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In this chapter, we zero in specifically on the efforts of Higher Intelligence to show us, in modern times, a precise image and description of exactly what a Consciousness Unit is, as well as the phase of the CU that we are now heading into.

All of this comes about through the Barbury Castle 1991 formation, an image of incredible size and complexity that appeared literally overnight in a field of wheat.

The entire story and background of the crop circles is explored in some detail, along with Gerald Hawkins' "Crop Circle Theorems" that show a clear connection between geometry and "diatonic" musical ratios, and other formations that reveal more secrets.

In opening up this chapter, let us again state that we have been investigating how the seen and unseen energies in the universe are all interwoven with a system of conscious energy that expresses itself in octaves.

We can see these formations emerging in the sound spectrum as the basic structure of the Octave, in the light spectrum as Red Orange Yellow Green Blue Indigo Violet, and in the geometric form as the hierarchy of shapes that crystallize within the sphere.

The reader will remember that earlier in the book we have cited physical evidence from Dale Pond‘s Physics of Love that showed us that the harmonic ratios between the vibrations of sound can be expanded many times over to get the equivalent frequencies of the color spectrum of visible light.

Later in this volume we will see that these same numbers underlie the cycles in the Sun and planets, and we will show their presence within atoms and molecules as well.

And here in this chapter, we will give further evidence to show a connection between the frequencies of sound and color with geometry, again showing how they are literally crystallized vibrations.

In the book Sacred Geometry by Robert Lawlor, he refers to the Platonic Solids as the “regular polyhedra ” in the quote that we are about to cite. The image that Lawlor will be drawing off of is seen in Figure 7.1, as Kepler‘s famous geometric model of the Solar System.

In this model, Kepler erected a large half-sphere and placed a cube inside of it. Each of the nested Platonic solids is represented in a smaller half-sphere. Lawlor refers to the bowls, or half-spheres, as circles in this quote:

“In this demonstration the regular polyhedra are determined by nine concentric circles whose pattern gives all the necessary information for the construction of these forms.

Each volume is in a simple harmonic relationship to the others, and it is the same transcendental functions, [square root of 2, square root of phi and phi] that make up these patterns of relationships.... all volumes emerge simultaneously....

This is an image of the great Buddhist idea of the co-dependent origination of the archetypal principles of creation. ”


The very first thing that we can tell here is that Kepler would have obviously spent a lot of time working on such a massive sculpture. It is highly unlikely that he would have done so if he did not believe it to be very important.

What we suggest here is that Kepler was heir to the ancient Atlantean repository of knowledge, similar to that handed down to the Hindus. With his secret knowledge in place, he was trying to show us the geometric structures within the different ‘nested‘ spheres of aetheric energy density in the Solar System.

Ostensibly, since Kepler was an initiate of the Mysteries, he knew that it somehow had to be right, but he didn't know why it was right - and thus later scholars considered this model to be a complete failure.

Kepler believed that the spacing between the shapes would map out the spacings between the planets, but he could never truly get it to work. We will show the harmonic functions that are responsible for the planetary positions in Volume III.



Figure 7.1 - Kepler‘s geometric model of the Solar System.


For one who is more familiar with sacred geometry, it isn‘t hard to see that Kepler only had a rough knowledge of how the Platonic Solids actually nested inside of each other. The most obvious problem is that all the Solids are “sitting up, ” with the same north-south axis, when in fact they should have discrete angular rotations in comparison to each other.

As one example, the tetrahedron should nest inside of the cube so that its edge ‘elements‘ run exactly along the faces of the cube, the tips of the tetrahedron lining up directly with the tips of the cube. Then, the shape immediately inside of the tetrahedron should be the octahedron, then the cuboctahedron inside the octahedron.

So, Kepler definitely gets an “A ” for effort, but with more modern techniques for analysis we can see that there are mistakes in this model - and ultimately he gave up on it out of frustration.

Again, knowing what we now know about Atlantis, it is very, very unlikely that he would have simply come up with this burning passion for such an idea on his own - especially if he didn‘t fully understand why he was doing it.

If we look back to Lawlor‘s quotation that we cited above, he mentions the mathematical progressions of phi, square root of phi and square root of 2 as the basic harmonic building block ratios that make up geometry, color and music. (We will go into detail about this aspect of the Platonic Solids in Chapter 13.)

Lawlor‘s book gives a wealth of information to show how these basic vibratory ratios emerge in all forms of life throughout nature, governing such things as the growth of shells, plants and even the proportions of the human body. (In Volume III we will go into much more detail about the connection between biology and aetheric energy.)

In Sacred Geometry, Lawlor also shows repeated examples of Renaissance artwork that explored these sacred ratios, so it is clear that sacred geometry was a topic of great interest within the intelligentsia of the day.

Again, there is ample evidence that those painters who incorporated these ratios into their artwork were inheritors of the Atlantean Mysteries; surprise, surprise.

Up until this point, we have tackled the Platonic Solids in two basic ways:

1. They emerge within a sphere of vibrating fluid, or aether.

2. They are geometric forms created in the stresses between “node points ” on the sphere‘s surface.


Things get a little trickier once we realize that spirals such as phi, the square root of 2, 3 and 5 are also emanating from the center of the sphere. As Lawlor said, these basic spirals determine the relationships between the different Platonic Solids. In order to explain this, we have to arrange it in a logical sequence.

1. Earlier, we showed how the Platonic Solids fit inside of each other. We can indeed build up the Hindu model in such a way as to have the entire Octave nested together into one giant series of nested spheres. So, we start by arranging all of these shapes inside of each other in their Octave order, like a jigsaw puzzle.

2. Then, we plot out where the vertices, tips or points of each shape are. With computer modeling, we could actually remove the shapes and just look at the points.

3. When we see just the points without being confused by the surrounding geometry, we discover that they give us perfect coordinates to show spirals that are emanating out from the center of the entire onionlike “nest ” of spheres. These spirals are based on phi and the square roots of 2, 3 and 

4. Since we can clearly plot out these spirals, they obviously are “real ” energetic structures, which precisely determine how the Platonic Solids “grow ” from one into another. Just as a train will naturally follow wherever the train tracks curve, so too will the geometries naturally grow into the positions that the spirals create for them. Everything works together in perfect harmony.

5. The Russian research tells us that “torsion waves, ” or waves in the aether, are always spiraling in their form. Therefore, we can state with confidence that these spirals are indeed one form of torsion waves.

6. In the Law of One series, Ra says that the evolution of consciousness through the Octave of densities proceeds along “the upward spiraling line of light. ” They also introduce the concept of nested spheres of energy density, pulsating movements and Platonic geometry.

7. Therefore, it is clear that Ra expressed deep knowledge of how this geometry actually works, which Carla Rueckert herself was still not aware of when we co-presented with her on the same stage in Louisville, KY in May of 2002. She confessed that they had hit a “total brick wall ” in trying to understand what Ra was talking about when they mentioned the “spiraling line of light ” - a conceptual block that had persisted for literally 20 years before she heard Wilcock‘s solution to the puzzle - which he gained by his own follow-up work with Ra, primarily through dreams and visions.


It has long been our contention that straight lines essentially represent the masculine polarity of energy in the Universe, and that the spiraling lines represent the feminine polarity. Both are equally important for Creation to exist, and they are indeed unified by the sphere, or the Oneness.

Without the spiraling feminine lines in place for support, the masculine geometry could not build and grow. There are some very deep philosophical ideas about the relationship between the universal masculine and feminine principles that can be found by meditating on this arrangement, such as how the love of a woman can nurture and support a man.

This may well be another layer of why the Vedic scholars had the god Purusha and the goddess Prakriti as the central figures of their system of sacred geometry.

Perhaps the reader is still having trouble visualizing how these straight and curving lines interact with each other. In Figure 7.2, the diagram on the left shows us the nautilus shell, which is one of the best ways that Nature naturally demonstrates the “phi ” spiral to us.

The diagram on the right shows the mathematical progression of the same spiral, and how it forms a framework for the geometry of six triangles. These triangles could be seen either as expanding outward or as coagulating inward, depending on your perception.

Each triangle is related to its immediate neighbor by the phi ratio, meaning that if you compare the surface area of one triangle into the next larger triangle, you will get a proportion of roughly 1:1.618 between them. This is a relatively basic and well-known mathematical principle.


Image Image

Figure 7.2 - The Nautilus shell (L) and phi spiral as it relates to the growth of triangles (R).


Now when we look at the triangle diagram on the right, we can imagine that the tight center of the spiral would represent the center of the sphere. Then, we would see the spiral as coming out from the center.

The smallest triangle would be the geometry in the center, and then with each larger triangle we are moving closer to the outside surface of the sphere.

Since most of the Platonic Solids have triangular faces, the next step would be to visualize how there could be multiple spirals emanating in different directions from the center of the sphere at once, all forming a collective matrix for the geometries to expand through.

This is somewhat like how an inflating soap bubble is held in place by a plastic ring and expands as greater and greater air is blown into it.

Next, we will bring in another quote from Lawlor‘s Sacred Geometry, which deals with the work of Dr. Hans Jenny, showing the important effect that he has had on the field. Thankfully, for the lay reader we have already explained Jenny‘s experiments in far simpler language than what Lawlor uses here:

It is in the work of Hans Jenny [Ph.D.] that we can begin to see the relationship of form and sound in the physical world. Jenny‘s experiments have shown that sound frequencies have the propensity to call into arrangement random, suspended particles, or to organize emulsions in hydro-dynamic dispersion [i.e. particles floating in a fluid] into orderly, formal, periodic patterns.

In other words, sound is an instrument through which temporal frequency patterns [i.e. patterns in time, such as the number of cycles per second] can become formal spatial and geometric patterns. [emphasis added]


That paragraph is a mouthful, with very technical wording, but it has all that we need. Again, Dr. Jenny‘s research, known as Cymatics, discusses what happens to particles floating in a solution when they are vibrated by sound waves; the particles mysteriously assemble themselves into geometric shapes.

Figure 7.3 shows us this “Cymatic ” force in action, and the Platonic geometry inside is easily seen. In this case, it is the harmonic of the fourth density, namely the two interpenetrating tetrahedra in a spherical field.

With Jenny's work we can clearly see the spiraling lines that underlie the geometries, as well as the “spheres within spheres ” effect, as there are at least three major boundary areas that you could draw a circle around in this image.

In a private conversation with sacred geometry researcher Gregg Braden in April 2002, we were informed that all of the Platonic Solids could be modeled from this formation, which is why so much attention has been given to it.

It is easy to see the five-sided faces of the dodecahedron inside the central star, as one example. The image is still slightly “off ” because the fluid was not a true sphere, but rather a droplet of water on a vibrating wave-plate.


Figure 7.3 - One of many geometric structures formed by Dr. Hans Jenny‘s “Cymatics ” research, using a vibrating drop of fluid with particles suspended inside.


So, Dr. Jenny‘s research puts the final word in on the importance of the geometric shapes in the sphere, in case we doubted their relation to the Octaves of color (i.e. visible light) and sound.

The ratios of phi and the square root of 2 are also responsible for the difference between the various tones in the Octave, when measured as values of vibration in cycles per second. You can take one note in the Octave and compare it to the note next to it, and the two notes will always relate by one of these simple “spiraling ” ratios.

Therefore, we can now see that even though it seems strange at first, every sound truly has a three-dimensional, geometric component. The same would be true for every color. Some people, including this author, have been able to perceive this connection automatically in mystical states of consciousness, without necessarily understanding the vision.

Many people who have had these visions send us email with great relief that they have finally understood why they were seeing such formations in their mind‘s eye.

As reported by Drs. William Becker and Bethe Hagens in their article “The Planetary Grid: A New Synthesis, ” Dr. Hans Jenny‘s crucial research was originally inspired by students of physicist Buckminster Fuller, who demonstrated the geometric structure of vibration within a fluid system.

Fuller‘s students created an experiment where a transparent spherical balloon was submerged in a bath of dye. They found that by simply vibrating the balloon at an even tone, the dye would well up in the areas where there was the least amount of movement on the skin of the balloon - i.e. the node points.

We remember that all of the vibrations will “cancel out ” in these areas, thus forming points of force that connect to form the Platonic Solids. Although most of what Fuller‘s students perceived were the nodes or the tips of these geometries, in certain cases faint lines could be seen connecting the nodes together, literally forming these same shapes right in front of their eyes.

Dr. Jenny wanted to find an even more direct and effective way to show this force at work, and he certainly succeeded quite admirably.

It is quite apparent that outside forces are diligently trying to help us understand and acknowledge the existence of this universal harmonic system, because of its significance to our civilization. Crop circles appear to be one of the most fundamental means by which the geometries involved in these harmonic systems are being conveyed to us.

It is marvelous to have such a directly scientific form of communication from beings of higher intelligence available to us in the public domain. What we see is an image of very large size that is created in a popular and accessible area, which obviously attracts a great deal of attention.

Many of these formations clearly show that they could not have been “hoaxed, ” though there are many good-quality hoaxes out there as well - and we will explain the difference.

Though most researchers and observers do not really understand what these bizarre images are showing us, there are a few who have done quite well. Indeed, it is the work of mathematician Gerald Hawkins that inadvertently set out an entire theoretical framework for our discussion.

Hawkins discovered an enormous repetition of mathematical diagrams of “consciousness units ” without even realizing that this is what he had found. Hawkins knew that most of the geometric formations seen in crop formations were somehow incorporated into a circle.

Though the circle was occasionally hidden with other images, he discovered that nearly all of the early 1990‘s crop formations would take simple forms such as the triangle, square and hexagon and put them inside circles. As we shall see, these could certainly represent simplified “sketches ” of three-dimensional shapes in many cases.

Hawkins discovered something extraordinary when he took the surface area of the circles in the formations and divided it against the area of the square, triangle or hexagon that would be located inside.

The relationships between these numbers are the diatonic ratios, or the actual vibrational frequencies that make up the tones in the octave. In other words, these simple flat crop circles eloquently display musical frequencies.

Since the musical octave is interchangeable with the light spectrum, the Circlemakers appear to be giving us the exact same clues we have already been exploring - a common link between sound, music and geometry.

The importance of this find cannot be underestimated. Hawkins surprised everyone in the crop circle community by showing a completely new set of “geometric theorems ” -- namely that the basic square, triangle and hexagon produced musical ratios when placed within circles.

This mathematical work even attracted the attention of mainstream academics. But the implications behind this fundamental discovery never seemed to appear in Hawkins‘ work; he thought that the main purpose behind the Circlemakers‘ designs was that they were trying to illustrate these geometric theorems simply to draw interest and get us to "solve" the puzzles.

On the surface this looks good, as by showing us a simple mathematical system of geometry and music that we did not yet understand, "their" higher intelligence is displayed. But why would they waste so much energy just making theorems for a few obscure mathematicians to decode?

Indeed, the idea that they are simply theorems doesn‘t quite seem to be enough; the theorems must be there to show us something that is much more fundamental, a form of universal law.

These Circlemakers would obviously want to create information that would have a very practical use, given the universal emphasis that Hawkins demonstrates that they have received in the mysterious crop circle portfolio.

To anyone who doubts that repeated examples of "consciousness units" in the crops exist, please visit, and check the photo archives therein. Or, any other source that shows pictures of crop circles will do equally well, as literally almost every formation attempts to convey the same basic information.

So, what the Circlemakers actually were doing was showing us a simple sketch of the architecture of the universe, as we have now been exploring it. The 2D geometries of circles and triangles quite naturally can be expanded into 3D spheres and tetrahedra.

As Fuller demonstrated with his vibrating ink-filled balloon and Jenny demonstrated with a simple solution in water, the musical and geometric ratios of the octave are still preserved when we blow out our diagrams to 3D.

Thus, most of the flat crop circle diagrams that show these basic shapes are simply blueprints for designs that are obviously much more complicated to render; designs that are drawn to indicate three dimensions.

And since we visualize these crystalline geometric energies as three-dimensional shapes, there should be an example where the Circlemakers did in fact try to render an accurate picture of a “consciousness unit ” such as a tetrahedron within a sphere.

Miraculously, there is such a rendering, and this formation still stands as one of the most fantastic ever to be impressed into the English countryside. This image has stirred up massive amounts of interest and research, including that of Joe Mason, the researcher who first introduced the author of this book to the “Breath of the Divine ” and Consciousness Units.

From all of the evidence, we will show that although the American media and metaphysical / UFO community has largely turned a blind eye to the entire phenomenon, there is much, much more to it than a series of successive hoaxes.



In the movie Contact, which many of us have seen, satellite engineers who were looking for messages from the Beyond tuned in to a radio frequency that was being beamed out from the star Vega. Once decoding the signal, it first provided personal information about us; namely our first televised broadcast, which happened to be from Nazi Germany.

The alien signal then proceeded to give a complex series of blueprints. The scientists puzzled and pored over this information for a long time, and could not figure out what it meant.

It was only when the cigar-chomping billionaire in the movie realized that the flat blueprints needed to be expanded into three dimensions that the meaning suddenly popped into place -- in this case a cubical matrix of specific images.

Ultimately, humanity was given a tool that would allow our civilization to have access to these unseen realms where the Vegans lived. The three-dimensional cube of images provided blueprints for a concretely physical piece of technology - a giant set of spinning rings that created a spherical ball of light in their center, which then opened up a wormhole through space and time.

Carl Sagan was obviously tapping into the collective unconscious when he first wrote his book about this fictional SETI discovery, which the movie was based on. However, we don't need SETI at all; the Extraterrestrials are already here on Earth, and we have already been given the blueprints that the movie refers to.

Furthermore, there are uncanny parallels between Sagan‘s machine that the Vegans designed and the way in which we might expect a giant “consciousness unit ” to look; a giant, wildly pulsating sphere where lines can be made out inside.

The pod itself in the movie was a sphere with a dodecahedron superimposed over it -- the actual geometry of the sixth dimension. Perhaps Sagan and the makers of the movie were aware of more than they outwardly alluded to, and there is evidence from Dr. Richard Boylan that Sagan was on a "black-ops" scientific team and payroll.

The more we think about it, the more it all fits together. In Contact, this giant machine was the entryway into something that was surprisingly similar to what we might expect Ascension to be like; a dramatic shift to a different frequency of energy, and a heavenlike new world emerging.

So, Sagan's work falls perfectly in line with the idea of obtaining information from the Collective Unconscious; many science fiction writers such as Arthur C. Clarke have inadvertently predicted future events and technologies.

So, just as Contact postulated a set of diagrams and blueprints from extraterrestrials, the crop circle phenomenon gives us the same thing in true reality. Indeed, it has been going on continuously in Europe since at least 1976.

What we now have is a huge library of cryptic visual images that do not appear to have been solely generated by humans. The case is similar to the rediscovery of Egyptian hieroglyphics; scientists knew they had to mean something, but they were at a loss to crack the code until the discovery of the infamous Rosetta Stone.

This clay document showed a set of identical writings in Greek, Aramaic and in hieroglyphics, and since the researchers understood the Greek, they were able to decode the hieroglyphs. The Rosetta stone for crop circles is geometry, mathematics, symbol and metaphor.

The American and European corporate media very carefully indoctrinated us with the belief that these magnificent designs were the work of Doug and Dave: “two portly English gentlemen, a few pints of beer, a funny cap, and a string and board ”.

According to the legend, these delightfully mischievous old chaps took great pleasure in taking time off from work, getting trashed all night and sneaking out to farms all across the English countryside.

In their mirthful stupor, with the ingenuous tactic of wooden planks for shoes and long strings for a giant compass of sorts, they joyfully stumbled about, stamping down fantastic geometric shapes overnight, occasionally doubling over in laughter at their cleverness.

Their portfolio includes perfectly executed depictions of fractal mathematical equations such as the Mandlebrot Set, the Julia Set and the Koch Snowflake. They would plan the next fractal over the stench of thick brown beer, as toothless mouths excitedly spouted new ways to display advanced theoretical mathematics graphically.

How, then, does the debunking media explain that this also has happened literally all over the planet? India alone recently announced the appearance and cataloging of some 10,000 crop formations since the 1970‘s, and circles have appeared in almost every major country on the globe, whether in rice paddies, grain crops, mud, dry lake beds or even ice.

In the "Awakening to Zero Point" videotape, Gregg Braden shows an image of a spiral formation that actually emerged in an underwater sandbar. Despite all of these appearances, there are literally only a handful of American websites that are fully authorized to display these images, and all we have from India as of Feb. 98 are line drawings of three formations.

The astounding complexity of the most recent batch of formations from summer 1997, 98 and 99 defies even the most hardened scientific minds from explaining them away. The old-fashioned explanations of “localized plasma vortices ” or “an army of hedgehogs running round and round ” simply do not hold weight.

In most true crop circles, the stems are usually bent at the growth nodes, not broken, and they exhibit measurable radiation and signs of being heated. This has led most serious crop circle researchers to conclude that they were formed by some sort of microwave radiation that cooked the joints.

This cooking turns the water in the crop into steam, which causes the growth nodes to become pliable and bend. (Hessemann, 1996 and others.)

Indeed, seeds and plant fragments are often found that look as though they have been burned in a microwave oven. But how could you possibly use heat on something like dry grass and expect it not to torch up on you? I

nterestingly enough, large amounts of nearby underground water have been known to spontaneously disappear after a circle is formed. This fact has been confirmed through the use of infrared photography by the crop circle researchers.

It certainly appears that the water was being drawn out of the land to keep the fragile crops from burning. No known microwave technology exists that could be beamed and executed with such precision, forming beautiful patterns, while simultaneously drawing upon underground water as a coolant (CCC website.)

Desperately grasping for a more comfortable solution to these radiation mysteries than the notion of extraterrestrials or some similar outside intelligence, we could propose a top-secret government project.

This would mean that someone is obviously making a tremendously secret effort to get us to decode these shapes; yet all documented covert government involvement seems geared towards discrediting and / or hoaxing the phenomenon.

This can be seen in the total denial in American media that this is happening at all, even in the many X-Files-type television programs and documentaries, as we previously mentioned. I

t is as though one of the most fantastic communications from the realm of the spiritual forces has completely left Americans in the dust, through their apathy and simple belief in what they are told by the authority figures in the media.

It goes without saying that numerous crop circle formations have been directly correlated with phenomena such as UFO sightings and dogs going crazy the night before. Thus, they do not simply “show up; ” the evidence points to the fact that outside forces are involved.

It would appear that the natural tendency would be for the UFO cover-up to continue, and it is amazing how well of a job "they" are doing. Even legitimate UFO researchers with great interest in the field have often turned deaf ears to the discoveries from the crop circle camp.

Furthermore, since the crop circle researchers have strict copyrights and controls on any outside display of their pictures, very few people have actually seen what is going on out there with any serious level of redundancy.

Furthermore, there are clear indications that someone is handsomely paying people such as our drunk and friendly English gentlemen Doug and Dave to lie. Every year there are a greater number of sophomoric, manmade crop circles in an attempt to make the entire phenomenon appear to be fabricated.

Even some well-versed metaphysical friends of this author have hissed, "Ah, it's a bunch of college kids" when presented with the topic. Doug and Dave were cut to pieces in interviews where they were asked how they duplicated various forms, openly admitting that they were not responsible.

The fake crop circles can usually be spotted almost immediately upon first glance, as they generally lack the sharp edges and incredible mathematical perfection of the true formations.

There are other, more scientific ways to spot a "real" formation as well, which we shall discuss in a moment. We therefore should not run from an unsolved puzzle that appears to be coming from an outside intelligence.

Historically speaking, the crop circle phenomena have just gotten better and better every year. They started in the late 70‘s and early 80‘s as nothing more than gigantic, perfectly round circle shapes.

Then, in the mid-1980‘s, “agriglyphs ” began appearing, which were straight-line formations that connected two or three circles together in various designs. The formation we will be discussing, Barbury Castle 1991, was one of the first major departures from these agriglyphs; it ushered in an entirely new era of complexity in the formations.

This was the Mother of All Crop Circles: a formation that appeared literally overnight, and was of fantastic size -- 31,680 square feet.




The impeccable quality of this image clearly illustrated that it was really meant to catch our attention. One of the first things noticed was that the square footage of the object, 31680, was the number given in the Bible for the size dimensions of the New Jerusalem.

John Michell writes about this in great detail in his books. The New Jerusalem was written of as being the city that represented the “Golden Age ” to come after the return of the Messiah; and the number 31680 was intended to be profoundly symbolic, indicating a dimensional shift, if you will, into a whole new kingdom that was much closer to Divine Light.

The number 31680 appears in another form directly related to the New Jerusalem, and that is in the harmonic, vibrational science of gematria that we had mentioned.

If you vibrate air at 3168 times per second, you will create a musical tone, and therefore the number can be directly transposed into a dimensional "energy density" in our harmonic aether system as well.

Early Church fathers working with these sacred numbers declared the number 3168 to be the number of Jesus Christ. Thus, by removing the zero from 31680 to get its harmonic equivalent in 3168, which can be done in the base-ten counting system, we have another allusion to a Messianic message of some sort, plus a flagging of the same "harmonic numbers" we have mentioned here before.




And so, with the exact footage corresponding to the number for Jesus Christ, the coded message in the formation might very well be “The messianic revival of the Christ, ushering in the New Jerusalem, the age of heaven on earth. ”

This starts to make even more sense when we discover that the combined area of the three circles on the outside of the diagram have the exact same area as the inner circle. This gives us a further meaning, which could be seen as “Three in One. ”

According to Joe Mason among others, this appears to be an allusion to the view of Creation held in Christianity as the Trinity, in Egypt as Osiris / Isis / Seth, and in many other similar world mythologies including Buddhism.

The Gnostic Christian diagram shown here clearly indicates that the concept of the Trinity was directly associated with a tetrahedral "frequency object" that Jesus was pictured as holding in his hands.

The metaphor was further strengthened by the fact that he was given three faces. These three faces hold remarkable similarity to Hindu and Buddhist designs. S

o what exactly is this trinity, anyway, and why did the Gnostics want to associate it with the hyperdimensional geometry that we have been investigating?

This ‘three in One‘ concept quite literally means that from the One springs the Two, duality, such as male and female, yin and yang, light and dark, et cetera, which then generates the Three, expressed as the beginning of life and matter.

More simply, according to mythology historian Joseph Campbell, this triple design would represent the archetypal idea of the Father, the Mother, and the androgynous son.

These three principles are the fundamental archetypes that make up all of our personalities, the Father being the active principle, the Mother being the intuitive principle, and the Son being the fusion of these elements into the life experience.

[The Holy Sprit is not generally referred to as a mother “god ” in Christianity, but great evidence supports the fact that this is the archetype.]

These could also be seen as the three syllables in the Hindu AUM, the word intended to convey the total nature of Creation as a sound vibration; the A being the Father, U being the Mother, and M being the Mahem, man, or Son.

It is outside of the present scope of this book to delve further into this particular discussion at this point, but Joe Mason has written numerous articles on these topics, and his knowledge on the subject certainly piqued and expanded the author‘s interest. Mason's writings are on his and Dolores Finney's website,

So far, we have a message that could be taken to be very Christian in origin, with the Messianic revival, the New Jerusalem and the Trinity or Three-in-One; but we also have the harmonic geometry of the next dimension above our own, which it appears that we are now moving into.

From Joe Mason, we get another point regarding this symbol that is not usually discussed. It now appears that the exact day when it was formed was intended to convey powerful symbolic meaning as well.

Genesis 8:4 describes the Ark of the Covenant as appearing on the seventeenth day of the seventh month. Interestingly, it was on July 17th that this all-important formation appeared! Therefore, through careful timing it seems that someone wants us to view this all-important symbol as the Ark.

So what exactly is the Ark of the Covenant, you ask? In the Bible it is referred to as a coffin-shaped golden object that possessed tremendous power for those who knew how to harness it. Many authors have speculated that it was a technological device from an extraterrestrial civilization, possibly using radiation as a source of power.

This device could produce fabulous power to those who knew how to use it, but it also could cause great harm.

According to Bible legends, no one was able to touch the Ark without suffering a fate that reads very much like electrocution. Therefore, the symbolism of the Ark in this formation could refer to the fact that the diagram has some sort of universal secrets contained within it.

The Ark therefore has vast symbolic importance in Christian myth, representing the mysterious forces of God being harnessed into manifestation.

Our original point of entry into the discussion of the tetrahedral shape in Jesus' hands is how it pertains to our EE units as given by Seth in previous chapters here. These EE or consciousness units are also the same as the basic geometric shapes being placed within the sphere.

Our discussion gets much more interesting as we begin looking at the Barbury shape itself, and start to notice what it is only slightly hiding from view.


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Here we can see that by gradually clipping out different sections, this image clearly outlines the shape of a four-sided pyramid, or a tetrahedron. Mathematically, this is the simplest three-dimensional shape that can be made.

As we have shown, the tetrahedron is the organizing energy that forms the fourth dimension, which we now appear to be heading into. We can then begin to understand why Jesus was shown with a tetrahedron in his hands; Jesus could see the fourth-density energy that forms the Kingdom of the Father.

The other, even more obvious form of this geometric knowledge expressed in the Hebrew tradition is the Star of David. This religious symbol is rendered just like a crop circle, where we have a two-dimensional image that perfectly details the appearance of the interlocked, or star tetrahedron, within a sphere.

The interlocked tetrahedron is an even more accurate depiction of the actual “appearance ” of Fourth Density energy. Remember that in order for these dimensions to be navigable by entities such as ourselves, there has to be a simple and perfect order to everything.

This explains why in Seth‘s readings it said, “We created these cubes to be used as guides. ” In short, through this geometric ordering, you can actually see the energy that you are working with. It appears that this was part of the plan that the One Mind of God originally had for us.

Thus, the tetrahedron, with all of its symbolic trimmings, illustrates the fourth dimension as being the “Kingdom of the Father ” that was promised in the Bible as coming to replace the current "heaven and earth" that we have right now.

Though we may never actually “see ” this form in the physical plane, the foundation structure of all physical matter has already been “upgrading ” to this frequency in the 20th century.

As Ra often indicated, it is only the diehard three-dimensionality of so many humans on Earth that stops our physical environment from already being transformed.

As one final note for this chapter, we can point out that the design itself was showing us a dimensional cosmology. If you look back to the photograph, you will see three circles at the corners of the tetrahedron.

The first circle has nothing within it but a line extending out to its center point. This would symbolically illustrate the first dimension, or the point, or the Oneness. The second circle has a series of spiraling lines, indicating the "fanning-out" of the point into two dimensions.

This is the point where motion is introduced, and the basic framework of vibration for physical existence is first created, as we have already indicated in previous chapters. Then, our glyph for the third dimension is quadrilateral in nature.

What it depicts is the top half of an octahedron, shown in the spiraling, spherical form of its energies, and we have already seen that the octahedron should represent the third density or dimension in the Hindu geometric cosmology.

If we were to make a paper cutout of this form and pull it up from the circle in the center, we could certainly see the three-dimensionality of this shape. And here, we have an image that shows exactly how this would work- the "hidden" shape pops out as though it was always meant to have been there.




So, what we have in the outer circles is a geometric progression of the first, second and third dimensions, illustrated for us in a field of wheat. The fourth dimension is the focal point of the entire formation, represented by the tetrahedron within the sphere in the center.

The fact that the three outer circles all add up to the inner circle must also indicate that this fourth dimension is the summation of all that had occurred before it. It is also interesting to point out that the crop was extremely green when this formation was made, indicating the passage to the green-ray vibrational level of the fourth dimension.

More recent formations have dramatically indicated even higher-dimensional geometries such as the cube within a sphere, such as in this immensely satisfying photograph from Steve Alexander.

This is the naked truth of our physics model displayed to the world, spheres within spheres and Platonic Solid geometry, including the depiction of a central axis for the spherical torus, for “those who have eyes to see. ”




In the next image, also from 1999, we can see that we were given the idea of the third-density octahedron being "unwrapped." Some have told us not to use this image, as there were signs that it was a hoax, but nevertheless we include it for your consideration:




The next image is of the "Triple Julia Set" formation from 1996, represented by the circles, supplemented with a series of straight lines and a spherical globe around the outside. By adding in these extra lines, we can perceive the intended hidden message very easily -- a pulsating tetrahedron, emerging from a center point and ratcheting outward.

We also see how the curving lines of the formation itself correspond to the lines seen in the previous image from Dr. Hans Jenny's research with sound frequencies in water. These curving lines should be visualized as though they were outward-curling flower petals originating in the center of the diagram:




Crop circle diagram by Ed and Kris Sherwood, with permission, with added outer sphere.


So with formations such as Barbury Castle and others, we have seen different hyperdimensional geometries emerging, including tetrahedra within spheres.

Richard Hoagland and his team, then known as the Mars Mission, turned their attention towards these formations for that very reason, as they had found the tetrahedron in their own way -- namely, encoded into geometric ruins that they found in Viking photographs from Mars.


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