The Alchemy of 9/11

In the last post (called Factoring Norah) I encountered a code linking Norah Jones' video Chasing Pirates to alchemical practices and 9/11. This presented the interesting idea that events on 9/11 may have been alchemically motivated. Writer's Note; the 19th Century Dutch author Joris K. Huysmans, who penned La Bas, reveals that, due to the fringe nature of their science, alchemists were often excluded by the Roman Catholic Church, drawing them deeper into a mire of Satanic and occult rituals viz-a-viz; Gilles de Rais.

Alchemy has three main processes, each defined by a different colour phase;

• Black; Gestation, or Sol Niger, where the material is consumed.
• White; where the material is transformed.
• Red; the finished product.

The black and the white phases of the alchemical reaction are traditionally associated with the symbol of the serpent. The black phase, of the black serpent/toad, is replaced by the white phase of the Winged Serpent. As we can see, this process occurred on 9/11/2001.

1.) The black billowing smoke from the towers, contorts like a giant snaking leviathan over the City.

2.) The white clouds of dust that accompanied the collapse of the WTC towers.

But where is the flying serpent?

Good question. A number of years ago, a photograph surfaced on the Internet that showed what looked like a dragon flying over the streets of Manhattan.

It is said to have been taken by a NYC cop on the morning of Sept. 11th 2001. The police officer said he was photographing random streets, and did not notice anything 'unusual' until he reviewed the pictures at home. Unfortunately, the picture can no longer be found on the internet. All that remains is this abandoned thread on ATS.

Unlike our friends on Above Top Secret, it does not matter to me whether the image is real or not. What matters is that it exists (or existed); and in so doing connects the white smoke of the WTC to the Winged Serpent of alchemical animal symbolism.

Finally, we have the spiritualization of an earthly material; the very goal of the alchemist. The alchemist seeks to change his material body into a body of light, this is the exactly what we see here. The massive steel frames of the WTC are transformed into twin Pillars of Light.

The Alchemical processes on 9/11 seem to have skipped the red phase and focused primarily on the black and white phases. This reduction is emblematic of the black and white squares on the Masonic Tracing board, which is strongly connected to the idea of time travel, denoting, as it is does, the interrelationship between space, time, light and dark.

The 3 Pillars of Masonry are related to Alchemy and Kabbalah, and are thought to represent WTC 1, 2 and 7. Note that the two pillars to the left and right of the picture are accompanied by drawings of the Sun and the Moon.

The Abyssal Planes

To understand alchemy, it is said you must have a knowledge of the Kabbalah.

The Tree of Life is an important symbol in the Kabbalah, as it links many internal concepts together. Futhermore, the Tree of Life can be broken down into three lateral parts, or Pillars of Truth. These are the Active Pillar, the Passive Pillar and the Pillar of Light.

Whatever happens to the Active Pillar must occur to the Passive one, in order for God to be 'satisfied.' As we know, both towers suffered the same fate on 9/11. But WTC 7 suffered a somewhat different fate -  it collapsed without being struck by a plane.

While the Tree of Life can be broken down laterally, it can also be subdivided longitudinally. Then this is done a clear relationship between its form and WTC 1 & 2 can be found; see diagram below.

The 10 sephiroth (or Spheres) are linked in the Kabbalistic Tree of Life; and are part of a modular inter-dimensional hierarchy; they are also thought to be representative of the Chakras and Root-Races.

We can see from this image that the area where the planes went into was called the Abyss; or the Mystery (a very appropriate name under the circumstances). The Abyss is a dimension that lies at the very edge of creation. It is populated by the imbalanced, and those who are not fit to exist. As such, it is a demonic realm, not too dissimilar to the Christian concept of Hell. Famed occultist and magician Aleister Crowley claimed to have traversed this realm, in one of his astral/out-of-body adventures.

Paul Laffoley, a New York based multi-media artist, worked on the plans

for WTC South Tower, for a period of 18 months. Laffoley's artwork is concerned with dimensionality, time-travel and utopia. He routinely refers to modular (or nested) dimensional hierarchies in his paintings, as they are advanced within the Kabbalah.
 

But how do we know, for sure, that Kabbalism is connected to the World Trade Centre?

Well, according to Paul Laffoley, it isn't.

When Freeman asks if the architect of the WTC, Minoru Yamasaki, was influenced by Kabbalism, Laffoley flatly denies it. It is Laffoley's opinion that Yamasaki is a linear capitalist, and therefore incapable of esoteric thought or action. We will see why this cannot be so later on.

According to Laffoley, his work is an attempt at opening up 'dimensional portals' or doorways. These doorways are described as 'singularities' and represent the crossover from one dimensional plane to the next. It is interesting that a man, so involved with traveling to other dimensions, should wind up working on the World Trade Centre; seeing as it acts as a set to ground doorway.* Crackling noise, like the kind that inexplicably accompanied the collapse of the WTC towers, is proven to be an inter-dimensional wave pattern capable of permeating lower dimensions. Lafolley's painting ominously entitled Dimensionality; The Manifestation of Fate, and which contains numerous references to the Cabbala, was officially dated as having been painted in 1995. However, I have seen a version of the same painting from a retrospective he did of his work from way back in the 1960's. This was around the same period that he did the work for Yamasaki's architectural firm, and interestingly it contains the exact dimensions of WTC2 encoded into it;s geometry. See diagrams. I can't help get the feeling that Laffoley was employed on the project because of his interest in dimensionality, time-travel and philosophical utopias.

Dimensionality: The Manifestation of Fate by Paul Laffoley, mixed media, 1995. Left; Laffoley's painting over-layed with elevator system of WTC 2 , and right, the original image.

 In the picture above, I have superimposed the elevator scheme of the WTC 2 with Lafolley's diagram of the 0 - 8 dimensional hierarchy. The fact that Laffoley only lists 8 real dimensions is intriguing, as it invokes the E8 Lie Group with its 8 real space vector dimensions. When the real space vectors are summed with the other vertices, in the E8 polyhedron, we get a value of 248. Remarkably this is the number of the apartment that Norah Jones' is meant to be living in, when she receives the message in the bottle, in the video for Chasing Pirates.

• Norah finds a map in a bottle outside her apartment door; Apartment 248. Note; this information is not included in the official video, but is only revealed in the Making of Chasing Pirates.
• The map leads to the Holy Grail, as per the map in Pirates of the Caribbean 4; (See previous post; Factoring Norah).
• The E8 Lie Group is considered to be the Holy Grail of physics; the Theory of Everything.
• If you were to write out all of the statistical data on E8, in standard type face on A4 paper, it would cover an area of Manhattan Island. This data is a map of all 248 subatomic particles.
• The map Norah finds outside her apartment is a map of Manhattan Island.

These subtle and almost poetic connections extend from the minute to the immense without distortion, this is the true archetype of dimensionality; a world hidden in our own; permeating it unseen, and yet felt - the free-scale dimension of the Tree of Life. The E8 Lie Group is indistinguishable from ideas about dimensionality, time-travel and utopia. It is therefore no surprise that Lafolley deals with similar forms and concepts, as E8, in his work.

Black Sun Microsystems

At the beginning of the interview clip, Laffoley explains how he wanted to build 17 bridges between the two towers, to facilitate evacuations during times of emergency. It is interesting to note that the number 17 is traditionally used as a number to denote conspiracy in the symbology of cinema. I cannot think of a conspiracy of a more cinematic nature than that of 9/11. When Yamasaki hears about Laffoley's proposal he fires him; he doesn't admonish him or consult with him, he just fires him. According to Laffoley, Yamasaki wanted two freestanding towers that would visually vibrate. (See; The Tuning Fork Hypothesis Revised).

It is clear from this conversation that Laffoley was keen to append sacred systems and numerology to the structure, even if Yamasaki was not. If you have read either 9/11 Videodrome or The Power of the Gods, you will know that the conspiratorial number 17 has a very important significance to the events of 9/11. Did the satanic alchemists involved in the destruction of the twin towers decide to incorporate Lafolley's numerology after all, or was it merely coincidental?

There was a 17 minute delay between the first plane striking the North Tower and the second plane striking the South one. As we know, the WTC towers are mirror images of each other; i.e. whatever happens to one must happen to the other, in real time. The delay in reflection is engineered to suit the time it takes light to travel from the Sun to the Earth, and back again, around the time of the Autumnal Equinox, on September 11th.

Time it takes Sunlight to reach Earth Throughout the year

• Winter Solstice: Dec 21-22; 9 minutes
• Vernal Equinox: March 20-21; 8.5 minutes
• Summer Solstice: June 21st; 8 minutes
• Autumnal Equinox: Sept. 22-23; 8.5 minutes

When the first Tower exploded in a ball of flames, a timer started running. This timer was comprised of a single ray of light, of constant speed. This light beam bounced off the South Tower and headed back out into space again, in the direction of the Sun. By the time it reached its destination, the second plane struck the towers in a ball of flames. Two towers, two explosions, two Suns.

The alchemists believed that there were two suns in the heavens: a hidden one of pure "philosophical gold," and an apparent one of profane "material gold." The "dark, consuming fire" of the material sun leads to its being called the "Dark" or "Black Sun." The Sol Niger is also the name of the first process, or blackening of material, in alchemy.

1.2.

1; The original Sun Microsystems logo. 2; I have altered elements of logo

to highlight the distinct swastika element of the design.

This becomes even more interesting when we consider that Sun Microsystems had offices on the 25 and 26 floors of WTC 2 - an area associated with Identity on our Kabbalistic model. The logo for Sun Microsystems is a carefully disguised swastika, very similar to the one used in Nazi symboplism.

The Black Sun. or Schwarze Sonne of Nazi mysticism.

 Could Andy Bechtolsheim, founder of Sun Microsystems, be a Nazi sleeper agent? He certainly has the right genetic background, being blond and a German national. His sandal clad feet give the impression that he is perhaps, somewhat pagan in his religious leanings. But, to my mind, he appears genuinely benign; and for this reason alone, I don't see him being a party to mass murder.

Having said that none of the Sun Microsystems employees that worked inside the WTC died on the morning of September 11th. In fact, according to this e-mail, only one member of staff showed up for work that day. This is unusual for such a busy retail company; certainly. But it cannot be considered evidence for any prior knowledge on the part of the workers, merely a collective and unusually heightened sense of precognition; or fortune telling. 

On January 27 2010, Sun Microsystems was acquired by the Oracle Corporation for US$ 7.4 billion. The company is now called Sun Oracle; As in the oracle of the Sun God Apollo, at Delphi. This merger marks the transition of the Sol Niger into the Golden Sun of the alchemists.

2010, by all accounts should be an interesting year in terms of Alchemical Solar Rituals (ASR), like the one we have been discussing. Evidence for this might come from the works of famed SF writer Arthur C. Clarke, who is well known for his predictions. Could his past writings contain information about future events? His book 2001; A Space Odyssey certainly appears to predict something major, of social import, occurring in the eponymous year. In an excerpt from his novel Rendezvous with Rama, Clarke hits upon the exact date;

At 9:46 GMT on the morning of September 11 in the exceptionally beautiful summer of 2077, most of the inhabitants of Europe saw a dazzling fireball appear in the eastern sky. Within seconds it was brighter than the Sun, and as it moved across the heavens––at first in utter silence––it left behind it a churning column of dust and smoke.

Astonishingly, Clarke was not merely correct about the date of cataclysm, but the atmospheric conditions and time (to one hour exactly) as well. In his book 2010; Odyssey Two, First Contact, Clarke details mankind's first interaction with an extra-terrestrial civilization. This interaction manifests itself in the creation of a second sun in our solar system; the pure sun of philosophical gold. I believe the second stage of the ASR will continue this year, and I will even go so far as to predict another false-flag operation occurring on September 22nd 2010. Why? Because it is 9 years and 11 days after the first stage of the alchemical process began.

In light of my own researches, I believe Lafolley is incorrect to assert that Yamasaki was a narrow-minded capitalist with no occult references to his work.

1.) Architecturally speaking; Yamasaki wanted to recreate Mecca, the Islamic holy land, in downtown New York City. An unusual preoccupation for someone merely pedaling capitalist interests. And let us not forget that Alchemy was an Arabic preoccupation, going back many centuries, evident in its arabicized prefix; Al.

2.) Jake Kotze made the interesting connection between the World Trade Centre complex and the Giza Pyramid Complex, based on the positions of stars in Orion's Belt. In response to this I did my own research pertaining to the height of the WTC and its relationship to the Great Pyramid at Giza. (See Image below). 

The Great Pyramid at Giza - without its capstone - is equal in height to the first section of the WTC (represented by the red line). The height differential expressed by the Sky Lobby and Technical Services floors is equal to the differential in the pyramid with its capstone in place (the blue line). This is more than just coincidence, and shows a clear intent to connect the WTC to a powerful occult symbol.

The Giza pyramid was, at one point, encased in limestone; this made it glow white in the sunlight. Symbolically speaking, the White Pyramid of the Sun is the antithesis of the Black Cube, or Kaaba, at Meccah. This is because the pyramid is a hybrid of the square and the triangle, signifying the relationship between the material and spiritual worlds; where as the cube is deficient because it only relates back to its own materialism; at least that is what symbology implies.  

• The Kaaba at Meccah represents the Black Sun of the material world. It should be noted that it contains a sacred black stone of extra-terrestrial origin; this will be referred to again in following posts.
• "Pyramid" means fire in the middle, and, therefore, evokes the Central Fire, or the Sun that exists at the Centre of the Universe. This is related the pure White Sun of "philosopher gold," the spiritual fire of the alchemists.

The sun has always been depicted, as being in the midst of the planets; even before the Heliocentric solar model was introduced by Copernicus. See diagram.

Considering all of this attention to the holy sites of the Middle East; both ancient and present, I believe that there is a frank possibility Yamasaki included aspects of Kabbalism in his final plans for the WTC. Although this opinion is contrary to the testimony of Paul Laffoley, his very presence on the project, along with his willingness to put forward ideas of a mystical and numerological nature, suggests to me that not all Yamasaki's 'arrows' were as straight as Laffoley would like us to believe.

 

The Solitron, a painting by Laffoley, slightly altered by myself, to include the floor plan of the WTC 2. This painting includes imagery relating to the the Black Sun,and the True Sun. The hexagram is a symbol of the unification of opposites and is therefore related to the events of 9/11.

Left; The Sephiroth of the Kabbalasitic Tree of Life, relating to the elevator schema of the WTC 2. The seven-fold modular dimensionality. pertaining to this diagram is correct to the 55th floor. The Twin Towers had 110 floors each.

Above; An old alchemical print depicting the Caduceus and two mounds, partially connected by an underground tunnel.

*PKD maintained, in his 1980 book Valis, that Set to Ground Doorways could only accessed through the Kabbalah, and its related symbolism.

If American Airlines Flight 11 was able to withstand the dimensional cross-over into the Abyss (Daath) it would likely have landed on a Black Glass Runway, patrolled by the armed guards of the deranged Mother Goddess Pistis-Sophia. If the runway, or slipway, is damaged, or has come away, then it can be related to the split in the World Soul. Other symbols that connected to this Abyss are; the lightning bolt, as seen in the Kabbalistic Tree of Life, canals and waterways, separation or divorce, and the Broken Column of Freemasonry. Unfortunately, many of these unpleasant archetypal elements made an appearance in the events of 9/11.

Factoring Norah

A few months ago, I wrote a piece on Norah Jones' video Chasing Pirates, in relation to the foiled terrorist attack on the Large Hadron Collider at Cern; Geneva. In this article, I would like to focus on the themes within the video and how they relate to the events of 9/11. Pirate paraphernalia plays an important role within the video, and stems, in part, from the creative input of director Rich Lee; who had previously worked as a 3D animator on all three Pirates of the Carribean movies. Originally, the video was to feature Norah Jones; dressed as a pirate, stalking Johnny Depp through the streets of New York City. But, due to the exclusive nature of this movie star, the idea was scrapped in favour of one in which Norah Jones has a map of Manhattan Island placed anonymously on her doorstep. The map leads to Seward Park; in Chinatown. The park derives its name from Secretary of State William Seward, who was at one time a prominent member of the Anti-masonic League. Seward fell victim to an attempted assassination, by an associate of John Wilkes Booth, on the same night Abraham Lincoln was shot at Ford's Theatre.

Norah Jones is seen pointing to Seward Park on the map with her right hand. Meanwhile, her left hand points to the vacant lot where once stood the Twin Towers. I wondered if she was subconsciously associating the assassination plot against Seward and Lincoln, with the events that transpired on 9/11. At the end of the third Pirates of the Caribbean movie, Captain Jack Sparrow is seen consulting yet another map, this time decorated with Chinese pictographs; and outlining the coast of Florida. The map purportedly leads the way to the Holy Grail, or the water of life, that is the subject of the next installment of the franchise; Pirates of the Caribbean; The Fountain of Youth; due to be released this summer. By displacing the treasure hunting Jack Sparrow to the modern streets of New York, the video insinuates that the fabled Fountain of Youth can be obtained here. In order to see with Jack Sparrow's eyes, and to find out where might be going, we must use his map of Florida to navigate the streets of New York. Practitioners of, French art movement, Psychogeography famously used a map of London to navigate Paris; but in this instance I am not only displacing location, but time, reality and fiction, at one and the same time. The similarity of shape between Florida and Manhattan Island audibly cries out for superimposition; and I can see no better opportunity for this, than in the maps of Johnny Depp's and Norah Jones' sad and unrequited love.

Although the two land masses are not completely congruous; in shape or size, they do express a certain symmetry at the eastern tip. By aligning the two maps here, the equivalent location for the Fountain of Youth, on Manhattan Island, is revealed to be the former site of the World Trade Centre.

The Fountain of Youth is related to the Legend of the Holy Grail, seen straddled here by the Angel and Death archetypes. The Holy Grail is, of course, connected to the mythos of the Knights Templar, who were said to have either been in possession of this ancient relic or to have gone to America in search of it; following their dissolution. Norah Jones' first single Chasing Pirates was released exclusively on iTunes, on October 13th 2009, exactly 702 years after the Fall of the Knights Templar. The song appears on her most recent album entitled The Fall. The album title appears to have at least three distinct meanings. These are;

• an American acronym used for the season of Autumn.
• the biblical event said to have taken place in the Garden of Eden.
• the arrest of the Knights Templar by King Phillip of France and Pope Clement V.

Chasing Pirates was released in the fall, so the first one is self-explanatory. The next one is a little more esoteric, and is covered more extensively in this article. The third one is what we will focus for now. In the video Norah is seen flying the Jolly Roger, a symbol of Templar dominance over the high seas, and a warning to any would be pirates that the men aboard this vessel were not afraid of Death. After the dissolution of the Order, this flag was adopted by the pirates in pursuit of plunder; and was more commonly referred to as the Skull and Crossbones. In the video called the Making of Chasing Pirates, a film crew member is seen wearing an U.S. army infantry crest depicting two crossed muskets. This emblem may well be developed from the Skull and Crossbones symbol, and is certainly related to it. If any Masonic affiliated order were involved in taking down of the World Trade Centre, it would likely be the Yale fraternity Skull and Bones, based upon this line of reasoning.

The beautiful Norah Jones is seen here in the Making of Chasing Pirates, 
framed by the masts of a pirate ship. The voice over speaks about dreams and
 fantasies, perhaps this type of thinking induced the film crew member to wear
 the pirate-theme infantry logo.  

In the Hermetic Romance of the Philosopher's Stone, I outlined some of the comparisons between Norah Jones' video, and the 1984 movie Romancing the Stone. I will quickly summarized these here;

• Norah Jones' video begins with her receiving a message in a bottle, that turns out to be a map.
• Joan Rivers (Kathleen Turner) kicks off Romancing the Stone when she receives a letter, and a map to secret location.
• At the end of the video, Norah is seen sailing down the streets of Manhattan, and into the sunset.
• Romancing the Stone ends when Jack and Jone embrace on a sail boat that is seen to be cruising down a New York City street.
• The names Jack and Joan recall the names of Norah Jones and Captain Jack Sparrow.

The scene with Jack and Joan on a boat, in New York City, contains a number of alchemical archetypes. Psychologist Carl Jung would have, no doubt, pointed out these were, in all likelyhood, derived from the collective subconscious.

1. The Process of Putrefaction (the Wet Way) is the initial phase in alchemy, similar in its way to digestion, or decomposition. The crocodile (symbolic of the alchemical serpent) devours the gemstone and disappears into the dark water.
2. Jack hunts down the creature and kills it. He extracts the priceless gemstone from its body, related to the extraction of the Pilosopher's Stone from the alchemist's crucible. He then proceeds to purchase a sail boat with the proceeds of the emerald; thus spiritualizing a material source, towards the ultimate goal of freedom, in this case, freedom from the rat race.
3. The white sail boat is called Angelina, and is emblematic of the White Eagle animal symbol that accompanies the end of the alchemical process.
4. The serpent is said to make a final appearance before the process is complete; and does so here; in the form of Jack's crocodile boots.
5. Jack says that the crocodile died of a case of indigestion, referring to the earlier process of Gestation described in The Process of Putrefaction; above.

The lapis of alchemy bestows immortality, and is therefore synonymous with the Holy Grail and the Fountain of Youth; once coveted by the Knights Templar. Norah Jones' video links all four of these elements with the 5th element of the events of 9/11. Therefore, it would be only fitting to investigate the Alchemical Symbolism of 9/11 itself; at a later date.

---

Ibn Sensor Data Retrieval Act

The protagonist in Phillip K Dick's book Valis is a man called Horselover Fat, who receives a gift of a small clay pot, made by his friend Stephanie, on a potter's kick-wheel. Fat places enormous significance on this small pot, believing that God was asleep in it, and that when He awoke, He made Horselover know koine. Such attachment to objects is common in Shamanism, as well as in schizophrenics. And Horselover could definitely be described by either of those two terms; seeing as how he is Phillip K. Dick's alterego, a man of considerable source and vision. The small clay pot is an archetype for the clay vases that contained the Nag Hammadi library; a cache of knowledge believed to have been written by Christ himself. When these vases, or urns, were unearthed it generated the release of the plasmate, which is Christ in the form of living information. This, says PKD, is the meaning behind the story of the mustard seed, as told by Jesus, that must be buried for a time before it can bring forth new life.

In the last part, I proposed similar themes running through PKD's Valis and the 1980 movie Tron, released only a few short months before the sci-fi author's death. In Tron, the MCP is defeated when the eponymous hero throws a glowing disc into the data upload stream. This disc is representative of the Olympic throwing discus, as well as the legend of the Miller's wheel.

In the reign of Chronos, a former Golden Age, the Mill ground out peace and plenty. But according to myth there has been some great catastrophe: the mill is broken; the millstone has jumped off its peg, and fallen into the sea where it grinds bitter salt.   

From PKD's Exegesis # 35; ...As Plato discerned there is a streak of irrationality in the World Soul. 

The streak of irrationality in the World Soul is contiguous with the crack in the millstone. In 2003, scientists discovered that our solar system is actually alien to this galaxy, originating, as it does, from our nearest galactic neighbour, the Sagittarius Dwarf Galaxy. This galaxy is currently being absorbed into the Milky Way. The dwarf galaxy is mainly comprised of infrared stars, whose light lacks lustre against the bright canopy of stars in this region of space. This is the reason it has escaped detection until only  recently, despite being our nearest neighbour. The realisation that we are an alien solar system explains why the Milky Way appears at an oblique angle in the night sky; or why we traverse the plane of the galactic elliptic, instead of sitting on it like most every other star. We are now entering into a region of space where whole solar systems are, once again, raining down upon us from the dark infrared galaxy. This could be one of two entry the points for our solar system.

A few months ago, I was reading about the millstone in Tom Chetwynd's Dictionary of Sacred Myth. It was due to lateness of the hour that I found myself passing in and out of consciousness. What resulted was a hypnogogic dream state where information from my subconscious fused with Chetwynd's writing. A half remembered reference sent me in search of another entry, entitled the Ibn Sensor. The sensor operates as an axis for the wheel and is also capable of retrieving information off badly damaged or broken disks. If the Millstone of the Gods has been damaged, as it appears to have been, it would be necessary to use the Ibn Sensor to retrieve precious data from it. Such attempts have been made a total of three times in the past. One was in the Pre-Hellenistic period, or koine, a second occurred in Roman times and the last was in 1974.

What we are seeing, with the absorption of the Sagittarius Galaxy into the Milky Way, is the corrupt data of the dark infrared galaxy being transferred on to a new cosmic disc. Once we have completed our first rotation of the Milky Way, we will be saved into the long term data on the cosmic wheel. That moment is at hand. To ensure that information from this universe could be saved onto the hypnogogic plane, a new Ibn Sensor must be elected. Despite knowing that failure to complete the task would result in the complete destruction of the Earth; I decided to elect myself. I then entered the dreamtime; not knowing if I had ever actually awoken from the hypnogogic dream state, such is their nature.

I spent most of the day on a golf course.

Golf course archetype; simulated environment, gateway to afterlife.

In a typically touristic Spanish galleria I met a dark-haired girl, aged 8 or 9 years, who was tending to stuffed animals in glass incubation chambers. She told me they would suffocate if they were removed from their respective incubators. To my horror, I realised that the stuffed toys had microchips sown into their fur-lined seams; and these were broadcasting psychotronic mind-control signals that made her believe the inanimate toys were alive. I wanted to show her that she was wasting her time and, in my anguish, threw one to the floor. She reacted by bursting into tears and running away.

The Mill, inverted, becomes the whirlpool of Time, which sucks everything into the depths of the sea and the Unconscious.

The whirlpool of time denotes the singularity in 2012. Valis' ability to loop time suggests that it might might also have a hand in the creation of the vortex at the end of time. Our solar system is still tagged with the Sagittarius Dwarf Galaxy, in which; time has been infected by a virus.  The virus is creating endless approximately self-similar copies of the Galactic Binary Timing Signature. This will eventually overload the system and cause it to shutdown. Valis is a virus; a Trojan Horse, a Horselover Fat and a Tron program attacking the Black Iron Prison from within.


As pointed out in early posts, the Black Iron Prison is a virtual reality, created to obscure the true spiritual origins of mankind. The Empire is trying to replicate its artifice in recursive simulated realities, through the internet, as well as through developing holographic technology. These simulations primarily depict modern theatres of war; such as the ones currently taking place in Iraq and Afghanistan. But the real duplicate universe is being staged at the underground Cern facility in Geneva, where scientists are trying to recreate the conditions of the Universe directly after the Big Bang. In doing so, they have constructed a giant holographic particle imaging system, capable of replicating the physical world. Time moves at a much faster rate in this holographic universe, which can only be observed from inside the beam itself.* This means that within a relatively short space of time a duplicate Earth could develop with a duplicate Cern facility, and so on ad infinitum. These are desperate attempts being made by the Black Iron Empire to protect itself from attack and deletion by the Valis virus.

In the movie Tron, Encom is the archetype of the Black Iron Prison; in our world Microsoft fulfills this role.

 Microsoft declares victory in a covert war against itself. 

Microsoft develops water with an artificially high surface tension that allows people to carry grapefruit-sized droplets of water on their necks. This, they claim, will help developing nations tackle water scarcity.

This was a headline in the Ibn Sensor dream. It seems to suggest that the Black Iron Prison is being made to recursively gather intelligence on its own operatives; thereby negatively impacting its effectiveness to wage an all out strike against Valis. The water might be a metaphor for information. Perhaps the transferral of information along governmental lines will increase in viscosity causing a fatal instance of clotting. It could be said that we are seeing the effects of this communicative breakdown in the Irish Governmental system at present.

Over the years, I have had a number of dreams and visions, relating to Valis and the Black Iron Prison Godheads. In one of these dreams, I encountered Valis in the form of an Apple laptop orbiting the Earth.  I was told, by its emissaries, that it was an ancient satellite, put in place by a race of ETs to archive all of human history. If one were to hack into Valis' hyperdimensional databanks, something present governments are no doubt seeking to do, one would not merely encounter detailed logs of past events, but actually find yourself physically immersed in that time and those events. This confirms PKD's belief that Valis is a reality generator. If Valis contains the entire history of mankind this might mean that it contains files on future events also. In this instance, Valis would also be a functioning timetravel machine.

During my encounter with Valis I was given access to some of its archived files. These revealed Valis to have a particular interest in Europe during the 14th century, a period when the Knights Templar were at their most active. The Knights Templars are known as the fathers of modern banking and, as such, they were a wealthy organization that did not need to cow-tow to any Monarchy. This angered King Phillip of France, and on October 13th 1307, he and Pope Clement V issued the arrest of the Order on grounds of heresy. Many Templars escaped, but those that did not were subjected to intensive torture at the hands of the Spanish Inquisition. Some of its members,  during their time with the order, confessed to having spat on the cross and seen and spoken with 'a magical head'. This talking head I now believe to be Valis in a different form. Perhaps the Knights Templar had discovered, in the caverns under the City of Jerusalem, a plasmate of equivalent size and value to the one found in the caves at Nag Hammadi. Valis is Christ/Sophia, speaking through the mummified Godhead.

The red and white insignia of the Knights Templars

may, in fact, be an intuitive expression of the infrared

Sagittarius Dwarf Galaxy being absorbed into the white

Milky Way.

The plasmate granted the Knights Templar access to the Valis computer system, who, in turn, empowered them with the economic science of a long dead alien society. They were to use this valuable knowledge to generate enough wealth  to overthrow the Black Iron Prison. The bid inevitably failed, perhaps due, in part, to the dishonorable acts of the knights themselves––who knows. 

It is an interesting prospect, to think that the banking infrastructure of modern day, was initially developed, as an economic weapon against the Holy Roman Empire, by a pissed-off alien intelligence from outer space. What other novel ideas could Valis have imparted to this order of knights? Could the Holy Grail or the secret of alchemy be amongst them? Alchemy would certainly be considered an advanced technology, even by today's standards, and would, of course, significantly increase the wealth and standing of those who possessed it.

Much of this speculation reminds me of The Man Who Fell to Earth, a film starring David Bowie, as an extra-terrestrial - or time traveller - who crash-lands on Earth and, soon after, takes out a number of prime patents on hither to unheard of technologies. One such patent was for a new type of sound system that read information, apparently imprinted on metal spheres, via a pink laser beam. When PKD saw this he would have, very likely, fallen off his chair. It was the same pink light that Valis used to communicate its divine message to him. This sound system forms the basis for the laser fortress sound mixer, located at Meritone Studios, in the eponymous movie featured in the book Valis. More on that in later posts.

The emissaries told me that Valis was an ancient satellite constructed by alien intelligences. PKD maintains that these aliens come from the Sirius Star System.

There is an illustration -not shown here- in De Groene Leeuw, by Goose van Weeswyk (Amsterdam 1672), which depicts the sanctuary of the alchemists' lapis, encircled by the orbits of the planets, as walls, suggesting in this way a cosmic labyrinth.

In a vision I had in several years ago, I saw a star orbited by a multitude of broken rings; so that it gave the impression of a stariway or amphi hall. Another star in the immediate vicinity, also possessed this unusual characteristic. The close proximity of this star caused me to believe that it was a binary star  system like Sirius. The orbiting rings are not indicative of anything we have in our own solar system, lending to the idea that are constructed  artificially. This denotes an advanced intelligence capable of effecting its environment on a planetary level. To obtain the raw materials for their project the Sirians must have strip mined all of the worlds in their solar system, to their very cores. Once this had been done, they constructed large-scale curvilinear platforms, each containing a complex network of corridors and enclosures. The curvilinear platforms continued to orbit their respective stars at varying speeds along the plane of the elliptic; some traveling in a retrograde motion. It is very difficult to say why they did this; perhaps it is was to construct a celestial temple in honour of their Gods, or to build a colossal calendrical computer that could predict future events. However, I feel that comparisons can be drawn between the nature of this structure and the temple building of the Mayans, or the stone heads on Easter Island. These two cultures are well known for their lack of foresight where environmental issues are concerned, and it is a distinct possibility that the Sirians civilization suffered from the total destruction of the conventional planetary model. In any case, the Sirians don't live there anymore, but the empty corridors are still haunted by the echoes of their footsteps.

It should be noted that a very similar aesthetic has been employed in the open title sequences of news programs and corporations, in both Britain and Ireland. This suggests that these  these media groups are part of the Sirian exo-political sphere. The sacred curvilinear system is an emblem of this ancient power struggle for the soul of mankind. TG4 represents the Valis T4 virus, related to the T34 tank employed by the Soviets to stem the tide of Hitler's Nazi invasion. The T34 tank is used in Valis as a counterpoint to Fat's delusional preoccupations.

The labyrinthine construction of the Sirius Celestial Temple relates back to the cosmic maze of the alchemists.

Eliade notes that the essential mission of the maze was to defend the 'Centre'––that was, in fact, an initiation into sanctity, immortality and absolute reality, and as such equivalent to other 'trials' such as the fight with the dragon.

The purpose of the maze is to manipulate our perception, so that we are unable to perceive the way the Universe really is i.e. deathless. This is similar to what PKD said about the Black Iron Prison trying to conceal the true spiritual origins of mankind. Man is an immortal being, but the temporal manifestations of the maze, as well as our collective amnesia, lead us to believe otherwise. It is counter-intuitive that you can defeat the maze by participating in its convoluted machinations. In order to escape to the centre you must remain perfectly still. When you do this the natural fluctuations will reveal the answers to the questions you truly seek in the form of a holographic computer read out. The way to fight the dragon is to relinquish all fear of its insides. Here are a few important points about the nature of Valis and how it relates to the Sirian Celestial Temples (SCT).

1. The Valis satellite has a complete, functioning record of the intercalated cycles of the celestial temples that surround Sirius A and B.
2. The Sirian Celestial Temple of the Gods bares similarities to the inner workings of Valis (See I Ching; King Wen Sequence).

The relationship between the 64 hexagrams of the I Ching and the living information of the plasmate permits the crossbonding to the 64 codons of DNA. Valis combines with the plasmate at the Earth's polar regions and in the upper and lower Van Allen belts, where  infrared information congregates. Another phenomenon that could be explained by the presence of Valis is that of crop circles. I find it highly evocative that an alien satellite in orbit around Earth could be beaming signals of living information at the ground to create vibrant geometric patterns. The structure of these patterns is being continuously investigated by Ufologists to reveal messages of possible spiritual import for mankind. A video I recently watched on You Tube shows that by rotating some of these crop circle patterns, complex and intuitive information begins to be transmitted to the viewer, to very good effect. The medium of the crop circle is suggestive of a non-invasive communication, one would not expect this from a hostile psychotronic device.

This crop circle was discovered at Wayland's Smithy, Oxfordshire 9th August 2005

It is said to be based on Mayan Calendritics and looks very similar to patterns

seen in the SCT and I Ching computer languages

*Please note that it is very dangerous to stick your head into the beam of a particle accelerator.