Saturday, March 14, 2015

CERN's Lord of the Dance

Update: Also see this more recent post (Urgent - Insight into CERN's Time Machine) that features this video: Urgent - Insight into CERN's Time Machine





The LHC supercollider is expected to be operating at record breaking energy levels any day now, amid much speculation about the potential for opening a wormhole/stargate. Reports of entities appearing during the last round of tests add to possible connections with earthquakes, and interviews given by physicists involved with the projects do nothing to soothe the mind. Neither does the video production made for the launch. (Thanks John)

Bizarre ‘Dance Of Destruction’ Performed At CERN Ahead Of Launch



The circle on the salt flat is the image of a magic circle. Info turned up in a web search for the use of salt in magic circle will make it obvious. (The usual caveat applies - get the Lord's permission before visiting sites.)

The skin color of the black performer is being used as the symbol for evil, representing the demons the circle provides protection from. When the purpose for casting a magic circle involves a spell, energy is raised inside the circle (bubble) and then is sent out (cast) into the universe at the opportune moment.

CERN's LHC has to do with CERNunnos, the god invoked in many spells. (See December 21 Celebrates the Birth of CERNunnos)

The hand is as the Horus hand or the hand of Isis, the black madonna, and the fingers 3 and 4 on the physicist's ear signs the production of Horus through the union of Osiris and Isis.


The town where the LHC complex is situated is Saint Genis Pouilly. In Roman times it was apparently called Apolliacum. The town and a temple were dedicated to Apollyon - the destroyer. aka Shiva, aka Horus.


I see the image of the concentric circles as the representation of the dispersion of subatomic particles at a high energy proton collision. It's attended by a ringing sound and then by thunder. Ringing: Bells facilitate dimensional transit. Thunder: Satan falls like lightning. The image of the collision presents the ancient XO or circle Cross Mark of the Beast symbol. OTO doctrine declares that the union of the X and O produces the flash of lightning from the Abyss to establish the throne of Isis. The time-space portal is opened and the figure of a man transits through from another dimension.

Horus!



One man's interpretation is in this For more that is of interest, see Wikipedia's, CERN - In popular culture.

Understanding something of cosmology, history and the significance of the idol of Shiva doing the Dance of the Nateraj provides more insight into what the LHC is about.

Brief video illustrating the idol Shiva, Lord of the Dance

The first atomic bomb was detonated on July 16, 1945, in the Trinity test in New Mexico. Afterward, physicist and director of the Manhattan Project J. Robert Oppenheimer famously remarked how it brought to mind: "Now I am become Death, the destroyer of worlds." He had learned Sanskrit in 1933 and read the Bhagavad Gita in the original form. He citied it later as one of the most influential books to shape his philosophy of life. The quote was from verse 32 of chapter 11 of the Bhagavad Gita.

The following excerpt is copied from, Cosmic Dance of Lord Shiva. (Written and also arranged from various manuscripts and articles by Philippe L. De Coster, B.Th., D.D. - Gita Society of Belgium Branch of International Gita Society (IGS/USA) © 2001-2012)

These iconographic details of Nataraja are to be read, according to the Hindu tradition, in terms of a complex pictorial allegory. The most common figures depict a four-armed Shiva. These multiple arms represent the four cardinal directions. Each hand either holds an object or makes a specific mudra (gesture).

The upper right hand holds a hour-glass drum which is a symbol of creation. It is beating the pulse of the universe. The drum also provides the music that accompanies Shivas dance. It represents sound as the first element in an unfolding universe, for sound is the first and most pervasive of the elements. The story goes that when Shiva granted the boon of wisdom to the ignorant Panini (the great Sanskrit grammarian), the sound of the drum encapsulated the whole of Sanskrit grammar. The first verse of Paninis grammar is in fact called Shiva sutra.

The hour-glass drum also represents the male and female vital principles; two triangles penetrate each other to form a hexagon. When they part, the universe also dissolves. The opposite hand, the upper left, bears on its palm a tongue of flames. Fire is the element of destruction of the world. According to Hindu mythology at the end of the world, it will be fire that will be the instrument of annihilation. Thus in the balance of these two hands is illustrated a counterpoise of creation and destruction. Sound against flames, ceaselessness of production against an insatiate appetite of extermination.

The second right hand is held in the abhaya (literally "without fear") pose and so a gesture of protection, as an open palm is most likely to be interpreted. It depicts the god as a protector.

The left leg is raised towards the right leg and reaches across it; the lower left hand is stretched across the body and points to the upraised left foot which represents release from the cycle of birth and death. Interestingly, the hand pointing to the uplifted foot is held in a pose imitative of the outstretched trunk of an elephant. In Sanskrit this is known as the gaja-hasta-mudra (the posture of the elephant trunk), and is symbolic of Ganesha, Shivas son, the Remover of obstacles.

Shiva dances on the body of a dwarf apasmara-purusha (the man of forgetfulness) who embodies indifference, ignorance and laziness. Creation, indeed all creative energy is possible only when the weight of inertia (the tamasic darkness of the universe) is overcome and suppressed. The Nataraja image thus addresses each individual to overcome complacency and get his or her own act together.

The ring of fire and light, which circumscribes the entire image, identifies the field of the dance with the entire universe. The lotus pedestal on which the image rests locates this universe in the heart or consciousness of each person.

The Nataraja image is also eloquent of the paradox of Eternity and Time. It shows us that the reposeful ocean and the racing stream are not finally distinct. This wonderful lesson can be read in the significant contrast of the incessant, triumphant motion of the swaying limbs to the balance of the and the immobility of the mask-like countenance. Shiva is Kala, meaning time, but he is also Maha Kala, meaning Great Time or eternity. As Nataraja, King of dancers, his gestures, wild and full of grace, precipitate the cosmic illusion; his flying arms and legs and the swaying of his torso produce the continuous creation- destruction of the universe, death exactly balancing birth. The choreography is the whirligig of time. History and its ruins, the explosion of suns, are flashes from the tireless swinging sequence of the gestures. In the beautiful cast metal figurines, not merely a single phase or movement, but the entirety of this cosmic dance is miraculously rendered. The cyclic rhythm, flowing on and on in the unstayable, irreversible round of the Mahayugas, or Great Eons, is marked by the beating and stamping of the Masters heels. But the face remains, meanwhile in sovereign calm.

Steeped in quietude, the enigmatic mask resides above the whirl of the four resilient arms and cares nothing forthe superb legs as they beat out the tempo of the world ages. Aloof, in sovereign silence, the mask of gods eternal essence remains unaffected by the tremendous display of his own energy, the world and its progress, the flow and the changes of time. This head, this face, this mask, abides in transcendental isolation, as a spectator unconcerned. Its smile, bent inward, filled with the bliss of self-absorption, subtly refutes, with a scarcely hidden irony, the meaningful gestures of the feet and hands. A tension exists between the marvel of the dance and the serene tranquillity of this expressively inexpressive countenance, the tension, that is to say, of Eternity and Time. The two, invisible and visible, are quintessentially the same. Man with all the fibers of his native personality clings to the duality; nevertheless, actually and finally, there is no duality.

For another study, see also this post and its context: Part 10 - Decoding The Penitent Man (2010) - Decanting Spirit into a Host Vessel * RIGHT ON SCHEDULE

8 comments:

  1. Amazing Robert...early Saturday morning approximately 2:30 A.M.; I was awoke to this topic directed by the Holy Spirit; so in spending all day Saturday on this subject I emailed a warning to some close friends; in appreciation for this sort of confirmation goes along way!!

    Blessings,
    Mp

    ReplyDelete
    Replies
    1. Mark, this is a remarkable season!

      Delete
    2. Matthew 13:37-40 My sermon on Sunday including this atrocity; 7 hours later I was labeled as a "conspiracy theorist" by a visiting Pastor; a greater atrocity...Isaiah 21:11-12 says it all...

      Thanks for your boldness!!

      Blessings,
      Mp

      Delete
  2. Is this the same dance that Shiva was doing in iPet Goat 2?

    ReplyDelete
    Replies
    1. It looks like a match. This vid producer compares them. https://www.youtube.com/watch?v=R77mNvIjj_8

      Delete
  3. thanks for this confirmation...

    ReplyDelete
  4. Chronology of Jehovah's Witnesses says the September 23, 2015, is the 6040 aniversary from Adam. I think that this date is the beginning of the Seventh Millenia for Mankind. Adam was 40 years old when he entered in the Big Sabbath of YHWH.

    ReplyDelete
    Replies
    1. According to what the Lord led me to, with celestial signs described in the Bible plus signs, the 7th millennium began in 1999, on Yom Teruah.

      Delete