In opening up this chapter, let us again state that we have been
investigating how the seen and unseen energies in the universe are all
interwoven with a system of conscious energy that expresses itself in
octaves. We can see these formations emerging in the sound spectrum as the
basic structure of the Octave, in the light spectrum as Red Orange Yellow
Green Blue Indigo Violet, and in the geometric form as the hierarchy of
shapes that crystallize within the sphere.
The reader will remember that
earlier in the book we have cited physical evidence from Dale Pond’s
Physics
of Love that showed us that the harmonic ratios between the vibrations of
sound can be expanded many times over to get the equivalent frequencies of
the color spectrum of visible light. Later in this volume we will see that
these same numbers underlie the cycles in the Sun and planets, and {?{we
will show their presence within atoms and molecules as well.}?} And here in
this chapter, we will give further evidence to show a connection between the
frequencies of sound and color with geometry, again showing how they are
literally crystallized vibrations.
In the book Sacred Geometry by Robert Lawlor, he refers to the
Platonic
Solids as the “regular polyhedra” in the quote that we are about to cite.
The image that Lawlor will be drawing off of is seen in Figure 7.1
below, as Kepler’s famous geometric model of the Solar System. In this model,
Kepler
erected a large halfsphere and placed a cube inside of it. Each of the
nested Platonic solids is represented in a smaller halfsphere.
Lawlor
refers to the bowls, or halfspheres, as circles in this quote:
“In this demonstration the
regular polyhedra are determined by nine
concentric circles whose pattern gives all the necessary information for the
construction of these forms. Each volume is in a simple harmonic
relationship to the others, and it is the same transcendental functions,
[square root of 2, square root of phi and phi] that make up these patterns
of relationships.... all volumes emerge simultaneously.... This is an image
of the great Buddhist idea of the codependent origination of the archetypal
principles of creation.”
The very first thing that we can tell here is that
Kepler would have
obviously spent a lot of time working on such a massive sculpture. It is
highly unlikely that he would have done so if he did not believe it to be
very important. What we suggest here is that Kepler was heir to the
ancient Atlantean repository of knowledge, similar to that handed down to the
Hindus.
With his secret knowledge in place, he was trying to show us the
geometric structures within the different ‘nested’ spheres of aetheric
energy density in the Solar System. Ostensibly, since
Kepler was an initiate
of the Mysteries, he knew that it somehow had to be right, but he didn’t
know why it was right – and thus later scholars considered this model to be
a complete failure.
Kepler believed that the spacing between the shapes
would map out the spacings between the planets, but he could never truly get
it to work. We will show the harmonic functions that are responsible for the
planetary positions in Volume III.
Figure 7.1 – Kepler’s
geometric model of the Solar System
For one who is more familiar with sacred geometry, it isn’t hard to see that Kepler only had a rough knowledge of how the Platonic Solids actually nested
inside of each other. The most obvious problem is that all the Solids are
“sitting up,” with the same northsouth axis, when in fact they should have
discrete angular rotations in comparison to each other. As one example, the
tetrahedron should nest inside of the cube so that its edge ‘elements’ run
exactly along the faces of the cube, the tips of the tetrahedron lining up
directly with the tips of the cube.
Then, the shape immediately inside of
the tetrahedron should be the octahedron, then the
cuboctahedron inside the
octahedron. So, Kepler definitely gets an “A” for effort, but with more
modern techniques for analysis we can see that there are mistakes in this
model – and ultimately he gave up on it out of frustration. Again, knowing
what we now know about
Atlantis, it is very, very unlikely that he would
have simply come up with this burning passion for such an idea on his own –
especially if he didn’t fully understand why he was doing it.
If we look back to Lawlor’s quotation that we cited above, he mentions the
mathematical progressions of phi, square root of phi and square root of 2 as
the basic harmonic building block ratios that make up geometry, color and
music. (We will go into detail about this aspect of the Platonic Solids in
Chapter 13.) Lawlor’s book gives a wealth of information to show how these
basic vibratory ratios emerge in all forms of life throughout nature,
governing such things as the growth of shells, plants and even the
proportions of the human body. (In Volume III we will go into much more
detail about the connection between biology and aetheric energy.)
In
Sacred
Geometry, Lawlor also shows repeated examples of Renaissance artwork that
explored these sacred ratios, so it is clear that sacred geometry was a
topic of great interest within the intelligentsia of the day. Again, there
is ample evidence that those painters who incorporated these ratios into
their artwork were inheritors of the Atlantean Mysteries; surprise,
surprise.
Up until this point, we have tackled the Platonic Solids in two basic ways:
1. They emerge within a sphere of
vibrating fluid, or aether.
2. They are geometric forms created in the stresses between “node points” on
the sphere’s surface.
Things get a little trickier once we realize that spirals such as
phi, the
square root of 2, 3 and 5 are also emanating from the center of the sphere.
As Lawlor said, these basic spirals determine the relationships between the
different Platonic Solids. In order to explain this, we have to arrange it
in a logical sequence.
1. Earlier, we showed how the
Platonic Solids fit inside of each other. We
can indeed build up the Hindu model in such a way as to have the entire
Octave nested together into one giant series of nested spheres. So, we start
by arranging all of these shapes inside of each other in their Octave order,
like a jigsaw puzzle.
2. Then, we plot out where the vertices, tips or points of each shape are.
With computer modeling, we could actually remove the shapes and just look at
the points.
3. When we see just the points without being confused by the surrounding
geometry, we discover that they give us perfect coordinates to show spirals
that are emanating out from the center of the entire onionlike “nest” of
spheres. These spirals are based on phi and the square roots of 2, 3 and 5.
4. Since we can clearly plot out these spirals, they obviously are “real”
energetic structures, which precisely determine how the Platonic Solids
“grow” from one into another. Just as a train will naturally follow wherever
the train tracks curve, so too will the geometries naturally grow into the
positions that the spirals create for them. Everything works together in
perfect harmony.
5. The Russian research tells us that “torsion waves,” or waves in the
aether, are always spiraling in their form. Therefore, we can state with
confidence that these spirals are indeed one form of torsion waves.
6. In the Law of One series, Ra says that the evolution of consciousness
through the Octave of densities proceeds along “the upward spiraling line of
light.” They also introduce the concept of nested spheres of energy density,
pulsating movements and Platonic geometry.
7. Therefore, it is clear that
Ra expressed deep knowledge of how this
geometry actually works, which Carla Rueckert herself was still not aware of
when we copresented with her on the same stage in Louisville, KY in May of
2002. She confessed that they had hit a “total brick wall” in trying to
understand what Ra was talking about when they mentioned the “spiraling line
of light” – a conceptual block that had persisted for literally 20 years
before she heard Wilcock’s solution to the puzzle – which he gained by his
own followup work with Ra, primarily through dreams and visions.
It has long been our contention that
straight lines essentially represent
the masculine polarity of energy in the Universe, and that the spiraling
lines represent the feminine polarity. Both are equally important for
Creation to exist, and they are indeed unified by the sphere, or the
Oneness. Without the spiraling feminine lines in place for support, the
masculine geometry could not build and grow. There are some very deep
philosophical ideas about the relationship between the universal masculine
and feminine principles that can be found by meditating on this arrangement,
such as how the love of a woman can nurture and support a man. This may well
be another layer of why the Vedic scholars had the god Purusha and the
goddess Prakriti as the central figures of their system of sacred geometry.
Perhaps the reader is still having trouble visualizing how these straight
and curving lines interact with each other. In Figure 7.2, the diagram on
the left shows us the nautilus shell, which is one of the best ways that
Nature naturally demonstrates the “phi” spiral to us. The diagram on the
right shows the mathematical progression of the same spiral, and how it
forms a framework for the geometry of six triangles.
These triangles could
be seen either as expanding outward or as coagulating inward, depending on
your perception. Each triangle is related to its immediate neighbor by the phi ratio, meaning that if you compare the surface area of one triangle into
the next larger triangle, you will get a proportion of roughly 1:1.618
between them.
This is a relatively basic and wellknown mathematical
principle.
Figure 7.2 – The
Nautilus shell (L) and phi spiral as it relates to the growth of
triangles (R)
Now when we look at the triangle diagram on the right, we can imagine that
the tight center of the spiral would represent the center of the sphere.
Then, we would see the spiral as coming out from the center. The smallest
triangle would be the geometry in the center, and then with each larger
triangle we are moving closer to the outside surface of the sphere. Since
most of the Platonic Solids have triangular faces, the next step would be to
visualize how there could be multiple spirals emanating in different
directions from the center of the sphere at once, all forming a collective
matrix for the geometries to expand through, somewhat like how an inflating
soap bubble is held in place by a plastic ring and expands as greater and
greater air is blown into it.
Next, we will bring in another quote from Lawlor’s Sacred Geometry, which
deals with the work of Dr. Hans Jenny, showing the important effect that he
has had on the field. Thankfully, for the lay reader we have already
explained Jenny’s experiments in far simpler language than what Lawlor uses
here:
It is in the work of Hans Jenny [Ph.D.] that we can begin to see the
relationship of form and sound in the physical world. Jenny’s experiments
have shown that sound frequencies have the propensity to call into
arrangement random, suspended particles, or to organize emulsions in
hydrodynamic dispersion [i.e. particles floating in a fluid] into orderly,
formal, periodic patterns. In other words, sound is an instrument through
which temporal frequency patterns [i.e. patterns in time, such as the number
of cycles per second] can become formal spatial and geometric patterns.
[emphasis added]
That paragraph is a mouthful, with very technical wording, but it has all
that we need. Again, Dr. Jenny’s research, known as Cymatics, discusses what
happens to particles floating in a solution when they are vibrated by sound
waves; the particles mysteriously assemble themselves into geometric shapes.
Figure 7.3 shows us this “Cymatic” force in action, and the
Platonic
geometry inside is easily seen. In this case, it is the harmonic of the
fourth density, namely the two interpenetrating tetrahedra in a spherical
field. With Jenny’s work we can clearly see the spiraling lines that
underlie the geometries, as well as the “spheres within spheres” effect, as
there are at least three major boundary areas that you could draw a circle
around in this image.
In a private conversation with sacred geometry
researcher
Gregg Braden in April 2002, we were informed that all of the
Platonic Solids could be modeled from this formation, which is why so much
attention has been given to it. It is easy to see the fivesided faces of
the dodecahedron inside the central star, as one example.
The image is still
slightly “off” because the fluid was not a true sphere, but rather a droplet
of water on a vibrating waveplate.
Figure 7.3 – One of many geometric structures formed by Dr. Hans Jenny’s
“Cymatics” research,
using a vibrating drop of fluid with particles
suspended inside.
So, Dr. Jenny’s research puts the final word in on the importance of the
geometric shapes in the sphere, in case we doubted their relation to the
Octaves of color (i.e. visible light) and sound. The ratios of phi and the
square root of 2 are also responsible for the difference between the various
tones in the Octave, when measured as values of vibration in cycles per
second. You can take one note in the Octave and compare it to the note next
to it, and the two notes will always relate by one of these simple
“spiraling” ratios.
Therefore, we can now see that even though it seems
strange at first, every sound truly has a threedimensional, geometric
component. The same would be true for every color. Some people, including
this author, have been able to perceive this connection automatically in
mystical states of consciousness, without necessarily understanding the
vision. Many people who have had these visions send us email with great
relief that they have finally understood why they were seeing such
formations in their mind’s eye.
As reported by Drs. William Becker and Bethe Hagens in their article “The
Planetary Grid: A New Synthesis,” Dr. Hans Jenny’s crucial research was
originally inspired by students of physicist Buckminster Fuller, who
demonstrated the geometric structure of vibration within a fluid system.
Fuller’s students created an experiment where a transparent spherical
balloon was submerged in a bath of dye. They found that by simply vibrating
the balloon at an even tone, the dye would well up in the areas where there
was the least amount of movement on the skin of the balloon – i.e. the node
points.
We remember that all of the vibrations will “cancel out” in these
areas, thus forming points of force that connect to form the Platonic
Solids. Although most of what Fuller’s students perceived were the nodes or
the tips of these geometries, in certain cases faint lines could be seen
connecting the nodes together, literally forming these same shapes right in
front of their eyes. Dr. Jenny wanted to find an even more direct and
effective way to show this force at work, and he certainly succeeded quite
admirably.
It is quite apparent that outside forces are diligently trying to help us
understand and acknowledge the existence of this universal harmonic system,
because of its significance to our civilization.
Crop circles appear to be
one of the most fundamental means by which the geometries involved in these
harmonic systems are being conveyed to us. It is marvelous to have such a
directly scientific form of communication from beings of higher intelligence
available to us in the public domain. What we see is an image of very large
size that is created in a popular and accessible area, which obviously
attracts a great deal of attention. Many of these formations clearly show
that they could not have been “hoaxed,” though there are many goodquality
hoaxes out there as well – and we will explain the difference.
Though most researchers and observers do not really understand what these
bizarre images are showing us, there are a few who have done quite well.
Indeed, it is the work of mathematician Gerald Hawkins that inadvertently
set out an entire theoretical framework for our discussion. Hawkins
discovered an enormous repetition of mathematical diagrams of “consciousness
units” without even realizing that this is what he had found. Hawkins knew
that most of the geometric formations seen in crop formations were somehow
incorporated into a circle. Though the circle was occasionally hidden with
other images, he discovered that nearly all of the early 1990’s crop
formations would take simple forms such as the triangle, square and hexagon
and put them inside circles. As we shall see, these could certainly
represent simplified “sketches” of threedimensional shapes in many cases.
Hawkins discovered something extraordinary when he took the surface area of
the circles in the formations and divided it against the area of the square,
triangle or hexagon that would be located inside. The relationships between
these numbers are the diatonic ratios, or the actual vibrational frequencies
that make up the tones in the octave. In other words, these simple flat crop
circles eloquently display musical frequencies. Since the musical octave is
interchangeable with the light spectrum, the Circlemakers appear to be
giving us the exact same clues we have already been exploring – a common
link between sound, music and geometry.
The importance of this find cannot be underestimated. Hawkins surprised
everyone in the crop circle community by showing a completely new set of
“geometric theorems”  namely that the basic square, triangle and hexagon
produced musical ratios when placed within circles. This mathematical work
even attracted the attention of mainstream academics.
But the implications
behind this fundamental discovery never seemed to appear in Hawkins’ work;
he thought that the main purpose behind the Circlemakers’ designs was that
they were trying to illustrate these geometric theorems simply to draw
interest and get us to "solve" the puzzles. On the surface this looks good,
as by showing us a simple mathematical system of geometry and music that we
did not yet understand, "their" higher intelligence is displayed. But why
would they waste so much energy just making theorems for a few obscure
mathematicians to decode?
Indeed, the idea that they are simply theorems doesn’t quite seem to be
enough; the theorems must be there to show us something that is much more
fundamental, a form of universal law. These Circlemakers would obviously
want to create information that would have a very practical use, given the
universal emphasis that Hawkins demonstrates that they have received in the
mysterious crop circle portfolio. To anyone who doubts that repeated
examples of "consciousness units" in the crops exist, please visit
HERE , and check the photo archives therein. Or, any
other source that shows pictures of crop circles will do equally well, as
literally almost every formation attempts to convey the same basic
information.
So, what the Circlemakers actually were doing was showing us a simple sketch
of the architecture of the universe, as we have now been exploring it. The
2D geometries of circles and triangles quite naturally can be expanded into
3D spheres and tetrahedra. As Fuller demonstrated with his vibrating
inkfilled balloon and Jenny demonstrated with a simple solution in water,
the musical and geometric ratios of the octave are still preserved when we
blow out our diagrams to 3D.
Thus, most of the flat crop circle diagrams
that show these basic shapes are simply blueprints for designs that are
obviously much more complicated to render; designs that are drawn to
indicate three dimensions. And since we visualize these crystalline
geometric energies as threedimensional shapes, there should be an example
where the Circlemakers did in fact try to render an accurate picture of a
“consciousness unit” such as a tetrahedron within a sphere.
Miraculously, there is such a rendering, and this formation still stands as
one of the most fantastic ever to be impressed into the English countryside.
This image has stirred up massive amounts of interest and research,
including that of Joe Mason, the researcher who first introduced the author
of this book to the “Breath of the Divine” and Consciousness Units.
From all
of the evidence, we will show that although the American media and
metaphysical / UFO community has largely turned a blind eye to the entire
phenomenon, there is much, much more to it than a series of successive
hoaxes.
THE REAL STORY OF THE CROP CIRCLES
In the movie Contact, which many of us have seen, satellite engineers who
were looking for messages from the Beyond tuned in to a radio frequency that
was being beamed out from the star Vega. Once decoding the signal, it first
provided personal information about us; namely our first televised
broadcast, which happened to be from Nazi Germany. The alien signal then
proceeded to give a complex series of blueprints. The scientists puzzled and
pored over this information for a long time, and could not figure out what
it meant.
It was only when the cigarchomping billionaire in the movie
realized that the flat blueprints needed to be expanded into three
dimensions that the meaning suddenly popped into place  in this case a
cubical matrix of specific images. Ultimately, humanity was given a tool
that would allow our civilization to have access to these unseen realms
where the Vegans lived. The threedimensional cube of images provided
blueprints for a concretely physical piece of technology – a giant set of
spinning rings that created a spherical ball of light in their center, which
then opened up a wormhole through space and time.
Carl Sagan was obviously tapping into the collective unconscious when he
first wrote his book about this fictional SETI discovery, which the movie
was based on. However, we don’t need SETI at all; the Extraterrestrials are
already here on Earth, and we have already been given the blueprints that
the movie refers to. Furthermore, there are uncanny parallels between Sagan’s machine that the Vegans designed and the way in which we might
expect a giant “consciousness unit” to look; a giant, wildly pulsating
sphere where lines can be made out inside. The pod itself in the movie was a
sphere with a dodecahedron superimposed over it  the actual geometry of the
sixth dimension. Perhaps Sagan and the makers of the movie were aware of
more than they outwardly alluded to, and there is evidence from Dr.
Richard Boylan that
Sagan was on a "blackops" scientific team and payroll.
The more we think about it, the more it all fits together. In Contact, this
giant machine was the entryway into something that was surprisingly similar
to what we might expect Ascension to be like; a dramatic shift to a
different frequency of energy, and a heavenlike new world emerging. So, Sagan’s work falls perfectly in line with the idea of obtaining information
from the Collective Unconscious; many science fiction writers such as
Arthur
C. Clarke have inadvertently predicted future events and technologies.
So, just as Contact postulated a set of diagrams and blueprints from
extraterrestrials, the crop circle phenomenon gives us the same thing in
true reality. Indeed, it has been going on continuously in Europe since at
least 1976. What we now have is a huge library of cryptic visual images that
do not appear to have been solely generated by humans. The case is similar
to the rediscovery of Egyptian hieroglyphics; scientists knew they had to
mean something, but they were at a loss to crack the code until the
discovery of the infamous Rosetta Stone. This clay document showed a set of
identical writings in Greek, Aramaic and in hieroglyphics, and since the
researchers understood the Greek, they were able to decode the hieroglyphs.
The Rosetta stone for crop circles is geometry, mathematics, symbol and
metaphor.
The American and European corporate media very carefully indoctrinated us
with the belief that these magnificent designs were the work of Doug and
Dave: “two portly English gentlemen, a few pints of beer, a funny cap, and a
string and board”. According to the legend, these delightfully mischievous
old chaps took great pleasure in taking time off from work, getting trashed
all night and sneaking out to farms all across the English countryside. In
their mirthful stupor, with the ingenuous tactic of wooden planks for shoes
and long strings for a giant compass of sorts, they joyfully stumbled about,
stamping down fantastic geometric shapes overnight, occasionally doubling
over in laughter at their cleverness.
Their portfolio includes perfectly
executed depictions of fractal mathematical equations such as the Mandlebrot
Set, the Julia Set and the Koch Snowflake. They would plan the next fractal
over the stench of thick brown beer, as toothless mouths excitedly spouted
new ways to display advanced theoretical mathematics graphically.
How, then, does the debunking media explain that this also has happened
literally all over the planet? India alone recently announced the appearance
and cataloging of some 10,000 crop formations since the 1970’s, and circles
have appeared in almost every major country on the globe, whether in rice
paddies, grain crops, mud, dry lake beds or even ice. In the "Awakening to
Zero Point" videotape, Gregg Braden shows an image of a spiral formation
that actually emerged in an underwater sandbar. Despite all of these
appearances, there are literally only a handful of American websites that
are fully authorized to display these images, and all we have from India as
of Feb. 98 are line drawings of three formations.
The astounding complexity of the most recent batch of formations from summer
1997, 98 and 99 defies even the most hardened scientific minds from
explaining them away. The oldfashioned explanations of “localized plasma
vortices” or “an army of hedgehogs running round and round” simply do not
hold weight. In most true crop circles, the stems are usually bent at the
growth nodes, not broken, and they exhibit measurable radiation and signs of
being heated. This has led most serious crop circle researchers to conclude
that they were formed by some sort of microwave radiation that cooked the
joints. This cooking turns the water in the crop into steam, which causes
the growth nodes to become pliable and bend. (Hessemann, 1996 and others.)
Indeed, seeds and plant fragments are often found that look as though they
have been burned in a microwave oven. But how could you possibly use heat on
something like dry grass and expect it not to torch up on you? Interestingly
enough, large amounts of nearby underground water have been known to
spontaneously disappear after a circle is formed.
This fact has been
confirmed through the use of infrared photography by the crop circle
researchers. It certainly appears that the water was being drawn out of the
land to keep the fragile crops from burning. No known microwave technology
exists that could be beamed and executed with such precision, forming
beautiful patterns, while simultaneously drawing upon underground water as a
coolant (CCC website.)
Desperately grasping for a more comfortable solution to these radiation
mysteries than the notion of extraterrestrials or some similar
outside
intelligence, we could propose a topsecret government project. This would
mean that someone is obviously making a tremendously secret effort to get us
to decode these shapes; yet all documented covert government involvement
seems geared towards discrediting and / or hoaxing the phenomenon. This can
be seen in the total denial in American media that this is happening at all,
even in the many XFilestype television programs and documentaries, as we
previously mentioned. It is as though one of the most fantastic
communications from the realm of the spiritual forces has completely left
Americans in the dust, through their apathy and simple belief in what they
are told by the authority figures in the media.
It goes without saying that numerous crop circle formations have been
directly correlated with phenomena such as UFO sightings and dogs going
crazy the night before. Thus, they do not simply “show up;” the evidence
points to the fact that outside forces are involved. It would appear that
the natural tendency would be for the UFO coverup to continue, and it is
amazing how well of a job "they" are doing. Even legitimate
UFO researchers
with great interest in the field have often turned deaf ears to the
discoveries from the crop circle camp. Furthermore, since the crop circle
researchers have strict copyrights and controls on any outside display of
their pictures, very few people have actually seen what is going on out
there with any serious level of redundancy.
Furthermore, there are clear indications that someone is handsomely paying
people such as our drunk and friendly English gentlemen Doug and Dave to
lie. Every year there are a greater number of sophomoric, manmade crop
circles in an attempt to make the entire phenomenon appear to be fabricated.
Even some wellversed metaphysical friends of this author have hissed, "Ah,
it’s a bunch of college kids" when presented with the topic.
Doug and
Dave
were cut to pieces in interviews where they were asked how they duplicated
various forms, openly admitting that they were not responsible. The fake
crop circles can usually be spotted almost immediately upon first glance, as
they generally lack the sharp edges and incredible mathematical perfection
of the true formations. There are other, more scientific ways to spot a
"real" formation as well, which we shall discuss in a moment. We therefore
should not run from an unsolved puzzle that appears to be coming from an
outside intelligence.
Historically speaking, the crop circle phenomena have just gotten better and
better every year. They started in the late 70’s and early 80’s as nothing
more than gigantic, perfectly round circle shapes. Then, in the mid1980’s,
“agriglyphs” began appearing, which were straightline formations that
connected two or three circles together in various designs. The formation we
will be discussing, Barbury Castle 1991, was one of the first major
departures from these agriglyphs; it ushered in an entirely new era of
complexity in the formations.
This was the Mother of All Crop Circles: a
formation that appeared literally overnight, and was of fantastic size 
31,680 square feet.
"click" on
image
The impeccable quality of this image clearly illustrated that it was really
meant to catch our attention. One of the first things noticed was that the
square footage of the object, 31680, was the number given in the Bible for
the size dimensions of the New Jerusalem. John Michell writes about this in
great detail in his books. The New Jerusalem was written of as being the
city that represented the “Golden Age” to come after the return of the
Messiah; and the number 31680 was intended to be profoundly symbolic,
indicating a dimensional shift, if you will, into a whole new kingdom that
was much closer to Divine Light.
The number 31680 appears in another form directly related to the New
Jerusalem, and that is in the harmonic, vibrational science of gematria that
we had mentioned. If you vibrate air at 3168 times per second, you will
create a musical tone, and therefore the number can be directly transposed
into a dimensional "energy density" in our harmonic
aether system as well.
Early Church fathers working with these sacred numbers declared the number
3168 to be the number of Jesus Christ.
Thus, by removing the zero from 31680
to get its harmonic equivalent in 3168, which can be done in the baseten
counting system, we have another allusion to a Messianic message of some
sort, plus a flagging of the same "harmonic numbers" we have mentioned here
before.
And so, with the exact footage corresponding to the number for Jesus Christ,
the coded message in the formation might very well be “The messianic revival
of the Christ, ushering in the New Jerusalem, the age of heaven on earth.”
This starts to make even more sense when we discover that the combined area
of the three circles on the outside of the diagram have the exact same area
as the inner circle. This gives us a further meaning, which could be seen as
“Three in One.” According to Joe Mason among others, this appears to be an
allusion to the view of Creation held in Christianity as the Trinity, in
Egypt as Osiris / Isis / Seth, and in many other similar world mythologies
including Buddhism.
The Gnostic Christian diagram shown here clearly indicates that the concept
of the Trinity was directly associated with a tetrahedral "frequency object"
that Jesus was pictured as holding in his hands. The metaphor was further
strengthened by the fact that he was given three faces. These three faces
hold remarkable similarity to Hindu and Buddhist designs. So what exactly is
this trinity, anyway, and why did the Gnostics want to associate it with the
hyperdimensional geometry that we have been investigating?
This ‘three in One’ concept quite literally means that from the One springs
the Two, duality, such as male and female, yin and yang, light and dark, et
cetera, which then generates the Three, expressed as the beginning of life
and matter. More simply, according to mythology historian Joseph Campbell,
this triple design would represent the archetypal idea of the Father, the
Mother, and the androgynous son. These three principles are the fundamental
archetypes that make up all of our personalities, the Father being the
active principle, the Mother being the intuitive principle, and the Son
being the fusion of these elements into the life experience. [The Holy Sprit
is not generally referred to as a mother “god” in Christianity, but great
evidence supports the fact that this is the archetype.]
These could also be seen as the three syllables in the Hindu AUM, the word
intended to convey the total nature of Creation as a sound vibration; the A
being the Father, U being the Mother, and M being the Mahem, man, or Son. It
is outside of the present scope of this book to delve further into this
particular discussion at this point, but Joe Mason has written numerous
articles on these topics, and his knowledge on the subject certainly piqued
and expanded the author’s interest. Mason’s writings are on his and
Dolores
Finney’s website,
www.greatdreams.com.
So far, we have a message that could be taken to be very Christian in
origin, with the Messianic revival, the New Jerusalem and the Trinity or
ThreeinOne; but we also have the harmonic geometry of the next dimension
above our own, which it appears that we are now moving into. From Joe Mason,
we get another point regarding this symbol that is not usually discussed. It
now appears that the exact day when it was formed was intended to convey
powerful symbolic meaning as well. Genesis 8:4 describes the Ark of the
Covenant as appearing on the seventeenth day of the seventh month.
Interestingly, it was on July 17th that this allimportant formation
appeared! Therefore, through careful timing it seems that someone wants us
to view this allimportant symbol as the Ark.
So what exactly is the Ark of the Covenant, you ask? In the Bible it is
referred to as a coffinshaped golden object that possessed tremendous power
for those who knew how to harness it. Many authors have speculated that it
was a technological device from an extraterrestrial civilization, possibly
using radiation as a source of power.
This device could produce fabulous
power to those who knew how to use it, but it also could cause great harm.
According to Bible legends, no one was able to touch the Ark without
suffering a fate that reads very much like electrocution. Therefore, the
symbolism of the Ark in this formation could refer to the fact that the
diagram has some sort of universal secrets contained within it. The Ark
therefore has vast symbolic importance in Christian myth, representing the
mysterious forces of God being harnessed into manifestation.
Our original point of entry into the discussion of the tetrahedral shape in
Jesus’ hands is how it pertains to our EE units as given by
Seth in previous
chapters here. These EE or consciousness units are also the same as the
basic geometric shapes being placed within the sphere.
Our discussion gets
much more interesting as we begin looking at the Barbury shape itself, and
start to notice what it is only slightly hiding from view.
Here we can see that by gradually clipping out different sections, this
image clearly outlines the shape of a foursided pyramid, or a tetrahedron.
Mathematically, this is the simplest threedimensional shape that can be
made. As we have shown, the tetrahedron is the organizing energy that forms
the fourth dimension, which we now appear to be heading into. We can then
begin to understand why Jesus was shown with a tetrahedron in his hands;
Jesus could see the fourthdensity energy that forms the Kingdom of the
Father.
The other, even more obvious form of this geometric knowledge expressed in
the Hebrew tradition is the Star of David. This religious symbol is rendered
just like a crop circle, where we have a twodimensional image that
perfectly details the appearance of the interlocked, or star tetrahedron,
within a sphere. The interlocked tetrahedron is an even more
accurate
depiction of the actual “appearance” of Fourth Density energy.
Remember that
in order for these dimensions to be navigable by entities such as ourselves,
there has to be a simple and perfect order to everything. This explains why
in Seth’s readings it said, “We created these cubes to be used as guides.”
In short, through this geometric ordering, you can actually see the energy
that you are working with. It appears that this was part of the plan that
the One Mind of God originally had for us.
Thus, the tetrahedron, with all of its symbolic trimmings, illustrates the
fourth dimension as being the “Kingdom of the Father” that was promised in
the Bible as coming to replace the current "heaven and earth" that we have
right now. Though we may never actually “see” this form in the physical
plane, the foundation structure of all physical matter has already been
“upgrading” to this frequency in the 20th century. As Ra often indicated, it
is only the diehard threedimensionality of so many humans on Earth that
stops our physical environment from already being transformed.
As one final note for this chapter, we can point out that the design itself
was showing us a dimensional cosmology. If you look back to the photograph,
you will see three circles at the corners of the tetrahedron. The first
circle has nothing within it but a line extending out to its center point.
This would symbolically illustrate the first dimension, or the point, or the
Oneness. The second circle has a series of spiraling lines, indicating the
"fanningout" of the point into two dimensions.
This is the point where
motion is introduced, and the basic framework of vibration for physical
existence is first created, as we have already indicated in previous
chapters. Then, our glyph for the third dimension is quadrilateral in
nature. What it depicts is the top half of an octahedron, shown in the
spiraling, spherical form of its energies, and we have already seen that the
octahedron should represent the third density or dimension in the Hindu
geometric cosmology. If we were to make a paper cutout of this form and pull
it up from the circle in the center, we could certainly see the
threedimensionality of this shape.
And here, we have an image that shows
exactly how this would work the "hidden" shape pops out as though it was
always meant to have been there.
So, what we have in the outer circles is a geometric progression of the
first, second and third dimensions, illustrated for us in a field of wheat.
The fourth dimension is the focal point of the entire formation, represented
by the tetrahedron within the sphere in the center. The fact that the three
outer circles all add up to the inner circle must also indicate that this
fourth dimension is the summation of all that had occurred before it. It is
also interesting to point out that the crop was extremely green when this
formation was made, indicating the passage to the greenray vibrational
level of the fourth dimension.
More recent formations have dramatically
indicated even higherdimensional geometries such as the cube within a
sphere, such as in this immensely satisfying photograph from Steve
Alexander.
This is the naked truth of our physics model displayed to the
world, spheres within spheres and Platonic Solid geometry, including the
depiction of a central axis for the spherical torus, for “those who have
eyes to see.”
"click" on
image
In the next image, also from 1999, we can see that we were given the idea of
the thirddensity octahedron being "unwrapped." Some have told us not to use
this image, as there were signs that it was a hoax, but nevertheless we
include it for your consideration:
"click" on
image
The next image is of the "Triple Julia Set" formation from 1996, represented
by the circles, supplemented with a series of straight lines and a spherical
globe around the outside. By adding in these extra lines, we can perceive
the intended hidden message very easily  a pulsating tetrahedron, emerging
from a center point and ratcheting outward.
We also see how the curving
lines of the formation itself correspond to the lines seen in the previous
image from Dr. Hans Jenny’s research with sound frequencies in water. These
curving lines should be visualized as though they were outwardcurling
flower petals originating in the center of the diagram:
Crop circle diagram by Ed and Kris Sherwood, with permission, with added
outer sphere
"click" on image
So with formations such as
Barbury Castle and others, we have seen different hyperdimensional geometries emerging, including tetrahedra within spheres.
Richard Hoagland and his team, then known as the
Mars Mission, turned their
attention towards these formations for that very reason, as they had found
the tetrahedron in their own way namely, encoded into geometric ruins that
they found in
Viking photographs from Mars.
