Our Internet connection went down on the day after I began writing about our insight into The Avengers. We've had problems with our broadband before, but this was very different. I rely on having ready access to research things as I go but we were offline for nearly three full days, so I made do, using a local cafe's wi-fi once to check email. Vandals had cut the cable where it enters the house. Apparently, this is not unheard of here, but it's not common. In the context, it was soon apparent that this was a sign. It was a sign that the inviting nest of cables so readily exposed to the street might not be very secure, sure, but the meaning of sign really effects all of us, everywhere. The meaning found some pretty obvious support from two other sources during that span.
What led us to The Avengers initially was an insight about the Stark Tower sign calling out the ST for space-time. When I shared that with Aaron he noted that it was ST-ARK, and that the scene where the Tower was introduced began under water, a time symbol. When I reviewed the scene and its context I noticed how the segue scene in the boxing gym was richly layered with space-time symbolism. The more I saw, the stronger my impression that the Tower, as a self-sufficient space-time ark, was a really big deal to the producers because so much of the film supports that concept. What was being done underwater in the scene of my first interest was basically the cutting of the cable that connected the Stark Tower to the grid. That's where my study began, and that's not unlike what happened here when the study got under way. We weren't cut off from the power grid and we didn't switch over to an alternate power source, but there's more to know about the nature of the disconnection! Those in the Tower were then, symbolically, in a space-time ark. And here Aaron and I are, still expecting to find ourselves in a space-time ark. Stark was asked to participate in a mission involving the Tesseract. We've been expecting a related kind of mission.
As some readers have pointed out, the word, tesseract, lends itself to being broken out to, resset act. It's derived by looking outward from inside, like how I described the 12:21 as 21-s looking out and 12-s looking in. Full anagrams include acts reset, reset acts, resets act, and act resets. Perhaps this is why the producers use the word instead of the simpler, cube. (I note that tesseract is also pretty close to, resurrect, and that is relevant because how how it, and Captain America, who went down with it, were fished out of the sea.)
Are you connecting the dots here? Space-time ark. Mission so that all humankind wouldn't be destroyed: “Act Resets.” It wasn't just our broadband connection that got cut. The bundled house phone line went with it, and one of the cable box feeds was cut, but, get this! The line to the water meter was also cut! Think, water as time. The water meter records water usage. The house water wasn't effected because it continued to flow. The meter just registers and reports the amount that flows, and that was disabled by the act of vandalism. The cable guy fixed what was his to fix. The local water utility had to come splice the cable to restore their connection to this house - and reset the water meter. Think about what Iron Man did when he took the Tower off the grid, with the cable under the water.
The other items have to do with the time ark of Wayward Pines (on FOX) and some closely related allegory in Ex Machina (2015), both of which I watched during the writing of The Avengers posts, before we even knew that the outage was due to the cables being cut. I hope to share about those things, plus about another clock sign from early June that Aaron documented, which is also relevant. And there's some more I may be presenting about The Avengers, probably in a 3rd part in series. Lord willing, of course.
We take the multi-part sign as validation, and encouragement, and it is comforting. The Lord has not been distant in this season but so far the intensity of engagement doesn't compare to what we experienced in March and April, leading up to and through the season of the Pesah watch. If you've been following this blog, you know we've been expecting a mission briefing, of sorts. I've logged a lot of hours in the effort to discern the thematic structures of key passages of scripture, and Aaron has been logging many hours learning Greek and acquiring resources for translation work. We've had a trickle of insight metered out but the fire hydrant of revelation insight hasn't yet been opened to us. We have high expectations. The Lord promised to help and He is helping!
Showing posts sorted by date for query stark tower. Sort by relevance Show all posts
Showing posts sorted by date for query stark tower. Sort by relevance Show all posts
Thursday, July 02, 2015
Wednesday, July 01, 2015
Part 2 - The Avengers - STARK Tower as Space-Time Ark - PP and AC to DC
Picking up where we left off, here's another insight into the ending of the scene in the boxing gym. When Steve carries the Everlast punching bag away he seems to be recovering the 70 years he lost; a pound of sand for each year.
Now, Director Fury's closing line from the previous scene (about war being won by soldiers) was picked up as the gym scene began, with the soldier flashing back to his wartime battles. Likewise, the last line of the gym scene is picked up as the next scene begins. “You should'a left it in the ocean.” In the ocean. The scene transitions to an underwater setting.
Iron Man is under the water where it's pretty dark, cutting open a casing to expose a bundle of cables. He installs some kind of high tech coupling with coils that glow with a soft blue light. Completing his task, he rises up to emerge from deep under the water. He's apparently in New York Harbor, and he flies away into Manhattan. There's a lot going on here, including Iron Man playing as the beast of Revelation 13 being seen rising from the sea, but there's a continuing focus of attention on the theme of time. Here's where the Stark Tower is introduced as a kind of space-time ark.
This video clip of the featured scene supplements this post. If it doesn't stream well you can try downloading (right-click -- 'save link as...') and playing the mp4 video file from your hard drive.
The Avengers - Stark Tower Launch and Agent Coulson recruits Iron Man
Flying into Manhattan, Iron Man communicates with his girlfriend Pepper Potts, who's in the Stark Tower.
Iron Man: Good to go on this end. The rest is up to you.
Pepper Potts: You disconnected the transmission lines? Are we off the grid?
Iron Man: Stark tower is about to become a beacon of self sustaining clean energy.
Pepper: Well, assuming the arc reactor takes over and it actually works.
Iron Man: I assume. Light her up.
We see the dark tower with lights coming on from the bottom up in a pyramidal triangular shape, including the watery blue sign: STARK.
Pepper: How does it look?
Iron Man: Like Christmas, but with more - me (or perhaps, meaning).
This messianic identification goes beyond inflated ego. When Iron Man recites his green propaganda line, what's more important to note is the independent and self-sustaining aspects of the system being implemented, and the mention of the arc reactor. The arc reactor for the self-sustaining space-time ark. NLP. The ST-ARK is launched in its new state of independence from the power grid that is identified with the outside world. Manhattan is an island. Stark Tower is in Manhattan. It's surrounded by water, disconnected from the world as separated from it by water, an ark apart, independent and outside this space-time domain.
When you watched the clip, did you notice the arched bridge and clock? Time-space bridging.
The dialog is loaded with NLP, peppered, shall we say, with time words. It starts out pretty subtle. “... is about to become a beacon...” “I'm in DC tomorrow,” Pepper says. I note that, in the context of time, DC or 43 decodes to both 12 (4*3) and 7 (4+3), both of which are fundamental time numbers. Given that the special event has to do with a change in power, the mention of DC plays in that context as direct current. We're going to see this emphasized in connection with an AC reference, and the reason for that will become evident as more redundancy supports the covert themes. What she's planning to do in DC is work on the zoning for the next 3 buildings. Next. Sequential in time. NLP builds on a broad range that includes the very subtle.
I note that 3 is the resurrection number, and there is in this numbering of the next buildings an allusion to bodies of triple helix DNA, humans that will be transformed by the mark of the beast to become housed by immortals. Bodies as buildings. Rezoned. That scheme depends upon what's going to be accomplished through the operation of a space-time ark!
Iron Man: “You're killing me and the moment. Remember, enjoy the moment.” The word, moment, and its usage here is quite direct. It's going to be heard a few more times. Killing a moment, of course, is one result of a time war. Following Pepper's mention of rezoning 3 buildings, this speaks to me of the death of the host as it is resurrected or raised, vacated for new occupancy. That merging is intensely sought after by the deceived of the world and is even now being celebrated in anticipation. If they really knew what the outcome will be, oh, how very different things would be!
When Jarvis tells Tony Stark that Agent Coulson of SHIELD is on the line, let's ignore the superficial meaning. He's on the time line. With that insight, what Tony Stark says in response is more than just a flippant attempt to excuse himself from taking Coulson's call. “I'm not in. I'm actually out.” In and out of what? Of the building, technically. Figuratively, he's not in time but outside it, out of the time line Agent Coulson is on, apart from this domain's space-time continuity. To really get this you have to consider the action of the scene. He's just landed on the Stark Tower, a space-time ark. It has just been disconnected from the grid to become independent of the earthly space-time domain. He's not in time but out of time. He was under water, now he's out.
A garment change signals a domain-specific body change, remember. During the conversation with Jarvis, Iron Man is in the process of having his garment-body changed to his Tony Stark body of enhanced human flesh. The garment / domain changing process is something the film frequently makes a big deal of modeling. The unclothing device looks like a ringed stargate and in passing through it Iron Man-becoming-Tony Stark descends steps, which means entering a lower dimensional realm. The stairs speak to me of the biblical mecilah. Think Led Zeppelin's Stairway To (/ from) Heaven.
Jarvis: “Sir. I'm afraid he's insisting.” Tony: “Grow a spine, Jarvis, I've got a date.” A date is an appointment scheduled for a specific time - yet another time reference. A spine is linear and it provides a structure. A linear time line with regular units marked off like vertebra on a spine gives structure to time.
Tony tells Pepper: “Stark Tower is your baby. Give yourself 12% of the credit. ” He associates the number 12, a time number, with the space-time ark tower. Think, Revelation 12, where a prominent metaphor is water-as-time! A sign is seen in the heavens (like the Tower sign they are about to discuss), a sign of a woman who is about to give birth. This follows one messianic reference with another. The sign involving Virgo as the heavenly woman precisely identifies the very moment in time when the messiah was born by means of the celestial-terrestrial clock. (When Jesus was Born - The Celestial Signs) It should be observed that when a woman gives birth, her water breaks. What do you usually hear next? It's time!
Side note: A celestial event in the sky right now, last night and tonight, is being linked by some to what they call the Star of Bethlehem. It involves the bright planets Jupiter and Venus. “Astronomers call these celestial meetups conjunctions. And this is the second in a series of three between Venus and Jupiter in over a year. The cosmic duo were a bit tighter on August 18, 2014, and will be a tad farther apart in their next encounter at dawn on October 26.” Although what already happened in 1991 was the big deal, celestial signs continue to call attention to the significance of the season. The grand celestial clockworks, according to Genesis 1:14-18, are for signs to mark seasons and days and years.
Tony brings up a security breach involving the building and its elevators. Those ascend and descend between floors of a building as traveling between realms through space-time. On the subject of giving Pepper credit, Tony says, “I tell you what. The next building is going to say, Potts, on the tower.” Pepper replies, “On the lease.” Again, “next,” in sequence of time. A lease is a kind of contract that involves a well defined space and a fixed period of time.
Tony: “Call your Mom. Can you bunk over?” A mention of Mom immediately repeats the baby birth / motherhood subject to support the allusion to Revelation 12. Tony's asking if she can bunk over presents us with a coded reference to space to go along with the time references. Bunk beds are one bed above another. Bunk over. Bed over bed. The point of bunk beds is to conserve SPACE. She would be requesting to bunk over for a specified period of TIME, like one night.
During that discussion, Pepper pours them some champagne. She walks over and steps down to descend into a circular space known as a conversation pit. Pit. Abyss. As Tony brings up the security breach, she ritually demonstrates just such a thing. Her left hand reaches for a glass, and on her left wrist is a watch. A timepiece.
So equipped, she breaches the secure perimeter of an aptly defined space-time zone, the drink service tray. Like Steve Rodgers leaving the boxing gym while he's still wearing his gym clothes because he's got the 70 pound Everlast bag filled with the sands of time. As Pepper pulls the bottle out of the ice bucket we hear the sound of shifting ice. Frozen water as time, displaced. Champagne isn't water but the liquid provides the same meaning, and time is figuratively transferred from one container into another as she pours. Notice how the design of the tray conceals the fish swimming in both directions around in a circle, as in water. And, like opposing beams of electrons in a particle collider. Remember the context and the accelerator test facility and Project Pegasus. (Pepper Potts. P P ~ 11 11 when z=1) We may also compare the suspected technology (counter rotating ring EM / gravity propulsion) and purpose (space-time travel) of Die Glocke, the Nazi bell. The vesica piscis or ichthus ring around the tray, connecting and alternating the intersecting arcs with rectangles. Square: Space. Circles, the arcs of which intersect to form the vesica piscis: Time. Space-Time. The arcs - space-time arcs-arks. Crossed circles: Mark of the Beast. Familiar routine, right? The design of the glasses provide for more cross circle imagery for redundancy and thus more potent theurgy.
On the matter of space-time breach signaling watches and drink service in films, remember Decoding "The Penitent Man", parts 10 and 11?
The phone rings. Agent Coulson again. Jarvis: “Sir the telephone. I'm afraid my protocols have been overwritten.” This overwriting of the protocols points to a hack of the higher dimensional security system that exists outside this time-space domain, of a kind where authority is being asserted over the domain.
Phil: “Mr Stark. We need to talk.” Tony: “You have reached the life model decoy of Tony Stark. Please leave a message.” “This is urgent.” “Then leave it urgently.” Immediately, the elevator doors open and there's Phil. Tony: “Security breach! It's on you.” Phil: “I can't stay.” Why can't he stay? Does he need to say it? He doesn't have TIME, of course! “We need you to look this over - as soon as possible.” More attention is given to time.
Phil overwrote the protocols of Jarvis, the personal assistant personality (and straight man to Tony's quips) that is the Tower's AI control system. Phil was able to override the communications interface and also gain unauthorized access to the building, including elevators, even the owner's private elevator. This is the illustration of the security breaching agent of the dragon, seizing control of time and thereby acquiring the authority to access the formerly secure heavenly domains of his enemy.
Tony feigns jealousy over Pepper being on a first name basis with their visitor. “His first name is Agent.” Put it together. Agent Coulson. AC. (As Skye refers to him occasionally in the Agents of SHIELD series.) AC = Antichrist.
Here's a clever bit, building off the drink service scene. There's a leading and misdirection as Phil tries to give Tony the briefing device. Tony: “I don't like being handed things.” Pepper: “That's fine because I love to be handed things, so let's trade. Thank you.” While the most obvious thing being handed over is the briefing device, give attention to the other handed things in the scene. Drinks are handed over, liquid-as-time in space-time styled vessels. Watch the exchange closely as Pepper passes the briefing device from Phil to Tony. Two drinks are received into the only two hands with wristwatches. Their analog wristwatches are handed things that mark the passing of time; hours, minutes and perhaps seconds, if there's a second hand or two!
“Official consulting hours are between 8 and 5 every other Thursday.” The NLP continues to build as Tony identifies a very specific period of time.
Tony: “Ms. Potts. Got a second?” Pepper excuses herself, offering to Phil: “Have a moment.” And, on it goes.
Tony to Pepper: “You know, I thought we were having a moment.” Pepper: “I was having 12% of a moment.” Again, that distinctive use of the time word, moment. And, again, the time number 12 is heard, here, as a modifier of the period of time! Percent, written as a sign, is a circle across from a circle, a cross circle MOB signal.
Tony questions Pepper, still feigning jealousy. “Why is he, Phil?” It begs reflection on the previous scene where Steve Rogers had said, “I slept for 70 years, sir. I think I've had my fill.” Phil, or fill, of time!
After seeing the briefing video and the reason for Phil's urgency, Pepper tells Tony, “I'm going to take the jet to DC tonight.” Tony's response: “Tomorrow.” We revisit the earlier conversation, with greater emphasis on the time elements.
Pepper: “You have homework. You have a lot of homework.” “Well, what if I didn't?” “If you didn't? You mean, when you've finished? Well. Um. Then...” Pepper draws attention to Tony's response, which lacks any reference to the passage of time. Her correction addresses that neglect. The NLP must be reinforced, after all.
After Pepper whispers something privately in Tony's ear, he responds. “Square deal. Flash Date.” Square: A space symbol. Flash Date: Spontaneous, and yet also an appointed time and place. Space-time!
As Pepper leaves, an arrangement is made with Phil to drop her off at the airport, and there's another allegory in play. Tony made sure that we identify Phil as Agent Coulson, or AC. Pepper's going to DC. You might read a bisexual reference into that, but there doesn't seem to be much support for it in the context. However, if you compare that scene closer with the scene opener, you'll find points of comparison. She's going with AC to LaGuardia, then on to DC. Power mode change from alternating current to direct current. Through LaGuardia. LaGuardia as Stark Tower, where another kind of power transition was just celebrated. They transitioned from power grid to arc reactor. LaGuardia: from the definite article la + guardia 'lookout (tower)', a topographic name for someone who lived near a watchtower or an occupational name for someone who kept watch. A WATCH TOWER.
When the scene transitions into the next, we see a large expanse of water (as time). It's not Pepper jetting to DC, but a jet does fly low over the surface to maintain the now expected continuity through the scene transition.
Why saturate those scenes with cryptic space time symbolism? This is how the theurgist ascends into the presence of the gods, and how beans are spilled in Occult ritual about the Adversary's plans.
More to follow, Lord willing.
Now, Director Fury's closing line from the previous scene (about war being won by soldiers) was picked up as the gym scene began, with the soldier flashing back to his wartime battles. Likewise, the last line of the gym scene is picked up as the next scene begins. “You should'a left it in the ocean.” In the ocean. The scene transitions to an underwater setting.
Iron Man is under the water where it's pretty dark, cutting open a casing to expose a bundle of cables. He installs some kind of high tech coupling with coils that glow with a soft blue light. Completing his task, he rises up to emerge from deep under the water. He's apparently in New York Harbor, and he flies away into Manhattan. There's a lot going on here, including Iron Man playing as the beast of Revelation 13 being seen rising from the sea, but there's a continuing focus of attention on the theme of time. Here's where the Stark Tower is introduced as a kind of space-time ark.
This video clip of the featured scene supplements this post. If it doesn't stream well you can try downloading (right-click -- 'save link as...') and playing the mp4 video file from your hard drive.
The Avengers - Stark Tower Launch and Agent Coulson recruits Iron ManFlying into Manhattan, Iron Man communicates with his girlfriend Pepper Potts, who's in the Stark Tower.
Iron Man: Good to go on this end. The rest is up to you.
Pepper Potts: You disconnected the transmission lines? Are we off the grid?
Iron Man: Stark tower is about to become a beacon of self sustaining clean energy.
Pepper: Well, assuming the arc reactor takes over and it actually works.
Iron Man: I assume. Light her up.
We see the dark tower with lights coming on from the bottom up in a pyramidal triangular shape, including the watery blue sign: STARK.
Pepper: How does it look?
Iron Man: Like Christmas, but with more - me (or perhaps, meaning).
This messianic identification goes beyond inflated ego. When Iron Man recites his green propaganda line, what's more important to note is the independent and self-sustaining aspects of the system being implemented, and the mention of the arc reactor. The arc reactor for the self-sustaining space-time ark. NLP. The ST-ARK is launched in its new state of independence from the power grid that is identified with the outside world. Manhattan is an island. Stark Tower is in Manhattan. It's surrounded by water, disconnected from the world as separated from it by water, an ark apart, independent and outside this space-time domain. When you watched the clip, did you notice the arched bridge and clock? Time-space bridging.
The dialog is loaded with NLP, peppered, shall we say, with time words. It starts out pretty subtle. “... is about to become a beacon...” “I'm in DC tomorrow,” Pepper says. I note that, in the context of time, DC or 43 decodes to both 12 (4*3) and 7 (4+3), both of which are fundamental time numbers. Given that the special event has to do with a change in power, the mention of DC plays in that context as direct current. We're going to see this emphasized in connection with an AC reference, and the reason for that will become evident as more redundancy supports the covert themes. What she's planning to do in DC is work on the zoning for the next 3 buildings. Next. Sequential in time. NLP builds on a broad range that includes the very subtle.
I note that 3 is the resurrection number, and there is in this numbering of the next buildings an allusion to bodies of triple helix DNA, humans that will be transformed by the mark of the beast to become housed by immortals. Bodies as buildings. Rezoned. That scheme depends upon what's going to be accomplished through the operation of a space-time ark!
Iron Man: “You're killing me and the moment. Remember, enjoy the moment.” The word, moment, and its usage here is quite direct. It's going to be heard a few more times. Killing a moment, of course, is one result of a time war. Following Pepper's mention of rezoning 3 buildings, this speaks to me of the death of the host as it is resurrected or raised, vacated for new occupancy. That merging is intensely sought after by the deceived of the world and is even now being celebrated in anticipation. If they really knew what the outcome will be, oh, how very different things would be!
When Jarvis tells Tony Stark that Agent Coulson of SHIELD is on the line, let's ignore the superficial meaning. He's on the time line. With that insight, what Tony Stark says in response is more than just a flippant attempt to excuse himself from taking Coulson's call. “I'm not in. I'm actually out.” In and out of what? Of the building, technically. Figuratively, he's not in time but outside it, out of the time line Agent Coulson is on, apart from this domain's space-time continuity. To really get this you have to consider the action of the scene. He's just landed on the Stark Tower, a space-time ark. It has just been disconnected from the grid to become independent of the earthly space-time domain. He's not in time but out of time. He was under water, now he's out.
A garment change signals a domain-specific body change, remember. During the conversation with Jarvis, Iron Man is in the process of having his garment-body changed to his Tony Stark body of enhanced human flesh. The garment / domain changing process is something the film frequently makes a big deal of modeling. The unclothing device looks like a ringed stargate and in passing through it Iron Man-becoming-Tony Stark descends steps, which means entering a lower dimensional realm. The stairs speak to me of the biblical mecilah. Think Led Zeppelin's Stairway To (/ from) Heaven.
Jarvis: “Sir. I'm afraid he's insisting.” Tony: “Grow a spine, Jarvis, I've got a date.” A date is an appointment scheduled for a specific time - yet another time reference. A spine is linear and it provides a structure. A linear time line with regular units marked off like vertebra on a spine gives structure to time.
Tony tells Pepper: “Stark Tower is your baby. Give yourself 12% of the credit. ” He associates the number 12, a time number, with the space-time ark tower. Think, Revelation 12, where a prominent metaphor is water-as-time! A sign is seen in the heavens (like the Tower sign they are about to discuss), a sign of a woman who is about to give birth. This follows one messianic reference with another. The sign involving Virgo as the heavenly woman precisely identifies the very moment in time when the messiah was born by means of the celestial-terrestrial clock. (When Jesus was Born - The Celestial Signs) It should be observed that when a woman gives birth, her water breaks. What do you usually hear next? It's time!
Side note: A celestial event in the sky right now, last night and tonight, is being linked by some to what they call the Star of Bethlehem. It involves the bright planets Jupiter and Venus. “Astronomers call these celestial meetups conjunctions. And this is the second in a series of three between Venus and Jupiter in over a year. The cosmic duo were a bit tighter on August 18, 2014, and will be a tad farther apart in their next encounter at dawn on October 26.” Although what already happened in 1991 was the big deal, celestial signs continue to call attention to the significance of the season. The grand celestial clockworks, according to Genesis 1:14-18, are for signs to mark seasons and days and years.
Tony brings up a security breach involving the building and its elevators. Those ascend and descend between floors of a building as traveling between realms through space-time. On the subject of giving Pepper credit, Tony says, “I tell you what. The next building is going to say, Potts, on the tower.” Pepper replies, “On the lease.” Again, “next,” in sequence of time. A lease is a kind of contract that involves a well defined space and a fixed period of time.
Tony: “Call your Mom. Can you bunk over?” A mention of Mom immediately repeats the baby birth / motherhood subject to support the allusion to Revelation 12. Tony's asking if she can bunk over presents us with a coded reference to space to go along with the time references. Bunk beds are one bed above another. Bunk over. Bed over bed. The point of bunk beds is to conserve SPACE. She would be requesting to bunk over for a specified period of TIME, like one night.
During that discussion, Pepper pours them some champagne. She walks over and steps down to descend into a circular space known as a conversation pit. Pit. Abyss. As Tony brings up the security breach, she ritually demonstrates just such a thing. Her left hand reaches for a glass, and on her left wrist is a watch. A timepiece.
So equipped, she breaches the secure perimeter of an aptly defined space-time zone, the drink service tray. Like Steve Rodgers leaving the boxing gym while he's still wearing his gym clothes because he's got the 70 pound Everlast bag filled with the sands of time. As Pepper pulls the bottle out of the ice bucket we hear the sound of shifting ice. Frozen water as time, displaced. Champagne isn't water but the liquid provides the same meaning, and time is figuratively transferred from one container into another as she pours. Notice how the design of the tray conceals the fish swimming in both directions around in a circle, as in water. And, like opposing beams of electrons in a particle collider. Remember the context and the accelerator test facility and Project Pegasus. (Pepper Potts. P P ~ 11 11 when z=1) We may also compare the suspected technology (counter rotating ring EM / gravity propulsion) and purpose (space-time travel) of Die Glocke, the Nazi bell. The vesica piscis or ichthus ring around the tray, connecting and alternating the intersecting arcs with rectangles. Square: Space. Circles, the arcs of which intersect to form the vesica piscis: Time. Space-Time. The arcs - space-time arcs-arks. Crossed circles: Mark of the Beast. Familiar routine, right? The design of the glasses provide for more cross circle imagery for redundancy and thus more potent theurgy.
On the matter of space-time breach signaling watches and drink service in films, remember Decoding "The Penitent Man", parts 10 and 11?
The phone rings. Agent Coulson again. Jarvis: “Sir the telephone. I'm afraid my protocols have been overwritten.” This overwriting of the protocols points to a hack of the higher dimensional security system that exists outside this time-space domain, of a kind where authority is being asserted over the domain.
Phil: “Mr Stark. We need to talk.” Tony: “You have reached the life model decoy of Tony Stark. Please leave a message.” “This is urgent.” “Then leave it urgently.” Immediately, the elevator doors open and there's Phil. Tony: “Security breach! It's on you.” Phil: “I can't stay.” Why can't he stay? Does he need to say it? He doesn't have TIME, of course! “We need you to look this over - as soon as possible.” More attention is given to time.
Phil overwrote the protocols of Jarvis, the personal assistant personality (and straight man to Tony's quips) that is the Tower's AI control system. Phil was able to override the communications interface and also gain unauthorized access to the building, including elevators, even the owner's private elevator. This is the illustration of the security breaching agent of the dragon, seizing control of time and thereby acquiring the authority to access the formerly secure heavenly domains of his enemy.
Tony feigns jealousy over Pepper being on a first name basis with their visitor. “His first name is Agent.” Put it together. Agent Coulson. AC. (As Skye refers to him occasionally in the Agents of SHIELD series.) AC = Antichrist.
Here's a clever bit, building off the drink service scene. There's a leading and misdirection as Phil tries to give Tony the briefing device. Tony: “I don't like being handed things.” Pepper: “That's fine because I love to be handed things, so let's trade. Thank you.” While the most obvious thing being handed over is the briefing device, give attention to the other handed things in the scene. Drinks are handed over, liquid-as-time in space-time styled vessels. Watch the exchange closely as Pepper passes the briefing device from Phil to Tony. Two drinks are received into the only two hands with wristwatches. Their analog wristwatches are handed things that mark the passing of time; hours, minutes and perhaps seconds, if there's a second hand or two!
“Official consulting hours are between 8 and 5 every other Thursday.” The NLP continues to build as Tony identifies a very specific period of time.
Tony: “Ms. Potts. Got a second?” Pepper excuses herself, offering to Phil: “Have a moment.” And, on it goes.
Tony to Pepper: “You know, I thought we were having a moment.” Pepper: “I was having 12% of a moment.” Again, that distinctive use of the time word, moment. And, again, the time number 12 is heard, here, as a modifier of the period of time! Percent, written as a sign, is a circle across from a circle, a cross circle MOB signal.
Tony questions Pepper, still feigning jealousy. “Why is he, Phil?” It begs reflection on the previous scene where Steve Rogers had said, “I slept for 70 years, sir. I think I've had my fill.” Phil, or fill, of time!
After seeing the briefing video and the reason for Phil's urgency, Pepper tells Tony, “I'm going to take the jet to DC tonight.” Tony's response: “Tomorrow.” We revisit the earlier conversation, with greater emphasis on the time elements.
Pepper: “You have homework. You have a lot of homework.” “Well, what if I didn't?” “If you didn't? You mean, when you've finished? Well. Um. Then...” Pepper draws attention to Tony's response, which lacks any reference to the passage of time. Her correction addresses that neglect. The NLP must be reinforced, after all.
After Pepper whispers something privately in Tony's ear, he responds. “Square deal. Flash Date.” Square: A space symbol. Flash Date: Spontaneous, and yet also an appointed time and place. Space-time!
As Pepper leaves, an arrangement is made with Phil to drop her off at the airport, and there's another allegory in play. Tony made sure that we identify Phil as Agent Coulson, or AC. Pepper's going to DC. You might read a bisexual reference into that, but there doesn't seem to be much support for it in the context. However, if you compare that scene closer with the scene opener, you'll find points of comparison. She's going with AC to LaGuardia, then on to DC. Power mode change from alternating current to direct current. Through LaGuardia. LaGuardia as Stark Tower, where another kind of power transition was just celebrated. They transitioned from power grid to arc reactor. LaGuardia: from the definite article la + guardia 'lookout (tower)', a topographic name for someone who lived near a watchtower or an occupational name for someone who kept watch. A WATCH TOWER.
When the scene transitions into the next, we see a large expanse of water (as time). It's not Pepper jetting to DC, but a jet does fly low over the surface to maintain the now expected continuity through the scene transition.
Why saturate those scenes with cryptic space time symbolism? This is how the theurgist ascends into the presence of the gods, and how beans are spilled in Occult ritual about the Adversary's plans.
More to follow, Lord willing.
Tuesday, June 30, 2015
Part 1 - The Avengers - STARK Tower as Space-Time Ark - Fury Recruits Captain America
It's not at all rare to see the subject of time-space manipulation in the media these days because it's all over the news as well as entertainment productions. We watch and see what we see, according to the Lord's command for His saints in such as Mark 13:37. What's most interesting is when the space-time manipulation theme is embedded in the language of symbolism, like in The Avengers (2012). The theme is not only central to the plot, but two or more of the scenes are drenched in space-time symbolism. It's in the script, which is loaded with NLP, and it's in the visual imagery of the set and the action. This covert messaging is an expression of theurgy, an operation of mind-control programming, and ritual magick. For us, it provides a window of insight into the Adversary's intentions and how Bible prophecy is playing out in this amazing season.
The main point I want to make in this post is how the idea of a space-time ark is being promoted as central to an interdimensional war over humanity. What I've been writing about for the last few months and primarily showing from the text of the Bible is also the stuff of pop culture media, and it has been for a very long time. (Search this blog for time ark for more insight.) A reset of time itself is coming that will result in a time truncation. It will become necessary due to the consequences of an interdimensional war that will be (or, is being) fought with weapons of time-space manipulation. While this lengthy post was being written, the Lord provided some extremely interesting validation, which I will probably be writing about soon.
I'm assuming that you're already pretty familiar with the film that is the subject of this post. Briefly, the plot revolves around the Tesseract, a mysterious alien artifact that can function as a power source and a space-time portal. That higher-dimensional cube is activated very early to open a passage from the other side, through which the demigod Loki makes his entrance into this world and realm. The Tesseract is stolen from SHIELD and harnessed to open a dimensional portal through which alien invaders come, who wage war in an effort to destroy humanity. The portal opens right above the Stark Tower because the Tesseract was placed inside a device that was set up on the Tower's highest level.
It's fitting that the celestial Silver Gate is inherent in the location because the Stark Tower is in New York City, in Manhattan, replacing the MetLife building. There's a lot to explore in the film, including connections to the Grand Central Terminal and CERN's LHC.
Prior to the theft, the Tesseract was being studied inside a particle accelerator facility. It had been placed into the energy beam, and on the other side it was perceived as having been awakened. When the Tesseract was operated from the other side, that's when a blue beam shot out and Loki appeared as through a stargate. Links to CERN's LHC supercollider are unavoidable. When that controversial machine was fired up in the first run, strange beings appeared and were witnessed by many. Here's a sign from the film. Literally.
The Tesseract was being studied at a facility called Joint Dark Energy Station, Western Division. Project Pegasus. NASA Space Radiation Facility. S.H.I.E.L.D. Accelerator Test Facility.
The entire time the sign is in view we see shadowy figures, most of them speeding by. Shadowy figures. Not unlike those seen in the SYMMETRY Dance-Opera film sponsored by CERN. They are the beings on the other side, waiting to come through to this space-time realm. (Web search project pegasus time travel montauk for insight into why The Avengers is making that connection.)
Here's another sign. The design of the owner's name on the Tower suggests that it's a space-time ark. It's subtle, but notice how the alignment of the letters and the shifted encircling line divides the word, STARK, into ST and ARK.
Comparing this design to the title graphic of Stitchers, the new series on the ABC Family network, the lengthened ascender of the letter A appears to be a slash character, and this might be a model for the Stitchers title. A slash is used as a separator. ST slash. Space-Time - separator. Space-time ark.
Here's a couple more observations about the Stitchers title. The slash is through two letters, TI. That's the standard designation for the metal titanium. It was named for the Titans of Greek mythology, the earliest class of gods. References to this metal can signal Code 47 (Osiris + Isis produces Horus) because the atomic mass of Titanium is 47.867. Because the shape cut off as the dot of an “i” suggests the triangle eye floating above the pyramid on the Great Seal of the USA, which is the all-seeing Eye of Horus, and it's called out as the “i” of Horus for yet another layer of redundancy.
I note with interest that the Occult gematria of STITCHERS is 121, and 122 where Z=1. Given our recent focus of attention on 12:21 and 21-22 combos that observation seems well worth noting here.
The Occult gematria of STARK is very significant. It's 19+20+1+18+11 = 69. That's what I consider to be the double digit number signaling the mark of the beast transformation, and I've noted plenty of related XO MOB imagery associated with the Tower. With Z=1 in the mirrored gematria, STARK calculates as 8+7+26+9+16 = 66. That's the number for the abyss, yes, the watery deep, and as you'll soon see this is a very fit identification. The Stark Tower is on Manhattan, an island. Man+Atun. Man god beast, surrounded by water-as-time, arising out of water-as-time.
In the film, the Tower doesn't function like The Time Machine of H. G. Wells, Dr. Who's phone booth or Mr. Peabody's Way Back Machine. Instead, it's represented as a modern Tower of Babel, a special platform where access is opened into the heavenly dimension. This connection between the two towers is made in ways that are cryptic but there's enough evidence to suggest that this is intended. The Tower is an independent operational interface between realms.
The scenes of primary interest happen early in the film, after the crisis has been introduced and while the Avengers team is being assembled. The Tower is introduced when Agent Coulson is about to recruit Tony Stark / Iron Man. Just before that, Nick Fury, Director of SHIELD, recruits Steve Rogers / Captain America while he's working out in a nostalgic looking boxing gym. I found a clip of this scene on YouTube. You'll probably want to watch it now and keep it open in another tab or window for reference.
The AVENGERS - Captain Rogers [America] HD
While Director Nick Fury is making a pitch to a council of overseers, we hear a councilman say, “War isn't won by sentiment, Director.” Fury responds with dramatic emphasis. “No. It's won by soldiers.” The scene cuts to a boxing ring where we see Captain Steve Rodgers working out with a heavy punching bag. Our first sign is the brand label on the boxing gloves. Everlast. Like, everlasting; it's a time reference. Flashbacks to the past reveal what's on his troubled mind, scenes of some battles he fought during WWII. Through the transition from scene to scene, the overt context is WAR! This is about space-time warfare!
At almost 21 minutes into the movie (not the clip), this is what we hear. “There's not enough time. I've got to put her in the water.” Okay, if you've been paying attention to this blog that should flag your attention and put you on the alert for symbols like water-as-time. Just before the scene transition, a glass of water (as time) is being used as a prop and occasionally given a central position on screen. This is done while Fury makes the urgency of the situation his main argument. Urgency has to do with the passage of time. What follows is an abundance of imagery echoing that same theme.
As the time counter on the video player ticks over to the 21 minute mark, and the number 21 means time, it's apparent that the airplane Steve is piloting is crashing into the water. (Backstory is from the film, Captain America, The First Avenger.) Very briefly we're shown the Tesseract, which an earlier scene had demonstrated to be a space-time portal. The Tesseract is with him when he crashes into the sea, but there's more going on here. When the airship and pilot would penetrate the surface of the water, that action represents the breaching of a time-space barrier.
We see the body of Captain America, partially encased in melting ice. Ice is frozen water, which is frozen or stopped time. From the time of the crash until he was thawed out, Cap was in a state of suspended animation like a deep sleep where the passage of time had no effect on him.
We hear someone exclaim, “Oh my god! This guy's still alive!” When someone on screen utters those words, they're usually telling you that there's a symbolic level where they have just encountered a god. That god was still alive. He was, is not and will be, it could be said. As from out of the past, he emerged from the sea like the beast of Revelation 13:1. Captain America. Amaru, aka Osiris, whose parts were collected from the Nile (the river of time) and regenerated by Isis to produce Horus. (similar sounds, Isis ~ ice) Cap's shield bears the pentacle that is the ancient sign of the celestial goddess of the sea, Venus, aka Isis. The patriotic shield's magical sigil that is the pentacle is also the Egyptian hieroglyph for the duat, the underworld.
Cap is worked up and he punches the bag so hard that it flies off the chain (theurgy - seirai) and slides over to the wall, ruptured, spilling out sand. The sands of time have spilled out of the bag, time uncontained, lost. Motion, ceased.
When the bag and sand fly through the air, think, tempus fugit. It comes to rest under the water fountain. That's a WATER-as-time fountain, where no cool water happens to be flowing. Right behind the bag we see a radiator, and hidden inside may be flowing steam and hot water-as-time. Some of the shots of Steve punching the bag are lined up to show us the water fountain and radiator being occulted by the swinging bag of sand. Stacking or layering related symbols is an expression of theurgy.
Steve sends the bag flying with a powerful right cross. The bag is cylindrical so it has a circular cross section. He hit it with a right cross. Bam. Cross circle. Mark of the Beast! Lined up behind him is a rounded square column. Squared Circle. The boxing ring is known as a squared circle. Technically, things called rings are round, right? That has rich meaning, signaling ritual sodomy and mind control programming. That biological-spiritual mechanism is exploited to create supersoldiers, like Steve Rogers. The squared circle construction is also a geometrical representation of time-space and the exercise of control over it. A boxing ring ~ space-time war. When the bag is punched so hard that it goes flying through the air, the squared circle of the boxing ring is seen behind it. There's a prominent square shape cut into the floor. When the cylindrical bag flies by it, yet another layer of circle square imagery appears.
Right near Cap's head - at 21:12 film time, and 12 is another primary time number, we see a clock behind him on the wall being covered and uncovered by his head - as he turns around. (uhhhh, think, ELO - Fire on High - “The music is reversible, but time... turn back, turn back, turn back, turn back”) His head was occulting the timepiece as he turned around, at 21:12. You're familiar with what I've been writing about 12:21, right? A clock, of course, is for measuring and accounting the passage of time.
So, are the themes becoming really obvious?
Cap walks over and picks up another bag. It's one of six in a line so there are seven total, including the one at rest under the fountain. Seven bags of sand means seven units of time. The bags are the heavy-bag kind, and the brand is Everlast. Like the boxing gloves seen hanging on the ropes. Everlast. Think about it. An Everlast punching bag and boxing gloves. Time wars. The bags are probably the standard 70 pound kind. Daniel 9 famously describes sets of sevens, 7 and 62 and 1 and 70. Coincidence? Doubtful. At the 12:21-22 time marker, Steve hangs the second punching bag on the chain. Meaning: Time transition. I reflect on all the verses numbered 21-22 and other sets with that numbering that the Lord was highlighting to Aaron and I during this past Pesah, a transitional season.
So, the squared circle pairing is a space-time symbol combo and so is the practically identical cross circle or XO. Each heavy bag is attached with four chains. Seen from above, the form presented is the familiar XO. It's signaling space-time and also the mark of the beast. It's also the heart of the sigil of Nodens, the god of the watery abyss.
The many columns in the gym are symbolic objects with meaning that should be familiar. They are used in Illuminati trauma-based mind-control for what's called time travel programming. That's probably because of the assigned meaning that goes back to ancient times, where heaven and earth are seen as connected by columns, and transited also. The ones in the gym are padded, which speaks to the padded rooms of mental asylums for more trauma-based mind-control symbolism. The row of Xs in the stitching forms water glyphs, aligned vertically. The marking of dimensional gates (windows, doors, bridges, columns...) with X X is hugely popular in film and TV sets.
When Fury walks in, he asks, “Trouble sleeping?” Steve replies, “I slept for 70 years, sir, I think I've had my fill.” Right. 70 years. His fill is a full measure of time - 70 years. That's a fullness of time period like an Everlast heavy-bag filled with 70 pounds of sand. Fury's retort: “Then you should be out, celebrating, seeing the world.” The world. Space. Put it together. Time and Space. Daniel 9 refers to the full span of time that had been revealed to the prophet Jeremiah for the exile in Babylon: 70 years. I see an even far more compelling connection here with Enoch and a 70 generations long term of imprisonment, because those responsible for the flood of Noah's day want so badly to be released back into the world, to celebrate with the bringing of destruction. They are THE AVENGERS, with all the agents allied with them. One of the main objectives in the time war is to impact the countdown timer on the time-lock of their containment system, to set them free in a manipulated early release.
Steve responds, “When I went under the world was at war. When I wake up they say we won. They didn't say what we lost.” What did Steve lose but time? Seventy years got away from him. Gone. He makes reference to the passage of time, and war. When he went under, what was it that he went under? Water. Under time. Into the UNDERworld. Fury: “We've made some some mistakes along the way. Some very recently.” “Along the way.” “Very recently.” Emphasis: Through space and time.
Steve: “Are you here with a mission sir?” Aaron and I have been discussing a time mission for years, how Matthew 24:22 bears witness to such a thing. The elect saints will be engaged as the benefactors in a truncating of time relative to megas thlipsis. An ark is for salvation, the saving of flesh. The time ark concept. Fury's response to Steve's question is succinct. “I am.” Right. That's a coded reference to the identity of The One who commissioned Moses at the burning bush on Mount Sinai. Moses himself had been saved in an ark, spared certain death by being floated on the Nile to be found and raised by the Pharaoh's daughter. He was commissioned by I AM to save Israel by passing them safely through the Sea of Reeds, as by another kind of time ark, on dry land. Dry. Absence of water-as-time. Fury, a counterfeit I AM, has the eye patch, the darkened eye of Horus, of course, so he's an antichrist type like all the other characters. Steve: “Trying to get me back in the world?” Hmmm. NLP. “Get me back” hints of revenge, of avenging, but think on this: The mission is first to get the demigod Amaru back into this space-time domain. Fury: “Trying to save it.” Yeah, saving it requires a savior of the world, a messianic agent. There is a time ark mission that involves bringing the fraudulent savior into the world. We saw that already with Loki, but the modeling repeats in varied shadowy ways.
Fury hands Steve a dossier and we see the Tesseract featured. Steve says it's HYDRA's secret weapon. Let's take a closer look at that.
Everything HYDRA is related to water, like the word, hydro. Water-as-time.
While the Marvel productions remind us regularly of HYDRA's growing of more heads to replace each one that is cut off, I don't recall hearing this beast's job mentioned. HYDRA's namesake is the legendary guardian of the entrance to the underworld that is beneath the waters. (Seen “Pacific Rim” lately?) This identification is key, and with Steve's observation that the Tesseract is HYDRA's secret weapon, we can interpret the realm accessed using the Tesseract to be the underworld. This actually involves some flip-flopping. The dimensional gateway opening has to do with water, or literally with time.
The HYDRA logo looks like an Octopus and totenkopf (Nazi SS) or a variant on the skull and bones. To call it an allusion to H. P. Lovecraft's Cthulhu mythos is no stretch. Leviathan? Yes, indeed. Decoding the logo, we only see 6 appendages, three on each side. Code 33. The curling tentacles present an obvious 666 on our left, and a mirror of it on the right. With 6 numbers 6 thus written out for us, the numbering of the watery abyss is signaled; 66. HYDRA - Water beast of the abyss. The encircling of the imagery adds another 6 (O ~ 15 ~ 1+5) to provide redundancy in support of the 666 read directly on the left and on the the mirrored side. The HYDRA brand is also an XO MOB symbol. Including the head, there are 7 appendages to this beast. We see that SHIELD has assigned this matter a Security Level 7. Seven. It's another time number.
Here's some bonus imagery. Nexxus. HydraLight
After Steve's comment about the Tesseract being HYDRA's secret weapon, Fury says, “Howard Stark fished it out of the ocean when he was looking for you. He thought what we think. The Tesseract could be the key to unlimited sustainable energy. That's something the world sorely needs.” He emphasizes the words, “fished it out,” and we immediately see the fishy octupus-like figure in the document held by Steve. I believe there's a messianic reference being implied in the emphasis on the fish. (We'll see this interpretation validated with a later reference.) Isis searched for and found Osiris and then fished the parts of her dead husband / brother out of the water, except for his phallus, because it had been eaten by a fish. Why bring up the phallus of Osiris? In last season's SHIELD TV series, the Macguffin was a mystical alien obelisk. An obelisk is the phallus of Osiris. The comment Fury made about the world sorely needing unlimited sustainable energy is another dose of green propaganda from the Big Green Propaganda Machine that drives the world today, but there's more to it than just that. For one thing, there's the coded NLP reference to space-time in the mention of the ocean and the world in the same snippet of dialog. We're going to hear Iron Man voicing the green mantra in the next scene.
Director Fury's last line in the gym is a question. “Is there anything you can tell us about the Tesseract that we ought to know now?” The word, now, is superfluous, linguistally, but repetition serves to strengthen the NLP with additional time word content. Steve responds, “You shoulda left it in the ocean.” In the ocean, where it was figuratively lost in time.
Before moving on we should give our attention to what Steve is doing as the scene ends. He is leaving the gym. He picks up one of the heavy-bags and throws it over his right shoulder. With his gym bag in his other hand, he walks out through a passageway built with secure looking chain-link fencing. Why would he remove a heavy-bag from the gym? It makes sense to bring a heavy-bag the other way, to the gym, because that's where you use them. The bag represents a large unit of time, probably heptadic. (I note that it's #3 of 7 in sequence, leaving 4 remaining on the floor.) We see him carry it out past the columns, representing time travel, passing through the steel or iron gate, the dimensional barrier. He removes it from the gym. A large unit of time was removed from the time-space domain. Time truncation. While he models to us the removal of a fixed amount of time from the closed system, his commentary gives us something to think about. “You shoulda left it in the ocean.” There's a dark agenda being served by the removal of time from the domain, and I'm not referring to the fictional Marvel universe. The Everlast bag filled with the sands of time wasn't the only thing Steve took. What was in the gym bag? Gym bags typically contain clothing, garments. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments. How could Steve leave the gym without changing his garments? Well, because he took the bag of sand with him. He has time, and control of time, for a fixed season, and that provides access to multiple domains.
To be continued, Lord willing.
The main point I want to make in this post is how the idea of a space-time ark is being promoted as central to an interdimensional war over humanity. What I've been writing about for the last few months and primarily showing from the text of the Bible is also the stuff of pop culture media, and it has been for a very long time. (Search this blog for time ark for more insight.) A reset of time itself is coming that will result in a time truncation. It will become necessary due to the consequences of an interdimensional war that will be (or, is being) fought with weapons of time-space manipulation. While this lengthy post was being written, the Lord provided some extremely interesting validation, which I will probably be writing about soon.
I'm assuming that you're already pretty familiar with the film that is the subject of this post. Briefly, the plot revolves around the Tesseract, a mysterious alien artifact that can function as a power source and a space-time portal. That higher-dimensional cube is activated very early to open a passage from the other side, through which the demigod Loki makes his entrance into this world and realm. The Tesseract is stolen from SHIELD and harnessed to open a dimensional portal through which alien invaders come, who wage war in an effort to destroy humanity. The portal opens right above the Stark Tower because the Tesseract was placed inside a device that was set up on the Tower's highest level. It's fitting that the celestial Silver Gate is inherent in the location because the Stark Tower is in New York City, in Manhattan, replacing the MetLife building. There's a lot to explore in the film, including connections to the Grand Central Terminal and CERN's LHC.
Prior to the theft, the Tesseract was being studied inside a particle accelerator facility. It had been placed into the energy beam, and on the other side it was perceived as having been awakened. When the Tesseract was operated from the other side, that's when a blue beam shot out and Loki appeared as through a stargate. Links to CERN's LHC supercollider are unavoidable. When that controversial machine was fired up in the first run, strange beings appeared and were witnessed by many. Here's a sign from the film. Literally.
The Tesseract was being studied at a facility called Joint Dark Energy Station, Western Division. Project Pegasus. NASA Space Radiation Facility. S.H.I.E.L.D. Accelerator Test Facility.
The entire time the sign is in view we see shadowy figures, most of them speeding by. Shadowy figures. Not unlike those seen in the SYMMETRY Dance-Opera film sponsored by CERN. They are the beings on the other side, waiting to come through to this space-time realm. (Web search project pegasus time travel montauk for insight into why The Avengers is making that connection.) Here's another sign. The design of the owner's name on the Tower suggests that it's a space-time ark. It's subtle, but notice how the alignment of the letters and the shifted encircling line divides the word, STARK, into ST and ARK. Comparing this design to the title graphic of Stitchers, the new series on the ABC Family network, the lengthened ascender of the letter A appears to be a slash character, and this might be a model for the Stitchers title. A slash is used as a separator. ST slash. Space-Time - separator. Space-time ark.
Here's a couple more observations about the Stitchers title. The slash is through two letters, TI. That's the standard designation for the metal titanium. It was named for the Titans of Greek mythology, the earliest class of gods. References to this metal can signal Code 47 (Osiris + Isis produces Horus) because the atomic mass of Titanium is 47.867. Because the shape cut off as the dot of an “i” suggests the triangle eye floating above the pyramid on the Great Seal of the USA, which is the all-seeing Eye of Horus, and it's called out as the “i” of Horus for yet another layer of redundancy. I note with interest that the Occult gematria of STITCHERS is 121, and 122 where Z=1. Given our recent focus of attention on 12:21 and 21-22 combos that observation seems well worth noting here.
The Occult gematria of STARK is very significant. It's 19+20+1+18+11 = 69. That's what I consider to be the double digit number signaling the mark of the beast transformation, and I've noted plenty of related XO MOB imagery associated with the Tower. With Z=1 in the mirrored gematria, STARK calculates as 8+7+26+9+16 = 66. That's the number for the abyss, yes, the watery deep, and as you'll soon see this is a very fit identification. The Stark Tower is on Manhattan, an island. Man+Atun. Man god beast, surrounded by water-as-time, arising out of water-as-time.
In the film, the Tower doesn't function like The Time Machine of H. G. Wells, Dr. Who's phone booth or Mr. Peabody's Way Back Machine. Instead, it's represented as a modern Tower of Babel, a special platform where access is opened into the heavenly dimension. This connection between the two towers is made in ways that are cryptic but there's enough evidence to suggest that this is intended. The Tower is an independent operational interface between realms.
The scenes of primary interest happen early in the film, after the crisis has been introduced and while the Avengers team is being assembled. The Tower is introduced when Agent Coulson is about to recruit Tony Stark / Iron Man. Just before that, Nick Fury, Director of SHIELD, recruits Steve Rogers / Captain America while he's working out in a nostalgic looking boxing gym. I found a clip of this scene on YouTube. You'll probably want to watch it now and keep it open in another tab or window for reference.
The AVENGERS - Captain Rogers [America] HDWhile Director Nick Fury is making a pitch to a council of overseers, we hear a councilman say, “War isn't won by sentiment, Director.” Fury responds with dramatic emphasis. “No. It's won by soldiers.” The scene cuts to a boxing ring where we see Captain Steve Rodgers working out with a heavy punching bag. Our first sign is the brand label on the boxing gloves. Everlast. Like, everlasting; it's a time reference. Flashbacks to the past reveal what's on his troubled mind, scenes of some battles he fought during WWII. Through the transition from scene to scene, the overt context is WAR! This is about space-time warfare!
At almost 21 minutes into the movie (not the clip), this is what we hear. “There's not enough time. I've got to put her in the water.” Okay, if you've been paying attention to this blog that should flag your attention and put you on the alert for symbols like water-as-time. Just before the scene transition, a glass of water (as time) is being used as a prop and occasionally given a central position on screen. This is done while Fury makes the urgency of the situation his main argument. Urgency has to do with the passage of time. What follows is an abundance of imagery echoing that same theme.
As the time counter on the video player ticks over to the 21 minute mark, and the number 21 means time, it's apparent that the airplane Steve is piloting is crashing into the water. (Backstory is from the film, Captain America, The First Avenger.) Very briefly we're shown the Tesseract, which an earlier scene had demonstrated to be a space-time portal. The Tesseract is with him when he crashes into the sea, but there's more going on here. When the airship and pilot would penetrate the surface of the water, that action represents the breaching of a time-space barrier.
We see the body of Captain America, partially encased in melting ice. Ice is frozen water, which is frozen or stopped time. From the time of the crash until he was thawed out, Cap was in a state of suspended animation like a deep sleep where the passage of time had no effect on him.
We hear someone exclaim, “Oh my god! This guy's still alive!” When someone on screen utters those words, they're usually telling you that there's a symbolic level where they have just encountered a god. That god was still alive. He was, is not and will be, it could be said. As from out of the past, he emerged from the sea like the beast of Revelation 13:1. Captain America. Amaru, aka Osiris, whose parts were collected from the Nile (the river of time) and regenerated by Isis to produce Horus. (similar sounds, Isis ~ ice) Cap's shield bears the pentacle that is the ancient sign of the celestial goddess of the sea, Venus, aka Isis. The patriotic shield's magical sigil that is the pentacle is also the Egyptian hieroglyph for the duat, the underworld.
Cap is worked up and he punches the bag so hard that it flies off the chain (theurgy - seirai) and slides over to the wall, ruptured, spilling out sand. The sands of time have spilled out of the bag, time uncontained, lost. Motion, ceased.
When the bag and sand fly through the air, think, tempus fugit. It comes to rest under the water fountain. That's a WATER-as-time fountain, where no cool water happens to be flowing. Right behind the bag we see a radiator, and hidden inside may be flowing steam and hot water-as-time. Some of the shots of Steve punching the bag are lined up to show us the water fountain and radiator being occulted by the swinging bag of sand. Stacking or layering related symbols is an expression of theurgy. Steve sends the bag flying with a powerful right cross. The bag is cylindrical so it has a circular cross section. He hit it with a right cross. Bam. Cross circle. Mark of the Beast! Lined up behind him is a rounded square column. Squared Circle. The boxing ring is known as a squared circle. Technically, things called rings are round, right? That has rich meaning, signaling ritual sodomy and mind control programming. That biological-spiritual mechanism is exploited to create supersoldiers, like Steve Rogers. The squared circle construction is also a geometrical representation of time-space and the exercise of control over it. A boxing ring ~ space-time war. When the bag is punched so hard that it goes flying through the air, the squared circle of the boxing ring is seen behind it. There's a prominent square shape cut into the floor. When the cylindrical bag flies by it, yet another layer of circle square imagery appears.
Right near Cap's head - at 21:12 film time, and 12 is another primary time number, we see a clock behind him on the wall being covered and uncovered by his head - as he turns around. (uhhhh, think, ELO - Fire on High - “The music is reversible, but time... turn back, turn back, turn back, turn back”) His head was occulting the timepiece as he turned around, at 21:12. You're familiar with what I've been writing about 12:21, right? A clock, of course, is for measuring and accounting the passage of time.
So, are the themes becoming really obvious?
Cap walks over and picks up another bag. It's one of six in a line so there are seven total, including the one at rest under the fountain. Seven bags of sand means seven units of time. The bags are the heavy-bag kind, and the brand is Everlast. Like the boxing gloves seen hanging on the ropes. Everlast. Think about it. An Everlast punching bag and boxing gloves. Time wars. The bags are probably the standard 70 pound kind. Daniel 9 famously describes sets of sevens, 7 and 62 and 1 and 70. Coincidence? Doubtful. At the 12:21-22 time marker, Steve hangs the second punching bag on the chain. Meaning: Time transition. I reflect on all the verses numbered 21-22 and other sets with that numbering that the Lord was highlighting to Aaron and I during this past Pesah, a transitional season.
So, the squared circle pairing is a space-time symbol combo and so is the practically identical cross circle or XO. Each heavy bag is attached with four chains. Seen from above, the form presented is the familiar XO. It's signaling space-time and also the mark of the beast. It's also the heart of the sigil of Nodens, the god of the watery abyss.
The many columns in the gym are symbolic objects with meaning that should be familiar. They are used in Illuminati trauma-based mind-control for what's called time travel programming. That's probably because of the assigned meaning that goes back to ancient times, where heaven and earth are seen as connected by columns, and transited also. The ones in the gym are padded, which speaks to the padded rooms of mental asylums for more trauma-based mind-control symbolism. The row of Xs in the stitching forms water glyphs, aligned vertically. The marking of dimensional gates (windows, doors, bridges, columns...) with X X is hugely popular in film and TV sets.
When Fury walks in, he asks, “Trouble sleeping?” Steve replies, “I slept for 70 years, sir, I think I've had my fill.” Right. 70 years. His fill is a full measure of time - 70 years. That's a fullness of time period like an Everlast heavy-bag filled with 70 pounds of sand. Fury's retort: “Then you should be out, celebrating, seeing the world.” The world. Space. Put it together. Time and Space. Daniel 9 refers to the full span of time that had been revealed to the prophet Jeremiah for the exile in Babylon: 70 years. I see an even far more compelling connection here with Enoch and a 70 generations long term of imprisonment, because those responsible for the flood of Noah's day want so badly to be released back into the world, to celebrate with the bringing of destruction. They are THE AVENGERS, with all the agents allied with them. One of the main objectives in the time war is to impact the countdown timer on the time-lock of their containment system, to set them free in a manipulated early release.
Steve responds, “When I went under the world was at war. When I wake up they say we won. They didn't say what we lost.” What did Steve lose but time? Seventy years got away from him. Gone. He makes reference to the passage of time, and war. When he went under, what was it that he went under? Water. Under time. Into the UNDERworld. Fury: “We've made some some mistakes along the way. Some very recently.” “Along the way.” “Very recently.” Emphasis: Through space and time.
Steve: “Are you here with a mission sir?” Aaron and I have been discussing a time mission for years, how Matthew 24:22 bears witness to such a thing. The elect saints will be engaged as the benefactors in a truncating of time relative to megas thlipsis. An ark is for salvation, the saving of flesh. The time ark concept. Fury's response to Steve's question is succinct. “I am.” Right. That's a coded reference to the identity of The One who commissioned Moses at the burning bush on Mount Sinai. Moses himself had been saved in an ark, spared certain death by being floated on the Nile to be found and raised by the Pharaoh's daughter. He was commissioned by I AM to save Israel by passing them safely through the Sea of Reeds, as by another kind of time ark, on dry land. Dry. Absence of water-as-time. Fury, a counterfeit I AM, has the eye patch, the darkened eye of Horus, of course, so he's an antichrist type like all the other characters. Steve: “Trying to get me back in the world?” Hmmm. NLP. “Get me back” hints of revenge, of avenging, but think on this: The mission is first to get the demigod Amaru back into this space-time domain. Fury: “Trying to save it.” Yeah, saving it requires a savior of the world, a messianic agent. There is a time ark mission that involves bringing the fraudulent savior into the world. We saw that already with Loki, but the modeling repeats in varied shadowy ways.
Fury hands Steve a dossier and we see the Tesseract featured. Steve says it's HYDRA's secret weapon. Let's take a closer look at that.
Everything HYDRA is related to water, like the word, hydro. Water-as-time.
“In Greek mythology, the Lernaean Hydra was an ancient serpent-like water monster with reptilian traits. It possessed many heads – the poets mention more heads than the vase-painters could paint – and for each head cut off it grew two more. It had poisonous breath and blood so virulent that even its scent was deadly. The Hydra of Lerna was killed by Heracles as the second of his Twelve Labours. Its lair was the lake of Lerna in the Argolid, though archaeology has borne out the myth that the sacred site was older even than the Mycenaean city of Argos, since Lerna was the site of the myth of the Danaids. Beneath the waters was an entrance to the Underworld, and the Hydra was its guardian.” (Wikipedia)
While the Marvel productions remind us regularly of HYDRA's growing of more heads to replace each one that is cut off, I don't recall hearing this beast's job mentioned. HYDRA's namesake is the legendary guardian of the entrance to the underworld that is beneath the waters. (Seen “Pacific Rim” lately?) This identification is key, and with Steve's observation that the Tesseract is HYDRA's secret weapon, we can interpret the realm accessed using the Tesseract to be the underworld. This actually involves some flip-flopping. The dimensional gateway opening has to do with water, or literally with time.
The HYDRA logo looks like an Octopus and totenkopf (Nazi SS) or a variant on the skull and bones. To call it an allusion to H. P. Lovecraft's Cthulhu mythos is no stretch. Leviathan? Yes, indeed. Decoding the logo, we only see 6 appendages, three on each side. Code 33. The curling tentacles present an obvious 666 on our left, and a mirror of it on the right. With 6 numbers 6 thus written out for us, the numbering of the watery abyss is signaled; 66. HYDRA - Water beast of the abyss. The encircling of the imagery adds another 6 (O ~ 15 ~ 1+5) to provide redundancy in support of the 666 read directly on the left and on the the mirrored side. The HYDRA brand is also an XO MOB symbol. Including the head, there are 7 appendages to this beast. We see that SHIELD has assigned this matter a Security Level 7. Seven. It's another time number.
Here's some bonus imagery. Nexxus. HydraLightAfter Steve's comment about the Tesseract being HYDRA's secret weapon, Fury says, “Howard Stark fished it out of the ocean when he was looking for you. He thought what we think. The Tesseract could be the key to unlimited sustainable energy. That's something the world sorely needs.” He emphasizes the words, “fished it out,” and we immediately see the fishy octupus-like figure in the document held by Steve. I believe there's a messianic reference being implied in the emphasis on the fish. (We'll see this interpretation validated with a later reference.) Isis searched for and found Osiris and then fished the parts of her dead husband / brother out of the water, except for his phallus, because it had been eaten by a fish. Why bring up the phallus of Osiris? In last season's SHIELD TV series, the Macguffin was a mystical alien obelisk. An obelisk is the phallus of Osiris. The comment Fury made about the world sorely needing unlimited sustainable energy is another dose of green propaganda from the Big Green Propaganda Machine that drives the world today, but there's more to it than just that. For one thing, there's the coded NLP reference to space-time in the mention of the ocean and the world in the same snippet of dialog. We're going to hear Iron Man voicing the green mantra in the next scene.
Director Fury's last line in the gym is a question. “Is there anything you can tell us about the Tesseract that we ought to know now?” The word, now, is superfluous, linguistally, but repetition serves to strengthen the NLP with additional time word content. Steve responds, “You shoulda left it in the ocean.” In the ocean, where it was figuratively lost in time.
Before moving on we should give our attention to what Steve is doing as the scene ends. He is leaving the gym. He picks up one of the heavy-bags and throws it over his right shoulder. With his gym bag in his other hand, he walks out through a passageway built with secure looking chain-link fencing. Why would he remove a heavy-bag from the gym? It makes sense to bring a heavy-bag the other way, to the gym, because that's where you use them. The bag represents a large unit of time, probably heptadic. (I note that it's #3 of 7 in sequence, leaving 4 remaining on the floor.) We see him carry it out past the columns, representing time travel, passing through the steel or iron gate, the dimensional barrier. He removes it from the gym. A large unit of time was removed from the time-space domain. Time truncation. While he models to us the removal of a fixed amount of time from the closed system, his commentary gives us something to think about. “You shoulda left it in the ocean.” There's a dark agenda being served by the removal of time from the domain, and I'm not referring to the fictional Marvel universe. The Everlast bag filled with the sands of time wasn't the only thing Steve took. What was in the gym bag? Gym bags typically contain clothing, garments. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments. How could Steve leave the gym without changing his garments? Well, because he took the bag of sand with him. He has time, and control of time, for a fixed season, and that provides access to multiple domains.
To be continued, Lord willing.
Subscribe to:
Posts (Atom)