Part 3 - The Avengers - STARK Tower as Space-Time Ark - Tower of Babel, Chrysler Building, Grand Central and Times Square

This is not intended to be an exhaustive study but there are a few more items to be shared that support the identification of the symbolic Stark Tower as a space-time ark and also shed on the Occult nature of some non-fictional neighboring locations.

First, here's a couple relevant news item published during the 3 days when our Internet connection was down.

Portal & Alien Cube UFO Over Texas? (Event witnessed on June 29, 2015)

FBI investigating 11 attacks on San Francisco-area Internet lines (Published July 1, 2015) Trending, cables cut. Note the numbering of 11 attacks.

At an hour and forty four minutes into The Avengers, after the Tesseract is used to open the portal, Thor battles Loki on the Stark Tower, right near the sign. These demigods knock the letter K off the sign and we see it tumble to the ground. The letter K is the alphabet's 11th, and this numbering is important. The numeral 11 as a pair of ones pictures two columns or the sides of a column, which is also a tower, a construction often identified as a stargate. When the K has been knocked off the sign, what's left? STARK - K = STAR, and star is a metaphor for angel. The STARK Tower is a STAR - K tower, a STAR 11 tower. The Stark Tower is a STAR-K stargate and a ST-ARK or space-time ark.



The numeral 11 signaled by the K is an ancient symbol linked to Isis. Isis is the pillar. Compare to the supports spanning heaven and earth in the zodiac from the temple in Dendera, Egypt, on the ceiling of the portico. The K falls during a minute of the movie (1:44) marked with 44. That also signals the goddess because the numbering of 4*4 is the Isis portion of the Pythagorean formula of the esoteric 47th Problem of Euclid. The 11 is specifically identified as the number of the Queen of Heaven in, The Book of the Law, Aleister Crowley's Thelema standard. The book's cover image has the title flanked by two pillars, which might be intereped as, 11. Crowley's O.T.O. had a mysterious eleventh degree that is known to involve anal sex magic. (XI° – Rocket to Uranus - Anal Intercourse and the O.T.O.)

The way The Avengers scene plays, the letter K is broken off when the two male demigods from Asgard cross their weapons, which doesn't mean nothing. I'll develop that esoteric layer because it is not unimportant or unrelated to the space-time hijacking and ark effort.

Thor lands on the tower and issued an order to his brother. “Loki. Turn off the Tesseract or I'll destroy it.” The XO platform where Loki had materialized and ascended the steps to reach is the same one where Iron Man lands and is basically transformed intoTony Stark.The copper ring flips up and he walks through it to be clothed and unclothed. It's the place of a symbolic dimensional transit, a stargate. You ascend there to become a god.

Loki had just been standing there enjoying the moment, holding his staff in his hand. Did you examine the above screenshot closely? That frame passes by in a moment, but there it is. He had been shown dramatically materializing on the Stark Tower and stepping on a platform with an XO design as the camera dramatically spirals around. The spiral is a goddess symbol, and very much connected with magic. Magic is Loki's specialty.

The XO symbol invokes the goddess as the union of the X and O establishes the throne of Isis, according to Kenneth Grant of the OTO. Validating that level of symbolism, a discharge of energy like a flash of lightning comes from Loki's staff as he battles Thor, god of thunder. The XO image plays as a hermaphroditic and sex magic emblem because its composed of the male cross and female circle. Between Loki and Thor, a sexual relationship is being implied. The form of this portal on the Stark Tower presents a figure known as the black sun, which is an anatomical reference like the Eye of Horus. Loki is a shape-shifting demigod and he's manifesting here in his horny helmet head form. Phallic. When he replies defiantly to Thor's demand to turn off the Tesseract, he thrusts his phallic staff out toward Thor and declares, “You can't. There is no stopping it.” Because of his accent, it sounds like he's calling him a, well, you get the picture. He says, “There is only - war,” and that could also be heard as, “There is only - whore.”This isn't all done just to be sly and crude, it's theurgy, and mass programming. It's how those gods are worshiped.

Leading up to when Loki materializes on the Tower, it was emphasized to me how there's a building up of subtle cross circle imagery in a brief sequence, to strengthen the impact of the platform's XO. The design of the ornate railing on a bridge presents an array of obfuscated versions, followed by a collection of umbrella tables in a dining plaza, and then the one in this screenshot that is cleverly composited in a Code 33 named restaurant window. The light arc implies the circle while the letters intersected by the same reflection imply the cross. TAU - a tau cross. I note that the sign of TAUR-US is also being suggested, which supports the abundant celestial Silver Gate imagery. The window sign lettering provides us with three instances of the naming of Ra, or Re.

It's a good exercise to remain mindful of these varied symbols that have been the subjects of so many posts to this blog. It should also be remembered that the cross circle is the heart of the sigil of Nodens, the god of the abyss. The letters X O transform to the number of the abyss (X=24~2+4=6 and O=15~1+5=6 XO ~ 66), and the name on the Stark Tower's sign also transforms to 66.

The Stark Tower's spiraling ziggarut design and its function as a platform for the opening of a dimensional portal in the heavens invites comparison with the ancient Tower of Babel. The account of that appears in the Bible in Genesis 11, the K numbered chapter. Biblical scholar E. W. Bullinger made the following observation in Appendix 12 of the Companion Bible. “We see evidence of it as early as Genesis 11:4, where we read of the Tower of Babel having "his top with the heavens". There is nothing about the wrongly supplied italics "may reach unto". The words, doubtless, refer to the signs of the Zodiac, pictured at the top of the Tower, like the Zodiacs in the Temples of Denderah, and Esneh in Egypt.” (See Part 25 - Celestial Stargates - The Tower of Babel having "his top with the heavens")

Compare the Stark Tower to the version of the Tower of Babel on the poster that states, “Europe: Many Tongues, One Voice.” Spiraling construction. Similar tops. Surrounded by water (the island of Manhattan). Presence of a crane. The poster version's crane is like a tau cross and it's placed in connection with the circle shape, providing an XO feature - like the stargate platform on the Stark Tower. A portal is opened in the heavens above the Tower through which stars fall to earth. Note the alignment of the EU stars in the array. The upside down star alignment means, Spirit into Matter. There are 11 visible “falling” stars in the array, the number given attention by the STAR-K sign's falling K. The design implies that there is a hidden star, which makes 12 total: Zodiac, and time. The poster suggests that the hidden star of the EU tower seems to reign from the penthouse, like Iron Man in Stark Tower, because Pepper (with 12% of the credit) lighted it up from there.

Genesis 11 (K) informs us about a city that was built in connection with the tower of Babel. When most folks think about the account, the city is usually minimized in comparison to the tower. I recommend reading the chapter to see that it is given attention distinctly. City and Tower. Manhattan and Stark Tower. What was recorded about the Tower of Babel suggests that it was all about opening a portal between the earth and heavenly domains. When the stargate is opened at the manifestation of the Antichrist, we believe a version of the heavenly Zion is going to manifest in this realm.


Here's another item I observed in the film that demands comparison. The art deco icon known as the Chrysler Building appears in many scenes. It was the platform from which Will Smith's character dramatically leaped in, MIB3 - Back In Time, in order to be sent back in time to 1969. MIB3 and The Avengers were both released into theaters in May of 2012. Alike, in timing. And, there's a Marvel connection because the Men in Black francise is based on the Marvel Comic series. There's a lot of crossover - call it allusion or whatever - because there's an import of meaning both ways between MIB3 and The Avengers that plays on the exoteric and on the esoteric levels I've been exposing.

The main character's name is Agent K. Or, simply, K. Why did Agent J, Smith's character, have to travel back in time? Because K was going to be killed - like the letter K getting knocked off the sign that subsequently fell to its destruction. K ~ 11. A rocket plays a significant role in the film: Apollo 11. Yeah. 11. And, there's the rocket's direct identification of Apollo, aka Apollyon, Abaddon, Thor, Amaru, Horus...

Here's an excerpt from Wikipedia's synopsis.

“In 2012, an alien criminal, Boris "the Animal", a Boglodite, escapes from a maximum-security prison on the moon and arrives on Earth, bent on taking revenge on Agent K, who shot off his left arm and captured him in 1969. He confronts K, who is with his partner Agent J, telling him he is "already dead". J then discovers that K was responsible not only for capturing Boris, but for deploying the "ArcNet", a shield that prevented the Boglodites from conquering Earth and led to their extinction. Boris travels back in time to kill the young Agent K. With history altered so that K is long-dead, J finds that only his memory has been unaffected, and no one from the Agency understands his obsession with K until Agent O, the new Chief, deduces that there has been a fracture in the space-time continuum. With K out of the picture, the ArcNet was never deployed, and there is nothing to protect the present-day Earth from the Boglodite invasion, so J must travel back in time to stop Boris and save K.”

A lengthy series could certainly be written about the film at this point. (Search the blog for MIB3 to find what I've already written.)

As presented by Columbia (goddess) Films, the future of man is literally riding on the phallus of Osiris, the Apollo 11 rocket.

Agents J and K are riding special cycles in this scene, set in Queens, NYC, featuring a fountain built for the 1964-65 Worlds Fair.

Bicycles are often props used to represent space-time transiting vehicles. See the wire-frame globe as 3D space and the ring of water as time. Intersecting rings are crossed circles, another space-time emblem. Fountains of the deep make allusion to creation and the flood of Noah.

In MIB3, like The Avengers, what's at stake is the destruction or the salvation of mankind. Familiar, right, for those of you tracking this blog? “Alien threat,” breaching our time-space domain resulting in destruction. (Genesis 6. An intended flip: Revelation 19:19)

21 For then there will be a great tribulation, such as has not occurred since the beginning of the world until now, nor ever will. 22 Unless those days had been cut short, no life would have been saved; but [for the sake of ~ thanks to] the elect those days will be cut short. ~ Matthew 24:21-22

Agent J's time mission was required because the enemy (Boris “the animal” ~ Horus the falcon) “fractured” the space-time continuum. Again, familiar, right? Aaron and I think this is why “the model is masked” in the present season, and why time needs to be reset. ArcNet. Allusion to the rainbow - shielding from alien threat. It's a good descriptive of the bow set in the clouds after the flood, the sign of a covenant made by the Creator with man and the earth assuring that what happened won't happen again. Rainbow - evidence of different physics in the atmosphere, a heavenly realm. Accountability for the destruction wrought in the great deluge was attributed to those angels who fell to earth, in an “alien” incursion. They and those of that kind are behind the current threat, as it was in the days of Noah. The dimensional access is sought by hacking the rainbow, from one perspective.

So, a key to success in MIB3's plot is evident in how Agent J remembered. Aaron and I expect that model when time itself has been reset in reality, because of the mission and how that only makes sense if some will have an awareness, some beneficial kind of retention from this season's experience, and probably retained through association with a space-time ark.


Here's another comparison that offers insight in the transfer between similar things. In this screenshot, set against the backdrop of the Stark Tower we see Mercury / Hermes the psychopomp. He's the special agent who is assigned the task of escorting to and from the underworld. That's the abyss. You may recognize this as the iconic clock on Grand Central Terminal's 42nd Street entrance, a significant timepiece at perhaps the world's most famous transportation hub. The Terminal features prominently in several scenes, and the film invites comparison between the Stark Tower and neighboring Grand Central Terminal. The Lord had me drill in a bit to discover why. Like with the Tower of Babel connection I noted, similarity in features points to similarity in purpose. Grand Central Terminal like Stark tower like EU poster like Tower of Babel.

First, the centerpiece of the Hercules, Minerva and Mercury statuary in the screenshot is a clock. Right. The central object of the massive idol is a TIMEpiece. Isn't this display intended to show how the ancient gods rule over time itself? The clock is 13 feet tall, which combines both the meaningful number 13 with 12 (inches per foot - and hour divisions on the face). Wikipedia offers: “ At its unveiling in 1914, the 48-foot (14.6 m)- high trio was considered the largest sculptural group in the world.” It's a significant idol. Also from Wikipedia: “The main information booth is in the center of the concourse. This is a perennial meeting place, and the four-faced clock on top of the information booth is perhaps the most recognizable icon of Grand Central.” The centrality of time. This famous space is a transportation hub, and the reason for the focus on time is obvious. Trains run on tight schedules and passenger activity conforms to the Terminal's referential system. These observations speak on one level to the present reality that man's activity conforms to the referential system of time that is ruled over by the ancient gods. Consider the familiar names of the months and days of the week. You can't argue against the statement made, but that situation won't endure.

The Terminal is a train station. Trains traveling on tracks is a very familiar metaphor. Search this blog for Joel 2 train and you'll see how trains and train tracks represent beings and vehicles transiting stargates with some notable examples. A couple of notable train + water imagery films that come to mind are Snowpiercer and Polar Express. Passing through Grand Central Terminal, major sets of train tracks run right under the MetLife building, and the fictional Stark Tower stands in its place. Signaling the control of space-time (Parts 1 and 2 of this series) and controlling interdimensional traffic (via the Tesseract), that's what the Stark Tower is for in The Avengers, right? It's kind of an adjunct to the Grand Central Terminal that operates in a perpendicular plane.

The Terminal's 13 foot tall statuary clock faces 42nd Street. 42 = 21 + 21. Double Time Street. Another iconic place in Manhattan is Times Square. It's also bounded on one side by that same 42nd Street. Times Square ~ 21 squared or 21*21 ~ 42nd Street. Time geometrically is symbolized as a circle. Times Square ~ Circles Square. Time-Space. That place is known as The Crossroads of the World. Compare to Grand Central Terminal's function as a mega transportation hub, and that of the Stark Tower as the gateway for the invading Chitauri army's entry. Each year, the transition of the popular calendar is marked as the world watches the ball drop in Times Square and together chants the famous countdown. This mega ritual revelry derives from the historical practice at the Greenwich Observatory in London, where the world's standard for time has been established. Ships would set the clocks they depended upon to navigate the globe by synchronizing them with the dropping ball, which was carefully watched for from their mooring on the Thames-Isis River. Daily. At 13:00 hours. 13. 12. Again, like the 13 foot tall idol clock. Seen The Smurfs (2011), where water as time and Times Square are played up BIG?

The Grand Central Terminal (and Stark Tower) sits between Times Square and the Chrysler Building. All are connected by 42nd Street (21+21). Of interest, the Chrysler East property address is: 666 Third Avenue.

Now, recall how the power change from AC to DC was cryptically signaled in The Avengers, from Part 2 of this series. Here's a couple more quotes from Wikipedia. “A "secret" sub-basement known as M42 lies under the Terminal, containing the AC to DC converters used to supply DC traction current to the Terminal. During World War II, this facility was closely guarded because its sabotage would have impaired troop movement on the Eastern Seaboard. It is said that any unauthorized person entering the facility during the war risked being shot on sight; the rotary converters could have easily been crippled by a bucket of sand.” Shot on sight. That's serious. Why M42? M is the 13 letter, and there's the 21+21 numbering again, matching 42nd Street. Spilling sand. Hmmmmmm. Sand is a time symbol, the sands of time, like in the gym's Everlast heavy-bags. Troop movements on the Eastern Seaboard. Sea water as time. Troop movements. A hub for the transiting armed forces. Familiar stuff.

So, AC to DC conversion. Why bother cryptically signaling that to us in the framing of the Stark Tower launch and recruiting sequence? When we become aware of how Grand Central Terminal is given such a high level of attention and how the features compare, and see the similarity in function on the esoteric level, it makes sense. The Avengers is actually revealing Occult secrets of the Grand Central Terminal. Theurgy is at work, and the details are according to what is learned from the gods. The AC to DC bit has to do with establishing a key allegorical connection, which represents the legitimate supernatural connection. You know about energy vampirism, right? There is in this theurgic ritual we've been studying a drawing from and adding to a kind of cistern or reservoir of collected demonic spiritual energy. It's like when a witch raises energy inside a magic circle before sending it out into the world in the casting of a spell. A massive amount of human energy has been collected at Grand Central over the years, and harnessed through the design and no doubt supported by many Occult rituals. Grand Central was built and owned by the Vanderbilt (Illuminati) family.

We know that we are of God, and that the whole world lies in the power of the evil one. 20 And we know that the Son of God has come, and has given us understanding so that we may know Him who is true; and we are in Him who is true, in His Son Jesus Christ. This is the true God and eternal life. ~ 1 John 5:19-20

With eyes that see, we examine the symbolism and glean what meaning there is in the beans spilled learn what the Lord would have us to know about what things really mean in this world. The trains of the Grand Central Terminal's transport system depend on the power conversion like what was illustrated with the Stark Tower, and the space-time ark depends on a power source off the grid - power drawn from another dimension as from the Tesseract and Stark arc reactor.

Tesseract. Anagram: A ST (space-time) SECRET. Add that alongside, ACT RESETS.

Have you been giving attention to the CERN LHC, and the D-Wave adiabatic quantum computer and not unrelated AI advances?

Plenty to chew on in this Anthony Patch clip, and this one too: Deadly Shots And Third Strand DNA/Interview from N68's The Great Work.

The latest from D-Wave Systems is the D-Wave Two, which has an approximately rated 512-qubit CPU. The increase over the approximately 128 qubit chips of the D-Wave One was accomplished by tiling the qubit pattern of the D-Wave One, a pattern named chimera by D-Wave Systems. Do you know what a chimera is, biologically? Think, beast, post human. Mark of the Beast. Image of the Beast.

Here's a few more connections of note to tie into this spider's web of time-space manipulation imagery.

The Main Concourse of Grand Central Terminal has an elaborately decorated astronomical ceiling, but there is an anomaly. Wikipedia offers, “ For example, Orion is correctly and beautifully rendered, but the adjacent constellations Taurus and Gemini are reversed both internally and in their relation to Orion, with Taurus near Orion's raised arm where Gemini should be. One possible explanation is that the overall ceiling design might have been based on the medieval custom of depicting the sky as it would appear to God looking in at the celestial sphere from outside, but that would have reversed Orion as well. A more likely explanation is partially mistaken transcription of the sketch supplied by Columbia Astronomy professor Harold Jacoby.” Here's a suggestion. It calls out that precise location to give attention to the Silver Gate, doorway to the underworld-duat.

Attention is given to that very place in the representation of the heavens on another famous ceiling, on the ancient temple's portico in Dendera, Egypt.The marker on the circular Dendera zodiac I mentioned is described in this quote, and the one opposite at the Golden Gate is also mentioned. “Then, beyond these "heaven-holders", on two sides of the work are rectangles patterned with rows of chevrons, symbol of water, which must represent the Milky Way Galaxy, the stream of the heavenly waters. This is apparent because when we look at the night sky we see the heavenly stream of the Milky Way cross the zodiac at Gemini/Taurus, and also at the opposite side of the sky at Sagittarius/Scorpio. The Dendera Zodiac precisely shows the chevron rectangles below Gemini/Taurus on one side, and below Sagittarius/Scorpio on the other side.” (The Circular Stone Zodiac of Dendera, Egypt -The most dynamic image of the heavens ever created ) The rows of chevrons described are extended wave glyphs. Think, Genesis 1 and the waters of the expanse. The Golden and Silver Gates are water gates, water-as-time gates. The celestial Silver Gate is what was opened up in The Avengers above Stark Tower. What do you think the Marvel Comics Silver Surfer character is spilling the beans on?

Bullinger believed the biblical text of Genesis 11:4 indicated how the tower of Babel probably featured the zodiac. I think he was right. Here's something. The Hoover Dam, a star map of the Pleiades in Taurus that was made to document the exact location in space and time of an event, and angelic guardians I call tuning fork angels. Water, falling, falling and falling generating massive amounts of energy, with a model of the throne of Zeus-Satan.

For a season in 1957, under that Grand Central Terminal's ritual zodiac ceiling sat a very significant rocket, the PGM-11 Redstone. MIB3 featured the rocket that launched ArcNet, Apollo 11. There's that 11 again. The Avengers featured Iron Man's occasional blasting off from the tower and blazing into the sky like a rocket man, and he went right up through the dimensional portal with a nuclear tipped missile to save the day, falling back through the portal to earth as it's savior.

Here's a collection of observations from Wikipedia: “The PGM-11 Redstone was the first large American ballistic missile. A short-range surface-to-surface rocket, it was in active service with the United States Army in West Germany from June 1958 to June 1964 as part of NATO's Cold War defense of Western Europe. It was the first missile to carry a live nuclear warhead. A direct descendant of the German V-2 rocket, the missile was the foundation for the Redstone rocket family, It was developed by a team of predominantly German rocket engineers relocated to the United States after World War II as part of Operation Paperclip. Redstone's prime contractor was the Chrysler Corporation.”

Connect the dots. Nazi science. The vendor was the same Chrysler Corporation that was headquartered in the Chrysler building seen in The Avengers and featured in MIB3. Nuclear tipped missile, like the one Iron Man sent through the stargate. Redstone. Red - Adam. Stone - crystal DNA. Ascending man into the heavens.

Wow. Potent. That's a lot of ritual energy!

A Sign of the Space-Time Ark Mission

Our Internet connection went down on the day after I began writing about our insight into The Avengers. We've had problems with our broadband before, but this was very different. I rely on having ready access to research things as I go but we were offline for nearly three full days, so I made do, using a local cafe's wi-fi once to check email. Vandals had cut the cable where it enters the house. Apparently, this is not unheard of here, but it's not common. In the context, it was soon apparent that this was a sign. It was a sign that the inviting nest of cables so readily exposed to the street might not be very secure, sure, but the meaning of sign really effects all of us, everywhere. The meaning found some pretty obvious support from two other sources during that span.

What led us to The Avengers initially was an insight about the Stark Tower sign calling out the ST for space-time. When I shared that with Aaron he noted that it was ST-ARK, and that the scene where the Tower was introduced began under water, a time symbol. When I reviewed the scene and its context I noticed how the segue scene in the boxing gym was richly layered with space-time symbolism. The more I saw, the stronger my impression that the Tower, as a self-sufficient space-time ark, was a really big deal to the producers because so much of the film supports that concept. What was being done underwater in the scene of my first interest was basically the cutting of the cable that connected the Stark Tower to the grid. That's where my study began, and that's not unlike what happened here when the study got under way. We weren't cut off from the power grid and we didn't switch over to an alternate power source, but there's more to know about the nature of the disconnection! Those in the Tower were then, symbolically, in a space-time ark. And here Aaron and I are, still expecting to find ourselves in a space-time ark. Stark was asked to participate in a mission involving the Tesseract. We've been expecting a related kind of mission.

As some readers have pointed out, the word, tesseract, lends itself to being broken out to, resset act. It's derived by looking outward from inside, like how I described the 12:21 as 21-s looking out and 12-s looking in. Full anagrams include acts reset, reset acts, resets act, and act resets. Perhaps this is why the producers use the word instead of the simpler, cube. (I note that tesseract is also pretty close to, resurrect, and that is relevant because how how it, and Captain America, who went down with it, were fished out of the sea.)

Are you connecting the dots here? Space-time ark. Mission so that all humankind wouldn't be destroyed: “Act Resets.” It wasn't just our broadband connection that got cut. The bundled house phone line went with it, and one of the cable box feeds was cut, but, get this! The line to the water meter was also cut! Think, water as time. The water meter records water usage. The house water wasn't effected because it continued to flow. The meter just registers and reports the amount that flows, and that was disabled by the act of vandalism. The cable guy fixed what was his to fix. The local water utility had to come splice the cable to restore their connection to this house - and reset the water meter. Think about what Iron Man did when he took the Tower off the grid, with the cable under the water.

The other items have to do with the time ark of Wayward Pines (on FOX) and some closely related allegory in Ex Machina (2015), both of which I watched during the writing of The Avengers posts, before we even knew that the outage was due to the cables being cut. I hope to share about those things, plus about another clock sign from early June that Aaron documented, which is also relevant. And there's some more I may be presenting about The Avengers, probably in a 3rd part in series. Lord willing, of course.

We take the multi-part sign as validation, and encouragement, and it is comforting. The Lord has not been distant in this season but so far the intensity of engagement doesn't compare to what we experienced in March and April, leading up to and through the season of the Pesah watch. If you've been following this blog, you know we've been expecting a mission briefing, of sorts. I've logged a lot of hours in the effort to discern the thematic structures of key passages of scripture, and Aaron has been logging many hours learning Greek and acquiring resources for translation work. We've had a trickle of insight metered out but the fire hydrant of revelation insight hasn't yet been opened to us. We have high expectations. The Lord promised to help and He is helping!

Part 2 - The Avengers - STARK Tower as Space-Time Ark - PP and AC to DC

Picking up where we left off, here's another insight into the ending of the scene in the boxing gym. When Steve carries the Everlast punching bag away he seems to be recovering the 70 years he lost; a pound of sand for each year.

Now, Director Fury's closing line from the previous scene (about war being won by soldiers) was picked up as the gym scene began, with the soldier flashing back to his wartime battles. Likewise, the last line of the gym scene is picked up as the next scene begins. “You should'a left it in the ocean.” In the ocean. The scene transitions to an underwater setting.

Iron Man is under the water where it's pretty dark, cutting open a casing to expose a bundle of cables. He installs some kind of high tech coupling with coils that glow with a soft blue light. Completing his task, he rises up to emerge from deep under the water. He's apparently in New York Harbor, and he flies away into Manhattan. There's a lot going on here, including Iron Man playing as the beast of Revelation 13 being seen rising from the sea, but there's a continuing focus of attention on the theme of time. Here's where the Stark Tower is introduced as a kind of space-time ark.

This video clip of the featured scene supplements this post. If it doesn't stream well you can try downloading (right-click -- 'save link as...') and playing the mp4 video file from your hard drive.

The Avengers - Stark Tower Launch and Agent Coulson recruits Iron Man

Flying into Manhattan, Iron Man communicates with his girlfriend Pepper Potts, who's in the Stark Tower.

Iron Man: Good to go on this end. The rest is up to you.
Pepper Potts: You disconnected the transmission lines? Are we off the grid?
Iron Man: Stark tower is about to become a beacon of self sustaining clean energy.
Pepper: Well, assuming the arc reactor takes over and it actually works.
Iron Man: I assume. Light her up.

We see the dark tower with lights coming on from the bottom up in a pyramidal triangular shape, including the watery blue sign: STARK.

Pepper: How does it look?
Iron Man: Like Christmas, but with more - me (or perhaps, meaning).

This messianic identification goes beyond inflated ego. When Iron Man recites his green propaganda line, what's more important to note is the independent and self-sustaining aspects of the system being implemented, and the mention of the arc reactor. The arc reactor for the self-sustaining space-time ark. NLP. The ST-ARK is launched in its new state of independence from the power grid that is identified with the outside world. Manhattan is an island. Stark Tower is in Manhattan. It's surrounded by water, disconnected from the world as separated from it by water, an ark apart, independent and outside this space-time domain.

When you watched the clip, did you notice the arched bridge and clock? Time-space bridging.

The dialog is loaded with NLP, peppered, shall we say, with time words. It starts out pretty subtle. “... is about to become a beacon...” “I'm in DC tomorrow,” Pepper says. I note that, in the context of time, DC or 43 decodes to both 12 (4*3) and 7 (4+3), both of which are fundamental time numbers. Given that the special event has to do with a change in power, the mention of DC plays in that context as direct current. We're going to see this emphasized in connection with an AC reference, and the reason for that will become evident as more redundancy supports the covert themes. What she's planning to do in DC is work on the zoning for the next 3 buildings. Next. Sequential in time. NLP builds on a broad range that includes the very subtle.

I note that 3 is the resurrection number, and there is in this numbering of the next buildings an allusion to bodies of triple helix DNA, humans that will be transformed by the mark of the beast to become housed by immortals. Bodies as buildings. Rezoned. That scheme depends upon what's going to be accomplished through the operation of a space-time ark!

Iron Man: “You're killing me and the moment. Remember, enjoy the moment.” The word, moment, and its usage here is quite direct. It's going to be heard a few more times. Killing a moment, of course, is one result of a time war. Following Pepper's mention of rezoning 3 buildings, this speaks to me of the death of the host as it is resurrected or raised, vacated for new occupancy. That merging is intensely sought after by the deceived of the world and is even now being celebrated in anticipation. If they really knew what the outcome will be, oh, how very different things would be!

When Jarvis tells Tony Stark that Agent Coulson of SHIELD is on the line, let's ignore the superficial meaning. He's on the time line. With that insight, what Tony Stark says in response is more than just a flippant attempt to excuse himself from taking Coulson's call. “I'm not in. I'm actually out.” In and out of what? Of the building, technically. Figuratively, he's not in time but outside it, out of the time line Agent Coulson is on, apart from this domain's space-time continuity. To really get this you have to consider the action of the scene. He's just landed on the Stark Tower, a space-time ark. It has just been disconnected from the grid to become independent of the earthly space-time domain. He's not in time but out of time. He was under water, now he's out.

A garment change signals a domain-specific body change, remember. During the conversation with Jarvis, Iron Man is in the process of having his garment-body changed to his Tony Stark body of enhanced human flesh. The garment / domain changing process is something the film frequently makes a big deal of modeling. The unclothing device looks like a ringed stargate and in passing through it Iron Man-becoming-Tony Stark descends steps, which means entering a lower dimensional realm. The stairs speak to me of the biblical mecilah. Think Led Zeppelin's Stairway To (/ from) Heaven.

Jarvis: “Sir. I'm afraid he's insisting.” Tony: “Grow a spine, Jarvis, I've got a date.” A date is an appointment scheduled for a specific time - yet another time reference. A spine is linear and it provides a structure. A linear time line with regular units marked off like vertebra on a spine gives structure to time.

Tony tells Pepper: “Stark Tower is your baby. Give yourself 12% of the credit. ” He associates the number 12, a time number, with the space-time ark tower. Think, Revelation 12, where a prominent metaphor is water-as-time! A sign is seen in the heavens (like the Tower sign they are about to discuss), a sign of a woman who is about to give birth. This follows one messianic reference with another. The sign involving Virgo as the heavenly woman precisely identifies the very moment in time when the messiah was born by means of the celestial-terrestrial clock. (When Jesus was Born - The Celestial Signs) It should be observed that when a woman gives birth, her water breaks. What do you usually hear next? It's time!

Side note: A celestial event in the sky right now, last night and tonight, is being linked by some to what they call the Star of Bethlehem. It involves the bright planets Jupiter and Venus. “Astronomers call these celestial meetups conjunctions. And this is the second in a series of three between Venus and Jupiter in over a year. The cosmic duo were a bit tighter on August 18, 2014, and will be a tad farther apart in their next encounter at dawn on October 26.” Although what already happened in 1991 was the big deal, celestial signs continue to call attention to the significance of the season. The grand celestial clockworks, according to Genesis 1:14-18, are for signs to mark seasons and days and years.

Tony brings up a security breach involving the building and its elevators. Those ascend and descend between floors of a building as traveling between realms through space-time. On the subject of giving Pepper credit, Tony says, “I tell you what. The next building is going to say, Potts, on the tower.” Pepper replies, “On the lease.” Again, “next,” in sequence of time. A lease is a kind of contract that involves a well defined space and a fixed period of time.

Tony: “Call your Mom. Can you bunk over?” A mention of Mom immediately repeats the baby birth / motherhood subject to support the allusion to Revelation 12. Tony's asking if she can bunk over presents us with a coded reference to space to go along with the time references. Bunk beds are one bed above another. Bunk over. Bed over bed. The point of bunk beds is to conserve SPACE. She would be requesting to bunk over for a specified period of TIME, like one night.

During that discussion, Pepper pours them some champagne. She walks over and steps down to descend into a circular space known as a conversation pit. Pit. Abyss. As Tony brings up the security breach, she ritually demonstrates just such a thing. Her left hand reaches for a glass, and on her left wrist is a watch. A timepiece.

So equipped, she breaches the secure perimeter of an aptly defined space-time zone, the drink service tray. Like Steve Rodgers leaving the boxing gym while he's still wearing his gym clothes because he's got the 70 pound Everlast bag filled with the sands of time. As Pepper pulls the bottle out of the ice bucket we hear the sound of shifting ice. Frozen water as time, displaced. Champagne isn't water but the liquid provides the same meaning, and time is figuratively transferred from one container into another as she pours. Notice how the design of the tray conceals the fish swimming in both directions around in a circle, as in water. And, like opposing beams of electrons in a particle collider. Remember the context and the accelerator test facility and Project Pegasus. (Pepper Potts. P P ~ 11 11 when z=1) We may also compare the suspected technology (counter rotating ring EM / gravity propulsion) and purpose (space-time travel) of Die Glocke, the Nazi bell. The vesica piscis or ichthus ring around the tray, connecting and alternating the intersecting arcs with rectangles. Square: Space. Circles, the arcs of which intersect to form the vesica piscis: Time. Space-Time. The arcs - space-time arcs-arks. Crossed circles: Mark of the Beast. Familiar routine, right? The design of the glasses provide for more cross circle imagery for redundancy and thus more potent theurgy.

On the matter of space-time breach signaling watches and drink service in films, remember Decoding "The Penitent Man", parts 10 and 11?

The phone rings. Agent Coulson again. Jarvis: “Sir the telephone. I'm afraid my protocols have been overwritten.” This overwriting of the protocols points to a hack of the higher dimensional security system that exists outside this time-space domain, of a kind where authority is being asserted over the domain.

Phil: “Mr Stark. We need to talk.” Tony: “You have reached the life model decoy of Tony Stark. Please leave a message.” “This is urgent.” “Then leave it urgently.” Immediately, the elevator doors open and there's Phil. Tony: “Security breach! It's on you.” Phil: “I can't stay.” Why can't he stay? Does he need to say it? He doesn't have TIME, of course! “We need you to look this over - as soon as possible.” More attention is given to time.

Phil overwrote the protocols of Jarvis, the personal assistant personality (and straight man to Tony's quips) that is the Tower's AI control system. Phil was able to override the communications interface and also gain unauthorized access to the building, including elevators, even the owner's private elevator. This is the illustration of the security breaching agent of the dragon, seizing control of time and thereby acquiring the authority to access the formerly secure heavenly domains of his enemy.

Tony feigns jealousy over Pepper being on a first name basis with their visitor. “His first name is Agent.” Put it together. Agent Coulson. AC. (As Skye refers to him occasionally in the Agents of SHIELD series.) AC = Antichrist.

Here's a clever bit, building off the drink service scene. There's a leading and misdirection as Phil tries to give Tony the briefing device. Tony: “I don't like being handed things.” Pepper: “That's fine because I love to be handed things, so let's trade. Thank you.” While the most obvious thing being handed over is the briefing device, give attention to the other handed things in the scene. Drinks are handed over, liquid-as-time in space-time styled vessels. Watch the exchange closely as Pepper passes the briefing device from Phil to Tony. Two drinks are received into the only two hands with wristwatches. Their analog wristwatches are handed things that mark the passing of time; hours, minutes and perhaps seconds, if there's a second hand or two!

“Official consulting hours are between 8 and 5 every other Thursday.” The NLP continues to build as Tony identifies a very specific period of time.

Tony: “Ms. Potts. Got a second?” Pepper excuses herself, offering to Phil: “Have a moment.” And, on it goes.

Tony to Pepper: “You know, I thought we were having a moment.” Pepper: “I was having 12% of a moment.” Again, that distinctive use of the time word, moment. And, again, the time number 12 is heard, here, as a modifier of the period of time! Percent, written as a sign, is a circle across from a circle, a cross circle MOB signal.

Tony questions Pepper, still feigning jealousy. “Why is he, Phil?” It begs reflection on the previous scene where Steve Rogers had said, “I slept for 70 years, sir. I think I've had my fill.” Phil, or fill, of time!

After seeing the briefing video and the reason for Phil's urgency, Pepper tells Tony, “I'm going to take the jet to DC tonight.” Tony's response: “Tomorrow.” We revisit the earlier conversation, with greater emphasis on the time elements.

Pepper: “You have homework. You have a lot of homework.” “Well, what if I didn't?” “If you didn't? You mean, when you've finished? Well. Um. Then...” Pepper draws attention to Tony's response, which lacks any reference to the passage of time. Her correction addresses that neglect. The NLP must be reinforced, after all.

After Pepper whispers something privately in Tony's ear, he responds. “Square deal. Flash Date.” Square: A space symbol. Flash Date: Spontaneous, and yet also an appointed time and place. Space-time!

As Pepper leaves, an arrangement is made with Phil to drop her off at the airport, and there's another allegory in play. Tony made sure that we identify Phil as Agent Coulson, or AC. Pepper's going to DC. You might read a bisexual reference into that, but there doesn't seem to be much support for it in the context. However, if you compare that scene closer with the scene opener, you'll find points of comparison. She's going with AC to LaGuardia, then on to DC. Power mode change from alternating current to direct current. Through LaGuardia. LaGuardia as Stark Tower, where another kind of power transition was just celebrated. They transitioned from power grid to arc reactor. LaGuardia: from the definite article la + guardia 'lookout (tower)', a topographic name for someone who lived near a watchtower or an occupational name for someone who kept watch. A WATCH TOWER.

When the scene transitions into the next, we see a large expanse of water (as time). It's not Pepper jetting to DC, but a jet does fly low over the surface to maintain the now expected continuity through the scene transition.

Why saturate those scenes with cryptic space time symbolism? This is how the theurgist ascends into the presence of the gods, and how beans are spilled in Occult ritual about the Adversary's plans.

More to follow, Lord willing.

Part 1 - The Avengers - STARK Tower as Space-Time Ark - Fury Recruits Captain America

It's not at all rare to see the subject of time-space manipulation in the media these days because it's all over the news as well as entertainment productions. We watch and see what we see, according to the Lord's command for His saints in such as Mark 13:37. What's most interesting is when the space-time manipulation theme is embedded in the language of symbolism, like in The Avengers (2012). The theme is not only central to the plot, but two or more of the scenes are drenched in space-time symbolism. It's in the script, which is loaded with NLP, and it's in the visual imagery of the set and the action. This covert messaging is an expression of theurgy, an operation of mind-control programming, and ritual magick. For us, it provides a window of insight into the Adversary's intentions and how Bible prophecy is playing out in this amazing season.

The main point I want to make in this post is how the idea of a space-time ark is being promoted as central to an interdimensional war over humanity. What I've been writing about for the last few months and primarily showing from the text of the Bible is also the stuff of pop culture media, and it has been for a very long time. (Search this blog for time ark for more insight.) A reset of time itself is coming that will result in a time truncation. It will become necessary due to the consequences of an interdimensional war that will be (or, is being) fought with weapons of time-space manipulation. While this lengthy post was being written, the Lord provided some extremely interesting validation, which I will probably be writing about soon.

I'm assuming that you're already pretty familiar with the film that is the subject of this post. Briefly, the plot revolves around the Tesseract, a mysterious alien artifact that can function as a power source and a space-time portal. That higher-dimensional cube is activated very early to open a passage from the other side, through which the demigod Loki makes his entrance into this world and realm. The Tesseract is stolen from SHIELD and harnessed to open a dimensional portal through which alien invaders come, who wage war in an effort to destroy humanity. The portal opens right above the Stark Tower because the Tesseract was placed inside a device that was set up on the Tower's highest level.

It's fitting that the celestial Silver Gate is inherent in the location because the Stark Tower is in New York City, in Manhattan, replacing the MetLife building. There's a lot to explore in the film, including connections to the Grand Central Terminal and CERN's LHC.

Prior to the theft, the Tesseract was being studied inside a particle accelerator facility. It had been placed into the energy beam, and on the other side it was perceived as having been awakened. When the Tesseract was operated from the other side, that's when a blue beam shot out and Loki appeared as through a stargate. Links to CERN's LHC supercollider are unavoidable. When that controversial machine was fired up in the first run, strange beings appeared and were witnessed by many. Here's a sign from the film. Literally.

The Tesseract was being studied at a facility called Joint Dark Energy Station, Western Division. Project Pegasus. NASA Space Radiation Facility. S.H.I.E.L.D. Accelerator Test Facility. The entire time the sign is in view we see shadowy figures, most of them speeding by. Shadowy figures. Not unlike those seen in the SYMMETRY Dance-Opera film sponsored by CERN. They are the beings on the other side, waiting to come through to this space-time realm. (Web search project pegasus time travel montauk for insight into why The Avengers is making that connection.)

Here's another sign. The design of the owner's name on the Tower suggests that it's a space-time ark. It's subtle, but notice how the alignment of the letters and the shifted encircling line divides the word, STARK, into ST and ARK.

Comparing this design to the title graphic of Stitchers, the new series on the ABC Family network, the lengthened ascender of the letter A appears to be a slash character, and this might be a model for the Stitchers title. A slash is used as a separator. ST slash. Space-Time - separator. Space-time ark.

Here's a couple more observations about the Stitchers title. The slash is through two letters, TI. That's the standard designation for the metal titanium. It was named for the Titans of Greek mythology, the earliest class of gods. References to this metal can signal Code 47 (Osiris + Isis produces Horus) because the atomic mass of Titanium is 47.867. Because the shape cut off as the dot of an “i” suggests the triangle eye floating above the pyramid on the Great Seal of the USA, which is the all-seeing Eye of Horus, and it's called out as the “i” of Horus for yet another layer of redundancy.

I note with interest that the Occult gematria of STITCHERS is 121, and 122 where Z=1. Given our recent focus of attention on 12:21 and 21-22 combos that observation seems well worth noting here.

The Occult gematria of STARK is very significant. It's 19+20+1+18+11 = 69. That's what I consider to be the double digit number signaling the mark of the beast transformation, and I've noted plenty of related XO MOB imagery associated with the Tower. With Z=1 in the mirrored gematria, STARK calculates as 8+7+26+9+16 = 66. That's the number for the abyss, yes, the watery deep, and as you'll soon see this is a very fit identification. The Stark Tower is on Manhattan, an island. Man+Atun. Man god beast, surrounded by water-as-time, arising out of water-as-time.

In the film, the Tower doesn't function like The Time Machine of H. G. Wells, Dr. Who's phone booth or Mr. Peabody's Way Back Machine. Instead, it's represented as a modern Tower of Babel, a special platform where access is opened into the heavenly dimension. This connection between the two towers is made in ways that are cryptic but there's enough evidence to suggest that this is intended. The Tower is an independent operational interface between realms.

The scenes of primary interest happen early in the film, after the crisis has been introduced and while the Avengers team is being assembled. The Tower is introduced when Agent Coulson is about to recruit Tony Stark / Iron Man. Just before that, Nick Fury, Director of SHIELD, recruits Steve Rogers / Captain America while he's working out in a nostalgic looking boxing gym. I found a clip of this scene on YouTube. You'll probably want to watch it now and keep it open in another tab or window for reference.

The AVENGERS - Captain Rogers [America] HD

While Director Nick Fury is making a pitch to a council of overseers, we hear a councilman say, “War isn't won by sentiment, Director.” Fury responds with dramatic emphasis. “No. It's won by soldiers.” The scene cuts to a boxing ring where we see Captain Steve Rodgers working out with a heavy punching bag. Our first sign is the brand label on the boxing gloves. Everlast. Like, everlasting; it's a time reference. Flashbacks to the past reveal what's on his troubled mind, scenes of some battles he fought during WWII. Through the transition from scene to scene, the overt context is WAR! This is about space-time warfare!

At almost 21 minutes into the movie (not the clip), this is what we hear. “There's not enough time. I've got to put her in the water.” Okay, if you've been paying attention to this blog that should flag your attention and put you on the alert for symbols like water-as-time. Just before the scene transition, a glass of water (as time) is being used as a prop and occasionally given a central position on screen. This is done while Fury makes the urgency of the situation his main argument. Urgency has to do with the passage of time. What follows is an abundance of imagery echoing that same theme.

As the time counter on the video player ticks over to the 21 minute mark, and the number 21 means time, it's apparent that the airplane Steve is piloting is crashing into the water. (Backstory is from the film, Captain America, The First Avenger.) Very briefly we're shown the Tesseract, which an earlier scene had demonstrated to be a space-time portal. The Tesseract is with him when he crashes into the sea, but there's more going on here. When the airship and pilot would penetrate the surface of the water, that action represents the breaching of a time-space barrier.

We see the body of Captain America, partially encased in melting ice. Ice is frozen water, which is frozen or stopped time. From the time of the crash until he was thawed out, Cap was in a state of suspended animation like a deep sleep where the passage of time had no effect on him.

We hear someone exclaim, “Oh my god! This guy's still alive!” When someone on screen utters those words, they're usually telling you that there's a symbolic level where they have just encountered a god. That god was still alive. He was, is not and will be, it could be said. As from out of the past, he emerged from the sea like the beast of Revelation 13:1. Captain America. Amaru, aka Osiris, whose parts were collected from the Nile (the river of time) and regenerated by Isis to produce Horus. (similar sounds, Isis ~ ice) Cap's shield bears the pentacle that is the ancient sign of the celestial goddess of the sea, Venus, aka Isis. The patriotic shield's magical sigil that is the pentacle is also the Egyptian hieroglyph for the duat, the underworld.

Cap is worked up and he punches the bag so hard that it flies off the chain (theurgy - seirai) and slides over to the wall, ruptured, spilling out sand. The sands of time have spilled out of the bag, time uncontained, lost. Motion, ceased. When the bag and sand fly through the air, think, tempus fugit. It comes to rest under the water fountain. That's a WATER-as-time fountain, where no cool water happens to be flowing. Right behind the bag we see a radiator, and hidden inside may be flowing steam and hot water-as-time. Some of the shots of Steve punching the bag are lined up to show us the water fountain and radiator being occulted by the swinging bag of sand. Stacking or layering related symbols is an expression of theurgy.

Steve sends the bag flying with a powerful right cross. The bag is cylindrical so it has a circular cross section. He hit it with a right cross. Bam. Cross circle. Mark of the Beast! Lined up behind him is a rounded square column. Squared Circle. The boxing ring is known as a squared circle. Technically, things called rings are round, right? That has rich meaning, signaling ritual sodomy and mind control programming. That biological-spiritual mechanism is exploited to create supersoldiers, like Steve Rogers. The squared circle construction is also a geometrical representation of time-space and the exercise of control over it. A boxing ring ~ space-time war. When the bag is punched so hard that it goes flying through the air, the squared circle of the boxing ring is seen behind it. There's a prominent square shape cut into the floor. When the cylindrical bag flies by it, yet another layer of circle square imagery appears.

Right near Cap's head - at 21:12 film time, and 12 is another primary time number, we see a clock behind him on the wall being covered and uncovered by his head - as he turns around. (uhhhh, think, ELO - Fire on High - “The music is reversible, but time... turn back, turn back, turn back, turn back”) His head was occulting the timepiece as he turned around, at 21:12. You're familiar with what I've been writing about 12:21, right? A clock, of course, is for measuring and accounting the passage of time.

So, are the themes becoming really obvious?

Cap walks over and picks up another bag. It's one of six in a line so there are seven total, including the one at rest under the fountain. Seven bags of sand means seven units of time. The bags are the heavy-bag kind, and the brand is Everlast. Like the boxing gloves seen hanging on the ropes. Everlast. Think about it. An Everlast punching bag and boxing gloves. Time wars. The bags are probably the standard 70 pound kind. Daniel 9 famously describes sets of sevens, 7 and 62 and 1 and 70. Coincidence? Doubtful. At the 12:21-22 time marker, Steve hangs the second punching bag on the chain. Meaning: Time transition. I reflect on all the verses numbered 21-22 and other sets with that numbering that the Lord was highlighting to Aaron and I during this past Pesah, a transitional season.

So, the squared circle pairing is a space-time symbol combo and so is the practically identical cross circle or XO. Each heavy bag is attached with four chains. Seen from above, the form presented is the familiar XO. It's signaling space-time and also the mark of the beast. It's also the heart of the sigil of Nodens, the god of the watery abyss.

The many columns in the gym are symbolic objects with meaning that should be familiar. They are used in Illuminati trauma-based mind-control for what's called time travel programming. That's probably because of the assigned meaning that goes back to ancient times, where heaven and earth are seen as connected by columns, and transited also. The ones in the gym are padded, which speaks to the padded rooms of mental asylums for more trauma-based mind-control symbolism. The row of Xs in the stitching forms water glyphs, aligned vertically. The marking of dimensional gates (windows, doors, bridges, columns...) with X X is hugely popular in film and TV sets.

When Fury walks in, he asks, “Trouble sleeping?” Steve replies, “I slept for 70 years, sir, I think I've had my fill.” Right. 70 years. His fill is a full measure of time - 70 years. That's a fullness of time period like an Everlast heavy-bag filled with 70 pounds of sand. Fury's retort: “Then you should be out, celebrating, seeing the world.” The world. Space. Put it together. Time and Space. Daniel 9 refers to the full span of time that had been revealed to the prophet Jeremiah for the exile in Babylon: 70 years. I see an even far more compelling connection here with Enoch and a 70 generations long term of imprisonment, because those responsible for the flood of Noah's day want so badly to be released back into the world, to celebrate with the bringing of destruction. They are THE AVENGERS, with all the agents allied with them. One of the main objectives in the time war is to impact the countdown timer on the time-lock of their containment system, to set them free in a manipulated early release.

Steve responds, “When I went under the world was at war. When I wake up they say we won. They didn't say what we lost.” What did Steve lose but time? Seventy years got away from him. Gone. He makes reference to the passage of time, and war. When he went under, what was it that he went under? Water. Under time. Into the UNDERworld. Fury: “We've made some some mistakes along the way. Some very recently.” “Along the way.” “Very recently.” Emphasis: Through space and time.

Steve: “Are you here with a mission sir?” Aaron and I have been discussing a time mission for years, how Matthew 24:22 bears witness to such a thing. The elect saints will be engaged as the benefactors in a truncating of time relative to megas thlipsis. An ark is for salvation, the saving of flesh. The time ark concept. Fury's response to Steve's question is succinct. “I am.” Right. That's a coded reference to the identity of The One who commissioned Moses at the burning bush on Mount Sinai. Moses himself had been saved in an ark, spared certain death by being floated on the Nile to be found and raised by the Pharaoh's daughter. He was commissioned by I AM to save Israel by passing them safely through the Sea of Reeds, as by another kind of time ark, on dry land. Dry. Absence of water-as-time. Fury, a counterfeit I AM, has the eye patch, the darkened eye of Horus, of course, so he's an antichrist type like all the other characters. Steve: “Trying to get me back in the world?” Hmmm. NLP. “Get me back” hints of revenge, of avenging, but think on this: The mission is first to get the demigod Amaru back into this space-time domain. Fury: “Trying to save it.” Yeah, saving it requires a savior of the world, a messianic agent. There is a time ark mission that involves bringing the fraudulent savior into the world. We saw that already with Loki, but the modeling repeats in varied shadowy ways.

Fury hands Steve a dossier and we see the Tesseract featured. Steve says it's HYDRA's secret weapon. Let's take a closer look at that.

Everything HYDRA is related to water, like the word, hydro. Water-as-time.

“In Greek mythology, the Lernaean Hydra was an ancient serpent-like water monster with reptilian traits. It possessed many heads – the poets mention more heads than the vase-painters could paint – and for each head cut off it grew two more. It had poisonous breath and blood so virulent that even its scent was deadly. The Hydra of Lerna was killed by Heracles as the second of his Twelve Labours. Its lair was the lake of Lerna in the Argolid, though archaeology has borne out the myth that the sacred site was older even than the Mycenaean city of Argos, since Lerna was the site of the myth of the Danaids. Beneath the waters was an entrance to the Underworld, and the Hydra was its guardian.” (Wikipedia)

While the Marvel productions remind us regularly of HYDRA's growing of more heads to replace each one that is cut off, I don't recall hearing this beast's job mentioned. HYDRA's namesake is the legendary guardian of the entrance to the underworld that is beneath the waters. (Seen “Pacific Rim” lately?) This identification is key, and with Steve's observation that the Tesseract is HYDRA's secret weapon, we can interpret the realm accessed using the Tesseract to be the underworld. This actually involves some flip-flopping. The dimensional gateway opening has to do with water, or literally with time.

The HYDRA logo looks like an Octopus and totenkopf (Nazi SS) or a variant on the skull and bones. To call it an allusion to H. P. Lovecraft's Cthulhu mythos is no stretch. Leviathan? Yes, indeed. Decoding the logo, we only see 6 appendages, three on each side. Code 33. The curling tentacles present an obvious 666 on our left, and a mirror of it on the right. With 6 numbers 6 thus written out for us, the numbering of the watery abyss is signaled; 66. HYDRA - Water beast of the abyss. The encircling of the imagery adds another 6 (O ~ 15 ~ 1+5) to provide redundancy in support of the 666 read directly on the left and on the the mirrored side. The HYDRA brand is also an XO MOB symbol. Including the head, there are 7 appendages to this beast. We see that SHIELD has assigned this matter a Security Level 7. Seven. It's another time number.

Here's some bonus imagery. Nexxus. HydraLight

After Steve's comment about the Tesseract being HYDRA's secret weapon, Fury says, “Howard Stark fished it out of the ocean when he was looking for you. He thought what we think. The Tesseract could be the key to unlimited sustainable energy. That's something the world sorely needs.” He emphasizes the words, “fished it out,” and we immediately see the fishy octupus-like figure in the document held by Steve. I believe there's a messianic reference being implied in the emphasis on the fish. (We'll see this interpretation validated with a later reference.) Isis searched for and found Osiris and then fished the parts of her dead husband / brother out of the water, except for his phallus, because it had been eaten by a fish. Why bring up the phallus of Osiris? In last season's SHIELD TV series, the Macguffin was a mystical alien obelisk. An obelisk is the phallus of Osiris. The comment Fury made about the world sorely needing unlimited sustainable energy is another dose of green propaganda from the Big Green Propaganda Machine that drives the world today, but there's more to it than just that. For one thing, there's the coded NLP reference to space-time in the mention of the ocean and the world in the same snippet of dialog. We're going to hear Iron Man voicing the green mantra in the next scene.

Director Fury's last line in the gym is a question. “Is there anything you can tell us about the Tesseract that we ought to know now?” The word, now, is superfluous, linguistally, but repetition serves to strengthen the NLP with additional time word content. Steve responds, “You shoulda left it in the ocean.” In the ocean, where it was figuratively lost in time.

Before moving on we should give our attention to what Steve is doing as the scene ends. He is leaving the gym. He picks up one of the heavy-bags and throws it over his right shoulder. With his gym bag in his other hand, he walks out through a passageway built with secure looking chain-link fencing. Why would he remove a heavy-bag from the gym? It makes sense to bring a heavy-bag the other way, to the gym, because that's where you use them. The bag represents a large unit of time, probably heptadic. (I note that it's #3 of 7 in sequence, leaving 4 remaining on the floor.) We see him carry it out past the columns, representing time travel, passing through the steel or iron gate, the dimensional barrier. He removes it from the gym. A large unit of time was removed from the time-space domain. Time truncation. While he models to us the removal of a fixed amount of time from the closed system, his commentary gives us something to think about. “You shoulda left it in the ocean.” There's a dark agenda being served by the removal of time from the domain, and I'm not referring to the fictional Marvel universe. The Everlast bag filled with the sands of time wasn't the only thing Steve took. What was in the gym bag? Gym bags typically contain clothing, garments. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments. How could Steve leave the gym without changing his garments? Well, because he took the bag of sand with him. He has time, and control of time, for a fixed season, and that provides access to multiple domains.


To be continued, Lord willing.

The Stitchers Title Graphic, Water-as-Time, Water Clocks

The symbolic meaning and ritual working of Qualcomm's promotional imagery largely parallels the title graphic for Stitchers. (Stitchers on ABC - MK-ULTRA, and Edgar Cayce) These recently spoke so loudly to me and reminded me of something Aaron and I noted from the Avengers film (2012). A thinly disguised space time ark is central to the plot. I'll give that some attention because, like many other items from 2012, it's now more pertinent than ever.

If you're a little fuzzy on why we're so focused on time, here's a set of posts that should help.

April 23 - The Time Pivot of Matthew 24:21-22
April 24 - Following the Trail Through Daniel: "Time Continuity to Turn Aside"
April 25 - The Temple and Time, and Our Blessed Situation

The Stitchers title illustrates the main plot device of the show, how two distinct entitities are joined or stitched into one. The way it does this is by a diagonally cutting through the word and an offset of the two parts. To understand what this means, first, the letter I has had the top sliced, giving it a kind of dot that creates a lower-case look. If you're familiar with the long running series of posts I began back in 2010, See, it's the “i” of Horus! - you know the reason for the stylized graphic is to signal the i or eye. The Horus Eye is central to the Adversary's scheme.

The letter T is sliced through leaving most of it intact. It's separated off with the letter S. STi ~ S -pace - Ti -me. The ST signals, Space-Time. We're going to see that emphasized in The Avengers. In the Stitchers post I demonstrated how space-time dimensionality was featured, mainly through the water-as-time metaphor. If you explore the ancient collection known as the Book of the Dead, or the Pyramid Texts and Coffin Texts, you'll discover how the Horus Eye involves space-time domain transitions and portals. Stitchers is about stitching a living persion together with a dead person, joining them together in a kind of shadow realm, an underworld. The Eye of Horus has to do with crossing over to/from the duat, the underworld, a hidden or unseen time-space dimension.

After publishing the Stitchers post, I was reminded of Aaron's dream about us being carried away in a huge wave. He heard someone say, “Displaced by water and time.” (See Megas Thlipsis - Insights into Allegorical Models and Signs 3/26/15) While we didn't have a clue what it meant for many months after, insight did finally come. It has to do with the season when the Devil has control of time and the time reset mission. In Stitchers, when Stitching is done, the Stitcher climbs into a water tank like an aquarium bath tub and immerses herself. Her body displaces water in an amount up to the full measure of her body's volume. Time displacement.



So, here's what the title graphic indicates. ST = Space-Time. One from the land of the living is joined with one from the land of the dead through the i/Eye of Horus. For most of you, this should be very familiar territory.

With CERN's idol of Shiva doing the dance of the Nataraja, when you understand the cosmological implications and relate Shiva to the Horus / Apollyon identity, some more dots should connect. (CERN's Lord of the Dance)

By the way, the LHC outside Geneva has been online colliding particles at their stated target energy of 13 TeV, and this activity is planned to be increased dramatically in packet or bunch frequency. According to their last report, they just had their first scheduled break in preparation for higher energy work, and they should already be back at it with record collision energy and rate combinations. We believe this instrument is in no small part responsible for what's happening to this time-space domain.

In closing, here's an item that pertains to the water-as-time metaphor. The first non-celestial timepieces were water clocks. The flow of time was measured by the flow of water.

“Water clocks, along with sundials, are likely to be the oldest time-measuring instruments, with the only exceptions being the vertical gnomon and the day-counting tally stick. Where and when they were first invented is not known, and given their great antiquity it may never be. The bowl-shaped outflow is the simplest form of a water clock and is known to have existed in Babylon and in Egypt around the 16th century BC. Other regions of the world, including India and China, also have early evidence of water clocks, but the earliest dates are less certain. Some authors, however, claim that water clocks appeared in China as early as 4000 BC.” (Wikipedia)

According to biblical history, that corresponds with Adam and Eve's expulsion from the Garden of Eden, and the cursing of the Nachash. Adam and Eve were in an enlightened condition, and Cain, the first born man was of the Nachash. They knew stuff. Clocks were not on the list of timekeepers listed as the Creator's provision in Genesis 1. I suspect that fallen angels may have helped advance the technologies of time keeping further.

Next up is perhaps a decoding of The Avengers' Space Time Ark / Tower of Babel

News of note: Quite an indictment of the state of affairs in the health industry

Shocking Report from Medical Insiders (June 18, 2015) (Thanks John)

Dr. Richard Horton is Editor-in-chief of The Lancet, the world’s most respected medical journal.

“To state the point in other words, Horton states bluntly that major pharmaceutical companies falsify or manipulate tests on the health, safety and effectiveness of their various drugs by taking samples too small to be statistically meaningful or hiring test labs or scientists where the lab or scientist has blatant conflicts of interest such as pleasing the drug company to get further grants. At least half of all such tests are worthless or worse he claims. As the drugs have a major effect on the health of millions of consumers, the manipulation amounts to criminal dereliction and malfeasance.”

See also:

Anesthesiologist trashes sedated patient — and it ends up costing her

and: (Thanks Craig)

How Many Die From Medical Mistakes In U.S. Hospitals?

Are you familiar with the role pharmakeia in all its forms plays in these last days?

Pharmaceuticals -The Sorceries of Babylon

Qualcomm - Space-Time Warp Beast Advancing Theurgy

We have been continuing to see signs that quietly affirm that time itself really is hijacked, about to be more so, and then reset. In this vein, there's the stylized title graphic for Stitchers on ABC. I recently published a post about that show. The Stitchers title graphic speaks to what the Lord was highlighting to Aaron and I a little while back about the Avengers film from 2012. Before I get to those, there's the matter of Qualcomm's latest promotional imagery.

What caught my attention was an animated ad with the tag line, “When will today's fast be tomorrow's slow?” The animation happens under the double connected letters M, with the appearance of a pair of letters W, which expand into the words, Why Wait. The doubled W under the doubled M forms the astrological glyph for Aquarius, the water bearer.

Decomposed, there are two wave glyphs, the Egyptian hieroglyph for, water. Water is a familiar metaphor for time so, when they emphasize the water symbols and their marketing blurbs reference various aspects of time, it should be obvious that this is operating on the basis of theurgy.

“Qualcomm Incorporated is an American global semiconductor company that designs and markets wireless telecommunications products and services.” They promote the same agendas as the cell service providers like Sprint, TracFone, Verizon and T-Mobile, which I've addressed regularly in posts and videos. It's about symbolic media that functions in the way of the Occult, evidencing theurgy - in other words, ritual magick.

A student of the arcane noted the following.

“By the Principle of Continuity we can see that there must be a connection between the "highest" and "lowest" realms, between the One and Matter, and connecting all things in between. These are the divine Seirai (Chords, Chains, "Processions"), which unite the Orders of Being. Thus we have connections with the Celestial Bodies and are influenced by Them, who in turn convey influences from the Gods; this is the basis of astrology. We are all connected in the 'Great Chain of Being.'”
(source)

The following is excerpted from The David Flynn Collection (Kindle Edition).

“Additionally the theurgist sought to ascend into the presence of the gods by using symbols, signs, words, sounds, godly materials called seirai (chords, chains, "processions") which united Orders of beings with Celestial bodies, "A Great Chain of Being." The practice of theurgy would only convey influence from the gods if the symbols and rituals used were taught by the gods. This is why Plato said 'great power of geometric equality exists amongst both gods and men.'”

By so forming the astrological glyph for the water sign, the theurgist practices his ancient religion and leverages a very potent symbol.

The blue object that resembles a ball of yarn with knitting needles is probably supposed to represent a satellite. The style is retro, like Sputnik, the first satellite, launched October 4, 1957.

According to a current Wikipedia page, “Communications Satellites act as the middleman in the realm of telecommunications. These satellites are specifically designed to relay information from a source to a receiver. Types of information that can be transferred include: television, telephone, radio, internet, and military. As of May 11, 2015, there are over 2,000 communications satellites in Earth’s orbit that are being used by private and government organizations.”

So, there's another celestial image, seirai, strengthening the theurgy.

A satellite and an astrological glyph of Aquarius: Space. The Aquarius and water glyph (water-as-time) plus time words in the ad copy: Time. Space-time and time-space.

So, if the blue ball of wire is a ball of yarn with knitting needles, what are they knitting, some kind of sweater? Hats and booties and pillow shams? I'm thinking, the fabric of space-time. Like Stitchers, mending or making fabric into garments, knitting fabric.

Why Wait. Make today the future, and the future today. “When will today's fast be tomorrow's slow?” Uh, huh? Fast and slow are rates of speed, distance over time ratios. The tag line prompts us recall the past, reflecting on our changing concept of speed. This conditions us with impatience, wanting what we don't yet have now, right now. Today and tomorrow are time related concepts. They seem to be advertising tomorrow's speed and future tech as if it is available today, which isn't really a novel concept. If we can have the future now, is today then the past? This will be touched on in further promotional brand imagery.

Hmmm. Classic Spaceballs. Dark Helmet: “When will then be now?” Colonel Sandurz: “Soon.” In that scene, they play the VCR video recording like it's reality. That's not really rare. The coming reset has been modeled in media of all kinds for a long time.

The horizontal separating line that bisects the blue orb at the intersection of the needles signals the Hermetic Maxim, “As Above, So Below.”

The symbolism that the OTO (Ordo Templi Orientis) considers to be the heart of the sigil of Nodens is plentiful. It's the XO or cross circle symbol, which is for the MOB, the mark of the beast. Nodens is known as the god of the abyss, the watery abyss. Yeah. You see how this is working, right? Layer builds upon layer. Can you spot the XO? Let's start with the orb, pierced with the crossed needles. The orb itself is formed with encircling wraps of wire that cross at right angles, again and again - XOXOXO... See the brand's letter Q as another XO, a cross on the circumference of the circle. One more layer supporting their ritual and confirming their intent to us is the grouping with the Q that we take to represent the word, question. The colon is oversized, and if we take that as a pair of circles and the Q as a third, we have the 666 signal, the number of the beast according to Revelation 13:18. Derive the number by identifying the circles as the 15th letter O. Each transforms to 6 as the sum of 1+5.

The letters M and W both rotate to form the numeral 3. Double M in Qualcomm ~ double 3 or 33. Code 33. Double W in “Why Wait” ~ double 3 or 33. Code 33, again. AND, double 33 is 33+33 or 66, the numbering of the abyss. The god of the watery abyss is Nodens, and the heart of his sigil is claimed to be the XO. Really, there's nothing ambiguous about this composited imagery. This illustrates the work of those who seek to ascend into the presence of the gods. It is a form of pharmakeia, the sorcery of Mystery Babylon the Great. The operation involves mind control or thought control below the threshold of awareness, and demonic interference effecting perception; cloaking, steering, deluding.

If you visit Qualcomm's website you'll find this wire model that looks like a human brain.

Image of the beast. Automaton, programmed slave of the beast. The implication is that this hard-wired brain is what awaits, right around the corner, and that this is what we want. So we're told. The repeating idea is human nature - just human nature. Just, has the subtle effect of reducing human nature in value relative to something else. More time related ad copy is featured. “Seeking to pull the future forward faster.” What strange language, right? Accelerating time - compressing time. If the future is ahead of us, wouldn't we really be pushing? Unless we're ahead of it, positioned where we can pull it. Shift. Time warp.

How about that catchy alliteration, “future forward faster.” Triple F ~ 666 (F is the 6th letter) Since they go there, we should identify the earlier alliteration, ending the opening line, “we want what's.” WWW or vav vav vav in the Hebrew: Code 666.

Finally, they ask the question, when, and say in response, why wait. If you've been following this blog and have been watching with us, this should really have your attention!

Speaking of time related copy, here's another image from their website.

“These aren't just products, they're the future.” WOW! Look at the picture, with young and old hands (Horus hands) emphasizing the difference in age. Time differential. The hands being emphasized are the left hands, signaling the left hand path. The tablet is not a product, its the future. We're looking at a time-space portal. Alice Through the Looking Glass. “...designed to redefine what's possible.” “To see this philosophy come to life...” ...like the Pythagorean philosophy of theurgy whereby the practitioners ascend into the presence of the gods?

Qualcomm Snapdragon. Dragon. The one who gives his power to the beast, in a snap. Ready to snap up the son born to the woman in Revelation 12. Snapdragon is a class of processors. What are they really interested in processing? Space-time portals?

By the way, have you seen this item, from just over a year ago? June 19, 2014 Russian-Ukrainian ‘Satan’ rocket blasts into orbit with 33-satellite load Satan - potent space phallus - Code 33.

Since we're on the subject of phallic imagery and sex magick, this next item really has to be noted. We're adults here, right? You're familiar with the Sodomite Gateway series, right? What I'm going to point out is something you're probably not going to be able to unsee, so give that some consideration before continuing - because this is graphic and offensive.

The big Q that we've been looking at, which is hanging out in space, appears with the punctuation mark known as a colon. You know where that is located in the context of anatomy, right? Well, the Q is a graphic of a phallus, with urethra, spilling seed. One eyed monster Horus eye - anal Horus eye. The sodomizing sky god. Sex magick.

I did warn you. That kind of thing just goes with the territory. It's who they are, and what they do. It's how the gods are worshiped.

Genesis 1:14-18 - in Hebrew

Thematic Symmetry of Genesis 1:14-18 (Hebrew) - Interactive

17 Deal bountifully with Your servant, That I may live and keep Your word. 18 Open my eyes, that I may behold Wonderful things from Your law. ~ Psalm 119:17-18

I will bow down toward Your holy temple And give thanks to Your name for Your lovingkindness and Your truth; For You have magnified Your word according to all Your name. ~ Psalm 138:2

Your words were found and I ate them, and Your words became for me a joy and the delight of my heart; For I have been called by Your name, O LORD God of hosts. ~ Jeremiah 15:16

Your word I have treasured in my heart, that I may not sin against You. ~ Psalm 119:11

The secret things belong to the LORD our God, but the things revealed belong to us and to our sons forever, that we may observe all the words of this law. ~ Deuteronomy 29:29

For You light my lamp; The LORD my God illumines my darkness. ~ Psalm 18:28

Your word is a lamp to my feet And a light to my path. ~ Psalm 119:105

Revelation: Chapters 4 through 11

A huge interactive presentation has just been published. These eight chapters of the book of Revelation include popular subjects like the so-called four horsemen of the apocalypse, the opening of the little book's seven seals and the sounding of the seven trumpets.

Thematic Symmetry of Revelation Chapters 4 through 11 - Interactive

I had previously published chapters 7, 9, 10 and 11 individually, but those have been replaced. Filling in the range starting from chapter 4 has been a fruitful endeavor. If you explore this fascinating version, you'll see how far more insight may be gleaned from such a consideration of the wider scope.

Even using a monitor that is tilted to give me a height of 1920 pixels, and with the browser view zoomed down to the smallest size I still have to scroll. It's big. This is the kind of project where renting out a theater would certainly be beneficial. (Maybe during the Millennial Kingdom... ;) ) I could have extended this further to include chapters 12, 13 and 14, which are already presented individually, but I didn't perceive that there would be any benefit because there's a kind of parenthetical break right there to separate them. I anticipate that there will be more compilations forthcoming, as the Lord leads and provides. It's not easy work, but the rewards are so worth the effort. Aaron and I are continuing to be advanced toward this season's goals.

You'll notice the highlighting of certain bars and lines, a feature that has been added to recently published versions. That's where you'll find commentary embedded. To explore the commentary, just click the highlighted area. Here's an image that shows one of the commentary windows.

You'll find some interesting insight into the mountains and rocks of Rev. 6. Some of the more interesting bits are down in chapters 10-11. As you wave your mouse around exploring the relationships, I encourage you to give first priority to the one between you and the One who sits on the throne, and the One who takes the little book out of His hand.

Stitchers on ABC - MK-ULTRA, and Edgar Cayce

In this season my attention has been nearly entirely and still very intensely focused on the “mission critical” subjects. I have been rather minimally responsive to email and contact through the blog and YouTube, and I apologize for any offense at this neglect. This season is very unlike those that came before, in certain respects. How long it will last, I cannot say I know. Yet. Some would insist that a quest for that answer is pointless, but seeking the Lord for an understanding of our times and seasons remains paramount. That is in parallel with the development of our relationships of love, faith and hope. He remains wonderfully attentive to us.

Aaron and I have been to see TomorrowLand twice, and the allegories Aaron and I perceived in that seem worthy of a lengthy series of posts. However, it's not likely to get more than a very brief treatment. Like with the film, “Live, Die, Repeat - Edge of Tomorrow,” what insight we gleaned about the important subjects has been processed and passed on through the benefit provided to us in validation, more confidence and clarity and refinement to our understanding. There's always been a benefit in the exercise of working through the details of the symbol language, and a wonderful benefit in sharing it, but there's just not enough bandwidth to work through the presentations and still give adequate attention to what's most important. As important as that work was in previous seasons, it largely represents a distraction. Unless, like with this post, the Lord does so prompt. We remain active with publishing on the MOB blog, but it's a strictly limited effort.

There's a new show on ABC called, Stitchers. Yesterday, while I was starting to wake up, after watching episode one the night before last, the Lord was opening to me a layer of allegory where it's all about Illuminati mind control programming, MK ULTRA/Monarch style programmers, handlers and slaves. It covers ground that's mostly been covered before, but this repackaging appears to be specially fit for this season, which becomes very apparent when you understand the relevance of the featured water-as-time metaphor.

Here's the official plot summary.

“Stitchers” follows Kirsten (Emma Ishta), a young woman recruited into a covert government agency to be ‘stitched’ into the minds of the recently deceased, using their memories to investigate murders and decipher mysteries that otherwise would have gone to the grave. Working alongside Kirsten is Cameron (Kyle Harris), a brilliant neuroscientist whose passion for the program is evident in his work. The secret program is headed by Maggie (Salli Richardson-Whitfield), a skilled veteran of covert operations, and includes Linus (Ritesh Rajan), a socially immature bioelectrical engineer and communications technician. Kirsten’s roommate, Camille (Allison Scagliotti), a gifted computer science grad student, is also recruited to use her skills to assist Kirsten in her new role as a ‘stitcher.’

My commentary will make more sense if you can watch the series premiere after reading this all the way through, then return to read this a second time. It will help if you're familiar with what I've already written about trauma-based mind control programming, and with Fritz Springmeier and Cisco Wheeler's writings about Illuminati slaves and the testimonies of such as Arizona Wilder, Svali, Bryce Taylor and Cathy O'Brien.

It's very common to find media presentations where the mind control programming theme is woven tightly together with the beast/antichrist theme. What I see in this production is mind control programming and the time-space dimensional merging aspect of the antichrist plot. Let's start with the focus on time.

The pilot or premiere episode is titled, A Stitch in Time. There's the subject, right up front. All the promotional imagery features water, which is a metaphor for time. The stitching process involves water, which Kirsten is mostly submerged in. Kirsten was recruited for her special condition, which they call Temporal Dysplasia.

The condition is fictional. It's claimed to mean that Kirsten can't judge the passing of time like normal people, and this is claimed to make her suitable for stitching. In the real world there is a condition called cortical dysplasia, which is a brain function disorder, and there is a part of the brain called the temporal lobe, but Kirsten's condition is fabricated to support the allegorical layering.

Dysplasia, means, the enlargement of an organ or tissue by the proliferation of cells of an abnormal type, as a developmental disorder or an early stage in the development of cancer.

The word, temporal, means: 1. relating to worldly as opposed to spiritual affairs; secular. 2. Of or relating to time.

The tagline of the show is, Memories never die. Memory is a three part process involving encoding or registration, storage and retrieval, and this of course has everything to do with time. The premise of the show is that the brains of the recently deceased retain the stored memories and that stitching allows them to be retrieved. This speaks to me on a few levels. When time is reset into the past, memory of this season will not exist because it will be as though it never happened. Except that things are happening, and it will be such that special provision will be made for some to remember. Certainly, the Lord of Lords is keeping accounts. The premise that memories never die speaks to when the ancient memory stored in our DNA will be activated, as some would see it, and a great hoax is perpetrated. The world will “remember” who and what they are shown in ways that, on a very local scale, are illustrated and modeled by Stitchers.

Temporal dysplasia sounds like temporal displeasure, which speaks to the characteristic attitude of the enemies of the sovereign God about time not being under their control, and, too, that this state and the attending displeasure is seen as only temporary.

Temporal dysplasia also sounds like temporal displacement, and this identification plays on multiple levels. Time displacement. This is Kirsten's condition. She's the special agent who can access the memories, traveling through the stitched brain back in time, through immersion in the water tank, to roam around in the person's past. She is therefore a time traveler, and stitching is all about temporal displacement.

The name of the pilot episode isn't explained, but the old adage referenced provides an apt description of the show's plot. A Stitch in Time - saves nine. The meaning has to do with mending fabric with a needle and thread. If fabric is torn and you delay mending it the fabric will tear more and more stitches will be required to mend it. Stitch it sooner to avoid more stitches later. One stitch now prevents nine in the future. Kirsten is sent on missions to experience the past and bring reports of her findings, with the objective of using that knowledge plus impressions and feelings to change the future. All the episodes so far have to do with using the dead person to save more people from being killed. A Stitch in Time - saves nine.

The Adversary's plot isn't about saving people, despite all the delusional transhumanist chatter being heard today. It's about displacing the Creator, and people are a means to that end, who only have value with respect to their usefulness. I perceive a stitch in time as pertaining to the fabric of space-time, which is already tearing. There are clues that suggest to me that the numbering of the implied “saves nine” is relevant, with regard to the 9th gate, the celestial Silver Gate. That's the time-space portal that is being targeted for opening by those who operate the super-colliders and perform the Occult rituals. The symbolism evident in Stitchers makes it very obvious that the show is Theurgic ritual that works toward that objective. You have seen the CERN opera-dance SYMMETRY film trailers, right?

Episode 2 is titled, Friends in Low Places. Think - underworld.

Let's consider how Stitchers plays around with Spiritualism and presents Kirsten as a medium. There's a definite paranormal angle to the show. The word, temporal, means: 1. relating to worldly as opposed to spiritual affairs; secular. Flip that. Episode 3 is titled, Connections. We see Kirsten “channeling” the dead person, basically adopting their identity. She establishes a kind of bond in the stitching, a soul connection, and there's a transference. The way it works in reality is with masquerading demons and possession. Stitching as demonic possession, making a medium.

The character's name is telling.

Kirsten Clark.
K. C.
Pronounce Cayce
Edgar Cayce

“Every year, tens of thousands of people from all over the world become interested in the life work of one ordinary man. He was an average individual in most respects: a loving husband, a father of two children, a skilled photographer, a devoted Sunday School teacher, and an eager gardener. Yet, throughout his life, he also displayed one of the most remarkable psychic talents of all time. His name was Edgar Cayce.”

“For forty-three years of his adult life, Edgar Cayce demonstrated the uncanny ability to put himself into some kind of self-induced sleep state by lying down on a couch, closing his eyes, and folding his hands over his stomach. This state of relaxation and meditation enabled him to place his mind in contact with all time and space. From this state he could respond to questions as diverse as, "What are the secrets of the universe?" to "How can I remove a wart?" His responses to these questions came to be called "readings" and contain insights so valuable that even to this day individuals have found practical help for everything from maintaining a well-balanced diet and improving human relationships to overcoming life-threatening illnesses and experiencing a closer walk with God.”

The Sleeping Prophet - Who was Edgar Cayce and what are Edgar Cayce Readings?

This is biased, of course, with the above sourced from Cayce's own Association for Research and Enlightenment. If you read that page and watch Stitchers the intended connection should be obvious. The stitching requires that Kirsten is reclining and then the modeling is that she is ritually put into a trance state and then brought back out. K.C. goes forth with questions and reports back with the answers, just like Cayce. At some point, the Akashic Record has to be named in all this.

The Bible is pretty clear about avoiding such activity, and that's for our benefit because there are blessings for obedience and curses for disobedience. Spiritualism is all about demonic deception. Those who promote it are deceived and deceiving.

The secret medium K. C. has a meaningful name even beyond her signal initials. Kirsten. Say, cursed in. Think about it. The name, Kirsten, means, Christian. The name, Clark, means cleric, scribe. Kristen Clark. She's kind of a priestess. Edgar Cayce was a “devoted Sunday School teacher” and his function as a medium was in a priestly kind of ministry as a prophet-priest. Not in service to my God though, to be sure.

Kirsten Clark. KC is Code 33 - a notable observation. K=11 and C=3. KC~11*3=33. One of the associations of that number has to do with the death and resurrection of Christ, at age 33. A person becomes a Christian being identified with Christ through His death and resurrection. Kirsten - Christian - KC 33. In the Stitching, she is stitched to a dead person, identified with someone who died but is not “really” dead.

Who is the authorized agent in the position of responsible for the Stitchers operation? Maggie Baptiste. Think John the Baptist. See the baptism of Christ every time Kirsten gets immersed in the water and is subsequently stitched to the dead person, making a distinct identification, who then emerges alive from the water with the dead person's memories and mind and heart. Okay. Now, flip it. Think antichrist. That's what is being dramatized in not really very subtle allegorical fashion. Think about Revelation 13:1 and the beast seen rising from the sea. Think about the watery abyss and the fallen star who is given the key to the abyss.

Now, let's consider how the beans are spilled on MK-Ultra and similar programs. This is what the Lord was opening to me.

The hacking into the dead brain is a mind-control metaphor. Kristen is a multiple, a chosen one, an Illuminati slave. The programmers are, well, programmers, and her handlers. The Stitchers top secret agency's government umbrella - CIA? When they go through the stitching routine, it's the slave being put into the trance state for programming. Dissociation. Over the rainbow - through the looking glass and down the rabbit hole. Lewis Carroll's rabbit with the pocket watch was obsessed with time. He was in and out of the rabbit hole, as the psychopomp Hermes, and Anubis. Temporal Dysplasia / displacement.

People are put into the trance for programming or missions. When you watch Kirsten stitching and exploring the life lived by the person she's stitched to, think about remote viewing and astral projection. She searches the Akashic Records, traveling the astral plane in an etheric body, to use some common terminology. Temporal dysplasia suggests temporal displacement or time travel as unbound to this realm. These kinds of abilities are the reason for why the slaves go on these kinds of missions, and the handlers and programmers benefit. Surveillance in the present as well as gaining whatever insight may be gleaned about the past and future is coveted information.

Slaves are sometimes put into the trance state for the use of their brains as biological hard drives, memory storage units. They are sometimes used as secure couriers, and the data or memories can only be accessed with the right codes. Stitchers dramatizes this very obviously. To come “out of trance” Kirsten has to code in her name and pin on the virtual keypad.

Her pin is “I Heart Linus,” Linus being the name of the programmer who assigned her that pin. Word associations - Linus Torvalds, famous programmer known for the Linux operating system. Linus: “Lion us” - messianic identification. “Lyin' us” - deceivers. The pin code is a ritual sodomy signal. Heart shape = buttocks. Heart is taken to mean, love, and the ritual sodomy and ritual abuse is equated with love in the perverse relationship with the abusive traumatizing handler / programmer. Stitching is going into trance, dissociating, which is also known as going down the rabbit hole. The rabbit hole is a metaphor for the rectum, and traversing it with ritual sodomy, which has been the standard means of Illuminati programming for thousands of years. This didn't start with the CIA and MK-ULTRA or Monarch, or with the Nazi SS. Ritual sodomy is used like a mason uses mortar with bricks to effectually bind the slave to the handler and to the handler's organization. Stitching, like how a stich sews two together.

Kirsten is made to wear a special black body suit when she stitches. They call it a Catwoman suit, minus the cat ears and spike heels. Beta alters are identified with sex kitten programming. Cat woman. High heels, raised in the rear shoes that raise the wearer's rear, are a ritual sodomy symbol.

When Kirsten describes her condition she tells us how she lacks any natural ability to measure the passing of time. We would say that she has no internal clock. She lists her alternate methods for calculating intervals, substitutes, and this gives us a view into the standard Illuminati alter system that has many timers and internal clocks built in that regulate the complex workings.

Some of the promotional imagery pictures water coming off her face in a way that resembles a mask. Masks represent front alters behind which an internal alter is isolated. Kirsten tells us that she didn't have normal emotional connections and had to learn to model facial responses. The person's core identity is detached and isolated inside behind the front alters who interface with the outside world.

One of the things done to slaves to traumatize them and induce the dissociative state involves ritually drowning and revival. There's the water tank baptismal. There's also sensory deprivation and electro-shock trauma - which is also demonstrated.

The one who presides over the ritual baptism activity is named Maggie Baptiste, and Maggie or Margaret means, pearl. During Illuminati over the rainbow trance programming, there's a black pearl involved, which deals with memory storage. Again, Memories never die, goes the tagline. Here's what I wrote about a dramatization that took place during the London 2012 Paralympics.

“One of the features of this programming is a black pearl. That big black “umbrella” in the middle of the stadium represents the Monarch black pearl! Here's the role it has as the programmer hypnotically guides the slave into the deep trance, descending down on clouds that are the colors of the rainbow. “Land very gently ... very softly ... in the center of a round, black pearl. See it glowing, softly, gently.” When the slave is about to be brought out of trance, it's referenced again. “In the pearl, prepare to awaken.” As the programming session finishes and the slave is going to be sent back into a front alter, the memory of the program will remain "in the black pearl" while the slave is isolated from it for security. 'Leaving the memory in the black pearl and closing and sealing the black pearl. You will remember only those details that I tell you to remember.'”

When she dissociates as traveling over the rainbow to another dimension, Kirsten experiences trauma. In one instance, she's standing on top of a high pillar or pedestal, and freezing cold. The point is made about her feet being for grounding, and this emphasizes the dimensional and time transit.

A column is used to symbolize the goddess of magick with the ankh key to resurrection. The actress who plays Kirsten is Emma Ishta. Think, Ishtar. Goddess. “Imma Goddess.” There are other goddess symbols seen in the show.

Multiples have identity issues, with multiple identities or dissociated alters. Her primary handler, Cameron Goodkin calls her by a wide array of odd names, handles, it must be said, for multiple alters. He's Good Kin because the handler is often a trusted member of the family. Kirsten is special and a lot is being made of her father's identity and role. It suggests that she's a chosen one, which is a multiple who is of Illuminati family bloodline. Her GoodKin handler is named Cameron because it's an anagram, for, romance. There's a reference to the perverse sodomite and abusive handler-slave love connection, and the show superficially plays around with the Cameron and Kirsten relationship dynamic.

The casting of the show is obviously important. They are leveraging the history of networked shows in the SyFy channel network.

Stitchers blurb: “Kirsten’s roommate, Camille Engelson, a gifted computer science grad student, is also recruited to use her skills to assist Kirsten in her new role as a ‘stitcher.’ ”

Played by Allison Scagliotti (skal-yotti), of Warehouse 13 (2009-2014), where she was also gifted with computer skills.

“Warehouse 13 is part of Syfy's developing shared fictional universe, with several characters crossing over between series:”

“Global Dynamics researcher Douglas Fargo (played by Neil Grayston) from Eureka traveled to South Dakota to update Warehouse 13's computer system in the Warehouse 13 episode "13.1". Warehouse 13 computer wizard Claudia Donovan (played by Allison Scagliotti) subsequently traveled to the town of Eureka, Oregon to check out the technological marvels at Global Dynamics in the Eureka episode "Crossing Over". Fargo again appeared in the Warehouse 13 episode "Don't Hate the Player" when Claudia, Lattimer, and Bering traveled to Palo Alto, California to find Douglas beta testing a virtual reality simulator with the aid of a dangerous artifact.”

Stitchers blurb: “The secret program is headed by Maggie Baptiste, a skilled veteran of covert operations.”

She's played by Salli Richardson-Whitfield, who played Dr. Allison Blake in the series, Eureka. (2006-2012)

Talk about crossing over from one universe to another. Hmmm. Warehouse 13 and Eureka are defunct. Nothing but memories. Yet, there they are, in Stitchers. Temporal displacement indeed. Temporal Dysplasia. Temporal Displays, yeah?

It's good to see what we're looking at, and what others are being programmed with. It still matters.

Matthew 24: An interactive Greek language version

Here's an interactive version of Matthew 24, featuring the most up-to-date and most suitable version of the Greek text, the UBS5. I know most of you don't read Greek, but you may have wondered how of if the symmetry is expressed in the same way. The structure is inherent, so, yes. In Greek, and when representing the Hebrew text. (I may soon be offering a sample of Hebrew also.)

Thematic Symmetry of Matthew 24 (Greek - UBS5) - Interactive

When you explore the interactive version, you'll notice that the places where commentary has been embedded (click events) is being called out for attention with yellow highlighting. I'm updating the display in an effort to strike a balance between too distracting and too subtle in the highlights.

This work of expanding on the kind of content beyond the popular English versions is bearing fruit. There's value in looking at the very best representation of the Word in key passages. We have a firm conviction that the Lord has given us everything we need, with nothing lacking of all we need when we truly need it. He has given us tools and abilities and they are not to be neglected. We're very focused on the same two tracks, character and knowing the time. Patience and discipline have been the bywords as we continue to press in for all the Lord has for us. Aaron has been studying Greek as I've been attentive to the structures.

I've been working on large scale projects, stringing multiple chapters together. I expect to be publishing some of the fruit of that very shortly. Because of the importance assigned to those projects, and how demanding the work continues to be, publishing to the blog has been infrequent. I have a few in the queue and hope to publish more shortly. Thanks for your continued encouragement! While the world appears to be falling apart all around, the Lord Himself is a sure anchoring.