W.E.B. Du Bois, Nella Larsen, and F. Scott Fitzgerald, turned to fashion to understand what their own stylized works could do in the context of global capital, systemic violence, and social transformation. Modernists engage with fashion as a mood, a set of material objects, and a target of critique, and, in doing so, anticipate and address contemporary debates centered on the uses of literature and literary criticism amidst the supposed crisis in the humanities. A modernist affect with a purpose, no less. By engaging modernism à la mode—that is, contingently, contextually, and in light of contemporary concerns—this book offers an alternative to the often-untenable distinctions between strong or weak, suspicious or reparative, and politically activist or quietist approaches to literature, which frame current debates about literary methodology. As fashion helps us to describe what modernist texts do, it enables us to do more with modernism as a form of inquiry, perception, and critique. Fashion and modernism are interwoven forms of inquiry, perception, and critique, writes Sheehan. It is fashion that puts the work of early twentieth-century writers in conversation with twenty-first century theories of emotion, materiality, animality, beauty, and history.

The concept of the 'smart city' as the confluence of urban planning and technological innovation has become a predominant feature of public policy discourse. Despite its expanding influence, however, there is little consensus on the precise meaning of a 'smart city'. One reason for this ambiguity is that the term means different things to different disciplines. For some, the concept of the 'smart city' refers to advances in sustainability and green technologies. For others, it refers to the deployment of information and communication technologies as next generation infrastructure. This volume focuses on a third strand in this discourse, specifically technology driven changes in democracy and civic engagement. In conjunction with issues related to power grids, transportation networks and urban sustainability, there is a growing need to examine the potential of 'smart cities' as 'democratic ecologies' for citizen empowerment and user-driven innovation. What is the potential of 'smart cities' to become platforms for bottom-up civic engagement in the context of next generation communication, data sharing, and application development? What are the consequences of layering public spaces with computationally mediated technologies? Foucault's notion of the panopticon, a metaphor for a surveillance society, suggests that smart technologies deployed in the design of 'smart cities' should be evaluated in terms of the ways in which they enable, or curtail, new urban literacies and emergent social practices.

The bold graphic images made by artists affiliated with Vorticism, British Futurism, and the Grosvenor School of Modern Art capture the optimism and anxiety of early twentieth-century Britain. This richly illustrated volume features rare British prints from the Leslie and Johanna Garfield collection dating between 1913 and 1939—a period marked by two world wars, a global pandemic, the Great Depression, and the rise of Fascism and Communism, but also new technologies, women’s suffrage, and a growing focus on public access to art. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. At the heart of the catalogue are the colorful linocuts made by artists associated with London’s celebrated Grosvenor School. The visually striking compositions by Sybil Andrews, Claude Flight, Cyril E. Power, and Lill Tschudi, among others, convey the vitality of quotidian life during the machine age.