Dee Finney's blog

start date July 20, 2011

today's date April 4, 2013

updated April 6, 2013

page 477





DREAM - This magical square was actually not square - it was a vertical rectangle, and it was like a maze and it seemed to go forever downward.

It was dark colored, perhaps black, or dark brown.  I had a very difficult figuring out how to make my way down the magical square because of the maze within it.

I don't know what its real use is.

There seemed to be a way to quickly maneuver ones way all the way from top to bottom, but I didn't know how to do that.

Here is glossary of mazes.

I didn't find any images that were anything close to what I was experiencing in this dream.



NAP DREAM -   Again I was seeing the magical squares, which I had come to know as a labyrinth, but again I didn't know what it was for.

The suddenly, the whole thing turned so I was seeing it from the side and then from the back, and saw that this labyrinth was mounted on  a tripod of heavy metal strips on top of a white pick up truck, and seeing it from the side, immediately I knew it was a 'whirling gyre'.

The Second Coming

William Butler Yeats

By , Guide

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;

Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at laSt,
Slouches towards Bethlehem to be born?



             WHIRLING GYRE 

4-5-13 - DREAM - I was living in a house somewhere with my husband and another woman I'll call Becky.  I assume she was a relative.


Most of the time, I was laying in bed behind my husband, spooned with him while we slept.


In the dream within the dream, was a scene of how the elite of the world were treated.  They had their arms and legs removed so all they had was a body and torso, and everything was done for them, so they didn't even have to feed or toilet themselves, nor even walk, comb their hair - nothing - everything was done for them, and then their head and torso were driven around where they wanted to go in the back of a white pickup truck.


When I woke up in the morning, I realized that I must have been ill during the night, and everything stunk and I was sweaty and needed to clean up, so I spent at least an hour cleaning up the bedroom and bathroom inch by inch, including the bathroom sink which had little black hairs ( all over the sink) and the floor was full of bottles of yellow fluid, and pieces of toilet paper.


Becky said, "Ack!  Everything stinks in here." and I said, "Yeah!  I was sick all night!" and I moved a little faster to clean the bedroom, while my husband and Becky stood around doing nothing.


I looked in the mirror and saw how beautiful my dark brown hair was, until I started to comb it, and all of a sudden, my hair was short and fly away like normal and I realized I hadn't been seeing the real me.  So I combed my hair normally until I looked like the real me.


Then a very large man (not only tall, but wide and bulky as well) came into the house, making a delivery of a white box about 2 ft x 2 ft, and asked 'How is the move coming", like he thought we were moving. 


I said, "We don't know if we are coming or going!"  so he asked the question again... "How is the move coming!"  and I responded exactly the same saying, "We literally don't know if we are coming or going."


He then looked at the window and said, "Hey!  You don't have a window in here!  I'll put one in here for you -...  just for a bottle of beer."


He didn't wait for an answer, but went out to his truck to get the glass to put in the window. 


There actually was an inner window, but not an outer storm window.  (None of our windows have storm windows on them actually)


I guess if you dont have an outer storm window you can't weather the storm.





I began meditation by repeating the words, "show me the new window," and "please show me the new window"....


I had a vision of a little naked boy curling up on the ground and going to sleep, which told me to go to sleep which I did.


DREAM - I met my friend Donna from high school and another woman and Donna told me she could go faster than I could, so we went up an elevator to the attic which was all dark wood and the room was like a classroom.  She kept telling me she could go faster than I could and she would teach me how.


We then went down the elevator and outside, where she got on a little toy cart-like vehicle at the top of a hill, and rolled down the hill very fast.


That looked easy enough, so I got on a similar cart and I couldn't even begin to go down the hill because my shoes got stuck in the tar like the tar was made of paper and I got caught in it.


Finally, I managed to go down the hill and bump over some railroad tracks or something that crossed the road.


So we went back up to the top of the hill where Donna said she would show me how to do it like she did, and again she went down the hill on her cart really easily and I knew I could do it too, but again my feet got stuck in the asphalt like it was made of paper and the toes of my shoes made holes in it.


Finally, I managed to roll down the hill, but now I was rolling over people shaped objects that looked like freshly harvested potatoes, and it was really bumpy trying to roll over them.


NOTE:  What does this mean?  It's going to be a bumpy ride and would end at the time of the potato harvest?  That's quite a long time from now.


AT least fall time.



4-6-13 - DREAM - I fell asleep to a slow moving cartoon on the TV, then dreamed of colorful puzzles and trying to delete them from the screen, and woke up to a news show of North Korea shooting missiles.



4-6-13 - MEDITATION AND DREAM - Again I meditated on the window I needed to see the future through, and I had a vision of a house and on the front porch in front of the door was two new oil lamps with glass chimneys on top, and to the left was an old fashioned oil lantern with a metal top on the tall lantern with a wire handle on top of it.  (However, I couldn't remember it right then, so I kept meditating on the third object until I fell asleep and had this dream.


DREAM :  I  went to see a house that I wanted to rent, and apparently my Uncle Lester had owned it during his first marriage.  His first wife by the name of Dory was there to show us around.  (Her real name is Doreen)  I was wearing brown slacks and a long sleeved brown sweater.  The house was older and furnished nicely similar to my Father's old house on 16th St.


Later in the afternoon, I was still in the house, and there were many other people there, including a young woman whose face was really red like she had a fever, and she was sitting across from me at a long table, but down on the end more.


I told her I knew she was on medication, and it looked like she was having a hormone problem, like a hot flash or something, and I told her she should go lay down and rest for awhile, which she did.


For some reason, I had taken my sweater off and I was sitting and standing around wearing just a nice silky white bra.


My Uncle Lester came in then with a case of beer and put it into the bathtub under the window and turned on the center faucet (not on the end of the rub, but from a large faucet right under the window.)  He turned on the water, and the water was warm to the touch.


I told him he couldn't cool off the beer with warm water, so I turned on what I thought was the cold water faucet on the right, and it turned out that there were two sets of faucets - one set in the center under the window, and a taller set off to the right, which is what I had turned on, only I also turned on the hot water faucet. 


When I realized what I had done, I turned off the hot water and turned on the cold water and then we had to wait a minute until the cold water flushed out the hot water and then the cold water washed over the beer case to cool it off.


I was a little embassed for making that error, so I left my uncle Lester with the beer and started mingling with the crowd of people that had gathered there, and then in comes Dory again, introducing herself.


She recognized me, and said, "I'm Dory! Remember?  We met earlier this morning.  You were wearing all brown!"


I looked down and saw I was wearing only my brown slacks with the white bra on and no shirt or sweather, so I quickly left her to go find my sweater to put on.


In the bedroom, on the daybed, was the woman who was resting and she looked better, but on the bed was the brown sweater I had worn earlier and a gren and brown striped sweater just like it right next to it.


I didn't want to embarrass myself further with Dory, so I decided to wear the green and brown striped sweater so Dory woudn't think I was running around all day with only half my clothes on.


I woke up then, with the vision of the old fashioned oil lantern by the door in my mind.


Joe told me that Manly P. Hall had written about an alchemical lantern, and this is what I found on line:


This would fit right in with one of my past lives because I was there in Egypt when it happened originally.







What words are there in modern language to describe the great temple of Ammon Ra? It now stands amidst the sands of Egypt a pile of broken ruins, but in the heyday of its glory it rose a forest of plumed pillars holding up roofs of solid sandstone, carved by hands long laid to rest into friezes of lotus blossoms and papyrus and colored lifelike by pigments the secrets of which were lost with the civilization that discovered them. A checkerboard floor of black and white blocks stretched out until it was lost among the wilderness of pillars. From the massive walls the impassive faces of gods unnamed looked down upon the silent files of priests who kept alight the altar fires, whose feeble glow alone alighted the massive chambeors throughout the darkness of an Egyptian night. It was a weird, impressive scene, and the flickering lights sent strange, ghostly forms scurrying among the piles of granite which rose like mighty altars from the darkness below to be lost in the shadows above.


Suddenly a figure emerged from the shadows, carrying in his hand a small oil lamp which pierced the darkness like some distant star, bringing into strange relief the figure of him who bore it. He appeared to be old, for his long beard and braided hair were quite gray, but his large black eyes shone with a fire seldom seen even in youth. He was robed from head to foot in blue and gold, and around his forehead was coiled a snake of precious metal, set with jewelled eyes that gave out flashes of light. Neve r had the light of Ra’s chamber shone on a grander head or a form more powerful than that of the high priest of the temple. He was the mouthpiece of the gods and the sacred wisdom of ancient Egypt was impressed in fiery letters upon his soul. As he crossed the great room – in one hand the sceptre of the priestcraft, in the other the tiny lamp – he was more like a spirit visitor from beyond the environs of death than a physical being, for his jewelled sandals made no sound and the sheen from his robes form ed a halo of light around his stately form.


Down through the silent passageways, lined with their massive pillars, passed the phantom figure – down steps lined with kneeling sphinxes and through avenues of crouching lions the priest picked his way until at last he reached a vaulted chamber whose marble floor bore strange designs traced in some language long forgotten. Each angle of the many-sided and dimly-lighted room was filled by a seated figure carved in stone, so massive that its head and shoulders were lost in shadows no eye could pierce.


In the center of this mystic chamber stood a great chest of some black stone carved with serpents and strange winged dragons. The lid was a solid slab, weighing hundreds of pounds, without handle of any kind and the chest apparently had no means of being opened without the aid of some herculean power.

The high priest leaned over and from the lamp he carried lighted the fire upon an altar that stood near, sending the shadows of that weird chamber scurrying into the most distant corners. As the flame rose, it was reflected from the great stone faces above, which seemed to stare at the black coffer in the center of the room with their strange, sightless eyes.


Raising his serpent-wound staff and facing the chest of sombre marble, the priest called out in a voice that echoed and re-echoed from every nook and cranny of the ancient temple:


“Aradamas, come forth!”


Then a strange thing happened. The heavy slab that formed the cover of the great coffer slowly raised as though lifted by unseen hands and there emerged from its dark recesses a slim, white-clad figure with his forearms crossed on his breast-the figure of a man perhaps thirty years old, his long, black hair hanging down upon his white-robed shoulders in strange contrast to the seamless garment that he wore. His face, devoid of emotion, was as handsome and serene as the great face of Ammon Ra himself that gazed down upon the scene. Silently Aradamas stepped from the ancient tomb and advanced slowly toward the high priest. When about ten paces from the earthly representative of the gods, he paused, unfolded his arms, and extended them across his chest in salutation. In one hand he carried a cross with a ring as the upper arm and this he proffered to the priest. Aradamas stood in silence as the high priest, raising his sceptre to one of the great stone figures, addressed an invocation to the Sun-God of the universe. This finished, he then addressed the youthful figure as follows:


“Aradamas, you seek to know the mystery of creation, you ask that the divine illumination of the Thrice-Greatest and the wisdom that for ages has been the one gift the gods would shower upon mankind, be entrusted to you. Little you understand of the thing you ask, but those who know have said that he who proves worthy may receive the truth. Therefore, stand you here today to prove your divine birthright to the teaching that you ask.”


The priest pronounced these words slowly and solemnly and then pointed with his sceptre to a great dim archway surmounted by a winged globe of gleaming gold.


“Before thee, up those steps and through those passageways, lies the path that leads to the eye of judgment and the feet of Ammon Ra. Go, and if thy heart be pure, as pure as the garment that thou wearest, and if thy motive be unselfish, thy feet shall not stumble and thy being shall be filled with light. But remember that Typhon and his hosts of death lurk in every shadow and that death is the result of failure.”


Aradamas turned and again folded his arms over his breast in the sign of the cross. As he walked slowly through the somber arch, the shadows of the great Unknown closed over him who had dedicated his life to the search for the Eternal. The priest watched him until he was lost to sight among the massive pillars beyond the shent span that divided the living from the dead. Then slowly falling on his knees before the gigantic statue of Ra and raising his eyes to the shadows that through the long night conceal ed the face of the Sun-God, he prayed that the youth might pass from the darkness of the temple pillars to the light he sought.


It seemed that for a second a glow played around the face of the enormous statue and a strange hush of peace filled the ancient temple. The high priest sensed this, for rising, he relighted his lamp and walked slowly away. His beacon of light shone fainter and fainter in the distance, and finally was lost to view among the papyrus blooms of the temple pillars. All that remained were the dying flames on the altar, which sent strange flickering glows over the great stone coffer and the twelve judges of the Egyptian dead.


In the meantime, Aradamas, his hands still crossed on his breast, walked slowly onward and upward until the last ray from the burning altar fire was lost to view among the shadows far behind. Through years of purification he had prepared himself for the great ordeal, and with a purified body and a balanced mind, he wended his way in and out amoung the pillars that loomed about him. As he walked along, there seemed to radiate from his being a faint golden glow which illuminated the pillars as he passed the m. He seemed a ghostly form amid a grove of ancient trees.


Suddenly the pillars widened out to form another vaulted room, dimly lit by a reddish haze. As Aradamas proceeded, there appeared around him swirling wisps of this scarlet light. First they appeared as swiftly moving clouds, but slowly they took form, and strange misty figures in flowing draperies hovered in the air and held out long swaying arms to stay his progress. Wraiths of ruddy mist hovered about him and whispered soft words into his ears, while weird music, like the voice of the storm and the cri es of night birds, resounded through the lofty halls. Still Aradamas walked on calm and masterful, his fine, spiritual face outlined by his raven locks in strange contrast to the sinuous forms that gathered around and tried to lure him from his purpose. Unmindful of strange forms that beckoned from ghostly archways and the pleading of soft voices, he passed steadily on his way with but one thought in his mind:

“Fiat Lux!” (Let there be light.)


The ghastly music grew louder and louder, terminating at last in a mighty roar. The very walls shook; the dancing forms swayed like flickering candle shadows and, still pleading and beckoning, vanished among the pillars of the temple.


As the temple walls tottered, Aradamas paused; then with slow measured step he resumed his search for some ray of light, finding always darkness deeper than before. Suddenly before him loomed another doorway, flanked on either side by an obelisk of carved marble, one black and the other white. Through the doorway glowed a dim light, concealed by a gossamer veil of blue silk.


As Aradamas slowly climbed the flight of steps leading to the doorway, there materialized upon the ground at his feet a swirl of lurid mist. In the faint glow that it cast, it twisted like some oily gas, filling the entire chamber with a loathsome miasma. Then out of this cloud issued a gigantic form – half human, half reptile. In its bloodshot eyes burned ruddy pods of demon fire, while great claw-like hands reached out to enfold and crush the slender figure that confronted it. Aradamas wavered for a s ingle instant as the horrible apparition lunged forward, its size doubly magnified in the iridescent fog. Then the white-robed neophyte again slowly advanced, his arms still crossed on his breast. He raised his fine face, illumined by a divine light, and courageously faced the hideous specter. As he confronted the menacing form, for an instant it loomed over him like a towering demon. Suddenly Aradamas raised the cross he carried and held it u p before the monster. As he did so, the Crux Ansata gleamed with a wondrous golden light, which, striking the oily, scaly monster, seemed to dissolve its every particle into golden sparks. As the last of the demon guardians vanished before the rays of the cross, a bolt of lightning flashed through the ancient hallways and, striking the veil that hung between the obelisks, rent it down the center and disclosed a vaulted chamber with a circular dome, dimly lighted by invisible lamps.


Bearing his now flaming cross, Aradamas entered the room and instinctively gazed upward to the lofty dome. There, floating in space, far above his head, he saw a great closed eye surrounded by fleecy clouds and rainbow colors. Long Aradamas gazed upon the wonderful sight, for he knew that it was the Eye of Horus, the All-Seeing Eye of the gods.


As he stood there, he prayed that the will of the gods might be made known unto him and that in some way he might be found worthy to open that closed eye in the temple of the living God.


As he stood there gazing upward, the eyelid flickered. As the great orb slowly opened, the chamber was filled with a dazzling, blinding light that seemed to consume the very stones with fire. Aradamas staggered. It seemed as if every atom of his being was scorched by the effulgence of that glow. He instinctively closed his eyes and now he feared to open them, for in that terrific blaze of splendor it seemed that only blindness would follow his action. Little by little, a strange feeling of peace and ca lm descended upon him and at length he dared to open his eyes to find that the glare was gone, the entire chamber was bathed in a soft, wondrous glow from the mighty Eye in the ceiling. The white robe he had worn had also given place to one of living fire which blazed as though with the reflection of thousands of lesser eyes from the divine orb above. As his eyes became accustomed to the glow, he saw that he was no longer alone. He was surrounded by twelve white-robed figures who, bowing before him, held up strange insignia wrought from living gold.

As Aradamas looked, all the figures pointed, and as he followed the direction of their hands, he saw a staircase of living light that led far up into the dome and passed the Eye in the ceiling.


With one voice, the twelve said: “Yonder lies the way of liberation.”


Without a moment’s hesitation, Aradamas mounted the staircase, and with feet that seemed to barely touch the steps, climbed upward into the dawn of a great unknown. At last, after climbing many steps, he reached a doorway that opened as he neared it. The breath of morning air fanned his cheek and a golden ray of sunshine played among the waves of his dark hair. He stood on the top of a mighty pyramid, before him a blazing altar. In the distance, far over the horizon, the rolling sands of the Egyptian de sert reflected the first rays of the morning sun which, like a globe of golden fire, rose again out of the eternal East. As Aradamus stood there, a voice that seemed to issue from the very heavens chanted a strange song, and a hand, reaching out as it were from the globe of day itself, placed a serpent wrought of gyld upon the brow of the new initiate.


“Behold Khepera, the rising sun! For as he brings the mighty globe of day out of the darkness of night, between his claws, so for thee the Sun of Spirit has risen from the darkness of night and in the name of the living God, we hail thee Priest of Ra.”




3 Comments to "Epilogue"



In a book titled, "Tantra For The West," which has a depiction on the cover that was very similar to a split-ringed crop formation that had appeared in England the summer of 1991.On page 17 of the book it states that the word "tantra," comes from Sanskrit, and means "to weave." Interestingly, in the Hopi story, Spider Grandmother eventually teaches people how "to weave."

In an interview with Isabella Kingston, a psychic who has been accurate in predicting crop formations. One of the things she predicted was that some would find Sanskrit and Hopi Indian correlations. In my case, the prediction came true. The "correlation" is the idea "to weave."

Spider Grandmother is depicted with a cross on her back. In "The Sacred Symbols of Mu," Col. James Churchward shows some spider glyphs that also have a similar cross. One myth says that the spider made the roads so cleverly that no man could find the beginning or end thereof. Another says that the spider would have mounted to heaven, but was held out by the cold.

Spiders and weaving, are related symbols. The Nordic, Yggdrasil Tree has the three Norns of Fate (past, present, future) spinning and weaving at the root of the tree. Snakes and a dragon are at other roots of the Tree. Four stags nibble off all the young buds of the foliage, and become the four winds, creating the sweeping winds upon the earthly lands.

In an African myth, Spider travels up into the sky and brings down a box. When he opens it, all the stories escape and run all over the place. Spider catches a few, his wife catches a few, and the villagers catch a few. But all the rest of the stories ran all over the entire earth.


The fate of this maiden was another example of the danger of claiming equality with the gods in anything whatsoever. Athena was the weaver among the Olympians as Hephaestus was teh smith. Quite naturally she considered the stuffs she wove unapproachable for fineness and beauty, and she was outraged when she heard that a simple peasant girl named Arachne declared her own work to be superior. The goddess went forthwith to the hut where the maiden lived and challenged her to a contest. Arachne accepted. Both set up their looms and stretched the warp upon them. Then they went to work. Heaps of skeins of beautiful threads colored like the rainbow lay beside each, and threads of gold and silver too. Athena did her best and the result was a marvel, but Arachne's work, finished at the same moment, was in no way inferior. The goddess in a fury of anger slit the web from top to bottom and beat the girl around the head with her shuttle. Arachne, disgraced and mortified and furiously angry, hanged herself. Then a little repentance entered Athena's heart. She lifted the body from the noose and sprinkled it with a magic liquid. Arachne was changed into a spider, and her skill in weaving was left to her.

(This story taken from MYTHOLOGY, Timeless Tales of Gods and Heroes, by Edith Hamilton, Meridian c 1989, pg 288.)


Amma's (creator's) first offspring is the pale fox, an unnatural and socially disruptive creature born w/ placenta and thus w/o a female counterpart (a symbol of male w/o female that results in chaos). Pale fox commits incest w/ his mother, Earth. The four Nummo pairs are later offspring of Amma. They are androgynous couples who each embody the proper balance of the sexes. The Nummo are cultural heroes who introduce smithing, weaving and agriculture to human and are associated with social order and creativity.

Usually there are 8 posts that relate to the eight Nummo

Creation of the universe. Amma through out a seed that formed the surface of the earth. Cosmos is tripartite-heaven, lower realm are linked by the axis mundi through the human sphere. Creative processes move up and down an a vertical axis and radiate in for directions from a center. (vertical=3, horizontal=4)

The interlocking of vertical and horizontal produce a checkerboard which is an image of the order of human culture. Nummo give word through weaving (warp and weft). Checkerboard used in agriculture, facades of village structures.

Number 1 = disorder, destruction and incompleteness. 2 is perfect and productive Nummo pairs, balance, creativity, fecundity and culturally productive action. 3 is the vertical cosmic diagram equated with creative movement between the two supernatural realism. 3 is a male number (vertical, dynamic, maleness and move between human and supernatural. 4 is four directions (of seed which formed surface of earth), four elements, four Nummo pairs, implies radial movement from center, symbolic female number, expresses multiplicity and capacity for fecundity.

The Nordic Yrrigesel Tree.

At the top is a double-headed eagle and a double-headed hawk. Down at the roots are serpents, a dragon, and the Norns of Fate (past, present and future) spinning and weaving. The squirrel runs up and down the trunk of the tree from top to bottom. He is said to be the communicator between the upper and lower realms. The Tree is also associated with one's consciousness.

Frigg, Frigga, Frija, Fricka- The chief of Æsir goddess. She is associated with love, marriage, and motherhood. She is frequently pictured as being very beautiful, wearing a girdle with household keys and weaving clouds on her spinning wheel.

According to some sources Frigg is the mother of Thor.



She is the goddess of weaving and clothing (Kramer 1963 p. 174; Black and Green p. 182) and was previously thought to be the goddess of plants. She is both the child of Enki and Ninkur, and she bears eight new child/trees from Enki. When he then ate Uttu's children, Ninhursag cursed him with eight wounds and disappears.

ISIS - 1ST Century A.D.

Like Osiris, Isis was incorporated into the Heliopolitan system (to identify them with the royal family - the king becoming the personification of Horus) and aggregated to her other Goddesses, so that she came to represent The Great Mother herself.

Her name means 'seat' and this is usually taken to mean the throne of Osiris, who from earliest times, was regarded as her husband and in Egyptian royal tradition, her brother.

She was said to have instituted marriage, and taught women the arts of grinding corn, spinning flax, and weaving. She is also mentioned as having taught Osiris the arts of agriculture. Isis was also the Great Enchantress, with great knowledge of both magic and the arts of healing, the latter of which she taught to humankind, with the help of Thoth.

Isis became The Great Mother Goddess of Egypt and elsewhere. In the Ptolomaic era in Egypt, Isis became the official Goddess of the new state cult. Like both Demeter and Cybele, she was a Goddess of fertility, new life and everlasting hope.

On 2-28-2000, I turned on the Art Bell show with guest host Rollye James who had a guest named Stan Tenen. I listened half asleep until Stan Tenen began talking about the 27 lines that the Hebrew language was formed from and that it was shaped from the human hand and that all aboriginal people knew this also and was the beginning of language.

I knew instinctively that this was the information I was missing as the meaning to my dream of the Indian hand signs.

Excerpt from SECRETS OF THE HEBREW LETTERS by Cynthia Gage for Atlantis Rising, Issue #13, November 1997

By fusing mathematics and Jewish mysticism, Tenen has demonstrated that the first verse of Genesis in the Hebrew Bible generates a mathematical Torus. When a particular portion is removed from this 'doughnut', its shape mirrors the human hand. Tenen claims the Hebrew alphabet is based on the human hand, because it represents the function of differentiating self from other, inside from outside. "The alphabet links the inner world of the mind with the outer world of experience, just as our hands do," he says. "And," he continues, "The first letter of the book of Genesis -Bet- means 'house', something that distinguishes inside from outside; this is the most basic distinction you can make at any level of consciousness."

When Tenen broke the first word of Genesis into its 'subatomic particles' (the word is actually comprised of two smaller words, meaning "fire" and "six-edged thorn"), he took the "thorn" to mean a tetrahedron and constructed a model of it, placing the "fire," or torus "vortex" form, inside. Tenen noticed that the model, which he calls "The Light In the Meeting Tent" also reflected the polarity of perfect symmetry (the tetrahedron) and asymmetry (the vortex form). As he studied it, he discovered it was even more multifaceted than he had realized. "When I looked through the faces of the tetrahedron at the vortex, each view displayed a different letter in the Hebrew alphabet," he says. And," he mentions almost casually," I realized the 27 gestures that accompany the letters correspond to the 27 'preferred' pointing directions used in hyper-dimensional space."

Tenen has explored history using his theories and has found the same pattern again and again. "For example," he says, "You find it in Rumi's poem describing the Sufi Round Dance, in the Philippine Wine Dance (where you hold a wine glass in your palm and rotate it above and below your shoulder-the old Cleopatra dance), in the Grail Legend material, in William Blake's poetry, the Celtic Odin stories, in the weaving and basketry of Amerindian peoples and, literally, in every culture the world has ever seen"



V- Athena, the goddess is also known in Rome as Minerva Capta, an Etruscan Goddess. She is strong and beautiful, and very well skilled with many talents...among which the building of ships... and the art of weaving and embroidering. Nothing exists in writing in regards to her flying on Pegasus....but it is said that she is very skilled at domesticating Horses as well as wild forces of nature.

However, she appeared to Bellerophon in a dream, ..."IN A DREAM"... THIS IS A MOST IMPORTANT STATEMENT... and gave him a gold bridle thanks to which he was able to tame the Horse Pegasus. Athena, it is said "became equal to her Father (Zeus)... in both strength and prudent wisdom."...Theogony, 896... and is represented wearing a head-dress which is flanked by two Winged-Horses, one on each side... as in the gold and ivory sculpture of Phidias Vth century B.C. (FM)

What she wishes to teach to humans is that it is "the Metis, the magical intelligence, and not the strength, that makes a good Man." (Iliad, xv, 412.)


“How did we get here?” asked Obsidian Snake as his mother took her place beside him in the cool, dry night.

“We are the children of Quetzalcoatl, the Plumed Serpent,” his mother began. “He is our creator; he discovered maize so that we might feed ourselves. He taught us how to find jade and other precious stones and taught us how to polish them. From him the art of weaving our many colored cotton cloth was learned and passed down from mother to daughter for many generations. The Plumed Serpent taught our people how to use the feathers of the quetzal, the hummingbird and other birds with colorful plumage to make beautiful designs. He also taught our people how to measure time. He gave us our calendar with its special days set aside for certain prayers and festivals.


The Mayan earth and moon goddess and patroness of pregnant women. She invented the art of weaving. Ixchel is thought to be the consort of Itzamna and with him she is the mother of the Bacabs, but also Voltan was thought to be her husband. She is portrayed with a snake as a head-band and her skirt is embroidered with crossbones. Ixchel shows many similarities with the Aztec goddess Chalchihuitlicue


Navajo women (and some men) began weaving clothes and blankets for themselves and rugs for the tourist trade while the men perfected the art of silversmithing after they were forced to move off of their own land in the mid 1800s (1863) by Colonel Kit Carson. . Known for their stunning and original designs, it is to be noted that in each blanket and rug there will be found a break in the pattern. To the Navajo weavers, this break ensures that the weaver’s soul will not be trapped within pattern. Their colors were the colors of their land, sky, and world… white/east/sunrise, blue/south/day, yellow/west/sunset, black/north/night, green and brown/below, and a pale dusty rose to signify above.

The Navajos adopted many cultural practices from their Pueblo neighbors, such as masked dances (yebichai), basketry, and pottery. They became fine silversmiths, learning the craft from the Spaniards, just as they learned weaving from the Pueblos. During the mid-nineteenth century they began making jewelry and weaving rugs; their simple chiefs’ blankets have evolved into the well-known Navajo rugs of today.

The Native American writers Tom Hill and Richard Hill explain five gifts that they say Native Americans have received from their ancestors. "The first gift . . . is our deep connection to the land." And in view of their history before and since the arrival of the European, who can deny that? Their land, often considered sacred by Native Americans, was systematically taken by force, by trickery, or by unfulfilled treaties.

"The second gift is the power and spirit that animals share with our people." Native American respect for animals has been demonstrated in many ways. They hunted just for food, clothing, and shelter. It was not the native peoples who virtually wiped out the buffalo (bison) but the white man, with his bloodlust and shortsighted greed.

"The third is the spirit forces, who are our living relatives and who communicate with us through the images we make of them." Here is the common theme of so many religions worldwide-the survival of some spirit or soul after death.#

"The fourth is the sense of who we are, which is expressed and sustained through our tribal traditions." Today this can certainly be detected at tribal ceremonies, where the people gather to discuss tribal affairs, or at social powwows, where tribal dancing and music take place. The Indian dress, the rhythmic beating of the drums, the dances, the family and clan reunions-all bespeak tribal tradition.

"The last gift is the creative process-our beliefs made real through the transformation of natural materials into objects of faith and pride." Whether it is basketmaking, weaving, shaping and painting pottery, fashioning jewelry and adornments, or any other creative activity, it is linked to their tradition and culture of the ages.

There are so many tribes that it would require many books to explain all the traditional beliefs and practices.

The Hopis have been planters of corn since time immemorial, skillfully coaxing their crops to thrive even in desert sands. In the traditional partition of labor, the women made pottery and wove beautiful baskets, while the men did the weaving and hunting.


Hopi Woman Weaving Baskets


Thoth supposes the beginning of all things to consist of a Dark Mist of a spiritual nature, or as it were a Breath of dark mist, and of a turbid Chaos black as Erebus; that these were boundless, and for many an age remained without a bound. 'But when,' he says, 'the Spirit fell in love with his own principles, and they were inter-blended, that interweaving was called Love; and this Love was the origin of the creation of all things. But [Chaos) did not know its own creation. From its embrace with Spirit Mot was born. From her [Mot, the Great Mother) it was that every seed of the creation came, the birth of all the cosmic bodies. ' [First of all] there were [Great] Lives devoid of sensation, and out of these came subsequently [Great] Lives possessed of intelligence.

The latter were called Zophasemin (that is to say, "Overseers of the Heavens"). The latter were fashioned in the form of eggs, and shone forth as Mot, the Sun and Moon, the Stars and the great Planetary Spheres.

'Now as the [original] nebula began to lighten, through its heat mists and clouds of sea and earth were produced, and gigantic downpours and torrents of the waters in the firmaments. Even after they were separated, they were still carried from their proper places by the heat of the sun, and all the [watery and earthy elements] met together again in the nebula one with the other, and dashed together, amid thunder and lightning; and over the crash of the thunderings the [Great] Rational Lives before-mentioned watched, while on the land and sea male and female cowered at their echo and were dismayed."o Strip this statement of its obvious overlays and we find a knowledge of cosmology which is more in keeping with modern scientific thought than what is commonly accepted as 'magic'.




The Goddess Pallas Athena, also known as Minerva to the Romans, was the weaver among the Olympians, as Vulcan was the smith. The peasant girl, Arachne, offended Minerva by declaring that her own weaving was superior. The goddess challenged the girl to a weaving contest. They finished their work at the looms at the same moment, and Arachne's work equaled that of the goddess. Angered furiously, Minerva slit the web from top to bottom and beat the girl on the head with her shuttle. Arachne was furious, disgraced, and hanged herself. Minerva's heart was then touched, so she lifted the body from the noose and sprinkled it with a magic liquid. Arachne was transformed into a spider, and she retained her weaving skill.

This is, of course, how our word, "arachnophobia," fear of spiders, came to us.


7-24-91 - Dream: I was in a house. A man told me to tell all my friends, if they haven't already done so, to purchase a circular mat to go in the center of their livingroom floor where they stand. The colors were 33 1/3% each of Red, Orange, and Yellow - in a curved triangle of each color spiraling in toward the center. There were 1/2" rings circling within.

NOTE: You can see glyph similar to this mat by looking at the crop circle at:

This crop circle was formed in England on 7-21-91 - It is the Barbury Castle Crop Circle. The mat was similar to the glyph at the lower end of the crop circle.

Posted by Barbury Crop Circle on August 17, 1997 at 16:55:32:


8-17-97 The date of this dream (7-24-91) is a clue. 7-24-91 was just a few days after the Barbury Castle crop circle formation. The division of your circle into a triangle of three colors fits with the crop formation. It is three circular areas in a triangle. It is related to the Trinity of Creation, I do believe. Your drawing which you sent to me looks much like a crop circle, like lines of wheat stalks laying down.

The way your lines go toward the center may connect with the north glyph in the crop pattern. There were six lines with the wheatstalks going inward toward the center. The colors in your dream, Red, Orange, and Yellow are sun colors. I knew when I first the crop circle that the North glyph in the crop formation was a sun symbol, associated with "male". Very similar glyphs are in "The Sacred Symbols of MU". In a later article about the crop circle, it said that the three corner glyphs have parallels in alchemical signs, corresponding to sun/sulfur, the moon/salt, and Mercury/quicksilver.

In the Hopi Creation Myth, there is a sun inside a square shape in the sky. The mat in the room is like a circle inside a square.

by Joe Mason

10-8-97 - DREAM - I was downtown somewhere and managed a large hotel. One of the men who was a musician in my building was a drummer. (Big Bass Drum) He got a job in another hotel down the street and I followed him there to see what that hotel was like. When I got there, Max Holden, from One Life To Live was in charge of laying down strips of carpet to deaden the sound of the drummer. The carpet was reddish brown and he was laying it in various directions in a weaving pattern to make it fit.

There was a cleaning company there and when they were done cleaning, they brought out several large boxes of books. I asked the guy what he was going to do with them and he said he did'nt know because he didn't read. I asked him I could have them and he said, "Yes! Henceforth he would give me ALL the books he found.

A woman in a white car came by who worked for me, (from the previous dream - name unremembered) and they helped her get out of her white fur covered car.

I then met a very tall man and woman and she started giving me a tour of the hotel and showing me points of interest. She complained that it wasn't good enough for an important guest who was coming. What she showed me looked like an ancient Oriental Temple with lots of ornate wood carvings. I discovered that the tall man and woman owned the hotel and I was surprised they weren't happy with it. The tall man told me that a personnel manager was coming and it turned out to be my brother-in-law E.S. I started back to my own hotel and woke up.


The New Mythology: Angelic, Apocalyptic and Alien Dreams

by Maureen B. Roberts, PhD

As Jung has discussed, particularly in his book *Flying Saucers*, a 'metamorphosis of the gods' occurs at the end of each astrological era and since we are now passing into Aquarius, a new mythology is emerging and being articulated in apocalyptic and prophetic dreams and visions worldwide. What seems to be happening at present, as we shift out of Christian-dominated Pisces, is that the angels and demons of Christian mythology are being superceded by more morally ambiguous UFO and alien dreams. Significantly, I've had only a few 'angel' dreams, but many dozens of UFO ones. The following includes some examples of both.

A passage Rilke's 'Second Duino Elegy' resonates with a dream I had recently of two 'species' of the angelic hierarchy:

But if the archangel now, perilous, from behind the stars took even one step down toward us: our own heart, beating higher and higher, would beat us to death.

The angels are further described as 'mountain-ranges, peaks growing red in the dawn of all Beginning, pollen of the flowering godhead, joints of pure light, corridors, stairways, thrones, space formed from essence, shields made of ecstasy, storms of emotion whirled into rapture . . . mirrors, which scoop up the beauty that has streamed from their face and gather it back, into themselves entire'.

I like the Blakean sense of immense energy here (compared to the often tame and listless portrayals of angelic beings one often encounters). In the dream I had, I saw two levels of the angelic hierarchy, firstly (as an anonymous Voice described in the dream) the Thrones, three of whom appeared standing behind a distant mountain range, above which their immense androgynous forms, clad in flowing robes, towered in shimmering apricot gold, as though they, not the Sun, were the source of the gentle light of dawn. I then looked up into the sky and saw at cloud level a gracefully whirling mass of Cherubim, who simply cannot be described. The sense was of immense power and delicacy, beauty, dancing, higher innocence, speed and agility, and interfusing, interweaving energies, all delicately golden and amoebic-animal-human in form, awesomely beautiful and powerful. They whirled ecstatically to an unheard music. I stood watching them and was completely lost in the vision - it changed my life and after I awoke I could scarcely do a thing for days. How stagnant and tame the angelic hierarchy has become when diluted into doctrine, empty ritual, or belief. These powers were vastly alive, overpoweringly real, staggeringly powerful and terrifyingly beautiful beyond words.

Steven Spielberg, incidentally, achieved (compared to these dreams) an admirable glimpse of this in his portrayal of the terrible beauty and potentially destructive energy of the Seraphim that were released from the Ark of the Covenant at the end of the first Indiana Jones film.

Next, a couple of my UFO dreams that relate to the emerging 'alien myth':

(a) Purple Gyre Dream:

There's a certain resonance between this dream and Jung's UFO dream (recounted in his autobiography) of the alien object looking at him through a telescope, which led Jung to wonder whether he was dreaming the UFO, or whether it was dreaming him! If UFO events are the synchronistic manifestation of archetypes, one would expect a mirror relationship to exist between our dreams (the psychic plane) and the outer manifestation (the physical realm).

In the dream, I was parked at the edge of a canyon and had gotten out of the car to wander about. From the sky descended a UFO in the form of a purple spinning top, about a foot across. It landed on the hood of the car, still spinning, and exuded an intense aura of sentience, benevolence and innocence (reflecting on it later, it reminded me of the little red will-o-the-wisp sphere in Close Encounters). The spinning top then rose from the car hood and, hovering above the road, began projecting huge movie picture images of scenes from human history on the cliff faces of the canyon opposite. No other folk were around and I was left pondering whether the projected film images had any message or meaning.

(b) Cosmic Hand Dream:

The backdrop of this dream is a familiar one in many UFO dreams I've had -a night sky across which many UFO lights, which are distant and appear as stars milling about, are forming coloured patterns. As I look up at the sky, I hold my hand before my face and begin tracing with my finger a design, the shape of a hand. In the background, the UFO lights group together and take on the exact shape I am outlining in complete synchrony with my hand movements.

Reflecting on this later, I was struck by the interdependence of the UFO activity and my own action, as though each is mirroring or projecting the other. Archetypally, this would represent a synchronicity between the two realities. The 'writing hand' motif seems to suggest that we are still the authors of our own destinies, regardless of how powerful or controlling these archetypal events might appear. Paradoxically, we are shaped by the myth that is emerging - and we are simultaneously forgers of the myth.

Undoubtedly, the above all relates to Jung's axiom: 'the reality of the psyche', hence the need to honour and accept the reality of another's experience. After dealing with several UFO 'abduction' cases in private therapy, I'm struck - in all instances - by the sincerity and humility of the folk involved, and by the genuinely traumatic nature of what they've experienced - which usually takes place in a kind of waking-dreaming hybrid state. I'm also struck by its blatantly archetypal nature - women giving birth to alien hybrid"Wise Babies" (a transposition of the Virgin Birth motif?) - people receiving the equivalent of stigmata. (Jung relates an intriguing instance in his Flying Saucers book of a guy who received on his arm a centered circle mark, or basic mandala, after an alien encounter).

Other 'theories' accounting for UFO phenomena are, in my view, either naively literalistic (e.g. the recent Heaven's Gate tragedy), or assume that what's happening is purely inner, or personal. Jung's angle seems to be the only one that fits the bill of what is actually happening by bridging outer and inner, personal and mythological, physical and psychic. Personally, I'm fascinated to both observe and experience - largely through my own dreams and through relating to abductees - the emergence of a new mythology that's transposing all the old themes - gods and devils, star-beings and wise teachers descending from the sky - into a new context and form. When you're in a myth, you usually don't recognize it as one (do fish feel wet?), so we all have our work cut out for us if we are to contribute to and reflect on its development.

Whitley Streiber's accounts in his *Communion* books add further fuel to the mythic/archetypal angle. As well as recounting a great wealth of shadow confrontation material, Streiber's recurrent and disturbing journeying into the woods (recounted in *Transformation*) - in a sort of dreaming awake state - is a common feature of abductees' night wanderings. Equally significant is the moral ambiguity of the aliens and Streiber's intense emotional ambivalence (symptomatic of archetype activation) - inscribed by the poles of fear and love - toward them. Notably in this respect, the "Visitors'" primary method of communication with him is, as one would predict, symbolic or theatrical. Streiber's dream of a huge eye (as God/Self/soul) looking down on him in the woods is in this light understandable.

Accounts of a couple of disruptive apocalyptic dreams, one Streiber's and one mine, might help to shed further light on the potentially destructive and creative potential of these activated archetypes. Streiber had a dream in which a vast nuclear plant exploded when masses of pipes that lined its walls erupted with water and sent people screaming off in all directions. I had an almost identical dream, except that the pipes were underground and shot steam into the air before the plant blew up. (Water is of course a symbol of unconscious forces). Streiber also dreamed of the moon exploding and of the resulting fragments destroying the Earth. In a terrifying dream I had recently, the sun was darkened and in Ptolemaic fashion fell out of the sky toward the Earth as people scurried about trying in vain to brace themselves for the impact. (The darkening of the sun symbolizes the fading of a conscious dominant, an exploding moon the destructive power of unconscious forces, or the dark side of the feminine, currently manifesting as the Earth's violent upheavals through self-purging weather patterns through which she is attempting to cleanse herself of the abuse and pollution she has suffered).

As a related postscript, a few months ago I dreamed I was in a large, two-storied house in a room of which a vast collection of exotically coloured, mysterious rocks - collected by New Ager Katrina Raphael (note the surname!) - was displayed on shelves. I picked up one of these rocks and immediately began to levitate vertically. When I got near the high ceiling I automatically inverted and landed feet first on this upside-down floor. The dream suggested an inversion, or reversal of perspective, which had something to do with the way matter, or rather spirit incarnate in matter, a central theme of Saturn-dominated Aquarian consciousness, is perceived and understood.

A recent dream shed further light on this prophetic shift of awareness: in it, twin clear quartz crystals, whose upper facets had a gold aura, were growing upward out of the side of my face. In the dream I was simultaneously watching this as a double, and said to the other me, "This is the next phase of our evolution, so don't worry about it." After meditating on this, it seemed that the dream was a kind of alchemical conjunction, a union with matter which produced an antenna-like amplification of my own energies as I worked in union with the crystals. We were one in the sense that we were each (quantally non-local) manifestations of the same universal Energy. Hence I see the energy not as flowing from one point to another, but rather (in line with physicist David Bohm's view of the 'holomovement') as the manifestation, or unfolding of the one Energy into different points in space-time. The double-antenna formation of the crystals also brought to mind the strange glyph for Uranus, co-ruler of Aquarius, which looks like a sort of TV antenna with 2 parallel vertical bits, hence Aquarius is dominated by the communication/frequency metaphors of 'waves' and 'vibes'. At present Saturn, the other co-ruler of Aquarius is in Pisces, so there's a tremendous focus on the unearthly Neptunian 'spirit' immanent in very earthy Saturnian matter.

In relation to the previous discussion about the synchronistic mirroring of physical and psychic, for a few days after I had the dream, the same side of my face was aching and I wondered if it was about to sprout the dream crystals! The new mythology that our age is birthing, then, is essentially holistic; in part, this means that all phenomena - dreams and outer events, matter and spirit, science and mysticism, dark and light, conscious and unconscious - will increasingly be seen not as separate dualistic opposites, with one inevitably privileged over the other, but instead as mythic movements and moments inscribed between the poles, or ends of a continuous and limitless light spectrum of consciousness, along which psyche is implicit in matter, matter in psyche; in which it is no longer a question of which is mirroring which, but more a search for the meaning and sometimes wordless message that underscores the whole.

Text c.1997 Maureen B. Roberts



An explanation of the grid matrix is appropriate to this essay. Earth Mother's magnificent spirit body is constructed upon a system of crisscrossing lines of light called grids or ley lines. A certain powerful vortex points - major sectors where grids overlap - Earth is connected to the stellar grids. Stellar grids are similar t eArth grids in that they are structured from elements of light, vibration (sound harmonics), color and aroma. Earth is connected to the Sun and other planetary bodies within this solar system via the stellar grids. This solar family is connected to other solar systems within the Milky Way galaxy, and this galaxy is connected to other galaxies within the multidimensional substrates that make up this particular universe via a system of interweaving vibrational light - the stellar grids. Stellar grids are utilized by the starships of the Intergalactic Brotherhood for instantaneous travel from star to star. Via the stellar grids, no thing is separate from any other thing, for Earth grids and stellar or solar grids are manifestations of intelligent, integrated divine love-light - That Which Is. Stellar grids are multidimensional vibrational pathways, blueprints upon which universes are created.

We are observing an upward vibrational shift in those of you who are committed to the ascension process and to maintaining your lives in service to manifesting the divine plan for peace and light on Earth. This is in response to a definite imprint through the auspices of the Planetary Logos to instill an elevation in momentum following the turning of millennium day one. Year 2000, in truth, could be considered year one. The Year of the Turning (91987) and the intervening years preceding the new millennium were foundational years for setting in motion the eventual return of the starships and humanity's evolution into the higher-dimensional realms.

Points where Earth grids connect to stellar grids are extremely thought-feeling sensitive. As lightworkers anchor light into the grids, pulses of electromagnetic energy move outward in every direction, just as water spreads evenly when poured onto a flat surface. as the connectors re-fuse, future time lines are simultaneous altered. In transformational year 1987, as the essence of love and peace began permeating the previously untended grids, a major overhaul of the disruptive elements that once plagued the stability of the grids began to progressively refine. Now awakening humans are very aware of their familial affiliation with the greater galactic community. They have achieved an evolutionary leap that allows them telepathic access to, at the very least, fifth-dimensional consciousness.


BY Ronna Herman <>

July, 2001

As you learn to move back and forth between your fifth-dimensional Pyramid of Light and the circle of Light you have built around you in the third/fourth dimension, you will create a sacred place within your heart and mind, and your world will begin to reflect your highest desires. Your sphere of influence will expand, and you will draw to you those who are in harmony with the refined frequencies/ideals you embody. Together, you will begin to be active participants in weaving the gossamer fabric of the new reality that is being birthed, and eventually, if it is your desire, you will be allowed to participate in the creation of the new Golden Galaxy.

As a part of your transformational process, you are once again becoming aware of the energies and uses of the crystals and gemstones found within the Earth. They, too, carry the Creator's Light, and they will assist you to clear and balance the energies within much more quickly if you attune to their individual energies and program them through your intent. They are eager to work with you, for as you awaken and come into harmony with the higher frequencies, so do they. The great sentential crystals that are strategically placed around the planet resonate with the heartbeat of your Mother Earth and are also attuned to the pulsations of the universe and the Creator. As we have told you before, they act as receivers/receptors and transmitters/broadcasters of energy and information both around the world and out into the galaxy. There are also Record Keeper crystals, both large and small, and they will assist you to activate the memory Light packets within your brain structure and can also help you unlock the mystery and wisdom of the Earth's ancient past. The mineral, vegetable, and animal kingdoms are also in a state of transformation into a renewed, higher awareness-none will be left behind-all are in a state of transformation and awakening.

It is a time of liberation, beloveds. The desire for freedom is growing stronger within the heart of every sentient Being on Earth. It is also a time of coming together. Even as you are being reunited with your soul/star families, so are we of the higher realms joining forces. For many ages, we have journeyed our separate paths in order to fulfill our particular part of the Divine Mission. But now, we are reuniting in order to create a synergistic overlay of consciousness that will be available to all who are prepared to be a part of the TEAM effort. We use this term, for you are comfortable with it, and it sets up a mind picture of many working in harmony together with purpose and a common goal. As we have told you, we have built great and magnificent pyramids of Light in the fifth dimension where they will be easily accessible to those of you who have done your "homework" and attuned your physical vessels to the realms of Light. Within these pyramids we have placed all the components of Creator Light you will need to create anything you desire for the highest good of all. We are waiting there to join you and to be cocreators with you. So, bring your visions and your pure intent and claim the miracles that await you.


A full comprehensive Report and photo analysis. Sequence of events between 6 - 21st April 1998. For Story and to view pictures

Grafton N.S.W. Monday 6th April 1998. 7.05 pm. While skywatching, I observed a group of eight ‘star' like objects moving in formation, each a little fainter and the formation as wide as the Orion Belt Stars in comparison. What amazed me, was the manner in which they were all rapidly changing position within the formation. All eight objects would drop back, move across, than move forward within the formation, weaving around each other. They did this at rapid speed, each staying in position only momentarily, than quickly taking up another position within the formation. Incredible maneuvring at that speed without crashing into one another. Almost as if they were playing some type of game with each other. I would call it the "Dancing of the Spheres". The formation was horizontal in flight and moving very fast. Their altitude is difficult to estimate, but would be about 4 - 5,000 feet. They were first noticed just west of my location, about eight Klm away, and heading due South at high speed. Observed for about 12 seconds as individual objects. And about 5 seconds as a whitish haze as they flew off into the distance.

When plotted on a topographical map of the area, their flight path was directly over an "A" and "B" grid Point as calculated with Bruce Cathies' "Gridworks computer Program". ( Author of the Harmonics series of UFO grid system books )

Intricate Weaving and No Damage in Genuine Formations

On close inspection hoaxed crop circles do not compare to "genuine" formations. Hoaxed formations have signs of damage to the plants, and do not have the extensive intricate weaving found in many formations. See:

Intricate Floor Lay of Crop Formations by Urn Greene




Dowsing the Bythorn Mandala

Excerpts from Sussex Circular - Feb. 1994

by Michael Newark

I am a dowser with Ray Cox in the West Midlands and I work with Tony Caldicott for the East Midlands, along with a few other groups across the country. Barbara Davies told our local CCCS group about the Bythorn formation and I went over the next day to have a look on 17th October.

The formation was south of the A14 Huntingdon road and I saw it from some distance away; several people were walking inside it, all their heads were down, except a few souls who were sitting in the formation centre. It was a huge circle, at least 180 ft. across, with a five pointed star, and around the edge were ten petals. At each and every point where the star met the concentric paths, the crop lay was twisted and pushed. as a dowser, I could read this crop lay as places where the earth energy forces met and competed to lay the crop in its own flow direction. In almost every case the ley line would dictate the crop lay to its direction and flow, while the concentric earth energy lines would attempt to bend the crop to its direction and flow. A very unique pattern of the crop circle is dictated by the earth energies which exist at this very special place. Nine ley lines pass in and out, while four of water pass through, along with two pure Yin (female) earth energy lines.

We didn't have a dry day for weeks, but I went back hoping the crop circle had not been harvested. Luck was with me, it was still standing. This time I had the chance to look deeper into this unique formation and record its make-up., and very special it all turned out to be. On my first visit, the star shape seemed to be the pulling force, but on this visit the middle circle held the entire formation together, and from the circle spun out other earth forces. From the middle, a spider's web of earth energy moved out across the corp circle and countryside. With both radial and spiral/concentric lines of energy; this force is formed at the accent of the circle'e creation (and can be dowsed from hundreds of miles away). This influences the crop lay clockwise or anti-clockwise. Here the lay was clockwise and very neat. to the first thin lines of standing concentric crop, 14 lines of energy cross the middle circle with 37 radial lines to the same point. The web then covered the formation, and continued out across the country, while the concentric energy lines remained a constant 35-39 inches apart. the radial energy lines defy physics after the third concentric ring, but that's another story.

Further out from the influences of the middle circle, the five pointed star cross the formation and was formed by ley lines going in different directions. this in turn influenced the crop lay to the direction of the earth energy ley force whichever way it went, so at every path junction, you had conflicting energies pushing the crop lay first one way and then the other. It seemed the concentric force had pushed down the crop lay one way and then the other. It seemed the concentric force had pushed down the crop lay first, then the ley force had overlaid this in the direction it as going. So the star shape was more prominent than the concentric crop lay, with a change in the standing crop formation, the ten almost triangular groups of standing crop were not too easy to read regarding earth energy formation. But dowsing made some sense of it all, because in every case except twice, the major ley lines came in or left between these same petals; even the water and Yin lines followed the same paths. Only at the north end of the formation did ley lines cross the petals, the only exceptions in the entire crop circle.






Spider web formation

Avebury - 94

Some researchers think this formation is hoaxed because it took two nights to create.


The ten vortices of the third chakra may have been indicated in the Spider Web formation that appeared next to Avebury in 1994. This can be a way that a clairvoyant sees the third chakra from the front, with the sub-elements forming the shape. In the middle is the Hara-Line centering the whole crop circle.



Toward the end of 1999, a beautiful basket formation appeared with magnificent weaving within the entire pattern. It was cut down by the farmer within a very few hours of its birth. Only one photo was taken... by a German photographer.

The most astonishing formation in August so far is known as the "Basket" because of its intricate weaving. Discovered on August 4th after several of us saw mysterious blue lights from Woodborough Hill and Alton Barnes, the basket's inner circles form seven arms that are reminiscent of the very large formation discovered the morning of July 31st at Roundway Hill. Roundway is immediately on the other side of the hill from the new basket pattern and the two locations are in a straight line with Silbury Hill and Avebury. Roundway Hill had seven "petals" alternately separated by seven circles. John Williams and Alan March of Harlow, Essex who found Roundway were first afraid to enter because there was so much loud, snapping electrostatic energy coming from the wheat plants.

The"Basket" shows a unique woven lay around a seven-armed design that none of us have ever seen before. Tragically, the farmer was enraged that "vandals knocked down my wheat," and drove his harvester straight into the beautiful formation and completely erased it before those of us on the ground got there. However, German photographer Ulrich Kox was photographing from an airplane at the time and managed to get the only 35mm and video frames that exist. The photograph displayed in this story is courtesy Peter Sorensen's videotape. Ulrich was running Peter's video camera at the time as a favor while Ulrich photographed with his 35mm camera.


Roundway Hill, Nr Devizes, Wiltshire

SU 015 636

Formed 30th July 1999

Taking the road up towards Oliver's Castle it forks left and right, this formation is on the right fork, part of the road we had never ventured along until now. What a beautiful formation lay in the field directly at the base of Roundway Hill. Containing two lots of seven fold geometry, this formation was predicted by Freddie Silva and a colleague the night before when they reportedly saw huge amounts of energy in this field. There is another kind of energy in this field however it is not paranormal, it comes in the form of high voltage overhead power lines that skirt along one edge of the formation. Close enough are these power lines that we had serious reservations about using the pole! Fried crappie is not something that other visitors wish to see in a formation let alone the fire risk!!!!!

The flow in this formation is wonderful, probably one of the nicest so far this year! Weaving around in big arcs the crop flows in and out of the arms and spirals round into the swirls of the circles themselves. The centre of the circle shows a form we have not seen before, with the centre splay being encompassed by a ridge of crop laid around it, almost like the banks at Avebury or Barbury Castle. The formation shows no obvious construction lines except for a giant ring that touches the inner parts of each arm, the edges of the circles and arms seem devoid of any underlying pathways. The crop is lain very flat but was very springy due to the density of its planting. A wonderful formation spoilt only by the buzzing of the massive electric current suspended above our heads!