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THE WEAVER BIRD The Masked Weaver Bird is well known through Rhodesia chiefly because of its cunningly woven, inverted, basket-shaped nests that hang so conspicuously from all sorts of tress.Many of the suburban gardens harbour a few families.  Not every householder appreciates them, partly because it is their habit to tear carefully tended palm trees into shreds for their nests, and partly because they are at times very noisy birds.  The female is dull yellow and plain.  The male is a handsome bird, bright yellow with a black face.  It is he who actually builds the nests, while the female’s role is to criticise, and to accept or reject the result.  If she rejects it – and she is hard to please – he usually tears his effort down again. If she accepts, she adds a lining of grass seeds and a few feathers, and gets down to the business of rearing a family.  He then builds more nests and finds more wives until he has a comfortable harem.  The first stage in nest building is a loop of grass or palm-leaf blades, usually at the end of a drooping branch.  From this foundation the nest is built, the bird stripping all leaves from the branch except a few over the nest, which give support and shade. Although purely speculation, it is quite likely that ancient Indians learned the craft of weaving materials from birds. A number of bird species use "weaving" to create nests. Known as "weaver birds" they actually build a variety of elaborate nests including some which resemble a large upside down vase. The finished product in some cases, which may take weeks to complete, is virtually water and predator proof. Weaver birds are found in Africa, South America, Asia, and here in the United States. These American species include the Orioles and even the pesky little House Sparrow, whose nest is woven, but not exactly a work of art. These are the nests of weaver birds. They always look like fruits hanging on a tree. It's interesting that the entrance hole is right in the bottom and still the eggs somehow don't fall out!

BALTIMORE ORIOLE A Baltimore oriole weaving her nest There are many different types of Orioles. The Altimira Oriole, the Spot-Breasted Oriole, the Baltimore or Northern Oriole, the Hooded Oriole, and the Orchard Oriole. Each sect has different characteristics, but they all have some things in common Orioles build and use their nest basically the same way. Orioles like to build their nest in high trees over open areas such as fields, roads, and lawns. They also like to be near or next to river beds. The orioles also prefer building their nest in elm trees, but bird watchers have observed the orioles living in different kinds of trees because of Dutch Elm disease. The orioles build their nest when they come hack from the south, not when they are leaving to go south. The female orioles build the nests with their beaks, using them like a shuttle (a part of an old fashioned weaving machine). These nest are extra special. They're shaped like a sack drooping off the branches. It keeps the eggs warm and secure. The males often visit the nest, protecting it from any strangers. Nest building can start as early as April 27. Oriole nests are usually made from various types of material such as: grass, string, horsehair, cloth, and silvery strands of milkweed stems. The inside of the nest is usually lined with soft materials such as moss, hairs, wool, or fine grasses. The Baltimore Oriole, in 1973, was joined with the Bullock Oriole to become the Northern Oriole. Then, in 1995, they  separated again.  The oriole lives from Nova Scotia, across the continent to British Columbia, and south throughout the U.S.A. The Baltimore Oriole lives in open woodlands, parks, and suburban areas in shaded trees.The American Elm tree is its favorite nesting spot. The Baltimore Oriole arrives in the US and southern Canada during the spring to breed. In the fall the Baltimore Oriole migrates to the tropics of Mexico, Central and South America. It likes to migrate to the tropics because it likes a warm climate and it is able to find its food there. The oriole measures from 7-8 1/2 in. The male has a black head, back, wings, and tail, and an orange breast, rump, and shoulder patch. The female oriole is olive-brown with dull yellow-orange underparts and two dull white wing bars. Their nest is a hanging basket on a tree branch 6-90 ft above ground made out of a well- woven plant fibers, bark, vegetable matter, grass and man-made items like string. The nest holds 4 or 5 bluish-white eggs. More on the Oriole with Black and White pics About Birding and Wild Birds

GARDEN SPIDER Diagram of web The hub is surrounded by a 'free zone', in which the spider can move around unhampered by intricate spiralling threads. From the hub come 25 to 30 dry radial threads, which connect to strong frame threads around the outer perimeter of the web. Spiralling threads go from outside of the free zone to the edge of the web, and sticky threads, running from the outside to the free zone, are spun last and coated with sticky droplets. The spider waits in the center of the web until a careless insect becomes caught in the sticky threads, and then she runs to wrap it up and paralyze it, storing it for future use. More than 35,000 spider species occur in the world. Of these, about 3,400 species in 64 families are found in North America. Almost one-fourth of the species in North America are dwarf spiders and sheet web weavers (family Linyphiidae). Other large families include the jumping spiders, cobweb weavers, wolf spiders, and orb weavers. Spiders are mostly terrestrial (land dwelling), but some are aquatic and spend most of their time in or near water. Some spiders live in bushes and trees, and others live in tall grass or on low-growing plants. There are those that live under stones, logs, and bark. There are spiders that live in holes in the ground, in caves, in houses, and even on top of mountains. In fact, jumping spiders have been collected on Mt. Everest at a height of 22,000 feet (the highest elevation any animal has been collected). Spiders have eight legs, whereas insects have six. Each spider leg has seven segments: coxa, trochanter, femur, patella, tibia, metatarsus, and tarsus with attached claws. Insects do not have a patella between the femur and tibia. Spiders that spin webs usually have three claws, which they use to handle the silk threads. Hunting spiders that do not spin webs have only two claws. Spiders can make different types of silk with glands and spinnerets at the end of the abdomen. Some silk, such as that for catching prey, is sticky, but other silk is not, such as that used for making an egg case. Spider silk is very strong, and in fact, the strongest natural fiber known is the silk of spiders in the genus Nephila. Most spiders live only a year or two. Other spiders, including the brown recluse, can live between five and ten years. Tarantula spiders require several years to mature. The males only live a year or so after maturing, but the females live longer. Some species of tarantulas have lived 28 years. Web spinning spiders usually spin a new web every day. A web with 1,000 individual attachments of the silk lines can take a spider less than a half hour to complete.

WEAVER ANTS Oecophylla smara sew leaves together in order to build a nest. The colony is made up of one or more queens and many female workers. During two or three days a year there will also be drones, which seem to have only a reproductive function. Some ants have 'armies' and are very organized into causing a lot of damage, and consequent fear. These species live in Africa and South America. Weaver Ants' nests are among the most complex ants' nests. The ants choose living leaves to build nests. These provide well camouflaged protection from predators and the elements. To create their neat nest, chains of worker ants form along the edge and pull the edges together by shortening the chain by one ant at a time. Once the edges are in place, an ant holds one of their larvae in its mandibles and gently squeezes it so the larvae produces silk. The silk is used to glue the leaf edges together. The larvae have special glands to produce lots of strong silk. The adults do not produce silk. Weaver ants (Oecophylla smaragdina) make their nests from living, green leaves which they “glue” together at the edges with a sticky substance extruded by their larvae. While gangs of worker ants pull the leaves together, one ant holding a larva between its mandibles “stitch” together the edges of the leaves. The substance dries to form a white silk-like material. A colony may be dispersed over several nests which may be placed in various locations in a tree, or even span several trees. The queen is located in one nest and her eggs are distributed to the other nests. The queen emits an scent that makes all the workers behave in the way they do. An ant that loses its way to the nest does not live long. So, if you take ants away from their nest, or trail, they are likely to die in great need of their nest's smell (and probably quite hungry). In spring , summer, and autumn you can see swarming clouds of drones and queens mating. They look like small little flies, but if you look up closely you will see they are ants. They mate in the air. After this, the queen falls to the ground and looks for a place where to start the new nest. While doing so she rips off her wings because they would not be of any use in her underground home. The ants weaving leaves into nests, raising green flies and fleas for food, capturing a grasshopper, as well as the birth of a Queen ant and a devastating territorial war. Some ants in tropical areas, from Africa to Australia, build nests in trees by “sewing” together groups of large leaves. A row of worker ants pull two leaves together. When the edges are close, more workers, each holding a live ant larva in their jaws, sew the leaves together using strands of silk produced by the larva’s salivary glands. The finished nest is a ball of leaves. If the nest is disturbed the thousand of ants give a noisy warning by tapping on the leaves from within. When these ants bite, they squirt formic acid into the wound making it doubly painful. Many other ants use formic acid as a form of poison. In fact, the technical, Latin word for one family of ants is 'formicidae', which has the same root than the word 'formic'.

FUNNEL WEAVER SPIDERS Funnel-weaver spiders build webs with a funnel, or silk tube, to trap insects. Spiders have eight legs (four pairs), vary in size, shape and color, and lack wings and antennae. Their body regions consist of two parts; a cephalothorax (fused head with thorax) and an abdomen. Most spiders have eight eyes, some only six and several have fewer or none. All have a pair of jaw-like structures (chelicerae) which are a hollow claw-like fang through which venom can be ejected. The tip of the abdomen has silk spinning glands. Young spiders (spiderlings) resemble adults except for their smaller size and coloration. Males are usually smaller than females. The web usually looks like a funnel laying on its side and you see it many times going back into one of your eaves or into a corner somewhere. • The sheet weaver is the one responsible for the beautiful webbing you see on the ground when looking out over a lawn or meadow on a moonlit night. Life Cycle and Habits - Spiders lay eggs within a silken egg sac that is often ball-shaped and either hidden in the web or carried by the female. Spiders may produce several egg sacs, each containing several hundred eggs. One female may produce as many as 3,000 eggs in a series of several sacs over a period of time. Eggs may hatch a few weeks later (three weeks or the following spring) and reach adulthood in one year. For a spider to grow, it must shed its skin (molt) usually four to twelve times before maturity. Most spiders live either one to two seasons. Some spiders may overwinter as eggs, spiderlings in the egg sac, immature spiders living outside the egg sac, or as adults. Spiders produce silk, secreted as a liquid through the spinnerets and hardens on air contact. Different types and textures of silk may be used to construct snares or webs, egg sacs, draglines and ballooning threads. Some spiders use web snares to trap prey and all construct a silk sac to deposit eggs. Many spiders attach draglines of silk to the substrate at intervals wherever they go, appearing to have a silk thread to hang onto when knocked from their perch. Some spiderlings sail through the air (ballooning) on wind currents. Young spiders climb to a high point and release silk strands until the drag from the wind is sufficient to support their weight. Then, they release their hold and sail away, often for considerable distances. These ballooning threads (gossamer) can fill the air on clear days as spiderlings disperse to new areas. Spiders - Order Araneida These Spiders are found in the Brisbane area, Queensland, Australia. Spider is different from insect. Spider is order Araneide under class Arachnida, just like beetle is order Coleoptera under class Insecta (insects). See more about this on Spider Scientific Facts. Spider once spelt 'spinder' which simply means 'spinner'. All spiders has their silk glands at their bottom of their abdomen, the back side of their body. Some spiders build webs and some do not. But all spiders make silk egg sac to protect their young. FAMILY ARGIOPIDE This is a large family. They can be small to large in side. All species in this family, if they make webs, they make vertical or horizontal orb webs. But some members in this family do not make web at all. All of them have eight eyes. Eriophora transmarina Leg to leg 50mm - This is the most common spider in Australia. They are from 5mm size to 50mm size in the garden. Their body and legs are hairy. It is believed that those hair are their major sensors, as the eyes to human, to sense the world. They extend their sense of touch by using their web as wall. The spider reacts to loud noise. The spider on its web will ignore the strong wind but will react to a slight blow towards it. Most web weaver spiders are blind, or at least with very poor eye sight. They will not react to the light of a flashlight, or even the flash of camera. But they can distinguish day and night. You will seldom see spiders build their webs during day time. Graphics of how the Garden Orb Spider Builds Her Web SPIDERS AROUND THE HOUSE

GIANT SPIDERS Some spiders have been known to capture and kill vertebrate animals. Fishing spiders in the genus Dolemedes sometimes capture small fish. The large bird spiders of South America have been known to catch small birds as well as lizards. Spiders even have been known to attack and feed on snakes. The spider does not kill the snake immediately, but instead wraps the snake's mouth and body with silk webbing. The snake then is pulled up into the web where the spider feeds on it for several days. Some tropical orb weavers in the genus Nephila spin webs that are more than eighteen feet across. These webs are so strong that they can catch small birds and bats in addition to insects. People have used their webs as nets to catch fish. The giant bird-eating spider, Theraphosa blondi, of South America is the largest spider in the world. This spider may have a leg span of 10.5 inches, a body length of 3.5 inches, and can weigh up to 4.3 ounces. Some spiders build sheet webs, such as those on a grassy field that are rather flat and facing the ground. The bowl and doily spider rests on the underside of the curved bowl-shaped part of the web and is protected from predators by a sheet-like "doily" of silk below the bowl. Many spiders build cobwebs, which are masses of web that are irregular or without a distinct form. Cobwebs are found often in corners of rooms of people's houses. Some spiders build funnel webs, which are thick and funnel-shaped. Some spiders live in the webs of other spiders and eat insects missed by the spider that made the web. Trapdoor spiders dig a tunnel in the ground in which to live and ambush their prey. The spider lines the tunnel and opening with thick silk. The spider then cuts around most of the rim of the opening, forming a hinge so the door can open and close. The door is camouflaged so that it is not visible from above. When an insect walks across the surface of the door, the spider rushes out and captures its victim. Trapdoor spiders can hold their doors shut tightly to prevent predators from entering. RUSSIAN TENT SPIDER

BEAVERS Beavers are amazing aquatic engineers capable of changing their environment to fit their needs. With their large incisor teeth, they cut the lumber for their homes, weaving sticks and branches between a wide base of logs and stones. When the structure is complete, Beavers plaster the cracks with riverbank mud and constant repair keeps their homes in good condition. When threatened, Beavers seek the safety of their lodges, paddling with their hind feet and balling up their front feet near their chests. Beavers are monogamous and, in May or June of each year, a couple has two to four kits. These tiny balls of fur immediately open their eyes and begin to float in the water that continually seeps through the nest. By the end of their first week, young Beavers are excellent swimmers. Throughout much of the summer, closely knit Beaver families frolic in nearby waters. When fall comes, Beavers spend long hours storing up food. As ice covers their lodges, they seek protection under the lodge's countless layers of wood insulation.

THAILAND - WEAVING SILK THREAD FROM SILK WORMS When a silkworm is ready to become a moth, it creates a cocoon from a single exceptionally fine filament about 2000 feet long. The cocoons are collected and placed in hot water that kills the worms and loosens the filaments; 10-12 filaments are reeled together to form a single thread. These raw fibers contain a waxy substance called seracin that gives them a very coarse feeling. Boiling removes most of the seracin and readies fibers for spinning. The high seracin content of Southeast Asian silk results in threads that are a little bit uneven.   The irregularity creates a beautiful natural character and also means the threads must be hand-woven; they cannot be used in power looms. It takes about ten pounds of mulberry leaves to enable silkworm caterpillars to manufacture one pound of cocoons - which can be spun into a silk thread more than 100 miles long. The process of killing the worms was traditionally considered distasteful by strict Theravada Buddhists in central Burma and Thailand. Yet this distaste for silk production did not give people discomfort in using silk textiles, especially on ceremonial occasions. In areas where silk was not cultivated, it was imported as either thread from China or fabric made in India. Religious practice was less strict in Northeastern Thailand and Laos and these areas have a long history of silk cultivation. After preparing the threads women sometimes cooked the silkworms and ate them. Some non-Theravada Buddhist minority groups also found a traditional economic niche in silk cultivation. From: http://seasiancrafts.com/spiritworld/silk.htm A ten-strand thread which is thinner than a spider's web was produced from ten cocoons. Once yarn is obtained, the process of weaving on a loom is the same as that for cotton. Chiangmai's largest silk factories, a woman sits alone with large bamboo trays on either side and a charcoal fire burning in a concrete bucket at her feet Over the fire is a small iron kettle with three iron prongs leading from the edges upward. These prongs lead up to a narrowed top where a bamboo spool holds silk freshly extracted from a cocoon. The woman holds the cocoon in a boiling liquid with a set of bamboo thongs in one hand, and she delicately manoeuvres the silk upward to the spool with her other hand. She is preparing silk for the weavers. Nearby, a group of women sit with the finished silk on a large round spool, and from it they wind the thread onto smaller spools that can be used in commercial application of the thread. Those two greatly contrasting scenes are real, and they are indicative of one of northern Thailand's oldest and most precious arts, the art of weaving. Whether in cotton or silk, the traditional hand loom is responsible for the fine and beautiful woven fabrics so well known to the North. There is something strangely prescient about this very Thai way of maintaining a tradition. The woman we saw spooling silk thread from the cocoon in the kettle is one of many hundreds in the Chiangmai area who spend their days working over such kettles, and often working over larger vats where many work at the same time, processing the tens of thousands of cocoons that come in from the local mulberry nurseries where silkworm are raised, and from the more productive silkworm area of Thailand's Northeast. In the actual hand loom setting, there are various types of looms, and there are many loom sizes. Silk or cotton thread, produced here in the North through a long and complex process, is wrapped  around the many boards of the loom and run to a central board, which is then attached to the main moving mechanism and connected with the loom foot pedal. On some of the older looms, used for weaving the delicate designs we see on cotton and silk Thai skirts and blouses, the thread is fed into the loom from a large spool that hangs near the weaver's head. This thread, in large bunches and very long lengths, is pulled across the top of the loom down over the back at an angle to a low board, and then up to the flat board section where the thread is pulled through at the weaver's hands. In this way, the weaver has more dexterous control over the pattern to be weaved, and wrapped boards of thread in other colors can be inserted at the proper time. Further north, in the town of Chiang Khong in Chiangrai Province, we see a more basic type of hand loom. This is the homemade loom of bamboo that was once the universal loom in northern Southeast Asia. It is now often referred to at the Lao hand loom because of it's common use in Laos, but actually it is typical of the very old looms of Chiangmai also. This loom is now most common not only in Chiang Khong, but also on the other side of the Mekhong River in Laos, and in the weaving villages of Vientiane (Laos) and those of Northeastern Thailand (Esarn). It is on these looms that the very famous Lao, Thai and Khmer silks and cocoons were woven for centuries. From: http://welcome-to.chiangmai-chiangrai.com/silk-weav.htm HOW SILK IS USED

Web-weaving caterpillars By TERRI JO HUNTER, Times-Mail Staff Writer Trees have been infested with the eastern tent caterpillar. These hairy-black worms – with a white stripe down their backs and yellow and brown stripes on their sides – are eating the new leaves off the trees. “The caterpillars began hatching out a couple of weeks ago,” said Dave Redman, Lawrence County agriculture educator for Purdue Cooperative Extension Service. “The caterpillars are defoliating the trees and building unsightly silken nests in the crotches of trees.” The worms are on the increase this year, Redman said.   “Because of our mild winter and early warm weather, there has been a big increase. The eggs began hatching before the leaves on the trees budded out making them more noticeable.” The caterpillars spent the winter as eggs. Masses of 150 to 400 eggs covered with a shiny, black varnish-like material hatched about the time the buds began to open, Redman said. “These are social insects,” Redman said. “The caterpillars from one egg mass stay together and spin a silken tent in the trees. Caterpillars from two or more egg masses may unite to form one large colony.” During the heat of the day or rainy weather, the caterpillars stay in their tent. “They emerge to feed on leaves in the early morning, evening or at night,” Redman said. As the insects grow, their webs increase in size until they are a foot or more in length. After four to six weeks of feeding, the caterpillars are full grown at 2 to 2½ inches. “They will begin to wander away individually from the nest in search of a protected area to spin a cocoon,” Redman said. “A reddish-brown adult moth will emerge about three weeks later.” The moths will mate and the female moth will lay eggs that will hatch next spring, Redman said. Trees will usually recover. But the silk webs and worms can be an eyesore. Eastern tent caterpillar webs are frequently confused with fall webworm nests. The difference is the fall webworm nest is located at the ends of a branch and loosely woven. The webs will enclose leaves, while the tents of the eastern caterpillar do not. Prevention and early control is important in battling the eastern caterpillar. Removal and destruction of the egg masses from ornamentals and fruit trees during winter greatly reduces their numbers. In early spring, small tents can be removed and destroyed by hand. Larger tents may be pruned out and destroyed or removed by winding the nest upon the end of a stick. Burning the tents out with a torch is not recommended, because this can damage the tree, Redman said.

MYTHOLOGY AND HISTORY OF WEAVING In a book titled, "Tantra For The West," which has a depiction on the cover that was very similar to a split-ringed crop formation that had appeared in England the summer of 1991.On page 17 of the book it states that the word "tantra," comes from Sanskrit, and means "to weave." Interestingly, in the Hopi story, Spider Grandmother eventually teaches people how "to weave." In an interview with Isabella Kingston, a psychic who has been accurate in predicting crop formations. One of the things she predicted was that some would find Sanskrit and Hopi Indian correlations. In my case, the prediction came true. The "correlation" is the idea "to weave." Spider Grandmother is depicted with a cross on her back. In "The Sacred Symbols of Mu," Col. James Churchward shows some spider glyphs that also have a similar cross. One myth says that the spider made the roads so cleverly that no man could find the beginning or end thereof. Another says that the spider would have mounted to heaven, but was held out by the cold. Spiders and weaving, are related symbols. The Nordic, Yggdrasil Tree has the three Norns of Fate (past, present, future) spinning and weaving at the root of the tree. Snakes and a dragon are at other roots of the Tree. Four stags nibble off all the young buds of the foliage, and become the four winds, creating the sweeping winds upon the earthly lands. In an African myth, Spider travels up into the sky and brings down a box. When he opens it, all the stories escape and run all over the place. Spider catches a few, his wife catches a few, and the villagers catch a few. But all the rest of the stories ran all over the entire earth.

ARACHNE The fate of this maiden was another example of the danger of claiming equality with the gods in anything whatsoever. Athena was the weaver among the Olympians as Hephaestus was teh smith. Quite naturally she considered the stuffs she wove unapproachable for fineness and beauty, and she was outraged when she heard that a simple peasant girl named Arachne declared her own work to be superior. The goddess went forthwith to the hut where the maiden lived and challenged her to a contest. Arachne accepted. Both set up their looms and stretched the warp upon them. Then they went to work. Heaps of skeins of beautiful threads colored like the rainbow lay beside each, and threads of gold and silver too. Athena did her best and the result was a marvel, but Arachne's work, finished at the same moment, was in no way inferior. The goddess in a fury of anger slit the web from top to bottom and beat the girl around the head with her shuttle. Arachne, disgraced and mortified and furiously angry, hanged herself. Then a little repentance entered Athena's heart. She lifted the body from the noose and sprinkled it with a magic liquid. Arachne was changed into a spider, and her skill in weaving was left to her. (This story taken from MYTHOLOGY, Timeless Tales of Gods and Heroes, by Edith Hamilton, Meridian c 1989, pg 288.)

THE DOGON CREATION MYTH Amma's (creator's) first offspring is the pale fox, an unnatural and socially disruptive creature born w/ placenta and thus w/o a female counterpart (a symbol of male w/o female that results in chaos). Pale fox commits incest w/ his mother, Earth. The four Nummo pairs are later offspring of Amma. They are androgynous couples who each embody the proper balance of the sexes. The Nummo are cultural heroes who introduce smithing, weaving and agriculture to human and are associated with social order and creativity. Usually there are 8 posts that relate to the eight Nummo Creation of the universe. Amma through out a seed that formed the surface of the earth. Cosmos is tripartite-heaven, lower realm are linked by the axis mundi through the human sphere. Creative processes move up and down an a vertical axis and radiate in for directions from a center. (vertical=3, horizontal=4) The interlocking of vertical and horizontal produce a checkerboard which is an image of the order of human culture. Nummo give word through weaving (warp and weft). Checkerboard used in agriculture, facades of village structures. Number 1 = disorder, destruction and incompleteness. 2 is perfect and productive Nummo pairs, balance, creativity, fecundity and culturally productive action. 3 is the vertical cosmic diagram equated with creative movement between the two supernatural realism. 3 is a male number (vertical, dynamic, maleness and move between human and supernatural. 4 is four directions (of seed which formed surface of earth), four elements, four Nummo pairs, implies radial movement from center, symbolic female number, expresses multiplicity and capacity for fecundity.

The Nordic Yrrigesel Tree. At the top is a double-headed eagle and a double-headed hawk. Down at the roots are serpents, a dragon, and the Norns of Fate (past, present and future) spinning and weaving. The squirrel runs up and down the trunk of the tree from top to bottom. He is said to be the communicator between the upper and lower realms. The Tree is also associated with one's consciousness. Frigg, Frigga, Frija, Fricka- The chief of Æsir goddess. She is associated with love, marriage, and motherhood. She is frequently pictured as being very beautiful, wearing a girdle with household keys and weaving clouds on her spinning wheel. According to some sources Frigg is the mother of Thor.

SUMERIAN Uttu She is the goddess of weaving and clothing (Kramer 1963 p. 174; Black and Green p. 182) and was previously thought to be the goddess of plants. She is both the child of Enki and Ninkur, and she bears eight new child/trees from Enki. When he then ate Uttu's children, Ninhursag cursed him with eight wounds and disappears.

ISIS - 1ST Century A.D. Like Osiris, Isis was incorporated into the Heliopolitan system (to identify them with the royal family - the king becoming the personification of Horus) and aggregated to her other Goddesses, so that she came to represent The Great Mother herself. Her name means 'seat' and this is usually taken to mean the throne of Osiris, who from earliest times, was regarded as her husband and in Egyptian royal tradition, her brother. She was said to have instituted marriage, and taught women the arts of grinding corn, spinning flax, and weaving. She is also mentioned as having taught Osiris the arts of agriculture. Isis was also the Great Enchantress, with great knowledge of both magic and the arts of healing, the latter of which she taught to humankind, with the help of Thoth. Isis became The Great Mother Goddess of Egypt and elsewhere. In the Ptolomaic era in Egypt, Isis became the official Goddess of the new state cult. Like both Demeter and Cybele, she was a Goddess of fertility, new life and everlasting hope.

On 2-28-2000, I turned on the Art Bell show with guest host Rollye James who had a guest named Stan Tenen.  I listened half asleep until Stan Tenen began talking about the 27 lines that the Hebrew language was formed from and that it was shaped from the human hand and that all aboriginal people knew this also and was the beginning of language. I knew instinctively that this was the information I was missing as the meaning to my dream of the Indian hand signs. Excerpt from SECRETS OF THE HEBREW LETTERS by Cynthia Gage for Atlantis Rising, Issue #13, November 1997 By fusing mathematics and Jewish mysticism, Tenen has demonstrated that the first verse of Genesis in the Hebrew Bible generates a mathematical Torus. When a particular portion is removed from this 'doughnut', its shape mirrors the human hand. Tenen claims the Hebrew alphabet is based on the human hand, because it represents the function of differentiating self from other, inside from outside. "The alphabet links the inner world of the mind with the outer world of experience, just as our hands do," he says. "And," he continues, "The first letter of the book of Genesis -Bet- means 'house', something that distinguishes inside from outside; this is the most basic distinction you can make at any level of consciousness." When Tenen broke the first word of Genesis into its 'subatomic particles' (the word is actually comprised of two smaller words, meaning "fire" and "six-edged thorn"), he took the "thorn" to mean a tetrahedron and constructed a model of it, placing the "fire," or torus "vortex" form, inside. Tenen noticed that the model, which he calls "The Light In the Meeting Tent" also reflected the polarity of perfect symmetry (the tetrahedron) and asymmetry (the vortex form). As he studied it, he discovered it was even more multifaceted than he had realized. "When I looked through the faces of the tetrahedron at the vortex, each view displayed a different letter in the Hebrew alphabet," he says. And," he mentions almost casually," I realized the 27 gestures that accompany the letters correspond to the 27 'preferred' pointing directions used in hyper-dimensional space." Tenen has explored history using his theories and has found the same pattern again and again. "For example," he says, "You find it in Rumi's poem describing the Sufi Round Dance, in the Philippine Wine Dance (where you hold a wine glass in your palm and rotate it above and below your shoulder-the old Cleopatra dance), in the Grail Legend material, in William Blake's poetry, the Celtic Odin stories, in the weaving and basketry of Amerindian peoples and, literally, in every culture the world has ever seen" THE HEBREW LETTERS: TEFILLIN IN HAND

ATHENA V- Athena, the goddess is also known in Rome as Minerva Capta, an Etruscan Goddess. She is strong and beautiful, and very well skilled with many talents...among which the building of ships... and the art of weaving and embroidering. Nothing exists in writing in regards to her flying on Pegasus....but it is said that she is very skilled at domesticating Horses as well as wild forces of nature. However, she appeared to Bellerophon in a dream, ..."IN A DREAM"... THIS IS A MOST IMPORTANT STATEMENT... and gave him a gold bridle thanks to which he was able to tame the Horse Pegasus. Athena, it is said "became equal to her Father (Zeus)... in both strength and prudent wisdom."...Theogony, 896... and is represented wearing a head-dress which is flanked by two Winged-Horses, one on each side... as in the gold and ivory sculpture of Phidias Vth century B.C. (FM) What she wishes to teach to humans is that it is "the Metis, the magical intelligence, and not the strength, that makes a good Man." (Iliad, xv, 412.)

AZTEC “How did we get here?” asked Obsidian Snake as his mother took her place beside him in the cool, dry night. “We are the children of Quetzalcoatl, the Plumed Serpent,” his mother began. “He is our creator; he discovered maize so that we might feed ourselves. He taught us how to find jade and other precious stones and taught us how to polish them. From him the art of weaving our many colored cotton cloth was learned and passed down from mother to daughter for many generations. The Plumed Serpent taught our people how to use the feathers of the quetzal, the hummingbird and other birds with colorful plumage to make beautiful designs. He also taught our people how to measure time. He gave us our calendar with its special days set aside for certain prayers and festivals.

IXCHEL - MAYAN The Mayan earth and moon goddess and patroness of pregnant women. She invented the art of weaving. Ixchel is thought to be the consort of Itzamna and with him she is the mother of the Bacabs, but also Voltan was thought to be her husband. She is portrayed with a snake as a head-band and her skirt is embroidered with crossbones. Ixchel shows many similarities with the Aztec goddess Chalchihuitlicue

NAVAJO AND HOPI Navajo women (and some men) began weaving clothes and blankets for themselves and rugs for the tourist trade while the men perfected the art of silversmithing after they were forced to move off of their own land in the mid 1800s (1863) by Colonel Kit Carson. . Known for their stunning and original designs, it is to be noted that in each blanket and rug there will be found a break in the pattern. To the Navajo weavers, this break ensures that the weaver’s soul will not be trapped within pattern. Their colors were the colors of their land, sky, and world… white/east/sunrise, blue/south/day, yellow/west/sunset, black/north/night, green and brown/below, and a pale dusty rose to signify above. The Navajos adopted many cultural practices from their Pueblo neighbors, such as masked dances (yebichai), basketry, and pottery. They became fine silversmiths, learning the craft from the Spaniards, just as they learned weaving from the Pueblos. During the mid-nineteenth century they began making jewelry and weaving rugs; their simple chiefs’ blankets have evolved into the well-known Navajo rugs of today. The Native American writers Tom Hill and Richard Hill explain five gifts that they say Native Americans have received from their ancestors. "The first gift . . . is our deep connection to the land." And in view of their history before and since the arrival of the European, who can deny that? Their land, often considered sacred by Native Americans, was systematically taken by force, by trickery, or by unfulfilled treaties. "The second gift is the power and spirit that animals share with our people." Native American respect for animals has been demonstrated in many ways. They hunted just for food, clothing, and shelter. It was not the native peoples who virtually wiped out the buffalo (bison) but the white man, with his bloodlust and shortsighted greed. "The third is the spirit forces, who are our living relatives and who communicate with us through the images we make of them." Here is the common theme of so many religions worldwide-the survival of some spirit or soul after death.# "The fourth is the sense of who we are, which is expressed and sustained through our tribal traditions." Today this can certainly be detected at tribal ceremonies, where the people gather to discuss tribal affairs, or at social powwows, where tribal dancing and music take place. The Indian dress, the rhythmic beating of the drums, the dances, the family and clan reunions-all bespeak tribal tradition. "The last gift is the creative process-our beliefs made real through the transformation of natural materials into objects of faith and pride." Whether it is basketmaking, weaving, shaping and painting pottery, fashioning jewelry and adornments, or any other creative activity, it is linked to their tradition and culture of the ages. There are so many tribes that it would require many books to explain all the traditional beliefs and practices. The Hopis have been planters of corn since time immemorial, skillfully coaxing their crops to thrive even in desert sands. In the traditional partition of labor, the women made pottery and wove beautiful baskets, while the men did the weaving and hunting. NAVAJO CREATION MYTHS Hopi Woman Weaving Baskets

THOTH Thoth supposes the beginning of all things to consist of a Dark Mist of a spiritual nature, or as it were a Breath of dark mist, and of a turbid Chaos black as Erebus; that these were boundless, and for many an age remained without a bound. 'But when,' he says, 'the Spirit fell in love with his own principles, and they were inter-blended, that interweaving was called Love; and this Love was the origin of the creation of all things. But [Chaos) did not know its own creation. From its embrace with Spirit Mot was born. From her [Mot, the Great Mother) it was that every seed of the creation came, the birth of all the cosmic bodies. ' [First of all] there were [Great] Lives devoid of sensation, and out of these came subsequently [Great] Lives possessed of intelligence. The latter were called Zophasemin (that is to say, "Overseers of the Heavens"). The latter were fashioned in the form of eggs, and shone forth as Mot, the Sun and Moon, the Stars and the great Planetary Spheres. 'Now as the [original] nebula began to lighten, through its heat mists and clouds of sea and earth were produced, and gigantic downpours and torrents of the waters in the firmaments. Even after they were separated, they were still carried from their proper places by the heat of the sun, and all the [watery and earthy elements] met together again in the nebula one with the other, and dashed together, amid thunder and lightning; and over the crash of the thunderings the [Great] Rational Lives before-mentioned watched, while on the land and sea male and female cowered at their echo and were dismayed."o Strip this statement of its obvious overlays and we find a knowledge of cosmology which is more in keeping with modern scientific thought than what is commonly accepted as 'magic'.

The Goddess Pallas Athena, also known as Minerva to the Romans, was the weaver among the Olympians, as Vulcan was the smith. The peasant girl, Arachne, offended Minerva by declaring that her own weaving was superior. The goddess challenged the girl to a weaving contest. They finished their work at the looms at the same moment, and Arachne's work equaled that of the goddess. Angered furiously, Minerva slit the web from top to bottom and beat the girl on the head with her shuttle. Arachne was furious, disgraced, and hanged herself. Minerva's heart was then touched, so she lifted the body from the noose and sprinkled it with a magic liquid. Arachne was transformed into a spider, and she retained her weaving skill. This is, of course, how our word, "arachnophobia," fear of spiders, came to us.

DREAMS OF WEAVING

7-24-91 - Dream: I was in a house. A man told me to tell all my friends, if they haven't already done so, to purchase a circular mat to go in the center of their livingroom floor where they stand. The colors were 33 1/3% each of Red, Orange, and Yellow - in a curved triangle of each color spiraling in toward the center. There were 1/2" rings circling within. NOTE: You can see glyph similar to this mat by looking at the crop circle at: http://www.Spiritweb.org/Spirit/Images/CropCircle/crop-circle-06.jpg This crop circle was formed in England on 7-21-91 - It is the Barbury Castle Crop Circle. The mat was similar to the glyph at the lower end of the crop circle. Posted by Barbury Crop Circle on August 17, 1997 at 16:55:32: NOTE: 8-17-97 The date of this dream (7-24-91) is a clue. 7-24-91 was just a few days after the Barbury Castle crop circle formation. The division of your circle into a triangle of three colors fits with the crop formation. It is three circular areas in a triangle. It is related to the Trinity of Creation, I do believe. Your drawing which you sent to me looks much like a crop circle, like lines of wheat stalks laying down. The way your lines go toward the center may connect with the north glyph in the crop pattern. There were six lines with the wheatstalks going inward toward the center. The colors in your dream, Red, Orange, and Yellow are sun colors. I knew when I first the crop circle that the North glyph in the crop formation was a sun symbol, associated with "male". Very similar glyphs are in "The Sacred Symbols of MU". In a later article about the crop circle, it said that the three corner glyphs have parallels in alchemical signs, corresponding to sun/sulfur, the moon/salt, and Mercury/quicksilver. In the Hopi Creation Myth, there is a sun inside a square shape in the sky. The mat in the room is like a circle inside a square. by Joe Mason

10-8-97 - DREAM - I was downtown somewhere and managed a large hotel. One of the men who was a musician in my building was a drummer. (Big Bass Drum) He got a job in another hotel down the street and I followed him there to see what that hotel was like. When I got there, Max Holden, from One Life To Live was in charge of laying down strips of carpet to deaden the sound of the drummer. The carpet was reddish brown and he was laying it in various directions in a weaving pattern to make it fit. There was a cleaning company there and when they were done cleaning, they brought out several large boxes of books. I asked the guy what he was going to do with them and he said he did'nt know because he didn't read. I asked him I could have them and he said, "Yes! Henceforth he would give me ALL the books he found. A woman in a white car came by who worked for me, (from the previous dream - name unremembered) and they helped her get out of her white fur covered car. I then met a very tall man and woman and she started giving me a tour of the hotel and showing me points of interest. She complained that it wasn't good enough for an important guest who was coming. What she showed me looked like an ancient Oriental Temple with lots of ornate wood carvings. I discovered that the tall man and woman owned the hotel and I was surprised they weren't happy with it. The tall man told me that a personnel manager was coming and it turned out to be my brother-in-law E.S. I started back to my own hotel and woke up.

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INTERWEAVING ENERGIES The New Mythology: Angelic, Apocalyptic and Alien Dreams by Maureen B. Roberts, PhD As Jung has discussed, particularly in his book *Flying Saucers*, a 'metamorphosis of the gods' occurs at the end of each astrological era and since we are now passing into Aquarius, a new mythology is emerging and being articulated in apocalyptic and prophetic dreams and visions worldwide. What seems to be happening at present, as we shift out of Christian-dominated Pisces, is that the angels and demons of Christian mythology are being superceded by more morally ambiguous UFO and alien dreams. Significantly, I've had only a few 'angel' dreams, but many dozens of UFO ones. The following includes some examples of both. A passage Rilke's 'Second Duino Elegy' resonates with a dream I had recently of two 'species' of the angelic hierarchy: But if the archangel now, perilous, from behind the stars took even one step down toward us: our own heart, beating higher and higher, would beat us to death. The angels are further described as 'mountain-ranges, peaks growing red in the dawn of all Beginning, pollen of the flowering godhead, joints of pure light, corridors, stairways, thrones, space formed from essence, shields made of ecstasy, storms of emotion whirled into rapture . . . mirrors, which scoop up the beauty that has streamed from their face and gather it back, into themselves entire'. I like the Blakean sense of immense energy here (compared to the often tame and listless portrayals of angelic beings one often encounters). In the dream I had, I saw two levels of the angelic hierarchy, firstly (as an anonymous Voice described in the dream) the Thrones, three of whom appeared standing behind a distant mountain range, above which their immense androgynous forms, clad in flowing robes, towered in shimmering apricot gold, as though they, not the Sun, were the source of the gentle light of dawn. I then looked up into the sky and saw at cloud level a gracefully whirling mass of Cherubim, who simply cannot be described. The sense was of immense power and delicacy, beauty, dancing, higher innocence, speed and agility, and interfusing, interweaving energies, all delicately golden and amoebic-animal-human in form, awesomely beautiful and powerful. They whirled ecstatically to an unheard music. I stood watching them and was completely lost in the vision - it changed my life and after I awoke I could scarcely do a thing for days. How stagnant and tame the angelic hierarchy has become when diluted into doctrine, empty ritual, or belief. These powers were vastly alive, overpoweringly real, staggeringly powerful and terrifyingly beautiful beyond words. Steven Spielberg, incidentally, achieved (compared to these dreams) an admirable glimpse of this in his portrayal of the terrible beauty and potentially destructive energy of the Seraphim that were released from the Ark of the Covenant at the end of the first Indiana Jones film. Next, a couple of my UFO dreams that relate to the emerging 'alien myth': (a) Purple Gyre Dream: There's a certain resonance between this dream and Jung's UFO dream (recounted in his autobiography) of the alien object looking at him through a telescope, which led Jung to wonder whether he was dreaming the UFO, or whether it was dreaming him! If UFO events are the synchronistic manifestation of archetypes, one would expect a mirror relationship to exist between our dreams (the psychic plane) and the outer manifestation (the physical realm). In the dream, I was parked at the edge of a canyon and had gotten out of the car to wander about. From the sky descended a UFO in the form of a purple spinning top, about a foot across. It landed on the hood of the car, still spinning, and exuded an intense aura of sentience, benevolence and innocence (reflecting on it later, it reminded me of the little red will-o-the-wisp sphere in Close Encounters). The spinning top then rose from the car hood and, hovering above the road, began projecting huge movie picture images of scenes from human history on the cliff faces of the canyon opposite. No other folk were around and I was left pondering whether the projected film images had any message or meaning. (b) Cosmic Hand Dream: The backdrop of this dream is a familiar one in many UFO dreams I've had -a night sky across which many UFO lights, which are distant and appear as stars milling about, are forming coloured patterns. As I look up at the sky, I hold my hand before my face and begin tracing with my finger a design, the shape of a hand. In the background, the UFO lights group together and take on the exact shape I am outlining in complete synchrony with my hand movements. Reflecting on this later, I was struck by the interdependence of the UFO activity and my own action, as though each is mirroring or projecting the other. Archetypally, this would represent a synchronicity between the two realities. The 'writing hand' motif seems to suggest that we are still the authors of our own destinies, regardless of how powerful or controlling these archetypal events might appear. Paradoxically, we are shaped by the myth that is emerging - and we are simultaneously forgers of the myth. Undoubtedly, the above all relates to Jung's axiom: 'the reality of the psyche', hence the need to honour and accept the reality of another's experience. After dealing with several UFO 'abduction' cases in private therapy, I'm struck - in all instances - by the sincerity and humility of the folk involved, and by the genuinely traumatic nature of what they've experienced - which usually takes place in a kind of waking-dreaming hybrid state. I'm also struck by its blatantly archetypal nature - women giving birth to alien hybrid"Wise Babies" (a transposition of the Virgin Birth motif?) - people receiving the equivalent of stigmata. (Jung relates an intriguing instance in his Flying Saucers book of a guy who received on his arm a centered circle mark, or basic mandala, after an alien encounter). Other 'theories' accounting for UFO phenomena are, in my view, either naively literalistic (e.g. the recent Heaven's Gate tragedy), or assume that what's happening is purely inner, or personal. Jung's angle seems to be the only one that fits the bill of what is actually happening by bridging outer and inner, personal and mythological, physical and psychic. Personally, I'm fascinated to both observe and experience - largely through my own dreams and through relating to abductees - the emergence of a new mythology that's transposing all the old themes - gods and devils, star-beings and wise teachers descending from the sky - into a new context and form. When you're in a myth, you usually don't recognize it as one (do fish feel wet?), so we all have our work cut out for us if we are to contribute to and reflect on its development. Whitley Streiber's accounts in his *Communion* books add further fuel to the mythic/archetypal angle. As well as recounting a great wealth of shadow confrontation material, Streiber's recurrent and disturbing journeying into the woods (recounted in *Transformation*) - in a sort of dreaming awake state - is a common feature of abductees' night wanderings. Equally significant is the moral ambiguity of the aliens and Streiber's intense emotional ambivalence (symptomatic of archetype activation) - inscribed by the poles of fear and love - toward them. Notably in this respect, the "Visitors'" primary method of communication with him is, as one would predict, symbolic or theatrical. Streiber's dream of a huge eye (as God/Self/soul) looking down on him in the woods is in this light understandable. Accounts of a couple of disruptive apocalyptic dreams, one Streiber's and one mine, might help to shed further light on the potentially destructive and creative potential of these activated archetypes. Streiber had a dream in which a vast nuclear plant exploded when masses of pipes that lined its walls erupted with water and sent people screaming off in all directions. I had an almost identical dream, except that the pipes were underground and shot steam into the air before the plant blew up. (Water is of course a symbol of unconscious forces). Streiber also dreamed of the moon exploding and of the resulting fragments destroying the Earth. In a terrifying dream I had recently, the sun was darkened and in Ptolemaic fashion fell out of the sky toward the Earth as people scurried about trying in vain to brace themselves for the impact. (The darkening of the sun symbolizes the fading of a conscious dominant, an exploding moon the destructive power of unconscious forces, or the dark side of the feminine, currently manifesting as the Earth's violent upheavals through self-purging weather patterns through which she is attempting to cleanse herself of the abuse and pollution she has suffered). As a related postscript, a few months ago I dreamed I was in a large, two-storied house in a room of which a vast collection of exotically coloured, mysterious rocks - collected by New Ager Katrina Raphael (note the surname!) - was displayed on shelves. I picked up one of these rocks and immediately began to levitate vertically. When I got near the high ceiling I automatically inverted and landed feet first on this upside-down floor. The dream suggested an inversion, or reversal of perspective, which had something to do with the way matter, or rather spirit incarnate in matter, a central theme of Saturn-dominated Aquarian consciousness, is perceived and understood. A recent dream shed further light on this prophetic shift of awareness: in it, twin clear quartz crystals, whose upper facets had a gold aura, were growing upward out of the side of my face. In the dream I was simultaneously watching this as a double, and said to the other me, "This is the next phase of our evolution, so don't worry about it." After meditating on this, it seemed that the dream was a kind of alchemical conjunction, a union with matter which produced an antenna-like amplification of my own energies as I worked in union with the crystals. We were one in the sense that we were each (quantally non-local) manifestations of the same universal Energy. Hence I see the energy not as flowing from one point to another, but rather (in line with physicist David Bohm's view of the 'holomovement') as the manifestation, or unfolding of the one Energy into different points in space-time. The double-antenna formation of the crystals also brought to mind the strange glyph for Uranus, co-ruler of Aquarius, which looks like a sort of TV antenna with 2 parallel vertical bits, hence Aquarius is dominated by the communication/frequency metaphors of 'waves' and 'vibes'. At present Saturn, the other co-ruler of Aquarius is in Pisces, so there's a tremendous focus on the unearthly Neptunian 'spirit' immanent in very earthy Saturnian matter. In relation to the previous discussion about the synchronistic mirroring of physical and psychic, for a few days after I had the dream, the same side of my face was aching and I wondered if it was about to sprout the dream crystals! The new mythology that our age is birthing, then, is essentially holistic; in part, this means that all phenomena - dreams and outer events, matter and spirit, science and mysticism, dark and light, conscious and unconscious - will increasingly be seen not as separate dualistic opposites, with one inevitably privileged over the other, but instead as mythic movements and moments inscribed between the poles, or ends of a continuous and limitless light spectrum of consciousness, along which psyche is implicit in matter, matter in psyche; in which it is no longer a question of which is mirroring which, but more a search for the meaning and sometimes wordless message that underscores the whole. Text c.1997 Maureen B. Roberts

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THE EARTH GRID MATRIX An explanation of the grid matrix is appropriate to this essay. Earth Mother's magnificent spirit body is constructed upon a system of crisscrossing lines of light called grids or ley lines. A certain powerful vortex points - major sectors where grids overlap - Earth is connected to the stellar grids. Stellar grids are similar t eArth grids in that they are structured from elements of light, vibration (sound harmonics), color and aroma. Earth is connected to the Sun and other planetary bodies within this solar system via the stellar grids. This solar family is connected to other solar systems within the Milky Way galaxy, and this galaxy is connected to other galaxies within the multidimensional substrates that make up this particular universe via a system of interweaving vibrational light - the stellar grids. Stellar grids are utilized by the starships of the Intergalactic Brotherhood for instantaneous travel from star to star. Via the stellar grids, no thing is separate from any other thing, for Earth grids and stellar or solar grids are manifestations of intelligent, integrated divine love-light - That Which Is. Stellar grids are multidimensional vibrational pathways, blueprints upon which universes are created. We are observing an upward vibrational shift in those of you who are committed to the ascension process and to maintaining your lives in service to manifesting the divine plan for peace and light on Earth. This is in response to a definite imprint through the auspices of the Planetary Logos to instill an elevation in momentum following the turning of millennium day one. Year 2000, in truth, could be considered year one. The Year of the Turning (91987) and the intervening years preceding the new millennium were foundational years for setting in motion the eventual return of the starships and humanity's evolution into the higher-dimensional realms. Points where Earth grids connect to stellar grids are extremely thought-feeling sensitive. As lightworkers anchor light into the grids, pulses of electromagnetic energy move outward in every direction, just as water spreads evenly when poured onto a flat surface. as the connectors re-fuse, future time lines are simultaneous altered. In transformational year 1987, as the essence of love and peace began permeating the previously untended grids, a major overhaul of the disruptive elements that once plagued the stability of the grids began to progressively refine. Now awakening humans are very aware of their familial affiliation with the greater galactic community. They have achieved an evolutionary leap that allows them telepathic access to, at the very least, fifth-dimensional consciousness.

A CHANNELING FROM ARCHANGEL MICHAEL BY Ronna Herman <ronnastar@earthlink.net> July, 2001 As you learn to move back and forth between your fifth-dimensional Pyramid of Light and the circle of Light you have built around you in the third/fourth dimension, you will create a sacred place within your heart and mind, and your world will begin to reflect your highest desires. Your sphere of influence will expand, and you will draw to you those who are in harmony with the refined frequencies/ideals you embody. Together, you will begin to be active participants in weaving the gossamer fabric of the new reality that is being birthed, and eventually, if it is your desire, you will be allowed to participate in the creation of the new Golden Galaxy. As a part of your transformational process, you are once again becoming aware of the energies and uses of the crystals and gemstones found within the Earth. They, too, carry the Creator's Light, and they will assist you to clear and balance the energies within much more quickly if you attune to their individual energies and program them through your intent. They are eager to work with you, for as you awaken and come into harmony with the higher frequencies, so do they. The great sentential crystals that are strategically placed around the planet resonate with the heartbeat of your Mother Earth and are also attuned to the pulsations of the universe and the Creator. As we have told you before, they act as receivers/receptors and transmitters/broadcasters of energy and information both around the world and out into the galaxy. There are also Record Keeper crystals, both large and small, and they will assist you to activate the memory Light packets within your brain structure and can also help you unlock the mystery and wisdom of the Earth's ancient past. The mineral, vegetable, and animal kingdoms are also in a state of transformation into a renewed, higher awareness-none will be left behind-all are in a state of transformation and awakening. It is a time of liberation, beloveds. The desire for freedom is growing stronger within the heart of every sentient Being on Earth. It is also a time of coming together. Even as you are being reunited with your soul/star families, so are we of the higher realms joining forces. For many ages, we have journeyed our separate paths in order to fulfill our particular part of the Divine Mission. But now, we are reuniting in order to create a synergistic overlay of consciousness that will be available to all who are prepared to be a part of the TEAM effort. We use this term, for you are comfortable with it, and it sets up a mind picture of many working in harmony together with purpose and a common goal. As we have told you, we have built great and magnificent pyramids of Light in the fifth dimension where they will be easily accessible to those of you who have done your "homework" and attuned your physical vessels to the realms of Light. Within these pyramids we have placed all the components of Creator Light you will need to create anything you desire for the highest good of all. We are waiting there to join you and to be cocreators with you. So, bring your visions and your pure intent and claim the miracles that await you.

CROP CIRCLES

A full comprehensive Report and photo analysis. Sequence of events between 6 - 21st April 1998. http://www.nor.com.au/users/stingray/latesite.htm For Story and to view pictures Grafton N.S.W. Monday 6th April 1998. 7.05 pm. While skywatching, I observed a group of eight ‘star' like objects moving in formation, each a little fainter and the formation as wide as the Orion Belt Stars in comparison. What amazed me, was the manner in which they were all rapidly changing position within the formation. All eight objects would drop back, move across, than move forward within the formation, weaving around each other. They did this at rapid speed, each staying in position only momentarily, than quickly taking up another position within the formation. Incredible maneuvring at that speed without crashing into one another. Almost as if they were playing some type of game with each other. I would call it the "Dancing of the Spheres". The formation was horizontal in flight and moving very fast. Their altitude is difficult to estimate, but would be about 4 - 5,000 feet. They were first noticed just west of my location, about eight Klm away, and heading due South at high speed. Observed for about 12 seconds as individual objects. And about 5 seconds as a whitish haze as they flew off into the distance. When plotted on a topographical map of the area, their flight path was directly over an "A" and "B" grid Point as calculated with Bruce Cathies' "Gridworks computer Program". ( Author of the Harmonics series of UFO grid system books )

Intricate Weaving and No Damage in Genuine Formations On close inspection hoaxed crop circles do not compare to "genuine" formations. Hoaxed formations have signs of damage to the plants, and do not have the extensive intricate weaving found in many formations. See: Intricate Floor Lay of Crop Formations by Urn Greene

BYTHORN MANDALA NR BYTHORN - ENGLAND 1993 Dowsing the Bythorn Mandala Excerpts from Sussex Circular - Feb. 1994 by Michael Newark I am a dowser with Ray Cox in the West Midlands and I work with Tony Caldicott for the East Midlands, along with a few other groups across the country. Barbara Davies told our local CCCS group about the Bythorn formation and I went over the next day to have a look on 17th October. The formation was south of the A14 Huntingdon road and I saw it from some distance away; several people were walking inside it, all their heads were down, except a few souls who were sitting in the formation centre. It was a huge circle, at least 180 ft. across, with a five pointed star, and around the edge were ten petals. At each and every point where the star met the concentric paths, the crop lay was twisted and pushed. as a dowser, I could read this crop lay as places where the earth energy forces met and competed to lay the crop in its own flow direction. In almost every case the ley line would dictate the crop lay to its direction and flow, while the concentric earth energy lines would attempt to bend the crop to its direction and flow. A very unique pattern of the crop circle is dictated by the earth energies which exist at this very special place. Nine ley lines pass in and out, while four of water pass through, along with two pure Yin (female) earth energy lines. We didn't have a dry day for weeks, but I went back hoping the crop circle had not been harvested. Luck was with me, it was still standing. This time I had the chance to look deeper into this unique formation and record its make-up., and very special it all turned out to be. On my first visit, the star shape seemed to be the pulling force, but on this visit the middle circle held the entire formation together, and from the circle spun out other earth forces. From the middle, a spider's web of earth energy moved out across the corp circle and countryside. With both radial and spiral/concentric lines of energy; this force is formed at the accent of the circle'e creation  (and can be dowsed from hundreds of miles away). This influences the crop lay clockwise or anti-clockwise. Here the lay was clockwise and very neat. to the first thin lines of standing concentric crop, 14 lines of energy cross the middle circle with 37 radial lines to the same point. The web then covered the formation, and continued out across the country, while the concentric energy lines remained a constant 35-39 inches apart. the radial energy lines defy physics after the third concentric ring, but that's another story. Further out from the influences of the middle circle, the five pointed star cross the formation and was formed by ley lines going in different directions. this in turn influenced the crop lay to the direction of the earth energy ley force whichever way it went, so at every path junction, you had conflicting energies pushing the crop lay first one way and then the other. It seemed the concentric force had pushed down the crop lay one way and then the other. It seemed the concentric force had pushed down the crop lay first, then the ley force had overlaid this in the direction it as going. So the star shape was more prominent than the concentric crop lay, with a change in the standing crop formation, the ten almost triangular groups of standing crop were not too easy to read regarding earth energy formation. But dowsing made some sense of it all, because in every case except twice, the major ley lines came in or left between these same petals; even the water and Yin lines followed the same paths. Only at the north end of the formation did ley lines cross the petals, the only exceptions in the entire crop circle. CROP CIRCLES AS CHAKRAS CODE OF THE ANCIENTS - DREAM MATH

SPIDERWEB FORMATION NR AVEBURY CIRCLE - ENGLAND 1994 Spider web formation Avebury - 94 Some researchers think this formation is hoaxed because it took two nights to create. SACRED SPACE AND CROP CIRCLES The ten vortices of the third chakra may have been indicated in the Spider Web formation that appeared next to Avebury in 1994. This can be a way that a clairvoyant sees the third chakra from the front, with the sub-elements forming the shape. In the middle is the Hara-Line centering the whole crop circle.

THE BASKET - 1999 ROUNDWAY HILL - ENGLAND Toward the end of 1999, a beautiful basket formation appeared with magnificent weaving within the entire pattern. It was cut down by the farmer within a very few hours of its birth. Only one photo was taken... by a German photographer. The most astonishing formation in August so far is known as the "Basket" because of its intricate weaving. Discovered on August 4th after several of us saw mysterious blue lights from Woodborough Hill and Alton Barnes, the basket's inner circles form seven arms that are reminiscent of the very large formation discovered the morning of July 31st at Roundway Hill. Roundway is immediately on the other side of the hill from the new basket pattern and the two locations are in a straight line with Silbury Hill and Avebury. Roundway Hill had seven "petals" alternately separated by seven circles. John Williams and Alan March of Harlow, Essex who found Roundway were first afraid to enter because there was so much loud, snapping electrostatic energy coming from the wheat plants. The"Basket" shows a unique woven lay around a seven-armed design that none of us have ever seen before. Tragically, the farmer was enraged that "vandals knocked down my wheat," and drove his harvester straight into the beautiful formation and completely erased it before those of us on the ground got there. However, German photographer Ulrich Kox was photographing from an airplane at the time and managed to get the only 35mm and video frames that exist. The photograph displayed in this story is courtesy Peter Sorensen's videotape. Ulrich was running Peter's video camera at the time as a favor while Ulrich photographed with his 35mm camera.

ROUNDWAY Roundway Hill, Nr Devizes, Wiltshire SU 015 636 Formed 30th July 1999 Taking the road up towards Oliver's Castle it forks left and right, this formation is on the right fork, part of the road we had never ventured along until now. What a beautiful formation lay in the field directly at the base of Roundway Hill. Containing two lots of seven fold geometry, this formation was predicted by Freddie Silva and a colleague the night before when they reportedly saw huge amounts of energy in this field. There is another kind of energy in this field however it is not paranormal, it comes in the form of high voltage overhead power lines that skirt along one edge of the formation. Close enough are these power lines that we had serious reservations about using the pole! Fried crappie is not something that other visitors wish to see in a formation let alone the fire risk!!!!! The flow in this formation is wonderful, probably one of the nicest so far this year! Weaving around in big arcs the crop flows in and out of the arms and spirals round into the swirls of the circles themselves. The centre of the circle shows a form we have not seen before, with the centre splay being encompassed by a ridge of crop laid around it, almost like the banks at Avebury or Barbury Castle. The formation shows no obvious construction lines except for a giant ring that touches the inner parts of each arm, the edges of the circles and arms seem devoid of any underlying pathways. The crop is lain very flat but was very springy due to the density of its planting. A wonderful formation spoilt only by the buzzing of the massive electric current suspended above our heads! From: http://www.thenoiseroom.com/1999/ccindex99.htm

OTHER LINKS DREAMS OF SPIDERS KNITTING A STORY MYTHOLOGY OF MAYAN WEAVING WEAVING ARTS AND LORE THE DESIGN OF THE NEW CREATION DREAMS OF THE GRID SHIFT DREAMS OF BASKETS ABOUT SPINNING AND WEAVING ANGLO SAXON AND VIKING BRAID WEAVING WEAVING FOR THE BEGINNER SPINNING YOUR OWN YARN ALL THINGS SPINNING SADU - ARABIC WEAVING SPIDERS, SPIDERS, SPIDERS CROP CIRCLE MAIN PAGE MYTHOLOGY MAIN PAGE DREAMS OF THE GREAT EARTHCHANGES - MAIN INDEX