January River Olympics for Space-Time Mastery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Heroes Reborn

Heroes Reborn.

The mirroring of the sun god's name is magical. Literally.

This is kind of subtle, but once you see the valley sweeping the arc behind the person making the cross, well, there it is. XO ~ Mark of the Beast.

The return of Ra - reborn in an incarnation as the beast.

He, by any name, is always presented as the HERO.

Vintage Ads for L&M Cigarettes: Part 6 - On Twelves and Thirteens - Signs of Time and its Mastery

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

The other day as I was reflecting on just how pervasive the signs of time and its mastery were, a discontinued brand of cigarettes came to mind. Searching through some vintage ads, example after example appeared.

“NO CIGARETTE EVER WENT SO FAR SO FAST!”
...through so much SPACE in such little TIME

Time and the mastery of space-time is promoted leveraging the Occult gematria, a simple alpha-numeric substitution cipher where L is 12 and M is 13.

“Live Modern” was a big campaign. Time words: live MODERN + TODAY's exciting cigarette. Actor James Arness appears inside a circle inside a square. Wearing a hat. Ritual sodomy illumination aside, the circle inside the square is space-time geometry, which is further emphasized with the cigarette package squares superimposed on the edge of the circle. The XO MOB is called out by the v of Live and the v inside the M of Modern, which intersect the edge of the circle. The v extends to an x, of course. As Above, So Below, according to the Hermetic Maxim.

Filter Cigarette. FC. F=6 and C=3. 666 MOB

NYC's Madison Avenue of the 60s was celebrated in the TV show, Mad Men, which ran for seven seasons. The ad industry was flush with tobacco money! Vintage L&M cigarette ad campaign slogans and copy are flush with NLP and are they are spiked with esoteric imagery. It's the pharmakeia of Mystery Babylon, broadcasting spells through product use and through media promotions.

More of the same in this one. “Your big red letter day.” BIG means lots of SPACE. Day means TIME. Repeated in the rest of the line, “the DAY you change to L&M.” Change involves and evokes SPACE and TIME. Get in the L&M Circle. Change your SPACIAL position relative the circle of TIME.

The cigarette has long been identified with romance, with sex, and the afterglow. The red is the rose and rebel goddess color. The cigarette is phallic. Whether a girl smoked or not used to be seen as an indication of whether or not she was a virgin. Ads play on innuendo, cigarette ads at least as much as with other products.

More sexual innuendo. Oh look. How clever. The cigarette pack has an erection.

“You'll be sittin on top of the world when you change to L&M”
World = SPACE. Modern - TIME.

“Light into that Live Modern flavor!”
Light... “Let there be light” - Genesis - creation - fundamental dimensional physics

“Start fresh with L&M
Stay fresh with L&M”

From the beginning of TIME through eternity with continuity. With L&M, with time and the mastery of space-time.

“UNLOCK A NEW WORLD OF SMOKING PLEASURE”
SPACE! With L&M, 12 and 13, UNLOCK a new world, new dimensions!

try fresh-tasting, best-tasting L&M TODAY -- pack or (her) box
More sexual innuendo - and goddess imagery.

The proud smoke
Product of a proud land.

Land = SPACE. Niagara Falls. Water as time.

Again, The proud smoke - Product of a proud land. Land = SPACE. New York Harbor - Water as time.

Statue of Liberty - goddess - Cigarette pack erection.

Pointing to Twin Towers of WTC - Gemini and Silver Gate imagery

This... is the L&M moment. Moment = TIME. The three dots indicate a pause, a delay in the movement through space-time. That was a popular slogan.

The vibrancy and tenderness of the afterglow. Subtle cigarette pack erection imagery.

“Never interrupt an L&M smoker.” Well, that can be taken in more than one way, to be sure. Given the scenario pictured, I can see why the cigarette packs have no erection.

The tagline can also be taken in more than one way on the theme of space-time and control. Interruption, so there is no TIME delay in a sequence of events. Or, with regard to the space time continuum - which is being interrupted.

“Because L&M's balanced blend gives good taste from end to end. ”

From end to end. Through SPACE, as illustrated. And, TIME, as from beginning to end, from start to finish.

L&M. 12 & 13. There it is, vintage style.

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.