Flat Earth; Enclosed Creationism; Conspiracy (Theory), Intuition and Imagination – Part Four:

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The Goddess and the Siren Call to the Tree [Originally posted on 20 February 2019]: When you introduce a hyperreal notion of space to Gnostic mythology, you get a very romantic notion. A combination of scientism cosmology with Gnostic myth pulls at the heartstrings of secular science believers and also Astro-Gnostic romantics, when done, writes its gold for storytellers.

When you combine the Nag Hammadi text with NASA’s (or Copernican) cosmology, you will end up with Aeons as Gnostic Gods that reside at the core of the Galaxy. The Galaxy is filled with stellar luminosity, and we reside in the third arm of the Galaxy, inhabiting a solar system. According to the Gnostics, the Galaxy is alive, and the centre of the Galaxy is called the Pleroma. Four arms stretch out of the Galaxy, which is alive but entirely different to the Pleroma. There are male and female-gendered Aeons, which can be viewed as positive and negative energy. Aeons are serpents-like beings made of light; they are immortals responsible for the creation of life, specifically our DNA and the Gnome. Two Aeons named Felte [possibly incorrect spelling] and Sophia are our designers.

Earth is a planetary laboratory for the Aeons; they also designed the living plasma, which they inject into the outer arms of the galaxy, which is why life began on Earth. Felte and Sophia created life on Earth from the realms of the molecular clouds (nebula). Within these clouds existed water; this was ideal for life to exist. And this planetary laboratory is an experiment in which the Aeons observe. Sophia was fascinated by life on Earth and left her galactic core (this became the anomaly). Then she merged with Earth and became our mother Earth. Her fall created a discharge from the Pleroma, which created material life throughout the arms of the galaxy; from her plasma body, discharge also created the Archons. Archons were created by the Halfmaker, also known as the Demiurge, and the Halfmaker was a flawed consciousness creation of Sophia. The Demiurge is said to be the creator of this world. Gnostic scripture similarly describes the first Halfmaker:

This is the first archon who took great power from his mother. And he removed himself from her and moved away from the places in which he was born. He became strong and created for himself other aeons with a flame of luminous fire which (still) exists now. –The Apocryphon of John

This is the first archon who took great power from his mother. And he removed himself from her and moved away from the places in which he was born. He became strong and created for himself other aeons with a flame of luminous fire which (still) exists now. –The Apocryphon of John

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The Nag Hammadi material contains reports of the initiates’ visionary experiences; including first-hand encounters with inorganic beings called Archons (also known as alien greys). Gnostic teaching explains that these entities arose in the early stage of the solar system formation before the Earth was formed. [The only new inclusion in these reports is introducing a Copernican Solar System theory as its base foundation.]

Sophia defied the other Aeon beings between the ultimate True God and our reality. Together with the True God, they comprise the realm of Fullness (Pleroma), wherein the potency of divinity operates fully. Fullness stands in contrast to our existential state, which, in comparison, may be called emptiness.

For Flat Earthers, the notion of Galaxies is just an implicit image of a flat disc, which is also a subtle relation to a Flat Plane and its centre. It’s implicit because it’s either indirectly implied by the galaxy depiction or came from the subconscious, often filled with symbolic truth. Flat Earthers have many variations of beliefs. The focus here is the New-Fundamentalist-Christians and the New-Age-Flat-Earthers enclosed view – where in scripture, square windows opened within the skydome and water started to flood the Earth; this is about the Deluge. The other assumption is that the Milky Way is a crack within the Dome that appeared due to two celestial bodies (that are universes in themselves) colliding. This resulted in a crack in the firmament in which water emanating from the crystalline sea fell through onto Earth – along with all different sea creatures and entities bringing with them the flood.   

The beliefs associated with Flat Earth theories can vary, but the primary debate is whether the Earth is enclosed or open. Beyond that, the idea of celestial bodies, such as the planets, exists within the firmament, which aligns with a different aspect of Astro-Gnosticism. This perspective is more attuned to the spiritual realm rather than being focused on space travel or satellites. In astrological cosmicism (Astro-Gnosticism), infinity is frequently mentioned, emphasising that infinity exists within the celestial bodies inside the firmament rather than outside it. The Astro-Gnostic notion of an infinite hyperreal space is symbolic and only holds in a metaphorical sense. This leads to questions steeped in strangeness—questions often overlooked but met with wonder and imagination. All of this is part of the internal human experience. Gnosticism tends to explain such phenomena through metaphor and allegory.

Gnosticism holds a fundamental belief that our earthly life is filled with suffering. This suffering arises from our inherent need to nourish ourselves, which in turn leads to the destruction of our environment. The distress caused by our destructive means of nourishment represents a disruption of equilibrium. Advancements in science and technology—known and unknown—could solve this imbalance. However, the prevailing approach seems to be one of scarcity. In contrast, the New Age movement presents meta-philosophical concepts centred on abundance. Another core belief of Gnosticism is that suffering stems from the feeling of being strangers in a flawed and absurd world.

For Flat Earthers, this absurdity is multiplied threefold because their beliefs and labels as outsiders make them feel like strangers in a fake world. First, for believing in a very fundamental aspect, and that is how people view the shape of our environment. However, their worldview is not romantic, and Gnosticism and romanticism go hand in hand. Flat Earth has many potentialities but can veer off to something agenda-driven. Like fundamentalism and futurism, the New Age and the speculation of the absolute. However, the realization of a simulated and enclosed stage is still there; this realization could very well be a recollection of intuitive past thoughts.

Intuition is the key; it can fit within Gnosticism and Enclosed Creationism. It’s a positive defence for both groups – for any false absolutism ideologies that may try to convince or re-insert you into the program. Still, both groups realise they live in a simulation of sorts. If the simulation is recognised, it’s no longer real; the simulation is no longer possible. However, the simulation exists and holds our reality as a reality that we have to function in, but the truth will remain even after centuries of burying it. We send our decisions to the world and hope it strikes; this is an intuitive moment. This defensive approach is the uncertainty of our imagination, and our reaction to an intuition applies. Intuition is a context, a word to define Gnosticism, which gives it a practical and essential existential quality.

Intuition comes in two forms; the first being is a base of action without the luxury of consideration. The second is the passive form, intuition, as a manner in which we choose to express ourselves. Our stage is real, and our reality is a swirl; upon that, our inner self and outer awareness swirl within. John Ralston Saul describes permanent movement and uncertainty. Movement is life. Certainty is death. Movement and uncertainty are real.   

The Goddess Sophia is a myth generated from the Pagan and Jewish traditions. Sophia is also synonymous with wisdom, but wisdom is a consolidation of all the different processes of the mind: logic, thinking, prophecy, intuition and so forth. Wisdom deities were always female. In Pagan traditions, journeying to the underworld is a common theme associated with the Goddess. This means travelling through other dimensions often depicted through the symbolic image of a Chariot or Boat. The underworld psychologically represents the collective unconscious and inner integration and healing. The Goddess Inanna represents this; she is said to be crucified when she enters the underworld. Another Goddess, Persephone, was kidnapped by Hades and taken to the underworld. These all represent the soul’s high adventure across the heavens, and souls plunge into the hologram world that is matter.    

The Greek Goddess similar to Sophia is Athena. The Goddess Athena was a warrior and the Goddess of wisdom. The name Athena means, according to Plato, the mind of God, which correlates with Sophia. She is consciousness beginning to know itself, receiving the projection of the invisible spirit. She manifested out of God’s head [God in this telling is Zeus], the first thought of God being wisdom.    

The Gnostics say we reside in an aquarium within the waters above and below encased in a cosmic egg. And this is reminiscent of the Goddess that came out of the Primordial Nut. Who makes love to a serpent? In which she gave birth to an egg, and that egg breaks open, creating the universe. And this is, of course, the (Great) Goddess Eurynome, who was once called the Goddess of all things. Her first job was to separate the water from the sky; when she accomplished this, she danced across the lands and seas. Ophion, the snake or serpent, was watching, and then the snake coiled his body around the Goddess seven times and made love to her as she danced. Impregnated by Ophion, the Goddess soon laid the Universal Egg. Ophion wrapped his body around it seven times at Eurynome’s bidding. The animals and plants flourish as the earth opens up; by the time of classical mythology, Eurynome had diminished in significance, becoming one of Zeus’ many lovers and the gentle Oceanid, the mother of the Charites. This was a far cry from the All-Powerful Creatrix she was known for, where people worshipped her.

Michel Gondry’s music video clip for Bjork’s ‘Venus as a Boy’ contains many symbologies. The title refers to sexuality and androgyny. We have the Goddess singing; she is wearing orange, closely associated with Norse mythology of the Golden Apple, which gives immortality (the Orange Appled). The Goddess is fascinated by the Eggs and their Shells; she also holds two eggs representing the female reproductive organs (ovaries). The Egg represents the Gnostic Cosmic Egg; our universe, as it were, is within the Egg. Then, there is the blue background, which means the waters above.

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The symbol of a Snake wrapped around the egg comes from the Orphic myth. It has a slight variation from that of Eurynomes. It centres on hatching the cosmic egg in which a hermaphroditic Greek God, Phanes, was born. Orphism is the name of religious beliefs and practices originating in ancient Greek and Hellenistic worlds. It is associated with literature ascribed by the mythical poet Orpheus, who descended into the Greek underworld and returned. Orpheus was also a legendary musician and devotee of Apollo. It is said he invented the mysteries of Dionysus – although this notion is in conflict because he was also killed by a raving pack of Maenads when he refused to worship Dionysus. His head and lyre floated down a river to the island of Lesbos where they were enshrined. According to Greek mythology, Phanes was a golden-winged primordial being who hatched from the cosmic egg of Kronos (Kronos is Sophia in this aspect – during the time of Alexandria, swapping female gods for males was all the rage). Once hatched, he created the universe and the rest of the Greek pantheon. Also known as Protogonos, proto means first, and Gonos means born – Phanes often means manifestos or revealer and is related to the Greek word for light, shine forth – and the Latin word for Lucifer. Phanes, an old deity, is often equated to more recent gods: Mithra, Zeus, Pan, Metis, and Bromius. 

		Nobody
		Ever
		Really
		Dies

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Sophia is a Luciferian character who runs parallel with the fall of the Lucifer story because she transgresses and disrupts the divine plan. It runs parallel because it’s fractal. Sophia took herself out of the Pleroma, and her son, the Demiurge creator of this world, took himself out of her, and then Lucifer took himself out of the Demiurge. The difference is that Lucifer is personified as an Angel. Her story was centuries before the esoteric and occult tale of Lucifer. Sophia is a being of Light, and because of her ambition or intuition, Sophia falls into our world. In the hyperreal cosmological sense, her fall turns into essence (or spirit), suggesting a Sophia exists in everyone and every life form. Her story is about the fall, redemption, and forgiveness. The Jewish version of Sophia is associated with Chokhmah (wisdom). In it, she is called the bride of God. Some scholars believe Sophia is a Gnostic adaptation of Isis, particularly her Hellenistic incarnation. In Gnosticism and Judaism, wisdom is lost with her children; therefore, Wisdom (Sophia) is also lost. Her children must gain wisdom so she can win the battle with her creation, the Halfmaker.     

One of the [principal conception in Kabalah is that spiritual wisdom is attained by Thirty-two Paths, typified by the Ten numbers and the Twenty-two letter; these Ten again being symbols of the Divine Emanations, the Sephiroth, the Holy Voices chanting at the Crystal Sea, the Great Sea, the Mother Supernal, Binah; and of the Twenty-two occult forces of the Nature of the Universe symbolised by the Three primary Elements, the Seven Planets, and the Twelve Zodiacal influences of the heavens, which tincture human concerns through the path of our Sun in its annual course.” –An Introduction to the Study of the Kabalah, William Wynn Westcott]

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In the Epistles, Sophia sings at the divine source, in which another Aeon is jealous. Displeased with this, Aeon decided to kick her out of the Pleroma. Whether the reason is of her own volition (as something intuitive) or something else – Sophia, being of wisdom, already knew what to be foretold or destined for her. Therefore, she came down from Chokhmah to Binah (from the Zodiac / Firmament to Saturn), where she chants at the Crystal Sea, the Great Sea, the Mother Supernal, and Binah. This correlates to Genesis as she sings the Word (or sound) before the light. It is also associated with sine waves emanating from Saturn; undoubtedly, followers of the Saturn Moon Matrix theory would be delighted. My theory is Sophia chanted in all directions, even towards the firmament or Zodiac, where she stepped out. Creating a crack or creating the Milky Way explains why the Egg is cracking and creating a life motif – or when she stepped out of the Pleroma, a place outside of space and time. It made a crack in the firmament through her chanting. In which water fell through, the latter explanation is more logical. In a flat earth model, thinking of a place outside space and time (the heavenly realm / cosmological space) is closer than something infinitely distant.

The only problem with my theory is it doesn’t match the timeline in which the deluge began. There’s a possibility that there were two separate events, meaning two different types of floods; the flood people were more familiar with would come soon. Aeons mean personification, periods, and a place, still, from the hyperreal cosmological and mythical / allegory point of view. The personification of a non-human entity [gods] relates to Aeons as True Gods. So Sophia was a True God who stepped out of the Pleroma.

Cave paintings depict the Ancient Dogons encountering alien sea creatures, described as angelic beings transported by a spacecraft from Sirius’s star system. These illustrations show a pattern from the Sirius system that corresponds with the movement of human DNA. Scientists later determined the timeline of these patterns, which covers the period from 1912 to 1990. In 1912, encounters with the alien beings known as the Greys (or Grays), believed by some to have been created by the Demiurge, transitioned from mere conspiracy theories to factual accounts. In 1990, the electromagnetic grid was established. This prophecy is illustrated on the cave walls, as foretold to humans by the humanoid sea creatures.

In Ha’aretz, the Watchers of seen as primordial angels who, according to popular mythology, descended to earth in hoary antiquity and bequeathed civilization to humanity. 

The ancient, engraved images looked to the later observer like a vestige from the world of the Watchers (Aramaic: ‘irim).  If you will, these are aliens, in a way resembling those recounted by Erich von Däniken in his pseudo-scientific book, “Chariots of the Gods.” Babylonian mythology already told of ancient sages who were half-man and half-fish who emerged from the sea and bequeathed civilization to mankind. This old myth was revived in new garb in Lebanon, Syria and the Land of Israel in the Hellenistic period.  In its Jewish form, the myth bore a new aspect: the Watchers conveyed forbidden knowledge, brought to human beings in an original sin. The bearers of the knowledge in the present version were not ancient fish who emerged from the sea but the mysterious angels who descended from heaven.  – Ha’aretz

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Esoteric Flat Earther’s version of astrotheology suggests some star constellations are not fixed within the ecliptic cycle but stand apart, one of those being the Sirius constellation. Adding to my speculative theory borrowed slightly from the New-Age-Flat-Earth-Groups, it also fell through the Celestial bodies and unfixed constellations when water fell through along with the sea creatures. That water is made out of a mixture of crystalline and psychic substances – and made its way through all the dimensions until it reached Malkut. Upon reaching our dimensional existence, the water became more in tune with the version of water we now understand – with all its life-giving properties.

Furthermore, these angelic sea creatures are co-habitants of Angelic beings and are highly intelligent and technological. These assumptions give the Dogon notions (of humanoid beings that evolved from other dimensional seas making their way down to Earth, gives it) more validity. If not, it’s something to ponder.

The Goddess in a World before the Sun: The world was once filled with giants, blue gods, and giant trees. In this telling, the Giants were outsiders who would mine the Earth’s resources. Some have equated outsiders with the Annunaki, the hyperreal cosmological space gods.  

The Greek narrative often resembles what is written in Genesis – that of the sons of God, a.k.a. fallen angelic beings having desires for daughters of men in which they bore children to them that became giants known as Nephilim. This telling mirrors stories from the Greek collection Gigantomachy (Gigantes), which is about battles between Giants and Olympian gods for the supremacy of the cosmos. Both instances shared a hierarchal order – Olympian gods’ lust over beautiful women, and the sons of God (fallen angelic beings) desired daughters of men.

Fundamentalists claim that the offspring of Olympian gods or fallen Angelic beings (giants and Nephilim) would later be known as the pantheon Olympian gods known as Zeus, Apollo, Ares, Dionysius, Gaia, Hades, and Nike. I need to be more well-read to deny its claim because it can parallel other myths. Still, if the Olympian gods parallel fallen Angelic beings – that means Olympian gods were not giants, although their progeny were. I’ve seen a lot of sand and sword films to know that giants, half-man and beast creatures often come from the offspring of those gods – not the other way around. So where did the Pantheon gods come from then? Were they Angelic beings or something else? Did Demiurge create them? That seems to be a whole other study. Whatever the case, it’s within the offspring of those gods that the personages of half man, half god came about – one notably Thetis, who was a sea nymph and mother of Achilles. There are many variations of these half-human half creatures: Centaur, Minotaur, Pan, Pegasus, and the Siren. The siren is said to have a body of a bird with a human head. In other accounts, the Philistines (Palestine) worshipped Dagon, half fish and half man; it’s also worth noting that the Pope wears a Fish hat about Dagon.  

The Gnostics discuss the Demiurge, Sophia’s accidental progeny, but no one has clarified if he was a giant. His name has many associations equated to Jehovah – alongside many others: Angra, Mainyu, Ahriman, and Satan. Others have suggested that Satan is a giant that rivalled Titans in size. So perhaps the Demiurge was a giant, the original giant. But, then, there is this concept of other giants aside from the original, possibly emanating from the original giant itself. Athena is said to come out of Zeus’s head, giving birth to Athena (Wisdom); Zeus, in this telling, is an Aeon. Remember that throughout history, gods and angels have often become interchangeable. Giants familiar to most are known as Titans, which are said to have cut down most of the giant trees on Earth.  

The Saturn Death Cult group claims this occurred in a time described as the golden age, where various blue gods existed, where there was no Sun, and the only light source was Saturn, which was huge and purple. And this, in turn, was the light source, which gave out a purple ambient glow. In light of the Flat Earth movement, they have placed all celestial bodies closer and disregarded the purple Saturn theory as its light source. Instead, advocate a light source of bio-luminescence from the celestial bodies acting like a black light. It gave everything a luminescence colour; they also describe the world as Silicon.          

A luminescent world conflicts with the world’s creation in six days if one is to take the creation of light literally. Although conservative religious groups interpret days as intervals lasting millions of years – the “days” are indeterminate. They are to be interpreted like phases in a large construction project. The “days” are not human. They are God’s workdays, which can be much longer. God took six standard days to order the universe into existence verbally. From this perspective, the supernal light that existed before the sunlight could very well have the properties to create luminescent light.

The First stages of the world’s existence are bioluminescent, the second are crystalline, and the third are the present.

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I can’t help but feel the conservative groups are leaning toward a rational, secular scientific view instead of something supernatural and incomprehensible to human understanding. This parallels the holographic or simulated groups that have adopted the creation analogy, whether Biblical or Gnostic, to fit a holographic theology of ‘oneness.’ Oneness is the creative imagination that spawned Atoms, Neutrons, and Electrons, forming the basis of matter. The electron orbits the father and son at the speed of thought, thereby occupying space and conjuring up the illusion of matter. This is the basis or building blocks that formed everything: the Matrix Womb, the atom, the beginning of thought–formed energy that glows as an electronically charged atom producing light. Therefore, we live in a three-dimensional thought universe, and everything we observe is thought, which is light. The thought brings the energy into existence at a subatomic level and slowly becomes part of the holodeck.

The Holographic or Simulation groups have identified ‘thought’ as the Egyptian god Thoth. To them, Thoth, as a personification of a once-living being, can only exist as the expected manifestation of human thought. The Deity [Thoth] becomes regulated by something fictional and symbolic. Adam and Eve are now a play on words; Adam as Atom and Eve is the dawning of creation, the coming of the light evening. Adam and Eve are the Alpha and Omega, the symbolic name for an electrically charged atom symbol, which symbolizes the light bringer “Lucifer.”

There is a fallacy in the oneness concept, notably the denial of God and his many chosen prophetic spiritual teachers, notably Thoth, also known as Hermes by the Greeks, and Mercury by the Romans. They’re correct, but it’s incomplete. The axiom ‘as above, so below is likened to mean the micro and macro. For them, the micro is the only relevant thing. There is still the question of who is the oneness that created something out of nothing. Then, there are the archaeological giant bones that stir questions about giants existing. Think of it this way. Oneness is a play with rules that apply in that dimension. At the same time, it’s played out in the macro universe in a far more complex way that involves gods, angels, aliens/archons, and humans. All seemingly follow the same pattern of the micro world and vice versa because it can inherently change upon observation. The outcome of the play can change for the better or the worse.

The Conservative religious group’s notion of time is linear and, therefore, one-dimensional. You have to think outside the Egg, as it were. Grant Morrison describes our world as Larvae, in which these god-like beings watch humanity grow in time because there is no concept of time where these gods reside. And this is reminiscent of the Gnostic view that our world is an experiment. The Holographic group’s notion of oneness replaces God as an outside source for something human, notably the collective consciousness and consciousness. And this is only half correct; people’s collective consciousness is a collection of individual monads.

Please think of the larger Monad as Vishnu, and Vishnu is dreaming up these worlds through his Navel. A Lotus grows, created merely by a wish, dream, or even thought. Vishnu makes an expansion that starts with Brahmin. Brahmin would be the Supernal Emporium in the Rosicrucian model or Sophia in the Gnostic traditions. [Refer to the diagram I created in the previous post]. Then, Brahmin creates octave worlds in which Earth is in the middle of all things (the Midgard). Above are other celestial planes at the top of Saturn, and below that follows the rest of the celestial bodies. Underneath Earth reside several hellish planes or planets. Our universe is one of many infinite worlds Vishnu dreams of, which is said to be a cosmic sphere likened to an Egg, but within it resides a flat plane environment – in a sense, the true notion of celestial planets.

Within the cosmic heavens resides a king; in the Vedas, the king is known as Indra, god of the heavens, lightning and thunder, similar to Indo-European deities such as Zeus, Jupiter or Thor. Indra and his queen Indrani reside on top of Mt Meru (a.k.a. the centre/middle of the Earth, where the giant Tree once resided- when the Tree ceased to exist, the Tree became a mountain, and this is where the gods lived and watched over humanity in their Watchtower). Indrani, known as Shashi, is one of the seven Matrikas (mother goddesses). Mt Meru (the Golden Mountain) is the centre of all metaphysical and spiritual universes. It is sacred because it supports the heavens and the gods. The Sun and all the celestial bodies (planets) circle the mountain.

Vedic teachers will say that all gods can be supreme, for they are forms of Brahman. The whole world is Brahman. They say you can worship any, meditate and adore that one, then meditate over them all. Then, deny and discard the individuality of all these gods, including the god of fire, Agni. Thus, journeying into the universal communion with the Purusha, the Atman (Atman can be referred to as self or soul).

“Some Sanskrit mystics locate seven planes of being, the seven spiritual lokas or worlds within the body of Kala Hamsa, the Swan out of Time and Space…“ (The Voice of the Silence by H. P. Blavatsky). The Swan of Hamsa represents the Supreme spirit or Ultimate Reality, the metaphysical creative and cosmic principles known as Brahman. You can equate the Swan, who is the Supreme Spirit, to Sophia, and Sophia is always Singing. Hamsa would, therefore, be the Demiurge, who is the God responsible for the fundamental forces of dualities (Shiva and Shakti).  

Bjork again represents both Sophia and a swan (a swan goddess) in the song ‘Pagan Poetry’; she’s chanting or singing at the source. Then there is Twin Peak’s representation of the Mother (Supreme Spirit, also Sophia) breathing out something or chanting the existence of a cosmic Egg, perhaps. David Lynch has an affinity with the Hindu religion and Theosophy.

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Only the chosen ones can hear Sophia’s chanting: The Sephiroth is described as chanting at the Crystal Sea, which I speculate about meaning reverberations (vibrations) from the Word that was the original sound wave or frequency, and then came the light afterwards. These reverberations or sounds are still there. And perhaps I will always be there as long as possible.

Communication among dolphins is believed to occur through sound. The sounds they produce create images for other dolphins underwater. One dolphin makes the sound, while another perceives the image or symbol created by that sound. This form of communication can be related to human experiences, although it is often likened to hallucinations, which can spark psychological debates. In the film “Knowing,” the voices were referred to as “whispers.” These whispers were less about audio hallucinations and more about prophetic messages.

The eclectic hip-hop group N.E.R.D, which stands for, nobody-ever-really-dies a play on Plato’s notion of the immortal soul – mentions in their ‘maybe’ lyric “, life is an egg”, but it’s in their ‘time for some action’ lyric, notably in the intro that alludes to seeing sounds: 

“Y’know, when I was a kid growing up We used to love playing outside, riding bikes And that was the 80’s, record heatwaves I mean people were like Dying on the side of the road, getting heatstrokes So the only thing you could do was go in the house an, y’know Take a shower a couple of times a day So, I’ll never forget I was like seven years old I closed my eyes, and that’s when it started I started seeing sounds, whoa..!”

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In some cultures, symbolic language can be a more sophisticated method of communication than written language. Egyptian words often have a symbolic image, and it’s realised that the power behind them is in the Symbolic image and not of the words (or phonetics). 

There are Kabalistic references to categorize different types of connections to esoteric knowledge or information and how they go about getting it. One particular scenario is someone could use a fainting spell and then have an epileptic seizure only to come out of it with the knowledge they didn’t have before. Others use psychedelia, some come to sleep via dreams, and then there are the mystics and practices they use. Sleep and dreams are fascinating, mainly in the dream alchemy work that Jung wrote about. Objects and materials within your view become other images, the moments before sleeping or awakening. You have to be an artist to understand. During those moments of waking up between closed-eyed slumber and wakefulness, you notice symbolic images downloading into your psyche. It is so frequent and fast, and one cannot understand those symbolic images, but it’s there.       

Apollo is the son of Jupiter, and Jupiter is also known as the king of the gods; whether you follow an astro-theological perspective or something more towards Christian orthodoxy about the notions of Apollo, like whether he is the earthly representation of God, God in this perspective is Jupiter. It is a subject that will always be in conflict because it suggests Apollo is Jesus. It is something fundamentalist Christians don’t like to hear because it doesn’t render the collective passive. For them, when unchallenged, a historical linear continuity of their interpretation gives them authority and as a reaction to diminishing the opposed dialectical polarity.     

Apollo is best known for being a Sun god. Still, he is also the god of song, music, and prophecy; the three bee maidens mentioned in the Homeric Hymn to Apollo granted Apollo’s powers of prophecy. He would impart these to people through channelling. The oracles that perceived it were the Sibyls or the Pythia (or the Oracle of Delphi). Delphi, short for Delphiniums, is a sanctuary dedicated to the Greek god Apollo. Pythia was a priestess who channelled prophecies from the gods, mainly Apollo himself, while in a dreamlike trance. The messages delivered by the oracles often were filled with ambiguity and traps. Also, the voices of the oracles expressing his prophecy had to have the allure of a Siren. These Sirens are from Greek mythologies and, at times, depicted as both part woman and part bird/fish – they had unbelievably beautiful voices that no one could resist. The sirens used their songs to lure sailors to the shores of the deep, where the sailors would drown and then eat. Sometimes, the words sung were usually in an incantatory language no one could understand.  

What if Sophia’s original chanting, the Word, is repurposed by her unintended offspring, Yaldabaoth or the Demiurge? He could use his archon creations to mirror the myth of the Three Bee Maidens, who bestowed Apollo with the powers of prophecy. This energy could then be channelled into oracles and artist-prophets, creating a simulacrum of his design, with Hermes as the original prophet. It would be the responsibility of the artist-prophets to distinguish between deceptive traps and the precise design that emanates from the original sound.

In our current modernity, oracles are now artist-prophets, and there is an artist-prophet named Elisabeth Fraser, a singer from the former group Cocteau Twins, whose voice can be angelic, metaphysical, cosmic, etc. Her sound is reminiscent of taking psychedelia, but you don’t need drugs to feel another world; listen to Cocteau Twins. Fraser would channel inspiration from the dramas of ancient mythologies. This is evident through her songs, Persephone, Coatlice, Pandora, Echo, and Lorelei, which had common themes to the spirits, seas, waters, and creatures – all centring on her unique voice that no other artist can match. Although some have tried to simulate her style, her voice and range, coupled with the style in which she wields it – are of the original making. And this gives credence to the synchronistic evidence that she once channelled the god of song and prophecy into her.

The Siren is an incarnation of Inanna, the Sumerian goddess of sex, love, and war. The goddess was central to an Arcadian empire ruled by Sargon the Great at the time, culminating with Ishtar and the Babylonian empire. The Greek version would be the goddess who fell in love with a young shepherd boy, Aphrodite and the shepherd boy, Adonis—inspired by the Syrian archetype of the first mermaids. The story goes: Atargatis was in love with a human shepherd but accidentally killed him. Out of guilt, the goddess flung herself into the ocean, hoping to become a fish. But her beauty was so great that she never could fully become a fish. Instead, she became half goddess, half fish, with a tail below the waist and a human body above the waist.

The implication is that Fraser would channel the god of song and prophecy and invite her body to be a vessel for the Siren (the Siren in this setting is a Demon known as the Whore of Babylon). However, it would not be through her own making but coerced by a group associated with Mk-ultra (although this scenario is entirely theoretical but plausible). Fraser, a broken vessel defined through turmoil and trauma throughout her childhood, would re-emerge as an artist with fantastic imaginings that could call up spirits, which was the right fit for a goddess of the sea to influence her. Through a freaky coincidence, she would later play out those ancient stories and archetypes with her story involving her former partner, Jeff Buckley.

Fraser would cover a song by Jeff Buckley’s father, Tim Buckley, called “Song to the Siren.” The song secretly suggests a spell or a prophecy of death, which becomes evident through the dramatic synchronicity between Fraser and Jeff Buckley. Jeff Buckley tragically drowned in a river near a pyramid in Memphis, which is visible from the site of his drowning. This pyramid is inspired by the ancient city associated with Osiris and, as such, symbolically connects a secret society festival held annually in that city. Buckley passed away on Garland’s Day, which is also the title of the Cocteau Twins’ first album. Garland’s Day in the UK is associated with offerings made to Poseidon; historically, these offerings sometimes included human sacrifices. Buckley’s death is interestingly foreshadowed in some of the Cocteau Twins’ songs, written sixteen years before his passing. Additionally, the surname Buckley, derived from Gaelic, means “shepherd-boy,” a motif that frequently appears in the lore of the Sirens. In mythology, shepherd boys often consort to goddesses and have been known to drown in rivers or the sea—a theme echoed in the mythical death of Osiris.

The siren spell would spill out to others with synchronistic links or associations with Fraser, often leading to death, from Chris Cornell, Chester Bennington, Heath Ledger, and Chi Cheng. This Archetypal dominance is initiated through symbolism, which has become corporate, notably, the mermaid icon depicted in the Starbucks logo. At the same time, given the synchronistic focus, it correlates with a siren spell, which can be a death omen. Case being: before Buckley died in the Memphis River – Buckley almost drowned with his girlfriend Joan Watts in Gold Coast, Australia – after having broken up with Fraser at the time. Fraser, being heartbroken, channelled her feelings into a song [and possibly channelling the Siren] in which the lyrics state; come feel the deep – the effect would lead to a near drowning for Buckley and his girlfriend.

The problem with an overwhelming amount of synchronistic evidence and all its potentialities is that it may point to a single occurrence but has more assumptions with it. The more likely, the more unlikely, and there is the question of when a spell comes true, is it magic? Or is it a coincidence? Could someone have merely found the golden pattern (or synchronicity) among a swirling uncertainty – a prolonged uncertainty we all live in? These synchronicities related to the Siren and its artist-prophets are part of that uncertain swirl. Imagination naturally draws all other qualities together, and when it brings them together, it’s through that prolonged uncertain swirl. 

Tim Buckley had written a song called ‘Song to the Siren’ about a man being entranced by the angelic voice of a Siren, and he knows he’s being led to his death, but he doesn’t care. Several years later, Tim Buckley died of a drug overdose. Imagination inherently protects us from the temptation of premature conclusions, the temptation of certainty, and the fantasy of fixed truth – J.R. Saul. So, it’s within intuition that you sense something transcendental at work, and then the imagination connects these synchronistic clues. I believe magic exists, so I take all the inclusive nature that imagination offers, but for most people, magic is irrational or imagined. Therefore, it’s disconnected from reality. The clues either lead to something truthful or something that leads to fantasy – the protection of imagination lies in the evidence, and besides, it looms ethics and memories – that Tim Buckley died of a drug overdose. Whether it was nefarious or not, who can know? Randy Quaid is telling the public that Star whackers exist to kill celebrities for a sick ritual sacrifice. And this can also apply to all other victims of the Siren spell.  

Imagination always propels us forward by using this prolonged uncertainty to possibly move forward and consolidate other qualities while embracing other means of perception—for a new inclusive vision of the whole. But as soon as we understand it, it leaps further ahead to more uncertainty, so imagination appears to be both inclusive and inconclusive.   

There is a music video called “Alice” featuring Elisabeth Fraser’s melodic vocals; the video is a culmination of clips from the ‘Lovely Bones’ film directed by Peter Jackson. Alice is a play about Alice in Wonderland, with the main theme of breaking through other dimensions. Incidentally, there is a conspiracy theory floating around about Fraser that she traversed through these dimensions when she was younger. However, breaking through dimensions in this setting is about death and what comes after it – and if there is such a thing as soul travel to the divine. Jackson is a big fan of Fraser and even hired her to do a soundtrack for ‘Lovely Bones,’ particularly ‘Song to the Siren’. She also made some tracks for Lord of the Rings films. The clip is fascinating and is centred on the Tree of Life. The music clip entails a character named Suzie Salmon (played by Saoirse Ronan), who had died at the hands of a killer. The film showcases her afterlife as she traverses through stages, and one of those is to help her father catch her killer through spiritual means as she is tethered in purgatory.

It is said that the Svargaloka, also known as Mercury, is a set of the heavenly world where the righteous live in paradise before their next incarnation. Svarga is seen as a transitory (or purgatory) place for righteous souls who have performed good deeds in their lives but are not ready to attain moksha or elevation to Vaikunta, the abode of Lord Vishnu, the Supreme Abode. And this is Suzie’s journey; like Alice in Wonderland, she is lost and has no idea where to go. She soon realizes she must go to the Tree of Life (the earth’s centre). It seems in the music clip that Suzie is following a sound, a siren, or even her intuition – she follows these emanations, and in this meta-fractal setting, Fraser’s melodic voice helps Suzie find her way to the Tree of Life. We would later find out that the Tree or the Center is just a beacon because we see the divine realm behind the Tree.

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Michael Keefe.

… End of part nine… to be continued

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