The Taybor Revisited

Crossposted from Reflections Journal.

A couple of years ago, I was brought up short by the realization that Space 1999 might just be more than a shallow, if entertaining, 1970s science fiction vehicle. An episode from the second season called "The Taybor" forced me to give the series a rethink. Specifically, elements of the subtext and imagery, in that episode, point directly to the Tibetan concept of the rainbow body.

I watched "The Taybor" again, recently, and realized that I still hadn't given the episode, or possibly the entire series, enough credit. I'd glossed over a number of details, allusions so direct it's hard to imagine they are not conscious and deliberate.

This analysis of the series addresses the possibility that it's not meant to be taken at all literally – that it only really makes sense if you assume some sort of divine intervention and higher purpose to Moon Base Alpha's unlikely journey across the space.

The idea that the Moon could be thrown from its orbit to drift at speeds allowing it to cross interstellar space in time periods of weeks or months is difficult and often impossible for many viewers to accept. The mass of the Moon is so large and its orbit around Earth so apparently firm and the force of a series of atomic explosions so more likely to obliterate the Moon than to blast it out of orbit, that the imaginations of many of even the most ardent science fiction aficionados were challenged beyond their limit to stretch, despite the fact that the planet Pluto is credibly posited by scientists to have been a satellite of planet Neptune that broke away from Neptune and settled into an irregular orbit around the Sun. And then there is the difficulty that some people have of assimilating the prospect of such an event being caused by human error. Most people prefer to think of future, technological man as incapable of contributing to a disaster of such magnitude.

Today's Forecast: Dizzy

Crossposted from Reflections Journal.

... with increasing chance of lower back pain, headache, and occasional piercing tones.

I rarely do these energy forecast type things, but the last few days have been so strange, I thought it merited mentioning. I've been having bouts of vertigo and some other symptoms, which tends to happen before things like earthquakes and other disasters, but sometimes connected to nothing I can pinpoint. It's been sort of constant, so that I only realize how dizzy I am when I'm walking across the room and realize I can only walk on the diagonal. It's a very strange feeling. Over the past few days, though, I've spoken to numerous people who are having these symptoms, particularly the dizziness and sense of dissociation.

I have no idea what this may be connected to. In terms of earthquakes and the like, the predictive capability is nil. I only see the connection when something happens and the symptoms suddenly abate. So, as a tool, it's pretty worthless. I am fairly certain it's in some way connected to magnetic fluctuations on the planet and the natural disasters are also symptoms, not really the cause.

I'm not going to pretend I really know what's going on. I just wanted to put it out there, because I know, for a fact, that I'm not the only one who's experiencing this right now.

Coraline and the Blue Pearl

Crossposted from Reflections Journal.

My dear friend Frog recently created this satire of Coraline called Cameline. His point is that there are some very odd parallels between Cameron Clark's experiences in House Teal and Coraline's in the Pink Palace apartments. It got me thinking about some of the deeper elements of Coraline, things I'd overlooked when I saw it in the theater. So, I've given the film a fresh look and moved Neil Gaiman's award-winning book up on my reading list, which is to say, I've now read it.

It goes pretty well without saying that Gaiman is a genius. Coraline, the novella, is a masterpiece. Like Alice in Wonderland, to which it is often compared, there's a nod to the shamanic ability of children to traverse worlds through the odd doorway. The story has its own version of the Cheshire cat and even a tea party of sorts.

It is also a brilliant depiction of narcissism. The Other Mother lives in her own world, populated by puppets she controls. Those who defy or bore her – who no longer reflect her desires – she throws behind a mirror. She eats up the lives and souls of anyone who crosses her path. Anyone who has ever been taken in by a narcissist for any length of time knows the kind of creeping surreality, the warping of perception, that comes from being caught up in their world view.

Henry Selick expanded on Gaiman's book, which wasn't really long enough for a feature film. Characters were added and storylines were extrapolated. What I now realize about the film, is that a mythic subtext was woven through it and that these themes are revealed in striking visuals.

Doctor Who and the Approaching Skingularity

Crossposted from Reflections Journal.

William Henry believes that we are facing a time of decision. Will we choose to remain fully organic beings or will we merge so completely with artificial technologies that they become part of our very skin? Henry has released an eBook, free to whomever asks for it. I recently received my copy and have only just started reading it and poring over the spectacular images. More information on The Skingularity is Near and how to receive your copy can be found here.

In March, Henry appeared on Coast to Coast AM to discuss our future, what is increasingly possible and what is our true potential. Whether or not you agree with Henry that humans are inherently and organically capable of transforming into light beings, the vision of tech companies to transfigure us through technology should reasonably terrify you. They're wearing us down, though, by promising ease, interconnectedness, and even virtual immortality.

Many of the technologies under development mimic the language, the imagery, and even the properties of cross-cultural resurrection and ascension mythologies. The possibilities entice not only because the promises are fantastical but because they resonate with core archetypes. Henry points out that it may well be a devil's bargain. We may be handing over our fundamental liberty to a convergence of state and corporate power. What looks like an enhancement of human power could really be very cleverly packaged tyranny.

We humans have an instinctual fear of merging with inorganic machines that has long played out in our modern mythologies. The Borg of Star Trek: Next Generation portray our primal terror of losing our humanity and independence to co-optation by intelligent machines. The Matrix trilogy depicts a world lost to our development of artificial intelligence, as self-aware machines reduce humanity to batteries and trap our consciousness in a VR simulacram. But the most direct parallel to Henry's "skingularity" and it's conflict with natural human evolution plays out in Doctor Who.

Alchemical Perfume

Crossposted from Reflections Journal.

I love Christmas ads. I know. Commercialism is ruining Christmas and making us forget about the baby Mithras Jesus. But they're festive, nostalgic, and sometimes quite beautiful. Yes, I worked in marketing for long enough that I actually appreciate the artistry of advertising. And the industry rolls out some of its best work at the holidays.

A couple of years ago I noted a perfume ad featuring Julia Roberts that resurfaces every year at this time. It is full of elegant, if not terribly subtle, allusions to Rousseau and the French Enlightenment.

Much of popular entertainment, of late, from movies and television to the Olympics, has me marveling at the imagery. Is the symbolism subconscious or deliberate? I don't know, but it's getting really hard to miss it. 

This new ad from Dior, featuring Charlize Theron, is nothing short of stunning. The past is nothing but a "dream," an illusion. "The future is gold" she says, ascending through an oculus into a "new world."

Are the Poles Shifting?

Crossposted from Reflections Journal.

I've been talking about pole shift for a while now. Several years ago, I started getting intimations that it was imminent. There's a little more on these messages here. I just didn't really know what to make of it. The gist was that things were going to shift in some very surprising ways, that the systemic injustice that I find so excruciating had reached the end of the line, and that this was somehow connected to or simply concurrent with pole shift.

I first learned about the idea of pole shift many years ago when I was reading a book on Edgar Cayce. I had no frame of reference for the idea so it rolled off my brain like beads of water from an oily surface. Years later, when I first became acquainted with the work of Drunvalo Melchizedek, I heard it again and thought, so is that what Cayce was talking about? I liked Drunvalo's take on this. It was fairly optimistic and tied the idea of pole shift with an expansion in human consciousness.

Drunvalo says all kinds of things and some I really do take with a grain of salt. But he always struck me as a sincere fellow and so much of what I learned from him has proved itself to me that I keep a lot of his more outrageous material on the maybe pile. His ideas on pole shift fall into that category.

Pole shift has been a subject of debate. It's an accepted fact that Earth's magnetic poles have shifted more than once, in the distant past. That this has caused crustal displacement is disputed by most experts. Charles Hapgood theorized that they did and that it was associated with changes in land masses. His theories have not gained wide acceptance.

Mainstream science has been as strident and dismissive of concern as it has been vague on the particulars. The simple truth is that there's a lot they don't know about how this works and the potential effects. As discussed here, some theories have us already in the beginning stages of shift. The message from officialdom has been that while the magnetic field of the planet has been weakening for over a hundred years, and while we are probably overdue for a pole reversal, the last known one having occurred about 750,000 years ago, the next is probably at least hundreds of years off and will occur gradually, probably over thousands of years. In other words, calm down, people.

Into the Darkness

Crossposted from Reflections Journal.

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Late tonight we will be treated to a total lunar eclipse. Slate has a detailed writeup on where and how to view it.

Do you live in North America, South America, Australia, or eastern Asia? Then you get to see a lunar eclipse on the night of April 14/15! And while North America is the best place to watch—we’ll get to see the whole event—the real action doesn’t begin until 05:58 UTC on the 15^th, which is just before 02:00 EDT, so it’s a bit late. You might just want to stay up for it, though.

It will also be broadcast live by the Griffith Observatory.

But this is just the attention getter for a series of celestial alignments that astrologers are claiming is one for the books. This Easter will bring with it a collective crucifixion as a Grand Cross in the Cardinal signs.

I'm not an astrologer, but I wasn't surprised to read any of that. My fear is that it lines up all too perfectly with a sense of nameless dread that I've had for months. As I was discussing with some lovely people on this thread (search page for: earthquake), what I keep getting from my guides is "major global realignment."

Massive Heart Integration

Crossposted from Reflections Journal.

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We interrupt your regularly scheduled programming to bring you this important message.

Breathe into your Heart

I don't usually do things like this but the system is blinking red. Over the past couple of days this has come up in multiple readings as well as in my own process. There is some sort of mass integration underway. I don't know any other details. It's not anything I've read anywhere. I just keep seeing it. It's playing out in different ways for different people, as naturally it would, but it's in every case some version of a massive influx of new energy, soul parts, previously inaccessible components of our SELVES, that can be and need to be integrated now in a new way. Grounding this energy is important but it's not enough. The important thing is to breathe into the heart center whenever we have a few free moments to focus on it.

There are also feelings of emotional and psychic overwhelm for a lot of us. Taking a few moments to breathe into the heart as well as grounding into the earth is tremendously helpful in navigating this new dynamic.

Blessings to you all.

We now return you to your regularly scheduled programming.

The Taybor and the Rainbow Body

Crossposted from Reflections Journal.

Padmasabhava

I've been rewatching Space 1999, mostly as an exercise in nostalgia and to amuse my inner child. My inner child loves her some Space 1999. It's not a terribly deep or esoteric show, particularly by the second season. But every so often it wanders into an intriguing archetype.

The other night I was watching "The Taybor." Taybor is "an inter-galactic merchant [who] arrives from hyperspace on his ship the 'Emporium.'" He is a silly character and the episode is largely quite silly but I was taken with their depiction of the hyperdrive that allowed him to move anywhere in space.

The drive itself is an oculus, aka., circumpunct, aka., stargate:

Drunvalo 2012 Webcast: I Will Be Doing This

Crossposted from Reflections Journal.

Just got a little tap from universe reminding me that Drunvalo Melchizedek posted a video recently. I hadn't watched it yet, but I saw it float by on Facebook. So I just watched it. It's an introduction to a webcast he'll be leading over the next three days. You can go here to get the particulars and sign up. This one's free. I don't know what he's on about but, as ever, I feel strongly led to participate in whatever Drunvalo is doing. I do just love that man. And his work has seen me through some of the most transformative experiences of my life. So check it out if you want. Cheers.

O Christmas Tower

Crossposted from Reflections Journal.

The Eiffel Tower seems to be trending. Decorative accent sculptures, lamps, candle holders, 3D puzzles and, of course, the traditional art prints -- I've been seeing them in increasing numbers in stores over the past couple of years. But I knew something had really hit critical mass when I noticed a Christmas lawn ornament in front of a neighbor's house.

I've been acutely aware of this particular trend not because I'm so besotted with the idea of Parisian glamor. I don't really have a burning desire to see gay Paris. As with so many things that seize my attention, at this point, my interest is more esoteric.

Many years ago, I went to a shamanic journey workshop. It consisted of live drumming as we all attempted to journey questions suggested by the organizers. One of the questions had to do with finding community. I was a tad disappointed to learn, in my journey, that I have no community and would not have until I accomplished certain spiritual initiations. None of this surprised me, exactly, but it was still a little frustrating. Central in this journey was a kind of mountain... tower... thing. My sense was that I would have to reach the pinnacle of it before I could connect with my community. And my sense was that it would take years. It was a very sharp, elongated triangle, with concave sides. I drew my impression of it when I completed the journey. And I thought, but that's the Eiffel Tower. What on earth could that form have to do with anything? It's not a pyramid. It's not a tetrahedron. It's not any of those cardinal, sacred geometry forms, that I would expect. But there it was. A very rudimentary Eiffel Tower form. For some time, I refused to believe that the shape I'd been shown had anything to do with something that had become, in my mind, a cliche of American Francophilia. But it came up, over the years, in other journeys and meditations. The shape was unmistakable. Nearly ten years later, I gave up on denying that there was some connection to the iconic architecture.

Stargate Skyfall

Crossposted from Reflections Journal.

I caught Skyfall over the holiday weekend and I loved it. Daniel Craig continues to bring a gravitas to the role that transitions Bond from outrageous camp to something with surprising depth. And this was probably the darkest yet -- a journey through death and resurrection, as the series reboots itself yet again. This is a bold re-envisioning, exchanging the high tech gadgetry, that has become too ubiquitous to be entertaining, for low tech cleverness. Javier Bardem is just flamboyant enough to be a Bond villain, yet tragic and human enough to be a believable character. He's also consistently brilliant.

The movie is excellent. But the opening credit sequence is a masterpiece.

Leaving aside for a moment the sheer awesomeness of the cinematography and the buttery richness of Adele's voice, what captivated me was the layering of esoteric imagery. It was the genius of the opening credits (posted above) that convinced me to brave the crowds and see this movie in the theater.

As with the recent Olympics, and so much in popular art and entertainment, it's hard to say how much of the symbolism is deliberate and how much is subconscious. But it's hard to believe that a film about a journey through death and rebirth just happens to have one portal image after another by accident.

Olympics Opens With Ascension Blueprint

Crossposted from Reflections Journal.

I've been getting caught up on my Olympics Opening Ceremony viewing. As stated, I was not home on Friday evening so I had to record it. I was at a Lughnassadh (Lammas) ritual gathering. It rained. We all got wet -- which was kind of nice, actually. And it produced this magnificent rainbow. My husband got one good snap of one end of it, with his cell. You can also just make out the traces of a quickly dissipating second rainbow that started to form alongside it. But it was one of those magnificent, full bows that you could see from end to end, arching over the trees. I was about dumbstruck, not only because it was a beautiful ending to our ritual, but because we were seeing it at the exact same time as this year's Olympics was kicking off, replete as it is with rainbow imagery.

That said, it's taken me a while to plow through my recording of the ceremony... mainly because it's just awful. When it comes to the performing arts, I'm a "less is more" kind of person, so on that score, this show utterly failed for me. I get that Great Britain is rich in history and great literature. It's also produced many great musicians. But did we really have to hear to them all? I hate medleys. They insult my intelligence.

Perhaps the goal was to obscure all the esoteric imagery, because there was a lot of it. I guess if you can't achieve subtlety in scripting your subtext, putting your audience into total, sensory overwhelm is the next best thing. There were some beautiful images and tableaux in both the film montages and the arena performances but they were nearly lost in rapid-fire smash edits, dizzying camera angles, and what I can only describe as a huge, overcrowded mess.

The spiritual imagery started right from the beginning as did the assault on the senses. The opening film featured an electric blue (pearl) dragonfly (immortality) emerging from the water at the source of the River Thames, marked by a stone reading:

Isles of Wonder

This stone was placed here to mark the
source of the River Thames

More Fun With Olympics Symbolism

Crossposted from Reflections Journal.

I just set my DVR to record the Olympics Opening Ceremony tomorrow night, even though I haven't watched or cared about the Olympics since I was a kid. But now I need to know if it will be first contact, or the beginning of the alien war, or just a garden variety terrorist attack, or... who knows. Mostly, I want to see for myself the spectacle of symbolic imagery that William Henry and Chad Stuemke have been talking about.

Henry and Stuemke had another chin wag about the upcoming festivities on Revelations and it's a lot of fun. There is no question that the volume and organization of symbolism we've seen during run-up is staggering -- stargate symbolism, alchemical symbolism, pagan symbolism, alien imagery. Someone is having a lot of fun. And as ever, it's hard to say how much is conscious and deliberate and how much is the subconscious, intuitional, creative process.

While this year seems really over the top, in terms of imagery, I have to say that I really hadn't realized how much the Olympics has been playing with some of these themes in past years -- the alien thing in particular. I didn't know, or didn't remember, until I watched the Red Ice Radio video special, that the 1984 Olympics had produced a spaceship and a giant alien. Says Stuemke, of the 7'8" alien, "Out of this world. Didn't make a lot of sense. But people loved it."

Red Ice Radio: Olympic-Size Strange Special

Crossposted from Reflections Journal.

A while ago I posted a William Henry interview on the strange happenings and symbolism associated with the Summer Olympics in London. Red Ice Radio interviewed both Henry and his guest from that show Chad Stuemke, in a special broadcast on the topic. They also brought together a sampling of other perspectives on just what is going on with the Olympics Planning Committee.

It's quite a compendium. In addition to Henry and Stuemke, there are interviews and excerpts of interviews with David Icke, Stewart Swerdlow, Bob Schlenker, Ian Crane, and the late Rik Clay. The commentary ranges from the insightful to the paranoid to the deeply paranoid to the unintentionally hilarious.

Of course much of it revolves around the conspiracy theory du jour, which is to say that the Illuminati is preparing us for a false flag event and/or alien invasion so that our reptilian overlords will be better able to enslave us or kill and eat us... or... it's not entirely clear. Where that argument is the strongest lies in the draconian security measures. London is being fully militarized for this event. But then, Great Britain has been morphing into a police state for a while now -- more than the US, even.

Excellent Drunvalo Interview on Red Ice Radio

Crossposted from Reflections Journal.

I had noticed a couple of news items earlier this week regarding planetary magnetics that I wanted to put into some context. I was trying to remember which of Drunvalo's lectures addressed some of the theories regarding potential pole shift but I didn't have time to dig through it. As luck would have it, this freshly minted interview he did with Red Ice Radio pulls a lot of threads together that I had hoped to. The first hour of this interview is a particularly good overview of things Dru has been teaching for years with a level of clarity I've never heard before. The second hour is a bit more... conceptual. But it's all very enjoyable.

The first article I stumbled on is on a new theory that suggests a possible reason for the magnetic reversal of the Earth's poles that occurs periodically. And there is some indication that the next one may already be in process.

Lopsided growth of the Earth's core could explain why its magnetic field reverses direction every few thousand years. If it happened now, we would be exposed to solar winds capable of knocking out global communications and power grids.

One side of Earth's solid inner core grows slightly while the other half melts. Peter Olson and Renaud Deguen of Johns Hopkins University in Baltimore, Maryland, used numerical modelling to establish that the axis of Earth's magnetic field lies in the growing hemisphere – a finding that suggests shifts in the field are connected to growth of the inner core.

There are signs that the next switch may be under way: rapid movements of the field's axis to the east in the last few hundred years may be a precursor to the north and south poles trading places, the researchers speculate.

Full Circle

Crossposted from Reflections Journal.

I've written before about my near obsession with this basic form. First it possessed my inner vision, so that I seriously considered doing a giant, and I mean giant, canvas... except that I don't paint. Then I began to recognize it in a variety of contexts, penultimately in the giant obsessional painting of Battlestar Galactica character Kara Thrace. And it slowly dawned on me that it appears in a great deal of spiritual iconography. Now it's taken to stalking me.

Rightly or wrongly, Dan Brown calls the stripped down version of this symbol a circumpunct.

Brown has this to say in his novel [The Lost Symbol]: "In the idiom of symbology, there was one symbol that reigned supreme above all others. The oldest and most universal, this symbol fused all the ancient traditions in a single solitary image that represented the illumination of the Egyptian sun god, the triumph of alchemical gold, the wisdom of the Philosopher's Stone, the purity of the Rosicrucian Rose, the moment of Creation, the All, the dominance of the astrological sun, and even the ominscient all-seeing eye that hovered atop the unfinished pyramid. The circumpunct. The symbol of the Source. The origin of all things."

. . .

It is true that the circumpunct symbol has been around for millennia, albeit more often known as "the circle with the dot in the middle". It can symbolise everything from gold in alchemy to a European road sign for city centre. It is commonly used as a solar symbol and reputable sources date this to ancient Egypt, where the symbol has its origins in Ra (or Re), god of the midday sun. In fact, the circle with a midpoint, plus a vertical line is the hieroglyph meaning "sun".

So how did an Egyptian symbol rise to shine again as a token of the ancient mysteries among 21st-century Freemasons in Brown's novel? Langdon's exposition is as follows: "The pyramid builders of Egypt are the forerunners of the modern stonemasons, and the pyramid, along with Egyptian themes, is very common in Masonic symbolism." Very neat. Well done, Brown.

Brown is frustrating to read. I keep expecting there to be more of the depth hinted at by the subject matter but it's never forthcoming. And even in this case, the assigning of lineage and intrigue does nothing to address the pull this symbol has on the imagination or its underpinnings in sacred geometry. But it does flesh out a little context.

William Henry on Merging with Icons

Crossposted from Reflections Journal.

From For the Sexes by William Blake

A while ago I posted something about the pernicious role of iconoclasm -- and the second commandment -- in keeping humanity from direct interface with the divine. William Henry had touched upon the issue in an article on St. Francis of Assissi who developed stigmata, at least in part, because of his spiritual merging with religious iconography. I posited then that part of the motivation for iconoclasm is to keep us from the transcendent and mystical experiences that the Church has always found threatening. Direct experience of God was not something that just anyone was supposed to have.

I am currently reading Henry's Secret of Sion and he addresses the issue of icons as spiritual triggers, and the cruelty of a system that would deny them to humanity, very directly. He suggests that prior to the dark reign of the idol smashers, icons served an important and known function doing exactly what the second commandment says they shouldn't.

When the icons were made alchemy was the normal way of interacting with the world. Everything was viewed as in the process of transmutation or changing into something else -- like the acorn into the oak -- simultaneously unraveling and being reborn. Everything was transmutable, including the human body, which was viewed as a 'pupal' form of an ascended spiritual being, usually symbolized by the butterfly (earlier by the phoenix). All that was required to effect the transmutation was the Philosopher's Stone (= the pure tone or ring of the gate.) This (S)tone causes the body to emit or secrete an elixir - the Secretion of the Ages - that purifies the body, transfiguring it to light.

This is the key benefit of the Transfiguration icons. These images were designed not just to help the early Christians to teach about the Transfiguration through pretty pictures, but also to encourage them to re-shape their lives in accordance with the  hope or expectation of transforming into light (something our culture does not support). Through contemplation, meditation and reflection on the icon we begin to reflect the Light experienced by Jesus in our lives.

Unfortunately, in the seventh century Byzantine Emperor Leo III banned icons (726-729) in response to criticism from adherents of the new religion of Islam who proclaimed that icon/doors were false idols (more later).

. . .

William Henry on Olympic Strangeness

Crossposted from Reflections Journal.

Wenlock and Mandeville: Mascots for 2012 London Olympics

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.

More William Henry: 2012 and Sion

Crossposted from Reflections Journal.

In this very recent Red Ice Radio interview, William Henry discusses his increasing discomfort with some of the factually challenged hype around 2012. He is also becoming more outspoken in his challenge of conspiracy theories about "the illuminati" and the like.

The major takeaway from this interview is Henry's illustrative tale of how the "the gods" hid the great mysteries from humanity.

The body is absolutely the machine. And that's the diversion to me. Because if you're lookin' for a machine out here -- I mean everybody's lookin' for the Ark of the Covenant. Where's the Ark of the Covenant? Is it in Ethiopia? Or is it? Where is it? Well, according to this tradition, the Ark of the Covenant is your first three chakras. And the reason why archaeologists can never find the Ark of the Covenant is 'cause they're always sitting on it. I mean, that's the old joke isn't it? Oh, the gods got together. They have this secret. They wanna hide this secret from humanity. Should we bury it in the ocean? No. They'll create a submarine. They'll be able to find it. Well, let's put it high up on a mountain. Oh, no, no. They'll be able to climb that mountain. Well, we should bury it in the desert. No. Someone will find it. Oh, I know. Let's put it inside them. They'll never think to look there.

If there is a "dark side of the illuminati," the biggest psych op they're running is planting conspiracy theories that demonize the very information that could set us free. As Henry points out, we're told that there are secret technologies that only the elite have access to, when the human body itself is the technology. We've just forgotten how to use it. And the key symbols and archetypes that serve as a reminder of how to activate that technology -- such as the "all seeing eye" -- are inverted and recast as symbols of oppression.