Flat Earth; Enclosed Creationism; Conspiracy (Theory), Intuition and Imagination – Part Six:
The stage: One of the many contentions that underline a fundamentalist approach to that of a Gnostic is that spirituality and mysticism are opposed to religion, which is dogma. They feel spirituality and mysticism teach greater truths using analogies. Moreover, it’s through analogies or, to be more precise, the analogies of myths – and the use of those myths in a practical sense. It can be used outside of scholarship while finding meaning in it, alongside its interpretation that can coincide with life. The whole Gnostic view can be based on knowledge and in that knowledge through analogies – which have been around for centuries. During those early times, it often carried through different traditions from Christianity, Kabballah, Judaism, Sufiism, etc. Within those traditions is a shared idea that reality is an illusion. Having made its disassociation with religion similar to that of the New Age’s ‘spiritual but not religious concept. The traditions of various religions best describe their historical facets or contextual background.
In modern times, notions of tradition and religion are redefined because they no longer exist in a traditional sense. The gathering of people toward religious Churches for the worship of a cross at its altar is becoming less popular – and instead, people have found new worship in entertainment and social media. Their gods are now portrayed as adjacent to those archetypes, which sometimes are ironically drawing from them to conjure inspiration or incidentally play those roles, much like Neil Gaiman’s concept of New Gods. The old gods and new all have the commonality of worship, which is worship itself as currency; it’s their elixir for longevity and immortality.
The analogies of myth and its methodology are varied. Still, there isn’t any as cool as the Greek model of the heroic nature, which parallels the notion of incarnation and spiritual evolution much in the way of enlightenment, knowledge, psychic abilities, etc. Within this mode exists archetypes to those myths, and Joseph Campbell dissects these archetypal myths. He mentions “Four functions of Myth,” and through the second and third functions, we question the truth about our existence and our relation to the cosmos. The second and third functions are:
| The second function of mythology is to present an image of the cosmos, an image of the universe round about, that will maintain and elicit this experience of awe. [or] …to present an image of the cosmos that will maintain your sense of mystical awe and explain everything that you come into contact with in the universe around you. (Campbell, J) The third function of a mythological order is to validate and maintain a certain sociological system: a shared set of rights and wrongs, proprieties or improprieties, on which your particular social unit depends for its existence. (Campbell, J) |
The second functions imply a cosmological ambiguity. In this uncertainty is the question of seeking its true nature and that perhaps the hyperreal-space-cosmology given to us as a reality is not as absolute as we thought, indicating that it might be a false real instead. This illusion is sustained by the secular (scientism) groups who work to keep its space cosmology simulation intact and, through those endeavours, label a science that’s been around longer, like astrology, as pseudoscience. Astrology, when it hasn’t adopted a hyperreal-space-cosmology, is fascinating and truer to the ancient source. Science’s main goal works similarly to Campbell’s second function in a theoretical sense. That science, which is yet to be absolute, works through a hypothesis based on the truth that has yet to be found. In other words, science works on facts that may change through time and theories that arise from the present may be obsolete in the future. The more they try to figure out the answers, the more they find their answers have already been found through religious traditions. Additionally, the older the religious traditions, the more accurate they are.
Campbell’s second and third functions have a sense of flexibility, meaning they latch onto a universe (or stage) assigned to them because they ask you to draw an image of the universe. To present an image would mean embracing the imagination and using intuition as its driving force. And this isn’t easy when managers of perception endeavour to marginalize our intuition. It’s also more difficult when the stage has already been set for you – and that stage is also its religion. Driven by two sets of managers of perception, the scientism order and the entertainment studios, both are vehicles for propaganda through different means of narrative entertainment. One is supposed to be real, the other fantasy, but both stem from a simulation of sorts, meaning both come from the perspective of the unreal. Incidentally, both answer each other questions when given problematic questions – because they are the vehicles of projection, funded for production and driven by imagination (sometimes managed and sometimes unbound).
The third function is about validating the stage and the universe it’s in and keeping its sociological system in functional order. Often, the third function gives the second function less importance given how civilization and democracy work (meaning the argument for a flat earth worldview can be trivial) – is the city more important than the land the city dwells in? In Battlestar Galactica, a central theme to the science fiction show is about a fleet of Ships travelling in outer space hoping to find a mythological place called Earth. In the show, civilization and democracy are maintained even though they’re not firmly fixed on land. In Doom Patrol, a small town named ‘Danny’ can project people’s positivity and altruism and teleports when a threat is imminent – a transient working town unbound by the Earth. However, it’s through Netflix’s show Black Mirror’s – USS Callister that showcases the meaning of the third function. [The episode itself deserves its separate analysis because it touches upon so many things: Narcissism, Simulation, Sci-Fi concepts, Fandom and so forth – it’s inherently multilayered, Meta and Gnostic as well]. A scene in which Daly (Jesse Plemons) describes Space Fleet’s purpose: “What is Space Fleet? I’ll tell you what it is; it is a belief system founded on the very best of human nature. It is a goal for us to strive towards – for the betterment of the universe – for the betterment of life itself.”
The more I watch it, the more I realize he talks about keeping a hyperreal-space-cosmology (or a heliocentric worldview) intact. And not so much Space Fleet itself because, in the show, space only exists in a computer simulation that Daly had created. This is strikingly a meta nod to how truth, conspiracy, esoteric, and high weirdness researchers are debating right now. Given that space is a simulation that’s more akin to a psychological operation; its validation comes from the imagination that is managed in hyperreal-space fiction, which is no different from science fiction. Both ultimately have one goal: to keep a false heliocentric worldview; therefore, it’s a type of simulation within a simulation.
The second and third functions have always followed an older cosmology before a hyperreal-space one. And this was brought about by the ancients, who discovered the truth about the planes of existence ages ago. Often, this knowledge was given to them by beings described as angelic. The Gnostic creation of the cosmos should follow the same path, not through an infinite space cosmology but within different levels of planes of existence and transcendence. Often, the environment is less focused on, and it has more to do with keeping the myth alive through analogies. It also seems contemporary superhero fandom has kept these myths alive in various forms of storytelling, although they view it as mere entertainment without the proper understanding behind it. Myths are often recycled or reinterpreted, and the mythical creation story or analogy of the Gnostic creation of the cosmos is played out like a four-part act (or play). Creation, the most incredible story ever told, is immortalized as a myth throughout history.
| Act one: the expansion of the first principle into the spiritual realm the development of that unified Pleroma, fullness, perfect spiritual realm. Emanations from the good and perfect principle the platonic idea. This perfection, however, leads into imperfection. Act two: Is a consequence of that first snippet of that first act – the imperfection, and somehow that imperfection is responsible for creating the universe. That imperfection somehow brings about a creator God who creates the material. This is the creator of Judean Bible. Act three: Focuses on the creation of human beings specifically and there is a deception relating to the creator God that is involved. So, that the imperfection that originated can be eliminated and perfection restored. There is a strategy that spiritual realms have in order to bring back perfection that imperfection had an emerged, a way to bring back the element to the spiritual realm. So, it’s about a way of 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. Act Four: Is the subsequent history of humanity and the gradual recovery of the elements which have left it. In other words, souls that possess within them elements of the perfect light of the spiritual realm gradually returning to become one where they belong. With the final story being that everything returning to the one (source), and the imperfect mistake would disappear with it. |
Act one; The Spiritual Realm: Christ is presented as the character who is telling us about the first main act. John asks these questions, and then Christ appears; the questions John asks lead into a whole dialogue. When John heard these things in my debate with the Pharisees – I turned away from the temple to a desert place. John is unsure where his leader (Jesus) went – and I grieved greatly in my heart saying how the saviour was appointed and why he was sent to the world by his Father. And who is his Father, and by what sort is the Aeon to which shall go? [Aeon can be an eternity, eternal realm, eternal being, eternal time, etc.] What did he mean when he said to us – this Aeon to which he will go as to the type of the imperishable Aeon, but he did teach us concerning the ladder of what sort it is.
Behold the heavens opened, the whole of creation, below heaven, was shown, and the world was shaken. I was afraid, and behold, I saw in the light a youth who stood by me; while I looked at him, he became like an older man. And he changed his likeness again, becoming like a servant. There was not a polarity before me, but there was a likeness with multiple forms in the light, and the likeness appeared through each other, and the likeness had three forms. [Christ appears as a light that will share the knowledge you need for John’s salvation. The knowledge of where the saviour came from and who the Father is – and the knowledge of that spiritual realm and the understanding of the need for salvation because of the creation of the material realm].
Act one; the One-Three figure: A united perfect spiritual realm is a triad central to the spiritual realm: Monad, Barbelo, and the Child, or the Father, The Mother, and the Child. Monad, for He is total perfection. He had everything that may be completed by it. Instead, he is completely perfect in the light; he is un-limitable since no one is before him. He is unsearchable since no one exists before him to be examined. He is immeasurable since there is no one before him to be measured. Extensions through emanations, the Fathers thought, performed a deed, and she came forth. Namely, she who appeared before him in the shine of his light is the first power before all of them came forth from his mind – she is the forethought of the all. [The forethought is one of the emanations or one of the thoughts in the mind of the Father. The glory of Barbelo glorified the virginal spirit, and she praised him because thanks to him, she has come forth]. And this is the first thought, his image. This forethought is in the mind of the Father, who is called Barbelo. Who is an emanation of light is also the image. She became the womb of everything, for it is she who is the fire to them all: the Mother/Father, the first man, the Holy Spirit, the thrice-male, thrice powerful, thrice androgynous one – and the co-eternal Aeon among the invisible ones, the first to come forth.
And He the spirit (Monad) looked at Barbelo with the pure light surrounding the invisible spirit and with the spark she conceived from him. [An idea of sexual imagery of conception and an only-begotten child comes out of this – which is a third of John’s triad of the Apocryphon. This only-begotten child is one thought itself – Christ – from the triad; more emanations take place until you an expansion of this oneness that is the Father]. From the perfect knowledge of the perfect mind through the revelation of the invisible spirit and the will of the self-born autogenous, the perfect man appeared. The first revelation of the truth is that he is the virginal spirit called Adamas, and He places them over the first Aeon with the mighty one. [This author has an emanation that is an Aeon in the oneness; it turns the Adam that the inferior creator god creates into the image of that first perfect Aeon Adam. There was already a perfect human being in the spiritual world named Adam before the invisible one gave Adam an invisible power. Seth is also one of the emanations in the spiritual realm, which will be replicated in the material realm that led to the return to the spiritual realm].
Comparatively, the Gnostic cosmos can match the Vedic system. In the Vedic System, it is understood that the gods are to be worshipped through one God, the Trinity. Notwithstanding the trichotomy, it is still one God, and it’s a God of person and a God of the form (spiritual form). The Trinity can be equated to many examples: Isis, Osiris, Horus or Krishna, Balaram and Radha-Rani or the Father, Son and the Holy Spirit; this is the divine sacred secret. A comparative equivalent of the Demiurge (our creator-God) would have to be Brahman, born from the Lotus flower sprouting from Vishnu’s navel, and Vishnu would be equal to Sophia. Brahma has the quality of passion and activity and is neither good nor bad, but sometimes either; Brahma is the pervasive, genderless, infinite, eternal truth and bliss that does not change, yet is the cause of all changes. As a metaphysical concept, Brahman is the single binding unity behind the diversity in all that exists in the universe. In the Vedic context, the Gnostic creator God can be positive.
Beyond our created world, past the Firmament and the waters, the Vedic system talks about a place called Brahmajyoti, ruled over by Brahmananda. And this is a place of impersonal bliss, often called the White Light. It is Krishna’s (or God’s) effulgence, and from this point upward, it becomes more blissful. You can equate Brahmajyoti, Kailasa, Aisvarya-dharma, and Vaikuntha-Loka as the four lights of the Aeons with their trinity sets of Aeons. Above that is the highest place of bliss, represented by a pink Lotus, a causal world that is Krishna’s abode called Vrindavana. This place has all the qualities of love, justice, wisdom, knowledge, wealth, and abundance and is the fountain of all sources and potency. The spiritual form, or the formless part of humanity, manifests the material form.
Being a Trinity (the Mother, Father, and Son in the Gnostic sense), Krishan, Radha-Rani, and Balaram are represented as the realm of sweetness called Madhurya-dharma, which can be equated to the Heavenly Spiritual Anthropos (1st Adam), a realm before the Trinity, but is essentially part of the Trinity. In this realm exists three kinds of worship towards the True God; this is also a place for the personal god Bhagavan. And below that realm is a place ruled by Paramacharya, who is both personal and impersonal. The realm below is ruled by Brahmananda, who is impersonal effulgence (or who presides over the white light of bliss, and this is a place of non-activity). New Agers often describe this white light as the last journey, which is incorrect. If one chooses to stay where one can, it is said that there are more blissful and active realms beyond the white light.
Act one; The Emerging Trinity Symbol: This Trinity symbol is popping up in popular culture; the symbol itself varies between historical and cultural traditions, but it can be the Concentric Circles, the Y, or the Triangle symbol within pop culture myths. All of which represent the Trinity. The Gnostic cosmology depicts the Trinity as the Y symbol encompassed as one symbol. It’s similar to an artist’s rendition of an esoteric depiction of the Lotus flower, representing the highest place of bliss.
The emergence of this symbol is found mainly in science fiction. One notable symbol is found in Star Trek Nemesis, where the Romulan capital city is topographically designed as the target symbol with the Y symbol imposed in its aesthetic. This is interesting as the mythical city Atlantis is always topographically depicted this way, alongside its Roman Aesthetic. The Romulan Empire’s concept parallels the old Roman Empire ideals. And this concept is at war with the New Roman Empire (the New Atlantis), which was established like a [Star Trek] Star Fleet Federation. The Federation concept is real given that every country was built upon a Federation State, like Australia, Canada, New Zealand, and even the United States, before it detached itself from the Monarch (given our current conspiracy modernity, its detachment is only on paper). These countries are among many with no real history, and what they lack in history, they make up for in an idea: the idea of Rome. The Federation is convincing countries with thousands of years of history to adopt its Federation ideology. Star Trek makes it sound less threatening by giving the Federation a utopian essence – in reality, the utopian essence is the New World Order.
In Roswell, New Mexico, a rebooted version of the late 90s show of the same name minus the New Mexico title has an edgier appeal to fit a modern audience. And this makes sense for an audience that seems more sophisticated than in the past, as it needs to compete with other shows with better popular appeal. The Roswell show of the nineties was the New Romantics of that time, given the popularity of X-files and the melodrama shows like Dawson’s Creek, which Roswell came to be an amalgamation of those two shows. It was also the first beta superhero show, given the use of supernatural powers, but then Smallville came along and overtook that part of the show’s aspect. Roswell, New Mexico’s symbol, is supposed to be a symbolic map of their real home.
There is also the story of a goddess of Venus that gestated from a cosmic Egg to become the Syrian goddess Venus. A story told by Hyginus, in which an egg fell from the sky into the Euphrates, was rolled onto land by fish, doves settled on it and hatched it, and Venus, known as the Syrian goddess, came forth. Venus is likened to a goddess, Morning Star, Lucifer, or even Pearl. Certain texts have often equated constellations to pearls, one being the Orion belt, also known as the String of Pearls.
Roswell depicts three cosmic eggs that function as a gestation incubator with healing properties, and given the right time, three beings emerge out of it as a human-alien hybrid.
 | I think this Roswell symbol is to represent infinity – the fractal concept of dimensions within dimension with no end. The sigil of Eros is one of the symbols to transform the self and attract love. hid |  | ||
 | This Roswell Symbol is to represent time. It’s also signifies the concept of X marks the spot (the supposed spot where the treasure or pearl is). The sigil of Love is one the symbols that coincides with Eros to attract love. |  | ||
 | I think this Roswell symbol represents an ethereal aspect; you can either call it space, waters or the heavens. The sigil of Purify on the right is one of the symbols that represent healing, and so one of the main characters in Roswell ‘Max’ has the ability to heal. |  |
Project Blue Book is a fictional/non-fictional telling (although the scale points toward a more fictional telling) of a secret clandestine institute commissioned to find extra-terrestrial paranormal activity. Throughout the series, we are shown a Trinity symbol and an alien artefact; the symbol, like in Roswell, is a map or coordinates of some kind. In the last episode, the coordinates suggest the location of the North Pole; it’s easy to assume it’s in the Arctic, given all the conspiracy talk surrounding Antarctica. However, in a Flat Earth paradigm, the Arctic is the perimeter around a Flat Earth plane. This suggests Antarctica is a hyperreal fiction to depict a North Pole vortex subconsciously. Or when they discuss Antarctica, they’re talking about Greenland for reasons I’m still figuring out. When a man in a black suit arrives at the Arctic/North Pole, he finds an obelisk with the Trinity symbol on it – then the artefact comes alive along with the obelisk. The obelisk symbolizes the sun God Ra, and astronomers hypothesize that it is derived from the natural phenomena associated with the sun. And its connection with the sunrise and sunset, the zodiacal light and the sun pillars.
However, it’s a symbolic monument to the great Tree that once presided over the Earth, and when it was cut down, it became a (watch) tower. The obelisk is merely a symbolic reminder of that creation story. It was said to have been a petrified ray of the Aten, the sun disk [perhaps not a petrified ray, but a petrified dead Tree]. Heliopolitan creation myth formed out of Ancient Egyptian religion describes Benben as the mound that arose from the primordial waters Nu upon which creator god Atum settled.
Author of the book High Strangeness, Laura Knight-Jadczyk book cover depicts an unfolded three-dimensional Tesseract, normally viewed as a cube within a Cube. In the film Avengers, a Tesseract is encased in a mechanical concentric symbol reminiscent of the Hadron collider. The Tesseract and the machine open portals for other dimensions (i.e., planets); you can equate this dimensional travel as a sort of Jacob’s ladder journeying into the spiritual realm. In Avengers Endgame, a machine with the same circular aesthetic helps navigate certain parts of time they wish to go. This differs slightly from notions of dimensions as it deals with time and the infinite fractal universe.
And this is, of course, all about asking what outside time is. Aside from assumptions or accounts from NDEs, psychedelics users and their experimental accounts, frontal lobe seizure patients, alien abductees, and so forth, nobody knows for sure. However, they have all indicated in some way that this is all part of an experiment. And that there are watchers out there taking notes on the human experiment. Of course, no rational point of view can determine this. Still, we can determine that the centre point is a gateway of sorts – and the spot is marked by the X to figuratively find the centre while also representing the four concentric seas.
The Cube in the Circle there you will find the phi and golden ratio formula.
Endgame depicts a variation on time travel within the notion of choice, leaving out the time travel conception of causality. A traveller from the present that travels to the past can’t affect the present –because that past becomes their future present. The film jokes about the dichotomy of the new notion of time compared to the Back to Future idea of time. And this is not inherently a new notion but an old perspective made new. Back to the Future uses a Flux Capacitor shaped like a Y to explain the means to travel in time. The film Back to the Future contains many conspiracy synchronistic clues and predictive programming suggestions. It would also seem Back to the Future was one of the first films to adopt an idea similar to parallel reality theories. And that is the existence of a prime reality or, in this case, a prime timeline – and if someone goes back in time and changes an aspect of their reality, their future present changes. The changes are depicted by a certain person disappearing in a photo. The new notion of cause denies this as an effect; it may not be from the cause, but the effect is similar to the Mandala Effect. Something is happening in our reality that also influences our time and memory. Still, it isn’t necessarily about a person using time travel to go back in time, thereby inherently changing the present, but merely as to something else [?] which is changing certain details in time, namely certain land masses, quotes, logos, etc.
An upcoming HBO Watchman TV show depicts the top of the obelisk with a circular ring around it, subtly indicating the North Pole Vortex’s important position. As I’ve mentioned a couple of times, the obelisk represents the Great Tree. And the Tree has been mentioned before to be likened to the Cross. The Tree was cut and became Mt Meru, which was like a watchtower where the original children of Adam presided [where Demiurge’s Watchers once watched over them]. The Watchmen’s new symbolic obelisk is reminiscent of the Roswell symbol, which parallels the skateboard footwear Osiris logo, and Osiris is one of Egypt’s Trinity deities.
| The CW’s Roswell Trinity-Alien-human-hybrid is from Sirius; go from Orion down so you don’t get lost. |
In ancient Egypt lore, they discuss the beginning of time called Tep Zepi, where “sky-gods” descended from the stars to Earth on flying “boats” and then turned mud and water into a new kingdom. They call those gods “Netyro”, meaning a being from the cosmos. They tell us that the god Osiris, who ruled with his consort (Horus) and sister Isis, are star gods. Osiris is identified with the constellation of Orion, and Isis is identified as the god of the star Sirius. Within the constellation of Orion is the so-called nursery of stars. And the stars in our galaxy were born or came from that zone. So ancient Egyptians insist the birth of star gods is in this constellation.
Less of a Star Solar Rotation, and more of an inner fractal assumption.
The hyperreal-space cosmology group has equated the Dogon symbol for Sirius with the solar rotation of those Stars. The Dogon claim their god Amma came from a specific star in the Sirius constellation, the same place ancient Egyptians believed their god Osiris was born. That Star is called Sirius B, which the Dogon call the Po Tolo – this Star can only be seen with a telescope as it is invisible to the naked eye, which baffles astronomers as the Dogon knew about it before modern science. Ancient alien believers theorized that the knowledge was given to them via ancient encounters, in this case, encounters with an alien (god) Amma. And this is not a new revelation in any sense, as it is written in many esoteric texts of encounters with sky beings. What is new is the adoption of specific details in ancient alien theory. From Zecharia Sitchin to Ancient Alien Theory, documentaries have all indicated aliens are a significant part of human civilizations, which is accurate and has a gnostic base.
Gnostics view aliens as archons, while Sitchin views aliens as angels, but if you look further into it, it’s more complex. What is new is the specific detail or contention that lies in the background or a container that is imagined (or simulated) where a hyperreal notion of space is the only place it can exist. In other words, aliens are real, their place is real, and their ships are real – but space as a cosmology that people commonly know it as – is not what it is, which makes it hyperreal.
Astrophysics and astronomy viewed in a hyperreal-space-cosmology tend to mix narrative truths with factual truths or adopt narrative truths [theoretical texts and simulated imagery] as absolute and, in this case, the Copernican Solar System model. When viewed through a telescope, some of the Celestial bodies (or planets) are correct in their aesthetic, meaning Saturn looks like Saturn. [But its’ size and distance are questionable], while other celestials like Venus (along with Stars) are seemingly transparent and have textures reminiscent of water reflections, meaning they move in a fluid motion. In this fluidity, it has a morphing geometric symbol within it. Therefore, one can only conclude some celestials act like the Moon and Sun and have their specific rotation around the flat plane earth – while other celestials act like stars, but not like a hyperreal notion of stars, but more to do with a bright burning fluid of light. I assume the material and fluid base celestials are theoretically dimensional gateways (or mini-singularities) of some kind.
What? … Venus is not a planet
We have a supposed image of Sirius, although you can never be sure if it is simulated or not – I think it’s legit. Then, we have Sothis or Isis consort to Osiris in a Duat Boat representing the spirit or the Merkaba; she appears as Orion in the Sky. The image resembles a vertical flip version of the Dogon symbol for Sirius. The Dogon also believe that approximately 5,000 years ago, Amphibious Gods, called Nommo, and came to Earth in three-legged spaceships from the Sirius Star System. They have described perfectly the DNA pattern made by this elliptical orbit created by the two stars as they rotate around each other. They believe Sirius to be the axis of the universe; from it, all matter and souls are produced in a great spiral motion.
We have a supposed image of Sirius, although you can never be sure if it is simulated or not – I think it’s legit. Then, we have Sothis or Isis consort to Osiris in a Duat Boat representing the spirit or the Merkaba; she appears as Orion in the Sky. The image resembles a vertical flip version of the Dogon symbol for Sirius. The Dogon also believe that approximately 5,000 years ago, Amphibious Gods, called Nommo, came to Earth in three-legged spaceships from the Sirius Star System. They have described perfectly the DNA pattern made by this elliptical orbit created by the two stars as they rotate around each other. They believe Sirius to be the axis of the universe, and from it, all matter and all souls are produced in a great spiral motion.
The Fours Seas; X marks the spot for the Pearly-Dewdrop’s Drops
With all the water association with boats, anchors, and firmament seas (space if one wishes), we have Elizabeth Fraser, the lady siren herself, and the Sybil. Her music video clips for Iceblink Luck seem to have a visual association with the X symbol. X marks the spot for the treasure of Pearl – vis-à-vis the centre or the polar vortex;
Act one; the holographic stage and the A.I-techno evolution: The film Tron-Legacy takes on new meaning when it’s about the race to the centre vortex of the Grid world. We have the Flynn character taking on the role of the Demiurge archetype as the creator of the simulated Grid world. He also creates Clu, an image of himself representing the combination archetypes of Adam and Lucifer. The maker’s disk, a.k.a, represents the key to our world. Flynn (a human tech genius in our world but a God in the simulated world he created) – the disk key is a password that allows travel to our world through a vortex from their Grid world – which is also signified by a polar star that is transfixed above them. And this is somewhat reminiscent of our Polaris star. When CLU puts Flynn’s Disk into a concentric machine, it becomes animated and unlocks the gateway or stargate.
| The holographic stage and the A.I-techno evolution; Entheogen and the ethereal; The space-hyperreal-simulation and Simulacra. |
The artificial stage created by Flynn (the maker) spawns artificial intelligence programs, and these creations call him and his likeness user(s), which are just humans playing the role of watchers or angels. What is unique in the film is the introduction of an ISO race that spawned naturally within the stage, the stage that the maker/user created. Still, unlike its creation, the ISO race spawned naturally, solely because it was the right time. It’s a techno-hyperreal-evolution approach to existence – [ISO] that is endowed with the gnostic light as opposed to its counterpart programs that are mechanical and material. They’re demonized for being sovereign spiritual beings and soon become victims of purges (or genocide) by the programs. Flynn finds and saves one living ISO named Quorra, representing the feminine goddess. Unlike the god of wisdom, she is very naïve, but she finds knowledge through Flynn and, in doing so, possesses natural intelligence that takes flight in her imagination. Flynn finds the means to save her and then nominates her to be the one to pass through the Vortex or Portal.
Unlike Tron’s hyperreal approach to A.I. and its simulated world, the unconventional Western film Renegade takes a similar approach in detailing the concentric circle. That seems to be an inverse approach to Gnostic story myth, but it is much as a mirror to the human story but is very polarizing in its detail. Instead, the renegade takes an internal approach that is more in tune with entheogen-astral-travel. The film’s premise is about conquering fear; it’s showcased by the protagonist and antagonist taking a psychedelic substance in shamanic peyote battle instead of a gunfight, and when they do, we, as the viewers, go on the ride with the protagonist Mike. He passes through all the dead Aeons, Serpents, snakes, and beasts to take his soul through the mind and the spirit. The protagonist, Mike Blueberry, travels high enough to visualize the ethereal wheel rim, somewhat reminiscent of the Meta science’s Mandala E8. And this is the universe in its truer sense than a hyperreal galaxy. The psychedelic experience helps Mike unravel a lost memory that was buried through trauma and guilt. Accepting these memories, he forgives himself, allowing him to defeat his shadow counterpart.
Act one; the Y and the Circle, and its Meta Mirror: We have the Y symbol popping up in real life – the Challenger disaster in 1986, where the astronaut pilots underestimated the height an aircraft can go up and essentially get thwarted by a dense reflective layer [fundamentalist flat earthers call it a dome]. Next, we have the Y-shaped Mandalay Bay building, which was a place of focus in a supposed mass shooting in Las Vegas. Then, there is Lockheed’s logo for the Juno Probe that supposedly crashed into Saturn, and we also have the Scutum and Cancer constellations.
I mentioned earlier how the film Back to the Future and the Y-shaped flux capacitor allude to the effect of time – that something is hacking our simulated reality, which changes aspects of our memories and reality. Back to the Future predictively programmed the notion of the Mandala Effect before we knew it. That Cause or explanation for the Mandala Effect being time travel isn’t necessarily true, and its Cause could be something else. We witness the visual of the Mandala Effect showcased by a disappearing person in a photo.
The cause of the Mandala Effect is numerous and, at times, can be a temporary conspiracy. In keeping with the religious subject – Christians have pointed out a Mandala Effect concerning Isaiah 11:6: ‘The Lion will live with the Lamb’ as opposed to the alteration ‘The Wolf will live with the Lamb.’ When it concerns other synchronic alignments, the Wolf doesn’t make sense. Also, numerous Christian images depict the Lion with the Lamb. Bible thumpers have pointed out that the Bible they had for years and read countless times have changed overnight.
Deftones’s Chino Moreno song lyric from Xenon references ‘we’re the lions at the gates’, implying we are all Christ-consciousness (Lions) at the gate. In the Film Narnia, the Lion is said to be the Christ archetype. This is significant because the Wolf, I assume, has never been associated with Christ. Fundamentalists don’t like to acknowledge Christ and Lucifer having an association; they can’t get past the false notion of Lucifer being Satan – historical texts can’t find such links. The association it does have with Satan comes in the forms of Narrative telling and invalid pairing. So, a valid association is mentioned in esoteric texts, indicating Lucifer has an association with the Demiurge. The Demiurge has had numerous names while being interchangeable with other gods. According to some Gnostics, it is described as a Lion or the Lamb. Therefore, it doesn’t seem right if we are the wolves at the gates.
Xenon
We’re the lions at the gates
We’re the diamond in your brain
Diamond Eyes
Time will see us realign
Diamonds rain across the sky
Shower me into the same realm
Xenon’s second verse gives the next clue to this song’s esoteric meaning: “We’re the diamond in your brain” Esoterically, Diamonds equate to understanding. It should be pointed out that Deftones also released a song called Diamond Eyes that describes, ‘Diamonds rain across the sky – from the earthly plain looking down diamonds do rain across the sky as a metaphor for Diamonds that shine like Stars. From the sky, looking down, the universe is a field of clay scattered with diamonds. Clays are used in making Bricks, which make Pyramids, which are capped to become a diamond in a field of clay – clay, in this instance, is our Earthly plane. Entertaining this idea that Pyramids are Diamonds in a clay field also makes you wonder if an infinite flat earth plain can exist. And in this paradigm, how many more of these Pyramids, a.k.a. Diamonds are laid out across the plain? From a topographical view, the Pyramid (the Clay, Brick, and Capstone-Diamond) looks like a Y symbol. The song Xenon describes that these seemingly external processes are also within the human body. The diamond in your brain is the capstone (i.e. Pineal Gland, Lucifer), the eye in Triangle. Once activated, you are a lion at the gate; awaken to Christ-consciousness, ready for the gate of eternity.
It should also be mentioned that the Deftones were signed to Madonna’s label with their debut album ‘Adrenalin’, and Madonna once sang a song called ‘Lucky Star.’ The Cancer Constellation between Leo (a Lion) and Gemini can be equated to a bunch of lucky stars. The cancer constellation is a Crab because Hera, the goddess, sent a Crab to distract Hercules by grabbing Hercules’s toe while he fought the multi-headed monster (Hydra). The Crab was crushed; Hera, grateful for the Crab’s sacrifice, gave it a place in the Sky, giving the Cancer constellation the distinction of a bunch of lucky stars in the Sky.
Luck, however, would run out for one of the Deftone’s original band members, Chi Cheng, who died in 2013 after five years of being in a semi-coma, a state caused by a car accident he had. This freak accident has attached synchronicity with a song cover of Elizabeth Fraser’s ‘Wax and Wane’ of the Cocteau Twins as part of Deftone’s B-side cover album. Elizabeth Fraser seems to be an artist-prophet who channels a goddess of the underworld that is different from Hera; this goddess uses the Sybil as sirens to permeate a spell for a greater purpose we can’t fathom. Chi Cheng would seem to be part of that spell or a victim of it. Chi Cheng was inevitably in spiritual limbo, a lion at the gate, but never really going through it as he was suspended between two worlds.
As it happens, Deftones also released a song called “Hole in the Earth,” the title itself bringing up a lot of imagery. I thought it was about dimensional gateways that aliens built to traverse to Earth; I’ve recently changed my view on that. Others might link it to Inner Earth theory or the Flat Earth entry to Agartha that’s positioned at the North Pole. The “Hole in the Earth” music video clip showcases a Black Hole in Space, and Earth is coming ever so close to being engulfed by the singularity. But, of course, it’s a hyperreal-space concept that does not adhere to its literal meaning; a ‘Hole in Space’ is not. It’s not the Earth that will be engulfed, but the soul depicted as a Merkaba; this is further reinforced in the lyric “There’s a hole in the earth (hole in the earth) I’m out”, which is suggestive that way out is in. The question is whether there is a spiritual choice and whether to believe esoteric notions can be figurative or literal. The panel on the bottom right depicts Chi Cheng from the ‘Digital Bath’ video clip with the typography at the back saying ‘No Fumar’, which is ‘no smoking’ in Spanish. The word sounds like ‘No Future’, and in the clip, the visuals would also suggest it at first glance. And this seems eerie in a Meta sense, given Chi Cheng’s past events.
Deftones’ unreleased album Eros is a name that is borrowed from the Greek god of love, Aphrodite, who was the son of Aphrodite. Eros had intense love and desire for Psyche. One part of Roswell’s Trinity Insignia looks similar to the magical symbol of Eros, which is about transforming the self and attracting love, which coincides with Rosewell’s character Max and Liz’s intense cosmic love for one another. Then, there is the fan-made Eros cover of the Lotus flower, which suggests concentric circles and the fractal universe.
I don’t know much about near-death experiences, but all the experiencers’ have described a common occurrence in their dream/coma state of space travel to the stars. The New Age Gnostic Group is making bold claims about the enlightenment process by proclaiming in their enlightenment experience – that they also have the same solar travel, but in a more literal sense with the inclusion of meeting the Demiurge (a.k.a. God). This is an added component borrowing from near-death experiencers for objectifying the spirit while using shared knowledge as a quality from the position of a niche demographic. And the effects of popping up self-interest (the ego) even if it’s not their intention; it’s a misperception of who you are. When anyone starts with the word “I,” “I’ve seen God. Therefore, I know the truth”, or “I’ve seen the Curve; therefore, the Earth is a Sphere”, this embodies a primordial error, an illusory sense of identity.
Christian NDEs use this quality a lot, with an inherent exclusive nature towards other faiths. So when their political ideologies precede supposed claims of illumination coupled with that experience and memory, it’s prioritized only for a white Christian saviour. And this becomes a simulation or an illusion of consciousness. This illusory self becomes the basis of interpretations or misinterpretations of reality. If it’s about unifying dualities and letting go of the ego, starting your argument with “I” contradicts your philosophy. People may not know how to articulate their experiences properly. Unlike Swedenborg, who was so prolific in his personal “I” assertion that people took notice. Cleverer people have creatively used such personal illuminations through fiction – this broadens the audience and challenges their imaginations.
From fundamentalists and mainstream Christians to the followers of the Veda religion and philosophers such as Philo have all identified God (the Demiurge) as all good. And this is at odds with the Gnostic approach that sees God as a jealous creator – and therefore bad. The nature of God is said to be your true self, and this true self is infinite and immeasurable, but it doesn’t mean you can’t know God or meet God – this is the personal aspect of God. And it doesn’t mean God is physical; it just means knowing God is about one’s own individual aspect of consciousness, notably its relation to enlightenment or illumination. However, the immeasurable or infinite aspect means you will never get to the end of God. So, an aspect of God (or nature of God) means dealing with the paradoxical nature of time and timelessness (or eternity). As opposed to the physical or material, this is transient. In other words, you can find understanding by understanding energy and consciousness and their unification. It is the unification of dual opposites that leads to oneness.
Unlike the Holographic oneness group’s incomplete notion of oneness that denies God and solely focuses on ‘thought’ as its god particle, it creates our reality through the human collective. However, the New Age and Gnostic process of oneness complete this fallacy by focusing on the spark of life or the illumination process (or the activation of the pineal gland vis a vee the light). According to the Gnostic followers, this light is the Demiurge; hence, we are Christ-consciousness or ‘lions at the gate.’ And Demiurge and Christ are also known as the Sun.
Meanwhile, the astrotheological followers’ notion of God is merely the duality of sunrise and sunset, mythicized in the battle between Horus and Set. Horus was born under a Star to the virgin Isis. And Jesus was also born under a Star to a virgin mother. This is all part of the microcosmic personification of an event occurring in the Sky in the morning hours of December 25th. And this is a clever way to represent that which is above and that which is below by depicting the actual Star and the personified deity. These were ideas that scholars created to establish culture and mythology known as astro-theology because the heavens reflect the will of the great architect; man has been in constant attempt to reproduce on earth what is seen in the heavens.
TThe stellar scholars have catalogued stars into what we know as constellations symbolized in the cross of the Zodiac while also anthropomorphizing them to animal deities. The centre of the Zodiac represents the Sun, which figuratively passes through the 12 major constellations over the year. It also reflects the 12 months and the four seasons, solstice, and equinox. If you were to break away from the hyperreal heliocentric cosmology, the Sun would not represent the centre of the Zodiac because the Sun and Zodiac move, not the Earth. So, the Sun that passes the twelve Zodiac constellations would no longer be figurative but literal. The Astro-theological process for a moving Sun as a literal concept makes a lot of sense in a Flat Plane environment.
Orion’s Belt, known as the Three Kings, is a religious parable. The Three Kings follow the star in the east, and this star is known as Sirius. Sirius aligns with the three stars and the Sun as it begins its new Sunrise, known as the birth of “God’s Sun” at the winter solstice. And this is why the Three Kings follow the star in the east to locate the Sunrise – the birth of the Sun. So, the Orion constellation rises in the east at dusk farther than any other night except for Christmas Eve. At midnight, The Three stars are followed by Virgo – who symbolically gives birth to the Sun after stepping on the head of the celestial Serpent. The morning sun will rise below Virgo as though she was giving birth to it, the mythological Sun God born of a Virgin. The Virgin Mary constitutes the constellation Virgo, the Virgin, and the house of Bread, which symbolizes August, the time of harvest. The word Bethlehem also literally means the House of Bread.
This process is described by astronomer-priests noticing the Sun descends [literally, not figuratively] southwards until midnight on December 21, when it stops moving south for three days and then starts moving north. During this period, the Sun dies and is hung or crucified in the Sky – In the vicinity of the Southern Cross (or Crux) constellation. This cosmological event signifies the Biblical drama of the Sun/Son that died at the cross – for three days to be resurrected again. A common mythological resurrection story told numerously to depict the Sun’s transition period as it shifts its direction back to the northern hemisphere. These three days are called the Winter Solstice, and at the end of the Winter Solstice on December 25, when the Sun begins to move north, the Sun is resurrected or reborn as the new Sun for the coming year.
Astro-theology seems like a middle ground between two dialectic ideologies pertaining to scientism and dogmatic (fundamentalism) religion, a sort of beta program to astronomy-physics. It uses the scientific process to recognize the synchronicity between Mystery religion and the stellar movement of Stars – while reducing the aspect of Religion and the aspect of the Spirit as a merely natural process effect of the Stars, notably the movement of the Sun. At the same time, it gives awareness to the religious conspiracy oligarchy that wants to keep the debate alive, and at the same time, also aligns with a hyperreal space cosmology. Fundamentalist reaction and argument against a true solar cosmology disclosure is interesting but weak – it just reinforces a different type of conspiracy towards Christ and how it boils down to a conspiracy about the elite oligarchy, politics, and media. There is a notable claim to suggest that the Zeitgeist film was a Zionistic production.
Astro-theology recognizes the microcosmic personification of the Stars and how it relates to December 25th and towards a personified deity, but that’s where it ends. A non-theism approach towards creation stories is incomplete without acknowledging certain creation stories about Adam’s children. Compared to humans now, those children of Adam were godlike giants. They lived for several centuries where Astro-Theology ended the New Age; Gnosticism and Astro-Gnosticism completed it. Although Astro-Gnosticism, like Astro-theology, specifically follows a heliocentric worldview, which implies a favourable side to a scientism world religion, most likely, it is an agreed worldview that everyone was duped into believing. Their approach to solar mythology gives each group a clear distinction; one is more scientific, and the other more alchemical and pertains to spirit with slight proclivities for romanticism, isolation, and indifference.
They complete the Astro-Theological assumption (concerning the personification of deities to a star-stellar movement portion of the film); it’s an assumption because who’s to say what came first, the Stars or the gods or both simultaneously? The New Age and Gnosticism invoke the Light of illumination as the Demiurge. They proclaim the Sun in the sky, which is also associated with the human psyche; as the Sun rises, you are born into life, and as it reaches its peak, so does your life, and when it goes to set, you die. So, they outline the importance of reaching enlightenment during the Sun’s Ark in the sky. Which represents the House of Bread symbol, and the Lion represents the Demiurge (or Jehovah, etc.). And this is why the Sun is associated with the Lion because the Demiurge is born in your psyche – which can also be known as Christ-consciousness by the New Agers.
They link the Star Bethlehem to the Demiurge and, simultaneously, with the Star of Sirius with the Orion’s Belt as your sort of solar road stop to the Demiurge. So before you are incarnated, you are just a psyche moving towards unification, and when you have reached unification, the Light (Demiurge) is born. [I’m going to say Spark (or light) for now as it’s an aspect of Demiurge, not the Demiurge in its entirety]. So therefore, the illuminated ones are associated with the Sun. And these awakened ones become known as the ‘serpent of wisdom’ because of a change in the nervous system. Alongside having a somewhat spiritual-biological change, they also use supposed accounts of their enlightenment experiences reminiscent of near-death experiences, alien abduction encounters, etc. They describe meeting the Demiurge, the God of this world, like an ethereal version of an Artificial intelligence CPU (central processing unit). They describe the body of the Demiurge as a Lamb and equate several or more strings of light emanating out of the Demiurge, which reminds them of Lion’s mane, which is also reminiscent of circuitry lines coming out of the CPU. This assertion is still a misperception of reality because anything experienced would be solely personal unless the collective numbering in the billions has also experienced it.
A show called Under the Dome is about a small town that inexplicably gets engulfed by an impassable, invisible barrier that drops out of the sky, transforming the community into a domed city; the town’s name happens to be Maine. The town’s children describe the invisible dome as a sieve because heavy materials like an aeroplane can’t pass through, but minute amounts of water can. And you can apply this principle to our skies. What we call the Firmament is like a Sieve filtering out heavy materials from the light ones – and the stellar play that goes on in our skies can either be personified to mythical gods or reinterpreted into the more modern aspect. The rational description of what is above is what is below will always be blocked by this gradient reflective layer. What is truly above can only be theorized, and if the heavens reflect the great Architect that man has been trying to reproduce on Earth, it’s only a parallel notion to Demiurge. As the creator, God surmised what heaven is like on Earth because the Demiurge has never been there. Therefore, personifying actual stars as deities are natural, almost instinctive, but ultimately just a mirror to humanity’s cosmic play.
These institutional notions back then are similar to modern-day conceptions. However, where there are some differences in the images, the simulation is better rendered with modern computers, which initially had its inspiration from alien components. The NASA group spearheaded this new technology. This new tech helped promote the hyperreal-space simulation (of Stars) not as deities but as burning gas giants and solar rotating spherical balls – this is a personification of the Stars in their way through a simulation of the unreal.
The illuminated group having the assigned ‘Serpent of Wisdom’ notion tied to them in certain perspectives gives them a slight edge. However, having the ‘Serpent of Wisdom’ is also not a choice. You either get struck by the light or not. It depends on the person; some embrace it through stillness or psychedelics. So before having the ‘Serpent of Wisdom,’ you first must embrace it, which the film “Embrace of the Serpent” cleverly implies. The film is about the relationship between Karamakate, an Amazonian shaman and the last survivor of his people – and two scientists who have worked together for over forty years to search the Amazon for a sacred healing plant.
Critical reviewers acknowledge that the focus is on colonizers/invaders, and the source was influenced by ethnographic journals of two real-life German and American explorers/scientists. The director, however, chooses the viewpoint of Amazonians and uses the colonizing aspect almost as background. Karamakate, having failed to give the flower to the dying scientist the first time around as he had his reasons, destroys all the sacred Flowers. Fast forward to the future and Old Karamakate is now chullachaqui, a hollow and empty being without memories. He hopes to recover his selfhood through the journey with the white man he sees as another incarnation of Theo (the first scientist). Finally, Karamakate accomplishes his mission and guides the scientist to the last flower with unique potent entheogen properties that transport the spirit to other/higher dimensions. Once the scientist ingested the flower, the viewer was treated to colourful and luminescent animated symbols, one of which coincided with the concentric circles, and the other symbol had the visual reminiscence of a lion. Embrace of the Serpent delves into animism while embracing its ecological, mystical, cosmic, and extra-terrestrial universe, giving us a new way to envision spirituality. In Amazonian mythology: Embrace of the Serpent delves into animism while embracing its ecological, mystical, cosmic, and extra-terrestrial universe, giving us a new way to envision spirituality. In Amazonian mythology:
| Extraterrestrial beings descended from the Milky Way, journeying to the earth on a gigantic anaconda snake. They landed in the ocean and traveled into the Amazon, stopping at communities where people existed, leaving these pilots behind who would explain to each community the rules of how to live on earth: how to harvest, fish, and hunt. |
When the scientist (Evans) takes the hallucinogenic plant (yage) before being transported into other dimensions, Evan sees through Karamakate’s Eyes – he then envisions diamonds in the sky, which are stars. And Stars, as we know, are amorphic-geometric-translucent-fluid-portals. He follows the serpent to the concentric circles that lead him to the Lion (the Demiurge). Finally, Evan awakes and essentially changes; he has a diamond in his brain or has become a Christ in consciousness.
The concentric circle depicted in the film Embrace of the Serpent matches the pictures of Planets and Stars taken by anyone with a Nikon Camera. These observable truths are difficult for people to believe in – even truthers who look at these fringe subjects daily push aside their objectivity for hyperreal ones.
Pushers of the hyperreal-space simulation (NASA) have also observed a supposed supernova named SN1987A since 1987. From a position of objectivity, you can only be ambivalent on whether to believe these images are real or simulated and who’s to say how a dying Star is truly depicted. Still, a hyperreal supernova from another galaxy is not. So, a probable theory is that these imageries are indeed simulated and borrowed from other simulated images, namely cloud Nebulas, borrowed from the Gnostic view of the universe as a cosmic egg, which is also Vedic. This is a Meta Mirror, a hidden, symbolic suggestion painted in the background of simulated unreal.
Given the assumption that stars are mini singularity gateways due to the observed fact that stars are not Suns, one can assume supernovas are collapsing gateways. Or it could be that these dimensional cosmic guardians (Archons) use these gateways and manufacture sustained Stargate travel among these natural cosmic diamonds in the sky. It’s somewhat reminiscent of the science fiction show Stargate-SG1’s concept of a Space Gate; this is relevant as the show’s central theme during seasons eight and nine coincides with the Demiurge’s mission to reach a higher realm through a cosmic loophole. However, only in the last decade or so did the Supernova start to produce individual concentric lights around the ring reminiscent of a diamond or a pearl.
There was also the military complex experiment called ‘Operation Fish Bowl’ where they supposedly launched nuclear rockets into the sky in hopes of reaching space, but this dense layer constantly thwarted the Rockets. Christian fundamentalist flat earthers would advocate that this layer is a glass dome, and those experiments caused significant damage to the dome ceiling. And these conflicts with other flat earthers who claim Nuclear Bombs are nothing but hoaxes and that they’re fire and carpet bombs. Their evidence is not very compelling, but the assumption is fascinating; from what I can gather, they believe a handful of physicists had the technology to split an atom manually. By simultaneously firing opposing blasting caps towards a tube of enriched uranium (plutonium), the timing had to be so precise that it could only be done in a controlled environment (in which they succeeded), much like the Hadron Collider. This gives the notion of dropping nuke rockets less credibility; therefore, all the images of nuclear testing were nothing but a Public Relations stunt to fool the public.
The new X-file logo (or X marks the spot for the pearl of treasure, or X marks the spot for pearly-dew drop drops) is an animated symbolic suggestion. It starts as a clean circle with the X imbued inside of it. Then, the circle soon becomes rough as it dissipates, much like the image on the left of a nuclear payload hitting the Firmament. It is shaped like a concentric circle dissolving as it moves from the centre. And it’s in this centre or micro vortex that tachyons move backward in time. Mulder from the X-files mentions nuclear testing in the 50s that created tears in reality or micro singularities where tachyons travel back in time, which caught the attention of extra-terrestrial beings to become less unseen in our reality. This principle of separating atoms is true, according to scientists.
The new X-file logo coincides with its new perspective on the conspiracy theme that matches some flat earther’s notion that aliens must not be real given space is inaccurate. Both promote that its very existence is crafted as a conspiracy established by Elite men using advanced military technology to abduct victims for their reasons and for us to imagine. Therefore, aliens are a fictional conspiracy brought about by an external agency.
The image on the left depicts a nuclear explosion in the sky. Is it a coincidence that the image coincides with the emerging concentric circle imagery that is predictively programmed into us constantly through media entertainment – or is it more of a Meta principle that is natural as it plays itself out.
Michael Keefe.
… End of part 11 to be continued