THE LIGHT IS RISING NOW RISING IS THE LIGHT

....

The tap code table

The tap code, sometimes called the knock code, is a way to encode text messages on a letter-by-letter basis in a very simple way. The message is transmitted using a series of tap sounds, hence its name.

The tap code has been commonly used by prisoners to communicate with each other. The method of communicating is usually by tapping either the metal bars, pipes, or the walls inside a cell.

The tap code is based on a Polybius square using a 5×5 grid of letters representing all the letters of the Latin alphabet, except for K, which is represented by C.

The listener only needs to discriminate the timing of the taps to isolate letters.

Each letter is communicated by tapping two numbers
the first designating the row
the second designating the column

For example, to specify the letter "B", one taps once, pauses, and then taps twice.

Or to communicate the word "water", the cipher would be the following (the pause between each number in a pair is smaller than the pause between letters):

THE

FIELD

THE QUEST FOR THE SECRET FORCE OF THE UNIVERSE

Lynne McTaggart 2001

LIGHT IN THE DARKNESS

Page III

"Physics may be about to face a revolution similar to that which occurred just a century ago. . .

Arthur C. Clarke, 'When Will the Real Space Age Begin?'

If an angel was to tell us about his philosophy. . .

many of his statements might well sound like 2x2 = 13"

Georg Christophe Lichtenburg, Aphorisms

Page 13 "Subatomic particles had no meaning as isolated entities but could only be understood in their realationships. The world at its most basic, existed as a complex web of interdependant relationships, forever indivisible"

FATHER TERAH THERA HEART EARTH HEART THERA TERAH FATHER

FATHER TERAH THERA HEART EARTH HEART THERA TERAH FATHER

F

ATHER TERAH THERA HEART EARTH HEART THERA TERAH ATHER

F = 6 = F

ATHER TERAH THERA HEART EARTH HEART THERA TERAH ATHER

THE ATLANTIS SECRET

A COMPLETE DECODING OF PLATOS LOST CONTINENT

Alan F. Alford 2001

Page v

ATLANTIS RECONSIDERED

"All of these myths, and many others besides, concealed a 'Secret of secrets' that was accepted, unquestioningly, as a true account of the origins of the cosmos and man...."

Page v

"...Until now, this mainstream breakthrough in comparative religion has found limited application, for, if truth be told, the literature of the Near East is as much of a puzzle to scholars as the literature of the Greeks. Now, however, in the light of my recent deciphering of the Egyptian and Mesopotamian myths, the full import of these parallels may be felt For the first time ever, it becomes possible to understand the Greek myths by literally standing under them. For the first time ever, we can get inside Plato's mind and reconsider the story of Atlantis from an ancient, rather than a modern, perspective.
The result is nothing short of a sensation. In this book, I present not only a complete decoding of the lost continent of Atlantis, but also a complete decoding of ancient Greek religion in its entirety. I am able to decode the myths of the Olympian gods and their associated mystery cults; I am able to decode the myth of the golden age and the fall of man; I am able to decode the scientific cosmogoniess of Thales, Arnixim-inder, Heraclitus, Anaxagoras, Empedocies and Philolaos; I am able to decode the 'soul religion' of Orpheus, Pythagoras, Parmenides, Socrates and Plato; and I am able to decode Plato's Theory of Forms, his account nf the creation by the Demiourgos, and his story of Atlantis. Behind all of these ideas there lies a single secret of stunning simplicity - ..."

Page 19 (number omitted)

Chapter Two

CATACLYSMS AND THE GODS

Veiled in thick mist, the Muses walk by night, uttering beautiful voice, singing of Zeus who bears the aegis.
(Hesiod, Theogony, 8th-7th century BC)

We now have an overview of the story of the gods. We have learned of their origins, ultimately from Ouranos and Gaia. We have learned of their battles, in which Kronos and then Zeus rose, in turn, to supremacy. We have learned of their establishment of the world order and their division of the world into regions. We have learned of the gods' creation of mankind, apparently preceded by at least one pre-human race of earth- born people. And we have learned of the mingling that allegedly took place between the gods and the earth-born people, which resulted in the race of half-gods, or god-like heroes, and their mighty descendants.
But it is now time to focus in more detail on the various attributes of the gods. Were they really as human-like as Homer and the Euhemerists (such as Ignatius Donnelly) have led us to believe?
We will begin with the physical appearance of the gods, and as good a starting point as any is the hair by which so many were distinguished. There is the 'dark' hair of Poseidon, for example, the 'long, flowing' hair of Apollo, the 'braided' hair of Calypso, and the 'beautiful' hair of Leto and Demeter.' But what should we make of the hair of Zeus, which is described in the Iliad thus:
So the son of Kronos [i.e. Zeus] spoke, and he nodded his dark brows. The lord god's immortal hair streamed forward from his deathless head and he shook the heights of Olympus.2
What kind of hair, might we ask, is 'immortal'? What kind of hair is attached to a head that can shake the Heaven when it is nodded? The unavoidable answer, surely, is the hair of a head of a supernatural body.

Page 20

And, as if to confirm this supposition, the Iliad informs us that when the mighty Zeus sat down upon his throne the Heaven was shaken:

Zeus took his seat on the golden throne and great Olympus was shaken under his feet.3

Similarly, the Heaven was shaken by the movements of Zeus' wife Hera. Again in the Iliad, we read:

Queen Hera was angry. She tossed on her throne and shook the heights of Olympus...4

Were Zeus and Hera literally human-like giants, or are we simply dealing with exaggerated poetic metaphors? Or might there be more to it? Whatever the answer, these descriptions fit into a much wider theme of the gods' supernatural attributes.
Take the way the gods moved around, for example. Poseidon, the god of Atlantis, could descend from the highest mountain of Samos into the depths of the sea in four giant strides.5 Hera could move from Olympus to Lemnos by hopping from one mountain peak to another.6 Apollo, the Far-shooter, could move from Delphi to Thessaly in one stride and his footsteps could cause an entire island to shake.7 The aforementioned descent of Poseidon is described in the Iliad as follows:
Immediately the Earth-shaker [Poseidon] came down from the rocky mountain with fast strides, and the high mountains and the forests trembled under the immortal feet of Poseidon in motion. He took three strides and with the fourth reached his goal, Aigai, where his glorious palace was built in the depths of the water in gleaming gold, imperishable for ever.
Quite apart from Poseidon's supernatural footwork, we might well ask what kind of god had need of such a palace beneath the sea.
Supernatural motion went hand in hand with supernatural body-size and supernatural strength. Although the gods could and did take on the standard human form at will (see later), the true forms of the gods seem to have been literally superhuman. Thus, when the goddess Demeter took on human form in order to search for her missing daughter Persephone, she entered the palace at Eleusis and her head touched the ceiling.8 Thus, similarly, when Aphrodite visited the hero Anchises, she stood as tall as the roof.9 And thus, when the war-god Ares was felled by bright-eyed Athene, his body was said to have covered seven whole acres.10
Superhman size and strength feature particularly in those gods who fought the battle of the Titans. In Theogony, for example, Hesiod tells us / Page 21 / that the Hundred-handers had 'boundless strength'; when they went into battle, they wielded 'sheer cliffs' in their hands and when they launched their missiles they 'darkened the Titans' sky'.11 Later, when Zeus went into mid-air battle against the monstrous god Typhoeus, Heaven and Eart were shaken, and when Typhoeus' body plunged to the ground, the Earth 'burned far and wide'.12 And, in the aftermath of this battle, the superhuman god par excellence is encountered in the form of Atlas - the giant who was forced to, bear the Heave on his head and shoulders.

Men, too, were said to have had supernatural size and strength. In the Odyssey, Homer describes the god-like Otus and Ephialtes as follows:

... those short-lived twins, the god-like Otus and Ephialtes, famed in story, the largest men Earth ever nourished and finer by far than all but the glorious Orion. In their ninth year they were nine cubits across the shoulders and nine fathoms tall. It was this pair that threatened to go to war with the very gods on Olympus in the din and turmoil of battle. It was their ambition to pile Mount Ossa on Olympus and wooded Pelion on Ossa, to make a stairway up to Heaven."
The case of Otus and Ephialtes may be exceptional, but it is nevertheless consistent with the general idea that the half-gods — the heroes — could throw huge rocks which could not even be picked up by 'the folk that live now'.

Page VII

Reading Note 2
"I have used male pronouns throughout this book, and I apologise to anyone who finds this practice offensive; I have done so purely to avoid the constant clumsiness of 'he or she', 'himself or herself, 'his or her', et cetera. In addition, I have used the words 'man', 'men' and 'mankind' to refer, on occasions, to the entire human race. Absolutely no offence is intended towards women, and I certainly do not wish to suggest any inequality between the sexes..."

HAIR HEAD CODE DECODE CODE HEAD HAIR

DECODE CODE HEAD HAIR CODE DECODE

HA I R HEAD CO DE DE CO DE CO DE HEAD HA I R

DECODE CODE HEAD HAIR CODE DECODE