Tuesday, June 29, 2010

The Betelgeuse Code

Hidden Constellations found in Da Vinci's Paintings

In the Leonardo Da Vinci painting the Madonna of the Rocks there is a cross resting on the shoulder of the Infant Christ. The angle at which this cross is set is the same as the angle between Betelgeuse, in the constellation Orion, and the first star of Orion’s Belt - Alnitak. The fact that this angle appears in the painting, as well as the relationship between Christ’s shoulder and the shoulder of Orion, suggests a connection between these two formerly disperate spectacles. By placing Betelgeuse in the centre of the cross, a curious, almost latent, relationship arises between the composition of the painting and the configuration of stars. Perhaps Leonardo loosely based the composition of Madonna of the Rocks on the constellation of Orion.
You be the judge.

The impetus for my discovery came from a investigation made by Gary Osborn into ‘Les Bergers d’Arcadie’; a work by French painter Nicolas Poussin. Osborn realised that the painting encoded many of the angles in the Orion constellation in a disjointed manner. He concluded that the upright orientation of Orion, as seen in this painting, stipulates Poussin’s intent to inform us about events in, or around, the year 2000 CE. Osborn bases this belief on the work of Graham Hancock, who noted that on New Years Day 2000 CE the constellation would appear upright over the Giza Pyramids for the first time in over four thousand years. Although I am skeptical about Graham Hancock’s work, I am not so brusque, in my judgement of him, to preclude all sense in it.

‘Les Bergers d’Arcadie’ – or the Shepherd’s of Arcadia – is very much connected to the Rennes le Chateau mystery. It is believed to show the tomb of the Mary Magadelene in the environs of Renne le Chateau itself. According to Baigent and Leigh; in The Holy Blood and Holy the Grail;
Arcadia… is frequently denoted by a fountain or tombstone, both of which are associated with an underground stream. This stream is usually equated with the River Alpheus – the central river in the actual geographical Arcadia in Greece, which flows underground and is said to surface again at the Fountain of Arethusa in Sicily.
The mythos of the underground stream relates to secret knowledge passed down through the ages by shadowy organizations; such as the Priory of Sion. According to the Dossier Secrets, Leonardo Da Vinci was the Grand Master of the Priory of Sion from 1510 – 1519. When we consider that Da Vinci and Poussin both made use of constellations in their paintings, could this signify that the undercurrent of secret knowledge is directly related to the stars, and in particular Orion? I believe so.

But what then is the message? If Osborn is right and the orientation of the constellation refers to events around the years 2000-2012, then the fact that Leonardo puts emphasis on the Red Giant Betelgeuse becomes all the more significant. Observations of this star suggest that it may be shrinking, and if this is true, it could go nova within the next couple of years. I have already written articles on the subject of 2012, dolphins, and the suspected Betelgeuse Supernova, but the Madonna of the Rocks piece of the puzzle brings the import of things more sharply into view. 

Orion Christ Corridor

2012 has been attributed to many things; from the return of Christ to the destruction of Betelgeuse. But could there be some other connection between these two celestial beings that would lead Da Vinci to associate them in his painting?
1) In Egyptian mythology, the constellation Orion was associated with Osirus, the Corn God.
2) Jesus was likened to a Corn God, by means of the sublimation of his corpus into bread.
By linking Christ's shoulder with the shoulder of Orion, Leonardo appears to be suggesting a deeper correspondence between these two warriors. Could it be that the destruction of Betelgeuse and the  return of Saviour coincide in 2012?

I don't know; but interestingly there is a very real relationship between Christ and the Orion constellation, as seen from the point of view of the Seventh-day Adventist Church (SDA). The Adventists believe strongly in the imminent return of Christ, the Saviour. According to Ellen G. White, whose prophecies are highly regarded within the community, the saviour will return in the fall; when the constellation Orion rises at midnight. The doctrine of Christ returning through Orion is vigorously defended, along with other tenants of the religion, on at least one site on the internet.
The idea of the Orion Constellation as some sort of gateway struck a chord with me; where had I heard that one before? Then I remembered; the Keys of Enoch, by J.J. Hurtak. Purportedly an eminent Egyptologists, Hurtak claims to have channeled his "paraphysical 'codebook'" from Ascended Masters, living in the Constellation of Orion. It describes a journey undertaken by Enoch to a gateway in the Orion Constellation - known as the "threshold gateway."
"And I was shown how Trapezium Orion – the threshold gate of "star creation" – is in conjunction with the omega Orion, the region of "star death." Both are aligned with the Father's Throne governing through the star region of Alnitak, Alnilam and Mintaka."
The "threshold gate of star creation" corresponds to the Orion Nebula (located in the "sword" of Orion) where many stars are born and a cluster of heavy stars, known as the Trapezium, does indeed exist. The "omega Orion" could refer to Betelgeuse, which has always been the largest decaying star, that I know of, in the Orion Constellation. Both of these objects are, more or less aligned through Alnitak, and therefore, by the cross of Jesus Christ's shoulder. Hurtak's interstellar vision appears to confirm this statement when he says; both are aligned with the Father's Throne governing through the star region Alnitak, etc.
"It is also interesting that Linda Schele discovered the ancient Mayans linked the Orion stars Alnitak, Saiph and Rigel with the layer of the cosmic "hearth" on the day of creation. The sword region of Orion, where these star systems are being formed, sits within the triangle formed by these three stars."
In Darren Aronofsky's 2006 love-story "The Fountain," a 16th Century Conquistador named Tomas must find the Tree of Life with the aid of a stolen Mayan dagger. The dagger has a hole through its hilt, which is accompanied by three additional holes forming a triangle around the first. At one point in the movie, a priest holds it aloft against the night sky and aligns it with two of the stars in Orion's Belt. We can clearly see the Orion Nebula through the central eye-hole. In the story, Orion's Nebula is dubbed  Xibalba, the sacred star and Underworld of the Maya, and is described as a dying nebula, set to explode in the next hundred years or so. The triangular configuration of the dagger, once again recalls the Hecate Triformis; representative of gateways and the underworld.

The description of the "threshold gate of star creation" being in conjunction with the "omega Orion" or "star death," suggests that the gates of life, and death, stand agape opposite one another, allowing the dancing souls of the many to pass through unimpeded. In The Fountain, the Orion Nebula is Xibalba, the Mayan "Land of the Dead," but it is also a macrocosm, and spiritual symbiont, of the earthbound Tree of Life. The explosive destruction of the Xibalban nebula is needed to renew its ailing symbiont. These paradoxical notions are further expressed in the legend of the Mayan First Father, who sacrificed himself in order to bring about the creation of the universe. The ultimate theme of the movie is that their can be no life without sacrifice, and death.

While The Fountain draws heavily on Mayan legend, so to do The Keys of Enoch, it appears. Hurtak says that the Earth and this star system is under the control of the "Dark Lords" who hail from stars in Ursa Minor, Ursa Major and Draco. They oppose the "Lords of Light" who reside in the Orion and the Pleiades. Adrian Gilbert speculates that, perhaps are the "Dark Lords" are the same as the Mayan "Lords of Darkness" who govern Xibalba.

I find it fascinating that the expiration of Xibalba so closely mirrors the proposed death of Betelgeuse – and how this destructive event, far from being a complete disaster, could herald a new dawn for mankind and all life on this earth. Perhaps this solar event will trigger the return of the Mayan "The Lords of Light," or even Christ himself, as the Adventists predict. Who knows. What is clear, however, is that J.J Hurtak, and the SDA are related doctrines.

The Shepherd's of Arcadia, 1630-35; Nicolas Poussin.
The theme of life and death is also expressed in the underground stream of Arcadia, by virtue of its association with the fountain and the tombstone. As in the movie, the fountain represents eternal life welling up from some underground source. The tombstone, on the other hand, is an obvious symbol of death, and therefore a return to that source. Even in the Madonna of the Rocks the same themes can be seen to be expressed. John uses water from a spring that wells in the desert to create an oasis. The Infant Christ, just starting out on life, is blessed by St. John, who is pressed from behind by the angel of death; Uriel. The interplay of life and death, can be seen all around.

Mayan legends tell how the Hero Twins traveled to Xibalba, in the waters above, by boat. If Xibalba is taken to be a star, then the water above is the boundless expanse of space. It is confusing to think of the Underworld as being in the sky above our heads, but if we remember the dictum; as above, so below, it is really not that unusual. By the same token, the underground stream may actually be the galactic waters of the Milky Way. The correlation between Arcadia and the stars, as seen in Da Vinci and Poussin's paintings, seem more appropriate in this light.

It's Out! It's Saiph!

 You may have noticed that the constellation Orion does not entirely fit when placed on top of the Madonna of the Rocks painting. Saiph, Orion's foot, is cropped from view. To rectify this, I decided to mirror the image, so that it appears as if the scene is reflected in the body of water from which John is baptising Christ.

By rotating the painting so that the constellation once more appears in a horizontal position, we notice three monstrous heads leering out at us from the ‘waters’ edge.These are the morecelyte; also known as Yaltaboath, an archon of the morcelyte; possibly Adonaios, and finally, a gnome or kobold; who make up the rank and file of Fallen Archons here on Earth. As a visual artist I am intrinsically aware that it is very easy to see faces in random jumbles of lines; particularly when these lines are mirrored onto one another. However, it must be said that Leonardo was continually working with faint impressions of demonic faces and;
“recommends working oneself into a state of receptivity to imaginative imagery in which cracks and stains on old walls can evoke – or invoke – gods and monsters.”
Anyone who was sick as a child and lying in bed, will attest to the unnerving feeling of seeing a leering face in the pattern of the curtains, or the bedspread. This sensation might account for why some people believe that these are actually gods or demons looking in at them from another world. Given the emerging holographic theory of the  nature of the universe, such a belief might not be as absurd to the rationally-minded as at first believed.

All this not withstanding, I have never seen such realistically rendered monsters in all my time staring at stained wood knots on tables, or cracks in the plaster. For this reason, I believe Leonardo encoded these images into the fabric of his painting so that they might avoid detection from the bishops of the high clergy. Whatever the truth, it is always nice to see the work of a Great Master in a new light, and from a new perspective.

Another of Leonardo's masterpieces that may contain a reference to the constellation Orion is the Burlington Cartoon. This time the alignment concerns the three most prominent stars in Orion's Belt, as well as a few minor ones which take up positions on the knee and forehead of St. Anne (Mary's Mother). I believe this to be further evidence of just how important this constellation was to Leonardo, his followers and their religious ethos. It also reinforces Hurtaks statement that the Throne of the Father works through the stars in the Belt of Orion.

Saturday, June 5, 2010

Siamese Pumpkins

In the last post we spoke about the possible connection between Alchemy and  9/11 terror attack. Alchemy is principally concerned with the resolution of opposites, and such an undertaking can be seen in the destruction of the Twin Towers, where both structures are reduced to the same heap of rubble. Alchemy resurfaced in Europe in the 16th Century when John Dee went to visit his contemporaries, and counterparts, on the mainland. But it was not until after his death that his dreams of a Alchemical Rennaisance and Kingdom were actuated. This was undertaken by the Rosicrucians, who you might remember are linked to the events of 9/11 through Norah Jones’ video and a number of other strands also.

In his book, A Dictionary of Symbols, C.E. Cirlot makes reference to an alchemical work called the Symbola Aureae Mensae, in relation to the symbol of the double pumpkin or gourd.

            Pumpkin or Gourd, Double    A Chinese emblem of Li T’ieh-kuai, the second of the Eight Immortals… He was also symbolized by a column of smoke. But this symbol of the twin pumpkin is very far from being limited to the Far East; it was also common in the West. Among other respresentations, the frontispiece of Book II of Maier’s work on alchemy, Symbola Aureae Mensae (1617) shows us the twin pumpkin in the form of two amphorae, with the top one up-ended. The surprising thing is that this image also incorporates the above-mentioned symbol of the column of smoke joining the interior of the lower amphora with the upper; in this case there is not just a single column, but a ring of smoke circulating between the mouths of the two amphorae.
The Twin Towers are a symbol of the link between the two worlds­––the upper and the lower–– and are further associated with the double pumpkin through the column of smoke which accompanied their destruction. The destruction of the Twin Towers could therefor be redefined as a smashing of the twin gourd or pumpkin. This got me thinking of another connection I made; months ago, concerning the Chicago-based band The Smashing Pumpkins, the French high wire artist Phillipe Petit and his daring cross between the Twin Towers on August 6th 1974. After he made the crossing a journalist asked Petit why he had done it. He responded instantly in his broken English, “There is no why.” There is a song on Mellon Collie and the Infinite Sadness­––the Smashing Pumpkins third album––called Here is no why that may have been influenced by this obscure one liner. Confirmation of such a connection can be found in some of the lyrics of the song, in particular the lonely towers of long mistakes. Incidently, the use of the word ‘mellon’ as a pun on melancholy shows that the band still seeks to be associated with these gourd-like vegetables, despite claiming that the name of the band ‘is a joke’ and that the title of the album is “pretensious”. Maybe so, but it doesn’t negate the fact that these are very real and long standing themes running through the work of this obfusticating and contradictory rock-group.
It should also be noted that the two gourds or amphorae are symbolic of the Holy Grail, which was associated with the Twin Towers in Factoring Norah. In Aleister Crowley's mystical system of the Thelma, the goddess Babalon is associated with the grail and the gateway to the City of the Pyramids. The Twin Towers stood as a type of gateway and, as noted in the last post, their design was informed by the Egyptian pyramids of Giza. Babalon gaurds the Abyss, the area where the planes flew into. The column of smoke arises from the ash flying into the air and the air falling into the ash, as in the Eyjafjallajökull Eruption. The oil rising in the warter causes the sinking of the water, as in the Gulf of Mexico Oil Spill. The rising of the Scarlet Woman, Babalon, causes the sinking of ignorance.

In the Smashing Pumpkin’s second album, Siamese Dream, the theme of the twin pumpkin continues. A siamese dream is a poetic term self-coined to describe a shared, or collective, dream-state among individuals. If we submit that two people can occupy the same dreamscape whilst sleeping in separate bedrooms; what about different countries, different time zones; or even remote time spheres? Given the lack of temporal restrictions documented in the subconscious world of dreamtime, it may be possible to communicate with people in the future, provided they have been briefed in advance of the rendezvous. The conscious mind filters out the majority of the information contained within the environment at anyone time. This handy technique allows us to focus on the work at hand w/ paying heed to any would-be distractions. The same function which allows you to retain a narrow focus on events in the phenomenal world, naturally permits you to maintain a narrow focus on the passage of time; as these are one and the same thing. This limited perception of time, which we collectively refer to as the present, is comparable to a standing waveform which permits us to experience the world without temporal bleeding or overflow. Can you imagine how difficult things would become if we somehow lost our faculty to remain grounded in a continual present? Simple undertakings like baking a cake (if this undertaking can be considered simple) would quickly become life changing, harrowing experiences. Imagine, if you will, you have just prepared all of the ingredients and are about to put the cake in the oven, when time skips forward and the cake has been burnt to a crisp. Happens all the time, you say. But then, time reverses and you are flung back to a point before the idea of baking a cake has even sprung into your mind. You have to go back to the shop for a second time if you want to follow through on your commitment and bake the cake. Now, halfway through cooking the dinner and, suddenly, its Thanksgiving. You have an entire family to feed, but you only cooked fish fingers; a Nightmare.*

*Sci fi writer Kurt Vonnegut describes a similar set of circumstances in his 1969 novel Slaughterhouse 5, wherein the main character “comes unstuck in time.”

Our unconscious mind; on the other hand, has no limit on its information processing capacity. With a simple glance it can take in the position, texture and chromatic compatability of every object in a given area. It is therefore not entirely beyond belief that a genius intellect such as this could discern probabilities of outcome based on the most meagre snippets of information from the present. If an instant of time for the unconscious mind encompasses every tangible ounce, every scrap and flavour, down to the very dregs of 3-dimensional space, then it must be assumed that it can summon these incredible perceptive faculties to peer beyond the veil of time and into the future beyond. Just as our own attention can wander from the task at hand, so it can wander from the conscensus sphere of time; known as the present, and when this occurs visions of things not yet realised are the result. However, it must be said that visions of this nature are far more likely to occur during REM sleep, when the unconscious mind begins to roam the 5th and 6th (alternate) dimensional realities.

Having said all this, the possibility that two people could share the same dream-time while existing in different time frames seems all the more plausible. The applications for such an eventuality have their obvious advantages e.g. in transmitting information across temporal boundaries. A possible synopsis for the intended use of this technique is as follows;

Let's say I am working for a secret governmental time research agency. I am not, but let's say I am.

On the morning of September 10th 2001, a governmental agent, who is a colleague of mine, delivers me an envelope. I am instructed not to open it; but from previous exercises I know that it contains a photograph of someone whom I have never met before and has, in all likelyhood, been dead for quite some time. In actual fact the envelope contains a photograph of a female operative codenamed Albatrose. The photo is ten years out of date. That night, as instructed, I place the envelope under my pillow. Before I go to sleep I focus on the contents of the unopened envelope, while emptying the contents of my mind. This opens up a conduit to Albatrose: a shared dream state existing both in 2001 and 1990 simultaneously. This brings a whole new meaning to the term 'sleeper agent.' As directed, I impart the information concerning future events. The following day the world has changed forever, but the time research program doesn’t bat an eyelid. Soon after another of my colleagues recieves an oneric message from the year 2012. This message was sent by one of the operatives in my department, this is known for sure. But the details of the message are kept secret to ensure the success of the mission. This policy prevents any temporal paradoxes arising from advanced knowledge of the message.

 End of synopsis.

An oft referred to event in articles on Pearls of War is the 17 minute delay-interval in the 9/11 ASR (Alchemical Solar Ritual), as occurring between the North and South towers being struck by their respective planes, and this article is no different. The 16th song, on some versions of the Smashing Pumpkins 4th album Adore, is called 17 and last for only 17 seconds. The number 17, as we know, is of the utmost mystical import to occultists and alchemists alike and its charms have obviously not escaped the exacting eye of singer/songwriter Billy Corgan.

Here is a picture gallery of album art displaying the similarities between the band’s aesthetic and the Rosicrucian alchemical works of the 17th Century.

Mellon Collie and the Infinite Sadness Inside Cover Album Art.
Symbola Aureae Mensae; Sun and Moon.
Symbola Aureae Mensae; Here is one 'Y'.