Humanity On The Pollen Path

Part Five


Crop Circles and The New Jerusalem Plan

Note:  In order to follow the meaning of this article, I recommend that the first four related articles in this series be read first, starting with:

Humanity On The Pollen Path - Part One
Symbols Of The Chakras And The Midpoint

 On October 30, 1990, I awoke from dreaming, and "knew" the meaning of the interlocking rings in a circle. The flower-like shape was a symbol of the Soul, or Oversoul. Each "petal," with a face inside, represents a reincarnational or "focus" personality sent out into space-time. The arrangement beautifully symbolizes the fully integrated Oversoul, the condition that is reached after the reincarnational cycle is finished. The personalities merge into one being, similar to the concept of Nirvana, except their individual personalities are fully retained.

The Oversoul "flowers" are themselves part of another, larger "flower," or circle of hoops, forming a greater "flower" of consciousness. The relationship of "flowers" continues up to the One Great Flower, of the All, or Creative Source.

A paradox exists that is nearly impossible for us to understand in our space-time reality, as it is somewhat of an illusion. In the greater reality, there is no time, so the reincarnational personalities all exist in the eternal Now.

Some weeks later, another significant coincidence happened. I rented a film called, The Warriors." It is about gangs in the future that dress in baseball uniforms, and have a meeting where each gang is represented by nine members. At the start of the film, a circle of lights with spokes is shown. It is a nighttime scene of the farris wheel at Coney Island. I paused the film, and saw that the farris wheel of lights appeared similar to a mandala with eight quadrants. I made a sketch of it in my notebook.

Before watching the rest of the film, I picked up a book that I had recently received, Circular Evidence, by Pat Delgado and Colin Andrews. I started reading at page 33. I soon came to this part of page 35:  

"Pat and Jack Collins, both pensioners, reported a UFO sighting to Hampshire police in the evening of 6 July 1985. They were driving over Stockbridge Down on the A272 when they saw a huge circular object standing on end, like a funfair wheel. It was stationary and hovering close to the ground over the downs. 'We were only about two hundred yards from it,' Mrs Collins told me, 'and it had lots and lots of yellowy white lights all around the edge and more lights along spokes leading into the centre of it.' They were terrified. Two police cars searched the downs, but nothing was found. The following morning the five mysterious circles were found near Alresford, see page 30, and the five at Goodworth Clatford were found later. The two circle sites and the UFO sighting form a straight line. An identical wheel-type UFO was seen by four people between circle fields near Warminster in August 1982."  

The coincidence or synchronicity seemed significant. I had just sketched a farris wheel lit up at night, and then immediately read about the UFO "funfair wheel." I remembered seeing the Collins's report in a segment of the Unsolved Mysteries television show. The two crop formations were "quintuplet sets." It was not clear to me from the television show that the object looked like a farris wheel."

I wondered if the incident suggested that the two quintuplet sets of crop circles were meant to be overlapped into another, mandala type diagram with eight circles around a central circle. It would then be somewhat similar to the eight interlocking rings in a circle with its "chit" association.

I suddenly thought of "The Wheel of Fortune." Joseph Campbell had mentioned it in the television series, The Power of Myth. I had recently received the book, based on the series of programs, and searched for the reference to "The Wheel of Fortune." I read the text about the concept of having ups and downs at the edge of the wheel, whereas in the center one finds a calmness. I soon came to page 120, where Joseph Campbell tells how he followed his bliss:  

"Now, I came to this idea of bliss because in Sanskrit, which is the great spiritual language of the world, there are three terms that represent the brink, the jumping-off place to the ocean of transcendence: Sat, Chit, Ananda. The word 'Sat' means being. 'Chit' means consciousness. 'Ananda' means bliss or rapture. I thought, 'I don't know whether my consciousness is proper consciousness or not; I don't know whether what I know of my being is proper being or not; but I do know where my rapture is. So let me hang on to rapture, and that will bring me both my consciousness and my being.' I think it worked."

This struck me as incredibly coincidental. The word, "Chit," in Sanskrit, means "consciousness," whereas in English, it means "voucher." My chits, the brass vouchers from work, had been involved in numerous meaningful coincidences. The flower-like shape of each chit, helped lead me to the speculation that it represented the Soul, or Oversoul, and consciousness generally! Now, through the synchronicity of the farris wheel and funfair wheel, I find that the word itself means consciousness! I was more convinced than ever that the coincidences were not accidental, but rather, they are planned somehow, and can function as confirmations of concepts expressed in symbols.

At this point, I will regress back and explain how this "chit" thing got started. Shortly after I brought home the book, Myths, from the library, I noticed a photograph of a Viking carving found on the Isle of Man. It depicted the god, Odin, being devoured by the Fenris Wolf on the Day of Ragnorook, the Doomsday of the Gods at the end of time. There was a circular object in the lower left corner, with the number 128 on it. It looked familiar, but I couldn't remember just why I would feel that way. I took the book to work with me the next morning, August 30, 1990. Before starting work, I looked at the Viking picture again. After a minute or so, I shouted, "My chits!" I remembered that I had used the chits several years before, and the ones that were given to me had the number 128 on them.

I was originally given the chits in 1985, when I went to work at the ammunition factory. I recalled a little coincidence when I first received them. I was given the employee number 5128 and joined the Union, number 1528. The attendant in the tool room gave me the voucher chits with the number 128 on them. I asked if they corresponded to the employee number. The attendant said, "No, it is just a coincidence."

The tool room changed the system around 1987. The employees were asked to return the chits, because a sign out system was to be used instead. After I saw the Viking carving with the number 128 on it, I asked the tool room attendant if I could have the chits again. He returned them to me a week or two later. There were nine of them on a ring. I made a photocopy of the Viking carving along with one of the chits -

The day I noticed the 128 on the Viking carving and remembered my chits, I kept seeing the number 128 all day. It was part of the number code on all the machinery where I was working at the time. I saw a sign above an archway, "Clearance 12' 8". I opened my toolbox and saw 128 on a piece of paper. It was part of a computer program I was writing in Basic, to convert binary to hexadecimal numbers. Later, I added the date, August 30, 1990 as 8 + 30 + 90 = 128.

As I reported in Part Two, when I saw the Tantric Yantra in Myths, I felt the inspiration to use my nine chits in a diamond arrangement to draw the design. The drawing eventually led to the much more incredible coincidences concerning the Sri Yantra ground marking in Oregon.  

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The Crop Circle Season of 1991

I began keeping track of the crop circles. I subscribed to two crop circle journals in 1991, The Cerealogist  and The Circular. I was also receiving the CPR newsletter from Pat Delgado and Colin Andrews. A number of crop formations and events in the summer of 1991 seemed related to the dreams and coincidences I had experienced in the preceding months. Three formations appeared that were very similar to the six-petal flower-like pattern that I drew in October 1990, based on my dreams -

One of the formations appeared on August 6, 1991 at Cheesefoot Head, near Winchester, Hampshire:  

http://www.greatdreams.com/6ped91.gif

The second formation had three extra single-petal edges, perhaps suggesting a twelve-petal design. There was an eye-like shape with a projection from it, next to the flower formation. It was suggested that the eye design was similar to the Egyptian Eye Of Horus.  It appeared on August 15, 1991 at Cheesefoot Head,Hampshire:

http://www.greatdreams.com/6ptl91b.gif

The famous Barbury Castle triangular crop formation also appeared in 1991:  

Barbury Castle Pictogram - Photograph

The glyph at the North point of the triangle seems somewhat similar to my drawing above. I noted in my record that it was like a closed aperture, like on a camera, based on my September dream:  

If I had drawn single petal edges in the six-petal design, to represent the closed aperture, it would have been exactly like the North glyph in the Barbury Castle formation.

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Note added 2-3-2001:  A crop formation appeared near the end of July, 2000, that is similar to the glyph above.  See:  

http://home.clara.net/lucypringle/photos/2000/uk2000da.jpg

Note added 9-23-2001:  I found later that another aperture type formation appeared in June 2000:  

http://www.cropcircles.co.uk/maps/2000/2000ave16.shtml (get from archive.org)

Others appeared in 2001:  

http://www.cropcircleresearch.com/cgi-bin/CCdb2?d=uk2001cz

http://www.cropcircleresearch.com/cgi-bin/CCdb2?d=uk2001am

The six fold Julia Set Mega-Glyph was also similar:  

http://www.cropcircleresearch.com/cgi-bin/CCdb2?d=uk2001df

I also found a similar glyph in The Sacred Symbols of Mu:

http://www.greatdreams.com/crop/mexsun.gif (Tablet 988)

Note that Tablet 988 above matches well with the northern glyph of the 1991 Barbury Castle triangle crop circle.

James Churchward speaks of the swastika type symbol formed by four hornlike shapes (Tablet 1231) in terms of the Origin of Forces, which, he states, has always been a mooted question among scientists. A writer of the earth's First Great Civilization tells us about their origin, and the manner and direction of their workings. James Churchward writes,"Especially it shows us the curvatures apparent throughout the Universe, which are causing so much controversy among scientists today." (the book was published in 1960)

"How long ago this was written," James Churchward states, "I cannot say: but certainly more than 12,000 years ago."

Speaking of the sun symbol glyph, Tablet 988, James Churchward wrote (page 91), "I am giving this tablet as a confirmation of the previous one (the swastika, Tablet 1231) regarding the direction in which the Forces are working throughout the Universe. This particular glyph shows the lines running from outside to the center - therefore it is the Centripedal Force.

"This glyph, without any script, appears on many of the Yucatan and Central American inscriptions.

"Pedro Beltram, Le Plongeon and others have written that this glyph (Tablet 988) refers to the movement of the Sun. Here it distinctly states that it represents the workings of a primary Force."

It is important to note that the wheat stalks forming the six lines inside the northern sun symbol of the 1991 Barbury Castle crop circle formation, were indeed laying from the outside toward the center, as suggested by the glyph of Tablet 988 above.

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The Cerealogist #4 had a short article on page 26, that I felt was quite interesting, titled "The Wildflower Phenomenon" -

"A REMARKABLE PHENOMENON, almost as mysterious as the crop circle outbreak and perhaps connected with it, has been observed this year in the British isles. All over the country people are talking about the amazing and unparalleled profusion of wild flowers. In Cornwall during the month of May every square inch of uncultivated land, even the tops of stone hedges, was covered with bluebells interspersed with pink campion, white cow parsley and the vivid yellow of flowering gorse. Cowslips, previously regarded as a dwindling species in need of protection, carpeted meadows and grasslands and, as the summer progressed, headlands and roadsides became glorious with colour and scarlet poppies flourished across the cornfields - in flagrant defiance of the farmers and their chemical weed-killers. Local people everywhere say they have never seen anything like it.  

Botanists have been having a field day. Old native plants and wild orchids, unrecorded for many years and thought to have become extinct in this country, have reappeared in wastelands and motorway verges. Gardens have been invaded by rare, unfamiliar plants, and the excitement of gardeners and naturalists has spilt over into the popular press. So much talked about is the phenomenon that the Mail on Sunday (7 July) felt called upon to attempt an explanation. It was, they said, due to the activities of certain unidentified 'seed bombers'. These good people, according to the Mail, race around on motorcycles, lobbing earthenware vessels filled with seeds over hedges and onto the sides of roads. The vessels break and the wildflower seeds are broadcast.

The main interest in this engaging myth is that the wildflower phenomenon of 1991 was so fantastic that it required a fantastic explanation. As Forteans recognize, fantastic explanations - and the more the merrier - are no less significant and worthy of record than the phenomenon to which they are applied.

The absurd story concocted by the Mail on Sunday makes it plain (Well, if that's the best they can come up with!) that this year's wildflower explosion is indeed a mystery. We have seen other, more prosaic 'explanations', one in terms of recent exceptionally dry summers and the other referring to this year's exceptionally wet one; but these seem to cancel each other out. The mystery remains.

One can, of course, link up disparate phenomena to create any myths one pleases, and since we are here dealing with the crop circles we are naturally inclined to see a connection between the flourishing of wildflowers and the profusion of pictograms, insectograms and geometric devices in this year's cornfields. It may be that the same cause lies behind both effects. For two or three years now, dowsers who detect earth currents and the energies of ancient sites have been making extraordinary claims, that these energies are rapidly gaining strength, as if the earth's veins were receiving a sudden, intensified charge. This, they say, is reflected in the sudden intensification of crop circle activities. It could well be that the wildflower phenomenon is another effect of what the dowsers are observing. Thus we are led on to see Mother Nature summoning up her powers and forces for a last stand against her human violators; or pleading in her full beauty for mercy; or influencing our hearts and minds towards a new, more spiritually conscious world-view and way of life; or as a prelude to shaking herself free of us altogether."  

My own experiences over the months prior to the 1991 crop circle season seemed to support the idea that the flower profusion in England was indeed connected with the message of the crop circles. By the time I read the reports, I had found other references to "flower" symbolism in various myths and religions.

I was amazed when I read that the Mandelbrot Set appeared as a crop formation:

The Mandelbrot Set Crop Circle Formation

Crop circle researchers were also amazed. The Mandelbrot Set is not an ancient symbol, it is a shape discovered in modern times by Benoit Mandelbrot, which is generated by a computer based on a mathematical program. It is the most complex object in mathematics . . . infinite in complexity. With a computer, one can "zoom in," to see finer detail, similar to the way maps can be viewed. The entire shape is repeated on smaller scales within the pattern. The Mandelbrot Set is classed with the "Julia Sets" in the new science of Chaos.

This seemed to be another "coincidence" with my own experiences. I had written some notes about the Mandelbrot Set on July 31, 1990. In previous years, I had studied a little about the science of chaos. I created some artwork using a Mandelbrot program. On that July day in 1990, I happened to find two printouts of one of my computer artworks that included a portion of the Mandelbrot Set. I found the picture suddenly to be very symbolic -

Both pictures are basically the same, except for the "mask" and colors. They were composites of three pictures . . . the Statue of Liberty, a devilish alien face, and a spiral from a portion of the Mandelbrot Set. The original composites were combined randomly, by using an Amiga program called "The Director."  The program chose which three pictures to combine and which pallet colors would dominate in the mask.

I saw the picture on the left as symbolically representing devilish beliefs blocking the light of the Great Mother Goddess. On the Amiga, the colors could be "cycled," giving the appearance of animation. When the colors of that picture were cycled, the spiral portion moved downward into the tighter spiral at the bottom, as if the devilish beliefs took one into hell. The mathematics of the Mandelbrot Set program seemed to suggest the reason . . . the output of each equation is feed back into the formula over and over.  

The picture on the right revealed that the spiral was also like a tentacle which grips. It is gripping the book held by the Goddess . . . the Constitution of the United States . . . representing freedom and the equality of people.

By "devilish beliefs," I mean beliefs in the devil, demons, or the like. In my view, we, mankind, are co-creators of the reality, and such beliefs help manifest negative events, even to the point where the devil or demonic entities manifest, as "real." It is our beliefs in such things that keep them alive, and lead to the descending spiral of events. This is the "feedback" of the belief system that is put back into the "equation," when it is recalculated.

I made some notes about this, and continued over a period of time, to write notes about symbolism within the Mandelbrot Set and other chaos patterns.

In one note, I speculated that the shape was somewhat similar to the scarab beetle, which was an important symbol to the Egyptians. In The Sacred Symbols of Mu, James Churchward wrote that the scarab was sacred to the Egyptians, because it rolled a ball of mud around, and planted its seed therein, as the Creator rolls the earth around, with the cosmic seed of man upon it. In the Mandelbrot Set analogy, the earth's position is in the projected "tip." Out along the projection is a bulge. It is apparent in this picture. When enlarged, the area has a little Mandelbrot Set inside. I saw this symbolically as the seed of man in the image of the Creator.

Another speculation was that the shape is somewhat similar to various string instruments, such as a guitar or fiddle. Symbolically, the strumming power and the vibrations come from the Mother Goddess body, while the tuning is done at the tip. It is another way of showing our function as co-creators of the reality.

The Mandelbrot Set appeared as a crop formation, on August 11, 1991. On October 18, 1991, I took another look at the photographs of the crop formation. It was centered on a tramline, which are the marks left by the farmer's tractor. The position of the tramline seemed to correspond to the projection. Out along the tramline, there was a single circle, eight feet in diameter. Unfortunately, that portion of the crop formation is not shown in the photographs on the links above. I remembered then, that I had once made a print of that area of the Mandelbrot Set. I searched and found it. I was quite surprised to see that it was much like the eight-pointed star that I drew, based on my splice box dream and the Navaho sand painting -

To me, the star represents mankind in unity in the future, so the coincidence seemed very significant. The color picture of the star above, was generated by the mathematical program on an Amiga 500 computer around 1988, and reworked in an art program. The "rework" was simply choosing the colors I wanted . . . the image itself was not changed.

This site has information about the Mandelbrot Set -

Julia and Mandelbrot Sets

A link from the page goes to another page where one can experiment with the Mandelbrot Set in a way similar to the program I worked with in 1988 -

Julia and Mandelbrot Set Generation

Another crop formation appeared in the same general area as the Mandelbrot Set formation. It was called a "Sun Wheel." It had four "T" - like shapes projecting from a central circle, forming a cross-like shape. A little "coincidence" just happened as I was writing this part of of my article. I was searching for other crop patterns on the Crop Circle Connector site, when I found the Sun Wheel formation. I've been searching that site and others since 1996, and had never found that formation on-line. The link is here -  

Sun Wheel Formation

The eight-pointed star that I drew, which connected by "coincidence" to the star in the projection of the Mandelbrot Set, is also a "sun," as all stars are suns. I had read that in some traditions, the "Sun" and the "Son," are the same in meaning.

A relative gave me The Sacred Symbols of Mu in early 1991. There are several depictions of ancient stars that are quite like the other eight-pointed stars on his page -

James Churchward found the ancient symbols in various parts of the world. The glyph on the left, above, is on page 122, labeled "A". The text description is on the next page -

"Fig. A. Is an eight-ray'd Sun. This was Mu's symbol on her Royal Escutcheon. The name in the Motherland of the Sun as the celestial orb was - Kin. In Egypt the name was - Horus. In Greece - Apollo and in Babylonia - Belmarduk, et cetera."  

The other two glyphs are on page 210. The center one is described as - "Ornament on a ceremonial blanket, Koteney Indian, British Columbia." The glyph on the right is described as - "Fan with Mu's symbol, eight pointed sun, Gilbert islands."

In other parts of the book, such as in chapter 3, Churchward explains that the sun was "the highest, most Sacred Symbol of all, the Sun as Ra symbolizing the Deity." The Sun was the "Monotheistic" Symbol of the Deity. As the monotheistic or collective symbol it was called RA. The most ancient people "regarded the Sun as a symbol only." The Sun was also used to represent the male attribute of the Deity. The Moon represented the female attribute of the Deity. The dual capacity of the Deity was called, Lahun, and was symbolised by a ring bisected by a line -  

A number of crop circle formations included a symbol quite similar to the bisected circle above. They began in 1990 and continued the following year, especially with the "insectograms" or "laddergrams." Five examples are -

Barn Field, Cheesefoot Head - Aug. 11, 1990

Maizeley Farm Fields 1990

Insectogram w/elaborate antennae - 1991 - Kitelands, Near Mitcheldever

Insectogram - 1991 - Stonehenge

Insectogram 91, Litchfield, Near Newbury, Hampshire

There was a very interesting article in The Cerealogist #3, the Spring 1991 issue, on page 15. It was written by Hazel Eddleston. There were seven diagrams with the article. One of the diagrams was a drawing of the Winterbourne Stoke formation. Another drawing showed marks representing energy points found by dowsing within the crop formation. In a third drawing, the same energy points were superimposed on another diagram called, "The New Jerusalem Plan." The energy points from the crop formation fell exactly within the various parts of "The New Jerusalem Plan" diagram. This is the text of the article -

Geometric and symbolic references in crop markings

On Easter Sunday 1990 it occurred to me that there might be connections between crop circles, sacred geometry and ancient religious symbols. Tracing various forms of the New Jerusalem diagram into plans of the 1989 circle at Winterbourne Stoke, I was amazed to see how well they fitted together.

The New Jerusalem was seen in a vision by St. John (Revelation 21) near the beginning of the Age of Pisces about 2,000 years ago. It represents the divine order of the heavens made apparent on earth. The diagram was first published in John Michell's "City of Revelation" and is further examined in books such as "The New View over Atlantis" and "The Dimensions of Paradise." It is the underlying plan of Stonehenge, built almost 4,000 years ago near the beginning of the Age of Aries, and versions of it appear in eastern mandalas, Gothic cathedral rose windows and other symbols of the universe worldwide.

Dowsing has revealed a definite connection between the physical dimensions and the patterns of energy at certain crop circles, as well as of Stonehenge, Avebury and other ancient sites. I found that the three similar circles at Corhampton in 1988 fitted the plan of Stonehenge exactly.

We are now at the beginning of the Age of Aquarius so perhaps we should not be surprised at the strange occurrences of today.

Symbols which have appeared in corn fields include the equilateral (at Cullompton) and the isosceles triangle. The triangle is the first geometric form to contain space and as such expresses the womb and the feminine among its meanings. The circle represents harmony, the eternal, spirit, the heavenly. Pictograms have become increasingly complex and stunning, but no pentagons, hexagons etc. have yet occurred. One wonders whether the labyrinth and other archetypal symbols might yet appear.

Archetypal symbols are primordial and trans-cultural. I believe that the circles and pictograms touch us deeply, even if we are not consciously aware of it.

Arabesques and an eight-ringed spiral were seen near Avebury last year. In Sufism both express spiritual states, time and music in their variable, rhythmical forms. The similar Catherine wheel swirls, clockwise or anti-clockwise, are central to many crop circles. The importance of spiral forms is returning into our consciousness with knowledge of the vital forces in living water, its movements, waves, falls and swirls, which cleanse and revitalize it, with similar processes acting on our bodies and spirits. The spiral is also an ancient Celtic symbol of Divinity. A Sufi garden or courtyard, designed as a mandala, contains a centrifugal movement, outward into nature, or a centripetal movement inwards to Spirit, represented by water.

Concentric rings depict the water, the spiritual centre of the garden. Many crop circles involve concentric rings, as does the complete New Jerusalem plan. When the dumb-bell shapes began to appear, I was reminded of an incident about 25 years ago at school, when our biology class was interrupted by the appearance of a UFO floating slowly over a nearby hill towards us. We all crowded to the third-floor window and watched as this black dumb-bell shape, about two feet long, hovered outside the glass about a yard away from us. Then it gently floated away at about 45 degrees to the direction from which it had come, skimming low over trees and roof tops.

Not all crop configurations appear to comprise sacred or symbolic figures, but the fact that the ancient New Jerusalem plan, mandalas and other archetypal forms are present in at least some circles and pictograms suggest that they have a spiritual content; also that there is an involvement with a higher intelligence and, more importantly, a higher spirituality. Perhaps their appearance is timely at this stage of the world's crises. People are experiencing a changing perception of earth and all its life forms. The crop formations may contain or presage essential knowledge which will be revealed when the time is right.

This is "The New Jerusalem Plan," according to John Michell -

I was quite amazed when I read the story and saw the diagram of "The New Jerusalem Plan." In my dream on October 18, 1990, there were twelve circles in a ring. One of the stars that I drew, based on my splice box dream and the Navaho sand painting, had twelve points, and formed four overlapping triangles, much like the depiction above. The "coincidence" of seeing the two depictions side-by-side in the Myth book of the Buddhist Mandala and the Navaho sand painting seemed to connect the the two types of symbols together - one with circles in a ring, and the other, star shapes. My own dreams and coincidences seemed to focus on the same type of symbols.

With a lump in my throat, I found a Bible and read Revelation 21. I had never been a Christian, but I now felt that my experiences were leading me to the Bible. My dreams and "coincidental" experiences continued, and began to include various passages in the Bible.

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update New Jerusalem

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Continued in -

Humanity On The Pollen Path - Part Six
The Four Living Creatures Or Merkabah

______________________________

If you have any questions about this site, contact Joe Mason.

The URL of this page is:  http://www.greatdreams.com/plpath5.htm

This page was originally created on April 24, 1999.

This page was last updated on June 13, 2004

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Related Articles by Joseph E. Mason

Humanity On The Pollen Path Series

Humanity On The Pollen Path - Part One
Symbols Of The Chakras And The Midpoint

Humanity On The Pollen Path - Part Two
Triangles Within Triangles

Humanity On The Pollen Path - Part Three
The Great Sri Yantra Coincidence

Humanity On The Pollen Path - Part Four
Dreams of Stars And Circles

Humanity On The Pollen Path - Part Six
The Four Living Creatures Or Merkabah

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Rev. 11:11 - The Advent of Dionysus / Dear David - 479

The English Cabala - 111
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Bible

Bible Study Tools

King James Version of the Bible

The WWW Bible Gateway

Blue Letter Bible

Context Bible Verse Search - EDC

The Talking Bible

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