As we enter the Age of Aquarius, the sign of Aquarius facilitates the cleansing of consciousness and the transfiguration of energy for widespread change. Aquarius is the Mother of Humanity, a sign whose qualities become progressively potent during a shift in frequencies. The energy of the Aquarius Age promotes the loss of ego so Blue Light Christ Consciousness can be activated singularly for all beings. Part of this shift releases the Divine Feminine, the feminine energy present in everybody that has been suppressed into the unconscious and painfully exorcised. The Age of Pisces swept the mass delusion of religion and religious authority. As we move deeper into the Age of Pisces we find no mention of the Goddess or Mother as supreme being, that who had been worshiped for centuries. It was now ‘Our Father’, and the demonisation of feminine sexuality or energy. Aquarius energy enables the loss of pride, self serving corruption, and gluttony to re-connect with the soul of humanity, to realise the destructive nature of our fear and containment, the loving consciousness of the Great Mother to reignite the magic alive in every child. The plants come alive with faces and messages from the divine. As we have become more trapped by ego, we have lost our inherent relationship with nature, and the Mother’s purity of consciousness allows for this intimacy to again exist between nature and humanity, so we can be guided once more by the wisdom of Mother Earth. Aquarius is the vessel of consciousness that activates this perception. The Divine Mother is born from harnessing this vessel in its purest form. The Goddess was anciently worshiped as the ultimate creator, the essence of creative sexual energy that underlies all living being. As this sacred energy became tainted through ego, hatred, and religious patriarchy, so did the depravity of our sexual nature. Too many women have been victims of this imbalance, suffering oppression, assault, and abuse. Aquarius rebuilds the temple of honour and protection, Isis guards the vile animal from entering.
Heracles was revered for his inhuman acts, his works were extraordinary, and yet this was because Heracles was partly divine. His death was remarkable in the sense it was violent and painstaking because everything impure had to be incinerated to mark true death. When Heracles ascended to completion, spiritual divinity, he was rewarded with a wife. This wife was the young daughter of Hera and Zeus. She was beautiful, youthful, and virtuous. Her name was Hebe, and she is the cup bearer for the gods, holding 2 vessels in her hands. It is she who serves fine fruit and wine to the Gods, she is Aquarius. She was the gift of purity, after ego had died its true death, she is the portion of consciousness that awakens the Divine Feminine. “While the sign of Gemini represents “equal rulership” between the masculine and feminine energies, Aquarius harkens to the divine power inherent within an act of co-rulership between these two polarity expressions in the divine image and similitude.” - Maia Kyi'Ra Nartoomid
Famed Austrian-American actress Hedy Lamarr would had turned 100 earlier this month on November 9. (Born Hedwig Eva Maria Kiesler, 11/09/1914 - 1/19/2000.)
Did you know the screen legend was also a patent holder? Having fled Europe and an unhappy marriage to an Austrian munitions manufacturer, Lamarr relocated to the United States prior to the outbreak of World War II. In collaboration with avant-garde composer George Antheil, the two used knowledge from their respective fields to patent a “secret communication system.” Their invention was intended to guide a torpedo by remote control to an enemy target, utilizing a novel synchronized frequency-hopping radio signal to prevent any jamming or interference from the enemy.
Figure 7 above depicts the torpedo in action, controlled from a mother ship and spotter aircraft, adjusting course to account for the ocean current and the enemy ship’s evasive maneuvers.
Their innovative system was never adopted during the war, and neither would ever profit from their patent, but their ideas in frequency shifting would later prove instrumental in modern cellular and WiFi communications methods. Both Lamarr and Antheil were later inducted into the National Inventors Hall of Fame in 2014.
Yuri has never been a quiet person. That’s not to say he isn’t
thoughtful and mellow when required, it just means that whenever he has
something to say, it will be said and heard and understood by all. This is why
Otabek is so confused.
See, they maintain their friendship through multiple
channels. These range from texts, to phone calls, to skype calls, and sometimes
even emails, with the type and frequency shifting as the situation demands.
Lately, all of their communication has been occurring through phone and skype
calls. Otabek prefers this. He likes to hear Yuri’s voice. It’s easier to
handle the distance that way.
The years have been kind to Yuri. He’s grown, both mentally
and physically, into an incredible man – tall and broad shouldered, piercing
gaze fine-tuned to a nearly lethal degree, personality smoothed out around the
edges, all fierceness and passion redirected into healthier expressions of
loyalty and protectiveness. He’s everything to Otabek. It’s terrifying.
The one thing time hasn’t smoothed away is Yuri’s quick
tongue and brashness. So lately, Yuri’s tendency to mumble has been…strange.
And it’s not just his voice that’s been mumbling, it’s his body too. Yuri is an
expressive person all around. Even if his mouth isn’t moving, he is. Otabek can read him like a book.
Lately, though, he’s been having trouble figuring out what Yuri’s saying. It’s
like a wire is getting crossed somewhere. It’s nerve-wracking, because there
isn’t another person on earth that Otabek relates to in the same way, and he
feels it slipping through his fingers more and more every day.
“Beka? Beka, are you even listening to me?”
Otabek snaps out of his thoughts and realizes that no, he
really hasn’t been listening. Maybe it’s not just Yuri who’s been drifting
“I’m sorry, Yura, I got distracted by something.”
“Hmph, yeah that’s been happening a lot lately.”
Otabek is a patient man. He thinks he is, anyway. But his
patience can only go so far in this situation.
“Really, Yura? I’m not the only one acting weird, you know.”
“Wh-what do you mean?”
“You know exactly what I mean! You mumble all the time now.
Did you know you fidget a lot? You do. I can always tell what you’re thinking.
Except you don’t anymore. You sit totally still. What’s up with that? I feel
like you’re leaving me.”
He didn’t mean to come apart at the seams in the middle of
his point, but now that it’s out, he clenches his fist around his phone and
“I said I’m not leaving you!”
“Then what are you doing?! Because it definitely feels like
you’re pushing me away every time you do it!”
He definitely didn’t mean to start an argument, he doesn’t
want Yuri to go, he loves him so much and he just can’t tell him and if he
“I’M TELLING YOU I LOVE YOU. EVERY TIME. I love you. So much.
And when I say it on accident, I freeze up, because what if you hear me? What if
you hate me? I can’t lose you, Beka. I love you.”
Yuri’s breath is heaving over the phone line and Otabek
freezes. He needs to shake his thoughts out now or this won’t end well for
either of them.
Bellamy is sitting alone in
her old cell when it happens.
It’s been two years as of
yesterday and he’s palming the one and only bottle of alcohol left on the ark.
The one he saves for the anniversary of leaving her behind. But where he’s
promised himself only one shot of the hard liquor a year, he now stares at a
Last year was fine. Yesterday
too. But today was the worst it’s been for a while. And he’s been trying to
drown out the sound of her voice all day. Trying to drown out the sound of his
other broken promise, this one to Abby two years ago, still echoing in his
“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
As we move beyond the spiritual Age of Pisces into the secular Age of
Aquarius, the world’s frequencies shift in gear and spray a new
vibration to which human consciousness can experience and align with. As
we enter the age of individualisation, technology, science, and the 5th dimension
of love and creativity, children of the Water Bearer Aquarius emit the
frequencies of the New Age. Aquarian people are vessels that provide new and innovative divine information for progression. Such individuals
born under Aquarius experience the ultimate gamut of the intuition and
sorcery granted by the Aquarian Age - telepathy, clairvoyance,
the art of mass influence, and the electric psychic energies of
their ruler, Uranus. Deliriums and hallucinations are considered
pathology, but only from the realms of scientific reality. Aquarius
symbolizes a sign where material is merged with meaning; and so
clairvoyance, telepathy and dreaming become guiding forces. This is
especially aligning with the energies of the Aquarian Age.
The nerve endings of Aquarians are the electrically charged sixth sense into the words, needs, and feelings of others. The Aquarian Age
indicates the fulfilment of 5th Dimensional communities and the
ascension to the 5th Dimension of love and creativity, and this is an
intrinsic quality and flair in the Aquarius archetype. Like the Aquarius,
the corresponding Age is set to overturn known social convention and
breathe fresh air into the mundane and outdated. Electric Aquarians will
send shockwaves through the world’s holy water and arouse all sorts of
spiritual friction, high voltage and drastic changes and possess a
hypnotic influence over the collective mass consciousness. The sign of
Aquarius is at home in this Age, and it is truly time for the Air
intelligence to shine and realign the world with their progressive
virtue, rampant intellectualisation and belief in unconditional
equality. They are already well informed and visionary when
it comes to the themes and energies of the Aquarian Age. The
promotion of the free, the radical and the reformist will streak through
all known societal structures.
The Aquarian frequency is low, cool and refreshing. This is much
like the breath of fresh air orchestrated by the divine for our planet
during this New Age. As Jesus waits in the home of Aquarius, the eleventh house, the Water Bearer nourishes humanity with new insights,
expansion and the promise of finding a peace that is truly
individualised. Jesus will return, but he will return within us, and Aquarius is the mirror of this phenomenon. The key themes around the Aquarian incarnation including
self actualization and individualisation will be echoed as an intrinsic
development of each and every soul, as the patriarchy of
religion and government slips away from grip. Traditionally in
Astrology, the sign of Aquarius is understood to associate with heavenly
or esoteric energies, and was introduced in Atlantis alongside its
neighbour sign, Pisces. Here the water of Aquarius is baptising the new
world, sensing our connectedness and responsibility for,
the future of humanity. Humanitarian issues like asylum seekers, poverty
freedom of movement, speech, thought and association are all concerns
to which the Aquarian and its Age intend to align with justice.
Aquarians hold their memory of the starry vault of heaven and cosmos
from which we emerge, and lure or souls to return to these worlds and
return to play with the galaxies far away.
6 Shifts In Consciousness We Are All Experiencing Right Now
Absolutely everything is a wave of energy and there are many new energies taking place on Earth. We’ve shifted consciousness, but we’re still using old reflections to create our reality. Abundance in all aspects of life is now much easier to achieve in the new vibration and a confidence in our abilities will soon magnify to great levels in the coming years. There will be some obstacles and challenges ahead, but know that the following shifts in our being are happening right now as all humans are born into spiritual wealth without practice.
Vibrating frequencies build a virtual construct that makes you think you are in a physical world, but you are not. You are living in a holographic universe which is an illusion – so well designed, that only the highest beings of light can see it for what it is. This is your destiny, but now you will continue to play this game called Earth at a level never played before. You are still playing with three dimensional rules in a fifth dimensional world, but you’re quickly learning how to make the transition by shifting energy.
3-D quantum gas atomic clock offers new dimensions in measurement
JILA physicists have created an entirely new
design for an atomic clock, in which strontium atoms are packed into a
tiny three-dimensional (3-D) cube at 1,000 times the density of previous
one-dimensional (1-D) clocks. In doing so, they are the first to
harness the ultra-controlled behavior of a so-called “quantum gas” to
make a practical measurement device.
With so many atoms completely immobilized in place, JILA’s cubic
quantum gas clock sets a record for a value called “quality factor” and
the resulting measurement precision. A large quality factor translates
into a high level of synchronization between the atoms and the lasers
used to probe them, and makes the clock’s “ticks” pure and stable for an
unusually long time, thus achieving higher precision.
The Precession of the Equinox: What is Happening to Us?
Okay, so you’re probably wondering why part 3 of our sacred geometry lesson hasn’t arrived yet. It will be here soon, but first I have to talk about this. I think it’s most appropriate that we discuss the changes that have been going on before we talk about anything else.
Most of you have probably heard of the precession of the equinox. This planet tilts about 23 degrees to the plane of its orbit around the Sun, which causes the four seasons. But there is another slight wobble in Earth’s turn, the precession of the equinox. It takes about 26,000 years to complete. There are many other periodical wobbles in Earth’s turn, but for right now we’re going to look at this one.
The picture above shows the wobble itself. The right end of it points toward the center of the galaxy. The bottom half of the oval shows when the planet is heading toward the center of the galaxy, and the top half shows when the planet is heading away from the center. Slightly after the extreme points on the oval, at points A and C, great changes take place. Change also happens at points B and D, but the change is not as defined and is less likely than at A and C.
When we move away from the center of the galaxy, approximately at point C, we begin to “fall asleep”, or in other words our level of consciousness takes a drastic dip. We fall through dimensional levels until we reach point A, where we begin to wake up again. Each time the cycle continues, we fall asleep less than the time before and we wake up more than the time before.
These time periods are called yugas by Tibetans and Hindus (yugas are just ages). Each yuga has a descending and ascending phase. The age at point C, according to the Hindu system, is called the descending satya yuga. Then there is the descending treta yuga, dwapara yuga, and kali yuga. The kali yuga has both ascending and descending. The kali yuga was when we were in the darkest times, in our deepest slumber (approximately 1,000 years ago).
Many people say that this is why a lot of information written during this time period in books have errors, because the people who wrote them were trying to interpret very conscious information written by people who were more awake. People also say that this incorrect interpretation of awakened people’s knowledge by those who are asleep can be the reason why some Bible stories just don’t make sense to us.
We are awakening right now. In history, at some points it would take thousands of years to acquire a certain amount of knowledge. Recently, the amount of knowledge that we have has been doubling and tripling. We’re at point A right now on the precession of the equinox. According to the Mayan calendar, we hit point A exactly on December 21st, 2012. You might remember this date being very famous, when a lot of people said that the world was going to end.
This again is an example of a group of people wrongly interpreting knowledge from a much higher, more wise kind of human beings. The world wasn’t ending on 12/21/12, it had just begun. We were entering a new age, The Age of Aquarius. The Age of Awakening.
Between 2013 to now, I know I’m not the only one who has seen drastic changes in myself, the people around me, my understanding, my knowledge, my energy, my consciousness. Everything is changing and this is one of the most important times for Earth, or maybe our entire solar system.
So, with this knowledge, you must ask yourself: why did my soul choose to come to this planet, at this very time? Why am I here?
Thank you for reading. Pictures have been borrowed from the Ancient Secret of the Flower of Life, Vol 1. by Drunvalo Melchizedek. Stay tuned for more lessons from the Indigo School. Love & light!
Macbeth Review: A Modern Take On A Veritable Classic
There seems to be a current trend in the modernisation of well-known plays, to rejuvenate and refresh age-old stories for contemporary audiences. The 2015 Malthouse production of Antigone, as well as Melbourne Theatre Company’s Hamlet and Richard III are notable examples from recent times. MTC’s 2017 production of Macbeth is the latest, and perhaps one of the most distinguished examples of this dramatic approach. Experienced director, Simon Phillips, maintains his striking visual dramatic style, which is aided in no small measure by the imposing and multi-faceted sets, costume design and beaming lights.
We first see Macbeth (Hollywood actor Jai Courtney) pillaging the wastelands of Scotland for the Crown which he so devotedly serves. He is incredibly popular amongst his fellow soldiers, and even King Duncan (Robert Menzies) seems to take a liking to him. However, Macbeth’s stable, statesman-like qualities disintegrate once he hears three witches (Jane Montgomery Griffiths, Shareena Clanton, Kamil Ellis) prophesise that he will become King. This sets Macbeth on a crazed path of savagery, power-grabbing and paranoia.
This ‘update’ is evident from the very beginning of the production: the audience was welcomed by actors seated at a vandalised bus stop, an immediate indication that we were far from the middle ages. Indeed, the play appears to be designed to appeal to contemporary cultural sensibilities, as it bears a remarkable resemblance to conventions of the cinema. The window through which the audience views the action almost feels the same as a rectangular widescreen. The heavy musical score functions more as a soundtrack, mostly evidently accentuating the tension and drama of the story and emphasising its most formidable moments, recalling the work of film composers. It favours atmosphere over extravagance. Harpsichords and crumhorns are traded in for rumbling soundscapes and a resonant bass drone.
Similarly, swords and axes are exchanged for automatic rifles and knives, and chain mail for jungle fatigues. The reinterpretation suits the material remarkably well, in all of its darkness and treachery, reflecting the competence of Phillips’s performance decisions, as it is facilitated by the conspicuously achromatic sets and meticulous, effective lighting. In short, the transformation from Shakespearian times to a dark, dystopian future – mired in corruption, uncertainty and division – could not have been pulled off better.
The sets, designed by Shaun Gurton, are supremely detailed. They change and shift with great frequency and dexterity, keeping the audience invested and the momentum steaming along. Each one is distinct, while housing a sense of cohesion to the carefully-formed world of Scotland. Close communication and collaboration with lighting designer Nick Schlieper is evident, as the lights often provide a point of focus in the field of view – the burning car in the opening scene and lit candles are prime examples.
Of course, the good qualities of the play are not limited to these accompanying elements, which augment its more obvious triumphs.
Jai Courtney gives an energised performance as the scheming, yet disturbed Macbeth, capturing both qualities extremely well. He is at times impassioned, and at others, deeply anguished. Geraldine Hakewill’s Lady Macbeth is a highlight of the production: cold-blooded, scheming; and simultaneously sensual and sophisticated. Both performances capture the indelible rhythms of Shakespearian dialogue while, correspondingly, being fresh – sometimes spitting out lines with a prominent Australian twang. One feels the role of Macbeth is a much needed one for Courtney, who over the past few years has spent his time in loud, brass Hollywood tentpoles such as Terminator: Genisys and A Good Day to Die Hard.
MTC’s production of Macbeth is a visual and visceral feast. The considerable efforts of all involved – the director, set designer, lighting director, and performers – are bound to weigh heavily on its audiences. The production allows itself to be accessible to those unacquainted with the work, and also provides something worthwhile to those well-versed in the superlative realm of Shakespearian theatre. In all, an expansive and adventurous production that doesn’t stray too far from its material.
This is probably the most careful and least conspiratorial explanation I’ve seen for youtube’s algorithms’ shifting preference toward more frequent, lower effort content.
His conclusion is more or less that youtube used to have a greater bias toward older videos, but has begun more highly favoring newer videos, and the quality vs quantity/frequency shift is an indirect result of that.
Gliscor is definitely a strange pokémon. Part scorpion, part bat, part lobster or maybe some kind of insect – we’re not entirely sure, but this creature of the night is something out of a nightmare. The pokédex tells us about Gliscor’s poisonous tail, its elongated fangs, and about its silent, flawless flight. Apparently, Gliscor can circle the globe without flapping its wings once, and stays silent through its entire glide. How does it do that?
The biggest source of sound when flying, naturally, is air gushing over the wings. Simply by not flapping very often, animals like owls and bats avoid a fair amount of noise. The remaining sound can be reduced by the wing design itself. Like an aerodynamic sports car, allowing the air to flow through and around the wings reduces the sounds created by turbulence.
Owls, for example, are unique with their stealth technology. An owl’s primary flight feathers are serrated like a comb, which breaks up the air that hits the fringe. Larger currents of air are broken down into smaller, micro-turbulences that can pass through the feathers without meeting as much resistance. An owl’s fluffy feathers absorb and muffle sound too, but even more than that, it’s thought that the sound energy that does get out is actually shifted to a higher frequency due to the structure of the feathers–a frequency out of the range of hearing.
I’ve talked a lot about owls simply because they are the best when it comes to stealthy flight in our world. Our friend Gliscor, however, does not have feathers but rather leathery, membrane wings. His wings can’t absorb sound in the same way that fluffy feathers do, but that doesn’t make them any less incredible. Bats’ wings are super thin–about as thin as a rubber glove. Still, the membrane is filled with blood vessels that help the wings cool down after flights, and muscles that help control the curvature of the wing during flight. They’re also stretchy, which makes it easier for bats to catch air and generate lift!
Bats are actually more efficient flyers than birds– they use less oxygen and energy when they are flying. This is all because of their wings. A bats’ wing contains more than 2 dozen joints and isn’t nearly as rigid as an insect or a bird’s wings. Because their wings are so flexible, they have a lot more options when creating lift, which gives them all sorts of advantage over efficiency, maneuverability, speed, sound, and stability. It gives them different options: naturally the best way to fly in an updraft is different than the best way to fly in a headwind. The flexibility of a bats’ wings allow them to do both.
This is why Gliscor is so good at flying. It can catch different air currents in different ways to adapt and glide, flying silently and easily without much difficulty thanks to its versatile wings.
Gliscor’s wings are extremely thin, flexible membranes that it can use to fly silently and efficiently. Because they are so flexible, they have many options when it comes to generating the greatest lift at any given time.
High-res renders of certain rare hallucinations(?) that appear around Fazbear Fright. Pulled from the game files. Also included are some of the Phantom ‘trigger’ images I left off from the last post.
As for the rarer hallucinations, several of these manifest as posters shifting arbitrarily (the frequency of this is easily 1-in-100 passes or greater) - such as the Springtrap/Spring Bonnie poster in CAM10 or the two cupcake posters in CAM4. Also included is a high-res render of the whole office, and an incredibly rare visitation from an oldfriend…
Diamond Children: These children are predicted to be the next wave of children after the Rainbow Children. Diamond Children are also said to be first timers here on earth. There are already a few born but still need the earths energy to shift to a higher frequency in order to accommodate the critical mass of Diamonds. Many adults most evolve in order to be the parents of this next wave of children. Diamond Children are said to fully embody the Divine Light. They will be most comfortable with telepathic communication, will posses instant manifestation skills and telekinesis. They have never experienced the densities of earth and will have no concept of anger, hate, fear, greed and separation. They are unfamiliar with the drama of earth in relationships and between people. Diamond children are unable to cope with pain, suffering and drama of the Old Earth Energies. They will resonate to the highest frequency of Divine Pure Love and Divine Pure Light. We will begin to uncover more about these children in the time to come. “Diamond Children carry nothing with them, nothing sticks to them, it all flows through them like water, like air, they come with nothing to personally clear. There vibration is so high it automatically and completely transcends density and negativity. They can “overcome” they are able to overcome. They hold the DNA coding that allows those who are ready to overcome the illusion of this world. Many of the healers on this planet also now carry this Diamond Coding and can therefore instantly awaken people. Can instantaneously remove the veil and bring someone (who is ready and willing and where it is aligned with their life path and purpose at this time and for there highest and best good) to return to fully knowing and remembering although the process is done over “time” and in alignment with the Divine. (divine timing) Fresh fruits, vegetables, nuts and seeds. Diamond Children have many diet sensitivities, organically more of a “breathatarian”, not normal to eat through their mouths the way we do. Have many digestive issues, cording, draining etc…, find it hard to process food, and 3D energies in general, negativity is like poison to them. They require pure air to breath and pure water to drink. They have the wisdom of a Perfected Universe. I recently met one Diamond Teen said that the world is like a battery with many layers that keeps it alive an and over time we have broken down and destroyed the layers of the battery, it is the Diamond Children that will provide the deep wisdom of to help “rebuild this battery”. Many of the older Diamond Children (and their aren’t many), have had a difficult time existing to this point with little resources to rebuild them and help them maintain balance and centeredness. They are sparkling perfection in their ability to shine their light/sparkle into the world.” The Diamond Energy is all flowing, all glowing all loving all knowing (Updated information about the Diamond Children as of January 1st, 2012) The critical mass of Diamond Children are coming now and many of them will have diagnoses due to the inability for the masses to understand who they are. Many of them will be diagnosed Autistic and will therefore create the shift on the planet necessary to get our attention. We will be unable to ignore the changes and uniqueness of our children anymore. They will need simplicity and ease in their homes and lives. They may experience a number of illness as they attempt to cope and clean up the energy. You can see how depleted they get by the dark circles under their eyes, their lethargy and their need to stay home refusing to be in public places and places with a lot of noise and negativity (unconsciousness). Transmuting the energies of the planet with no rest or proper energectic care and maintenance can result in flu like symptoms and vomiting. The Diamond Children sparkle with the light of truth and will go thru periods of both sleeplessness as well as periods of great sleep. As their parents establishing a flexibility with their own rymthm will best serve them. They are of the timeless realm and therefore may create difficulty as they integrate into a world that still operates on clock time.
The story (the brief version) is a tale of Internet best friends growing up. It’s also (the longer version) a multigenerational universe origin/apocalypse epic about two sets of four kids, four sets of 12 Zodiac-based aliens (one set being a warped Jesus parallel), titanic wars between chess pieces and card suits, and two diametrically opposed twins living inside the same body. Sensual puppets, Insane Clown Posse, and a stuffed rabbit all play crucial roles. Gender equality and fluidity is the unstated but constantly reiterated rule. Throughout the narrative, a startling percentage of characters die, which doesn’t stop them from remaining active in the plot. Time and space are vectors that shift with alarming frequency, to the point where uncertainty of both is a hallmark of the story. A neat, albeit cryptic, summary of the story’s plot mechanisms is the title of Act 5 Act 2: ‘He is already here.’