Grid of the Gods (49 page)

It is an alchemical structure, in short, because of the profound knowledge it embodies of the physical medium and all its manifestations from scales spanning the macrocosm to the microcosm.

To say that it is alchemical, however, is to suggest that the site had some
functional
purpose beyond merely memorializing certain mathematical constants and relationships. It is to say, rather, that it was designed somehow to
manipulate
the very medium it memorializes.

Could there have been such a functional purpose to the site? Brophy concludes that at the minimum the engineers of the Nabta Playa megaliths had the following three things:

1)“…Very advanced knowledge of astronomy, such that we are only able to achieve with modern high technology;”
³⁷

2)“…a basic understanding of physics, and knowledge of astronomy that rivaled or surpassed ours today;”
³⁸
and,

3) “…knowledge of the astrophysical galaxy, and our situation in it, similar to our own such knowledge.”
³⁹

However, even Dr. Brophy sensed there was something more than merely memorialization at work in the functional purpose of the site:

…(Notwithstanding) the astrophysical and microphysical importance of the map, the most intriguing aspect of it may be that it appears to describe
some sort of function.
Such a function seems to involve certain alignments among the supermassive black hole at the Galactic Center, the Big Bang, the Sun (probably at vernal equinox sunrise), Earth’s spin axis, and human beings. A unified understanding of this map, together with the alignments indicated in the Giza monuments, and probably with other megalithic structures yet to be deciphered, may pinpoint this function and indicate how to make use of it. This function may involve purely physical processes on one end of a spectrum, or involve human consciousness on the other end of the spectrum.

    There are hints in some very ancient writings, such as the Sumerian, that might be interpreted as describing such a precise astrophysical-human interaction… (On) its 17,700 BC vernal equinox alignment date the Galactic Center rose very close with the Sun; thus both bodies entered the “declination window”, defined by the Cosmological Sculpture, about 40 minutes after sunrise. Such “galaxy gates”, if they really exist, must entail some mechanism of interaction between human consciousness and physical reality that is as yet unknown.
⁴⁰

But we have already seen what the clues are.

The Nabta Playa complex encodes a hyper-dimensional physics, one suggesting a unification of the physical mechanics of the very large with the very small. It thus encodes a physics of dynamic torsion, of rotating systems within cyclic systems within rotating systems. As most readers of my book
Babylon’s Banksters
are also aware, this also encompasses cyclic systems in aggregate human behavior.

Could there, however, be a more direct link to consciousness, as Brophy suggests? And if so, how does hyper-dimensional geometry and physics fit into the picture?

…Brace yourself…

Notes

1
John Anthony West, “Afterword,” in Thomas G. Brophy, Ph.D.,
The Origin Map: Discovery of a Prehistoric, Megalithic, Astrophysical Map and Sculpture of the Universe
(New York: Writers Club Press, 2002), p. 119.

2
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 1.

3
Robert M. Schoch, Ph.D., “Foreword,” Ibid., p. xiii.

4
Robert M. Schoch, Ph.D., “Foreword,” Ibid., p. xiv.

5
Ibid., p. xv.

6
Ibid., p. xviii.

7
Ibid., p. xxiii.

8
Thomas G. Brophy, Ph.D., p. 7.

9
Ibid., p. 49.

10
Ibid., p. 9.

11
Thomas G. Brophy,
The Origina Map
, p. 25.

12
Ibid., p. 10, emphasis added.

13
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 19.

14
Ibid., p. 17. There is further discussion of the astronomical basis of these alignments on pp. 27, 29–35 in conjunction with declinations and ascensions. Brophy notes that the statistical probabilities for these alignments exceeds normal requirements for scientific hypothesis on p. 38.

15
Thomas G. Brophy, Ph.D.,
The Origin Map
, pp. 38–39. See also my
Genes, Giants, Mopnsters, and Men
(Feral House, 2011), pp. 55–89.

16
Thomas G. Brophy, Ph.D., pp. 42–43.

17
Ibid., p. 45.

18
In fact, since Brophy wrote those words, a number of planets orbiting distant stars have in fact been observed.

19
Thomas G. Brophy, Ph.D.,
The Origin Map
, pp. 45–46, italicized emphasis added, boldface emphasis in the original.

20
Ibid., p. 46.

21
IBid., p. 48.

22
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 11.

23
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 49.

24
Ibid., emphasis in the original.

25
Ibid., pp. 50–51.

26
Ibid., pp. 53–54.

27
Thomas G. Brophy, Ph.D.,
The Origin
, p. 57.

28
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 58.

29
Ibid., p. 54.

30
Thomas G. Brophy, Ph.D., The Origin Map, p. 56.

31
Ibid., p. 59.

32
THomas G. Brophy, Ph.D.,
The Origin Map
, p. 58.

33
Thomas G. Brophy, Ph.D.
., The Origin Map
, p. 61.

34
See my
The Giza Death Star
(Adventures Unlimited Press, 2001), pp. i-ii, 218ff, 227.

35
“orthogonal”: i.e., perpendicular to. The technique Dr. Brophy is describing is that used in higher-dimensional geometries to describe objects that exist in more than three dimensions. It is easily imagined, for when one draws a straight line, one has one dimension. The second dimension emerges when one imagines a line, and thus a plane, existing perpendicular to that line. One thus, by creating an “orthogonal rotation” through 90 degrees, has created the second dimension. Repeating the process of creating a perpendicularity to
both
dimensions results in the
third
dimension. Creating a fourth spatial dimension thus requires perpendicularity, or an orthogonal rotation through 90 degrees to
each
of the three dimensions, and so on.

36
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 62, emphasis added.

37
Thomas G. Brophy, Ph.D.
, The Origin Map
, p. 102.

38
Ibid.

39
Ibid.

40
Thomas G. Brophy, Ph.D.,
The Origin Map
, p. 105, emphasis added.

11

T
HE
M
A’ATERIA
P
RIMA
:

S
CHWALLER
D
E
L
UBICZ AND
T
HE
E
GYPTIAN
V
IEW OF
THE
P
HYSICAL
M
EDIUM

“The Chinese sages said: One always equals three. The Egyptian sages placed the triad at the origin of each line, as they placed the triangle at the origin of geometric forms. Two irreducible magnitudes are necessary to determine a third. The sages have never taught otherwise.”

“Do you care to translate this as Father, Spirit, and Son or Osiris, Isis, and Horus? Or Brahma, Siva, and Visnu?…You may, but if you are wise and wish not to be led astray, you will say: One, Two, which are Three. This has been
represented
by initiates for those who need images, so that they may
rally around a tradition,
and be bound by what is called ‘religion’.”
R.A. Schwaller de Lubicz
¹

I
n response to our epigraphs above, we are justified in asking, if the sages “have never taught otherwise” than to make reference to a primordial “trinity” of some sort, then
why
is that the case? Why do we find trinities not only in Christianity, but more anciently, in the Vedas? In China? In
Egypt?
And what has that to do with the world Grid and physics?

These questions may be answered by a consideration of the cosmology — the physics and mythological context — surrounding the Egyptian pyramids, and may be summed up in one word,
ma’at
, their word for the
materia prima
from which all else derives, and the sacred science they associated with it.

The question assumes importance for another reason, namely, that if one is to understand fully and completely the unique nature of the Egyptian contribution or component of the world Grid, then one must understand the cosmology that lay behind it. Once again, merely looking at numbers and engineering is not enough. One must look also at the texts and the cultural context.

A. The Physical Medium and the Nature of Hieroglyphic Symbols

No one performed the task of penetrating deeply into the meaning and spirit of Egyptian cosmology than the twentieth century’s most accomplished esotericist-scholar, Rene Schwaller de Lubicz. Schwaller begins where most would not, namely, with the one most obvious fact about Egypt: hieroglyphs:

Each hieroglyph can have an arrested, conventional meaning for common usage, but it includes (1)
all the ideas that can be connected to it
, and (2) the possibility of personal comprehension. This accounts for the cabalistic character of the hieroglyphs and requires the determinative in the writing.
²

Just what Schwaller means by “all the ideas that can be connected” to a hieroglyph, he explains a little further on:

Hieroglyphic writing has the advantage over the Hebrew of utilizing images that, without arbitrary deviations,
indicate the
qualities and
functions inherent in each sign
.

Cabalistic writing maintains secrecy but offers a clue by accentuating the principal idea, inexpressible by fixed concepts. It always employs a form of transcription
with several possible meanings
, using an ordinary fact as a
hook
to catch the thought: a geographic site, for instance, a historical fact, a function, a gesture related to a profession, even a well-known theological form or myth.
³
>

That is to say, each hieroglyph represents an “ideological” or “conceptual complex” whose principal feature is its
analogical, multi-leveled nature
.

1. Hieroglyphs and the Analogical Nature of the Physical Medium

It is crucially important to understand what this means, for in the Egyptian cosmology, a hieroglyph is much more than just a
symbol
of
the physical medium, it is an actual
operation and manifestation of it
. As will be seen a little later in this chapter, the Egyptians held to substantially the same view of the physical medium as did the ancient Vedic culture of India, and in fact, the Egyptians reproduce the topological metaphor describing that cosmology in almost exactly the same way, as an initial primordial triad that results from a “primary scission” or differentiation. Thus, everything that
is
a differentiable object is, on the Egyptian view, derived from the physical medium, and that includes, of course, hieroglyphs. But the hieroglyphs are also connected much more directly to the physical medium than just by being products of it, by dint of the fact that the medium, as we have noted in previous chapters, is analogical in nature, that is, that everything produced within it by a process of repeated differentiations still retains some signature of its original archetype, especially in terms of any overlapping
functions
shared between any of its products. In this sense, a heiroglyph, as Schwaller observed, is meant to be a collection of specific
functions
; they are designed as psychotronic objects — if we may use that term — as magical talismans or objects to manipulate not only the consciousness of their observer, but also of the physical medium itself. They are, as such, quintessentially magical and alchemical in their intention and design. There is nothing haphazard about them. The hieroglyphs are analogical in nature, because in the ancient view, in the topological metaphor, the medium itself is analogical in nature.