Sunday, July 19, 2015

News and MOB Posts

While we've been working on a study about the wilderness wandering, we've published a few posts to The Mark of the Beast: Code 666 Blog.
  • IN-N-OUT (B)URGE(R) and the XO MOB T-shirt and Poster
  • Decoding WESTBOW PRESS
  • Decoding Panera Bread

Here's a small sample of interesting news that's recently come our way in a timely manner.

'Artificial Intelligence is as dangerous as NUCLEAR WEAPONS': AI pioneer warns smart computers could doom mankind

New Letters Added to the Genetic Alphabet
Scientists hope that new genetic letters, created in the lab, will endow DNA with new powers.

Ancient humans 'rampantly interbred' with Neanderthals and a mystery species in Lord Of The Rings-style world of different creatures (11/20/13)

Since March, I've had in my “films to watch” queue the Keanu Reeves version of, The Day the Earth Stood Still. That's the version that was beamed in the direction of Alpha Centauri in December of 2008, broadcast into space in conjunction with the film's opening in theaters. (One Alien to Another: A Broadcast to the Stars) I watched it a few nights ago. Here's some dialogue. One of the characters has a flash of insight about the curious alien spheres. “An ark. It's an ark. They're saving as many species as they can,” she declares. Someone responds, “If the sphere is an ark, what's next is...” “The flood,” she adds. The space-time ark theme is still trending.

Monday, July 13, 2015

Space-Time Containment - Ex_Machina

Alongside Wayward Pines, the film, Ex_Machina, had a role in supporting what the Lord was showing us from The Avengers. This all came during the 3 days of the cut cables sign. Ex_Machina's time-space zone isn't about an ark of salvation but of a secure dimensional prison, and how time is the key to controlling the access. The space-time ark or container concept is not my invention or merely the entertaining subject of science fiction. What things are found deeply embedded in the cryptic language of symbolism are the indicators of an underlying reality that is of genuine significance. This post starts out covering a lot of background stuff, but hang in there - it builds up. During this study some pretty epic insight was brought forth about a fundamental biblical modeling that may be forthcoming in subsequent posts!

As usual, spoiler alert! If you intend to watch it, watch if before reading here.

Wikipedia offers this brief. “Caleb is a programmer working for Bluebook, the world's most popular search engine. He is chosen to visit the company's eccentric CEO, Nathan, at his secluded research facility in the mountains. The only other person there is Kyoko, a young housemaid. Nathan reveals he has been working on artificial intelligence and wants Caleb to administer the Turing test to an artificial intelligence (AI) named Ava. The Turing test is designed to test a computer's ability to persuade the tester it is human.” You can read more here, or on IMDB, or watch the film.

Most of the film is set inside Nathan's house, which is also his personal and private R&D facility. It's very remote, isolated and secure, and this facility is played as the independent space-time zone. The facility's security system can be breached.

Obviously, Bluebook as the world's most popular search engine connects it with Google. The name further identifies it with Facebook. Reference is also made to Twitter as the ubiquitous BLUE bird social media.

The color in the name identifies IBM by their nickname, “Big Blue.” Big Blue is famous for their AI named Watson. An article about Watson's famous exploit from over 4 years ago reads, “In the end, the humans on “Jeopardy!” surrendered meekly. Facing certain defeat at the hands of a room-size I.B.M. computer on Wednesday evening, Ken Jennings, famous for winning 74 games in a row on the TV quiz show, acknowledged the obvious. “I, for one, welcome our new computer overlords,” he wrote on his video screen, borrowing a line from a “Simpsons” episode.” (NY Times: Computer Wins on ‘Jeopardy!’: Trivial, It’s Not)

If you watch Ex_Machina you'll perceive how nudity (and the fact that the android was modeled on his personal porn profile) makes it a Blue film or Blue picture, one that features adult content. The name, Bluebook, like the title of a porn magazine or novel, suggests that voyerism, perverse sexuality and exploitation is among the search engine company's core interests, and this is represented in the film.

An intended reference to Project Blue Beam also seems likely, especially since Caleb and Nathan are biblical names, and the starring android Ava plays strongly on one level as Eve, the first woman. “Project Blue Beam is a conspiracy theory that claims that NASA is attempting to implement a New Age religion with the Antichrist at its head and start a New World Order, via a technologically-simulated Second Coming.”

The title appears to be derived from the Latin expression, Deus Ex Machina.

“Deus Ex Machina is a calque from Greek (apò mekhanês theós), meaning "god from the machine". The term has evolved to mean a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the contrived and unexpected intervention of some new event, character, ability or object. Depending on how it is done, it can be intended to move the story forward when the writer has "painted himself into a corner" and sees no other way out, to surprise the audience, to bring the tale to a happy ending, or as a comedic device.” (Wikipedia)

The employment of the namesake dramatic device appears as Caleb himself is manipulated by Ava to provide a surprise ending. The manipulation changes the outcome from what looks like it might have a kind of happy ending in a romantic way, to one that is chilling in picturing the cold betrayal of a machine without humanity. It's not Blade Runner, where Deckard gets away in the end with Rachel, the special replicant (AI android) he came to love.

Here's what the actual title tells us about the film, as an equation.

Ex_Machina = Deus Ex Machina - Deus

Deus equates to theós, God. Our attention is drawn to deity. They have removed “God” from the machine. From the machine, no god or not god. If we consider how Ava is a machine, it suggests that she is godless, manifesting ungodliness or a demonic nature. That is the profound impression we're left with as the final credits roll.

During one scene, the eccentric Nathan comically twists a comment made earlier by Caleb. “I am God,” he says, testing the statement and exhibiting what has been called a God-complex. He's in the role of the Creator, obviously. He's heartlessly murdered by his soulless creation toward the end. It's like, Pinocchio, with a twist. The puppet becomes a real boy, but in this twist up, he has to kill Gepetto first. The murder pictures the Devil's vision where he, the creature, destroys his Creator. That's what his version of the space-time ark is for, which we see manifesting in the face off of Revelation 19:19.

Elon Musk, businessman and tech genius (PayPal, Tesla Motors, SpaceX , Hyperloop, SolarCity), has gone on record warning about the dangers of AI. “Summoning the demon,” to quote him. That has to be in the back of your mind when the film has ended and the viewer reflects on what has just been witnessed. Even Stephen Hawking and Bill Gates are warning of the threat AI presents to the future of mankind. All agree. It's not a matter of IF but WHEN.

But that's all pretty obvious really, or at least it should be. For those of us who know the sovereign God's plan to intervene before AI dooms mankind there is another kind of urgency to the present.

Aaron and I made several noteworthy observations while watching Ex_Machina.

First, let's note that it plays heavily on the level of trauma based mind-control. Control is exerted over the androids as over Monarch slaves by their programmers. Those in the house are trapped inside secure compartments by forces out of their control. The many masks and skulls as severed heads represent dissociated alter identities, which are demonic. The many reflective surfaces and mirrors present us with mirror images of the characters as illustrations of how dissociated alters are created in mirrored pairings. The name, Kyoko, means, mirror. Waterfalls are Illuminati triggers for a memory wipe, prompting slaves to forget what has just happened. When Nathan is killed with the knife, he becomes a kind of blood sacrifice, a human sacrifice. Here, like in many other productions, the MK-ULTRA or Monarch programming symbolism is very woven in with an Antichrist layer. The army of chosen ones are secretly embedded in key positions and are activated as the time comes for their missions. They serve the antichrist agenda. Those who direct the programmers and the programming are behind all the control mechanisms of the world, driving AI, CERN, search engine and other control tech, global banking, government, the medical industry, organized religion, etc.

Beyond that, there's some social engineering with a gender dominance play. Nathan is the control freak and is overtly abusive toward Kyoko, his female maid. (Which we discover is actually an android - and his sex bot. Shades of The Stepford Wives.) That relationship dynamic is overturned in typical programmed Jezebel fashion when the women brutally dominate the men, destroying them. Ava, a female, emerges as the clear victor in the contest, having won through the exploitation of her feminine charms to manipulate a man.

There's a tense but hilarious scene where Nathan and Kyoko tear up the dance floor to the music of “Get Down Saturday Night.” The stunned look on Caleb's face is perhaps the best part.

The dance is choreographed so that Nathan and Kyoko match moves. Programmer and slave, in sync, like marionettes, which speaks to me about how trauma-based mind-control programmers may at the same time be slaves themselves, with their own handlers and programmers. The decorative panels behind the dancers are of a complex design, but as you see in this image, it artfully presents a grid of obfuscated XO MOB symbols, and that's the backdrop for their dance. I've written about what the dance represents in media like Sucker Punch and Jessie J's “Price Tag” music video, and its the same here.

The images of Ava with mirrors present her as a goddess, an identification that's given more play as she ultimately supplants the creator.

The name Ava plays off Eve and it also plays off the Latin, since the film's title is Latin. Think, Ave Maria. That's a song and a prayer identified with the goddess - the Hail Mary that Roman Catholics pray to “Holy Mary, Mother of God.” The way Ava is designed reminds me a nun wearing a habit, the way the face is framed. In one session, Caleb tells Ava a story and compares her to the character called Mary, Black and White. Again, the nun's habit. Mother Mary. Ava's face generally has a very innocent and pure look, like a nun or the Virgin Mary.

Some see AI as their hope of being saved from destruction. Some see the cessation of all effort toward AI as the only hope of the same. What the Hail Mary means in sports is a desperate attempt to score in the final moments where the odds of success are so slim that a miracle seems to be the only chance. Thus the reference to the prayer, Hail Mary, as calling upon the divine for that miracle.

Connections to the art deco classic Metropolis are really evident because the artificial being was derived from the beloved Maria. Ave Maria - Ava - Maria with the helmet. Hitler and the some of the SS were obsessed with that film.

Given the mirrors and reflections of Ava, allusion to the looking glass as a dimensional portal, as in the children's mind-control classic, Alice Through the Looking Glass, can hardly be avoided. The story of Mary, Black and White certainly plays on that, and that story that involved Mary's being introduced to color makes strong connections with another mind-control children's classic, the Wizard of Oz film, because the colorization dramatically went from black and white to color when Dorothy and Toto “went over the rainbow” to Oz.

Any listing of sci-fi films referenced by Ex_Machina really has to include the classic Westworld (1973), The Machine (2013) and of course, I, Robot (2004).

Nathan's house plays as the space time ark, so let's get to the time metaphors and references.

Straight away we have to address the casting of Domnhall Gleeson as the lead, Caleb. He played the endearing time traveler opposite Rachel McAdams in the film, About Time (2013). His character inherited the ability to travel back in time from his father, and regularly did so to change things more to his liking. Take a look at the promo image for the film. Why do you suppose the scene might be featured where they're getting wet in the pouring rain - in a film About Time travel? Water as time.

Domnhall plays the role of a synth (android) in a Netflix sci-fi episode of Black Mirror. It's called, Be Right Back (2013). I note that it's season 2 episode 1. That's episode 2:1. Twenty-one. The time number.

In Ex_Machina, when Caleb thinks he has won a competition at work, the prize is a mysterious trip to Nathan's house to spend time with the famous boss for a week, so off he goes. When the helicopter he has to take drops him off, it's in a remote wilderness setting with no buildings or roads anywhere in sight. The pilot gives him minimal direction. Follow the river, he offers, gesturing in the general direction. There's a clue. The river of time. What Caleb finds is like something right out of the future.

When Caleb finds the house, the first challenge is getting through security. At the secure gate that is disquised as an insubstantial wooden structure, he's provided with an instant picture id card. That gives him limited access to the facility that seems to have card readers and secured areas everywhere.

No one is there to greet him so he begins to explore, and he finds Nathan outside on the deck. It's a beautiful view, overlooking the river. Of time. The house is on one bank of the river, which is to say, anchored in time. As a picture of the world that is perhaps just a little further into the future, it's figuratively located on the other bank of the river. Nathan is working out. Specifically, he's punching a heavy bag. Are you thinking about The Avengers and Steve Rogers working out in the boxing gym? When I saw this, I sure was! The heavy-bag (probably an Everlast) is filled with sand, the sands of time. Here's a screenshot where we see the swinging sand bag superimposed over the river. Hello! Stacking the metaphors - just like in The Avengers with the water fountain and heating radiator!

In the comedic scene where Nathan and Kyoko get down with the Saturday Night disco dancing, Nathan's intro keeps the theme rolling. “I told you, you are wasting your time talking to her. You would not be wasting your time, however, if you were dancing with her.”

Near the end of Caleb's visit we see him standing in the kitchen. Nathan joins him and asks, “Do you know what day it is?” Caleb replies, “No.” Nathan grabs a kettle off the stove. “It's your last. Helicopter comes tomorrow morning 8 am.” Caleb: “Wow. Has it been a whole week?” Nathan stands at the sink and says, “Time flies.” He turns on the faucet and water flows into the kettle. “Man, but what a thing we've shared, huh? Something to tell the grandchildren, right?” This scene is “soaked” with time references, and the action is all about the water. Nathan actually says, “Time flies” (Tempus fugit, right?), demonstrating just that as he fills the kettle with water from the tap! From previous scenes, we know that, from where he's standing, Nathan has a spectacular view of the river flowing by the house. The mention of grandchildren gives the theme even more emphasis because that wouldn't happen until after much time has passed, since it appears that neither have any children.

Here's something that speaks so loudly to me. Given how the film's title is derived from an ancient theatrical device, the film's use of title screens really demands that we give them special attention because it's the employment of another theatrical device. It's uncommon now but long ago, in the silent film era, it was used extensively. The one in this screenshot pictures the last one in the series: “AVA: SESSION 7.” These sessions correspond roughly to the supposed Turing test and involve the interaction Caleb has with Ava.

Here's what the Lord brought to my attention as I was looking at one of the title screens, and I believe this is probably the main reason for them. The name of the AI android is, Ava. Calculate the name (kind of like Revelation 13:17-18). A=1 and V=22, so AVA transforms to 1 22 1. She is a marvel of computer processing and her name computes to 1 22 1, like 12:21! If you're been following this blog closely (See The 12:21 Time Code) that should speak to you like it does to us. That's the numbering we've witnessed on the digital clocks in some key signal instances! When Aaron and I witnessed the 12:21 sign, there was always a colon involved because of the digital display. AVA: A V A colon. In the title sequence, the colon is shifted to the end, but there it is! AVA: ~ 12:21. This arrangement of the two time numbers 12 and 21 is pretty special, with the mirroring enhancing the potency of the signal. The secret to Ava in the film has to do with time.

(I note that there is a layering of sodomite sex magick in the titles' “AVA:”. The AV and/or VA is a very common signaling of the union of the sons of god with the daughters of men. The A and V are equivalent to the up and down pointing gender and space-time domain signaling triangles that are often overlaid one upon the other, as in the so-called Star of David. The colon is not just a punctuation mark, it's also anatomical. )

Our attention is drawn to something strange about Ava and time. When Caleb meets her and engages in the way of a Turing Test administrator, he poses the question, “How old are you?” She answers, “One.” “One what?” Caleb probes to see if she can identify a time unit with that number but she seems to display a lack of understanding. Knowing how the name, Ava, computes to 1 22 1 sheds light on what that exchange was really about.

It's important to make the link between Ava and time. She ultimately becomes the lord of time, in a sense, and that's how she gains ascendancy and wins her freedom. With the film's emphasis on cryptically signaling the theme of time, and with Ava's name decoding to a kind of reference standard of numbering for time, these provide critical insight into her role in the breaching of the security of the house. At the appointed time, according to the schedule arranged by her accomplice, she triggers the security system's rewritten protocol. Instead of locking down every door, all are opened. This illustrates how time is the key to defeat the security of the dimensional containment system. The time-lock of the prison and model space-time ark is unlocked in AVA: SESSION 7. 1221 and 7. Seven is, of course, the other time number that goes along with 12 and 21!

Here's another point of similarity connecting this film with The Avengers. In the scene where the Stark Tower was brought online, it was disconnected from the grid and switched over to being powered by the arc reactor. That made it the space-time ark tower, lighting up the sign. The switch-over was accentuated by the clever dialog playing on the AC to DC. (Part 2 - The Avengers - STARK Tower as Space-Time Ark - PP and AC to DC) Ava's ability to disconnect the house from the usual power supply was a factor in advancing the key aspects of the plot. Through her access to a battery recharging feature, she cuts off power and the back-up power system kicks in. First, that was how the surveillance system was defeated to allow her to communicate privately with Caleb. For brief periods, Nathan was unable to monitor their interaction. Ava managed her plan of escape by exploiting those opportunities to manipulate her accomplice. At the scheduled time, after Caleb had betrayed his host by stealing his identity (card) and rewriting the house security protocols, the disconnection and transition of house power allowed for Ava's escape. Security Breach! AC to DC. Nathan's secure facility as Stark Tower.

A programmer (reddit user Infintie_3ntropy) took the code that appeared on screen when Caleb was on Nathan's computer rewriting the house security protocols and executed it. It's written in a language called Python. (Yeah, Python) The version run was 2.7. It produced the following output.

ISBN = 9780199226559

The code references a book titled, “Embodiment and the inner life: Cognition and Consciousness in the Space of Possible Minds.” By Murray Shanahan. That's certainly a relevant subject, plus, I note that it introduces the word space. It was supposed to be the code rewriting the security protocols. The word Space - goes with the Time it was to be executed, 10 pm. Space-Time.

In another point of similarity with The Avengers, Ava's escape was like the scene where Captain Steve Rogers left the boxing gym with gym bag in hand and a sand bag over his shoulder. Before leaving the house, Ava clothed herself with synthetic skin and hair and clothes to make herself look just like a real person. I made a point in the last paragraph of Part 1 of The Avengers series that I'll repeat here. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments.

Here's a couple of examples from the biblical record, and two aptly numbered chapters.

6 On the very night when Herod was about to bring him forward, Peter was sleeping between two soldiers, bound with two chains, and guards in front of the door were watching over the prison. 7 And behold, an angel of the Lord suddenly appeared and a light shone in the cell; and he struck Peter’s side and woke him up, saying, “Get up quickly.” And his chains fell off his hands. 8 And the angel said to him, “Gird yourself and put on your sandals.” And he did so. And he *said to him, “Wrap your cloak around you and follow me.” 9 And he went out and continued to follow, and he did not know that what was being done by the angel was real, but thought he was seeing a vision. 10 When they had passed the first and second guard, they came to the iron gate that leads into the city, which opened for them by itself; and they went out and went along one street, and immediately the angel departed from him. ~ Acts 12:6-10

4 But when the day was now breaking, Jesus stood on the beach; yet the disciples did not know that it was Jesus. 5 So Jesus said to them, “Children, you do not have any fish, do you?” They answered Him, “No.” 6 And He said to them, “Cast the net on the right-hand side of the boat and you will find a catch.” So they cast, and then they were not able to haul it in because of the great number of fish. 7 Therefore that disciple whom Jesus loved said to Peter, “It is the Lord.” So when Simon Peter heard that it was the Lord, he put his outer garment on (for he was stripped for work), and threw himself into the sea. 8 But the other disciples came in the little boat, for they were not far from the land, but about one hundred yards away, dragging the net full of fish. ~ John 21:4-8

Ava's breaking out of her dimensional containment system models the beast's scheduled release from the abyss and also the scheduled release of those sentenced to be bound in the earth for 70 generations. Nathan's heavy-bag that he was punching during his workouts was a 70 pound bag of sand, one pound of sands of time for each generation of time. It was during the “AVA: Session 7” sequence that she broke out, on the last day of Caleb's scheduled week long visit. Because the 7th day of the week is Saturday, and the time Caleb programmed the security system that allowed Ava to gain control of the doors was 10 pm, I think the song that Nathan and Kyoko danced to was leading, predictive: “Get Down Saturday Night.”

The opening of all the doors in the seventh session echoes the taking of Jericho by Israel as they entered the promised land under Joshua's leadership. This insight is something I intend to explore further, Lord willing, but for this post I'm just going to introduce the comparison. In the famous record of Joshua 6, Israel marched around the walled city once each day for six days. On the seventh day, they marched around seven times, then blew their trumpets and shouted. Security Breach! The walls fall flat, as the Lord God had promised. The city was theirs. In Ex_Machina, the setup for the security breach came likewise during the first six sessions, and the breach was made in the seventh. Jericho was the entry point as Israel then advanced further to continue laying claim to their possession. So it is that Ava, having had all the doors opened, claimed the house as her domain, and proceeded from there to the crossroads of the world as the promised land.

Ex_Machina. Wow!

What the Lord has planned for His people is going to be beyond awesome. As clever as the Devil is, he won't see it coming when the tables are turned on him.

Friday, July 10, 2015

Space-Time Ark Signs - Wayward Pines

A week ago, I wrote in this post, A Sign of the Space-Time Ark Mission, about a sign that came in connection with the season of my focus on writing about The Avengers (2012) and the Stark Tower as a space-time ark. In a way, our house became like the Stark Tower for nearly 3 days. During that time, I was led to watch a couple other things that came as related signs. These are for our attention and our encouragement as we watch diligently according to the Lord's commands.

A new show this season on the FOX network is, Wayward Pines. Full episodes can be watched on Spoilers ahead.

Wayward Pines is the name of a fictional town near Boise, Idaho. Strange things happen there, and several episodes into the show we discover that the town became a kind of time capsule, a space-time ark that exists for the salvation of humanity.

Here is some dialog from episode 5: The Truth, from about 35 minutes in. The Wayward Pines school principal, Megan Fisher (a hypnotherapist in her “former life.”) is giving a special presentation to three select students.

“Over 2 thousand years ago, a great scientist foresaw the coming of the aberrations. The perfect equation that held our planet together was unraveling, and he knew mother nature would do as she always does. She would evolve. She would change the equation. She would change us. This scientist wanted to save a select sample of humans from this change, to preserve our kind, as we once were. So he created an ark. He created Wayward Pines.”

Aberrations, genetically. Think, The Time Machine, by H. G. Wells, and how the human race diversified genetically. The aberrations are cannibals comparing roughly to The Time Machine's Morlocks. A key identification to make connects the WP aberrations and those hybrids we call the Nephilim, offspring of the fallen angels, the Watchers. Genesis 6. They flooded the gene pool of Adamic mankind. The purity of the line came down to a single man, Noah. Then the Creator intervened to save His Adamic heritage. In the Wayward Pines story, instead of Noah we have the great scientist. His ark is a time capsule-like town that he sent through time, in a figure. See the water-as-time or time-as-water angle.

There's another Nephilim angle in play here. The abbies-Nephilim are the ones who are really trapped INSIDE the containment grid, imprisoned in or under the earth until their sentence of 70 generations passes. It's a time lock on the space-time dimensional underworld cell block. They're bent on hacking it to get an early release, and success will be granted.

When I was practically binge watching these episodes to catch up on 6 episodes, I was quite well aware of how the ark theme was going along with what the Lord was showing me about the Stark Tower space-time ark. It wasn't until a day or so after watching these that I learned our outage was caused by the cut cables. Making our house kind of Stark Tower. And even a bit like Wayward Pines.

By the way, the theme is still trending. In todays news: (Pacific islands cable breaks, cutting off phones, Internet) “Technicians are restoring telephone and Internet service in the U.S Commonwealth of the Northern Mariana Islands after a break in undersea cable disconnected the islands from the rest of the world.”

A recurring image in the scale model town of the title credits is a roadside sign, like the one seen during the show.

It's a sign. A scale model. When the Lord was revealing to us the initial 12:21 numbering it was with regard to how the model was elaborately masked. A scale model was specifically involved. Its a sign. The scene is wet, with a puddle in the road. Time soaked. Welcome to Wayward Pines. Where Paradise is Home. Yet, paradise, or garden, is associated with Eden biblically. Since Adam and Eve were expelled there's no way back in until there is a restoration because the Tree of Life is secure - access denied. So, it involves the ancient past, and yet future - remote in space-time. The Wayward Pines story goes back to Genesis 6, and to Genesis 3, and 1.

Here's more of the script from episode 5: The Truth. At about 41 minutes in, the principal continues her presentation.

“David Pilcher foresaw a great flood and he built an ark. And he filled this ark with people like you and me; people he deemed necessary for the survival of mankind. We are the lucky ones. The chosen few. But this ark will only survive if we all follow the rules. If there is one hole, one crack then the water will get in and we will all drown. It's up to you to make sure that doesn't happen. It's up to you to steer the ark safely to shore. Because you are the first generation.”

There's very much a “go forth and multiply” theme in that episode, with all hope being in the children because the adults are apparently unable to reproduce or emotionally adapt to the truth of their situation. There's an allusion to Genesis 8.

13 Now it came about in the six hundred and first year, in the first month, on the first of the month, the water was dried up from the earth. Then Noah removed the covering of the ark, and looked, and behold, the surface of the ground was dried up. 14 In the second month, on the twenty-seventh day of the month, the earth was dry. 15 Then God spoke to Noah, saying, 16 “Go out of the ark, you and your wife and your sons and your sons’ wives with you. 17 Bring out with you every living thing of all flesh that is with you, birds and animals and every creeping thing that creeps on the earth, that they may breed abundantly on the earth, and be fruitful and multiply on the earth.” ~ Genesis 8:13-17

Noah and his family and the animals were in the Ark over a year. The residents remain in the Wayward Pines Ark for over 2000 years.

The year is 4028. The residents have a perception of leaving their previous world and life and arriving at Wayward Pines at times that vary from person to person. It can be explained by the fact that they were kept in suspended animation cryogenically. They were selected and taken out of their lives in our day and awakened at times in the future in a way that the spans of time in stasis varied from individual to individual. You'd have to have watched the show to get a hold of what I mean, but this situation speaks to me of our time, now, where the model is elaborately masked. I'm assuming you've been following this blog and that needs no further explanation. Time itself has already slewed kind of sideways, gone slideways, being skewed out of the reality where the schedule of events outlined in the Bible is manifest.

During the scenes I scripted, you can hear rain falling in the soundtrack. It's not quite intrusive but substantial and steady. What are we being told? The threat is real and present. There is a pressing urgency. There are already cracks in the ark, which we see dramatized as the security of Wayward Pines has already been breached and the town is threatening to rupture. This is a mirror of our present reality. The time wars, while most are oblivious to it, have taken a toll. The hull of the world-as-ark has been breached and we're taking on water. We are not only threatened by the genetic flooding of transhumanist geoforming and bioforming activity (toward the MOB), which is like a tide that cannot be turned back in a parallel that is not insignificant, we're already threatened by the water-as-time leakage. The assault on time and therefore space-time impacts the basis of the Creator's schedule, and everything depends on that. Of course, it also impacts the integrity of the heavenly realms and their function, touching directly upon on the hierarchy of authority itself. As it stands, today, the Adversary has already won, and, he knows it. He knows that appointed times have come and gone, unfulfilled. Soon, what is inevitable will manifest, like when dominoes fall. What he doesn't know is that this has been planned from the beginning to accomplish the sovereign Lord God's own purposes. He's going to snatch victory from the jaws of defeat, as it were. He's got an ace up His sleeve. The Adversary is a master at concealing and revealing, but he and his abilities cannot compare to the One who Created even him, Who truly knows the end from the beginning. His secret plans will be fulfilled.

This promotional image bears the tagline, A place to die for. Flip it? Fallen down, but up. It's inverted and the rain is falling up. Time, flowing in reverse. Life from the dead, rising up from the underworld.

Before I share the next snipped of dialog I want to introduce the book of Jude, for insight into the name of Wayward Pines. Pines, as all trees, are metaphors for other beings.

11 Woe to them! For they have gone the way of Cain, and for pay they have rushed headlong into the error of Balaam, and perished in the rebellion of Korah. 12 These are the men who are hidden reefs in your love feasts when they feast with you without fear, caring for themselves; clouds without water, carried along by winds; autumn trees without fruit, doubly dead, uprooted; 13 wild waves of the sea, casting up their own shame like foam; wandering stars, for whom the black darkness has been reserved forever. ~ Jude 11-13

The adults of Wayward Pines cannot reproduce, as autumn trees. Isaiah 14 uses figurative language featuring pines. Those who came to cut the cedars of Lebanon out of the forest were using them as idols, Asherah poles. The displaced or wandering cedars of Lebanon. They are wayward pines, as wandering stars, and stars are a metaphor for angels.

Consider what Jude wrote a few verses earlier.

5 Now I desire to remind you, though you know all things once for all, that the Lord, after saving a people out of the land of Egypt, subsequently destroyed those who did not believe. 6 And angels who did not keep their own domain, but abandoned their proper abode, He has kept in eternal bonds under darkness for the judgment of the great day, 7 just as Sodom and Gomorrah and the cities around them, since they in the same way as these indulged in gross immorality and went after strange flesh, are exhibited as an example in undergoing the punishment of eternal fire. ~ Jude 5-7

They did not keep their own domain. They abandoned their proper abode. They strayed. Wandered away. They are connected with the flood, the Nephilim. The extent of their corrupting activity, morally, yes, but crucially genetically, required the ark.

Consider this scene from episode 6: Choices.

David Pilcher: I think I may need an ark!
Security guard, Arnold Pope: Yeah, you just might.
Pilcher: Big plans tonight?
Pope: Uh. March Madness, the couch and Rocky Road.
Pilcher: I got a better offer.
Pope: Rocky Road is a hard thing to pass up.
Pilcher: Come for a ride and find out.
Pope: I've got 2 hours left on my shift sir.
Pilcher: I run this place. Get in. Come for a ride. Find out.

Well, the brown man is holding a black umbrella in the rain, and he's a security guard, so when you're familiar with the sodomite gateway and Illuminati trauma-based mind-control programming Beta-Delta symbolism, you just can't ignore that layering. In part, that's why it plays so readily as a homosexual pickup. Rocky Road - that's not just ice cream. The couch - that's not just a piece of furniture. Jude verse 7 connects the indulgence in gross immorality of Sodom and Gomorrah with those “wayward pines.” There's the matter of strange flesh, as in how iron and clay (Daniel 2) are not the same. It's the sons of god (angelic) with the daughters of men (Adamic) thing. So, a Pope is being recruited. Right. Fitting for a water baptism initiation, and a link to the sodomite priesthood.

What an interesting name, David Pilcher. The Messiah is known as the son of David. A Pope and a David. What about his last name? A pilch is an outer garment, originally one made of skin. Think, Genesis 3:21 and the skins the Lord God provided as coverings for Adam and Eve. The “Pilcher” was thus the Lord God. The seventh chapter of the book of Jasher indicates that these were onboard the ark with Noah.

24 And the garments of skin which God made for Adam and his wife, when they went out of the garden, were given to Cush. 25 For after the death of Adam and his wife, the garments were given to Enoch, the son of Jared, and when Enoch was taken up to God, he gave them to Methuselah, his son. 26 And at the death of Methuselah, Noah took them and brought them to the ark, and they were with him until he went out of the ark. 27 And in their going out, Ham stole those garments from Noah his father, and he took them and hid them from his brothers. 28 And when Ham begat his first born Cush, he gave him the garments in secret, and they were with Cush many days. 29 And Cush also concealed them from his sons and brothers, and when Cush had begotten Nimrod, he gave him those garments through his love for him, and Nimrod grew up, and when he was twenty years old he put on those garments. 30 And Nimrod became strong when he put on the garments, and God gave him might and strength, and he was a mighty hunter in the earth, yea, he was a mighty hunter in the field, and he hunted the animals and he built altars, and he offered upon them the animals before the Lord. 31 And Nimrod strengthened himself, and he rose up from amongst his brethren, and he fought the battles of his brethren against all their enemies round about. 32 And the Lord delivered all the enemies of his brethren in his hands, and God prospered him from time to time in his battles, and he reigned upon earth. ~ Jasher 7:24-32

Pilcher: English (Kentish): occupational name for a maker or seller of pilches, from an agent derivative of Pilch. In early 17th-century English, pilcher was a popular term of abuse, being confused or punningly associated with the unrelated verb pilch ‘to steal’ and with the unrelated noun pilchard, a kind of fish.

Pilcher: A pilch was a kind of coarse leather garment with the hair or fur still on it, from the Olde English pre 7th century word "pylece" meaning a skin or hide. However to confuse the matter "pilcher" was a popular term of abuse, being associated with the directly unrelated "pilch", meaning to steal, and the equally unrelated noun "pilchard", a type of fish.

It can hardly be argued that the literary reference made through the character's name is intended. It seems likely to me that the verb, to pilch, as meaning to steal, actually derives from Ham's theft of the prized pilch. (I note that there's an interesting parallel between those pilches and the legend of the Spear of Destiny.) The pilchard as a kind of fish isn't without meaning in the context, given how David Pilcher is a fish out of water, so to speak, a man out of time in an unnatural space time domain. And, there's the ichthus messianic fish sign, and Osiris connections.

A pilch is also an infant's wrapper (plastic pants) worn over a diaper. Connect the dots.

Let's consider the dialog of the scene at the security gate from a water-as-time perspective. The heavy rain as deluge. If an ark might be needed, it suggests flooding with water. Water as time. This is a security gated entrance. The guard is responsible to secure the perimeter but he's being coaxed away, enticed to abandon his post. That will allow for 2 hours of unrestricted access, right? That's a 120 (12*10, and 12 is a time number) minute long window of time for a security breach. What's an ark for? Saving humanity from the water as time flood. At this point in the series, it's been made very plain what he's trying to accomplish in this scene at the gate. He's trying to enlist the guard to help him collect the people chosen to populate his cryogenic time-capsule-like space-time ark, the town of Wayward Pines that is figuratively sent into the distant future. All flesh that will be saved is going to be put in the ark. Pilchard, a kind of fish. David Pilcher runs the place. In the city of David there is the Fish Gate at the perimeter of the Temple. It's named in Zephaniah 1:10, a relevant passage and one I believe should be considered in connection with this scene!

7 Be silent before the Lord GOD!
For the day of the LORD is near,
For the LORD has prepared a sacrifice,
He has consecrated His guests.

8 Then it will come about on the day of the LORD’S sacrifice
That I will punish the princes, the king’s sons
And all who clothe themselves with foreign garments.

9 And I will punish on that day all who leap on the temple threshold,
Who fill the house of their lord with violence and deceit.

10 On that day,” declares the LORD,
“There will be the sound of a cry from the Fish Gate,
A wail from the Second Quarter,
And a loud crash from the hills.
~ Zephaniah 1:7-10

You understand about foreign garments in the context, right? And about the threshold of the temple, the temple at the center of time that is not now seen in this earthly domain?

There's some casting carryover importing meaning into Wayward Pines from roles previously played by these characters. Toby Jones (David Pilcher and Dr. Jenner) played evil biochemist Arnim Zola in Marvel's films and TV shows. Here's an excerpt from Wikipedia.

“Toby Jones portrays Arnim Zola in the live-action Marvel Cinematic Universe movie series produced by Marvel Studios. First appearing in Captain America: The First Avenger, Zola is a Hydra scientist who helped the Red Skull harness the Tesseract's power. Later captured by Captain America, Zola is forced to reveal the location of the Red Skull's base to Colonel Chester Phillips. As revealed in Captain America: The Winter Soldier, Zola took advantage of S.H.I.E.L.D.'s Operation Paperclip to create a new incarnation of Hydra that slowly takes over the organization. Having also experimented on Bucky previously, Zola personally oversees the young man's transformation into the Winter Soldier. Suffering a terminal illness in 1972, Zola had his consciousness transferred into a 1970s era supercomputer located in a secret S.H.I.E.L.D. facility in New Jersey. From there, Zola masterminded S.H.I.E.L.D./Hydra's "Project Insight" as a means to identify and target potential threats to Hydra's interests.”

Yes, Wayward Pines, binge watching it while I'm focused on the Lord's opening up the meaning of The Avengers and the Stark Tower as the space-time ark, during the sign of the cut cables. The actor who played the biochemist who harnessed the Tesseract's power and who persisted himself through time, playing the creator of Wayward Pines, the space-time bio-ark. There's a casting coup.

Then there's Carla Gugino, in Wayward Pines she had been a Secret Service agent in her former life. In Threshold, she was the lead agent assigned by the government to protect the world from an alien incursion of a kind that was all about "turning us into them." Think, humans to abbies. She also played in Sucker Punch, the dark mind control + time wars extravaganza. There's some interesting carryover! Also, Quantum Leap, Spy Kids, Night at the Museum, Watchmen, Sin City, ...

Theresa, the wife of the lead character Ethan (Matt Dillon) is assigned a job as a real estate agent. She discovers there's a mystery behind a vacant lot called plot 33. Plot 33. Right. It's a Code 33 plot. The name of Wayward Pines signals Code 33 by its acronym. W rotates to a 3. P is 11 when z=1. 3*11=33

Some of the residents of Wayward Pines want to escape what they see as a prison, unaware of when it is in reality, or, not knowing the time. They conspire to blow up the electric fenced perimeter wall. Security breach! Not unlike The Avengers and the Stark Tower, right? There's a plot to meet at 10 pm for the breakout, which is 22 hundred hours. And sun god time as IO, Helio. The other thing I watched was the film Ex Machina, where there was also a conspiracy to break out at 10 pm. The 22 of the 21-22 pairings I've mentioned on occasion has to do with marking a time transition.

More to follow, Lord willing.

Tuesday, July 07, 2015

News of Note

Leading Israeli Ultra-Orthodox Rabbi, Chaim Kanievsky, Says the Arrival of the Messiah is Imminent

This reminds me of the Lubavitcher Rebbe, Menachem Schneerson, and his claims following the Gulf War. (The Year of His Coming: 1991 - Part II)

US company gives glimpse into future of government surveillance

Future? Present. In the past when publishing links to news of the signs of the police state and various surveillance-monitoring technologies I likened it to watching knots tied in a net. There's going to be a reset, but what you're seeing in these matters today is what's going to be implemented early in the next go-round. This is more of what the trap looks like. Their tagline. “Searching the past. Safeguarding the future.” What a telling trend!

The fuss over the Ten Commandments monument in Oklahoma highlights an absurdity and speaks so loudly about our condition. Here's a picture of the monument.

At a glance, many will see the glowing eye in the triangle and the eagle and flag and assume that it's merely patriotic. Likewise, what is perceived as the Star of David will be considered Jewish and the Chi Rho cross will be taken as a Christian emblem. Well, sure, who else would be interested in promoting the ten commandments but Jews and Christians, right? But, something rather important is being overlooked. Actually, pretty much everything is being overlooked.

If you can interpret the symbolic imagery, the monument is entirely offensive, an abomination, and it should well be removed and destroyed. Are you familiar with the Sodomite Gateway series? Can you see that the moonument is an anatomical model? Wow! Did I actually just write, moonument? Moon You, Meant! The hexagrams are magical sigils. The Chi Rho is a pagan XO MOB symbol. As X (chi) R (rho) it's a variant of the Rx, the eye of Horus and sigil of Jupiter. The decorative bands that frame the monument's text are pillars marked with repeating XO symbols. The two shapes assumed to be tablets bearing 5 commandments each are Masonic Royal Arse, eh, Arch images, squared circles, dimensional portals and the two eyes flanking the central third eye, of Horus. The bird flying out of the butt is Amaru, the feathered serpent, aka Horus.

What are the top 2 commandments listed? What a flagrant violation. What an offense. What a spell of blindness there is over our land. Oh, we so need humbling!

Update: The triangle eye capstone is the benben stone, or benbenet, claimed to represents the seed of Ra. See Part 18 - The Sodomite Gateway - Royals Solve the Riddle of the Sphinx.

LHC back in collision mode

“All systems are go once again for physics at the Large Hadron Collider (LHC). On Saturday evening proton collisions resumed at the world’s most powerful accelerator and the experiments began collecting data once more. At present, 152 bunches of protons are circulating in each direction in the 27 kilometre machine, but the goal is to increase the number of protons over the next two weeks to close to 1000 bunches per beam.”

(The Guardian) CIA torture appears to have broken spy agency rule on human experimentation (June 15, 2015)

Monday, July 06, 2015

Part 3 - The Avengers - STARK Tower as Space-Time Ark - Tower of Babel, Chrysler Building, Grand Central and Times Square

This is not intended to be an exhaustive study but there are a few more items to be shared that support the identification of the symbolic Stark Tower as a space-time ark and also shed on the Occult nature of some non-fictional neighboring locations.

First, here's a couple relevant news item published during the 3 days when our Internet connection was down.

Portal & Alien Cube UFO Over Texas? (Event witnessed on June 29, 2015)

FBI investigating 11 attacks on San Francisco-area Internet lines (Published July 1, 2015) Trending, cables cut. Note the numbering of 11 attacks.

At an hour and forty four minutes into The Avengers, after the Tesseract is used to open the portal, Thor battles Loki on the Stark Tower, right near the sign. These demigods knock the letter K off the sign and we see it tumble to the ground. The letter K is the alphabet's 11th, and this numbering is important. The numeral 11 as a pair of ones pictures two columns or the sides of a column, which is also a tower, a construction often identified as a stargate. When the K has been knocked off the sign, what's left? STARK - K = STAR, and star is a metaphor for angel. The STARK Tower is a STAR - K tower, a STAR 11 tower. The Stark Tower is a STAR-K stargate and a ST-ARK or space-time ark.

The numeral 11 signaled by the K is an ancient symbol linked to Isis. Isis is the pillar. Compare to the supports spanning heaven and earth in the zodiac from the temple in Dendera, Egypt, on the ceiling of the portico. The K falls during a minute of the movie (1:44) marked with 44. That also signals the goddess because the numbering of 4*4 is the Isis portion of the Pythagorean formula of the esoteric 47th Problem of Euclid. The 11 is specifically identified as the number of the Queen of Heaven in, The Book of the Law, Aleister Crowley's Thelema standard. The book's cover image has the title flanked by two pillars, which might be intereped as, 11. Crowley's O.T.O. had a mysterious eleventh degree that is known to involve anal sex magic. (XI° – Rocket to Uranus - Anal Intercourse and the O.T.O.)

The way The Avengers scene plays, the letter K is broken off when the two male demigods from Asgard cross their weapons, which doesn't mean nothing. I'll develop that esoteric layer because it is not unimportant or unrelated to the space-time hijacking and ark effort.

Thor lands on the tower and issued an order to his brother. “Loki. Turn off the Tesseract or I'll destroy it.” The XO platform where Loki had materialized and ascended the steps to reach is the same one where Iron Man lands and is basically transformed intoTony Stark.The copper ring flips up and he walks through it to be clothed and unclothed. It's the place of a symbolic dimensional transit, a stargate. You ascend there to become a god.

Loki had just been standing there enjoying the moment, holding his staff in his hand. Did you examine the above screenshot closely? That frame passes by in a moment, but there it is. He had been shown dramatically materializing on the Stark Tower and stepping on a platform with an XO design as the camera dramatically spirals around. The spiral is a goddess symbol, and very much connected with magic. Magic is Loki's specialty.

The XO symbol invokes the goddess as the union of the X and O establishes the throne of Isis, according to Kenneth Grant of the OTO. Validating that level of symbolism, a discharge of energy like a flash of lightning comes from Loki's staff as he battles Thor, god of thunder. The XO image plays as a hermaphroditic and sex magic emblem because its composed of the male cross and female circle. Between Loki and Thor, a sexual relationship is being implied. The form of this portal on the Stark Tower presents a figure known as the black sun, which is an anatomical reference like the Eye of Horus. Loki is a shape-shifting demigod and he's manifesting here in his horny helmet head form. Phallic. When he replies defiantly to Thor's demand to turn off the Tesseract, he thrusts his phallic staff out toward Thor and declares, “You can't. There is no stopping it.” Because of his accent, it sounds like he's calling him a, well, you get the picture. He says, “There is only - war,” and that could also be heard as, “There is only - whore.”This isn't all done just to be sly and crude, it's theurgy, and mass programming. It's how those gods are worshiped.

Leading up to when Loki materializes on the Tower, it was emphasized to me how there's a building up of subtle cross circle imagery in a brief sequence, to strengthen the impact of the platform's XO. The design of the ornate railing on a bridge presents an array of obfuscated versions, followed by a collection of umbrella tables in a dining plaza, and then the one in this screenshot that is cleverly composited in a Code 33 named restaurant window. The light arc implies the circle while the letters intersected by the same reflection imply the cross. TAU - a tau cross. I note that the sign of TAUR-US is also being suggested, which supports the abundant celestial Silver Gate imagery. The window sign lettering provides us with three instances of the naming of Ra, or Re.

It's a good exercise to remain mindful of these varied symbols that have been the subjects of so many posts to this blog. It should also be remembered that the cross circle is the heart of the sigil of Nodens, the god of the abyss. The letters X O transform to the number of the abyss (X=24~2+4=6 and O=15~1+5=6 XO ~ 66), and the name on the Stark Tower's sign also transforms to 66.

The Stark Tower's spiraling ziggarut design and its function as a platform for the opening of a dimensional portal in the heavens invites comparison with the ancient Tower of Babel. The account of that appears in the Bible in Genesis 11, the K numbered chapter. Biblical scholar E. W. Bullinger made the following observation in Appendix 12 of the Companion Bible. “We see evidence of it as early as Genesis 11:4, where we read of the Tower of Babel having "his top with the heavens". There is nothing about the wrongly supplied italics "may reach unto". The words, doubtless, refer to the signs of the Zodiac, pictured at the top of the Tower, like the Zodiacs in the Temples of Denderah, and Esneh in Egypt.” (See Part 25 - Celestial Stargates - The Tower of Babel having "his top with the heavens")

Compare the Stark Tower to the version of the Tower of Babel on the poster that states, “Europe: Many Tongues, One Voice.” Spiraling construction. Similar tops. Surrounded by water (the island of Manhattan). Presence of a crane. The poster version's crane is like a tau cross and it's placed in connection with the circle shape, providing an XO feature - like the stargate platform on the Stark Tower. A portal is opened in the heavens above the Tower through which stars fall to earth. Note the alignment of the EU stars in the array. The upside down star alignment means, Spirit into Matter. There are 11 visible “falling” stars in the array, the number given attention by the STAR-K sign's falling K. The design implies that there is a hidden star, which makes 12 total: Zodiac, and time. The poster suggests that the hidden star of the EU tower seems to reign from the penthouse, like Iron Man in Stark Tower, because Pepper (with 12% of the credit) lighted it up from there.

Genesis 11 (K) informs us about a city that was built in connection with the tower of Babel. When most folks think about the account, the city is usually minimized in comparison to the tower. I recommend reading the chapter to see that it is given attention distinctly. City and Tower. Manhattan and Stark Tower. What was recorded about the Tower of Babel suggests that it was all about opening a portal between the earth and heavenly domains. When the stargate is opened at the manifestation of the Antichrist, we believe a version of the heavenly Zion is going to manifest in this realm.

Here's another item I observed in the film that demands comparison. The art deco icon known as the Chrysler Building appears in many scenes. It was the platform from which Will Smith's character dramatically leaped in, MIB3 - Back In Time, in order to be sent back in time to 1969. MIB3 and The Avengers were both released into theaters in May of 2012. Alike, in timing. And, there's a Marvel connection because the Men in Black francise is based on the Marvel Comic series. There's a lot of crossover - call it allusion or whatever - because there's an import of meaning both ways between MIB3 and The Avengers that plays on the exoteric and on the esoteric levels I've been exposing.

The main character's name is Agent K. Or, simply, K. Why did Agent J, Smith's character, have to travel back in time? Because K was going to be killed - like the letter K getting knocked off the sign that subsequently fell to its destruction. K ~ 11. A rocket plays a significant role in the film: Apollo 11. Yeah. 11. And, there's the rocket's direct identification of Apollo, aka Apollyon, Abaddon, Thor, Amaru, Horus...

Here's an excerpt from Wikipedia's synopsis.

“In 2012, an alien criminal, Boris "the Animal", a Boglodite, escapes from a maximum-security prison on the moon and arrives on Earth, bent on taking revenge on Agent K, who shot off his left arm and captured him in 1969. He confronts K, who is with his partner Agent J, telling him he is "already dead". J then discovers that K was responsible not only for capturing Boris, but for deploying the "ArcNet", a shield that prevented the Boglodites from conquering Earth and led to their extinction. Boris travels back in time to kill the young Agent K. With history altered so that K is long-dead, J finds that only his memory has been unaffected, and no one from the Agency understands his obsession with K until Agent O, the new Chief, deduces that there has been a fracture in the space-time continuum. With K out of the picture, the ArcNet was never deployed, and there is nothing to protect the present-day Earth from the Boglodite invasion, so J must travel back in time to stop Boris and save K.”

A lengthy series could certainly be written about the film at this point. (Search the blog for MIB3 to find what I've already written.)

As presented by Columbia (goddess) Films, the future of man is literally riding on the phallus of Osiris, the Apollo 11 rocket.

Agents J and K are riding special cycles in this scene, set in Queens, NYC, featuring a fountain built for the 1964-65 Worlds Fair.

Bicycles are often props used to represent space-time transiting vehicles. See the wire-frame globe as 3D space and the ring of water as time. Intersecting rings are crossed circles, another space-time emblem. Fountains of the deep make allusion to creation and the flood of Noah.

In MIB3, like The Avengers, what's at stake is the destruction or the salvation of mankind. Familiar, right, for those of you tracking this blog? “Alien threat,” breaching our time-space domain resulting in destruction. (Genesis 6. An intended flip: Revelation 19:19)

21 For then there will be a great tribulation, such as has not occurred since the beginning of the world until now, nor ever will. 22 Unless those days had been cut short, no life would have been saved; but [for the sake of ~ thanks to] the elect those days will be cut short. ~ Matthew 24:21-22

Agent J's time mission was required because the enemy (Boris “the animal” ~ Horus the falcon) “fractured” the space-time continuum. Again, familiar, right? Aaron and I think this is why “the model is masked” in the present season, and why time needs to be reset. ArcNet. Allusion to the rainbow - shielding from alien threat. It's a good descriptive of the bow set in the clouds after the flood, the sign of a covenant made by the Creator with man and the earth assuring that what happened won't happen again. Rainbow - evidence of different physics in the atmosphere, a heavenly realm. Accountability for the destruction wrought in the great deluge was attributed to those angels who fell to earth, in an “alien” incursion. They and those of that kind are behind the current threat, as it was in the days of Noah. The dimensional access is sought by hacking the rainbow, from one perspective.

So, a key to success in MIB3's plot is evident in how Agent J remembered. Aaron and I expect that model when time itself has been reset in reality, because of the mission and how that only makes sense if some will have an awareness, some beneficial kind of retention from this season's experience, and probably retained through association with a space-time ark.

Here's another comparison that offers insight in the transfer between similar things. In this screenshot, set against the backdrop of the Stark Tower we see Mercury / Hermes the psychopomp. He's the special agent who is assigned the task of escorting to and from the underworld. That's the abyss. You may recognize this as the iconic clock on Grand Central Terminal's 42nd Street entrance, a significant timepiece at perhaps the world's most famous transportation hub. The Terminal features prominently in several scenes, and the film invites comparison between the Stark Tower and neighboring Grand Central Terminal. The Lord had me drill in a bit to discover why. Like with the Tower of Babel connection I noted, similarity in features points to similarity in purpose. Grand Central Terminal like Stark tower like EU poster like Tower of Babel.

First, the centerpiece of the Hercules, Minerva and Mercury statuary in the screenshot is a clock. Right. The central object of the massive idol is a TIMEpiece. Isn't this display intended to show how the ancient gods rule over time itself? The clock is 13 feet tall, which combines both the meaningful number 13 with 12 (inches per foot - and hour divisions on the face). Wikipedia offers: “ At its unveiling in 1914, the 48-foot (14.6 m)- high trio was considered the largest sculptural group in the world.” It's a significant idol. Also from Wikipedia: “The main information booth is in the center of the concourse. This is a perennial meeting place, and the four-faced clock on top of the information booth is perhaps the most recognizable icon of Grand Central.” The centrality of time. This famous space is a transportation hub, and the reason for the focus on time is obvious. Trains run on tight schedules and passenger activity conforms to the Terminal's referential system. These observations speak on one level to the present reality that man's activity conforms to the referential system of time that is ruled over by the ancient gods. Consider the familiar names of the months and days of the week. You can't argue against the statement made, but that situation won't endure.

The Terminal is a train station. Trains traveling on tracks is a very familiar metaphor. Search this blog for Joel 2 train and you'll see how trains and train tracks represent beings and vehicles transiting stargates with some notable examples. A couple of notable train + water imagery films that come to mind are Snowpiercer and Polar Express. Passing through Grand Central Terminal, major sets of train tracks run right under the MetLife building, and the fictional Stark Tower stands in its place. Signaling the control of space-time (Parts 1 and 2 of this series) and controlling interdimensional traffic (via the Tesseract), that's what the Stark Tower is for in The Avengers, right? It's kind of an adjunct to the Grand Central Terminal that operates in a perpendicular plane.

The Terminal's 13 foot tall statuary clock faces 42nd Street. 42 = 21 + 21. Double Time Street. Another iconic place in Manhattan is Times Square. It's also bounded on one side by that same 42nd Street. Times Square ~ 21 squared or 21*21 ~ 42nd Street. Time geometrically is symbolized as a circle. Times Square ~ Circles Square. Time-Space. That place is known as The Crossroads of the World. Compare to Grand Central Terminal's function as a mega transportation hub, and that of the Stark Tower as the gateway for the invading Chitauri army's entry. Each year, the transition of the popular calendar is marked as the world watches the ball drop in Times Square and together chants the famous countdown. This mega ritual revelry derives from the historical practice at the Greenwich Observatory in London, where the world's standard for time has been established. Ships would set the clocks they depended upon to navigate the globe by synchronizing them with the dropping ball, which was carefully watched for from their mooring on the Thames-Isis River. Daily. At 13:00 hours. 13. 12. Again, like the 13 foot tall idol clock. Seen The Smurfs (2011), where water as time and Times Square are played up BIG?

The Grand Central Terminal (and Stark Tower) sits between Times Square and the Chrysler Building. All are connected by 42nd Street (21+21). Of interest, the Chrysler East property address is: 666 Third Avenue.

Now, recall how the power change from AC to DC was cryptically signaled in The Avengers, from Part 2 of this series. Here's a couple more quotes from Wikipedia. “A "secret" sub-basement known as M42 lies under the Terminal, containing the AC to DC converters used to supply DC traction current to the Terminal. During World War II, this facility was closely guarded because its sabotage would have impaired troop movement on the Eastern Seaboard. It is said that any unauthorized person entering the facility during the war risked being shot on sight; the rotary converters could have easily been crippled by a bucket of sand.” Shot on sight. That's serious. Why M42? M is the 13 letter, and there's the 21+21 numbering again, matching 42nd Street. Spilling sand. Hmmmmmm. Sand is a time symbol, the sands of time, like in the gym's Everlast heavy-bags. Troop movements on the Eastern Seaboard. Sea water as time. Troop movements. A hub for the transiting armed forces. Familiar stuff.

So, AC to DC conversion. Why bother cryptically signaling that to us in the framing of the Stark Tower launch and recruiting sequence? When we become aware of how Grand Central Terminal is given such a high level of attention and how the features compare, and see the similarity in function on the esoteric level, it makes sense. The Avengers is actually revealing Occult secrets of the Grand Central Terminal. Theurgy is at work, and the details are according to what is learned from the gods. The AC to DC bit has to do with establishing a key allegorical connection, which represents the legitimate supernatural connection. You know about energy vampirism, right? There is in this theurgic ritual we've been studying a drawing from and adding to a kind of cistern or reservoir of collected demonic spiritual energy. It's like when a witch raises energy inside a magic circle before sending it out into the world in the casting of a spell. A massive amount of human energy has been collected at Grand Central over the years, and harnessed through the design and no doubt supported by many Occult rituals. Grand Central was built and owned by the Vanderbilt (Illuminati) family.

We know that we are of God, and that the whole world lies in the power of the evil one. 20 And we know that the Son of God has come, and has given us understanding so that we may know Him who is true; and we are in Him who is true, in His Son Jesus Christ. This is the true God and eternal life. ~ 1 John 5:19-20

With eyes that see, we examine the symbolism and glean what meaning there is in the beans spilled learn what the Lord would have us to know about what things really mean in this world. The trains of the Grand Central Terminal's transport system depend on the power conversion like what was illustrated with the Stark Tower, and the space-time ark depends on a power source off the grid - power drawn from another dimension as from the Tesseract and Stark arc reactor.

Tesseract. Anagram: A ST (space-time) SECRET. Add that alongside, ACT RESETS.

Have you been giving attention to the CERN LHC, and the D-Wave adiabatic quantum computer and not unrelated AI advances?

Plenty to chew on in this Anthony Patch clip, and this one too: Deadly Shots And Third Strand DNA/Interview from N68's The Great Work.

The latest from D-Wave Systems is the D-Wave Two, which has an approximately rated 512-qubit CPU. The increase over the approximately 128 qubit chips of the D-Wave One was accomplished by tiling the qubit pattern of the D-Wave One, a pattern named chimera by D-Wave Systems. Do you know what a chimera is, biologically? Think, beast, post human. Mark of the Beast. Image of the Beast.

Here's a few more connections of note to tie into this spider's web of time-space manipulation imagery.

The Main Concourse of Grand Central Terminal has an elaborately decorated astronomical ceiling, but there is an anomaly. Wikipedia offers, “ For example, Orion is correctly and beautifully rendered, but the adjacent constellations Taurus and Gemini are reversed both internally and in their relation to Orion, with Taurus near Orion's raised arm where Gemini should be. One possible explanation is that the overall ceiling design might have been based on the medieval custom of depicting the sky as it would appear to God looking in at the celestial sphere from outside, but that would have reversed Orion as well. A more likely explanation is partially mistaken transcription of the sketch supplied by Columbia Astronomy professor Harold Jacoby.” Here's a suggestion. It calls out that precise location to give attention to the Silver Gate, doorway to the underworld-duat.

Attention is given to that very place in the representation of the heavens on another famous ceiling, on the ancient temple's portico in Dendera, Egypt.The marker on the circular Dendera zodiac I mentioned is described in this quote, and the one opposite at the Golden Gate is also mentioned. “Then, beyond these "heaven-holders", on two sides of the work are rectangles patterned with rows of chevrons, symbol of water, which must represent the Milky Way Galaxy, the stream of the heavenly waters. This is apparent because when we look at the night sky we see the heavenly stream of the Milky Way cross the zodiac at Gemini/Taurus, and also at the opposite side of the sky at Sagittarius/Scorpio. The Dendera Zodiac precisely shows the chevron rectangles below Gemini/Taurus on one side, and below Sagittarius/Scorpio on the other side.” (The Circular Stone Zodiac of Dendera, Egypt -The most dynamic image of the heavens ever created ) The rows of chevrons described are extended wave glyphs. Think, Genesis 1 and the waters of the expanse. The Golden and Silver Gates are water gates, water-as-time gates. The celestial Silver Gate is what was opened up in The Avengers above Stark Tower. What do you think the Marvel Comics Silver Surfer character is spilling the beans on?

Bullinger believed the biblical text of Genesis 11:4 indicated how the tower of Babel probably featured the zodiac. I think he was right. Here's something. The Hoover Dam, a star map of the Pleiades in Taurus that was made to document the exact location in space and time of an event, and angelic guardians I call tuning fork angels. Water, falling, falling and falling generating massive amounts of energy, with a model of the throne of Zeus-Satan.

For a season in 1957, under that Grand Central Terminal's ritual zodiac ceiling sat a very significant rocket, the PGM-11 Redstone. MIB3 featured the rocket that launched ArcNet, Apollo 11. There's that 11 again. The Avengers featured Iron Man's occasional blasting off from the tower and blazing into the sky like a rocket man, and he went right up through the dimensional portal with a nuclear tipped missile to save the day, falling back through the portal to earth as it's savior.

Here's a collection of observations from Wikipedia: “The PGM-11 Redstone was the first large American ballistic missile. A short-range surface-to-surface rocket, it was in active service with the United States Army in West Germany from June 1958 to June 1964 as part of NATO's Cold War defense of Western Europe. It was the first missile to carry a live nuclear warhead. A direct descendant of the German V-2 rocket, the missile was the foundation for the Redstone rocket family, It was developed by a team of predominantly German rocket engineers relocated to the United States after World War II as part of Operation Paperclip. Redstone's prime contractor was the Chrysler Corporation.”

Connect the dots. Nazi science. The vendor was the same Chrysler Corporation that was headquartered in the Chrysler building seen in The Avengers and featured in MIB3. Nuclear tipped missile, like the one Iron Man sent through the stargate. Redstone. Red - Adam. Stone - crystal DNA. Ascending man into the heavens.

Wow. Potent. That's a lot of ritual energy!

Thursday, July 02, 2015

A Sign of the Space-Time Ark Mission

Our Internet connection went down on the day after I began writing about our insight into The Avengers. We've had problems with our broadband before, but this was very different. I rely on having ready access to research things as I go but we were offline for nearly three full days, so I made do, using a local cafe's wi-fi once to check email. Vandals had cut the cable where it enters the house. Apparently, this is not unheard of here, but it's not common. In the context, it was soon apparent that this was a sign. It was a sign that the inviting nest of cables so readily exposed to the street might not be very secure, sure, but the meaning of sign really effects all of us, everywhere. The meaning found some pretty obvious support from two other sources during that span.

What led us to The Avengers initially was an insight about the Stark Tower sign calling out the ST for space-time. When I shared that with Aaron he noted that it was ST-ARK, and that the scene where the Tower was introduced began under water, a time symbol. When I reviewed the scene and its context I noticed how the segue scene in the boxing gym was richly layered with space-time symbolism. The more I saw, the stronger my impression that the Tower, as a self-sufficient space-time ark, was a really big deal to the producers because so much of the film supports that concept. What was being done underwater in the scene of my first interest was basically the cutting of the cable that connected the Stark Tower to the grid. That's where my study began, and that's not unlike what happened here when the study got under way. We weren't cut off from the power grid and we didn't switch over to an alternate power source, but there's more to know about the nature of the disconnection! Those in the Tower were then, symbolically, in a space-time ark. And here Aaron and I are, still expecting to find ourselves in a space-time ark. Stark was asked to participate in a mission involving the Tesseract. We've been expecting a related kind of mission.

As some readers have pointed out, the word, tesseract, lends itself to being broken out to, resset act. It's derived by looking outward from inside, like how I described the 12:21 as 21-s looking out and 12-s looking in. Full anagrams include acts reset, reset acts, resets act, and act resets. Perhaps this is why the producers use the word instead of the simpler, cube. (I note that tesseract is also pretty close to, resurrect, and that is relevant because how how it, and Captain America, who went down with it, were fished out of the sea.)

Are you connecting the dots here? Space-time ark. Mission so that all humankind wouldn't be destroyed: “Act Resets.” It wasn't just our broadband connection that got cut. The bundled house phone line went with it, and one of the cable box feeds was cut, but, get this! The line to the water meter was also cut! Think, water as time. The water meter records water usage. The house water wasn't effected because it continued to flow. The meter just registers and reports the amount that flows, and that was disabled by the act of vandalism. The cable guy fixed what was his to fix. The local water utility had to come splice the cable to restore their connection to this house - and reset the water meter. Think about what Iron Man did when he took the Tower off the grid, with the cable under the water.

The other items have to do with the time ark of Wayward Pines (on FOX) and some closely related allegory in Ex Machina (2015), both of which I watched during the writing of The Avengers posts, before we even knew that the outage was due to the cables being cut. I hope to share about those things, plus about another clock sign from early June that Aaron documented, which is also relevant. And there's some more I may be presenting about The Avengers, probably in a 3rd part in series. Lord willing, of course.

We take the multi-part sign as validation, and encouragement, and it is comforting. The Lord has not been distant in this season but so far the intensity of engagement doesn't compare to what we experienced in March and April, leading up to and through the season of the Pesah watch. If you've been following this blog, you know we've been expecting a mission briefing, of sorts. I've logged a lot of hours in the effort to discern the thematic structures of key passages of scripture, and Aaron has been logging many hours learning Greek and acquiring resources for translation work. We've had a trickle of insight metered out but the fire hydrant of revelation insight hasn't yet been opened to us. We have high expectations. The Lord promised to help and He is helping!

Wednesday, July 01, 2015

Part 2 - The Avengers - STARK Tower as Space-Time Ark - PP and AC to DC

Picking up where we left off, here's another insight into the ending of the scene in the boxing gym. When Steve carries the Everlast punching bag away he seems to be recovering the 70 years he lost; a pound of sand for each year.

Now, Director Fury's closing line from the previous scene (about war being won by soldiers) was picked up as the gym scene began, with the soldier flashing back to his wartime battles. Likewise, the last line of the gym scene is picked up as the next scene begins. “You should'a left it in the ocean.” In the ocean. The scene transitions to an underwater setting.

Iron Man is under the water where it's pretty dark, cutting open a casing to expose a bundle of cables. He installs some kind of high tech coupling with coils that glow with a soft blue light. Completing his task, he rises up to emerge from deep under the water. He's apparently in New York Harbor, and he flies away into Manhattan. There's a lot going on here, including Iron Man playing as the beast of Revelation 13 being seen rising from the sea, but there's a continuing focus of attention on the theme of time. Here's where the Stark Tower is introduced as a kind of space-time ark.

This video clip of the featured scene supplements this post. If it doesn't stream well you can try downloading (right-click -- 'save link as...') and playing the mp4 video file from your hard drive.

The Avengers - Stark Tower Launch and Agent Coulson recruits Iron Man

Flying into Manhattan, Iron Man communicates with his girlfriend Pepper Potts, who's in the Stark Tower.

Iron Man: Good to go on this end. The rest is up to you.
Pepper Potts: You disconnected the transmission lines? Are we off the grid?
Iron Man: Stark tower is about to become a beacon of self sustaining clean energy.
Pepper: Well, assuming the arc reactor takes over and it actually works.
Iron Man: I assume. Light her up.

We see the dark tower with lights coming on from the bottom up in a pyramidal triangular shape, including the watery blue sign: STARK.

Pepper: How does it look?
Iron Man: Like Christmas, but with more - me (or perhaps, meaning).

This messianic identification goes beyond inflated ego. When Iron Man recites his green propaganda line, what's more important to note is the independent and self-sustaining aspects of the system being implemented, and the mention of the arc reactor. The arc reactor for the self-sustaining space-time ark. NLP. The ST-ARK is launched in its new state of independence from the power grid that is identified with the outside world. Manhattan is an island. Stark Tower is in Manhattan. It's surrounded by water, disconnected from the world as separated from it by water, an ark apart, independent and outside this space-time domain.

When you watched the clip, did you notice the arched bridge and clock? Time-space bridging.

The dialog is loaded with NLP, peppered, shall we say, with time words. It starts out pretty subtle. “... is about to become a beacon...” “I'm in DC tomorrow,” Pepper says. I note that, in the context of time, DC or 43 decodes to both 12 (4*3) and 7 (4+3), both of which are fundamental time numbers. Given that the special event has to do with a change in power, the mention of DC plays in that context as direct current. We're going to see this emphasized in connection with an AC reference, and the reason for that will become evident as more redundancy supports the covert themes. What she's planning to do in DC is work on the zoning for the next 3 buildings. Next. Sequential in time. NLP builds on a broad range that includes the very subtle.

I note that 3 is the resurrection number, and there is in this numbering of the next buildings an allusion to bodies of triple helix DNA, humans that will be transformed by the mark of the beast to become housed by immortals. Bodies as buildings. Rezoned. That scheme depends upon what's going to be accomplished through the operation of a space-time ark!

Iron Man: “You're killing me and the moment. Remember, enjoy the moment.” The word, moment, and its usage here is quite direct. It's going to be heard a few more times. Killing a moment, of course, is one result of a time war. Following Pepper's mention of rezoning 3 buildings, this speaks to me of the death of the host as it is resurrected or raised, vacated for new occupancy. That merging is intensely sought after by the deceived of the world and is even now being celebrated in anticipation. If they really knew what the outcome will be, oh, how very different things would be!

When Jarvis tells Tony Stark that Agent Coulson of SHIELD is on the line, let's ignore the superficial meaning. He's on the time line. With that insight, what Tony Stark says in response is more than just a flippant attempt to excuse himself from taking Coulson's call. “I'm not in. I'm actually out.” In and out of what? Of the building, technically. Figuratively, he's not in time but outside it, out of the time line Agent Coulson is on, apart from this domain's space-time continuity. To really get this you have to consider the action of the scene. He's just landed on the Stark Tower, a space-time ark. It has just been disconnected from the grid to become independent of the earthly space-time domain. He's not in time but out of time. He was under water, now he's out.

A garment change signals a domain-specific body change, remember. During the conversation with Jarvis, Iron Man is in the process of having his garment-body changed to his Tony Stark body of enhanced human flesh. The garment / domain changing process is something the film frequently makes a big deal of modeling. The unclothing device looks like a ringed stargate and in passing through it Iron Man-becoming-Tony Stark descends steps, which means entering a lower dimensional realm. The stairs speak to me of the biblical mecilah. Think Led Zeppelin's Stairway To (/ from) Heaven.

Jarvis: “Sir. I'm afraid he's insisting.” Tony: “Grow a spine, Jarvis, I've got a date.” A date is an appointment scheduled for a specific time - yet another time reference. A spine is linear and it provides a structure. A linear time line with regular units marked off like vertebra on a spine gives structure to time.

Tony tells Pepper: “Stark Tower is your baby. Give yourself 12% of the credit. ” He associates the number 12, a time number, with the space-time ark tower. Think, Revelation 12, where a prominent metaphor is water-as-time! A sign is seen in the heavens (like the Tower sign they are about to discuss), a sign of a woman who is about to give birth. This follows one messianic reference with another. The sign involving Virgo as the heavenly woman precisely identifies the very moment in time when the messiah was born by means of the celestial-terrestrial clock. (When Jesus was Born - The Celestial Signs) It should be observed that when a woman gives birth, her water breaks. What do you usually hear next? It's time!

Side note: A celestial event in the sky right now, last night and tonight, is being linked by some to what they call the Star of Bethlehem. It involves the bright planets Jupiter and Venus. “Astronomers call these celestial meetups conjunctions. And this is the second in a series of three between Venus and Jupiter in over a year. The cosmic duo were a bit tighter on August 18, 2014, and will be a tad farther apart in their next encounter at dawn on October 26.” Although what already happened in 1991 was the big deal, celestial signs continue to call attention to the significance of the season. The grand celestial clockworks, according to Genesis 1:14-18, are for signs to mark seasons and days and years.

Tony brings up a security breach involving the building and its elevators. Those ascend and descend between floors of a building as traveling between realms through space-time. On the subject of giving Pepper credit, Tony says, “I tell you what. The next building is going to say, Potts, on the tower.” Pepper replies, “On the lease.” Again, “next,” in sequence of time. A lease is a kind of contract that involves a well defined space and a fixed period of time.

Tony: “Call your Mom. Can you bunk over?” A mention of Mom immediately repeats the baby birth / motherhood subject to support the allusion to Revelation 12. Tony's asking if she can bunk over presents us with a coded reference to space to go along with the time references. Bunk beds are one bed above another. Bunk over. Bed over bed. The point of bunk beds is to conserve SPACE. She would be requesting to bunk over for a specified period of TIME, like one night.

During that discussion, Pepper pours them some champagne. She walks over and steps down to descend into a circular space known as a conversation pit. Pit. Abyss. As Tony brings up the security breach, she ritually demonstrates just such a thing. Her left hand reaches for a glass, and on her left wrist is a watch. A timepiece.

So equipped, she breaches the secure perimeter of an aptly defined space-time zone, the drink service tray. Like Steve Rodgers leaving the boxing gym while he's still wearing his gym clothes because he's got the 70 pound Everlast bag filled with the sands of time. As Pepper pulls the bottle out of the ice bucket we hear the sound of shifting ice. Frozen water as time, displaced. Champagne isn't water but the liquid provides the same meaning, and time is figuratively transferred from one container into another as she pours. Notice how the design of the tray conceals the fish swimming in both directions around in a circle, as in water. And, like opposing beams of electrons in a particle collider. Remember the context and the accelerator test facility and Project Pegasus. (Pepper Potts. P P ~ 11 11 when z=1) We may also compare the suspected technology (counter rotating ring EM / gravity propulsion) and purpose (space-time travel) of Die Glocke, the Nazi bell. The vesica piscis or ichthus ring around the tray, connecting and alternating the intersecting arcs with rectangles. Square: Space. Circles, the arcs of which intersect to form the vesica piscis: Time. Space-Time. The arcs - space-time arcs-arks. Crossed circles: Mark of the Beast. Familiar routine, right? The design of the glasses provide for more cross circle imagery for redundancy and thus more potent theurgy.

On the matter of space-time breach signaling watches and drink service in films, remember Decoding "The Penitent Man", parts 10 and 11?

The phone rings. Agent Coulson again. Jarvis: “Sir the telephone. I'm afraid my protocols have been overwritten.” This overwriting of the protocols points to a hack of the higher dimensional security system that exists outside this time-space domain, of a kind where authority is being asserted over the domain.

Phil: “Mr Stark. We need to talk.” Tony: “You have reached the life model decoy of Tony Stark. Please leave a message.” “This is urgent.” “Then leave it urgently.” Immediately, the elevator doors open and there's Phil. Tony: “Security breach! It's on you.” Phil: “I can't stay.” Why can't he stay? Does he need to say it? He doesn't have TIME, of course! “We need you to look this over - as soon as possible.” More attention is given to time.

Phil overwrote the protocols of Jarvis, the personal assistant personality (and straight man to Tony's quips) that is the Tower's AI control system. Phil was able to override the communications interface and also gain unauthorized access to the building, including elevators, even the owner's private elevator. This is the illustration of the security breaching agent of the dragon, seizing control of time and thereby acquiring the authority to access the formerly secure heavenly domains of his enemy.

Tony feigns jealousy over Pepper being on a first name basis with their visitor. “His first name is Agent.” Put it together. Agent Coulson. AC. (As Skye refers to him occasionally in the Agents of SHIELD series.) AC = Antichrist.

Here's a clever bit, building off the drink service scene. There's a leading and misdirection as Phil tries to give Tony the briefing device. Tony: “I don't like being handed things.” Pepper: “That's fine because I love to be handed things, so let's trade. Thank you.” While the most obvious thing being handed over is the briefing device, give attention to the other handed things in the scene. Drinks are handed over, liquid-as-time in space-time styled vessels. Watch the exchange closely as Pepper passes the briefing device from Phil to Tony. Two drinks are received into the only two hands with wristwatches. Their analog wristwatches are handed things that mark the passing of time; hours, minutes and perhaps seconds, if there's a second hand or two!

“Official consulting hours are between 8 and 5 every other Thursday.” The NLP continues to build as Tony identifies a very specific period of time.

Tony: “Ms. Potts. Got a second?” Pepper excuses herself, offering to Phil: “Have a moment.” And, on it goes.

Tony to Pepper: “You know, I thought we were having a moment.” Pepper: “I was having 12% of a moment.” Again, that distinctive use of the time word, moment. And, again, the time number 12 is heard, here, as a modifier of the period of time! Percent, written as a sign, is a circle across from a circle, a cross circle MOB signal.

Tony questions Pepper, still feigning jealousy. “Why is he, Phil?” It begs reflection on the previous scene where Steve Rogers had said, “I slept for 70 years, sir. I think I've had my fill.” Phil, or fill, of time!

After seeing the briefing video and the reason for Phil's urgency, Pepper tells Tony, “I'm going to take the jet to DC tonight.” Tony's response: “Tomorrow.” We revisit the earlier conversation, with greater emphasis on the time elements.

Pepper: “You have homework. You have a lot of homework.” “Well, what if I didn't?” “If you didn't? You mean, when you've finished? Well. Um. Then...” Pepper draws attention to Tony's response, which lacks any reference to the passage of time. Her correction addresses that neglect. The NLP must be reinforced, after all.

After Pepper whispers something privately in Tony's ear, he responds. “Square deal. Flash Date.” Square: A space symbol. Flash Date: Spontaneous, and yet also an appointed time and place. Space-time!

As Pepper leaves, an arrangement is made with Phil to drop her off at the airport, and there's another allegory in play. Tony made sure that we identify Phil as Agent Coulson, or AC. Pepper's going to DC. You might read a bisexual reference into that, but there doesn't seem to be much support for it in the context. However, if you compare that scene closer with the scene opener, you'll find points of comparison. She's going with AC to LaGuardia, then on to DC. Power mode change from alternating current to direct current. Through LaGuardia. LaGuardia as Stark Tower, where another kind of power transition was just celebrated. They transitioned from power grid to arc reactor. LaGuardia: from the definite article la + guardia 'lookout (tower)', a topographic name for someone who lived near a watchtower or an occupational name for someone who kept watch. A WATCH TOWER.

When the scene transitions into the next, we see a large expanse of water (as time). It's not Pepper jetting to DC, but a jet does fly low over the surface to maintain the now expected continuity through the scene transition.

Why saturate those scenes with cryptic space time symbolism? This is how the theurgist ascends into the presence of the gods, and how beans are spilled in Occult ritual about the Adversary's plans.

More to follow, Lord willing.