Friday, May 29, 2009

The Real Da Vinci Code - Knights Templars - 2012 - UFO's - Secret societies

In reference to time/space travel = 2012 connection

It is important to note Sarfatti never mentioned the term space / time travel specifically. It is about half way down the page - when they talk about “ Sarfatti Drive “ in reference to Warp Drive physics.

AAG: Now in terms of your research in particular, how do you envision the types of transportation that it might lead to? I mean, 100 years from now, if somebody fires up their "Sarfatti Drive", what's it going to do?

Sarfatti: I am not interested in 100 years from now. I am interested in 5 years from now.


Kabbalah the Key?

Some think that Michelangelo would have been exposed to Jewish teachings in Florence, while living in Lorenzo de Medici's household.
Medici was the powerful leader of Florence, and used his influence to bring many great thinkers and artists to his city. Some of them studied the Zohar, a book at the center of a form of Jewish mysticism called Kabbalah.
According to Doliner and Blech, Kabbalah is the key to cracking the code of many of Michelangelo's hidden messages. But their first clue didn't come from an art historian. Rather, it came from a tourist from Indiana who looked up at the famous panel of "The Creation of Adam," and was reminded of something else.

"In the late 1970s, a surgeon went into the Sistine Chapel, took a look at this [fresco]. He said to himself, wait, this is Anatomy 101.… This is actually a cross-section of the brain, the right hand side of the brain," Blech said.
"Now, what's interesting is in Kabbalah we have different kinds of wisdom," said Doliner. "The right side of the human brain in Kabbalah means wisdom -- chokhma." God is appearing from the right side of the brain in that fresco.

Doliner and Blech are not the first to see Kabbalistic imagery on the ceiling. In 1986, Jane Schuyler, an art historian and professor at York College, CUNY, published an article about the beautiful woman under God's arm in the "Creation of Adam" panel. Many assume this character is a preview of Eve, but Schuyler thinks this mystery woman could represent Shekhinah, God's female beloved from Kabbalah.

I would like to look into some of the tradition behind this name in relation to the Sophia/Wisdom tradition that has to some extent followed the gradual publication and analysis of the Coptic manuscripts discovered in 1946 in the ruins of Chenoboskion in upper Egypt, the texts known as the Nag Hammadi Gnostic library.

In these still largely unfamiliar relics of a religion strange to most, there appears over and over again the supernal feminine figure of Sophia. (The Greek form, Sophia, remains in the Coptic.) Descriptions of her are diverse, because the documents in the library are of diverse origin. Gnosticism was not so much a distinct religion as rather a movement and a tendency within many different religions and philosophies; so that there were Jewish Gnostics, Christian Gnostics and Gnostics loyal to the gods of the Roman state. The Nag Hammadi documents reveal Stoic backgrounds in some places and Neo-Platonist backgrounds in others.

In the early rabbinical period of Talmud and Midrash, Wisdom as a distinct personality largely disappears probably because those writers are trying to distance themselves from the contemporary Gnostic movements. But soon other supernal feminine figures take her place in Jewish tradition; figures in whom characteristics of Sophia appear: the personified Torah, the Shekinah (the divine presence), the Matronit, the Sabbath, Shabbat, as the maiden princess in whom the Lord delights.(14) Hochmah does reappear in a central position in the medieval Jewish tradition of the Kabbalah, especially as this is summed up in the Zohar, the book of splendor. Scholars today are convinced that the Zohar was written in or around 1286 by Moses de Leon in Castile, Spain; but that scholar always insisted he was only passing on what he found in a manuscript from Shimeon ben Yohai, who taught at the religious center of Safed in Palestine in the second century C.E.

Forbidden messages in hidden Frescoes ?

The Michelangelo Code

No one could doubt Michelangelo's technical skill, his artistic genius, or his obvious familiarity with gross human anatomy. But how was it possible for even a Renaissance Master to acquire such an intimate knowledge of human neuro-anatomy, particularly the human brain?
For the church of Santo Spirito in Florence, Michelangelo made a crucifix of wood which was placed above the lunette of the high altar, where it still is. He made this to please the prior, who placed rooms at his disposal where Michelangelo very often used to flay dead bodies in order to discover the secrets of anatomy.

Was this also somehow related to Samuel Sarfatti ?

Michaelangelo's "Secret Agenda"?

The woman with child from the Book of Revelation is Isis and Horus.

The woman clothed with the Sun (Osiris) gives birth to the Christ child. This is the completion of the "Alchemical Wedding" that Jesus spoke of when he said, "When you make the two one, and when you make the inside like the outside and the outside like the inside, and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor the female female; and when you fashion eyes in the place of an eye, and a hand in place of a hand, and a foot in place of a foot, and a likeness in place of a likeness; then will you enter the kingdom."

In the Valentinian Gnostic system, Christ is the bride of Sophia. And not coincidentally, he described the existence of a Wall of Light that stood as a barrier between this world and the next, called Horos!

(18) The disciples said to Jesus, "Tell us how our end will be."
Jesus said, "Have you discovered, then, the beginning, that you look for the end? For where the beginning is, there will the end be. Blessed is he who will take his place in the beginning; he will know the end and will not experience death."

Personally I think mankind - like everything else in the Universe originates from the seed of God. God is the grand architect / creator and therefore encompasses all aspects of creation including time. The creator is The Alpha and The Omega - The beginning and the end .

God has full and exact knowledge of the universe and all its contents. Since God is beyond all time and space, both of which are united in the creators knowledge as a single point, and since the creator’s eternal, all-encompassing knowledge does not depend on them, time is a unified whole.

Given this, precedence, sequence, or division of time, and all other time-related concepts do not exist for the creator. We should always remember that our categories of past, present, and future time are only artificial categories designed to make our lives more manageable. Mankind views time from a linear - mathematical perspective - the creator does not. Time and space are also only two dimensions of creation.

About quarter of the way down the page - I found this piece really beautiful - full of insight and well worth reading.

The Creation of Man


BY that trick of the mind called by the rhetoricians " synecdoche," the Creation of Man, seen anywhere, in even the poorest print, means to me the whole Sistine Chapel. One glance at the familiar lines and my spirit has leaped the sea. I have escaped from the rattling carriage in the sun-drowned Piazza San Pietro, have passed in safety the watchmen of the flaming garb, and am standing with uncovered head beneath the great dim ceiling. The titanic fresco is of irresistible power. Whoever comes into its presence feels the spell. Having seen it, one can no more forget it than he can forget his first vision of the all-encompassing sky goddess Newt on the ceiling of the Kiosque of Dendera, with the moon and the stars at her breast and the sun rising from her lap.

The Creation of Man is the fourth panel in the series of nine which constitutes the central portion of the frescoes; or the sixth in the series reckoned in the order in which it was painted. For, as all the world knows, the series was painted backward. Just why the Drunkenness of Noah was chosen as the subject of the last panel, and then painted first, all the world is still discussing. Disgusted with the conditions of his time, stung by the gibe of his enemies (that a sculptor could not paint), and forced to begin the work against his will, what would have been more natural to a man of Michelangelo's temper, than to have seized upon the Drunkenness of Noah as typical of the day, and to have painted that first, and in the style popular at the moment, to beat his jealous rivals at their own game, and to show them what he thought of the whole wretched situation .

The Creation of Man, or as it is often called, the Creation of Adam, is reckoned as the masterpiece in this masterly series. In it the artist's genius reaches highwater mark. The composition is a unit; it has not two themes, like the Eden panel, but one, and that sun-clear. In some of the other panels the intention of the artist is not evident at sight. Here misunderstanding is impossible. This superb creature on a hilltop, just coming alive, has no rival in the whole range of painting.

The lines upon which the picture is composed are in themselves of astonishing power. This becomes obvious in a tracing. In the Creator group the curves come into the picture like a rushing mighty wind driving everything before it. The effect of this onset is evident in the Adam group. But the force in the one takes a turn about the head of the Creator and flashes forth on a new path to the fingertip, while the force in the other, just when it seems to have spent itself in the head of Adam,
reappears in the feebly outstretched arm and is lost in the drooping hand.

The marvel is more marvelous when one realizes that these curves, expressing divine life and human lassitude, both to the very hmits of possibility, are the same ! Like an Athenian vase of the best period, the whole composition is a play upon one line. A single curve, the curve of force, builds the entire design.

"For as all the world knows, the series was painted backward."Just why the Drunkenness of Noah was chosen as the subject of the last panel, and then painted first, all the world is still discussing."


  1. Very interesting set of posts D - and interesting interview with Sarfatti.

  2. Thank you String sorry it has taken forever to respond. Yes I found the interview very interesting as well - he seems genuine ?

  3. Hard to tell, that is a quality people have to prove by action - I don't know him, nor have I ever met him, so I have to reserve any judgment...I do like the way he presents himself tho and find the interviews interesting.