Is John Dee the demiurge?
Dean Martin once famously proclaimed that “It’s Frank Sinatra’s world, we just live in it.” I am currently thinking the same, literally, about one of the West’s most influential scientists, astronomers, religious philosophers, magicians and prophets: John Dee.
I have recently written about my theory that John Dee may have created the universe simulation we’re currently living in. I think he may have become the figure of “Ouranos” or “Oannes,” a.k.a. “Vishnu” to the Hindus. The name Oannes is recognized as the origin of the name “John.” The Babylonians remember Oannes as a wise god with a fish tail who came out of the sea to teach them the wisdom of civilization, most notably, astronomy.
John Dee, in fact, is largely responsible for our current view of astronomy in many ways. He was also an expert in manipulating light and the perception of light to render the appearance of a three-dimensional experience from something flat.
I think this depiction of Vishnu “crossing the universe in three steps” actually may show John Dee manifesting the three dimensions of our universe.
As it says in Wikipedia:
Several hymns of the Rigveda repeat the mighty deed of Vishnu called the Trivikrama, which is one of the lasting mythologies in Hinduism since the Vedic times. It is an inspiration for ancient artwork in numerous Hindu temples such as at the Ellora Caves, which depict the Trivikrama legend through the Vamana avatar of Vishnu. Trivikrama refers to the celebrated three steps or “three strides” of Vishnu. Starting as a small insignificant looking being, Vishnu undertakes a herculean task of establishing his reach and form, then with his first step covers the earth, with second the ether, and the third entire heaven.
विष्णोर्नु कं वीर्याणि प्र वोचं यः पार्थिवानि विममे रजांसि ।
यो अस्कभायदुत्तरं सधस्थं विचक्रमाणस्त्रेधोरुगायः ॥१॥ (…)
I will now proclaim the heroic deeds of Visnu, who has measured out the terrestrial regions,
who established the upper abode having, wide-paced, strode out triply (…)
— Rigveda 1.154.1, Translated by Jan Gonda
The Vishnu Sukta 1.154 of Rigveda says that the first and second of Vishnu’s strides (those encompassing the earth and air) are visible to the mortals and the third is the realm of the immortals. The Trivikrama describing hymns integrate salvific themes, stating Vishnu to symbolize that which is freedom and life. The Shatapatha Brahmana elaborates this theme of Vishnu, as his herculean effort and sacrifice to create and gain powers that help others, one who realizes and defeats the evil symbolized by the Asuras after they had usurped the three worlds, and thus Vishnu is the savior of the mortals and the immortals (Devas).
This speculation of mine regarding Dee, which I have also mentioned in several interviews on various programs, as well as my own new podcast The Twyman Trip, is discussed most fully in my essay Fake N.E.W.S.: Unboxing the Compass, available to premium subscribers. Here are some excerpts:
First I came across information about how significant Belgium was in the life of John Dee, court astrologer and intelligence agent to Queen Elizabeth I. He invented the so-called “Enochian” ritual magic system—or rather, channeled it from self-identified “angels” using a divination technique called “scrying.” Alchemy was one of his primary studies, and when I did the séance you just saw, his alchemical treatise Monas Hieroglyphica was already a subject in the story of Genuflect, as well as Dee’s alleged interest in the London Stone artifact.
Monas Hieroglyphica is about a secret formula to recombine the elements of the universe into one thing—the Monad—thus uncreating the universe, with the power then to create a new one. Specifically, these elements are represented as metals, corresponding to the seven “classical planets” or heavenly lights recognized by the old world, which included the Sun, Moon, and five visible planets. Dee wrote it in Antwerp, Belgium, in an inspired frenzy, between January 25 and March 31 of the year 1564. Afterwards, he bragged to the Queen about having discovered some extremely powerful secret.
Coincidentally, that same date of March 31 was already featured as an important date in the Genuflect plotline, which is about an alchemical ritual to sacrifice and regenerate the Sun, as well as the other classical planets. I did not know that Dee had written a book about this very thing until my story was almost completely finished.
The date on which he started the project, January 25, just so happens to be the date on which the world’s largest diamond, the Cullinan, was discovered in South Africa in 1905. It was later carved up by expert stone-cutters into over 100 stones for the British royal family, whose modern members provided the basis for several of the characters in Genuflect. As it turns out, Antwerp is the center of the world’s diamond trade, and the subject of diamonds had quite accidentally become central to the Genuflect story. This is because the building that I based the main location of the story on is in real life planted on a plot of land in the center of London called “Bucklersbury” that is shaped just like the diamond Superman logo.
This shape, I discovered, is really a two-dimensional depiction of the side of a round-cut brilliant diamond. This particular cut of diamond was invented by mathematician Marcel Tolkowsky of Belgium in 1919. Tolkowsky came from a family of expert gem-cutters. Being a mathematical genius, he figured out the exact dimensions to use to make a diamond that will refract white light into the brightest possible “fire,” the industry’s term for the shimmering sparkles that shoot out the top. Recall that the spirit of Mithras told us on the Ouija board that Michael Bloomberg was going to use some kind of “FIRE” magic to “open the sky.”
Tolkowsky published the details of his invention, and many variations on it, in his book Diamond Design. A round brilliant has 58 facets, including the culet at the bottom. There are 33 on the “crown” and 25 on the “pavilion” below.
First off, I think this potentially relates to the gilded head discovered by the police who arrested the Templars in France on October 13, 1307. This head was labeled “Caput 58M,” and is considered a possible Baphomet teraph (a preserved head used for divination). But also, remember that John Dee started Monas Hieroglyphica on 1/25 and then finished in on 3/31. It is almost as if the diamond-cutting formula of “1 set of 25 facets, and 1 set of 33 facets” is encoded in these dates.
To get the maximum effect, the light has to hit the top of the diamond from a certain angle. It then exits out the top from a certain angle as well. I found what look to me to be the trajectories of these key angles encoded in the layout of the two buildings of Michael Bloomberg’s new headquarters in London, the basis for the fictional location used in my novel. The two buildings at the site form a shape that is reminiscent of a keystone, and this is significant to me.
I concocted this scenario based on patterns I was seeing in myths and legends that I had been coming across at the time. It was all starting to make me wonder if the Sun might be a diamond. You saw before that Mithras confirmed it was a “crystal.” Now look at the location of the “windows” behind the sun and the moon on my Ouija board. Could light actually be coming into our realm from behind the sun, and exiting from behind the moon, as light travels through a diamond?
This is what I had been thinking about when I wrote the story of Genuflect, which, as I mentioned, was published on the day of the séance with Mithras and Uranus. But it was only a couple of days ago that I discovered the basis of the “Angelic alphabet” used for John Dee’s Enochian magic system, which he channeled from the angels themselves, are actually formed by the angles of refraction that cause the scintillation of light through the top of a crystal. I just about lost it when I found this out. More on this in a bit.
This pertains to that angelic language made of angles of light that John Dee channeled the keys to. It might just seem funny to consider that a language made of angles of light might be called “Anglish,” and the English language, of course, stems from the “Angles”: Germanic people who settled in Britain, and whose language eventually merged with that of the Saxons. But according to linguist Julius Pokorny, the root of the name comes from an Info-European word meaning “to bend,”—in other words, “to form an angle.”
We could also consider the fact that Modern English, presently the world’s international language of commerce, owes just as much, if not more, to the works of William Shakespeare, and to the King James translation of the Bible, as it to it’s Anglish roots. Amazingly, John Dee was involved in both endeavors. He also had a great deal to do with the mapping of the globe Earth, including Antarctica, and the “New World” across the Atlantic, perfecting his own techniques for calculating its alleged spherical geometry. He also came up with his own calculations for the movements of the stars, and created one of the first celestial globes, mapping the stars seen from Earth on a sphere. He was personally involved in training some of Britain’s earliest explorers of America, providing them maps, instructions, and even equipment that he had invented himself, such as the paradoxical compass. As Steven Sora writes in The Lost Treasure of the Knights Templar:
…While not noted for his science of navigation, his work The Perfect Art of Navigation, led Sir Francis Drake to believe it was possible to sail around the world. …
…When discussion of the Drake voyage first emerged, backers of the scheme enlisted Dee to help. Through the use of some convoluted logic Dee convinced Elizabeth that she was a linear descendant of Arthur and was entitled to be the queen of America (and Scandinavia and Russia for good measure). Elizabeth and other backers put up the funds for Drake’s secret mission. The voyage of the Golden Hind yielded a 4,700% return for the investors. Dr. Dee’s collection also included the charts and maps of the Zeno-Sinclair expedition; the explorer Sir Martin Frobisher had obtained these from Dee.
For the honor of his Queen, he wrote tracts promoting the expansion of the “British Empire,” a term he is credited with originating. Not only that, he also coined the term “Britannia,” a word that he actually channeled from one of the angels, communicated to him through the Enochian language of light beams refracted through crystals!
Heck, the word “angel,” which means “messenger,” is an anagram of “angle” and sounds almost identical. As it turns out, the Old English word that angle comes from was spelled “angel,” and the Germanic roots mean “fish hook.” This is how it came to mean “bend” and then “the space between two intersecting lines.” This is how it developed into the word “anchor,” and coincidentally, an anchor was the symbol of the secret society that helped to plot the creation of the British Empire in America, to which both Sir Francis Bacon and John Dee belonged.
In Book 4, Aleister Crowley instructs student magicians to place a reconstruction of John Dee’s Sigil of Aemeth atop an altar made in the “form of a double cube.” But as I explained in my book Clock Shavings, he’s just copping out by suggesting they make an altar formed by placing one cube on top of another. That’s not the real double-cube of mystic import. As Crowley himself wrote in that same book:
In the study of geometry, “doubling the cube” (making a cube exactly twice the size of another cube) was long considered one of those unsolvable problems, and it still cannot be done with a square and compass. Plutarch wrote that this problem came to the attention of the Greeks when the oracle at Delphi told the people of Delos that they would not receive answers to their prayers until they doubled the size of their altar to the god Apollo, which was a cube.
In other words, they were being told to double the size of their cubic altar to the Sun. The real way to double the cube, of course, is to build a hypercube. That’s how you surround a cube with another cube—surrounding the “Second Square,” as the winner must do in Ageio.
I’ve already pointed out that the Christian cross is the hypercube. So the altar that Christ died on is double the cube of Apollo’s altar. As I’ve said in my previous writings, Jesus was the new Sun, the new king of the gods, inheriting the title of Zeus, which Greek and Roman writers thought might belong to either Apollo or Dionysus, two candidates for his first-born son and heir, should he ever be dethroned. However, it seems this role was taken up by Christ instead. According to Wikipedia, the last of the Delphic Oracles:
…was in 393 AD when by order of Emperor Theodosius the temple was closed and never reopened. The Oracle declared all is ended. Within 5 years the Emperor was dead and 15 years later Alaric the Visigoths captured.
The era of the new sun had already begun. Time had already started over, at least in a sense. However, this would not begin until 525, when the Anno Domini (in the year of the Lord) chronology system was invented by Dionysius Exiguus of Scythia Minor.
Long before I seriously considered the flat Earth theory, or the idea of our universe being in a domed enclosure, I wondered if one might find, when traveling to some place even as relatively close as Mars, that it’s really in an entirely different dimension, and that alien cities exist there that simply are not visible to us from here. Now I find myself wondering if the planetary “orbits,” identified classically as higher “heavens,” might not actually be the remnants of past universes, past “Earths,” past “Suns,” or past “aeons.” Their seeming distance from us in space might be commensurate with their distance from us in time—but it wouldn’t be our present kind of “time” or “space,” really.
So then, is it possible to imagine that when the “New World” was “discovered” by Europeans, they were also discovering a different dimension of reality? Or maybe even creating it with their observation of it (a la the alleged “observer-created reality” factor of alleged quantum physics? Or, an even more mind-blowing possibility: could someone like John Dee and his friends have created it intentionally: through ceremonial magic? Supposedly, as Steven Sora reports in The Lost Treasure of the Knights Templar:
…Queen Elizabeth… and her ladies in waiting traveled to the estate of Dee in Mortlake where he kept his magic mirror that could see the future.
Or were they, as I now suggest (and merely suggest) actually creating the future? Perhaps the reason why a Masonic lodge is made to resemble the world as it looked to people in Solomon’s time is because there really was an aeon (or what is now, to us, a lower dimension) in which that is all that existed. Therefore, when people did venture beyond the “Pillars of Hercules” (the pillars that replaced Atlas), across the Atlantic Ocean (where, according to Plato, the previous aeon of Atlantis sunk into the Abyss), and built a new country in the “New World,” they really were creating a “New Atlantis.”
This was the metaphor that Sir Francis Bacon, a contemporary of John Dee, used for the future he saw for America. He wrote about it in an appendix to his work Sylva Sylvara in 1627. The image he used for this was that of the two pillars of Hercules, and a ship sailing through them, going into the “Plus Ultra” realm (Latin for “More Beyond”).
Yet another amazing discovery was made a few days ago when I was reading about John Dee while pondering these subjects. It was in a book about Dee that I’ve had sitting on my shelf for over 15 years, in a part that I had highlighted the first time I read it, way back then. It says that the archangel Uriel told Dee during a divination session to make a sigil representing himself, utilizing the Delta, the Greek letter for his name. This symbol looks like a simple triangle.
In the same session, another spirit, “King Carmara,” also told to him to make this into a lamen to wear during future sessions, “comprehending the form of thy own name, which is to be made in perfect gold….” Then another, King Bobogel, chimed in and added, “I have said Dee, Dee, Dee at length, but not too late.” A bit later, King Carmara also added some more. While holding up a measuring rod, he pointed to the end of it, then to the middle of it, and said:
I bear a power and a virtue that is beyond measure. Nothing is obscure which is received through him. One thing is yet wanting: a meet receptacle. There is yet wanting a stone. One there is most excellent, hid in the secret part of the depths in the uttermost part of the Roman possession.
Lo, the right hand of God is upon thee. Thou shalt prevail with it, with kings, and with all creatures of the world; whose beauty (in virtue) shall be more worth than the kingdoms of the Earth. Go towards it and take it up. Keep it secret. Let no mortal man touch it but thine own.
I assume “the uttermost part of the Roman possession” refers to Britain. Perhaps he was talking about the London Stone, which Dee was reportedly quite interested in. Supposedly he lived for a time near Bucklersbury, where I set the ritual scenes for Genuflect, because that’s where the London Stone, which I also included in my story, has traditionally always sat. Thinking about this, something else occurred to me.
When King Bobogel said: “Dee Dee Dee,” he was clearly referring to some meaning encoded within both the phonetic syllable and the first initial of Dee’s last name, particularly when written in the form of a delta, or triangle. In Anthropogenesis, Helena Blavatsky called the delta the “vehicle of the unknown deity.” She went on:
A good proof of it lies with the name of the Deity beginning with Delta. Zeus was written [[Deus]], by the Boeotians,* thence the Deus of the Latins.
In Morals and Dogma, Albert Pike wrote about the holy virtues of three triangles specifically:
The triple triangle is peculiarly sacred, having been among all nations a symbol of the Deity. Prolonging all the external lines of the Hexagon, which also it includes, we have six smaller triangles, whose bases cut each other in the central point of the Tetractys, itself always the symbol of the generative power of the Universe… Thus, too, we form twelve still smaller triangles, three times three of which compose the Tetractys itself.
… The Hexagon itself faintly images to us a cube, not visible at first glance, and therefore the fit emblem of that faith in things invisible…..
Considering all of the foregoing, I couldn’t help but think about the cryptic message that Jean Cocteau encoded into his aforementioned mural of the crucifixion at the Notre Dame de Paris in London. Right above his signature, he had written the initials “D.D.D,” along with an 8-rayed asterisk. This was the reason I had highlighted the words “Dee Dee Dee” when I found them in the book about John Dee: I wondered if Cocteau might have been referring to that somehow.
So I decided to look up the term “D.D.D.” on the internet. That’s when I found the most interesting things.
First, I found a website about the game and TV show Yugioh. Note that the game contains the same syllables as “Ouija” and “Ageio.” In the context of the show and game, the letters stand for “Different Dimension Demon.” Here’s what the Yugioh Wikia site says about it:
….Known as DDD in English manga, and pronounced ‘Triple D’ in the dubbed anime, [this] is a sub-archetype of the ‘D/D’ archetype used by Declan Akaba in the Yu-Gi-Oh! ARC-V anime and special manga chapter. The ‘D/D/D’ monsters serve as the ‘bosses’ of the ‘D/D’ archetype due to most of the archetype’s gameplay focusing on their summoning, along with the fact that ‘D/D/D’ monsters generally have higher ATK and DEF and stronger effects than non ‘D/D/D’ ‘D/D’ monsters.
‘D/D/D’ monsters are named after either a historical person, usually a military leader, or some form of the end of the world (e.g. ‘Armageddon’) and they encompass all of the Extra Deck Summon Monsters (except Link Monsters) as well as some Main Deck Effect Monsters. Most of them have an attributed office role from a pun on their name, creating a demonic hierarchy-themed archetype. …
According to Declan Akaba, ‘D/D/D’ is short for ‘Different Dimension Demon’ (Difarento Dimenshon Dēmon). This refers to how the ‘D/D/D”’ monsters consists of monsters of all Extra Deck Summoning methods, with each Extra Deck Summoning method (Fusion, Synchro, and Xyz) originating from a different dimension in the anime.
This may all seem like needless detail for me to repeat. But check out the next piece of the puzzle.
The next thing you get when you look up “D.D.D.” is a song by the Japanese pop singer Koda Kumi that came out on December 21, 2005. That’s about 6 months after I visited London with my husband Brian and ran across the Temple of Mithras that became the subject of my novel Genuflect. I also visited the Cocteau mural at the Notre Dame de France during that same trip, and took pictures there.
Now here’s where it gets totally freaky.
According to the artist herself, “D.D.D.” stands for “Triple Diamond.” When you watch the music video for the song, you see the crowns of three round brilliant diamonds projecting from the ceiling above the performers, acting as deck prisms, just like the diamond keystone in Genuflect. The gems are colored pink, yellow, and blue. They are taking the place of spotlights, as the lyrics of the song clearly state.
Can it get any more directly tied in with my research, my channeled messages, and the ostensibly fictional inventions I created for my novel?
What’s more, the room that they are performing in for this music video appears to be an underground dungeon where effeminate, drugged-looking young men in leather S&M outfits are reaching out desperately through the bars of iron prison stalls that line the walls. Others are being whipped. One is crucified on an X like Saint Andrew, or like somebody doing the “Sign of Mulier,” and he truly looks like he’s suffering. The whole video looks like a scene from the pit of Hell. At one point, the people on screen reach up towards the ceiling with flames dancing on their fingers.
This is amazing, of course, because of the connection to the imprisonment of Cain/Saturn and the other Titans underground, an opening to which I suspect is right there in London, beneath Michael Bloomberg’s Temple of Mithras, as I indicated in Genuflect.
The lyrics are half in Japanese and half in English, so some of the meaning is lost on me. However, what I can read fits right in with everything I’ve said here. There can be no doubt that the song is a reference to something in Britain. Wikipedia states that, “For the cover sleeve of ‘D.D.D.,’ Kumi chose to represent the United Kingdom and its symbolism of Britannia.”
The cover features the artist in a leather dominatrix outfit, with a feathered headdress somewhat resembling the helmet of a Roman centurion. This is Britannia. Figures wearing the same Roman helmet are seen in Cocteau’s mural at Notre Dame de France, and worn by the goddess Athena (played by Brigitte Bardot) in Cocteau’s film Testament of Orpheus. Such a helmet also features as a Mithraic ritual item in Genuflect, as it was the bdage of the Mithraic grade of “Miles,” the soldier, in the ancient Mithraic cult).
In Genuflect I actually mention the figure of Britannia, the female incarnation of the spirit of Britain, and also Britomart, the Celtic goddess after whom Britain is named. In fact, two of the characters in my story indulge in singing the patriotic song “Rule Britannia” in one of the scenes. But even more amazingly, a treasonous and subversive rendition of this song was performed by the punk rock star Amyl Nitrate in the Derek Jarman film Jubilee, in which she wears the headdress.
The film is set in a post-apocalyptic future but, incredibly, opens with a scene of the archangel Uriel appearing before John Dee and Queen Elizabeth I to give them a vision of the how the British Empire will end. Perhaps significantly, Adam Ant is an actor in this film as well, and his stage name comes from “adamant,” meaning “hard unbreakable,” the etymological root of the word “diamond.”
I honestly think that the song “D.D.D.” by Koda Kumi was somehow, in a cosmic way, inspired to be created so that I would find it years later, and use it as a clue to decode the message in the Cocteau mural. I doubt if the artist herself is aware of this. The black sun in the mural in London is implied by the black mirror on the wall behind the crucified man in the “D.D.D.” video. The fact that Britain is referenced on the cover of the album is a clue to look there for the meaning of the song. Let us now examine the lyrics, bit by bit.
Turn it, Turn it, Turn it up X 4
Hey minna! How are ya doin?
Heavy na Show time wo
Listen up baby this time wa tokubetsu
Tabun toka ~kamoshire nai
Nante kibun ja nakute 3 minds are right!
Count shidashitara tomara nai 3 mix
Atsukute Cool na Crazy Shit
Daremo mitakoto no nai Show Time
Many times I told you, but I say it again
I told you I’m gonna do the best I can
I know what I got to do to
make my dream come true
I think that these words were inspired by spirits, and a message specifically to me. They are trying to get me to understand a certain message, so that I can help them make their “dreams come true” (escape from Tartarus). Because I don’t yet understand the message, they keep repeating it to me in different ways through “crazy shit” coincidences.
“Show time” and “game time” are both phrases that spirits have used during Ouija sessions when they really “get going” and coming through strong.
We dont need no tools to
make you feel higher (feel higher)
No “tools”? What a peculiar phrase. I suspect this refers to the “tools” of Masonry, each of which, as Albert Pike explained in the previously-quoted passage, represents another dimension of visual space. The lyrics are saying that you don’t need any accessories to see reality from a “higher” perspective. You just need a dimensional shift in your perception.
Subete kono Naked body
Kara Fly out (Fly out)
This is an instruction to “fly by night” by projecting your “naked” astral body out from your physical body, presumably in order to see the higher dimensional perspective.
We dont need no spotlight,
’cause we got the fire (got the fire)
This is the “fire,” the light that refracts out of the top of a cut diamond, which they are using as a spotlight from the deck prism diamonds in the ceiling in the song’s video. I wonder if the 8-pointed asterisk on Cocteau’s mural next to the “D.D.D.” was meant to indicate the scintillation of fire on the top of a diamond when viewed from above. The back of John Dee’s scrying mirror, kept in the British Museum, features a seven-pointed asterisk.
When the show b
I be the girl you’ve never met
This is a reference to the fact that I’ve never spoken face-to-face with the spirits I’m talking to.
Mou dare nimo tomerare nai My time
Omou ga mama ni I just wanna dance
Dare nimo jama wa sase nai
I just do what I wanna do,
I do what I wanna do
In other words, “There is no law beyond do what thou wilt.”
Rise from Diamond chigau hikari no Fusion
Crazy ni yarasete
(Well work it!)
Cain and the other prisoners want to “rise from the diamond”—the prism that imprisons them. “No Fusion” refers to the fact that the Sun is not, as is commonly claimed, operating through nuclear fusion. Also, “fusion” is a way of “summoning monsters” in the game Yugioh.
Size wa triple x no feeling! Hand sign wa kore
We come in Triple Super High! na
I’m not sure of the exact significance, but another version of this song, released with the artist “Soulhead,” was titled “XXX.”
keep keep dope dope dope
(yippy yippy yi yai!)
deep deep more more more
(yippy yippy yi yo!)
yippy yippy yi yai yippy yi yo! X 2
Go! KUMI go go go!
(yippy yippy yi yai!)
Go! SOULHEAD go go go!
(yippy yippy yi yo!)
yippy yippy yi yai yippy yi yo! X 2
We don’t need no tools to
make you feel higher (feel higher)
Subete kono Naked body
Kara Fly out (Fly out)
We don’t need no spotlight,
’cause we got the fire (got the fire)
When the show begins
I be the girl you’ve never met
Its perfect temptation
Kono michi wo aruitekita no wa
Kitto kimi ni deau tame dattan da ne
1+2 be scandalous
3 come together be endless
This is an invitation for Heaven and Earth—Gaia and Ouranos—to come together once again and become an endless Mobius strip, cancelling out time and space.
Nobody can stoping this or step in this
’cause we are girl with the guarantee
Mochiron A or B nara A no hou
Yokubari na Girl nara touzen no koto
Hoshii mono wa dare ga nanto io uto hoshii no
Yes we wantem all
San-byaku-roku-juu do mozaiku nashi
Hadaka de 180 kaeru Brain of society
Bokashi nashi shikomi nashi Face to face
Miseteyaru Real game to the bunch of gamer
Only we got the Key to the next stage
They, the spirits, have the “Secret Key of Solomon” to the higher dimension outside of the firmament, the “highest heaven.”
Ichido kiitara Sure you gonna miss me
Nidome kara wa Youll be addicted
I be hear everybody say gimmisamo
Show ga hajimattara dare nimo tomerare nai no
I cant stop it
The dimensional shift being referred to here is the same one that is implied by the third, hidden pillar on the Masonic tracing boards. When I thought about this in relationship to John Dee, it led me to some amazing realizations. In Yugioh, “Triple D” refers to one demon who overpowers another by encompassing it from a higher dimension.
That is exactly how the “winner” prevails in the holy game of Ageio. Cain told us that you win the game by “surrounding the Agei on the Second Square” (the “Agei” being game tokens that somehow represent the transformative power of God). I think this implies the idea of prevailing against an enemy who has imprisoned you by escaping the prison and then building a larger prison around your enemy. In the case which I believe we are really talking about here—the game between God and the Devil over control of existence—the goal of those in Tartarus is to get out of there into our world (step 1), then get out of this world into a larger world (step two). (This is related to the mathematical problem of it being impossible to double a cube in three-dimensional space.)
But perhaps it is necessary to first build another structure around everything for them to reside in first. After all, the spirits have told us that there is nothing but “DEATH” outside of “the enclosure” of the heavenly firmament. It is the Abyss of chaos, both above and below us. The firmament is a bubble over Earth that keeps us in this reality, outside of which nothing is real.
So now let’s think about Cocteau’s three Ds, and the three Ds that King Bobogel implied with his speech “Dee Dee Dee,” to John Dee and talking about the first initial of his last name as a delta—a triangle. Could this also be related to the idea of the third dimension in contrast to the second dimension? After all, John Dee was one of the early people involved in trying to plot a map of the Earth, normally drawn on two-dimensional paper at that time, onto a three-dimensional sphere.
Amazingly, the building that Notre Dame de France is housed in used to be the location of Robert Barker’s famous “panorama” display house. The panoramas used optical illusions to create the effect of walking through different cities of the world in the third dimension. It was the talk of London at the time, at the start of the nineteenth century. It has also, since the twentieth century, been situated just a few feet away from a strip of rare book stores, including Watkins Books, which specializes in the occult. So while making his mural there, Cocteau most likely would have had easy access to both the history of the building’s use for panoramas, and the works of John Dee.
Dee also experimented in optical illusions. My research into the panoramas at Leicester led me to revisit the work of James Egan. This author and researcher believes that John Dee built is the one who designed and commissioned a sixteenth-century tower in Newport, Rhode Island, as a camera obscura, for the purpose of observing the Sun, Moon and other heavenly bodies without having to stand in the cold outside to do it.
In his numerous books on John Dee, Egan argues that Dee designed London’s original Globe Theatre as well, famous for its association with Shakespeare, utilizing the secrets of “squaring the circle.” He shares many fascinating facts about the man—his activities, his interests, and his ideas that seem to fit right in with the concepts I’ve been covering here. Among them is the fact that Dee frequently encoded the name “IOD” into his works. It was a name for the deity, but also for himself. Which brings to my mind a startling question: Did Dee actually equate himself with God in some way?
I mentioned before my hare-brained idea that just seem ludicrous on the face of it, but, if one believes in the power of ceremonial magic, should be theoretically possible. I suggested that John Dee and his fellow proto-Masonic friends might have somehow actually created the “New World.” Before it was “discovered,” all of the governments of Europe were actively funding expeditions to try to fine an alternate route to China and India for trading purposes.
Perhaps along the way, someone who knows about magic discovered a way to fold up the world so that you could theoretically just dig a hole to China, and pop out the other side. I am imagining the operants working on a flat plane, encompassing only the countries included in the Masonic lodge floor plans that are supposed to represent the world “as it was known in Solomon’s time.”In the process they may deliberately altered history, the clues to which were discovered recently with the work of Anatoly Fomenko.
I’m sure you’ve probably admitted the possibility that our reality could be a simulation, but you were assuming that we were talking about it being created by an advanced alien or future human civilization, right? You weren’t thinking about sixteenth-century men creating it through practicing magic.
But just consider how Dee’s Enochian tablets can be used to create representations of the physical world (which is actually one of the things the angels told him to do with them.) They can also, like computers, be used to encode and store a great deal of information compactly. The explicit purpose of creating such models of the world for use in magic is to sympathetically change the world by changing the model you’ve built. The Enochian tablets, incredibly, when put together, fold up into a hypercube (see the work on Vincent Bridges for more on this).
Before he began channeling the Enochian system, Dee spent a good deal of time trying to understand a mysterious document called The Book of Soyga. (Notice that “Soyga” is almost another phonetic anagram of “Ageio.”) Like the Enochian tablets, Soyga involves complicated tables of characters, which connect to form a 36 x 36 x 36 cube. (36, you’ll recall, is the number of squares in the all-powerful “Second Square” of Ageio. As Lon Milo Duquette says in his book Enochian Vision Magick:
Like DNA, alphanumeric squares carry an unimaginably vast amount of information in a deceptively small package….
The magical process of the Book of Soyga (shuffling and distilling immense numbers of letters and squares into smaller and smaller bits of concentrated information) would become the modus operendi by which the spirits would ultimately communicate the secrets of Enochian magick to Dee and Kelley. … In this way, the process is a metaphor of the mechanics of creation itself. As Carl Sagan said, ‘If you wish to make an apple pie from scratch, you must first create the universe.’ In this case, our apple pie is the manifest universe—the world as it presently exists—the world Dee and Kelley wished to understand and magically affect.
This world is an end produce of a progression of cosmic events that physicists believe began with an immeasurably dense singularity (containing all the potential information that would eventually become the universe) that burst open and set into motion the phases of creation. The immensely packed assembly of thirty-six 36 x 36 alphanumeric squares found in the Book of Soyga is a crude but appropriate model for such a singularity. The intricate process of combining, shuffling, and distilling information-packed squares magically mimics the astronomical processes by which atoms and elements to stars and planets were formed in the creation cycle from seemingly chaotic units of a potential universe.
This is exactly, without metaphor, what I think John Dee may have done, and why he felt entitled to refer to himself by the title IOD—something otherwise reserved for the creator deity.
What, then, of the idea, communicated by Uranus on the Ouija board, that our world is at risk being folded up into smaller and smaller pieces until it almost disappears? I will just share here a few paranoid personal observations.
About a week before the eclipse, my son, who is four years old, spontaneously announced to me that “they” were “boxing up the planet and folding up the board like a board game.” I don’t know what he meant by “they,” and I’ve never talked to him about anything like this. So I took what he said as an omen. The Mithras and Uranus séance had already occurred, and I did think that this statement could somehow be related to the “folding up” effect that we had been warned about.
It was only when I began writing this essay two weeks ago that I discovered what the word “hod” in English means. The first definition is “A trough carried over the shoulder for transporting loads, as of bricks or mortar.” The fourth definition is “A rectangular basket… traditionally used by clammers to carry their catch.” Clams and oysters are common symbols of the body as a repository of the soul (symbolized by the pearl inside). This may be connected to the functional purpose of the Sun for those who control our world and harvest energy from our souls, since Mithras called the Sun “Eben Hod.”
Ever since the eclipse I witnessed two months ago, I’ve noticed something strange with the chemtrailing that I’ve grown so used to over my skies here in the Portland, Oregon metro area. Whereas they used to make a flat grid over the entire sky, the lines of which would blur together to form a sun-obscuring haze that would last throughout the day, now they are forming a concave-curved dome net above the area.
I noticed this one day about a month ago, when the sky was completely full of these lines. Some of them even formed obvious magical sigils, such as an inverted pentagram that point down to directly above the restaurant where I was eating. The lines were so bizarre and voluminous that I and two other local people spontaneously contacted each other to ask if we’d all seen it. Ever since then, the concave dome net has appeared over my head almost every day. The effect of this seems to be that the horizon drops off much close than it used to. The sky looks like a small enclosed dome above me, and the clouds seem much lower down, closer to my face when I’m looking up.
Also, at night, the Moon looks blurry about half the time. Like it’s out of focus. And it’s not my eyes.
The effect seems to be partially created by forming smaller curved lines inside of the smaller ones. It frankly looks very much like something that appears at the end of John Dee’s Monas Hieroglyphica:
The author’s explanation of the meaning of these images is quite cryptic. He wrote:
Finally, we will insert other things in an opportune place which, if they are conveniently understood, will produce fruits most abundantly.
We now abruptly conclude.
24 possible permutations.
Of the Pythagorean quaternary
The Pythagorean sum is 10.
A complete addition of the parts yields 30.
Take the same proportion which is shown in numbers when written in the natural order, after the first Monad, then from the first to the last make a continuous multiplication—that is to say, the first by the second, the product of these two by the third, and this product by the fourth, and so on until the last; the final product determines all the Metatheses possible, in respect of the proportion in space, and for the same reason in proportion to diverse objects as you wish.
I tell thee, O King, this operation will be useful unto thee in many circumstances, whether in the study of Nature or in the affairs of the government of men; for it is that which I am accustomed to use with the greatest of pleasure in the Tziruph or Themura of the Hebrews.
Of the artificial quaternary
• a continuous multiplication yields 12.
• a simple addition yields 8. (1, 7; 4, 3)
• the sum of a complete addition of the parts is—24, number which is the same in any possible transposition of the quaternary, and which designates the physical purity and highest quality of gold, (namely that) of 24 carat when one has it, by itself, above ground.
I know that many other powerful numbers may be produced out of our Quaternary, by virtue of arithmetic and the power of numbers. Yet he who does not understand that a very great obscurity has by this method been illuminated by those numbers which I have drawn out which have nature and distinction amongst such a multitude, will not be able to estimate their meaning, which is obscure and not to the point.
Speaking of these diagrams, and another one which followed, being of the “Horizon Aeternitatis” (the “eternal horizon”), Dee wrote:
It was because of the true effect of this that four illustrious men, friends of Philosophy, were upon an occasion together in the great work. One day they were astonished by a great miracle in this thing, and forthwith dedicated themselves from that day forward to sing praises to God and to preach the thrice Mighty because He had given them so much wisdom and power and so great an Empire over all other creatures.
To me this sounds like Dee describing how he and a group of friends did the magical act of New World creation that I’m suggesting might have happened.
The other thing I have noticed since the eclipse is that the Sun looks way more white, rather than yellow, to me than it was before. I cited the claim earlier that the Sun puts out pure white light at midday. I certainly haven’t noticed that before. But as for the rest of the day, it seems to me that the Sun is a big bigger, a bit brighter and a lot whiter than it was before. In fact, I almost never see even a hint of yellow in it anymore. Yet despite being brighter, it is not as hard to look at as it was before. Indeed, I have to keep myself from staring at it, because looking does not seem to hurt my eyes at all now.
So I sat up straight in my chair when I was going through my Waite-Rider tarot deck and noticed that the Fool is shown walking over a cliff with a perfectly white Sun shining behind him, with a yellow sky in the background. I looked, and while the Sun is seen in several of the other cards, it is only on the Fool that it is depicted as white. Of course, the Fool is shown being as oblivious to this as to everything else around him. Is this a metaphor for us, and the fact that we never bother to look up to really “see the Sun”?
The increased brightness of the Sun brought to mind a cryptic phrase used in The Chemical Wedding of Christian Rosenkreutz, where John Dee’s Monad symbol is reproduced. In the story, all of the alchemists called to work on the “Chemical Wedding” are given a golden fleece with a medal hanging from it, decorated with a symbol of “the sun and the moon in opposition.” Underneath this, it says on the medal:
The light of the moon shall be as the light of the sun, and the light of the sun shall be seven times lighter than at present.
It seems as if the magicians who are control of the horizon today are proceeding with John Dee’s plan. I do wonder where it will lead us.