Flat Earth; Enclosed Creationism; Conspiracy (Theory), Intuition and Imagination – Part Five:
The Siren Calls from the Sea or the Sky: I wondered why actress Jennifer Connelly stands at the end of the Pier in three separate films she’s featured in: Dark City, Requiem for a Dream, and House of Sand of Fog. So I searched it on Google, and someone on Reddit pondered the same thing, and people’s comments, while being funny, have no clue why. But then, I realized why – it is simultaneously a flat earth explanation of perspective to argue away a curve – and a representation of a goddess, notably Inanna or Aphrodite, both yearning to be one with the Sky or the Sea.
| Viewing the images from the top down, we have; The House of Sand and Fog, Dark City, and Requiem for a Dream. |
One of many ways Flat Earthers argues away the earth’s curve is through perspective. Explaining the earth’s curvature begins at the horizon; ships disappear as they get further away, thus explaining the curve. And this is debunked as soon as someone with a camera zooms in on the ship. And the ship reappears again if the earth had a curve, then zooming into a ship would be impossible to see. However, this is not the case; the ship is always visible, meaning it has yet to descend over a curve; it’s just gone beyond our perspective. And this is signified through three separate films in which Jennifer stars. The three specific pier scenes are an inverted subtext for a flat earth perspective, and transcribing symbolic prophecy is nonlinear, so the films’ release dates are not considered. We see in the first panel she’s standing at the horizon; in the middle panel, most of her body has passed the horizon line, and in the last panel, she’s almost entirely past the horizon line. Because this is a subtext, we can still see her as opposed to her disappearing. She should also be getting smaller, but she’s getting bigger partly due to the inverted subtext; these are separate films with different focus shots and distances.
In Dark City, Jennifer Connelly plays Anna or (In-Anna), the goddess of sex, love, and war often described as the Queen of heaven, but in the film’s context, she is more like Aphrodite, a goddess of love, beauty, pleasure, and passion. Anna is a goddess who sings about a lazy ocean that hugs the shore. Inanna and Aphrodite’s archetypes seem interchangeable; they’re universal for every woman. Therefore, Connelly’s two other characters represent these aspects in the other films. In the House of Sand and Fog, she’s at war, fighting to keep her house from legal authorities and the person who purchased it illegally. In Requiem for a Dream, she uses sex to gain money at the behest of her boyfriend to fuel their drug addiction. Aphrodite originated as a sea deity through the analogues of Amphitrite, all resembling a goddess of nature. The Three films have sea and water association; in Dark City, Anna sings Sway, the first verse of the lyrics goes:
“When marimba rhythms start to play
Dance with me, make me sway
Like a lazy ocean hugs the shore
Hold me close, sway me more”
The Siren is a goddess but distinctly different from Sophia; she has a human body, with the animal half being either a bird or a fish. The Siren calls from above or below, but it’s a repurposed call (a virus implant), a demiurge endeavour. Anna represents humanity’s feminine intuition – Anna is at the end of the pier, where she’s intuitively met with a philosophical question about who she will spiritually align with. Rationally, it has more to do with showcasing contemplativeness. However, for those seeking synchronistic clues, it’s a lot more. In the analysis, the audience is met with the same meta-fractal question, but unknown to them, the question remarks on the fundamental belief of simulation – that can only be pondered by two other separate films that are years apart, with Jennifer being the constant. Dark City is central as it’s about living in a false reality. The simulation of belief is fragmented into two major contentions. The simulation of the environment and the simulation of the truth – the simulation of the environment, whether it’s a Gnostic view of an isolated indifference or something more grounded in the material, like whether you follow a flat-earth or a heliocentric view – while the simulation of truth is regarding social engineering or brainwashing mechanisms, which is often an aspect or a result of its simulation whatever that may be.
Breaking the Siren spell with a space-age love song:In 2000, London heralded the new millennium with a theatrical show conducted at a new dome they built. The show parallels the story of Romeo and Juliet but with an otherworldly component. The boy would be from the sky and the girl from the earth. They fell in love, but the feud between their people made it difficult for them to meet. Eventually, the earth-people suffered a crushing defeat, ultimately leading them to unite with their sky enemies. However, the lovers flew together to a better future at the show’s end.
Before the defeat, the Earth people built a tower (that’s reminiscent of the Tower of Babel); this was a fortress against the Sky People. Earth girl falls in love with Sky-Boy, but he gets captured and imprisoned in the tower, to be executed later. So, Earth-Girl, named Sophia in the show, leads an insurrection against the tower, which is blown up by controlled demolition. And this is predictive programming one year before the 9/11 event. So, in this aspect, it’s less about artist-prophets and prophecy but more about showcasing a conspiracy subconsciously. Decades later, it presents itself as part of a unified code theory (synonymous with synchro-mysticism) that intuitive people will recognize. Unified code theory doesn’t necessarily work in linear time but an aspect of past and present. So, was it a subconscious initiation for the people as part of the elite’s plan? Or was it a meaningful coincidence transcribed by an artist taken from the ether?
The Millennium show’s imagery is borrowed from William Blake’s epic poem, the Marriage of Heaven and Hell, which symbolizes Sky-Boy and Earth-Girl’s love. And this love is unified through a child’s birth, representing hope. This suggests a hybrid offspring reminiscent of Genesis 6:4 without Biblical spiritual backlash. The soundtrack for the show was organized by Peter Gabriel, who hired Elizabeth Fraser to sing Sophia’s part. Her lyrical content was about feelings and movement as buildings fell. Their inter-cosmic child is named OVO (or Egg); in a fitting conclusion, the child gets taken into a flying saucer and floats away.
| In keeping with notions of cosmic love Jennifer Connelly is Josie in a Flock of Seagulls music video featuring clips from her movie Career Opportunities, she’s part of a Space Age Love Song and she’s symbolically disenchanting the OvO symbol. |
Elizabeth Fraser is a Sibyl, an artist-prophet from which all synchronistic correlation centres and the Siren spell and other prophetic messages within her many song titles make for a potent idea. A play on the Tower of Babel’s fall alongside the fall of the Twin Towers one year later, all linking back to her – as she plays and sings the archetype of Sophia inside a Dome, remarks on this potency. If one is clever enough, this refers to any budding magicians who could use this golden spell as an extra kick for their magic – to make things or intentions happen faster. Although a patient wouldn’t let an ordinary person do their surgery for them because such endeavour is only meant for qualified surgeons alone, this principle also applies to magicians.
Mark Devlin (a conspiracy researcher in the music industry) discusses the correlation between the intent of a will or thought to influence the outcome of any situation, either for positive or negative purposes, from healing to something else. This component is similar to the intent of sound. He also examined how the music industry is heavily entrenched in coercion, control, and manipulation, but that doesn’t mean you have to stop enjoying the music that a particular artist of your liking puts out. Instead, it just means you have a better understanding of where these groups come from, and in doing so, it has broken the spell; it no longer works on you on a subliminal basis. You probably created these groups or artists to affect people, but now that you’re aware, you can enjoy the music.
They say you can activate the pineal gland with a particular frequency, known as light from sound or sonic psychedelics (sono-luminescence). Every cell in the human body pulsates and reflects with acoustic isolation of the medium in which it exists. The Earth and Sun vibrate in unison in the main rhythm of 160 minutes, each with musical nodes that are united to non-audible nodes of higher octaves and other symphonies we can’t hear. Researchers have recognized that plants move towards harmonious sounds and move further away from aggressive sounds such as hard rock. A Japanese researcher has established water when given an emotional intent via sound spoken words such as love or fear – water particles form geometric shapes.
Cymatic researchers have also equated the same concept with sand; specifically, if the sound frequencies on selective hertz are played onto it, it creates geometric patterns. Holographic researchers have all but equated matter as an illusion because, given a certain frequency, the structure of the matter will change. Therefore, there must be a thought behind it, and this thought wave would eventually transform into light. An organic program with the highest potential to create new worlds, the oneness fallacy that this ‘thought’ is only regulated to individual humans must be acknowledged that there are outside forces also giving us these perceptions. The notion of thought as light is a scientific definition of magic; given this understanding, a spell can be broken by not giving it a thought.
The inter-cosmic child is symbolically born in the centre of the vortex or Mount Meru – just like in season three of Twin Peaks: Dale Cooper literally falls on the balcony of a building on top of a peak surrounded by a mauve ocean. This is the result of a long trans-dimensional fall that started in the Lodges and continued through the mysterious glass cube in New York – the fall would finally continue through an electrical device so as to reach Las Vegas, down here on planet Earth. It then appears in episode eight that this peak is crowned by a castle of sorts in which the Fireman and Senorita Dido live. The rocky peak and its surrounding ocean are contained within a golden ball that appears on our screens after the atomic explosion on July 16th, 1945. – unwrappingtheplastic.com. Meru can only be real in allegory because a vortex has taken its place if we are to follow a flat earth notion. So, Dale Cooper fell from heaven to Las Vegas or ‘Heaven or Las Vegas. Las Vegas is a central spiritual place for some reason.
The inter-cosmic child gets born symbolically from inside the vortex wrapped around a Fibonacci sequence; what could this mean? The mathematical notion of PI and how it relates to the golden ratio and Fibonacci sequence is a ”wax and wane” of limitless, fractal, infinite or even immortal numbers. It is suggestive that the inter-cosmic child is a type of saviour; a demi-god that can traverse between dimensions would also be a fractal time traveller, who emerges out of the vortex, out of the shell of the concentric seas the Trinity Symbol; Eden, the topographic Atlantis. Only to be taken up to the Sky and likened to an Enochian prophet. [Why this is an inverted Gnostic notion; demiurges attempt to find a cosmic loophole … more on that later].
Piercing through the Pearly Dewdrop’s Drops: The OvO is a separated Vesica Pisces linked together by an incomplete Trinity symbol. Within the Vesica Pisces is a Gnostic cosmological map of our universe. It fits nicely with the flat earth’s cosmological map – and this is distinctly different from an Astro-Gnostic view, which is only inherent to a hyperreal space cosmology viewpoint. This, in turn, is concerned with the internalization of the psyche. Also, isolationism, indifference, and magic are always concerned with the psyche.
| Doesn’t the bottom panel look like a Pearl, a goddess in the shell, a cosmic egg; life is in the egg. The term ‘sin’ in Greek is ‘hamartia’ which means – to miss the mark or to miss the centre. The centre is perfection and everything outside of the centre is sin (outside time). The perfection is inside the pearl. This incidentally seems like an implicit image of Galaxy as well. |
In the formation of a Pearl, it is said an organism, not sand, enters the clam, which disrupts the cell in the mantel. The Oyster then secrets a crystalline substance known as Nacre, also known as mother-of-pearl; it’s made of the same material that forms the inside of the shell. This only happens one out of ten thousand times, making it a rare event (10,000 is relevant in the Tao Te Ching). This ratio is fitting as it describes the vast dichotomy between those who are spiritually awake and those who are asleep.
The initiates go through a ritual around the pearl of great price, a parable that Christ used to code an esoteric truth. The Parables of the Treasure and Pearl: (Mathew 6:19-21; 13:44-46).
| 44 | The kingdom of Heaven is like treasure hidden in a field. When a man found it, he hid it again, and in his joy he went and sold all he had and bought the field. | ||
| 45 | Again, the kingdom of heaven is like a merchant in search of fine pearls. | ||
| 46 | When he found one very precious pearl, he went away and sold all he had and bought it. |
You can find the buried treasure through the representation of the Cairo symbol of Christ, which coincides with the Masonic ritual of a mallet to the dome (or head) of Hiram Abiff. This ritual symbolizes the death and resurrection that the mysteries of the initiates go through. To them, to find the proverbial pearl of great price, you have to symbolically disregard notions of danger – and go through layers of detritus, and then you will find your gold. To not miss the mark, you must have Nia, a.k.a. “Telestai,” which refers to those with aim. It alludes to those with purpose. The mysteries are given to people in parables because they cannot understand them; first, you must have Nia.
X marks the Spot, the Pearl (the treasure) is in the centre (center)
Gnosticism tells us that the apostle Judas Thomas, while in prison, sang the Hymn of the Pearl, which is about a Son being sent down from his Kingdom (in this Kingdom, heaven is like a merchant man seeking fine pearls) by order of his father to fetch the pearl that is found in the depths of the sea. Where the abode of a snorting Serpent dwells, he must triumph over the Serpent. And this would enable him to return and dress again in a splendid garment and become his father’s heir, as promised. In the Syriac text, it’s not the Son but a female soul who gets sent down from her heavenly home to fetch the pearl guarded by a serpent. However, when she gets there, she forgets her mission until she is reminded by “the Father, the Mother, and the Brother,” she performs her task, receives her glorious dress, and returns home. The Hymn of the Pearl, particularly the pearl itself, could be about the Gnostic notion of the lapsed soul that the celestials (i.e. Gods, Aeons) need to reclaim. The Hymn of the Pearl tends to be symbolic and multisided, which leaves it open for interpretation.
When the Aeon Sophia, also known as Barbelo (Thought and Wisdom), realized she had created a mistake in the form of Yaldabaoth (that came forth from Sophia when she attempted to emanate without her counterpart (Christ)), she hid Him away among the luminous cloud. This is an ambiguous description of something. What is luminous and cloudy? A Pearl perhaps, [Speculation] what if these luminous clouds were just the outer layer of the Firmament. And above it are the waters and below it is this Pearl-like layer known as the Firmament, where Yaldabaoth dwells. Sophia places a throne in the middle of the cloud for him. [Described in the Apocryphon of John] Yaldabaoth then starts to create the material world on the model of the spiritual world even though he has never known it – because he came from the spiritual realm through the mistake of Sophia emanating from him. He still preserves spiritual elements in Him, thus creating the material realm. Sophia, ashamed, starts to pace above the waters; these are waters above; within the narrative’s logic, the location of the waters points to this supposition.
Elizabeth Fraser from Cocteau Twins song title Pearly Dewdrop’s Drops is associated with Heaven in the Bible from Genesis 27:39 to Revelation 21:22 (KJV)
| Genesis 27:39 | Your dwelling will be away from the earth’s richness, away from the dew of heaven above | ||
| Revelation 21:21 | And the twelve gates were twelve pearls: every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass. |
The song possibly suggests that the Pearly Dew is our souls, and it drops and rises (cycling of souls) within and through the celestial bodies and then through to heaven or Oneness. Every time you incarnate into existence, you’re away from the dew of heaven above. It might also indicate angels fall from heaven. The theoretical theory that the Firmament was cracked somehow, which resulted in celestial waters flowing through to the material – would suggest that intelligent design would have to allocate both notions of the ethereal and material.
Kahlil Gibran from The Garden of the Prophet describes discovering the secret of the sea in meditation upon a dewdrop, describing an infinite universe for every dew drop. There is a vast ocean in it. Chino from the Deftones, who dida cover of Fraser’s song Wax and Wane, expounds on his esoteric mastery with his song title Xenon, in which he states:
We’re the lions at the gates
We’re the diamond in your brain
The desire in your veins
For the violence
We’re the sirens to your raid
The desire to remain
In the violence
The deciders
Of your fate
Fundamentalists are adamant that the pearl of great price is Jesus Christ and that he is the only gate, door, and way into heaven’s dew. Though some take it literally, others have taken its meaning mystically. It’s beside them the Trinity which their familiar with is not of the same making as a Gnostic one; the Father, The Mother, the Son. The Son – thought thinking itself – Christ – The Heavenly Spiritual Anthropos (1st Adam). Most are unaware that there was already an Adam outside space and time (the upper Pleroma/heaven) and that He is part of the one True Parent (Aeons). And this is the first Adamas on which the creator God tried to model his Adam.
I don’t know what Revelation 21:21 is trying to say; it’s a parable full of mystery. I guess it’s about reincarnation gateways, and the pearls are sparks, the password to the divine, so as not to be swallowed up in the cyclical salvation wheel. In understanding the Merkaba mysteries is a Chariot consisting of four creatures called Cherabs, with each head going a different way; one of the heads is a lion. In some teaching schools, this Chariot will take you to the gate. So, we are essentially Lions at the gate.
In the Apocryphon of John, there is a Gnostic Narrative before its final act. It focuses on the creation of human beings specifically, and a deception relating to the creator God is involved. To fix the imperfection that originated can be eliminated and perfectly restored. There is a strategy that spiritual realms have to bring back perfection that imperfection had emerged, a way to bring back the element to the spiritual realm. So, it’s about having humans play a role in bringing back to perfection. Through returning the power and light to the perfect spiritual realm, and it’s through the souls of human beings. [More on these details in the next post]
Through gaining knowledge, specifically through Seth’s lineage, you can access the spiritual sparks within humans – to make them present through practice or if they’re naturally given. You can return to the perfect spiritual realm with this proverbial spark or pearl.
Along with the spark, you will also have to re-emerge with the feminine. The separation began with the fall of one of the emanations – Sophia, alongside the separation of the feminine (the rib from Adam that was made into Eve). And this is entirely different from the transgression of picking from the tree of life. The two have been separated. The remedy would be to bring the masculine and the feminine together to be in fullness. Stephan Hoeller describes these separations in the psychological sense as Adam – being the mind and Eve – being the spirit; the disconnection lies in the separation between the mind and the spirit. The mind is by itself. You can also have Atman, but that is merely the point of contact – you must not mistake secular notions of oneness to belong only to the individual (the god is in my idea). The point of contact is only the gate; you must also have access to the spark within you, and then you can have contact with the great divine, also described as the great fire.
The Pearl, the Egg, and the Serpent have greater meaning within the allegorical myth, but when you disassociate yourself from that knowledge. It seems to be a metaphor for the sexual union between men and women – and that this notion of the union itself is a metaphor for the soul, that when separation occurs, imbalance happens. And this is the fulfilment of transcendence; in other words, our existence is justified and reified through transcendence.
Throughout history, there has been a perceived masculine bias towards the personal God, the Trinity (Father, Son, and Holy Ghost). Therefore, the most common image of the feminine aspect of God is through the Blessed Virgin. A less favoured candidate from which Mary stems is Sophia, who says in Proverbs:
| Prov. 8:23 | I was set up from everlasting, from the beginning, or ever the earth was. |
Orthodox forms of Christianity have never regarded Sophia as part of the Godhead. Still, some esoteric Christians regard her as the active power of God in the world, “the living Soul of nature and of the universe” – Florenski, P, n.d.
Mary and Sophia
Dimensions and darkness: Fundamentalists have an incomplete belief of dimensions due to reasons regarding Kabbala, that it’s in the realm of occultism and therefore follows the doctrine of demons. Notions regarding several existing plains linked to the celestial bodies are relegated to three dimensions. One is – our earthly realm of five senses, and two – is the dimension of heaven, where God reigns Sovereign (the throne of God). It’s a dimension that was bridged by Jesus Christ, of whom God became a man (person). Through him, humanity has access to a realm of infinite power, indescribable love, and cosmic justice. Three – one of spiritual darkness, controlled by Satan and his hosts, there are many Biblical references supposedly indicating such a rule. This dimension is described in Ephesians 6:10-12 as a place of incalculable wickedness, presided over as “the ruler of this world” and “the god of this age” (John 14:30; 2 Cor.4:4). These references don’t mention the dimensions in which Satan rules; however, allude to the dimension where he does, notably where humans reside. It makes a Gnostic mention of a god of this age that rules through authorities helped by agents and dark spiritual forces; this is Gnostic in some sense.
It is easy to make that assumption and separate the rule of dimensions – given that fundamentalists mistakenly assume Sheol is hell (a place of fire); this mistranslation refers to a grave as hell. It’s inconceivable; for instance, in Job 17:13-16 “Rest in the dust” – is to say “there is rest in hell”, – or in Psalm 49:15 “, Souls are REDEEMED from Sheol” – is like saying “Souls are REDEEMED from hell” – or Psalm 139:8 “God is in Sheol” – is like saying “God is in hell,” and there are a lot more of these inconceivable mentions. Fundamentalists will never say anything, yet they promote Sheol as a bottomless pit, a parallel to Abaddon, and a place of fire and darkness. Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place. Often described as a Destroyer, Angel of the abyss, and guardian called Apollyon in Greek. The symbolism of Revelation 9:11 leave the identity of Abaddon open to interpretation. Often described as a representative of God who holds the keys to the abyss, Abaddon is also referred to as Jesus after his resurrection.
In the film Dark City, John Murdoch’s character represents the Sun-God and solar redeemer, but can also equate to the demi-God Gilgamesh, who travels to a Mountain high enough to reach the sun god Shamash. He travels to the “Wheel Rim” to find Noah. He must find the base of the Mountain and travel into the underworld, which Scorpion-Man guards. The underworld would seem to house dead souls of Nephilim and hybrids. The Wheel Rim is a reference to the cosmic orbital motion, in keeping with the title of this thesis; it’s the orbital of celestial bodies and the zodiac on a flat, still plane. Gilgamesh’s story, as its focus, is about Mercury, often called the wanderer because of its rapid shuttling back and forth in the sky. This is akin to Murdoch’s journey as he gets taken down to the underworld and metaphorically gets strapped into a Wheel Rim. This is also in reference to the Wheel Rim environment they live in, a circular flat, enclosed city. He defeats these agents of darkness and becomes the bearer of keys, the creator of realities.
In the magical worldview aspects, human character and activity are assigned to planets, colours, and metals; Mercury rules writers and journalists, and Venus rules artists and musicians. John Murdoch, a Sun God, enchants the City with sunlight, and the Sun’s (Tiferet’s) colour is yellow, Mercury (Hod) is orange, and Venus is green. The City has a light for the first time thanks to Murdoch’s god-like abilities to move the Sun. However, in the film, it looks like the Flat City Dome moved (another inverted subtext). Heliocentric believers’ view of Ptolemaic’s geocentric paradigm as something that’s already been discredited –seems to be a notion that needs to be revised, considering a Flat Earth stance that the Earth is transfixed and firmly at the centre of the universe.
Flat Earthers have proposed these other dimensions are signified through celestial bodies all residing within the Firmament, and the place of spiritual darkness is the realms below. Traditional fundamentalist worldview is heliocentric alongside most people; they adhere willingly or unknowingly to a Jesuit order. They (presumably or) relate wandering stars to people’s individual conditions; in other words, if you don’t follow a certain fundamentalist format, then your heart is filled with darkness, and you’re portrayed as “wandering stars for whom is reserved the blackness of darkness forever” (Jude 13).
| Jude 13 (KJV) | Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness forever. |
If you take the verse in its full context, it uses sea waves as a metaphor to indicate false teachers who reject truth in favour of their understanding. As a result, these false teachers and their words were frothy and shameful. They are also like shooting stars. They give only flickering as they wander trackless and momentarily across the sky. The deepest darkness – everlasting punishment – is reserved for them. If one is to view truth through philosophical means to propose the question, ‘What is the truth? Alongside the flat earth paradigm, this statement is ironic. It seems those who follow a heliocentric view are the ones who become false teachers. One must find absolutism, then; this verse can have merit. However, given that the truth is transient, you’re only left to wander the stars or look by the pier and watch the raging waves of the sea.
Five centuries of the Copernican simulation and simulacra strengthened their hold of a spherical stage that revolved around a luminous sun – worshipped as their source of superstitious power and knowledge. Implementing an anti-Copernican revolution through the collective power of the people implies a fight for truth within the Church, but historically, this is a myth. Therefore, the reintegration of an old cosmic belief based on fact, not fiction, will always be fundamentally transient. Integrating this idea and image is effortless in animistic societies, highly improbable for the demoralized. Although not absolute, take the introduction of Carl Jung’s collective unconscious formula for a non-rational force in our civilization. Jung’s concept of “inherited thought patterns,” in which intuition is implicit, would bring criticism of fanciful mysticism, yet those accusations disappeared into obscure text. Jung’s idea has been integrated into our civilization as almost self-evident.
(Astro)-Gnostics and the Evangelical groups share a common belief in the earth’s cosmology, especially about the vacuum of outer space (or the second heaven). To them, this hyperreal space and its infinite quality, along with the Biblical term “waters”, refers to the extra-solar outer space, the Firmament, describing the solar system.
Evangelical Cosmic Map
As a child, I couldn’t wrap my head around the notion of an infinite space that some great creator had made because the notion was/is too great. And this is when your intuition calls out to you like someone is knocking at the door of your psyche, but we dismiss it as quickly as it comes. However, if the cosmological reason is something that came out of nothing followed by the notion of existence through chance, it made a lot more sense. It made more sense because the scientism order has enclosed it by denying a creator’s existence. Evangelical follows hyperreal cosmology, but unlike the Atheist no God policy, they believe beyond infinity must be a God, which makes no sense because it’s a paradoxical argument.
The common question among those groups regarding flat earthers is based on a worldview that is centuries old. If those groups no longer accept the cosmology given to them, the vastness of space and its solar system, the earth would be the centre of the universe and flat. Questions concerning whether a God exists will no longer be in a debate because as soon as you accept a false cosmology, you also accept a God as a creator by that acceptance.
The Gnostic Cosmos
The fundamental difference between Evangelical Cosmology and a Gnostic one is where the creator God resides. The Creator God is within the Firmament in Gnostic cosmology. In the Evangelical model, He has taken the place of Sophia and sits inside the upper Pleroma – where the Trinity no longer exists, and He has taken the mantle of the one and only True God.
Michael Keefe.
… End of part 10… to be continued
