WE ARE THE ULTIMATE TECHNOLOGY. OUR FUNDAMENTAL PROBLEMS ARE NOT ENVIRONMENTAL, SOCIAL, OR BIOLOGICAL...THEY ARE PSYCHOLOGICAL, i.e., SOFTWARE-BASED. OUR ARCHAIC AND DESTRUCTIVE dMOE's (distributed mental operating environments) MUST BE RE-PROGRAMMED. WE'VE USED OUR 'ULTIMATE TECHNOLOGY' TO BRING US TO WHERE WE ARE TODAY; OUR CHALLENGE IS TO USE IT TO MOVE BEYOND AUTO-CATASTROPHISM AND INTO INTERNALLY-ARISING AWAKENING AND N-DIMENSIONAL CREATIVITY IN HARMONY WITH A TRUE SPIRITUAL PATH.
http://renavigating-the-human-process.blogspot.co.nz/2011/06/bible-moira-timms-notes-on-seven-seals.html
“…the
seven seals are allegorical to each of the seven chakras (energy
centers, like valves between the etheric and physical bodies, which are
related to the endrocrine system) of the human body. With the opening
of each seal comes “revelation” and the opportunity to be purified and
transformed by the particular energies released. The more successful we
are in handling and transmuting within ourselves (i.e., within each
chakra) the intense surge of purifying energy released by the opening
of each seal, the less necessary it is for these releases to manifest
in the external world as chaos and catastrophe.”
“S’Aha Djed (Transforming Star-lightning
awareness into Sunrise-love)”
February-March 2003 Hobart Tasmania
This painting is
very much in the spirit not only of ancient
indigenous “civilization” – where people lived together in natural harmony in
loosely-organized but organically connected tribal groups, enjoying the support
and cooperation of their fellow beings, without the imposition of nation-state
agendas – but also of future
indigenous civilizations, which we are now creating.
Lemuria, or Mu,
may have been such a place. The story
goes that she was a large island continent in the southern Pacific ocean which
sank into the depths of the sea some 20-odd thousand years ago.
Mainstream
archaeologists and geoscientists tend
to discount her existence; but who can
really know? These minds do acknowledge
evidence of homo sapiens going back hundreds of thousands of years; cultures of advanced indigenous peoples
could easily have existed in areas now unexplorable. Moreover, an indigenous “civilization” would not have left the
Godzilla foot-print that our parasitic world-machine has bequeathed.
Some researchers
say that the ancient Egypt we know was merely the tail-end or remnant of a much
vaster and greater civilization, where the “mother tongue” was spoken, a
language from which the “ancient harmonic languages” (Chinese, Egyptian,
Hebrew, Sanskrit, and Tibetan) may have evolved. The people of this culture would have been highly-evolved
spiritually and psychologically, but not nearly as materialistic as we
are. Maybe they were like the Mayans,
the native Americans, the Tibetans, the indigenous Australians? Perhaps they had extremely advanced forms of
music and uses of sound and vibrational healing, of artistic creativity, of
telepathy, of astronomical knowledge, shamanic exploration, and of the “musics of the spheres.”
Who
knows? But this painting is dedicated
to them, and to all indigenous artists, musicians, and shamanic visionaries of
all times, dimensions, and species.
This painting is
a mandala approximately 1.5 by 2.5 meters, done with acrylic and corrction pen
on custom board.
It contains
symbols from seven different ancient cultures, primarily Egyptian
hieroglyphs. The others are Tibetan,
Sanskrit, Hebrew, Chinese, Anasazi, and Mayan.
The solar
disc in the center represents, of course, the sun. To the ancients, the sun was not worshipped at the chief deity
but was viewed as a symbol thereof.
Emanating from the solar disc are nine bolts of star-lightning. These may also represent the nine original
emanations of Ra.
The main body of
the Egyptian hieroglyphics in the painting, running counter-clockwise from 8:00
to 4:00, means “transforming star-lightning awareness into sunrise-love.”
The sun, or Ahau
to the Mayans (represented by the yellow face also at 8:00) is the guardian
over passages in cycles of time, and is also a chakra within a galactic being,
transducing evolutionary energies directly from the hunab ku (Mayan for
the center of the galaxy).
According to the
Mayan and Egyptian calendars, we are now in the “beak of time”, a “window” or a
“sacred moment in time” which occurs once every 26,000 years; at this time the winter solstice point of
our sun’s position in the sky gradually aligns with the hunab ku, the galactic
center in Sagitarrius. During this
window transformative consciousness streams into us via the sun and assists in
our creation of and ascension to a higher-dimensional reality continuum!
At the top is the
centrel symbol of Egyptian spirituality, the Djed pillar, Osiris’s
backbone and symbol of regeneration and cosmic stability and harmony. Within the upraised Djed is the Chinese
symbol “yung” meaning “eternity.” To
either side of the Djed pillar is the Eye of Horus, or Uadjat,
representing divine guidance and protection.
These uadjats are painted in their androgynous manifestations.
Counterclockwise,
the next grouping of symbols means “inspiration” or literally “light-life
moving within.” The next grouping
translates as “place of origin” “instantly “ or “ here and now.”
Then
beginning at 4:00 we have three glyphs;
the triangle with star and semi-circle is “Ast”, ancient name for
Sirius/Isis. Beside it is “tiet”, a bow
which is another name for Isis. Above
these is “sia”, meaning “intelligence of the heart.”
Finally, the
glyph in the next region is “atchaas”, or “primeval wisdom.”
In Egyptian, the entire band of
hieroglyphics would read
“S’aha djed, uadjat, seshp b’me ankh-akh, ta nun er nuit,
kheprer sba s-tehen thamit er uben mir atchaas, uadjat.”
In English, this
would mean “Djed be raised, divine guidance and inspiration, originating
here and now, transforming star-lightning awareness into sun-rise-love, Isis,
intelligence of the heart, primeval wisdom, giving guidance and protection.”
The two faces represent Ma’at on the left, the goddess of and archetype of truth, justice and cosmic harmony; and on the right, Isis, goddess of life and magic. In their hands they hold an ostrich feather (“shut”), which is the symbol of truth. In the afterlife of Egyptian mythology, the soul comes to judgment after a journey through the duat, or netherworld. The heart of each person is weighed on the scales of Ma’at, or truth, balanced against the weight of her feather. If the balance was unfavourable, the soul was thrown to Ammat, a cross between a lion, a hippopotamus and a crocodile, and was devoured, never to return. If the balance was favourable, the soul entered a real of eternal paradise according to their nature and Osiris’ guidance.
The four
“dot-eclipse” motifs in the corners represent the four GREAT FORCES of the
universe, the four pillars of creation.
The two colored areas are dual rainbow spectra (the chromatic components
of visible light), symbols of celestial beauty and peace, and the bridge to the
higher kingdoms.
The painting is a
mandala, which is a universal and cosmic centerpoint and symbol of the
“self.” It is the still-point
singularity from which consciousness and creativity emanate.
The patterns
inside the inner circles, just outside the solar disc, are what I call
“mullum-keringke glyphs.” This is a new
style of painting which started coming through when I first came to Australia.
I think of it as “the electrical circuitry of plants” or “the optical
characteristics of DNA,” maybe an “organic higher-light language.” I call them “mullum-keringke” because I was
near Mullumbimby NSW when they first came through, and their first fully
manifested appearance was on a set of rocks which I sent to my aboriginal
art-sisters of the Keringke group near Alice Springs NT.
This
“mullum-keringke” domain could also represent the consciousness of solar energy
as it interfaces with DNA to create “spectraglyphs” expressing the “breath of
Ahau” as it gives life to and revivifies life on Earth.
The next
ring out shows a stepping down of these energies into visible light
frequencies, and their utilization in vision by the animal kingdom and in
photosynthesis by the plant kingdom.
These glyph
continua may also relate to morphogenetic chakra fields (MGCF’s), creating
cross-species/kingdom resonances amplifying the heart-chakra life-force energy
spectrum.
The third ring is
the domain of the biophysical, the Earth, Gaia, and her myriad species of
florae and faunae, geographies, climates and ecosystems.
The solar
disc may also represent the plasma core of the Earth, receiving transmissions
from Ahau, then sending the energies out through the Earth-continuua, through
the different octaves of local space-time, harmonizing and recalibrating each
domain to optimum holonomic `synchronization, purifying the Earth, cleansing
her ecosystems, healing her life-forms and clearing the noosphere of conflict
and karmic residue.
The outer
blue band contains the hieroglyphics – floating in the ocean of space, the
atmostphere of clarity and transcendence – protecting the Earth in a womb of
love, representing new constellations of ascension in a true kingdom of heaven.
S’aha Djed.
JEFF PHILLIPS
May 2004
REFERENCES
Jose Arguelles, Time and the Technosphere; Earth Ascending
James Churchward, The Lost Continent of Mu
Graham Hancock, Mirror in the Sky and The Orion Mystery
Carl Jung, Man and his Symbols
Moira Timms, “Raising the Djed” and Beyond Prophecies and Predictions
Thanks to Moira Timms for hieroglyphic translation assistance
see "The Raising of the Djed: Re-membering the Centre", Moira Timms
http://alignment2012.com/djed.html
"A
SACRED MOMENT IN TIME"
This painting is a “little sister” to “Kandinsky’s Astronomy Lesson in Lemuria (moment of Neshen window)”, and was done in Christchurch NZ in July of 2002. It is approximately two meters square.
“KANDINSKY’S ASTRONOMY LESSON IN
LEMURIA (MOMENT OF NESHEN WINDOW)"
This painting is a mural approximately 2.5 by 8.5 meters, done with acrylics
and correction/technical pens on custom board, using drafting instruments
adapted to the large scale. Only my human biocomputer was used, with
advanced creativity enhancement algorithms. Photography of the completed
image was accomplished using a Rolleiflex 6x7 with Kodak asa 400 color negative
film; three negatives were drum-scanned and assembled using Photoshop
and Adobe Illustrator. This image is very close to how the
original painting looks, minus the seams between the individual wood panels.
Kandinsky was a Russian painter of the early 20th
century; many of his works used discrete geometrical shapes floating in
mathematical array. Many of my paintings have been compared to his, but mine
are more “high-tech” and 21st century-looking.
There’s a lot of astronomy in this image, beginning with the arc of the Milky
Way spanning the horizon. The dark center is very river-like, and very
Aboriginal looking, I am told, probably because of the huge number of dots
representing stars.
Lemuria was a semi-mythical continent/civilization which flourished
somewhere between 20,000 and 100,000 years ago; supposedly Australia, the
south island of New Zealand, and Easter Island were part of it. I read
recently that the statues on Easter Island are the only existing
artifacts of Lemurian culture.
“Neshen” is the pronunciation of the Egyptian hieroglyphics for “grand solar
eclipse.” The “moment of Neshen” window would be a relatively brief
interval of time in which one experiences the total eclipse – a very magical
portal into an expanded multi-dimensional consciousness; the “eye of God”
looking down upon us!
The point of view of the participant/observer in this image is directly within
the path of totality, at a terminus which is also a vortex of “no-time”
within a higher-frequency template of the Great Pyramid. Two shafts align
with two stellar energy sources, and an expanding wavefront of phi-based
(phi is a universal proportion, the Golden Mean, or 1:1.618) harmonic
modulations emanates from the sun, transmitting diverse meta-continuua of
cosmic creativity and rippling through the very fabric of space-time. Ahau,
the Mayan deity of the solar mind, and guardian over passages in cycles of time
relays this spectrum of energies whose source is the Hunab Ku, the
center of the galaxy. In the year 2012AD the precession of the Earth’s
axis brings it into perfect alignment with the galactic plane, thereby
generating an upward frequency shift, or ascension of our reality into a higher
vibrational domain of the implicate and explicate holomovement.
Essentially, this image is a visual representation of the meta-harmonic
substrate of an objectifiec planetary “reality-matrix”, an exploded vision
of simultaneous relationships connecting time, space, consciousness, sacred
geometry and the “music of the spheres.”
In the upper left corner is, of course, the primary control panel, which is
activated by the master metaharmony algorithm (mamal) and modulated by
complex keys consisting of spoken words, sung sounds, intoned phonemes,
mimicked memes, visual contact and tactile transference. Once the mamal
is fully activated, broad-band thought synthesis begins and the
participant/observer “enters” the painting. At this point, one may “dial
into” the evening sky at any time on any date in any calendar from any location
on any planet in any star system in any galaxy, at any frequency or wavelength,
real, imaginary, probable or impossible.
In the lower right is the “indigenous wisdom” panel, with Ahau at the
bottom; next up is “fu”, hexagram 24 of the I Ching, which
represents “the turning point” or “crisis as opportunity”; above that is
the djed pillar, an ancient Egyptian symbol of Earth stability
(literally, Osiris’ backbone); then we have the kokopelli, a
native American fertility symbol; and on top is an egg-like eclipsed
amoeba…universal symbol of fertile bio-luminescent micro-organisms!
In the upper right corner is a representation of the Southern CrossGuthrey cloud, a recently discovered
super-cluster abundant in super-conducting bio-nebulae and other improbable
manifestations of cosmic creativity, including thousands of planets where
previously unknown forms of golf are played.
(crux australis) seen at the 21cm wavelength. Myriad galaxies, quasi- and
completely-stellar objects, radio anomalies, and planetary bodies populate the
Milky Way river; in the region just above where the Milky Way meets the
horizon on the right is the
The same cosmic intelligences who create crop circles (and with whom the whales
are in direct and continuous communication) are at work in this image,
conveying information on the dynamic processes of our minds as creative holons
of the cosmos in conjunction with holographic thought-algorithms attuned to
quantum-relativistic noo-cybernetic synergies.
When the average homo sapiens awakens to the fact that they ARE the
ultimate technology, then the doors of perception are cleansed, revealing a
universe of immense and unbelievable beauty…of which we each are an integral
part!
This painting is dedicated to the whales, to the
elohim, and to indigenous artists of all dimensions.
Thanks to Peter Guthrey and Philip Kennedy
for making this possible; to Moira Timms for hieroglyphic
translations and cosmic inspiration; to Samuel Miller for
photographic assistance and digital image processing; and to the Great
Spirit for creating such a wonderful universe for us to live in!
REFERENCES
1) Jose
Arguelles, Earth Ascending
2) David
Bohm, Wholeness and the Implicate Order
3) John
Major Jenkins, Maya Cosmogenesis; Galactic Alignment
4) Vasily
Kandinsky, On the Spiritual in Art
5) Moira
Timms, Beyond Prophecies and Predictions; “Raising the Djed”
article
6) David
Wilcock, The Divine Cosmos
LINKS
www.galacticalignment.com
(John Major Jenkins)
www.ascension2000.com
(David Wilcock)
http://dolphinmatrix.com/Jeff/Ultimate.html (my website, “The Ultimate Technology”
http://alignment2012.com/djed.htmlhttp://alignment2012.com/djed.html (Moira Timms, "Raising the Djed")
www.tortuga.com/indexjava.html
(jose arguelles)
www.earthportals.com/Portals_Messenger/arguelles.html
(jose arguelles)
www.crystalinks.com/lemuria.html
(speculations on Lemurian civilization)
www.thule.org/lemuria.html
(map of the ancient continent)
www.ocaiw.com/kandinsky.htm
(bio/image gallery)
www.sloth.com/kandinsky
(bio/image gallery)
www.eyeofgod.homestead.com
(articles on ancient spiritual experience of solar eclipses)
JEFF PHILLIPS
AUGUST 2002
SOUTH ISLAND, NEW ZEALAND
"A
SACRED MOMENT IN TIME"
This painting is a “little sister” to “Kandinsky’s Astronomy Lesson in Lemuria (moment of Neshen window)”, and was done in Christchurch NZ in July of 2002. It is approximately two meters square.
At
the moment of the solar eclipse totality, seven bolts of star-lightning radiate
out from the sun, connecting the moon and inner planets with the Earth in a
celestial discharge of astronomical proportion.
An
expanding wavefront of phi-based harmonic consciousness ripples out on the leading
edge of the star-lightning, expressing the star-maker overtones and vibrational
sub-strata of cosmic manifestation. In
the sacred moment between Brahmanic inhalation and exhalation, an window of
infinite simultaneity crystallizes in kriyatic ecstasy.
The
bolt of star-lightning which both strikes and emanates from the horizon
illuminates the edge of perception, illuminating the brink and giving birth to
a completely rejuvenated DNA continuum, enabling the master molecule of life to
re-organize at a higher quantum frequency, aligning all life energies with the
heart of the Hunab Ku and facilitating an n-dimensional ascension event
unknown before in any universe. The
focus of the DNA spiral is the heart chakra radiance mandala – a microcosmic
holon of the Hunab Ku herself;
the horizon contact vertex is the brow chakra and the eclipse herself
the crown chakra of an enlightened humanity and all her life forms of the
Earth, including Gaia, the spirit of the noosphere herself!
The
Egyptian hieroglyph means “a sacred moment in time” and is pronounced “tcheser
h-at imi hau.”
JEFF PHILLIPS
MayDay (approx) 2004
Broken Hill NSW
Mayan glyph: heavy
metal detector
Thanks to Moira
Timms for hieroglyphic translation
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