Grid of the Gods
Page 35
3) The Mexican Pyramids appear to have “temples” atop them that resemble — qualitatively — resonant cavities;
4) Their placement and position on the globe is oriented to Giza as a prime meridian, suggesting that any machine-like function they have is designed to work in conjunction with that site;
5) At Giza itself, the compound is designed to rotate, and each of the two larger pyramids there also is slightly twisted and skewed, thus producing an analogue of dynamic torsion, that is to say, of rotating systems within rotating systems;
6) The Second Pyramid of Giza appears to be a piezoelectric analogue of a Tesla magnifying impulse transmitter, a technology in turn based upon manipulating longitudinal electrical waves.37
The conclusion, though tentative, seems inescapable, for we are in the presence of a machine of planetary extent, designed, at the minimum, to manipulate planetary energies, if not more, to respond and manipulate the wider system of ever-changing torsion dynamics in the solar system, as would seem to be implied by all the careful astronomical alignments and data preserved in various sites, particularly at Teotihuacan and Giza. The end result of all of this symphonic coordination of all the moving parts of this massive globe-spanning construction in a vast counterpoint, was the transformation of the entire planet Earth itself into an alchemical laboratory, a temple of initiation, into the deep physics of the medium of the material creation and of consciousness itself.
For now, our examination is concluded: at least some of the structures of the Grid, if not the Grid itself, were conceived, designed, and executed over a prolonged period of time as genuinely alchemical objects and analogues of the transmutative information- creating physical medium itself, to manipulate it for whatever purpose, including the manipulation of consciousness, for they exercise their mysterious hold over the human imagination still. They thus embody an awesome, little understood, power, both for destruction, and very possibly, for protection.
As we sincerely hope has been shown throughout this book, any effort to understand the Grid and its function will now have to proceed much more cautiously than previous research has undertaken. Measurements of dimensions of structures with an engineer’s eye to potential resonances will have to be undertaken; exacting study of the positioning of sites on the Grid will have to be made with a view to determine if these locations correspond to spherically circuminscribed objects; their positioning in time, and within the overall scheme of the three chronological levels of construction will have to be fixed, and above all, due consideration of the mythological and cosmological context in which various cultures explained these structures by Grid researchers will have to be given, for as we have seen throughout this work, those “myths” contain a profoundly sophisticated higher-dimensional topological metaphor of the physical medium itself.
One thing, however, has clearly emerged: there is a definite correspondence between those cultures possessing some version of the topological metaphor in their cosmologies, and the activity of building pyramids or pyramidal structures, and it is this fact, above all, that suggests these structures’ ultimate purpose and function was for the manipulation of the physical medium.38
Though we have encountered the disconcerting imagery of a “masculine androgyny” in many of those mythological cosmologies and the “topological metaphor” associated with the cultures surrounding these structures, though we have also encountered the strange idea of immortality also associated with them, and though we have also encountered, in Mexico, the inescapably immoral practice of human sacrifice associated with them, beyond this, for the present moment, we cannot go, as those subjects will require a book of their own to explore fully. But rest assured, those disconcerting images themselves contain profound clues not only into the mind of the ancients, but also into the physics and cultural consciousness that produced them; those images include profound clues into the nature of the topological metaphor itself, and into its ethical and even aesthetic ramifications.
But even though those are subjects for another book, there is one final, tantalizing bit of evidence concerning that disconcerting image of androgyny, and of sacrifice, to consider…
1 Nikola Tesla, quoted in “Mr. Tesla’s Invention: How the Electrician’s Lamp of Aladdin May Construct New Worlds,” New York Times, April 21, 1908, citing a letter of Tesla to the New York Times dated April 19, 1908.
2 Nikola Tesla, Trial transcript, in answer to a question from the bench; New York State Supreme Court, Appellate Division, Second Department: Clover Boldt Miles and George C. Boldt, Jr.., as Executors of the Last Will and Testament of George C. Boldt, Deceased, Plaintiffs-Respondents, versus Nikola Tesla, Thomas G. Shearman, et al. as Defendents-Appellants, 521-537, at line 529, cited in David Hatcher Childress, ed., The Fantastic inventions of Nikola Tesla (Adventures Unlimited Press), p. 177.
3 See pp. 71-79.
4 See pp. 71-79.
5 See pp. 181-184.
6 See pp. 282-287.
7 I have suggested such interfaces between consciousness and biology and these technologies in two previous books, The Cosmic War, pp. 243-271, and Genes, Giants, Monsters, and Men (Feral House, 2011), pp. 161-169.
8 See the discussion in Genes, Giants, Monsters, and Men, pp. 31-65.
9 Farrell, Genes, Giants, Monsters, and Men, pp. 77-87.
10 Ibid., pp. 87-90.
11 McClain also observes that the Egyptian god of wisdom, Thoth, is also a sigil for various musical-numerical scales and harmonics; q.v. McClain, The Myth of Invariance, pp. 184-185.
12 p. 251, n. 11.
13 “Harold Scott MacDonald Coxeter,” Wikipedia,http://en.wikipedia.org/ wiki/Harold_Scott_MacDonald_Coxeter, p. 1.
14 Ibid.
15 H.S.M. Coxeter, Regular Polytopes, p. 118, all emphases in the original.
16 H.S.M. Coxeter, Regular Polytopes, p. 120, all emphasis in the original. The use of the capital pi, Π, simply means the “polytope” which the subscribted number after it means the number of dimensions in which it occurs.
17 Coxeter, Regular Polytopes, p. 1.
18 H.S.M. Coxeter, Regular Polytopes, p. 1.
19 I have added the parenthetical expression “three dimensional” for clarity.
20 H.S.M. Coxeter, Regular Polytopes, p. 4, emphasis added.
21 H.S.M. Coxeter, Regular Polytopes, p. 2.
22 I am using the term n-circle simply to describe the circular shape in any number of dimensions.
23 For the more mathematically inclined, the author is acutely aware of the garish nature of this summary, but begs their indulgence for a more general readership. Coexter’s formulation of the relationship of exterior angles of a plane polygon and the complete turn is given on pp. 2-3 of Regular Polytopes. Coxeter notes that this method of increasing the number of edges circumscribed was the means by which Archimedes estimated the value of π. Coxeter discusses the rotation groups for the Platonic solids on p. 33, and the three primitive transformations, translation, rotation, and reflection, on pp. 34-37.
24 See, for example, Peter Tompkins, Secrets of The Great Pyramid (New York: Harper and Row, 1971), pp. 195-200.
25 This fact also suggests something else about the world Grid itself, though it will require much more careful investigation on the part of researchers to determine if, in fact it is true. It is possible that various points of the Grid are laid out on different coordinate systems that depict the surface points where regular polyhedra intersect with the idealized circuminscribing surface of the Earth itself. To my knowledge, no such investigation has been undertaken, though the work of some Russian investigators comes close to it.
26 H.S.M. Coxeter, Regular Polytopes, p. 47.
27 For a general discussion of Schl㥬i’s importance and role in the elaboration of higher dimensional geometrical techniques, see Coxeter, op. cit., pp. 142-149, 152-153. For the mathematically-inclined, note particularly the recurrence of “sexagesimal” numbers — 120, 720, 1200, 600, on p. 153, which emerge in consideration of th
e regular polytope {3,3,5}.
28 For Coxeter’s discussion of the Schl㥬i numbers of each Platonic solid, seeRegular Polytopes, p. 5.
29 Again, for the mathematically-inclined, as Coxeter also notes, the Schl㥬i number can also denote a regular map, or, to put it differently, a regular polyhedron “is a special case of a regular map.” For this discussion see pp. 8-11 of Regular Polytopes.
30 Peter Tompkins, Mysteries of the Mexican Pyramids, p. 245.
31 Finding detailed sketches of the pyramids of Tikal was a difficult task, and I would like to thank Mr. James Kelly for procuring a copy of Ignacio Marquina’s Arquitectura Prehispanica. 2nd Ed. Cordova, Mexico: Institiuto Nacional de Antropoligia e Historia Secretaria de Educacion Publica, 1964 [1950], from which these diagrams and sketches are taken, pp. 541-543.
32 See again, H.S.M. Coxeter, Regular Polytopes, p. 153 ff.
33 To make this qualitative speculation hard and fast, one would have to have accurate dimensional measures of these structures, and all my attempts to find such measures as this book was being researched turned up nothing. If such dimensional measures are available, then an analysis of possible frequency resonances with these cavities would have to be undertaken to make this speculation quantitative and conclusive.
34 W.M. Flinders Petrie, The Pyramids and Temples of Gizeh, p. 96.
35 I have added these words in parentheses to clarify that Petrie is still commenting about the lowest course of granite casing stones on the Second Pyramid.
36 Petrie, op. cit., p. 96.
37 For this point, see my Babylon’s Banksters, pp. 130-155.
38 This is true even of the two other pyramid-building cultures — Mesopotamia and China — though we have not examined them here, having already commented about them elsewhere.
14
A GOTHIC EPILOGUE:
ALCHEMY AND THE CATHEDRALS
(Joseph P Farrell and Scott D. de Hart)
“It is enough for us to know that the wonders of the Middle Ages hold the same positive truth,
the same scientific bases as the pyramids of Egypt, the temples of Greece, the Roman catacombs
and the Byzantine basilicas.… The hermeticists…will recognize here that it is from the confrontation
of the Book and the Building that the Spirit is released and the Letter dies.”
E. Canseliet1
It was St. Anselm who first exposed the logic of the alchemy of perpetual debt when he raised the question, cur deus homo or “why the God-man?” Indeed, the medieval apologist answered his own question as to why God should leave a throne of universal authority and become the Lamb (of God) led to a slaughter. His answer: an infinite crime requires a corresponding judgment of infinite proportion; a punishment that would literally shake the foundations of the earth; an execution so horrific that the sun would take cover in the shadows of darkness. Humanity was on trial with an offended God and nothing less than a perfectly innocent victim of infinite worth being subjected to a false trial, bodily torture, and an agonizingly slow execution was deemed satisfactory to ameliorate the insult of disobedience and “zero balance the books.”
We have raised in these pages more than a few counter arguments to the revered Saint Anselm; respectful but not as naïve as the defenseless Boso, for there are literally pyramidal mountains of evidence that are not so haphazardly scattered across the earth and over the span of centuries if not millennia. Boso, the curious and open minded disciple may have been finally silenced by the blood- curdling logic of Anselm of Canterbury, but how differently might he have countered his master if he were given a chance to survey the ancient monuments, open the sacred Mayan texts, and to make a comparative study of human history with its echoed tales of innocent victims bleeding to appease an offended all powerful heavenly ruler? How differently might Boso have answered his master if he had been privileged to see into the future and gaze at the alchemical symbols that would adorn the great Gothic cathedrals raised only a few hundred years later?
The logical lid to Pandora’s box has been swept off with hurricane winds of modern research. It is now impossible to reseal this once mysterious box with a simplistic theological “final word”; a word that was once sufficient to satisfy the medieval doubting Thomas’ minds. The 21st century winds of time, historical inquiry, and archaeological evidence unquestionably raise a voice of doubt concerning the credibility of Anselm’s apology. Perhaps even more disconcerting to modern unbelievers is the seemingly immoral appeal of the medieval apologist’s insistence upon a once-for-all debt and payment theology which, as has now been shown, was hardly an isolated once-for-all incident. Careful research now reveals that the debt and payment ritual espoused by Anselm was little more than his own preferred bloody event among many innocent blood lettings to this or that god demanding endless sacrifices. The debt and payment ritual on the outskirts of a Jerusalem hillside in or about 33 C.E was gruesome and historically significant, but it was undoubtedly neither the first nor the last one made to an offended god demanding payment of a debt.
If Anselm’s adversary in this dialogue were an atheist rather than his disciple it is certain that more poignant questions might have been asked, such as why would a loving god insist on the unloving ritual of draining the blood of victims for the appeasing of feelings that arose from an insult? What moral value is actually attached to the death of an innocent substitute victim? How is insult turned to satisfaction when the punishment seems to far outweigh the ostensible crime? Is it possible that the actual lust for recompense has less to do with insult and more to do with the payment over an assumed debt far more significant than the insult of disobedience?
Indeed, morality and innocence are hardly in play in this drama, other than in the tear filled eyes of the onlookers and next victims. This drama, for all practical concern, lacks any human morality; if any morality could be wrestled from this drama one might think they were watching an alternative version of Oscar Wilde’s Picture of Dorian Gray; the chicanery of an angry god with blood dripping from his hands, scars and wrinkled brow, clinched fists, morphing into a loving and pure young man as all the sins of the world are infused into him rather than sins committed by him. Oddly enough, Victorian England condemned Wilde as propagating immorality in verse for a novel where the protagonist turns from his lust for blood and dies remorsefully, driving death’s blade into the image of something evil. Aztecs and Anselm, conversely, wrote the climax to their drama with an innocent virgin dying to appease a blood thirsty god, and somehow this makes the world a better place. In the one case, it was a twisted “spiritual economics” that set the sacrificial drama into motion; in the other, a twisted physics, and both come together in some black alchemy designed to transform man’s soul into the mindset of a perpetual slave.
“The world is a stage,” stated Oscar Wilde, “but the play is badly cast.” The stage for this tragedy is no quiet hillside nor a Victorian neo-gothic mansion with a magical portrait inside a nursery, but rather it is a far more sinister and unsuspecting place. This tragedy is one of debts, pure and simple. Gods with a thirst for more than moral uprightness; gods with an unquenchable need to eliminate competition; gods demanding nothing less than control over property and establishing ownership by threat and force. A quid pro quo played out from start to finish, a chilling tale of servitude and sacrifice for satisfying a debt, and manipulating the physical medium. This is the story of The Grids of the Gods, it is the story of human history and some of the monuments left behind on that grid as memorials!
The Grid did not die; the magical and alchemical music of the spheres, and the possible hyper-dimensional engineering with which it was engineered, did not die. It survived in the unlikely place of western Europe, in the breathtaking Gothic cathedrals, and the ambiguous, but clearly alchemical natures of the symbolism sculpted in them. No one better understood the ambivalent nature of these symbols than the enigmatic “Fulcanelli,” a man as ambiguous, ambivalent, and alchemical as the symbols of the cath
edrals whose esoteric and alchemical meanings he dared to expose. Lest we become lost in the mystery of the man,2 however, we remain concentrated upon his work, or rather, upon just one of the many symbols he decodes.
We have seen that there was alchemy at work in this attempt to manipulate the physical medium through a “spiritual economics” of debt and sacrifice. But the practice of sacrifice, alchemy, and “spiritual debt” did not die with the Aztecs and Montezuma, for one need go no further as an epilogue to this survey of the Grid than these great Gothic cathedrals, where yet another ritual of sacrifice was played out amid the backdrop of a scarcely perceived alchemical symbolism. Those great, soaring, buttressed cathedrals are, as many know, purposefully laid out on points of the Gird; what many do not know, however, are the calculated depths of ambivalent alchemical symbolism that is employed within and through them.
We mention only one of the many bas reliefs of Notre Dame de Paris, pointed out by Fulcanelli in his monumental study. In many ways, it is the key to his work, as it is also the key to the alchemy of the cathedrals, and the deeper symbolisms that would eventually come bursting forth in European literature and art once the necessity for disguising them behind a veneer of Christianity was no longer necessary, and independent thought had begun to liberate itself to examine these symbols with more objectivity.
Fulcanelli was alchemy’s answer to Anselm.
Or rather, he was the decoder of alchemy’s symbolism which adorned the gothic cathedrals of France.
Consider the ambiguous nature of the following bas relief found in Notre Dame de Paris, the first such relief and symbolism Fulcanelli discussed in his book.
The Ambiguous Bas Relief At Notre Dame de Paris: King of Heaven? or Androgynous Alchemy?3