Grid of the Gods

by Farrell, Joseph P.

  5) In more modern times, the lithium-7 explanation for the anomalous yields of early hydrogen bomb testing was suggested to be a smokescreen and a deliberate lie on the part of the U.S. government, for the following reasons:

  a) Lithium-7 fusion reactions were clearly known, and openly talked about, by Nazi-Argentine scientist Dr. Ronald Richter in connection with his “fusion” project for Argentine President Juan PerThis project attracted world attention, and, as I demonstrate in my book The Nazi International, the considerable covert attention of American military and scientific authorities, such that his explanations of lithium-7 reactions were known months before the USA claimed it had not considered its fusion reactions when it designed and tested the Castle Bravo device. In the historical context proffered by Richter’s project in Argentina, in other words, the post-Castle Bravo explanations seem ridiculous, for we are being asked to believe American scientists did not account in their design for a reaction that was well-known to other nuclear engineers, Nazis, Soviets, and Argentines among them!

  b) Richter made it clear in his explanations both to Argentine and American authorities that he regarded a rotating and stressed plasma to be a key for tapping into the zero point energy itself, that is to say, he viewed fusion reactions within rotating and precessed plasmas as hyper- dimensional geometries gating energy into the fusion reaction itself. Similar suggestions were, as noted in chapter one, made by the Soviet astrophysicist Dr. Nikolai Kozyrev in connection to observations made about the sun itself. In short, it was suggested that the early h-bomb tests were returning anomalous yields because they tapped into geometries of the local physical medium itself, and since those geometries changed constantly, the yields of thermonuclear devices of the same design would also change slightly depending on the time and place of the test, i.e., depending upon the geometry of space time itself, and in conjunction with the energies of the earth Grid. It consequently became a highly and deeply classified secret of an “off-the-books” physics.

  c) It was also shown that, apparently, the Nazis prior to and during World War Two had at least some knowledge, howsoever rudimentary it may have been, of this system, since they placed their transmitters and other installations are key points along that part of the Grid that fell under their control.

  6) Finally, we also noted in the case of Meso-America and South America that at some later point the practice of human sacrifice arises in connection with certain sites on the Grid, as one elite is replaced by another, thus signaling the presence of two elites, with different understandings of how to manipulate the world Grid. How, then, does one rationalize this practice — if it can be rationalized at all — in connection with the speculative scientific rationalizations of the functional purpose of such structures and sites? To put it as bluntly as possible, why does sacrifice arise in conjunction with the pyramids of Mexico and Meso-America, and not in conjunction with those of Egypt?

  a) While this is not the book to address either this bizarre and cruel fact, nor that of the disconcerting and curious imagery of “masculine-androgyny” associated with the topological metaphors in some cultures, its presence in one place and its absence in the other does tend to suggest that one elite prevailed in one place, and the other in the other place.

  b) We also saw that the logic used to justify the practice of sacrifice was curiously similar in the case of the Aztecs, and the Christian archbishop Anselm, and that in each case, that logic relied upon the idea of a debt mankind owed to the gods, a “spiritual economics” that was impossible for mankind ever to repay, a step that effectively made “the gods” or “God” nothing but banksters.

  2. The Strange Topological Metaphor

  We also encountered, in conjunction with the cultures — Vedic, Mayan, and Egyptian — that have built pyramidal structures and associated them with the gods, and with their activities and knowledge, a strange mythological and cosmological parallel that we have called simply “the topological metaphor”:

  7) In the Vedic, Mayan, Egyptian, and even Hermetic cosmology, all creation arises out of differentiations in a primordial “nothing” which is variously described as a primordial ocean or sea, an imagery consistently used in ancient literature to describe the fabric of space-time itself. While we saw evidence of that disconcerting “masculine-androgynous” imagery operative both in the Vedic and Mayan mythologies in conjunction with this topological metaphor, further explorations as to the reasons for its presence would require a book of its own to explore to the degree it requires. But for the present moment, viewing this primordial Nothing as undergoing a process of differentiation resulting in two regions with a common surface exhibited the rise of a “primordial triad,” the regions and common surface themselves, with the names for each of these three entities varying according to the local mythology:

  a) For the Vedic, the names for these three entities within the topological metaphor were Vishnu, Brahma, and Shiva;3

  b) For the Hermetic, God, Space, and Kosmos;4

  c) For the Mayan, Sky, Sea, and the implied common surface between the two;5 and,

  d) For the Egyptian, Ptah, Sekhmet, and Nefertum.6

  The presence and persistence of this metaphor throughout such disparate cultures — all of them engaged in pyramid building of one sort or another — argues strongly from the cultural context that they viewed these structures in the same way as Nikola Tesla — whose words were cited in the epigrams at the beginning of this chapter — viewed his own technological quest, as the means “to get a grip on the earth” and to cause the movements of the aether to stop and start, i.e., as the machines by which to manipulate the physical medium itself.

  8) The strong association of the topological metaphor of the physical medium with consciousness itself also implies that, for these ancient cultures, the pyramidal structures esoterically associated with the physical medium were also viewed as consciousness manipulators, or, to put it slightly differently, that these were also alchemical machines for the transformation of consciousness and social engineering itself.7

  3. The Types of Numerical Coding

  9) In our survey in previous chapters of the pyramidal portions of the world Grid, we also encountered not only three levels of construction activity and corresponding scientific and technological sophistication, but also three distinct kinds of numerical coding involved:

  a) The geographical coding, elaborated by Carl Munck, Graham Hancock, and other capable Grid researchers, that discloses that Giza and its Great Pyramid were used as a prime meridian.

  i) Additionally, as Thom, Munck, and others have also pointed out, use of English imperial measures also seems to have been at work in the measuring andpositioning of some of these sites long before the system was actually “English;”8

  b) The esoterical numerical coding, embodied in at least three distinct ways:

  i) The emergence of number itself as functions of the topological metaphor, as in the examination of the topological metaphor conducted by R.A. Schwaller de Lubicz in conjunction with the Egyptian version of the metaphor;

  ii) The use of numerical codes in the Platonic, Pythagorean, and Vedic tradition to denote not only certain gods in their respective pantheons, but also as musical codes to denote various schemes of tuning, and the use of these codes in turn to denote the astrological and astronomical data of the celestial “music of the spheres;” and,

  iii) The use of gematria, or numerical coding in texts.From all these esoteric points of view, once again, the tradition tends to view pyramidal structures as the primordial mounds of “the first time” whence creation in all its diversity emerges. They are, so to speak, the metaphorical phallic symbols of that disconcerting image of androgyny one also so often encounters in the ancient cosmologies.

  c) The strictly scientific numerical encoding, which occurred, as was seen, at two levels in the same structures:

  i) Codes referring to macrocosmic processes, or to the physics of large systems, that is to say, encoded astronomical
data; and,

  ii) Codes referring to microcosmic processes, or to the physics of small systems, that is to say, encoded numerical data of quantum mechanics in the form of references to the coefficients of the constants of quantum mechanics, or, in the case of the Pythagorean tectratys, the four “elements” or forces of the standard model of physics, the electromagnetic, gravitational, and the strong and the weak nuclear forces. Such knowled ge could only come down fdrom a civilization in High Antiquity with a similar or greater pitch of scientific development as our own. In this, we are indeed looking at the presence of alchemical machines in the proper sense, for if these ancient structures such as Nabta Playa can only reveal their secrets in accordance with a certain level of scientific sophistication, then indeed it becomes possible that other such codes await to be unlocked in these structures as our own scientific knowledge advances; it is thus possible that some of these sites on the world Grid will thus provoke a transformation and expansion of consciousness by actually yielding scientific information as yet unknown, if they can but be properly decoded. The association of these structures with consciousness manipulation should not seem so surprising by now, for as I noted in Genes, Giants, Monsters and Men, piezoelectric effects are used in modern mind manipulation technologies,9 and some ancient temples from classical times also appear to have been deliberately engineered to be in resonance with certain frequencies of the human brain.10

  It is, oddly enough, point 9)b)ii) above — the use of musical codes in the Platonic and Pythagorean traditions — rather than the quantum mechanical and astronomical encoding, that points directly to the next necessary stage in our speculative case that pyramidal structures are hyper-dimensional machines, designed to manipulate the medium itself, in all its effects, including consciousness.

  In this respect, let us recall something stated in chapter nine:

  It is important to note what this notation means, for cubing and squaring a number — e.g. x3 and x2 — are, of course, geometricalfunctions describing objects in two or three spatial dimensions. Thus, the notation {2,5} mentioned above could be written this way more abstractly as {x, y}, and since the first number is multiplied by the cubic power of 60, and the second by the squared power of 60, the notation really would look like this:

  We can therefore imagine extending this notation to {x,y,z}, and extending the powers of 60 with which each number is multiplied, e.g. in other words, notations such as {8,0,0}, which are also within the realm of possibility in ancient Mesopotamian notation, conceivably may be understood as representing powers of 60 greater than the cubic, that is to say, as geometric and numerical representations of objects in four or more dimensions.

  To state it as succinctly as possible, the very structure of ancient Mesopotamian numerical notation implies a basic familiarity with hyper-dimensional geometries and the basic mathematical techniques for describing objects in four or more spatial dimensions. Indeed, as we shall discover in chapter 13, the exact same notation convention began to be used in nineteenth century geometrical techniques for describing objects in four or more dimensions!

  This contains a further, and very suggestive, implication, for it is to be noted that the Sumerian-Babylonian gods may be described by such notation. In other words, the gods were being described peculiar union of physics and religion, as hyper-dimensional entities or objects.11

  As I noted in that chapter in the footnote: “The modern name for such notations is Schl㥬i numbers, and their appearance in notation is identical, with each number representing a particular type of geometric function. This will be explored further in chapter 13.”12This is now chapter thirteen, and a closer look at those mysterious Babylonian notations, so curiously identical to modern Schläi notations, is in order, for in them is contained a profound clue to some of the ancient pyramids, particularly the ones in Mexico and Meso-America.

  B. Hints of a Hyper-Dimensional Engineering:

  A Cursory Excursion into Geometry in More than Three Dimensions

  It has been suggested in some circles that some of the pyramids of the ancient world, in particular those of Meso-America and Egypt, represent structures designed to engineer the hyper-dimensional physics of the medium. Richard C. Hoagland, for example, performed simple experiments on television recently, using a Bullova watch, powered by a minute tuning-fork, to take measurements of changes in the tuning fork’s frequency of vibration at various places near the pyramids of Tikal. When Mr. Hoagland moved away from the structures, the vibrations would return to normal, but near or on the structures, the vibrations varied greatly from their normal frequency, suggesting to him that that structures were manipulating local inertial effects. I myself have suggested that at least the Great Pyramid was a complex sort of phase conjugate howizter manipulating longitudinal waves in the physical medium itself.

  But to argue that the pyramids of Mexico and Egypt in general are designed as hyper-dimensional machines — analogues of objects in higher-dimensional spaces — requires an additional type of analysis, and this can only be had by doing a bit of hyper-dimensional geometry. Unfortunately, presenting the mathematical techniques that geometers use to analyze such objects to a lay readership is no easy task, but inevitably, some degree of familiarity with these mathematical techniques is required, howsoever cursory.

  Fortunately, we have already encountered, through the work of Carl Munck, the essential analytical conception used by geometers to describe hyper-dimensional objects, and that is the simple technique of counting three things:

  1) lines, or e d g e s ;

  2) points, or corners, or, as the geometers call them, vertices; and,

  3) sides, or faces.

  For our purposes, we shall attempt to summarize crucial conceptions in hyper-dimensional geometry using what may justifiably be described as the single best mathematical treatment of the subject: mathematician H.S.M. Coxeter’s Regular Polytopes.

  1. Geometry in More than Three Dimensions:

  H.S.M. Coxeter’s Regular Polytopes

  a. A Brief Biography

  Harold Scott MacDonald Coxeter, 1907-2003

  One of the twentieth century’s greatest mathematicians, Harold Scott MacDonald Coexeter, is virtually unknown outside of mathematics, for the speciality that earned him his fame — hyper- dimensional geometry or geometry in more than three spatial dimensions — requires, needless to say, a powerful pictorial imagination and the ability to put that imagination into formally explicit and reproducible equations. Coexter had both, in abundance. Like so many who dwell on that fuzzy boundary between mathematics and the arts, Coxeter was a talented musician, being an accomplished pianist by the age of ten.13

  Born in London in 1907, Coxeter attended the University of Cambridge, receiving his B.A. in the subject in 1928 and his P.D. in 1931. He spent a year at the Princeton University in 1932 as a Rockefeller Fellow, working with the famous mathematician and physicist Hermann Weyl. As the war clouds of World War Two were gathering, Coexter moved to the University of Toronto in 1936, eventually becoming a professor there in 1948. His hyper- dimensional geometry work inspired the famous Dutch artist Maurits Escher, whom Coxeter met.14

  Coxeter published but few books and papers during his long and distinguished career, but that is hardly surprising, for anyone who has read any of his books or papers knows that each of them is a higher- dimensional tour-de-force, whose very equations and diagrams are themselves exercises in alchemical transformations and expansions of conciousness, working an almost magical effect on the mind. Of these few publications, Regular Polytopes is his distilled masterpiece, a model of mathematical rigor and yet, an essay of profound beauty. It is this book, and in particular its all-important opening pages, that we shall follow closely here, for they contain profound clues to unravel the mystery of the pyramids, particularly those that depart from the smooth- faced Egyptian model.

  b. The Essential Imaginative Technique

  Coxeter’s approach to higher dimensional geometry and its tec
hniques was a profoundly intuitive and experiential one, notwithstanding the formal mathematics in which it is couched, relying upon the ability of the human imagination to grasp the basic conceptual principle on which the formal mathematical techniques were based. Typically, his intuitional experiential approach may be grasped in a series of short, pithy expressions that require deliberate thought to unpack. Indeed, Coxeter almost writes as an alchemical poet, crowding numerous layers of thought into extraordinarily short sentences.