Fundamentalist Christians and its Wrong Approach to Spiritual Teachings (07):

Flat Earth; Enclosed Creationism; Conspiracy (Theory) and Intuition – Part Two:

Your intuition is telling you something about the world, and if you ever inclined to question the environment that surrounds you – like whether we live in a sphere or a flat-dome, your intuition knows the truth. This new paradigm will always be unanswerable especially towards rational thinkers but within your inner meaning guided by your intuition. You can come up with the correct conclusion.

Intuition is a spiritual act that resides itself among the non-rational therefore switch your mindset to the right side of the brain for a while. A sphere or a dome are options that seem (or what your intuition tells you) seemingly an antipathy to something else – like how all the atrocities in this world, like wars, which according to conspiracy believers are orchestrated by world banks – with their depopulation agendas (geoengineering and so forth) that we know to be true given the evidence. Somehow this is okay for the powers at be to destroy the world that they also live in, this seems irrational. If the world is indeed an infinite plane than we realize these levels of antipathy make sense. So in other words; an enclosed worldview does not make sense within the levels of antipathy that they created via end time programs. Unless you are among those destined for the breakaway (or underground) cites.

People know the distinct difference between Science and Scientism and they should also be clear on who pushes a scientism conspiracy aspect, and that is enclosed creationists. Moreover, they’re in the position of becoming myopic about science itself, as something dogmatic and there is danger in this. There is a sympathetic consideration to be had given the fact that when they use the same scientific method or process, it’s met with skepticism even if it’s valid and has determined their theory might be correct. This type of ignorance is due to the fact that science is really governmental science, and even scientists among their own groups’ must comply with its rigid framework.

The danger comes from forgetting history, and what science brought to modern human civilizations. For example, centuries ago during early medicine, there was a relationship between the artistic or aesthetic world of autopsies and anatomy drove the scientific world of medicine – both medical research and applied medicine. There was a clear understanding of the expression of an inseparable link between the arts and sciences. Of course, this type of notion is a far cry from today’s materialistic worldview, where utilitarian determinism has taken over and attaches most of the science to something called the knowledge economy.

Henri Bergson argued the natural marriage between intuition and science and he was successful at it. He noticed the marginalization of intuition and argued in despite of that acknowledges the core of scientific discovery is intuition, and in order to express itself, it must use “a mode of expression and application which conforms to the habits of our thought.” This includes “exactitude and precision.” Gradually we mistake “the logical equipment of science for science itself.”

So there needs to be a space for intuition to flourish if we are to admit intuition exists. We do this by developing questions which are not designed to reward essentially rational or linear answers. Of course, it would be relegated into a category of science Meta or Physics, but we need to acknowledge it as a whole. Science at its core is about determining the inner structure of the universe, which makes it a supporter of animism and vice versa, (let’s not forgot science also started out as alchemy).

NASA employs creative people (traditional and digital) artist to render a hyperreal space cosmology. They’re working alongside NASA scientist to conjure images to portray a hyperreal space reality. There are links between the arts and sciences here, but the mode of expression here is to propagandize a false simulacrum that doesn’t conform to our habit of thought. Instead, it’s a means of stifling it by ironically promoting a romantic infinite universe that is vast beyond imagination – when clearly this is an agenda to misalign our center.

NASA and its hyperreal-space cosmology are not without its slip-ups made evident among the various footages they show concerning their so-called space stations. With their Mars Rover observer for example indicating that Chickens exist in Mars has all the hallmarks of unrehearsed parody. Talking about parody there is an array of governmental science icons such as Brian Cox and others, who at this point are front men for the demoralized and consensus-based population, but for people that know better its malarkey and so becomes a type of comedy in itself.

NASA has some resemblance of sincere science going on, but sometimes forgot they must also uphold the false façade. And sometimes they will miss it, or if it’s something out of their control. For example, NASA’s legitimate 1988 document “Derivation and Definition of a Linear Aircraft Model.” Under the heading Abstract; (which coincidently coincides with that last statement I conveyed about people not being able to live in the flat-earth-abstract so quickly within the time frame flat-earthers want it to be, so happens that NASA’s implied flat earth statement is under the heading Abstract), it states: This report documents the derivation and definition of a linear aircraft model for a rigid aircraft of constant mass flying over a flat, nonrotating earth. The derivation makes no assumptions of reference trajectory or vehicle symmetry. The linear system equations are derived and evaluated along a general trajectory and include both aircraft dynamics and observation variables.

By this very statement, NASA knows the Earth is flat and has always known from the beginning, and all the supposed Apollo missions were created for 1970s vintage TVs and films. They didn’t think one-day technology would reach an astronomical feat; technology that’s powerful than what NASA could even conceive of in 1969; computers in the size of phones. Apollo was a propaganda circus meant to take people’s minds of all the crazy crap going on in the country at the time.

Also, NASA infrastructure is highly compartmentalized meaning different people working on the same projects all coming together at the end. From here on out nobody knows if it’s really going to Mars or wherever it’s supposed to go, at this point, it might as well be sci-fi fantasy pushing the notion of a space-scape. That same technology is incidentally the same robotic achievement that is used to check for highly suspicious bomb threats.

The notion of reaching the moon (the space race) in a technological sense was probably based on who could back-engineer UFO crash ships the fastest and in doing so mold their own advanced air-(space)-craft; NASA’s cover was to make us believe they landed on the Moon with tin foil materials and confined capsules. When in reality the kind of hardware (advanced beyond people knowing at the time) was getting ready to be rolled out in area 51, knowing the Earth was flat going to the Moon was cover as they knew it was unreachable – this notion reinforced by operation fishbowl, so the next agenda would be to travel across the flat-earth-plain.

Stanley Kubrick heavy symbolic film “The Shining” decoded by a fascinating documentary “Room.237” suggests throughout the many analyses of the film that the moon landing was a hoax. Also according to conspiracy researchers, Kubrick was also involved in the project to make a fake moon landing.

Every deviation from Steven King’s book was to implement Kubrick’s own experience that surrounds his dealings with the US government while also dealing with his wife upon telling her his situation, all of which was depicted in the film. Room 237 was supposed to be 217; Kubrick changed it as it represented the moon landing stage where he worked, and also the supposed distance from earth to the moon is said to be 237, 000 miles. Also, 2x3x7 equal to 42, which is said to be the answer to the universe according to Hitchhiker’s Guide to the Galaxy; it also has many meanings when decoded through gematria. Sometime in the film, Danny would also be sitting in front of the TV watching summer of 42. Forty-two is significant as it represents a body of light travel. Forty-two can be found in the symbol; Triangle Sri Yantra Mandala, which coincides with Noah and Biblical Rainbow Promise. The Yantra constitutes 42 base triangles.

Jay Weidner also made a documentary called Kubrick’s Odyssey. The documentary suggests Kubrick was commissioned by NASA to help create a cinematic and photographic simulation of the Apollo missions for public viewership. And 2001: A Space Odyssey was essentially an entertainment project for a bigger-budget production set to be filmed within the gates of Nellis AFB’s Area 51 and his wildly unfaithful adaption of Steven King’s novel ‘The Shining’ was his cinematic mea culpa, confessing to the con. Moreover, Weidner is not arguing that NASA did not land men on the Moon, but the Apollo missions were a cover for a secret space program.

In a world of secret space programs: exists two missions one; to convince a hyperreal-space as a reality exists that’s made for TV financed by NASA, and two; real missions using more serious military hardware that’s a lot bigger, heavier and much less telegenic. Of course, the word secret-space has a subversive meaning to it; an institution in secret developing technological marvels; both missions, however, plays on the notion that space exists and both are going in the same direction. Or maybe the second mission is another misdirect targeted for people in the know inside its own institution. When in actuality an only person high on the echelon of control knows which real direction they’re going.

2001 Space Odyssey can also be related to the film Holy Mountain, a particular scene where Joe flips the table (which has the enneagram symbol on it) and says it’s all ‘Maya’ and ‘you’re in a movie,’ in which the film focuses out and reveals the Cameras. The concept that our lives are mere scripts being written out for you like a sort of simulacrum-determinism that your life essentially being pre-determined for you, (which can be true in an infinite parallel way). An example of pre-determined was in the year 2001 where people were tricked into supporting a foreign war launched at the back end a twin tower false flag. The script was laid out for you and people believed it, which implies people are nothing but two-dimensional characters within their synthetic-synchronistic world, which is a world apart from what True-God’s intention of a synchronistic whole. This parallels with 2001s Stargate sequence; which is an analogy for leaving the surface of the screen (when looking at films as a two-dimensional format) the astronaut is leaving/traveling seemingly at light speed to that other realm, to the source; towards the projector; towards the three-dimensional realm. This is analogous to the ascent to the holy mountain, which is symbolic of Meru, which is very similar to the ascent of the Tree of Life where you’re ascending the Tree, as the same way you’re ascending the mountain.

The diagram above indicates the analogy for spiritual travel to the Stars and also the literal hyperreal-space travel to the Stars (Celestials / Planets) which is likened to the notion of ascending the mountain (Mt. Meru), which is similar to ascending the Tree of Life. This is conjunction with some influences from hermetic Qabalah.

There are many types of Kabbalah, but the primary focus here is its relation to the cosmos, and Hermetic Qabalah qualifies alongside its association with magic. The clear difference between Judaic Kabbalah and Hermetic Qabalah is in its approach; Judaic uses the Ten Sefirot to study of the text of the Torah and its commentaries to progress in the knowledge of God. Hermetic Qabalah emphasizes magic and magical tools as a way to unite with the Godhead.

Hermetic Qabalah’s history is complex tracing its roots from Gnostic and Neoplatonist writings to the wisdom of the Egyptians. This is mentioned in Exodus and lauded in Platonic dialogues such as Timaeus, and its possible links to Hermes Trismegistus. Its history aside Hermes Trismegistus was written in many texts and divided into two main parts: the philosophy of occult science, and writings on philosophy. Both attempted to explain a worldview rooted in the philosophy of Plato, which eventually reemerged in the early Church as a blend of philosophy and mysticism.

In essence, this religious mysticism or Neoplatonism focused on the influence of fate on human existence and the twin or dual nature of reality: the physical plane (a lower form of existence) and the divine reality (a higher form). The higher reality is linked to intelligence, transforming God into non-personal intellect. The lower level is physical, subject to fate, and thus considered inferior to the higher reality. Humans, as part of the physical realm, are separated from this ultimate intellect but can ascend through the different levels by magical means and reincarnation, eventually reuniting with the ultimate intelligence in the higher reality. – Kingdom of the Occult

There is a fallacy in this verse, “transforming God into non-personal intellect.” It’s an opinion based statement, what it really means is the link between man and his higher reality or Binah (intuition and understanding) signifies man as a co-creator, and does not diminish God in any way. [Notice] the use of the word ‘Plane’ (to mean a flat plane) is being used to describe the contour of your world as something more physical or truthful.

The concept of ascension through analogy whether it’s a Tree or Mountain is fascinating; the more practical journey is always within, the spiritual journey. The enlightenment in life or in death and the symbol of spirit is the Merkaba. And the Merkaba can also be represented as the Kabbalistic Tree of Life. In the ancient Judaic Hebrew concept it means Chariot (a thing that one rides in), and often the most popular reference of the spiritual chariot is the story of Enoch. And Enoch is one of the sons of Seth. The story goes Enoch ascends to the seventh heavens (Hekaloth) and converses with Angels and intelligent beings of higher realms of divine being. People are probably more familiar with the notion of the body of light or Astro-body instead of the spiritual Chariot. In the Merkaba traditions the Chariots are said to be composed of four different living creatures; often described as part man part bull, part eagle and part lion. So, these mystics describe traveling through other dimensions with the use of these spiritual Chariots. This kind of archetypes is not particular to Hebrew traditions, but often more in tune with Vedanta, and Hinduism. In the Egyptian afterlife, spiritual travel is represented by a Duat Boat, which is adorned with spiritual symbols. In this afterlife; the travel of the spirit or soul leads into a Bardo of the duat where the weighing of the heart happens.

Darren Aronofsky’s film ‘The Fountain’ showcases the concept of the Duat Boat as a Tree of Life encased in a spherical organic bubble ship. The Fountain’s premise takes on three parallel timelines; 16th century, present day, and the future at around 2500. The 16th-century aspect seems to be a Meta allegorical story within the film, while the present and future is the film’s main narrative. There were two trees in the film, it’s unclear which tree is encased in the bubble, the tree that Tom planted beneath the grave of his wife (Izzy/Izzi), or the Tree of Life in South America that Tom was searching for. The same Tree that present-day Tom as a doctor was researching; he had gained some of the Tree’s component for everlasting life. The Future Tom who is now astral traveler whispers to the Tree and says: “Don’t worry we’re almost there, through that last dark cloud is a dying Star and soon enough […] it will die and when it explodes you will be reborn, you will bloom and I will live.” So, it’s possible that present-day Tom and Future Tom is the same person because during the present he had figured out the way to preserve life. The Two Trees is probably one and the same, meaning we all have Tree of Life in ourselves as in everyone has a Merkaba in them.

The Film is about Tom’s quest to accept death; he spends time trying to fight death at the expense of spending time with his dying wife. Upon his wife’s death, Tom vows to cure death. However, Izzy had already accepted death and at times Izzy was trying to make Tom realize that death is part of life. That death and life are different sides of same experience, and that death should not be feared. Izzy mentions to Tom that “death is the road to awe.” She also wants Tom to finish her book, but Tom, now traveling in his Tree of Life bubble speaks to Izzy’s spirit and Izzy still wants Tom to finish her book – but Tom can’t because he fears death. However, when the Tree can no longer sustain Tom throughout the centuries into the future that’s when Tom finally decides to accept death and finish Izzy’s story. The movie begins with the last part of the book that Izzy has written in which we can assume is a dream from future Tom. This moment is depicted in the film. However, I interpret it as less of a dream, but more of an archetypal symbol because he is not a living material being, but a spirit. At the end of the film; future Tom assertion into the story is an indication that future Tom has finished Izzy’s book, which took him hundreds of year to do, it took him this amount of time to come to terms with death and his place in it. Tom being a spirit that’s heading towards Heaven [a dying Star if you wish] is less about time more about time in relation to how long it took him to let go of his ego.

While the first theory is fascinating and some aspect of it I agree; my theory, however, is that the 16th-century aspect is an allegorical reference to present day Tom. For the first theory to make valid sense, it would mean believing that present-day Tom found a way to be immortal. Through studying the Tree of Life and finding its secret component to sustain life for centuries. Unanswered questions like how he got himself and the Tree of Life encased in a bubble spaceship in which he would travel among the astral plane leaves a question unanswered. I agree that when future Tom’s assertion into the story is an indication that Tom has finished Izzy’s book, but I conclude that Future Tom is actually dead and his spirit is inside a bubble spaceship alongside the Tree of Life. Which is also Izzy in many ways, and his journey started when he drank from the Tree of Life and died. Although just before his death he had a psychedelic enlightenment experience caused by the blood of the Tree (or sap). The death is an allegorical reference to present day Tom finishing Izzy’s story before he died – he may have prolonged his life, but he still achieved death by his own hand with the help of an elixir provided by the Tree [This scenario is not shown in the film, but shows through Izzy’s story]. So when his spirit died he was lifted along with tree of life and now living inside a bubble spaceship without the concept of time. However, for Tom, he still deluded by the concept of time showcased by his tattoos that represent the age of Tree growth.

The bubble spaceship is really a reference to the Duat Boat and boats can also be called ships. So, it can either be a bubble space ship or bubble Duat boat. Both can represent a Chariot and in the ancient concept, Chariots can also mean The Tree of Life. Which can also be the Merkaba and the Merkaba is a symbol of spirit. Therefore, it didn’t take Tom centuries to accept death perhaps ‘yes’ in a metaphorical sense because he left the world without reaching enlightenment first, but enlightenment upon death. This is the opposite of Izzy who gained enlightenment or was struck by the light and would later pass on to the afterlife. Izzy has essentially been through the journey and already passed through the heavens, while Tom is still traveling among the astral plane. The astral plane can also be known as one of the heavens, a sort of heaven before heaven.

Tom the astral traveler is heading towards a dying star that’s within a Nebula (I can’t pronounce or spell the dying star, but it’s) in the Orion’s Belt constellation. Izzy also describes the Star as the ancient Mayan’s underworld a place where dead souls go to be reborn. Astral traveling Tom having spoken to Izzy’s spirit [aside from being a spirit she can also represent a guardian angel], Tom finally accepts death after centuries of fearing it. Tom confining to Izzy that he doesn’t know what to do, he then has a moment of clarity and figured out what he must do, he says; “I’m going to die.” At this very moment, he has let go of his ego, which is difficult for a rationale character like Tom. He is only irrational in the Meta allegory and present-day story because both in Izzy’s story and present day Tom; Tom is also denying his intuition. Izzy replies “together we will live forever.” We are back at present-day Tom, but back in a pivotal moment of the film; a moment where Tom is pushing away from seeing Izzy due to his pursuit to cure death. This time he has chosen to go with Izzy and by this action showcases acceptance. This is represented through Astral traveling Tom climbing the Tree and emerging out of the space bubble. Encasing himself with his own Merkaba ready to face a spiritual death, but it’s really a weighing of the heart. Christians call it judgment.

As Tom Nears the Dying Star it collapses to a tiny dot then it exploded, the celestial fire hits Tom (now as the Father) and his essence melted along with the fire created a rebirth for the Tree. In the Kabbalah, the heavenly realm is considered the realm of Yetzirah a realm of spiritual fire. There are a lot of death and rebirth concepts here. In ancient Egyptian Mythology entering the gateway to dimensions meant an encounter with the Goddess of 42 principles named Maat, she has 42 principles that one must satisfy in a lifetime in order to be reborn with a pure heart onto the next life. We are to believe that Tom managed to do that. The film does not show the physical encounter with Goddess Maat, perhaps the dying Star represent part of Maat. Maat is a deity that regulates the stars, seasons, and the actions of mortals – and deities who had brought order from chaos at the moment of creation. The film did away with the Goddess and instead played on the notion of hyperreal-space notion of a Star collapsing than exploding much like the Big Bang Theory.

Michael Keefe.

… End of part seven… to be continued

• Apologies for the late post (for the few subscribers that I have that are not fake advertising email addresses), it is IPS season and I’m a gamer. Facebook has become my boss reminding me through notification to post, and recently I’ve been giving my writing to my editor ‘Grammarly’ that point out I’m too wordy with my sentences. …Next part won’t take so long.