Thursday, 28 November 2013

Catching the Fire Cult - Programming the Young and ‘Predicting the Future’

After watching The Hunger Games: Catching Fire based on Suzanne Collins's novel, Catching Fire, (the second installment in the Hunger Games trilogy), I wasn’t surprised by the hidden symbolism in the movie and the huge ‘teenage audience’ that filled the cinema that weekend. Here we have predictive programming at its finest, and despite the movie being a little too slow for my liking, what I saw was the second part of a three part narrative that clearly plants ideas of acceptance, sacrifice and revolution in the minds of the young. I've tried to keep this one short, but you know me?

Some background
The books are set in a supposed futuristic country lying in the remains of the United States, where long ago (long after Obama Care) there were supposedly '13' districts. Collins’s novels talk about how the 'districts' grew angry in their poverty at the wealth and elitism of the capital of Panem. The ‘districts’ revolted but the capitol responded with a brutal nuclear attack, destroying District 13 and rendering the other districts helpless, with no food or means of getting out of their ‘camp’, sorry, ‘district’, unless chosen to die in the ‘hunger games’. So from this background we have the scene and setting for the Hunger Games Trilogy (below).

I am not going to go over the first book/film in this blog but suffice to say, that the second movie (book) like the first, is awash with symbols/archetypes that seem to be classic programming devices. And more alarmingly, the books seem to project a very viable vision of the future for not only America but for the world.

In the original movie (first book) we have 12 children ‘chosen’ (stolen by the state) to slaughter each other, how satanic can you get? The children who are selected to partake in this vicious mortal combat are our children, not theirs – the elite’s children. Sounds like the blueprint for all warfare on Earth today? The participants in the film, as in real life, have been trained to accept a world of war, fighting, combat, and the killing of each other. No matter how we look at the ‘Hunger Games’ it is a story about the slavery of humanity, which is not that far off into the future.

In the second movie Catching Fire we have ‘once child victors’ now fighting for survival in a 75 year tournament called the Quarter Quell, which is an event taking place every 25 years in after a new rule is added to the game by President Snow, more on him shortly. The new rule for this Third Quarter Quell states that contestants will be reaped from the existing pool of victors, which sees Katniss Everdeen (the heroine) being sent back into the new tournament.
Panem - the Capital of Saturn
The Capitol of the ‘new America’ or  Panem is a clearly a reference to both Arcadia and the Greek god of cooking – Pan (joke). Seriously, Arcadia was the place from where Bohemia would draw its inspiration, and both are symbols of the unbridled, often lavish, wild parties, etc. But According to Greek mythology, Arcadia of Peloponnesus was the domain of Pan, a virgin wilderness home to the god of the forest and his court of dryads, nymphs and other spirits of nature. The Hunger Games Capitol is an ‘urban’ forest of the 'gods' and in its classic ‘symbolic reversal’ of the true meaning, it becomes a city dedicated to all that would be the opposite of true freedom.

Saturn is often symbolized as a goat or goat head because its astrological sign is Capricorn – the goat. Pan is the goat and therefore Saturn symbolism is obvious in the composite representation of the devil image or Baphomet (below). Both Capricorn and Aquarius are ruled by Saturn and its ‘hidden vibrationary’ effect on the ‘powers that be’, banking, law, education, etc., so therefore Panem is the ultimate Saturn city of the future.
In fact the layout and ‘vision’ of the capital of Panem is very much the typical totalitarian future Nazi-like city. It is also a word that relates to ‘pandemonium’ in the form of a pandemic and again relates to chaos, or more accurately ‘order out of the pandemonium’. Is The Hunger Games preparing the youth of today for some kind of tyrannical future born out of events in the next decade that lead to global Pandemonium?
Panem - the Capital City of Saturn
In the first movie there was even a 'Saturn black cube' in the centre of the capital, (which reminded me of the NSA headquarters if in symbolic terms only), and is another symbol for total surveillance, idolisation and suppression of information. Panem has the ‘ultimate city’ that rules a future America and it's segregated twelve districts. Just as our perception of time is governed by 12 hours, months etc.) Panem's capital is another 'time lord city' ‘symbolically’ ruling over its segments, districts or regions.
Connected to this is the ‘e’ of Panem, which is a heavily used letter with numerological associations in many logos or corporations, not least in the Intel and Saturn-like Explorer logos.  I’ll come to Eurostar shortly.
According to some researchers the letter ‘e’ is very important letter/number because it represents the fifth essence (element) or the ‘power of transcendence’, which is exactly the place (the capital of Panem) where the power and games are played out. 'E' will always be highlighted or dropped in some way in logos and symbolism to reinforce this power of transcendence.

M’ is also another letter important to the mystery schools of antiquity, being the numerological equivalent of ‘13’, we have the ‘rise and fall’ of America in the Hunger Games books, and of course this relates to the original 13 districts or the 12 sectors around 1 (the Capitol). There are of course 12 Jurors and 1 Judge. ‘M’ or the 13th letter in the alphabet is the master with 12 disciples and esoterically speaking 13 is the ‘experiencer’ of the 12 signs of the zodiac. There are only 12 months in the Gregorian sun calendar but there are 13 months in the lunar calendar, there were 13 districts, but now only 12 remain, etc... numbers (and letters) are vibrational codes that affect the subconscious. As David Icke once wrote in The Biggest Secret;

“These number codes have even deeper meanings than the more obvious ones of days, months, and the zodiac. Numbers also represent vibrational frequencies. Every frequency resonates to a certain number, colour and sound. Some frequencies, represented by numbers, colours and sounds, are particularly powerful. Symbols also represent frequencies and they affect the subconscious without the person realizing it is happening. This is another reason why certain symbols are seen in secret societies, national flags, company logos, advertising and so on.”

And I would suggest that the carefully chosen detail in such movies, are part of this rationale.

The Masonic eagle used in on the logo for The Hunger Games districts and the capitol is clearly a rendition of the ancient Roman eagle (see my last article) and can be found on the Great Seal of America and on much Nazi regalia. Why? Because. It is the Phoenix that is rising out of chaos, the bird of change and resurrection. The same symbol has been used many times in other movies too see my review of Pacific Rim, which shows a future global government using the same winged emblem. I would also suggest that the Mocking Jay emblem of the Hunger Games is also a symbol for the same reasons. I’ll come back to that later.
 The winged disc or sword with wings is also a classic ancient Saturn symbol and relates to the now gaseous giant as the Lord of the Rings, ruling over a golden era on a very different Earth. The more I look at Saturn symbolism, the more I see a ‘thought form’ (wave form),  or a vibration that permeates the collective thinking of humanity.
Signs and symbols rule the world, not laws
The 12 Districts - Agenda 21
You don’t have to be an expert to see the connections between what is known as Agenda 21 and the possible (eventual) reshaping of the land in what is now America, to become something similar to that of the Districts in The Hunger Games movies.

Agenda 21 was established at the United Nations Conference on Environment and Development in Rio de Janeiro, Brazil, in 1992, hosted by Maurice Strong (below), a Canadian oil and business billionaire and long-time frontman for the Rothschilds and Rockefellers as exposed in David Icke’s and others’ books over the years. Strong has been a leader of the ‘exploit-the-environment-to-scam-the-people programme’ which is now a standard policy adopted globally by almost every country.  The leaked maps of the new EU ‘regions’ also show ‘districts’ or regions that would ultimately change the very land, borders and therefore ‘reality’ for people across what was once considered a national sovereignty. The UK would be split into three sectors connected to chunks of other countries to create ‘transnational regions’.
Maurice Strong and President Snow
Agenda 21 is basically the American landmass (along with the people) being confiscated for little and highly-regulated use. It is a glorified ‘enclosure’ movement on a 'very large scale'. See my video diary for more information on the Enclosure Acts of the 18th and 19th Centuries in Britain.
The end of America as we know it today.
The mass of the population would be concentrated in high-rise, densely-packed ‘human settlement zones’ and denied access to something like 80 percent of present day America. Agenda 21 is without question the world of The Hunger Games with a globally-enforced top-down hierarchy that has a world government using its world army and police force to impose its will at regional and local levels (the districts in the movie). The Rockefeller-funded America 2050 has also produced a map of the new United States divided into ‘eleven’ ‘mega-regions’ which includes parts of Canada (see below). The map shows the North West of the USA and Canada as a mega-region known as ‘Cascadia’ and this regional system comes under the collective name of ‘megalopolis’, which is Greek for large city or great city. They should have just called it Panem! Don’t think for a minute that the script for The Hunger Games books is purely ‘fiction’.
Panem in the making
The railway developments for the mega-regions across the USA are also in keeping with the movement of great swathes of people across the land, from district to district and beyond. What did that famous song Beautiful World by Donald Fagan say?

“Standing tough under stars and stripes
We can tell
This dream's in sight
You've got to admit it
At this point in time that it's clear
The future looks bright
On that train all graphite and glitter
Undersea by rail
Ninety minutes from New York to Paris
Well by seventy-six we'll be A.O.K.
What a beautiful world this will be...”

A future global Hunger Games society won’t be beautiful, but the trains just might run ‘under sea’ by rail by then? How did the Nazi’s transport their victims during the Second World War? On trains of course! And crikey, a future world government wouldn’t think twice about shipping people by train trans-nationally, if the tunnels and trains where there in the future. Anyway back to the now.

In the UK the government is talking of creating a new train network (the HS2) of super-fast trains that are designed to accommodate a growing population linking the North to the South and of course to Europe (via Euro star), to match the speeds of our European neighbors.
Whatever a global society will look like, trains will play a massive part in its future
The Eurostar (see the emphasis on the ‘e’ again in its logo) and the tunnel, which was being built during the Thatcher years in Britain was officially opened in 1994 under the last Tory administration. It’s no stretch of the imagination to assume that a driving factor behind it was the coming ‘link up’ of all high-speed trains towards a greater form of trans-regional transportation. On paper of course it looks great, it’s to free up capacity on existing rail lines for more commuter, rural and freight train services, which means fewer cars and Lorries on our roads (cutting congestion and carbon). Well in some ways this is true if you believe all that nonsense of course? But ‘new super-fast’ trains like HS2 would (could) be more about restricting movement and more importantly, re-shaping the landscape and how the masses travel. As the UK Government website states:

"We plan to invest more than £70 billion in all forms of transport by 2021. High Speed 2 (HS2) is part of this, accounting for £16 billion of this investment. We are developing HS2 to provide Britain’s railways with new capacity, better connectivity and quicker journeys. HS2 will link 8 of Britain’s 10 largest cities, serving 1 in 5 of the UK population. It will allow more passengers to use trains and more freight operators to use rail rather than road."

16 Billion on something that would help bring about that futuristic centrally controlled world is money worth spent eh? The Chinese government also proposed building a network of trans-Eurasian high-speed railways connecting from China to Russia, Europe, Central Asia, India, and Singapore via Indochina and Russia has proposed to build a high-speed rail link, (an oil and gas pipeline), and a fiber optic link to North America via an around 100 km long tunnel under the Bering Strait. Well see, but of course in an Ideal 'centrally controlled world', all these lines and routes would be utilized, once flying has been further demonised under the climate change carbon tax nonsense.
Saturn’s Scythe in the Agenda 21 Logo
Both the reduction of people using carbon fuels (roads) and the reduction of the population so it can be more easily ‘managed’ in the name of ‘saving the planet’ is all part of Agenda 21. So is the theme of a massive cull of the human population. Even the United Nations’ Global Biodiversity Assessment demands that the world population be reduced to a billion and ‘elitist’ frontmen like Microsoft billionaire Bill Gates and CNN founder Ted Turner have been very vocal in their support for just such a cull. Turner gave more than a billion dollars to the United Nations for population reduction and said the ideal number would be between 200 and 300 million – a reduction of 95 percent.  Shocking I know! For more detailed information see David Icke's new book - The Perception Deception.

President Saturn and his fondness for seeing the young killed
President Snow played by Donald Sutherland in the movies, is a classic Cronos (Saturn) figure. The Father Christmas look is one thing, but the ‘father figure’ and tyrannical president who resides over Panem (Saturn’s capital) is a bit of a giveaway. Saturn was the god of time, often depicted as a baby in a manger and as an old white bearded man, which we call today ‘Old Father Time’, and Snow of course presides as ‘father time’ over the 12 districts.
Cronos in different art forms
The name ‘Cronos’ actually means ‘time’ and as a deity who was said to devour his children, Snow too, symbolically enjoys the ‘games’ that brings death for the ‘chosen’ children (tributes) that fight in the tournament. In myth, Saturn devoured his children so that they would not over throw him, hence the logic behind the Hunger Games. It’s the Illuminati bloodline satanic (Saturnic) mindset to the Masonic ‘T’. Snow even throws lavish presidential parties in the Capital while the Twelve Districts population’ starve in their open-air prisons. Sounds too familiar that to be in the future?
Lavish parties thrown by the elite of Panem – lavish parties thrown by the Rothschilds and other elite families.
In one scene President Snow (Donald Sutherland) talking to his gamemaker Plutarch Heavensbee (Philip Seymour Hoffman), regarding Katniss Everdeen and the tributes, victors and the slave classes.
Snow says, “Her entire species must be eradicated."

This is the Nazi mind-set in a movie, but it’s still here and running the show. I’ve read in several sources that the ultimate goal of Agenda 21 is to have a global China, a society that was closed and isolated for decades to allow the planned global society to be honed, developed and tested for efficiency. One primary element of this is the one- child (or none) population policy. Babies born in China in breach of the one-child rule are denied food, health care or education. They are often killed, if they are female, to stop them producing children later in life, and otherwise they are left in ‘dying rooms’ where they are systematically murdered through neglect and starvation. Yes, The Hunger Games in its ‘real 21st Century form’.

Katniss is Artemis  - the Goddess
According to Wikipedia, the Greek myth of Theseus served as a major basis for The Hunger Games story, but for those that read my blog, they won’t be a surprise to find that Katniss is more of a representation of Artemis, Diana and even Europa.
Diana, Artemis, Katniss – same archetype
In  the  classical  period  of  Greek  mythology,  Artemis - was  often  described  as the  daughter  of  Zeus and Leto, and the twin sister of Apollo (hence catching fire). She was the Hellenic goddess of  the hunt  (the hunger games) and the goddess of wild  animals, wilderness, childbirth, virginity  and protector  of  young girls (Prem and her sister in the movie). Often  she was depicted as a huntress  carrying  a bow and arrows and Artemis was considered by the Pan Arcadians of ancient Greece to be the daughter of Demeter – the matriarchs that predated the Olympian pantheon. I can’t confirm that Collins used the archetype of Artemis for her character Katniss, but what can be observed is how this key female role is a symbol for ‘Revolution’, a new order and more importantly a new world system, As we shall see.
The future Nazi America, lets hope not...
Doing the celebrity thing under duress
After winning the 74th Hunger Games, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) return home to District 12. On the day Katniss and Peeta are to start a 'victory tour' of the country, she is visited by President Snow, who explains that when she defied the Capital by breaking the rules (so that she and Peeta both survived the last Hunger Games), she inspired rebellions in districts and now must continue to pretend to be in love with Peeta or her family will be killed. They are to 'maintain the illusion' that her actions were out of love, and not to incite 'an uprising'. The Elite are both terrified of ‘real love’ and of course an uprising, especially the non-compliance version.
Their first stop of the tour is in District 11, home of Katniss' friend Rue, the 12-year-old who competed in the 74th Hunger Games. Peeta offers to read the speech from a script Effie (Elizabeth Banks), a Lady Gaga look alike provides them, but throws it away and voices his thoughts instead, a dangerous act in a fascist state.
Keeping the Peace through fear, violence and oppression
As they leave, a sorrowful Katniss delivers an inspiring speech that causes an elderly man to whistle the tune Katniss used during the 74th Hunger Games to inform Rue she was safe, and provides the three-finger salute of District 12, more on that shortly.

Everyone follows the man until Peacekeepers (above) shoot him dead, causing Katniss to scream at the horror of what can only be described as a scene from occupied Nazi Europe in the 40’s. These must be the same ‘Peacekeepers’ that are wheeled out to represent the UN Security Council when they legally attack other countries, to keep the peace? Fearing for their safety, Haymitch (Woody Harrelson), Katniss and Peeta's mentor, tells both Katniss and Peeta they have become a political target due to their disobedience in the games they ‘both survived’ together, something that had never happened in its 74 years of history.
When they return to their District 12, they find Gale (above) has been arrested and is being publicly whipped because he defended an old woman when a ‘lovely’ Commander and his police (troops) were rounding up people and destroying their homes. Again Katniss and Peeta ‘go against’ the order of how things operate by standing in front of the maniacal, psychopathic in uniform, a character that would make even the likes of Himmler wince.
Fascism yesterday, today and tomorrow – The Hunger Games society
Like I said above, the same state of mind is still in power and running the very structures that would bring about the type of merciless police state we see in the movie.

Welcome to the New World Order
The world that Katniss is born into is one that is the Illuminati ‘heaven’, a place of total servitude and ‘order’ – a 'new world order', that is on the verge of change again. It is a police state of the ultimate kind, strangely enough not dissimilar to the one portrayed in the movie Equilibrium and THX 1138, the latter was the first official movie by George Lucas. All of these movies depict a military police sate that inflicts total violence and brutality over a slave race. A future scenario that may not be so far off, unless people start to see the prison that is being built around their senses today, in this time-frame-reality! If America can go from cowboys to space travel in less than a Century, then anything is possible.
Keeping with the distasteful Nazi Germany theme, the Capitol town square in several of the ‘District’s and in the capital, looks all too similar to the pre-war rallies of Nazi Germany, with its stands containing thousands of spectators and supporters stood in front of draped insignia and a podium from where the dictator pushes his propaganda to the masses. See this interesting blog here for more information.
Spot the difference? History could repeat itself, well err, it already has!
In another a scene depicting the entrance to “Victory Village” which is eerily reminiscent of the entrance to the notorious Nazi concentration camp Auschwitz, with its unmistakable sign that read “Arbeit macht frei” or “Work will set you free”, gives a feel of the type of world the futuristic America has (could) become – a giant work camp.

Chips embedded in everyone.
In the games themselves, and across the city world the contestants are ‘microchipped’ and the whole future society literally looks like kind of totalitarian world that the Nazi elite in the 1940’s would have had dribbled at the mouth over. Panem is the ‘state of the art’ technological 'district to district' life, with everything linked by microchip, communication systems, etc. The masses are slaves to their Panem masters, just as today the masses are slaves to the elite power brokers that invented banking and politics and the very technology that we consume and have helped create.
With the Artemis symbolism so obvious in The Hunger Games books and films, it’s worth noting that the EU has a project called ‘Artemis Joint Undertaking’ that is providing the very technological hardware and software that could easily be part of that dystopian future we are ushering in by the year. After 9/11 we also had the Carlyle Group Subsidiary Named 'Matrics' (above) pushing a Swastika-Shaped Tracker Chip that would be used in global future RFID infrastructure. Built on the back of IBM’s technology, the Artemis systems were designed and sold as means to spot and fight infections in babies, but also to grab data from both medical records and ‘real time sensors’ feeding data to, what its own literature calls ‘the machine world’.

According to the Artemis website: ‘Artemis is working to create embedded computing systems, although invisible, make a significant contribution to improving our daily lives’. What is more, they offer state-of-the-art industrial applications which are part and parcel of the European economy and what will become – an electronic currency [world currency]

The website goes on to say:

‘In order to promote economies of scale, reduce costs and encourage the marketing of products based on these technologies, the European Union (EU) is launching a public-private partnership in the field of research into embedded computing systems in the form of a Joint Technology Initiative, implemented by the ARTEMIS Joint Undertaking.'

In other words the massive integration of mobile phones to bank cards, cars and planes (all transport), to all computing devices, would cover 98% of all usage globally. The market for this is beyond words, with over 4 billion embedded systems sold in 2007 and the world market worth 60 billion EUR and rising at an annual rate of 14 % in 2010!

Talk about profiting from others 'happy' servitude? Panem here we come!

Computers are moving away from the desktop and can be found in 'everyday devices' of all sorts form phones to smart meters. Innovations made possible by embedded systems make our lives healthier and more interesting (so they tell us), our transport safer, and our energy use more sustainable. They are at the heart of industrial innovation and competitiveness, creating and sustaining jobs and economic well-being, oh yeah? In the movie, and like other movies of this genre, the world is run by micro-chips, holographic interfaces and at the extreme end, computers and the world-wide-web becomes a 'living machine consciousness'. The internet is an artificial consciousness and with no stretch of the imagination could become a living entity. A total surveillance sky net if you like? We already have this type of surveillance with the 'intellistreets' systems and in The Hunger Games movie, everyone is watched by an advanced version if this technology.
The Living World Wide Web - A.I. and the birth of the Machine World. © Neil Hague 2013
According to the ARTEMIS website, over 40 billion embedded computers will be in circulation by 2020, and of course 2021 will be a crucial year for the turning point in terms of world changes, in my view. Whatever the world looks like, it will be run by technology that could be used to destroy what is left of freedom. Which district will you be in?

A phoenix rising
At the capitol, the now celebrity status ‘tributes’ train before the games begin while Katniss draws the attention of many other tributes, who applaud her as she successfully defeats the hologram opponents in the training simulator. During the skills assessment, she ties a noose around a dummy's neck and hangs it with the name Seneca Crane (the previous game-maker's name) painted on it. At the tributes' TV interviews with Caesar Flickerman (Stanley Tucci) below right, all of the tributes voice an opposition of the execution of the Quarter Quell in an attempt to get the games cancelled. We’ve seen the concept of televised ‘slaughter games’ before where a ‘desensitised public’ consume others ill-fated deaths, in the likes of Running Man starring Schwarzenegger (left). Don’t rule it out folks? If people will watch public executions in the so called civilised world and other endless shit known as reality TV, then the future TV schedule is wide open. You can even watch it on your 'smart android 'living phone too'.
For Katniss's TV interview, she wears a wedding gown, as ‘ordered’ by President Snow. However, during the interview, Katniss spins and the gown transforms into a mocking jay the symbol of rebellion, according to the book. She’s not the only female to take the form of a bird in ‘celebrity land’ though. Of course the movie Black Swan, starring Natalie Portman, is one visual example of this transformation into another ‘being’ and Lady Gaga has morphed into a crow, what hasn’t she turned into or worn? I am sure she’d love Panem bless her.
The bird however looks remarkably like a Bennu Bird of Egypt, also a crane and a Phoenix, especially when it is encircled by fire. And the phoenix is a classic mystery school symbol that relates to the ‘unseen forces’ that ‘transform worlds’. The Salamander in Alchemical texts is the same creature.
Phoenix, Salamander and fire mocking jay bird – all symbols of transformation
Katniss and Peeta on fire are Apollo and Artemis riding chariot on a Greek coin
 Both Katniss and Peetas costumes set afire when they enter the arena before the tournament and with Katniss becoming the bird on fire, she is an embodiment of the coming transformation’ - the beginning and the end. Katniss and Peeta are symbols of Artemis and Apollo (twins) and children of the New World Order of Gods. Smokeless fire is also a major symbol used by the Illuminati and is their vehicle to communicate with the archons.

And as sure as I am a Yorkshire man (in this life), and I haven’t read the third book, Katniss is destined to die and or have children (possibly both) due to this symbolic theme she represents. As I said earlier, she is also the woman clothed with Sun (fire) in the Book of Revelation, and the EU, the UN and the Security Council, replicate this symbolism, as phoenix rising out of tyranny and war.
A central feature of the Security Council Chamber is the oil canvas mural painted by the Norwegian artist Per Krogh. Also depicts a phoenix (Bennu Bird) rising from its ashes, as a symbol of the world being rebuilt after the Second World War. Above the dark sinister colours at the bottom, different images in brighter colours are said to symbolize the hope for a better future. Hope is what Miss Everdeen is meant to represent in the plot so again, the 'symbolism of hope' and a better world is reinforced. Of course, the Security Council’s main responsibility is for maintaining international peace and security. As the "emergency room" (where this mural lives) the UN, according to its directive, has to be ready to meet at any time if there is a threat to peace. It’s all reversed symbolism of course, because these bodies are set to administer the world army (police) and the future New World Order.
Today and tomorrow - if we let it happen?
Twelve points on the wheel of Cronos
The obsession with the number 12 across all forms of history, literature and the occult isn’t wasted too in the Catching Fire book/film. Twelve Symbolizes the command and the good, and governs the ‘space and the time’ we live under. It’s another symbol for the Moon’s influence over the Earth.  It’s the Illusion of time, just as the tournament is an 'illusionary' Island - a game world, run by a ‘gamemaker’. The Quarter Quell tournament takes place on a ‘clock Island’ called the Cornucopia with 12 points (sectors) that rotates to offer the contestants different challenges, from poisonous fog, monkey mutations, to showers of blood. The wheel is also ‘Hecate’s Wheel’, named after the triple Goddess (3x4 = 12) who was variously associated with crossroads, entrance-ways, fire, light, the Moon, magic, witchcraft, knowledge of herbs and poisonous plants, necromancy, and sorcery. Sounds like the Quarter Quell tournament.
The 24 (2 x12) victors soon learn that every hour another attack will come, the first being the fog, the second being the mandrills and at midnight and noon (12 again), lightning strikes a very large tree.
As I say the symbolism of ‘12’ is a constant occult theme found in mandalas, logos and other statements of using ‘power’. NATO had 12 original founding member nation states. In what is now the UK (Anglo Saxon shire) we had 12 original ‘shires’ or counties governed by a high-ranking royal official (prior magistrate) from about the ninth century to the time of King Cnut. No that’s not a misspelling its his real name.
The 12 pointed star in a few of its many forms
The ‘occult’ Lucis Trust organization incorporated in the United States in 1922 by Alice Bailey and her husband Foster Bailey, to act as a fiduciary trust for the publishing of ‘twenty-four’ books of esoteric philosophy published under Alice Bailey's name, (and to fund/administer activities concerned with the establishment of "right human relations"), also uses a 12 pointed star. The ‘Arcane School’, a school for esoteric training, World Goodwill, a lending library (above far right), as well as the publishing company is also a 12 pointed star. The 10th Century Occitan (Cathar) cross above left also has 12 points like the EU logo and all of these are symbols of sovereignty, governance, order and ‘time’. I could go on, but I think you get the picture. The deeper symbolism regarding the 12 in relation to the movie, is that 13 districts became 12, and through 1 goddess (Katniss and her offspring) there will be ‘unification’ and an ‘emergence’ into a 'new world' brought about by the apocalypse and woman clothed in (Sun) Fire in the ‘12th’ Book of Revelation.

The end scenes
As I have already shown the games are set around a saltwater lake (clock), during which Katniss becomes an ally of other victors from the other districts. As the victors fight it out over the terrain, a few of them along with Katniss discover the electromagnetic force field that surrounds the island. Beetee hatches a plan to wipe out the opposing team of victors and destroy the clock (time) by using the lightning, through a wire. As the plan goes wrong (or does it?) and the wire gets broken, Katniss attaches the remaining wire to an arrow and shoots it at the force field to destroy the arena, causing her to black out.
She awakens in an aircraft with an unconscious Beetee (above left). Entering the cockpit she finds Haymitch, Finnick and Plutarch, the gamemaker, who is actually their ally and a rebel against President Snow. Learning Johanna and Peeta were taken away by the Capitol, she attempts to attack Haymitch for not fulfilling his promise to protect Peeta, but Plutarch sedates her before she can do so.

In the book Katniss awakens days later with Gale by her side and learns her family is safe but District 12 has been destroyed, and that she is on her way to District 13.

Mocking Jay pin, Silent Salute and some predictive programming
According to the author, the silent salute given by Katniss "is an old and rarely used gesture of our district, occasionally seen at funerals. It means thanks, it means admiration, it means good-bye to someone you love." But it’s interesting when you dig a little deeper and find that the salute is reminiscent of certain Nazi youth salutes found across Eastern Europe in the late 1930’s?  The image below left is a modern day Ukrainian Girl Scout and an embellished image that gives the impression of the Hitler Youth propaganda, back in the day.

An image speaks a thousand words
What kind of revolution does Katniss symbolise? Are the youth of today being readied for another revolution followed by another dictatorship?  How many more ‘celebrities’ are we going to see ‘being used’ as a mouth-piece for revolution? I am all for peaceful revolution, based on respect and love, but the movies never portrait that kind of 'revolution'. A peaceful revolution is one ‘inspired by the inner world’ of the imagination and not necessarily the outer world of the five senses. The type of revolution that the ‘elite’ would want us to unfold here, would be one born of 'Pandemonium'. Not a good choice that one, not even for a Pan-like man.

The Girl Scouts of America also adopted the three finger salute in which the thumb and pinky fingers touch with three outstretched fingers. Katniss Everdeen commands the respect of her peers becoming a hero when she salutes to Panem’s viewing audience on the victory tour. Unlike the recommended Girl Scout salute, (above) Katniss outstretches her arm as did Nazi sympathizers during World War II. Do we have a little cult following in the making here? Notice the Lady Gaga-like Effie Trinket wearing the monarch Butterfly outfit (above right), a classic symbol for the Project Monarch (MK Ultra) Mind Kontrol (German spelling) unit that came about after the Second World War, not least through the insane activities of the Angel of Death – Joseph Mengele.
A Cult in the making as teenage fans offer a symbolic salute to the stars from the film during an appearance at the Microsoft store at the Mall of America in Bloomington, Minnesota
As I said above, the pin becomes a symbol of the rebellion in Catching Fire after Katniss wins the Games by defying the Capitol in the first book. However, when she arrives in the Capitol on Victory Tour and later to participate in the 75th Hunger Games, she discovers that the pin has ironically spawned a new fad, being replicated as a fashion accessory and even used as the basis for tattoos, because "everyone wants to wear the winner's token". The mocking jay has become the symbol for the rebels as well and their desire to break free of Snow. Plutarch Heavensbee (Philip Seymour Hoffman) shows Katniss his watch, which also has an image of the mocking jay pin to show her that he's trustworthy. When the 75th Hunger Games began, the same symbol was used by Haymitch to show that Finnick Odair (another contender in the games) was trustworthy. Cinna (Lenny Kravitz) also puts the Mocking jay pin exactly wear another contender Johanna needs to cut it off Katniss, so remove her tracking device and to escape the arena.
It’s no surprise that the pin also looks similar to a Nazi Gunner Badge, because, as I have already shown, the bird is a symbol for the ‘power of revolution’, a New Order, that goes way back to the Holy Roman Empire. The Nazi’s used the Eagle to reinstate their power and influence over the population. To show their Roman-like 'rule of law' to the world. Of course the jay, like a lot of other birds in mythology, are said to be protectors, symbols of spirit and ‘unseen forces’. Katniss is Artemis, the goddess that commands the hunt in nature in that way.
As the movie eventually shows, there is an inside plot to overthrow the tyranny of Panem, something the third film will no doubt focus on.

In plain sight
The illuminati and those in control of the current ‘global empire-in-the-making’ love to hide their agenda in plain sight within commercial ‘so called’ fictitious movies and the media industry in general. Hunger Games is the ‘script’ for the totalitarian elite ruled brutal police state. And when I see such an underlying theme in one of the biggest movie releases of the year, worth tens, if not hundreds of millions of dollars, is not to be passed off as just a story. This is the clearly the blueprint for a new America.

The agenda is repeatedly being laid out right in front of our eyes, both in ‘real’ everyday life and in the things we choose to expose ourselves to within the so called entertainment industry, yet of course point this out to some folk (even now) and you will likely be ridiculed because what you are talking about is merely ‘fictitious’.

As I and others have shown in similar articles, The Hunger Games does indeed make the use of visual metaphor to evoke the inhumanities of Nazi Germany, but it is also illustrating exactly where we are headed again, if things do not change. As with all of the ‘ruling empires’ and dictatorships dressed up as democracies, ‘games, sports and tournaments have been used to distract and control the masses. From 'Rome' to a possible 'Panem hunger game society', all blood sports were created to satisfy the twisted needs of a crackers ruling elite. As Haymtitch reminds Katniss before she enters the games in Catching Fire, 

“Remember who the real enemy is…”

More than this, we need to remember who we are, once we become empowered through a common human desire for true love and true freedom, we will no longer attract the ‘enemy’

Until next time


New Work

Thursday, 14 November 2013

Thor - God of Thunder (Son of Saturn) & the Worlds Within Worlds

"Some believe that before the universe, there was nothing. They're wrong. There was darkness... and it has survived.”
- Anthony Hopkins (Odin)

In keeping with the ‘time of year’ and the Celtic period of ‘darkness' (from Samhain through to Saturnalia) I went to see the latest Marvel movie Thor - The Dark World. Directed by Alan Taylor (well known for films such as Game of Thrones and The Sopranos), I wasn't disappointed with the narrative and the skill of taking comic characters through to the 'big screen' and as we shall see, much of the 'narratives' from the ‘world of comics’ were inspired by the ancient myths and legends of ‘otherworlds’. The ‘Dark World’ in symbolic terms, is the world that is being forged by ‘unseen’ forces that ‘return to claim’ what they believe to be rightfully theirs’. In our world, we have similar concepts of the ‘unseen’ (to us) that also want to bring our world back to darkness. I am going to ‘weave in and out of subjects here and it’s another 'very long read' that looks at the symbolism and myths relating to this movie.

The world of Thor takes us into Norse mythology and the legends of the 'nine worlds’ or realms, ruled over by a Parthenon of deities, more on that later. Of course in this blog I haven't got the scope to go into these connections in great detail, but suffice to say that the main characters, Thor, Odin and Loki (and others) can also be found by other names in the universal legends that tell of personified 'planets battling it out' (thunderbolts) across our solar system.

Giants, elves, humans and 'the gods' are all served up across parallel realities and from the point of the view of the artist, the fact that myths ‘exist’, means in one form or another, these personified stories were once a reality.

 Odin - The One-Eyed Father God of War and Peace
According to Scandinavian myth, Odin was the Norse father god, or the 'all father' god of Asgard and the nine realms. He is on a par with the god Yahweh and can be connected to the planet (or dwarf star) Saturn, not least though his 'one eye' (all-seeing eye) symbolism that pervades the modern media, entertainment industries to the point of 'stating the obvious'. (see below). 

In Saxon myth Odin is also Wodan or Wotan and this figure is clearly associated with the priesthoods of Saturn, as I have covered in several other articles.

Saturn's (Odin's) one eye in its many forms.The third image is at 'underground station in New York near 'Ground Zero'
Odin is also a principal member of the Üsir (Aesir), the Norse pantheon and is associated with war, battle, victory and death, but also wisdom, shamanism, magic, poetry, prophecy, and the hunt. Sounds pretty much like our bloodline rulers on Earth, or Odin’s minions, the orders and priesthoods (men in beards and frocks) if you like? The Macroprospus symbol below right is not only one that embodies the father God (Odin) symbol,  it is also the ‘Arika’, or the symbol for the divine ‘emanation’ sometimes shown as the Kabala or Sephirah, which I’ll come to back to later.
 Odin the Grey, the white, the father God, the Ancient of Days
Vikings, War and Glorifying the Dead
The Üsir-Vanir war, recorded in Norse myth was said to be a conflict between the Üsir (Aesir) and the Vanir, two groups of rival gods that ultimately resulted in the unification of the ‘two tribes’ into a single tribe of gods – or the Old Order of gods, eventually headed by Odin. Odin of course is the Merlin, Gandalf figure and the many references to the grey or white wizard figure found in other legends and stories, too many to go into here. Primarily he is Saturn, Saint Nicholas (Father Christmas) ‘Father Chronos’ and Wodan. Odin is both dark and light, he is the ‘inspired one’ that colludes with the darkness to bring both change and knowledge to the world.

According to Norse legends the souls of women warriors, women whom Odin favoured became the Valkyries, who gathered the souls of warriors fallen in battle (also known as the Einherjar), as these would be needed to fight for Odin in the final battle of of all battles, Ragnarok - the Nordic name for Armageddon of sorts. The souls of the warriors were said to be taken to Valhalla (the Viking heaven) with its vast hall of gold, hung around with golden shields, and spears and coats of mail.  The German Nazi occult elite were obsessed with 'Nordic Mythology' and so is the Vatican of course (see St Peter), and the Church in general, because all of these institutions and empires past and present are symbols of the god of life and death. Odin is also the 'christ-like god' who hangs upside down in the tree of life, often with a raven on each shoulder. The ravens are called Huggin and Munnin (supernatural beings or creature that accompany a person) and both are protectors and thieves. In Norse myth they are meant to be symbols of ‘memory’ and ‘thought’. 
Odin, St Peter and Christ on the 'tree'.
Odin as the old wanderer, father time (Saturn) and like Christ on the cross, on the hill of Golgotha (the place of the skull), he too is flanked by two thieves, Dismas and Gestas, (two ravens) representing the symbolic death of the mind. Ravens are also ‘revered’ by the Saturn-like 'Yeoman Beef Eaters at the 930-year-old royal fortress - the Tower of London. The ‘Tower’ of course is a huge symbol that relates to the ‘Tower’ in the Tarot (also twin tower symbolism), and we had the Odinstårnet in Denmark (The Odin Tower), the second largest tower in Europe built in 1934-1935 but blown up on the 14 December in 1944 by a group of Danish Nazi saboteurs called the Peter group. Odin, Towers, Nazis and December, it’s all about the ‘energy’ of Saturn.

Odin as Saturn with his Ravens. The Yeoman Wardens with their Saturn uniform and the Saturn/Raven emblem
Thor - The Son of the Father
In Norse mythology, Thor is a hammer-wielding god associated with thunder, lightning, storms, oak trees, strength, the protection of mankind, and also hallowing, healing and fertility. The cognate deity in wider Germanic mythology and paganism was known in Old English as ûunor and in Old High German as Donar stemming from a common Germanic ûunraz meaning ‘thunder’. Thor is a Jupiter/Zeus figure that would both continue the order of the gods after his father Odin (Saturn) and rebel against his father. He is also Baal, or Bel, referred to in the Old Testament. Thor is a ‘star/sun god’ and was worshipped in Egypt, (and in Israel), as Moloch the star Remphan (Chiun) to a lesser degree.

 Born on the 25th December, and symbolic of the ‘new sun/son’, Thor is the classic mythic hero that 'saves the day', the hero myth from a long line of saviour gods. Thor is said to go fishing for Vritra a 'great serpent' (above left), which lies at the source of major rivers, seas and power of the oceans and virtually every culture has preserved memory of a "thundergod," a towering and tumultuous figure whose ‘modus operandi’ is the generation of lightning and the hurling of death-dealing thunderbolts from the sky.

Thunderbolts of the Gods
The authors and researchers David Talbot and Wallace Thornhill put forward compelling evidence in their books ‘Electric Universe’ and Thunderbolts of the Gods to suggest that the many gods, heroes and myths relate to the true ‘electrical nature of our Universe’. They say, “The transitional states of plasma discharge answer directly to the mythical metamorphosis or “shape-shifting” of archaic gods and monsters.” What we call electro magnetic ‘plasma’ expressed in its many forms, as seen from the Earth by ancient civilisations, would have provided our ancestors with the vivid imagery and experiences to affect their reality.
 According to these researchers, Plasma has reshaped our Universe and even within the Earth’s Ionosphere, we have plasma ‘earthly phenomena’ called ‘elves sprites’ and ‘blue jets’ (below) that are part of the ‘force’ that holds our solar system in place. Lightning of course is a discharge when too much electricity builds up in the atmosphere, which then triggers electrical connections and responses at higher altitudes known as these elves, sprites, gnomes and jets as the electrical impact of the lightning flash plays out into the cosmos. It’s not too much of a leap of the imagination to picture forces aligning to create effects in a parallel world, as this is shown several times in the movie Thor - The Dark World.

Blue jets and the Northern Lights – Thor’s hammer at work
 Plasma according to Talbot and Thornhill is a thousand trillion, trillion, trillion times’ more powerful than gravity and it is electricity and electromagnetism that maintain the planets in their orbits around the Sun. It’s a distortion in electromagnetic forces that causes the planets to go walkabout. With that understanding, the same forces are capable of aiding in the configuration of different worlds, and in the movie Thor – The Dark World we see how a plasma-like substance called the ‘Aether’, can be used to both create and destroy worlds.
Dr Jane Lewis played by Natalie Portman finds the Aether a she accidentally steps into a porthole in Greenwich London. Is that the Black Swan you’re looking for darling?
Gods doing battle across several worlds, impacting on different realities can be seen as Thornhill's view of a ‘polar configuration’, which the authors say consisted of a ‘number of planets’ in our solar system, ‘our nine realms’, moving together in a ‘plasma sheath’.
Left) CME Blast & Plasma Sheaf. Right) Rock art examples of the “squatter man” from around the world illustrate one of the many global plasma pinch patterns. Samples gathered by Anthony Peratt ©.
 The plasma sheath also acts to buffer the planets against catastrophic collision, see the CME blast photo above. A battle of the planets, distinguishing characteristic of plasmas everywhere is the generation of so-called Bierkeland currents (named after Kristian Bierkeland who discovered the phenomenon in 1905).
The global ‘squatter man’ phenomena the work of research scientist Anthony L.Peratt, on high energy Plasma Discharges, is another version of plasma activity as seen by native people all over the Earth at the time of a huge configuration in pre-history. Let’s say some saw ‘Thor’s lightening bolts’ while out gathering and hunting. 

My vision of Jupiter and Saturn clashing creating the Thunderbolts of the Gods. © Neil Hague 2012
Thor from another point of perception is an 'electromagnetic' ‘sun’ god, defying his father Odin, or Jupiter challenging his father Kronos, (Saturn), in a very different solar system.

As the Authors write in Thunderbolts of the Gods, “The archetypes that once dominated human consciousness are, in fact, out of this world. So long as you believe that the ancient sky looked like our sky today, not a single mythic theme will make sense.”

Thor, Jupiter, Zeus as the ‘Thunderbird’
Thor's hammer is a symbol of Saturn's (Odin’s) inheritance passed on to the next generation, from father to son. It is the Mjölnir depicted in Norse mythology as one of the most fearsome weapons, capable of leveling mountains.
 The connection to the 'Thunderbird' and 'thunder-beings' in Native American belief, (the latter of which could transform into tricksters) and the Eagle in Greek classical myth, has one of several forms adopted by Zeus. After the Titan Wars in Greek myth, the eagle was later sent by Zeus to carry the handsome youth Ganymede up to heaven to become the cupbearer of the gods. In the myth Ganymede, (young boy) and symbol of the Age of Aquarius, is actually abducted by Zeus.
 Despite the connections to the Precession of the Equinoxes, the eagle here is an obvious connection to the ruling elite on Earth (the gods) and therefore I wasn’t surprised to find a statue of Ganymede ‘putting up a fight’ with the eagle, before his ‘abduction’ outside the crypt on the land of the Duke of Westminster (one of the wealthiest landowners in the UK).

Eagle and child in its symbolic form relates to the power of the Order of gods over the age (children) of Aquarius.
 Thor's Hammer
Thor’s ‘hammer’ is also a symbol that relates to the ‘old order of gods, from Vulcan to the race of Titans and handed down to Thor by his father Odin (Saturn). We see the connection here to the symbol adopted by Communist Russia, a symbol for the ‘might of’ both Father and Son – the rule of law. The Hammer in myth was the tool of the ‘black smith’ and the magic of working ‘white-hot iron’. Its use as a ‘tool’ is also connected to the Titans, Hephaestos (Vulcan) and attributes can be seen in Jehovah, in the Jeremiah, when it is written, ‘and like a hammer that breaketh the rocks in pieces’. 
The fall of the hammer (Thor’s hammer) is the same hammer used in courts by the minions of Odin – the white haired Saturn –like judge. The SS symbol was based upon ‘two lightning bolts’, representing lightning bolts from Thor's hammer and the Thule Society (also known as the German Brotherhood of Death Society, part of the international Brotherhood of Death societies) prior to the Nazi’s persecution of Freemasons and Jews, used Nordic variations of lightning bolts and the blade (sickle) associated with Saturn. The Nazi Labor day medal from 1934 (bottom right) has almost the full set!

Thor is symbolically the protagonist of the ‘new order of gods’ and that is why these symbols touched on here are used still today. The Roman eagle standard is the American eagle, or even the German Nazi eagle. They are the icons of the ‘new order of gods’, the public face of Odin’s (Saturn’s) occult rule over Midgard (earth).

Suns, Serpents and Giants
In myth the world over there are numerous legends associated with the ‘race of giants’, too many to go into here. But in Celtic myth, giants called the Formorians were said to have fought and were defeated by the Tuatha de Danaan of Ancient Ireland. In Greek myth, a race of earthbound giants also fight with Zeus (Thor) and a common theme of the battle between gods and giants can be found in numerous works of art. In the movie Thor – The Dark World, Thor battles giants from several worlds form within the nine realms and comes to Earth several times, as that super god, to do such battles. See my other article The Avengers Assemble.

The Many Battles and War's of Thor
The battle of Moytura in Celtic lore was a struggle between the old order of gods and the Blar or Balor, the God of Light, and a new solar god, Lug-Samil-Danach. Scenes of the biblical final judgement and the colourful Vedas of ancient India are amongst many other art and texts that depict battles between giants, demons, including serpents and sun gods like Indara, Marduk, Miok (George) Zeus or Thor. Again we are looking at the power of electromagnetic forces shaping our world.

 Similar battle scenes can be found on temple murals at Cacaxit in Mexico, and in the battles between Gilgamesh and Humbaba of Sumerian legend. Humbaba was said to be a forest giant with fiery breath, terrible jaws and eyes that blazed with the power of death. How lovely? The 12th Century Edda, through the translations of Lawrence Augustine Waddell in his book the British Edda, (Christian Book Club, California 1929), also depicts battles between different gods, heroes and villains, dark and light forces.

The Edda tells how the son of Indara, (or Thor) in Norse-Germanic legend (whose name was also Miok or Michael) who won victory over the son of the Dragon Queen Hera/El. In Egypt another name for the Sun god Ra was George who also won victory over El the Matriarch, often described as the ‘War of the Gods’ in Sumerian accounts.  It’s the same symbolism by different names, and so is 'all war' on our planet. The gods are obsessed with war. 

In the Norse myths it seems that many battles took place in the sky and underground between different gods (possibly alien races), all of which formed the symbolic tussle between Heaven and Hell, good versus evil, the Jedi’s against the evil emperor and many other pairs of opposing forces down the ages. The movie illustrates well the parallel realities, peopled by different ‘aspects’ of the ‘world tree’ as they affect each others' existence – they are all one.

The World Tree- Yggdrasil
The battles between gods and giants at Ragnarok in Norse Mythology are also part of the same theme of an old order of heroes fighting a new bunch of deities. Their battles are compared to the cataclysmic upheavals that shook the Earth on both a physical and spiritual level, events that could happen once again at this time? So, in Viking creation myths we are told that from the body of the Frost Giant Ymir the gods created nine worlds (dimensions) and a ‘vortex’, which supported what is termed the World Tree. This is the same tree that Odin does his 'hanged man' pose and the cross that St Peter and Christ were hung on in symbolic terms. The Yggdrasil in this instance can be likened to the web of life and the matrix of worlds. The symbol of ‘the X’ (male Chromesone) along with eve's ‘Y’ gene mapped out on the tree (below right), with Midgard (Human Earth reality) in the centre, is also a subtle connection to the Tree of Life. The Tree was said to contain the records of all life force, archetypes, past, present and future worlds. It is also the ‘house of many mansions’ alluded to in Biblical texts and the ‘nine worlds’ (nine dimensions) from Asgard to Midgard (middle Earth, through to Hell, all of which are connected to each other. Dante’s nine realms of Hell in his epic poem, The Divine Comedy was inspired by the Norse beliefs in the nine realms.

Ancient Stories of the House of Many Dimensions
In the movie Thor – The Dark World we are shown parallel worlds some beautiful and others darker, with each dimension or ‘frequency range’ linked to higher and lower frequencies, through the ‘World Tree’ I mentioned above. The ancient Sanskrit Vedas including other numerous native oral traditions also suggest that our world exists within a multilevel, time-space reality, of which there are numerous dimensions. Our ancestors understood variations of this knowledge as it inspired their art, science and communities, creating the very foundations for people to integrate the mysteries within their lives. The Ojibwa Indians of North America, for example, depicted this holographic multi-layered world made up of animal, plant and star consciousness. So did the Egyptians, who called
this knowledge the Grand Ennead, which was related to the ‘nine’ principles of creation - the Neters. 

Egyptian, Native American and Scandinavian versions of the Nine Realms (Sephirah)
Just as Tiaowo, in American Indian Hopi belief, created Sotuknang, (who was said to have created Spider Woman), Tum of Egyptian belief, was said to have created Shu and Tefnut, who then created Geb and Nut (Noot). The personification of electromagnetic forces A similar concept of a spiraling house of different dimensions was understood by the ancient Greeks and the Pythagorean mystery school called the Tetractys. All of which was probably part of a global esoteric teaching that survived into a post Atlantean world? All these versions of the same symbolic knowledge, including similar themes in other civilisations, try to explain the concept of ‘unity expanding out of oneness’, manifesting has different worlds (planets),while returning back to the source. On a much more simple level the process of breathing in and out carries the same understanding.
The alignment of the nine worlds in the movie Thor is also symbolic of the unification or configuration that holds great power for those that wish to use it. 

Eight, Nine and Ten Dimensions...
The number nine seems to be a significant number that can be found in much mythology and is said to consist of a ‘trinity of trinities’. In Scandinavian mythology, as we have already seen, there were said to be Nine Earths (worlds). Hel was the ruler of the Ninth (the underworld) and it is said that Odin’s ring dropped ‘eight other rings’ every ‘ninth night’, creating the realms. This is also Jacob’s ladder or spiral stair case that connects all nine worlds found in much alchemical texts, art and myth. It is also the path of the initiate found in the Kabala and Masonic writings.

Fire Gods, such as Vulcan, when thrown out of Olympus, were also said to spend ‘nine days falling’ and Asgard is another version of Olympus.
All these interpretations of ‘nine’ seem to relate to ancient gods, archetypal forces and the knowledge of multilevel worlds (and the Earth falling down these frequencies) or dimensions. The same knowledge can be found in the work of the 13th Century Italian poet, writer, Knights Templar, Dante Alighieri (1265-1321) though his epic Paradise Lost  (Paradiso). In it he also describes ‘nine circles’ of Paradise and the journey through the nine levels of Hell. In William Blake’s image, The Vision of the Deity, from Whom Proceed the Nine Spheres, who also illustrated Dante’s text in the 18th Century, we are shown nine circles from the ‘divine’ to the Earth, with the usual personification of the different planets. A subject I am personally working on (see the end of this blog).

In Navajo healing ceremonies, which include singing and painting, one chant in particular called the Night Chant, was used to heal diseases of the head (mind) was experienced over ‘nine days’. When we consider early Ptolemaic systems of astronomy it was said that nine spheres created the structure of time and space (see above) and the poet Milton in his Arcades, also speaks of: “The celestial Sirens harmony that sat upon the nine enfolded spheres”. In Paradise Lost, Milton says of the fallen angels: “Nine days they fell”. Within much art and poetry one can find various references to the same understanding of how unity spirals out of oneness, projecting nine (enfolded) spheres or dimensions. In William Blake’s painting Jacob’s Dream (1805) we see once again the different circular worlds existing on a spiral staircase (vortex), with people and otherworldly beings moving towards oneness.

From my own work I feel that the dimensions that we interact with here on Earth (the centre of that great tree) can also be numbered one to nine and nine is a ‘source number’ in what is understood as numerology. However, it seems that both scientists and earlier advanced civilisations would agree that there has to be ‘ten dimensions’ to complete and commence the next journey through our ‘spiritual evolution’. Source numbers are where all other numbers originate, just as it takes nine months for a human child to be born into the physical world. Within ancient numerology, as well as mythology, certain numbers and their ‘energy’ determines different characteristics that intricately link these celestial spheres (dimensions) with different life forms, shapes, symbols, colours, sound and knowledge across our universe. When we access our ‘ancient eyes’ (inner vision) we start to see, feel and sense these different dimensions within us. It could be described as the start of a journey towards our natural state, that multidimensional being we once were, before the infamous fall. The ancient Egyptians expressed similar knowledge through numerology, for evolving, creating and becoming a whole or balanced individual. One of their ancient texts taken from Hermopolis reads:

”I am one, who becomes two, who becomes four, who becomes eight and then I am one again.”

The Gate Keeper between the Worlds
In Norse mythology, Heimdall (Heimdallr) is a god who possesses the resounding horn Gjallarhorn, owns the golden-maned horse and whose name is said to mean 'the one who illuminates the world'. Heimdall is the ‘gate keeper’ of the nine realms and with his ability to ‘see all-that-is’, he is the prime guard, the watcher and protector of Asgard. 

 Heimdall sits on the ‘edge of heaven’ (great song by Wham in the 80’s) to guard the Bifröst bridge from the berg jötnar (the giants/titans) that are in symbolic terms the trolls under the bridge in many fairy tales. Heimdall is also Janus the god who can see in both directions and represented new beginnings.

It is said that Heimdall above (played by Idris Elba), requires less sleep than a bird, can see at night just as well as if it were day, and for over a hundred leagues. He ‘sees beyond the ‘constructs’ that separate the worlds, beyond night and day. On the head of Heimdall was said to sit a cockerel (or red rooster) called Gullinkambi, who was said to warn the ‘nine realms’ of when Ragnarok (end times) had begun. The rooster, the all-seeing-eye and the bridge (rainbow) are of course symbols used in freemasonry, initiation and occult writings. 

Heimdall in his different guises.
The Bifröst bridge in Norse myth, the place where Heimdallr stands guarding the realms, is the symbol for the ‘meeting of different worlds, the path between realities and of course it is the place of danger, where the ‘unseen’ can pass from one world into the next. Such symbolism is portrayed well in the film Thor, when the dark elves pass into Asgard unnoticed in their attempt to retrieve the Aether and Heimdallr leaps onto one of their crafts as it tries to pass beyond his sight.

 The scientific understanding that many worlds (existing simultaneously) and that intelligence, “beyond our sight”, have ‘constructed’ worlds or simulations that meet, can be found in the ideas of  Nick Bostrom, the Swedish Philosopher and author of 200 publications. Bostrom is often the ‘media personality’ for transhumanism-related topics such as ‘cloning’, artificial intelligence, ‘super-intelligence’, ‘mind uploading’, cryonics, nanotechnology, and the simulation argument (Theory). I think he’s onto something ‘old Nick’. His Simulation theory supposes that because of the overwhelming likelihood of technological singularities occurring in the universe, it is quite likely that advanced civilizations‚ either us in the future, or aliens in a distant galaxy‚ have created or will create simulations (worlds). Since the number of these simulations would number in the billions, Bostrom submits that it is actually quite likely we are living in some sort of a computer simulation. Yep, he’s onto it! When we look at the likes of Norse mythology, and it’s nine realms and the many other legends in other cultures, and with science to give it gravitas, maybe the Simulation Theory has some validity. The concept of course crops up as a familiar muse for science fiction audiences, explored in films like The Matrix, The Thirteenth Floor, Dark City, Avatar and of course we have marvel stories like Thor that hint at this too. In all myths, it is said that it is the ‘trickster’ that lives on the threshold between these ‘simulations’, the different worlds. If the ‘trickster controls the flow of information between worlds then you know it won’t be true!

Loki - the trickster ‘son of God’
Loki in Norse mythology is a god or jötnar born of the race of giants. He is the ultimate trickster, the joker god that can use ‘illusions’ to deceive, and he is a 'shape-shifter’‚ with the power of being in several places at one time. Loki uses the holographic nature of reality to deceive and manipulate those that are not fully aware or awake!

The photo (pose) that almost every politician would love to have.
In Norse myth it is said that the first living beings were giants that dwelled in a place called Niflhemir and the connection to the Biblical Nefilim is an obvious one here. Loki was said to be a descendant of the fallen giants (the jötnar or Nefilim) and the one they called Ymir. The general themes of the giants and the legends of the Frost Giants in Norse myth could relate symbolically to ‘electromagnetic forces’ manifest as ice and the (crystalline) ice rings of Saturn. Is there also a link to the powers that possibly created the rings - the Archons? See my other articles for the more information.

 Ymir was said to be born out of the joining of these two extreme forces from either world in the ‘great void’, the beginning of the nine worlds as such. Contained within Snorri Sturluson's  Gylfaginning (the creation and destruction of the world of the Norse gods,) Ymir's creation is recounted:

'Just as from Niflheim there arose coldness and all things grim, so what was facing close to Muspell was hot and bright, but Ginnungagap was as mild as a windless sky. And when the rime and the blowing of the warmth met so that it thawed and dripped, there was a quickening from these flowing drops due to the power of the source of the heat, and it became the form of a man, and he was given the name Ymir.'

Loki is a also a god of fire, the bringer of chaos and mischief who was said to have made a pact with the Frost Giants, who opposed Asgard and the balance of the Universe (the great tree). Loki, like the Haokah, is an ‘unnatural god’ sometimes depicted as a ‘clown’ in several Native American tribes. The Haokah are also ‘thunder beings’ according to the Lakota Sioux and they were ‘tricksters’ who were able to ‘possess’ humans. Another trickster was the Coyote or Fox (Reynard) and like Loki he too was able to appear as an anthropomorphic animal (move in between realities) and use fire. A ‘fire fox’ is another symbol for the ‘trickster’… Fox TV, Fox News, etc, the Fire Fox logo says it all in one image!
Loki is also found in the Flemish revolutionary, ‘once a peasant’, turned leader and comedian named Tijl (below left), who it is said, that when the people eventually rebelled against their overlords, became their revolutionary leader. Where's Russell Brand when you need him eh? Acting’ and ‘playing the role’ as usual.

Loki and Hell
 In Norse myth and legend, Loki is the father of Hel (where the word Hell is derived) and the wolf Fenrir (werewolves anyone?) along with the world serpent Jrmungandr  (a titan that threatens to swallow to Earth). When the Aesir (Old gods) were told that these three siblings were born, in the land of the Jotuns (Giants), they knew this would bring great evil to the world. Not just because of their mother’s origin (Hell), but also their father Loki. It is said that Odin decided that a few of the Aesir should go and get these three children. When they were brought to Asgard, Odin threw the Jrmungandr serpent into the deep sea. And Jrmungandr then became the ‘Midgard serpent’ (Earth Serpent) that grew so much that is lies in the middle of the world’s ocean’s biting its own tail (see below). Hel, he threw down into Niflheim (the Fall), and gave her the power to create nine worlds (rings) – the power of thought over humanity. Fenrir wolf was kept in Asgard according to the legends. I think we’ll see Fenrir wolf in another movie eh? Or was that in Harry Potter?

According to the myths Jrmungandr (Midgard Serpent) grew so large that he was able to surround the earth and grasp his own tail - the ouroboros . The ouroboros symbol is most certainly a symbol for the 'illusion' that holds humanity in the matrix and prevents our ‘true sight’ from seeing all other realities. The serpent wrapped around Midgard, like the rainbow serpent in Aboriginal dreamtime myth, is the same symbol that speaks of the limits of perception.

The ouroboros is also the ‘ring-not-pass’ in Gnostic writings, a place that humanity had to ‘pass through’ to leave this illusion and go into the place beyond ‘death’ (Above left). It was also considered the symbol of the limitation in our spiritual, intellectual, or psychological power (our consciousness) - a place of illusion that we as humans must move beyond.
See David Icke's new book The Perception Deception out this November.

The Dark Elves and the Aether
In comic book land the dark elves are said to hate the sun and lived in the ‘dark underground world’ of  Svartalfar (Svartalfheim), not dissimilar to future/past ‘dark worlds’ found in a many movies in recent years. The elves, according to myth, form the Nordic dualistic concept found in the 13th Century Edda, which is clearly alluded to in the movie. 

 Yet, the light Elves were said to be located in Heaven and fairer then the Sun. The dark elves were hideous and could be a great nuisance to the humans, being full of malice and hatred towards humanity. Sounds like a familiar theme?  Of course J.R.R Tolkien must have taken inspiration form the 13th century manuscripts locked in the vaults of Oxford University, with his rendition of Orcs and Elves coming from the same source in the epic The Lord of the Rings (old Saturn again eh)… 

Malekith the leader of the dark elves.
 The dark elves in Taylor's movie look remarkably like the vampires' Nosferatu and ‘the Master’ from the film Salem’s Lot. Christopher Eccelstone plays Malekith the leader of the dark elves (above) as he seeks out the ‘Aether’, so to bring the Universe back to ‘darkness’. Where’s the Time Lord when you need him?
The Dark Elves look like devils and other non-human creatures that can found on cathedrals and stately homes in Europe and beyond. Too many politicians seem to be acting like ‘dark elves’ when it comes to laws, taxes and the way ‘people’ are treated all over the world. The only difference between the movie and reality is that we don’t see the elves, well some do?

The story goes that eons before the union of the gods, Bor, the father of Odin, vanquished the Dark Elves who sought to return the universe to its ‘state’ before creation using a force called the Aether, mentioned earlier. Doing so Bor contains the Aether within a stone column. The stone column is very likely a reference in symbolic terms to the sealing of the titans in Tartarus in Greek mythology. Unbeknownst to Bor, Malekith, and his lieutenant Algrim and others escape into suspended animation, waiting to emerge, which they do in the movie.

Again we have themes of the ‘darkness’ and that of the ‘archons’ returning the world to their vibration, to their world. The dark elves live in a form of suspended animation, like an insect waiting to hatch, and in the movie they seek to use the plasma (the Aether) to reshape the nine realms.
According to folklore, many believed that ‘dark elves’ were also responsible for the nightmares and were often called ‘mares’. A mare would sit on a sleeping person‚ on the chest and whisper bad dreams to haunt the person. The Swiss painter Henry Fuseli, touched on such subjects in his works the Lapland Witches and The Nightmare in the 18th Century. And anyone who has had the experience of being unable to move, like an invisible weight on your chest, often lying down, will relate to this image? Dark forces are as real as those that are their opposite. Don’t let the light-workers fool you otherwise.
The elves (Mares) in Fuseli's The Nightmare
Of course we have the subtle connections to otherworldly entities such as the ‘reptilians’ here too. According to some accounts, the dark elves could not be exposed to sunlight if the sun’s rays reached them they would immediately turn into stones - Vampires again eh?
Halloween comes to Asgard and Earth permanently, if the dark elves have their way. Is that the latest costume by Lady Gaga?
True to the comic the 'dark elves’ arrive first in Asgard and then on Earth to bring about what ancient texts like the Edda refer to as Ragnarok, the apocalyptic end game, when Jrmungandr, Hel and the wolf Fenrir would eventually let loose to do battle with Thor. I’ve ruined the next movie now, oh dear? 

I was amazed to find the costumes of the dark elves in the movie remarkably similar to what I had seen in dreams and visions over the years, as a ‘black army’ that were led by creatures in masks such as theirs over what looked like a very different Earthly landscape. Other personal pointers in that dream (this article is not the place for it) now make me wonder if that time is almost upon us – remember just because we ‘can’t see it, doesn’t mean it’s not there.

The Dark elves arrive in Greenwich
The end battle in the movie involves the destruction of Greenwich Palace (symbolic of ‘time’) where Malekith will use the Aether at the exact moment as the Nine Realms' “converge” to return the universe to the dark-energy state.
Her Majesty’s Palace gets a face-lift as Malekith evokes the elements ‘satanic style’.
Demons, Jinn and the Kursed.
Malekith and his Elves are experts at conjuring up what the comic books refer to as the Surtur (a fire and stone demon) that transforms an Elf into a 'Kurse’ – a super strength (horned) elf. Based on the fire giant Surtr from Norse mythology, and adapted by writer Stan Lee and artist Jack Kirby, the Surtur first appeared in 'Journey into Mystery' (October 1963), and his character was once described as one of "The Ten Most Heinous Enemies of Thor”. The movie certainly shows this to be.

According to legend, the Kurse was originally the most powerful of the Dark Elves, and was known as ‘Algrim the Strong’. The comics say that Kurse possesses a number of superhuman attributes as a result of his natural ‘dark-elf-alchemy’, ‘physiology’ and ‘mystical augmentation’. Kurse also has the ability to sense and track his opponents over distances as great as continents and can see through illusions and disguises. His armour is a living, sentient, and ‘enchanted armour’ that allows Kurse to see everything around him. Sounds like the ‘intelligence networks’ of today, minus the elves and alchemy bit, hey don't rule it out though folks.

The Alignment of the Nine Realms
While looking for the Aether the Asgardians learn that a rare alignment of the Nine Realms is imminent, and at points where the Realms touch, (South London being one), portals are opened between different dimensions. When Heimdall tells Thor that Jane Foster (Portman) is no longer on Earth, Thor begins a search for her.
As the movie unfolds she awakens in the South London factory after hours in the ‘realm’ close to the Dark Elves world, and finds herself releasing powerful energy when a police officer on the scene touches her he is thrown in the air by this force. Sensing the force's unearthly nature, Thor brings Foster to Asgard (below), but its physicians cannot remove the Aether.
Odin realizes she is the Aether's vessel and this heralds a catastrophic prophecy of the Dark elves coming to take back watch they believe to be rightfully theirs’. Frigga‚ (Odin's wife and Thor's mother) takes Foster under her wing to protect her.
However, Malekith and his forces awakened by the Aether's release, turn Algrim into a Kursed and attack Asgard from within. Malekith and Algrim kill Frigga while searching for Foster but are attacked by Thor, forcing their retreat. Thor is ordered to remain and protect Asgard by Odin rather than pursue revenge. Following Frigga's funeral, Thor decides to take Foster from Asgard to lead Malekith away and he reluctantly teams with his brother ‘trickster’ Loki, who knows a secret portal into Malekith's world.
I think the Chinese poster had got the wrong idea about these two ‘teaming up’?
Malekith driven by hatred and by the desire to once again use the Aether's (and knowing that the Aether is within Jane Foster) he commences to pull the life force from her when she is handed over by Loki.
On the world of the Dark elves (Svartalfheim), after a hoax in which Loki appears to betray Thor and hand over Foster to Malekith, Loki ‘appears’ to sacrifice himself to keep the elves from retrieving the Aether. It is to no avail, as Algrim batters Thor and Malekith continues to draw out the Aether from Foster (above).
In the frey, Thor and Foster return to Earth after stumbling through a portal between the two dimensions (realms) created by the Aether.
Thor fighting Malekith
As Thor battles Malekith, Foster and her mad scientist friend Selvig use devices they have constructed to shift energy where the nine realms meet (below). A porthole in the sky opens and at the last moment, they transport Malekith and his ship back to the dark world of Svartalfheim, where the ship crushes him.
The day is saved… In Asgard, Thor declines Odin's offer to take the throne and tells Odin of Loki's sacrifice to save Asgard form destruction. As Thor leaves, the image of Odin reverts to the true form of the shape-shifter Loki (the trickster at it again), who has usurped the throne and left us movie goers a taste of the of the third Thor movie to come?
Phew, if you got this far, it's back to this ‘future reality’ next time! 
Look at for the second Hunger Games movie, Catching Fire and The Hobbit, I’ll be reviewing those next.

Until next time

New Work