Robots, Masks and the Ancient-Future Gods

I have a new book about to be published this August titled, Orion’s Door: Symbols of Consciousness & Blueprints of Control – The Story of Orion’s Influence Over Humanity.  One of the themes running throughout the book relates to ‘cyborgs’, ‘artificial intelligence’ and what most call ‘alien life’. In this post, I am going to highlight a few snippets from the book and illustrate some of the connections to the current ‘dystopian movie-like’ scenario we find ourselves today.

 

Masks and Robots

The word ‘robot’ was introduced to the public by Czech interwar writer Karel Apek in his play R.U.R. (Rossum’s Universal Robots), published in 1920.1  But the word ‘robot’ itself was not new, existing in the Slavic language as ’robota’ (forced labourer), a term used to classify peasants obligated to ’compulsory service’ under a feudal system. It certianly feels as though we are entering a futuristic ‘master and serf’ society at the moment. The mask and robots have recently merged, too. As face coverings become the madated ‘new norm’ amid the coronavirus pandemic, Japanese startup Donut Robotics developed an internet-connected ‘smart mask’ that can transmit messages and translate from Japanese into eight other languages.2  As I show in the book, there are numerous connections to ancient-future gods, technology and the coming ‘AI controlled’ global Cyber-Grid Empire.

The word ‘mask’ seems to have appeared in English in the 1530s, from Middle French ‘masque’ (a covering to hide, or guard the face), derived in turn from Italian ‘maschera’, from Medieval Latin masca ‘mask, ‘spectre’ or ‘nightmare’. The oldest masks discovered are roughly 9000 years old, at the Musée ‘Bible et Terre Sainte’ in Paris, and the Israel Museum in Jerusalem. The mask also comes from Ancient Greek Bacchanalia and the Dionysus cults; it relates to ‘controls on behaviour’ being temporarily suspended, as ‘something else’ comes through the wearer to cavort; often causing mayhem. Have you been ‘challenged’ in a shop, supermarket or on public transport yet by the robot-like, mask wearing member of the Orwellian thought police? I have, and I have kindly told whoever to mind their own business. The mask is also symbolic of a ‘face without a body’, or a ‘head without a body’, often called the ‘faceless one’, or ‘Little Face’. All of this relates to Orion symbolism, as I show in great detail in the book. The Lone Ranger figure made popular as the fictional masked, former Texas Ranger who fought outlaws in the American Old West (with his Native American friend, Tonto) is another classic Orion archetype. Simillar concepts can be found in the American and UK Masked Singer – reality singing competition television series (part of the original South Korean Masked Singer by Munhwa Broadcasting Corporation franchise) see figure.

It was no surprise to see the word ‘Orion’ used in a movie called The Man Who Would Be King (2015). A film that tells the story of Jimmy Ellis – an unknown ‘masked’ singer plucked from obscurity and thrust into the spotlight as part of a crazy scheme that has him masquerade as Elvis, returned from the grave (see figure). The King, Queen, Empress or Emperor, etc., are all Orion archetypes related to empire building on Earth .

The use of carnivalesque masks in Jewish Purim festivities of the late 15th century also seem to have been part of Judaic tradition, and connected to the Orion archetype, Kesil Horeth (see Orion’s Door). Elsewhere, North American Iroquois tribes also used masks for healing purposes and in the Tibetan culture, masks functioned above all as mediators of supernatural forces.3  The Mayan bat God, Camazotz, which translates to either ‘death bat’ or ‘snatch bat’ relates to mediators of dark, supernatural forces connected to what the Mayans’ (in the Popol Vuh) referred to as, Xibalba, which is in Orion. The use of bat symbols concerning ‘dark forces’ operating from the shadows is common, see the ‘official’ narrative for the ‘origins’ of Covid-19. The archetypal Batman figure in movies like Dark Knight Rises (2012), which features the ‘masked’ villain, Bane, also seems to be symbolic of billionaire Cult operatives (see psycopaths like Bill Gates) and otherworldly forces behind the global problems we are currently enduring (see figure).

Mask and Bat symbolism in the movie – Dark Knight Rises.

The psycopaths creating ‘malevolent’, dark, global problems we endure (which seems to be nothing but Covid at the moment) can be summed up in one image below.

Robots, or mask wearing gods/goddesses and technology are not entirely Science fiction, the concepts go back to the ancient world and can even be found in the Middle Ages, from Iron Maidens, to the technological inventions by fifteenth-century Venetian physician, engineer, and alleged ‘magus’, Johannes de Fontana (1395-1455). Author, Adrienne Mayor, in her book, Gods and Robots: Myths, Machines and Ancient Dreams of Technology (2018), even suggests that robots (like the goddess Pandora) lived amongst the gods of the ancient world.

Opening Pandora’s Box

It is said in Greek myth, after humans received the stolen gift of fire (knowledge of technology) from Prometheus, an angry Zeus decided to give humanity a ‘punishing gift’ to compensate for the knowledge brought by Prometheus. Zeus commands Hephaestus (the god of fire and technology) to mould from earth the first woman, a ‘beautiful evil’, whose descendants would torment the human race for millennia. After Hephaestus creates this beautiful figure, the goddess Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver stars. As I mentioned in my previous blog, the crown relates to the ‘corona’ and the the ‘Keter’ in the Kabbalah, which connects to a higher state of awareness and therefore our ability to become conscious, or truly aware of our spirit.

Pandora receiving the ‘crown’ (the corona).

The mysterious ‘synthetic’ woman created by Hephaestus remains unnamed in Hesiod’s poem, Theogony (c. 8th–7th century BC), but is presumably ‘Pandora’, whose myth Hesiod revisited in Works and Days in the same century.

The Ancient Greek Pandora is nothing like the Pandora in the American science fiction television series, of the same name that aired in 2019; the ancient Greek Pandora was ‘totally’ artificial. She had a key position on the Acropolis in Athens, with a massive line-up of gods and goddesses on either side of her. Pandora was eventually brought to earth by Hermes (Mercury), according to the myths; her jar, or ‘pythos’, was thought to be made of metal (possibly bronze) and considered unbreakable. Pandora’s jar (mistranslated as a box) probably contained both benevolent and malevolent ‘non-physical’ life forces, possibly the Jinn, likely where the notion of the genie in the bottle originates. Fate, duality and hope were also said to be contained within Pandora’s jar but the releasing of these forces created pain and suffering on humanity. The Gnostics, as I have mentioned in other blogs and talks, called these non-physical forms, ‘chaos’, the home of the Archons, demons and the ‘ghosts in the shell’ that still haunt human life.  Another story is the ancient myth of ‘Pygmalion’ and his love for a nude, ivory statue of his own making, probably the first ancient ‘adult doll’. The amount of female celebrities (singers) adorning robot imagery gives credence to the theme of robot (artificial intelligence) controlling the elite, too. Beyoncé, Kylie Minogue, Christina Aguilera, Lady Gaga to name just a few have flaunted the Pandora-Maschinenmensch look (see figure).

When Pandora first appears before gods and mortals, it is said wonder seized them’ as they looked upon her. But she was ‘sheer guile, not to be withstood by men’. Hesiod elaborates (590–93):

From her is the race of women and female kind: of her is the deadly race [of robots] and tribe of women who live amongst mortal men to their great trouble, no helpmates in hateful poverty, but only in wealth.

Of course, Hesiod is limited by the perceptions of his time, referring to an ‘artificial life force’ that supposedly ‘animated’ Pandora and her kind. The concept of the Jewish Golem, an animated stone, or clay manikin is similar in concept. One ancient story concerns the bringing-to-life of inanimate objects by fiat. At the time of the great deluge, Deucalion (Noah) and his wife, Pyrrha (Naamah), would toss rocks over their heads that turned into men and women. So are the concepts found in Goethe’s play, Faust and his homunculus (a fully formed ‘replicated’ individual). So are the 14th century Kabbalistic teachings of Rabbi Loew on how God created Adam (Orion).4 Was Hesiod referring to a ‘race of robots’? We cannot know for sure but Pandora is clearly depicted as a classic ‘kore’, a Greek statue of a young woman (maiden), standing and clothed in long robes, with an unusual ‘Stepford Wife-like’ stare (see figure).

The original Stepford Wives.

Like the original 1972 movie The Stepford Wives, there is a ‘gentlemen’s club’ (the Cabal) working ‘behind the scenes’ creating the fawning, submissive, impossibly beautiful ‘android wives’. There are so many movies and TV series in recent years that have pursued themes relating to future human life-like androids populating the world, from HSBO’s Westworld (2016), to the Channel 4 and Kudos production Humans (2015-2019). The synthetic humans in Humans are identified by enhancing the ‘eyes’ only.

The third series of Westworld actually has a ‘Transformer-like’ robot in the plot which makes me wonder if there is more to know about such sentient machines. Interestingly, the original Westworld (1973) poster featuring Yul Brynner’s half exposed robot face offers a visual connection to the obsession with ‘mandatory mask wearing’ across the world because of the coronavirus pandemic (see figure). I go into the Transformer subject in more depth in Orion’s Door.

Mask-like robot imagery.

Only the logic of fear can be applied to compulsory ‘mask-wearing’, which came into effect in the UK at the time of writing. You have to ask, if it is crucial to wear a mask, then why was it not made mandatory at the beginning of the ‘Lockdown’ in March 2020, or in June when the population were taking Boris Johnson’s confusing ‘baby steps’ back to normality? As many are starting to realise, the Covid-19 pandemic is more about mind control and has nothing to do with a ‘disappearing’ coronavirus, if there was a deadly virus at all? At the time of writing, 95% of the world’s population lives in countries that require or ‘recommend’ mask wearing (including China, the USA, Germany, Russia, South Korea, Brazil, India, and France). What happened and why did this all change so rapidly, especially after the ‘curve’ was flattened from May onwards? Total propaganda happened. In March, a group of researchers and scientists started #Masks4All after realising (yeah, right!) that there was clear scientific evidence showing that ‘cloth’ masks limit the spread of Covid-19.5  Again, its all propaganda! The personnel fronting Masks4All include an Australian ‘data scientist’ and ‘entrepreneur’, Jeremy Howard, who is ‘connected’ to the World Economic Forum (WEF), a 1% (elite) front for the Cabal (Cult). There is an agenda beyond ‘stopping the so-called virus’ for mandatory wearing of masks, etc., which is clearly about ‘eradicating’ what we considered ‘normal’ before March 2020. Hence the constant use of the phrase in the media, ‘The New Normal’. You’d be forgiven for thinking the whole Covid Circus was a ‘psyop’ designed to alter behavioural patterns of nations. Look around, we are becoming ‘robot-like’ (see figure).

It’s time for people to get informed, debate politely with anyone who attempts to enforce such insanity. Adverse health issues, caused by the constant wearing of masks, will have huge repercussions on the populace, as many medical experts are now saying. Covering the mouth and nose is akin to denying ourselves the ‘breath of life’, which is a crucial symbol or statement that the psycohpaths want to reinforce. Our breath is our soul, our spirit; therefore, forced mask wearing is an attempt to deny our true spirit.

At the time of the coronavirus outbreak a leading Chinese AI firm, SenseTime, were enabling contactless temperature detection software deployed across underground stations, schools and community centres in Beijing, Shanghai and Shenzhen. The technology used can recognise faces, even if they are wearing masks, with a relatively high degree of accuracy. Another Chinese AI firm, Megvii, boasts a similar temperature detection product, deployed in Beijing at the time of the coronavirus outbreak. The Chinese newspaper, Global Times, reported in 2020 that officials in Chengdu city, Sichuan province, had been issued with ‘smart helmets’ that could measure the temperature of anyone within a 5m radius, sounding an alarm if they were found to have a fever. The world is being moved into an AI dystopian society where those who control the Cyber-Grid Empire will control everyone on earth. China is the model for such massive surveillance and control and it’s coming to us all unless we wake up fast!

What next? The Handmaid’s Tale? We are been forced to wear mouth covers (muzzles) just as the handmaid’s mouths were forced shut by ring piercings in that dystopian narrative. It seems, tyranny-in-the-making has never been so fashionable for some folk.

Cyborg Queens – Controlling the Hive Mind
The Maschinenmensch (German for ‘robot’ or literally ‘machine-person’) is a fictional character in Fritz Lang’s film Metropolis (1927), played by German actress Brigitte Helm, in both its robot form and human incarnation (see figure). In the movie, she is a gynoid (a female robot or android) created by the scientist, Rotwang. Named Maria in the film, and ‘Futura’ in Thea von Harbou’s original novel Metropolis (1925), she was one of the first robots ever depicted in cinema.

Alexa: “Turn off the lights, set my alarm and make us some dinner, love.”

The Maschinenmensch has been given several names through the decades: Parody, Ultima, Machina, Futura, Robotrix, False Maria, Robot Maria, Roboria and ‘Hel’ (from where the word ‘Hell’ originates). Maschinenmensch and Metropolis, symbolic of Pandora’s presence over her otherworldly jar, uses conceit, creating a reality where workers (worker bees) live below the ground. In contrast, the aristocracy live in skyscrapers high above the worker slaves of ‘Metropolis’. Pandora and Maschinenmensch are the ‘fallen Eve’, revealed to the world as the robot Sophia, a citizen of Saudi Arabia in 2017 (see figure). Similar themes can be seen in the 2014 movie, Ex Machina. The American Cyberpunk action film based on the 1990s Japanese manga series, Alita Battle Angel, seemed to connect all the dots in terms of symbolism and themes relating to human cyborgs. Produced by Jon Landau and James Cameron, the movie depicts another ‘fallen’ Eve/Sophia figure who emerges from the wreckage of one world to become a beacon in a new ‘tyrannical world’, ruled over by an unseen technological dictatorship and policed by cyborg serial killers. The word ‘Elita’, in Latin, means ‘chosen one’ and in Hebrew means ‘high above’ or ‘most excellent’.

Sophia, the 1st Robot Citizen. She’s got plenty of competition today. Have you been shopping lately? As one robot said to me: “where’s your mask? You can’t come in here without one.”

In the American science fiction franchise Star Trek, the ‘Orions’, also known as the ‘Orion Syndicate’ (a fictional extraterrestrial humanoid species) made their first appearance in the original TV pilot series Star Trek: The Cage (1965). In this episode, the USS Enterprise, under the command of Captain Christopher Pike (not Kirk), receives a radio distress call from the fourth planet in the ‘Talos’ star group, Talos IV from whence the ‘Talosians’ originate. The use of the word ‘Talos’ again hints at the exoskeleton, Tactical Assault Light Operator Suits, otherwise known as ‘TALOS’, being built by the US military (see figure). There is much more to the symbolism relating to the Greek god, Talos, Knights (living armour) and the ancient race of gaints, which is covered in my book.

More engagingly is the portrayal of Orion females in these episodes of Star Trek. They are often Osiris (Orion) green and renowned for their use of pheromones to influence men sexually, so to ‘distract’, and in this scenario, used for an attempted theft of the starship Enterprise. You could say they are ‘Pandora-like’ in their approach. The Talosians are portrayed as a subterranean race of humanoids with bulbous heads that use ‘technology’ (see figure).

They are described as sentient humanoid natives, who over 100,000 years ago, fought a nuclear war, leaving most of the planet’s surface uninhabitable – a common theme in many movies since 2010. Living under the surface of their planet, the Talosians developed powerful psychic abilities, able to create illusory realities through the use of memories. The Talosians also seem to appear as part human, part-grey, part reptilian in appearance and I am certain the Grey alien is a ‘hive mind’ species, connected to the Zeta Reticuli star system and Rigel in Orion. Orion women have also been portrayed in the movies Star Trek (2009) and Star Trek Into Darkness (2013), where one is seen seducing Captain Kirk. The Pandora aspect of these fictional characters is obviously hinting at the power of ‘sex magic’ and also the mesmerising allure of such otherworldly creatures. I’ve met a few in my time and you have to wonder how many males and females we encounter who are not under the influence of some kind of mind control. The Orion’s in these science fiction narratives operate a mafia-style syndicate (in space) where aliens are ‘trafficked’ and Orion women/girls are seen as (sex) slaves (see figure).

The Orion girl slave image is popular amongst the bizarre Japanese Cosplay characters. Such topics seen in these science fiction scripts makes me wonder if they are inspired by the very real, and utterly vile, global sex trafficking activities that have come to the surface in recent years. The late Jeffrey Epstein story of underground facilities (dungeons) on Little St. James in the Caribbean is one such story of such vile activities.6  Male Orions also made their first appearance in the Star Trek: (the Animated Series) episode The Pirates of Orion (1974), but did not appear in live action until the Star Trek: Enterprise episode, Borderland, which also featured female Orions. I feel that the so-called ‘Orion Federation’ talked about in numerous books and channelled texts is an actual empire very similar to the Galactic Empire seen in George Lucas’ Star Wars movies. Orion’s stars could be home to a vast array of alien species and I am convinced that sentient mechanical beings are part of that mix of alien life, along with other human types including reptilian-greys. The movie Jupiter Ascending (2014) gives a fictional peek into the vast array of alien lifeforms operating through a hive mind hierarchical structure affecting other planets, including earth. Ridley Scott’s Prometheus (2012), the Alien prequel, includes the android, ‘David 8’, who is responsible for unleashing the ‘Alien’ species on humanity. The symbolism around the biblical figure, David, is hugely relevant to the bloodlines connected to the giants, are also covered in the book.

AI Controlled Borgs

The plan to turn humans into AI-controlled cyborgs has been symbolised many times in science fiction movies and television series, and few more accurately than Star Trek and its concept of the ‘Borg’. These are portrayed as a ‘collective species’ – part biological, part technological – that have been ‘turned’ into cybernetic organisms functioning as drones within a hive mind called the ‘Collective’, or the ‘Hive’. The Nefilim, Watchers, Reptilians, Greys and others Archontically-controlled are also a ‘hive’ species. The Borg are portrayed as emotionless drones, malevolent just like the Gnostic Archon entities; all are coordinated by a ‘Borg Queen’ in the way a queen bee controls a hive.

An alien Queen Robot Bee equivalent.

Similiar themes appeared in the movie The Great Wall (2016), where a collective reptilian species called the ‘Tao Tei’, all controlled by a Queen that had come to earth in ancient times, directs her hoard to feed off humanity. The aliens and their hybrids (like the Greys and Reptilians, found in so many books and literature) are said to have a similar structure based on a Queen. Therefore, would it be too much of a stretch of the imagination to think of the archetypal alien ‘Queen’ as pure artificial intelligence? Are we being manipulated by a technological species that is also using other alien species to create a technological prison on earth? Cyborg Orions, as I call them are also epitomized in the I Robot movie (2004) which shows ‘VIKI’ (Virtual Interactive Kinetic Intelligence) as the central ‘Queen intelligence’ controling all of the robots. She makes Google’s Alexa look like an Abacus compared to a Cell Phone. The Alexa-like cyborg world is where we are going in the not-too-far distant future. ‘Skynet’ is waiting unless we become conscious and awakened to our true state. When the likes of Bill Gates, likens AI to “simply better software”, then we all need to be worried. Especially in relation to autonomous weapons systems controlled by AI.

Google’s Alexa, or Apple’s Siri, the ‘Orion Queen’ in the not-so-far distant future.

The key to understanding alien life is to look at the devices we are now using and if you’re of my generation, when there was no digital world, no Wi-Fi interference or none of this ‘other’ intelligence, the world felt very different. All of this technology has come from ‘somewhere’ – it hasn’t just evolved. Humans haven’t decided that they’re suddenly going to build robots that are artificially intelligent, this is not a ‘natural’ evolution for humanity. As I am hinting at here, we’re dealing with an infusion of artificial intelligence giving us the tools to ‘reconstruct’ our world to the detriment of future generations. The coronavirus pandemic is playing its part, but, reconstructing our world to the detriment of future generations, is the conspiracy! We are destroying our world, courtesy of alien (artificial) intelligence (which operates through an elite) that wants the world to resemble a synthetic playground, such that alien intelligence can purely interact with and control – the goal being the end of the organic human species as we know it. I think we will reach a point that hasn’t happened yet – where it’s going to be very difficult for a highly-evolved human, interacting with their Superconsciousness (or Infinite Awareness), to NOT see the alien, the digital beast for what it is – pure evil.

It’s time to bring this madness to an end, or our children will have to live in a dystopian Covid movie indefinitely.

Pre-order: Orion’s DoorSymbols of Consciousness & Blueprints of Control – The Story of Orion’s Influence Over Humanity.


1) Roberts, Adam. Introduction to RUR & War with the Newts. London, Gollancz, 2011, pp.vi–ix
2) https://economictimes.indiatimes.com/small-biz/startups/newsbuzz/japanese-startup-creates-connected-face-mask-for-coronavirus-new-normal/articleshow/76643686.cms
3) François Pannier, Stéphane Mangin. Masques de l’Himalaya, du primitif au classique. Paris: Editions Raymond Chabaud, 1989, p44 / Lisa Bradley & Eric Chazot. Masks of the Himalayas. New York: Pace Primitive Gallery, 1990.
4) Wilson, Eric G. The Melancholy Android: On the Psychology of Sacred Machines. State University New York Press, 2006, p80-81
5) https://masks4all.co/about-us/
6) https://www.dailymail.co.uk/news/article-7294665/Jeffrey-Epstein-doomed-dome-Pedophile-Islands-mysterious-temple-lost-golden-dome.html

 

Kabbalah, Corona & the Cyber-Grid Empire

You would be forgiven for thinking that you went to sleep on the 20th March 2020, only to wake up in a dystopian movie. A colder more ‘distant’ society greeted us all the following morning, the first day of Spring seeing shops, bars and ‘everyday normality’ all closed. Queues outside supermarkets grew to resemble war time rationing, with two exceptions; not a weapon had been fired and people seemed to look happier in 1940 than 2020. It seemed a dark cloud had descended on humanity, a ‘killer virus’ we were told on every mainstream media platform known to man. The amount of money and energy invested on this ‘pandemic’ seemed to have been planned weeks before the lockdown.  Constant news bulletins on TV creating the ‘war room’ effect (running up to our house arrest) seemed to have infected minds more than any virus. Every news program relentlessly charted ‘death rates’, while offering no ‘survival figures’, as project fear was more important than any other perspective.  If you pointed out any alternative information to a Facebook friend, Twitter-tweeter, family member or neighbour, you were likely to be branded a ‘COVID-19 denier’, or, as we have seen in recent weeks, literally ‘banned’ by social media platforms for circulating alternative narratives.

Waking up in dystopia land.

In this blog I am going to offer insights into the ‘current climate’ based on some of the subjects I’ve been researching the past few years. With a new book in the pipeline for the autumn called, Orion’s Door, there is always more to know when it comes to symbolism, especially deeper symbolism connected to Orion’s inversion. Space (Science Fiction), dystopia and all things Orion seem to be at play when it comes to what I call ‘movie land’ – and we are certainly in some kind of movie-like script at this time. The entertainment industry (global media), military-industrial complex, geopolitics and religion are under the influence of ‘Orion’s spell’, as I show in the book. Celebrities are under the influence of stellar magic too. Some are even called upon to reinforce political agendas (the movie) at times, something we saw in the early part of the Coronavirus outbreak. Hown many celebrities and actors seemed to ‘all of a sudden’ have the virus just in time for governments to deliver (on cue) the ‘lock down’.

New book in the pipeline for November 2020.

The Kabbalah-Orion Cult

Orion magic is entwined within the Kabbalah and used to full effect by a ‘cabal’ who are the masters of inversion. The cabal have been given many names throughout history but their common name is the Death Cult.  They are a ‘messianic’ (Sabbatai Zevi inspired 1665 –1800) satanic cult, and along with the later Hasidist movement of the 1700s, have focused their followers on ‘inverting’ the Kabbalah, amongst many other occult practices. In simple terms, I see this Kabbalah-Orion Cult as the ‘ritual magic branch’ of the Sabbatean Death Cult. Instead of focusing on ‘life’, they focus solely on ‘death’. They are a tripartite cult, guided by rituals associated with Orion-Saturn-Moon (inverted) forces combined. In simple terms, think ‘Hollywood elite magic circles’ and cabalistic spells – evident within the entertainment industries we consume. Then imagine spells being cast to keep the masses unaware of the gravity of their plight within the greater movie we call reality.  What can be more serious than convincing humanity that they are free, while denying them real freedom. Only mind magic, hexes and ‘media mantras’ designed to convince the masses they are free (especially while being under house arrest), watching their livelhoods vanish on a global scale, can be achieved through mass hypnosis, or mind magic. What did George Orwell say in his book, 1984: “The people will believe what the media tells them they believe.”

Within the original ‘structure’ of the Sabbatean Kabbalah-Orion Cult there seems to have been organisation around the magic of three ‘X’ or ‘stars’ and according to the New York Times in an article written in 1919, ‘A Strange Sect in Saloniki’ : “this ‘messianic cult’ were said to form three groups; the Maaminim (believers), the Haberim (associates) and the Ba’ale Milhamah (warriors); the latter fits with the archetype of Orion (its belt stars) and triple influence of Orion-Saturn-Moon.” (1) The use of ‘X’s (hexes) are part of the magic, or the spell (stars in our eyes), which is why we see the ‘X’ symbol everywhere.

There is also a darker (inverted) side to the Kabbalah driven by the Death Cult and Hasidism movements of Europe, not least through occult figures such as Jacob Frank (1726-1791) and the Frankist notion of ‘Shehinah’, meaning the ‘amputation of a limb’ (in this case a hand or head) from the body of whatever faith had been infiltrated by the cult. The amputated ‘Hand of Kunu’ (or Long Arm) in American Indian belief, along with the Hamsa symbol hint at similar occult symbolism connected to Orion-magic (or dark worship/protection). The Hamasa hand symbol was adopted by ancient Sephardic Jewish communities of the Iberian Peninsular, who named it the ‘Hand of Miriam’ after the biblical sister of Moses and Aaron. The ‘hand’ is also associated with the number five (hamesh in Hebrew) to represent the five books of the Torah. However the hand and eye symbol can be found in every culture. See the ‘Necklace of Mysteries’ once owned by the late African Zulu Shaman, Credo Mutwa. For many it is a protective talismen against the ‘evil eye’, the force behind the Cult. But in truth, the symbolism is connected to darker aspects of Orion worship.

The ‘hand and eye’ are symbols connected to the soul’s passage beyond the physical world (through the Ouroboros towards Orion), and the ‘Hidden Hand’ is the Cult, with its ancient origins in Egypt and Babylon, in my view. The hand symbol also appears on the flag of the Northern Ireland parliament and several other Irish arms, such as the ‘Red Hand of Ulster’ (Irish: Lámh Dhearg Uladh), which is usually shown as a right hand, but sometimes a left hand, such as in the coats of arms of baronets, an hereditary title awarded by the British Corona, sorry Crown.

The beheading (severing of limbs) of religious icons and world leaders (including royals) throughout history, along with world wars, genocide (culls) and ‘bloody revolutions’ can be connected to the same Cult.

It is also interesting to note that in Lakota myth, there is a giant spider called ‘Iktomi’, who is a trickster spirit. Alternate names for Iktomi include Ikto, Ictinike, Unktome, and Unktomi and according to numerous North America’s plains tribes, Iktomi represents a star deity (god). I would suggest Iktomi is connected to the ‘clown’ spider trickster archetypes, fire bringer; who, according to the Lakota, originate from Orion – Betelgeuse, to be precise. The spider symbol is also connected to darker aspects of Orion, death (the darkness) and the web of deceit. There is no better symbol as the ‘spider’ for summing up the Death Cult.

 

For the Lakota, Iktomi represented a ‘living consciousness’ that would spread his web all over the land. Today, this has been interpreted by some contemporary Native Americans to be the telecommunications network, the Internet, or the World Wide Web. Some Lakota see the spirit of Iktomi as the patron of ‘new technology’, from the invention of language, to today’s modern cyber world, such as the computer, robots and ‘artificial intelligence’.

Crowns, X’s & Masks

As I was writing this blog, my mind drifted back to the Kabbalah Queen, Madonna, and her performance at the 2019 Eurovision in Israel. Where last May, she seemed to be not only offering up a visual ritual, but the full performance  seemed to clearly hint at a ‘new future’ brought on by something foul in the ‘air’. From Madame X’s eye patch, to the ‘crown’ (corona) on her head (surounded by gas mask wearing dancers) the performance was highly symbolic. Even the word ‘mask’ appears to come from French ‘masque’ (a covering to hide or guard the face), derived in turn from Italian ‘maschera’, and from Medieval Latin masca ‘mask, spectre or ‘nightmare’ . The latter is relevant to the nightmare chaos brought on by this pandemic. The lyrics to Madonna’s song, Future, seemed to be telling us:

Not everyone is coming to the future
Not everyone is learning from the past
Not everyone can come into the future
Not everyone that’s here is gonna last

With the World Health Organisation calling Coronavirus their ‘Disease X’ in early March 2020, you can’t help but wonder whether Madonna knew something? bizarre

Madge revelling in symbolism in 2019.

As most reading this will probably know by now that ‘Corona’ is Latin for ‘Crown’ or ‘wreath’ (crown chakra), but it is also a word used to describe the aura of plasma that surrounds the Sun and other stars. The ‘crown’ is also the ‘Keter’ in the Kabbalah, which connects to a higher state of awareness and therefore our ability to become conscious, awake or truly aware. The Keter is a portal and a possible location that leads to Orion’s Door – above the crown. The ‘fear’ and ‘panic’ casued by the Corona (crown) pandemic, I would suggest, was designed to literally ‘shut us down’ and prevent us from reaching awakened states. Being told to self-isolate and keep our distance, indefinitely from ‘living life’ would bring only more fear and death; when in truth, the opposite is required to balance such manufactured chaos. On an esoteric level, the crown is also the hallmark of the Cult that has left its mark in every religion on Earth, but belongs to none of them. Who do you think placed the ‘crown’ of thorns on the head of Christ, symbolically? The Cult did! Revelation 3:11 states, ” I am coming soon. Hold on to what you have, so that no one will take your crown. Considering the metaphysical symbolism associated with the Kabbalah, do you think it is a coincidence that the chaos caused by the Coronavirus is not some how connected to our ability to access levels of awareness beyond the ‘crown’ chakra?  What did the end of Madonna’s Eurovision act say? ‘Wake Up’… Yet so many are still fast asleep… Not for long though, something else is coming.

For the spell to work publicaly, it has to be announced to the public.

Through star magic, specifically Orion’s stars, the masses are encouraged to idolise celebrities (see Madonna, et al), pursue religious worship of politicians and partake in ‘exoteric’ rituals performed through all types of entertainment (well that’s unless you have a coronavirus pandemic). The bigger the tournament, the more powerful the ritual. You could say Hollywood is the stage on which the Cult performs its magic tenfold. You see, the Kabbalah-Orion Cult is pure ‘Astrolatry’, which is the ‘worship of stars’ and other heavenly bodies as deities (or the association of deities with heavenly bodies); all of which has its origins in ancient Babylonian astronomy. The same was said of the Biblical Israelites, who fell into star worship, seeing “the stars of their god” (2) The Levite priesthood (Biblical Israelites) simply carried the Babylonian Astrolatry (ritual star magic) onto the lineage that became the House of David, the third king of the United Monarchy of Israel and Judah. One account in the unedited full-text of the 1906 Jewish Encyclopaedia, commenting on the bloodline of David or Judah (through Manasseh) states:

“Of Manasseh it is related that he built altars to all the host of heaven in the two courts of the house of Yhwh, and it seems that it was the practise of even kings before him to appoint priests who offered sacrifices to the sun, the moon, the planets, and all the host of heaven” (3)

Altars for ‘star worship’ (which includes celebrity worship) through the Kabbalah-Orion Cult today, is Hollywood. It’s a place where the Kabbalah is practiced if only through producers and directors knowledge of such occult teachings. Its amazing how many Gnostic philosophies and Kabbalistic teachings end up in movie scripts and comics, especially those of the Science Fiction genre. Dystopia while being ruled by often tyrannical leaders or ‘star gods’, not to mention the ‘replicant’, synthetic-human themes in movies from Blade Runner (1982), to Prometheus (2012), is all part of the magic I am describing.

The Cloud and the Digital Beast

The Kabbalah can be seen as a blueprint for ‘structuring reality’, a diagraphic projection (or manifestation) of a counterfeit-light (a matrix) or God to those who understand its deeper teachings – especially Gnostic teachings. The Kabbalah is also the ‘light body’ of Adam Kadmon (Orion) and in Judaic law it is this ‘invisible light’ that also constructs the Serifot – the Tree of Life. According to the Kabalistic Zohar (which is a foundational work in the literature of Jewish mysticism), the mystery of ‘six’ thousand years of the deadline for their Messianic Age is crucial to understand the nature of the technological age and its ‘advancement’ in the times we now live. What did Jesus supposedly say? “You can all read the signs of the earth, how come you cannot see the sign’s of the times?”

According to classical Jewish sources, the Hebrew year 6000 (from sunset of 29 September 2239 until nightfall of 16 September 2240 (on the Gregorian calendar), marks the latest time for the initiation of the Messianic Age. The Jewish Talmud, Midrash and the Zohar state that the ‘deadline’ by which their messiah must appear is 6,000 years from creation. (4) In other words, what ever is coming to our world in the future, will most definitely be part of a new order, a Cyber-Grid Artificial Intelligent ‘connection’.  The notion of 6,000 years comes from the mystical interpretations of the Kabbalah and of course the six days of creation, which forms the Sefirah (Serifot) – which also creates the ‘six-pointed star’ or the Star of David. The star is also called Metatron’s cube (Shuie Komah), and said to be the symbol for a god-man (Orion), or part of a god that is revealed to humanity.

Even the use of the word ‘Orion’ for many artificial intelligence ‘platforms’, especially in Asia, USA and Israel, is a telling sign. These include, Orion labs, AI voice-activated business communication and automation systems based in Califonia. The same can be said of the word ‘Cloud’, which is simply the Latin word ‘nebulae’ (nebula) – the Orion ‘Nebula’ I would suggest. Our connection with the Abrahamic God, if the Cult fulfil their work, is connecting us to all things AI.

There are also other tech-based products, services and systems that have Orion as an influence, from the name of educational bodies, online gaming, to aerospace engineering. The ‘8Pack’ OrionX Gaming high-speed computer (one of the fastest ever PC’s) even has Orion ‘red and blue’ symbolism within its design. Master of Orion, the strategy game released in 1993, is another global product that hints at a form of AI based in the Orion constellation. In the first version of the franchise, players could only play against AI (the computer) with human and AI players controlling the management of colonies, technology development, ship construction, inter-species diplomacy and combat. Makes you ponder on what type of computer consciousness is ‘managing humanity, globally’? There are also several recuitment agencies for ex military in the US that also seem to be utilising Orion, AI symbolism. Orion, in my view, is where AI originates. We, as a species, have no desire to become artificial, we are being guided unwittingly down this path.

There is most definitely a connection between a ‘machine world, the Cyber-Grid, AI and ‘all things Orion’.

Laws and Numbers
The number ‘seven’ and the seventh day of creation relates to the ‘Menorah’ (candle holder), and the seventh millennium when, according to Judaic teachings, the Jewish Moshiach (Messiah) will reign on earth. From the number seven upwards we enter the spheres of the higher Adam (Adam Kadmon) and the ‘source of the projection’ beyond the keter or crown. In line with such numerology, we also find the ‘Adamic Covenants’, supposedly given to humanity by God (the Gnostic Demiurge in my view). The Covenants from Noah, through to the so-called ‘renovation of the earth by fire’ (within the final ‘new covenant’), we pass through seven figures or phases. These seven figures, according to the Covenants are, Adam, Noah, Abraham, Moses, Jesus, the ‘second coming’ and the ‘renovation by fire’ (after the Millennium). The latter phases relates to the ‘age of technology’ and a New Earth created out of fire (or chaos). But what is fire to the occultists? It is Technological light!  The seven figures are also projections of the Kabbalah’s very own, Adam Kadmon (Orion).

A New Age is certainly being maneuvered into place. New laws (old laws in truth) and fascination for the ‘rainbow’, especially at this time, is everywhere. The rainbow of course is the symbol of Noah and the ‘Noahide Laws’ that were said to have been given to Adam (Orion) by God and then passed to Noah.  I doubt God had anything to do with such laws. The Noahide laws are Rabbinic laws for ‘non-Jews’ which come from the Babylonian Talmud. As far as I can see, these laws limit freedom of religion, no ‘idolatry’, which includes Christianity and other faiths. Punishment according to these laws are ‘decapitation’, which is the main penalty for not complying. Sounds more like the Death Cult at work (see my comments above). These laws would limit freedom of speech (no blasphemy) and from the wealth of material circulating online and in books such as, The Trigger (2019), by David Icke, the plan is to introduce a universal Noahide Code founded on the Noahide Laws and imposed by rabbinical courts in a world government system controlled out of Israel. Those who are innocently making rainbows and are under a spell it seems. What were the lyrics to that Kermit the Frog song, ‘Rainbow Connection’:

What’s so amazing that keeps us stargazing
And what do we think we might see?
Someday we’ll find it, the rainbow connection
The lovers, the dreamers, and me
All of us under its spell
We know that it’s probably magic…
Innocently ushering in the New World Order.

The Mark of an Archetypal Man

In the system of Kabbalah there are also ten spheres of the Serifot and ten dimensions of what Judaic law calls the ‘Shiur Komah’, the ‘Archetypal Man’ – Adam Kadmon. This Archetypal Man is the same archetypal figure relating to the ‘mark of a man’ in the book of Revelatio; who is the protogonos of the new ‘digital human’ – a ‘digital beast’ – said to have a ‘direct experience’ with the creator on a new Earth. How will this new Adam have a direct experience with the god of technology, or the god in the new heaven? Through his mark or chip! As Revelation 13:15–18 says: And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name. Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.

The numbers 666 and the mark of the beast have been shown to relate to the use of barcodes, microchips and electronic currency, which constitutes the digital ‘traceable’ human. I tackled some of these subjects ‘visually’ in my Graphic Novel, Kokoro; The New Jerusalem & the Rise of the True Human Being, where I saw the Cyber-Grid as a ‘City World’ policed by clones or agents.

Your old life ‘not essential’, unless you have a digital ID.

The clones in my fictional work had received the ‘mark’ and were merely servants (worker ants or bees) for the machine-like god (AI). As I show in Orion’s Door, the symbolism around ‘Revelation’ and the ‘Son of Man’ is connected to creating a two tier world of those who have received the mark (digital ID /chip), and those who haven’t. It says in Matthew 25:31-40:

When the Son of Man [Orion symbolism Inverted] comes in his glory, and all the angels with him, he will sit on his throne in heavenly glory. All the nations will be gathered before him, and he will separate the people one from another as a shepherd separates the sheep from the goats [those who have been implanted and those who haven’t]. He will put the sheep on his right and the goats on his left.

All of the many platforms and push Apps, from Pay Pal to Apple Pay, etc, are part of the transhumanist AI, ‘Messianic New World Order’. It’s all in place waiting to be fully integrated via a digital beast (artificial intelligence) connected to the human mind. As the German-born Israeli philosopher, Gershom Scholem says in his book, Kabbalah:

The number 666 could thus represent the strength and perfection of the physical world, which Judaism teaches will occur in the messianic era, when the physical world will reach its ultimate purpose, to be a vehicle through [my emphasis] which the created experience the creator. (5)

The ‘direct experience’ with the creator at the time of the Moshiach (Messiah), around 2040, will not be what we think it will be! The age ushered in will be a ‘transhumanist utopia’ unless we wake up and take back what’s left of being truly human. The Zohar, which contains discussions of the Judaic nature of God, the origin and structure of the universe, the nature of souls, redemption, the relationship of ego to darkness and ‘true self’ is supposedly to help Jewish people out of exile; to infuse the Torah and Mitzvot (Judaic commandments) with the wisdom of the 13th Century Rabbi, Moses de León’s writings. The whole concept of the end of the Jewish 4th Exile at the end of the 70 years from Israel’s Statehood in 1948, and the coming Moshiach era, is about the coming of the ‘once hidden face’ of God. Bringing humanity into the light (fire) of a new era. I have no issue with Judaism or Jewish people whatsoever, if anyhting, they are meant to ‘lead the way’ spiritually, so we will wait and watch to see what happens globally. I am certain this ‘hidden God’ is the Gnostic Demiurge (the counterfeit light) and it is purely artificial intelligence. In the Moshiach era it is also said science and technology becomes God. Only a living artificial consciousness could be titled so and fulfil these prophecies. (6)

It is the ‘digital beast’ (in all its forms) that ‘emerges’ from the fallen state of Adam Kadmon (Orion), who through an inverted version of Adam (as Satan) who ends the Old World Order and births the New ‘Cyber-Grid World Order. The Cyber grid being built to control the world’s population courtesy of China, USA (Silicon Valley), along with Israel’s growing power in cyber security, will be ‘god-like’. Artificial Intelligence is intended to ‘overshadow’ the ancient organic earth-grid (pyramids and megalithic sites) and create a digital quarantine facility for the human soul (a soul cage) controlled by artificial intelligence.

The Cyber-Grid Empire.

Every facet of human life will be connected to this grid, from driverless cars, trains, planes (all public transport), smart meters, and of course ultimately the human mind, creating a ‘new human being’. For all this to happen, the world needs a Fifth Generation cellular platform.

The Cyber-Grid Empire
Expanding Internet access has become something of an obsession among governments and tech companies. Google, for example, offers fibre Internet services as well as its own cellular network, Facebook scrapped plans to offer internet access via drones in June 2018, and Amazon isn’t the only company hoping to use low earth orbit satellites to allow previously unconnected people to finally join the rest of the world online. The reason why all of these seemingly ‘independent’ companies like Amazon and Facebook are all routing for the same technological advancements is because they are connected at their highest levels to the Cult. The Federal Communications Commission in the USA gave approval to Elon Musk’s SpaceX on March 29, 2018 to launch 4,425 satellites into low orbit around the earth, with the total number of satellites that is expected to be put into low and high orbit by several companies will be 20,000 satellites. SpaceX also launched 60 Starlink communications satellites into orbit in January 2020 which show up as a line of bright dots gliding across the night sky. They were visible to the naked eye in the weeks after launch and slowly became dimmer as they entered orbits farther into space. Was the strange ‘mini moon’ spotted orbiting the earth in Feburay 2020 part of the SpaceX launch? In April 2019 Amazon – Project Kuiper, were advertising to hire engineers for a ‘big audacious space project’ too. The Kuiper Belt is one of the largest structures in our solar system, others being the ‘Oort Cloud’, the heliosphere (Crown) and the magnetosphere of Jupiter. It is similar to the asteroid belt, but is far larger—20 times as wide and 20 to 200 times as massive. Amazon’s Project Kuiper is meant to be huge and based on the spherical enclosure of satellites forming the network that would facilitate the earth-based Cyber-Grid Empire. Are you seeing the bigger picture relating to the Corona(crown)virus?

Global Quarantine – Stay Indoors – Live Online.

The unrelenting push for implementing 5G (Fifth Generation), is also part of the Cyber-Grid and New ‘Messianic’ World Order. Dark fibre networks may be used for ‘private networking’, or as Internet infrastructure networking, through devices, are part of the 5G network. In simple terms, 5G, is the means by which the ‘artificial intelligent grid’ will be connected to the ‘Internet of Things’.

Having a ‘direct experience’ with the Creator through the ‘Internet of Things’.

Previous generations of Radio Frequency cellular communication (2G, 3G and 4G) used large antennas to send a blanket of radiation in all directions. The lower frequencies they used and the broad distribution of microwaves limited the numbers of cellular devices that could connect through an individual tall tower. The much shorter length microwaves used for 5G will make it possible to use small phased array antennas to send and receive signals via the 5G enabled products that are now being made available. Each 5G product will also have multiple phased array antennas, which will be used to create a powerful beam of radiation back to the 5G devices mounted on electrical utility poles or toward a specific satellite in space. These beams of radiation will also need to be strong enough to pass through walls and human flesh such as a hand or head to reach the intended destination. 5G is said to have one thousand (1,000) times the capacity of 4G, and has never been studied for adverse health reactions or effects! (7) Well not officially at least! The technology used for 5G is a weapon in itself and very dangerous for humans and other organic species on earth. As Professor Martin L Pall says in his report: 5G: Great risk for EU, U.S. and International Health! Compelling Evidence for Eight Distinct Types of Great harm caused by Electromagnetic Field (EMF) Exposures and Mechanism that causes them:

Putting in tens of millions of 5G antennae without a single biological test of safety has got to be about the stupidest idea anyone has had in the history of the world… We have created something that is harming us, and it is getting out of control. Before Edison’s light bulb there was very little electromagnetic radiation in our environment. The levels today are very many times higher than natural background levels, and are growing rapidly because of all the new devices that emit radiation. Putting it bluntly they are damaging the living cells in our bodies and killing many of us prematurely. (8)

But it’s not stupid or out of control for a non-human (alien) artificial intelligence to want us to install and live within a Cyber-Grid Empire.

COVID-5G

At the time of writing we are in ‘Lockdown’ (which is proving to have increased the deaths in countries who have adopted this method), surrounded by posters telling us to ‘stay in doors’ and ‘not go out’… not that there is anything to go out to. Ghostown by the Specials comes to mind everytime I step outdoors. The NHS posters look too much like the Contagion movie poster for 2011 and Lockdown sounds like a Dystopian Stallone film. Trying to have a sensible conversation about facts regarding the current ‘Corona Curfew”, is like trying to debate with a Jehovahs Witness about ‘the nature of Jehovah’. The mainstream media became their mantra.

Social media went into overdrive at the time of the outbreak, with much information circulating about 5G and the impact this technology would (could) have on our mind and body. But also its possible impact on our ability to ‘access higher levels of awareness’. The implications for our health due to the roll out of 5G, along with the Coronavirus Act 2020, will be devastating for freedom in the long term. The imagery coming out the Television land, showing people covered in plastic from head to toe was on a par with the 17th Century Plague Doctor outfits. Some outfits in the USA and elsewhere were beyond ludicrous.

 

What wasn’t shown in the mainstream press was the ‘possibility’ of the virus ‘symptoms’ being connected to 5G technology; or at least similar symptoms said to be caused by COVID-19 being attributed to side effects relating to 5G microwaves. When the author David Icke touched on the subject in April via the social media platform, London Real, the censors went into overdrive, banning his video. Facebook went as far as labeling anyone who questioned the 5G connection as ‘far right’. Yet, insurance firms still won’t insure against the 5G.

Since 2017, over 180 scientists and doctors in almost 40 countries warned the world about 5G health risks. These scientists’ in response to Resolution 1815 of the Council of Europe said:

We, the undersigned scientists, recommend a moratorium on the roll-out of the fifth generation, 5G, until potential hazards for human health and the environment have been fully investigated by scientists independent from industry. 5G will substantially increase exposure to radio frequency electromagnetic fields (RF-EMF)… and has been proven to be harmful for humans and the environment. (9)

5G began wide deployment since 2018 and coincidently symptoms being assigned to victims of COVID- 19 in China (via their GreatFire group,) showed tens-of-thousands of posts describing the first symptoms being a ‘dry cough’ that makes those infected tired. The pollution in Wuhan (a city of 12 million) alone would cause severe pneumonia related illness, despite a virus, or possible effects of 5G. However, the EUROPA EM-EMF Guideline 2016 also states that ”there is strong evidence that long-term exposure to certain EMFs is a risk factor for diseases such as certain cancers, Alzheimer’s disease, and male infertility. According to the guidelines published, common EHS (electromagnetic hypersensitivity) symptoms include headaches, concentration difficulties, sleep problems, depression, lack of energy, fatigue, and flu-like symptoms.” (10)  (11) It is also no surprise that China is leading the way with Fifth Generation cellular technology , not to mention its use of 5G and AI (through robots and drones) for everyday life. China’s use of 5G technology used to combat COVID-19 was unprecedented. According to the Bangkok Post in March 2020, 5G ‘robots’ were in use to treat patients with COVID-19 at Rajavithi Hospital, the Central Chest Institute of Thailand and another at Nopparat Rajathanee Hospital. Talk about rubbing salt in the wound, if the symptoms caused by this this virus are connected to 5G technology.

5G, Smart Robots and COVID-19 all in one place – nice.

Beyond robots and drones, China mobilised its sophisticated surveillance system to keep a tab on infected individuals and enforce strict quarantines, something the West is working towards with the COVID-19 App. Another amazing fact is the ‘virus’ didn’t seem to have any impact on China’s financial and political capital, Beijing… mmm hows’s that? As the rest of the world went into economic turmoil and curfew (with the UK government passing probably the most draconian bill in its history); humanity gave away its power to those who would, on an average day, not give a shit about the old, the poor or the NHS.

Bill is Back

Mandatory vaccinations programmes have being called for by the WHO and governments in recent weeks because of the so-called spread of COVID-19, yet many of the very small numbers of those initially infected (in late Feb/early March), compared to the 7.6 billion global population, seem to not have travelled, or come into contact with anyone who had. Something else must have been at play? Did anyone have it at all? The testing has proved unreliable not to mention the over blown computer models in the UK predicting hundreds of thousands of deaths that have not  materialised to date.

Bill Gates, through his CEPI (Coalition for Epidemic Preparedness Innovations) project raised over $460 million towards rapid vaccine production in the case of the ‘next global pandemic’ and of course went on many media platforms over the past few years saying how the world wasn’t prepared for another pandemic at the time of the Ebola outbreak in 2013.  Gates is presented as a global saviour figure (which he may well be for the Cult), but this man does not have humanity’s interest at heart. “Watch out for false prophets. They come to you in sheep’s clothing, but inwardly they are ferocious wolves.” (Matthew 7:15)  Gates has consistently called for a global ‘medical-military’ and the use of ‘germ games’ (simulations of a pandemic) to deal with ‘real’ pandemics. You can’t help but feel that the Coronavirus outbreak, starting in China, was perfectly timed to bring further advancement towards the Cyber-Grid Messianic New World Empire – not least mandatory vaccinations and a new global economy.

Especially as we were warned about a new pandemic by the Bill and Melinda Gates Foundation, the World Economic Forum and ‘Event 201 pandemic exercise’ hosted by John Hopkins Center in October 2019. Event 201 was a pandemic simulation, which coincidentally matched the unfolding events of COVID-19 in March 2020 to the utmost detail. How convenient? You could be excused for thinking the ‘pandemic simulation’ in 2019 was a literal test run for what actually happened a few months later. A total lock down of the world, self isolation (house arrest) if we are honest; along with pandemonium and the fear of this virus allowed world  authorities to move further towards a police sate and cashless digital society. The latter would be part of the messianic New World Order. As the world went into meltdown, The UK government, after ten years of austerity, ended all austerity instantly revealing vast forests’ of ‘money trees’. The Chinese social ‘universal’ credit system will no doubt follow as streamlining everything under a Universal Credit system (no cash jsut credit), is a stepping stone towards such a global digital benefit system.

It will be a very different world in 2021, all created (by design), a dictators dream if we allow it to unfold further.

I am more inclined to think COVID-19 was ‘created’ (invented) by those who want a global economic crash, a transformed global society, enforced vaccinations, Digital ID (travel restrictions) and the end of other freedoms, seen ‘not essential’.  The Contagion movie poster said: ‘it is fear that spreads the disease’. You can’t help but wonder also if Adrenochrome played its part in this pandemic? Ramping up the fear (panic) since late February, mixed with serious underlying health issues (for the vast majority of deaths), would obviously be a recipe for disaster healthwise.

Remember, to ‘break any spell’, you need to not play by its restrictions (its rules). You need to elevate your mind above the spell, keep your heart light bright and watch for signs… watch both the skies and the oceans!

“Be strong and courageous.  Do not be afraid or terrified because of them, for the Lord your God goes with you; he will never leave you nor forsake you.” (Deuteronomy 31:6)

“There is no fear in love.” (John 4:18).

Rather then watch the movie, why not join me in mediation every evening at 9pm GMT. Let’s heal the ‘distortion’, division, fear, panic and mind virus infecting too many people.

While sitting at home, quietly (if you can) I would focus your heart energy on the distortion (see an energetic ball of distortion); ‘visualise’ endless energy, or a waveform unravelling it, healing it. See the light (the waveform) moving through the twisted knot-like distortion, picking it apart. See it unraveled and becoming endless energy  – as it fades to nothingness – Oneness.


NOTES:


1 “A Strange Sect in Saloniki” (PDF). The New York Times. January 26, 1919.
2 Amos v 26, R. V.
3 http://jewishencyclopedia.com/articles/13990-star-worship page 527
4) Zohar (1:117a) and Zohar Vayera 119a
5) Scholem, Gershom; Kabbalah, (New York, NY: Dorset Press, Keter 
Publishing House Jerusalem, Ltd, 1974, p100
6) Loper, DeAnne; Kabbalah Secrets Christians Need to Know, 2019, p92 
2.
7) https://www.collective-evolution.com/2019/07/31/5g-is-the- ultimate-directed-energy-weapon-system-says-particle- physicist/?fbclid=IwAR2f7RPZ3XHYj86LgiD7iDcHTfrl8AEzkqrX6NK5-aLvIao8ksmoUzFzrI
8) https://www.radiationresearch.org/wp- content/uploads/2018/06/EU-EMF2018-6-11US3.pdf
9) https://www.gaia.com/article/5g-health-risks-the-war-between- technology-and-human-beings
10)  http://www.5gappeal.eu/scientists-and-doctors-warn-of-potential- serious-health-effects-of-5g/
11) http://www.whatdoesitmean.com/index3141pl.htm

Neil Talking at the Mysterious Earth Conference in 2019

PART ONE

Neil talks about the Archetypes and symbols of the Gnostics.

In Part One he shares his views on subjects such as – megalithic mysteries, the origins of the Gnostics, the Cathars,  giants, gods, goddesses and the symbolism of Orion.

 

PART TWO

In Part Two Neil goes much deeper into the interstellar subjects connected to Orion, it’s symbolism, the Kaballa, Adam Kadmon, American Indian myths connected to Orion and how humanity needs to become a bridge between the earth and the stars.

The Hare, the Moon Egg & the Goddess of Easter

Ishatr Hare

 

Holy Week is upon us across much of the Western Hemisphere. A time when children are often taught to connect Easter’s Pagan origins with the Judeo-Christian belief in a savior god. A connection that uncomfortably tries to equate ‘a giant rabbit or ‘hare’ with a crucified Sun God. It’s a mad, ‘mad world’, especially when ‘State and religion’ would have children focusing on the ‘ritual killing’ of Jesus (the crucifixion), in one hand, and celebrating the return of a ‘giant bunny’ delivering chocolate eggs with the other. Giant bunnies, chocolate eggs, alongside the crucifixion story of course, is not found in the ‘holy book’ but nonetheless the modern world celebrates ‘Easter time’ with the same vigor as it does every other festival on the calendar.
All religion generally speaking, in my view, is ‘madder than a March hare’. No wonder that the ‘official stories and their associated festivals such as Easter, don’t make sense when you combine narratives and take stories ‘literally’. Mind you my local church is getting into the ‘pagan spirit’ by equating ‘hot cross buns’ with ‘six packs’ this Easter (see below). So, that’ll be a ‘half dozen’ Easter bunny eggs and ‘full dozen’ would give you ‘twelve disciples’ circling around a big ‘hot cross Sun bun’… Bless em.  None of it makes much sense unless we venture deeper into the Pagan symbolism that ‘connects’ the cycles of the Sun and the Moon’ from our ‘earthly perspective’. In this blog I am going to weave together the main themes associated with Easter and as usual delve a little deeper into the symbolism. Grab yourself a ‘Babylonian bun’ and a nice cup of tea, it’s going to be a long blog.

Pagan Buuny

 

The Sun Cross

Christians refer to the week before Easter as ‘Holy Week’ as it contains the days of the Easter ‘Triduum’, including ‘Maundy Thursday’ and ‘Last Supper’, as well as ‘Good Friday’ (not so good for some). Without going into great detail regarding ‘sun gods’, (as I want to focus on the ‘moon, hare and egg symbolism’), Jesus comes from a ‘long line’ of pre-Christian ‘Sun gods’ that were killed and rose again to redeem the sins of the world; See ancient Babylon, Tammuz, Bal and the Norse god Balder to name but a few. If one does the research, there is well over a dozen versions of the ‘Sun of god’ found all over the ancient world pre dating Christ. The sun-cross circle below is what connects the Sun and Moon to the main festivals marked by the Equinoxes and Solstices on what was and still is the Pagan calendar.

sun cross bun

When one looks more closely at the religious symbolism associated with celebrations and festival such as Easter it becomes obvious to see the correlations of time being ‘marked’ through the various ‘stages’ of the Sun and the Moon in relation to how we ‘see’ life and our ‘time’ here on Earth. The three main symbols for the Sun, Moon and Earth (sometimes Venus) have all been worshipped for thousands of years at points on the calendar (see below). The eight pointed star of Ishtar is often found alongside the crescent (Sin) and the rayed solar disk (Shamash) in Babylonian iconography on boundary stones, cylinder seals. In the Christian version of Easter some ‘Boundary stones’ are still ‘marked’ or ‘hit’ with a broom or stick to this day in some English churches. It all makes sense when we ‘see’ that Easter came out the pre-Christian world.

Ishtar, Sin, Shamash
Left: Worship of the Moon, Sun, Stars and the Goddess (Earth) under different names. Left: Ishtar (Venus), Sin (Moon), and Shamash (Sun) on a boundary stone of Meli-Shipak II.12th century BC. Right: A Trip to the Moon by Georges Méliès, 1902

Lunar-‘tick-tock’ Calendars (Moon & ‘Sun-Saturn’ Symbolism)

Easter and the holidays that are related to the Moon calendar are called ‘moveable feasts’ which do not fall on a ‘fixed’ date in the Roman Catholic inspired Gregorian or Julian calendars. These calendars instead follow the cycle of the sun with ‘irregular’ Moon days. Easter ‘time’ is determined through what is called a ‘lunisolar calendar’, which is similar to the Hebrew calendar. In 325 AD it was the Council of Nicaea that decided Easter would fall on the first Sunday after the ecclesiastical full moon or soonest after the Spring Equinox on the 21st March. Those ‘Pagan founding fathers’ of the Christian church knew how to ‘use the Moon’. Saturn (the ‘Dark Sun’) underpins the vibrational (invisible) structure given to us by the Moon and therefore the calenders are no more than a ‘Saturn-Sun &  Moon vibrational illusion’. Or as authors like David Icke call the Saturn-Moon Matrix.

The Moon is the ‘marker of time’ (Saturn’s creation) and therefore gives us the illusion of time. The ‘white rabbit’ and his ‘pocket watch’ in Alice in Wonderland, for example, are all ‘symbols’ for the Moon, Saturn and the Goddess (Alice) in ‘wonderland’ – the illusion. Alice (the Goddess archetype) is ‘trapped’ by time in the Saturn-Moon matrix. In ancient Chinese and the Japanese calendars the hours were counted through animal names, and for these cultures the ‘artificial day’ began at six o’clock in the morning when the ‘Sun rises’ in the middle of what they called the ‘hour of the Hare’. It was the hour of the crossing between night and day. More on the hare and Rabbit soon.

Moon time

Easter is also linked to the Jewish Passover (Pesah or Pesakh in Assyrian) through much of its symbolism, as well as by its position in the lunisolar calendar. Jewish people celebrate Passover as a commemoration of their liberation by God from slavery in Egypt thanks to Moses (Exodus). The Nehustan (the brazen serpent on the cross attributed to Moses) gives us more insight into the ‘Passover-Easter’ (Saturn-Sun) connection. The serpent symbolism refers to ‘chaos calmed’ and given a ‘new order’. Out of chaos comes Order and a New Age, a liberation by the said Moses or Jesus saviour figure. The ‘light of the world’ is renewed at Easter (spring time) and the saviour gods found in much ancient myth are symbols for this renewal on one level.

 

Moses Cross Saturn
The Jesus and Moses figures as portrayed by the priesthoods that created Easter are Saturn deites. Saturn’s astrological symbol sums it up.

Interestingly Passover (Easter) arrives through first month called Nisan (or Nissan) on the Hebrew/Assyrian calendar, which is (April) in the ecclesiastical year. Nissan of course is the name of a car corporation and its symbolism clearly is another variation of the lord of time – Saturn. The crescent moon and the star (Venus) are also interchangeable with the old Sun (Saturn) and of course we have the Sabbath on Saturn’s Day (Saturday). The Passover is also one of the ‘three pilgrimage’ festivals during which the population of the kingdom of Judah would have made a pilgrimage to the Temple in Jerusalem. Today Samaritans still make this pilgrimage to Mount Gerizim, and along with Moriah and Zion they give us the ‘three’ scared mountains in Jerusalem. The number three will become relevant shortly.

saturn moon matrix
The Sun, Saturn, Moon matrix underpins many festivals through the measurement of ‘illusionary light’ at the equinoxes and solstices.

The Goddess Ostara (Easter)

In ancient Indo-European myths ‘Ostre’ or ‘Ostara’ was associated with the ‘light of spring’ and the Goddess who brings the ‘new light’. She made the clocks go ‘forward’ so to speak. The Goddess Ostara is also linked to the festival of Easter, hares and ‘sacred eggs’. She is another version of ‘mother nature’ and the ‘awakening of the feminine’ principle behind the Sun’s light. In other forms she is known as Ishtar (star), Freyja and Anunitu, who on the Spring Equinox, was said to mate with the ‘solar god’ (the Sun) and conceive a child that would be born nine months (moons) later on the Winter Solstice. We all know who the child is supposed to be? The same poor child of the ‘Sun and the Moon’ gets nailed to Moses’s ‘Saturn cross’ every Easter.

Ostara
The Goddess Ostara, Astaroth and Wenet

 

The Mesopotamian (Akkadian, Assyrian and Babylonian) goddess Ishtar was another version of the ‘goddess of light’, among other things. She was also the ‘goddess of fertility’, love, war, sex and power. Ishtar, like Ostara, was said to have ‘two sides’, or ‘two natures’, both ‘creative and destructive’. Ishtar is also Aja (the eastern mountain dawn goddess) and Anatu (possibly Ishtar’s mother). She is also Anunitu (the Akkadian goddess of light), Agasayam (war goddess), Irnini (goddess of cedar forests in the Lebanese mountains), Kilili (symbol of the desirable woman), Sahirtu (messenger of lovers), Kir-gu-lu (bringer of rain) and Sarbanda (power of sovereignty). Both Ostara and Ishtar (same deity) are the goddess that ushers in the ‘time’ we call Easter. Astarte (English) Ashtaroth (Hebrew) are also the name for the Canaanite fertility goddess associated with the ‘beginning of spring’ and Easter. Astarte was also considered the goddess of the ‘underworld’ (Saturn’s domain) and her other name was El, the Queen of the underworld (see IS-RA-EL). Note that ‘ceremonial acts of war’ (terror) and the marriages of prominent blood lines seem to occur at the start of spring (Ostara) through to Walpurgis (Witches night) and Beltane (May the 1st). The pagan calendar of course is also ‘used’ by those follow Satanism, hence the endless acts of destruction we witness in the world conjured up by those in the shadows.

The Ancient Hare and Rabbit Goddesses

Another animal symbol for pagan lunar magic, nature and witchcraft is the hare. Many of the Goddesses mentioned above were either said to have a hare as a companion or could take the form of a hare. In ancient Egypt Osiris was sacrificed to the Nile each year ‘in the form of a hare’ (below left) to guarantee the annual flooding that Egyptian agriculture (and indeed their entire society) depended upon. A minor Egyptian goddess named Unut or Wenet (above right) also had the head of a hare. The hieroglyph ‘Wn’ (Wen) itself stands for the ‘essence of life’ and often depicts a hare over flowing water. The hare is often depicted ‘greeting the dawn’ (the ‘hour of the hare’) and she sometimes serves as messenger for the god Thoth. Sirius (Thoth), Lepus (Wenet) and Orion (Osiris) are the three main constellations that usher in the turning points of the autumn and spring equinoxes.

Lepus
The hare in Egypt, Norse myth and in the stars as Lepus. The hare, or Lepus constellation (its Latin name) is positioned south of the celestial equator and immediately south of Orion (Osiris). Along with Sirius (Canis Major), Lepus ‘lights the way’ for the goddess.

 

In Norse mythology, there was said to be a goddess before Odin (Saturn worship) replaced the Germanic tribal gods and goddesses. She was called Frau Holle, or Hulda, (above middle). Frau Holle was the goddess of the ‘wild hunt’, much like the goddess Artemis of Greece, and she was often shown with a large group of hares bearing torches ‘illuminating her way’. The hare as a hieroglyph signifies ‘the keeper of the ‘Great Mystery’ and was thought as a symbol of ‘becoming’, or ‘to be’. The hare’s ability to ‘disappear quickly’ was seen as a symbol for ‘states of awareness’ and transfiguration.
In some Native American myths, the hero Michabo or Great Manitou, was said to be the ‘great hare’ that brought knowledge to some of the American Indian tribes. Many North American tribes spoke of this deity as their common ancestor. Michabo was considered a personification of the Sun’s light, a life giver and his name compounded of ‘michi’ means ‘great’, and ‘wabos’, which means both ‘hare’ and ‘white’. The hare is a mammal that lives in solitude and can navigate the hours of darkness and is said to a have a ‘foot in two worlds’. Michabo of the dawn (or the ‘great white hare’) was considered the guardian of many Native American tribes. He was said to be the founder of their religious rites, the inventor of picture-writing and preserver of Earth and Heaven.

‘Destroy this Temple’, and I will make it ‘rise again’ in ‘three Hares’

Another version of Ostara (Astarte) is Hecate, the ‘triple headed goddess’ associated with ‘crossroads’, entrance-ways, light, magic, witchcraft, knowledge of herbs (poisonous plants), ghosts, necromancy and sorcery. The number three is a profound symbolic number that is found ‘everywhere’, from the triquetra (below), three primary colours, to the ‘three days’ the egg of the ‘queen bee’ takes to hatch. In numerology three is is considered to be ‘feminine’ and the Tarot card representative of the 3 energetically is The Empress (Hecate).
Three is also the ‘Trinity’ and these are the three aspects of Shin in the Kabbalah whose ‘three wicks’ are a symbol of the ‘holy trinity’ through the letter Shin (below right). The god Brahma of Hindu belief also provides symbolism of the Trinity, ‘three heads’ and the egg. I’ll come back to the egg at the end of this blog.

Hecate

In many uses of numerology and ancient belief, three is an important number for ‘creating reality’ and ‘manifestation’. The symbol of the ‘three hares’ (below) found at sacred sites from the Middle and Far East to the churches of Devon are all versions of Hecate’s (Ostara’s) ‘power of manifestation’ and ‘renewal’.

Three hares
Left: Tinners hares in Devon. Right: A section from the painting The Agony in the Garden right.

The Italian Renaissance painter Andrea Mantegna, a Knight from a ‘bloodline of painters’, depicts the ‘three hares’ in his masterpiece, The Agony in the Garden (1458-60). The full painting shows angels bearing the Instruments of ‘the Passion’ appearing to Christ in prayer. Three disciples sleep, with ‘three’ hares at their feet and in the background Judas comes with soldiers to arrest Christ. The symbolism, which was obviously known to Mantegna (and the elite) relates to the ‘Trinity of the Church’ that would be born out of the Passion. The painting also relates to fertility, lunar cycles and the ‘goddess of renewal’. The Triskele symbol below carries the same meaning.

triple spiral and Star
The triple spiral or triskele is a Celtic and pre-Celtic symbol found on Irish Mesolithic and Neolithic sites.

 

The ‘ears of the hares’ form a trivium (or trapezium), which in 3D is a tetrahedron (above right). The tetrahedron (the first of five geometric platonic shapes that are said to construct reality), is a symbol of ‘creation’, ‘fire’ and ‘renewal’. The Vesicae Piscis is also formed by the ‘three ears’ and the same shapes give us the spinning Mer-Ka-Ba (Star tetrahedron) or ‘vehicle of light’ (above right). The symbolism of ‘new life’ and ‘renewal’ entwined in the story of Christ (who was said to baptize with ‘fire’), quite clearly comes from the Pagan understanding of the ‘goddess of light’. The goddess who could see three ways simultaneously and use the ‘light’ to change the illusion. So can we if we tap into this unseen power.
Another version of Ostara also found in Norse Mythology is the goddess Freyja who is associated with love, sex, beauty, fertility, gold, war and death. Freyja is the owner of the ‘necklace Brísingamen’, she rides a chariot pulled by two cats, she keeps the boar Hildisvíni by her side, possesses a cloak of falcon feathers and is accompanied by dwarves. Freyja and her ‘seven dwarfs’ are symbols for the ‘seven days of the week’ which construct the Lunar month (Snow White), seen below in their ‘spring time’ kingdom. Snow White is Freyja and Ostara combined and the symbolism especially through colour relates to the feminine archetype, duality and light of ‘eternal spring’.

Snow white

The evil queen (the dark archetype) in Snow White, along with the innocent magical goddess that over throws the queen, can also been found in Lewis Carroll’s books Alice in Wonderland and Through the Looking Glass. All are stories that use goddess symbolism associated with ‘moving between’ different realities, just as the Earth’s Equinoxes and Solstices are markers between changing worlds. The Chinese ‘Moon Goddess’ Chang’e comes to mind.

The Easter Moon Rabbit (Hare)
The moon rabbit in folklore was said to be a rabbit that lives on the Moon, some say, based on the pareidolia that identifies the markings of the Moon as a rabbit (see below right).

Moon hare

Stories exist in many cultures, prominently in Asian folklore and Aztec mythology of a Moon rabbit. In East Asia, the rabbit is seen pounding in a mortar and pestle (below left), but the contents of the mortar differ among Chinese, Japanese, and Korean folklore. In Chinese folklore, the moon rabbit is often portrayed as a ‘companion’ of the Moon goddess Chang’e, constantly pounding the ‘elixir of life’ for her. The elixir could relate to the ‘egg’ and how life is created through DNA. In Japanese and Korean versions, it is pounding the ingredients for rice cake. Maybe the inspiration for the ‘cake’ Alice eats in Wonderland? More on Alice in a moment.

Moon elixir rabbit
The mythological white hare making the elixir of immortality on the Moon, from Chinese mythology. Embroidered onto 18th-century Imperial Chinese robes.

 

In other Asian myths Sun Wukong fights the ‘Moon Rabbit’ (above middle), a scene in the 16th century Chinese novel Journey to the West, depicted in Yoshitoshi’s One Hundred Aspects of the Moon (1839-1892). In the Buddhist Jataka tales, a monkey, an otter, a jackal, and a rabbit resolved to practice charity on the day of the ‘full moon’ (Uposatha), believing a demonstration of great virtue would earn a great reward. When an old man begged for food, the monkey gathered fruits from the trees and the otter collected fish, while the jackal wrongfully pilfered a lizard and a pot of milk-curd. The rabbit, who knew only how to gather grass, instead offered its own body, throwing itself into a fire the man had built. The rabbit, however, was not burnt. The old man revealed himself to be Akra (Lord of Heaven) and, touched by the rabbit’s virtue, drew the likeness of the rabbit on the Moon for all to see. It is said the lunar image is still draped in the smoke that rose when the rabbit cast itself into the fire. The same story of the Moon god sacrificing itself in the solar fire can be found in Hopi, Mexican and Mayan myths, not least in the stories of Quetzalcoatl. ‘Cotton tail’ in Hopi myth was a god born of the Sun and the Moon after jumping into the solar fire. Many of these stories are symbolic of the upheavals that took place in the heavens.

cotton tail
Left: A Maya whistle in the form of the moon goddess and her rabbit consort. CE 600. Middle: Aztec ceramic piece showing a rabbit-scribe. Right: The Rabbit was considered a Moon scribe in China and connected to the scribe Toth in Egypt.

 

Contemporary video games and comics seem to contain symbolism that relate to the Moon rabbit. In the 2000 video game Dark Cloud, the ‘Moon People’ are revealed to in fact be anthropomorphic rabbits. In the Nexon game MapleStory there is a party quest that involves protecting a ‘Moon Bunny’ while it produces rice cakes. In the 2014 game Destiny, the Jade Rabbit is featured as both an emblem that can be acquired on the Moon, as well as a primary weapon exclusive to PlayStation 4 owners.

The Goddess & the White Rabbit
Celtic myth talks of the goddess Cerridwen who represented the human cycles of ‘birth’, ‘life’, ‘death and rebirth’. Cerridwen was another Moon Goddess associated with the Hare. In one legend the hunter Ossian was said to have wounded a hare forcing it find sanctuary in a thicket. When Ossian followed it he found a door in the ground that led to vast hallway and in that ‘underground kingdom’ he met a beautiful woman sitting on a throne, bleeding from the leg. Tales like this are plenty in the pre-Christian world and hint at metamorphosis.
Japanese myth also tells of the Hare of Inaba and the goddess Amaterasu and her search for a place for their palace or kingdom. Like the white Rabbit in Alice in Wonderland, Inaba suddenly appears to point the way to Amaterasu (see below). According to the folk tale, the white hare bites Amaterasu’s clothes and takes her to a ‘otherworldly’ location to look for a temporary palace at Nakayama Mountain and Reiseki Mountain. The ‘mountain’, the ‘Goddess’ and the ‘white hare’ are all symbols for the ‘Moon’, ‘time’ and ‘forces that create the collective world reality’.

Inaba in Wonderland
Alice and the hare of  Inaba.

The white rabbit often appears in 15th Century Renaissance paintings to symbolise the connection between the goddess, the oceans and the Moon. Other meanings relate to venus, love and the ‘duality’ of male and female, as shown in the painting Venus, Mars and Cupid 1490 by Piero di Cosimo (below). It shows cupid lying on Venus next to a white rabbit. The lovers (Venus and Mars) are exhausted by their sexual activity (cupid) and the white rabbit is the symbol for ‘timelessness’ brought on through sexual excess. Moon, Mars and Venus ‘alignments’ have been linked to upheavals on Earth. See the work of Immanuel Velikovsky.

1280px-1505_Piero_di_Cosimo_Venus,_Mars_and_Cupid_anagoria

 

The idea of rabbits as a symbol of ‘vitality’, ‘rebirth’ and ‘resurrection’ clearly comes from the Pagan world and the Italian masters must have known this when they made such ‘Christian works of art’. They were having a laugh! The elite painter Titan in his work, Mary and Infant Jesus with a rabbit (below), is clearly alluding to the Pagan knowledge associated with the goddess and the white rabbit/hare. The painting of St. Jerome reading in the countryside, by Giovanni Bellini (below left) with a white and brown hare/rabbit clearly relates to the power of ‘solitude’ (the hare) and the world that would await the hermit once he leaves the cave to ‘follow the white rabbit’. Jerome was the ‘founding father’ of the Christian Church, (often shown in Saturn red with the lion), instead here he is depicted as the hermit in the wilderness.
The character Neo in the Matrix movie is also shown the ‘white rabbit’ as a way out of his illusionary ‘solitary’ world so he can meet the ‘god of the dreamtime’ – Morpheus.

St Jerome and white rabbit

 

The Trickster Hares
Many native cultures saw the hare as a trickster and shape-shifter. The hare appears in English folklore in the saying “as mad as a March hare” and in the stories of a witch who takes the form of a white hare and goes out looking for prey at night. The Br’er Rabbit stories are loosely related to the trickster element of the rabbit and hare. Cottontail was a symbol for both the ‘hare’ and ‘time’. Interestingly, the hare was said to be a ‘child of Pan’ and in many myths the hare was wrapped in ‘goat’s skin’. Of course the ‘hare’ and the ‘Moon’ are symbolically connected as I’ve shown. The hare also takes on the role of a ‘demiurge’ in some myths and this aspect is connected to the ‘egg’ as we shall see.
African folk tales told by the Namaquas relate the story of phases of the moon with the idea of immortality, alternate disintegration and reintegration, decay and growth repeated perpetually. Even the ‘rising and setting of the moon’ was interpreted by them as its ‘birth and death’. They say that a long time ago the Moon wished to send to mankind a message of immortality, and the hare undertook to act as the messenger. So the Moon charged him to go to humanity and say, “As I die and rise to life again, so shall you die and rise to life again.” It is said that the hare ‘reversed’ (inverted) the message (so life became death) and humanity instead ‘focused on their mortality’.

trickster hare

Kit William’s Book Masquerade (1979) relays the ‘trickster element’ of the hare. The book’s objective, the hunt for a valuable treasure, became his means to this end. Masquerade features ‘fifteen’ (Saturn’s number) detailed paintings illustrating the story of a ‘hare’ named Jack. The boy Jack seeks to carry a treasure from the Moon (depicted as a woman) to her love object, the Sun (a man). On reaching the Sun, Jack finds that he has lost the treasure, and the reader is left to discover its location of the ‘golden hare’. The author Kit williams must have been inspired by the pagan myths associated with the Sun, the Moon and the hare?

Scary Hares
The púca (Irish for spirit/ghost), pooka, phooka, or púka is primarily a creature of Celtic folklore.  A púca was considered to be a bringer of both good and bad fortune, they could either ‘help or hinder’ communities. These creatures were said to be ‘shape changers’ (shape-shifters) that could take the appearance of black horses, goats and hares. They could also take human form with ‘animal features’, such as long ears. According to legend, the púca can assume a variety of terrifying or pleasing forms. No matter what shape the púca takes, its fur was almost always dark. I have personally witnessed a púca of sorts manifest in front of me in a Tudor house/hotel many years ago, in the form of a black panther.

Puca hare
Left: A Pooka. Right: The movie Donnie Darko (2001) follows the adventures of the troubled character as he seeks the meaning behind his Doomsday-related visions and time travelling. Scary… Where Halloween and Easter meet!

 

Another creature called a Koschei, similar to the púca, was said to be able to use magic and could not be killed by conventional means. In various folklore the Koschei’s soul was hidden separate from its body, through ‘talisman’ and other ‘animate objects’. The soul could be inside a needle, which is inside an egg, which is in a duck, which is in a hare, which is in an iron chest, buried under a green oak tree, which is on the island in the ocean. The soul of the Koschei is not dissimilar to the concept of Sauron in Tolkien’s Lord of the Rings, whose essence of being was ‘contained’ within a ring that was ‘connected to’ other rings, etc. Legends say that anyone ‘possessing the egg’, for example, has the Koschei in their power. If the ‘egg’ is tossed about, the Koschei likewise is flung around against his will. If the needle is broken, Koschei will die. When the ring is destroyed so is Sauron’s power, etc, etc. The Magic associated with the Koschei is that of an ‘invisible form’ that could ‘move through different realities’. The hare (and white rabbit) symbollically speaking were said to be able to move through different worlds and become ‘timeless’.

In other folklore and legends we have mythical hare’s that are ‘hybrid creatures’, such as the Lepus Cornutus and Al-mi’raj (an Arabic mythical unicorn hare (below). In Bavarian folklore there are stories of the wolpertinger (also called wolperdinger), a mythological hybrid hare allegedly inhabiting the alpine forests of Bavaria and having antlers (below left).

Lepus Cornutus
Lepus cornutus (labeled in French “Lièvre cornu”), as depicted in the 1789 Tableau Encyclopedique et Methodique by Pierre Joseph Bonnaterre.

The Primordial ‘Easter Egg’ of fire
Another symbol of Easter is the egg of course, which is a universal symbol for birth and ‘new life’. The ‘primordial egg’ holds the seed from which the whole of manifestation was said to ‘spring’ from. The idea that the universe was ‘born from an egg’ is shared by nearly all ancient civilizations and cultures. The ‘primordial man’ was also said to originate from an egg, see William Blake’s image of the Four Zoas (below). The egg is symbolically the ‘boundary of the restriction’ of ‘matter’ for the human being, and here is shown surrounded by the four bodies of the mind, emotions, senses and imagination.

zoas
Left: The egg-shaped world of Los (Blake’s word for imagination) swells from the swirling centre of chaos, forming the boundaries of illusionary 3D space. Satan and Adam ‘obstruct’ humanities ‘free vision’ of things as they truely are. Right: Hildegard von Bingen’s vision of the cosmos as an egg.

The cosmic egg, born from primordial Waters, in some myths, splits into two halves to give birth to Heaven and Earth (Symbolised as Adam and Satan in Blake’s image), or as the Hindu Brahmânda and the ‘two Dioscuri’ in Greco-Indian myths. In Hindu mythology, Brahma – the omniscient, the source of all that exists, forms out of the golden embryo and egg. According to Hindu belief, he was the self-born ‘uncreated creator’, the first manifestation of the one’s existence. As the embryo from which the universe originates, he is also called Hiranya Garbha (golden embryo), the ball of fire. Other names for the ‘egg god’ were Pitamaha (the patriarch), Vidhi (the ordinator), Lokesha (the master of the universe) and Viswakarma (the architect of the world). The ‘architect’ of course connects to Gnosticism, Masonry and the imposter creator – the Demiurge.
The egg also signifies the polarization of the Hermaphrodite in some instances and was a symbol for the beginning of life. For the ancient Egyptians, ‘life emerged’, by the action of a ‘Demiurge’, through the ‘Nun’, (the personification of the primordial Ocean) that ‘gave birth’ to the egg. Chinese legend tells of how an enormous ‘black egg’ was formed in the darkness at the beginning of time. Inside this egg, the sleeping giant Pan Gu was formed (below left). Likewise, Hanuman the monkey king was said to be born of primal chaos, hatching from a ‘stone egg’ impregnated by the sky and the Gnostics also talk of Heaven and Earth, symbolised by the ‘world egg’ in the womb of the universe. Not a crucifixion in sight here folks? Just a human (light being) born of the cosmos.

monkey egg

The Egg as the Soul

egg soul
Barbara Marciniak’s book Earth uses the symbolic depiction of the primordial egg and of course for anyone who has read the ‘channeled books by this author will find ‘reptilian themes’, who also ‘lay eggs’.

In terms of symmetry, astronomy and sacred geometry the egg has been used by alchemists to depict the ‘cycles within cycles’ and the ‘relationship’ between the Earth the Moon and the Solar System. The elite Elizabethan occult magician Dr John Dee, likened the origin of the planets to the metamorphosis of an egg made up of the four elements (the Zoas), which a scarab beetle brings along a spiral path. Dee referred to the ‘egg white’ as the work of the Moon (Saturn) and the ‘yoke’ the Sun (Jupiter).

egg geometery
‘Egg geometry’ in various forms.

The Druids saw the egg as the ‘sacred emblem’ of their initiation rites, hence the importance of the egg in spring (at Easter).  The procession of the Goddess of agriculture, Ceres, in Rome, was preceded by an egg and it was often depicted entwined by a serpent or crowned by a crescent moon. The illustration below shows two ways the druids (Priests) represented their sacred eggs.

Typhon lucifer egg
Left: is the Egg of Heliopolis; on the right, the Typhon’s Egg. Among the Egyptians, the egg was associated with the Sun, the ‘golden egg.’ Right: Louis Cyphre (Lucifer) played by Robert de Niro eating the soul (egg)

In the mysteries of Bacchus in ancient Greece the egg was a consecrated emblem that symbolised the ‘soul’ and this symbolism was portrayed in the move Angel Heart, when Louis Cyphre (Lucifer), played by de Niro peels an egg and eats it as a symbol of the ‘consumption of the soul’.

Ptah eats the eye-egg
Left: The eye considered the ‘window to the soul’ in the shape of the philosophers egg from Alchemical teachings. Right: Eneph or Ptah, (the Demiurge of ancient Egyptian mythology) eating an egg with Saturn next to him.

The eye and egg are another symbol for the ‘theft of the soul’, or the visionary limits of ‘perception’ placed on humanity by the Demiurge. All over the ancient world, from China to Babylon, the egg was also painted, and venerated as symbol of ‘re-birth’ and the ‘soul’. The ‘soul of humanity’ ‘captured’, ‘bound’ or ‘eaten’ is a common theme through the use of the ‘symbol of the egg’, see my Illustration below (middle).

Light encased
Mithra, ‘light encased’ and the auric field depicted as an egg like shape.

The ‘alchemical Modena’ relief (above left) also symbolises both the ‘world’ and the ‘egg’. Inside the egg (Modena), Mithras or Phanes (the light of the world) emerges with his lighted torch surrounded by a mandorla of the zodiac (corresponding to the twelve ‘altar fires’ in the Pythagorean cult). The mandorla can also represent the vulva, and thus the arrival of a ‘new being into the world’ through the goddess. The mandorla is also a sign of union, climax, opening and departure into a new life. Not a Christian theme insight here!

 

‘Born’ of the Easter Egg
The reptilian symbolism associated with the egg is obvious and it could be that the ‘Babylonian religion’ that originally gave us Easter, relates to the reptilian deities that were ‘openly worshiped’ by the Akkadian and Sumerian mystery schools. The connections between reptilian gods and a new human made in the ‘likeness of the gods’, can be visually understood through the symbolism of the egg. Renaissance artists that were in the know, often used the egg as a symbol for the ‘new human’ born of a goddess.

Reptilin egg mother
Easter and Christmas courtesy of the ‘reptilian worshipping’ priests of Sumeria in ancient Iraq?

Hieronymus Bosch’s painting ‘Concert inside an Egg’ depicts his knowledge of alchemy, the philosophical Egg and the ‘light that can be seen with the ears’ (below left). The ‘light’ is the electromagnetic forms that the brain translates into pictures and sounds, hence the light that can be seen with the ears. Bosch also includes humans that are ‘entering into’ an egg in his masterpiece ‘Garden of Earthly delights’ painted in the 15th Century. The strange creatures and imagery contained within the scene are reminiscent of reptilians/greys and naked humans (Adam and Eve prototype) of course are ‘being born’ in reverse, or being ‘encased’ in the egg – through the limitation of their DNA. The egg is also a symbol for the Moon and its control over our biological bodies’.

Bosch egg people

In paintings by lenaordo Da vinci and Bachiacca (below) the Greek myth of Leda and the Swan (a bird that symbolised Venus) uses the symbolisim of the children ‘born of an egg’ (just as reptiles are). The egg and its nest are also symbolic of the goddess and the word for nest, ‘shechinot’, in Hebrew is virtually the same as shekinah which means the ‘feminine glory of God’ come to ‘dwell on earth’. It literally means ‘dwelling’ or ‘presence’. Interestingly the hare also builds a ‘form’ which looks like a ‘birds nest’, another ‘visual idea’ that could have given life to the ‘Easter egg’?
In the Leda and the Swan myth, Zeus takes the form of a swan and seduces the goddess Leda, whose offspring,  Castor and Pollox, are born as ‘hybrid humans’, part-god, part-human. The myths and paintings showing these narratives are hinting at the ‘copulation’ of ‘non-human’ with ‘humans’ in the ancient world. The egg symbolism, at Easter is in many ways, is a symbol for this knowledge, which was understood by the mystery schools of antiquity.

Leda and the swann
Left: Leda and the Swan by Leonardo da Vinci, 1505-10. Middle: Leda and the Swan by Bachiacca, 16th century. Right: Geopoliticus Child Watching the Birth of the New Man by Salvador Dali.

 

A New World Egg (Order)
On another level the egg is a symbol for a ‘new world’. Salvador Dali painted Geopoliticus Child Watching the Birth of the New Man (above right) during the Second World War. A painting that clearly symbolizes ‘change’ and a ‘new world’ being born. Dali’s initial notes for the work read: “parachute, paranaissance, protection, cupola, placenta, Catholicism, egg, earthly distortion, biological ellipse. Geography changes its skin in historic germination.”
Dali’s words offer some hint of the work’s meaning. At the bottom right of the painting, the gaunt body of a classical figure, symbolises the ‘old world’ and its emaciated civilization, revealing a central scene to a child, who peeks at the male figure struggling out of a terrestrial globe, distorted into the shape of an egg. This surreal scene is emblematic of the emergence of a ‘new political order’ after the war. The central scene of global rebirth is protected by a parachute-like floating cupola that, when seen in conjunction with the cloth at the bottom, forms an ‘oyster-like shape’, another symbol for the Moon and the Christian Kingdom of Heaven. The emerging figure bursts out from the North American continent, which Dali saw as a centre of ‘historic germination’ (the growth of the new world order). The alchemical ‘great work of the ages’ is also connected to the philosophers egg and much more besides.

Gates of paradise Blake
William Blake, The Gates of Paradise, 1793

 

Personally, I always see Easter time as a period of ‘transition and renewal’, a time for ‘new ideas’ and ‘new beginnings’. William Blake’s image of a winged infant emerging from a cracked egg also hints at the awakening themes mentioned above. Blake had no time for orthodox religion and was aware of the Pagan roots of Christianity. The image is one of many from his collection of writings and drawings called The Gates of Paradise and this one in particular shows a ‘hatching’ of a winged infant (or cherub with Blake’s face) breaking free of the confinement imposed by the egg. According to Blake ‘the child becomes acquainted with the functioning of his mind through four spheres (the Zoas mentioned earlier) of the body, mind, imagination and emotions’. These bodies ‘give form’ to the ‘egg shape’ and signifies mankind’s ‘limited field of vision’. Writing in 1793, He said,
 “An immense/Hardened shadow of all things upon our vegetated Earth, /enlarged into dimension and deformed into indefinite space”. After his death, man tears this “veil of nature” which freezes all life”
If anything, Easter is the festival of visible ‘new light and life’ and the symbolism behind the ‘Moon Egg’, the ‘Hare’ and the ‘Goddess’ are the core symbols for this time of year.
Until next time

Neil

Call of the Lions: Remember Who You Are.

I was reflecting on a wonderful educational project from January 2012, when I was contacted by a school in Alberta Canada (Allendale School) with a view to supporting art curricular project work, where the students would focus on my paintings of Lions. Over many weeks a ‘huge body of art’ would come from Grade 8 classes. Having watched the students’ work progress over a period of weeks (from afar) I was in awe of the ‘vitality and energy’ captured by the school kids at Allendale. Such amazing art work – all of it! In this blog I merely wanted to share some of the amazing imagery that came out of the project set by a superb art teacher called Wendy Salter.

A whole series of paintings (in the gallery above) ensued inspired by the Lion paintings i made and of course the book by David Icke – Human Race Get off Your Knees – The Lion Sleeps No More. Of course fueled by the imagination of the young artists some inspiring work unfolded. The Christ Lion and Earth Lion Consciousness images (below) became the starting point for the Art 8 Group at Allendale School and with guidance from Ms Salter, whose brilliant idea this was, along with the ‘enthusiasm’ of all those students that took part – the whole project was ‘truly inspirational and motivational’ to see. Of course I wasn’t able to visit the school physically, but thanks to Ms Wendy Salter I was able to see the imagery unfold via photographs above. I have a few of the post card size pieces of art that the teacher sent me and always keep these in my creative space. Beautiful work!

Christ Lion Christ Lion2

Neil Hague

Sophia, Orion and the Lion of God

Ariel Lion
Ariel – The Lion of God

I have now completed the last painting from a series of lion images that have brought me full circle in terms of my work. It’s 21 years ago that I started out on my path as a visual artist/Illustrator, on a so-called ‘spiritual journey’ that introduced me to some of the most interesting people. Many connections have ‘come and gone’, just as my art has changed over the decades. From the early metaphysical years in London, to the ‘stagnant years of Cornwall’, it’s been a crazy ride with many highs and lows. Believe it or not, there seems to be less support now for my art than there was 6 years ago, despite the ‘rising interest’ in certain authors work that I have created imagery for.

The image in this blog (above) came out of a dream I’d had earlier this year. It made me ‘reflect’ on sketchbook images too that related to similar themes. Eventually this led to research (as always) into the ‘visual nature’ of the forces that ‘shape our reality’. I gave a small lecture at the Rudolf Steiner House in London (March 2016), where I looked at some of these ideas and the thoughts I’d had in relation to the ‘invisible force’ that manipulates our ‘world perception’ – our world view’. The canvas above is a simplistic combination of symbols that capture the essence of these forces. In this blog I’ll try to explain how and why these symbols relate to each other.

Sophia and the Dreaming

The painting (above) is purely symbolic and considers the Gnostic teachings of the Pleroma, or what the thousands of years old Nag Hammadi texts called the abode of the Æons – the place of eternal ideas or archetypes. Click here for more on the Gnostics and the Nag Hammadi library. From my art and research, the Pleroma is the ‘living plasma’ (the electric universe) that constitutes the mass of our living Universe. The word also means ‘fullness’ or ‘plenty’ and relates to what the Native Americans called the ‘field of plenty’ – the place where all that we need to live comes from. The cornucopia is another symbol for the ‘field of plenty’ and can be found on Banks and Stately homes of those that control the ‘field of energy’. In simple terms, the Pleroma is ‘living electromagnetic consciousness’. Everything is alive and can take multiple forms. As the physicist Wallace Thornhill writes in Electric Universe, “We can detect magnetic fields in space which, according to Maxwell’s equations, means electricity must be flowing in space to produce them. It is impossible to have a magnetic field without moving electrons. Electrons only move in response to charge imbalance. Once an electron is moving, we have an electric current.”

consciousness

The Gnostic texts say that the Aeons that dwelt in and beyond the Pleroma were separated from this celestial region by Horus (or Boundary) and beyond its veil lies what they called the ‘Kenoma’ or the ‘void’ – the kingdom of this world reality. Humanity was said to have been created out of the meeting of these forces, to be godlike (Aeon-like) with a powerful tool at our disposal – the divine Imagination.

pleroma

An Aeon called Sophia (wisdom in Greek) aided by Thelete (intent in Greek) dreamed her existence into the realms of the Kenoma and in doing so, created what the Aboriginal cultures call the ‘Dreamtime’ (a creation epic that predates all Biblical creation narratives by tens of thousands of years). You will notice some correlations between the three worlds of Gnostic myth (Pleroma, Human/Sophia and demiurge and the Dreamtime mythology (below). All three worlds collide within the human world.

dreamtime

As the Goddess Sophia dreamed, its said that she fell further into the void and awoke within a ‘nightmare’ as her impact on the outer veil led to the ‘emergence’ of ‘in-organic’ elementals named Archons (Jinn). The Gnostic texts say that the Archons circled and swooned around the chaotic fields that were formed by ‘Sophia’s fall’ into the Kenoma ( her coma).

Sophia dreaming

According to this myth the world we inhabit is created through ‘thought’, (the region of ‘matter made manifest) and material things’. It was the land of shadow and darkness, a place where ‘perception and deception’ would coexist to form our realty. According to the Gnostic texts, Sophia eventually took physical form as Gaia (The Original Earth) and her daughter was called Zoe (the Imagination). While the Demiurge and the Archons built their replica Earth Matrix, (using other electromagnetic bodies known as Planets and Suns), an illusionary construct (flat or otherwise), was made to perfectly ‘mimic’ the original earth reality. The Gnostics say that humanity is caught up between two realities, the ‘original Earth’ and the one created out of what the Gnostic texts call HAL forged by its ‘Creator’ – the Demiurge (or God of Genesis fame). On Earth the Archons are the ‘genies in a bottle’, phantoms that can take many forms through fire and water, so to be let loose or to be commanded. Just as one was summoned at the “Gate of the Gods” at Hayu Marca, Peru by those that travelled with David Icke back in 2012 (see below). I witnessed first hand the appearnce of the Jinn (genie) that ‘possessed’ that ancient place.

Jinn
A Jinn (Archon) appears to a group (connected to David Icke) while performing ‘energy work’ on the ancient location of the ‘Gate of the Gods’ in Peru 2012. Rainbow Serpent connections anyone?

Once loose, they can and do influence the illusionary world for those that ‘communicate with them’. See all ‘magicians’ from Dr John Dee to Crowley, from the Temples of Egypt to the Satanic elite.

According to the texts the illusionary world (our Galaxy) had its Creator or king. The creator of this world was called the Demiurge, a deity that was eventually called God by the priesthoods of the Near and Middle East religions; and according to the Gnostic texts, ‘he’ is the angry, ‘demented’, impostor God that envys the human divine imagination and humanities connection to the Goddess Sophia. ‘He’ is the beast often depicted as a ‘rampant lion’ whose minions became the ‘in-organic’ Archons that were supposedly ‘birthed from the chaos caused by Sophia’s ‘fall through the Pleroma’ (the source of all-that-exists).

As John Lash writes in his book, Not in His Image;

“And Sophia desired to cause the thing that had no innate spirit of its own to be formed into a likeness and rule over primal matter and over all the forces she had precipitated. So there appeared for the first time a ruler out of chaos, lion-like in appearance, androgynous, having an exaggerated sense of power within him, and ignorant of whence he came to be.” (The Apocryphon of John)

Lord of Illusion - Mithra
From the Gates of the City of Jerusalem to the Bank of England, the ‘Lord of Time’, the Demiurge in the form of the rampant lion. Often Part-lion, part-serpent, the Demiurge controls the ‘flow of energy’ in our human world – ‘money’ and ‘time’.
Bank of England
The ‘cornucopia’, or the field of plenty is controlled, guarded and locked away by the rampant ‘archontic’ Demiurge.

My intuitive side, along with my ‘visual research’ in recent months, is showing me that the ‘fall of Sophia’ in the Gnostic texts, hints towards the Nebula of Orion and how it was part of that ‘falling process’. The blue prints for duality and the seperation splashed through Orion and into the minds of humanity. Our unique connection to the Orion Nebula and how it links into the fall of Sophia, along with the coming of the Aeon Christos, (to aid her in her creation process), is often found in ancient sources. The Aeons Sophia and Christos are the original blueprint for the Gods and Goddesses all over the ancient world. Today, the movie industry, not least certain directors and producers (many of which are Zionists) also encode their narratives with versions of the Sophia and Christos mythology. Why? Because it is the original ‘blue print’, a powerful connection to the infinite source, beyond the Kenoma and also represents the coming awakening of Ariel (the Lion of God), in their zionist minds. The Jewish Wachowski’s Matrix movie has it all in ‘three’ parts. Zion is saved and Sophia and Christos are ‘sacrifced’ for this worthy cause.

Sophia Symbolism in the movies
The Trinity Character in the Matrix triology and the Quorra character in Tron Legacy, especially is in keeping with the Sophia myth. The male figure (especially Neo) is meant to be symbolic of the Aeon Christos.

Son of Man – Orion (cross of changes)

Our connection to the Orion constellation is monumental and can be seen in the mapping of native ‘first peoples’ towns and Mesa’s, to the aligment of pyramids across the Earth. From Nazca to Giza, Orion is aligned with much of the ancient religious centres! More so, I would go further and say that the ‘invisible forces’ that ‘illuminates’ our form, a bioogical body that may have been ‘star seeded’ ‘via’ Orion, hence the focus on its ‘Kingship’ (Kin=blood) in many ancient ‘alien-like’ civilisations. See the Hopi and the Egyptian dynasties for starters. The Hopi god Masau’u is Osiris of ancient Egypt and these ‘Son of Man’ deities are symbols of Orion, implanted in the minds of priests and shamans in different locations. The Pineal gland, ‘Odin’s eye’, through to the symbolism of Golgotha (the place of the skull), connects to this template. Along with memory and thought (the two thieves) flanking the ‘Son of Man’, all allude to the life and death forces connected to the constelation of Orion. In Tiahuanaca, Bolivia (a place I visited in 2012), the palaces with underground pyramids, along with surface pyramids are dedicated to the South American version of ‘the Son of Man’ – ‘Lord Viracocha’, (another Osiris). The H-symbol of Orion’s belt, the number 8 (a symbol of Saturn), the spider (with eight legs), the swastika symbol, the Ankh-cross-symbol and ‘T-statues’, all relate to Orion and humanities connection to the forces that worked through this location of the Pleroma. Some researchers also talk of Venus coming out of the Orion Nebula?

Son of Man symbols - Orion
Blue prints for all belief in ‘life and death’… From Orion to the Old Sun Helios before its ‘fall’ into ‘Saturn, or Satan’.
Flag of Orion
The EU flag is a simplistic version of the cross of constellation of Orion, the twelve points around the Son of Man (Atum) as he opposes the Papal Bull of ‘Europa’. The 12 main Gods of Egypt and of course the 12 diciples are symbolised here. Sophia in this respect is the Goddess (woman crowned and clothed in Sun), and note what she is meant to give birth to, according to the Book of Revelation?. The flag on the right is the ‘original’ symbol of for the OC (Ocitan/Cathar languedoc roussillon region), from 11th Century France. The Cathar were crushed by the Holy Roman church and It is another symbol of the star and cross of Orion. The symbolism is much deeper than most would care to realise.
Adam & Eve
Atum and his lion goddess consort Sekmet at the time of the Old Sun ‘becoming Saturn’ – The Fall

Dany Wilten an American analyst, alchemist, symbolist, & hermeticist  has produced some outstanding work on the correlations of Orion and the knowledge of the human anatomy and hemispheres of the brain found encoded in the works of artists like Michael Angelo, long before any telescopes had been used to study nebula’s. See the amazing work (below) of Danny Wilten.

dany wilten

The Demiurge is a chimera-like vibration

In the Nag Hammadi, the Gnostics describe Yaldabaoth as Ariael, another variation of the angel Ariel (or Ariael), which means “Lion of God” or “Hearth of God”. The Apocryphon of John, a work heavily quoted by John Lash in his excellent book ‘Not in his Image’, describes the Demiurge as a ‘dragon-like lion’ (a beast). The beast is the Chimera, a ‘virus’ made manifest that infested our world to replicate itself through the human mind. It is the ‘beast within’, a ‘persona’ (a mask) of the Demiurge, the ‘phantom self’ (see David Icke’s book of the same name), for those that are unkowingly possessed by the chimera, if they allow it to be the overriding force.

The Virus

The beast personified
Much Upper Renaissance art depicts the ‘beast personified’. In my art I use similar concepts of ‘personified energy’, yet my lions represent the Pleroma not the Demiurge. The ‘father of the Church’, Saint Jerome, is always depicted in red with the lion (the beast) and in the image on the far right the beast looks especially surprised to be talking to old Cronos himself… Like Daniel in the den of lions, the saints are amongst their kin symbolically speaking.

Again the Gnostic texts allude to the demiurge and the veil between the spirit and material world;

A Veil exists between the world above [in the galactic core], and the realms that are below [exterior, in the galactic limbs]; and shadow came into being beneath the veil. Some of the shadow [dark mass] became [atomic] matter, and was projected apart [partially formed into elementary arrays, the dema]. And what Sophia created [by her impact] became a product in the matter [the dema], [a neonate form] like an aborted fetus. And [once formed] it assumed a plastic shape molded out of shadow, and became an arrogant beast resembling a lion. It was androgynous, because it was from [neutral, inorganic] matter that it derived.

Hypostasis of the Archons (II, 4:93.30 ff)

Note the word androgynous, which is connected to the obessesion with ‘no gender’.

The Hypostasis of the Archons explains that they (the archons) created seven powers for themselves, and these powers created ‘six angels’. One of the angels is called Sabaoth (the Lord of Hosts) who was said to have “a dragon’s face”. Sabaoth became the Ring Lord, Sauron or Saturn.

Sabaoeth

John Lash equates Saboeth with our Sun, but the Apocryphon of John says: “the sixth one is Cain, whom the generations of men call the ‘fallen Sun’.” This fallen Sun is both Helios and Saturn, Prometheus (the young) and Kronos (the old). See the Rockefeller Plaza in New York, it shows both Prometheus and ‘Ancient of Days’ (Saturn) in one location. Saturn with its artificial rings and therefore distorted sound (vibration) is let loose and bypassed by connecting our hearts and minds to the original infinite source (the Aeons) beyond the Kenoma. The Lord of Hosts, ‘Saturn with its rings’ is holding the Illusion in place. I feel that Orion held sway over the original ‘ring less’ Saturn (the old Sun of Orion) and this idea is symbolised in my painting Ariel – The Lion of God. A harmonised man and woman, connected through their heart will naturally by pass the ‘rings of constriction’ imposed via Saboeth and the Moon (Sin). I illustrate this idea in more detail in my graphic novel Moon Slayer.

Moon Slayer thumb

Spiritual Blindness

On the left of my painting I show the creation of man and woman (Adam and Eve) as a fusion of the Pleroma of Orion and contained by the creator god Atum, who is also Adam (Osiris). Adam coupled with an aspect of Sophia (Isis/Eve), they form a trapezium (a trinity) along with the solar/stellar consciousness called Rigel, the brightest star in the constellation Orion, (not to be confused with Regulus in Leo). Rigel is the ‘seventh’ brightest star in the night sky and relates to the seventh Chakra (the crown). In the constellation of Orion, Rigel was also known as (Altair) and probably goes back to the ancient Babylonians and Sumerians, who called Aquilae (Altair) the eagle star; A topic I am currently looking at and writing about in much more detail for my Third Book of KokoroThe Eagles of Atlantis.

Ariel Lion

In the centre is a calm, almost meditating Lion (Ariel), which means “lion of God” in Hebrew (Shakespeare used it as the name of a ‘spirit’ in his play ‘The Tempest’). Ariel is also another word for the ‘city of Jerusalem’, not IS-RA-EL, but the ancient location. A place I firmly believe to be in the heart of all human beings. The ‘presence of Ariel’, with the Lord Archon at its third eye, is bringing forth the separation of man and woman. It is also a symbolic rendition of the two sides of the brain (left and right hemispheres). Here Ariel is portrayed as a force that has the ‘opportunity’ to change human destiny and is ‘sleeping’ for the moment (dreaming), showing our world to be created through pure imagination. In my image the ‘Lion of God’ is caught up in his own pride, on one level, but is also ‘contemplating the existence of something greater than him’. Jerusalem is not yet awake! It will be. But the the Lord of Hosts at Ariel’s third eye is manifesting the ‘prison like worlds’ (the egg shell) that encases humanity in ‘emotional thoughts’. The Moon was ‘taken’ and used for soley for this purpose by the Archons. The Moon is the egg (eye) in the sky’ that harmonizes the ‘auric egg’ and the ‘prison of the mind’ that surrounds the physical human form. William Blake’s Book and image of the Four Zoas shows this concept of the ‘energetic egg’ perfectly (see below). Replace the word ‘Satan’ with ‘Saturn’ and it makes more sense. Orion ( or Adam), with Saturn and the ‘four points of the cross’ (the intersecting circles) all construct humanities ‘reality’ (through Imagination, thoughts, emotions and the physical form).

THe_Four_Zoas

In my image stands a single tree (symbolic of the Seraphim and watchers of old). The path to the Watcher stretches across the ‘Lion of God’ while his shoulders represent Mt. Zion and Mt. Moriah. Both mounds offer the structure for the Zionist blueprint for the world (New World Order), unless humanity stirs from its slumber. Watch what happens very closely in Jerusalem? My creative intuitive side seems to ‘know’ that we are going to see much focus on Jerusalem in the next few years. The Lion of God is not what it seems and as I have shown in my illustrated stories, the lion consciousness is the truth vibration (an invisible fire) that rises out of the heart of humanity. It forces us to ‘see all-that-there-is-to see’ at this time. The spiritual fire is ever present in my art – it is there for those that can ‘see’. While making this image I was reminded of the quote from Isaiah 29 – The Cause and Cure of Spiritual Blindness

  1. The coming distress upon Jerusalem. 1. (1-4) The Lord humbles a proud Jerusalem.

“Woe to Ariel, to Ariel, the city where David dwelt! Add year to year; let feasts come around. Yet I will distress Ariel; there shall be heaviness and sorrow, and it shall be to Me as Ariel. I will encamp against you all around, I will lay siege against you with a mound, and I will raise siege works against you. You shall be brought down, you shall speak out of the ground; your speech shall be low, out of the dust; your voice shall be like a medium’s, out of the ground; and your speech shall whisper out of the dust.

In Romans 13:11 written to the Christians:

And do this, knowing the time that now it is high time to awake out of sleep; for now our salvation is nearer than when we first believed. Christians need to be awake, especially knowing the time!

I would say all people need to awake and speak out, no matter what you believe.

As I said at the beginning of this blog, the painting is the ‘beginning and the end of an era’ for me in terms of making this kind of art. I’am going back to school ‘metaphorically’ to see what other ways and methods I can come up with. I may go very quiet, hermit-like, maybe write another smal book based on this blog? But I would like my work to be ‘out there more’, especially physically (exhibitions, etc). If anyone would like to organise an exhibition, or talk, get in touch. Let’s raise the vibrations together.

Neil