The Art of Dissociation

The paintings featured in this post are by an artist with MPD/DID going by the name of Kim Noble, who began painting after time with an art therapist, each of her alters developed their own distinctive style. There will be a TV documentary on her in 2010 (see Daily Mail article from a few months ago), I will be interested to see how they cover the "Key" alter's Kabbalah fixation (you can predict it's just going to be a fluff piece about how brave and strong Kim is and how fascinating the condition is, which is undoubtedly true but it would be nice if they asked a few questions regarding her programming/abuse as a child). Although she does not remember the abuse she suffered (her front/dominant alters anyway), it is evident from her artwork that she was pretty severely abused and seems to have been programmed (some of them are particularly graphic depictions I should warn, may be triggering) though you will always get the skeptical view that she's just cashing in (which they will say about anyone saying anything that doesn't fit into their 'head in the sand' belief system). The name Kim means 'regal hill' (and/or 'royal forest' and 'golden'; if you look it up you'll generally find it's meaning is associated with nobility; 'Kimama' means butterfly by the way) and the relatively common 'Noble' surname obviously is also associated with the "elite"/nobility; her red hair look reminds me of the Merovingian bloodline (though that's obviously speculative at best, her extreme levels of dissociation would suggest she is at least the product of a bloodline and/or multigenerational abuse family). She has a daughter named Aimee who she managed to raise despite her problems (it seems she may have managed to get away from her abusers/programmers in her early teens), when she was born to the [Golden] Dawn alter she was taken into care for six months (when she returned Dawn did not recognize her and constantly looks for her baby).

She appears to have undergone occult Kabbalistic programming as evidenced by her 'Key' (of Solomon/key access to compartments of the mind, parts of her system) alter which draws Kabbalah inspired work complete with the Tree of Life and scenes of child sexual abuse charted by various occult symbols; I suspect that this is an alter that remembers some of the abuse (the 'Ria' alter appears to remember the most of the basic sexual/physical trauma programming) and is conscious of her system as some appear to be depicting her Kabbalah programmed internal system based around the Tree of Life. Note in the above example the backwards/mirrored writing, though it is more likely the result of image manipulation (a lot of them have been reversed like this for some reason), if you flip it horizontally it is much easier to read; some Monarch slaves are taught to write (and read) backwards and/or mirrored (+ different scrambled ways) from a young age as part of their programming (to develop the brain in a set way; but as I said I think the images have just been flipped).

You can see the the Four Worlds/"planes of existence" in Kabbalah doctrine ("Kabbalah, from the Medieval circles around study of the Zohar, distinguishes between four different "worlds" or "planes of existence" that successively link the Infinite Divine essence (Ein Sof), with our physical finite Creation."): Atziluth, Briah, Yetzirah and Assiah. Atziluth being the highest of the Four Worlds: "known as the World of Emanations, or the World of Causes. In the Kabbalah, each of the Sephiroth in this world is associated with a Name of God, and it is associated with the Suite of Wands in the Tarot."

Briah the second: "intermediate between the World of Emanation (Atziluth) and the World of Formation (Yetzirah), the third world, that of the angels. It is, accordingly, of the purest essence and without admixture of matter. It is known as the World of Creation. In western occultism, each of the Sephiroth in this world is associated with a Holy Archangel, and it is associated with the suit of Cups in the Tarot. The Biblical Archangels dwell in the realm of Beri'ah."

Yetzirah: "the third of four worlds in the Kabbalistic Tree of Life, following Assiah and Briah. It is known as the "World of Formation". "Yetsirah" as in "making" is as opposed to "Briah" as in "Creating": actually taking whatever matter that was created in the "Briah" and shaping it into the basic elements. Within the Western mystery tradition, the different Sephiroth in this world are associated with the angels, and it is associated with the suit of swords in the occult tarot. On the Tree of Life diagram it is associated with the Sephiroth Hod, Netzach and Yesod."

And Assiah: "also known as Olam Asiyah, עולם עשיה in Hebrew, literally the World of Action is the last of the four spiritual worlds of the Kabbalah—Atziluth, Beri'ah, Yetzirah, 'Asiyah—based on the passage in Isaiah 43:7. According to the Maseket Aẓilut, it is the region where the Ofanim rule and where they promote the hearing of prayers, support human endeavor, and combat evil. Their ruler is Sandalphon. According to the system of the later Palestinian Kabbalah, 'Asiyah is the lowest of the spiritual worlds containing the Ten Heavens and the whole system of mundane Creation. The light of the Sefirot emanates from these Ten Heavens, which are called the "Ten Sefirot of 'Asiyah"; and through them spirituality and piety are imparted to the realm of matter—the seat of the dark and impure powers.^[1][2] Representing purely material existence, it is known as the World of Action, the World of Effects or the World of Making. In western occultism it is associated with the Tarot card suit known as Pentacles (or Coins or Disks, the terminology varies according to the deck). The world of Yetzirah precedes it."

All four worlds are referenced, in a Kabbalistic Monarch programmed Tree of Life system these are internal worlds where certain ("blank slate") alters are placed. There are obviously many other pertinent symbols on the Kabbalistic box above (menorah, snakes, a lot of Hebrew script and letters Khaf, Pe, Zayin and Tet written on the side which probably spells something in Hebrew, tree with roots etc). The Hebrew letters and general symbols (some appear to be Alchemical/Zodiac signs/Hermetic) will have been part of her programming (used as codes/triggers and such) which I elaborate on a bit below.

Symbolic/kabbalistic Hexagon piece titled "Beware Nursery Rhymes Are Not What They Seem" which is so true, highlighting the use of them in mind control which I have discussed. The image isn't great quality but you can make out the symbolic breaking into pieces allegorical mind shattering 'Humpty Dumpty' (I covered it somewhere in this post) nursery rhyme which is also in Alice in Wonderland. 'Jack and Jill' is another one used in mind control (listed in Illuminati Formula) you can imagine it's usage with the alliteration of the protagonist's names and it's themes of physical labour (climbing up the hill to the well) resulting in head trauma and physical abuse from their mother's berating of them. 'Jack Be Nimble' is certainly a good one for fire traumas (note the boy above the candle; "Jack be nimble, Jack be quick, Jack jump over the candlestick.", and it sounds like it would be used to program ultra-flexible gymnasts and the like), it's worth noting occult/MK band Black Sabbath reference this twice on their Dehumanizer album (note the clear MK electroshock theme on the cover, with Death electrocuting a victim which is obviously beyond coincidence when you consider dehumanization programming). I think the central nursery rhyme is probably 'Ladybird Ladybird': "Ladybird, ladybird, fly away home, Your house is on fire, Your children shall burn!" 'Hickory Dickory Dock', her programming related to this is that something [ritual abuse] occurred at six (as it says 'what happens when the clock strikes 6'). 'Baa Baa Black Sheep': "Bah, Bah black Sheep, Have you any Wool? Yes merry have I, Three Bags full, One for my master, One for my Dame, One for the little Boy That lives down the lane." And many others are depicted, all are effective in mind control (a lot of it is dependent on the programmer's imagination and how they interpret the nursery rhymes and hypnotically instill that twisted interpretation into the mind of the child as part of their programming).

Key's focus on Kabbalism, the above hexagon shaped covered in astrological/Alchemical and other symbols suggests to me that she may have been programmed using the Lesser Key of Solomon Goetia as a programming script (i.e. what theme their programming/system will be based around, a good example in modern times would be alien/UFO abduction scripted programming, and the classics Wizard of Oz/Alice in Wonderland and whatnot, just about anything can be used though), which Monarch Illuminati programmers have historically favoured (as society progresses though, so do the scripts to relate more to the contemporary age; so "demons" make way for "aliens" and such [not that they don't believe in goetia). According to this gallery's info (see further down for details on the images) she even has an alter called (the aforementioned Dawn, which I guess they shortened in her media portrayal for obvious reasons)... 'Golden Dawn' (again showing her occult/Hermetic programming).

Returning to her Tree of Life system depictions, 'Key' wrote the names of the 10 Sephirot of the Tree of Life (these spheres would act as 'rooms' for an individual alter to be 'housed' in the system; there can be numerous Trees of Life and other Trees in this system depending on how many are needed to organize the alter system) from the lowest Malkuth to the highest Kether (and one layer in note the square pyramid symbol, gold key, this piece is called 'The Golden Key'; this is showing another part of her system where the aforementioned Assiah and Atziluth worlds are housed where you can see them written). Note other occult symbolism such as twin serpents coming out of an eye, crown etc in the inner-most (aside from the Tree of Life center which the system is based around) layer of the system.

The above one also by the 'Key' alter is particularly telling depicting some of the ritual abuse she suffered as many others have suffered similarly also. A young child put and held down on a table, surrounded and raped by their family and/or cult maniacs is a common trauma. Water tortures seem to be shown, one I think depicts a child thrown off a boat, tethered to it so he/she is dragged along behind it in the waves (and a similar thing with a child tethered to a truck), which would obviously be an horrific/terrifying experience for a small child (kept trapped down a well is another one shown I think, or that is implied by the well). A child hung on a tree, scenes of electroshocks, fire tortures, bestiality, children kept in cages/behind prison bars and trapped in a box/coffin (usually with spiders or some type of creepy crawly thrown in with them) is another commonly used trauma. The layout of this is interesting, the outermost layer obviously depicts the individual traumas then the arrows pointing to the next layer may be related to her own personal programming in relation to these traumas which are individually cataloged/charted by programmers using symbols such as those pointed to (often symbols from the Hebrew/Enochian/Greek alphabets and others) as all splits/fragments need to be noted so there are no surprises.

The layer after that depicts two sets of three phallic serpents and more child traumatization/programming, and similar in the layer one further in. The the second innermost layer shows words such as 'Devil', 'fuck', 'shit' 'kill' and other emotive words; then the inner most rectangle depicts shows that all of this has happened to one individual I think with the arrows pointing towards the figure with a line through it's neck (decapitation; symbolizing losing control of your body). Memories of abuse do not 'disappear', every single one is stored in the brain behind amnesia barriers; they are dissociated to another part of the mind, to other alters/parts and fragments which can be accessed via the right trigger (this can happen unintentionally in an unorganized system, usually resulting in an anxiety attack/total breakdown, which is why I mentioned before the need to meticulously chart every single act of trauma [a code is used, often zodiac signs/Hebrew letters as shown on the artwork above], associated with a symbol in the system so it can be triggered and more dissociated to a deeper part of the system if need be [or triggered to simply traumatize them some more through the memory/flashback to make them do something]).

Another good one which has an internal system feel about it above, showing the different levels of her system I think. The top level depicting an angel and sun, rainbow and eye motifs; perhaps symbolizing her dissociation (as the lowest layer depicting a hellish scene is the reality she has dissociated from, the top is a happy scene up in the clouds). There is a pyramid shaped highway on the second level down leading up to the sky (highway to dissociation is particularly relevant if you think of "highway hypnosis" dissociation). All of this is metaphor/allegory related to, and literal representations of her internal system and dissociation in general. She is the 'Key' after all, the 'key' to 'unlocking' her system (I'd be curious to know what her therapists [who may actually be her handlers anyway] discovered when talking to Key); alters' names are not always incidental/meaningless by any means (quite the contrary in fact).

Kim Noble describes that 'Kim Noble' does not really exist and she is merely a vehicle/'house' for her alters/system, here is a quote from an Independent interview piece with her:

To all intents and purposes, each of Kim's personalities is an artist in their own right: Patricia paints the solitary desert landscapes, Bonny's pictures often feature robotic dancing figures or "frieze people", Suzy repeatedly paints a kneeling mother, Judy's canvasses are large, conceptual pieces while Ria's work reveals deeply traumatic events involving children.

These disturbing images are at the root of Kim's extraordinary condition; DID is a creative mental survival strategy whereby the personality splits at a young age due to severe and chronic trauma. The number of personalities that exist often depends on how long the trauma lasts. But Kim herself has no memory of being abused as a child; she has been protected over the years by her alters.

"I've been told I was abused and to me at this moment in time, it's too much. It goes in one ear and out the other. It's no good retraumatising me and telling me something I don't want to know - in any case, there would be a switch."

Kim has good reason to fear learning about her past as it's possible that if she acquires too much information, she won't be able to cope and will "disappear". It's happened twice before. (omega)

This is where it gets really weird - for Kim isn't Kim at all. The personality I am interviewing is Patricia and it is she who manages her and Aimee's lives, but Patricia wasn't always the dominant personality. Before Patricia took over, Bonny held the fort and two years previous to Bonny, it was Hayley.

Kim watches me closely as she explains: "You see Kim is just the 'house', the body. There isn't a 'Kim' at all - she has completely split. So we answer to the name Kim but really I am Patricia. When people call us 'Kim' I suppose many of us just assume it's a nickname, but once people know you they don't use your name very often in conversation."

Of the 20 or so personalities who share "Kim", some are easily identifiable: there is 15-year-old Judy who is anorexic and bulimic, maternal Bonny, religious Salome [whose paintings are not publicized but you can imagine they would be loaded with symbolic, more than likely occult imagery], depressed Ken, sensible Hayley, Dawn, Patricia and elective mute MJ. There are also a handful of children "frozen" in time. A few of the alters know about the DID but many are unaware - or refuse to accept it.

"Judy doesn't believe in the DID," explains Kim. "She's only a teenager and she calls our therapist a nutter when she tries to explain it to her. She's so young, she doesn't even think Aimee is her daughter. She knows about me and she thinks that I'm a terrible mother because I'm always leaving Aimee. To her, it's totally normal to keep coming and going. She probably thinks that you come and go too."

There are certain "triggers" that can force a change and gradually Kim has learnt what they are in order to avoid them - but it doesn't stop her switching up to three or four times a day.

"I don't really get any idea when I'm about to go except occasionally a feeling of drifting. Mostly it's instantaneous. I can lose six or seven hours but if you were asking another personality now, of course they'd say they lose days. So we haven't got much of a sense of time - I'm always in a panic to get things done.

Here are some of the 'Ria' alter's paintings, I could not find specific details on the personality-type but it seems to store vivid memories of the abuse she suffered so probably was manifested in a split at one such programming session. Ria is a Hebrew name from Moriah (perhaps it is housed in her 'Briah' internal world). The above image called 'Too Much' (too much trauma resulting in dissociation/splitting) I think depicts some twinning programming going on or just two kids being programmed with the programmer's electroshock/cattle prod used on the child tied to the wall, spread eagle by their hands and feet. Note more backwards/mirrored writing on the wall written by the abused children, words like 'hate', 'help save me', 'they will kill me' and 'Pratt Was Here 1971' which is presumably a good indication of the year this scene was taking place (and Pratt may have been the name of another child abused with her as the name pops up in most of Ria's works, it may also be a deeply dissociated alter that bears the brunt of the traumatic memories), which fits with Kim's programming as she would have been around age 8ish.

This one titled 'Shocking Pink' is fairly self explanatory and an extremely disturbing picture of the reality of programming. Again illustrating electroshock programming along with organized sexual trauma (the blurred/fragmented figure that seems to mimic the programmer [also seen in the one above it] probably symbolize the alter-personality that is often created in the child which mirrors the sociopathic personality of the programmer; or the fact that the programmer is likely a Multiple himself). Shocking Pink II below.

More scenes of sexual programming, the above titled 'Unspeakable' and below with a similar theme along with a double bind (always used in mind control programming) suggestive title 'You're Special, Shut Your Mouth!"

The above one is called 'What Ted Saw'; Ted presumably being the Teddy bear in the picture; sometimes during abuse dissociation can take the form of going 'out of body', either viewing the abuse from above or I think this may be the case viewing it through the eyes of the Teddy [so it's not happening to her], teddy bears/dolls/toy animals etc all have relatively similar uses in mind control (child is emotionally attached to them + they often give them personalities which helps in creating alters). Below is called 'Nowhere to Run' which is the feeling Monarch slaves are kept in pretty much constantly but here it is more literal with the cult programmers/abusers all with electroshocks (as shown before that line is clearly supposed to symbolize an electric current), note the abusers' green colours.

The below one called 'No No No' possibly depicts a programmer inducing a premature birth (early trauma for a Monarch baby to increase the likelyhood they will be highly dissociative, and trauma for the mother) or aborting a fetus in the most traumatic, bloody way possible (with a child to watch as part of it's programming with what looks like a dog bowl for the child's dehumanization [looks to be forced to drink it's mother's blood as you can see blood in the bowl]).

Emphasizing the dehumanization programming 'Ria' is clearly portraying in these paints, the below image is named 'It's a dog's life'.

Note in the below rape scene the two fragmented floating figures (the children dissociated, having "left their body"/mind).

'Caged Up' below, note the programmer's cattleprod/electroshock (obviously it isn't accurately drawn but it seems likely it's that based on the other drawings like 'Shocking Pink', or some other phallic instrument used for torture), another scene that often occurs in Monarch programming.

The last few from Ria below, the first one called 'Wrong Time', mirrored here so you can read the text more clearly describing some events from her childhood programming location (in a tiresome way, as if they were a common occurrence); the things she became familiar with like a bell ringing out (which, in the cult center would signify something like child ritual abuse; so when it rings they have to walk to the location to be raped or whatever which is important in them accepting their situation as everyday routine), forced/ritualized impregnation [at a specific ritual time/date, with a specific person for their Monarch dissociative genes]. As mentioned in posts like Karen Mulder's post and others, Monarch slaves' creativity is encouraged (in order for both sides of the brain to develop adequately (this is probably why she/her system took so naturally to painting) as it says "Right blue right red [colour programming?] she will be creative. wrong creativity" (similar to the double bind in relation to painting I discussed in the KM post). Note the black/white symbolism with a child trapped in a box theme (which is metaphorical for being trapped in the programming/dissociation ['boxed away' from reality] and also a literal programming technique).

Moving on to her 'Judy' alter (15 year old anorexic girl) artwork which contains the prevailing theme of duality (which is associated with splitting; the two polarities splitting apart the mind, also symbolizing that the alters created are often polar opposites of another in terms of their personality traits); the mind splitting from singularity to duality and then multiplicity. This also symbolizes the total confusion experienced by victims (via double binds and the general 'beyond belief' life they are experiencing; much of this programming leads the victims into 'black and white thinking'), the splitting/dissociation preventing 'TRUTH' being discovered by the victim and also prevents them from 'speaking their mind' (i.e. calling the abuser a 'TOSSER') having been stripped of their identity.

Victims on the mind control programming checkerboard, many thrown off the edge because they are entirely expendable to the controllers, no misses them or reports them (it's really incomprehensible when you think of just how many victims there will have been throughout history). She may have a checker/chessboard in her system (may also just symbolize the numerous "pieces" that exist in her head; 'different/opposing sides' in the same head).

Some added rose symbolism in this set of three.

Below is called 'Eating Disorder', remember Judy is a 15 year old anorexic girl with bulimia and doesn't believe in DID (acts tough but has an extremely low self-esteem, hence the anorexia; which is sometimes the result of childhood abuse [often just verbal]). The below image portrays what some anorexic people actually see in the mirror when they look at their stick-thin selves, they see somebody different to what is actually there (it's all in their head of course) which shows how mirror programming can work in mind control as they can be manipulated to view someone other than themselves when they look at a mirror (part of splitting, and then programming an alter).

These are obviously good examples of the half face/split mind motif I often discuss in the blog (with half face black/in darkness, half white/in light). The below one titled 'Memories'.




'Check Mate' displays a scene of domestic abuse then weeping on the staircase (hence 'check mate').

Above 'The Emotional Dinner'. 'Diary Check' below.

The below painting is named 'Symbolic or What?' Note the phallic snake on the checkerboard floor with the two girls (maybe one + alter) standing on chairs/table to avoiding touching the checkerboard floor where the snake might get them (note they are covering their genital area in fear of the symbolic snake's penetration).

'My Rocket' above, as mentioned in previous posts, the phallic rocket 'shooting off into space' is another allegory for dissociation (as in, it's 'her rocket' to get [her mind/conscious awareness] out of the traumatic situation). Below one is titled 'I-Scream' showing the phallic ice cream on a faceless paedophile (often victims are programmed so previous abusers faces appear just like this in memory fragments, empty so they cannot identify them in future), suggestively positioned and melting/dripping white (the word NONCE means paedophile which American readers may not be familiar with).

The faceless (facelessness/loss of identity) 'Class 7A' above (remembering her childhood more), below is 'Run, here comes the vic!' suggesting sexual abusive/paedophile vicars/priests/etc.

Moving on to her alter called 'Dawn' (full name 'Golden Dawn'; the occult order), with one eye of Kim's blocked out (symbolizing trauma/split mind [as in one is sighted the other isn't; the mind effectively split in two as it were] shown also by the disheveled hair over her eyes and her completely blank facial expression) called 'The Naming' above (perhaps symbolizing 'the naming' of an alter personality). There is text written over the box covering the eye which you can hardly make out due to the quality.

This one titled 'Journey' showing a figure spread eagle covered by cloud-like spacey field, with words written in a spiral shape (blown up below).

Above 'Armed Goddess' depicts a scene of trauma (arms tied to wall). And below 'Armless Goddess' which I assume follows on from the previous one (her arms tied up; probably given dissociative drugs like LSD and told she has no arms, which she would hallucinate and traumatically genuinely believe). Losing limbs, as I've mentioned many times is mind control symbolism of losing control of your body and also losing 'parts of your self'. You could surmise here that she has lost her sensory perception as the image goes from being vertical (above) to horizontal (though I wonder if some of these images haven't been rotated/mirrored).

"Another Dimension", ripples symbolize trauma/dissociation (going into "another dimension", through the pool = dissociation), this is probably an actual torture she suffered (along with drugs and is told her being lowered, hung from her wrists, into something that is probably empty in reality but through suggestion/hypnosis/drugs the programmer can make her think she is about to be dropped into "another dimension" or that she is about to be dropped into water/fire).

"Fire Goddess" and "Water Goddess"

Moving on to her maternal alter 'Bonny' who her daughter Aimee is most fond of, she seems to be very clued up; it's interesting how alters sometimes seem to relate to the likes of soldiers who, as depicted in this picture are essentially programmed puppets (who come back from war zones dissociative, psychologically damaged with differing levels of PTSD). Note his skin/facial features are missing (loss of identity; military programming involved a lot of dehumanization and stripping you of your identity, while obviously not being as severe as other types of programming it's still mind control) and the Marionette Puppet soldier slumped in the background.

Again symbolizing loss of identity as parts of his face are missing such as the lips and nose (which give the face personality/identity) and his skull fractured (again a commonly used psychological trauma motif).

More psychological trauma here symbolized by the cracked skull (fractured/split/broken mind which I've gone into many times), eyes covered and one bloody.

These are supposed to represent robots (note the internal mechanism of them; symbolizing the robotic nature of trauma-based [Monarch] slaves' systems). The one above called 'Robot Family', they're all quite similar so I'll only include a few.




The below one is pretty self explanatory (alter-personality coming out [splitting; hence half face] of the symbolically blindfolded person's head), with it spelled out "I am just another personality".

'Abi' depicts white, empty scenes with usually only one figure/item such as the girl in the corner (potentially pyramid symbolic too) above and the cherry (+ an eaten cherry leaving behind the pip, symbolizing the broken hymen/child sexual abuse).

Other alters who paint include 'MiMi' (like Mariah's alter) and M.J. (Michael Jackson? that alter draws in red/white/black with grid/cage/net motifs and is a mute), do check out her virtual gallery to see what they consist of, I've pictured a few more paintings below to round off the images for this post.

Some are created by alters she does not have names for/are 'unknown'; I think it's safe to say these ones come from an alter with attempted cat/kitten dehumanization programming (hence painting cats as human personalities).



The below two are by the alter MiMi (mimic) who "paints scenes through the eyes of a child" so is probably a young child alter. Note the rainbow and the symbolic, twin towers/pillars London's Tower Bridge.

Kim's dominant/primary personality is 'Patricia' who generally paints serene scenes but the above is unlike them and is built in a symbolic fragmentary way (with the image made up of parts pushed together) and the symbolic 'tortured' way she has drawn the figure. Below is one of 'Anonymous' black/white dark paintings.

Depressed alter 'Ken' portrays fairy tale scenes such as the above 'Lost in Play' and below 'Not Kansas' (invoking Wizard of Oz programming, "Not in Kansas Anymore"; probably abstractly depicting a figure spiraling around a cyclone into Oz/dissociation).


The style of these paintings by Ken appears fractured (+ the sad clown below symbolizing forced/false/programmed "happy" emotions, showing it's a facade as even the clown face is sad).

These last few are by unknown alters, the first one below depicts a typical programming scene (designed to make the victim feel worthless/like nothing) with her head bowed in shame and the words "I am stupid. Please kick me." on a bit of paper tied around her neck holding onto something bloody/may be her own injury/trauma.

This one (below) is called 'Shattered Time' and is fairly obvious (+ the different patterns/colours/worlds coming out of the victim's head symbolizing the vast system of alters contained in one mind).




This is the sculpture she is holding over her face at the top of this post.

The fact that she has been embraced into the art establishment makes me a little suspicious (that pretentious idiot Saatchi had her work displayed in his gallery) and her making contact with the 'Tavistock and Portman Clinic' (the Tavistock and Portman Clinics used to be separate but merged; the Portman was formerly the 'Psychopathic Clinic', Natalie Portman's association with neuroscience/programming is an interesting connection here I feel too, considering the Rothschilds' programmers worked out of Tavistock, where a lot of MK/Monarch [trauma-based] mind control research and programming of slaves was done) in an effort to diagnose her problems (like many DID and Monarch victims she went through numerous psychologists/therapists who plied her with drugs and consistently misdiagnosed her). At the T&P Clinic she made contact with child psychologist/adult psychoanalyst Valerie Sinason who has written some interesting documentation, I couldn't agree more with much of this statement (the "Satanic Panic" by Christians was a huge and organized obstacle in the general public's acceptance that sadistic ritual abuse, dissociative identity disorder and mind control does occur; the issue of ritual abuse has been intentionally blurred but there are certainly "Satanists"/occultists who are significantly involved [I just wish Christians would calm down a little or the masses will never listen/take it seriously if you just scream "Satan!" at them], the problem is they have existed at the top of society for centuries so are untouchable):

"In America the largest amount of DID is diagnosed in connection with allegations of ritual satanist abuse, hence the discrediting of or inability to perceive the possibility of the one existing automatically precludes rational thinking about the other...

In our far more secular society with established churches in which leading members do not believe in a personal God, a personal Satan is incomprehensible. This leads the majority to conflate satanist abuse with Satan rather than with sadistic paedophilia carried out either by Satanists – people who do believe in Satan (Satanist paedophiles [which there certainly have been many of]) – or those who draw on the frightening power of occult paraphernalia. To the child victim it is irrelevant which group carried out the abuse.

I have stated elsewhere (Sinason 1994) that the number of children and adults tortured in the name of mainstream religious and racial orthodoxy outweighs any onslaught by satanist abusers. Wiccans, witches, warlocks, pagans and Satanists who are not abusive are increasingly concerned at the way criminal groups closely related to the drug and pornographic industries conflate their rituals.

In trying to deal with worrying patients who have to be treated regardless of the doubts around their disclosures, mental health professionals often have to face these contentious issues. This makes it much harder for a proper considered response because professionals, like everyone else, are affected by the consensus. In my past work at the Portman Clinic and in my clinic I have noted the secondary traumatisation of professionals caused both by the impact of the patients’ narrative and then by the disbelieving stance of colleagues. Indeed, both professionals and, more importantly, patients, suffer from societal discrediting processes (including the media) in addition to their primary trauma. This applies to lawyers and police officers as well as mental health professionals."

Though I have not read through all of her material, it seems generally sound (going into the differing levels of dissociation which I have discussed; i.e. simply 'zoning out' in a class/when driving, to PTSD to full blown DID [and many other levels in between]) but I find some of it to be worded in a slightly confusing way. It's worth stating that a lot of people have worked out of Tavistock (and it's clinics etc) and the majority of their clinicians are looking out for the best interests of their patients (it is necessary to have an ignorant, innocent and genuine level to keep up appearances so their clandestine research/programming/social engineering can continue in secret). The other 'Tavistock and Portman Clinic' doctor she contacted was Doctor Rob Hale ("Former Director of the Medical Research Council’s Cognitive Development Unit. He is now Visiting Professor in the Department of Psychology and Honorary Fellow of the Institute of Cognitive Neuroscience, University College London.") before finally making contact with (her current handler?): "leading psychology professor at University College London, Professor John Morton, [who states that] Kim has the misfortune to represent the British "gold standard" [curious choice of words] over genuine dissociation. In the last four years he has conducted extensive tests on Kim and found there is no memory at all between the different personalities. "Even when DID patients reported no memory between the different personalities, our tests usually showed massive leakage between them," he says. "Kim shows no leakage at all. She is proving existing memory theories wrong. She's doing things which we would say are impossible.""