The "Last SUPPER / UPPER Room" alchemical code -Part 1-

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"-)
                                

http://www.rense.com/general7/alchemkubrick.htm

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):

                        http://www.youtube.com/watch?v=lj-OlW83b6U&feature=related

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.

http://saintpetersbasilica.org/Interior/HolyDoor/HolyDoor.htm

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 

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

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.

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. 

http://www.revealer.com/platonic.htm

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-.

http://en.wikipedia.org/wiki/Renaissance

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".

http://www.youtube.com/watch?v=JKG59NUdn8A&feature=related

(this video graphically illustrates the Equinox/Solstice schematic of 
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)*

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:

http://www.youtube.com/watch?v=6R0kJFZLOcM

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)

http://www.jesus8880.com/chapters/gematria/666-magic-square.htm

http://www.jesus8880.com/chapters/gematria/zz-topics.htm

http://www.jesus8880.com/chapters/gematria/vesica-pisces.htm

http://www.jesus8880.com/chapters/gematria/sea-galilee-2-fish.htm

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.

http://www.seshat.ch/home/ls.htm

*(schematic of the "Last Supper" by Franz Gnaedinger, showing the 6x16 grid)*

http://www.seshat.ch/home/ls.htm

*(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...?:

http://cry3-aps.kek.jp/~lhcirq/cryohome.html

(magnet dsitribution in the LHC)

http://lhc-machine-outreach.web.cern.ch/lhc-machine-outreach/lhc_in_pictures.htm

(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

http://www.youtube.com/watch?v=YMgXOVJLmDU

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

http://www.jayweidner.com/AlchemicalKubrickIIa.html

http://www.jayweidner.com/ShiningSecrets.html

http://www.jayweidner.com/index.html#articles

http://en.wikipedia.org/wiki/Man_on_the_Moon_(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...!:

:                   

The picture in the Big Picture -Part 2: the union of Random & Not Random-

In Part 1 we let Kubrick (via Rob Ager & yours truly) make some important awakening doubts about the dubious nature of our 3D "reality" become more manifest to our awareness, by paying meticulous attention to seemingly imperceptible anomalous details. Here in part 2 we shall go the opposite way, trying hard to take a very broad bird's eye view of reality as it really is in a multi-dimensional sense, and its intrinsic relation to Infinite Consciousness. As this is no philosophical treatise but a free-flowing humble blog as an aid to reclaim a more evolved state, I will make several fundamental statements that are not proven sanctimoniously, if at all; yet you will find that they lead to an opening of sorts, as a psychic vehicle to a better understanding of existence, and a smoother and more assured transition or shift from Devolved to Re-Evolved. I am no lama on a Cloud-9 dispensing sacred gifts, but just a guy here in America; yet here a lot of very-big-words you shall read, nevertheless. Read them with kindness, and ye shall be rewarded; read them like a thief and ye shall eat your own tail.

In official Physics, the basic principle is that for every Action there is a corresponding Reaction; we will thus state here that for every Randomness to occur, a corresponding resonant Order exists, and call this the "RO" or "Root" Principle.


It is not needed for you to 'come-in' and 'put-some-order'; the Randomness itself already has an equivalent Non-Random pattern of Order, otherwise it would not exist. You throw a bunch of balls 'at-random' yet by reason of mass/energy/gravitaton/inertia etc, they appear 'randomnly' projected when in fact half of them (assuming all of them appear randomly dispersed) have a pattern of stasis, inherently so. Famous oracles as the I-Ching for ex, have followed this knowledge -that random is not random at all-. Stasis to what...?


Einstein thought along these lines, but Quantum Physics proved him really wrong. So God DOES play dice with the universe, or not...? I am no fan of Einstein, but the point is well taken, and you are one pesky tiny god (that's why I love Patty Griffin's never released song "Little God"); the particle cannot be determined as a space/time location, and is truly dependent on the observer to manifest again between the previous Quantum Pulse's position and the new Pulse position, thus the observer alters whatever random "trajectory" the particle had or had not, or something along those lines. All this is just funny talk about the fact that physical reality does not exist independent of Consciousness, and that the latter brings a wave into a particle "body" that can be observed in a particular "historic position" in space/time. Alright then, but now let's make the big leap.


We could add that Consciousness then, IS MADE OF A "PSIONIC ENERGY" THAT HAS THE POWER OF ALCHEMY BETWEEN WAVE AND PARTICLE; this Psionic Energy ("Sion / Psion") can be in another manner be understood as a Manifesting-Power made of a mixture of Thought & Will.


PSION(IC) ENERGY ~~~ MANIFESTING POWER ~~~ ALCHEMY ~~~ WAVE into MATTER


The question then obviously becomes: How does the Psion(ic) Energy manifest this intrinsic power...? Let's go back to the 1st statement above, that for every Randomness to occur, a corresponding Order exists; then you must come to realize that when the particle between 2 Quantum Pulses "appears" at a location that cannot be determined or predicted (thus "random"), it does so to your 3D perception since the corresponding Order is not within the 3D space/time, but at a higher 4D & up reality.  "3D" or "4D" both intend to mean a transition between one DIMENSION and another, as well as one DENSITY and another  -between 3D and 4D to maximally simplify the conundrum, in this case-. Read the preceding until well digested before carrying on; this stuff seems simple, but no it's not, oh no.


While you could on one hand be satisfied in the fact that we don't really see nothing at all "physically", as all visual inputs go through the cornea and are projected upside down in the retina where they are transformed into electrical impulses that travel to the inside dark cavity of the brain where they are "reconfigured" by software to be "visualized" as such within the brain -(implying that if the software is programmed to only decode 3D data then all 4D data is not "seen" at all, and/or that only 5 senses in 3D operation can pickup the input)-, on the other hand you must factor in that necessarily what occurs in one dimension / density is not easily perceived (if at all) in another conjoining dimension / density, and that what appears as "Random" in one is "Order" in the other, then a clearer definition of the vague term "Consciousness" begins to make its way:


Consciousness is the FRACTAL-RESONANT AWARENESS of the symbiotic relationship between at least 2 Dimensions/Densities, thus of the inherent relationship between Randomness and Order, as events manifest in either in respect of the other. Insanity is the obsessive worship of Randomness as sheer randomness as-is, as an absolute entity devoid-of intrinsic Order; Insanity is then a terrible "Diminishing of Consciousness" that results in Devolution, and an illusory self-entrapment in an illusory "single separate realm" of existence. The doors to the asylum are actually closed off by the inside, by the inmates; this 3D reality is as such an asylum to a large degree, and yes the inmates have taken over parts of the asylum


An officially certified teacher would feel insulted by this definition, since official education only teaches the relationships in Order, and discards everything "not in order or patterned" as merely Random, in the sense it is totally chaotic and senseless, empty. It follows naturally from this very narrow uni-dimensional view, that they must call the Multiverse a "Universe", and that they see all the empty space in their Universe as VOID or devoid of any substance/energy/pattern/density/order. And they like to call this "peace".


I call this the "fascist/communist/royalist" physicist's position; in this schizoid worldview, without 1 really big central authority, all else is hopeless irredeemable senseless chaos without Consciousness in act, in other words it is only the king/tyrant or what have you that inseminates Order and sense (enter just below them the academic teacher as rational savior of the mind, dictating what is and is not, uff...!? such arrogance). And yes this is totally true... as long as the people have been educated to think there is only 1 single Universe...!? , religion kicks in and of course will ingrain the fundamental notion that there is "only one way" to contact the divinity in this single Universe (you guessed it) through them of course. But the moment there are more universes or "realities" and that each is a subset of a larger Conjoined Double or Triple (etc) Realm, then none of it makes any sense in the least, it's all hocus-pocus blabber for intellectually and spiritually disadvantaged people. You remove the Multiverse and the Fractal Resonance, and naturally "only one" rule and ruler applies, duh... Perhaps that might explain why they taught so long the unidimensional Universe, don't you think?


Nothing exists in a "vacuum" separate from Consciousness; if something appears "empty" to you, it is because another form of Consciousness (from a conjoined reality or universe) inhabits and Manifests it (via Psionic Energy), that lays outside your dimensional fathoming.


More than this meaning that what you see as "empty space" is full of substance from another realm conjoined to your realm, taken to the ultimate extrapolation this means that EVERYTHING IS FULL AND NOTHING IS VOID, while at the very same time simultaneously EVERYTHING IS VOID AND NOTHING IS FULL in each other's conjoining universe or reality realm. But both extremes do not exist per-se, as they are only "potential fields of existence"; in simple lingo this means that at a minimum of 2 universes or realms conjoined, then on each of them "void/empty space" appears where its mirror-event is "solid substance" (or energy) on the other...! (I am oversimplifying this to the extreme, in order to make it understandable, as a beginning of knowledge on the subject of Conjoined Realms or Universes, since I am only for the moment speaking of a minimum of 2 Realms/Universes conjoined, when there are many more -but you get the idea, I hope-).

As we learned before that Matter becomes as the Psion(ic) Alchemy of Manifesting a Wave into a Particle, the "particle matter" that we perceive in 3D reality is 1-harmonic degree of Psionic Energy removed from the other "physical energies" of Electro-Magnetism and Gravitation, upwards dimensionally speaking.

Everything is already infinitely Full ( "All" -resonant with Order- ), but it FLUCTUATES into an infinitely Empty ("Nothing" -non resonant or Random- ) complement. This is valid for saying between Infinitely Dense and Infinitely Void, as Nassim Haramein's 100% Density of the Void observations apply. That specific "Moment of Consciousness" between both Infinites (totally Full & totally Empty) is an EVENT which we call "Manifestation" -an Event Formation-, caused by at least 3 types of Consciousness in act. As stated before, what es Empty/Random in one realm, is Full/Order in another ream; yet now we understand that these conjoined-mirrors fluctuate in state between one another, via a PULSE.


http://www.youtube.com/watch?v=F71qWfxgIu4


The Quantum Pulse is then the simple recognition of the fact that one Realm or Universe (dimension/density) FLUCTUATES unto another Realm or Universe (dimension/density), "appearing" in one while "dissolving" in the other, and viceversa. The Order of the Full -"All"- is of a fractal spiral nature, this Going-To the "Full" is also a Spiral Fractal, while the coming-from it is the same as the Going-To the "Void", thus the same Spiral Fractal applies. These 2 opposite direction "Goings-To" are a Fluctuation of State between a CHARGE and a DISCHARGE in energy terms, and one is recursive unto the other, because the "Full" & the "Void" are merely 2 aspects of the same, as All-Is-Nothing and Nothing-Is-All; to the Ether in between, they are only directions in the acts of Charge/Discharge.

http://www.mail-archive.com/vortex-l@eskimo.com/msg00143.html

This energy from the Ether or empty space in the sense that you go to its Zero-Point Void, has been widely seen as a 4D Torus extracting a recursive 3D/4D energy from nothingness; why...? Because there is no empty space just as nothingness, and it permanently fluctuates between this state in one dimension/density, and its complement  as Full/All in another conjoined dimension/density; but it does this fluctuation both "Alternatively & Simultaneously", and that's where the trick is.

Because in the Ether it is the same event in Time that is occurring everywhere in Space, whereas in one Dimension/Density realm it occurs "before or after" the same occurs in the other Dimension / Density FROM THE PERSPECTIVE OF EACH. Time is the flow from one Quantum Pulse unto its other concomitant one in a another realm, in such a way that a lower Dimension / Density can be thought by Consciousness as "Going to the Past", just as as higher Dimension/Density can be thought of by Consciousness as "Going to the Future". Since this eternal fluctuation is at the core of Consciousness essence and existence, it is not possible to avoid perceiving or thinking in those terms: THE SPIN OF THE FRACTAL SPIRAL IS INDEED "MOVING" FROM PAST TO FUTURE OR FUTURE TO PAST, yet at the same time in the Ether it is occurring "simultaneously" & everywhere. 


We could not think of this or be aware of such, if there weren't any Numbers; because it is Numbers that are the dual capacity to exist as All/Timeless/Everywhere yet also as Nothing/In a Time & Space; what this means is that ONLY  NUMBERS can be both simultaneous and sequential. Numbers then are the Ether itself which is full of all numbers from Zero to Infinity, and this is the Ether's "Grid" so to speak; we are formed by Numbers and are able to think in Numbers and be in Numbers, because they are the "Ether" that mediates between all conjoined Dimension/Density realms or Universes -in the most essential aspect of the Ether (spiral grid)-. In this sense, the Psion(ic) Energy manifest as Thought & Will, is the expression of Numbers as the Empathy of the Whole and the Nothingness; these could not be one unless there are numbers that connect both ends of the Infinite -the All & the Nothing-. We then have to be aware than numbers 1 to 9 have a "built-in" AXIS & SPIN, to Go-To/From any Dimension/Density, carrying with it any Consciousness that entertains it; then it follows that Psion(ic) Energy of Manifesting can be aroused and intensified and trained, via Numbers and their Geometry Fractals, if we know the spin-route. However not just by focusing on their Sequential aspect, but also in their Simultaneous aspect, in other words focusing in their full Harmonic/Resonant ubiquity, their etheric double-nature.


---Below are introductory links to the works of Marko Rodin and Randy Powell---:


http://markorodin.com/1.5/intro-a-summary
http://www.youtube.com/watch?v=c1hLzQPio_8&feature=player_embedded#!

A certified educator will once again feel insulted, and rightly so!; they have been so far training pupils NOT to focus multi-dimensionally, but at the contrary training pupils to "only" focus on one half of the nature of Numbers  -the sequential/hierarchical aspect-; in this way, an imbalance is produced whereby only 1 half of the Brain hemispheres is evolved (the so called Right Brain), while the other half goes paraplegic so to speak; this has the existential effect of "locking" the person unto this 3D realm only, in terms of Consciousness & Perception. Any senses above the 5 Senses construct, are rendered inoperative by this imbalanced training.

We are now able to specify that Consciousness is the Awareness of Spaces in the Infinitely Dense (Full), while at the same time the Awareness of Packed Energies in the Infinitely Empty (Void); as such, Consciousness is essentially an OSCILLATION OF FOCUS, "tied" by a "Moment" in the Event-Formation between the 2 opposing Infinites, that renders them as a UNION, and not simply as a disjointed or separate Bi-Polarity. What this means is that Consciousness is the act of Thought & Will that can "conjoin" what is of opposing Spiral Spin, what "exists" in apparently separate Dimension/Density realms,  as a whole ORGANISM. If this was not so, there could not be a Recursive Charge between the opposing spirals in the Torus, they would be going off into their opposing Infinities (the All & the Nothing) or unto their Dimensions/Densities without ever "feeding back" to Source. This Thought & Will of "Feedback" Recursiveness, is called LOVE, and it is thus INFINITE in essence, able to manifest in a fixed-scale, yet infinite by definition (you can love a person, but not "just" a person only); it does those 2 things, because that's what Consciousness does, be of limited fractal scale while simultaneously be of infinite All & Nothing scale. The important lesson here, that the Recursion of Zero-Point Energy is an Intensification of the Psion(ic) Energy as Love, or what we could term "Fractal Feeling". In a society and realm and mindset without this type of Consciousness/Love, extracting energy from the void is a doomed feat, as the Thought & Will are not in-sync and never will be;  like trying to play music if you're tone deaf and lacking in emotional intelligence.


If Consciousness is actually the manifestation of Love as Thought & Will of uniting the All & Nothing (the Infinite at both ends of it), then Love is the RECURSION IN THE FLUCTUATION; we have to pause here and remember than inter-dimensional existence is not a "material physical" 3D technological feat. All Ego linear logic mindset will end you up where you started, or more often worse; we have all heard how in reality UFO's are semi/etheric vehicles controlled by thought, interacting with the psyche of the driver, since anti-gravity interacts with consciousness to be mastered and put to some use. This is not merely a matter of convenience, but an intrinsic aspect of multi-dimensional existence, as the higher up you go in dimensions / densities the more Psychic or Etheric you become, in respect to the "fixed particle" mindset and manifestation of 3D "reality" (the knock-on-wood illusion). Going-Up dimensionally speaking, is becoming less physical in the way matter is here in 3D, and there is a Perception attached to it, an Awareness of it, a Modality to it, a Feeling to it, since you are more & more Wave instead of Particle...! In other words it's higher vibes upon higher vibes as you go up in Dimensions/ Densities, as we all have heard of, and reality is not "fixed" in forms, but rather susceptible to "Instant Manifestation" of Inner Thought & Will.

What happens then, is that your mindset becomes more & more a Psioni(ic) Energy state per se, and this Energy that we now manifest in part as "Thought & Will" here in 3D, is refined to its Wave more pure aspects, in the sense it becomes "you", in the sense "you" become the wave itself, pure light if you will. But this light is Thought & Will of Love as the Union of the Infinite All & Nothing, THROUGH YOU...! These 2 conditions "pass through you" and "are" you as experience; therefore you cannot simply exist in 1 single Dimension/Density, as there would be no "Going-To" either direction. You exist in many Dimensions / Densities, because this is Love and how Love works and manifests, and how Wisdom is acquired.

The operating love "I love You" is just a fractal of the entire picture, as one dimensions loves the other, and how the whole loves the part, the part loves the whole, the All loves the Nothing and viceversa. In other words the Torus passes through you and in you at you for you by you, in every single NODE; in 3D we think of these Nodes as "atoms", but they are in reality Toroids akin to Black/White Holes, each smaller one a fractal of a bigger one, in both directions of the Infinite -the All & the Nothing-. This is how everything is linked to everything, and how existence in one Dimension/Density is concomitant to existence in a another.
And this is why you have a Heart as a perfect Toroid embedding of infinitely recursive fractal sharing waves:

[ EARTH = HEART ] (rearrange the letters)


The Multiverse is recording your experience as each Torus or Black/White Hole passes "through you", and this is the Great Feedback of Love as Infinite Consciousness; the Ying/Yang of the different realms as they are the "mirror"of one another. It's by Infinite Love worked as a UNION, whereas if turned into a Consciousness of Bi-Polarity it is a disease called Psychopathy. This causes disruption or extreme-shear in the Recursive Convection of the Etheric Energy flow, as Consciousness focuses more and more on the separation aspect, unable to get back to Source (the All-Is-One), i.e. manifesting the broken Torus. Science is Spirituality and Spirituality is Science; this deficit of recursive energy in turn manifests as the need to acquire or re-balance the fading energy in other pathological ways, for ex via feeding from other beings or animals or organisms, as "feeding" is nothing else than Vampirism, the sucking off of the energy from others now viewed as "prey" or as "victims", in this psychopathic 'energy-survival' mode.


Therefore the devolving psychopath is multi-dimensionally diseased, locked into his own Ego as a disjointed Torus, unable to enter his original Higher Dimension; the result is an "Inter-Dimensional" or interstice existence in the Multiverse, unless they fully get locked in one Dimension/Density only;  however these Dimensional Cul-De-Sacs or Interstices are by definition very empty of energy, as you need to be both in at least 2 realms to be able to generate a Vortex or Torus soul. The way these beings "managed" this problem, is by CREATING SEUDO-REALITIES WITHIN REALITIES, that contain a limited source of Recursive Energy, and long as they could hunt and trap into those realities a few "Original Souls" (or what some have called a "Theomorph" person), someone with the capacity to still be connected to different dimensions and thus serve as a permanent etheric energy source for them to siphon off.


These are the beings that created Death, to continually "harvest" the soul matrixes of those in their possession within these seudo realities they created; Death is produced by delinking Consciousness from the eternal recurring "Template of Love" flux, and becoming anchored in a non-sustaining Ego self. The Torus is ruptured, and you can never achieve a return to Source, lost in endless incarnations in between realities all managed by the same beings for the same purpose. These false-realities might occur as mini-semi-personal sets within larger realities, as mini-collectives, but also can be extrapolated as having cosmically HIJACKED the entire matrix of original realities, such that at present our 3D "reality" might probably be one of those. So that we have a series of cosmically disjointed fractals, each somehow feeding energy from a previous one.


Whatever physical Torsion/Quantum event causes "Death", must have its concomitant presence-of-consciousness adhoc to the event to manifest as such. If we go back to the beginning of this article, this leads to the awareness of the DISRUPTION OF THE UNION BETWEEN RANDOMNESS & ORDER; said in another way, this implies that a Vampire as Demiurg is a generator of False-Realitys scenarios in and by which he entraps victims where Randomness is the rule to a large extent in the Consciousness of the victims, while the inter-dimensional Vampire sees the Order perfectly, having that "vantage point of view". This disjointing or separation between Randomness & Order (Random & Not-Random) is "emphasized" in these False-Realities, it becomes the center of the action so to speak, the whole leit-motif of existential outlook even. We see this for ex in the masonic motto "Ordo Ab Chao" (Order Out of Chaos), a mass technique of manipulating the victim (humanity) to not be aware of the Order, which the victim only perceives as Randomness, or emptiness. I will call this state a "Dissociaton of Randomness & Order in the Mind", as an altered devolved state of Consciousness that paves the way to the ever repeating grip of Death, due to the the inability to ever escape the Time-Loops fabricated in this manner. We must understand that whatever new inputs in the quest for immortality occur, they do so only and only if a concomitant CHANGE in the prevailing mindset regarding "randomness" takes effect. 


I once asked a guy who had fought the entire World War II about his impressions; he replied that war is hell, because death in war appears as a continual random event. Notice he wasn't emphasizing pain and all the other usual 5-senses type of dramatizations, but had actually gone in pretty deep into Consciousness itself, and discovered the main clue: senseless RANDOM Death. If you care to look around for examples of this theme, you'll discover the same, that Death & Randomness or Non-Randomness are crucially tied to one another; it's as if literally the Time/Dream machine gets slowed down to the subatomic level, and the Quantum wave/particle situation of "indetermination" plays out at extreme slow-motion, and then fractally it's ballooned into the corresponding fractal of the entire person's situation. 


A magician was since old times viewed as one who could traverse between realms, and extract the governing laws of another realm -to be applied in our realm-, thus changing the 3D "form" of things. But interestingly enough the magician has always been a master of LANGUAGE, a magical secret "alchemical" language of sorts; this is because Language is a Numeric aspect of Waves but endowed with the potency of METAPHOR ("Numbers Are Metaphor"), interacting with Consciousness in the generation of forms and events. Those who consider Language as merely instrumental and pragmatic, a utilitarian random set of whatever symbols, have extremely poor insight into MULTI-DIMENSIONAL INFORMATICS, the way a Matrix is configured and the relationship of language to the Torus, via the Magic Squares templates. 


http://www.greatdreams.com/grace/50/55magsqlev.html

Letters and Numbers have always been connected, and Language as "magical software" is a very but very ancient theme. This means that Language is also a reflection of Infinite Love, and just as well can and has been utilized to induce hypnotism and ultimately Death into Consciousness; the way this was done is by promoting the view that language is sheer Randomness, when it's NOT...!? There isn't a field of knowledge where the interplay between Randomness & Order is more explicit and provable, than Linguistics; Gematria goes a long way in establishing the new regenerative mindset for the coming re-evolution, by rewiring the neural paths of the Brain.

To me, what is particularly revealing in my experience, is the relationship between Altered Higher States of Consciousness (i.e. normal evolved Consciousness as opposed to the current very sick & utterly devolved state) and the practice of rhythm control. I got this from both music and the utilization of extensive Digital Delay (as the use of fractal subsets in music), since delays INDUCES FRACTALITY in the mind & will, with respect to emotion. And in my experience with semi-terminal ulcers disease, when I learned how to almost stop breathing to almost stop heartbeat and such; it was long after that I realized that the reason Yogas must master breathing and heartbeat control, is to make them masters of their fate...! Because these are the FRACTALS OF THE QUANTUM PULSE AS WELL AS THE COSMIC PULSE. The unavoidable implication is that hindus long ago knew that this 3D "reality" has been hijacked many times, and the current Quantum Pulse is an interference pattern (many times over) of the original, in the sense that many subset smaller quantum pulses can be obtained to "open up" a reality to the creation of copy matrixes of reality (parallel timelines). The Yoga had to then become a master of ORGANIC PULSE to gradually extricate himself from the current quantum pulse that is "tuned to" the death spiral, the non-recursive shear, that beats to the random locked in itself without recursion to fractal order.

The picture in the Big Picture -Part 1: the Stanley Kubrick leap-

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.