Flat Earth; Enclosed Creationism; Conspiracy (Theory) and Reason – Part Two:

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Your intuition is telling you something about the world, and if you are ever inclined to question the environment surrounding you – like whether you live in a sphere or a flat dome, your intuition knows the truth. This new paradigm will always be unanswerable, especially towards rational thinkers, but within your inner meaning guided by your intuition. You can come up with the correct conclusion.

Intuition is a spiritual act that resides among the non-rational; therefore, switch your mindset to the right side of the brain for a while. A sphere or a dome are options that seem (or what your intuition tells you) seemingly an antipathy to something else, like all the atrocities in this world, like wars, which, according to conspiracy believers, are orchestrated by world banks – with their depopulation agendas (geoengineering and so forth) that we know to be true given the evidence. Somehow, it is okay for the powers to destroy the world they also live in. And this seems irrational. If the world is an infinite plane, then we realise these levels of antipathy make sense. So, in other words, an enclosed worldview does not make sense within the levels of antipathy they created via end-time programs unless you are among those destined for the breakaway (or underground) cities.  

People know the distinct difference between Science and Scientism, and they should also be clear on who pushes a scientism conspiracy aspect, which is an enclosed creationist. Moreover, they’re in the position of becoming myopic about science itself as something dogmatic, and there is danger in this. There is a sympathetic consideration to be had given that when they use the same scientific method or process, it’s met with scepticism even if it’s valid and has determined their theory might be correct. This ignorance is because science is governmental science, and even scientists, among their groups, must comply with its rigid framework.

The danger comes from forgetting history and what science brought to modern human civilizations. For example, centuries ago, during early medicine, a relationship between the artistic or aesthetic world of autopsies and anatomy drove the scientific world of medicine – medical research and applied medicine. There was a clear understanding of an inseparable link between the arts and sciences. Of course, this notion is far from today’s materialistic worldview, where utilitarian determinism has taken over and attaches most of the science to the knowledge economy.

Henri Bergson argued for the natural marriage between intuition and science, and he was successful at it. He noticed the marginalization of intuition and argued that acknowledging the core of scientific discovery is intuition. To express itself, it must use “a mode of expression and application which conforms to the habits of our thought.” And this includes “exactitude and precision.” Gradually, we mistake “the logical equipment of science for science itself.”

If we acknowledge that intuition exists, there needs to be a space for it to flourish. We achieve this by developing questions that are not designed to favour purely rational or linear answers. While it may be categorised under fields like metascience or Physics, we must recognise it as a holistic concept. At its core, science is about uncovering the inner structure of the universe, which can support animism and vice versa. Additionally, we should remember that science initially emerged from alchemy.

NASA employs creative people (traditional and digital) artists to render a hyperreal space cosmology. They’re working alongside NASA scientists to conjure images to portray a hyperreal space reality. So again, there are links between the arts and sciences here, but the mode of expression here is to propagandize a false simulacrum that doesn’t conform to our habit of thought. Instead, it’s a means of stifling it by ironically promoting a romantic, infinite universe that is vast beyond imagination – when this is an agenda to misalign our centre.

NASA and its hyperreal-space cosmology need their slip-ups, evident in the various footage of their so-called space stations. For example, their Mars Rover observer indicates that Chickens on Mars have all the hallmarks of unrehearsed parody. Such is the parody; there is an array of governmental science icons, such as Brian Cox and others, who at this point are frontmen for the demoralized and consensus-based population, but for people who know better, it is malarkey and so becomes a type of comedy in itself.

NASA resembles sincere science but sometimes forgets that it must uphold the false facade. And sometimes they will miss it, or if it’s something out of their control. For example, NASA’s legitimate 1988 document “Derivation and Definition of a Linear Aircraft Model.” Under the heading Abstract (which coincides with that last statement I conveyed about people not being able to live in the flat-earth-abstract so quickly within the time frame flat-earthers want it to be. It so happens that NASA’s implied flat earth statement is under the heading Abstract); it states, “This report documents the derivation and definition of a linear aircraft model for a rigid aircraft of constant mass flying over a flat, nonrotating earth. The derivation makes no assumptions of reference trajectory or vehicle symmetry. The linear system equations are derived and evaluated along a general trajectory, including aircraft dynamics and observation variables.”

By this very statement, NASA knows the Earth is flat and has always known from the beginning, and they created all the supposed Apollo missions and the 1970s vintage TVs and films. They didn’t think that one day, technology would reach an astronomical feat, technology that was more powerful than what NASA could even conceive of in 1969: computers the size of phones. Apollo was a propaganda circus meant to take people’s minds off all the crazy crap in the country at the time.

Also, NASA’s infrastructure is highly compartmentalized, meaning different people working on the same projects come together. From here on out, nobody knows if it’s going to Mars or wherever it’s supposed to go; at this point, it might as well be sci-fi fantasy pushing the notion of hyperreal space. That same technology is the same robotic achievement used to check for highly suspicious bomb threats.

The notion of reaching the moon (the space race) in a technological sense was probably based on who could back-engineer UFO crash ships the fastest and, in doing so, mould their advanced air-(space)-craft. NASA’s cover made us believe they landed on the moon with tin foil materials and confined capsules. When, in reality, the kind of hardware (advanced beyond people’s knowledge at the time) was getting ready to be rolled out in Area 51, knowing the Earth was flat and going to the moon was a cover as they knew it was unreachable. Operation Fishbowl reinforced this notion, so the next plan would be to travel across the flat-earth-plane.

Stanley Kubrick’s heavily symbolic film The Shining, decoded by a fascinating documentary, Room. 237 suggests throughout the many analyses that the moon landing was a hoax. According to conspiracy researchers, Kubrick was also involved in the project to make a fake moon landing.

This scene is not from The Shining, but from 2001 Space Odyssey, another film by Kubrick which, together with The Shining, has significance. Hollywood special effects people specializing in front screen projection have all confirmed the Apollo footage resulted from front screen projection. They indicate that the bottom of the screen is always hidden, and the set screen separation line is visible.

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Richard Hoagland examined the Apollo imagery and noticed reflecting and refracting lights in the background. He incorrectly concluded that these lights were evidence of giant alien cities made of glass. However, he was observing the reflection of light from tiny beads on the Scotchlight screen, which is used in the front screen projection process.

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In the Shinning, the patterns in the carpeting match Launchpad 39A. Also, the pattern in the Rug changes when Danny stands up. The carpets are reversed when Danny sits back down; the pathway no longer exists. The Hexagon is closed (as it probably means you’re enclosed in).

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Every deviation from Steven King’s book was to implement Kubrick’s own experience surrounding his dealings with the US government while also dealing with his wife upon telling her his situation, depicted in the film. Room 237 was supposed to be 217; Kubrick changed it as it represented the moon landing stage where he worked. Also, the distance from the earth to the moon is 237,000 miles. Also, 2x3x7 equal 42, which is the answer to the universe according to Hitchhiker’s Guide to the Galaxy; it also has many meanings when decoded through gematria. Sometime in the film, Danny would also sit in front of the TV watching summer of 42. Forty-two is significant as it represents a body of light travel. Forty-two can be found in the symbol Triangle Sri Yantra Mandala, which coincides with Noah and the Biblical Rainbow Promise. The Yantra constitutes 42 base triangles.

Jay Weidner also made a documentary called Kubrick’s Odyssey. The documentary suggests NASA commissioned Kubrick to help create a cinematic and photographic simulation of the Apollo missions for public viewership. And 2001: A Space Odyssey was an entertainment project for a bigger-budget production set to be filmed within the gates of Nellis AFB’s Area 51. And his wildly unfaithful adaption of Steven King’s novel ‘The Shining’ was his cinematic mea culpa, confessing to the con. Moreover, Weidner is not arguing that NASA did not land men on the Moon, but that the Apollo missions were a cover for a secret space program. 

In a world of secret space programs exists two missions: one, to convince a hyperreal-space as reality exists that’s made for TV financed by NASA, and two, actual missions using more military severe hardware that’s a lot bigger, heavier and much less telegenic. Of course, the word, secret space has a subversive meaning: an institution in secret developing technological marvels; however, both missions play on the notion that space exists, and both are going in the same direction. The second mission may be another misdirected target for people in the know inside its institution. When, in actuality, only persons high on the echelon of control know which real direction they’re going.

The film “2001: A Space Odyssey” can be compared to “The Holy Mountain.” In one scene, Joe flips a table featuring the enneagram symbol and declares that everything is ‘Maya’ and ‘you’re in a movie.’ This moment emphasizes the presence of cameras and suggests that our lives are scripts written for us, a concept reminiscent of simulacrum or determinism. In this view, our lives appear predetermined, as understood through an infinite array of parallel realities.

A historical example of this predetermination is the events surrounding the foreign war that followed the 9/11 attacks, which many believe was an inside job under the guise of a false flag operation. The public presented their narrative, and many accepted it, implying that people are often reduced to two-dimensional characters within a synthetic and synchronistic world, a reality distinct from the holistic vision intended by the True God.

This notion parallels the Stargate sequence in “2001,” which serves as a metaphor for transcending the superficiality of two-dimensional films. The astronaut travels at light speed to reach a different realm—a journey toward the source and the projector, ultimately accessing a three-dimensional reality. This ascent is like climbing the holy mountain, a symbol of Mount Meru, which mirrors the ascent of the Tree of Life. As one ascends the tree, it is akin to the journey up the mountain.

The diagram above indicates the analogy between spiritual travel to the Stars and literal hyperreal-space travel to the Stars (Celestials / Planets). Spiritual travel to the stars is likened to ascending the mountain (Mt. Meru), which is similar to ascending the Tree of Life. This is in conjunction with some influences from hermetic Qabalah.

In Hermetic, magickal, Qabalah in contrast, the ten sefirot (“sephiroth”) pertain to ten aspects of what could be called the astral or magical world. . . . They are identified with ten grades of magical initiation, the seven planets of traditional astrology (with the lowest sefirah, Malkhut, representing the Earth, and the two highest the fixed stars and the sphere of God) and with a numerological analysis of the numbers one to ten. The twenty-two paths which link the ten sefirot are identified with one of the twenty-two Hebrew letters and twenty-two Major Arcana tarot trumps). Thus, not only each sefirah has a particular archetypal meaning, but each path as well, making thirty-two archetypes altogether. By the proper means therefore it is possible to invoke any of these fundamental essences.

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There are many types of Kabbalah, but the primary focus here is its relation to the cosmos, and Hermetic Qabalah qualifies alongside its association with magic. The clear difference between Judaic Kabbalah and Hermetic Qabalah is in its approach; Judaic uses the Ten Sefirot to study the text of the Torah and its commentaries to progress in the knowledge of God. On the other hand, hermetic Qabalah emphasizes magic and magical tools to unite with the Godhead.

Hermetic Qabalah’s history is complex, tracing its roots from Gnostic and Neoplatonist writings to the wisdom of the Egyptians. This is mentioned in Exodus and alluded to in the Platonic dialogues such as Timaeus, and it has possible links to Hermes Trismegistus. But, its history aside, Hermes Trismegistus was written in many texts and divided into two main parts: the philosophy of occult science and writings on philosophy. Both attempted to explain a worldview rooted in the philosophy of Plato, which eventually remerged in the early Church as a blend of philosophy and mysticism.

In essence, this religious mysticism or Neoplatonism focused on the influence of fate on human existence and the twin or dual nature of reality: The physical plane (a lower form of existence) and the divine reality (a higher form). The higher reality is linked to intelligence, transforming God into a non-personal intellect. The lower level is physical, subject to fate, and thus considered inferior to the higher reality. Humans are separated from this ultimate intellect as part of the physical realm. Still, they can ascend through the different levels by magical means and reincarnation, eventually reuniting with the ultimate intelligence in the higher reality. – Kingdom of the Occult  

There is a fallacy in this verse, “transforming God into non-personal intellect.” It’s an opinion-based statement; it means the link between man and his higher reality, or Binah (intuition and understanding) signifies man as a co-creator and does not diminish God in any way. [Notice] The word ‘Plane’ (to mean a flat plane) describes the contour of your world as something more physical or truthful.

The concept of ascension through analogy, whether a Tree or a Mountain, is fascinating; the more practical journey is always within the spiritual journey. The enlightenment in life or death and the symbol of spirit is the Merkaba. The Merkaba can also be represented as the Kabbalistic Tree of Life. The ancient Judaic Hebrew concept means Chariot (a thing that one rides in), and often, the most popular reference to the spiritual Chariot is the story of Enoch. And Enoch is one of Seth’s sons. The story goes on to Enoch ascending to the seventh heavens (Hekaloth) and conversing with angels and intelligent beings of higher realms of a divine being. People are probably more familiar with the notion of the body of light or Astro-body instead of the spiritual Chariot. In the Merkaba traditions, the Chariots are composed of four different living creatures, often described as part man, part bull, part eagle and part lion. So, these mystics describe travelling through other dimensions using these spiritual Chariots. This archetype is not particular to Hebrew traditions but is often more in tune with Vedanta and Hinduism. In the Egyptian afterlife, spiritual travel is represented by a Duat Boat adorned with spiritual symbols. In this afterlife, the travel of the spirit or soul leads into a Bardo of the duat where the weighing of the heart happens.

Darren Aronofsky’s film ‘The Fountain’ showcases the concept of the Duat Boat as a Tree of Life encased in a spherical organic bubble ship. The Fountain’s premise takes on three parallel timelines: the 16th century, the present day, and the future at around 2500. The 16th-century aspect is a meta-allegorical story within the film, while the present and future are the film’s central narrative. There are two trees in the movie; it’s unclear which Tree is encased in the bubble, the Tree that Tom planted beneath the grave of his wife (Izzy/Izzi) or the Tree of Life in South America that Tom was searching for. The same Tree that present-day Tom, as a doctor, was researching; he had gained some of the Tree’s components for everlasting life. The Future Tom, who is now an astral traveller, whispers to the Tree and says: “Don’t worry, we’re almost there; through that last dark cloud is a dying Star and soon enough […] it will die, and when it explodes, you will be reborn, you will bloom and I will live.” So, present-day Tom and Future Tom may be the same people because, in the present, he has figured out a way to preserve life. Therefore, the Two Trees are probably the same, meaning we all have a Tree of Life in ourselves, as everyone has a Merkaba.

The film is about Tom’s quest to accept death; he spends time trying to fight death at the expense of spending time with his dying wife. Upon his wife’s death, Tom vows to cure death. However, Izzy had already accepted death, and at times, Izzy tried to make Tom realise that death is part of life. Death and life are different sides of the same experience, and you should not fear death. Izzy mentions to Tom that “death is the road to awe.” She also wants Tom to finish her book, but Tom, now travelling in his Tree of Life bubble, speaks to Izzy’s spirit. Izzy still wants Tom to finish her book – but Tom can’t because he fears death. However, when the Tree can no longer sustain Tom throughout the centuries into the future, Tom finally decides to accept death and finish Izzy’s story. The movie begins with the last part of the book that Izzy has written, which we can assume is a dream of Tom’s future. This moment is depicted in the film. However, I interpret it as less of a dream and more of an archetypal symbol because he is not a living material being but a spirit. At the film’s end, Tom’s assertion in the story indicates that Tom has finished Izzy’s book, which took him hundreds of years. Finally, he came to terms with the death and his place in it. Tom is a spirit heading towards Heaven [a dying Star if you wish]; it is less about time and more about time concerning how long it took him to let go of his ego.

While the first theory is fascinating, and I agree with some aspects, my theory is that the 16th-century aspect is a symbolic reference to present-day Tom. For the first theory to make valid sense, it would mean believing that present-day Tom found a way to be immortal. He was studying the Tree of Life and finding its secret component to sustain life for centuries. Answered questions like how he got himself and the Tree of Life encased in a bubble spaceship where he would travel among the astral plane leaves a question unanswered. I agree that future Tom’s assertion in the story indicates that Tom has finished Izzy’s book, but I conclude that future Tom is dead and his spirit is inside a bubble spaceship alongside the Tree of Life. And this is also Izzy in many ways. And his journey started when he drank from the Tree of Life and died. However, just before his death, he had a psychedelic enlightenment experience caused by the blood of the Tree (or sap). The death symbolises present-day Tom finishing Izzy’s story before he died – he may have prolonged his life. However, he still achieves death by his hand with the help of an elixir provided by the Tree [This scenario is not shown in the film but shows through Izzy’s story]. So when his spirit died, he was lifted along with the Tree of Life, and now living inside a bubble spaceship without the concept of time. However, Tom is still deluded by the idea of time, as showcased by his tattoos representing the age of tree growth.

The bubble spaceship refers to the Duat Boat, and boats can also be called ships. So, it can be a bubble spaceship or a Duat boat. Both can represent a chariot; in the ancient concept, chariots could also mean The Tree of Life, which can also be the Merkaba, a symbol of spirit. Therefore, it didn’t take Tom centuries to accept death, perhaps ”yes” in a metaphorical sense, because he left the world without reaching enlightenment first, but enlightenment upon death. This is the opposite of Izzy, who gained enlightenment or was struck by the light and would later pass on to the afterlife. Izzy has been through the journey and passed through the heavens, while Tom still travels along the astral plane. The astral plane can also be known as one of the heavens – heaven before heaven. 

Tom, the astral traveller, is heading towards a dying star within a Nebula (I can’t pronounce or spell the dying star, but it’s) in the Orion’s Belt constellation. Izzy also describes the star as the ancient Mayan underworld, where dead souls go to be reborn. Astral-travelling Tom, having spoken to Izzy’s spirit [aside from being a spirit, she can also represent a guardian angel], Tom finally accepts death after centuries of fearing it. Tom tells Izzy he doesn’t know what to do; he then has a moment of clarity and figures out what he must do. He says, “I’m going to die.” At this very moment, he has let go of his ego, which is difficult for a rational character like Tom. He is only irrational in the Meta allegory and present-day story because Tom also denies his intuition in Izzy’s story and present-day Tom. Izzy replies, “Together, we will live forever.” We are back at present-day Tom, but back in a pivotal moment of the film, where Tom is pushing away from seeing Izzy due to his pursuit to cure death. This time, he has chosen to go with Izzy, and this action showcases acceptance. This is represented by Astral travelling Tom climbing the Tree and emerging from the space bubble. He encases himself with his own Merkaba, ready to face spiritual death, but it weighs on his heart. Christians call it judgment.

When Tom passes through the Tree’s bubble with his own Merkaba, it symbolically suggests passing through the firmament. Behind him, the Tree rotates in a circular motion like a clock, suggesting space and time on Earth. Although it’s more indicative of journeying to Planets / Celestials / Stars before reaching heaven, which is likened to ascending the Tree of Life, it’s also associated with spiritually travelling within.

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As Tom Nears the Dying Star, it collapses to a tiny dot; then it explodes; the celestial fire hits Tom (now the Father), and his essence melts along with the fire, creating a rebirth for the Tree. In the Kabbalah, the heavenly realm is considered the realm of Yetzirah, a realm of spiritual fire. There are a lot of death and rebirth concepts here. In ancient Egyptian Mythology, entering the gateway to dimensions meant encountering the Goddess of 42 principles named Maat. She has 42 principles that one must satisfy in a lifetime to be reborn with a pure heart into the next life. We are to believe that Tom managed to do that. The film does not show the physical encounter with Goddess Maat; perhaps the dying Star represents part of Maat. Maat is a deity that regulates the stars, seasons, and the actions of mortals – and deities who had brought order from chaos at the moment of creation. The film did away with the Goddess and instead played on the hyperreal-space notion of a Star collapsing, rather than exploding, much like the Big Bang Theory.

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Tom exiting the Tree’s Merkaba follows the same concept as Vitvan’s diagram of Orders of Abstraction, which follows the structure of Kabbalah’s Tree of Life. [Illustration is my re-imagining, although it follows the same structure as Vitvan’s original example]

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