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This crop circle formation was reported at Hackpen Hill, Wiltshire on the 30th of May 2011.
Diagram Yan Sun Copyright 2011
There is good reason to believe that two small “pyramid” shapes, as drawn within Sanctuary Phase II on May 30, 2011, were meant to represent another, much larger crop picture which appeared nearby at Hackpen Hill on the same night. Thus each of those two “pyramid” shapes at Sanctuary shows a dot and four straight lines, just as one may see within each of two “cone” shapes at Hackpen Hill with a circle and four curved arcs.
Furthermore, a “pyramid” drawn on the left at Sanctuary shows lines which are only half the width of those drawn on the right, for lines 1, 2 and 3 but not 4 (the lowest). If we look carefully at two “cones” which were drawn at Hackpen Hill (yellow numbers “2” and “3”), we can see that the “cone” drawn on the left likewise contains four curved arcs below a circular dot, which contain only half the areas of normal for arcs 1, 2 and 3 but not 4 (the lowest), when compared to another “cone” drawn on the right (or above)
So we can be fairly sure that two “pyramids” as drawn within Sanctuary Phase II were meant to represent the new Hackpen Hill crop picture, but on a much smaller scale. Why would the crop artists do this? Well, if Hackpen Hill were meant to represent some energetic outburst in space, perhaps the unexpected outburst of a comet, then its smaller version within Sanctuary Phase II could tell where the outburst will take place in Earth’s sky: especially since the rest of that crop picture shows a schematic image of our night sky, with four bright planets currently in alignment during June of 2011.
Red Collie
The farmer on whose land the formation was created isn't very happy about people trespassing on his property and threatens to cut down the formation if anyone is seen entering the formation ! Here's Gary King interviewing the farmer in question, David White !
Reference : Crop Circle Connector
Related Posts :
- Crop Circle at The Sanctuary, near Avebury Wiltshire : 28th May 2011
- 4th Indonesian Rice Crop Circle : 13th May 2011
- The Truth Behind Crop Circles : A Nat Geo Documentary
- Circle Chasers 2007 : Crop Circle Documentary
- Crop Circles & Energy Points : David Wilcock on Coast 2 Coast
- The Circle Miracle : A Crop Circle Movie
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On the 28th of May, a crop circle formation was discovered at The Sanctuary, near Avebury, Wiltshire comprising of 9 circles, possibly depicting some sort of a planetary alignment and the path of an approaching comet !
2 days later, on May 30th 2011, the circle makers returned to add on to the original design !
Reference : Crop Circle Connector
Related Posts :
- Crop Circle at Hannington, Near Cricklade, Wiltshire : 7th May 2011
- Lucy Pringle on Crop Circles with Lilou Mace
- First Crop Circle of April 2011 : Bosschenhoofd, Holland ~ 24th April 2011
- Google Moon Anomalies : ET/Alien Bases
- Triple Julia Set Crop Circle : Switzerland 8th July 2010
- 3D Cube Crop Circle : Danebury Hill, Hampshire ~ 6th July 2010
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Over the years there have been multiple official explanations and retracted statements by the authorities, all of which speak of a huge cover up by the powers that be.
The Alien Autopsy video is also featured towards the end of the film. After having heard about the physical description of the beings recovered from key witnesses I know the Alien Autopsy video is clearly fake !
The official story about Roswell has changed so many times that the truth now remains mostly elusive.
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Armed with nothing but his innate curiosity and a small crew to film his adventures, Shadyac set out on a twenty-first century quest for enlightenment. Meeting with a variety of thinkers and doers–remarkable men and women from the worlds of science, philosophy, academia, and faith–including such luminaries as David Suzuki, Noam Chomsky, Howard Zinn, Archbishop Desmond Tutu, Lynne McTaggart, Ray Anderson, John Francis, Coleman Barks, and Marc Ian Barasch – Shadyac appears on-screen as character, commentator, guide, and even, at times, guinea pig. An irrepressible “Everyman” who asks tough questions, but offers no easy answers, he takes the audience to places it has never been before, and presents even familiar phenomena in completely new and different ways. The result is a fresh, energetic, and life-affirming film that challenges our preconceptions about human behavior while simultaneously celebrating the indomitable human spirit.
The pursuit of truth has been a lifelong passion for Shadyac. “As early as I can remember I simply wanted to know what was true,” he recalls, “and somehow I perceived at a very early age that what I was being taught was not the whole truth and nothing but the truth.” He humorously describes himself as “questioning and searching and stumbling and fumbling toward the light.” The “truth” may have been elusive, but success wasn’t. Shadyac’s films grossed nearly two billion dollars and afforded him the glamorous and extravagent A-List lifestyle of the Hollywood blockbuster filmmaker. Yet Shadyac found that more – in his case, a 17,000-square foot art-filled mansion, exotic antiques, and private jets — was definitely less. “What I discovered, when I began to look deeply, was that the world I was living in was a lie,” he explains. “Much to my surprise, the accumulation of material wealth was a neutral phenomenon, neither good or bad, and certainly did not buy happiness.” Gradually, with much consideration and contemplation, he changed his lifestyle. He sold his house, moved to a mobile home community, and started life—a simpler and more responsible life – anew.
But, at this critical juncture, Shadyac suffered an injury that changed everything. “In 2007, I got into a bike accident which left me with Post Concussion Syndrome, a condition where the symptoms of the original concussion don’t go away.” These symptoms include intense and painful reactions to light and sound, severe mood swings, and a constant ringing sound in the head. Shadyac tried every manner of treatment, traditional and alternative, but nothing worked. He suffered months of isolation and pain, and finally reached a point where he welcomed death as a release. “I simply didn’t think I was going to make it,” he admits.
But, as Shadyac wisely points out, “Death can be a very powerful motivator.” Confronting his own mortality, he asked himself, “If this is it for me – if I really am going to die – what do I want to say before I go? What will be my last testament?” It was Shadyac’s modern day dark night of soul and out of it, I AM was born. Thankfully, almost miraculously, his PCS symptoms began to recede, allowing him to travel and use his movie-making skills to explore the philosophical questions that inhabited him, and to communicate his findings in a lively, humorous, intellectually-challenging, and emotionally-charged film.
But this would not be a high-octane Hollywood production. The director whose last film had a crew of 400, assembled a streamlined crew of four, and set out to find, and film, the thinkers who had helped to change his life, and to seek a better understanding of the world, its inhabitants, their past, and their future. Thus, Shadyac interviews scientists, psychologists, artists, environmentalists, authors, activists, philosophers, entrepreneurs, and others in his quest for truth. Bishop Desmond Tutu, Dr. Noam Chomsky, historian Dr. Howard Zinn, physicist Lynne McTaggart, and poet Coleman Banks are some of the subjects who engage in fascinating dialogue with Shadyac.
Shadyac was very specific about what he was after, wanting I AM to identify the underlying cause of the world’s ills – “I didn’t want to hear the usual answers, like war, hunger, poverty, the environmental crisis, or even greed,” he explains. “These are not the problems, they are the symptoms of a larger endemic problem. In I AM, I wanted to talk about the root cause of the ills of the world, because if there is a common cause, and we can talk about it, air it out in a public forum, then we have a chance to solve it.”
Ironically, in the process of trying to figure out what’s wrong with the world, Shadyac discovered there’s more right than he ever imagined. He learned that the heart, not the brain, may be man’s primary organ of intelligence, and that human consciousness and emotions can actually affect the physical world, a point Shadyac makes with great humor by demonstrating the impact of his feelings on a bowl of yogurt. And, as Shadyac’s own story illustrates, money is not a pathway to happiness. In fact, he even learns that in some native cultures, gross materialism is equated with insanity.
Shadyac also discovers that, contrary to conventional thinking, cooperation and not competition, may be nature’s most fundamental operating principle. Thus, I AM shows consensus decision-making is the norm amongst many species, from insects and birds to deer and primates. The film further discovers that humans actually function better and remain healthier when expressing positive emotions, such as love, care, compassion, and gratitude, versus their negative counterparts, anxiety, frustration, anger and fear. Charles Darwin may be best known for popularizing the notion that nature is red in tooth and claw, but, as Shadyac points out, he used the word love 95 times in The Descent of Man, while his most famous phrase,survival of the fittest, appears only twice.
“It was a revelation to me that for tens of thousands of years, indigenous cultures taught a very different story about our inherent goodness,” Shadyac marvels. “Now, following this ancient wisdom, science is discovering a plethora of evidence about our hardwiring for connection and compassion, from the Vagus Nerve which releases oxytocin at simply witnessing a compassionate act, to the Mirror Neuron which causes us to literally feel another person’s pain. Darwin himself, who was misunderstood to believe exclusively in our competitiveness, actually noted that humankind’s real power comes in their ability to perform complex tasks together, to sympathize and cooperate.”
Shadyac’s enthusiastic depiction of the brighter side of human nature and reality, itself, is what distinguishes I AM from so many well-intentioned, yet ultimately pessimistic, non-fiction films. And while he does explore what’s wrong with the world, the film’s overwhelming emphasis is focused on what we can do to make it better. Watching I AM is ultimately, for many, a transformative experience, yet Shadyac is reluctant to give specific steps for viewers who have been energized by the film. “What can I do?” “I get asked that a lot,” he says. “But the solution begins with a deeper transformation that must occur in each of us. I AM isn’t as much about what you can do, as who you can be. And from that transformation of being, action will naturally follow.”
Shadyac’s transformation remains in process. He still lives simply, is back on his bicycle, riding to work, and teaching at a local college, another venue for sharing his life-affirming discoveries. Reflecting Shadyac’s philosophy is the economic structure of the film’s release; all proceeds from I AM will go to The Foundation for I AM, a non-profit established by Shadyac to fund various worthy causes and to educate the next generation about the issues and challenges explored in the film. When he directs another Hollywood movie, the bulk of his usual eight-figure fee will be deposited into a charitable account, as well. “St. Augustine said, ‘Determine what God has given you, and take from it what you need; the remainder is needed by others.’ That’s my philosophy in a nutshell,” Shadyac says, “Or as Gandhi put it, ‘Live simply, so others may simply live.’”
Shadyac’s enthusiasm and optimism are contagious. Whether conducting an interview with an intellectual giant, or offering himself as a flawed character in the narrative of the film, Shadyac is an engaging and persuasive guide as we experience the remarkable journey that is I AM. With great wit, warmth, curiosity, and masterful storytelling skills, he reveals what science now tells us is one of the principal truths of the universe, a message that is as simple as it is significant: We are all connected – connected to each other and to everything around us. “My hope is that I AM is a window into Truth, a glimpse into the miracle, the mystery and magic of who we really are, and of the basic nature of the connection and unity of all things. In a way,” says Shadyac, a seasoned Hollywood professional who has retained his unerring eye for a great story, “I think of I AM as the ultimate reality show.”
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Electronic Awakening features interviews and footage from...
Daniel Pinchbeck Alex Grey Terence McKenna Ken Kesey Erik Davis Starhawk Michael Gosney Dr. Robin Sylvan Goa Gil Mark Heley Dr. Chiara Baldini Dr. Graham St John Dr. Anthony D’Andrea Garth of Wicked DEFSF Techno Alliance Moontribe Pioneers Sobey Wing LuxVibes and many more...
with Graphics from Doctor Spook and Paradise 2012
Music by Crystal Method, Vibrasphere, Androcell, Random Rab, Jason Knight, Govinda & TBD !
Here's a brilliant article by the film maker Andrew Johner ...
Where's the Party in 2012?
Perspective on the Electronic Music Culture's relationship to the 2012 meme
For years a great cross-section of the human population has been curious about the date December 21st, 2012. Much of this curiosity has been recently satisfied through a multitude of books, films, and scholarly theory. However, another question remains in a curious mist of uncertainty.
Where's the party going to be the night of the grand Halabaloo?
In the summer of 2006 I began working on a documentary film as part of a project to finish my degree in anthropology. The subject of my research was the spirituality of electronic dance music culture. Having never been to an electronic music event, let alone listened to much electronic music, I traveled out to the West Coast of the United States for the first time with a handful of tickets to parties and festivals I had never heard of to document the mystical undercurrent of the scene.
A whole myriad of prophetic, esoteric conceptions and beliefs awaited.
Downstream from counter-culture, new age, and general psychedelic phantasmagoria, an ocean of free-form spiritual narratives created a web of neo-mystical realities, a whole multitude of micro-religious frameworks that all in some way weaved into the metaphysics of dance-floor transcendentalism.
As I trekked from party to party, whether they were intentionally spiritual gatherings deep in the mountains, or outlandish hedonic revivals in concrete jungles of urban society, I began to hear rumors circulate about a party on December 21, 2012. The idea of wild super-massive rave at an ancient ruin the day of our envisioned doomsday, as well as beginning, seemed to link to a general tone of prophetic belief that made up a major part of the esoteric trace within the rave community.
There was an obvious influx of mysterious ideologies circulating around the Mayan Calendar which permeated the scene. I immediately questioned the presence of so much Mayan mythology within the community, and also the adoption of the 13th Moon Dream Spell calendar. The Calendar, created from time codes hidden within the original Mayan Calendar, had stimulated a movement for peace through the adoption of a ‘new time' in New Age, and other spiritually bent fringe groups all over the world. The Dream Spell Calendar had also become prominent in the rave scene. Party flyers were dated with Mayan glyphs, Mayan art and other Mayan symbology was displayed around dance floor décor, clothing, and artwork, and other externalized traces of an internal belief structure manifesting within the scene.
Within the mathematical cosmogony of the DreamSpell, pervades the principle that our species is about to transcend ordinary third-dimensional existence, into a forth-dimensional, or in some translations, a fifth-dimensional reality.
It was a bizarre idea to encounter, and it was even more bizarre to have an ecstatic dancing experience progenerate this notion.
The adoption of the Dream Spell Calendar, also posts a neo-apocalyptic narrative circumventing the end-date of the Mayan Calendar in 2012, while at the same time hosting a mathematical philosophy of a major shift in human cognition through the transformation from which a higher-dimensional existence would ensue during our alignment to the center of the Galaxy on December 21, 2012.
“When all this information came in, it just seemed to fit what we were already doing, evening though it had no real connection, the idea worked.”
–DJ Solus September 2006
I am at a festival called Lightning in a Bottle, an electronic music festival outside Santa Barbara. I am sitting with a group of people inside a tent between a propane lantern that blazes with a low electric hiss. The pumping thunder of mega-watt speakers' pound through the nylon tent walls. Just outside, a sea of people dance in a giant clearing amidst laser beams and flashing neon lights. The roar of their celebration amidst pulsating electronic rhythms echoes the futurism of a ‘techno-tribe' emerging.
From interview to interview, my own perceptual interpretation of transcendent ritual through festive cultural rupture rang a shared mental picture as to what the experience meant for people.
The owner of the tent leans over the lantern, shadows disappear from his face and he looks directly into my eyes and begins to speak with a tone of affirming gravity,
“This is my family. The world that we build out here is the real world for us. People say that 2012 is the end of the world, but we all know that it is the end of their world and the beginning of ours”
Through my ethnography of the electronic music culture, I had been observing a movement towards a primordial return, integrating a ritual technology as a mode of transformation. It was my belief that the kinetic engagement of the dance itself was the main source of esoteric undercurrents which permeated the scene. Of course psychedelics play a huge role, but the experience had on the dance floor created by intense movement and electronic dance music was the real cultural source for a shared vision of future transcendence into an alternate dimension of reality altogether.
The integration of the phenomena and phantasm that encompasses the self-guided dogma incorporated in the 2012 initiative weaves so neatly into the transcendental impression these sonic environments encapsulate. When looking closely at the initiative of the 2012 meme, a new world-view of collective spiritual transcendence is indication of the honest expression of the cultures internal desire to alter their perception.
In the face of a quickly changing environment which instinctually demands a transformation of the ways in which humanity both perceives and carries out his existence, the idea of global destruction and creation has long fed into the mythologies of human groups as apart of this internal expression for dramatic change.
Never before in the history of humanity have we seen a single millenarian idea so widespread. Yet, a prophecy of global transformation would require a global culture to bare its vision, and the electronic dance community appears to be one of the many appropriate carters of the revelation.
Another interesting facet of the integration of this new ‘mythos' with the electronic dance community, is the move to outdoor environments, and the integration of intentional ritual and ceremony to their night-long ecstasies. This juxtaposition gives the party experience an authentic communal, as well as tribal sensation, one that implies meaning and value to the experience. With this experience comes a temporary transformation of the perception of the individual undergoing the experience. Cognitive processes are gently and sometimes savagely altered.
As the techno-shamanic psychedelic environment integrates into a social-cultural framework, identities change on individual and collective levels as the music itself takes the mind of the individual into an experience of alternate planes of thought, the myriad of techno-tribal cultural identities swarm in around the dance itself, and reality is but for the instant of a weekend ‘shifted.'
The integration of psychedelics into these events allows one to further integrate their imagination into the experience of the environment that surrounds them, in a cyclical feedback relationship between the experience and the experience. Systems of belief and thought are replaced, both temporarily and permanently. The environment yields to an alternate dimension of being, and the experience, though brought on through an arsenal of synthetic arrangements, momentary replaces traditional perceptual frameworks. Memory of the experience remains and over time evolves cognition.
We live in what we believe to be is real. Every time someone experiences reality in the mystical playing field generated at these parties, the more the experience integrates back into the ‘familiar.' The concept of consciousness shifting, takes on a very subjective nature as dance ritual reinforces the pragmatism of the experience.
As conversation of a shift in the collective reality of the dance community ensues, the number 2012 pops up in more and more conversations. The party becomes a vehicle for the collective transformation of an entire human group as their collective memories build up a shared perception of a new experience.
It's an old trick in human behavior that corresponds with the inner workings of our minds. For thousands of years, cultures and their traditions all over the world have used music and dance as part of the ritual and ceremony for the integration, and stability of their tribal structures. Key to this article, it not only promotes community, is promotes the subjectification of their mythologies and their prophecies.
What man is actually interpreting through the development of a mythos is not an interpretation of a particular vision or story but the energetic experience of the dance itself. What one experiences in an ecstatic state of trance is the experience of their internal desires. Since our internal desires are primordial, they are instinctually connected with nature and the environment around us.
Thus, as our environment changes, and we see threat to our current cognitive processes and cultural value systems; the alteration of our belief structures through a hyper-onslaught of groundbreaking scientific information, the desubjectification of religious systems, a globalization of the sacred, the meltdown of the industrial world, and environmental threats, transformation of mind and spirit permeates the internal psyche within these spaces of liminality.
The tribal experience of dancing beyond the realms of the ego produce a strong feeling of connection with community through music, and the rupture of traditional cultural systems that seem to no longer be working. This creates a Petri dish for the development of new cultural frameworks and the reordering of the groups cognitive processes to better adhere to the changing environment. Dance is an instinctual human behavior to demoralize and reframe perception as a means of evolution of mind and body.
Myth is product of ritual, it is the interpretation of these eternal desires for change. Myth is the narrative of a primeval reality, translating deep spiritual desires, moral craving, social and the practical requirements for social transformation. Myth expresses, enhances, and codifies belief.
In turn, myth creates reality.
Consciousness requires narrative. Individual consciousness and the collective human consciousness requires the framework of a story in order to direct its initiatives for change. When one's current reality is threatened with drastic alteration it naturally begins to weave narratives of explanation that will offer hope and resolution to guide its actions through the transformation.
The millenarianism that is character of the dance community displays this very quality of the development of a transcendental mythology as a means of reframing its own cognitive processes to alter mind, body, and spirit to better suit our own personal interface with the environment.
Dance-based millenarian movements have happened throughout history, in cultures all over the world. When the Lakota Natives were threatened with oppression and reservation life, they immediately reacted with the development of a pan-Indian religion known as the Ghost Dance. It was characterized by the emergence of a prophecy that a particular ritualized dance would bring a peaceful end to the Anglo expansion, the return of the Buffalo, the salvation of the community, leaving the earth filled with food, love, and faith. This narrative was typified by clean living, honesty, and cross-cultural cooperation as a means of salvation and resolution alongside the dance itself.
For the dance community to adopt the undercurrent of a similar narrative proves a structural framework to the development of mythos as a form of cultural revitalization. Though the salvation of humanity and the world lies within our individual change in lifestyle as a means of adhering to the shifting environment, the characterization of death and rebirth into a new world fits the prophetic initiative as well: Salvation through dancing.
Though the dance community has added the awareness that the process of bringing about such change, will not come through a mystical transformation but through the cultural rupture brought on by the act of ritualized dancing itself. The intentionality of the culture reads into the natural magic of sound, and its influence on neurological states. Experienced within a large group it creates a bond of the collective psyche and the subconscious initiative of the group permeates through the experience.
Consciousness instinctively fabricates new translations of experience, the development of new ideas of origin, and prophetic direction.
Humanity naturally begins to weave new stories for itself as the environment surrounding the collective subject changes.
An interesting coincidence, in 1987 a event known as the Harmonic Convergence, was held by New Age groups all over the world to usher in an era of awakening into love and unity through divine transformation that would be fully awakened on December 21st of 2012. That same year of 1987 has historically been identified as the birth of the rave scene. It was the year that the ecstatic experience of a ritualized dance became popularized in urban youth all over the world, the beginning of a culture which defined its own initiative as a revolution of peace, love, unity, and respect, through the ecstatic unification of sound, mind and body as a collective group.
For years the numeric value two thousand twelve has been whispered on the edges of dance floors all over the world. It is most apparent in the psychedelic trance community as an underlying mythos that defines the revolutionary synergistic electro-fusion of mind body and spirit.. The 2012 narrative is a form of interpretation most commonly now used to define the experience and the worldview that permeates the reawakening of a primordial experience.
Again I am in-between parties, staying in a cabin in Mount Shasta conducting and interview with the Shan-man, owner of The Village Oracle in Weed, California. We are sitting out in the sun, the icy tip of Mt. Shasta beaming in the background.
We are talking about the integration of the 2012 mythology into the cultural framework of the electronic dance community, and the role that the parties actually are playing in the process of global awakening into a new mode of thinking. He describes the party as a welcome mat, “They are like a doorway in,” he describes, a doorway that leads into a mystical world of archaic, magical phantasmagoria that the experience of transition into indicates not only transformation of the self, but the world to follow.
He states later in the interview, “We know that we are all heading towards one huge gathering.”
What I see as one of the most interesting features of the 2012 initiative in terms of the electronic dance community is the idea of a synchronized global gathering on the date the calendar ends, December 21, 2012. On that date the earth lines up with the sun, which lines up with the Pleiadian Star system and the elliptic of the galaxy; a celestial alignment that the earth has never before experienced.
The Dance community already celebrates a model of this end-date ritual, called Earth Dance. This is another synchronized party linking 360 dance-floors all over the world as an intentional ceremony for peace. Though this ritual is conducted annually, the preparation for an even larger synchronized dance ritual to celebrate a celestial event as rare as our alignment to the center of the galaxy offers an interesting notion that humanity should very quickly becoming aware of. This will be the most massive, pan-human ritual ushering transformation in the history of human kind.
With the constant development of the mythos surrounding the 2012 meme, what will such preparation, and practice of such a ceremony alter of the consciousness of those participating in the ritual?
The alignment of dance rituals to celestial events is traditionally the source of a mythologies link to the stars. Which means, that our collective human narrative is fashioned and reshaped by the movement of the stars. Meaning that our collective human story is a translation of this energetic experience of the cosmos. How will the energetic experience of the alignment be translated?
The creation of new myth perhaps, a new story of human kind. So to answer the introductory question, as to the location of the partyI have heard several rumors.
Some rumors have entitled it "The Party at the End of Time". The collective pattern of gossip seems to congeal to 7 principal locations.
There is word that these locations may very well be planetary chakra points. To my knowledge, these points are Titicaca Lake between Bolivia and Peru, Mount Shasta in California, Uluro Kattjuta, the big red rock in the middle of Australia, The Tor in Glastonbury, The Great Pyramid in Egypt, and Mouth Kailash in Tibet, and Kuh-e-malek Siah a not so tall mountain located in the Tri-point area of Iran, Afghanistan and Pakistan. These are the main points to my knowledge, however I have also heard of the Haleakala Crater, the El Tule, Table Mountain, Bali, Mount Fuji, and the Sergiev Posad in Moscow to be locations also.
Wherever the party is, and no matter what happens on December 21st 2012, the most important and beautiful part is that people from all walks of life, from all different cultures and countries will be United in a dance, a celebratory ritual to usher in the Galactic New Year, and a new dawn for mankind. Because when it comes to mankind's own part in the great theater of the 2012 alignment, if anything on our part is going to bring about any real and dramatic change, a massive global rave sounds like a damn fine go at it.
If anyone has any other information to share of the massive Party at the End of Time, I would very much like to include it in my documentary for all the world to see.
Please forward all information to: [email protected]
References :
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The 4th Indonesian Crop Circle was reported on the 13th of May 2011(possibly discovered much earlier, around the 4th of May), once again in a paddy field somewhere in Sumatera Barat (Cikarang West Java) Indonesia.
Here's some aerial footage of the formation ...
Ground View (Inside The Formation)
Ground View (Inside The Formation)
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- Ring Of Fire : An Indonesian Odyssey Documentary
- Indonesian Rice Crop Circle : First One of 2011
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Raymond Moody's book documents the experiences of 150 people who recovered after being declared clinically dead. Moody is also credited for coining the term "Near Death Experience".
Some quotes from “Secrets of the Light” by Dannion Brinkley ...
“The Beings of Light said, “History is not carved in stone; we have the power to change the future.”
“During my first near-death experience, I vividly recall how … impressed upon me was the fact that we are “great, powerful, mighty spiritual beings.”
”Our spiritual potency grows in direct proportion to the way in which we direct our willful, conscious intent towards effecting change in our lives, the lives of others as well as the world at large. The changes we willfully influence, whether positive or adverse, will in turn create a ripple effect throughout the entire Universe. This occurs invariably because we are One. As cliché a saying as you may feel that has become, it still remains gospel.”
“Every single thing that one of us thinks, says, or does impacts all the rest of us, in varying degrees, on one level or another. Please stop for a moment to deeply absorb what you just read …”
” From this perspective, it becomes easy to find our true purpose in life … We choose to come here as a ‘Force of One’ in order to make changes for the betterment of humanity, knowing that we are capable of making a real difference.”
“Our fundamental purpose in life is to discover our uniqueness and then learn to manifest it for the betterment of humanity, through Love. This holds true if you are a singer, a street sweeper, or a saint. If you truly want to know why you are here and exactly what Spirit wants you to do or be, ASK! … when you attain the curiosity and courage to ask for higher guidance, Spirit will reveal everything still held in mystery. Discovering your own mission puts you in a position of responsibility. From this point on, you must act as a torchbearer for others who still struggle with their spiritual identity. Thereby, your life stands as a testament and demonstration that they can do exactly as you have done.”
“The truth is that we have actually been entrusted with the fate and destiny of the world. Please understand this; we bear the great responsibility of transforming the spiritual reality of this physical realm.”
“We chose to be alive at this time, at this place and at this point in history. Never before have we had such a glorious opportunity to display our individual power and presence.”
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With nutritionally-depleted foods, chemical additives and our tendency to rely upon pharmaceutical drugs to treat what's wrong with our malnourished bodies, it's no wonder that modern society is getting sicker. Food Matters sets about uncovering the trillion dollar worldwide 'sickness industry' and gives people some scientifically verifiable solutions for overcoming illness naturally.
In what promises to be the most contentious idea put forward, the filmmakers have interviewed several leading experts in nutrition and natural healing who claim that not only are we harming our bodies with improper nutrition, but that the right kind of foods, supplements and detoxification can be used to treat chronic illnesses as fatal as terminally diagnosed cancer.
The focus of the film is in helping us rethink the belief systems fed to us by our modern medical and health care establishments. The interviewees point out that not every problem requires costly, major medical attention and reveal many alternative therapies that can be more effective, more economical, less harmful and less invasive than conventional medical treatments.
The ‘Food Matters' duo have independently funded the film from start to finish in order to remain as unbiased as possible, delivering a clear and concise message to the world.
Source : Food Matters
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