THE "UPPER ROOM" AS MULTI-DIMENSIONAL ASCENSIONAL POD (DOME)
in Leonardo Da Vinci / Bramante & Stanley Kubrick
(Mark: 14:13 -"Go ye into the city, and there shall meet you a man bearing a pitcher of water: follow him.
And wheresoever he shall go in, say ye to the goodman of the house, The Master saith, Where is the guestchamber, where I shall eat the passover with my disciples? And he will shew you a large
upper room furnished and prepared: there make ready for us-")
A crucial tale-telling deleted scene from Kubrick's "2002 A Space Odyssey" depicts a painting class; observe the WHITE grid ceiling, the GREEN carpet, the BLUE walls and oval WATER pool, and the RED-ORANGE dresses, all which below you will find in the ethereal "Upper Room" ending scene of the film.
Notice the exact same painting format as the Kubrick film screen, this is Leonardo Da Vinci's earliest finished work: the Annunciation. Pay attention to the Renaissance piece of furniture, replicated by Kubrick's ending scene.
Black Monolith as etheric Grid Matrix ("Square") ; White Pod/Dome as Celestial Alignment ("Circle")
*{ -Mark "14:13" as pun of the Squaring of the Circle defined by Number PI=3.14 ('PI-tcher')- }*
The only DOOR where astronaut David BoW-man comes from shows the Blue color of the Bath (symbolizing W-ater, and B-aptism; "BOW-man" as "Water & Baptism Man". But in a sarcastic pun, Kubrick uses the astronaut's name to imply humankind that BOWS to the "gods" via religion/politics/business/official education, all those aspects of false knowing that are designed to DULL humans; this is why the actor playing astronaut David -"King David"- Bowman was Keir Dullea - "Dull"-)
Best cinematographer of all time Stanley Kubrick was counting on you to correctly identify the ROOM with the Grid "Square" and the Dome "Oval-Circle" that he is alluding to in the final scenes of his epic "2001 A Space Odyssey". He placed as many viable unmistakable clues to help you along the hard work of properly identifying this "Upper Room"; you must watch the following video from min 2:05 on as astronaut David Bowman enters this eerie 4Dimension "Upper Room" as he arrives at it from traversing the stargate wormhole after reaching Jupiter in time for the celestial Alignment (as the last survivor of the officially titled "Mission to Jupiter" spaceship assignment):
The OVAL ELLIPSE / arch as the KEY that ties the Square matrix geometry to the Circular celestial alignments
*(ELLIPSE as the DOOR-KEY to theSpace/Time StarGate)*
The 8x8 Grid is on the floor, to convey the notion that this "Upper Room" is at the upper dimensional
Border-Realm form the 3Dimension (this 4D "floor" is the 3D "ceiling, that is); number 8 was used by
Kubrick to help you identify where these 3D rooms are located; look for OCTAGONAL DOMES, he was saying.
On this crucial (but apparently trivial) scene, astronaut David Bowman wears the YELLOW suit symbolizing the EGG (i.e. The Beatles "Yellow Submarine" & "... I am the Eggman...") while "officiating" at the "podium/altar"; observe how this room is a 3-tier :window" scene, the 3-pods behind symbol for the 3-arch windows in Leonardo's "Last Supper" painting. Kubrick is telling us that there are 3 major DOMES on Earth, and also that these 3 are fractalized in one specific building, the Vatican:
The 3 external Domes of St. Peter's Basilica reflect the inner structure of 3-vaulted navels; you'd have to be color blind not to notice how the SOFTS CLEAR BLUESISH GRAY with the gold-like tones of the decorations, as exactly the same color tonal palette that Kubrick used for his "Upper Room" ending scene...!
On each lateral vaulted navel, you see on top a DOOR that perfectly matches the shape of the door
that was "accidentally" (we must believe) opened right below at the center of the Altar-Table
in Leonardo's "Last Supper" mural painting on the Santa Maria della Grazie church:
So the same central motif of a 3 ARCHED or VAULTED NAVELS with a semi-arched DOOR(s)
is identically repeated in Leonardo'd "Last Supper" painting, in St. Peter's Basilica in the Vatican,
and in Stanley Kubrick's "2001 A Space Odyssey" ending scene room (as well as in the
previous 3-Pod scene with a yellow suited astronaut David Bowman; in that room, the
oval windows actually double as doors to each pod).
Here you see now the same room without the Pod, now replaced by the BLACK MONOLITH that is
ostensibly with the 8x8 floor WHITE GRID, and centrally ALIGNED with the bed and its
GREEN OVAL backrest, and with the oval in the ceiling, and with the arched false
window niche at the right, and with the back wall. The room evidently has a 4-tier SYMMETRY
to convey the idea of 4D, yet also to symbolize the 4-Pillared BLACK Altar at the under the
OCATAGONAL Dome in St. Peter's Basilica in the Vatican, called the "Baldaquino".
The white classical statues in each arched apse are clearly echoed by Kubrick with the statues he
placed under each false arched apse in his "Upper Room" room in the film. Here you see how the
Monolith acts as the Baldaquino in the Vatican's basilica. Also in this view, the 8x8 floor Grid
becomes an 8x10 Grid, a slightly elongated Square:
Kubrick with this architectural plan is telling us that the INNER ROOM of the basilica is OCTOGONAL ("8x8" pun) while the OUTER ROOM of the St. Peter's "SQUARE" (or Piazza - "PI") is slightly OVAL or ELLIPTICAL:
Observe how the St. Peter's Square colonnade area leads to the open back "door" so to speak,
unto
the BLUE WATER of the river; the attached blue bathroom in Kubrick's "Upper Room"
represents this river area (fractal of the Blue Nile, evidently), and identically it is just an open
threshold not a door per-se that connects both areas/rooms. The 2 chairs flanking the Monolith
in this "OUTER ROOM" fractal of the "INNER ROOM", represent the 2 Green Fountains
of the Piazza, at each side of the central Obelisk, which is the actual historical Egyptian obelisk that was in the city of Heliopolis (City of the Sun), brought to the Vatican.
Here you see the "Porta Sancta" (Holy Door) of Door-To-Heaven, with its highly symbolic Papal ritual performed every 25 years as described in the link above; observe the 4x4 grid of rectangles
ptically use the wide-angle lens so that the floor grid appears composed of elongated RECTANGLES, from each view the same distortion effect was made to occur.and the BLACK
surface, an unmistakable reminder of the Black Monolith
and
the white floor grid of Kubrick's "Upper Room";
Kubrick went to great lengths to o
A typical lighting effect produced by the windows in the Dome above the black Baldaquino altar in
St Peter's Basilica -akin to similar effect from the roman Pantheon-, that was mimicked
by the space POD (representing the Dome) with its shining lights, in Kubrick's movie:
The clues left by Kubrick are actually of the impossible-to-miss kind, provided you become aware that he is conveying the grandest of hidden messages & content, and have a minimum cultural-travel-baggage so to speak; the oval ELLIPSE is the ELYSION, the "Elysian Field" as resting place of the virtuous and heroic dead, this is why it's placed both in the ceiling as well as in the back of the deathbed -a GREEN VELVET Ellipse, symbolizing the green Fields of the Elysion-. This "Upper Room" has Renaissance decor, so that you the viewer understand the historical period Kubrick wants you to take a look at; the Renaissance was a period of cultural revival (rooted in the translation of the hermetic Greek texts) roughly from the 14th to the 17th century, basically a neo-Platonism applied to the arts / science / spirituality. Its quintaeesential figure was of course Leonardo Da Vinci, considered the ultimate "Rennaissance-Man" defined as a multi-discipline master, along the likes of Michelangelo -of most famous Statue of David fame, thus the name of the astronaut "David" Bowmanp-.
Michelangelo of course designed the outer open Piazza colonnade area of St. Peter (the Square) , adding also the Front Facade entrance extension to the Octagon Basilica designed by Donato Bramante, who died in 1915; Bramante used the plan of 2 Squares rotated 45 degrees, a prototypical ALCHEMICAL icon. Leonardo lived at the same time Bramante lived, only died some years later; Leonardo lived in the Beldevere at the Vatican for 3 plus years aprox. before Bramante's death, so to suppose Leonardo either had no knoweledge of the esoteric background to Bramante's plan or that he had no input into Bramante's design, only a hopelessly naive person would believe...! How big was the Vatican back then, that Bramante would not have been in touch with Leonardo who was living in the Vatican grounds, when designing St Peter's basilica...? Of course the truth is that they consulted each other, other notion is preposterous; the old basilica had been built at the site of a Mithras temple, it was much smaller and decaying rapidly so the Pope decided to built a new one that concealed the Mithras connection and more appropriate to the grandiose times at hand.
But the secret esoteric elite behind religions intended to build in stone a rather different alchemical and cosmological secret, that of the "Great Year" or "Platonic Year" that occurs roughly every 25,800 years; this Great Platonic Year is the real reason for the Papal ritual of the "Porta Sancta" or Door-To-Heaven every 25 years, and only an ignorant would not know that. And All painters & architects of the era that were fed the instructions by this secret elite, utilized this hidden esoteric information as the structure of their designs and real covert content of the "art" works; which evidently included Bramante and Leonardo, and in the 20th century cinematographer Stanley Kubrick continued the same work encode by these Renaissance masters.
Kubrick used Donato Bramante's initials for the name of the astronaut David Bowman (while simultaneously the name "DAVID obviously denote "DAVINCI"), in order for you to easily "place" in space/time the ROOM in question, which is the St Peter's Basilica a sone of the 3 Domes of the ALCHEMICAL CODE is is making a space-age allegory of -St Peter's at the Vatican, St. Paul's in London, and the Capitol building in Washington DC-.
The GREEN elliptical looking interior semi-dome Apse of the Santa Maria della Grazie church
designed by Donato Bramante, the same church/convent where Leonardo was commissioned to
also paint the famous mural of the "Last Supper".
designed by Donato Bramante, the same church/convent where Leonardo was commissioned to
also paint the famous mural of the "Last Supper".
(this video graphically illustrates the Equinox/Solstice schematic of
St Peter's Square, as solar KEY to the Great Platonic Year)
St Peter's Square, as solar KEY to the Great Platonic Year)
A striking feature of both the Basilica itself and the open piazza bounded by the elliptical colonnade, is how they both use the Metaphor shape of a KEY, to imply the catholic Church's Papacy as ('supposedly') the rightful heirs of the Saint Peter "Holder of the Keys of the Kingdom of Heaven & Earth"; keys that are always prominently displayed in any Pope's Coat of Arms of course:
The underlying esoteric covert notion here that a key must be ROTATED as a WHEEL, in this case the Square is rotated 45 degress to form the Basilica's plan, and outside in the Piazza the rotation is provided by the Celestial Alignments of the Double-Cross (+ and X). In Alchemy the 45 degree rotation of the Square means Order vs. Chaos.
*(below illustration from a Goro Adachi website)*
*(below illustration from a Goro Adachi website)*
This Chaos as in the masonic motto "ORDO AB CHAO" (Order Out of Chaos) consists of the CHANGE or TRANSMUTATION, which is the 8-pointed "Chaos Star" called MERCURY, and its corresponding 8x8 Magic Square of Mercury (seen below) -this evidently what Kubrick is symbolizing in his 8x8 floor Grid "Upper Room"-. The colors of this M.S. of Mercury are Orange/Bronze and Blue, which exactly match the moment of arrival of astronaut David Bowman to the "Upper Room" at the attached "Bathroom Vestibule" antechamber, him wearing the Orange/Bronze spacesuit, the bathroom itself Blue as symbol of Water:
The 8-pointed star of MERCURY corresponds to the Sign of Constantine and the St Peter's outer Square as well as the 2 suwares rotated inner Octagonal Dome plan. This is the "starfire" force of Alchemy, this the Rotas-Wheel of "trans-substantiation" in the esoteric lore:
This Rotation originally was an early Greek concept epitomized by the use of Gematria linguistic riddle in the famous "SATOR ROTAS OPERA AREPO TENET" Magic Square, which was incredibly popular and as such displayed in countless public buildings in Pompeii, etc:
This then widely popular letter-Magic Square was later utilized to derive the expression "PATER NOSTER"
in catholic Christianity as the latin name of the famous "Our Lord's Prayer" (the "Our Father" prayer),
by simply rearranging the letters, "A" & "O" to mean "Alpha" & "Omega":
Below you see the ancient chaldean "Zodiacal Swastika Wheel Key" that is behind the
entire astrological & gematria symbology, tying into the also ancient Celtic Cross:
(the video below graphically illustrates the "Fish" greek word as original symbol of early Christianity
before the cross of the Sign of Constantine; follows the figure of the "X" Cross forming the greek
name "Jesus Christ", in DANIEL GLEASON'S RESEARCH on the geometrical constructions
of Greek "Gematria & Geometry" iconic riddles, as the true origin of the allegories of the Gospels:
The Gematria numerology of the greek names "Jesus" & "Christ" are the diagonals
of the 6x6 Magic Square of the Sun...! ("Jesus Christ" is a geometric/mathematic
riddle, an esoteric Gematria-Metaphor construction)
Unbeknownst to practically all organized religion believers, EMPEROR CONSTANTINE who launched Christianity as a Roman Empire official state religion in the 3rd to 4th century, actually was an outsider in Rome since he came from today's Great Britain, and as such he was the one who secretly BROUGHT THE ANCIENT CELTIC CROSS to Rome, placing it as a substitute of the until-then christian used symbol of the Ichtus (which was actually a "153" Phish/Fish, from a Vesica Pisces greek PHI number 265/153 ratio of geometrical construction). This is only and when the "Cross" appeared as an object of cult in Christianity, coming directly from emperor Constantine.
Now the Celtic Cross consists of a Cross (Square) and a Circle, because the circle is supposed to be rotated (this an esoteric secret for the initiated only); for ex when utilized in Gematria or Kabbalah type of linguistic "magic cipher" construction as in the case of letter-Magic Squares like the famous SATOR ROTAS, this Circular Wheel rotates to cover and select letters within it, changing the meaning accordingly, showing inner secret ciphers-within-the-ciphers. And this is exactly the secret way in which catholic orders constructed their holy MEDALS with letters in "Cross & Magic Square" fashion.
In exact same secret esoteric manner for ex the English language was formatted using these Circle/Cross wheel templates; in the figure above you see how the VOWELS form a PENTAGRAM when placed in the Perimeter of the Circle; what is implied by these techniques, is a way of "Humanizing the Infinite" of the Circle, thus TRANSFIGURING IT INTO A GEOMETRICAL "SQUARE" IN-BETWEEN LIKE SHAPE; the Circle is Infinite while the other Platonic Solids are Finite, thus able to be mastered in a 3D Material and physical manner. Likewise there is a secret underlying geometric order for the total of letters, as it follows a "Hexameron" pattern (The Hexameron is the 6-structure number of the Book of Genesis, "God" creating the cosmos and man), naturally a Star-of-David implicit pattern of triangular 6-Letter Groups, a pattern anchored by the "POLES" across the center comprised of letters "G" and "T":
{ ABCDEF } - "G" - { HIJKLM } - { NOPQRS } - "T" - { UVWXYZ }
Point being, that there is a vast secret underlying esoteric structure not just to language, but specially so to "religion", whose covers-stories in the form of allegorical narratives are but highly crafted constructions of ancient Mystery Schools secret teachings, that utilized the cover of public cults to encrypt their hidden wisdom; so while the masses were/are encouraged to take them at the face-value of their literal reading, the initiates are taught to look for the underlying esoteric real information under those public covers that simply act as CARRIERS OF ENCODED INFORMATION for the few.
Salvador Dali's painting of the Last Supper for ex., showing the Atlantean etheric Earth DODECA GRID; the Book of Revelation (Apocalypse) was supposedly written in the DODECANESE SEA ( a part of the Aegean Ocean) at Patmos Island. Al these names and such are puns of a very ancient lost more advanced science of which tiny secret elites have hoarded the extant and fragmentary scattered pieces, thus possessing a comparative advantage as to the rest of the Earth's population. They have always transmitted parts of this "higher science" information in the form of religious texts, works of architecture, paintings, films, literature, etc., while feeding the masses versions of it all consisting of amalgamations of many cults and prevalent myths, so that "Everything Is Hidden In Plain Sight", and guaranteeing in this way the flawless transmission of the concealed information throughout millennia.
In this figure we see a highly sophisticated version of the Sign of Constantine (or "Chi-Rho" Sign), involving a hindu JAIN cosmology view -showing the christian "ALPHA & OMEGA" letters (1st & last in the greek alphabet, title given to "Jesus Christ" in the Book of Revelation)-; thus the representation combines the Equinox/Solstice solar scheme with 2 different views of the Earth's globe in fractal EMANATION. The same schem is underlined below, as the hidden structure of the Leoanrdo's "Last Supper" painting, the word "SUPPER" in english encrypts the secret pun of the "UPPER" room, as alchemical doorway to the 4th and 5th Dimensions:
Shown below a circa 1533 AD copy of Leonardo's painting -author unknown- in GREEN hues, with the checkerboard Grid floor under the TABLE (altar), indicating sacred ground; a meticulous Kubrick would guess that we would eventually get see this famous copy and make the logical association, not exactly difficult once you get the hang of it.
*(schematic of the "Last Supper" by Franz Gnaedinger, showing the 6x16 grid)*
*(schematic of the "Last Supper" by Franz Gnaedinger, showing the 6x16 grid)*
Why is apostle Thomas ("T") shown pointing with his hand to the ceiling of the room...?
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivEZLQJPOnN4QUibgK39b4BhdxE4RaInoabmydtD86F2iSEmAcPivTvjqHl5ySl36lyywiXI6eT7SASmcIULRxsBItVmsnts8hBnq6nAvMnqt70zU0Ca5tiSwOJkKPh0O4jBrR-KB-/s1600/909-Last-Supper-Large.jpg (click link for full screen high resolution)
Irrefutably Leonardo was signaling the 6x6 Grid of the Magic Square of the Sun in the ceiling above "Jesus", as the secret information encoded via this clever trick; in this Magic Square the sum of each column/row/diagonal is 111, while the sum of the total numbers is 666.
*(scroll down or up fast to see the optical illusion of the number-balls seeming to "move")*
Now the only place where we find both the 6x6 Magic Square of the Sun and the 8x8 Magic Square of Mercury is in the Masonic TEMPLE ROOM in Washington D.C., its skylight roof consists of a 6x6 white grid symbolizing the former, bordered by a Blue & Orange/Bronze trim symbolizing the latter, while its facade is composed of 8 Columns -a pattern of 8 columns also found in other iconic works of architect John Russell Pope (such as the National gallery of Art in D.C., the National Archives in D.C., the Jefferson Memorial in D.C., the Richmond Science Museum in Virginia):
From which we can clearly gather that Stanley Kubrick knew a lot more of really truly super secret stuff than we ever fathomed, and that he was brave enough to transmit to us in the cleverest of ways -(assuming we at some point would get to realize he was encoding all of this into his films, just like Leonardo had done centuries before)-. For ex. when we look at the Jefferson Memorial now that we got the idea, we experience a shudder as we see a resemblance to his white space Pod:
The Jefferson Memorial: 8 Columns facade with open "doorway" and black statue of
Jefferson at the center and dome on top, is represented as 8x8 floor and oval in the ceiling
and black monolith and space Pod, in Kubrick's "Upper Room" ending scene. Why...?
Now the Jefferson Memorial was overtly inspired by the ROMAN PANTHEON, the grandest of Domes with a hole on top signifying the Crown Chakra opening over the head as the organic OPEN STARGATE DOORWAY to the higher dimensions, and we can only enter that doorway via the Pineal & Pituitary Glands at the center of the Brain, once they've been activated and achieved illumination and given us this ability the "Enter the Realm of the Gods" -the "8 Columns & Dome" theme evidently a reference to the 8 Columns of the mighty Roman Pantheon:
So here we arrive at "christianity"s best kept esoteric secret, that of the names of "PETER" & "PAUL" as actually hidden codes of geometric & alchemical science:
"PETER" is code for "PERIMETER" and "PITUITARY"
"PAUL" is code for "POLE" (diameter) and "PINEAL"
Thus the history that followed onwards would be anchored
by the tension between The Vatican as "Peter" and The Temple
in London (with its St. Paul Cathedral dome) as "Paul"
What this meant is that the secret elite rulers were using these iconic bastions as fractals of the Pituitary & Pineal glands in order to be "Gate Keepers" of the Crown Chakra in humans,
enacting a false "state of division" between "believers",
such that the Pituitary & Pineal could never be acting in
Unison as One Diapason, therefore blocking Ascension
Here in the Roman Pantheon you see the GREEN apse with the Cross exactly as in the Santa Maria
della Grazie Church of Bramante -(where Leonardo's "Last Supper" painting was also commissioned)-,
and most notably the Red/ Blue/Yellow/White pavement floor Square Grid & Circle pattern used by
Kubrick in the Orange/Red and Yellow spacesuits, and the "Upper Room" as White & Blue.
A similar fractal contrived "manufactured division" between left & right brain hemispheres was later instilled as the still today applicable ideologies of the Left & Right wings
The 8-pillar Dome of the Roman Pantheon expresses the 8-pointed Star of Mercury, the alchemical "trans-substantiator"; when the St. Peter's Basilica in the Vatican is structured as an Octagon Dome also -only using the Square instead of the Circle template-, it is mimicking the previous Roman Pantheon. Bramante hid this by not attaching a front extension, but when he died and Michelangelo took over the job he added this front facade extension so the mimicking would be obvious. Then it immediately follows that if the Roman Pantheon was the "Hall of the Gods", then the christian "Communion of Saints" was nothing else than the same, but with a change in name.
Kubrick cleverly utilizes the imagery of the spaceship TUNNEL to convey the metaphor of the WORMHOLE TUNNEL of Ascension, where now instead of the space Pod it is the astronaut's spacesuit and specially the head section as fractal of the pod:
Then his message becomes even clearer once we understand the FRACTAL SYMBIOSIS between the Pantheon / the Cathedral / the Spaceship Wheel / the Pod / the Spacesuit / the Helmet section; all these are the same fractal family, only resonating at different scales of metaphor. The very translucent visor of helmet expresses the curved Cinerama screen...! -this is why at all times Kubrick shows reflections on this visor (whereas all other directors eliminate those reflections)-:
Here you see the 3 PROJECTORS (booths) of the Cinerama system used in the film, as an irrefutable fractal of the previously shown room with the 3 Pods (astronaut in yellow spacesuit); KUBRICK IN A MARVELOUS STROKE OF GENIUS MAKES ONE THINK OF THE ALMOST LITERAL IMAGE OF THIS PLAN VIEW OF THE CINERAMA SYSTEM AND THE ELEVATION OF THE ROMAN PANTHEON -OR THE JEFFERSON MEMORIAL-, and of all the Domes for that matter, in relation to your EYE and the illusory and manipulable process of "vision" in our 3D "reality". This is the Dome-Eye that precedes the inner projection at the back of the Brain near the Pituitary & Pineal, where the Brain merely decodes electrical signals -not visual inputs-, in a complete "computer" like process akin to how the image is formed on your pc screen -total artificial decoding and virtual reconstruction-.
In his crucial scene the moon-base opens up with the Sign of Constantine geometry and a Square within, combining the DOME and the EYE opening metaphor...! This is the Pantheon he is saying, this the Circle plan. Identical plan (the "+" cross and the "x" cross combined) you see in the below side elevation of the space Pod itself, once more fractals at work in Kubrick's messaging to us:
He is then that we start to get very uneasy at the way Kubrick seemed to be almost literally matching the Large Hadron Collider in France-Switzerland, how could he get it so right...?:
(magnet dsitribution in the LHC)
(Octogonal plan of the LHC, each section called an OCTANT)
*Modern physics version of the Pantheon*
-The Large Hadron Collider's most famous view-
WHAT IS MOST STRIKING IS HOW IN KUBRICK'S "UPPER ROOM" THE WHITE
GRID "MAGIC SQUARE" IS NOT AT THE CXEILING BUT AT THE BOTTOM, THIS
IS THE FLOOR WHERE THE LIGHT IS COMING FROM; KUBRICK WAS TELLING
US THAT THE WORMHOLE (the now LHC collider) IS NOT UP BUT DOWN INTO THE GROUND -the "light"(trans atomic starfire) coming from below-...!
JUST EXACTLY WHAT IS GOING ON HERE?, WE MIGHT ASK
In this almost opening scene in the film The neanderthal type Ape throws the bone into the air (see video of the scene) and it SPINS COUNTERCLOCKWISE, yet when it reaches the cenit and starts to fall it REVERSES SPIN...! This same falling one becomes the Space Ship becomes the "ROTAS SATOR" Wheel -only doubled-:
And in this original poster for the film the Space Wheel Station is seen SHOOTING a RAY LIKE SPACE SHUTTLE from a yellow window/door at th center, of same proportions as the table/altar of Leonardo and Kubrick's monolith, while the Wheel SPINS clockwise just like the Bone spin shifted too. The ape is smashing some SKULLS AND BONES (order of the Skull and Bones pun). The space shuttle is pun of the energy shootout from the center of a double TOROID VORTEX:
It is at this point that we enter "the zone" so to speak, that Kubrick wanted us in; now we arrived at the Upper Room so to speak. We are confornted with the Origin of Matter & Light, with the Alchemical Plasma of Trans-Substantiation, with the veritable "StarFire" itself, the recursive "generatrix" vortex of lore, with the problems if directions or archetypal MERKABAH SPIN and such. The Solar Suystem in this field of knowledge becomes a SPIRAL TOROID vortex, the Earth itself is one:
What exactly was/is that Kubrick was trying to tell us...? Without a doubt the whole film teeters from beginning to end on the concept of ANTI_GRAVITY, that goes without saying (and if you didn't pickup on that, reality-check: your observations powers are nil). Kubrick goes to the origins, the greeks, the romans, the secret shadow elite behind it all, Leonardo, the Church, the Vatican, the dome buildings of masonic slant, he goes everywhere and nearly has a reference to everything of importance in these topics.
You just have to pay a heck of a lot more attention then when you watch a film with popcorn in hand just to be amused and distracted from your day job -if you still have one, in this day & age-. Then you remember the Kubrick rumors (I don't validate them, I just offer them as necessary reference), even popularized by REM's "Man on the Moon" hit song
Observe how REM's cover of the album references the Kubrick screen format...! Furthermore, it shows 2 SCREENS, suggesting the double-screen trick of combining 2 filmed scenes in one -as such also used by Kubrick in "2001 A Space Odyssey". Even the blue/gray/white and gold tones match Kubrick's "Upper Room" scene...! *(Very clever fellas)*
The black black Monolith alignment with the sun & planets, here in the St. Peter's Basilica in
the Vatican as the Baldaquino alignment with the center of the UPPER dome's Sun-EYE:
Knowing Kubrick, even the musical score for the scene near the beginning where the bone morphs into the Space Station double-wheel (the famous "Blue Danube" waltz by Johann Strauss, starts in A major) must mean something to be deciphered in its own context, played over the PanAm shuttle docking onto the Space Station, the inside view showing the Cross Alignment (pun of the movie screen itself as Monolith, and once again the triple window/vault theme, window divided in central bigger part and 2 side parts, Sign of Constantine at the bottom center monitor):
So there is no other option from here on, than to -like Kubrick-
go back to the origins -the greeks-, in search for the ultimate secret greek science and wisdom (that part that was hoarded & hidden from us by the elite) Let's star with Leonardo's "last Supper" painting:
Now the right arm of "Jesus" forms an ostensible "V" with the left arm of "John" (who quite obviously is actually "Mary Magdalen", everybody knows that by now); in order for you to understand what is going on, you have to learn a bit about PYTHAGOREAN WISDOM and the highest iconic geometric formula of Metaphysical Metaphor known as the TETRACTYS; the Tetractys was developed into a "LAMBDOMA" or "PLATONIC LAMBDA" as the key to all sacred proportions for the generation of life and manifestation, in any ream life might occur.
*the greek letter LAMBDA used to symbolize the greeks' highest wisdom, as the essence of all manifestation; this the real origin of the gospel name "LAMB" for "Jesus" as the greek LOGOS derived of the Lambdoma; the New Testament was entirely written in greek, and when it uses the expression "The Word" as for ex in John 1:1 "In the Beginning was the Word, and the Word was with God and the Word was God", the actual greek word for Word is LOGOS. If you take its lower cap shape and invert it, it yields the "Y" of the hebrew TetraGrammaton, the "YHWH")
The letter "V" in Leonardo's painting is not about Venus being the symbol for "Mary Magdalen" as Dan Brown (aka astronaut "Dave Bowman") would have you believe in the fairy tale for the masses regarding the "Magdalen" landing in France carrying "Jesus" offspring -(a long held covert propaganda for the monarchy bloodlines of Europe, to convey themselves "divine" status" as descendants of "Jesus" to justify their rule by birth right / only a die-hard moron would buy into that, and yes millions of morons bought the book and buy into the whole bit)-, but evidently about the Lambda letter in the shape of an inverted "V" expressing the highest grade of Greek wisdom, and how this covert letter "V" is the reason the Papacy sits and is also called "The VATICAN".
*(the greek TETRACTYS with the TETRAGRAMMATON 4-letter "YHWH" formula for the hebrew "Name of God" , the real name all combination in the Tetractys -a 72 letter "name"-, 72 also the kabbalah numerological value of its total)*
*(inside the greek TETRACTYS a sideview of the so called "Star of David" is formed, as well as the all encompassing so called METATRON'S CUBE, as origin of all Sacred Geometry and "Flower of Life", as key to all manifestation)*
*(This 3D "METATRON'S CUBE" that doubles as a 2D HEXAGON is considered the Dimensional Gate or Vortex Door from one dimension into/from the other, in mathematical form is the "666" which is the crystal shape of Water)*
Of course those who do know the real truth about "religions" -LIKE LEONARDO DA VINCI AND STANLEY KUBRICK DID-, are totally aware of the fact that different traditions are merely "chapters" of a Fragmented template divided and scattered in pieces very but very long ago after the fall of Lemuria first, and Atlantis afterwards, and that the "dogmas" or "beliefs" are actually "ANTHROPOMORPHIZATIONS" of what once at a more advanced former stage of Consciousness in civilizations disappeared was just plain SCIENCE, but a science of an ETHERIC or HIGHER NATURE. Thus you see below the real truth about the "Name(s) of God" in the Old Testament, being simply different ASPECTS of the "Great Work" of ALCHEMY, in the sense that what fell down from 4D or 5D and devolved into the present decayed state of nature and humans, can re-ascend up again and "INTEGRATE THE TEMPLATE: into the "All Is One" centered Labdoma, the real actual "KEY" in these matters.
Then it matters very little if you call the 4-letter Tetragrammaton your own "religion true" name of God for ex the "YHWH" of hebrew lore, because in reality it is the same as the Trinitarian or triangle from of it within the Tetractys, and only an ignorant person does not yet know that; while at the same time these 4-letter and 3-letter :names of God" so to speak, by downwards EMANATION of the LAMBDOMA (the "Lamb" of christian lore) if you add another layer yields 5-numbers (thus 5-letters in the next level below the triangle. And this is the other 5-letter "name of God" as "ALHIM" in the Old Testament (often transliterated as "Elohim", but the original hebrew letters are only 5 and they are "ALHIM"), and yes indeed it is a word that is Plural, thus meaning not just "one" god, but irrefutably gods, a fact easily verifiable by anyone with just a pc connected to the internet...! Then in turn the esoteric Sefiroth of the Kabbalh as the etheric "Tree of Life" can also be found within the Tetractys:
And you have millennia or centuries of infighting between humans because of "religions" as each faction tries to prove its the sole "legimimate representative" of the "one and true" God" and fanatically seeks to impose it upon all others, when the real fact is that each is but a small limited fraction of the full LOST TEMPLATE i.e. "The Temple" that needs to be "rebuilt", and that each fractional piece of the original former whole pie (PI=3.14 pun intended...!) has nothing to do with "beliefs" or "dogmas" of "religious" slant, but with a much HIGHER MULTI-DIMENSIONAL ETHERIC SCIENCE, which scattered pieces were left to assembled like a broken maze after the fall of Lemuria and Atlantis.
EXODUS 3:14
"And God said unto Moses, I AM THAT I AM: and he said, Thus shalt thou
say unto the children of Israel, I AM hath sent me unto you".
So when in oh-so-clear geometrical reference to PI=3.14 in Exodus 3:14 "God" responds to "Moses" about which is proper "name" is -whether it was ALHIM or YHW, evidently the content f the question, the answer va,lidates more and yields a 3rd "name", this one with the emphasis on the repeated "AM", and there you have the LAMBDOMA's inverted V" as an "A" and the "V" is within the "M", and this is the real reason why the Gospel name is "MARY" and "MAGDALEN", as these are mere symbols for encoding hidden science. Leonardo knew it quite well evidently, and in a master move communicated this information to all who have eyes to see and a still working braincell and is not blinded by fanatical superstitions or hypnotic mind control. This is an "M" because the underlying relevant expression is "METATRON CUBE", this you have a "MARY" and a "JESUS", and it all could not possibly be more utterly obvious once you know the hidden multi-dimensional science. If you want to be exquisite, "I AM" ca be written as "YAM" as there is only a single "I " or "Y" in hebrew, thus "YAM=MAY" thus "MARY"...! As I said, it just could not be more obvious, that it is all encoded information utilizing "name" of "figures" to simplify and make it easier to remember the formulas, so the information does not get lost and twisted and degraded.
They teach you (or uneducate you one might rather say) only about a linear aspect of Pythagoras Theroem, while leaving out the entire wisdom Pythagoras taught with this universal figure...! Here it goes: the bottom 3x3 Square is MALE (FATHER, A-"BB"-A), the left 4x4 Square is FEMALE (PHIMALE, "A"-BBA, Mother, MA), and the hypothenuse as the 5x5 Square is the SON ("C"hrist). What Pythagoras wanted you to know and you are never taught, is that numbers are LIVING METAPHORS, therefore this is the only right angle triangle that can yield this specific "THREE FOUR FIVE" sequence. To understand what this means in relation to the DIVINE ESSENCE,you have to go to the Tetractys/Lambdoma, where it is explained to you how in an Equilateral Triangle configuration (where all sides are 1 and the same) the Manifestation of Life takes the folllowing routes:
The 2 basic operations of Manifestation are SUM DOUBLING & MULTIPLICATION DOUBLING (or their reverse Substraction & Division) as derived form the "minimal triangle" Monad, consisting of the top 1/2/3. So on the left side of the Lambdoma 1 doubles into 2 doubles into 4 doubles into 8, while on the right side of the Lambdoma 3 multiplies into 9 (3x3, or 3 "squared") multiplies into 27 (9x9, or 9 "squared"). The center vertical height is the number 1 going down adding itself, as in {1} then {11} then {111}. With these operations the entire universe is created in any dimension, when the reverse Division process is apllied as well, which yield the Proportion Ratios or Divine Fractions. But in the case of divisions, since there are fractional numbers between ONE and ZERO, than the number Zero is placed on top of the Lambdoma, outside of it, in such way that the projections from it towards the resulting fractional points produces the Emanations of the universe, the Laws of Proportions and Harmony:
And this process produces for ex the Musical Scale all musicians in any culture all the same use, whether they learned it or intuitively grasped it (placing the Lambdoma to the side so a more comfortable square is drawn):
When corresponding frequencies to the division of a STRING ON A MONOPOLE in the elemental fractional ratios of the Lambdoma are obtained, the Musical Notes and the different Scales and laws of harmony and musical construction that all we musicians use, manifest:
However this article is about the Alchemy that takes place in that "Upper Room" that was allegorized as in the "Last Supper" room { "S-UPPER" ~ "UPPER", evidently } as a Transitional State between a 3D Human "biological suit" (the gross material body) and another higher 4D or 5D state of a "new creation" symbolized as the StarChild at the end of the film. As the famous Leonardo drawing of a fetus inside the womb Kubrick assumed we at some point would see, this is why he placed the StarChild inside the womb at the end of the film...!:
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