Now that you have read Black Sun Rising part 2; in review do you remember Orage’s and my first piece together at the beginning of 2014; Black Sun Rising part 1? It was about Comet Ison, that’s an anagram for Zion, almost destroying the world at the end of 2013.
Orage told me at the time it wasn’t a comet. It was our first piece together. It wasn’t that I was trying to deceive you, it’s just that I didn’t know yet that he was never wrong.
You’d better read part 3.
“In the Book of the Jaguar Priests or Chilam Balam, it is written that the road from the stars will descend from the sky and the 13 Gods of Heaven and 9 Gods of Hell will come to earth. The Maya believed that the end was the beginning and the beginning the end, in destruction would come creation and creation destruction. It would happen at the black hole. At the crossroads an image would appear in the sky. The dark kingdom of Xibalba would manifest itself upon the earth.”
“The Mayan calendar — just like the story of Akakor and the true names of Yahweh — is based on the number 13. The calendar is divided into 13 Baktuns. Each Baktun equals 144,000 days. When all 13 Baktuns are completed, the calendar resets to zero and the Mayan doomsday scenario takes place. Mainstream archaeologists say the Mayan calendar began on August 11, 3114 BCE.
Using this genesis date, the destruction of earth should have taken place on December 21, 2012. But in the epilogue of Chronicles of Akakor, Karl Brugger states “According to the Chilam Balam, the books of the jaguar priests of the Maya, history begins in 3113 B.C. The German Maya scholar Wolfgang Cordan connects this date with a mysterious historic event of great importance.”
Brugger doesn’t say what the historic event was, but Wolfgang Cordan was the foremost expert on Mayan hieroglyphics. Historical records indicate that he died in 1966 at the age of fifty six while in the field doing research. They also indicate that his friend and closest colleague was killed six months later. The index cards to Cordan’s major work, a comparative dictionary of Mayan writings, have never been found.
Cordan was the lead linguist in a huge expedition composed of some ninety archaeologists from the University of Pennsylvania under the direction of William D. Coe. The dig began in 1956 and finally ended in 1969. The effort, unprecedented to this day in Mesoamerican archeology, unearthed ten square miles of the enigmatic Mayan city; Tikal, with its most imposing structure being Temple 1, the temple of the giant Jaguar.
Almost all but the most superficial information about Cordan seems to have been purged from academic records. The German Wikipedia editor laments that secondary sources are nonexistent, and there are no available comparisons of Cordan’s work to the current state of research on Mayan hieroglyphics. Predictably the editor was also unable to find anything about the circumstances of Cordan’s death…”
Those who have been roped in by the Thunderbolt Project –another internet psy-op, this one intended to relegate the Electric Universe “theory” to a joke among everyone with half an education– tell me there is no such thing as Black Holes. “They are part of the pseudoscientific theory of relativity.” The latter is true; the former is reminiscent of a man being swept into oblivion by a Tidal Wave whose last words are: There is no such thing as a Tsunami!
Black Holes were first postulated in the late eighteenth and early nineteenth century by the Marquis de Laplace, the man who proved Newton’s gravitational equations to be all wrong and that gravity was really the result of displacement in a fluidic field. His breakthrough mathematics in Théorie analytique des probabilities, published in 1812, would lead to the use of the probability equations that would culminate with the math of twentieth century Germany.
In order to validate his cockamamie theory, which the Jewish plagiarist actually stole the mathematical foundation for from Hendrik Lorentz, a man whose equations are critical to understanding just how electromagnetism works, Einstein had to account for and explain Laplace’s Black Holes, which by the late nineteenth century every physicist knew had to exist.
According to Einstein’s general relativity, there is a singularity in the center of a Black Hole that is infinitely dense. Once across the Black Hole’s event horizon, nothing can escape that singularity. The inevitable can be prolonged by an object accelerating away, maybe even by jumping through time, but sooner or later it will reach freefall and be torn apart in a process so violent that it is sometimes referred to as spaghettification, or the noodle effect by scientists. In the end, it is crushed into something so dense it is infinite.
In 1988, working out of the Caltech, the dark heart of Jet Propulsion Laboratories, scientists found mistakes in Einstein’s applications of Lorentz’s equations; and Lorentzian traversable wormholes became a mathematical probability. They allow travel in both directions from one part of the universe to another very quickly. They also allow travel from one universe to another… According to the math that JPL uses, teleportation is far more likely than dissolution for an object passing through a Black Hole.
According to Einstein’s general relativity there is a yawning Black Hole at the center of the galaxy, sustained by the essences of all the worlds it has swallowed up before. Everything corporeal is destined to one day be swept over its Event Horizon and become a part of it. This Black Hole sits like an ever-expanding open drain at the bottom of a sea of stars.
But once again the Jewish circus clown is in error, as if he ever could be anything else, as Arthur Young, one of Bell’s top scientists explains in Esoteric Evolution – a Primer for the New Gods II – a “Teapot” and the Toroidal Universe, the universe, the galaxy and indeed existence itself is toroidal.
In the paper used as one of the sources for Esoteric Evolution: Consciousness in the Universe is Scale Invariant and Implies an Event Horizon of the Human Brain, it is postulated that “consciousness in the entire universe arises through, scale invariant, nested toroidal coupling of various energy fields, that may include quantum error correction. In the brain of the human species, this takes the form of the proposed holographic workspace, that collects active information in a “brain event horizon”, representing an internal and fully integral model of the self. This brain-supervening workspace is equipped to convert integrated coherent wave energies into attractor type/standing waves that guide the related cortical template to a higher coordination of reflection and action as well as network synchronicity, as required for conscious states…”
In a lecture given during the eighties, after pointing out the mathematical problems presented by a spherical universe, Arthur Young puts his globe prop away and tells his audience “I’m not responsible for that…” He then produces a large white artificial donut as a new prop, saying “but I have an alternative universe.”
Young rotates the two-dimensional skin that is the surface of the three-dimensional donut horizontally; and it can be seen that there is a black circle drawn on the white skin. As the circle emerges from the hole in the top of the donut, it is expanding; and when it enters the hole on the bottom of the donut it is contracting, “closing in on itself.”
Young tells his audience “in a way this is what’s already recognized by science in what’s known as the Einstein Eddington Hypersphere. But it’s only on the condition that the universe which we now have will eventually close back on itself. The concepts involved in the notion of black holes where you have all things going back into this hole and disappearing, let’s hope coming out the other side as a white hole. But see we have that concept contained here, that the white hole would be when it’s generating out, expanding. And the black hole when it’s going back in.”
Anyone who has ever had a premonition or a precognitive dream, let alone experienced a truly supernatural event such as the paranormal storm that I’ve lived in for the past few years, knows that Einstein’s theory, and that’s all it is, a theory, it’s criminal that it’s taught as science in universities; and that those responsible have done more damage to the human race than any serial killer or warlord ever could and need to be punished accordingly accounts for nothing.
In Arthur Young’s own words “the theory of relativity describes the universe in terms of space-time and events, events distributed in space-time. You could think of them like dots on a Christmas tree or dots in space. Only the space includes not just three dimensions, but the dimension of time. Events in the future are listed as well as events now. So the whole thing becomes a rather static picture, but to me I’ve been through a very drastic personal experience in 1927 and time could not be represented as structured. Time carried surprise, carried the unexpected…”
There is more, but it’s not just that the big bang theory is a big lie, and that Einstein’s speed limits only apply to pasty-faced academics who spend their lives chalking out “elegant equations” on the blackboards of cloistered universities and have never and can never produce anything but a lot of boring books that only other pasty-faced academics can read.
There’s a ghost in the machine. Two months after we published Esoteric Evolution, whose primary point was that the iconic Bell symbol of Bell Telephone and various subsidiaries that were the driving force behind western science in the twentieth century is actually the stamp of Die Glocke or the Nazi Bell or more specifically the brand like what is seared into domestic cattle, we come to find out that Rolling Stones whom we have been using as a theme for some of our most important pieces like Paint it Blue cut a song ‘2000 Light Years from Home’ on Their Satanic Majesties Request album in 1967.
Sun turnin’ ’round with graceful motion
We’re setting off with soft explosion
Bound for a star with fiery oceans
It’s so very lonely, you’re a hundred light years from home
Freezing red deserts turn to dark
Energy here in every part
It’s so very lonely, you’re six hundred light years from home
It’s so very lonely, you’re a thousand light years from home
It’s so very lonely, you’re a thousand light years from home
Bell flight fourteen you now can land
Seen you on Aldebaran, safe on the green desert sand
It’s so very lonely, you’re two thousand light years from home
It’s so very lonely, you’re two thousand light years from home
That wasn’t there. I owned every Rolling Stones Album ever made, used to have a guy named Bruce make me steel cassettes when I ran the topless bars on Long Island. I’ve listened to Satanic Majesties Request many a time trying to figure out why they named it that. I never heard that before. Aldebaran is supposedly the star the Nazis fled to after the war; presumably with Die Glocke.
I wrote a book about Leviathan, which is the union between Lucifer (male archetype) and the Goddess (female archetype), the result whether referred to as the Dragon or the Son of Man, is the only thing the god of this world fears. That was true when I wrote the book, but the part about Leviathan being the messiah in 777 by Aleister Crowley was not.
More glaringly still is the part in the sagas about Surtr being invincible because he wields Lǽvateinn, a weapon secured by nine locks that all must be opened before Lǽvateinn is free to do its work and given to him by the enigmatic Sinmara, whom many scholars believe to be his wife; and it being the only weapon that can slay Víðófnir, the cock that sits crowing atop the Yggdrasil. That was also not there. Orage never heard of it and neither had I; and the Pagans Motorcycle Gang, featured prominently in the book I wrote, wore a torso-sized picture of Surtr on their back…
There’s still more, so much more that wasn’t there, but is now; like the music videos starting with Bonnie Tyler’s – ‘Total Eclipse of the Heart’ which tells the story of why we are here and on whose authority we come.
Then we got the Janelle Monae: “Many Moons” Official Short Film, which tells the story of Jack Heart and the little bidding war between Adamus and the NSA over who would be the handler. Thank goodness I suppose that Suzie Scorcher –Sirius means Scorcher– won that auction, but it will not end well for Emily Empire, who just refuses to hear it. Voo doo doo doo indeed.
Then we got Imagine Dragons with the encore ‘Whatever It Takes,’ Wave Maidens and all. In between, there were plenty of side-shows, like Puddles the Clown and Donald Trump the Clown too; early on we decided we liked Clowns. They are the defining word in Chaos Magick. Augelmir the Water Giant was unleashed towards the end of April, and it’s been raining ever since here and in the Mississippi Valley. In Mississippi itself, people are taking boats “from their home to the nearest dry road and back. Many have homes that are underwater…” But don’t expect Schlomo to tell you about it. Telling the truth is not in his contract with Emily Empire.
You might ask yourself how all this is possible; how can reality be so pliable? David Lynch warned them; but again no one was hearing it, they were too busy draining the last drops from their victims to notice where they were. Of course, Lynch couldn’t make a documentary – that’s what got Karl Brugger and Wolfgang Cordan killed and Jack Heart censored. But in many cases, he came as close as he could, using initials and in her case her actual name. No doubt, he has been reading us since the beginning, he took Enrico Fermi’s fear of his own invention and turned into “Comet Ison…”
July 16th, 1945
In Twin Peaks 2017, episode 8 from 16:00 – 41:00 minutes, the crucial twenty-five minutes, which they would not allow us to even explain on Facebook to his fans, the screen goes to black and white. In large print it reads July 16, 1945, White Sands, New Mexico. There is a countdown in the desert and a blinding flash. A mushroom cloud rises, as the sand around it becomes a roiling sea of violence, expanding inexorably outward in concentric circles.
The camera pans in on the expanding mushroom cloud till it enters the portal to oblivion. There are whooshing explosions and swarming points of light. The screen goes to an orange flash, then what looks to be millions of tiny spermatozoa being sucked up into a vortex, then agitated bubbles in liquid, then back to flashing explosions in black and white.
Points of light hurtle by, till the screen goes to color and waves of fire. There are explosions in shades of yellow and orange and dark swirling smoke, as the view moves relentlessly forward. Walls of fire clash first in color, then black and white. Suddenly the journey through the portal ends at a convenience store in 1945.
Everything’s in black and white. It’s night. There are two gas pumps in front of a modest storefront, which consists of a door framed by two windows and a pay phone against its left corner. The door on the building starts to flash around between the windows, shadows flit across the front, as a sputtering static is heard.
An electromagnetic haze issues from the door accompanied by dramatic music. Lights flash in the windows as the haze in front materializes and dematerializes in an ever growing cloud. The sound of warbling electrical interference is heard and the flashes from inside the building increase in intensity. When the haze envelopes the whole building it dematerializes.
Men dressed in work clothes flash around locations in the building and by the pumps. The transmission of the picture has become erratic. A static is heard like when changing channels on an old AM radio. Time runs backward and forward, as the men change positions forward and reverse. The men disappear, and the store glows then goes dim. The haze reappears and the men with it. They are enveloped in a flash and the picture goes dark.
A hairless and faceless female form floats crucified in empty space. She exhales a stream of bubbling ectoplasm. There are eggs in the ectoplasm. In a giant black bubble floats the grinning face of BOB. The camera takes the view inside the river of ectoplasm, it is once again hurtling through fiery explosions. From the brightest one issues a globular drop of gold.
The view moves closer and closer till it gets inside and suddenly finds itself hurtling through red points of light. They grow less and less numerous, till it becomes clear the view is moving over a dark and tumultuous sea. A monolithic rock juts from the sea towering like a great obelisk over the stormy ocean. At its top is a cyclopean fortress with a single tiny window. The view moves inside the window.
A matronly looking woman sits on a plush sofa meditatively listening to a phonograph. It is 1945, perhaps a little earlier like 1931, when Rahn found the “Grail” and the picture is in black and white. The woman’s mode of dress, the décor and the music reflect that. To her right is die Glocke, its two gauges front and center. There are two electrical plugs in the top of it.
Die Glocke begins sounding a shrill alarm, and the woman gives it a concerned look as it starts intermittently flashing. The Giant steps out from behind it. He looks at her for a moment, then he turns away, as if he is contemplating something unthinkable. After staring into space for a while, he goes to the gauges and turns the alarm off. He goes behind Die Glocke and when next we see him, he is laboriously climbing a wide ornate stairway.
He goes to a giant screen and turns it on. He sees images of the bombs detonation in the desert and of the convenience store and what happened there. He sees images of the faceless woman in empty space, the ectoplasm stream she exhaled; and in that stream he sees the leering face of BOB, who represents our proverbially they, cocooned inside a black bubble…
The Giant steps to the right side of the screen, and we see that die Glocke is now on the left side. There are two long cables going upwards, each attached to an electrical plug inserted into the top of die Glocke. The Giant begins to levitate straight up. The matronly woman enters the room like a diva, her long dress glittering in black and white. She steps past die Glocke and adjusts the screen from BOB’s face to a view that is hurtling by points of light in black space.
She looks up at the Giant with breathless expectation. He’s suspended in mid air, as he begins to exhale golden particles of light that form a vortex coming from his mouth. In the funnel swirl golden globules. One is ejected and floats down to the matronly woman. Arms outstretched, she receives it lovingly, even as she looks at it with great consternation.
She then tenderly kisses it, as the smiling face of a teenage Laura Palmer, who is the Goddess, looks back from the globule. She lets it go and it floats up to be sucked in the flared end of a gold trombone like contraption that rotates at the top of the great domed ceiling. It passes through the golden trombone and out the narrow end to be deposited into the screen which now shows a picture of the earth.
The golden globule flattens out when it hits the screen, then becomes part of the picture as it’s heading towards America. As the camera pans away, the matronly woman is fixated on the screen, and the Giant is still floating next to it exhaling a golden vortex. It can be clearly seen that the trombone is attached to a golden Glocke that acted as the intake for the globule. Die Glocke on the floor now has four electrical plugs going into its top, and there are four cables running from the plugs up to the great vaulted ceiling.
Their world ended in the New Mexican desert, and an artificial one was created, a two-dimensional world without substance, a television picture which can be adjusted at the source, which is Mount Meru in the center of the roiling cosmic ocean.
Consciousness does not die with the world it is manifested in. It simply creates another world for itself — this is the meaning of Quantum Immortality. But in this case, one has been created for it because there is an imbalance, and it will stay this way until it has been adjusted, which is Agent Cooper & Company’s job…
Related articles: Black Sun Rising-2 – Chronicles of Akakor
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