Posted: 14 Sep 2015 05:23 PM PDT
This post picks up where we left off in part one, describing the time manipulation magick ritual presented in The Official Video: London 2012 Olympic Games Opening Ceremony. (Watch from the 8:25 mark to about 12 minutes in)
The work that the illumined Luciferian elite are so passionate about requires a hijacking of space-time domains and the mastery of time. The effort requires the combination of ancient tech, modern tech and actual sorcery, pharmakeia. Folks, it's already been touched upon, in ancient times and again recently, and we're convinced that all the ceremonial ritual working that was done in connection with the XXX Olympiad played a role. The illumined know how to bind space-time and engage the principalities and powers in partnership, whom they worship and by whom they are directed. There's a reason why the Olympic Park is located on the earth between the time wave arcs drawn from Mount Zion that correspond precisely with the creation of the modern state of Israel. This is the same reason for the countdown rituals I've been describing in this lengthy post. Why is the Olympic Park called that instead of something else? The gematria of, Olympic Park, is 139, and 1+3+9=13. Mastery of time! The gematria of, Olympic, is 93. That's the famous number of Thelema and Agape according to Aleister Crowley's book of the Law, which is to the OTO so very important. The number 93 also produces a 12 as 9+3: TIME. These facts are more than a collection of curiousities. It's all evidence of a grand working of ritual magick.
So, here's my understanding of how the ritual of the London 2012 Opening Ceremony's countdown sequence I've been describing works.
The bell in the stadium and the stone at the river's source are linked, supernaturally, according to the secrets of heaven known and transmitted by fallen angels. The Thames-Isis is well established as a river of time, and there was therefore the creation of a resonant state with the ringing of the harmonically tuned bell. A standing wave of time was created in this realm between the stone at the source and the bell it's bound to at the other end through the language of the inscriptions, the river and many related ritual elements and rituals. A binding link with Israel was also established along the river of time known as the Jordan, and with the Temple on Mount Zion.
In support of this bell-stone-river structure, the image of a map that features a key section of the Thames-Isis was cast into the Olympic medals. The design placed it as woven through the embedded ZION imagery and surrounded by accelerated particle collision imagery, and opposite to that was cast the image of the ancient goddess in flight. There were 4700 (amplified Code 47) of these idols cast for the London Olympics, and these were awarded in 805, or 8+0+5=13, ceremonies. That's how these ritual objects came to be distributed throughout the world. Think about it. I believe the ritual structure that is the space-time resonant bell-stone-river instrument is harmonically tuned with particle collider activity at locations that include Cern's LHC. I believe there's an important reason why 13 TeV is the specified energy level for the LHC this year, that it is probably linked to such as the Olympic ritual (and CERN Symmetry Opera-Dance film ritual) that makes the illumined elite masters of time (within the limits maintained by the sovereign God).
In support of this ritual in London's Olympic Park, the same region of the Thames-Isis that was mapped onto the award medals was recreated inside the stadium for display during the Satanic Mills segment of the Isles of Wonder themed ceremony. A displacement ritual, sympathetic magic, harmonically tuned partnerships. Quantum entanglement. In that setting, they simulated the forging of a giant golden ring that ascended into the air to join 4 others in forming the customary Olympic Rings logo. I'll explain more about the rings shortly.
The Isles of Wonder stone at Thames Head marks one end of the standing wave of time. The stone marker is a kind of a standing stone, like other ancient stones found in places like Stonehenge. I've written about these before, like how the TV series, Outlander, featured them as the mechanism that, in connection with ceremonial witchcraft, facilitated time travel. Think about those connections!
Standing stones facilitating space-time transport in a magickal context were also featured in The Librarians on TNT (scheduled to return for season 2 on November 1). In the last episode of season 1 some things were said and done that are of great interest in this study.
Jenkins: ... references to the pyramids as passageways to the afterlife.
Jacob: Not so metaphorical perhaps, Jenkins?
Jenkins: Perhaps sir.
Jacob: Are you thinking there's an actual doorway to heaven in the pyramids? I mean, I think we would have found that by now.
Jenkins: It's not a literal doorway - a doorway like ours - interdimensional doorway.
Cassandra: Well that makes sense because the pyramids were designed along precise mathmatical lines. The stones are resonant to certain energy wavelengths along the magical spectrum. They act as lenses of focuses, foci along the three dimensions, dimension infinity Infinite infinite ... I saw it all! I saw it - all the way down!
Cassandra was having an epiphany on the order of what Tesla and others have apparently experienced. The TV show plays to most critics and viewers like a silly sci-fi romp. A clever ruse. The standing stones I mentioned were activated for transport when Jacob rang three tuned metallic spikes set into trees that ringed around the stones, making them resonate like tuning forks or bells.
Central to that episode's plot was ancient Camelot, and closely associated to that is the mystical Isle of Avalon. That renowned Isle of Wonder was notably evoked in the first in-stadium set of the Isles of Wonder Opening Ceremony, where a model of the Glastonbury Tor featured prominently. The conical or bell shaped model of the Tor was built in the stadium over opposite the Olympic Bell. For the ceremonial ringing of the bell, the camera lined up the two precisely, connecting them visually and ritually. You can see that in the official video at the 13th minute. Right. The thirteenth minute. I believe the Tor was engaged in the space-time manipulation ritual in a supernatural harmonic resonance, the model and beyond that as the actual Tor in Glastonbury that was known to be on the shore of the sea.
"As with Glastonbury Abbey, Glastonbury Tor is shrouded in intriguing mystery. Legends concerning its history and sacred significance have circulated since the Middle Ages, many of which center around King Arthur. In modern times, it is said to be a major center of energy and ley-lines and the home of a goddess.
The Isle of Avalon, often identified with Glastonbury, derives its name from a Celtic legend of the demi-god Avalloc or Avallach, ruler of the underworld. In Celtic lore, Avalon was an isle of enchantment. It was considered the meeting place of the dead and the point where they passed to another level of existence. The Tor was believed to be the home of Gwyn ap Nudd, the Lord of the Underworld, and a place where the fairy folk lived.
One major mysterious aspect of Glastonbury Tor are the seven levels of terraces that encircle the hill. It is not certain that they were man-made or purposeful, but they have been dated by Philip Rahtz to Neolithic times. Many believe they are an ancient ritual labyrinth or maze that correspond to a magical diagram."
(Glastonbury Tor - Sacred Destinations)
Seven, is a primary time number, and the terracing I noted in the ritual Tor in the stadium gave the impression of a criss-crossing of tilted rings. A magical diagram of crossing circles, linked to the time number. XO space-time. The union of the X and O establishes the celestial throne of the goddess, according to the O.T.O. It causes the flashing from the abyss of the Lord of the abyss, Nodens. If you're not sure any of this was intended, watch the ceremony where the "oak+thorn" tree rises up and people emerge from the underworld underneath. Gwyn ap Nudd, the Lord of the Underworld - Nodens. Avalon was an isle of enchantment. The Isles of Wonder from the Tempest, an isle of enchantment. The bell of Caliban, as I call it, resonated with the Avalon of legend through the space-time ritual Tor, evoking in their craft the goddess and the lord of the underworld.
Consider the following, from the same page excerpted above, which makes reference to a legend about Joseph of Arimathea, who donated his tomb for my Lord's temporary burial.
"When Joseph arrived at the Isle of Avalon (i.e. Glastonbury), he landed on Wearyall Hill, just below the Tor. He thrust his staff into the ground and rested. By morning, his staff had become a strange oriental thorn bush - the Glastonbury Thorn. For safe keeping, Joseph buried the Holy Grail just below the Tor at the entrance to the Underworld. Soon after, a spring, now known as Chalice Well, flowed forth and the water that emerged brought eternal youth to anyone who drank it."
The oak tree on the ritual stadium Tor was called a thorn tree. One can hardly deny that the tree was intended as a ritual staff of Joseph, the magickal artifact responsible for the source of this water of eternal life. The people who streamed up out of the ground where the tree had been planted on the ritual Tor were therefore, in this magickal allegory, immortal. And thorn people of the curse of Genesis 3.
With these insights, you really have to identify the ceremonial bell-Tor binding seen when Bradley Wiggins struck Caliban's bell with the ritual that engages the stone marker at the source of the Thames-Isis. To seal the deal, here's a picture of the construction of the set used for the Satanic Mills segment. It was lying directly underneath that of the pastoral setting that was stripped away by the workers who streamed out of the Underworld Tor. The Tor is on our left in this image taken during construction of the stadium sets. The bell would be placed on the right. See how the Thames-Isis is aligned on the stadium floor, connecting the Tor and bell through the ritual river of time. Bong, goes the bell, and the river and the tor, and the standing stone at the source of the real river resonates.
These things are a little complicated, but the details expose the nature of the ceremonial ritual.
One more point about that mind-blowing episode of The Librarians that pictured the resonating standing stone space-time actuation and featured Cassandra's description of the magickal dimensionally resonant stones. It was titled, "And the Loom of Fate," and it featured elements that were openly identified as the river of time and the loom of fate. The Loom is a mythical artifact that represents the mechanism responsible for the fabric of space-time into which history is woven - both past and future.
Now, give consideration to what brother David Flynn wrote about the Foundation Stone that was closely associated with the Ark of the Covenant. There's a lot to this, which touches upon so much of what I've been blogging about recently. (The use of bold and upper-case has been added to call attention to the section about the Loom of Fate-like fabric of space-time connection.)
"The arc is the measure of movement through time and can represent the measure of all time between eternities. In the same way, the Ark represented the influence of the eternal God within temporal existence.
In this model, time is linear, and moves from a beginning to an end. Travel through space is similar. Movement begins from a point of origin and ends at a terminus.
Here, the Ark of God resides inside the Temple, or metaphorically the temporal plane. The Ark of God represented the "arc" of his interaction between eternities. God, omniscient, omnipresent, and omnipotent, set the Temple at the focus of his influence in the world. It is a mirror image of the model of time. In 1909, Reverend C.I. Scofield made an observation that, "All begins with the Ark, which was placed in the holy of holies, because, in revelation, God begins with Himself, working outward toward man: as, in approach, the worshiper begins from himself, moving toward God in the holy of holies."
The Ark of the Covenant had been removed from its place in the Holy of Holies in the temple of Jerusalem before the invasion of Babylon in 587 BC. However, according to the ancient Jewish sages, the site where it had rested was considered almost equally important. Its location was God's eternal residence on Earth, the significance of which was described in the Talmud, a compilation of studies of Jewish law.
After the Ark was taken away (near the end of Bayit Rishon, i.e. the first temple period), a stone remained there from the time of the first Prophets, and it was called Eben ha-Shetiya, "Foundation Stone."
The name Eben ha-Shetiyah is a combination of two Hebrew words: "the eben (rock) of shetiyah (foundation, array or weaving)" literally translates to "the rock from which the world was arrayed" and "the foundation stone of the world." This remarkable meaning of shetiyah, of weaving or warping, fits the metaphysical sense of the location as WRAPPING THE FABRIC OF TIME AROUND ITSELF. This idea is reinforced in the Talmud that explains that the Eben ha-Shetiya was the first physical object that God created.
In the Mishnah Kelim 1:6–9, the Temple is described in relationship to degrees of holiness radiating outward from the Holy of Holies where the Ark of the Covenant stood. These areas are listed in order from least holy to most holy as the land of Israel: the walled cities of Israel; the city of Jerusalem; the temple mount; Rampart Court of women; Court of the Israelites; Court of the Priests; between the porch and the altar; the Sanctuary; and finally the Holy of Holies. In the pseudopigraphic book of Jubilees, the temple mount in Jerusalem is described as the center point of the world: "And he [Noah] knew…that Mount Sinai [is] the center of the desert, and Mount Zion the center of the navel of the earth…."
This idea is mentioned in several places in the Old Testament. For example, Judges 9:37 and Ezekiel 38:12 describe the location of the temple, or the mount upon which it stood, as the "highest place or center of the earth itself" or tabur ha eretz. The Septuagint Greek translation of these texts rendered the word "tabur" (highest place), as "omphalos," or navel.
The forms of "shetiyah" encompass a full sense of the foundation stone upon which the Ark of the Covenant was placed. The ancient Hebrew sages consider the combined meaning of "shetiya" as consistent with a point existing metaphysically outside of time.
In addition to the meaning "to warp," the root shayth also forms the Hebrew words: (1) Shathaw, meaning a foundation or basis; (2) Shawtham, meaning to unveil; (3) Shawthaq, meaning to subside or be calm; (4) Shawthah, meaning to drink; and (5) Shawthan, meaning to produce water. These ideas combined produce the sense of a metaphysical intersection between eternity and time, the terrestrial and the heavenly. The sages extended the implication of the foundation stone as a fountain of the water of life to the point from which all the world's water emanates. As heaven is the origin of the stone, so also is the source of all water on the Earth, falling as rain from heaven.
The process of water on the Earth fits the conception of time as well the Ark's relationship to it. Like time, the water of a river flows in a linear path towards its destination at a uniform rate. The ark that navigates upon it can move with the water's course, or independently from it. Like rain from heaven, time falls upon the earth based on the movement of the heavens. Ultimately, the rivers empty at their destinations. Moses floated his Ark upon the Nile, Noah rode the flood of the Great Deluge, and the Ark of the Covenant traversed the ocean of the Sinai desert. All three were guided by the Spirit of God (ruach), a word in Hebrew that is used both identically for breath and for wind."
(pp 53-56 The Temple at the Center of Time)
The stone placed at the source of the Thames-Isis by the illumined in connection with the XXX Olympiad appears to be related on some ritual level to the Eben ha-Shetiya, "Foundation Stone." We can't say for sure when, exactly, but we think it's not unlikely that it was in the season of the London Olympics that the very real flow of time was influenced. Somehow, the Foundation Stone or the Ark itself or the space-time intersection of the Creator's throne on Mount Zion seems to have been targeted and acquired for the manipulation. To be sure, this Olympic Opening ritual I've been describing connects the Thames-Isis to Israel's Jordan, the river of time that flows from Mount Hermon to the Dead Sea.
To be continued, Lord willing.