Humanity On The Pollen Path

Humanity On The Pollen Path
Part Two

Triangles Within Triangles
by Joseph E. Mason

Note: In order to follow the meaning of this article, I recommend that my first article in this series be read first:

Humanity On The Pollen Path - Part One
Symbols Of The Chakras And The Midpoint

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1993 Outline Article

I began an outline article of the experiences concerning the midpoint of the chakras on March 4, 1993. I titled the article "Humanity On The Pollen Path", based on the Navaho sand painting, and the idea that humanity has been on a time-cycle path that corresponds to consciousness levels related to the chakras. The great change ahead is a leap to the Heart chakra by humanity en masse.

Finding the Tantric Way

Four days later I went the the library to return some books. I selected several books to take home, one of which was Tantric Way: Art, Science, Ritual by Ajit Mookerjee and Madhu Khanna. I was about to experience the most incredible "coincidence" of them all. To make this understandable, I must go back in time, and explain the events that led up to the great coincidence.

The trail of events started about two and a half years prior. I will explain all the related events, but keep in mind that I had no idea they were related until 1993.

The Tantric Yantra Drawing

At 1:11 a.m. on September 13, 1990, I drew a 14-pointed star based on this Tantric Yantra that I found in a book called Myths, edited by Alexander Eliot (McGraw-Hill Book Co., NY 1976) -

I felt an inspiration to draw it in a special way. I could see that the two major triangles in the star-shape were like an offset Star of David. I was in possession of nine brass vouchers called "chits," that had been involved in several coincidences. The chits are shaped somewhat like an eight-petal flower. The chits were used at my work place in working with the tool crib personnel. Craftsmen, such as I, exchanged a chit for a tool, to be used for a short time. By "coincidence, I found that the word "chit," in Sanskrit, means "consciousness."

In two of the coincidences, I had arranged the nine chits into a diamond shape, in the order of 1, 2, 3, 2, 1, from the top-down. I took a photograph of them to illustrate:

The arrangement can be viewed diagonally as 3 + 3 + 3 or 3, 6, 9. In Joseph Campbell's book, on page 37, he speaks of various numbers that add to nine, such as 108 (associated with the Goddess Mother of the World) and 432 (a cycle of time number). He continues:

"In Roman Catholic Europe, when the Angelus tolls (at morning, noon, and evening), it rings 3 + 3 + 3 and then 9 times, in celebration of the Virgin's conception of the Savior. The recited prayer at those junctures, 'The angel of the Lord declared unto Mary, and she conceived by the Holy Ghost . . . and THE WORD WAS MADE FLESH . . .' is in recognition of this miracle at the opening of a new world age."

So, I arranged the chits on a piece of paper and traced their outline. I drew in the two major triangles, and realized that they did resemble the Tantric Yantra. I continued to draw triangles around sets of "chit-shapes," until I had this:

The Sriyantra Report

As I mentioned in the previous section of this article, I established contact with crop circle researcher, Pat Delgado, near the end of 1991. Among the several packets of material I sent to him over a period of months, were reports of the strange events involving my "chits," and the various diagrams that came from them. Pat and Colin went their separate ways sometime later, and Pat changed the name of his newsletter to "CPD."

The "CPD Newsletter," number 7, for April, 1992, had a very interesting report. An article from the Canadian magazine "UFO" was sent to Pat by his friend from Devon, Joan Amos. The article was written by Jim Deardorff. Pat gave some extracts from the long and detailed article:

"On 14th September 1990, the news services released a story about the discovery of a giant pictograph about a quarter of a mile wide appearing in a dry lake bed east of Steens mountain, about 70 miles S.E. of Burns, Oregon. It was reported to have been discovered by Idaho Air National Guard pilot, Lt. Bill Miller of the 190th Tactical Reconnaissance Squadron, while on a flight on 10th August 1990.
The sign was soon noted to be of an ancient Hindu meditation symbol called a sriyantra and orientated precisely north-south and etched into the dry - lake bed with furrows about three inches deep. Two observers, Decker and Newman stated there were no vehicle tracks found alongside any of the furrows, although the station wagon used to inspect the site left tracks about a quarter of an inch deep.
Besides the great size of the design, one of the most impressive aspects of it, when observed up close, was the lengthwise uniformity of the depth of the furrows and the uniformity with which the clods of alkaline soil had been displaced out of the furrows equally on both sides.
The sriyantra site is quite remote, situated in a dry -lake bed called Mickey Basin. Because of the excessive alkalinity, (ph=9.6), no vegetation grows on it.
On their way back from the site, and about seventeen miles from it, Decker and Newman discovered the body of a cow that exhibited all the classical signs of having been mutilated by unknown means.
According to Rick Attig of the Bend Bulletin newspaper, the first news of the strange formation was aired on the Boise TV station on 12th September.
On September 15th the Portland Oregonian reported on it and mentioned an estimate by some architects that the cost of just carrying out the surveying for such a project would range between $75,000 and $100,000.
Because of the size and the overall precision of the pictograph, the length of the lines within it totals about 13.3 miles. There was initially a good deal of speculation that the pattern was not man-made, but belongs to the same category of patterns as those that have appeared on the grain fields of England. The pattern was a quarter of a mile square."

I had no idea what a "sriyantra" looked like. I remembered that I had sent Pat the Tantric Yantra, and my version of it. I wondered if it was related somehow to the lake bed pattern. I had also sent a Buddhist Mandala, and a few other similar diagrams. I searched the library for information about the sriyantra, to no avail. I contacted the Oregon newspapers mentioned in Pat's article, but they could not send me a copy of the articles. I went on with other things, and quit searching for the sriyantra pattern.

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Update

Photo credit: Lucy Pringle

I am inserting this update note today, 6-20-2000. A new crop formation was reported yesterday that has a shape like one of my chits in the center. This is significant to me because the shape is so connected to this story. The new crop formation has sixteen spokes from the chit-like shape to the outer part of the circle, ending in sixteen semicircles. A similar pattern of eight and/or sixteen is apparent in a number of the symbols in this article. One example is the sixteen shapes/figures in the Tantric Yantra above. Depictions of the Sri Yantra and the Shyama (Kali) Yantra are included in the next part of this story. The designs incorporate an eight-petal lotus inside a sixteen-petal lotus.

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Update, June 19, 2004

Photo credit: Lucy Pringle

On June 27, 2000, it was reported that an eight-fold pattern appeared at Bishop Cannings, near Devizes, Wiltshire -

http://www.lucypringle.co.uk/photos/2000/uk2000bf.html

There were many eight-fold formations in the year 2000 -

The Eight Fold Crop Circles of 2000

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Standing Bear's Symbol

In mid 1990, a friend of my son brought a Time-Life book to me. It had stories and pictures of Native Americans. I believe it was titled, Indians of the West. There was an article about Black Elk's Great Vision, with illustrations by Standing Bear. I found them symbolically significant, and drew some of them in my notebook.

In early September, 1990, I visited relatives on the Monterey Peninsula (in California). While looking on a bottom shelf at at a bookstore, I suddenly had the feeling to look up.

There, before my eyes, like a ghost from the past, was a man with antlers on his head looking back at me. It was on the cover of a book behind the glass of the display case. The title was Black Elk Speaks. I bought the book, and soon noticed the yellow hand prints next to the painting of Black Elk. I had been seeing, and recording hand prints since the day Randy told me the dream of the tidal wave back in September (see below). After he told me the dream, I noticed when he walked away, that he had hand prints on the back of his coveralls, put there as a joke by another worker. I had also had two dreams that involved the color yellow. In the first one I dreamed of sorting yellow and white receipts on a bed, and chose only one. In the other dream, I was given a yellow antenna by a football coach. He said it was better than the one I was supposed to get, but it would cost me more.

As I read the book, over the next few days, I had dreams relating to it and Black Elk. In one of the dreams I saw five telephone poles from overhead, which made them appear like circles in a square arrangement. A sports car drove by the lower-right corner, causing whirlwinds to form around the four poles, and a fifth one to form in the middle. After I awoke, I continued to read the book. I started reading at page 48, the part where Black Elk woke up after his vision . . .

"When I got back to my father and mother and was sitting up there in our tepee, my face was still all puffed and my legs and arms were badly swollen; but I felt good all over and wanted to get right up and run around. My parents would not let me. They told me I had been sick for twelve days, laying like dead all the while, and that Whirlwind Chaser, who was Standing Bear's uncle and a medicine man, had brought me back to life. I knew it was the Grandfathers in the Flaming Rainbow Tepee who had cured me; but I felt afraid to say so."

There are a number of photographs near the end of the book. One of the photographs is of Standing Bear at a feast. On October 3rd, I looked at the photograph of Standing Bear again, and realized that the symbols on his coat were somewhat similar to a Star Of David, but with the points being around a rectangular area. I tried the arrangement of the nine chits again. I was amazed that the pattern fit quite well, with various points being at the center or between various chits -

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The Salvador Dali-Baseball Coincidence

I visited my nephew, John, in October 1990. John is an artist and has many books about painting. One of the books was about Salvador Dali's work. The artwork impressed me as dream-like and symbolic. John informed me that Dali often painted from dreams. One of the paintings, titled Christ of Saint John of the Cross, seemed to connect well with several ideas that had come to me.

To see this in a higher resolution, click here.

When I first glanced at the painting, the figure looked like a bull's skull, the arms appearing as horns. From various dreams, I felt that hands and horns can have a duality symbolism. We can "throw" with one hand and "catch" with the other. A horn can amplify sound. It can be put to the ear to better hear sound, or to the mouth to magnify one's voice. The telephone often appears in dreams, and seems to indicate "a communication from a remote source," and therefore could be interpreted as communication from another dimension, or the like. Horns, I felt, could be a similar symbol, and may have been a dream-myth symbol of the past, that corresponds to the telephone in dreams today. It was interesting that the two duality symbols appear in the painting, combined in this way. I had the experience less than a month before, of Black Elk with his elk horns, on the cover of Black Elk Speaks.

The crucified figure in the Dali painting is depicted on a strange angle, giving the impression of a circle inside a triangle. According to James Churchward in The Sacred Symbols of Mu, a circle with a ring around it, inside a triangle, symbolised "the Deity in Heaven," to ancient peoples.

When I returned home from my visit, I went to the library, and brought home another book with the work of Salvador Dali. There was a page with Dali's Christ of Saint John of the Cross, and two additional drawings. I found a color version of the drawings recently and placed them below on June 19, 2004 -

One drawing had a dark circle inside a white triangle, with energy-like lines radiating out from the circle. At the upper two corners of the triangle, were two circular areas attached. The other drawing had a plane white triangle with a dark circle inside. This is an excerpt from the text -

"By far the most popular of all Dali's religious works is without a doubt his Christ of Saint John of the Cross, whose figure dominates the Bay of Port Lligat. The painting was inspired by a drawing, preserved in the Convent of the Incarnation in Avila, Spain, and done by Saint John of the Cross himself after he had seen this vision of Christ during an ecstasy. . . . At the bottom of his studies for the Christ, Dali wrote: 'In the first place, in 1950, I had a cosmic dream in which I saw this image in color and which in my dream represented the nucleus of the atom. This nucleus later took on a metaphysical sense; I considered it the very unity of the universe, the Christ! In the second place, when, thanks to the instructions of Father Bruno, a Carmelite, I saw the Christ drawn by Saint John of the Cross, I worked out geometrically a triangle and a circle, which aesthetically summarized all my previous experiments, and I inscribed my Christ in this triangle.'"

Another Dali painting that impressed me as being symbolically significant was Animated Still Life -

To see this in higher resolution, click here.

On the left side of the painting, a hand is holding a horn pointed toward the sea outside the window. It was interesting how the "hand-horn" combined the same symbols that I had gathered from the painting of Christ. I immediately recalled the dream that Randy told me in September, 1990. I had given Randy a video tape of a TV program about the crop circles. He returned the tape the next day, and told me the dream he had after watching it . . .

I was with my wife and child at a hospital in San Francisco. The building was right at the edge of the ocean. I walked outside onto a dock or wharf over the water. There were many, many Navy ships all over the sea. I was frightened, thinking a war was about to happen. I looked up and saw five airplanes very high up, flying in a "V" formation. The lead airplane had a huge bomb dangling below it. I thought it was a nuclear bomb. I ran for the hospital door, just as the bomb was dropped. I glanced back and saw all the Navy ships going in reverse over the horizon. I rejoined my family. We and the others in the hospital looked out the windows and saw great winds blowing back and forth, carrying debris along with it. The brick walls of the hospital bowed in under the pressure. Then we saw a gigantic tidal wave coming right toward us. The wave broke all of the windows, and a dead boy fell in. But instead of water, a green, jelly-like substance came in through the windows.

The impression I got from the dream, is that the sea symbolised another dimension outside of our own, perhaps the dream or spirit reality, and/or the collective unconscious. World-changing ideas from that reality would come into our world and "jell" in time.

I noticed in the Dali painting that fluid was coming out of the crystal bottle suspended over the table. The fluid takes on a greenish color as it passes in front of the wall, and then becomes a force-field, represented by small, curved, horn-like shapes. It "becomes" a plastic-like vase suspended in the air. The "real" vase that we perceive is below it, with an apple "forming" in it. I felt that the dream painting was showing that reality is created from consciousness-engendered force-fields.

On October 17, 1990, I noticed that there was a row of nine red symbols in the middle of the painting . . . five diamond shapes and four rectangles. My feeling was that this could be a code related to reality creation. The thought came, to arrange my nine chits in the diamond again, and see if I could find five groups of diamond shapes within it. I decided to use pennies instead of my chits, to make the drawing smaller. I placed the pennies in the diamond shape, and traced them. Using colored pens, I drew in the five groups encompassed in diamonds, like this -

Four of the diamond shapes are drawn around four sets of pennies, top, bottom, left and right, with some of the pennies enclosed in two or more of the diamonds. The top color is blue for the sky, the bottom color is green for the earth, the left color is orange for male energy and the right color is pink for female energy. The center penny is enclosed in each. The fifth diamond encloses the entire group of nine, or the four sets of four.

I noticed that some areas had a single colored line, while others had two colored lines. I began spontaneously to add colors to the picture, although I was concerned that the original would be compromised. The graphic above was created later, from a photocopy of the finished drawing. I drew in vertical lines of the same colors next to the existing lines. For double-color lines, I interlaced the two colors. The result was this -

As I sat back and took a look at the image, I suddenly realized a significant image had emerged in the colored areas. The pattern is somewhat like this -

The general pattern was familiar. As I mentioned later in my article for The Dream Network Journal, I had a dream on July 5, 1990, of an electrical splice box with two cables on each side. The wires (three from each cable) inside the splice box were not connected, but had numbers on them, meaning that they could be connected easily. I knew this symbolised people not being connected. I later found Navaho sand paintings that looked similar, with two couples on each side of a square shape. So, this shape, which emerged from my drawing, seemed "coincidentally" significant.

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Note added 2-3-2001: A crop formation appeared near the end of July, 2000, that included a pattern similar to the glyph above. The formation is quite similar to one of the line drawings on the Nazca Plains (graphics and links updated 2-21-2006).

Blackland (Morgan's Hill) Crop Circle Formation,
Wiltshire, 30 July 2000

Image credit: Lucy Pringle

Diagram of Nazca land marking

Close-up photograph of the Nazca land marking,
which is thought to be at least 2000 years old.

See Martin Keitel's article about the Nazca Palpa Glyphs:

http://www.martinkeitel.net/cropcircles/articles/nazca1.html

Also see:

Blackland (Morgan's Hill), Wiltshire, 30 July 2000

Calstone Wellington, 30th July 2000

Nazca Plains Marking

A key to unlock The mystery on a Geometrical Nazca Marking

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As I contemplated all this, a report came over the television that it was the first anniversary of the San Fransisco earthquake of 1989. This set into motion memories from eight years prior. A relative and I experimented with a ouija board back in 1982, and one night we were told that there would be an earthquake in 1989. This was followed by the numbers, "9" and "3." We asked what that meant, and the answer was spelled out, "nine, three."

This was so strange. Could that strange communication in 1982 have been not only a prediction of the earthquake, but a hint that it would occur during the World Series baseball game? Baseball has nine innings, nine players, three strikes, and three outs. And it is played on a diamond! Could these strange things I was doing with my chits and drawings be related . . . perhaps to the 3, 3, 3 arrangement?

In 1990 it seemed very farfetched, yet it was interesting. You will see, if you keep reading, that events to come via "dream-coincidence," entirely supported my thoughts. Baseball itself, believe it or not, is symbolic of something very, very grand. Connections to the prophecies of Nostadamus and Ezekiel support it, along with ancient Gematria, but it was the dreams of other people that eventually convinced me. However, I will tell those stories in their proper place.

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Update, February 21, 2006

In 1990, I found a painting of Salvador Dali that had patterns similar to the above. I placed copies in my notebook:

Cutout from Dali's Portrait of Gala with Rhinocerotic Symptoms
See #952 at: Salvador Dali Art Works

Note the 3 x 3 grid type patterns. Dali sometimes painted from dreams. The portait of his wife Gala apparently shows her head protruding through a dimensional window, viewing the landscape of another reality.

A number of the 2005 crop circle formations had similar designs:

http://www.greatdreams.com/crop/2005ccs/2005ccs2.htm

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Continued in

Humanity On The Pollen Path - Part Three
The Great Sri Yantra Coincidence

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This page was last updated on February 21, 2006.

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