Our current ideas of existence will not hold in the coming transformed human society. The crop circles have introduced among us ideas that are actually very old, at least on the human scale of time consciousness. These new references, by way of carefully and intentionally chosen symbols, alert us to a cyclical reality. This message is inherent in the circle itself, which is endless in it's cyclical design of alpha and omega in perpetual and periodic succession. The circle of history is closing, and a new future is opening.
To incorporate these new-old symbols into our modern conception of the world - and let us not forget the rise of irrationalism as it continues to push the verifiable evidence of rational consciousness aside in favour of assertion-as-truth - we need to change our ideas about who we are as a life form on this planet. This changing of our understanding, one of transformation themes embedded in the crop pictograms, introduces the themes of pedagogy. These teachings will allow us to restructure our views and our experiences.
If we know how to look and listen, i.e. read the crop messages, we can learn. First we need a Rosetta Stone, a decoding key with which we can unlock these esoteric and mysterious crop glyphs. In this educational process the ongoing effect is a heightening of sensibilities, an elevation of awareness and sophistication of possibilities. Let us not forget that Whitley Strieber was told by his captors: "The Earth is a school". Of course, we and all other life on earth seem to be the subjects studied in this school. I use the term subjects advisedly, referring to the worldwide abduction phenomena with it's consistent aspect of physical testing and medical procedures applied to us in a programming way in what seems to be a series of either experiments or a program-in-progress. The greys might be the students, sent by those from Nibiru to learn all about us and our various ways, in a preliminary stage of preparation for the Nibirans' return to Earth, after being away for several thousand years.
In the over the decade-and-a half since the appearance of the first documented and verified crop circle, basic patterns of themes have been introduced through the ingenious use of bent-crop crafted symbols, carefully selected, consistent in their references, and redundant in their seasonal presentation. The seasonality of the phenomena, by the way, is another indicator of the cyclical nature of the information's content of this communication system. Some of the themes introduced through this crop design medium are: return, transformation, genetic reproduction, mining, music and new knowledge such as new geometric theorems as discovered by Gerald Hawkins.
Of course we must always keep in mind the astounding implications of the answer to the question fundamental to the phenomenon itself: Why in crops in the first place? After we analyze the static graphic depiction of the transformation process that the ancient Sumerian ruler, Inanna, or Ishtar, went through on the occasion of her visit to her sister in Southern Africa, you will appreciate the identity of this historical personage. As a preview, let me say that she was not only a ruler, but also known by the Sumerians as the "Goddess of Grain". It is no surprise then, once we identify her in the very first complex linear pictogram, that of July 11th 1990 at Alton Barnes in England, that she chose crops of grain in which to announce her imminent return to Earth.
Previewing my conclusions, we can say that she and her brother Enki (whose name translates as "Lord Earth" in Sumerian) are announcing their return to Earth and possible intent to rule at least parts of the planet.
Three bodies of growing evidence show that crop circles are made by UFO craft. In my public lectures I discuss these with slides. Since we can identify the crop circle makers as being from Nibiru, the 10th planet of the Solar System, then the inescapable conclusion is that UFO craft are from that planet. I show a slide of a 1987 NASA press release announcing the detection of a massive body orbiting the sun far beyond Pluto.
I also show slides from two Berlin researchers, Koch and Kyborg, who convincingly re-interpret the Majorie Fish so called "star-map" of Betty Hill, to show that her alien abductor was referring to our solar system when he showed her the diagram in response to her question "Where are you from?"
The fourth component of my theory identified the makers of the artifacts on Mars as analysed by Richard Hoagland and others, as the same makers of the crop circles. These two sets of alien artifacts share some common mathematical constants. Probability calculations reveal that the chances of these being natural formations and sharing such abstract properties in many trillions to one.
The diagram on the page opposite illustrates the "transformation process" message of the crop circle phenomenon. The fit, point-for-point, to the oldest recorded, written poem in human history is astounding, and I contend will beyond the realm of purely by chance.
"The crop formations now exhibit a complexity, size ... clearly show a planned progression in terms of design, ..."
Michael Green, archaeologist
The crop circle pictograms are graphically inscribed metaphors of mythological metamorphosis portrayed with clear and direct reference to the ancient Sumerian transformation myth of Inanna. (See Joseph Campbell's book, The Hero With a Thousand Faces, Princeton Univ. Press, 1972, pp.105-8).
The oldest recorded account of the passage through the gates of metamorphosis is the Sumerian myth of the goddess Inanna's descent to the nether world.
From the "great above" she set her mind toward the "great below,"
Neti was instructed to open to the queen of heaven the seven gates, but to abide by the custom and remove at each portal a part of her clothing.
To the pure Inanna he says:
"Come, Inanna, enter."
Upon her entering the first gate,
1. The shugurra, the "crown of the plain" of her head, was removed.
Upon her entering the second gate,
2. The rod of lapis lazuli was removed.
Upon her entering the third gate,
3. The small lapis lazuli stones of her neck were removed.
Upon her entering the fourth gate,
4. The sparkling stones of her breast were removed.
Upon her entering the fifth gate,
5. The gold ring of her hand was removed.
Upon her entering the sixth gate,
6. The breastplate of her breast was removed.
Upon her entering the seventh gate,
7. All the garments of ladyship of her body were removed.
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