• Lisette Verri

Metaverse, Multiverse, Simulation and the Overmind



I beseech you, my child, to look at the heaven and the earth and see everything that is in them, and recognize that God did not make them out of things that existed.

2 Maccabees 7:28


“We are the priests of power,” O’Brien said. “The individual only has power in so far as he ceases to be in individual. You know the Party slogan: ‘Freedom is Slavery.’ Has it occurred to you that it is reversible? Slavery is Freedom. But if he can make complete utter submission, if he can escape his identity, if he can merge himself in the Party so that he IS the Party, then he is all-powerful and immortal. Power over matter – external reality, as you would call it – is not important. Already our control over matter is absolute.”


“But how can you control matter?” Winston burst out.

“You don’t even control the climate or the law of gravity.”


O’Brien silenced him by a movement of his hand.

“We control matter because we control the mind. Reality is inside the skull.”

George Orwell, 1984


 

The challenge with this project was to figure out a way to unpack and explain these four elements; the Metaverse, Multiverse, the Simulation, and the Overmind, what they are and how they are connected. There is coherence here and the best way for me to accomplish this is to start at the beginning and motor on through it. So, let’s spend a little time together so you get the whole picture. There’s meaning to this madness so hang in there and you’ll see exactly what I mean. So let's dig in.


Do you remember, back in 2015, the dance-opera film Symmetry written and directed by filmmaker Ruben Van Leer? Filmed inside CERN, the largest experimental particle physics facility in the world, Van Leer, with support from a team of theoretical physicists and their sister organization, Arts at CERN, Van Leer uses Symmetry to explore the intersection between art and science in what he believes will help us expand “a new dimension” to better understand the relationship between human beings and nature.



Symmetry tells the story of a physicist named Lucas who works at CERN and has encountered a myriad of difficulties finding the primordial particle that unlocks the mystery of the universe. After being summoned by the “God of Art,” Lucas becomes enlightened and as a consequence, realizes himself as part of the universe and now driven by great cosmic love, leads a team of scientists to discover the true meaning of humanity’s relationship to the cosmos. That’s the official summary provided by the director himself.


Now, there are a couple ways to interpret this… there’s the official description, the story the director gives you. Peel back a translucent layer and there is another way of looking at it a bit more deeply and may seem somewhat obvious. And, yet, there is yet a completely different way to analyze this story, the one I think fits best and it’s going to completely melt your brain when you see it. So check this out. Let me break it down for you.



Lucas is a name of Greek origin (Λουκας) meaning “bringer of light” or “bright one.” In Latin, it means “light.” But, who is the “god of art” depicted in this film? There are many contenders. The solar deities like Apollo or Hyperion. Apollo is the god of art, music and poetry, of prophecy and knowledge. He represents reason and intellect, physical superiority. Apollo also means “destroyer,” as in Apollyon or Abaddon, the angel of the bottomless pit found in Revelation 9:11, and with Shiva the Destroyer in the Hindu cosmology who, in endless cycles of creation and destruction, destroys everything in the cosmos to make way for a new one. Lucifer is considered the “light-bearer,” the “bright one, “the morning star” who was the “seal of perfection full of wisdom and perfect in beauty” and whose “tabrets and pipes” were prepared for him specifically by God Himself. (Ezekiel 28, Isaiah 14:11).



In Classical Gnosticism, which is the heretical attempt to reinterpret and rewrite biblical cosmology, and the Platonian and Hermetic Qabbalistic philosophies from which it came, known as the Mystery Schools, and from which many mystical occult systems emerged, the idea of this “god of art” takes on a completely different form.


The supreme being in Gnostic cosmology, known as The Invisible Spirit, the Monad, or the One is described as this unknowable conscious entity comprised of pure intellect, pure mind-consciousness that exists in a silent void outside of space and time. His thoughts emanate from his being and take form as entities known as Aeons. From the Aeons, thoughts continue to expand and multiply which populate the realm of the gnostic heaven known as The Entirety or the Pleroma and is considered the “region of light.”


The first thought that emanated from the Invisible Spirit’s mind occurred when it stared into the primordial waters before creation, saw his own luminous reflection, and fell in love, insinuating an intimate encounter with himself that begat the hermaphroditic Aeon known as Barbelo. Barbelo is portrayed as the first power, the thrice-male, thrice-named androgynous one, the supreme female principle. Barbelo multiplies the thoughts of the Invisible Spirit and is the one who embodies his divine gnosis or knowledge.


In Kabbalah, Barbelo is the Ain Soph Aur, or the Solar Absolute, the limitless light of the Spiritual Sun. Barbelo comes from the Aramaic words bar, which means son as in male offspring, and bel (belo or belus) which means sun as in solar, making Barbelo transliterated as “the son of the Sun.”


Barbelo begat the The Self Originate or the Cosmic Christ of which Barbelo is considered his “Mother-Father.” This is the gnostic trinity or the gnostic godhead.

The Cosmic Christ begat the Aeon Sophia, or wisdom. Sophia’s thought brought forth an evil, corrupt, lion-headed serpentine entity known as Ialdabaoth, or as Plato called him, the Demiurge. In Sophia’s shame, she cast Ialdabaoth out of The Entirety so none of the other Aeons would see her error. Ialdabaoth, existing alone in the celestial realm outside of the gnostic heaven, believed that he was the only being that ever existed, and out of his ignorance, vanity and malevolence, created the material world from his corrupt thoughts imprisoning mankind within it.


The mystery is why did Sophia choose to act on her own? This is not explained. Is the nature of wisdom to act independently even if the result is catastrophic? Sounds very unwise to me. Sophia’s error is considered the gnostic “fall” which created a divide, a veil between the world above and the realms below. Darkness and chaos came into being beneath the veil and became physical matter. The goal of the gnostic then is to understand this cosmic opera and obtain its related gnosis or “self-knowledge.” Salvation for the gnostic is realizing their divinity and reconnecting with the real cosmos, not the illusory one of the Demiurge. This is known by Crowleyans, Theosophists, Freemasons, Rosicrucians, Luciferians, Satanists and in various other occult and new age movements as “The Great Work.”


The gnostic cosmology is all mind and mind consciousness, the underpinnings of the atheist, humanist and transhumanist movements. But, even with this, which built itself from the biblical account of creation, there are still only two realms: the realm of The Invisible Spirit and the material universe with the bridge between the two being esoteric occult knowledge.


In a collaborative paper highly celebrated by CERN physicists and its extended global community, titled Symmetry – Collision of Arts and Sciences for a New Dimension, Ruben Van Leer along with colleagues Tony Yu Zhou and Fritjof Capra, the paper details the creative process of making the film along with its associated mystical and philosophical ideas. As I mentioned earlier, the message being communicated here is to marry together what they're calling art and science. But, for what purpose? I thought CERN was engaged in real material science? Who are these people and what role does art play in this process?


Tony Zhou, trained as a biomedical scientist, is the Founder and CEO of two organizations: Inspirees Education Group and The Creative Arts in Education and Therapy (CAET). Tony is a “certified movement analyst.” Dance Movement Therapy is a technique thought to integrate the mind, body, and emotions of the individual and of which a trained practitioner is considered a body language expert, and movement is the unspoken primordial human language that when implemented in a therapeutic environment can liberate the individual from a myriad of psychological dilemmas.


Dance/Movement Therapy (DMT) comes from the Modern Dance Movement that emerged during counter-culture era of the 1920s and 1930s with renewed popularity during the 1960s version of the counter-culture. Modern Dance has deep links to communism and radical politics with subversive agencies like the Works Progress Administration and the Workers Dance League which was an offshoot of the Soviet-inspired Workers Cultural Federation. The Workers Cultural Federation, in 1931, declared “art is a weapon” and a few short months later, the New Dance Group, an organization of communist activists dedicated to social change through dance was premiered in New York City and later became officially part of the Workers Dance League with the new slogan; “The dance is a weapon.” (Read more here)


In a journal article written by Victoria Phillips Geduld titled, Performing Communism in the American Dance: Culture, Politics and the New Dance Group, she explains:


“The New Dance Group program notes explained: ‘The working class is growing in number, growing in strength, and growing in knowledge. It is simultaneously developing itself and its weapons. One of its most important weapons is our modern revolutionary dance.’ The New Dance Group and Workers Dance League dancers brought Communist propaganda tools to US government culture projects. The US government administrators welcomed, learned from, and imitated the politically expedient Soviet-inspired lessons.”


Tony sits on the board of Ecopoiesis, an international organization whose mission is to “promote eco-human knowledge and technologies and integrate the creative arts, ecology, and human sciences.” In other words, it is a strategy that they believe will reframe human thinking to globalist philosophy (which they call “ecological education”) along with the arts as worldview shaping tools for what they call a “post-secular” sustainable society. Post-secular describes a world where religion becomes a social and political structure. In other words, it’s the new world religion in the new world order.


I wonder if the dance presented at this function was considered a modern revolutionary weapon, too? This was the satanic ritual performed at the opening celebration of the Gotthard Tunnel that was held for a gathering of dignitaries and ruling elite in Switzerland, not too far away from the location of CERN.


Art is a powerful medium. Art is considered the repository of society’s collective memory that preserves a meaningful and emotional historical record for every period in human history. When used as a tool of subversion, the aesthetic becomes stripped-down, disconnecting the ethos of human experience, and replaces it with endless empty abstractions and deconstructive, industrialized images designed to re-engineer the mind, identity and worldview of humans from a deep psychic level. Or, in their own words, it’s for the “restoration and development of constructive human relations with nature, the promotion of environmental consciousness and sustainable lifestyles.”


Tony’s other organizations proclaim that it’s cross-disciplinary vision is “essential for personal development and the advancement of humanity” and “the aesthetic and creative use of the arts, together with body-mind-spirit integration in a holistic and humanistic approach, is essential for individual and collective well-being, social change, the advancement of humanity, and the sustainable development of societies and nature.” (Read more here)


Fritjof Capra, co-author of the Symmetry paper, sits on the council of The Earth Charter. It goes without saying what the Earth Charter is all about. He is also the founding director of the Center for Ecoliteracy in Berkeley, California which is a think tank whose mission is dedicated to advancing education for sustainable living. He is a former theoretical physicist, a systems theorist, chaos theorist, and a deep ecologist. He has written several books, one titled The Tao of Physics in which he discusses the deep parallels between esoteric Taoism and physics.

Taoism is a philosophy that teaches that by living in harmony with nature, meditating, and detaching the self from the mind, one can extend their lifespan and after countless reincarnations into new bodies can eventually become immortal as pure consciousness. It’s the notion that the cosmos, or the Tao, is a conscious, creative, self-organizing force underlying reality. The goal of the Taoist is to let go of the self and become “one with the universe.” (Read more here)


In a documentary about his book, Capra explains the effect the early data from the hydron collider had on him. While taking psychedelics, they caused him to become aware of the cosmic dance of the universe represented by Shiva. This spawned the dramatic change in his worldview that prompted him to write the book and plot a new trajectory for his scientific and philosophical pursuits. One might say he claims he has obtained gnosis. Capra’s ideas were rejected by many of his colleagues because, well, it's mysticism, not science. Capra believes this mystical approach if applied to physics and basically, everything else in the world, provides “lessons for our global survival.”

Capra found the theories of mystic and physicist, Niels Bohr (1885-1962), to be foundational in his thesis. It was Niels Bohr along with another Manhattan Project scientist, Isidor Rabi (1898-1988) that collaborated on the establishment of CERN which they first presented the idea at a UNESCO conference in June 1950 to "to increase international scientific collaboration…" Niels Bohr’s theories are rooted in occult mysticism and he even incorporated the yin and yang symbol, a concept central to the esoteric scientism of theosophy as well as the symbol that represents technocracy, into his own coat of arms.


In an interview with a philosophy professor at Rutgers, Capra was asked, “Is it true that the Buddha would just be a physicist?” Capra replies, “Let us talk about a first-rate Einstein or any of the great physicists. Now such a person has already a high degree of intuition. And this intuition will be sharpened through the mystical training. And then once he went through this mystical training and became enlightened, he would be sublime in his intuition; he would also, by some miracle, not have forgotten his mathematics. He will be able to get back and resume where he left off and do the physics.”


PROFESSOR: Do you think Bohr felt himself insolubly one with the universe? CAPRA: Definitely, definitely. PROFESSOR: There is evidence? CAPRA: Oh yes, definitely.


PROFESSOR: So you're saying Bohr was a mystic.


CAPRA: Yes, oh yes.

The film, Symmetry, encapsulates the esoteric occult mysticism and worldview behind the CERN project. The story begins with Lucas who is getting increasingly bewildered and frustrated that his particles won't collide. He takes numerous trips back and forth from the collider, which is portrayed as this colossal masterful creation divinely carved from man’s hands (and it is the largest man-made machine in the world), after several trips back and forth, he still gets… “collision failed.” He looks over his charts and graphs, which look more like sigils for chaos magick instead of collision patterns, and still, he can’t figure this out. It’s not until a colleague accidentally causes coffee to spill on a chart of binary code.


Through the “chaos” event of the spilled coffee, a pattern emerges on the pages symbolizing symmetry. An invisible entity summons him back to the collider again and he receives a vision of a descent into the underworld through a beacon of light that takes him to a vast wasteland where he awakens inside a circle. The god of art is there. Then, he finds himself back at his workstation, overcome by this experience as if he’s going in and out, like Neo, of The Matrix.

He returns to his charts and graphs, sees the coffee-stained notes, sees the symmetry, the pattern in the chaos, and begins to enter in random zeroes and ones which bring the collider to life. The face of the god of art appears on all the screens calling him back to the collider/gateway.


This seems to initially anger his colleagues who are rejecting what’s happening right now and a chase ensues that leads them all to a platform that stands directly in front of the collider like some sort of altar where they all begin the cosmic dance with Lucas at the center. The cosmic dance opens the gateway to the abyss, they all descend, descending and ever descending, and now they are in some sort of primordial state in between worlds. It’s creatio ex nihilo as they all become pure consciousness and merge with the cosmos.


Lucas, however, becomes the enlightened one. Seeing through the left all-seeing eye signifying the left-hand path, he is returned to the wasteland, only this time in priestly robes. He has crossed the abyss and has achieved gnosis. He dances the cosmic dance with the god of art of his own free will now. She weeps at this divine accomplishment.


Lucas has achieved gnosis, is now enlightened. He’s done the Great Work . Ok, I get it. But, see if this analysis doesn’t fit a little better.


The wasteland depicted here, to me, resembles the Qliphothic realm of Hermetic Qabbalah. The Sefirot is the tree of life representing the ten emanations through which the Infinite reveals itself while perpetually creating both the physical realm and the higher metaphysical realm. The Sefirot are thought to be the channels of divine creative life force or consciousness through which the unknowable divine essence is revealed to mankind.



Below, like a dark mirror, Qliphoth, is the infernal region, the dark side or inverse of the Sefirot. If the Sefirot is the tree of life, Qliphoth is the tree of death. In Luciferianism, which is an atheistic humanist religion, embracing the concept of Qliphoth is a psychological exercise for strengthening their belief system of becoming a living god. This is modeled after their archetype of the adversary, Satan. The Qlipphothic demons are fallen angels who know that light is wisdom and darkness is malignant and repugnant so the practicing Luciferian desires to gain mastery of both realms. Of course, these realms are considered states of mind that exist within the self of the magician as they are atheistic in their worldview. (Read more here and here)

This concept of the Qlippothic realm is not from the orthodox Jewish mysticism of the Kabbalah as it originates with Samuel Liddell MacGregor Mathers (1854-1918), one of the founders of the Hermetic Order of the Golden Dawn who cultivated this concept in his writings around the year 1900.


In Aleister Crowley’s Thelema, which was universally claimed to become the new world religion, in his book Magick in Theory & Practice, Crowley writes:


“There is a single main definition of the object of all magical Ritual. It is the uniting of the Microcosm with the Macrocosm. The Supreme and Complete Ritual is therefore the Invocation of the Holy Guardian Angel; or, in the language of Mysticism, Union with God. All other magical Rituals are particular cases of this general principle.


For Crowley, the single most important goal of the adept is to connect with one’s Holy Guardian Angel, a process he called “Knowledge and Conversation.” Keep in mind that Crowley’s use of the term “God” does not mean the God we know from the Bible or any supernatural supreme being. For Crowley, “God” is the Holy Guardian Angel and The Holy Guardian Angel represents one’s truest divine nature. All of the entities in Crowley’s pantheon are archetypes for the adept’s unconscious. They are all aspects of the individual magician. The Holy Guardian Angel for Crowley was Aiwazz whom he considered was his higher inner self from which he wrote the Book of the Law.

In his book, Magick Without Tears, Ch. 83, he writes:


"It should never be forgotten for a single moment that the central and essential work of the Magician is the attainment of the Knowledge and Conversation of the Holy Guardian Angel. Once he has achieved this he must of course be left entirely in the hands of that Angel, who can be invariably and inevitably relied upon to lead him to the further great step—crossing of the Abyss and the attainment of the grade of Master of the Temple."


In his book, Liber Samekh, he writes:


“…the Angel is in truth the Logos or articulate expression of the whole Being of the Adept, so that as he increases in the perfect understanding of His name, he approaches the solution of the ultimate problem, Who he himself truly is… The Angel is the spiritual Sun of the Soul of the Adept… The Angel [is] the True Self of his subconscious self, the hidden Life of his physical life.”


Thelema being an atheistic libertine transhumanist movement, every interpretation of Crowley’s work and that of his contemporaries was to be completely demystified. It’s not supernatural, it’s not metaphysics. It's pseudo-science and psychology with the elements both designed to reframe the mind and the will of the magician seeking his own divinity.


In his book Confessions in 1929, Crowley wrote:


“Thelema implies not merely a new religion, but a new cosmology, a new philosophy, a new ethics. It coordinates the disconnected discoveries of science, from physics to psychology, into a coherent and consistent system.”



Crowley seems to struggle to make magick and science compatible as did Blavatsky with Theosophy and her “science of the soul” idea. While Crowley seeks a synthesis between science and magick, magick takes the higher order. It is science that has to be brought into a magical system, not the other way around. And, it’s my opinion that in that regard, in the realm of mystic-oriented physicists, nothing has changed.

In an academic journal by David MacGillavry, titled Aleister Crowley, the Guardian Angel and Aiwass: The nature of spiritual beings in the philosophies of the great Beast 666, the author writes that there exists a non-scholarly work by Tobias Churton on the identity of Aiwass. Churton, in the opinion of MacGillavry, presented the most complete reconstruction of the magickal working Crowley and Rose conducted in Egypt which conjured up Aiwazz.


“Churton draws our attention to the possibility that the whole ritual is explained by a few Arabic letters which Crowley scribed in his notes. The letters spell ajiha which actually is not a word or a name at all. The letters do hold a striking resemblance to a combination of the Hebrew words ChIVA, meaning beast, and AHIH, which means ‘I AM’. The Kabbalistic manipulation Crowley made of these two words is AChIHA, ‘I AM-beast’, which happened to be a metathesis of his own name (Churton, 2011)."


It seems a rather close proximity to Shiva the Destroyer, as well.


“In other words, Churton proposes that Crowley might have meant all along that what he saw was himself, his higher self. As late as 1913, with the publication of Book 4, Crowley still seems to have believed that a naturalistic explanation for magic could suffice. He makes very clear, in the preliminary remarks that: ‘We do not believe in any supernatural explanations but insist this source [genius] might be reached by the following out of definite rules, the degree of success depending upon the capacity of the seeker, and not upon the favor of any divine being (1980: 15).’ It is interesting to note here that Crowley dismisses a supernatural explanation, however, he seems to do so with a certain intent. His emphasis seems to lie on the fact that this source is to be reached through the skill and determination of the seeker. He effectively diminishes the share of the supernatural in favor of the will of the seeker.”

So, according to Crowley, Thelema and his order Argenteum Astrum (A∴A∴) which was comprised of three orders (the Silver Star, the Rosy Cross, and the Hermetic Order of the Golden Dawn), the central experience to this system is to connect to the Holy Guardian Angel, obtain the Knowledge and Conversation, and the way to get there is to “cross the abyss” that lies between Mankind and Divinity.


The crossing of the abyss is the annihilation of the ego. While Crowley’s definition of who the Angel is has changed over the years of his writings, he wrote in The Equinox Vol. 1 that the Theosophists call the Angel the Higher Self, the Silent Watcher, or the Great Master. The Golden Dawn calls him the Genius. Gnostics call him the Logos. The Bhagavad-Gita calls him Vishnu. He is also the Tao, he is the Subconscious.


But, toward the end of his life, he interpreted the Angel as an objective being completely apart from any of us. In his book Magick Without Tears, Chapter XLIII, The Angel was not the “Higher Self” but an actual being that existed. This disembodied being could be an angel or a demon.

What is interesting in trying to make sense of the madness of Crowley’s mystical system is that there exists a “dweller” in the “abyss” believed to be the last great obstacle between the adept and enlightenment and whose function is to destroy the ego.



Crowley wrote in Confessions, chapter 66:

"The name of the Dweller in the Abyss is Choronzon, but he is not really an individual. The Abyss is empty of being; it is filled with all possible forms, each equally inane, each therefore evil in the only true sense of the word—that is, meaningless but malignant, in so far as it craves to become real.”


Almost sounds like he’s describing superposition prior to wave function collapse.


Choronzon is the sole inhabitant of the chasm human magicians must cross to attain ultimate knowledge or gnosis. Those capable of abandoning their ego will be able to move beyond the abyss and achieve the title of “Master of the Temple.” The Dweller in the Abyss is not unlike the abyss he inhabits. He is a void, the zero, with no true form of his own, he is empty of being. He can take on the appearance of any form of his choice. He is synonymous with the serpent in the Garden of Eden, he is Satan and is said to have communicated to Crowley that he is envious of God’s newest creation: man.


In Kabbalistic gematria, a system that assigns numerical values to Hebrew words, Choronzon is "ChVRVNVN" and bears the value 333. This number is exactly half of "the number of the beast- 666" as described in Revelation 13:18 and gives Choronzon significance as an "aspect" of Satan. Though he is typically explained as embodying the female aspect, Choronzon is still a male entity as part of the Beast. Of course, summoning any demon is a perilous endeavor, failing to subdue and conquer Choronzon results in being possessed by this demon. It was believed that Crowley, after engaging in this exercise, was indeed possessed by this demon causing him to lose his mind. This possession remained until the day he died. (Read more here)


After all of that, there is not a single mention of multiple dimensions, the multiverse, or many worlds. For these, there’s one ultimate reality behind the veil (above), one material universe (below), and they have made it their mission is to pierce the veil and bring it all under their command.


So, where does the idea of multiverse come from?


Although many people believe that CERN’s main mission is to create massive black holes or to open portals to other dimensions and open the gates of hell releasing legions of chained and bound demons from the pit to bring about Armageddon, there isn’t much evidence to support any of these claims.


Their main mission is to find the missing particles that complete their mathematical theories, to unlock the mystery of how our material universe came into being, and then string it all together in one cohesive equation called the Theory of Everything. What their goal really boils down to is going beyond the Standard Model of Physics and, well, to hopefully prove that God never existed. After they convince the world that God isn’t real, they, not necessarily the physicists themselves, but their funding sources for sure, they will use this so-called “data” to assume control over nature, everyone’s thinking and living DNA in all sorts of dystopian and diabolical ways, then the prophesied globalist world leader (we know as the Antichrist) will rise to the fullness of his power and even though he is human, he will be worshipped like a god and perform great signs and wonders deceiving the entire world, and so on and so forth. This is the goal. That’s it. It really is that simple. It’s a mind game. It’s psychological warfare. One big, diabolical, utterly evil, strategy for world domination and total mind control.


The big pivot in all of this physics madness really began with one significant experimental finding: the wave function collapse that occurs when observation is included in the double-slit experiment.


The double-slit experiment consists of the firing of electrons or photons, which are particles of matter, in an enclosed device through a panel with two openings. Instead of finding two strips of particles on the back screen, they found interference patterns revealing that particles can act as both particles of matter and waves of potential. In an attempt to understand what happens during this process, they installed a camera to observe what exactly takes place. After the instrument for observation was part of the experiment, the waves of potential became particles. In other words, the simple process of observing, and subsequently measuring as every observation is also the act of measuring, turned waves into particles, potential into matter.

Somehow, consciousness plays a role in this process. The event that causes wave function collapse is conscious observation and measuring. Does human consciousness play a role in the material universe? Some would like you to think so.

Theoretical physicist Erwin Schrödinger (1887-1961) theorized that waves, which are super-positioned before becoming particles, there is this notion of a “chooser” that after observation, the particle shows up “somewhere” in the material world. Everyone’s heard of Schrödinger’s cat. The wave, before being observed, holds the information for every possible material outcome. Some physicists, particularly of the globalist variety, theorize that every possibility, every variable is housed in its own reality, its own universe. In other words, all those other possibilities don’t decay into oblivion once a “choice” has been made. They travel, somehow, from this reality, to a newly formed one outside of this reality, and since its outside of our reality, we have no way of observing or measuring.


Sounds patently absurd to me. All the experimental evidence shows that the waves simply decay.


Theoretical physicist, John Wheeler (1911-2008), friend and colleague of Albert Einstein and Niels Bohr, and the man who coined the term “black hole,” said that reality is made up of information that is created by observation. For Wheeler, the observation must be made by something conscious. He asked the question, “Does the universe exist if we’re not looking?”


In an interview with Discover Magazine:


As Wheeler voices his thoughts, he laces his fingers behind his large head, leans back onto a sofa, and gazes at the ceiling or perhaps far beyond it. On an end table near the sofa rests a large oval rock, with one half polished black so that its surface resembles the yin-yang symbol. ‘That rock is about 200 million years old,’ says Wheeler. ‘One revolution of our galaxy.’”


Nobel Prize winner, Frank Wilczek, looking to narrow the definition of this conscious observer has said, “Quantum theory is contentious and obscure and will remain that way until someone constructs within the formalism of quantum mechanics an observer. A model entity whose states correspond to a recognizable caricature of conscious awareness.”


What model entity could be capable of observing the universe in its entirety, for all of time, past, present, and future? What conscious observer can be both omnipresent and omniscient? Or even omnipotent to make all the necessary choices for reality to exist and keep existing? For men like Wilczek and the others, there can be only two possibilities: human consciousness interacts with the universe, or the cosmos is its own conscious living being. Never at any time have they considered the most obvious choice. God.


Wilczek is an activist and a major player in the World Economic Forum. He has long abandoned God for atheism but claimed in 2013 that he’s now more pantheistic in his worldview. He’s well-connected to the globalist elite and a staunch UN supporter.

In an interview with the Los Angeles Times, Wilczek shares his thoughts on God and religion. When asked if he was an atheist or agnostic, he replied:


“Not affiliated with any specific recognized church is certainly part of it, but I’m more comfortable saying that I’m a pantheist. I believe that the whole world is sacred and we should take a reverential attitude toward it.”


When asked who he thinks God is, he applauds both Sir Isaac Newton, who was as much a Christian and theologian as he was a mathematician and Einstein, who felt Spinoza’s god made more sense. Spinoza believed that God is “the sum of the natural and physical laws of the universe and certainly not an individual entity or creator.”


Wilczek continues:


“I would only add to that that I think God is not only the world as it is, but the world as it should be. So, to me, God is under construction. My concept of God is really based on what I learn about the nature of reality.”


In his book, Fundamentals, he writes:


“The process of being born again can be disorienting. But, like a roller-coaster ride, it can also be exhilarating. And it brings this gift: To those who are born again, in the way of science, the world comes to seem fresh, lucid, and wonderfully abundant.”


Incidentally, Wilczek was awarded the Templeton Prize for Progress Toward Research or Discoveries about Spiritual Realities. That's quite a name for a prize, eh? The Templeton Prize is an annual award granted to those “whose exemplary achievements advance Sir John Templeton’s philanthropic vision: ‘…harnessing the power of the sciences to explore the deepest questions of the universe and humankind’s place and purpose within it.’” The prize was established, funded and administered by Templeton himself starting in 1972.

Sir John Templeton (1912-2008) was a billionaire, a globalist, big banker, fund manager, philanthropist, and one of the biggest promoters of the New Age and the interfaith One-World Religion movement. Templeton’s worldview is clearly expressed in his numerous books. He’s an evolutionist, a pantheist, and steeped in New Age theosophical occultism, whose goal, expressed in his own biography “has been nothing less than to change mindsets about the concept of divinity.”


His views are deeply rooted in The New Thought Movement and the Unity Church (which is metaphysical humanism of which its members believe they can manifest their own reality with the power of their thoughts). Followers of The New Thought Movement believe that “true human selfhood is divine” that comes from one’s connection with a “universal energy force.” With a strong emphasis on wealth and prosperity, this force can be manipulated at will by thoughts and feelings to determine one’s own destiny.


If you haven’t figured it out yet, yeah, that’s witchcraft.


In his book The Humble Approach, published in 1981 by his own publishing company, he writes that the Bible was written by men who “were limited by cosmologies long since discredited” and whose writings were “ignorant and primitive.” (p 135) “No one should say that God can be reached by only one path.” “I am hoping to develop a body of knowledge about God that doesn’t rely on ancient revelations or scripture.” Oh, and this little gem… “In humility, we should admit that other universes may exist unknown to us, and not only in three dimensions but maybe in four, five, or six dimensions.”


Wilczek describes what he calls a “mystical” moment in which he obtained encouragement that came “if not from Nature, (he puts with a capital “n”), then at least from other physicists. “He says that this mystical moment came while standing atop a “jerry-rigged observation platform above a haphazard mess of magnets, cables, and panels.” That mess was the parts and pieces of an early particle accelerator located at Brookhaven National Laboratory. While standing atop these pieces of equipment that are used to experimentally explore the fundamentals of capital “n” Nature, it came to him “viscerally,” some incredible insight into the calculations he’d been working on and how it might describe this entirely different realm of existence. (Read more here)

Michio Kaku is the big multiverse guy. As co-founder of String theory or M-theory, the many-worlds interpretation is his baby. Or should I say, was, because the theory, absurd as it is, has largely been dismissed in the physics community. And, yet he doubles down on the notion. He contributes a lot to the World Economic Forum where he is an active member.


Working from the absurd and unsubstantiated premise that the universe is a wave function that exists in many states, in his view, the big bang could have created a multitude of infinite universes simultaneously and continues to do so. In his book Parallel Worlds, he postulates that “…there is no need to invoke a cosmic observer that can observe the entire universe all at once.”


Kaku invokes a lot of science fiction in his book including Edwin Abbott's Flatland, written in 1884, which posed the idea that in a four-dimensional world, higher planes of existence might hover right above ours and we wouldn’t be able to see it. And, H.G. Wells’s book, published in 1923 titled Men Like Gods he imagines several English motorists who inadvertently drive through an invisible barrier crossing into a parallel world, the alternate world’s inhabitants, whom the travelers call “Utopians,” had super-human powers.


Kaku writes:


“Because a hyperbeing would possess superhuman powers usually ascribed to a ghost or a spirit, in another science fiction story, H. G. Wells pondered the question of whether supernatural beings might inhabit higher dimensions.”


He continues:


“In this line of reasoning, the universe does have a point: to produce sentient creatures like us who can observe it so that it exists. According to this perspective, the very existence of the universe depends on its ability to create intelligent creatures who can observe it and hence collapse its wave function. Of all the theories proposed in the past century, the only candidate that can potentially ‘read the Mind of God,’ as Einstein put it, is M-theory.”


Kaku wins the prize of most strenuous mental gymnastics to work around the notion of God.


“For me, the real meaning in life is that we create our own meaning. It is our destiny to carve out our own future, rather than have it handed down from some higher authority.”


The many-worlds theory began with American physicist, Hugh Everett III (1930-1982) who echoed the idea that wave function never collapses and all possible events are “equally real” and that countless copies of every person and thing exist in every possible configuration spread over an infinity of universes. After much-deserved scorn from the physics community, he left the field and began a career at the Pentagon where he worked in a team calculating potential deaths in the event of nuclear war.


The irony is not lost that Everett and his successors like Kaku, who use the many-worlds theory as a way to disprove the notion of God, if every possibility exists in its own universe, then somewhere God must indeed exist. Except, for Everett, everything exists except God, and Kaku agrees.


The concept of the fourth dimension was a popular idea in the late 19th century among spitualists and mediums. It was thought to be the realm of the paranormal, the ether where spirits dwell, and that anyone could access it with special training.

Johann Zöllner (1834-1882) was German physicist who had prepared rigorous controlled experiments to evaluate the powers of the paranormal of magician and medium Henry Slade (1835-1905). Slade was known mainly as a slate-writing medium where he would hold seances and claimed spirits would write messages on a chalkboard but was exposed as a fraud. But, Zöllner fell for it hook line and sinker and even published a treatise titled Transcendental Physics in which he claims Slade was able to perform these magical feats by accessing the fourth dimension. In Zöllner’s view and based on his readings of German philosopher Immanuel Kant, the fourth dimension was real, and unless you are properly trained or had a natural gift, you would not be able to see it. (Read more here)


The Theosophical Society and the Society for Psychical Research celebrated this thesis and began to promote the concept of the fourth dimension as a spiritual realm in their writings. Ghosts and spirits are thought to dwell in the hyperspace of the fourth dimension. H.G. Wells thought the occupants of the fourth dimension had superhuman powers.


Committed theosophist and Hermeticist, Claude Bragdon (1866-1946) was an influential author and architect steeped in occultism and wrote several treatises and books for the Theosophical Society. He is known for his illustrations which illuminated many occult and theosophical concepts such as sacred geometry, and Platonic solids and a fictional character he called Sinbad (borrowed from Arabian Nights) has had many strange adventures in strange lands.


In his book The Frozen Fountain, he experimented with complex geometric shapes he calls projective ornaments that project light and shadows. For Bragdon, the fourth dimension is a realm just outside of our field of perception:


“For knowledge arises from consciousness, and consciousness everywhere and always is conditioned by the vehicle of perception.”


Bragdon, an evolutionist, in his book A Primer of Higher Space (the Fourth Dimension), he asserts that as humans, which are mere higher animals, through evolution, our senses exponentially evolve and increase.


”…if this shifting psycho-physical threshold is simply the dividing line between lower and higher spaces, then the whole evolutionary process consists in the conquest, dimension by dimension, of successive space-worlds. Everything transcendental exists in some space and therefore it is possible that by the intention of consciousness, one can first apprehend and then perceive as real, that which is now considered transcendental.”

Using Plato’s cave allegory as his example, “by dwelling on elementary higher space concepts” one can break on through to the fourth dimension. In other words, if you can wrap your head around it, you can see it and then get yourself there. It’s evolution. The mind becomes the portal, the gateway to other dimensions.


In The Frozen Fountain, Bragdon explains his concept of axonometric projection, a method central to Bragdon’s architectural approach. He describes axonometric projection as a method of representation which “truly renders the mental image – the thing seen by the mind’s eye.” According to Bragdon, the fourth dimension is a world that is mathematically true but impossible to visualize other than through linear diagrams through orthographic projection.


Orthographic projection is used to project a 3-D object down to 2-D commonly used by architects and engineers for blueprints and schematics. Bragdon also designed theosophical temples and other architecture based on these ideas.

On the subject of orthographic projection and finding other dimensions, back in 2017, a group of researchers from Quantum Gravity Research were looking for the extra dimension, too. Using findings from experiments at CERN, they are working toward their version of a Theory of Everything. There are problems, holes in their theories and major jumps to some very strange conclusions.


Let me unpack this a bit.


The checkerboard you see here is a 2D crystal.


The cube you see here is a periodic 3D crystal.

It’s called a periodic crystal because the atoms are arranged in a crystalline pattern. They certain do not disclose that they are using Claude Bragdon’s occultic use of orthographic projection in their experiments, but in this demonstration, they take a 3D crystal to project a 2D image so you can see how the process works.

But the projected 2D image is not periodic. This 2D image is a quasi-crystal. Remember this, quasi- means “seemingly, apparently, but not really.”

Taking the patterns that emerge from particle collisions as the particles and forces reconverge back into one another, a process called gauge symmetry transformation, according to Klee Irwin, the theoretical physicist at Quantum Gravity Research, who, according to his website, is on "a personal mission to raise consciousness on the planet through scientific breakthroughts that lead to solutions for advancing humanity," the fundamental particles and forces, as they reconverge, correspond to a very specific 8-dimensional shape that they call the E8 Lattice.

Using Bragdon's occultic orthographic projection (which isn't science, by the way), they take the E8 Lattice and project from it a 4-D quasi-crystal. Then they take the 4-D quasi-crystal and orthographically project it down to 3D which they believe is the pattern of the substructure of all reality. And, why do they think this shape is legit? Just like a single cell of the cube-shaped lattice is a cube, taking a single cell of the E8 Lattice creates an 8D geometric shape with 240 vertices called the Gosset Polytope. They then take THAT shape and orthographically project another 4D quasi-crystal. When they measure the difference, they get the golden ratio. It’s the golden ratio that works with both general relativity and quantum mechanics. A Theory of Everything must unite general relativity with quantum mechanics, something physicists have been unable to do.

But, that’s a lot of quasi-crystals. Of course, they don’t tell you here that in order to get to the E8 Lattice in the first place, they have to insert quite a few hypothetical particles, particles that haven’t been discovered yet, in several place markers.


In their video, Klee Irwin runs it all down. When it comes to explaining these findings, which seem to be an extraordinary reach, he takes it to an utterly absurd conclusion:


"A universal collective consciousness is one answer, but that sounds new age and religious. Nowadays, a good number of physicists discuss the idea that our whole universe is actually a code-based simulation in some fantastically powerful quantum computer in another universe. Now, if true, then by the same logic, that other universe, where the computer running the simulation where our universe is, would also supposedly be a simulation in another universe. So, the idea is a little shaky but it's being discussed, seriously, by a lot of credible people."


Is it just me, or does Klee’s E8 Lattice look strangely similar to Claude Bragdon’s painting from 1931, Crystal and Arabesque?


Timothy Leary called the Overmind the eight circuits and twenty-four stages of neurological evolution, which operate from within the human nervous system. Timothy Leary, a CIA asset engaged in a mass psychological warfare campaign during the 1960s counter-culture understood that the nervous system could be "conditioned" in all sorts of ways that shape beliefs and compel behaviors. For Leary, the nervous system was the locus for operant conditioning.


Occult philosophers and gnostic evolutionists, Mirra Alfassa, known as “The Mother” and yoga guru Sri Aurobindo, the Overmind is the cosmic consciousness or unity-consciousness. It is the plane of transcended illumined human consciousness that continues to populate and manifest into one galactic cosmic supermind. In Arthur C. Clarke’s Childhood’s End, the Overmind was explained (Read here). Today, the concept of the Overmind is being facilitated through digital technologies in spheres like the Metaverse. If the Overmind isn't real, then they will just create a synthetic one. And, they are doing just that, right now, as we speak.


In the Metaverse, after jacking in, there can be limitless synthetic worlds, worlds upon worlds upon worlds, symbolized by their logo that represents infinity. If you can imagine it, it can exist. That’s pretty much their slogan.



I’ve recently created a video on the Tiger and Buffalo ad created by Meta. But, let me add some important additional information for you here now. To quickly summarize, the ad depicts a group of teens in an art gallery as they gaze upon a painting of a tiger and a buffalo in a jungle landscape. The tiger makes eye contact suggesting perhaps that the machine “sees them,” then the painting comes alive, the tiger begins to pet the buffalo and says in a deep male voice, “this is the dimension of imagination.” Then it bursts inside the jungle with all types of animals and birds dancing together with nature to a syncopated beat. The animals have anthropomorphic faces, eyes facing front, and human characteristics as if the teens are hypnotically looking in a mirror, perhaps at what Meta believes are their evolutionary ancestors.


The jungle scene begins to emerge from the painting and surrounds the teens. They are greeted by hanging dancing serpents in an Eden-like garden setting. In the painting, the horizon reveals three heavenly bodies hanging large in the sky along with some strange geometric-shaped structure, and a futuristic metropolis far in the distance.

The Tiger and Buffalo painting is by an artist that’s important in the academic world for a specific reason. As I’ve discussed in my previous video, Henri Rousseau (1844-1910), a French artist from the late 19th century, was convicted for bank fraud in 1907 (read more here) and was a socialist evolutionist. Socialist evolutionism or socialist Darwinism, not to be confused with Social Darwinism, applies Darwinism to society rather than nature. It is the notion that natural selection creates societies that cooperate as moral communities.

Rousseau’s painting of Fight Between a Tiger and Buffalo reflects this notion as it is painted in an artistic style known as “primitivism,” a movement that gained popularity among early European modernists. (Read more here)


Like Modern Dance, primitivism is both an art form and a political ideology. As an art form, it is an aesthetic idealization that emulates a primitive experience and was the precursor to the Avant-Gard, surrealist, and abstract modern art movements. For example, Cubism, made famous by communist activist Pablo Picasso, emerged from primitivism. The term admittedly comes from the late 19th century western world’s view that African, Oceanic, and Native North and South American cultures were “primitive.”



The source for their inspiration from these cultures, which, just like in the case of Darwin’s evolutionism, they obviously didn’t make any effort to understand or respect their source material which denigrates them through this terminology. Primitivism, among the utopianists, was nostalgia for ancient civilizations, regardless if they were mythological or not, such as the Golden Age of Atlantis or even the Garden of Eden.

As a political ideology, it is a form of anarchism known as anarcho-primitivism. Early anarchists like Thoreau, Emerson, and Tolstoy were pivotal to this movement. Anarcho-primitivism advocates for a return to non-civilized ways of life through deindustrialization and a “rewilding” of human civilization by returning to a hunter-gatherer form of subsistence. This movement is directly connected to this glamorization and push for a return to paganism found in so many propagandized films and TV series that we see today. It’s the view that industrialization and capitalism lead to social alienation, social stratification, coercion, etc. The movement includes the abolition of the division of labor or specialization, abandonment of agriculture, and advanced technology.


The irony is not lost here that one of the largest technology companies that has formed one of the biggest monopolies in the world while creating its own commerce and currency, desires to insert the entire global population into its synthetic multiverse has created an advertisement with an anarcho-primitivist neo-Luddite message.


Talk about hypocrisy.


But, does Meta’s idealization of utopianism and anarcho-primitivism come from a rationalist perspective or an occultic one? The images speak for themselves. Let’s look at some stills from the advertisement.

In the foreground is the illuminist symbol of the owl. The owl, in its occultic usage, represents secret knowledge, gnosis, or wisdom of the mystery schools. Since the modern-day illuminists believe they are the wise rulers of the planet here to maintain and pass on this secret knowledge or gnosis, the owl is one of their prominent symbols. The owl never turns its gaze but instead can turn its head completely around, representing the initiated who can see where normal men cannot. In the Orphic tradition, it is a symbol of metempsychosis, or transmigration of the soul, reincarnation to one’s final stage of divinity as an immortal.


On the horizon are three heavenly bodies, Saturn, Venus, and Mars. These celestial bodies are always connected to the Atlantean philosophy. These planets together symbolize the mythological primordial sky of the Golden Age of Atlantis, a highly advanced utopian civilization ruled by immortals who through science and philosophy created a most perfect society. It’s believed that during that pre-flood era when the immortals we know as The Watchers walked the earth, Saturn was our sun that stood fixed in the Northern sky. That's the myth. The Platonian vision of the perfect civilization of Atlantis is at the heart of the ruling elite's nameless "ancient mystery religion of Babylon" we know as The Cult of Saturn or The Cult of the Black Sun.


Was Saturn once our sun as ancient Babylonian writings suggest? Not according to Enoch, great-grandfather to Noah. In the first chapter of the Book of Enoch, an ancient text that Jesus himself has quoted, Enoch prophesies a powerful judgment of God against The Watchers which scholars believe describes the Great Flood.


But, in chapter two, verse one, Enoch proclaims:


“Observe ye everything that takes place in the heaven, how they do not change their orbits, and the luminaries which are in the heaven, how they all rise and set in order each in its season, and transgress not against their appointed order.”


This Freemasonic Luciferian solar cult is considered a “brotherhood” that strives toward the installation of their dark primordial "son" whom they call the New World Teacher and who is this counterfeit messianic figure that they believe will usher in their new, global utopian vision of The New Atlantis.


The serpent, also a symbol of secret knowledge, represents Lucifer in the garden who Luciferians believe brought enlightenment to humanity setting mankind free from a tyrannical god. The serpent is a symbol of higher and lower consciousness, specifically, the transformation or evolution of consciousness from childlike to higher thinking. Just as the serpent sheds its skin, humans, using the power of gnosis and intuition to attain self-knowledge and reach enlightenment, can shed their old values and develop new ones. The serpent is also the symbol of the kundalini. When the kundalini is awakened it leads to a higher state of consciousness or the final stage of illumination.


In the Hiram Abiff of Freemasonry, according to Manly P. Hall, the kundalini or Spirit Fire, when lifted up through the thirty-three degrees, or the spinal column and enters the pineal gland, invokes Ra. It is considered the Lost Key of Masonry and opens the gates of the temple, the temple here being the human body. The serpent signifies the imprisoned life force, the divine energy, the true principle of wisdom as it tempts man to the knowledge of himself.



In the back of the gallery in what looks like another room or hall are more paintings. These paintings are from another socialist evolutionist and occultist, Hilma af Klint. Hilma af Klint was a Swedish artist, self-proclaimed medium, and mystic whose paintings were among the first in Western abstract art. Af Klint was a Theosophist and a Rosicrucian. Her paintings, which resemble mysterious geometric diagrams, were a visual representation of theosophical, occult, and masonic ideas that she believed were revealed to her by entities that communicated with her through her numerous seances.

In 1920, af Klint joined the Anthroposophical Society. Anthroposophy is a pseudo-scientific spiritualist movement founded in the early 20th century by esotericist and occultist Rudolf Steiner. Steiner, like his contemporary, Claude Bragdon, was trained in mathematics and physics, he was an architect, a socialist radical, and claimed to be clairvoyant.


Anthroposophy asserts the existence of an objective collective consciousness, an overmind, in the fourth dimension of which humans can communicate through the use of their own intellect. According to Steiner, to perceive this dimension, the mind must first achieve a state free from any sensory experience. Af Klint remained a member until 1930.

Back in 1896, she belonged to a group called “The Five,” a coven of women artists who, by way of seances, would make contact with the “High Ascended Masters.” During their seances, af Klint would create automatic drawings and writings which became wildly popular among the Surrealists of the 1920s. After years as the sole medium of The Five and their many seances, Hilma af Klint accepted a special assignment from one of the Ascended Masters, a commission to create Paintings for the Temple.


This “great commission” as Af Klint called it, was to create a series of paintings that reveal the secret knowledge of this extra dimension, the realm of the masters, to be placed in a temple that should be built. These paintings were carried out in two phases between 1906-1916 of which she explained were painted “through” her with “force,” a “divine dictation.”

The three paintings by Hilma af Klint shown here, which are titled Altarpieces, are said to relate to theosophical evolutionary theory in which evolution occurs in two directions, elevating from the physical to the spiritual and descending from the divine to the material world. In other words, as above, so below. These three paintings are meant to be shown together in the sanctuary or the innermost part of the temple of which she imagined would be a round, three-level structure connected by a spiral staircase of which visitors could proceed upward, or ascend.

Curious choice of symbols, paintings and artists to be used for this advertisement. If you ask me, this was never meant to be understood by their target audience. They probably never intended for the people viewing this thing to truly understand what they are seeing. Hopefully, now they will.