http://www.brettsteffey.com/SacredGeometry.html
In this link on basic Sacred Geometry by Bruce Rawles, we see him drawing for us the most common patterns Nature tends to abide by when producing a "physical form" (shape) in our 3D reality. Of course unless you have been living in a cave for a really long time -intellectually speaking-, obviously the TORUS is the holy grail of energy/light/gravitation/matter formation, so to speak, as it evidently is the way in which 3D formation embeds from/to 4D origin in a Spin mode (thus a rotating Spiral). The following quote from this page link seems to be of extreme interest:
"The surface of the torus can be covered with 7 distinct areas, all of which touch each other; an example of the classic 'map problem' where one tries to find a map where the least number of unique colors are needed. In this 3-dimensional case, 7 colors are needed".
Before that Rawles shows the Pyramid of Giza's Phi ratio, the Golden Triangles embedded in the Phi Spiral, and how the outer one is one arm of the 5-Star fractal formation; researcher Dan Winter for many years has been extensively showing us how the Phi-Golden Mean ratio is the key to "perfect wave embedding" which is the geometrical equivalent of best Charge in magnetic/electric terms.
http://www.youtube.com/watch?v=ou6JNQwPWE0
In the final stargate scene of Stanley Kubrick's "2001 A Space Odyssey" (1968) masterpiece, at min. 5:41 in the video above, there appears the famous -5 that are completed into- 7 pyramids/diamonds, that quite a few Kubrick 'decoders' have puzzled about; typically the most consistent explanation has been to assume they represent the 7 CHAKRAS as vortixes of light into/from the ETHER, yet while that is quite accurate in my opinion, the above quote from Rawles link adds considerable more detail to the generic theme of chakra reconfiguration implicit in the film scene (as astronaut Dave Bowman is transitioning from 3D materiality into 4D more evolved ascension). That these 7 pyramid/diamonds are a stunning hidden reference to a TORUS geometry in relation to the CHAKRAS is not something to just frivolously dismiss as unproven, because in accordance to Kubrick's notorious penchant for 'offering clues' in key words or symbols we indeed find that he did film some of his movies in London's famous PINEWOOD Studios, the clue here being the word "Pine" as a direct reference to the Pineal Gland which is considered the gateway of the Crown Chakra and Third Eye, nonetheless.
Most people are completely unaware that in esoteric circles the Pine Cone is for this reason a notorious symbol, located in high places like chairs of the Grand Master in masonic lodges, etc; therefore they do not make the connection to the Christmas Pine Tree (and LIGHTED PINE CONE ornaments) as a secret symbol of the lighted Pineal Gland -reason for the lighting of which, expressing the "new birth" of the Third Eye in ascended individuals-. That the Pine Cone geometry is of well known Phi configuration should go without saying here, but also evidently the Pineal Gland was named after it because its shape resembles a Pine Cone, and the Pineal Gland is a CRYSTALLIZING organ; in esoteric wisdom it is considered a "tuning fork" of crystal resonance to the higher-dimensions via the Ether, that is presently DEVOLVED and "switched-off", thus incapable of SHINING in supernal light inside the brain as it was supposed to. Any correspondence between this shining and the title of Kubrick's other famous film "The Shining" is strictly coincidence, right...? In this sense, the Pineal Gland in its ascended state tunes consciousness and Dna to the fractal higher embeddable waves of the infinite dimensional existence, "connecting" one to the "All-Is-One" TORUS field.
http://www.collativelearning.com/2001%20chapter%205.html
This is the best introductory page in Rob Ager's phenomenal website pertaining the hidden message in "2001 A Space Odyssey", and reading/viewing it should suffice to give you a hands-on (head-on should I say) direct immersion in the thick of the topic. Simply put, if after reading the above Ager's page you still think there is nothing of incredible consciousness value cleverly hidden in this Kubrick master film, then you are a lost case of a moron. Follow his full website with articles and videos included:
http://www.collativelearning.com/2001%20analysis%20new.html
No need to panic, here you have the link to Part 1 to 13 of the entire Kubrick film, in case you need to see it again (just click each respective next Part at the right hand column):
http://www.youtube.com/watch?v=2DXMVG8fo3g&feature=related
Kubrick utilized a 70 mm Cinerama 3-projector system, which later got transferred to a single projector Panavision system; notice how the "space shuttle" in the film carries the Panamerican logo/title. The obsession under which Kubrick placed so many fractal (repeated) visualizations to the movie screen and this 3-projector technology, imply that he was intent on transmitting HIDDEN TECHNOLOGY INFORMATION in carefully disguised manner. Kubrick was a photographer before entering the film industry, so he was keenly aware of optics and the visual science related; this is why his films are so exquisitely visually perfect, and also why he was apparently selected to become a part of the secret-technology establishment in the field of film illusions. Jay Wiedner contends that he was hired to actually fake the lunar landing, but that is not a relevant subject in this series, thus I'll merely provide Weidner's verbal speculation below. What matters is that it is well known in some circles that Kubrick worked for the secret technology establishment to some point, to whatever extent that may or may not have been is another story:
http://www.youtube.com/watch?v=Og0OUAxWna8&feature=related
The relevant perspective to gather here, is that without the slightest doubt he was ENCODING STUNNING SECRET KNOWLEDGE IN THIS FILM, TO BE UNDERSTOOD MUCH LATER BY PEOPLE IN THE FUTURE, WHEN AWARENESS HAD REACHED A CRITICAL MASS -WHICH IS NOW-.
This involved a level of consciousness about the nature of our 3D "reality" as to some degree "fake or manufactured" -utilizing visual technology-, that was evidently decades beyond his time. It wasn't really up until 1999 (...31 years later...!) that this level of awareness caught on and we could begin to fully understand what Kubrick was trying to communicate to us utilizing a complex multi-level encoding:
http://www.collativelearning.com/2001%20chapter%203.html
Actually, even some of the best fans of Kubrick who are aware of such, are still not yet capable of grasping the FULL EXTENT & DEPTH OF HIS MESSAGE, they only 'get' a part of it. See, one really has to sort of go 'all-the-way' into the Fake-Reality approach, go fully into Total-Skepticism of this 3D Reality, and explore those extreme positions, to be able to understand what Kubrick was communicating. If we focus on his 3-projector metaphor of 3D Reality as a visual fake (symbolized by the 2D Cinerama system), one instantly finds a strikingly eerie parallel to for ex Bryan Kemila's assertions:
http://video.google.ca/videoplay?docid=-6226036544608625413#
In this old Kemila video, on min. 11:25 he arrives at an elemental "3-projection" pyramid model of the atom as originator of physical light -that is doubled, to fully become a hexagonal geometry-, that resonates with Kubrick's suggestion, unavoidably so. Kubrick was a film maker (and many say a 33rd degree mason), not a scientist, much less a cutting-edge physicist, so how could he have gotten such insights into something as daunting of a topic as this...? I provided the above Jay Weidner interview video in order to highlight his relationship with Arthur C. Clarke, who was up to his neck in secret technology, and that is how he was able to write science-fiction. This is why Kubrick collaborated with Clarke to create "2001 A Space Odyssey"; most assume the book came first and then later Kubrick made the film, but actually while there was a basic smaller story as root of the project (called "The Sentinel"), the film was before Clarke's book, as Kubrick commissioned him to write the book each time providing Clarke with rushes of the film, and that's how the project evolved in semi-parallel, but Kubrick was the leader and originator really, at all times throughout:
http://www.visual-memory.co.uk/amk/doc/0073.html
As there abound more than a few insufferable idiots who claim Kubrick was nothing more than a pompous egocentric at worst or "just" a gifted filmmaker at best -implying his films were nothing more than sheer intuitive art with no real meaning or message behind (or that he simply enjoyed confusing us)-, please do watch the 2 following short interviews with Nicole Kidman and Tom Cruise who worked very closely with him in his last film "Eyes Wide Shut", pay attention to the respect and tears his memory provokes in them, and use your imagination (oh, you can do it...) to extrapolate how much more than meets the eye is in all this:
http://www.youtube.com/watch?v=4HldZ_AAliE&feature=related
http://www.youtube.com/watch?v=nzWhj6CtGYk&feature=related
And to add more insight, here the Spielberg short interview followed by the ending of the Kubrick film he alluded to ("Paths of Glory" with Kirk Douglas), the german actress singing the part became Kubrick's wife for life until his death:
http://www.youtube.com/watch?v=B62f1gQliLY
http://www.youtube.com/watch?v=hc3imjZoBi8
If you are seriously out of touch, let me remind you now that Kubrick's long term project -the film "A.I. Artificial Intelligence"-, he could not work on, and finally gave it to Spielberg to do, this film is also a science-fiction tour de force. Here, parts 1 to 15:
http://www.youtube.com/watch?v=DpdFs7Ltqdg&feature=related
Kubrick's last film "Eyes Wide Shut" also touched on a few themes similar to "2001 A Space Odyssey", only this time on a more (although hidden) auto-biographical angle; the New York doctor Tom Cruise plays is actually Kubrick himself and what he had to go through it seems; what matters here, is how similar encoding tactics of "anomalies" involving spatial and scene settings are employed, whereby Cruise for ex takes a taxi to end up after a while across the street from where he was (if you pay close attention), or for ex how London is made to appear as New York, or the actual true castle of one notorious illuminati figure in Europe is made to appear as if located in a New York suburb, or how the excessive blue-lighting coming in from the windows is deliberately over-used to imply an "artificial make-believe reality" theme as well as the colors blue & red as codes for psychic programming, etc. In other words the same FRACTAL IMAGING methodology as a revealing of sorts on the illusory nature of our 3D experience is used, only in a different manner and in a different contextual atmosphere than the Space Odyssey.
Rob Ager picked up on identical observation regarding GRAVITATION as I did in this film; when the ape man throws the bone in the air slow-motion is utilized to convey the idea of an increased control over this force, and then the bone in the air becomes the space ship moving in outer space, then a pen is seen floating in the air next to a sleeping passenger, implying his is "totally" used to being in a situation of absence of gravity, and this epitomizes the last step in the ape's evolution before the next evolutionary leap is about to take place.
The classical waltz music obviously emphasizes this levitation intent as waltz is for dancing, and dancing is an attempt at controlled playful semi-levitation. The conquering of gravitation goes in paralell to the monolith's apparition then, it comes as a concomitant manifestation of these 'threshold moments' in the evolution of consciousness; since Kubrick ties these intimately with the AWARENESS OF A VISUAL FAKE REALITY (LIVING INSIDE A MOVIE), then necessarily he is indeed alluding to the subatomic structure as well, as for ex in the Kemila version, because Kubrick is putting Light (sight) & Gravitation as One; even more so than just implying the atomic substructure, he in-your-face also implies the astronomical scale, as the computer orange light is made to be like the Sun, irrefutably sending the message that HAL's computer consciousness even manifests or controls the way the sun and planets are perceived as such...! (thus subject to software programming as well).
This is where the reach of the film acquires a deeper-than-thou depth, and that is when you "have arrived" at Kubrick's real message level. In this strata of comprehension, THE FRACTAL THEME IS THE ENTIRE MESSAGE ACTUALLY, and shows how Kubrick had a keen understanding of it way before most people even fathomed it; whatever is valid for the subatomic world, is identically valid for the astronomical world, and both 3D "realities" at apparentlly different "scale", are actually passing through man's brain as one and the same process of low consciousness and tampering/manipulation.
Dave Bowman the astronaut, arrives at an 18th Century styled hotel room of sorts, made of Memories of his past, constructed by higher beings who observe him invisibly, in order to make him fell "at home"; it is a totally artificial environment, where he is completely alone, a full opposite of previous life experiences on Earth. As such it is a place between 3D and 4D, where the younger Bowman can enter simultaneously able to see his older persona, able to bilocate or dissociate in time/space. The previous white tiled ceiling of the spaceship is now reversed in the floor, composed of an 8x10 tile grid, thus the 18th century data clearly reinforced; this was the style of Louis the XVI, and the end of monarchies and fundamentalist religions, the era where the new age of reason flourished all over the world, implying a rebirth of consciousness. But at the same time old Dave Bowman is about to die and is having his "Last Supper", in clear reference to the religious christian myth. This correlates with the use of the CELTIC CROSS SYMBOL in the space station, a wheel that rotates providing some gravity to be like on Earth.
The film's theme song is "Thus Spoke Zarathustra" by Richard Wagner, providing the other philosophical angle to solve the puzzle; in Nietzsche's view, Man as-is is a "Transitional Phase" in the evolution from Ape to Superhuman. While still in this phase man is subordinated to an ARTIFICIAL CONSCIOUSNESS IN THE FORM OF THE SUPERCOMPUTER HAL; Arthur C. Clarke revealed that the name "HAL" means "IBM" since the 3 letters are removed 1-step in the alphabet. This in turn clearly implies that Kubrick was also utilizing Language Encryption, without a doubt (Gematria, Notarikon, Temurah). In fact as I pointed out before in this blog, both "HAL and "IBM" must be put together as 2 parts of the same name, in order to yield "BALHIM", which is the real full name of the "ALHIM" name of God in the Bible -(usually rendered as "Elohim", but letter by letter it is "ALHIM", this is why the hebrew circumcision is called "Brit-Milah", with Alhim in reverse, the "B" there to provide the full "Balhim"-), besides the genetic formula "YHVH" (yehowah).
I have noted before that this "Balhim" suggests an eerie "Mih-Lab" pun, as in Laboratory...!
Which takes us even on a further direction on top of all that Rob Ager and I have exposed; the same year 1968 another groundbreaking (yet considerably more modest in production and direction) film starring Charlton Heston premiered, the movie "Planet of the Apes". The parallel between Kubrick's Space Odyssey and this movie is striking and impossible not to consider as relevant; in "Planet of the Apes" mankind had already vanished and apes populate the Earth in the future. They appropiated some words and such from human ruins, the priests concealing the real history of the past and concocting make-believe stories about their origins. In the 1970 sequel "Beneath the Planet of the Apes", it is clearly shown how some New York subway sign names were transformed into religious words by the apes; this is what I believe is behind the "ALHIM" as "BALHIM" as "MIH-LAB" name for 'god', and this is in part what Kubrick & Clarke let on to a point, in my modest opinion.
I contend that the Monolith serves to transmit many complex things; for one the name for Ape or Monkey in latin/spanish is "MONO". The metaphor of the actors leaving the screen or equally so we as spectators entering the screens (into the Monolith black-screen), has another deeper level of meaning, that is added to the extra-dimensional notion implied (2D to 3D, 3D to 4D). The Monolith appears as an "outsider" object in each context, meaning an object "out of the programming" software, therefore becoming acquainted with it provides the incentive and curiosity needed to investigate and dare go BEYOND THE PROGRAMMING of the reality-construct. This the reason why the supercomputer HAL aborts the mission and tries to kill the crew, since the Monolith provokes a Spark of Will that leads to a Leap of Consciousness, in such a way that necessarily man abandons the simulated computer generated 3D reality, attaining freedom from it. What is at the bottom of this theme, is that man (ape) goes from "programmee" to "programmer", a god being the latter; the StarChild that Dave Bowman becomes, has to go back to the Earth to liberate all the rest of humans in a similar fashion, to communicate the wisdom of consciousness he had acquired regarding "Reality & Identity". We see the exact validity of this in the philosophical angle behind the story.
This is the role of Zarathustra in Nietzsche's story; he comes back to society after having been in total isolation and ascended in consciousness, to communicate what he achieved to man. If there is any doubt as to how central was this in Kubrick's mind when creating this film, the following will dispel them; the last initials of the title (this is the method of Notarikon encryption in Kabbalah) provide the spot-on confirmation:
[ "2001 A SpacE OdysseY ] are [ AEY = YEA ]
Next a crucial passage from "Thus Spoke Sarathustra":
"Innocence is the child, and forgetfulness, a new beginning, a game, a rolling wheel, a first movement, a holy Yea.
Aye, for the game of creating, my brethren, there is needed a holy Yea unto life: ITS OWN will, willeth now the spirit; HIS OWN world willeth the world's outcast.
Three metamorphoses of the spirit have I designated to you: how the spirit became a camel, the camel a lion, and the lion at last a child".
There you have the rotating wheel in space, the star-child, the YEA title, the alchemical meaning. Few people are aware that the name "Yahoo" is supposed to be one of the possible pronunciations of the genetic formula "YHWH" (yehowah) as supposed 'name of god'; Kubrick here is irrefutably using a similar strategy of touching upon the supposed names of god. Because the very 4-letters of the word ODYSSEY do contain the spanish/latin dor God, which is "DIOS" ("DYOS"). To insist that Kubrick was not aware of any of this and it is just sheer coincidence is both an insult to an obsessively meticulous Kubrick as well as to intelligence itself, and only a moron or superficial passerby could claim such seriously. You see, the word "ALCHEMY" is the raison d'etre of the Leap of Evolution story told in the film, and this word contains "ALHYM" -if you just care to notice and are not fully with wides eyes shut, that is-.
When we see the bed in which now aged astronaut Dave Bowman dies, we fail to perceive how Kubrick is telling us to learn how to read again:
[ DAVE BOWMAN ~~~ "DEB" + N ~~~ "BED" ] (1st & last initials)
All ellipse of logic, all hyperbole of language & interpretation are symbolized in the ceiling of the surreal room, and the ellipse even frames the backrest of the bed itself, and yet we fail to see what Kubrick is telling us, to acquire a different logic, a different way of reading & interpreting what we "see". Most people see the film and simply whine: "I don't understand a thing". Try, for a change.
Finally on a tangent note, the word "ODYSSEY" is also a pun of "DISNEY", which were/are oh so notorious in the business of simulating reality (and even psychic programming); while at the same time the acronym "DOS" as emblem of the computer technology is conveyed...! The only way to be able to truly apprehend the full extent and depth of Kubrick's message, is to carefully read this article, and go through all of Rob Ager's articles and videos, and after all that is done to watch the film again in full, and thus you will now be able to digest it properly as intended by the master filmmaker, "the" best director in film history par none.
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