We now have a
large body of crop glyphs to study and that is important. Patterns
may emerge above the obvious imitation of human designs.
We have already
covered the topic of how these glyphs are made. It has been within
the capacity of our computer technology and our evolving military
microwave laser technology to make these glyphs and the six inch
pixel size exhibited in the field conforms completely.
In short, the
phenomena could be totally the creation of the defense industry’s
geek squad.
Yet we now have
strong indication that the formations are been laid down by small non
human drones as have also been observed. Thus the alien input
conjecture must be taken more seriously. That does mean unraveling
the underlying theorems been shown us. Some effort has already begun
in that direction and more needs to be done.
Crop Glyphs:
Allowing for Hope?
July 4, 2014
Daniel Rozman
There are currently
6492 crop glyphs documented and archived.[1] Their proliferation and
evolution in design has escalated radically over the past quarter of
a century. The phenomenal spirit of the glyphs has charmed
the bullish, the meek, and all personalities between – thousands
who have undertaken cross-thematic studies from their point of
reference, from the standpoint of their professional background. Yet
the murciriality of crop glyphs remains, and in climactical
frustration a shroud of common denial has cast a shadow over that
which would otherwise illuminate. For those who have avoided the trap
of coyness, and treat the glyphs with significance, miracles have
ensued.
Location
Crop Glyphs have
made their mark worldwide, but the concentration of the most evolved
glyphs has occurred amidst the fields of England’s Wiltshire
Triangle, which extends to Avebury, Stonehenge and Glastonbury. There
are several features to this specific geography that are worth
mentioning since they inform (even if only partially) the reason for
glyph placement.
Geologically this
area sits atop a vast aquifer. Research undertaken by Glenn Broughton
in the 1990s showed that 94.6% of all crop glyphs occurred above
underground water. This one observation makes an
interesting point of study for anyone who concerns her/himself with
the relational dynamics extrapolated by Tesla from his study of
the Giza Pyramids. The energy of charged water beneath the
Earth’s surface might be harnessed to project the impression on the
compliant crop(s).
Additionally, the
glyphs’ most common and deliberate placements are in close
proximity to ancient sacred sites – monuments that have endured for
millennia – for instance Silbury Hill and the West Kennet Long
Barrow.
In 2005, Andreas
Muller interviewed Credo Mutwa, who said in significant revelation
that:
“What you call Crop
Circles is the same that what the Zulu call Izishoze Zamatongo and
which means the designs or the writings of the gods. We have known
about them for more than 4,000 years.”[2]
Mutwa, the great
Shaman, went on to state that the hundreds of thousands of megalithic
structures (whichMichael Tellinger is bringing to our attention at
apace) were indeed stone monuments placed to venerate – in a
worldly permanence – these very designs. This explanation would go
a long way to explaining why England’s crop glyphs share so many
similarities of geometric proportion, alignment and relationship,
with the enigmatic henges of the area.
Artistry
An immediate charm of
the glyphs is found in their visual style, sympathetic to the
self-organising fractal patterns of nature. As such, their designs,
if studied (as has been done by the likes ofJohn Michell,
John Martineau & Michael Glickman), almost always offer
mesmerizing sacred geometry extrapolations, and regularly clarify the
definition of principles such as the golden ratio and squaring the
circle – to name but a few.
To call something
sacred is but another way of identifying something as eternal. The
guiding force of God’s Universe would see that if something fell
from the stars that thing (animate or inanimate, tangible or etheric)
could find an immediate affinity with those things it interacts with
on Earth. So to define sacredness, is to define eternity; only
harmony can remain in such truthful perpetuity – not taking but
simply being, and so always giving.
An artist would
distinguish their practice by speaking about the medium
through which they choose to communicate. In this case, the mark is
left on a canvas of rolling fields nestled in wondrous vales. One
might argue that theirs is an imposition on commercial crops, but has
anything in the world with which we now interact not been
appropriated and assigned an ownership designation? Nature’s
natural product is being hurriedly tampered with in order to
proliferate distortion feed and command patent-ability. The medium of
that which sustains us (crop) and speaks to the future (seeds) should
only be found to be upright. In the author’s opinion, in conceptual
reflection the crop glyphs couldn’t present themselves in a more
provoking medium.
Studies in the late
‘90s, collated by Nancy Talbott, demonstrated that the harvest
yields associated with the affected fields were often boosted in
statistical significance – almost as if to innately compensate in
the language of commodity trade.
Furthermore, according
to studies undertaken by the biophysicist William Levengood,
seeds that had matured by the time of formations landing, would
germinate to delivered boosted returns – again. Hence,
uprightness has always been championed by this benevolent phenomena,
their innocent impressions upon the rural landscape indicative of
that which we might do well to revere once again.
The exhibition can
be admired in person during a seasonal window beginning with Spring’s
renewal and the culmination of Summer, again speaking to the cyclical
nature with which we as a mass consciousness have become detached, to
our own detriment.
When one holds
barricaded, contemporary visual arts up against artistry found in the
fields, there is simply nothing with as much innovation, context,
concept, composition, scope for philosophical deduction, nor sheer
humbleness.
We would do well to
let go of any emotional attachment associated with the common
argument of criminal damage, and let others try and reconcile this
case against a backdrop of watchful farmers and (to date) no
prosecutions. Those who would claim it a prolific art form do not ask
why over the course of decades, in spite of their prolificness, not a
single artist has claimed the art – or at the very least documented
a significant commentary to substantiate their practice, which is
otherwise left vulnerable to the hoards that scoffed. These are
conundrums that many seek to unravel, and in so doing are determined
to remain rooted at square one. It is, as all misinformation, a
simple trick that leaves the intellect paralyzed by its own projected
illusion.
Experience(r)s
The glyphs appear in
golden fields, but much like the fabled El Dorado, these represent a
city of gold associated with fruitful gifts serving the
individual soul journey. Its endowment, a platform-acceleration and
hence little relation to boosting the entrenchment of egotistical
accolade, ie. man’s first sin – pride.
On the ground, social
persuasions exhibited by visitors and researcher alike are comparable
to an amplified school dynamic. The bright ones seek approval from
authority, the quiet ones arrive at their own conclusions, and the
bullies fragmenting the harmony to the point of their own exhaustion,
or boredom – whichever tames them first.
It is
thought-provoking to obverse that crop glyphs are known as crop
circles, and formations. To experience crop circles firsthand is
often to undertake a (trans/in)formative experience.
Raising our aura, is a
function of interaction with chosen (powerful) locations in nature
and the subliminal messages of the glyphs that are reawakening those
capacities, which would aid us (not painlessly) to restore our
individual presences.
Those who stick around
for more than a fleeting glimpse, often share accounts of
inexplicable familiarity. Almost as if echoes of our future (and
past) lives reverberate throughout the inter-personal experience.
There is a strong case to be made for Crop Glyphs acting like a
beacon for soul clans to be united in space and time by a unifying
image projection. Indeed dozens (over the years, thousands) of
visitors travel cross-continent by an indomitable compulsion, and far
from the daily influences that may will the further distortion of our
original design.
Evolution has been
studied, to varying degrees of authenticity and applicability. Yet
there is an unavoidable common conclusion that perceived evolutionary
steps have been fast, and occurred in the pattern of a step-change.
There is a case to be heard that Humanity has degenerated to the
point of confronting an abyss, and hence the best remedy would be an
applied step-change in consciousness expansion.
Perhaps it is here
already, tapping us on our shoulder and asking; do you want it? Just
as children are never an imposition but always a graceful opportunity
to deliver us to a place which cannot be discovered by pursuing
expectations. Maybe the soul clan dynamic is geared for us to realise
that we are one, to take on different roles – as masterfully
depicted in Cloud Atlas.
The Glyph, and the
Soul phenomena is a mystery that humanity has not got to grips with,
but this fact is not one to be regarded in self-perceived
inferiority. Rather we are allowed to marvel, to observe and on
occasion learn outside the artificial constraints of an academic
‘fixed law.’ We are allowed to observe its ebbing and flowing,
like the oscillations of our gravitational field or the speed of
light. To accept the wisdom that we can only be as aware of that
with-out, as we are that with-in. Just as Alan Watts once said, the
Godhead cannot ever be in full awareness of itself, and so we will
never be in full knowledge of the crop glyphs, even if an ultimate
truth is there for the taking.
Conventionally
respected disciplines have studied the glyphs with applied intellect
too. PhDs, their radars, magnetometers and surveying equipments all
these are only as appropriate as their specialty. The exotic energy
which creates many of the formations, is applied by a sentience
comparable with the teacher nudging, encouragingly us the observer
students (willing or not). As with any such equivalent, the symptom
will invariably not hasten one to the source. Nor explain through the
prism of conventional reasoning – how could the limiting web of
lower consciousness, intellectual entrapment rationalise with
man-made logic why these glyphs appear within a matter of moments,
fully formed and without revealing the hand of their conceptor(s).
Hence, one might truly
resort to the belief that we are being instructed to explore and
develop our crypticised senses? That can be unlocked through our
metaphysical interaction in the fields, or by merely giving an
applied attention to their designs.
So what does this say
about the experience; is it transcendent; is it transformative; is
our interaction with them truly personal? For some, the glyphs will
simply reintroduce a person to nature, and compel them to define
those senses which are there and theirs but otherwise in neglected
stasis. For others they might lead to a series of events, which reach
into the astral realms and give nutrition to the rest of their
experience. It might cause some to confront personal denials and to
finally break emotional attachments with those aspects of life that
are not serving a higher good, and thereby leading us to serve others
too. Countless other things, beyond definition, are possible too –
and deserving of an excitement stemming from taking personal
responsibility.
Message(s)
There is much evidence
and converted intuition that leads almost inarguable evidence
suggesting that embedded within the glyphs are instructional codes;
solutions to ‘unsolved’ mathematical conundrums, amongst other
messages can be deciphered – ones that might aid our human
progress.
Their language is
of geometry, which universally transcends layers of
consciousness, consciously chosen, and hence it stands to reason that
there is an intentionality, behind the hand of the an uncommonly
intelligent design(er). The exceptional aspect is defined by an
intellect that is matted to wisdom and in adherence to Nature, to
Harmony, to the way of Unity, to Divinity. Always in accordance to
the precision of beauty or, beauty’s precision, from which is
sprung creativity’s sheen. When the heart-based is allowed to
project and beautify if surpasses wisdom and creativity and its rays
are life affirming – like coming face-to-face with a majestic lion.
The glyphs are
circular, linear, figurative, fractal, and explicitly communicative,
with geometric and mathematical significance. As we know, when one
gives significance to something, miracles happen.
They ask for patience,
for us to listen and be gracefully bold in our interpretations. For
these are keys in accessing the realm of truths, and truth remains
the main bullish proponent of looking to the future. It does not need
to be inflated, or superfluous propulsion, nor any other third
dynamic. All it needs is to be recognised. The greatest truths will
(by the nature of their extent and profound implication) remain
indefinable and hence unspoken. Left for the discernment of
the toroidal heart process to accept and use it to inform
the trajectory of future life experience.
As time folds upon
itself in tighter and tighter corrugation as we cross the galactic
plane, these temporary glyphs seem to document where we are now,
humanity serving as the embodiment of our enduring soul experience.
And this is (some would argue inevitably) the final choice we are
confronted with – the matter to which the glyphs are speaking to –
siding with service-to-self (ie distortion’s deceit) or
service-to-others (ie to be in harmony with that around).
We can rest assured
that this phenomena, whilst being ridiculed in the mainstream
press (which is itself increasingly ridiculous and
self-sabotaging), is studied and observed continually (even if at
arms length) by plenty of the best resourced, and informed groups who
would declare themselves in last resort reluctance.
It is possible that
the crop glyph phenomena might cease to exist, and that which is
documented left to be interpreted as a cross-thematic narrative. But
if the glyphs are there to serve multiple purposes – one beginning
to awaken humanity – they will continue in the face of
nettles (insistent power groups), which seem to be only windswept by
our gaining awareness, not yet uprooted and left to dry out in order
to fertilize future meadows of wild flowers.
Source
Studies have
acknowledged the evidence for ionospheric plasma intervention –
what others looking for a quick tagline refer to as microwaves.
The willing compression of the crop has been witnessed and recorded
coinciding with orbs of light hanging over the location. As much as
this might be a means of creating inexplicable patterns, is this the
hand behind it? Or just an agent of the hand? One might speculate
that it is a phenomena governed by a realm beyond the scope of
individual human beings and in understanding of 4D undercurrents.
What an art the gylphs
are, proportions expressed invisibly, as is the case with old master
paintings. But this is often lost on a set of eyes that are otherwise
reliant upon institutions for reassurance. Any institutional set-up
associated with the study and further understanding (and distribution
of what may have been learnt), whether a study group, coordination
centres or publishings, have all dissolved without leaving a legacy
beyond the sphere of those who would have been dedicated researchers
regardless. Therein lies an important point – the crop glyphs are
predominantly of a high degree of harmony.
The source? Ets, EDs,
ancestors, future humans, crystalline embedded transmissions, Earth
vibrations…? We cannot say definitively – but most likely there
is more than one source. Regardless, the source(s) accept a
responsibility, of a parental nature.
Conclusion
It could be argued
that those who have ‘got it’ are vowed to retain their knowledge
in a pact, comparable to those who have been initiated into Hermetic
societies and wait for the others to (necessarily) fashion their
own path to ascension. Their motive would be based upon a wisdom
recognising that their own soul path is unique and from there stems a
respect for others’ too. Hence, standing by, allowing for them to
negotiate experiential challenges that will always be specific to the
individual and cannot be circumvented, nor prescribed by another.
If the crop glyphs are
ever accepted by a critical mass, treated by them as a meaningful
occurrence during this time between ages, we will know that
humanity’s back is to cosmic wind of reharmonising with eternal
divinity. What an indicator! A processional gauge and personal key to
unlock possibilities.
Meanwhile those who
allow themselves to interact with the glyphs for more than a fleeting
moment might encounter a staggering combination of wonder, awe,
appreciation and gratitude – a therapy, tonic and remedy for the
inflictions of mediocrity. Is that reason enough to pay an interest,
at a distance or in person? Perhaps, an individual of a stiff upper
lipped nature can oneself in, how many exhibitions they may have been
to and felt those sentiments?
The crop glyphs never
engage with debates. Harmony never makes deals with God, deals
stemming from debate can only ever be done in the presence of
distortion.
So like the glyph –
which present and recoil; present and then recoil – let’s rise
above challenge, conjecture, and become a (true) law onto ourselves.
And meet their expectation that we give it some reflection – not a
requirement but what a chance!
As the
initiated Charlie Chaplin once said:
“Humanity thinks too
much and yields too little…for those who can hear me I say, do not
despair. The misery that is upon us is but the passing of greed, the
bitterness on men who fear the way of human progress. The hate of men
will pass and dictators die. And the power they took from the people
will return to the people…Only the unloved hate, the unloved are
the unnatural…”
About the Author
Daniel Rozman is the
author of the metaphysical novel Transition (2013); he has
published over fifty articles on www.cropcirclecyclist.com, and
is speaking at the Summer Crop Circle Lectures (UK) this
July.
Sources:
Aerial Image Credits:
Steve Alexander of Temporary Temples.
No comments:
Post a Comment