Introduction

The article below was originally a hand-written work composed in October, 1991. I, Joseph E. (Joe) Mason, directed this to crop circle researcher, Pat Delgado, co-author of the first book about the crop circle formations, Circular Evidence. I later sent it to other researchers.

A "dream-coincidence" experience had started in early 1990, and soon incorporated crop circles. Later in the year I contacted Pat and we began to exchange letters and information. As I relate below, after a coincidence in July 1990 involving printouts of the Mandelbrot Set, I spontaneously began to write notes about the possible symbolism involved. This soon expanded into other speculations about possible symbolism within areas of the science of chaos.

Some thirteen months after I began these speculative notes, the Mandelbrot Set appeared as a crop formation (pictured above). The formation appeared August 11, 1991, but I did not know about it until October 15 of that year.

This development was a great surprise, of course. At that point, I wished that I had sent some of the chaos and Mandelbrot Set materials to Pat. Part of the idea of my project was to show evidence that dreams and coincidences are predictive of crop circle events. I began composing my article on the subject October 21, 1991. I sent a copy of the article, along with graphic materials to Pat a short time later.

I later realized that I had sent some hints of the chaos ideas to Pat prior to the appearance of the Mandelbrot Set crop formation. It was contained within small notes in parts of articles about other subjects.

I had also sent a major part of the chaos and Mandelbrot Set material to another person, Jon Klimo, author of the book, Channeling, prior to the appearance of the formation.  So, I felt that I did have these witnesses to help support my claim. Unfortunately for my purposes, Pat and Jon apparently did not think my input important enough to pursue or to mention to anyone else.

In the years following 1991 many crop circle formations related to the science of chaos have appeared, such as the Koch Snowflake Fractal, and Julia Set types. Some of these types were mentioned in the 1991 article, along with graphics.

Obviously, the predictive nature of these events are not considered by me as "proof" of my claims, such as the possible symbolism of the patterns, but I do consider it as adding to the evidence that the subject and the approach is worthy of further pursuit.

The attached materials that I sent along with the article included graphics and text. In order to present this here, I have typed in some of the text from the attached materials, or otherwise described the contents of the attachments. I have identified these parts with the heading, Inserted Note.

MANDELBROT

October 15, 1991

About two years ago, I saw a T.V. interview with James Gleick. I bought the book, "Chaos: Making A New Science." I later ordered a Mandelbrot program for my computer. I played with it for four months, generating the mathematical pictures, then manipulating them in various ways with other programs.

The abrupt change in my dreams, and the occurrence of frequent "coincidences" started about three months later. I was analyzing everything in terms of dream symbolism.

In July of 1990, I happened upon a pair of composite computer pictures (above) that I had printed months before my symbolism experiment started. I saw a world of symbolism in these pictures and wrote it in my notes on July 31, 1990.

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Inserted Note

Within the material I sent to Pat was a photocopy of a page of my notes, dated July 31, 1990, along with copies of the above two pictures. I explained part of this in Part Five of my Pollen Path articles, which I will insert below:

Humanity On The Pollen Path - Part Five

This is an excerpt from the page:

Both pictures are basically the same, except for the "mask" and colors. They were composites of three pictures . . . the Statue of Liberty, a devilish alien face, and a spiral from a portion of the Mandelbrot Set. The original composites were combined randomly, by using an Amiga program called "The Director." The program chose which three pictures to combine and which pallet colors would dominate in the mask.

I saw the picture on the left as symbolically representing devilish beliefs blocking the light of the Great Mother Goddess. On the Amiga, the colors could be "cycled," giving the appearance of animation. When the colors of that picture were cycled, the spiral portion moved downward into the tighter spiral at the bottom, as if the devilish beliefs took one into hell. The mathematics of the Mandelbrot Set program seemed to suggest the reason . . . the output of each equation is feed back into the formula over and over.

The picture on the right revealed that the spiral was also like a tentacle which grips. It is gripping the book held by the Goddess . . . the Constitution of the United States . . . representing freedom and the equality of people.

By "devilish beliefs," I mean beliefs in the devil, demons, or the like. In my view, we, mankind, are co-creators of the reality, and such beliefs help manifest negative events, even to the point where the devil or demonic entities manifest, as "real." It is our beliefs in such things that keep them alive, and lead to the descending spiral of events. This is the "feedback" of the belief system that is put back into the "equation," when it is recalculated.

I made some notes about this, and continued over a period of time, to write notes about symbolism within the Mandelbrot Set and other chaos patterns.

[end of excerpt]

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About a month later, I was drawn to mythology and eventually saw the Monkey King Myth. I was startled, because I felt like I knew the meaning of the myth.

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Inserted Note

Within the material I sent to Pat was a photocopy from the Myth book*, with a large picture of the graphic above of the Monkey King. The following is the text about the story:

The Ramayana

The Ramayana, a celebrated Indian epic written by the poet Valmiki and comprising some 24,000 couplets, describes Rama's long and perilous struggle against the asuras - a kind of Indian Titan - under their lord Ravana. The myth belongs in the same tradition of battles between gods and giants, or between the powers of light and the demons of darkness. Briefly, it tells that Rama's wife Sita was captured by the demon king Ravana and carried off to Lanka, the city of the 'Titans.'

At the hand of the gods Ravana was invulnerable - he could only be vanquished by a human being. It cost Rama much suffering and many furious battles to recover his bride. But with the help of the monkey king Sugriva, who built a living bridge across to Lanka with his monkey hordes, Rama and his heroic companions were able to cross to the city, defeat Ravana and set the beautiful Sita free. Since Rama is an avatar incarnation of the supreme being Vishnu, the story offers a connection between myth and the origin of religion.

*Elliot, Alexander, editor, Myths, McGraw-Hill, New York, 1976

End of inserted note.

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The spirals all over the monkey's body represent negative belief patterns, like the tentacle I found in the Mandelbrot picture. I felt that the myth was saying that mankind was in a great cycle of time experiencing this negative way of thinking and being.

I first experimented with the Ouija board about 1978. One day I was playing it with a young, (about 12) neighbor girl. She was asking it to spell funny names for her siblings. It called her brother a "monkey". I asked what it meant. The answer spelled, "clown fool."

I felt that the Monkey King was showing this foolish way of thinking and being. Yet, all of the foolishness has an overall positive purpose. It forms the living bridge where the hero rescues his mate. I was later to understand from dreams that this means the re-discovery of one's intuitional self, and a recognition of the Mother Goddess concept, in terms of a generating world that radiates this physical world out to black rest in cold space.

As I understand from channeled material, such as Seth, and myths of the dreaming God, our reality is created by thought. One of the meanings of being created in God's image, is that we also create our reality by thought. We are given free will, to think and create as we wish.

In this great cycle of time, we do not realize that we are co-creating the reality by our thoughts and beliefs. The result is clown foolish, because all the negative events can be changed quite simply.

In the myth, the Demon King is invulnerable to the Gods. He can only be vanquished by a human being. I think this means that we must accomplish this challenge. It will not be done for us by God.

One of the symbolic meanings that I see in the Mandelbrot Set, is the repeating patterns across scales. This fits in well with Seth's concept of the reality being composed of extremely small 'consciousness units' that build into higher gestalts, each 'unit' has the code or pattern of All-That-Is, or everything in all realities.

In this analogy, one could think of oneself as an extremely tiny speck in the Mandelbrot Set. Yet, the shape of that speck, on closer inspection, reveals that it has the same pattern as the entire Set. By understanding your small realm, you can get an idea of the entire macro-cosmic pattern.

A related analogy I made from the science of chaos, concerned the idea of the "Butterfly Effect." An extremely small difference in initial conditions can cause a large-scale change in time. The idea is that a butterfly beating its wings in one part of the world, may create a storm in another part of the world sometime later.

I saw this in the Mandelbrot analogy as a change in a tiny sub-set, influencing a change in the entire pattern.

I began to see that dreams and myths could be interpreted with these Mandelbrot analogies in mind. They can refer to one's personal life and larger scales, such as mankind generally.

So, I think of a mythological hero, such as "Rama", or David in the Goliath story, as each person, and as mankind. Your Goliath or Titan this morning may have been paying the monthly bills. On a grand scale, the giant is the negative thinking and beliefs on a global basis, and our challenge to overcome them.

The Mandelbrot Set is said to be the grandaddy of all Sets (like Julia Sets), the most complicated object in mathematics; yet it can be sent in a few lines of computer code. The shape emerges from calculations involving coordinates; 'real' numbers horizontally, and 'imaginary' numbers vertically. Something like this:

The computations involve solving an equation, taking the result and putting it back into the equation and re-calculating it again. This is repeated a designated number of times. The program looks to see if the number remains a finite quantity, or runs toward infinity. Based on the number of computations, a chosen color is placed at that coordinate point on the computer screen. In the photos here, the black areas represent points that remained a finite number after the designated number of calculations were performed. That is what is represented by the shape of the Mandelbrot Set. The colors and patterns near the black part, represent points that almost remained finite, that is, they ran toward infinity near the end of the designated calculations. These are the areas that are so extremely complex.

I am not a mathematician, but I hope I have explained this faithfully. It is the symbolism that I am concerned with. I saw it as a good metaphor for the concept of our reality being formed by our thoughts. Our 'output', our lives and world, 'prove' to us that our beliefs are 'true.'  It is then 'feedback' that strengthens the belief. This is the equivalent of taking the results of an equation and putting it back into the equation again and then re-calculating. Negative or conflicting beliefs result in the descending spirals which grip us like an octopus tentacle. My Amiga computer picture can be animated by 'color cycling'. The computer steps the color pallette and re-displays the picture. The descending spiral can be seen flowing downward. The cycling can be reversed, and the flow is then in an upward direction.

I saw this as a good metaphor for changing one's beliefs and emerging from the octopus grip. As I understand it from Seth and numerous other sources, such as 'Alpha thinking', one can change his  or her reality through a process of thinking and imagining. This seems ridiculous in our present world-view. But there is substantial evidence that it seems to work for some people. That small change in the belief pattern has the 'butterfly effect.' of a tiny change in the 'output', or reality. You then have a tiny bit of 'proof' that things got better. You concentrate on that, and it becomes 'feedback' into the equation, altering it a bit more. It takes 'time' or many calculations to achieve the major result, that is, spiraling up out of the octopus grip.

The term 'Titan' is interesting because I made the interpretation of the sinking of the Titanic in 1912, as a symbolic event signaling a world-wide period of stress that began with World War One two years later. A predictive book called "Futility" was written some years before, in which the ship had the name "Titan".

My theory is that all these myths about the great battle of good against evil, often symbolized by giants or devils, are about this choosing of beliefs. On the ouija board in 1982, Seth told us that a great change was coming soon, that unity would come after a period of stress. When we asked how we could help, he answered simply, "Love is the answer, It radiates you know!"

I couldn't remember reading anything comparable in the Seth books. A week or so ago, I flipped open "Seth Speaks" and read this on page 184:  

"The experiment that would transform your world would operate upon the basic idea that you create your own reality according to the nature of your beliefs, and that all existence was blessed, and that evil did not exist in it. If these ideas were followed individually and collectively, then the evidence of your physical senses would find no contradiction. They would perceive the world and existence as good."

Another time on the ouija board in 1982, we were asking Seth about difficulties with making the belief-realty system work. He responded, "To me it is so incredibly simple."

I later saw this in Mandelbrot, symbolically from the few lines of computer code that creates an infinitely complex pattern.

Several dreams suggest that the collective beliefs hinder the individual in his attempts to change beliefs. For example, I dreamed that I was on a ladder, trying to climb to a water tower. Water symbolizes spirit, and elevation, a higher perspective. I felt a tremendous pull of gravitation. I could barely hang on, let alone climb. I felt overwhelming emotions of the will to fight the gravity, and climb, using every drop of my strength, I hopped up one rung. I realized after the dream that gravity was an excellent symbol of the collective beliefs. It is the only force (of the four physical forces) that is additive. It is by far the weakest of the four forces, yet the additive nature gives it power over planets and galaxies. I thought of this dream when I later saw photos of the 'insectograms', or 'laddergrams.'

When I first looked through the 'Myth' book, I saw several graphic depictions that looked similar to chaos patterns. I wondered if ancient people could have received dream symbols that contain scientific and mathematical principals. I have included two examples.

[Note: The graphics referred to above will be added later.]

Various insects have a shape that is somewhat similar to the Mandelbrot Set. Certain myths include insect symbols. The Hopi myth of Grandmother Spider is an example. I felt that the eight legs were meaningful, and related to the sand paintings with eight people around the square. I think it refers to mankind. The Mandelbrot patterns frequently reveal images of four or eight. The Hopi Spider has a dotted cross on its back, reminding me of the Mandelbrot coordinates.

Some months after seeing the Hopi myth (see below), a young girl, Melissa, told me that she dreamed that her sister, Christy, who was missing, came to her with a large spider in her hand. Christy said that it was their spider, and no one else could touch it. Melissa spoke to her Christy's best friend the next day, and was told that the friend had the same dream. I realized then that the spider represents the thread-like connection between each person, and our collective consciousness. Learning how to weave refers to our recognition of our interconnectedness, and forming a more ideal, mandala-like web.

The dream of a young man, Jeff, suggests that our patterns now are symbolized by the black widow.

Jeff's 1990 dream:

When I lived in Oakdale, my son's best friend, Jeff, lived next door. Jeff was 16. He and his family had problems. He had several fist fights with his father. He fought other kids several times. He had a very violent, angry temperament. One day, he came over and told me that he had a dream.

In the dream, he was looking out the front window of his house. He saw his ex-girlfriend, Terra, kissing his worst enemy. He ran out and started beating the kid up, pounding his face. He heard the voice of my son, T.J., say, "Beat his ass Jeff!" Suddenly, the boy's face transformed into his best friend.

He stopped and asked Terra what was going on. She walked into the house, and he followed. He kept asking what was going on. Suddenly he felt a spider on his hand. It was a black widow. He flicked it off, and it immediately landed on the hand of a younger kid (perhaps his brother). He kept following the girl, and then felt a sting on his hand.

He woke up, and sure enough, a real sting was there; a huge red bump about the size of a quarter. The bump remained there for several weeks.

I asked Jeff if he knew why that spider was named the Black Widow. He didn't know. I explained that the larger female kills the male after sex, and plants her eggs on the corpse. The offspring grow by feeding from the body of their dead father.

It struck me that a spider leaves a thread between points. My feeling was that this symbolism may also refer to the collective unconscious, and to how our thoughts/actions influence others.

When I saw the crop pattern that appeared at Doons Law (photograph above, left and diagram above, center), I saw a resemblance to the Hopi myth (above, right). The lay of the wheatstalks athwart in the passages, reminded me of the ladder-like climb of the humans in the Hopi depiction. (In John Haddington's article, linked above, this is expressed as, "alleyways were flattened in a lateral fashion). I felt that the equi-distant location (see below) was hinting about the duality balance.

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Inserted Note

The formation consisted of three circles connected by two alleyways. I included a photocopy of an article with diagram (above) from "The Cerealogist" in the material I sent to Pat Delgado. This is an excerpt from that article -

John Haddington, who lives in Berwickshire, measured the circles. The diameter of the clockwise-swirled circle was 31 ft and it was linked by a 16 ft-long passage to an anti-clockwise, 32 ft circle. From that circle a passage, 16 ft long, led to another, 16 ft in diameter. All the dimensions occurred in units of approximately 16 ft. The wheatstalks in the passageways were unusually laid, not paralled to the lengths of the passages but athwart them.

About 70 feet south-west of the circles site is an ancient, tree-grown mound, Doons Law. John Haddington found that one of the passageways pointed to Doons Law  and, beyond it, to the old kirk at Swinton. The other passageway, at an angle of 67 degrees to the first, was directed towards to kirk at Norham. The two churches, which both contain tombs of 14th -century crusaders, lie equi-distant from the circles site.

I felt that the multiples of sixteen feet connected well with the eight legs of spiders, and with the symbolism of the Mandelbrot Set, which often reveals images with four-fold, eight-fold, and sixteen-fold patterns.

End of inserted note.

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When I found the  'The Sacred Symbols of Mu' by James L. Churchward, I saw that the spider with the cross pattern was also found in other ancient materials. I was particularly struck by the statement about the roads being constructed like a web, so that no man could discover the end. Very early in my writing, I drew patterns which I refered to as a ball of string, where you can't find the end. I realized that there is no end, because it is generally circular. One must grasp any point and unravel it.

Another example of insect mythology is the scarab beetle. It is said to represent creative energy or force. The glyph of the God Khepra on page 82 of the "Mu" book, suggests a mental creation. The inscription, 'The God RA is like thee in his limbs, the God Khepra in creative force," is interesting because 'Ra' is a male sun symbol that I believe represents the male aspect of the deity and mankind. 'Limbs' suggest the 'Tree of Knowledge/Life'. My dream voice said one morning:

"I am stretching out my limb to you, so that you can watch it grow."

The idea of the Scarabaeus beetle as an emblem of the Creator came about because it rolls a ball of mud around, and sets therein its eggs to hatch. This also reminds me of the Mandelbrot symbolism. The 'egg' contains the genetic code of the mother and father. The pattern of the whole is within this smaller portion.

An article in one of the crop newsletters mentioned that the 'insectograms' (or 'laddergrams') resembled a beetle because of the split wing covers. I felt that this part  of the 'insectograms' was the ancient glyph for the dual deity.

Perhaps that is one reason the beetle was chosen for a symbol in the first place.

I have written that 'coincidence' often is involved in my material. Several have happened over the few days that I have been writing this article. (It's now October 26th 1991)  I'll divert a bit here to tell about some of them.

In the Seth books, Seth speaks of the intuitive scientist, and suggests that Einstein was such a person. On the Ouija board, Seth told us that our scientists are asking the wrong questions. He said that what is needed most was work on awareness and perception, and that our scientists have much to learn. Six days ago, I flipped open the book, Chaos to page 84. It reads:

"Unlike most mathematicians, he (Mandelbrot) confronted problems by depending on his intuition about patterns and shapes. He mistrusted analysis, but he trusted his mental pictures. And he already had the idea that other laws, with different behavior, could govern random, 'stochastic phenomena."

Two days ago, I received a little booklet of some new-age material available. A short except from Seth was written. This statement fit in well with the 'Chaos' symbolism:

"Every time you say, "I am helpless and I am slipping into chaos,' whether you get laughs or not or whether you say it humorously or not, you are indeed pushing yourself further into the chaos you are creating with every breath you take."

This is one of the symbolisms that I see in Mandelbrot. It is like an infinite sea of possible patterns to choose from. The challenge is finding and using the ideal pattern.

At some point last year, I noticed that a musical instrument such as the guitar or violin, resembles the Mandelbrot Set shape. I pictured our reality in terms of this grand instrument. The power of the sound is like the huge hand of the Creator strumming rhythmically. We are located at the tip where we adjust the tuning. Our lives are the music, either discordant or a beautiful melody.

A few days back, I was working on a theory about the Barbury Castle pictogram, concerning the number 31,680. Numerous times the numbers eight (male aspect) and nine (female aspect) came up in my material.

I calculated 8 x 9 x 440 = 31,680. That left the number 440 to represent the 'ratchet spiral', or man.

My nephew , John, told me that 440 is the musical note of 'A' in cycles per second. I found this meaningful, because in The Sacred Symbols of Mu, James Churchward wrote that the letter  with a double crossbar, represented man with both aspects and  with a single crossbar represented man with one aspect lost.

I looked up a portion of The Gnostic Gospels that also contained the eight and nine symbolism: (Page 165)

"I see the eighth and the souls that are in it and the angels singing a hymn to the ninth and its powers . . . I pray to the end of the universe and the beginning of the beginning, to the object of man's quest, the immortal discovery . . . I am the instrument of thy spirit. Mind is thy Plectrum. (A pick to strum the strings) And thy counsel plucks me. I have received power from thee. For thy love has reached us."

On re-reading this, I realized the musical and string instrument metaphors were clear. perhaps this early Christian heard the note of .

Yesterday, I received the latest 'Quartus report." A statement by John Price reminded me of the Mandelbrot symbolism of repeating patterns across scales:

". . . each one of us is the sum-total of all the energies of the universe individualized, and that all we are and have in the phenomenal world reflects our energy in expression."

In the same  report, is an article by John March. He uses the term 'chaos' several times in reference to the internal mind-talk of the rational mind and the external world. He stresses the importance of being 'still' mentally, to let your rational mind learn to become subservient to the intuitional. This sentence fit well into my subject:

"Chaos exists in man because we feel separated from our source and because we are trying to use an instrument that is too tiny and incomplete to run our lives."

It is as if he is saying that we are strumming our own, small Mandelbrot-guitar, when we should just tune it, and listen to the music, because the strumming power comes from higher levels.

I brought home two books from the library on October 26, 1991, about beetles and spiders. Some of the beetles are Mandelbrot-like. Some have the 'T' or 'Y' shape between their segments, revealing three major portions, which reminds me of the Barbury Castle pictogram. I found a spider with a guitar-like shape on its back.

These things may appear silly to one with a mechanical universe world-view, and I am well aware of their response. But my experiment involves throwing off that view, and gathering symbols from any source. The object is to see if they tell a consistent story, and compare it to myths, dreams, channeled material, inspired material, and science. I do not intend to refute science, only to show that something more than mechanics is involved. Dreams and inspired material, such as Pink Floyd, suggest this by the 'artificial light' symbol. This symbol appeared along with a crop circle in Russia in the late 1970's. A giant UFO was seen by three scientists, that looked like a light bulb. (See Circular Evidence - page 188)

Were the animals created with an intentional, built-in symbol, or did the ancients merely recognize a symbol out of innumerable varieties? Personally, I think the former is true.

As my symbolism search continued, I found several other 'chaos' connections. I watched a television program on the subject and found one part particularly interesting. A chaos attractor pattern was shown from EEG signals from a subject in a relaxed state. The subject was asked to count backwards, by sevens. The EEG attractor patterns became enlarged. The scientist said that it showed the beautiful ability of the mind to quickly sort through a large variety of options and pick the correct choice.

In early October, 1990, my niece, Laurie, drew a picture of a heart formed by two tear drops. This picture became part of a 'coincidence' involving the eight-pointed star.

It struck me later that in the chaos television program, the human heart was found to have an identical chaos pattern as a dripping water faucet. When I later found that the duality balance was a  very important part of the message about the great change, it struck me, at one point, that the water drops and heart have a duality aspect.

I remembered from the television program that the scientists were surprised to find that it was not the forming of the big drop that controlled the attractor pattern, but the 'snap-back' after the drop falls. This was found to be the case with the heart also, with the 'recovery', after the beat, being equivalent to the 'snap-back' . I found this a consistent pattern across scales. For example, the dream-state is a 'recovery' period that is a prime control in our lives. Our intuitive and spontaneous aspects lead us to events often, yet we always feel the rational is in full control.

Needless to say, water in various forms, and the heart are important dream and mythological symbols.

Almost immediately after making the heart analogy, a very strange 'coincidence' occurred, which seemed to confirm it. It is too involved to recount here. (I will add it at a later time).

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Note inserted January 26, 2003 -

As I was preparing this article today, I searched for information about the Monkey King myth. I linked one of the sites above. Following the links, I took a look at a few of the graphics. This one struck me as significantly coincidental, as relating to Laurie's Teardrop Heart, above -

Hanuman opens his heart to prove devotion

End of note.

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In mid-September, 1990, a strange 'coincidence' happened. I saw the 'Unsolved Mysteries' television program about the crop patterns, and wrote of the possible meaning of the 'first pictogram'. The very next day, in another town, I picked up a book about Vincent van Gogh, the artist, (by Meyer Schaprio) and saw a painting (above) that had a similarity to the pictogram. I also noted that the Mother-Earth-like figure resembled the Mandelbrot Set. I made another note: "Out of chaos came forth form."

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Inserted Note

I drew a picture of the van Gogh painting in my notebook, and included a photocopy of it in the material I sent to Pat Delgado. My drawing later appeared in our book -

The page in my notebook included notes about the painting. I noted that the lamp post seemed to be coming out of the woman's head, which seemed like terrible composition; very un-van Gogh-like. As I realized the similarity to the First Pictogram, I looked to see if the rectangles were there. Incredibly, there were there, right about where they were supposed to be!  

The diamond-shaped glass light, I noted, seemed to represent the physical world, and the woman's body represents the large spirit pool or collective subconscious. The lamp post represents the tunnel connecting the two realities.

End of inserted note.

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When I saw the photos of the Mandelbrot Set pictogram (top of this page), I noticed that a small (8 foot diameter) circle appears to be located at a point equivalent to the lamp in the van Gogh painting.

On October 18th 1991, I looked again at my Mandelbrot prints. I found one that shows a close-up  of what I believe is the equivalent of the small circle in the pictogram.

It appears to be a repeat of the entire shape, surrounded by an eight-pointed star, 'Coincidentally,' this star has appeared in other 'coincidences' and I believe symbolizes world unity.

Looking at the print again today, October 28th 1991, I realized that one of the spiders has a shape on its back quite similar to the dark, inner part of my computer print.  

Octopus

In the book about the island of Mu, Mr. Churchward says that the octopus was an ancient symbol that meant 'water demon, the enemy of life'. It's role was to prevent life on Earth, (Page 238).  Then on page 239:

"... it appears that the octopus was the symbol of the resistance of the mud against allowing the sun's forces to draw the Earth's forces out into the water to form life's cosmic eggs."

I believe that in dream symbolism, "life", or "death" often refers to a spiritual level. 'Mud' seems to refer to units of consciousness, such as ourselves, that is, we are both physical (earth) and spiritual (water) beings. I think the 'Sun's forces' refer to the male, radiating aspect of the Deity. My material suggests that we, along with our other reincarnational or focus personalities, are the phallic, or male cosmic egg that is radiated out into the field of space-time.

The symbolism of the octopus as the 'resistance' of the 'mud' fit in perfectly to my interpretation of my spiral-tentacle picture.

Pipestone National Monument

The 'pipestone octopus' (above, from The Sacred Symbols of Mu), I feel, makes the meaning more clear. The tentacle holding the serpent shows that the nature of the resistance concerns the resistance to change. According to Joseph Campbell, a serpent symbolizes the death-rebirth of change, by the shedding of the old skin. In The Gnostic Gospels, some early Christians said that the snake in the garden represented wisdom.

The beak of the octopus is shown as a cutting, or dividing force. It is associated with woman's creation. I believe this represents the separation of our intuitive-selves, which I often see symbolized in dreams and myths, as a woman or girl. This separation keeps us from realizing our collective consciousness, and leads to further division among humans.

I speculated months ago that Adam and Eve symbolized one person. Bones are a physical symbol of the soul, so Eve is a rib-sized portion of Adam's soul. I think the story is about this separation, and the dominance of the rational (Adam) aspect in this great cycle of time. I later read a similar interpretation in The Gnostic Gospels.

Mr. Churchward found it a bit odd that the Pipestone Octopus (depicted above) seemed to be a sun symbol. This seemed logical to me. The eight-pointed star represents united man collectively in the future. The octopus, with its eight tentacles, represents man in dis-unity in the present great cycle. The star is a male, sun symbol. The physical reality is male, in the sense of radiating out, as well as the dominance of rational thinking. That is why the cosmic egg is phallic, and 'man' is the 'son' of the Creator.

Mr. Churchward says that the ancients sometimes referred to the sun as 'Kin,' in reference to the celestial orb, and sometimes as "Ra," to indicate the monotheistic Deity. I speculated that this could be a reference to collective man, in terms of the octopus and eight-pointed star.

I later flipped open the book, Channeling (by Jon Klimo)  and read of a channeled entity, calling himself, "Ra". He said that he was a consciousness collective. I felt that he could be from the future. As I read further, Mr. Klimo tells of the channeled entity 'Spectra" who claimed to be a consciousness collective from the future.

Sometime after reading about the octopus in the ,"Mu" book, I looked again at the photographs of Mandelbrot patterns in the book, Chaos. One photo reveals a shape with eight tentacle-like projections like a full octopus (similar to the one above).  

In my project, I have found several times that a certain symbol will appear through art or inspiration, and then later in a dream of another person, who had no knowledge of my interpretation of the symbol. This has happened with the 'bicycle' as a duality balance symbol, and the 'computer(s)' as our collective consciousness.

I had a dream in 1982, of going to the beach with my family. We were on a carousel with living, stone horses prancing. Suddenly, my consciousness was on a hill, looking down at the whole scene. Then I was back at the carousel. We got off and went to the beach.

The meaning of this dream became more clear eight-years later. The horses seem to be belief-vehicles that appear etched in stone, that is, absolutely the truth. The view from the hill gives me the higher perspective, to see that the believe-reality system is circular, because of its feedback nature. This allows us to exit the belief-reality merry-go-round and reach the beach, where the spirit and body meet.

This is a very meaningful dream to me, but I wondered if it was influenced by concepts that I was acquiring in waking-life.

Some six months earlier, a young girl abut sixteen years told, told me of a dream. She was in a mobile home, a combined vehicle-home, that was going around and down a mountain. She was afraid because it was precarious and seemed out of control.

A vehicle represents a belief-pattern, and one's home is the 'dome-of-the-world' reality being created. The dream combined the two. I realized that the 'descending spiral' had finally appeared in a dream.

Another possible symbolism concerning the science of chaos came to me. Looking at everything in terms of dream symbolism, I felt certain events carried a symbolic message. Some of them concern science. For example, after I realized that a world-wide period of stress probably began in 1914, that would be followed by a great change, I remembered that Einstein came up wit his relativity theory about that time. I felt that he was a symbol of each person's quest for truth. He used his intuition to help give us a different view of reality and found another dimension.  The more I thought about Einstein, the more sense it made. This is a good sign that a symbol is valid.

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Inserted note, January 27, 2003 -

As I was preparing this page yesterday, I did a search for "Einstein + bicycle + intuition." I felt that the bicycle can symbolize the duality of the two ways of thinking, rational and intuitional. The google.com search found 728 sites. I clicked on this one:

http://rbvhs.vusd.k12.ca.us/~groswell/tok/tok.htm

There is a photograph of Albert Einstein riding a bicycle. Under the graphic is a paragraph titled, "How do you learn to ride a bicycle?" Further down the page is the heading: " Ways of Knowledge," followed by a list: "Perception, Reason, Emotion / Intuition / Feeling, Language."

End of inserted note.

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The science of chaos was held back for many years because of the specialization of the sciences, and the lack of inter-communication between them, occasionally with animosity and conflict. The physicists and pure mathematicians were critical of each other. Eventually, it was discovered that a number of scientists in diverse fields, were independently discovering the principles that eventually led to the science of chaos. Researchers in various disciplines eventually got together and communicated. This led to a more clear understanding and a swifter development of the new science. It is said to be the key to understanding complex behavior and to be one of the most important discoveries of the Twentieth Century.

Thinking in terms of symbolism, I felt that these events carried a message concerning the great change. I feel that a similar process will be involved in our change in world-view, when we realize we are spiritual beings capable of making manifest God's dream of unified Man. Diverse fields will eventually communicate and put the picture together. Myths, dreams, inspired and channeled material, crop circle and ufo phenomenon, and so forth, will come together with science to give us a more clear picture.

One of my primary goals to help in this process, is to establish a link between dreams and inspirations and crop patterns. I feel that my Mandelbrot symbolism does just that, at least to the point of warranting further investigation.

Who would ever have thought that such a shape would appear in the crops? When I saw the photograph of the Mandelbrot Set as a crop pattern, I leaped out of my chair and shouted with joy, because in my mind, the link was established.

I have no way of knowing for sure if any of my interpretations are 'the truth', or intended by the intelligence source that formed the Mandelbrot crop pattern. But at least I have something recorded that can be added to the pool of ideas for consideration.

When I first saw the 1991Barbury Castle pictogram (above), I felt immediately that the 'ratchet spiral' (lower right glyph of the triangle) symbolized mankind in a great cycle.

The counterclockwise lay of the wheat talks suggests that it is a spiraling up. I feel it is similar to the 'living bridge' in the Monkey King Myth, and to the 'ladders' in the 'insectograms'. The position of the 'ratchets', suggest quadrants, which also suggest the directions, or the corporeal reality.

When I saw the Mandelbrot pictogram, and then later looked at the 'ratchet spiral', I remembered that Mandelbrot shapes, including my descending spiral tentacle picture, are derived from a coordinate, or cross-shaped system.

As I interpreted the 'ratchet spiral', it was showing that the end of the great cycle of time results in a joining of man into a Triune Deity. I felt that this was a fundamental meaning of 'the Trinity', that is, a Mother-generating Deity, a Father-radiating Deity and the son, (radiated) or Man.

I later flipped open The Book of Knowledge:The Keys of Enoch by J.J. Hurtak, and read that there are six major parts to the great cycle of time. I counted the 'ratchets' of the spiral on the Barbury Castle Pictogram. There are six.

As I thought of the six and four numbers suggested in the 'ratchet spiral', I remembered that the Monkey King Myth was written in 24,000 couplets. Something tells me that it is not simple 'coincidence' that 24,000 is a multiple of six and four.

Update

Note, January 26, 2003: The original article that I sent to Pat Delgado ended at this point. There have been many other important developments since then. I intend to add many of them to this article.

My sense that the 'ratchet spiral' of the 1991 Barbury Castle pictogram represented a time cycle of six steps seemed to be confirmed by dreams and coincidences:

The Pleiades and the Seventh Ray on the Seventh Day

In 1993 I read an article by Mark Styles positing the theory that the 1991 Barbury Castle crop formation represents the lower triad of the Kabbalistic Tree of Life. He also suggested that the Mandelbrot Set crop formation fit well with the Tree of Life.

The top sphere of the Tree (Keter the Crown), in this case, has moved into the 'hidden' sphere of Daat (knowledge).

In 1997 the Tree of Life appeared as a crop circle formation at Barbury Castle:

The Tree of Life Crop Circle Formation

In 1999 the Menorah, the seven branched candlestick of the Hebrew Holy Place in the Tabernacle, appeared as a crop formation, again, at Barbury Castle.

The Menorah Crop Circle Formation

The image clearly seems related to the Tree of Life:

A chain of incredible coincidence happened as this article was being prepared for this web page. Part of this relates to an article that I printed out months earlier, but did not read until this page was under construction. The article, which is actually chapter five of a book, makes extensive comparative analogies between chaos theory, fractals, and the Mandelbrot Set,  to the Tree of Life. The author, T.J. Germinario, has a very extensive and sophisticated knowledge of these subjects. See:

Apokalypso - The Year of Jubilee
Chapter Five, A Season in Hell

The main page is here:

Apokalypso - Millennium Prophecies and Jubilee Visions

Related Links

Humanity On The Pollen Path

Crop Circle Mystery

The Strange Attractor Crop Formation and the End of Time

The Dharmic Wheel Crop Formation

The Eight Fold Crop Circles of 2000

The Trinity - The Crop Circle Theme of 2001

The American Tragedy: A Symbolic Event

Arguments Against the Hoax Theory of Crop Circles

Coincidences On The Topic Of Water

The Last Bicycle Ride

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Chaos Links

Chaos Theory and Fractals

The Mandelbrot Set and Targa Files

Mu-Ency - The Encyclopedia of the Mandelbrot Set

Mandelbrot program

The Mandelbrot Set

Yet Another Java Fractal Generator

Fractalzone - Galleries

Zooming the Mandelbrot Set

An Introduction to Mathematical Chaos
Theory and Fractal Geometry

The Universal Bindings

Newton's Method on xn-1

Newton's Method 9

Crop Circle Photographers

We thank the crop circle photographers and urge support for them.

If you have any questions about this site, contact Joe Mason.

This page was originally uploaded on January 27, 2003.

This page was last updated on March 31, 2003.

The URL of this page is http://www.greatdreams.com/crop/mndlbrt/mandlbrt.htm

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Return to Dreams of the Great Earth Changes

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NOTES

Subj: [earthchanges] Fw: Seth Speaks, Outward Symbolism
Date: 3/16/2003 2:56:19 PM Pacific Standard Time
From: Shivai
Reply-to: earthchanges@yahoogroups.com

Subject: Classic Quote- Seth Speaks, Outward Symbolism

"Your intimate physical environment is, therefore, a symbolic statement of an inner situation. The inner situation is a fluid one, for you are always in a state of becoming. Left alone, you will automatically translate the freely moving, spontaneous inner events into physical reality, therefore altering your environment and changing the symbols.

If, however you imagine that the environment or physical condition is the reality, then you can feel trapped by it, and spend your efforts fighting a paper dragon. The environment is always altered from the inside. There is instant feedback between the interior and exterior conditions, but the mobility, the necessity and the method of changing the physical environment will always come from within.

Many of the ideas given in this book can be used most advantageously to solve personal problems. If these concepts are understood, then the individual should realize the freedom he has to operate puposefully within the stucture of physical life. Many of you are so used to looking outward- and accepting the physical world as the criterion for reality- that it has not occurred to you to look within. The entire framework of your existence, therefore, is constantly flowing from within outward, and being projected into those physical symbols that you mistake, then, for reality."

Seth, through Jane Roberts, Seth Speaks