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.

Yom Teruah - Clocks in the News

Today, as I write, Yom Teruah is just about over. The Day of Trumpets and Shouting. The anniversary of Y'shua's birth in 2 BC. A new year has begun, as accounted on the civil and regnal calendars. A year ago, we observed a dramatic time sign when the apple clock in the kitchen impossibly came off it's secure mounting and landed on the floor. Time stopped and was subsequently reset, in symbol. There was a lot of relevant context to consider, and in hindsight, it really was the big deal we thought it was. We had another pretty obvious time sign yesterday leading up to the start of this Yom Teruah, but in this season, that's become a common feature.

Today's news involved another apple clock, the Apple Watch. It was reported that the scheduled software upgrade has been delayed due to a bug. A bug in the apple, of sorts. Usually, those produce a wormhole, right? The update was supposed to deliver faster performance. Faster, means less TIME to accomplish a task. That was delayed because the development will take longer to fix than they expected, i.e. more TIME. This is seen while we're on WATCH, of course.

Another clock made far bigger news, one made made by a 14-year-old student in Irving, Texas, Ahmed Mohamed. It was mistaken for a bomb by the authorities at his school. The controversy was over how he was treated by law enforcement officers. These are strange times!

Part 3 - The London 2012 Olympics: Revisited

This post continues our description of 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)

I mentioned that I would explain about the Olympics rings, and these are an important part of the ritual, so let's consider how the logo factors in.

We, as the observers, are threaded through the London Tower Bridge on our journey. The Olympic Rings logo we see on the way in are seen on the way out from the back side. Our directional perspective shifted on crossing over that threshold. Since it was a journey through time, the pivot signaled a kind of time flip. But that wasn't the first signal of its kind. We had seen Olympic Rings earlier on our journey, and there was also a shifting of perspective in that encounter. The Rings Logo appeared in a field as a crop circle. These Olympic Crop Rings were either commissioned as a promotional stunt, like what was done previously when The Sun sponsored one to be made by the Circle Makers, or perhaps it was added as a CGI special effect to the film.

We see the crop sign in the field in connection with a passenger on a high speed train. As we approach a viaduct style arched bridge over the river we see two trains passing each other. Suddenly we're looking in through a window at some passengers. Our observer perspective changes when we then see what the passenger is looking at, the Olympic Rings crop circle in the golden field. Suddenly, we're back outside and swinging around the back of the train to cross over to the other side, and we watch the train pass by the crop circle. Then, onward we go on the way down the river eastward toward the Olympic Park.

So, there are two encounters with the Rings logo on this journey through time, and in both instances we shift perspective. We encounter the first logo in connection with a train and viaduct, which are symbols of dimensional transit. Shortly after encountering the second logo, we find ourselves weaving through underground train terminals, present and past, and a tunnel for motor vehicles. Redundancy. These signal transits of space-time dimensions. What does the logo have to do with the shifting of space-time? Let's first visit some important history to highlight the crop circle / Temple of Time link. Then I'll interpret the rings logo in this context to address that important question.

The crop circles that primarily appear in the nearby region of Wiltshire are specially linked by the TCOT time arcs to the Temple Mount. As David Flynn observed, some of the crop circles that have appeared in the region over the years did so in locations and on dates that correspond to the arcs drawn at the scale of one nautical mile to one solar year. Regardless of who made the circles, this phenomenon demonstrates the space-time relationship with the Temple Mount as well as what's called sacred geometry in the designs, location and timing.

Here's an image I made a while back of some overlays of the region using Google Earth. The Lord showed me that the goddess known as Gaia is imprinted in the earth in that region, and we can't dismiss that as a mere curiosity. The Porton Down facility is a site where some very secretive things are done. In connection with that activity, the underground tunnels are claimed to be extensive.

David also noted how the location of the Temple on Mount Zion had been a Jebusite threshing floor. (See also 2 Samuel 24.) These were circular structures that were often built on a foundation of flat paving stones.

Then Solomon began to build the house of the LORD in Jerusalem on Mount Moriah, where the LORD had appeared to his father David, at the place that David had prepared on the threshing floor of Ornan the Jebusite. ~ 2 Chronicles 3:1

The location of Zion's Temple, which has been well documented as a center of time in this spacial dimension, was formerly quite literally a Crop Circle because that's where the grain crops were threshed out.

With this insight it can be seen how the IOC's presentation of their Olympic Rings as a crop circle of circles in the “Journey along the Thames” provides further support of the ritual time manipulation aspect of the Ceremonial intro. With the shifting of the observer perspective and the crossing over and doubling back on a journey through time and space, the crop circle rings that were the focus of attention were central to the pivoting maneuver through time.

When Summer Olympics and crop signs are the subjects of conversation, the extraordinary sign marking the Beijing Summer Games has to be mentioned. An enormous crop circle appeared below Milk Hill in Wiltshire during the Games in Beijing. The timing of the sign's appearance was such that it divided the Olympics at the midpoint. It appeared on 08/08/08, and it looks like a numeral 8. If there was one number that was highlighted in connection with the Beijing Olympics, it was certainly the number 8, even without the crop sign. The sign had to do with time, given it's special timing and by design. The number 8 signifies a new beginning, as beginning another cycle of sevens, as weeks. The crop sign was in the form of an infinity symbol and a dimensionally significant Möbius Strip! Decoding the layers of that one was a really amazing thing! One layer identified the Ark of Noah's day, wherein 8 souls were saved. The sign was a time ark, afloat on the waves of grain. (See Olympic Ceremony Symbolism - Part Five and Olympic Ceremony Symbolism - Part Six)

That sign was so epic that it's memorialized on the cover of the 2016 Calendar produced by the Temporary Temples website. Many consider crop signs to be temporary temples, and they flock to worship where significant signs appear just like they do to other sites perceived to be sacred. The supernaturalism of such kinds of places isn't imaginary. As an indicator of the nature of what's going on, consider the website's crop circle-like brand imagery. If you know about the XO or Cross Circle symbolism, it's hard to miss how the two Tau crosses of the title combine with the circle of circles. Also, drawing connecting lines across the circles presents three distinct XO forms. XO = space-time. That circle of circles is pretty special. The 4 cardinal directions are marked off, which identifies it with the squared circle cast by witches. There are 12 rings in the ring, the number of time, of the signs of the zodiac, the months of the year and the hours on the dial of a clock. There's one more circle in the center, the 13th. Mastery of time. They placed the image of the infinity-Mobius strip sign on their calendar, which is all about the keeping of time, of course. It's all about promoting the signs sacred to them that truly are linked through space-time with the Temple at the Center of Time.

The maneuvering of the observer perspective that was done while engaging the Olympic Rings logo was pretty special in both instances. The setting of the London Tower Bridge where the Olympic Logo was hung has a lot of history. Perhaps most pertinent to the space-time manipulation ritual is the fact that the Tower Bridge is located near to the city center and the London Stone that may have been used to identify it. David Flynn made reference to the London Stone in TCOT (Chapter 5: A Line Over Jerusalem) in presenting an example of the time-distance relationship noted earlier. He was linking the creation of the state of Israel with London because Israel's formal Declaration of Independence brought an end to the British Mandate. That was historically so very significant. The evidence of a ritual linking with Israel through space-time is hard to ignore.

By the way, what's being called the London Stone is presently located at 111 Cannon Street. It's “the remnant of a once much larger object that had stood for many centuries on the south side of the street. ”The dimensions of the stone are given as 21 × 17 × 12 inches. Two of the three dimensions are the mirrored time numbers!

Watch the video and pay close attention as the Olympic Rings on the London Tower are engaged (at the 11:24 marker). We are swiftly flown right through the space that would be a pattern-completing 6th ring. (To see it more easily, if you're using Google's Chrome browser, the YouTube video player can be slowed to 25% speed using the gear icon to access speed settings.) At that very moment of the crossing, we hear, “God Save the Queen,” with the word, God, perfectly synchronized with the fly through. What this does is identify the implied ring with god. This is a pretty obvious association. As for the identification of which god is meant, well, this is the Olympics so it's not the sovereign God I serve.

I've written posts about how the implied sixth ring is the capstone of the pyramid formed by inverting the rings. Hanging off the bridge over the river, the truncated pyramid would appear right side up in the reflection off the surface. The implied 6th ring is the same god of the Great Seal's pyramid's capstone. The Eye of Horus. Horus, aka Apollo, to whom the Games and Ceremonies are dedicated. (If you can recognize the fly through and flip back with subsequent ascension as a ritual sodomy illumination ritual initiation, well done! It is that.)

When the “Journey along the Thames” takes us through the Tower Bridge we pass right under the Olympic logo, and the basic symbolism of note is that the logo is a collection of rings, which are circles. In crossing the rings we cross the circles. Cross the circles. XO. Space-time.

It's worth explaining more of the symbolism of the rings logo again, since I keep getting more insight into that magick sigil. The colors aren't the 7 identified by Newton but they still represent the spectrum of the rainbow. That's a space-time bridge construct. The rings themselves are crossing, so the repetition of the crossing circles magnifies everything that is the combination of the X and O. Counting the rows of rings, the top row of 3 presents a 666 and the bottom row of 2 presents a 66. Standard Occult gematria. O is the 15 letter, 1+5=6. The 666 is the number connected with the beast and his mark in Revelation 13:18. (The number of a man, 6.) The 66 is the number of the abyss, which can be connected with the angel of the abyss in Revelation 9. The interlocking pictured in the arrangement of the rings shows the upper row being bound with the lower row, which can be interpreted as the binding of 666 with 66, and what those numbers mean. It's a potent magical sigil.

Each vesica piscis shape formed by the intersections presents the easily recognizable form of a fish. This is reproductive imagery. The shape pictures the vagina, which is called by some, the mouth of Isis. According to legend, Osiris, her husband, was killed and chopped into 14 pieces. Isis collected the pieces for his regeneration, raising him into Horus. One body part was missing. A fish had eaten the phallus so Isis made a magickal substitute. The fish represents the phallus of Osiris. The Olympic Rings logo has to do with ritual sex magick. The intersections of the rings present both the penis and vagina of Osiris and Isis. Their union magically produces the implied ring, Horus. These three have long been identified as masters of time, space-time dimensions and transits.

For the IOC and Danny Boyle to engage the logo like they did in this ceremonial intro segment certainly amplifies the potency of the space-time manipulation ritual.

If you know about the honored Brit, J. R. R. Tolkien, and his obsession with an old Roman ring, there's more intriguing connections to noodle on. The Vyne Ring, which is also known as the Ring of Silvianus, is a gold ring, dating probably from the 4th century. The ring is linked with an inscribed lead tablet expressing a curse upon the one who stole it, and is directly linked with the god of the abyss, Nodens. The ring of the curse is a seal that bears an image of the goddess Venus, who is usually associated with water (as time). Does the union of the X and O come to mind? It was discovered in 1785 in a ploughed field near Silchester, Hampshire. So, a ring was discovered in a ploughed field not very far away from where the rings logo was discovered in a cultivated field on the Journey along the Thames. Seeing a probable connection here is not really a stretch.

One who is familiar with the illustration on the dust jacket of Tolkien's second volume of The Lord of the Rings trilogy would recognize another link. Compare Tolkien's illustration of The Two Towers to the two towers of the London Tower Bridge. The ring pictured between Tokien's two towers is represented in the suspended rings logo! It's the implied 6th ring. Horus, aka Apollo. The Lord of the Rings. See the bird in Tolkien's illustration? We were flown between the towers with a bird's eye view!

The inscription on the fictional Ring of Power in magickal runic elvish language is thus:

“One Ring to rule them all, One Ring to find them, One Ring to bring them all, and in the darkness bind them”

The ring is all about a magickal binding ritual, as the control element. The ring was forged in the fires of Mordor, as the story goes, and so a golden ring was forged in the Olympic Stadium, in what was identified as the “Satanic Mills” segment of the Opening Ceremony. It was ascended high into the air to join 4 other rings in forming the Olympic Rings logo. Do you think there's nothing to all this mass ceremonial ritual? Tolkien was illuminated. The band Led Zeppelin's members were rather obsessed with the trilogy. The adept warlock Jimmy Page wasn't the only one. The Olympic Opening Ceremony and its countdown intro was designed as a mass ritual binding.

I have a few more observations to make before wrapping this up, with one in particular that reveals the nature of the space-time manipulation ritual as one binding the Thames-Isis to the Jordan River.

Coming soon, 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.

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!

Odds and Ends

One of the trending themes of the day is the exodus. I've paused the series on the exodus, Israel's wandering and the water crossings to add support with a series on the symbolism of the numbers 12 and 13, but a return is expected, picking up right where I left off in part 5.

Refugee flooding over borders is causing social and economic crisis in the US and all over Europe.
An exodus of biblical proportions (Joel News)


The language also appeared in an article about the Burning Man event in Nevada's Black Rock Desert - with a amplified time number.
70,000 prepare for mass exodus from desert back to civilization

The lyrcs of a song written by Bob Dylan came to my attention a few days ago. (Thanks Katherine for the timely submission.) Mr. Dylan was either channeling it (divining, streaming communication through demon possession) or he was writing from a well spring of Luciferian illumination.

Bob Dylan – Ring Them Bells Lyrics (excerpts)

Ring them bells ye heathen from the city that dreams
Ring them bells from the sanctuaries cross the valleys and streams
For they're deep and they're wide
And the world is on its side
And time is running backwards
And so is the bride.
...
Ring them bells for all of us who are left
Ring them bells for the chosen few
Who will judge the many when the game is through
Ring them bells for the time that flies...

About bells and their ringing, one of the most popular studies on TheOpenScroll.com is, Bells - Supernatural Enchantment and a Biblical Perspective. Are you familiar with it? The bell (glocke) is related to time (clock), like how the words are related. Mr. Dylan is considered to have gone through a Christian period, yet the fruit of a serious compromise remained. That illuminated singer and songwriter publicly confessed to having made a deal with the “commander in chief” to get where he was, confirming what he meant by indicating that he went to the crossroads in an obvious reference to Robert Johnson's legendary deal with the Devil.

One of the weird signs of the season has to do with a controversy over the name of a children's book. We remember it as the Berenstein Bears, but the objective evidence indicates that it has always been spelled, Berenstain Bears. How can you argue with the plain evidence? Well, because we're not confused about how it was always spelled and pronounced. Somehow, the spelling was changed. Yes, it's possible, and we see in this controversy evidence of some kind of time manipulation. Why it was done is perhaps as a test to see if it could be done and what the result might be, but I can't really say I know why. One has to wonder what other kinds of changes have been made, with what results, and how long this kind of thing will be permitted before time is locked down in a reset.

I was shopping in Whole Foods yesterday and picked up a bottle of drinking water. The brand is Evamor, like, evermore. Water as time, right? They get it. So, check this out. Their logo is a close match to the time loop the Lord had me draw when we were beginning to get insight into the masked model and the nature of the season. There's even similarity with the coloring! This is the kind of thing that has become the new normal in this season.

I found this promo image on freeStuffGalaxy.com. They seem to decorate all their products with galaxy imagery, but the one for Evamor seems pretty special. They include the brands ad imagery where the bottle of water is kind of floating along in the stream, and they intersect it with a stream of stars like the Milky Way, and put the ringed planet Saturn in the stream. Saturn, aka Kronos, the god of time. The Milky Way intersection with the ecliptic marks the celestial stargates, the Golden Gate and the Silver Gate.

Evermore. Led Zeppelin - The Battle of Evermore. The first video I posted to my YouTube Channel was a reverse speech presentation of a couple lines of this song. Here's some of the lyrics where you can find the appearances of the word, time.

The Queen of Light took her bow,
And then she turned to go,
The Prince of Peace embraced the gloom,
And walked the night alone.

Oh, dance in the dark of night,
Sing to the morning light.
The dark Lord rides in force tonight,
And time will tell us all.
...
Oh, well, the night is long, the beads of time pass slow,
Tired eyes on the sunrise, waiting for the eastern glow....

The Queen of Light took her bow. Physics of light, the speed of light in distance over time. Time flies like an arrow. The Battle of Evermore. Time war. Jimmy Page ran an Occult bookstore and published works of Aliester Crowley. He even owned Crowley's house on Loch Ness for a while. He and Robert Plant - they knew stuff. Dancing in the night and singing to the morning light is familiar ceremonial ritual to practicing witches.

Part 5 - On Twelves and Thirteens - Signs of Time and its Mastery

Series Links: On Twelves and Thirteens - Signs of Time and its Mastery

There are still more exhibits that really speak to us on this theme.

As I wrote recently, “Verse 9 of Joshua 4 declares that these 12 stones from the promised land were set up by Joshua. Joshua was the 13th stone mover in the ritual because 12 other men had each removed one stone.” It was Joshua who was leading Israel, demonstrating the function of the 13th with mastery over the 12 tribes. (A stone does represent a tribe, and that is one of the identifications that should be kept in mind. )

Now, when Joshua led Israel in the taking of Jericho we see another remarkable expression of mastery over space-time in a 13th.

6:1 Now Jericho was tightly shut because of the sons of Israel; no one went out and no one came in. 2 The Lord said to Joshua, “See, I have given Jericho into your hand, with its king and the valiant warriors. 3 You shall march around the city, all the men of war circling the city once. You shall do so for six days. 4 Also seven priests shall carry seven trumpets of rams’ horns before the ark; then on the seventh day you shall march around the city seven times, and the priests shall blow the trumpets. 5 It shall be that when they make a long blast with the ram’s horn, and when you hear the sound of the trumpet, all the people shall shout with a great shout; and the wall of the city will fall down flat, and the people will go up every man straight ahead.” ~ Joshua 6:1-5

And so it came to pass. Let's do the math. One lap for each of 6 consecutive days followed by 7 on the 7th day makes 13 laps in total. When the 13th lap was complete, the walls fell flat. How does that happen, meanwhile protecting a family that lived in the wall? It's a miracle, sure, and one that involved a dramatic manipulation of space-time. Make note, it's in the context of war. Time war, fought over space-time domain. Circling the city, enclosing in a circle of time. Jericho had been tightly shut, sealed. My God invented ritual, and what things are done at His direction accomplish His good pleasure, and this brings victory for the obedient. It's not magick - it's according to The Truth and genuine love, faith and hope!

Let's do some more math.

One lap around the city revolved through 360 degrees or 12*30. The entire ritual had all the men of war of the “time” people Israel revolving through 13*360 or 4680 degrees. The time+distance ritual was particularly divided, so if we consider the first part we have 6*360 or 2160 degrees. The second part produces 7*360 or 2520 degrees. These numbers are naturally derived from the ritual and are very special numbers!

2160 = 6*6*6*10.

If you give Code 666 a broad consideration you're going to have to take this into account. It's not all about the mark of the beast because there's a deeper foundation that involves space-time bridging, heaven and earth, spirit and flesh. The number 216 has a special geometric feature in that it's the smallest cube that's also the sum of three cubes. 3^3 + 4^3 + 5^3 = 6^3. Three cubed plus four cubed plus five cubed equals six cubed. This observation is noted in Plato's dialogue, the Republic, and 216 is generally considered to be Plato's number, the number he meant in his cryptic description.

In that equation of the summed cubes you should note the familiar digits of the Pythagorean triple of Euclid's 47th Problem. Euclid, author of Elements, was a student of Plato's work. In that 2D geometrical problem, the squares of the digits are represented in a proof of the Pythagorean Theorem involving area. If you raise this geometrical construction one dimension from 2D to 3D, where the areas of the squares become cubes that represent volumes, the picture becomes really interesting. The base 3.4.5 triangle is the smallest integer representation of the right triangle, and 216 is the volume of the smallest cube that's also the sum of three cubes, and that has the same numbers as a basis. Those who like to flaunt their knowledge of geometry and space-time embed instances of 666 and 3.4.5 and 47 over and over again, with imagery of squares, cubes, circles, spheres, triangles and pyramids, and the tools of their construction; squares and compasses. These express the knowledge of the illuminated ancients. Secrets of heaven were and still appear to be taught by fallen angels. But, who knows the best secrets of heaven but the sovereign Creator Himself, who conceals and reveals all things as it pleases Him. It seems likely to me that each instance of Code 47 features an inherent symbol of time (as I already illustrated), and further invokes space-time in the volume with a 216 or 6*6*6 suggested in raising it up another dimension. Esoterically, the 47th Problem suggests the ritual invocation of Horus in this space-time dimension, and the esoteric calculation of Revelation 13:18. That's chapter thirteen. And, yes, 18 is 6+6+6.

Here is the wisdom! He who is having the understanding, let him count the number of the beast, for the number of a man it is, and its number [is] 666. ~ Revelation 13:18 (YLT)

As for dealings with volume measurements, that's something we've been very curious about in recent weeks. Think of the 12 stones taken out of the Jordan when Israel had crossed over, and 12 others were put back in. Aaron had a puzzling dream last year which the Lord has brought to our minds for discussion many times since. One of the declarations he heard as we were being washed out of a building in a second wave of water was, Displaced by water and time. Then he heard, God will make a place for us. Volume. Time displacement. Space time ark. Time mission.

Have you seen the movie, “Pi”? Kabbalists and other very obsessive Occultists claim that 216 is the numerical value of Gevurah, the fifth sephirot in the kabbalistic tree of life, and the sum of the letters in God's 72 hidden names. The Shemhamphorash. Since the Devil doesn't make counterfeit 216 dollar bills, there's probably some underlying secret of heaven being exploited. That's an interpretation of the first 6 days of the ritual.

An interpretation of the 7th day's ritual involves the number 2520, but let's first consider the redundant appearance of the number 7. Seven revolutions on the seventh day. Seven priests blowing seven horns. By extension, the redundancy might be taken to suggest multiplying the number to produce 7 squared or 49, and it follows that 4+9=13 in a production of another 13, but let's fix our attention on the number that is naturally produced in the circling around the city. The familiar 2520 produced by the 13*360 factors out to 12*21*10. The mirrored time numbers, amplified! This number is famously produced in a biblical account where another wall was involved in a miraculous sign, in the context of war and an epic defeat. The 5th chapter of Daniel gives the account.

5:1 Belshazzar the king held a great feast for a thousand of his nobles, and he was drinking wine in the presence of the thousand. 2 When Belshazzar tasted the wine, he gave orders to bring the gold and silver vessels which Nebuchadnezzar his father had taken out of the temple which was in Jerusalem, so that the king and his nobles, his wives and his concubines might drink from them. 3 Then they brought the gold vessels that had been taken out of the temple, the house of God which was in Jerusalem; and the king and his nobles, his wives and his concubines drank from them. 4 They drank the wine and praised the gods of gold and silver, of bronze, iron, wood and stone. 5 Suddenly the fingers of a man’s hand emerged and began writing opposite the lampstand on the plaster of the wall of the king’s palace, and the king saw the back of the hand that did the writing. 6 Then the king’s face grew pale and his thoughts alarmed him, and his hip joints went slack and his knees began knocking together. ~

So, Jerusalem's Temple factors in, which functions as “the temple at the center of time.” The kingdom's wise men were called in to divine the meaning, and on their failure, the prophet Daniel was brought before the king. The Lord brought the sign and its interpretation

22 Yet you, his son, Belshazzar, have not humbled your heart, even though you knew all this, 23 but you have exalted yourself against the Lord of heaven; and they have brought the vessels of His house before you, and you and your nobles, your wives and your concubines have been drinking wine from them; and you have praised the gods of silver and gold, of bronze, iron, wood and stone, which do not see, hear or understand. But the God in whose hand are your life-breath and all your ways, you have not glorified. 24 Then the hand was sent from Him and this inscription was written out. 25 Now this is the inscription that was written out: 'MENE, MENE, TEKEL, UPHARSIN.' 26 This is the interpretation of the message: ‘MENE’—God has numbered your kingdom and put an end to it. 27 ‘TEKEL’—you have been weighed on the scales and found deficient. 28 ‘PERES’—your kingdom has been divided and given over to the Medes and Persians.” ~ Daniel 5:22-28

Daniel brings forth an interpretation, and the judgment pronounced was manifest immediately. Verse 26 speaks loudly about the numbering that pertains to an end of a domain of authority.

“MENE, MENE, TEKEL, UPHARSIN” is the terminology of the monetary system of the day. Money. It's an amount equivalent to 2,520 gerahs. There's that number again that factors out to 12*21*10, the mirrored time numbers, amplified! As it has long been said, Time is Money - and money, conversely, is TIME! Belshazzar's time was up, his reign was finished.

While the writing was being interpreted to the king, Cyrus of the Medes and Persians secretly gained access through the city of Babylon's water (as time) supply. He had been manipulating the rivers of the region. “(1.190) Having, however, thus wreaked his vengeance on the Gyndes, by dispersing it through three hundred and sixty channels, Cyrus, with the first approach of the ensuing spring, marched forward against Babylon.” (Cyrus takes Babylon: Herodotus) Dividing a river into 360 channels? Why would he do that? Why, indeed! Water as Time, the circle of time in 360 degrees. He also manipulated the flow of the Euphrates, which enabled his army to easily penetrate the city's defenses. The army entered through the unrestricted riverbed where water still flowed, breaching the walled city through the water gates. Control of water in warfare signals time as a weapon in multidimensional domains.

There is insight to be had in comparing the fall of Jericho with the fall of Babylon, where there are several similar features. The common 2520 feature is certainly a key space-time connection. We can take, key, rather literally, as it pertains to the breaching of the walls of defended zones.

It should at least be mentioned here that the book of Daniel famously describes time in sets of sevens, and some consider a prophetic year to be one of 360 day duration. There are 2520 days in 7 years of 360 day length.

With regard to Jericho's ritual, the full number produced by the encirclings of Jericho is 13*360 or 4680 degrees. Aside from the evident and important signaling of the mastery of time-circles, I note that the number is 468 times 10, and 468 is the sum of 10 consecutive primes, which is rare. (29 + 31 + 37 + 41 + 43 + 47 + 53 + 59 + 61 + 67) What that might mean on an esoteric level, I don't know.

About the number 2520, it's now become very personal to me. Aaron and I have been witnessing signs frequently and regularly that often affirm points we've been making or are about to make on this blog. Some come via dreams or visions and some just while wide awake, through different kinds of events and observations. I was using the English gematria calculator on September 3rd to explore some things the Lord was bringing on a space-time topic. (Code: NEWS as an acronym of North East West South.) I plugged in my name to calculate the value. ROBERTWILLIAMSCHLENKER = 252 which is 12*21. The mirrored time numbers! The next day, on 9/4, I had a vision shortly after laying down for a nap. I was sound asleep, but suddenly I had to open my eyes - and, as I was about to do so, I was suddenly very alert, thinking very distinctly in forming the words that, I have to open my eyes. As they open, I was immediately focusing on the digital alarm clock showing 2:52. I flash to the numbering of my name from the previous day's discovery. Wow! OK. I thought, I should take a picture of that, but then thought, no, by the time I get the camera booted up the minute will surely have passed. The next time I was alert I checked the time, 3:33. Okay. I see that's kind of an exclamation point, and I equate that to the geometry of the earth and the 1/3 that marks off 2012 nautical miles distance. At that time, I began to be puzzled about the appearance of the clock, not because it looked abnormal but because it was normal. It occurred to me that as I had been reflecting on the clock and the 2:52 while I was not really conscious, the display I had in my mind was in bright red digits, and the clock was large, and it had been immediately in crisp focus, right in my face. It wasn't tilted even though I was laying on my right side with my head on the pillow, and my eyes didn't need to adjust to focus on the clock. It dawned on me that the observation of the 2:52 on the clock was a vision or a dream. I may have witnessed it at 2:52, but it wasn't a natural experience.

It was yet one more clock sign in a growing list of notable clock signs. We're coming up on a one year anniversary of a very special one, the apple clock sign of Yom Teruah.

The number 21 was always my favorite number. In elementary school, the class was seated in alphabetical order, and I remember how it seemed I was almost always student #21.

In 1999, the Lord engaged me as a kind of tour guide on a trip to the timeless place, with an agenda of showing Stephany that her Lord was the Lord of Time. Aaron's water baptism last year was notable with regard to symbols and time features, and perhaps the Lord will ordain the sharing of the testimony at some point. We are continuing to gear up for what we believe is going to be a time mission that will involve a time reset. Pray for us, if you would, as the Lord may lead. What an interesting season this is!

Part 4 - On Twelves and Thirteens - Signs of Time and its Mastery

Series Links: On Twelves and Thirteens - Signs of Time and its Mastery

Again, time signaling number signs are naturally embedded in the world. They appear throughout the Bible, and are also embedded in Occult ways nearly everywhere you look.

One of the more dramatic exhibits connecting 13 with the mastery of time involves Greenwich, London, and the Prime Meridian. It can be said that the world accounts time there. The Royal Observatory was responsible to keep time, and they would signal every day at exactly 1 pm with the visible drop of a bright red Time Ball on top of Flamsteed House. Mariners and bankers and local time keepers would keep their eye on the ball. When the ball dropped it was 1 pm on the second - 13:00 hours! Navigators depend upon being precisely synchronized with Greenwich time in order to determine longitude. The Royal Navy had an advantage and Britannia ruled the waves. Time ball, a globe-circle of Time. Greenwich, on the bank of the Thames-Isis River of Time, where the Prime Meridian has been set. 13:00 hours. Control over the day, the 24 hour arcs swept, the twelves of day and night. Control of space-time - world domination.

The famous New Years Eve Ball Drop in Manhattan's Times Square is modeled on the activity that took place daily at Greenwich. I had captured this image of Times Square in 2012, as it was being prepared for the annual Ball Drop ritual. Yes - it's a sign.

Those responsible for establishing such features are guided in what they do. What's called sacred geometry has to do with measuring the earth, and there is always a celestial component in the positioning and locating, with an inherent time component. There's a reason why the Lord determined the location for His Temple, the place of His dwelling amongst His people in this time-space. It marks a standard of reference for time and space.

Here's a key passage relating Jesus as the 13th with his 12 at the Temple, describing stones that would be torn down. Stones, like water and the number 12 have to do with time, and what is the theme of the rest of the chapter, but timing!

24:1 Jesus came out from the temple and was going away when His disciples came up to point out the temple buildings to Him. 2 And He said to them, “Do you not see all these things? Truly I say to you, not one stone here will be left upon another, which will not be torn down.” 3 As He was sitting on the Mount of Olives, the disciples came to Him privately, saying, “Tell us, when will these things happen, and what will be the sign of Your coming, and of the end of the age?” ~ Matthew 24:1-3

Y'shua, plus His 12 makes 13, and that's a model used for the witches' coven, where some supernatural principle is exploited. The presiding priest or priestess is the 13th member, and master of the ceremonial ritual. They will usually cast the magic circle, ritually crafting a shielding sphere in space-time for the collection of ritual energy (demonic spirit). The circle cast represents the intersection of a sphere with the surface of the floor or ground, which is marked off at the 4 cardinal directions of East, South, West and North. It's called a squared circle. North of the equator the rotation is performed in the clockwise direction, and South, counter-clockwise, in harmony with the processes of the natural world. The 13th member exercises control over space-time in this manner of agreement with the spirits bound. Often, the ritual energy raised is cast or sent out into the universe at 3 am, by intent invoking 666 in a marking off of the time passed since the stroke of 12 midnight: 60 minutes + 60 minutes + 60 minutes.

With greater insight into how time is involved with the Temple and with Y'shua as the master of space and time, and how the Pesah is often central in signal accounts, where he goes and receives special attention for his age when he is TWELVE makes more sense.

41 Now His parents went to Jerusalem every year at the Feast of the Passover. 42 And when He became twelve, they went up there according to the custom of the Feast; 43 and as they were returning, after spending the full number of days, the boy Jesus stayed behind in Jerusalem. But His parents were unaware of it, 44 but supposed Him to be in the caravan, and went a day’s journey; and they began looking for Him among their relatives and acquaintances. 45 When they did not find Him, they returned to Jerusalem looking for Him. 46 Then, after three days they found Him in the temple, sitting in the midst of the teachers, both listening to them and asking them questions. 47 And all who heard Him were amazed at His understanding and His answers. 48 When they saw Him, they were astonished; and His mother said to Him, “Son, why have You treated us this way? Behold, Your father and I have been anxiously looking for You.” 49 And He said to them, “Why is it that you were looking for Me? Did you not know that I had to be in My Father’s house?” ~ Luke 2:41-49

12 Monkeys is the title of a time travel film (1995, starring Bruce Willis) and also a popular TV series on the Syfy Channel. Why is the number of Monkeys TWELVE? Time Travel. The shows feature the army of the Twelve Monkeys - involving the familiar context of warfare - and - the survival of humanity was at stake. Time control as a strategic weapon. * monKEYS: The Keys to unlock and lock space-time domains. The SyFy series that began in 2015 featured exactly 13 episodes - THIRTEEN, ritually invoking the mastery of time.

This desktop background I found features 12 monkeys around the apparent clock dial marking the hours, with one more in the center, a raging monkey, the same fierce image that was, in the series, repetitively drawn by one of the key characters who was obsessed with it. That dominant monkey at the hub is a 13th monkey!

This ad for the show features the tagline: UNMAKE HISTORY. That speaks to us very loudly about what's happening right now in our bizarre reality, as time has gone off the rails and a reset into the past awaits.

See in this poster for the Bruce Willis film a single large 13th Monkey. He's styled after the Barrel of Monkeys game, which is played by hooking them together in a chain. The continuity of time. Chain - seirai - Theurgy. Consider the hands. Compare to the clock I superimposed onto the brand imagery of the Pope's visit to the Philippines earlier this year.

This poster for the 12 Monkeys film presents the same tagline printed on the monkey clock poster. THE FUTURE IS HISTORY. Because of the coming reset back into the past, this line actually applies to our reality, in more than one way. There's a couple observations that should be made about the symbolism. By right aligning the text of the tagline, they are illustrating a kind of reversing, inverting or mirroring of reality. Think about that, because the mirroring is an inversion. The dark left eye and bright right eye (from his perspective) presents Harmerty, Horus who rules with two eyes. His Horus Eye has the monkey time control imagery, which says plenty. The three are Horus, Isis and Osiris. All three are presented with the one eye imagery, the third eye and Horus Eye. The future is history, when those figures rise again to prominence on the world's stage. Note, the image of the face of Isis is magical, it's deceiving, appearing as if it's projected in front of the face it seems like it should be occulted by. Here's properly occults the Osiris image. Generically, presentations of sets of three people, with 6 as the number of man, signal a 666.

Here's the popular image promoting the made for TV movie, 12:01, with Jonathan Silverman. A number featured is 12 as the hour, but also 13 as the 12 + 01. The movie is about the exercise of control over time. Like another film from the same year, Groundhog Day, time loops daily as time resets back into the past. While there's no attempt to explain it in Groundhog day, the time bounce in 12:01 is caused by a particle beam collider. A particle collider functioning as a time machine? The pilot for, Rewind, comes to mind, and The Penitent Man. Why? CERN's LHC! Time resets daily in their plot at 12:01, not unlike how the time (keeper) was reset daily at 13:00 hours in sync with the dropped Time Ball in Greenwich at the Prime Meridian.

Notice from the 12:01 poster how the three faces appear as a 666 signal, and how they are Horus, Isis and Osiris. Silverman, at the top, as Horus. See how his right (seeing - Horus) eye is precisely marking the 12 o'clock position. His other eye looks to be about on the 1, or 13. Eyes at 12 and 13. Casting presents opportunities for more signaling. Silver-man. Silver has the atomic number of 47. Code 47-man - produced by the union of Osiris and Isis - by the exercise of control of time and space-time domains and transits. Helen Slater as Isis. Helen of Sparta-Troy... the golden apple desired by Hera, Athena, and Aphrodite and the Judgment of Paris...

The numbers that appear on that promotional image are 3, 6 and 9. Nikola Tesla enigmatically identified the magnificence of those three as a key to the universe. He knew stuff. So did the 12:01 producers and poster designer.

For some pretty convincing exhibits of the time mastery signaling 13, see the film, The Thirteenth Floor, from 1999. In the year it came out, The Matrix, also came out, and although that far outstripped The Thirteenth Floor in most respects, there are many comparisons that could and should rightly be made. It's worth a watch for what can be gleaned on the theme of interest, as the Lord may lead.