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WORK DAYS OF GOD

Herbert W Morris D.D.circa 1883

Page 22

"As all the words in the English language are composed out of the twenty-six letters of the alphabet,.."

 

 

MARIO AND THE MAGICIANS

THOMAS MANN

1875 - 1955

18

THE

TABLES OF THE LAW

Page 289

"...WITH A HANDFUL OF THESE SIGNS ALL THE WORDS

OF ALL THE LANGUAGES OF ALL THE PEOPLE

COULD, IF NEED BE, BE WRITTEN,..."

 

 

LIGHT AND LIFE

Lars Olof Bjorn 1976

Page 197

"By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."

"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER

ONE MAY PUT DOWN ALMOST ANY MESSAGE"

 

 

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

 

THE

FAR YONDER SCRIBE

AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE

THE

ZED ALIZ ZED

IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS

AT THE THROW OF THE NINTH RAM WHEN IN CONJUNCTION SET

THE

FAR YONDER SCRIBE

MADE RECORD OF THEIR FALL

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

 

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time"

'Of all the other stupendous inventions,' Galileo once remarked,

what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320 or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the /Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 36in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, Incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillarta adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

Thee Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted
mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656.years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, .multiply this by 2 and again we have.the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as.- the interest-
ing number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes. difficult to escape the suspicion that many signs (number and otherwise) -indicate that early man observed the results.. of the movement of Precession . and that the-.transmission of this information was .considered of prime importance.

'With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would
have constituted the construction-of a 'Unified Field Theory' for nothing .less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced.,that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two,four.Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radiusekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up. his piece of striped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

 

OF TIME AND STARS

Arthur C. Clarke 1972

FOREWORD

"'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer ­as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000.

Page 15

The Nine Billion Names of God

'This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?'
'Gladly,' replied the lama, readjusting his silk robes and carefully putting away the slide rule he had been using far currency conversions. 'Your Mark V Computer can carry out any routine mathematical operation involving up to ten digits. However, for our work we are interested in letters, not numbers. As we wish you to modify the output circuits, the machine will be printing words, not columns of figures.'
'I don't quite understand. . .'
'This is a project on which we have been working for the last three centuries - since the lamasery was founded, in fact. It is somewhat alien to your way of thought, so I hope you will listen with an open mind while I explain it.'
'Naturally.'
'It is really quite simple. We have been compiling a list which shall contain all the possible names of God.'
'I beg your pardon?'

Page16

'We have reason to believe,' continued the lama imperturbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'
'And you have been doing this for three centuries?'
'Yes: we expected it would take us about fifteen thousand years to complete the task.'
'Oh,' Dr Wagner looked a little dazed. 'Now I see why you wanted to hire one of our machines. But what exactly is the purpose of this project?'
The lama hesitated for a fraction of a second, and Wagner wondered if he had offended him. If so, there was no trace of annoyance in the reply.
'Call it ritual, if you like, but it's a fundamental part of our belief. All the many names of the Supreme Being - God Jehova, Allah, and so on - they are only man-made labels. There is a philosophical problem of some difficulty here, which I do not propose to discuss, but somewhere among all the possible combinations of letters that can occur are what one may call the real names of God. By systematic permutation of letters, we have been trying to list them all.'
'I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .'
'Exactly - though we use a special alphabet of our own. Modifying the electromatic typew
riters to deal with this is, of course, trivial. A rather more interesting problem is that of devising suitable circuits to eliminate ridiculous combinations. For example, no letter must occur more than three times in succession.'
,'Three? Surely you mean two.'
'Three is correct: I am afraid it would take too long to explain why, even if you understood our language.' "

 

 

I = 9 9 = I

R = 9 9 = R

 

 

OF

T9ME AND STA9S

A9thu9 C. Cla9ke,1972

Page 15

THE N9NE B9LL9ON NAMES OF GOD

'Th9s 9s a sl9ghtly unusual 9equest,'sa9d D9 Wagne9, w9th what he hoped was commendable 9est9a9nt.' As fa9 as 9 know, 9t's the f99st t9me anyone's been asked to supply a T9betan monaste9y with an Automat9c Sequence Compute9. 9 don't w9sh to be 9nqu9s9t9ve, but 9 should ha9dly have thought that you9- ah - establ9shment had much use for such a mach9ne.Could you expla9n just what you 9ntend to do w9th 9t?'

'Gladly,' 9epl9ed the lama, 9eadjust9ng h9s s9lk 9obes and ca9efully putting away the sl9de 9ule he had been us9ng fo9 cu99ency conve9s9ons. 'You9 Ma9k V Compute9 can ca99y out any 9out9ne mathemat9cal ope9at9on 9nvolv9ng up to ten d9g9ts. Howeve9, for ou9 work we are 9nte9ested 9n lette9s, not numbe9s. As we w9sh you to mod9fy the output c9rcu9ts,the mach9ne w9ll be p99nt9ng wo9ds not columns of f9gu9es.'

'9 dont qu9te unde9stand…'

'Th9s 9s a p9oject on wh9ch we have been work9ng fo9 the last th9ee centu99es - s9nce the lamase9y was founded, 9n fact.9t 9s somewhat al9en to you9 way of thought, so9 hope you w9ll l9sten with an open m9nd wh9le 9 expla9n 9t

'Natu9ally.'

'9t 9s 9eally qu9te s9mple.We have been comp9l9ng a l9st wh9ch shall conta9n all the poss9ble names of God'

'9 beg you9 pa9don?' / Page16 / 'We have 9eason to bel9eve' cont9nued the lama 9mpe9tu9bably, ' that all such names can be w99tten with not mo9e than n9ne lette9s 9n an alphabet we have dev9sed,'

'And you have been do9ng th9s for three centu99es?

'Yes: we expected9t would take us about f9fteen thousand years to complete the task.'

'Oh, Dr Wagne9 looked a l9ttle dazed. 'Now9 see why you wanted to h99e one of ou9 mach9nes. But what exactly9s the pu9pose of th9s p9oject ?

'The lama hes9tated fo9 a f9act9on of a second, and Wagne9 wonde9ed9f he had offended h9m.9f so the9e was no t9ace of annoyance9n the 9eply.

'Call9t 99tual, 9f you l9ke, but 9t's a fundamental pa9t of ou9 bel9ef. All the many names of the Sup9eme Be9ng - God , Jehova , Allah , and so on - they a9e only man made labels. The9e 9s a ph9losoph9cal p9oblem of some d9ff9culty he9e, wh9ch9 do not p9opose to d9scuss, but somewhe9e among all the poss9ble comb9nat9ons of lette9s that can occu9 a9e what one may call the 9eal names of God. By systemat9c pe9mutat9on of lette9s, we have been t9y9ng to l9st them all'

9 see. You've been sta9t9ng at AAAAAAA… and wo9k-9ng up to ZZZZZZZZ …'

'Exactly - though we use a spec9al alphabet of ou9 own. Mod9fy9ng the elect9omat9c typew99te9s to deal w9th th9s 9s of cou9se t99v9al. A 9athe9 mo9e 9nte9est9ng p9oblem 9s that of dev9s9ng su9table c99cu9ts to el9m9nate 9 9d9culous comb9nat9ons. Fo9 example, no lette9 must occu9 mo9e than th9ee t9mes 9n sucess9on.'

'Th9ee? Su9ely you mean two.'

'Th9ee 9s co99ect; 9 am af9a9d 9t would take too long to expla9n why , even 9f you unde9stood ou9 language.'/ Page 17 / '9'm su9e 9t would,' sa9d Wagne9 hast9ly. 'Go on.'

'Luck9ly, 9t w9ll be a s9mple matte9 to adapt you9 Automat9c Sequence Compute9 fo9 th9s wo9k, s9nce once 9t has been p9og9ammed p9ope9ly 9t w9ll pe9mute each lette9 9n tu9n and p99nt the 9esult. What would have taken us f9fteen thousand years 9t w9ll be able to do 9n a hund9ed days.'

'Dr Wagne9 was sca9cely consc9ous of the fa9nt sounds f9om the Manhatten st9eets fa9 below. He was 9n a d9ffe9ent wo9ld, a wo9ld of natu9al, not man-made mounta9ns. H9gh up 9n the99 9emote ae99es these monks had been pat9ently at wo9k gene9at9on afte9 gene9at9on, comp9l9ng the99 l9sts of mean9ngless wo9ds. Was the9e any l9m9ts to the foll9es of mank9nd ? St9ll, he must g9ve no h9nt of h9s 9nne9 thoughts. The custome9 was always 99ght…"

 

 

OF TIME AND STARS

Arthur C. Clarke 1972

Page 68

Into the Comet


"Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several independent calculations could be carried out simultaneously.
'374072,' said Pickett, after an incredibly brief interval of time. 'Now see how long you take to do it, with pencil and paper.'
There was a much longer delay before Martens, who like most mathematicians was poor at arithmetic, called out '375072'. A hasty check soon confirmed that Martens had taken at least three times as long as Pickett to arrive at the wrong answer.
The atronomer's face was a study in mingled chagrin, astonishment, and curiosity.
'Where did you learn that trick?' he asked. 'I thought those things could only add and subtract.'
'Well - multiplication's only repeated addition, isn't it? All I did was to add 856 seven times in the unit column, three times in the tens column, and four times in the hundreds column. You do the same thing when you use pencil and paper. Of course, there are some short cuts, but if you think I'm fast, you should have seen my grand-uncle. He used to work in a Yokohama bank, and you couldn't see his fingers / Page 69 / when he was going at speed"

 

 

DECIPHER

MANKIND HAD 1200 YEARS YEARS

TO CRACK THE CODE WE HAVE

ONE WEEK LEFT

Stel Pavlou

Page 357

24 hours

"We live in a universe of patterns. Every night the stars move in circles across the sky. The seasons cycle at yearly inter vals. No two snowflakes are ever exactly the same, but the all have sixfold symmetry. Tigers and zebras are covered in patterns of stripes; leopards and hyenas are covered in pat terns of spots. Intricate trains of waves march across the oceans; very similar trains of sand dunes march across the desert . . . By using mathematics... we have discovered great secret: nature's patterns are not just there to be admired, they are vital clues to the rules that govern natural processes."

Ian Stewart, Nature's Numbers, 1995

 

 

AHAZ

AHAZ = 1818 = AHAZ

AH AZ = 18 18 = AH AZ

A+H = 1+8 = 9 9 = 1+8 = A+H

A+Z = 1+8 = 9 9 = 1+8 = A+Z

A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z

ADD TO REDUCE REDUCE TO DEDUCE

ESSENCE OF NUMBER OF ESSENCE

A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z

AHAZ = 9 9 = AHAZ

A+H+A+Z = 1+8+1+8 = 18 = 1+8 = 9 9 = 1+8 = 18 = 1+8+1+8 = A+H+A+Z

AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ AHAZ = 99 = AHAZ

 

 

-Ahaz - King of Judah Ahaz - King of Judah ... Reference, II Kings 16:1-20. II Chronicles 28 ... For 16 years Ahaz was the epitome of evil. Among his many misdeeds, Ahaz not only ... www.christcenteredmall.com/teachings/kings/ahaz.htm - Cached - Similar

 

-King Ahaz - Biography In a mere 16 years, King Ahaz squandered the empire built by his father and grandfather, leaving Judah a vassal to Assyria. www.geocities.com/thekingsofisrael/biography_Ahaz.html - Cached - Similar

 

-Ahaz - Wikipedia, the free encyclopedia 4 Jun 2009 ... Ahaz (Hebrew: אחז‎, lit. "has held", an abbreviation of Jehoahaz, "God has held") was king of Judah, and the son and successor of Jotham. ... en.wikipedia.org/wiki/Ahaz - Cached - Similar

 

-Ahaz (King of Judah) - BibleWiki 26 Dec 2008 ... The son and successor of :Jotham as King of Judah (2 Kings 16; Isa. 7-9; 2 Chr. 28). He gave himself up to a life of wickedness and idolatry ... www.biblewiki.be/wiki/Ahaz_(King_of_Judah) - Cached - Similar

[PDF] Then name Ahaz, King of Judah found by archaeologists File Format: PDF/Adobe Acrobat - View
AHAZ, KING OF JUDAH. Unlike his father, King Jotham, who the Bible says "Became mighty, and ordered his ways before the Lord,” Ahaz became a wicked ruler. ...www.biblehistory.net/Ahaz.pdf - Similar

 

-Ahaz (king of Judah) -- Britannica Online Encyclopedia Britannica online encyclopedia article on Ahaz (king of Judah), king of Judah (c. 735–720 bc) who became an Assyrian vassal (2 Kings 16; Isaiah 7–8).
www.britannica.com/EBchecked/topic/9996/Ahaz - Cached - Similar

 

-The New Value Set: Ahaz and the Assyrians - 2pi.info One example is King Ahaz of Judah. Ahaz lived in the eighth centruy B.C., and was the father .... II Kings 16:1.: In the twelfth year of Ahaz king of Judah, ...www.2pi.info/bible/god/NewValues/Ahazandthe.html - Cached - Similar

 

-The Destruction of Israel - King Ahaz of Judah Only king Ahaz, king of Judah in the south chose to not join and continued to pay tribute to Assyria. This angered king Rezin of Syria and he and king Pekah ...www.bible-history.com/.../destruction_of_israel_king_ahaz_of_judah.html - Cached - Similar

 

.-The Book Of Isaiah - Judah's True Hope: The Messianic King (7-12) They contain historical narrative and prophecies delivered during the time of Ahaz, king of Judah (ca. 735-732 B.C.). Jerusalem was being threatened by ...www.ccel //exec_outlines/isa/isa _0.5.htm - cached - Similar

 

 

AHAZIAH

AHAZIAH = 1818918 = 1818918 = AHAZIAH

AH AZ I AH = 18 18 9 18 = 18 18 9 18 = AH AZ I AH

A+H = 1+8 = 9 9 = 1+8 = A+H

A+Z = 1+8 = 9 9 = 1+8 = A+Z

I = 9 9 = I

A+H = 1+8 = 9 9 = 1+8 = A+H

A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H

ADD TO REDUCE REDUCE TO DEDUCE

ESSENCE OF NUMBER OF ESSENCE

A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H

AHAZIAH = 9 9 = AHAZIAH

A+H+A+Z+I+AH = 1+8+1+8+9+1+8 = 36 = 3+6 = 9 9 = 3+6 = 36 = 1+8+1+8+9+A+8 = A+H+A+Z+I+A+H

AHAZIAH = 9 9 = AHAZIAH AHAZIAH = 9 9 = AHAZIAH AHAZIAH = 9 9 = AHAZIAH = AHAZIAH = AHAZIAH

 

 

Ahaziah, also known as Jehoahaz, King of Judah - Biblical people Ahaziah reigned for one year (843-842 BC) as the king of Judah when he was 22 years ... Ahaziah, King of Israel, was the uncle of Ahaziah, King of Judah. ...www.aboutbibleprophecy.com/p4.htm - Cached - Similar

 

-Ahaziah - King of Judah The son of Athaliah, the grandson of Ahab and Jezebel, lasted only one year as Judah's ruler and repeated many of his father's sins. He sided with King ...christcenteredmall.com/teachings/kings/ahaziah.htm - Cached - Similar

 

-King Ahaziah of Judah - Biography King Ahaziah followed the evil path of his forbears during his one year as Judah's king.
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-JewishEncyclopedia.com - AHAZIAH, King of Judah: Son and successor of Jehoram, and grandson of Jehoshaphat. His reign, like that of his namesake of Samaria, was very ...www.jewishencyclopedia.com/view.jsp?letter=A&artid... - Cached - Similar

 

-Ahaziah of Judah - Wikipedia, the free encyclopedia 25 May 2009 ... Ahaziah of Judah (אחזיהו המלך) was king of Judah, and the son of Jehoram and Athaliah, the daughter (or possibly sister) of king Ahab of ...en.wikipedia.org/wiki/Ahaziah_of_Judah - Cached - Similar

 

-2 Kings 9:27 But when Ahaziah the king of Judah saw this, he fled ... When Ahaziah the king of Judah saw this, he fled by the way of the garden house. And Jehu pursued him and said, "Shoot him too, in the chariot. ...
scripturetext.com/2_kings/9-27.htm - Cached - Similar

 

-2 Kings 10:13 he met some relatives of Ahaziah king of Judah and ... Jehu met the relatives of Ahaziah king of Judah and said, "Who are you?" And they answered, "We are the relatives of Ahaziah; and we have come down to greet ...bible.cc/2_kings/10-13.htm - Cached - Similar

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-Ahaziah (king of Israel) - MSN Encarta Ahaziah, King of Israel, was the uncle of Ahaziah, King of Judah. Israel's Ahaziah was the eighth king of the northern kingdom of Israel. ... encarta.msn.com/.../Ahaziah_(king_of_Israel).html - Cached - Similar

 

 

Abram (Haran - Egypt)
Scriptures on Abram (Haran to Egypt); together, and ready for printing. ... Moreh, Haran, Sichem, Canaan, Canaanite, Egypt, famine, plagues, Pharaoh, Hai, ...
www.seeketh.com/.../Abram,%20Haran%20-%20Egypt%20Abraham.htm - Cached - SimilarThe Initiatic Path in the Arcana of Tarot and Kabbalah - Google Books Result by Samael Aun Weor - 2006 - Body, Mind & Spirit - 258 pages
... or Demon Hai, which is the diabolic and animal mind, must be destroyed. ... I knew the ancient mysteries of secret Egypt in depth, and truly I tell you ...
books.google.com/books?isbn=1934206059...


Page 109Later on, the work is continued in the planet Mercury, where the animal mind, or Demon Hai, which is the diabolic and animal mind, must be destroyed. ...
The Perfect Matrimony - the Door to Enter Into InitiationSamael Aun Weor2006 - 335 pages - Limited preview
The Da Vinci GospelSamael Aun Weor2005 - 666 pages - Limited preview

The Initiatic Path in the Arcana of Tarot and Kabbalah By Samael Aun Weor

 

From Fetish to God in Ancient Egypt - Google Books Result
by E. A. Wallis Budge - 2003 - History - 556 pages
The Fox was , of course , well known to the predynastic EGYPTIANS , but ... he is being attacked by the serpent HAI ; he may be a form of the Sun- god, ...
books.google.com/books?isbn=0766162850...

 

 

Golem: Jewish magical and mystical traditions on the artificial ... - Google Books Result
by Moshe Idel - 1990 - Religion - 323 pages
... and R. Hai oscillated between their allegiance to the Jewish literary patrimony which ... the deed of the Egyptian sorcerers, who made, by their magic, ...
books.google.com/books?isbn=079140160X...

 

Connection to Egypt
The soul is handed to 'Usar-Hai and to Pta-Hai during her journey. Support Documentation PTA--(Page 383 Mandaic Dictionary) is derived from the Egyptian ... www.geocities.com/mandaeans/Egypt.html - Cached - Similar

 

Book Reviews, Articles & Letters
PAUL Hai is "99.9 per cent sure" as to how Egypt 's Great Pyramids were built. So assured is this first-year history student that he has spent tens of ...
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Cosmic Teachings of a Lama: Gnosis, Science, and the Buddhist and ... - Google Books Result
by Samael Aun Weor - 2007 - Body, Mind & Spirit - 280 pages ... 33 The Demon Hai A long time ago, within an old palace, I found a dungeon. A venerable Elder was inside of it... His aureole beard had thirteen clusters ... books.google.com/books?isbn=1934206210...

 

 

SpaceWeather.com - News and information about meteor showers ... 21 Jul 2009 ... TOTAL ECLIPSE: On Wednesday, July 22nd, the Moon eclipsed the midday sun over China. "The temperature dropped from 96.6 F to 88.5F at ...
SpaceWeather.com/ - Cached - Similar

 

 

Daily Mail, Thursday, July 23, 2009

David Derbyshire

Enviroment Editor

Now thats what I call a spectacle!

"For six minutes and 39 seconds, normal life came to a halt.

As the longest total eclipse of the sun this century cast a shadow across Asia, people stopped what they were doing and turned to the heavens.

Millions stood in awe as the skies darkened, birds fell silent and the moon blotted out the sun from the sky."

"Total solar eclipses happen when the moon passes directly between Earth and the sun. Yesterday's was not just the longest of the 21st century - there will not be a longer one until 2132 - it was also seen by more people. According to Nasa, around two billion were enveloped by darkness.

The shadow of the moon first fell on Earth shortly after dawn in Eastern India, Nepal, Burma, Bangladesh, Bhutan, China and Japan before moving into the Pacific.

Cloud and rain ruined the view for many. But where skies were clear the sight of the sun vanishing and the sudden appearance of its corona - the halo circling the moon - were met by awe, excitement and fear."

"Astronomers and eclipse chasers travelled from around the world to experience the blackout.

The last total eclipse visible from Britain was in August 1999. There will not be another until September 2090."

 

 

THOSE

PATENT PATIENT PATENTED PATTERN

MAKERS

 

 

Search ResultsMathemetician Gone Mad? - Eht Namuh - Games & Internet - Forum ...
All I can establish is that 9 is some sort of 'divine' number and Eht Namuh is The Human backwards, and this is after 3 solid hours of ...
www.hauntingechoes.com/viewthread.php?tid=7615 - 113k - Cached - Similar pagesMathemetician Gone Mad? - Eht Namuh - Games & Internet - Forum ...

 

 

Daily Mail

Thursday, June 11 2009

Page 37

Web 2.0 - the one millionth English word

ALMOST 1,500 years after it was first recorded, the English language has its one millionth word.

At 10.22am yesterday Web 2.0 - describing the next generation of internet services entered the dictionary.

To be accepted a word must be used at least 25,000 times across national boundaries and outside specialisms.

U.S-based Global Language Monitor surveys print publications, online news sites, blogs and social media for useage.

Jai Ho!, a Hindi phrase signifying the joy of victory became the 999,999th word thanks to the Oscar-Winning film Slumdog millionaire.

At 1,000,001 is Financial Tsunami - a sudden financial restructuring.

 

 

"JAI HO! A HINDI PHRASE SIGNIFYING THE JOY OF VICTORY BECAME THE 999,999TH WORD..."

 

 

No curved lines - A.E.F.H.I.K.L.M.N.T.V.W.X.Y.Z.

No straight lines-C.O.S.

No enclosed areas-C.E.F.G.H.I.J.K.L.M.N.S.T.U.V.W.X.Y.Z.

Horizontal symmetry-B.C.D.E.H.I.K.O.X.

Vertical symmetry-A.H.I.M.O.T.U.V.W.X.Y.

Roman numerals-C.D.I.L.M.V.X.

Just dots in Morse code-E.H.I.S. Just dashes in Morse code-M.O.T.

Horizontal and vertical symmetry-H.I.O.X.

Look the same upside down-H.I.N.O.S.X.Z.

Can be drawn in one stroke-B.C.D.G.I.J.L.M.N.O.P.R.S.U.V.W.Z.

Capitals which look like lowercase-C.O.P.S.U.V.W.X.Z.

 

 

You know how he says "REU NU PERT EM HRU" here? In English, that means the Book of the Dead, in Egypt it means "The Chapters of Coming Forth By Day." It was a collection of spells and things like that, formulas. Math formulas, maybe.

"OM BHUR BHUVAH SVAHA TAT SAVITUR VARENYAM"
"BHARGO DEVASYA DHIMAHI DHIYO YO NAH PRACODAYAT"
is a Buddhist mantra. It means

Quote:

Let us honor the unity of Divine Spirit
that pervades all realms of existance:
the earth, the atmosphere and the heavens.

May That most brilliant Divine Light
protect us, sustain us
and illuminate our consciousness

that we might realize
our inherent goodness,
our inborn divinity
and our unity with All That Is.

 

 

Mathemetician Gone Mad? - Eht Namuh - Games & Internet - Forum ...
I found this forum on the internet. I think I've worked a bit of it out. ... This man "Eht Namuh" (Or "The Human" as someone else here pointed out) is ...
www.hauntingechoes.com/viewthread.php?tid=7615&page=

 

 

T.S. Eliot - Google Books Result
by Craig Raine - 2006 - Biography & Autobiography - 202 pages
... striking bell, which has 'a dead sound on the final stroke of nine', ... Or, in Eliot's play: 'Here is no continuing city, here is no abiding stay. ...


 

O

NAMUH

BELOVED CHILDREN OF THE LIGHT BLESSED

DREAMER OF DREAMS

AWAKEN

THE

ETERNAL MOMENT

BIRTHS

ITS

FUTURE


 

THE GROWTH OF SCIENCE

A.P. Rossiter 1939

Page 15

"The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."

"...among them one very old rule for getting a right-angle by stretching out knotted cords with

5, 4 And 3 units between the knots."

 

 

CIVILIZATION, SCIENCE AND RELIGION

A. D. RITCHIE 1945

THE ART OF THINKING

Page 39

"The Egyptians could set out a right-angle on the ground,

for building or for land surveying,

by means of a cord knotted at intervals of

3, 4 and 5 units of length."

 

 

CIVILIZATION, SCIENCE AND RELIGION

A. D. RITCHIE 1945

THE ART OF THINKING

Page 38

"In the sphere of the natural sciences and of mathematics there have been endless disputes as to how much the Greeks borrowed from their neighbours, and the disputes are likely to continue, for the evidence is scanty and unreliable. It is safe to assume that the Greeks (noted then as now for commercial enterprise) took all they could get. Their own writers say as much, for they attribute the origin of very many useful inventions to other peoples. But this one thing, the scientific outlook and method, was not there to take; they had to invent it themselves. It is well to be clear on this point, for European civilization rests on three legs. They are Greek science, Jewish religion and Roman law. / Page 39 / Roman law may well be considered the Roman development of Greek scientific method. I will therefore deal with two examples in some little detail. These are taken from the sphere of mathematics and astronomy, for it was in these two sciences that the Greeks had their most outstanding success, doing about as much as could possibly be done under the conditions of their day and laying the foundations on which all subsequent work has been based.

The Egyptians knew of many useful methods of -geo- metrical calculation, for finding the area of a field, the volume of a barrel and so on. The Babylonians and earlier Mesopotamians had made accurate observations of sun, moon and stars over long periods and developed ingenious methods for calculating their future positions in the sky. In these arts of calculation these people had nothing to learn from the Greeks; it was the other way about. But there is no evidence that they ever dreamt of turning the art of calculation into the science of mathematics. Solving particular problems, however ingeniously, is not necessarily science any more than is playing chess (though all chess problems are geometrical) or keeping accounts (though all money reckoning is arithmetical). Mathematical science in the proper sense of the word attains its end by two means : (1) generalizing as far as is possible all problems and their solutions, so that one solution solves any number of particular cases; (2) finding proofs that solutions are correct as opposed to finding solutions which might be right by chance, not by necessity. The method used is the method of discussion in its specifically mathematical form.

The Egyptians could set out a right-angle on the ground, for building or for land surveying, by means of a cord knotted at intervals of 3, 4 and 5 units of length. They adjusted three pegs to make a triangle with the knots at the pegs when the cord was stretched tight round them. The Greeks, seeing this trick, generalized the problem and looked for a proof of the solution. The final result, after two centuries of effort, is the First Book of Euclid's Elements, leading up to Proposition 47that the square on the hypotenuse of a right-angled triangle equals the sum of / Page 40 / the squares on the other sides, and that this must be so, granted the assumptions made at the beginning. (The proposition is further generalized in, Euclid VI, 31.) In this way a technical dodge of the land surveyor, depending upon the fact that 32+42= 52, was turned into science.

Page 38 Notes

1 Thucydides IV, 104—V, 26.
2 Hippocrates, Vol. ii, pp. 138 seq. Loeb Classical Library.

 

 

Dream A Little Dream Of Me Lyrics - Elliot Mama Cass
Stars shining bright above you Night breezes seem to whisper I love you Birds singing in the sycamore tree Dream a little dream of me ..
www.kovideo.net/lyrics/e/Elliot-Mama-Cass/Dream-A-Little-Dream-Of-Me.html - 33k - Cached - Similar pages

Stars shining bright above you
Night breezes seem to whisper I love you
Birds singing in the sycamore tree
Dream a little dream of me

Say nighty night and kiss me
Just hold me tight and tell me you miss me
While I'm alone and blue as can be
Dream a little dream of me

Stars fading but I linger on dear
(Oh how you linger on)
Still craving your kiss
(How you crave my kiss)
Now I am longing to linger till dawn dear
Just sitting there
(Give me a little kiss)

Dreams till sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams whatever they be
Dream a little dream of me

Stars fading but I linger on dear
Still craving your kiss
Ya I am longing to linger till dawn dear
Just saying this

Sweet dreams ´till sunbeams find you
Sweet dreams that leave all worries pop up behind you
But in your dreams whatever they be
Dream a little dream of me

Sweet dreams till sunbeams find you
Sweet dreams, all worries behind you
But in your dreams whatever they be
Dream dream a little dream of me.

 

 

THE WASTELAND AND OTHER POEMS

T.S. Eliot 1940

THE BURIAL OF THE DEAD

Page 25

"With a dead sound on the final stroke of nine" 68

 

Note 68

A phenomenon which I have often noticed

 

 

T.S. Eliot (1888–1965). Prufrock and Other Observations. 1917.

The Love-Song of J. Alfred Prufrock
By T.S. Eliot

 

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question. . . 10
Oh, do not ask, "What is it?"
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap, 20
And seeing that it was a soft October night
Curled once about the house, and fell asleep.

And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate; 30
Time for you and time for me,
And time yet for a hundred indecisions
And for a hundred visions and revisions
Before the taking of a toast and tea.

In the room the women come and go
Talking of Michelangelo.

And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair— 40
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all;
Have known the evenings, mornings, afternoons, 50
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways? 60
And how should I presume?

And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .

Shall I say, I have gone at dusk through narrow streets 70
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis? 80
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet–and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while, 90
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all"
If one, settling a pillow by her head,
Should say, "That is not what I meant at all.
That is not it, at all."

And would it have been worth it, after all,
Would it have been worth while, 100
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all." 110
. . . . .

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.

I grow old . . . I grow old . . . 120
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think they will sing to me.

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown 130
Till human voices wake us, and we drown.

[1915]

 

 

Daily Mail

Tuesday June 9, 2009

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

QUESTION

"Is the Swat area of Pakistan, featuring in current news reports, the same as the one to which Edward Lear referred in his 1888 poem the Akond of Swat?

THE Swat region of northern Pakistan (India, before 1947) was a cradle of human civilisation. The mighty Swat River created a fertile valley, suitable for farming and fishing, inviting the attention of many invaders...."

 

"Overall moral leadership came to be exercised by religious leaders taking the title Akhoond, also spelt Akhund or Akond essentially the Afghan or Iranian word for Imam..."

Jane Whitmarsh, Oxford.

 

 

I AM AT MAAT AT MAAT AT AM I

 

 

Daily Mail

Thursday, February 26,2009

Page 37

The eye of God!

IT STARES down at us from the depths of space, watching our tiny world from 700 light years away. Scientists have nicknamed the image - captured by a giant telescope on the Chilean mountains - the eye of God.
In fact, it shows the death throes of a star similar to our Sun. The blue pupil, the white of the eye and pink lid are created by layers of gas and dust thrown off and illuminated by the star as it comes to the end of its life over the course of thousands of years.
The eye, known as the Helix nebula, is so huge that it would take a beam of light two-and-a-half years to cross it.
Our own sun is expected to suffer a similar fate - but not for five billion years.

 

 

Daily Mail

Tuesday, April 14, 2009

Page 11

Hand of God

Eye in the sky: The Helix nebula

By Dan Newlin;

(Image omitted)

WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
The ghostly blue cloud seems to form an outstretched thumb and fingers grasping a burning lump of coal. This astonishing image was taken by Nasa's Chandra X-ray observatory, which is orbiting 360 miles above the Earth's surface.
It recalls those of the Helix planetary nebula, whose blue centre surrounded by white clouds earned it the nickname 'the eye of God'.
The hand was created when a star exploded in a supernova, creating a rapidly-spinning 12-mile-wide star called a pulsar, which is deep inside the white blob at the hand's wrist.
The pulsar is spewing out enormous amounts of electromagnetic energy, creating a dust and gas cloud so wide that it would take a light beam 150 years to cross from side to side.
The red disc is a separate cloud of gas. The fingers are thought to have been created as the energy passed from the pulsar to this gas cloud.
Nasa scientists estimate the moment depicted here actually happened 17,000 years ago. it has taken since then for the X-rays, travelling at 670million mph, to reach Earth.

 

 

INRI

Jesus Nazarenus, Rex Iudaeorum

 

 

INRI - Wikipedia, the free encyclopedia 18 Apr 2009 ... INRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Jesus Nazarenus, Rex Iudaeorum), which translates to English as ...
en.wikipedia.org/wiki/INRI

 

 

INRI 9599 INRI

JESUS NAZARENUS REX IUDAEORUM

INRI 9599 INRI

 

 

DAILY MAIL

Tuesday, July 12, 2006

ANSWERS TO CORRESPONDENTS

Compiled by James Black and Charles Legge

Page 48

QUESTION When was the Star of David first used as a symbol?

ACCORDING to research under­taken by Christopher Knight and Robert Lomas fot their book The Hiram Key, which studies the history of Freemasonry, the origins of the hexagram are ancient Egyptian. The design is made up from two pyramids, the upward pointing one is the symbol of the power of the king; its base on the earth and its point reaching up to heaven.
The other pyramid represents the power of the priest, being based in heaven and pointing down to earth. Conjoined they form the Star of David.

The two pyramids came to represent the double Messiah; the kingly and the priestly messiahs.

As such, it is the true sign of Jesus who saw himself as a both priestly (he was a rabbi) and kingly (royal House of David) Messiah - the living 'star of David'.
The star of David does not appear in ancient Jewish books other than as one of many decorations, having no special significance to Jews at that time. It was used in Europe on buildings erected by the Knights Templar and on Christian churches in the Middle-Ages.
In the 19th century the mostly non-Jewish architects who designed synagogues wanted a symbol which was as important as the
Cross was to Christianity or the ­ crescent was to Islam. Searching around, they settled on the hexagram, so its use as the symbol of Judaism is relatively modern"

James Morris Leighton Buzzard, Beds:

 

 

DAILY MAIL

Tuesday, April 10, 2007

Jonathan Cainer

Page 42

Jonathan writes: Why am I travelling to Tibet to investigate a prophecy from Mexico? It has something to do with ancient cultures, complicated cosmologies and poignant predictions. On my way, I passed through Delhi, where there is a temple dedicated to Saturn. Word has not yet reached them there about the newly-discovered hexagon at Saturn's north pole. I have, however, been dwelling on this. The Star of David is hexagonal. Could Saturn have a message about the future of Israel?

 

 

HOLY BIBLE

Scofield References

C 1 V 16

THE ACTS OF THE APOSTLES

Page 1148 (Part quoted)

"MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED

WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"

 

 

CODE DE CODE

C+O D+E D+E C+O D+E

9+9+9+9+9

C+O D+E D+E C+O D+E

CODE DE CODE

 

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WebHide optionsShow options... Results 1 - 10 of about 3,930,000 for Show Song, i i i i love you very much. (0.40 seconds)

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ii,ii,ii song on the Telstra iMode TV ad - iiNet - 11:04am
47 posts - 40 authors
the "I, I, I, I, I, I love you veeeeerrrrry much" song is very addictive tune ... i-i-i-i-i i like you verrrrrrrry much i-i-i-i-i i think you're grandddd ...
forums.whirlpool.net.au/forum-replies-archive.cfm/309243.html - 63k -

 

 

Results for: I, I, I, I, I, I love you veeeeerrrrry much

ii,ii,ii song on the Telstra iMode TV ad - iiNet - 11:04am
47 posts - 40 authors
"I, I, I, I, I, I love you veeeeerrrrry much" song is very addictive tune and I can't help thinking it would have been great for iiAds instead of Telstra. ...
forums.whirlpool.net.au/forum-replies-archive.cfm/309243.html

 

 

anyone noticed the iMode ads (I think they are new I don't watch ads much I usually fast forward them) the "I, I, I, I, I, I love you veeeeerrrrry much" song is very addictive tune and I can't help thinking it would have been great for iiAds instead of Telstra.
Top 10 Happy Songs Of Music : Music : Web Wombat I, Yi, Yi, Yi, Yi (I Like You Very Much) - Carmen Miranda Makes me wanna wear a big ol' fruit hat. Originally used in the 1941 film, That Night in Rio (though those that ... but upon hearing it, you go; "Ohhh, I know this - I love this song!". ... The free-flow lyrics and jangly beat make for great car sing-along ...
www.webwombat.com.au/entertainment/music/top-10-happy-songs-of-music.htm

 

 

Radio Times

WEDNESDAY 20 MAY

ENTERTAINMENT

Page 90

" 9.00 Serendipity"

"Romantic comedy starring John Cusak and Kate Beckinsdale as Jonathan and Sara, who meet one Christmas and experience an instant attraction to each other. But they are both involved with other people and Sara, who believes in destiny, insists that fate must lend a hand if they are to meet again."

 

 

Daily Mail

Friday, May 22, 2009

By Neil Sears and Tom Kelly

Page 9

Spider - Man actress hangs herself after suicide of a friend

"Lucy Gordon died just two days before her 29th birthday..."

"Miss Gordon who played a British TV reporter in the 2007 film Spider-Man 3 found fame as a model while still at an Oxford public school.

 

"Last night her father Richard, a teacher, paid tribute to her at the detached family home in Oxford where he lives with her mother Susan, 58, and sister Katie, 27.
Mr Gordon, 60, said: 'The whole family is so proud of Lucy, and we always have been. `Her death has come completely out of the blue and the entire family is devastated. `Everything about how she died is just speculation at the minute, and we want to concentrate on paying tribute to our daughter.
`We have loved her so much throughout her life. She was the light of mine, her mum's, and her sister's lives.
`Lucy was a lovely, generous* and unselfish person who always gave so much thought to other people and put them before herself.'
Mr Gordon added: 'Acting was always what she had wanted to do. She had been acting since the age of two, which was really as soon as she could walk. Her career had been just taking off, and it's a tragedy that it has been cut short so soon.'

"Acting was always what she had wanted to do,"

She soon moved onto films, appearing in Serendipity with John Cusak in 2001"

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
1
2
TO
35
8
8
-
-
-
-
4
5
6
-
8
-
E
=
5
2
10
EVERYTHING
133
61
7
-
-
-
-
4
5
6
7
-
-
T
=
2
3
5
THERE
56
29
2
-
-
2
-
4
5
6
-
-
-
I
=
9
4
2
IS
28
10
1
-
1
-
-
4
5
6
-
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
4
5
6
-
-
-
S
=
1
6
6
SEASON
73
19
1
-
1
-
-
4
5
6
-
-
-
A
=
1
7
3
AND
19
10
1
-
1
-
-
4
5
6
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
4
5
6
-
-
-
T
=
2
9
4
TIME
47
20
2
-
-
2
-
4
5
6
-
-
-
T
=
2
10
2
TO
35
8
8
-
-
-
-
4
5
6
-
8
-
E
=
5
11
5
EVERY
75
30
3
-
-
-
3
4
5
6
-
-
-`
P
=
7
12
7
PURPOSE
110
38
2
-
-
2
-
4
5
6
-
-
-``
U
=
3
13
5
UNDER
62
26
8
-
-
-
-
4
5
6
-
8
-
H
=
8
14
6
HEAVEN
55
28
1
-
1
-
-
4
5
6
-
-
-
-
-
50
15
59
First Total
730
289
46
-
6
6
3
4
5
6
7
24
9
-
-
5+0
16
5+9
Add to Reduce
7+3+0
2+8+9
4+6
-
-
-
-
-
-
-
-
2+4
-
-
-
5
-
14
Second Total
10
19
10
-
6
6
3
4
5
6
7
6
9
-
-
-
-
1+4
Reduce to Deduce
1+0
1+9
1+0
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Third Total
1
10
1
-
6
6
3
4
5
6
7
6
9
-
-
-
-
-
Add to Reduce
-
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
1
1
1
-
6
6
3
4
5
6
7
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
4
2
IS
28
10
1
-
1
-
-
4
5
6
-
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
4
5
6
-
-
-
S
=
1
6
6
SEASON
73
19
1
-
1
-
-
4
5
6
-
-
-
A
=
1
7
3
AND
19
10
1
-
1
-
-
4
5
6
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
4
5
6
-
-
-
H
=
8
14
6
HEAVEN
55
28
1
-
1
-
-
4
5
6
-
-
-
T
=
2
3
5
THERE
56
29
2
-
-
2
-
4
5
6
-
-
-
T
=
2
9
4
TIME
47
20
2
-
-
2
-
4
5
6
-
-
-
P
=
7
12
7
PURPOSE
110
38
2
-
-
2
-
4
5
6
-
-
-``
E
=
5
11
5
EVERY
75
30
3
-
-
-
3
4
5
6
-
-
-`
E
=
5
2
10
EVERYTHING
133
61
7
-
-
-
-
4
5
6
7
-
-
T
=
2
1
2
TO
35
8
8
-
-
-
-
4
5
6
-
8
-
T
=
2
10
2
TO
35
8
8
-
-
-
-
4
5
6
-
8
-
U
=
3
13
5
UNDER
62
26
8
-
-
-
-
4
5
6
-
8
-
-
-
50
15
59
First Total
730
289
46
-
6
6
3
4
5
6
7
24
9
-
-
5+0
16
5+9
Add to Reduce
7+3+0
2+8+9
4+6
-
-
-
-
-
-
-
-
2+4
-
-
-
5
-
14
Second Total
10
19
10
-
6
6
3
4
5
6
7
6
9
-
-
-
-
1+4
Reduce to Deduce
1+0
1+9
1+0
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Third Total
1
10
1
-
6
6
3
4
5
6
7
6
9
-
-
-
-
-
Add to Reduce
-
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
1
1
1
-
6
6
3
4
5
6
7
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
4
2
IS
28
10
1
-
1
-
-
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
-
-
S
=
1
6
6
SEASON
73
19
1
-
1
-
-
-
-
A
=
1
7
3
AND
19
10
1
-
1
-
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
-
-
H
=
8
14
6
HEAVEN
55
28
1
-
1
-
-
-
-
T
=
2
3
5
THERE
56
29
2
-
-
2
-
-
-
T
=
2
9
4
TIME
47
20
2
-
-
2
-
-
-
P
=
7
12
7
PURPOSE
110
38
2
-
-
2
-
-
-
E
=
5
11
5
EVERY
75
30
3
-
-
-
3
-
-
E
=
5
2
10
EVERYTHING
133
61
7
-
-
-
-
7
-
T
=
2
1
2
TO
35
8
8
-
-
-
-
-
8
T
=
2
10
2
TO
35
8
8
-
-
-
-
-
8
U
=
3
13
5
UNDER
62
26
8
-
-
-
-
-
8
-
-
50
15
59
First Total
730
289
46
-
6
6
3
7
24
-
-
5+0
16
5+9
Add to Reduce
7+3+0
2+8+9
4+6
-
-
-
-
-
2+4
-
-
5
-
14
Second Total
10
19
10
-
6
6
3
7
6
-
-
-
-
1+4
Reduce to Deduce
1+0
1+9
1+0
-
-
-
-
-
-
-
-
5
-
5
Third Total
1
10
1
-
6
6
3
7
6
-
-
-
-
-
Add to Reduce
-
1+0
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
1
1
1
-
6
6
3
7
6

 

 

HOLY BIBLE

Scofield References

Jeremiah B.C. 590

Page 809 8 x 9 + 72 7 + 2 = 9 Chapter 33 Verse 3 x 33 = 99

"Call unto me, and I will answer thee, and shew thee great and mighty things which thou knowest not."

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
C
=
3
1
4
CALL
28
10
1
-
1
-
3
-
-
-
-
-
-
U
=
3
2
4
UNTO
70
16
7
-
-
-
3
-
-
-
7
-
-
M
=
4
3
2
ME
18
9
9
-
-
-
3
-
-
-
-
-
9
A
=
1
4
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
I
=
9
5
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
W
=
5
6
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
S
=
1
7
4
SHOW
65
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
8
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
G
=
7
9
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
A
=
1
10
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
11
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
12
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
T
=
2
13
4
THAT
49
13
4
-
-
-
3
4
-
-
-
-
-
T
=
2
14
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-``
K
=
2
15
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
N
=
5
16
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
-
-
53
-
51
First Total
810
288
45
-
5
6
3
8
5
6
7
8
18
-
-
5+3
-
5+1
Add to Reduce
8+1+0
2+8+8
4+5
-
-
-
-
-
-
-
-
-
1+8
-
-
8
-
6
Second Total
9
18
9
-
5
6
3
8
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
5
6
3
8
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
1
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
W
=
5
2
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
S
=
1
3
4
SHOW
65
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
4
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
G
=
7
5
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
A
=
1
6
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
7
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
8
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
T
=
2
9
4
THAT
49
13
4
-
-
-
3
4
-
`--
-
-
-`
T
=
2
10
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-``
K
=
2
11
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
N
=
5
12
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
-
-
53
-
42
First Total
666
243
45
-
5
6
3
8
5
6
7
8
9
-
-
5+3
-
4+2
Add to Reduce
6+6+6
2+4+3
4+5
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Second Total
18
9
9
-
5
6
3
8
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
5
6
3
8
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
C
=
3
1
4
CALL
28
10
1
-
1
-
3
-
-
-
-
-
-
A
=
1
4
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
A
=
1
10
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
11
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
14
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-``
W
=
5
6
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
S
=
1
7
4
SHOW
65
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
8
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
13
4
THAT
49
13
4
-
-
-
3
4
-
-
-
-
-
N
=
5
16
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
T
=
2
12
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
G
=
7
9
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
U
=
3
2
4
UNTO
70
16
7
-
-
-
3
-
-
-
7
-
-
K
=
2
15
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
M
=
4
3
2
ME
18
9
9
-
-
-
3
-
-
-
-
-
9
I
=
9
5
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
-
-
53
-
51
First Total
810
288
45
-
5
6
3
8
5
6
7
8
18
-
-
5+3
-
5+1
Add to Reduce
8+1+0
2+8+8
4+5
-
-
-
-
-
-
-
-
-
1+8
-
-
8
-
6
Second Total
9
18
9
-
5
6
3
8
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
5
6
3
8
5
6
7
8
9

 

 

FIRST CONTACT

THE SEARCH FOR EXTRATERRESTRIAL INTELLIGENCE

EDITED

BY

BEN BOVA AND BYRON PREISS

1990

SETI ON CAMPUS

Page 271

THE U. C. BERKELEY

PROGRAM

BY STUART BOWYER


"The central problem in radio searches for signals from an extraterrestrial civilization is the enormity of the search space to be examined. To have any appreciable chance of success, a radio search will have to provide a substantial signal flow in terms of the total search space. Despite the enormity of this potential search task, with few excep- tions SETI investigators have had difficulty obtaining substantial amounts of dedicated telescope time. In response to this problem, we developed two automated instruments, SERENDIP I and II (an acronym: Search for Extraterrestrial Radio Emission from Nearby Developed Intelligent Populations), which do not require dedicated radio telescope time but ride piggyback on other work. The SERENDIP systems operate automatically, searching for narrow-band signals. Such a signal would be a consequence of an intentionally easy-to-recognize / 272 / beacon, or alternatively it could arise as a by-product of other activity, in analogy with the carrier signals of our own radio communications. Our search is carried out in data that is being collected as part of the ongoing astronomical observing program of a radio observatory.
The advantages of this method of data acquisition include very low operation cost per unit observing time, negligible impact on observing schedules, large volume of data collection, and a randomized search strategy that seems desirable since we really know nothing about those whom we hope are attempting to signal us. A piggyback SETI program such as this is not free to choose observing frequencies and sky coordinates. However, in view of the plethora of postulated frequency strategies for interstellar communication and the large number of potential sites for civilizations that have been suggested, this is not necessarily a disadvantage. In fact, some of the frequencies most often observed by radio astronomers have been felt to be logical choices for a transmitting society's beacons, and hence good choices for SETI.
Each SERENDIP system consists of a microprocessor- controlled spectrum analyzer with algorithms for performing simple statistics and digitally recording unusual features in the spectra. In operation, sequential segments of the bandpass being utilized by the astronomical observer at the radio telescope are presented to the spectrum analyzer. The spectrum analyzer measures the distribution of power in the band and the microprocessor notes spectrum peaks on a tape or disk for further analysis. The microprocessor then shifts the band being analyzed to the next sequential band and the process is repeated. Using this procedure we can search through a wide range of frequencies for a possible signal.
The SERENDIP I system was funded at about five / Page 273 / hundred dollars per year by the University of California Faculty Grand Fund; it used surplus and loaned equipment, and was quite limited in scope. The primary limitation was the spectrum analyzer, which permitted only one hundred channels of data to be simultaneously sampled. The hardware was developed by a number of graduate students who worked on this project as their master's theses. The system was deployed on the twenty-six-meter (eighty-five-foot) radio telescope at the University of California Hat Creek Radio Observatory in 198 I for a substantial part of a year . Figure 34 shows a plot of frequencies analyzed in one data sample with a power peak (in this case, intentionally introduced) that mimics the effect that an extraterrestrial beacon would have on the data.
Although the SERENDIP I system was limited in sensitivity, we learned a great deal from this effort. Perhaps the most valuable insight was that even in the radio quiet surroundings of the Hat Creek Observatory, we detected a substantial number of narrow-band signals - far too many to allow for any systematic follow-up. After some detective work we were able to determine that many of our signals came from one general direction near the horizon. (This discovery was harder to come by than it might seem, since the coordinates we had recorded were celestial coordinates, and only by checking against the time of the observation in juxtaposition with the celestial coordinates did we find this result.) It turned out that twenty miles away behind a series of hills was a small airstrip. We were indeed detecting intelligent life; unfortunately it was terrestrial life, temporarily airborne, in the process of landing. This led us to the realization that any serious SETI effort would have to have some way of dealing with these spurious signals, and our efforts turned to this problem.

Page 274

At this point, however, we were fortunate in obtaining a NASA grant for our work that, while small in absolute dollar terms, allowed us to develop a vastly improved set of hardware. We dubbed this new system SERENDIP II. The primary improvement made in our system was the
addition of a specialized computer unit, called an array processor, to carry out the work previously done by the spectrum analyzer. This unit allowed the simultaneous analysis of about 65,000 separate channels of data. The channel width for each bin (selected on rather general astronomical arguments) was about one Hz (one cycle per second). Upon detection of a possible signal, the civil time, telescope coordinates, bin number, signal power, and other related information were recorded on a floppy disk for later data analysis. The frequency synthesizer in SERENDIP II then stepped up 50,000 Hz in frequency to process the next set of data, allowing a 15,000 Hz overlap between adjacent band samples. (The starting frequency
depends on that of the researcher we are working with.)
We made a proposal to NRAO in Green Bank, West Virginia, that SERENDIP II be used with their 92-meter (300-foot) transit telescope (Green Bank was the site of the first modern search for ETI). After receiving extremely enthusiastic appraisals by the NRAO Telescope Allocation Review Panel, we began operation with this telescope in 1987.
The combination of the large aperture of the dish, the exquisite sensitivity of the NRAO electronics, and our powerful SERENDIP II system results in a very sensitive system. The question of the level of sensitivity of any particular search is complex, since it depends upon many factors, including how many frequencies are being searched,
how many regions of the celestial sphere are being examined, and the sensitivity of the equipment. It is interesting / Page 275 / to note that at a recent international SETI conference the senior scientist making the concluding remarks stated that the SERENDIP II system on the NRAO 92-meter telescope was the most sensitive ongoing SETI program in existence.
During our observations at NRAO, several trillion bins of data have been searched for evidence of a possible extraterrestrial signal. Unfortunately, the many terrestrial and near-space uses of the electromagnetic spectrum cause a variety of interference signatures to appear in the SERENDIP H data records. A typical day's observing produces several thousand events of potential interest - far in excess of the number expected from pure random noise.
The main present thrust of the SERENDIP II project is to explore methods of identifying and rejecting these unwanted signals, while at the same time not reducing the probability of detecting a true extraterrestrial signal. We have reported the details of this work in scientific journals, but some of the techniques are simple to describe. For example, we compare signals detected from one part of the sky with signals from another part of the sky taken shortly thereafter. Many times we find excess power, and hence in principle a potential SETI beacon, at the same frequency from both of these directions. The likelihood that two different technical civilizations would both be signaling us at the same frequency and almost the same time is obviously infinitesimally small. Therefore we can safely conclude these signals are from man-made interference and reject them from further consideration. In all we apply five different techniques to eliminate these manmade signals.
What we find to be truly surprising is that after analyzing our several trillion data samples, we have only / Page 276 / about one hundred that stand out from the statistical noise, and that we cannot clearly reject as man-made. This is a reasonable number of events to reexamine; we have, in fact, been granted dedicated telescope time to look at these sources a second time to see if the signals we initially detected are still present.
While we hope that our SERENDIP II system will be successful in finding an extraterrestrial signal (or, in fact, may have already found such a signal!), we are sufficiently realistic to recognize that this is not likely. On the other hand, if we do not search at all, the likelihood of finding such a signal is zero. Even if we do not find the signal we are looking for in the near term (or even in the longer term), the history of scientific discovery shows that progress in any field is usually achieved in painfully small steps. A realistic hope is that we can make a contribution in terms of these painfully small steps.
Over two dozen people, mostly volunteers, have contributed to the SERENDIP system. The core group of personnel, however, are Dan Werthimer, Michael Lampton, Charles Donnelly, Walter Herrick, and myself.
(Note: After this chapter was. completed the 92-meter (300-foot) telescope at NRAO collapsed in ruins. It took some time to discover the cause of this failure; it is now known that this was the result of the failure through metal fatigue of an internal structural plate. The tabloid press, however, reported that the telescope was destroyed by alien beings who resented the fact that they were being monitored.
While our friendly aliens may or may not realize they are being monitored, the collapse of this telescope is an obvious problem for our project. We are actively seeking a new telescope and have some confidence that we will be back in operation shortly.)"

 

 

LIFE OUT THERE

THE TRUTH OF - AND SEARCH FOR EXTRATERRESTRIAL LIFE

MICHAEL WHITE 1998

Page 49

"So, over many generations, characteristics will be inherited which make members of the species better adapted to their enviroment. Chance mutations, which are purely a matter of serendipity, will also mould the species, . . . "

 

LIFE OUT THERE

THE TRUTH OF - AND SEARCH FOR EXTRATERRESTRIAL LIFE

MICHAEL WHITE 1998

Page 99

Page 100

 

I

ME

GODS

OSIRIS ISIS OSIRIS

OSIRIS ISIS ORION ISIS OSIRIS

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

 

 

I

ME

GODS

OSIRIS ISIS OSIRIS

OS999S 9S9S OS999S

OSIRIS ISIS OSIRIS

OSIRIS ISIS ORION ISIS OSIRIS

OS999S 9S9S O99ON 9S9S OS999S

OSIRIS ISIS ORION ISIS OSIRIS

OSIRIS ISIS ORION ISIS OSIRIS

619991 9191 69965 9191 619991

OSIRIS ISIS ORION ISIS OSIRIS

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

999S S999US OS999S 9S9S O99ON 9S9S OS999S S999US 999S

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

9991 199931 619991 9191 69965 9191 619991 199931 9991

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

 

 

OSIRIS ISIS OSIRIS

OS999S 9S9S OS999S

619991 9191 619991

OS999S 9S9S OS999S

OSIRIS ISIS OSIRIS

IRI II IRI

999 99 999

IRI II IRI

OSIRIS ISIS OSIRIS

OS999S 9S9S OS999S

619991 9191 619991

OS999S 9S9S OS999S

OSIRIS ISIS OSIRIS

 

 

OSIRIS ISIS ORION ISIS OSIRIS

619991 9191 69965 9191 619991

OSIRIS ISIS ORION ISIS OSIRIS

IRI II RI II IRI

999 99 99 99 999

IRI II RI II IRI

OSIRIS ISIS ORION ISIS OSIRIS

619991 9191 699965 9191 619991

OSIRIS ISIS ORION ISIS OSIRIS

 

 

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

9991 199931 619991 9191 69965 9191 619991 199931 9991

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

IRI II RI II IRI

999 99 99 99 999

IRI II RI II IRI

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

 

 

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

9991 199931 619991 9191 6995 9191 619991 199931 9991

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

IRI IRI IRI II RI II IRI IRI IRI

999 999 999 99 99 99 999 999 999

IRI IRI IRI II RI II IRI IRI IRI

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

9991 199931 619991 9191 69965 9191 619991 199931 9991

IRIS SIRIUS OSIRIS ISIS ORION ISIS OSIRIS SIRIUS IRIS

DIVINE THOUGHT CREATORS OF CREATORS THOUGHT DIVINE

 

 

IS RISHI SHRI CHRISTOS SHRI RISHI IS

IS RISHI SHRI CHRISTOS SHRI RISHI IS

91 99189 1899 38991261 1899 99189 91

IS RISHI SHRI CHRISTOS SHRI RISHI IS

IS RISHI SHRI CHRISTOS SHRI RISHI IS

91 9999 999 3999 999 9999 91

IS RISHI SHRI CHRISTOS SHRI RISHI IS

I RISHI SHRI HRISTOS SHRI RISHI I

9 9999 999 9999 9999 9

I RISHI SHRI HRISTOS SHRI RISHI I

IS RISHI SHRI CHRISTOS SHRI RISHI IS

91 9999 999 3999 999 9999 91

IS RISHI SHRI CHRISTOS SHRI RISHI IS

IS RISHI SHRI CHRISTOS SHRI RISHI IS

91 99189 1899 38991261 1899 99189 91

IS RISHI SHRI CHRISTOS SHRI RISHI IS

IS RISHI SHRI CHRISTOS SHRI RISHI IS

 

 

WISDOM OF THE EAST

by Hari Prasad Shastri 1948

Page 8

"There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'

 

 

THE LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 278

""According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

INRI

Jesus Nazarenus, Rex Iudaeorum

 

 

INRI - Wikipedia, the free encyclopedia 18 Apr 2009 ... INRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Jesus Nazarenus, Rex Iudaeorum), which translates to English as ...
en.wikipedia.org/wiki/INRI - 34k - Cached - Similar pages

 

In Hebrew, the phrase is commonly rendered[citation needed] ישוע הנצרי ומלך היהודים (yeshūa' hanaṣrī ūmeleḵ hayĕhūḏīm IPA: [jeːˈʃuːaʕ hanːatseriː uːˈmeleχ hajːəhuːˈðiːm]), which translates instead to "Jesus the Nazarite and King of the Jews." This version was most probably chosen in order that the acronym constitute the tetragrammaton (יהוה) name corresponding with Yahweh or Jehovah. It is possible that the titulus was written in Aramaic—the local vernacular—rather than Hebrew.

 

According to the Gospels, Pilate was loath to crucify Jesus without justification and used the standing Roman treaty with the Jews, which allowed them limited self-government (see Iudaea Province for details). When the Jewish priests complained that Jesus was interfering with that self-rule by claiming to be the Son of God (see Sanhedrin Trial of Jesus), Pilate challenged him to deny that he was the "King of the Jews." Jesus did not deny the accusation. Pilate's reluctance to crucify Jesus, according to Christian texts, stands in contrast to his willingness to crucify countless thousands of other Jews and Samaritans during his rule.[1]

Some believe that the justification for his crucifixion was his claim to an illegitimate title. However, John 19:21-22 implies that Pilate rejected the charge that Jesus was crucified because he falsely claimed to be king and instead stated that Jesus was crucified because he was the King of the Jews. Thus, some Christians as early as the second century[2] report that Pilate was convinced that Jesus was the Messiah.

Contents [hide]
1 Western Christianity
2 Eastern Christianity
3 Versions
4 See also
5 References

[edit] Western Christianity
Within Western Christianity, many crucifixes and other depictions of the crucifixion of Jesus include a stylized plaque or parchment, called a titulus, or title, bearing only the Latin letters INRI, occasionally carved directly into the cross and usually just above the head of Jesus.

[edit] Eastern Christianity
Many Eastern Orthodox Churches use the Greek letters INBI, based on the Greek version of the inscription, Ἰησοῦς ὁ Ναζωραῖος ὁ Bασιλεὺς τῶν Ἰουδαίων. Some representations change the title to "ΙΝΒΚ" ὁ Bασιλεὺς τοῦ κόσμου ("The King of the World"), or "ΙΝΒΔ" ὁ Bασιλεὺς τῆς Δόξης ("The King of Glory"), not implying that this was really what was written but reflecting the tradition that icons depict the spiritual reality rather than the physical reality. Some other Orthodox Churches (such as the Romanian Orthodox Church) use the Latin version, INRI. The Russian Orthodox Church uses ІНЦІ (the Church Slavonic equivalent of INBI) or the abbreviation Цръ Слвы ("King of Glory").

[edit] Versions
Mark Luke Matthew John
Verse Mk 15:26 Lk 23:38 Mt 27:37 Jn 19:19-20
Greek Inscription ο βασιλευς των ιουδαιων ο βασιλευς των ιουδαιων ουτος ουτος εστιν ιησους ο βασιλευς των ιουδαιων ιησους ο ναζωραιος ο βασιλευς των ιουδαιων
English translation The King of the Jews This is the King of the Jews This is Jesus, the King of the Jews Jesus of Nazareth, the King of the Jews
Languages [none specified] Greek, Latin, Hebrew [none specified] Hebrew, Latin, Greek
Full verse in KJV And the superscription of his accusation was written over, THE KING OF THE JEWS. And set up over his head his accusation written, THIS IS THE KING OF THE JEWS. And a superscription also was written over him in letters of Greek, and Latin, and Hebrew, THIS IS JESUS THE KING OF THE JEWS. And Pilate wrote a title, and put it on the cross. And the writing was, JESUS OF NAZARETH THE KING OF THE JEWS.

[edit] See also
Tetragrammaton
Christogram
Ichthys
Jewish Messiah
Titulus Crucis
Passion (Christianity)
King of the Jews

 

Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures ... mothandrust.tk/

Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven... For where your treasure is, there your heart will be also ............... Matthew 6:19-21

 

 

A

MAZE

IN

ZAZAZA ENTER AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

 

THE

NINETY NINE NAMES OF GOD

 

IN THE NAME OF GOD THE COMPASSIONATE THE MERCIFUL

 

 

I

SAY

THREAD THAT THREAD

THREAD READ DEATH DEATH READ THREAD

THREAD R DEATH DEATH R THREAD

THREAD READ DEAR THREAD

 

 

THE NEW ELIZABETHAN

REFERENCE DICTIONARY

An up-to-date vocabulary of the living English language

Circa 1900

FOURTH EDITION

Page 1472

thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n.

 

 

THE NEW ELIZABETHAN

REFERENCE DICTIONARY

An up-to-date vocabulary of the living English language

FOURTH EDITION

Circa 1900

Page 1472

thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n.

 

 

lisle thread: lisle thread

A strong tightly twisted cotton thread (usually made of long-staple cotton) - lisle. Derived forms: lisle threads. Type of: cotton. Nearest ... www.wordwebonline.com/en/LISLETHREAD

 

 

Definition - of Lisle from Dictionary.net

Lisle thread, a hard twisted cotton thread, originally produced at Lisle. Source: Webster's Revised Unabridged Dictionary (1913) ... www.dictionary.net/lisle - 9k

 

 

CASSELL'S ENGLISH DICTIONARY

1974

Lisle thread (lil thred) [ town in France, now Lille], n, A fine, hard thread orig. made at Lille.

 

 

THE TIBETAN BOOK OF THE DEAD

Or

The After Death Experience on the Bardo Plane,

according to Lama Kazi Dawa-Samdup's English Rendering

Compiled and edited Edited by W. Y. Evans-Wentz 1960

Facing Preface To The Paperback Edition

'Thou shalt understand that it is a science most profitable, and passing all other sciences, for to learn to die. For a man to know that he shall die, that is common to all men; as much as there is no man that may ever live or he hath hope or trust thereof; but thou shalt find full few that have this callning to learn to die. . . . I shall give thee the mystery of this doctrine; the which shall profit thee greatly to the beginning of ghostly health, and to a stable fundament of all virtues. '- OrologiumSapientiae.

'Against his will he dieth that hath not learned to die. Learn to die and thou shalt learn to live, for there shall none learn to live that hath not learned to die.'-Toure of all Toures: and Teacheth a Man for to Die.

The Book of the Craft of Dying (Comper's Edition).

'\Vhatever is here, that is there; what is there, the same is here. He who seeth here as different, meeteth death after death.
'By mind alone this is to be realized, and [then] there is no difference here. From death to death he goeth, who seeth as if there is dificrence here.'-Katha Upanishad, iv. 10-11 (Swami Sharvanallda's Translation)"

Facing Preface to the Second Edition

BONDAGE TO REBIRTH

"As a man's desire is, so is his destiny. For as his desire is, so is his will; and as his will is, so is his deed; and as his deed is, so is his reward, whether good or bad.
' A man acteth according to the desires to which he clingeth. After death he goeth to the next world bearing in his mind the subtle impressions of his deeds; and, after reaping there the harvest of his deeds, he returneth again to this world of action. Thus he who hath desire continueth subject to rebirth
.' "

Brihadaranyaka Upanishad

FREEDOM FROM REBIRTH

'He who lacketh discrimination, whose mind is unsteady and whose heart is impure, never reacheth the goal, but is born again and again. But he who hath discrimination, whose mind is steady and whose heart is pure, reacheth the goal, and having reached it is born no more.'

Katha U panishad.
(Swami Prabhavananda's and Frederick Manchester's Translations).

Page xi

SRI KRISHNA'S REMEMBERING

'Many lives Arjuna, you and I have lived.

I remember them all but thou dost not.'

Bhagavad Gita, iv, 5., iv, 5.

Page xx

"......... Denison........."

 

 

INCARNATION

THE DEAD RETURN

Daniel Easterman 1998

Page 99

"........David........."

Page 3

"The old man's name was Dennison"

 

 

THE

PATH OF PTAH

THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF

THE

VIRGIN BIRTH IS TO BE REBORN OF WATER

AND

SPIRIT GODS HOLY SPIRIT

AFTER

HAVING ENDURED

THE DEATH OF THE

I ME EGO SELF I SELF EGO ME I

WEIGHED IN THE BALANCE AND NOT FOUND WANTING

EVOLVE THEE THAT THOU OF LOVE LOVE LOVE OF THOU THAT THEE EVOLVE

 

 

ISISIS

THE RESURRECTION AND THE LIFE

UNLESS THAT HE AZIN SHE THAT IS THEE

IZ

BORN AGAIN AGAIN BORN

THOU CANST NOT ENTER THE KINGDOM OF EVEN

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

WE ARE THE DEAD SHORT TIME AGO WE LIVED FELT DAWN SAW SUNSET GLOW

LOVED AND WERE LOVED AND NOW

?

Search ResultsKafka's Before the Law
9 Nov 2003 ... Kafka's Before the Law. A Review. This story is actually contained in a larger work, but it has been published alone as a work of fiction. ... www.geocities.com/Athens/Parthenon/3761/Before_the_Law.htm

 

Kafka’s Before the Law

A Review

This story is actually contained in a larger work, but it has been published alone as a work of fiction.

In the segment entitled Before the Law, K, Kafka’s recurrent protagonist is talking with a priest.  He relates a story about a man that comes to a great door seeking the Law.  Before it is a gatekeeper that tells him he can’t be allowed to enter at that moment.  The man seeking the Law is perplexed, but intentional, so he waits, and waits and waits for the entirety of his life to be permitted to access the Law.  The gatekeeper also waits and allows the man to continue waiting, but not letting him pass through the gate.  As the man is dying, he wonders why he was the only person seeking the Law.  The gatekeeper tells him, that the gate he guards was only meant for him and since he is dying, he, the gatekeeper is going to close it.

K then engages the priest that has related this tale to him, in an analytic argument about the meaning of the story.

The arguments are piercing and full of moral implications.  Kafka is showing us how an allegory can have profound meaning.  It is unavoidable that the reader will not apply the experience of the man and gatekeeper to his personal life.  Don’t we all seek some Law, some way to understand our existence?  Are we not barred in this struggle to understand by a gatekeeper, in the form of fear, doubt and confusion?  The gatekeeper as allegory goes even further.  He explains that there are deeper realms, that even he (meaning the gatekeeper himself) can’t know, and the man will not be permitted to reach themAgain, the analytic portion of Before the Law reflects upon this notion.  The priest explains that the gatekeeper could be deceived.  Are not we deceived about our life’s meaning and substance?  Before the Law is a clear narrative of human life.  We come to a point in our lives in which we seek purpose and order, yet we are obstructed from this by own minds (our gatekeepers if you will). We want health, while declining in well being, we want youth, while growing ever aged, we need love, yet never finding it.  We seek a reason, a Law if you will, that will help us, and thus we seek it, but discover our path is obscured by ourselves!  Here is the allegory of the story.  Kafka does this with such incredible power, you can’t stop reading it.

Kafka makes a strange allegorical tale, in which we can see the senselessness of being in the human condition.  K is seeking understanding of himself in the larger work.He has irrational fears. He fears high winds and feels a sense of forboding without cause. He actually enters the church for shelter before engaging the priest.  In this work, you are K, and the priest is your alter ego.  He provides you with many different interpretations of why the man sought the Law.  Yet, none suffice, for you must understand yourself why you seek the Law.  As a final word, Kafka has K declare that the Law is not real, it is a lie. He is razor-edge close to an existential conclusion with this declaration. It adds irony to allegory to have K, make this statement to a priest, whom is trying to explain the meaning of the tale.

 

 

YEA

THOUGH I WALK THROUGH

THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART

WITH ME ALWAYS WITH ME

 

 

THROUGH

DEATHS

DARK

VEIL I FEAR NO EVIL

 

 

 

 

http://setiathome.berkeley.edu/forum_search_action.php


7) Message boards : SETI@home Science : Collecting Data (Message 898122)
Posted 29 days ago by freecitizen
--------------------------------------------------------------------------------
2 issues;

 

•1. A signal like the "wow" one does not necessarily mean nothing if it is not detected again. Let us consider a message like the one sent out by Arecibo at 1MW. It was sent only once and not repeated. If an ETI receives that signal and it too comments "wow" at their end and then not find the same signal again; does it mean that the Arecibo message is nothing?

•2. Looking at the Arecibo message again, that message was sent over 3 minutes. During that 3 minutes, how many arc seconds had the Earth rotated? After one light year, that same message would have spanned over how many arc minutes or even arc degrees? On that premise perhaps, the "wow" signal was just a small part of a one time message?

 

 

Contact Alien Film.s)

Search ResultsContact (film) - Wikipedia, the free encyclopedia
In the episode, the cartoon character Herbert Garrison says the film Contact was "terrible" and that he "waited through that entire movie to see the alien ...en.wikipedia.org/wiki/Contact_(film) - 149k

 

Contact (film)
From Wikipedia, the free encyclopedia Jump to: navigation, search Contact

Directed by Robert Zemeckis
Produced by Robert Zemeckis
Steve Starkey
Written by Novel:
Carl Sagan
Screen story:
Carl Sagan
Ann Druyan
Screenplay:
James V. Hart
Michael Goldenberg
Starring Jodie Foster
Matthew McConaughey
James Woods
Tom Skerritt
William Fichtner
John Hurt
Angela Bassett
David Morse
Music by Alan Silvestri
Cinematography Don Burgess
Editing by Arthur Schmidt
Distributed by Warner Bros.
Release date(s) North America:
July 11, 1997
United Kingdom:
September 26, 1997
Australia:
October 16, 1997
New Zealand:
October 23, 1997
Running time 153 min.
Country United States
Language English
Budget $90 million[1]
Gross revenue $171.12 million

Contact is a 1997 science fiction drama film adapted from the Carl Sagan novel of the same name and directed by Robert Zemeckis. Both Sagan and wife Ann Druyan wrote the story outline for the film adaptation of Contact. Jodie Foster portrays the film's protagonist, Dr. Eleanor "Ellie" Arroway, a SETI scientist who finds strong evidence of extraterrestrial life and is chosen to make first contact. Supporting roles are played by Matthew McConaughey, James Woods, Tom Skerritt, William Fichtner, John Hurt, Angela Bassett and David Morse.

Carl Sagan and Ann Druyan began working on the film beginning in 1979. Together, they wrote a 100+ page film treatment and set Contact up at Warner Bros. with Peter Guber and Lynda Obst as producers. When the film ended up in development hell, Sagan published Contact as a novel in 1985 and the film adaptation was rejuvenated in 1989. Roland Joffé and George Miller had planned to direct it, but Joffé dropped out in 1993 and Miller was fired by Warner Bros. in 1995. Robert Zemeckis was eventually hired to direct, and filming for Contact lasted from September 1996 to February 1997. The majority of the visual effects sequences were handled by Sony Pictures Imageworks.

The film was released on July 1, 1997 to mixed reviews. Contact grossed approximately $171 million in worldwide box office totals. The film won the Hugo Award for Best Dramatic Presentation and received multiple awards and nominations at the Saturn Awards. The release of Contact was publicized by controversies from the Bill Clinton Administration, CNN, as well as individual lawsuits from George Miller and Francis Ford Coppola. The California Courts of Appeal dismissed Coppola's claim that he had developed an unproduced version of Contact as a children's television special with Sagan in 1975.

Contents [hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Visual effects
3.4 Science and religion
4 Release
4.1 Box office/Home video
4.2 Critical analysis
4.3 Awards
5 Controversies
5.1 Bill Clinton and CNN
5.2 Lawsuits
5.3 Cyanide
5.4 South Park
6 References
7 Further reading
8 External links

[edit] Plot
Dr. Arroway is a scientist for the Search for Extra-Terrestrial Intelligence (SETI) program at the Arecibo Observatory in Puerto Rico. She and her colleagues listen to radio transmissions in hopes of finding signals sent by extraterrestrial life. Government scientist David Drumlin pulls the funding from SETI. After eighteen months of searching, Ellie gains funding from reclusive billionaire industrialist S.R. Hadden, which allows her to continue her studies at the Very Large Array in New Mexico.

Four years later, with Drumlin pressuring to close SETI, Arroway finds a strong signal repeating a sequence of prime numbers, apparently emitting from the Vega star. This announcement causes both Drumlin and the National Security Council, led by National Security Advisor Michael Kitz, to attempt to take control of the facility. As Arroway, Drumlin and Kitz argue, the team at the VLA discover a video source buried in the signal: Adolf Hitler's welcoming address at the 1936 Summer Olympics in Berlin. Arroway and her team postulate that this would have been the first significantly-strong television signal to leave Earth's atmosphere, which was then transmitted back from Vega 26 light years away.

The project is put under tight security and its progress followed fervently worldwide. President Bill Clinton and Drumlin give a television address to downplay the impact of the Hitler image, while Arroway learns that a third set of data was found in the signal; over 60,000 "pages" of what appear to be technical drawings. Government specialists unsuccessfully attempt to decode the drawings, later decoded by Hadden. He explains that the pages are meant to be interpreted in three dimensions, which reveals a complex machine allowing for one human occupant inside a pod to be dropped into three rapidly spinning rings.

The nations of the world come together to fund the construction of The Machine at Cape Canaveral. An international panel is put together to select a candidate (including both Arroway and Drumlin) to travel in The Machine. While Ellie is one of the top selections, her lack of religious faith is noted by Palmer Joss, a trusted friend and one of the panel members. Drumlin is ultimately selected but is killed, along with many crew members, when the machine is destroyed during a test in a suicide attack by a religious fanatic. Afterwards, a highly secretive replacement is revealed in Hokkaidō, Japan. Arroway becomes the top candidate to travel in it.

Arroway begins her journey, outfitted with several recording devices. When the pod travels through a series of wormholes, she is separated briefly and can observe the outside environment. This includes a radio array-like structure at Vega, and signs of a highly-advanced civilization on an unknown planet. She finds herself in a surreal landscape similar to a childhood picture of Pensacola, Florida, and approached by a blurry figure that resolves into that of her father. Arroway recognizes him as an alien taking her father's form, and attempts to ask questions about the aliens. The alien deflects her questions, explaining that this journey was just humanity's "first step" to joining other space-faring species, and will later be followed by others.

Arroway considers these answers and falls unconscious, finding herself on the floor of the pod where she is being repeatedly called by the machine's control team. She learns that from all external vantage points, she and the pod merely dropped through the Machine. She insists that she was gone for approximately 18 hours, but her recording devices only show static. Kitz resigns as National Security Advisor to lead a congressional committee to determine if the Machine was a fraud by Hadden, who had the resources to set up an elaborate hoax, but has since died. Arroway is accused of collaborating with Hadden; Arroway admits the lack of evidence to support her perception of the events, but maintains the validity of her story. Kitz and White House Chief of Staff Rachel Constantine together reflect on the fact that Arroway's recording devices contained 18 hours of static. Arroway is given continued grant money for the SETI program at the Very Large Array.

[edit] Cast
Jodie Foster as Dr. Eleanor "Ellie" Ann Arroway: SETI scientist who first discovers the alien contact message. Jena Malone portrays Young Ellie Arroway
Matthew McConaughey as Palmer Joss: Renowned Christian philosopher who becomes romantically involved with Arroway
James Woods as Michael Kitz: National Security Advisor, who also heads the Congressional investigation against Arroway
Tom Skerritt as David Drumlin: Scientific aide to the President of the United States
William Fichtner as Kent Clark: A blind SETI scientist who assists Arroway in her studies
John Hurt as S.R. Hadden: An eccentric and reclusive billionaire industrialist who is fundamental in deciphering the alien's message. Hadden eventually dies while aboard the Mir space station
Angela Bassett as Rachel Constantine: White House Chief of Staff to President Clinton
David Morse as Theodore Arroway: Arroway's dad. He encourages his daughter to study amateur radio and the possibilities of extraterrestrial communications. He dies of a heart attack when Ellie is a teenager.
Jake Busey as Joseph: a religious fanatic responsible for the destruction of the machine and the death of David Drumlin
Rob Lowe as Richard Rank: leader of the Conservative coalition
Geoffrey Blake as Fisher: SETI scientist
Max Martini as Willie: SETI scientist

[edit] Production

[edit] Development
Carl Sagan conceived the idea for Contact in 1979. The same year, Lynda Obst, one of Sagan's closest friends, was hired by film producer Peter Guber to be a studio executive for his production company, Casablanca FilmWorks. She pitched Guber the idea for Contact, who commissioned a development deal.[1] Sagan, along with wife Ann Druyan, wrote a 100+ page film treatment, finishing in November 1980.[2][3] Druyan explained, "Carl's and my dream was to write something that would be a fictional representation of what contact would actually be like, that would convey something of the true grandeur of the universe." They added the science and religion analogies as a metaphor of philosophical and intellectual interest in searching for the truth of both humanity and alien contact.[4]

Sagan incorporated Kip Thorne's study of wormhole space travel into the screenplay.[5] The characterization of Dr. Ellie Arroway was inspired by Dr. Jill Tarter, head of Project Phoenix of the SETI Institute; Jodie Foster researched the lead role by meeting her.[6] Tarter served as a consultant on the story, realistically portraying struggling careers of women scientists from the 1950s to 1970s. The writers debated whether Arroway should have a baby at the film's end.[7] Although Guber was impressed with Sagan and Druyan's treatment, he hired various screenwriters to rewrite the script. New characters were added, one of them a Native American park ranger-turned-astronaut.[1] Guber suggested that Arroway have an estranged teenage son, whom he believed would add more depth to the storyline. "Here was a woman consumed with the idea that there was something out there worth listening to," Guber said, "but the one thing she could never make contact with was her own child. To me, that's what the film had to be about."[1] Sagan and Druyan disagreed with Guber's idea and it was not incorporated into the storyline. In 1982, Guber took Contact to Warner Bros. Pictures and with the film laboring in development hell, Sagan started to turn his original idea into a novel, which was published by Simon & Schuster in September 1985. The film adaptation remained in development and Guber eventually vacated his position at Warner Bros. in 1989.[1]

Guber became the new president of Sony Pictures Entertainment and tried to purchase the film rights of Contact from Warners, but the studio refused. Coincidentally, in 1989, Obst was hired as a new executive at Warners and began to fast track the film, by hiring more writers.[1] Roland Joffé was eventually hired to direct,[8] using a screenplay by James V. Hart.[9] Joffé almost commenced pre-production before he dropped out[8] and Obst then hired Michael Goldenberg to rewrite the script, who finished his second draft[1] in late-1993. Goldenberg's second draft rekindled Warner Bros.' interest in Contact[8] and Robert Zemeckis was offered the chance to direct, but he turned down the opportunity[1] in favor of making a film based on the life of Harry Houdini.[10] "The first script [for Contact] I saw was great until the last page and a half," Zemeckis recalled. "And then it had the sky open up and these angelic aliens putting on a light show and I said, 'That's just not going to work.'"[1]

In December 1993, Warner Bros. hired George Miller to direct[8] and Contact was greenlighted to commence pre-production. Miller cast Jodie Foster in the lead role, approached Ralph Fiennes to play Palmer Joss and also considered casting Linda Hunt as the President of the United States. In addition to having aliens put on a laser lighting display around Earth, another version of the Goldenberg scripts had an alien wormhole swallow up the planet, transporting Earth to the center of the galaxy. Miller also asked Goldenberg to rewrite Contact in an attempt to portray the Pope as a key supporting character. Warner Bros. was hoping to have the film ready for release by Christmas 1996, but under Miller's direction pre-production lasted longer than expected.[1] The studio fired the director, blaming pushed-back start dates, budget concerns and Miller's insistence that the script needed five more weeks of rewriting. Robert Zemeckis, who previously turned down the director's position, decided to accept the offer. Warner Bros. granted Zemeckis total artistic control and the right of final cut privilege.[1] The director cast Matthew McConaughey as Palmer Joss, who dropped out of the lead role in The Jackal to take the role in Contact.[11] Despite being diagnosed with Myelodysplasia in 1994, Sagan continued to be involved in the production of the film. For the cast and main crew members, he conducted an academic conference that depicted a detailed history of astronomy.[1]

During the development of Contact, the production crew simultaneously watched Stanley Kubrick's 2001: A Space Odyssey (1968) for inspiration.[7]

[edit] Filming
Principal photography for Contact began at the Very Large Array (VLA) in Socorro, New Mexico on September 24, 1996. "Shooting at the VLA was, of course, spectacular but also one of the most difficult aspects of our filming," producer Steve Starkey said. "It is a working facility so in order for us to accomplish shots for the movie, we had to negotiate with the National Science Foundation for 'dish control' in order to move the dishes in the direction we needed to effect the most dramatic shot for the story."[5] Following arduous first weeks of location shooting in New Mexico and Arizona, production for Contact returned to Los Angeles for five months' worth of location and sound stage shooting utilizing a total of nine different sound stages at Warner Bros. Studios in Burbank and Culver Studios.[5]


Concept drawing of early NASA site ideaIn an attempt to create a sense of realism for the storyline, principal CNN news outlet commentators were scripted into Contact. More than 25 news reporters from CNN had roles in the film and the CNN programs Larry King Live and Crossfire were also included. Ann Druyan makes a cameo appearance as herself, debating Rob Lowe's character, Richard Rank, on Crossfire. In January 1997, a second unit was sent to Puerto Rico for one week at the Arecibo Observatory. Filming ended on February 28, 1997, which constituted of the art department creating over 25 setpieces.[5]

Other second unit work took place in Fiji and Newfoundland. Also essential to the production were a host of technical consultants from the SETI Institute, the California Institute of Technology, the VLA and a former White House staff member to consult on Washington D.C. and government protocol issues.[12] Sagan visited the set a number of times, where he also helped with last minute rewrites. Filming was briefly delayed with the news of his death on December 20, 1996. Contact was dedicated in part to his legacy.[1]

Cinematographer Don Burgess shot the film in anamorphic format using VistaVision cameras. The sound designers used Pro Tools software for the audio mixing, which was done at Skywalker Sound.[13]

[edit] Visual effects
Designing Contact's visual effects sequences was a joint effort between eight separate VFX companies. This included Sony Pictures Imageworks, Peter Jackson's Weta Digital, George Lucas' Industrial Light & Magic and Effects Associates. Weta Digital, in particular, was responsible for designing the wormhole sequence.[14] Jodie Foster admitted she had difficulty with blue screen technology because it was a first for the actress. "It was a blue room. Blue walls, blue roof. It was just blue, blue, blue," Foster explained. "And I was rotated on a Lazy Susan with the camera moving on a computerized arm. It was really tough."[1] News footage of then-President Bill Clinton was digitally altered to make it appear as if he is speaking about alien contact. This was not the original plan for the film;[1] Zemeckis had initially approached Sidney Poitier to play the President, but the actor turned the role down in favor of The Jackal.[15]

Shortly after Poitier's refusal, Zemeckis saw a NASA announcement in August 1996. "Clinton gave his Mars rock speech," the director explained, "and I swear to God it was like it was scripted for this movie. When he said the line 'We will continue to listen closely to what it has to say,' I almost died. I stood there with my mouth hanging open."[1] One of the notable features of Contact is its use of digital color correction. This helped solve continuity errors during the location shooting at the Very Large Array in New Mexico. "The weather killed us, so we were going back in and changing it enough so that the skies and colors and times of day all seem roughly the same," visual effects supervisor Ken Ralston commented.[16] The opening scale view shot of the entire Universe, lasting approximately three minutes, was inspired by the short documentary film Powers of Ten (1977). At the time, it was the longest continuous computer-generated effect for a live-action film, a distinction now held by the opening sequence from The Day After Tomorrow (2004).[17]


The film's (second) Machine in operation at Hokkaidō, JapanThe decoding of the extraterrestrial message, with its architectural drawings of the Machine, was created by Ken Ralston and Sony Pictures Imageworks. This is the sixth-film collaboration between director Zemeckis and VFX supervisor Ralston. Imageworks created over 350 visual effects shots, utilizing a combination of model and miniature shots and digital computer work. On designing the Machine, Zemeckis explained that "The Machine in Sagan's novel was somewhat vague, which is fine for a book. In a movie, though, if you're going to build a giant physical structure of alien design, you have to make it believable." He continued that "it had to be huge, so that the audience would feel like it was bigger than man should be tinkering with. It had to look absolutely real."[5]

Early conceptual designs of the Pod itself were based, as it existed in the novel, on one of the primary shapes in geometry, a dodecahedron or a twelve-sided figure. Eventually the Pod was modified to a spherical capsule that encases the traveler. Zemeckis and the production crew also made several visits to the Kennedy Space Center in Cape Canaveral, where officials allowed them access to sites off-limits to most visitors. Filmmakers were also brought onto Launch Pad V prior to the launch of the space shuttle.[5] There, they concentrated on the mechanics of the elevator and the gantry area and loading arm. The resulting photographs and research were incorporated into the design of the Machine's surrounding supports and gantry. Once the concept met with the filmmakers' approval, physical construction began on the sets for the Pod itself, the interior of the elevator and the gantry, which took almost four months to build. The remainder effects were compiled digitally by Imageworks.[5]

The climactic scene depicting the mysterious beach near the galactic core where Arroway makes "contact", in particular, called for major visual innovations. The goal was an idyllic seashore with a sky blazing with stars that might exist near the core of the galaxy. Ralston said that "the thought was that this beach would have a heightened reality. One that might make the everyday world seem like a vague daydream."[7] To keep the question alive whether any of it was real in Arroway's mind, elements such as ocean waves running in reverse and palm tree shadows swaying with sped up motion were applied.[7]

The Hitler newsreel also required digital manipulation.[7]

[edit] Science and religion
Contact frequently suggests cultural conflicts between religion and science would be brought to the fore by an incident in the film which strongly implies contact with an advanced race of aliens. A point of discussion is the existence (or not) of a god, with a number of different positions being posited.[7] A description of an emotionally-intense experience by Palmer Joss, which he describes as seeing God, is met by Arroway's suggestion that "some part of [him] needed to have [this experience]", that it was a significant personal experience but indicative of nothing greater. Joss compares his certainty that God exists to Arroway's certainty that she loved her deceased Father, despite being unable to prove it.[7]

Contact suggests intense debate would be provoked worldwide by apparent contact with aliens, and shows many instances of this. Many clips of well-known debate shows such as Crossfire and Larry King Live are shown, with participants discussing the implications of 'The Message', asking whether it is proof of the existence of alien life or of God, and whether science is encroaching upon religious ground by, as one commentator puts it, "talking to your god for you."[18] Another commentator casts doubt on the morality of building the Machine, noting that "we don't even know whether [the aliens] believe in God." The first Machine is ultimately destroyed by a religious extremist, in the belief that building it was to the detriment of humankind.[7]

Although the revelation that Arroway's recording device recorded approximately 18 hours of static is arguably conclusive proof of the fact of — if not the experience of — her "journey", there are number of coincidences and indications throughout the film that cast doubt on its authenticity. Director Robert Zemeckis indicates that "the point of the movie is for there always to be a certain amount of doubt [as to whether the aliens were real]."[18] These indications mostly consist of visual cues during the "journey" which are repeated from Ellie's experiences earlier in the film (which Ellie believed to be the result of the aliens "downloading [her] thoughts and memories"), but the timing of the Message's arrival and its eventual decoding are also highly coincidental: the Message was first received shortly before Arroway and her team were to be ejected from the VLA facility, and was only successfully decoded by S.R. Hadden (Arroway's only sponsor, who was close to death from cancer) after weeks of failed attempts by the team at the VLA.[18]

At the end of the film, Arroway is put into a position which she had traditionally viewed with skepticism and mild contempt: that of believing something with complete certainty, despite being unable to prove it in the face not only of widespread incredulity and skepticism (which she admits that as a scientist she would normally share), but of evidence apparently to the contrary.[18]

Zemeckis stated that he intended the message of the film to be that science and religion can co-exist rather than being opposing camps,[18] as shown by the coupling of scientist Arroway with the religious Joss, as well as his acceptance that the "journey" indeed took place. This, and scattered references throughout the film posit that science and religion are not nominally incompatible: one interviewer, after asking Arroway whether the construction of The Machine — despite not knowing what will happen when it is activated — is too dangerous, suggests that it is being built on the "faith" that the alien designers, as Arroway puts it, "know what they're doing."[7]

[edit] Release

[edit] Box office/Home video
Contact had its premiere on July 1, 1997 at the Westwood Theater in Los Angeles, California.[19] The film was released in the United States on July 11, 1997 in 1,923 theaters, earning $20,584,908 in its opening weekend. Contact eventually grossed $100.92 million in the US and $70.2 million in foreign countries, reaching a worldwide total of $171.12 million.[20] With VHS release in early-December 1997, Contact earned an additional $49 million in rental figures.[21] Warner Home Video released Contact on DVD later that month, containing two separate audio commentaries by director Robert Zemeckis, producer Steve Starkey, and visual effects supervisors Ken Ralston and Stephen Rosenbaum.[22]

The release of Contact in July 1997 rekindled public interest in Sagan's 1985 novel. The book remained on the New York Times Best Seller list from July 27 to September 21, 1997.[23][24]

[edit] Critical analysis
Contact received a generally average-favorable response from critics.[25][26] Based on 51 reviews collected by Rotten Tomatoes, 65% of the critics enjoyed the film with an average score of 6.7/10.[25] Contact was more balanced with 12 critics with the website's "Top Critics" poll, earning a 50% approval rating with a 6.3/10 score.[27] By comparison, Metacritic calculated an average score of 62/100, based on 22 reviews.[26] Roger Ebert gave a largely positive critique, believing Contact was on par with Steven Spielberg's Close Encounters of the Third Kind (1977) to study Hollywood's most cinematic study of extraterrestrial life. "Movies like Contact help explain why movies like Independence Day leave me feeling empty and unsatisfied," Ebert commented.[28]

Kenneth Turan of the Los Angeles Times wrote that the film carried a more philosophical portrait of the science fiction genre compared to other films, but believed Contact still managed "to satisfy the cravings of the general public who simply want to be entertained," he said.[29] Internet reviewer James Berardinelli called Contact "one of 1997's finest motion pictures, and is a forceful reminder that Hollywood is still capable of making magic." Berardinelli also felt the film was on par with Stanley Kubrick's 2001: A Space Odyssey (1968) to be one of the greatest science fiction films ever made.[30] Mick LaSalle of the San Francisco Chronicle largely enjoyed the first 90 minutes of Contact, but felt that director Robert Zemeckis was too obsessed with visual effects rather than cohesive storytelling for the pivotal climax.[31] Rita Kempley, writing in The Washington Post, gave a largely negative review. She did not like the film's main premise, which Kempley described as "a preachy debate between sanctity and science".[32]

[edit] Awards
Sound designers Randy Thom, Tom Johnson, Dennis S. Sands and William B. Kaplan were nominated the Academy Award for Sound but lost to Titanic.[33] Jodie Foster was nominated the Golden Globe Award for Best Actress in a Motion Picture Drama, but Judi Dench was awarded the category for her work in Mrs. Brown.[34] Contact won the Hugo Award for Best Dramatic Presentation over The Fifth Element, Gattaca, Men in Black and Starship Troopers.[35] The Academy of Science Fiction, Fantasy & Horror Films awarded individual awards to Jodie Foster (Best Actress and Jena Malone (Best Performance by a Younger Actor at the 24th Saturn Awards. Director Robert Zemeckis, writers James V. Hart and Michael Goldenberg, film score composer Alan Silvestri and the visual effects supervisors also received Saturn Award nominations. Contact was nominated the Saturn Award for Best Science Fiction Film, but lost to Men in Black.[36]

[edit] Controversies

[edit] Bill Clinton and CNN
On July 14, 1997, three days after Contact's opening day release in the United States, Warner Bros. was sent a letter from the White House Counsel, Charles Ruff protesting the use of then-President Bill Clinton's digitally composited appearance. The letter made no demands to director Robert Zemeckis or Warner Bros. in terms of pulling release prints, film trailers or other marketing, but defined the length and manner of Clinton's appearance as "inappropriate". No legal action was planned; the White House Counsel simply wanted to send a message to Hollywood to avoid unauthorized uses of the President's image. Zemeckis was reminded that official White House policy "prohibits the use of the President in any way ... (that) implies a direct ... connection between the President and a commercial product or service".[37]

A Warner Bros. spokeswoman explained that "we feel we have been completely frank and upfront with the White House on this issue. They saw scripts, they were notified when the film was completed, they were sent a print well in advance of the film's July 11 opening, and we have confirmation that a print was received there July 2." However, Warner Bros. did concede that they never pursued or received formal release from the White House for the use of Clinton's image. While the Counsel commented that parody and satire are protected under the First Amendment, press secretary Mike McCurry believed that "there is a difference when the President's image, which is his alone to control, is used in a way that would lead the viewer to believe he has said something he really didn't say".[37]

Shortly after the White House's complaint, CNN chairman, president and CEO Tom Johnson announced he believed that in hindsight it was a mistake to allow 13 members of CNN's on-air staff (including Larry King and Bernard Shaw) to appear in the film, even though both CNN and Warner Bros. are owned by Time Warner. Johnson added that, in the case of Contact, the CNN presence "creates the impression that we're manipulated by Time Warner, and it blurs the line". CNN then changed their policies for future films, which now requires potential appearances to be cleared through their ethics group.[37]

[edit] Lawsuits
Director George Miller, who had developed Contact with Warner Bros. before Zemeckis' hiring, unsuccessfully sued the studio over breach of contract policies.[1]

During the filming of Contact on December 28, 1996, filmmaker Francis Ford Coppola filed a posthumous lawsuit against Carl Sagan and Warner Bros. Pictures. Sagan had died that December 20th, six days before Coppola filed his lawsuit.[38][39] "All I can say is, when a man writes a complaint with his lawyer while your husband is dying after a third bone-marrow transplant," Ann Druyan, widow of Sagan, continued, "and then waits for him to die so he can file it - it's outrageous." Producer Lynda Obst commented: "Ann and Carl made up this idea from scratch, piece by piece. I sat in the room watching them do it. Of course Carl had been thinking about alien encounters all his life. He's the one who made the subject credible in science. And for Coppola to file a lawsuit within days after he died — it's appalling."[1]

Scott Edelman, who represented Druyan, added, "... It exceeds all bounds of decency that after waiting over 20 years, he chose to sue Sagan six days after he died."[39] Coppola claimed that Sagan's novel was actually based on a story the pair had developed for a television special[40] back in 1975,[38] titled First Contact. Under their development agreement,[40] Coppola and Sagan were to split proceeds from the project with American Zoetrope and Children's Television Workshop Productions, as well as any novel Sagan would write. The TV program was never produced, but in 1985, Simon & Schuster published Contact and Warner Bros. moved forward with development of a film adaptation. Coppola sought to seek at least $250,000 in compensatory damages and an injunction against production or distribution of the film.[38]

In February 1998, Los Angeles Superior Court Judge Ricardo Torres dismissed Coppola's claim. Although Torres agreed that Sagan violated some terms of the contract, he explained that Coppola waited too long to file his lawsuit, and that the contract might not be enforceable as it was written. Coppola then appealed his suit,[40] taking it to The California Courts of Appeal (CCA). In April 2000, the CCA dismissed his suit, finding that Coppola’s claims were barred because they were brought too late. The court noted that it was not until 1994 when the filmmaker thought about suing over Contact.[39]

[edit] Cyanide
The scene where the NASA scientists give Arroway the cyanide pill caused some controversy during production and also when the film came out. Gerald D. Griffin, the film's NASA advisor, insisted that NASA has never, ever given any astronaut a cyanide pill "just in case", and that if an astronaut truly wished to commit suicide in space, all he or she would have to do is cut off their oxygen supply.[18] However, Carl Sagan insisted that NASA did indeed give out cyanide pills and they did it for every mission an astronaut has ever flown. Zemeckis said that because of the two radically different viewpoints, the truth is unknown, but he left the cyanide pill scene in the movie as it seemed more suspenseful that way and it was also in line with Sagan's beliefs and vision of the film.[18]

[edit] South Park
In November 2002, a minor corporate censorship controversy surrounded the release of the South Park: The Complete First Season DVD box set. Warner Bros., which produced Contact and co-owned Comedy Central until April 2003, would not release the DVD commentary by South Park creators Trey Parker and Matt Stone unless they agreed to editing some of the content that accompanied the 1998 episode "Tom's Rhinoplasty." In the episode, the cartoon character Herbert Garrison says the film Contact was "terrible" and that he "waited through that entire movie to see the alien and it was her [expletive omitted] father." During the audio commentary, Parker and Stone echoed the Garrison character's criticism. After Parker and Stone publicly voiced their objections, Comedy Central released the commentaries on audio CD and included them on the DVD when consumers order directly from the network's website.[41] Parker and Stone subsequently continued disparaging the film in the 2003 South Park episode "Cancelled" by parody: when an alien takes on the form of the character Stan's father and makes first contact, Kyle says "Dude, don't do that, that's gay," followed by Stan saying "Yeah, that's like that stupid movie Contact."

[edit] References
1.^ a b c d e f g h i j k l m n o p q r Benjamin Svetkey (1997-07-18). "Making Contact". Entertainment Weekly. http://www.ew.com/ew/article/0,,288672,00.html. Retrieved on 2009-01-27.
2.^ Carl Sagan (October 1985). Contact: A Novel. New York City: Simon & Schuster. pp. 432. ISBN 0-671-43400-4.
3.^ "Ann Druyan". Warner Bros.. http://contact-themovie.warnerbros.com/cmp/int-druyan.html. Retrieved on 2009-02-01.
4.^ "About the production". Warner Bros.. http://contact-themovie.warnerbros.com/cmp/about.html. Retrieved on 2009-01-30.
5.^ a b c d e f g "Technology Lends a Hand/Science of the Soundstage". Warner Bros.. http://contact-themovie.warnerbros.com/cmp/technology.html. Retrieved on 2009-01-30.
6.^ William J. Broad (1998-09-29). "Astronomers Revive Scan of the Heavens for Signs of Life". The New York Times.
7.^ a b c d e f g h i Norman Kagan (2003). "Contact". The Cinema of Robert Zemeckis. Lanham, Maryland: Taylor Trade Publishing. pp. 159-181. ISBN 0-87833-293-6.
8.^ a b c d John Evan Frook (1993-12-16). "WB makes 'Contact'". Variety. http://www.variety.com/article/VR116846. Retrieved on 2009-01-26.
9.^ Bernard Weinraub (1997-07-06). "Using a Big Budget To Ask Big Questions". The New York Times.
10.^ Michael Fleming (1997-07-10). "Verhoeven eyes 'Houdini'". Variety. http://www.variety.com/article/VR1116677042. Retrieved on 2009-01-26.
11.^ Michael Fleming (1996-12-16). "McConaughey inks with WB". Variety. http://www.variety.com/article/VR1117465974. Retrieved on 2009-01-26.
12.^ "Creating Strange New Worlds". Warner Bros.. http://contact-themovie.warnerbros.com/cmp/neworlds.html. Retrieved on 2009-01-30.
13.^ Richard Buskin. "Making Contact". FilmSound.org. http://www.filmsound.org/randythom/contact.htm. Retrieved on 2009-01-30.
14.^ Ian Pryor (2003). Peter Jackson: From Prince of Splatter to Lord of the Rings. New York City: Thomas Dunne Books. pp. 206. ISBN 0-312-32294-1.
15.^ Army Archerd (1996-08-16). "Two 'Titanics' on collision course". Variety. http://www.variety.com/article/VR1117862965. Retrieved on 2009-01-26.
16.^ Michael Mallory (1997-05-08). "Invisible tricks of the trade". Variety. http://www.variety.com/vstory/VR1117341655. Retrieved on 2009-01-28.
17.^ Tim Dirks. "Milestones in Film History: Greatest Visual and Special Effects and Computer-Generated Imagery (CGI) - Part 16". Filmsite.org. http://www.filmsite.org/visualeffects19.html. Retrieved on 2009-01-29.
18.^ a b c d e f g Robert Zemeckis, Steve Starkey, DVD audio commentary, 1997, Warner Home Video
19.^ Anita M. Busch (1997-07-03). "'Contact's' starry night". Variety. http://www.variety.com/vstory/VR1116677295. Retrieved on 2009-01-26.
20.^ "Contact". Box Office Mojo. http://www.boxofficemojo.com/movies/?id=contact.htm. Retrieved on 2009-01-27.
21.^ Staff (1997-12-16). "Rental champs: Rate of return". Variety. http://www.variety.com/article/VR1116680329. Retrieved on 2009-01-26.
22.^ "Contact (1997)". Amazon.com. http://www.amazon.com/exec/obidos/ASIN/0790733226. Retrieved on 2009-01-27.
23.^ "Paperback Best Seller: July 27, 1997". The New York Times. 1997-07-27. http://query.nytimes.com/gst/fullpage.html?res=9503EFD91138F934A15754C0A961958260. Retrieved on 2009-01-28.
24.^ "Paperback Best Sellers: September 21, 1997". The New York Times. 1997-09-21. http://query.nytimes.com/gst/fullpage.html?res=9B0CE2DC1339F932A1575AC0A961958260. Retrieved on 2009-01-28.
25.^ a b "Contact". Rotten Tomatoes. http://www.rottentomatoes.com/m/contact/. Retrieved on 2009-01-27.
26.^ a b "Contact (1997): Reviews". Metacritic. http://www.metacritic.com/video/titles/contact?q=Contact. Retrieved on 2009-01-27.
27.^ "Contact: Top Critics". Rotten Tomatoes. http://www.rottentomatoes.com/m/contact/?critic=creamcrop. Retrieved on 2009-01-27.
28.^ Roger Ebert (1997-07-11). "Contact". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970711/REVIEWS/707110301/1023. Retrieved on 2009-01-27.
29.^ Kenneth Turan (1997-07-11). "Foster Passes Hearing Test". Los Angeles Times. http://www.calendarlive.com/movies/reviews/cl-movie970711-7,2,1181836.story. Retrieved on 2009-01-27.
30.^ James Berardinelli. "Contact". ReelViews.net. http://www.reelviews.net/movies/c/contact.html. Retrieved on 2009-01-27.
31.^ Mick LaSalle (1997-07-11). "Anybody There?". San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1997/07/11/DD67803.DTL. Retrieved on 2009-01-27.
32.^ Rita Kempley (1997-07-11). "Contact". The Washington Post. http://www.washingtonpost.com/wp-srv/style/longterm/movies/review97/contactkempley.htm. Retrieved on 2009-01-27.
33.^ "Contact". Academy of Motion Picture Arts and Sciences. http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1233355096558. Retrieved on 2009-01-30.
34.^ "Contact". Hollywood Foreign Press Association. http://www.goldenglobes.org/browse/film/23886. Retrieved on 2009-01-30.
35.^ "1998 Hugo Awards". The Hugo Awards. http://www.thehugoawards.org/?page_id=22. Retrieved on 2009-01-30.
36.^ "Past Saturn Awards". Academy of Science Fiction, Fantasy & Horror Films. http://www.saturnawards.org/past.html. Retrieved on 2009-01-30.
37.^ a b c Staff (1997-07-15). "Cameo crisis on 'Contact'". Variety. http://www.variety.com/article/VR1116676904. Retrieved on 2009-01-26.
38.^ a b c Staff (1996-12-30). "Zoetrope sues over 'Contact'". Variety. http://www.variety.com/vstory/VR1117436227. Retrieved on 2009-01-26.
39.^ a b c Janet Shprintz (2000-02-13). "Coppola loses 'Contact'". Variety. http://www.variety.com/article/VR1117780544. Retrieved on 2009-01-28.
40.^ a b c Paul Karon (1998-02-17). "Coppola's 'Contact' claim is dismissed". Variety. http://www.variety.com/article/VR1117467799. Retrieved on 2009-01-28.
41.^ Owen, Rob (2002). 'South Park' warped and worthy. http://news.google.com/newspapers?id=v_ANAAAAIBAJ&sjid=u3ADAAAAIBAJ&pg=3884,770199&dq=contact+matt-stone+trey-parker+tom%27s-rhinoplasty. Retrieved on 2009-05-20.

[edit] Further reading
Keay Davidson (1999). Carl Sagan: A Life. New York City: John Wiley & Sons. ISBN 0471252867.

[edit] External links
Wikiquote has a collection of quotations related to: Contact (film)

Official website
Cinematography analysis
Visual effects analysis
September 8, 1995 screenplay
In-depth analysis of the realism of the film and novel
Contact at the Internet Movie Database
Contact at Allmovie
Contact at Rotten Tomatoes
Contact at Box Office Mojo
[hide]v • d • eFilms directed by Robert Zemeckis

1970s I Wanna Hold Your Hand (1978)

1980s Used Cars (1980) · Romancing the Stone (1984) · Back to the Future (1985) · Who Framed Roger Rabbit (1988) · Back to the Future Part II (1989)

1990s Back to the Future Part III (1990) · Death Becomes Her (1992) · Forrest Gump (1994) · Contact (1997)

2000s What Lies Beneath (2000) · Cast Away (2000) · The Polar Express (2004) · Beowulf (2007) · A Christmas Carol (2009)

Retrieved from "http://en.wikipedia.org/wiki/Contact_(film)"
Categories: English-language films | 1997 films | Alien visitation films | Films based on science fiction novels | Films directed by Robert Zemeckis | Films shot anamorphically | Films shot in New Mexico | Films set in the 1990s | Films set in Florida | Films set in New Mexico | Films set in Washington, D.C. | Films set in Japan | Hugo Award Winner for Best Dramatic Presentation | 1990s science fiction filmsViews
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Contact Alien Film.s)

Search ResultsContact (film) - Wikipedia, the free encyclopedia
In the episode, the cartoon character Herbert Garrison says the film Contact was "terrible" and that he "waited through that entire movie to see the alien ...en.wikipedia.org/wiki/Contact_(film) - 149k

Contact is a 1997 science fiction drama film adapted from the Carl Sagan novel of the same name and directed by Robert Zemeckis. Both Sagan and wife Ann Druyan wrote the story outline for the film adaptation of Contact. Jodie Foster portrays the film's protagonist, Dr. Eleanor "Ellie" Arroway, a SETI scientist who finds strong evidence of extraterrestrial life and is chosen to make first contact.

[edit] Plot
Dr. Arroway is a scientist for the Search for Extra-Terrestrial Intelligence (SETI) program at the Arecibo Observatory in Puerto Rico. She and her colleagues listen to radio transmissions in hopes of finding signals sent by extraterrestrial life. Government scientist David Drumlin pulls the funding from SETI. After eighteen months of searching, Ellie gains funding from reclusive billionaire industrialist S.R. Hadden, which allows her to continue her studies at the Very Large Array in New Mexico.

Four years later, with Drumlin pressuring to close SETI, Arroway finds a strong signal repeating a sequence of prime numbers, apparently emitting from the Vega star. This announcement causes both Drumlin and the National Security Council, led by National Security Advisor Michael Kitz, to attempt to take control of the facility. As Arroway, Drumlin and Kitz argue, the team at the VLA discover a video source buried in the signal: Adolf Hitler's welcoming address at the 1936 Summer Olympics in Berlin. Arroway and her team postulate that this would have been the first significantly-strong television signal to leave Earth's atmosphere, which was then transmitted back from Vega 26 light years away.

The project is put under tight security and its progress followed fervently worldwide. President Bill Clinton and Drumlin give a television address to downplay the impact of the Hitler image, while Arroway learns that a third set of data was found in the signal; over 60,000 "pages" of what appear to be technical drawings. Government specialists unsuccessfully attempt to decode the drawings, later decoded by Hadden. He explains that the pages are meant to be interpreted in three dimensions, which reveals a complex machine allowing for one human occupant inside a pod to be dropped into three rapidly spinning rings.

The nations of the world come together to fund the construction of The Machine at Cape Canaveral. An international panel is put together to select a candidate (including both Arroway and Drumlin) to travel in The Machine. While Ellie is one of the top selections, her lack of religious faith is noted by Palmer Joss, a trusted friend and one of the panel members. Drumlin is ultimately selected but is killed, along with many crew members, when the machine is destroyed during a test in a suicide attack by a religious fanatic. Afterwards, a highly secretive replacement is revealed in Hokkaidō, Japan. Arroway becomes the top candidate to travel in it.

Arroway begins her journey, outfitted with several recording devices. When the pod travels through a series of wormholes, she is separated briefly and can observe the outside environment. This includes a radio array-like structure at Vega, and signs of a highly-advanced civilization on an unknown planet. She finds herself in a surreal landscape similar to a childhood picture of Pensacola, Florida, and approached by a blurry figure that resolves into that of her father. Arroway recognizes him as an alien taking her father's form, and attempts to ask questions about the aliens. The alien deflects her questions, explaining that this journey was just humanity's "first step" to joining other space-faring species, and will later be followed by others.

Arroway considers these answers and falls unconscious, finding herself on the floor of the pod where she is being repeatedly called by the machine's control team. She learns that from all external vantage points, she and the pod merely dropped through the Machine. She insists that she was gone for approximately 18 hours, but her recording devices only show static. Kitz resigns as National Security Advisor to lead a congressional committee to determine if the Machine was a fraud by Hadden, who had the resources to set up an elaborate hoax, but has since died. Arroway is accused of collaborating with Hadden; Arroway admits the lack of evidence to support her perception of the events, but maintains the validity of her story. Kitz and White House Chief of Staff Rachel Constantine together reflect on the fact that Arroway's recording devices contained 18 hours of static. Arroway is given continued grant money for the SETI program at the Very Large Array.

[edit] Cast
Jodie Foster as Dr. Eleanor "Ellie" Ann Arroway: SETI scientist who first discovers the alien contact message. Jena Malone portrays Young Ellie Arroway
Matthew McConaughey as Palmer Joss: Renowned Christian philosopher who becomes romantically involved with Arroway
James Woods as Michael Kitz: National Security Advisor, who also heads the Congressional investigation against Arroway
Tom Skerritt as David Drumlin: Scientific aide to the President of the United States
William Fichtner as Kent Clark: A blind SETI scientist who assists Arroway in her studies
John Hurt as S.R. Hadden: An eccentric and reclusive billionaire industrialist who is fundamental in deciphering the alien's message. Hadden eventually dies while aboard the Mir space station
Angela Bassett as Rachel Constantine: White House Chief of Staff to President Clinton
David Morse as Theodore Arroway: Arroway's dad. He encourages his daughter to study amateur radio and the possibilities of extraterrestrial communications. He dies of a heart attack when Ellie is a teenager.
Jake Busey as Joseph: a religious fanatic responsible for the destruction of the machine and the death of David Drumlin
Rob Lowe as Richard Rank: leader of the Conservative coalition
Geoffrey Blake as Fisher: SETI scientist
Max Martini as Willie: SETI scientist

[edit] Production

[edit] Development
Carl Sagan conceived the idea for Contact in 1979. The same year, Lynda Obst, one of Sagan's closest friends, was hired by film producer Peter Guber to be a studio executive for his production company, Casablanca FilmWorks. She pitched Guber the idea for Contact, who commissioned a development deal.[1] Sagan, along with wife Ann Druyan, wrote a 100+ page film treatment, finishing in November 1980.[2][3] Druyan explained, "Carl's and my dream was to write something that would be a fictional representation of what contact would actually be like, that would convey something of the true grandeur of the universe." They added the science and religion analogies as a metaphor of philosophical and intellectual interest in searching for the truth of both humanity and alien contact.[4]

Sagan incorporated Kip Thorne's study of wormhole space travel into the screenplay.[5] The characterization of Dr. Ellie Arroway was inspired by Dr. Jill Tarter, head of Project Phoenix of the SETI Institute; Jodie Foster researched the lead role by meeting her.[6] Tarter served as a consultant on the story, realistically portraying struggling careers of women scientists from the 1950s to 1970s. The writers debated whether Arroway should have a baby at the film's end.[7] Although Guber was impressed with Sagan and Druyan's treatment, he hired various screenwriters to rewrite the script. New characters were added, one of them a Native American park ranger-turned-astronaut.[1] Guber suggested that Arroway have an estranged teenage son, whom he believed would add more depth to the storyline. "Here was a woman consumed with the idea that there was something out there worth listening to," Guber said, "but the one thing she could never make contact with was her own child. To me, that's what the film had to be about."[1] Sagan and Druyan disagreed with Guber's idea and it was not incorporated into the storyline. In 1982, Guber took Contact to Warner Bros. Pictures and with the film laboring in development hell, Sagan started to turn his original idea into a novel, which was published by Simon & Schuster in September 1985. The film adaptation remained in development and Guber eventually vacated his position at Warner Bros. in 1989.[1]

Guber became the new president of Sony Pictures Entertainment and tried to purchase the film rights of Contact from Warners, but the studio refused. Coincidentally, in 1989, Obst was hired as a new executive at Warners and began to fast track the film, by hiring more writers.[1] Roland Joffé was eventually hired to direct,[8] using a screenplay by James V. Hart.[9] Joffé almost commenced pre-production before he dropped out[8] and Obst then hired Michael Goldenberg to rewrite the script, who finished his second draft[1] in late-1993. Goldenberg's second draft rekindled Warner Bros.' interest in Contact[8] and Robert Zemeckis was offered the chance to direct, but he turned down the opportunity[1] in favor of making a film based on the life of Harry Houdini.[10] "The first script [for Contact] I saw was great until the last page and a half," Zemeckis recalled. "And then it had the sky open up and these angelic aliens putting on a light show and I said, 'That's just not going to work.'"[1]

In December 1993, Warner Bros. hired George Miller to direct[8] and Contact was greenlighted to commence pre-production. Miller cast Jodie Foster in the lead role, approached Ralph Fiennes to play Palmer Joss and also considered casting Linda Hunt as the President of the United States. In addition to having aliens put on a laser lighting display around Earth, another version of the Goldenberg scripts had an alien wormhole swallow up the planet, transporting Earth to the center of the galaxy. Miller also asked Goldenberg to rewrite Contact in an attempt to portray the Pope as a key supporting character. Warner Bros. was hoping to have the film ready for release by Christmas 1996, but under Miller's direction pre-production lasted longer than expected.[1] The studio fired the director, blaming pushed-back start dates, budget concerns and Miller's insistence that the script needed five more weeks of rewriting. Robert Zemeckis, who previously turned down the director's position, decided to accept the offer. Warner Bros. granted Zemeckis total artistic control and the right of final cut privilege.[1] The director cast Matthew McConaughey as Palmer Joss, who dropped out of the lead role in The Jackal to take the role in Contact.[11] Despite being diagnosed with Myelodysplasia in 1994, Sagan continued to be involved in the production of the film. For the cast and main crew members, he conducted an academic conference that depicted a detailed history of astronomy.[1]

During the development of Contact, the production crew simultaneously watched Stanley Kubrick's 2001: A Space Odyssey (1968) for inspiration.[7]

[edit] Filming
Principal photography for Contact began at the Very Large Array (VLA) in Socorro, New Mexico on September 24, 1996. "Shooting at the VLA was, of course, spectacular but also one of the most difficult aspects of our filming," producer Steve Starkey said. "It is a working facility so in order for us to accomplish shots for the movie, we had to negotiate with the National Science Foundation for 'dish control' in order to move the dishes in the direction we needed to effect the most dramatic shot for the story."[5] Following arduous first weeks of location shooting in New Mexico and Arizona, production for Contact returned to Los Angeles for five months' worth of location and sound stage shooting utilizing a total of nine different sound stages at Warner Bros. Studios in Burbank and Culver Studios.[5]


Concept drawing of early NASA site ideaIn an attempt to create a sense of realism for the storyline, principal CNN news outlet commentators were scripted into Contact. More than 25 news reporters from CNN had roles in the film and the CNN programs Larry King Live and Crossfire were also included. Ann Druyan makes a cameo appearance as herself, debating Rob Lowe's character, Richard Rank, on Crossfire. In January 1997, a second unit was sent to Puerto Rico for one week at the Arecibo Observatory. Filming ended on February 28, 1997, which constituted of the art department creating over 25 setpieces.[5]

Other second unit work took place in Fiji and Newfoundland. Also essential to the production were a host of technical consultants from the SETI Institute, the California Institute of Technology, the VLA and a former White House staff member to consult on Washington D.C. and government protocol issues.[12] Sagan visited the set a number of times, where he also helped with last minute rewrites. Filming was briefly delayed with the news of his death on December 20, 1996. Contact was dedicated in part to his legacy.[1]

Cinematographer Don Burgess shot the film in anamorphic format using VistaVision cameras. The sound designers used Pro Tools software for the audio mixing, which was done at Skywalker Sound.[13]

[edit] Visual effects
Designing Contact's visual effects sequences was a joint effort between eight separate VFX companies. This included Sony Pictures Imageworks, Peter Jackson's Weta Digital, George Lucas' Industrial Light & Magic and Effects Associates. Weta Digital, in particular, was responsible for designing the wormhole sequence.[14] Jodie Foster admitted she had difficulty with blue screen technology because it was a first for the actress. "It was a blue room. Blue walls, blue roof. It was just blue, blue, blue," Foster explained. "And I was rotated on a Lazy Susan with the camera moving on a computerized arm. It was really tough."[1] News footage of then-President Bill Clinton was digitally altered to make it appear as if he is speaking about alien contact. This was not the original plan for the film;[1] Zemeckis had initially approached Sidney Poitier to play the President, but the actor turned the role down in favor of The Jackal.[15]

Shortly after Poitier's refusal, Zemeckis saw a NASA announcement in August 1996. "Clinton gave his Mars rock speech," the director explained, "and I swear to God it was like it was scripted for this movie. When he said the line 'We will continue to listen closely to what it has to say,' I almost died. I stood there with my mouth hanging open."[1] One of the notable features of Contact is its use of digital color correction. This helped solve continuity errors during the location shooting at the Very Large Array in New Mexico. "The weather killed us, so we were going back in and changing it enough so that the skies and colors and times of day all seem roughly the same," visual effects supervisor Ken Ralston commented.[16] The opening scale view shot of the entire Universe, lasting approximately three minutes, was inspired by the short documentary film Powers of Ten (1977). At the time, it was the longest continuous computer-generated effect for a live-action film, a distinction now held by the opening sequence from The Day After Tomorrow (2004).[17]


The film's (second) Machine in operation at Hokkaidō, JapanThe decoding of the extraterrestrial message, with its architectural drawings of the Machine, was created by Ken Ralston and Sony Pictures Imageworks. This is the sixth-film collaboration between director Zemeckis and VFX supervisor Ralston. Imageworks created over 350 visual effects shots, utilizing a combination of model and miniature shots and digital computer work. On designing the Machine, Zemeckis explained that "The Machine in Sagan's novel was somewhat vague, which is fine for a book. In a movie, though, if you're going to build a giant physical structure of alien design, you have to make it believable." He continued that "it had to be huge, so that the audience would feel like it was bigger than man should be tinkering with. It had to look absolutely real."[5]

Early conceptual designs of the Pod itself were based, as it existed in the novel, on one of the primary shapes in geometry, a dodecahedron or a twelve-sided figure. Eventually the Pod was modified to a spherical capsule that encases the traveler. Zemeckis and the production crew also made several visits to the Kennedy Space Center in Cape Canaveral, where officials allowed them access to sites off-limits to most visitors. Filmmakers were also brought onto Launch Pad V prior to the launch of the space shuttle.[5] There, they concentrated on the mechanics of the elevator and the gantry area and loading arm. The resulting photographs and research were incorporated into the design of the Machine's surrounding supports and gantry. Once the concept met with the filmmakers' approval, physical construction began on the sets for the Pod itself, the interior of the elevator and the gantry, which took almost four months to build. The remainder effects were compiled digitally by Imageworks.[5]

The climactic scene depicting the mysterious beach near the galactic core where Arroway makes "contact", in particular, called for major visual innovations. The goal was an idyllic seashore with a sky blazing with stars that might exist near the core of the galaxy. Ralston said that "the thought was that this beach would have a heightened reality. One that might make the everyday world seem like a vague daydream."[7] To keep the question alive whether any of it was real in Arroway's mind, elements such as ocean waves running in reverse and palm tree shadows swaying with sped up motion were applied.[7]

The Hitler newsreel also required digital manipulation.[7]

[edit] Science and religion
Contact frequently suggests cultural conflicts between religion and science would be brought to the fore by an incident in the film which strongly implies contact with an advanced race of aliens. A point of discussion is the existence (or not) of a god, with a number of different positions being posited.[7] A description of an emotionally-intense experience by Palmer Joss, which he describes as seeing God, is met by Arroway's suggestion that "some part of [him] needed to have [this experience]", that it was a significant personal experience but indicative of nothing greater. Joss compares his certainty that God exists to Arroway's certainty that she loved her deceased Father, despite being unable to prove it.[7]

Contact suggests intense debate would be provoked worldwide by apparent contact with aliens, and shows many instances of this. Many clips of well-known debate shows such as Crossfire and Larry King Live are shown, with participants discussing the implications of 'The Message', asking whether it is proof of the existence of alien life or of God, and whether science is encroaching upon religious ground by, as one commentator puts it, "talking to your god for you."[18] Another commentator casts doubt on the morality of building the Machine, noting that "we don't even know whether [the aliens] believe in God." The first Machine is ultimately destroyed by a religious extremist, in the belief that building it was to the detriment of humankind.[7]

Although the revelation that Arroway's recording device recorded approximately 18 hours of static is arguably conclusive proof of the fact of — if not the experience of — her "journey", there are number of coincidences and indications throughout the film that cast doubt on its authenticity. Director Robert Zemeckis indicates that "the point of the movie is for there always to be a certain amount of doubt [as to whether the aliens were real]."[18] These indications mostly consist of visual cues during the "journey" which are repeated from Ellie's experiences earlier in the film (which Ellie believed to be the result of the aliens "downloading [her] thoughts and memories"), but the timing of the Message's arrival and its eventual decoding are also highly coincidental: the Message was first received shortly before Arroway and her team were to be ejected from the VLA facility, and was only successfully decoded by S.R. Hadden (Arroway's only sponsor, who was close to death from cancer) after weeks of failed attempts by the team at the VLA.[18]

At the end of the film, Arroway is put into a position which she had traditionally viewed with skepticism and mild contempt: that of believing something with complete certainty, despite being unable to prove it in the face not only of widespread incredulity and skepticism (which she admits that as a scientist she would normally share), but of evidence apparently to the contrary.[18]

Zemeckis stated that he intended the message of the film to be that science and religion can co-exist rather than being opposing camps,[18] as shown by the coupling of scientist Arroway with the religious Joss, as well as his acceptance that the "journey" indeed took place. This, and scattered references throughout the film posit that science and religion are not nominally incompatible: one interviewer, after asking Arroway whether the construction of The Machine — despite not knowing what will happen when it is activated — is too dangerous, suggests that it is being built on the "faith" that the alien designers, as Arroway puts it, "know what they're doing."[7]

[edit] Release

[edit] Box office/Home video
Contact had its premiere on July 1, 1997 at the Westwood Theater in Los Angeles, California.[19] The film was released in the United States on July 11, 1997 in 1,923 theaters, earning $20,584,908 in its opening weekend. Contact eventually grossed $100.92 million in the US and $70.2 million in foreign countries, reaching a worldwide total of $171.12 million.[20] With VHS release in early-December 1997, Contact earned an additional $49 million in rental figures.[21] Warner Home Video released Contact on DVD later that month, containing two separate audio commentaries by director Robert Zemeckis, producer Steve Starkey, and visual effects supervisors Ken Ralston and Stephen Rosenbaum.[22]

The release of Contact in July 1997 rekindled public interest in Sagan's 1985 novel. The book remained on the New York Times Best Seller list from July 27 to September 21, 1997.[23][24]

[edit] Critical analysis
Contact received a generally average-favorable response from critics.[25][26] Based on 51 reviews collected by Rotten Tomatoes, 65% of the critics enjoyed the film with an average score of 6.7/10.[25] Contact was more balanced with 12 critics with the website's "Top Critics" poll, earning a 50% approval rating with a 6.3/10 score.[27] By comparison, Metacritic calculated an average score of 62/100, based on 22 reviews.[26] Roger Ebert gave a largely positive critique, believing Contact was on par with Steven Spielberg's Close Encounters of the Third Kind (1977) to study Hollywood's most cinematic study of extraterrestrial life. "Movies like Contact help explain why movies like Independence Day leave me feeling empty and unsatisfied," Ebert commented.[28]

Kenneth Turan of the Los Angeles Times wrote that the film carried a more philosophical portrait of the science fiction genre compared to other films, but believed Contact still managed "to satisfy the cravings of the general public who simply want to be entertained," he said.[29] Internet reviewer James Berardinelli called Contact "one of 1997's finest motion pictures, and is a forceful reminder that Hollywood is still capable of making magic." Berardinelli also felt the film was on par with Stanley Kubrick's 2001: A Space Odyssey (1968) to be one of the greatest science fiction films ever made.[30] Mick LaSalle of the San Francisco Chronicle largely enjoyed the first 90 minutes of Contact, but felt that director Robert Zemeckis was too obsessed with visual effects rather than cohesive storytelling for the pivotal climax.[31] Rita Kempley, writing in The Washington Post, gave a largely negative review. She did not like the film's main premise, which Kempley described as "a preachy debate between sanctity and science".[32]

[edit] Awards
Sound designers Randy Thom, Tom Johnson, Dennis S. Sands and William B. Kaplan were nominated the Academy Award for Sound but lost to Titanic.[33] Jodie Foster was nominated the Golden Globe Award for Best Actress in a Motion Picture Drama, but Judi Dench was awarded the category for her work in Mrs. Brown.[34] Contact won the Hugo Award for Best Dramatic Presentation over The Fifth Element, Gattaca, Men in Black and Starship Troopers.[35] The Academy of Science Fiction, Fantasy & Horror Films awarded individual awards to Jodie Foster (Best Actress and Jena Malone (Best Performance by a Younger Actor at the 24th Saturn Awards. Director Robert Zemeckis, writers James V. Hart and Michael Goldenberg, film score composer Alan Silvestri and the visual effects supervisors also received Saturn Award nominations. Contact was nominated the Saturn Award for Best Science Fiction Film, but lost to Men in Black.[36]

[edit] Controversies

[edit] Bill Clinton and CNN
On July 14, 1997, three days after Contact's opening day release in the United States, Warner Bros. was sent a letter from the White House Counsel, Charles Ruff protesting the use of then-President Bill Clinton's digitally composited appearance. The letter made no demands to director Robert Zemeckis or Warner Bros. in terms of pulling release prints, film trailers or other marketing, but defined the length and manner of Clinton's appearance as "inappropriate". No legal action was planned; the White House Counsel simply wanted to send a message to Hollywood to avoid unauthorized uses of the President's image. Zemeckis was reminded that official White House policy "prohibits the use of the President in any way ... (that) implies a direct ... connection between the President and a commercial product or service".[37]

A Warner Bros. spokeswoman explained that "we feel we have been completely frank and upfront with the White House on this issue. They saw scripts, they were notified when the film was completed, they were sent a print well in advance of the film's July 11 opening, and we have confirmation that a print was received there July 2." However, Warner Bros. did concede that they never pursued or received formal release from the White House for the use of Clinton's image. While the Counsel commented that parody and satire are protected under the First Amendment, press secretary Mike McCurry believed that "there is a difference when the President's image, which is his alone to control, is used in a way that would lead the viewer to believe he has said something he really didn't say".[37]

Shortly after the White House's complaint, CNN chairman, president and CEO Tom Johnson announced he believed that in hindsight it was a mistake to allow 13 members of CNN's on-air staff (including Larry King and Bernard Shaw) to appear in the film, even though both CNN and Warner Bros. are owned by Time Warner. Johnson added that, in the case of Contact, the CNN presence "creates the impression that we're manipulated by Time Warner, and it blurs the line". CNN then changed their policies for future films, which now requires potential appearances to be cleared through their ethics group.[37]

[edit] Lawsuits
Director George Miller, who had developed Contact with Warner Bros. before Zemeckis' hiring, unsuccessfully sued the studio over breach of contract policies.[1]

During the filming of Contact on December 28, 1996, filmmaker Francis Ford Coppola filed a posthumous lawsuit against Carl Sagan and Warner Bros. Pictures. Sagan had died that December 20th, six days before Coppola filed his lawsuit.[38][39] "All I can say is, when a man writes a complaint with his lawyer while your husband is dying after a third bone-marrow transplant," Ann Druyan, widow of Sagan, continued, "and then waits for him to die so he can file it - it's outrageous." Producer Lynda Obst commented: "Ann and Carl made up this idea from scratch, piece by piece. I sat in the room watching them do it. Of course Carl had been thinking about alien encounters all his life. He's the one who made the subject credible in science. And for Coppola to file a lawsuit within days after he died — it's appalling."[1]

Scott Edelman, who represented Druyan, added, "... It exceeds all bounds of decency that after waiting over 20 years, he chose to sue Sagan six days after he died."[39] Coppola claimed that Sagan's novel was actually based on a story the pair had developed for a television special[40] back in 1975,[38] titled First Contact. Under their development agreement,[40] Coppola and Sagan were to split proceeds from the project with American Zoetrope and Children's Television Workshop Productions, as well as any novel Sagan would write. The TV program was never produced, but in 1985, Simon & Schuster published Contact and Warner Bros. moved forward with development of a film adaptation. Coppola sought to seek at least $250,000 in compensatory damages and an injunction against production or distribution of the film.[38]

In February 1998, Los Angeles Superior Court Judge Ricardo Torres dismissed Coppola's claim. Although Torres agreed that Sagan violated some terms of the contract, he explained that Coppola waited too long to file his lawsuit, and that the contract might not be enforceable as it was written. Coppola then appealed his suit,[40] taking it to The California Courts of Appeal (CCA). In April 2000, the CCA dismissed his suit, finding that Coppola’s claims were barred because they were brought too late. The court noted that it was not until 1994 when the filmmaker thought about suing over Contact.[39]

[edit] Cyanide
The scene where the NASA scientists give Arroway the cyanide pill caused some controversy during production and also when the film came out. Gerald D. Griffin, the film's NASA advisor, insisted that NASA has never, ever given any astronaut a cyanide pill "just in case", and that if an astronaut truly wished to commit suicide in space, all he or she would have to do is cut off their oxygen supply.[18] However, Carl Sagan insisted that NASA did indeed give out cyanide pills and they did it for every mission an astronaut has ever flown. Zemeckis said that because of the two radically different viewpoints, the truth is unknown, but he left the cyanide pill scene in the movie as it seemed more suspenseful that way and it was also in line with Sagan's beliefs and vision of the film.[18]

[edit] South Park
In November 2002, a minor corporate censorship controversy surrounded the release of the South Park: The Complete First Season DVD box set. Warner Bros., which produced Contact and co-owned Comedy Central until April 2003, would not release the DVD commentary by South Park creators Trey Parker and Matt Stone unless they agreed to editing some of the content that accompanied the 1998 episode "Tom's Rhinoplasty." In the episode, the cartoon character Herbert Garrison says the film Contact was "terrible" and that he "waited through that entire movie to see the alien and it was her [expletive omitted] father." During the audio commentary, Parker and Stone echoed the Garrison character's criticism. After Parker and Stone publicly voiced their objections, Comedy Central released the commentaries on audio CD and included them on the DVD when consumers order directly from the network's website.[41] Parker and Stone subsequently continued disparaging the film in the 2003 South Park episode "Cancelled" by parody: when an alien takes on the form of the character Stan's father and makes first contact, Kyle says "Dude, don't do that, that's gay," followed by Stan saying "Yeah, that's like that stupid movie Contact."

 

 

Awesome Or Off-Putting: The Wow! Signal - Sent By Aliens? - Topix
Signal - Sent By Aliens? Awesome or Off-Putting is a weekly delve into ... This will search the titles of the threads in the Jodie Foster forum ...
www.topix.com/who/jodie-foster/2009/04/awesome-or-off-putting-the-wow-signal-sent-by-aliens -

 


Awesome or Off-Putting is a weekly delve into cryptozoology, ufology, aliens, medical marvels, scientific wonders, secret societies, government conspiracies, cults, ghosts, EVPs, myths, ancient artifacts, religion, strange facts, odd sightings or just the plain unexplainable.

Well don’t tell Jodie Foster, but she needn’t have made that one movie where she made love to her dead alien father on an other-planet beach. That’s because the premise of that movie - Contact we think it was called - was about how the world would react if it ever received contact from another planet.

Problem is that film was made 20 years after the fact.

SETI is a wonderful organisation that does nothing all day but listen for signals emitting from the radio antennas protruding well-above the crust of other planets. In fact their name is an acronym for Search for Extra-Terrestrial Intelligence, and they take their job quite seriously.

Imagine their surprise then, when on August 15, 1977, they received something that Space.com describes like this:

Of the many “maybes” that SETI has turned up in its four-decade history, none is better known than the one that was discovered in August, 1977, in Columbus, Ohio. The famous Wow signal was found as part of a long-running sky survey conducted with Ohio State Universitys “Big Ear” radio telescope.

The Wow signals unusual nomenclature connotes both the surprise of the discovery and its sox-knocking strength (60 Janskys in a 10 KHz channel, which is more than 50 thousand times more incoming energy than the minimum signal that would register as a hit for todays Project Phoenix.)

Now we know what you’re thinking - just because the sound was picked up by an antenna sweeping outer space doesn’t mean the sound came from there. We agree with you - until we read this next bit on our ol’ pal Wikipedia:

[An expert] has stated his doubts that the signal is of intelligent extraterrestrial origin: “We should have seen it again when we looked for it 50 times. Something suggests it was an Earth-sourced signal that simply got reflected off a piece of space debris.”

He later recanted his skepticism somewhat after further research scientifically relegated an Earth-bound signal to be astronomically unlikely, due to the requirements of a space-borne reflector being bound to certain unrealistic requirements to sufficiently explain the nature of the signal. Also, the 1420 MHz signal is problematic in itself in that it is “protected spectrum” or bandwidth in which terrestrial transmitters are forbidden to transmit. In his most recent writings, [the expert] resists “drawing vast conclusions from half-vast data.”

Your sitting there still sceptical, aren’t you? Would it help any if we told you this isn’t the only time an apparently alien signal has been received? For this next bit we are going to delve back into Hecklerspray’s own memory - to a time we took an ill-fated vacation to Puerto Rico right when 2004’s Tropical Storm Jeanne was deciding to ravish the island.

A few weeks before our trip, you see, we read a news report that the Arecibo Observatory, a huge antenna located on the island, had received what appeared to be an extra-terrestrial signal as well. While on island we took the visitors tour of the site, expecting a massive display explaining their recent good fortune in intricate detail. Instead, there was nothing.

Just before leaving we asked a worker there about the signal - and they knew exactly what we were talking about. The worker told us (and we paraphrase) that there was a system in place where people all over the world could volunteer their computers to sift through data received by the great antenna. Due to the massive amount of info received and the small-ish amount of hard drive to search through it, they hadn’t realised they’d received a signal until years after the fact. What they did get though, was three bursts of signal when you only need two to verify it wasn’t a glitch.

Furthermore, the signal was coming from a place where there was no planet to make it. As we understood it, this was implying it was coming from something intelligent made as it floated through space. Maybe it was a satellite, maybe it was a spaceship.

We’d have loved to use some sort of official quote for that last bit, but we just couldn’t find one.

 

 

Munchener Freiheit - Keeping The Dream Alive Lyrics
Munchener Freiheit Lyrics - Keeping The Dream Alive: the hopes we had were much too high, way out of reach but we have to try, no need to hide no need to ...
artists.letssingit.com/munchener-freiheit-lyrics-keeping-the-dream-alive-jn3k9c9 - 40k - Cached - Similar pages

 

Tonight the rain is falling
Full of memories of people and places
And while the past is calling
In my fantasy I remember their faces

The hopes we had were much too high
Way out of reach but we have to try
The game will never be over
Because we're keeping the dream alive

I hear myself recalling
Things you said to me
The night it all started
And still the rain is falling
Makes me feel the way
I felt when we parted

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The game will never be over
Because we're keeping the dream alive

I need you
I love you

The game will never be over
Because we're keeping the dream alive

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The game will never be over
Because we're keeping the dream alive

The game will never be over
Because we're keeping the dream alive

The game will never be over

 

 

 

 

METHUSELAH THUS HEAL ME METHUSELAH

 

 

EARTH HEART THERA TERAH

 

VE NUS VE SUN NUS EV SUN EV

 

SATURN NATURES SATURN

TURN AS SA NRUT

SATURN NATURES SATURN

 

 

URANUS SUNARU

U

R

A

SUN

URANUS SUNARU

 

 

RAMS

 

 

JUPITER WHEN STOOD IN LINE WEIGHS IN AT NUMBER NINETYNINE

 

 

W LORD WORD L

 

 

HOLY BIBLE
Scofield References

Page 1117

A.D. 30.
Jesus answered and said unto him, Verily, verily,
I say unto thee, Except a man be born again,
He cannot see the kingdom of God.

St  John  Chapter   3  verse  3
3     +     3     3     x     3
6        x        9
54
5 + 4
9

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake' "

" 'When a man awakes he can die; when he dies he can be born' "

 

 

WAY OF THE PEACEFUL WARRIOR

A

BOOK THAT CHANGES LIVES

Dan Millman 1980

Page 44

"...do you recall that I told you we must work on changing your mind before you can see the warrior's way? /Page 45 / "Yes, but I really don't think. ." "Don't be afraid," he repeated. "Comfort yourself with a saying of Confucius," he smiled. " 'Only the supremely wise and the ignorant do not alter.' " Saying that, he reached out and placed his hands gently but firmly on my temples.
Nothing happened for a moment-then suddenly, I felt a growing pressure in the middle of my head. There was a loud buzzing, then a sound like waves rushing up on the beach. I heard bells ringing, and my head felt as if it was going to burst. That's when I saw the light, and my mind exploded with its brightness.
Something in me was dying I knew this for a certainty-and something else was being born Then the light engulfed everything."

 

 

 
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