Part 2 - Israel's Wandering - Crossing a River of Time with the Time Ark

Israel's Wilderness Wandering - Lessons Beyond Space and Time

Why was the period of the wilderness wandering framed by two miraculous water crossings, and both of them at Pesah? Why was the Lord's provision for His people in that period also miraculous, and so unique? Like the Apostle Paul was given to write, it's an example to us and it's for our instruction! I've still got plenty of questions about these things but I have more satisfying answers than before!

When Israel had served out their sentence in the wilderness, fully 40 years had passed since their departure from Egypt. The time had come for Joshua to lead them into the promised land. As it was when they passed over from Egypt into the wilderness, a significant body of water had to be crossed. Read the following account in the same way I encouraged the reading of the exodus in Part 1, as a passage made through a space-time portal with both water and the number 12 signaling time.

12 Now then, take for yourselves twelve men from the tribes of Israel, one man for each tribe. 13 It shall come about when the soles of the feet of the priests who carry the ark of the Lord, the Lord of all the earth, rest in the waters of the Jordan, the waters of the Jordan will be cut off, and the waters which are flowing down from above will stand in one heap.” 14 So when the people set out from their tents to pass over the Jordan with the priests bearing the ark of the covenant before the people, 15 and as soon as those bearing the ark had come as far as the Jordan, and the feet of the priests bearing the ark were dipped in the brink of the water (now the Jordan overflows all its banks throughout the time of harvest), 16 the waters coming down from above stood and rose up in a heap very far away, at Adam, the city that is beside Zarethan, and those flowing down toward the Sea of the Arabah, the Salt Sea, were completely cut off. And the people passed over opposite Jericho. 17 Now the priests bearing the ark of the covenant of the Lord stood firmly on dry ground in the midst of the Jordan, and all Israel was passing over on dry ground until all the nation finished passing over the Jordan. ~ Joshua 3:12-17

The water signals time and the Jordan is a river of time. Israel's trip across the dry riverbed was from one bank of the river of time to the other. The crossing pictures a trip from one spacial dimension to another without getting wet, without being touched or influenced by time. The concept isn't exactly novel, as “going over Jordan,” means to many folks, “going to heaven.” (See lyrics of popular gospel/folk song, Wayfaring Stranger)

You're somewhat familiar with David Flynn's book, Temple at the Center of Time, right? It's well documented that time-distance arcs as ripples in time may be drawn from the Temple Mount in Jerusalem, with the point of origin being precisely where the ark of the covenant would have rested, and perhaps still does. (D-Day - June 6 - Portent of a Coming Invasion) We believe the center of time or origin of the flow is the ark itself, which represents the presence of the Most High God and Lord of time. The ark is stationary when it's at rest on the Temple mount, obviously. When it is moved about it's no less the center of time. Consider the role it played in the crossing of the Jordan. When the feet of the priests bearing the ark were dipped in the brink of the water there was an immediate and dramatic response. It was with the soles of their feet that they grounded the ark to the earth. Think of how like poles of two bar magnets repel each other. It's like the waters of the Jordan as a river of time were divided by the ark as a polarity matching source of the flow of time (which is perhaps torroidal in geometric form). The action of the ark at the Jordan pictures the crossing of two streams of time.

The name, Jordan, means “their descent,” which I've written about with respect to the descent of the life of man into corruption that ends in the death of the flesh. The Jordan river is an allegorical representation of the life of man, from birth to death. John baptized in the Jordan, and the baptism symbolism of passing though death to eternal life is profound. There is a time element to it because this life of the flesh flows as metered through time.

I'm going to present a collection of scriptures that may inspire you to receive more insight into these things. Alongside this, I want to present the Jordan as the time construct itself that is fit for this age.

Time is a servant construct, appointed for this age to serve the sovereign Lord's purposes. Something different from what we've known as this continuum applies in other ages and realms.

I believe there is a perspective from which, Jordan, as “their descent,” references the descent of the Watchers upon Mount Hermon. It was there that they descended in the days of Jared, whose name means, descent, or, to descend. and it is there that we find the headwaters for the Jordan.

1. And it came to pass when the children of men had multiplied that in those days were born unto them beautiful and comely daughters. 2. And the angels, the children of the heaven, saw and lusted after them, and said to one another: 'Come, let us choose us wives from among the children of men and beget us children.' 3. And Semjâzâ, who was their leader, said unto them: 'I fear ye will not indeed agree to do this deed, and I alone shall have to pay the penalty of a great sin.' 4. And they all answered him and said: 'Let us all swear an oath, and all bind ourselves by mutual imprecations not to abandon this plan but to do this thing.' 5. Then sware they all together and bound themselves by mutual imprecations upon it. 6. And they were in all two hundred; who descended in the days of Jared on the summit of Mount Hermon, and they called it Mount Hermon, because they had sworn and bound themselves by mutual imprecations upon it. ~ Enoch 6:1-6

The Jordan, that symbolic river of life and river of time, originates and flows down from where the rebel angels descended. Their “stream” polluted man entirely, morally and genetically, and those Watchers have been held accountable for making necessary the great purging flood of Noah's day. Water-time wars.

The headwaters have long been and still are linked to idolatry.

Consider the testimony recorded in Matthew 16 about that area.

13 Now when Jesus came into the district of Caesarea Philippi, He was asking His disciples, “Who do people say that the Son of Man is?” 14 And they said, “Some say John the Baptist; and others, Elijah; but still others, Jeremiah, or one of the prophets.” 15 He *said to them, “But who do you say that I am?” 16 Simon Peter answered, “You are the Christ, the Son of the living God.” 17 And Jesus said to him, “Blessed are you, Simon Barjona, because flesh and blood did not reveal this to you, but My Father who is in heaven. 18 I also say to you that you are Peter, and upon this rock I will build My church; and the gates of Hades will not overpower it. 19 I will give you the keys of the kingdom of heaven; and whatever you bind on earth shall have been bound in heaven, and whatever you loose on earth shall have been loosed in heaven.” 20 Then He warned the disciples that they should tell no one that He was the Christ. ~ Matthew 16:13-20

Peter, little stone. (Note: stone, rock and water.) The gates of Hades is connected to the flow of water at Banias, or, Paneas in the district of Caesarea Philippi, near the headwaters that flow also into Philia Lake (Berekhat Ram or Lake Ram) at a higher elevation. The Temple of Pan is at Paneas or Pania, which was central to his worship. Pan is one of many alias identities of the Devil.

Consider also the worship of false gods at the headwaters of the Jordan with respect to the tribe of Dan.

“Jordan = Jor + Dan = down from + Dan. Obviously the river was never called the Jordan until after Joshua died and Dan moved to Laish. At the foot of Mount Hermon, the Karst spring cave from which the Jordan River has its source is the largest in the Middle east with a yearly output of over 240 million cubic meters of water. It is absolutely pure, fast flowing and like a mountain stream, "makes your teeth crack" from being deliciously ice cold (15.5 degrees C). The headwaters of the Jordan start less than 100 meters from the pagan Danite temple which Jeroboam inherited from the grandson of Moses.” (The Jordan River - Down from Dan)

Here's what Jacob prophesied over his son Dan in a very significant deathbed context. (The prophecy given about his son, Judah, functions as a celestial-terrestrial foundation, a time marker that rigidly fixes the prophetic calendar in these last days.)

16 Dan shall judge his people, as one of the tribes of Israel. 17 Dan shall be a serpent in the way, a horned snake in the path, that bites the horse’s heels, so that his rider falls backward. ~ Genesis 49:16-17

The Jor-Dan River winds through the valley like a serpent in the path. The path of a winding river pictures a serpent, and rivers and serpents are time symbols. The Jor-Dan has Mount Hermon as its source, and straight away it's polluted by idolatry. That time stream of the life of the corrupted flesh has a limit. It ends in the Salt Sea that is most commonly known as the Dead Sea. The life of the flesh and time itself will end as the age appointed for this servant construct runs its full course.

With all that background, when Israel passed over the Jordan in obedience with the priests bearing the ark, two streams crossed, one pure and one polluted. They're not mixed and Israel passes without contamination. These streams also represent time, time streams, rivers or time lines. They're kind of in one time zone on one bank of the river, and then in another on the other.

The ark carried by the priests quite literally represented the presence of the Lord who is the Lord of time, which we see from a later account. The cherubim are those in gold above the mercy seat.

4 So the people sent to Shiloh, and from there they carried the ark of the covenant of the LORD of hosts who sits above the cherubim; and the two sons of Eli, Hophni and Phinehas, were there with the ark of the covenant of God. 5 As the ark of the covenant of the LORD came into the camp, all Israel shouted with a great shout, so that the earth resounded. 6 When the Philistines heard the noise of the shout, they said, “What does the noise of this great shout in the camp of the Hebrews mean?” Then they understood that the ark of the LORD had come into the camp. 7 The Philistines were afraid, for they said, “God has come into the camp.” And they said, “Woe to us! For nothing like this has happened before. ~ 1 Samuel 4:4-7

The ark is like the throne of the Most High God, and out from there flows a river.

1 Then he showed me a river of the water of life, clear as crystal, coming from the throne of God and of the Lamb, 2 in the middle of its street. On either side of the river was the tree of life, bearing twelve kinds of fruit, yielding its fruit every month; and the leaves of the tree were for the healing of the nations. ~ Revelation 22:1-2

The river of the water of life is similar to a river of time but different in some significant way from what we experience in this present realm as a continuum. Note the number 12, with 12 kinds of fruit being yielded in connection with the month of the year, a marking off of units of time. The tree of life is on either side of the river, which is to say, as above or spanning across all time.

Where is the ark?

18 And the nations were enraged, and Your wrath came, and the time came for the dead to be judged, and the time to reward Your bond-servants the prophets and the saints and those who fear Your name, the small and the great, and to destroy those who destroy the earth. 19 And the temple of God which is in heaven was opened; and the ark of His covenant appeared in His temple, and there were flashes of lightning and sounds and peals of thunder and an earthquake and a great hailstorm. ~ Revelation 11:18-19

There will be seen a temple and an ark of His covenant in His temple. When? At the right time, at the appointed time when the temple in Heaven is opened. Those are the models for those that were built in this temporal realm. There is a kind of quantum entanglement, a principle of co-identification and synchronization in the modeling and patterning. Where is the intersection in this time-space of that ark seen in God's heavenly temple? It's hidden according to the Lord's purposes, like with the garden of Eden as access is denied by the angelic guards. Will the ark carried across the Jordan have a further role in these last days? Ron Wyatt was convinced that it would. We also believe it will, to play a key role in major transitional operations.

When we consider how the ark has to do with time we have to consider what was put into the ark, and why. The tablets of stone given to Moses on the mount were placed inside it. God wrote upon them with his own finger. A jar of manna was placed inside, which did not spoil. Aaron's rod that budded was also put inside. These were for a memorial and a testimony. The ark is what we call a time capsule! Things are put inside time capsules to persist them through time as a testimony of the past. Time capsules are usually unearthed and subsequently opened in a public ceremony on a designated anniversary. The ark is just such a time capsule, but on what anniversary shall it be unearthed and opened? Who has been able to open it and see the contents, except some were struck dead for doing just that? That very special time capsule awaits the appointed time. The time is near! Whether the manna and rod remain inside with the tablets or not, it is what the Lord intends, Who assures that not one jot or tittle of all that has been foretold will fail.

More to follow, Lord willing!

"Beyond the Veil" Updated - Plus Fresh Revelation Forthcoming - and - New Day, Month and Year!

For years, I've had the updating of the Beyond the Veil collection in my queue of side projects. I've made some effort in recent years without it bearing much fruit, but finally, in this remarkable season of finality and closure, the Lord has made the provision. Most of it is untouched, but some key insights have been added.

I recommend, at the least, becoming familiar with these two pages:

Beyond The Veil
A Glimpse of the Lord's Appointment Book

While that content is very fresh, it doesn't represent what we have just begun to see in a brighter light, which shines upon what lies just ahead. The ongoing work of chronicling has been paused while the Lord continues this other work with Aaron and I, preparing for what's coming in the 1st month of the year. We have been engaged by the Lord in compelling ways that bring us to the kind of assurance we need, to be able to publish a word like the one Aaron just published without thinking that we've joined the ranks of the nutters, and to move forward with an acceptance of the revelation received that establishes the context.

Before sharing more about that, which has sprung from another key revelation insight about Matthew 24:22, let me give you some collateral insight for a foundation. Most of us are familiar with how time is sometimes compared to a river. If you search this blog for river of time you'll find some posts of interest.

The following excerpt is one example that is particularly relevant. (From Part 23 - Celestial Stargates)

“This is where the symbol of the river of time factors in because the Adversary's plot intends to exploit time to win the ultimate victory. “Throw the basket in the river and drown him,” in the river of time.

The flying monkey sets the basket containing Toto on the pillar right behind the hourglass. The hourglass is a symbol of time itself, and the sands of time are as the river of time, flowing evenly from the future through the present and into the past. The basket is behind the hourglass, which is to say that the hourglass is superimposed over the basket. They are linked, one with the other. We don't see the dog, we see the basket. “Throw that basket in the river,” the river of time. The basket represents some kind of containment. As set upon the pillar, the stargate mechanism is in view. ”

We had light that was bright enough for then, but we've been upgraded for the present work. A higher security clearance has been granted into the secrets. Rivers and other bodies of water and containers are used as a metaphor for time in esoteric works, in Occult works and also in the Bible. As a brief, I'm going to introduce you to 2 chapters of note where this is the case - and which are about to be fulfilled. For some of you, this may already be familiar territory, but the Lord has reserved this presentation for today.

5 Then I, Daniel, looked and behold, two others were standing, one on this bank of the river and the other on that bank of the river. 6 And one said to the man dressed in linen, who was above the waters of the river, “How long will it be until the end of these wonders?” 7 I heard the man dressed in linen, who was above the waters of the river, as he raised his right hand and his left toward heaven, and swore by Him who lives forever that it would be for a time, times, and half a time; and as soon as they finish shattering the power of the holy people, all these events will be completed. ~ Daniel 12:5-7

The river is the river of time. Two stood by it, one on each bank, on the earth but distinctly separated by time, which is to say, in different referencial systems. The man dressed in linen who was above the waters of the river was over the river of time, above or beyond time and unbound to either referential system. One standing on a bank asked him a question about time which, of course, would pertain to his particular frame of reference. The man dressed in linen swore by Him who lives forever, which is a descriptive that pertains to time and declares the relevant domain of His authority, which is time. The answer given contains a very interesting reference to how long it would be. Although it is typically interpreted to simply indicate the span of three and a half years, there's more to it than just that. The expression, “time, times and half a time” literally refers to time, multiplied time and fractional time. Consider the symbolism of the context, with the answer being given in response to the question prompted by the one who stood on one bank.

The other chapter is also numbered 12 in series, in the book of Revelation.

13 And when the dragon saw that he was thrown down to the earth, he persecuted the woman who gave birth to the male child. 14 But the two wings of the great eagle were given to the woman, so that she could fly into the wilderness to her place, where she was nourished for a time and times and half a time, from the presence of the serpent. 15 And the serpent poured water like a river out of his mouth after the woman, so that he might cause her to be swept away with the flood. 16 But the earth helped the woman, and the earth opened its mouth and drank up the river which the dragon poured out of his mouth. ~ Revelation 12:13-16

The water represents time. Again, we find a reference to “time and times and half a time.” There are transits between dimensional compartments pictured, and one appointed for protection is distinct from our familiar time-space frame of reference. The wars in heaven are star wars, angel wars, fought in heavenly realms over stargates opened through time-space.

From the heavens the stars fought, from their courses (mecillah - kindgom viaduct - stargate) they fought against Sisera. ~ Judges 5:20

The context of the the passages in Daniel 12 and Revelation 12 matches that of Matthew 24, around verse 22. We're talking about Pesah, 2015.

This post brings the count of posts to 1200. That's 12 x 100. It's posted on 3/21. The numbers 12 and 21 are both time numbers, and one is a mirror of the other. The post is about: TIME. Again, there's been no intent or manipulation on my part to produce this feature. It's just an observation of facts and truths, and characteristic of the past week in particular. The Lord is bringing closure to the season, in so many ways.

As I publish this, I just got word that Karaites have reported sighting the new moon. It is the first day of the first month! Both signs of the maturing Bride have been witnessed!

From Nehemia Gordon's Facebook page:

“The New Moon of the Aviv from the Eilat Mountains in southern Israel on March 21, 2015. The moon was sighted from this location by Nehemia Gordon at 5:53pm and by Tim Arndt at 6:01pm. The sky over the Eilat Mountains was perfectly clear. The moon was still clearly visible to both observers from the Eilat Mountains at 6:50 pm.”

The 13th day of the month will begin at sunset on April 2nd. Is there an epic April Fools Day coming?

Part 4 - The London 2012 Olympics: Revisited

Again, the segment of interest can be found from 8:25 to about 12 minutes in: The Official Video: London 2012 Olympic Games Opening Ceremony

The most obvious reference to time made in the Journey along the Thames film has to be when we come to pause near Big Ben. Big Ben is named by the commentator in the NLP language part of this ritual segment, along with the year of its casting in the nearby Whitechapel Bell Foundry. The bell is a distinct element in this time manipulation ritual, which is positioned on the bank of the river between the stadium's bell of Caliban and the standing stone at the source of the flow of water-as-time. Our attention is drawn to the hands as they spin rapidly around the dials. The clock spinning seems to be in keeping with the pace of the flight, but we really can't discount the importance of that display of accelerated time. Regarding this ritual element, our progress eastward on the journey slows while we witness how time is accelerated. I recall from the bean-spilling film, The Penitent Man, the man who time traveled from the future claimed that the physics had to do with harnessing wormholes and the speeding up of one end while slowing down the other. When we come to Big Ben we hear the chiming of the bell called Big Ben. It's being struck repeatedly in the marking off of the hours. The bell is a percussion instrument, not unlike the tuned particle colliders like the LHC, which are cryptically but heavily referenced in, The Penitent Man. The bell is rung, as you may recall, for the facilitation of space-time transit.

Leaving the scene of the iconic clock and bell tower, we're engaged in a game of cricket where the boys are wearing garments like out of the past. In context, garments represent bodies that are suited to a particular dimensional domain. We were shown the past, as having traveled into the past.

Suddenly we're back on our journey. A modern helicopter cuts abruptly through our airspace, crossing over to the right bank toward the Battersea Power Station before veering off. A large pink pig balloon is tethered to the smokestacks. Researching the history of this scenario leads us on a trail where we discover the featuring of the god, Pan. And, through that connection, we discover evidence of the ritual binding being established between the region of this river of time in “England's green and pleasant land” to the river of time known as the Jordan.

When we then see the inflated pig tethered to the Art Deco-styled Battersea Power Station (time travel through the pillars), it's a reference to the band, Pink Floyd, and a stunt they did for the promotion of their 1977 album, Animals. They were doing a photo shoot. “The 30-foot (9-metre)-long pig was tethered between two of the power station's southern chimneys. During the shoot, it broke loose from its moorings and, to the astonishment of the pilots of approaching planes, rose into the flight path of Heathrow Airport. ” (Wikipedia) That explains why the pig balloon was there in our flight path and why we were joined by the veering helicopter. Pink Floyd. When visiting Big Ben on the way, a clip of their classic song, Time, was heard (from 1973's hugely popular album, Dark Side of the Moon).

These weren't the only references to Pink Floyd's material. Each of the last three Pink Floyd studio albums had portions recorded on the Thames-Isis near Hampton, Middlesex, which we passed right through. Not in some studio on the bank of the river, but in a boat that is actually moored on the Thames. David Gilmour, the band's guitarist, bought a special vintage 1911 houseboat in 1986 and converted it into a floating recording studio-houseboat christened the Astoria. The albums, A Momentary Lapse of Reason (1987), The Division Bell (1994), and The Endless River (2014), had tracks recorded there, as did David's solo album, On an Island (2006). Note the time theme. Momentary Lapse. Bell - Glocke - Clock. Endless. (river of time) Island. (surrounded by water as time - like a space-time ark)

There was at least one more reference made to Pink Floyd, to their first album, and this one is most significant. It came in connection with the animated characters seen near the beginning of the journey. They are Rat, Mole, and Toad From the children's classic, The Wind in the Willows, by Kenneth Grahame. It was first published in 1908. That first edition's cover featured an illustration of the god Pan. In the 7th chapter of the book, Piper at the Gates of Dawn, they are drawn by his irresistible musical enchantments to worship the Piper, Pan. They experience an intersection with a heavenly domain in a divine presence at the Gates of Dawn. In their enchanted journey along the Thames, they are magically transported through space-time into the presence of this woodland god.

He's the same god Jack Parsons (of JPL) dedicated each rocket launch to by invoking Aleister Crowley's, Hymn to Pan. “But I say that that perfect image in the heart of man is patterned by the awful lust in space-time that shapes all women, the insatiable and eternal lust of Pan that is BABALON.” -J.W. Parsons



“The first album by psychedelic rock group Pink Floyd, The Piper at the Gates of Dawn (1967), was named by former member Syd Barrett after chapter 7 of The Wind in the Willows.” (Wikipedia) Syd apparently identified with Pan. Lyrics from the songs on that album were what you call psychedelic, to be sure. They are esoteric, Occult and illuminated. The summer of the year 1967 was the famed Summer of Love that centered around San Francisco's Haight-Ashbury district. It was in that same year that The Rolling Stones produced, Their Satanic Majesties Request, an album with a song that was featured in MIB3's dimensional transit scene after Will Smith as Agent J leaped off the Art Deco Chrysler Building into 1969. The year 1967 was also when The Beatles produced, Sgt. Pepper's Lonely Hearts Club Band, with cover art that honored warlock Aleister Crowley. This segment of the Olympic ritual Journey along the Thames hearkens back to that era when hallucinogenic and entheogenic induced excursions into the adjacent dimensions opened the way of shamans and mystics to the masses. It honors the fantasy literature of escape from this realm to enter into the presence of the ancient god Pan.

When you recognize Mole, Rat, and Toad and cross-reference them with the repeated references to Pink Floyd, the god Pan does emerge as an important character. There is no denying that the magical character, pipe playing Peter PAN, is honored later in the Ceremonies, of the classic fantasy tales told by British author J.M. Barrie. (His special off-dimension domain was called Neverland, which is time language, of course. He's a boy who doesn't age. The Lost Boys live in Neverland with him. LOST ~ 12+15+19+20 = 66. The Abyss. Think about the TV series, Lost, as being about the Abyss.) When you put all this together with the emphasis put on the goal expressed in William Blake's passionate poem, the working of this space-time manipulation ritual becomes more clear.

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In England's green & pleasant Land

Again, the ritual elements I've been pointing out in this series form a resonant structure of magickal energy (engaging demonic authorities) along the Thames-Isis, which plays as a river of time. Between the inscribed bell of Caliban and the inscribed stone marker at the source of the river, a standing wave of time appears to have been activated, harmonically resonant with such as Big Ben, and Glastonbury Tor. I introduced my observation that they ritually bound the Thames-Isis and the Jordan together. Greenwich and Mount Zion are linked as centers of time, and the river systems have also been engaged and linked. The reference to the worship of Pan is established early on the Journey along the Thames, shortly after leaving the headwaters, and so it is that the main temple dedicated to the worship of Pan from ancient times is located very near to the headwaters of the Jordan.

Here's what I wrote recently in another series of posts. (Part 2 - Israel's Wandering - Crossing a River of Time with the Time Ark)

“The Jordan, that symbolic river of life and river of time, originates and flows down from where the rebel angels descended. Their “stream” polluted man entirely, morally and genetically, and those Watchers have been held accountable for making necessary the great purging flood of Noah's day. Water-time wars. The headwaters have long been and still are linked to idolatry. Consider the testimony recorded in Matthew 16 about that area. ”

13 Now when Jesus came into the district of Caesarea Philippi, He was asking His disciples, “Who do people say that the Son of Man is?” 14 And they said, “Some say John the Baptist; and others, Elijah; but still others, Jeremiah, or one of the prophets.” 15 He *said to them, “But who do you say that I am?” 16 Simon Peter answered, “You are the Christ, the Son of the living God.” 17 And Jesus said to him, “Blessed are you, Simon Barjona, because flesh and blood did not reveal this to you, but My Father who is in heaven. 18 I also say to you that you are Peter, and upon this rock I will build My church; and the gates of Hades will not overpower it. 19 I will give you the keys of the kingdom of heaven; and whatever you bind on earth shall have been bound in heaven, and whatever you loose on earth shall have been loosed in heaven.” 20 Then He warned the disciples that they should tell no one that He was the Christ. ~ Matthew 16:13-20

“Peter, little stone. (Note: stone, rock, and water.) The gates of Hades are connected to the flow of water at Banias, or, Paneas in the district of Caesarea Philippi, near the headwaters that flow also into Philia Lake (Berekhat Ram or Lake Ram) at a higher elevation. The Temple of Pan is at Paneas or Pania, which was central to his worship. Pan is one of many alias identities of the Devil.”

The observations I've made about the ritual elements don't mean much independently but when taken as a collection the intent of the ritual seems obvious enough. The binding of the Thames and Jordan fits other aspects of binding with Israel, like the construction of the 2012 Olympic Park right across the Thames from Greenwich and right where the Temple at the Center of Time arcs sweep through. The binding was surely enhanced through the connections made with the London Olympics held in 1948. Those time arcs sweep through very near to the stadium itself, where the bell hung and was rung. The brand imagery for the 1948 Games featured Big Ben, on the bank of the Thames. Clock - Bell - Tower - Time. Those Games were celebrated in the Journey Along the Thames film, with boats leaving wakes on the river of time, riders on horses, and an Island of waving medal wearing athletes.

If you factor in other elements of the countdown ritual, like the London Eye (All-Seeing Eye of Horus / Tolkien's Eye of Sauron), there is only just more support for such a conclusion. The Eye of Sauron was magically connected to the ring Sauron crafted. After a little while after publishing Part 3, another insight came to me about the Lord of the Rings, the One Ring to Rule Them All. The ring conferred invisibility upon its wearer, and, the ring also would disappear. They would exist in a shadow realm.

I describe the Olympic Rings logo as implying a 6th ring. The 6th ring is hidden. The one ring, invisible, existing in the shadow realm. Magick is not imaginary. We shouldn't confuse reality with what is imagined, and neither should we be ignorant about Satan's devices.

A close examination of the countdown portion of the Opening Ceremony exposes evidence of a mass Occult ritual, the details of which reveal it as intending space-time manipulation. On a very important level, a supernatural binding of the Thames-Isis to the Jordan River is exposed. We think the illumined who worship and serve the ancient gods have targeted and acquired the source of the flow of time relative to Zion's Temple Mount, the Ark of the Covenant, the Foundation Stone, or some combination of the three. Activity that includes this ritual has influenced time itself, producing a variety of effects in our present experience of reality. Most significantly, the schedule of key events that have been prophesied in the Bible has been skewed.

We know there's a time reset coming. Why would such a thing be necessary? Because the continuum has begun to be broken and it needs to be fixed. If you know this is so, take stock of what it means. Press in to know how the Lord Y'shua would have you respond. This season is going to be repeated, but what we do and become, in the Lord, still matters plenty.

Part 1 - The London 2012 Olympics: Revisited

The season of the 2012 London Olympics continues to be brought to our minds in this season, and the reason has to do with space-time manipulation.

The folks responsible for the Olympics have just published a video of the Opening Ceremony on their YouTube channel, on the 3rd anniversary of the occasion. This link will take you there, about 8 and a half minutes in. The Complete London 2012 Opening Ceremony | London 2012 Olympic Games. You'll hear a very cleverly scripted emphasis on time with a subtext of the manipulation of space-time, then see that demonstrated in a well produced fly under and over of the symbolic river of time. The video presentation of the flight from the observer perspective engages the viewer very personally in an Occult ritual that extends that of the actual event.

When the clip begins, you'll hear the stadium PA system announcement: “Ladies and gentlemen. We have one minute until we go live to the world.” There's the combination theme, right there! MINUTE = TIME and WORLD = SPACE. To go live means, broadcast begins, in real time, or with minimal delay. A subtle third theme woven in is, LIVE = LIFE.

A countdown is underway, counting off the seconds. This isn't unusual, of course, and neither is it unusual for ceremonies to feature a review of the history of the games and that of the host city and country, but I encourage you to look beyond that to see the emphasis placed upon time. In every commentary on such a topic it's going to be rife with words relating to time and space, but you'll notice how the descriptive language and specific subjects give emphasis to the space-time theme.

The broadcast commentator says: “... and what you hear from the public address announcer, we are one minute away from the official start of the games of London 2012, and they will be started by the ringing of the Olympic bell, the largest harmonically tuned bell in the world. It was made at the Whitechapel Bell Foundry whose workshop is just a few miles down the road from the stadium. The foundry also created the Liberty Bell in 1752 and Big Ben in 1858. The Olympic bell will remain here in the Olympic Park for the next 200 years. And, it will be struck by the man of the hour, the man who rode with the greatest pride down the Champs Elysées. Need I tell you more? Think about it, it must have been in all the papers all over the world because no Briton has ever done it before.”

The commentator focuses attention on the Olympic bell. The German word for bell is, glocke, which is closely related to our word for clock. (Die Glocke aka Nazi Bell - Time Travel) Bells and clocks are very intimately connected. Bells have long been rung to mark off the hours of the day and the watches kept by mariners. He mentions the Liberty Bell and Big Ben, giving the dates they were produced. Dates. Time. London has long kept time by the chiming of Big Ben, which is the name of the large bell. When you mention Big Ben, it's often the clock tower that comes to mind. After the initial crack had been repaired, the Liberty Bell had been heard ringing out from the steeple of the Pennsylvania State House in Philadelphia. The State House has been renamed Independence Hall, and that clock tower is memorialized on the one hundred dollar bill. Clock and implied bell on money. Time is money - money as time.

The commentator says the bell will be kept in the Olympic Park for the next 200 years. The Prime Meridian very nearly cuts through the Olympic Park, which is located very near to Greenwich where time was kept at the Royal Observatory. I've documented how the Olympic Park marks off time arcs from the Temple Mount in Jerusalem relative to the exact season of the establishment of Israel as a state. The time arcs for the 1948 London Olympics also sweep right through the Olympic Park. That's where the bell will be kept, and the commentator curiously declares just how long it's intended to be kept there. How odd. Unless you grasp how this language is a ritual establishing the connection between the bell and the ringing of the bell and time.

He says it's going to be struck by “the man of the hour.” HOUR = TIME. He's referring to Bradley Wiggins and his ride down the Champs Elysées, who had just won the Tour de France. The riders made a dramatic turn counter-clockwise around the landmark Arch of Triumph. The symbolism of the Arch is huge, and because the streets radiate outward as 12 spokes (like on the face of a clock), and because the Prime Meridian in Paris was the biggest competition for the world's standard for time (a competition that was memorialized in the plot of Jules Verne's novel, “Twenty Thousand Leagues Under the Sea”), that boast of a Briton's celebrated victory in Paris, in the context of the emphasized time theme, serves to magnify it even more.

“Think about it, it must have been in all the papers all over the world because no Briton has ever done it before.” Think about it. What is he not telling us? What kind of papers? NEWSpapers. “Code NEWS” - North East West South. The cardinal spacial directions on the globe of the earth, our 3D world. “No Briton has ever done it before,” which is to say that it was the first TIME. In the NEWSpapers all over the WORLD. SPACE. The first TIME. SPACE-TIME!

Danny Boyle, who was responsible for the Opening Ceremony, was quoted as saying about the stadium and bell, "You will feel different when you're in there and you hear it ring. When you hear it it's very sweet. It's ancient, so it reminds you of the past. It's also timeless, so it evokes the future. That was how communities notified each other something important was about to happen.” So, Boyle himself explicitly identified the ringing of the bell with time, and timelessness. It reminds you of the past. It evokes the future, he said. Literally? Was he using that statement to notify those of us in the global community that something important was about to happen with the ringing of the bell? When the giant bell did ring in the stadium, Aaron clearly heard in the spirit, “It has begun.” We knew the Lord meant by that simple but cryptic declaration something more than that the games in London had begun, but exactly what, we still don't know for sure. We suspect it has to do with the actual hijacking of time itself, marking some key point of transition.

On that morning of the Opening Ceremony, the 27th of July, 2012, bells were rung all over the UK for 3 minutes beginning at the stroke of 8:12 am. All the Bells - Martin Creed's “Work 1197.” Massive ritual. Work 1+1+9+7 = 18 = 6+6+6. Three minutes of ringing: 60+60+60 seconds. The XXX Olympiad was being welcomed, and XXX transforms to 666 when X as the 24th letter is assigned the value of 6 (as 2+4). Remember this recent post where a connection was made between the numbering of 666 and time in the ritual encircling of Jericho for the 6 days (through 2160 degrees, the amplified number of Plato - 216) as a foundation for Israel's triumph on the 7th. When the 13th circuit was made, victory came as it were through acoustic weapons with the blowing of trumpets and shouting. By beginning at 8:12, Martin Creed was able to work that key time number 12 into the ritual. By setting the duration of the ringing to 3 minutes, the principles of symmetry and balance assured that the central minute numbered 13 received emphasis - the mastery of time. I think more is meant in Martin's line drawing of a kind of bell shaped curve than just a bell. I believe it is a bend in the Thames-Isis, which was made ritually TIME resonant with the bells (probably above Greenwich and the Prime Meridian), and a graphed amplitude over TIME cycle of a standing wave harmonic from mid-anti-node through a node to another anti-node!

The exalted British warlock Aleister Crowley declared what the practicers of that kind of magick know, that bells may be used as weapons. And so they are.

When the initial countdown of that ceremonial sequence ends, we hear from the PA announcer: “Ladies and Gentlemen. The Isles of Wonder.”

Because of what we were being told by the commentator, we were led to anticipate hearing the ringing of the bell when that countdown ended and the Isles of Wonder film began, which was a simulated transport back to the beginning of time. Bells are for the facilitation of transits across the borders of space-time domains. An example of this may be seen in how the High Priest of Israel accessed the presence of the most High God in the Most Holy Place on Yom Kippur.

33 You shall make on its hem pomegranates of blue and purple and scarlet material, all around on its hem, and bells of gold between them all around: 34 a golden bell and a pomegranate, a golden bell and a pomegranate, all around on the hem of the robe. 35 It shall be on Aaron when he ministers; and its tinkling shall be heard when he enters and leaves the holy place before the LORD, so that he will not die. ~ Exodus 28:33-35

The official start of the Ceremony came at the stroke of 21:00 hours, another primary time number, the mirror of 12. The short film called, “Journey along the Thames,” began at that moment, which was directed by Boyle and produced by the BBC. It's a two-minute film, which provides an embedded time number for the ritual, 120 seconds, an amplified 12. The scripted time language ritual of the commentary leading up to hour 21 is subsequently demonstrated in that 120 second long film. It really is a TIME ritual, and the featured Thames of the journey is the ritual River of Time. The observer perspective style of the film does more than entertain us. It more actively engages us in the ritual. The film's journey repeats the imagery of space-time and the manipulation of space-time, which strengthens the ritual and reveals with more clarity what the magickal working is about, what it is actually for.

The commentator is our tour guide on this excursion down the river that takes us from the source eastward to the Olympic Park. He's carefully not telling us what's really important, like, for instance, how the river has long been known as the Isis. From the headwaters to Oxford it's still known as the Isis. She's the ancient goddess of magic with an important role to play in stargate transits, where the mastery of time is essential. Ancient images of the goddess of many names picture Inanna, or Ishtar, with water symbols in her hands, as a goddess who wields authority over time. As I've demonstrated (Our Lady of the Olympics), the Zeus and Apollo worshiping Olympic organizers are big on goddess worship.

Now, as the film begins, its exactly the stroke of hour 21, a number signaling time itself and timelessness. We find ourselves underwater in the river of time, with stones, and signs of life appear. We see a frog and we emerge with it out of the water. We're looking at a stone marker like a headstone monument. It's obviously been placed in connection with the XXX Olympiad because it bears the theme of the Opening Ceremony.

It's the ancient past, primordial. The suggestion of the bell ringing at hour 21 sent us back to the beginning, to the source of the river of time and life. As we pause to ponder the inscription on the stone we're joined by an ancient creature, a blue dragonfly, which seems to be examining the marker with us and inviting us to follow it. We've all been taught to connect amphibians with evolution. Darwin was a Brit, and the ceremony is all about honoring Brits. The frog emerging from the water pictures a step in our own evolution. The dragonfly is, to many people, a universal symbol of immortality. This pictures the next step in “our” evolution. The frog; our past, the dragonfly; our future. This picks up the “live” or life theme from the intro scenario and reveals that immortality and the river of life is at the core of what is ultimately an ascension ritual.

Note that the bug is a DRAGON fly. Beelzebub: Lord of them that fly. My hope is in a different god, the Creator, and a better resurrection.

The inscription on the featured marker stone is important.

ISLES OF WONDER - THIS STONE WAS PLACED HERE TO MARK THE SOURCE OF THE RIVER THAMES

I believe a major key to the ritual is the connection between this stone and the bell that was the focus of the previous commentary, which is located in the stadium seen at the film's end. Shakespeare's production of, The Tempest, provided the Opening Ceremony's theme, “Isles of Wonder.” It's derived from a speech given by the demigod hybrid monster Caliban. The bell is inscribed with a line from that speech. “BE NOT AFEARED, THE ISLE IS FULL OF NOISES.” One memorial object is like the other, ritually linked together by the common words and the fundamental nature of the inscribed objects. There exists a standing wave relationship, a resonance through time and distance. I'll explain more shortly.

It should be mentioned that the headwaters of the Thames-Isis have long been marked with stones, and even an inscribed monument at Thameshead or Thames Head. River Thames: The Source

Leaving behind the source and stone, we follow the dragonfly along the serpentine Thames-Isis river of time. Let's jump ahead to another major key to this potent space-time manipulation ritual. When we pass through the London Tower Bridge, special attention is given to the Occult Olympic Rings sigil-logo as our view immediately turns from looking forward to looking back. We immediately ascend to a height at a point directly above where the world's time is officially kept, in Greenwich, at the Prime Meridian. We're not told that this is what's going on, but it's clearly that. The zenith was significant to the astronomers at the Royal Observatory where time was kept. We're given something of a misdirection in the pretext that this segment was honoring the popular BBC show, the EastEnders. While that seems pretty obvious, the segment is only roughly similar to the show's famous intro. The mention of EastEnders wasn't devoid of appropriate esoteric meaning, however, because it provides the cardinal compass direction, East, in connection with a word that has to do with a limit of distance and time, End.

As the journey along the Thames-Isis has gone fully to it's eastern limit, we descend to witness one last sequence before our arrival just North of there in the days just prior to NOW, at our destination, the Olympic Park and Stadium, as preparation for the Opening Ceremony nears completion. We see travelers in the London Underground (the underworld - like the name of the band from Cardiff that furnished music for the ceremony) with trains in tunnels, with modern scenes and faded black and white imagery as from the past. Time travelers once more, making dimensional transits like angels traversing between space-time realms along the ancient stargates, the mecillah. Joel 2. The theme continues with regular cars in a tunnel, and then we're underwater again, immersed in the river of time like back at the source - and suddenly we emerge to find ourselves looking at the stadium in the Olympic Park. A big cloud appears, and a cloud represents an angelic transdimensional vehicle. (Heaven's Vehicles - UFOs - Fake and Genuine and The Kingdom Viaduct) The cloud also alludes to The Tempest's speech of Caliban that links the stone and the bell.

Be not afeard: the isle is full of noises,
Sounds, and sweet airs, that give delight, and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometimes voices,
That, if I then had wak'd after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me; that, when I wak'd,
I cried to dream again.

William Shakespeare, The Tempest, Act 3, Scene II - Caliban's Speech

At this point the nature of the ritual can be explained. I'll follow that with a few more relevant observations about the “Journey along the Thames,” but here's my understanding of the ritual working of the manipulation of space-time. Be patient - it's coming. It will surely help if you're familiar with the series we wrote on the 2012 London Olympics

A fundamental of the working has to do with William Blake's poem, “And did those feet in ancient time,” which is the basis of the song known as, Jerusalem, that was sung in the stadium just after the Journey film, another countdown from 10, and the bell was struck. The poem provided the inspiration for the sets and sequence of the Opening Ceremony. This all has to do with establishing Jerusalem, the heavenly city or Zion, in England's green and pleasant land. Note how the film's cloud in the Olympic Park also alludes to this poem. Mostly, note the zeal and dedication to the task. This is the foundation of the ritual.

And did those feet in ancient time
Walk upon England's mountains green:
And was the holy Lamb of God,
On England's pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold;
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In England's green & pleasant Land

“And did those feet in ancient time” aka “Jerusalem” - William Blake

Blake was illuminated. He wasn't inspired to honor the Creator's plan and agency but rather what is counter to that. It's an antichrist work.

“"And did those feet in ancient time" is a short poem by William Blake from the preface to his epic, Milton a Poem, one of a collection of writings known as the Prophetic Books. The date of 1804 on the title page is probably when the plates were begun, but the poem was printed c. 1808.” (Wikipedia) Why 1804 on the title page? 1+8+0+4 = 13. Asserting the mastery of time. In the preface to, Milton, right below where the poem appeared, Blake placed a verse from the Bible. Numbers 11:29. Pay attention to the NUMBERS, we're told in the way of the Occultists! 1+1+2+9 = 13. Mastery of time.

Here's Blake's favorite and best known painting, titled, “The Ancient of Days setting a Compass to the Earth.” It's a SPACE-TIME title. Ancient. Days. TIME. Earth. SPACE. See him inside a circle, with a compass that draws circles - of time in space. The painting is of course a graven image, done contrary to the 2nd commandment, so it's an idol and therefore not truly representative of the one with that biblical title. The one in the image is the Titan known to the Romans as Saturn (see the image as a ringed planet), and to the Greeks as Kronos - the false keeper of time worshiped by the ancients. Zeus famously subdued Kronos, acquiring his powers.

The Zeus worshiping IOC and those like Blake are not ignorant of such matters. Their intent has been to bring a literal transference, in space and time, to manifest a messianic heavenly city and kingdom among us. This is why the word, ZION, is encrypted into all of the recent Olympic logos, as part of this wide-ranging ritual working.

More to follow, Lord willing!

Part 2 - The London 2012 Olympics: Revisited

This post picks up where we left off in part one, describing the time manipulation magick ritual presented in The Official Video: London 2012 Olympic Games Opening Ceremony. (Watch from the 8:25 mark to about 12 minutes in)

The work that the illumined Luciferian elite are so passionate about requires a hijacking of space-time domains and the mastery of time. The effort requires the combination of ancient tech, modern tech and actual sorcery, pharmakeia. Folks, it's already been touched upon, in ancient times and again recently, and we're convinced that all the ceremonial ritual working that was done in connection with the XXX Olympiad played a role. The illumined know how to bind space-time and engage the principalities and powers in partnership, whom they worship and by whom they are directed. There's a reason why the Olympic Park is located on the earth between the time wave arcs drawn from Mount Zion that correspond precisely with the creation of the modern state of Israel. This is the same reason for the countdown rituals I've been describing in this lengthy post. Why is the Olympic Park called that instead of something else? The gematria of, Olympic Park, is 139, and 1+3+9=13. Mastery of time! The gematria of, Olympic, is 93. That's the famous number of Thelema and Agape according to Aleister Crowley's book of the Law, which is to the OTO so very important. The number 93 also produces a 12 as 9+3: TIME. These facts are more than a collection of curiousities. It's all evidence of a grand working of ritual magick.

So, here's my understanding of how the ritual of the London 2012 Opening Ceremony's countdown sequence I've been describing works.

The bell in the stadium and the stone at the river's source are linked, supernaturally, according to the secrets of heaven known and transmitted by fallen angels. The Thames-Isis is well established as a river of time, and there was therefore the creation of a resonant state with the ringing of the harmonically tuned bell. A standing wave of time was created in this realm between the stone at the source and the bell it's bound to at the other end through the language of the inscriptions, the river and many related ritual elements and rituals. A binding link with Israel was also established along the river of time known as the Jordan, and with the Temple on Mount Zion.

In support of this bell-stone-river structure, the image of a map that features a key section of the Thames-Isis was cast into the Olympic medals. The design placed it as woven through the embedded ZION imagery and surrounded by accelerated particle collision imagery, and opposite to that was cast the image of the ancient goddess in flight. There were 4700 (amplified Code 47) of these idols cast for the London Olympics, and these were awarded in 805, or 8+0+5=13, ceremonies. That's how these ritual objects came to be distributed throughout the world. Think about it. I believe the ritual structure that is the space-time resonant bell-stone-river instrument is harmonically tuned with particle collider activity at locations that include Cern's LHC. I believe there's an important reason why 13 TeV is the specified energy level for the LHC this year, that it is probably linked to such as the Olympic ritual (and CERN Symmetry Opera-Dance film ritual) that makes the illumined elite masters of time (within the limits maintained by the sovereign God).

In support of this ritual in London's Olympic Park, the same region of the Thames-Isis that was mapped onto the award medals was recreated inside the stadium for display during the Satanic Mills segment of the Isles of Wonder themed ceremony. A displacement ritual, sympathetic magic, harmonically tuned partnerships. Quantum entanglement. In that setting, they simulated the forging of a giant golden ring that ascended into the air to join 4 others in forming the customary Olympic Rings logo. I'll explain more about the rings shortly.

The Isles of Wonder stone at Thames Head marks one end of the standing wave of time. The stone marker is a kind of a standing stone, like other ancient stones found in places like Stonehenge. I've written about these before, like how the TV series, Outlander, featured them as the mechanism that, in connection with ceremonial witchcraft, facilitated time travel. Think about those connections!

Standing stones facilitating space-time transport in a magickal context were also featured in The Librarians on TNT (scheduled to return for season 2 on November 1). In the last episode of season 1 some things were said and done that are of great interest in this study.

Jenkins: ... references to the pyramids as passageways to the afterlife.
Jacob: Not so metaphorical perhaps, Jenkins?
Jenkins: Perhaps sir.
Jacob: Are you thinking there's an actual doorway to heaven in the pyramids? I mean, I think we would have found that by now.
Jenkins: It's not a literal doorway - a doorway like ours - interdimensional doorway.
Cassandra: Well that makes sense because the pyramids were designed along precise mathmatical lines. The stones are resonant to certain energy wavelengths along the magical spectrum. They act as lenses of focuses, foci along the three dimensions, dimension infinity Infinite infinite ... I saw it all! I saw it - all the way down!

Cassandra was having an epiphany on the order of what Tesla and others have apparently experienced. The TV show plays to most critics and viewers like a silly sci-fi romp. A clever ruse. The standing stones I mentioned were activated for transport when Jacob rang three tuned metallic spikes set into trees that ringed around the stones, making them resonate like tuning forks or bells.

Central to that episode's plot was ancient Camelot, and closely associated to that is the mystical Isle of Avalon. That renowned Isle of Wonder was notably evoked in the first in-stadium set of the Isles of Wonder Opening Ceremony, where a model of the Glastonbury Tor featured prominently. The conical or bell shaped model of the Tor was built in the stadium over opposite the Olympic Bell. For the ceremonial ringing of the bell, the camera lined up the two precisely, connecting them visually and ritually. You can see that in the official video at the 13th minute. Right. The thirteenth minute. I believe the Tor was engaged in the space-time manipulation ritual in a supernatural harmonic resonance, the model and beyond that as the actual Tor in Glastonbury that was known to be on the shore of the sea.

“As with Glastonbury Abbey, Glastonbury Tor is shrouded in intriguing mystery. Legends concerning its history and sacred significance have circulated since the Middle Ages, many of which center around King Arthur. In modern times, it is said to be a major center of energy and ley-lines and the home of a goddess.

The Isle of Avalon, often identified with Glastonbury, derives its name from a Celtic legend of the demi-god Avalloc or Avallach, ruler of the underworld. In Celtic lore, Avalon was an isle of enchantment. It was considered the meeting place of the dead and the point where they passed to another level of existence. The Tor was believed to be the home of Gwyn ap Nudd, the Lord of the Underworld, and a place where the fairy folk lived.

One major mysterious aspect of Glastonbury Tor are the seven levels of terraces that encircle the hill. It is not certain that they were man-made or purposeful, but they have been dated by Philip Rahtz to Neolithic times. Many believe they are an ancient ritual labyrinth or maze that correspond to a magical diagram.”

(Glastonbury Tor - Sacred Destinations)

Seven, is a primary time number, and the terracing I noted in the ritual Tor in the stadium gave the impression of a criss-crossing of tilted rings. A magical diagram of crossing circles, linked to the time number. XO space-time. The union of the X and O establishes the celestial throne of the goddess, according to the O.T.O. It causes the flashing from the abyss of the Lord of the abyss, Nodens. If you're not sure any of this was intended, watch the ceremony where the “oak+thorn” tree rises up and people emerge from the underworld underneath. Gwyn ap Nudd, the Lord of the Underworld - Nodens. Avalon was an isle of enchantment. The Isles of Wonder from the Tempest, an isle of enchantment. The bell of Caliban, as I call it, resonated with the Avalon of legend through the space-time ritual Tor, evoking in their craft the goddess and the lord of the underworld.

Consider the following, from the same page excerpted above, which makes reference to a legend about Joseph of Arimathea, who donated his tomb for my Lord's temporary burial.

“When Joseph arrived at the Isle of Avalon (i.e. Glastonbury), he landed on Wearyall Hill, just below the Tor. He thrust his staff into the ground and rested. By morning, his staff had become a strange oriental thorn bush - the Glastonbury Thorn. For safe keeping, Joseph buried the Holy Grail just below the Tor at the entrance to the Underworld. Soon after, a spring, now known as Chalice Well, flowed forth and the water that emerged brought eternal youth to anyone who drank it.”

The oak tree on the ritual stadium Tor was called a thorn tree. One can hardly deny that the tree was intended as a ritual staff of Joseph, the magickal artifact responsible for the source of this water of eternal life. The people who streamed up out of the ground where the tree had been planted on the ritual Tor were therefore, in this magickal allegory, immortal. And thorn people of the curse of Genesis 3.

With these insights, you really have to identify the ceremonial bell-Tor binding seen when Bradley Wiggins struck Caliban's bell with the ritual that engages the stone marker at the source of the Thames-Isis. To seal the deal, here's a picture of the construction of the set used for the Satanic Mills segment. It was lying directly underneath that of the pastoral setting that was stripped away by the workers who streamed out of the Underworld Tor. The Tor is on our left in this image taken during construction of the stadium sets. The bell would be placed on the right. See how the Thames-Isis is aligned on the stadium floor, connecting the Tor and bell through the ritual river of time. Bong, goes the bell, and the river and the tor, and the standing stone at the source of the real river resonates.

These things are a little complicated, but the details expose the nature of the ceremonial ritual.

One more point about that mind-blowing episode of The Librarians that pictured the resonating standing stone space-time actuation and featured Cassandra's description of the magickal dimensionally resonant stones. It was titled, “And the Loom of Fate,” and it featured elements that were openly identified as the river of time and the loom of fate. The Loom is a mythical artifact that represents the mechanism responsible for the fabric of space-time into which history is woven - both past and future.

Now, give consideration to what brother David Flynn wrote about the Foundation Stone that was closely associated with the Ark of the Covenant. There's a lot to this, which touches upon so much of what I've been blogging about recently. (The use of bold and upper-case has been added to call attention to the section about the Loom of Fate-like fabric of space-time connection.)

“The arc is the measure of movement through time and can represent the measure of all time between eternities. In the same way, the Ark represented the influence of the eternal God within temporal existence.

In this model, time is linear, and moves from a beginning to an end. Travel through space is similar. Movement begins from a point of origin and ends at a terminus.

Here, the Ark of God resides inside the Temple, or metaphorically the temporal plane. The Ark of God represented the “arc” of his interaction between eternities. God, omniscient, omnipresent, and omnipotent, set the Temple at the focus of his influence in the world. It is a mirror image of the model of time. In 1909, Reverend C.I. Scofield made an observation that, “All begins with the Ark, which was placed in the holy of holies, because, in revelation, God begins with Himself, working outward toward man: as, in approach, the worshiper begins from himself, moving toward God in the holy of holies.”    

The Ark of the Covenant had been removed from its place in the Holy of Holies in the temple of Jerusalem before the invasion of Babylon in 587 BC. However, according to the ancient Jewish sages, the site where it had rested was considered almost equally important. Its location was God’s eternal residence on Earth, the significance of which was described in the Talmud, a compilation of studies of Jewish law.

After the Ark was taken away (near the end of Bayit Rishon, i.e. the first temple period), a stone remained there from the time of the first Prophets, and it was called Eben ha-Shetiya, “Foundation Stone.”

The name Eben ha-Shetiyah is a combination of two Hebrew words: “the eben (rock) of shetiyah (foundation, array or weaving)” literally translates to “the rock from which the world was arrayed” and “the foundation stone of the world.” This remarkable meaning of shetiyah, of weaving or warping, fits the metaphysical sense of the location as WRAPPING THE FABRIC OF TIME AROUND ITSELF. This idea is reinforced in the Talmud that explains that the Eben ha-Shetiya was the first physical object that God created.

In the Mishnah Kelim 1:6–9, the Temple is described in relationship to degrees of holiness radiating outward from the Holy of Holies where the Ark of the Covenant stood. These areas are listed in order from least holy to most holy as the land of Israel: the walled cities of Israel; the city of Jerusalem; the temple mount; Rampart Court of women; Court of the Israelites; Court of the Priests; between the porch and the altar; the Sanctuary; and finally the Holy of Holies. In the pseudopigraphic book of Jubilees, the temple mount in Jerusalem is described as the center point of the world: “And he [Noah] knew…that Mount Sinai [is] the center of the desert, and Mount Zion the center of the navel of the earth….”

This idea is mentioned in several places in the Old Testament. For example, Judges 9:37 and Ezekiel 38:12 describe the location of the temple, or the mount upon which it stood, as the “highest place or center of the earth itself” or tabur ha eretz. The Septuagint Greek translation of these texts rendered the word “tabur” (highest place), as “omphalos,” or navel.

The forms of “shetiyah” encompass a full sense of the foundation stone upon which the Ark of the Covenant was placed. The ancient Hebrew sages consider the combined meaning of “shetiya” as consistent with a point existing metaphysically outside of time.

In addition to the meaning “to warp,” the root shayth also forms the Hebrew words: (1) Shathaw, meaning a foundation or basis; (2) Shawtham, meaning to unveil; (3) Shawthaq, meaning to subside or be calm; (4) Shawthah, meaning to drink; and (5) Shawthan, meaning to produce water. These ideas combined produce the sense of a metaphysical intersection between eternity and time, the terrestrial and the heavenly. The sages extended the implication of the foundation stone as a fountain of the water of life to the point from which all the world’s water emanates. As heaven is the origin of the stone, so also is the source of all water on the Earth, falling as rain from heaven.

The process of water on the Earth fits the conception of time as well the Ark’s relationship to it. Like time, the water of a river flows in a linear path towards its destination at a uniform rate. The ark that navigates upon it can move with the water’s course, or independently from it. Like rain from heaven, time falls upon the earth based on the movement of the heavens. Ultimately, the rivers empty at their destinations. Moses floated his Ark upon the Nile, Noah rode the flood of the Great Deluge, and the Ark of the Covenant traversed the ocean of the Sinai desert. All three were guided by the Spirit of God (ruach), a word in Hebrew that is used both identically for breath and for wind.”

(pp 53-56 The Temple at the Center of Time)

The stone placed at the source of the Thames-Isis by the illumined in connection with the XXX Olympiad appears to be related on some ritual level to the Eben ha-Shetiya, “Foundation Stone.” We can't say for sure when, exactly, but we think it's not unlikely that it was in the season of the London Olympics that the very real flow of time was influenced. Somehow, the Foundation Stone or the Ark itself or the space-time intersection of the Creator's throne on Mount Zion seems to have been targeted and acquired for the manipulation. To be sure, this Olympic Opening ritual I've been describing connects the Thames-Isis to Israel's Jordan, the river of time that flows from Mount Hermon to the Dead Sea.

To be continued, Lord willing.

January River Olympics for Space-Time Mastery

You'll notice that we haven't made any projections about the Fall Feast Days and what might come, or about the Pope's visit. As we've been saying, until time is reset, or we get insight into when that's coming, there's little of value we can say because the prophetic schedule is skewed. We still are paying attention because there are many signs appearing and we're still on watch.

When I revisited the 2012 Olympics to bring attention to the evidence of a time manipulation ritual the focus was primarily on the countdown segment of the opening ceremony, which spanned less than five minutes. Before those Games, and after, much more ritual magic was performed, even to the same end. Every thing that has to do with the next Summer Games in sequence is much more of the same. With the selection of Rio de Janeiro, Brazil, as the host city of the upcoming XXXI Olympiad, the time manipulation ritual was substantially enhanced! The scheduled Rio Games are now not far off.

During the closing ceremony of the Olympics it's customary to honor the city hosting the next Summer Games by giving them 8 minutes to entertain / bewitch us with a ceremony of their own making. Rio's 8 minute long ceremony in London struck me as being rather flat with regard to the kind of subtle Occult signaling I anticipated. Based upon the abundance I saw and decoded relative to the London Ceremony in Beijing, 2008, I didn't know what to make of the apparent lack of such in Rio's. I chalked it up to the unlikelihood of those Games being held, given the prophetic schedule I anticipated. I knew nothing of how time was hijacked in such a way that would necessitate a reset into the past. For all that I did know, I was ignorant about so much. I still am, of course, but I'm learning.

It is said that Europeans first encountered Rio's Guanabara Bay on 1 January, 1500, giving it the name Rio de Janeiro. It translates to, January River. January is the first month, and it was apparently the first day of a new century that had a nice round number. They memorialized the event by naming the location with a time. Space-Time.

The month of January is named to honor the god, Janus, the Roman god of time. The two faced or headed Janus looks into the future and into the past at the same time. Even though the body of water was a bay and not a river, the place was called the January River. Why? It must have been important to identify the place as a RIVER OF TIME and give tribute to the gods. Janus is also the god of doorways, portals. That has to include space-time dimensional transits. January is a 13th month as the 1st of a cycling 12, which identifies it with the number of the mastery of time. The 1st/13th month is the head of the 12.

The 1st Games to be held in the modern era were in Athens, Greece. The year was 1896. The games in Rio are scheduled for 2016, which is the 120th anniversary of those Games in Athens. That's 12 x 10 years. Years - that's a span of TIME, of course, and 120 is 10 times 12, the TIME number!

The Rio Games are numbered as the XXXI or 31st Olympiad. To the illuminated, 31 is an important number because it is the mirror of 13, the time number. The number 13 also has the significations of rebellion and lordship and the agents of the Enemy of the Most High. There are 13 weeks in a quarter year, the span between every solstice and equinox. Samhain-Halloween is the witches' high sabbath that is held on October 31. That's 10/31, the date with numbering that has a reflection in January's position as the 1st and 13th month.

Why was Rio de Janeiro chosen to host the Olympiad? You've seen the numbers of the timing and count of the Games. Compare them to the meaning of the host city's name.Why, indeed. Following London's Games, where the same theme was evident, Rio's extends the ritual. I suspect having the Rio Games in 2016 has been part of a plan for a long time, toward the objective of gaining mastery over time and the ultimate goal of ascending the god of Luciferian illumination's throne above that of the Most High God.

I took a look at the official Rio Olympics sites to see what I would see, “the official website of the Olympic Movement” (olympic.org/rio-2016-summer-olympics), plus the rio2016.com/en and Facebook sites. I saw countdowns, sponsored by Omega, the official timekeeper, of course. You might say that's to be expected, and yes, of course it is.

Being mindful of the setting as that of the January River, the XXXI Olympiad held in the 120th anniversary year of the Games of the modern era, the featuring of the countdown and the official timekeeping sponsor can't just be dismissed as something of little consequence. Any of the elements connected with Rio's Games that openly or covertly touch on time and space are amplifying and extending the space-time manipulation ritual that was so evidently done in London.

The most iconic image of Rio has to be the statue of Christ the Redeemer, perched high above the city. While most readily identify that with the biblical Jesus of Nazareth, it's really not. It's an idol, of a counterfeit god, antichrist. The second commandment should make that plain. A student of esoteric symbolism can see a pillar in the design, establishing a link between heaven and earth. The idol was erected in 1931. There's the 31 again, the mirror of 13. “Christ the Redeemer” presents the form of a cross, which is the ancient expression of the union of the sons of god (vertical) with the daughters of men (horizontal). The rounding of the robes presents a circle form that joins with the cross. That construction of the XO is associated with lightning flashing from the abyss.

These photos that made the news in 2014 make quite a statement.

In 1960, a special neighborhood was created in the West Zone of the city of Rio de Janeiro called, Cidade de Deus, which means, City of God. It was popularized in a novel of the same name in 1997, and in 2002 in an award winning film. It has to be said, if there's any connection with the idol on the high place overlooking the city, that's not a good thing.

Here's the banner I found on one of the official sites. See the word, Time. The letter, m, in script like it is presents a water glyph. Water-as-time. (The Portuguese with it translates to, work force.)

Here's another metaphor being leveraged. Time is money. It suggests the converse, that money is being used to represent time. Coins have been minted in connection with the Olympics. The Rio 2016 Olympics blog has a post titled, Eight Trivia Facts About Olympic Coins

“Have you seen the new series of Rio 2016 coins? This is the third series of the collection that has 36 models: four gold, 16 silver and 16 circulation (320 million coins in circulation), all with themes of fauna, flora, culture and Brazilian monuments, besides Olympic and Paralympic sports. By the way, did you know that this is the first time that Brazil has exported coins?”

The 8th Trivia Fact was about London 2012's Olympic coinage. “London 2012 was the first to launch a series of coins that counted down to the Games.” That certainly fits with the time manipulation ritual, which was perhaps most evident during the ceremonial countdown segment! Check out the coin that is featured in the Rio post. It has, countdown on top and XXX Olympiad on the bottom. Countdown. That's what TIMErs do. There's a year identified on the right with a radial scale and a pointer to illustrate the present count, relative to the past and future. The sport it celebrates involves swimming, which is of course done in water. Water as time. The other dominant imagery suggests what they are really anticipating in the countdown, which isn't really very subtle if you understand about the cross circle. There's a big X centered on the face of the round coin. Cross shapes ring around the circumference. The O in Olympiad joins with the X of XXX. The triple X echoes the XO mark of the beast theme with each X transforming to 6 (24th letter and 2+4=6).

On the symbolism of numberings, I note that the English gematria of, RIO, is 42, which is 21*2. That's the time number doubled. Where z=1, RIO, is 39, which is 13*3. That's the mastry of time number, tripled. Rio. River. Of Time.

The logo for the Rio 2016 Olympics is very definitely on the space-time mastery theme. The ritual encription of the word, ZION, in the logo is demonstrated in this deconstruction of the imagery. The hijacking of the heavenly city is a major objective of the ritual. The ritual of the logo was advanced when this photo was presented on December 31 of 2010. December is the 12th month, with 31 being the mirror of 13. Time and the mastery of time expressed through the 12 and 13.

For this photograph, the ritual 3D logo sculpture was placed on a pedestal. The pedestal or pillar construct was mentioned earlier as establishing a link between heaven and earth, bridging space-time. The lighting projects a distinct shadow on the wall, producing the kind of thing photographers usually go to great lengths to minimize. The singular source of light (Lucifer... the sun god) and the shadow cast, the shadow realm. Like reflections, these projections bear witness to the likeness between the heavenly and earthly. The colors featured in the logo are those of the rainbow, flowing as across the spectrum. Light passing through the rainbow. The rainbow bridge spans space-time domains. The 3D sculpture emphasizes space, while the aspect of time is evoked by the light colors and design. The three figures form circles and crosses. It presents like the Masonic ritual called Three Times Three, where the men invoke the naming of Jah-Bul-On.

So, Rio de Janeiro. The January River. Do they really celebrate space-time and portals there, as the honor given to Janus and the mastery of time suggests? Here's the city flag and Coat of Arms, which seems to pretty well answer that question with a resounding, YES!

The flag presents an XO that magnifies the many XO forms present in the Coat of Arms. Rio's Coat of Arms features arrows. The arrow plays on another metaphor. Time flies like an arrow. An armillary sphere appears as an excellent model of space. Three arrows superimposed on an armillary sphere shouts, SPACE-TIME! Count the feathers on the arrows. Each has 3 on one side and 3 on the other - Code 33. And, combined, Code 666. There's a crown on top. It presents like an arched bridge and a fortress. Count the elements across the 5 towers. There are 13! The crown signals authority. Mastery of time and space! It's a defensible domain. The space-time imagery is set upon a shield, which is for defense, and hiding behind. This is a Coat of Arms, so the military theme is inherent. There's a Phrygian cap in the center, which covers the armillary sphere so we can't see whether it's the kind that features the sun in the center or the earth. I think they covered it to cover both kinds. The red color and the Phrygian cap are goddess symbols. Like the one whose celestial throne is established at the combination of the X and O. The cap has to do with enslavement and the pursuit of liberty or freedom through rebellion. That's very much a goddess sponsored movement, and the red color supports the violent rebel goddess themes. France's Marianne. The USA's Columbia and Freedom versions. The name, Mary, as in the Virgin Mary, means, “their rebellion.” (VIRGINia MARYland donated the land for the District of Columbia, and that's where the goddess worshiping Pope is right now, as I type!)

Those creepy looking critters flanking the shield as its foundation are dolphins. Mirrored, twins Gemini. The armillary sphere is an object that presents movement of the earth and the time-keepers of the sun and moon through the heavens with its constellations. The dolphins are silver - the Silver Gate celestial stargate. This deal with the dolphins is something the Lord has impressed upon Aaron and I over the past few days. It's connected with the supernaturalism of the mastery of space-time domains. Although there's some debate about the kind of animal represented in the following passage, it seems pretty plain to me that this is what the flag of Rio intends.

5 When the camp sets out, Aaron and his sons shall go in and they shall take down the veil of the screen and cover the ark of the testimony with it; 6 and they shall lay a covering of porpoise skin on it, and shall spread over [it] a cloth of pure blue, and shall insert its poles. ~ Numbers 4:5-6

Have you been paying attention to all the recent posts on the ark as a center of time and space-time ark, and the Temple at the Center of Time?

From verse 25, we see that the dolphin skin covered more than just the ark.

they shall carry the curtains of the tabernacle and the tent of meeting with its covering and the covering of porpoise skin that is on top of it, and the screen for the doorway of the tent of meeting, ~ Numbers 4:25

With all the space time mastery imagery connected with the place named January River, it seems pretty obvious that the folks responsible for the dolphins and the rest of the city's branding are being guided in their craft.

Last night, Aaron and I were led to watch, Johnny Mnemonic (1995), starring Keannu Reeves. (The Matrix - The Day the Earth Stood Still - the time traveling Ted in 1989's, Bill & Ted's Excellent Adventure) He's a courier with a memory chip implanted in his head. While the space-time material was largely overshadowed by the ritual sodomy and trauma-based Illuminati mind control symbolism, it was present. Toward the end of the film, Johnny Mnemonic finally meets the only one who can help him, the enigmatic Dr. Jones. It's a dolphin in a tank like the ark filled with water, wired to a machine! The dolphin is hooked up to energy projection dish and sensor arrays. He's got superhuman ability and interacts in powerful ways. He is key to saving Johnny and at the same time becomes a type of savior of the world.

Rio de Janeiro. The January River. Site of the 2016 Summer Olympics. It's all about the mastery of space-time - and worship of the usurper gods. As I frequently state, success will be granted to those in their grand but arrogant undertakings but it's only temporary. They are doomed to failure.

Part 23 - Celestial Stargates - "I can't wait forever to get those shoes!"

Series Links: Celestial Stargates

There is more to be explored about how the time related aspects of the celestial stargates are being signaled.

I've been looking forward to reviewing more of what we're being shown through the appearance and dialogue of the Wicked Witch of the West in the classic Wizard of Oz. I'm assuming you're familiar with what I've already written.

Returning to the scene described in Part 13 - Celestial Stargates - Run Toto, Run!, Dorothy and Toto are being held captive in a tower of the Wicked Witch of the West's castle. The basket is on the pillar next to an hourglass, but the lid is not secure. Toto jumps out and escapes, modeling for us a transit of the Silver Gate and then the Golden Gate. I've given the pillar, the hourglass and the river some attention already but let's keep putting it together.

We hear the Witch command the flying monkey who has Toto in a basket, “Throw that basket in the river and drown him!” There's some profound symbolism in that! I previously linked the river to the celestial Eridanus, the decan of Taurus, as a Silver Gate reference. On the related theme of the Duat, the Witch is also making reference to the terrestrial river Nile. The carefully scripted scene's dialogue is dense with time words, and the centrality of the theme of time in this dramatic celestial gateway sequence has been well established. Something important is implied by the green Witch about the river of time that must not be overlooked, but I'm going to begin by introducing the river as the Nile.

This film's fundamental theme of ancient Egypt has been well established, with sun symbols and pyramids in abundance. The name, “Oz,” becomes “On” with a quarter turn of the name. Oz is also “the land down under,” the underworld Duat. The Witch rules Winkie Country, where the wink is a hidden Eye of Horus. In that context, a reference to a drowning in the river evokes the story of Osiris. Some accounts indicate that he was drowned in the Nile, and with his phallus that was lost to the fish/crocodile contributing to the fertility of that flooding ecosystem, the production of life out of death is easily the most important theme at hand, which makes this layer of symbolism pretty important. The meaning of the name, “Nile,” is “river,” so when the Witch says, “Throw that basket in the river,” we can make the direct substitution to render it, “Throw that basket in the Nile.” As for Toto, the word “dog” spelled backward is “god,” and the dog-as-god swap plays well here.

Because Toto represents the Dog Star, we can make another Nile connection in how the dark soil of the Nile valley is considered to be the reason for the color of the god Anubis, who navigates the underworld river.

When the basket is taken into account, which is what the Witch actually orders to be thrown in the river, allusion is made to another legend of the ancient Nile that involves an adopted son of a Pharaoh named Moses.

22 Then Pharaoh commanded all his people, saying, “Every son who is born you are to cast into the Nile, and every daughter you are to keep alive.” 2:1 Now a man from the house of Levi went and married a daughter of Levi. 2 The woman conceived and bore a son; and when she saw that he was beautiful, she hid him for three months. 3 But when she could hide him no longer, she got him a wicker basket and covered it over with tar and pitch. Then she put the child into it and set it among the reeds by the bank of the Nile. 4 His sister stood at a distance to find out what would happen to him. 5 The daughter of Pharaoh came down to bathe at the Nile, with her maidens walking alongside the Nile; and she saw the basket among the reeds and sent her maid, and she brought it to her. 6 When she opened it, she saw the child, and behold, the boy was crying. And she had pity on him and said, “This is one of the Hebrews’ children.” 7 Then his sister said to Pharaoh’s daughter, “Shall I go and call a nurse for you from the Hebrew women that she may nurse the child for you?” 8 Pharaoh’s daughter said to her, “Go ahead.” So the girl went and called the child’s mother. 9 Then Pharaoh’s daughter said to her, “Take this child away and nurse him for me and I will give you your wages.” So the woman took the child and nursed him. 10 The child grew, and she brought him to Pharaoh’s daughter and he became her son. And she named him Moses, and said, “Because I drew him out of the water.” ~ Exodus 1:22-2:10

The very naming of this child makes reference to the event alluded to by the Witch. Students of the arcane who worship Horus like those who were responsible for the production of the Wizard of Oz, come to know well the significant role Moses had in the history of Egypt. It was in the Exodus under his leadership that the wealth of Egypt was plundered and strength destroyed, as the armies of the Pharaoh were drowned in the Sea of Reeds. There are those who take it personally and they do hold a grudge. If you've been following this blog you may recall how Moses and Horus are linked by those on the left hand path through the esoteric solution to the 47th Problem of Euclid. Later in his life Moses met with the Creator on Mount Sinai, who became known to him as “I AM.” The Hebrew gematria of “Moses” and “I AM” is 345 and 543, which are the numbers of the basic 3.4.5 Pythagorean triple. These signal numbers are taken to represent the production of Horus through the union of Osiris and Isis. The production of Horus, as we've seen in numerous examples, is eagerly anticipated as manifesting in a coming through the Silver Gate to incarnate in the antichrist beast.

The theme of life proceeding through, or, out of death is evident in the account of Moses in the basket on the Nile, comparing somewhat to how it is in the Osiris story. This is where the stargate theme is involved, as spiritual life comes to a physical body. Baptism is a symbol of death and resurrection. Being dipped in the water identifies one with death. Coming up out of the water identifies one with the new life that follows after the death of this temporal flesh. In the historical action modeling this activity, Moses escaped death by exiting the basket, as did Toto, but it should be understood how the symbol involves passing through death to life. If you've become a student of “Beyond the Veil,” you probably recognized the phrase, “she hid him for three months,” as code, signaling us about a resurrection scenario in the context.

When we consider the context of ancient Egypt and identify the river as the Nile we can connect the dots to Osiris and Moses and discover the essential Horus plot. When we recognize how the river of time is being implicated and connect some more dots, the Witch's command to, “Throw that basket in the river and drown him” leads us to discover the end game, the very defeat of the Creator Himself. At this point, let's reassess the symbolism of the scene to identify the grander scenario.

Below, I'm going to repeat the scene as from Part 13. Words with meanings that involve time are upper-case again to call them to our attention. What I want you to see is how Dorothy's only concern is for her dog. She's not pleading for her own life or freedom. She only wants Toto back so that they are together. When Toto escapes, her only concern is that the dog gets away to safety. She's not expecting Toto to lead a rescue mission, even though that's how it ends up. The reason for this isn't just so we can see what an unselfish and caring girl she is. It plays on a symbolic level.

See Dorothy as a nice Christian girl in this allegory, innocent and unselfish and naive, prim and proper, looking like she is on her way to Sunday school. Her beloved d o g is her beloved G o d. This is the attachment the Witch threatens, Dorothy's connection with her God, and even that God Himself. This is where the symbol of the river of time factors in because the Adversary's plot intends to exploit time to win the ultimate victory. “Throw the basket in the river and drown him,” in the river of time.

WWW: “What a nice little dog.” (She snarls and stuffs Toto in the basket.) “And you my dear, what an UNEXPECTED pleasure. It's so kind of you to visit me in my LONELINESS.”
Dorothy: “What are you going to do with my dog? Give him back to me.”
WWW: “All in good TIME, my little pretty. All in good TIME.”
Dorothy: “Oh please give me back my dog.”
WWW: “Certainly, Certainly. WHEN you give me those slippers.”
Dorothy: “But the Good Witch of the North told me not to.”
WWW: “Very well.” (to the Flying Monkey) “Throw that basket in the river and drown him!”
Dorothy: “No - no - no! Here. You can have your OLD slippers, but give me back Toto.”
WWW: “That's a good little girl. I KNEW you'd see reason.”

The witch reaches for the ruby slippers but some kind of magical energetic discharge thwarts her effort.

Dorothy: “I'm sorry. I didn't do it. Can I still have my dog?”
WWW: “No! Fool that I am. I should have REMEMBERED. Those slippers will NEVER come off, as LONG as you're alive. But that's not what's worrying me. It's how to do it. These things must be done delicately or you hurt the spell.”

Toto jumps out of the basket, off the pillar and escapes through the open door.”

Dorothy: “Run, Toto, Run!”
WWW to the flying monkey: “Catch him you fool!”

Toto descends the stairs and runs to the edge of the raising drawbridge. He leaps down, across the moat, escaping down the path while the guards throw their spears behind.

Dorothy: “He got away. He got away!”
WWW: “Oh, which is more than you will. Drat you and your dog. You've been more trouble to me than you're worth, one way or another. But it'll SOON be over NOW.”

When you know the plot, with confidence, you see it modeled in so many ways and in so many contexts. When the Witch says, “what a nice little dog,” she's mocking Dorothy's God and exalting herself over Him.

The flying monkey sets the basket containing Toto on the pillar right behind the hourglass. The hourglass is a symbol of time itself, and the sands of time are as the river of time, flowing evenly from the future through the present and into the past. The basket is behind the hourglass, which is to say that the hourglass is superimposed over the basket. They are linked, one with the other. We don't see the dog, we see the basket. “Throw that basket in the river,” the river of time. The basket represents some kind of containment. As set upon the pillar, the stargate mechanism is in view.

In ritual magick, which this “entertainment” vehicle surely is, it only works if it's done as directed by the dark and fallen agencies, and we are assured of a high degree of correctness in this exalted Illuminati programming classic. Most would insist that I'm always reading into things what's not really there. If that works for you, fine, but those with eyes that see discover what really is there, thrust into the light of day as the spirit of holiness bears witness to the Lord's generous provision of insight into our Enemy's ways and means, and the greater presence and working of our Sovereign Lord, in Whom victory is.

Just before the Witch tells the flying monkey to throw the basket in the river she layers in some more symbolism, telling Dorothy, “Very well.” The witches who script the scene and decorate the set know their craft. A well has water, like the river has water. There's a contextual connection we make automatically, almost instantly, without the search for relevance to establish a context of meaning ever coming to our conscious minds. There's a huge crystal ball that is central to the set, and we are provided with demonstrations of a kind of remote viewing, a scrying function. We see and correlate these things subliminally, unconsciously or subconsciously. The still surface of the water in a well reflects like a mirror. Wells have long been used for scrying, for wishing, for divining. If you've ever seen Disney's Snow White and the Seven Dwarfs, you've seen a demonstration of divination by scrying in the magick mirror used by the wicked witch. She asks it, “Mirror, mirror, on the wall, who's the fairest of them all?” A demon appears in the mirror to give the answer she demanded. A “Very well” is such a device as that. “Veri” is Latin for “truth,” and witches do seem to like Latin. The witch consults the “Very well” to divine the truth, or at least whatever the lying demons are constrained to reveal. So, what does this have to do with stargates? The “veri-well” is just such a device. In another classic of mind-control literature, the well Alice fell down to get to Wonderland functioned like the looking glass she climbed through in another version.

Now, this is one of the key scenes that reveals why the ruby slippers are so important to the Witch. Following the last line of dialogue above, the Witch picks up the hourglass and turns it over to reset it. “Do you see that?, she screeches at Dorothy. “That's how much longer you've got to be alive. And it isn't long, my pretty. It isn't long. I can't wait forever to get those shoes.” She can't wait forever to get those shoes. There is a time limit set, you see, an age appointed, and this is related to the life span of Dorothy, which is to say, the Christian in this allegory where perhaps the most profound testimony is evident.

You see, the time for what is being ritualized in this drama is at hand. So, what are these ruby slippers to the Enemy of Christians and the God of Abraham, Isaac and Jacob? They are OLD slippers, which is to say, ancient artifacts. These are not desired by the Witch for sentimental reasons or to make a fashion statement, they represent essential objects sought for their ability to facilitate control over time for the managing of the stargates, toward the goal of containing God as a dog in a basket, to subsequently drown him in the river of time, clearing the Throne of the Most High for the usurper.

13 “You were in Eden, the garden of God; every precious stone was your covering: the ruby, the topaz and the diamond; the beryl, the onyx and the jasper; the lapis lazuli, the turquoise and the emerald; and the gold, the workmanship of your settings and sockets, was in you. On the day that you were created they were prepared. 14 “You were the anointed cherub who covers, and I placed you there. You were on the holy mountain of God; you walked in the midst of the stones of fire. ~ Ezekiel 28:13-14

The ruby or sardius is the first listed precious stone that was his covering, of the cherub who covers. I believe the ruby slippers represent the gems and abilities of his former condition. Once, that anointed cherub who covers walked in the midst of the stones of fire. “These boots are made for walkin',” as Nancy Sinatra observed in the old song, or slippers, as in this case.

15 “You were blameless in your ways from the day you were created until unrighteousness was found in you. 16 “By the abundance of your trade you were internally filled with violence, and you sinned; Therefore I have cast you as profane from the mountain of God. and I have destroyed you, O covering cherub, from the midst of the stones of fire. ~ Ezekiel 28:15-16

Do you see why the Witch wants the ruby slippers? The anointed cherub who covers wants to walk in the midst of the stones of fire, which represents a return to his former multidimensional existance. If you put this together with Isaiah 14, connecting the “king of Tyre” and “king of Babylon” with the agent behind them, you get a picture of what's behind the Wicked Witch of the West and her ruby slippers. They witness to ancient artifacts that are valuable for the wielding of control over time and the ascension to a throne and the assembling of the forces of Revelation 19:19.

If you're not seeing the stargate connection, give consideration to how the ruby or sardius is the first of 12 gemstones in the breastplate of the Hight Priest of Israel, who was required to wear it when entering the holy place.

15 “You shall make a breastpiece of judgment, the work of a skillful workman; like the work of the ephod you shall make it: of gold, of blue and purple and scarlet material and fine twisted linen you shall make it. 16 It shall be square and folded double, a span in length and a span in width. 17 You shall mount on it four rows of stones; the first row shall be a row of ruby, topaz and emerald; 18 and the second row a turquoise, a sapphire and a diamond; 19 and the third row a jacinth, an agate and an amethyst; 20 and the fourth row a beryl and an onyx and a jasper; they shall be set in gold filigree. 21 The stones shall be according to the names of the sons of Israel: twelve, according to their names; they shall be like the engravings of a seal, each according to his name for the twelve tribes. ... 29 Aaron shall carry the names of the sons of Israel in the breastpiece of judgment over his heart when he enters the holy place, for a memorial before the Lord continually. ~ Exodus 28:15-21, 29

See also, Exodus 39:10, Revelation 4:3 and 21:20 (the sixth, ruby). I've written at length about the bells on the hem of his garment (verses 33-35). They facilitate the meeting with the Most High himself in the Most Holy Place. The breastplate with the grid of gems was likewise a necessary part of the garment, his covering, and one might take a reference to the first of them as a reference to all. Time was another essential element in that event that can be described as a stargate opening because the scheduled appointment had to be kept at the right time of day on one day of the year, Yom Kippur.

On the subject of ruby slippers, why is it that Pope Benedict was always seen wearing bright red loafers? Hmmmmmm. Are they tokens of something else, perhaps stashed away in the Vatican archives? Have we seen the last of his official duties as a high priest of the sun cult? A Pope is soon going to baptize the beast, fulfilling the role as the counterpart to John the Baptist, who acted in that ministration as the legitimate High Priest of Israel. Will the Pope wear Aaron's breastplate and garments, or perhaps something worn by John, or both? That event will represent the opening of a stargate, and, it seems, the Silver Gate through which Horus will manifest, incarnate.

There is another scene in the Wizard of Oz that validates this identification of the ruby slippers as objects like the keys to the kingdom for the unlocking of stargates, one that really makes the link rather obvious. Ever since Dorothy discovered she wasn't in Kansas anymore, all she wanted was to return home. That's the point of her entire quest. At the end of the movie, she finally does return home, and the ruby slippers are the key. Her return is by way of the same Silver Gate whirlwind that brought her to the underworld of Oz. Her transit requires the use of the magickal ruby slippers and some magic words in a ritual where Dorothy is assisted by Glinda the Good Witch of the North. It's operative black magic that opens the stargate, with an ancient artifact.

Glinda engages Dorothy. “Are you ready now. Then close your eyes and tap your heels together three times. And think to yourself, “There's no place like home.”” Glinda gestures with her magic wand, circling it around behind Dorothy's head, and as Dorothy begins to follow Glinda's direction, a swirling vortex opens up as if the star on the wand was stirring the aether of space-time. The film makers enhance the scene with some special effects, superimposing her head and the shoes in what seems to suggest a pineal gland activation.

Here's a brief clip from the film showing the ritual returning Dorothy and Toto to Kansas. The Wizard of Oz - "There's No Place Like Home" Magic Spell

See Dorothy now in the role of the anointed cherub who covers, having acquired what the coveted ruby slippers represent.

Just before this clip begins, we see Dorothy miss her ride home with the Wizard, who ascended in the hot air balloon. That was another stargate transit scene, as just prior to that when Toto leaped out of the basket, followed by Dorothy climbing out after him. Familiar, yes? The Wizard was doing some sodomite gateway signaling in the midst of the scene with his top hat and cane, and because it represents another gateway transit I'm going to decode that here.

The usual sun symbols and pyramids appear, as throughout the entire film in the funnel (pyramid) on the head of the Tin Man and the row of Xs on the panels of the basket of the hot air balloon. The Wizard is seen here officially transferring his authority to the Tin Man, by virtue of his heart. We see the heart on the Tin Man's chest, and the heart is a symbol of ritual sodomy. The Wizard is holding his top hat in front of his body, which is another sodomy signal. He's gesturing with his cane (Two-ball cane - Tubal Cain) as his phallus, toward the Tin Man. The transfer of authority is flipped, from one perspective, because the sodomizing Wizard is stealing the victimized Tin Man's life and authority in the act. Yet, the ritual sodomy is opening the Tin Man's Horus Eye, granting him gnosis and illumination and giving him spiritual authority through the demonic installation as making entrance through the opened stargate. See the plus sign on the Wizard's basket? It is the symbol of the binding of the two in ritual sodomy and the sign of the Knights Templar and cross of the cult of the sun god. When his contraption is loosed from the mooring and he begins to ascend, as you see in this screenshot, he declares loudly, “This is a highly irregular procedure!” NLP. Irregularity alludes to the function of the bowels.

After that, the transdimensional rainbow bubble descends out of the sky and Glinda appears before Dorothy and her companions. That's at least the fourth stargate opening signaled in the sequence, if you're keeping count. Glinda spins up a special blend of truth and lies in a story about how Dorothy has always been able to return home, and goodbyes are warmly exchanged. It's Dorothy's turn to do the sodomite gateway signaling in the “moral of the story” scene, with her bow on her head (tie that binds), gingham dress (knowledge of good and evil) and the NLP in her declaration of lessons learned: “If I ever go looking for my heart's desire again I won't look any further than my own back yard.”

When the ritual is performed and Dorothy and Toto have traversed the Silver Gate, the allegory of the anointed cherub that covers finds him returned home to walking in the midst of the stones of fire.

An assessment of what it took for that to happen reveals how the unidentified Good Witch of the South had first subsumed the authority and power of the Wicked Witch of the East, by killing her and acquiring her prized ruby slippers. The ritual sacrifice transfers life from victim to victor. The quest then led her to subsume the authority and power of the Wicked Witch of the West by killing her and acquiring her broomstick. These objects are both powerful magickal stargate artifacts. The witch has been seen flying on the broom, right? Together with the Good Witch of the North and her magick wand, which is used to swirl open the vortex of the stargate, Dorothy and Toto are able to traverse the Silver Gate and ascend up out of Oz, the underworld, returning to our natural realm. This is the magick of the four Guardians of the magick circle and the black magick of ritual stargate opening.

With all that, there's still more dot connecting to be done in the lessons about time and stargates from this film.

I see the iron ring on the pillar in the Witch's tower as another time symbol. It resembles the Ouroboros. The imagery of entwined serpent dragons is already present in the spindles of the hourglass frame. The alchemical diagram of the Philosopher's Stone illustrates the dimensional containment of time itself as a circle. Such a feature as the iron ring on a pillar is obviously intended to function as a secure point of attachment. Since it's a holding cell for Dorothy with the look of a dungeon, let's connect the dots.

We are bound within time while we remain in these flesh bodies. The Bible indicates that we are bound as by two chains, by the law of sin and death. These bindings apply to this flesh life but yet that identifies the limit. We are bound in these flesh bodies to this temporal realm, as to the circle of time represented by the Ouroboros and that iron ring on the pillar. (If this language seems somewhat familiar, you've probably come to understand the awesome revelation of the esoteric Acts 12, where Peter was in prison, bound with two chains. (Beyond the Veil)) The ring is fixed to the pillar. It goes neither up nor down. Dorothy is not chained to the ring, having an out of body experience, which matches the symbols of being in the Castle that is accessed by way of a viaduct, and over the rainbow in Oz, the underworld.

Aaron Hermann noted how the film's theme of time suggests a connection between the green Witch and Greenwich, England, where the Prime Meridian establishes the world's standard of time. I believe that's valid, and I believe that observation is supported by the river and the castle pictured in this screenshot.

The river below looks like the Thames in London where it bends around the Isle of Dogs. Opposite that is Greenwich and the Royal Observatory, about where the Green-Witch's castle appears. That river is where the flying monkey would have thrown the basket, in the river of time. Thames ~ Times. It is the River Isis-Thames, the magickal river of time. The Witch's castle is as a counterfeit temple at the center of time, a counterfeit Zion.

Are we done yet? For now, but there's more to come, Lord willing!