I will be the first to admit that I don't pay much attention to the Olympic Games. When I was a kid, I liked the figure skating but even that doesn't hold my attention anymore. No sports fan I, but more than that, I've completely lost interest in group-think. I find the collective, water-cooler nature of the experience off-putting. At the same time I realize that that's the major draw for a lot of people, hence the group-think. This year, though, I think perhaps I should pay more attention because it seems like something unprecedented is being directed at the collective mind. Or so I've learned from William Henry.
Henry's interview with Chad Stuemke is fascinating. The symbolism associated with the upcoming games in Great Britain is positively heavy-handed. So much so that Iran has threatened to pull out because of charges of a Zionist conspiracy. They've also apparently blocked the website. It would seem that by pulling the logo apart and readjusting the angles a bit, we come up with something that looks sort of like the word Zion. So conspiracy theories abound.
William Henry, however, has a somewhat different take, which speaks to one of the reasons I love his work. Henry's new book Secret of Sion is an examination of the mythical significance of Sion/Zion. He posits that it points to plane of existence associated with ascension, the seraphim, and the legendary rainbow body. And both he and Stuemke see the imagery associated with the 2012 Olympics as redolent with those themes. And, now that they say it, it's kind of hard to miss. This page on Stuemke's website gives a good rundown.
The promo video which introduces Wenlock and Mandeville -- the "one eyed rainbow riding aliens" -- alludes to alchemical transmutation. They start as molten, golden steel. They harden into lumps of dull, grey, base metal. After being sculpted into their weird, little alien forms, they are transformed by a rainbow from heaven into iridescent, golden beings. They ascend on rainbows promising to return to London in 2012. A cake celebrating the builder's retirement is a circumpunct, albeit, missing a slice. I believe I've mentioned my obsession with that form one or ten times. The video is just full of suns and spheres and eyes.
Henry and Stuemke discuss at length two different ways to view the apparently conscious use of all this symbolism: Illuminati conspiracy or spiritually guided consciousness event. As I've said before, I don't do the paranoia. When I look at all these symbols that so much of the woo-woo world says are the secret government flaunting their power and engaging in public rituals to keep us docile, I see the opposite. I see symbols of illumination designed to awaken humanity. How much of that is conscious and how much of it is artists, architects, and world leaders plucking archetypes from the subconscious I can't say. But when I look at a collection of symbols as blatant as these, it's hard to call it anything but deliberate.
Personally, I think what has become of the word Zion is a tragedy. Like so much of this symbolism, its meaning has been inverted. This is not a commentary on the Palestinian-Israeli crisis. I don't do those. It's more a reaction to the reaction and the way fear and paranoia distort and stupefy. As I've said before, if there's a conspiracy associated with these symbols, it's a psych op to make us fear rather than embrace them. It is positively Orwellian the way Zion has come to represent war instead of peace. These symbols are powerful. We need to reclaim them and give them their rightful place in our consciousness.
I'm with Henry's wife Claire, whom he interviews here to speak in her capacity as a native Brit:
When are we going to have some leaders that say, "Let's make this world a better place." We know what we know. We've got the ancient knowledge. It's about time that it was put on the top table and all this symbolism and hidden knowledge and art that's been showing us the way for years and years and years; for eons. It's about time we all wake up from the dream and make this world a better place.