Tuesday, June 30, 2015

Part 1 - The Avengers - STARK Tower as Space-Time Ark - Fury Recruits Captain America

It's not at all rare to see the subject of time-space manipulation in the media these days because it's all over the news as well as entertainment productions. We watch and see what we see, according to the Lord's command for His saints in such as Mark 13:37. What's most interesting is when the space-time manipulation theme is embedded in the language of symbolism, like in The Avengers (2012). The theme is not only central to the plot, but two or more of the scenes are drenched in space-time symbolism. It's in the script, which is loaded with NLP, and it's in the visual imagery of the set and the action. This covert messaging is an expression of theurgy, an operation of mind-control programming, and ritual magick. For us, it provides a window of insight into the Adversary's intentions and how Bible prophecy is playing out in this amazing season.

The main point I want to make in this post is how the idea of a space-time ark is being promoted as central to an interdimensional war over humanity. What I've been writing about for the last few months and primarily showing from the text of the Bible is also the stuff of pop culture media, and it has been for a very long time. (Search this blog for time ark for more insight.) A reset of time itself is coming that will result in a time truncation. It will become necessary due to the consequences of an interdimensional war that will be (or, is being) fought with weapons of time-space manipulation. While this lengthy post was being written, the Lord provided some extremely interesting validation, which I will probably be writing about soon.

I'm assuming that you're already pretty familiar with the film that is the subject of this post. Briefly, the plot revolves around the Tesseract, a mysterious alien artifact that can function as a power source and a space-time portal. That higher-dimensional cube is activated very early to open a passage from the other side, through which the demigod Loki makes his entrance into this world and realm. The Tesseract is stolen from SHIELD and harnessed to open a dimensional portal through which alien invaders come, who wage war in an effort to destroy humanity. The portal opens right above the Stark Tower because the Tesseract was placed inside a device that was set up on the Tower's highest level.

It's fitting that the celestial Silver Gate is inherent in the location because the Stark Tower is in New York City, in Manhattan, replacing the MetLife building. There's a lot to explore in the film, including connections to the Grand Central Terminal and CERN's LHC.

Prior to the theft, the Tesseract was being studied inside a particle accelerator facility. It had been placed into the energy beam, and on the other side it was perceived as having been awakened. When the Tesseract was operated from the other side, that's when a blue beam shot out and Loki appeared as through a stargate. Links to CERN's LHC supercollider are unavoidable. When that controversial machine was fired up in the first run, strange beings appeared and were witnessed by many. Here's a sign from the film. Literally.

The Tesseract was being studied at a facility called Joint Dark Energy Station, Western Division. Project Pegasus. NASA Space Radiation Facility. S.H.I.E.L.D. Accelerator Test Facility. The entire time the sign is in view we see shadowy figures, most of them speeding by. Shadowy figures. Not unlike those seen in the SYMMETRY Dance-Opera film sponsored by CERN. They are the beings on the other side, waiting to come through to this space-time realm. (Web search project pegasus time travel montauk for insight into why The Avengers is making that connection.)

Here's another sign. The design of the owner's name on the Tower suggests that it's a space-time ark. It's subtle, but notice how the alignment of the letters and the shifted encircling line divides the word, STARK, into ST and ARK.

Comparing this design to the title graphic of Stitchers, the new series on the ABC Family network, the lengthened ascender of the letter A appears to be a slash character, and this might be a model for the Stitchers title. A slash is used as a separator. ST slash. Space-Time - separator. Space-time ark.

Here's a couple more observations about the Stitchers title. The slash is through two letters, TI. That's the standard designation for the metal titanium. It was named for the Titans of Greek mythology, the earliest class of gods. References to this metal can signal Code 47 (Osiris + Isis produces Horus) because the atomic mass of Titanium is 47.867. Because the shape cut off as the dot of an “i” suggests the triangle eye floating above the pyramid on the Great Seal of the USA, which is the all-seeing Eye of Horus, and it's called out as the “i” of Horus for yet another layer of redundancy.

I note with interest that the Occult gematria of STITCHERS is 121, and 122 where Z=1. Given our recent focus of attention on 12:21 and 21-22 combos that observation seems well worth noting here.

The Occult gematria of STARK is very significant. It's 19+20+1+18+11 = 69. That's what I consider to be the double digit number signaling the mark of the beast transformation, and I've noted plenty of related XO MOB imagery associated with the Tower. With Z=1 in the mirrored gematria, STARK calculates as 8+7+26+9+16 = 66. That's the number for the abyss, yes, the watery deep, and as you'll soon see this is a very fit identification. The Stark Tower is on Manhattan, an island. Man+Atun. Man god beast, surrounded by water-as-time, arising out of water-as-time.

In the film, the Tower doesn't function like The Time Machine of H. G. Wells, Dr. Who's phone booth or Mr. Peabody's Way Back Machine. Instead, it's represented as a modern Tower of Babel, a special platform where access is opened into the heavenly dimension. This connection between the two towers is made in ways that are cryptic but there's enough evidence to suggest that this is intended. The Tower is an independent operational interface between realms.

The scenes of primary interest happen early in the film, after the crisis has been introduced and while the Avengers team is being assembled. The Tower is introduced when Agent Coulson is about to recruit Tony Stark / Iron Man. Just before that, Nick Fury, Director of SHIELD, recruits Steve Rogers / Captain America while he's working out in a nostalgic looking boxing gym. I found a clip of this scene on YouTube. You'll probably want to watch it now and keep it open in another tab or window for reference.

The AVENGERS - Captain Rogers [America] HD

While Director Nick Fury is making a pitch to a council of overseers, we hear a councilman say, “War isn't won by sentiment, Director.” Fury responds with dramatic emphasis. “No. It's won by soldiers.” The scene cuts to a boxing ring where we see Captain Steve Rodgers working out with a heavy punching bag. Our first sign is the brand label on the boxing gloves. Everlast. Like, everlasting; it's a time reference. Flashbacks to the past reveal what's on his troubled mind, scenes of some battles he fought during WWII. Through the transition from scene to scene, the overt context is WAR! This is about space-time warfare!

At almost 21 minutes into the movie (not the clip), this is what we hear. “There's not enough time. I've got to put her in the water.” Okay, if you've been paying attention to this blog that should flag your attention and put you on the alert for symbols like water-as-time. Just before the scene transition, a glass of water (as time) is being used as a prop and occasionally given a central position on screen. This is done while Fury makes the urgency of the situation his main argument. Urgency has to do with the passage of time. What follows is an abundance of imagery echoing that same theme.

As the time counter on the video player ticks over to the 21 minute mark, and the number 21 means time, it's apparent that the airplane Steve is piloting is crashing into the water. (Backstory is from the film, Captain America, The First Avenger.) Very briefly we're shown the Tesseract, which an earlier scene had demonstrated to be a space-time portal. The Tesseract is with him when he crashes into the sea, but there's more going on here. When the airship and pilot would penetrate the surface of the water, that action represents the breaching of a time-space barrier.

We see the body of Captain America, partially encased in melting ice. Ice is frozen water, which is frozen or stopped time. From the time of the crash until he was thawed out, Cap was in a state of suspended animation like a deep sleep where the passage of time had no effect on him.

We hear someone exclaim, “Oh my god! This guy's still alive!” When someone on screen utters those words, they're usually telling you that there's a symbolic level where they have just encountered a god. That god was still alive. He was, is not and will be, it could be said. As from out of the past, he emerged from the sea like the beast of Revelation 13:1. Captain America. Amaru, aka Osiris, whose parts were collected from the Nile (the river of time) and regenerated by Isis to produce Horus. (similar sounds, Isis ~ ice) Cap's shield bears the pentacle that is the ancient sign of the celestial goddess of the sea, Venus, aka Isis. The patriotic shield's magical sigil that is the pentacle is also the Egyptian hieroglyph for the duat, the underworld.

Cap is worked up and he punches the bag so hard that it flies off the chain (theurgy - seirai) and slides over to the wall, ruptured, spilling out sand. The sands of time have spilled out of the bag, time uncontained, lost. Motion, ceased. When the bag and sand fly through the air, think, tempus fugit. It comes to rest under the water fountain. That's a WATER-as-time fountain, where no cool water happens to be flowing. Right behind the bag we see a radiator, and hidden inside may be flowing steam and hot water-as-time. Some of the shots of Steve punching the bag are lined up to show us the water fountain and radiator being occulted by the swinging bag of sand. Stacking or layering related symbols is an expression of theurgy.

Steve sends the bag flying with a powerful right cross. The bag is cylindrical so it has a circular cross section. He hit it with a right cross. Bam. Cross circle. Mark of the Beast! Lined up behind him is a rounded square column. Squared Circle. The boxing ring is known as a squared circle. Technically, things called rings are round, right? That has rich meaning, signaling ritual sodomy and mind control programming. That biological-spiritual mechanism is exploited to create supersoldiers, like Steve Rogers. The squared circle construction is also a geometrical representation of time-space and the exercise of control over it. A boxing ring ~ space-time war. When the bag is punched so hard that it goes flying through the air, the squared circle of the boxing ring is seen behind it. There's a prominent square shape cut into the floor. When the cylindrical bag flies by it, yet another layer of circle square imagery appears.

Right near Cap's head - at 21:12 film time, and 12 is another primary time number, we see a clock behind him on the wall being covered and uncovered by his head - as he turns around. (uhhhh, think, ELO - Fire on High - “The music is reversible, but time... turn back, turn back, turn back, turn back”) His head was occulting the timepiece as he turned around, at 21:12. You're familiar with what I've been writing about 12:21, right? A clock, of course, is for measuring and accounting the passage of time.

So, are the themes becoming really obvious?

Cap walks over and picks up another bag. It's one of six in a line so there are seven total, including the one at rest under the fountain. Seven bags of sand means seven units of time. The bags are the heavy-bag kind, and the brand is Everlast. Like the boxing gloves seen hanging on the ropes. Everlast. Think about it. An Everlast punching bag and boxing gloves. Time wars. The bags are probably the standard 70 pound kind. Daniel 9 famously describes sets of sevens, 7 and 62 and 1 and 70. Coincidence? Doubtful. At the 12:21-22 time marker, Steve hangs the second punching bag on the chain. Meaning: Time transition. I reflect on all the verses numbered 21-22 and other sets with that numbering that the Lord was highlighting to Aaron and I during this past Pesah, a transitional season.

So, the squared circle pairing is a space-time symbol combo and so is the practically identical cross circle or XO. Each heavy bag is attached with four chains. Seen from above, the form presented is the familiar XO. It's signaling space-time and also the mark of the beast. It's also the heart of the sigil of Nodens, the god of the watery abyss.

The many columns in the gym are symbolic objects with meaning that should be familiar. They are used in Illuminati trauma-based mind-control for what's called time travel programming. That's probably because of the assigned meaning that goes back to ancient times, where heaven and earth are seen as connected by columns, and transited also. The ones in the gym are padded, which speaks to the padded rooms of mental asylums for more trauma-based mind-control symbolism. The row of Xs in the stitching forms water glyphs, aligned vertically. The marking of dimensional gates (windows, doors, bridges, columns...) with X X is hugely popular in film and TV sets.

When Fury walks in, he asks, “Trouble sleeping?” Steve replies, “I slept for 70 years, sir, I think I've had my fill.” Right. 70 years. His fill is a full measure of time - 70 years. That's a fullness of time period like an Everlast heavy-bag filled with 70 pounds of sand. Fury's retort: “Then you should be out, celebrating, seeing the world.” The world. Space. Put it together. Time and Space. Daniel 9 refers to the full span of time that had been revealed to the prophet Jeremiah for the exile in Babylon: 70 years. I see an even far more compelling connection here with Enoch and a 70 generations long term of imprisonment, because those responsible for the flood of Noah's day want so badly to be released back into the world, to celebrate with the bringing of destruction. They are THE AVENGERS, with all the agents allied with them. One of the main objectives in the time war is to impact the countdown timer on the time-lock of their containment system, to set them free in a manipulated early release.

Steve responds, “When I went under the world was at war. When I wake up they say we won. They didn't say what we lost.” What did Steve lose but time? Seventy years got away from him. Gone. He makes reference to the passage of time, and war. When he went under, what was it that he went under? Water. Under time. Into the UNDERworld. Fury: “We've made some some mistakes along the way. Some very recently.” “Along the way.” “Very recently.” Emphasis: Through space and time.

Steve: “Are you here with a mission sir?” Aaron and I have been discussing a time mission for years, how Matthew 24:22 bears witness to such a thing. The elect saints will be engaged as the benefactors in a truncating of time relative to megas thlipsis. An ark is for salvation, the saving of flesh. The time ark concept. Fury's response to Steve's question is succinct. “I am.” Right. That's a coded reference to the identity of The One who commissioned Moses at the burning bush on Mount Sinai. Moses himself had been saved in an ark, spared certain death by being floated on the Nile to be found and raised by the Pharaoh's daughter. He was commissioned by I AM to save Israel by passing them safely through the Sea of Reeds, as by another kind of time ark, on dry land. Dry. Absence of water-as-time. Fury, a counterfeit I AM, has the eye patch, the darkened eye of Horus, of course, so he's an antichrist type like all the other characters. Steve: “Trying to get me back in the world?” Hmmm. NLP. “Get me back” hints of revenge, of avenging, but think on this: The mission is first to get the demigod Amaru back into this space-time domain. Fury: “Trying to save it.” Yeah, saving it requires a savior of the world, a messianic agent. There is a time ark mission that involves bringing the fraudulent savior into the world. We saw that already with Loki, but the modeling repeats in varied shadowy ways.

Fury hands Steve a dossier and we see the Tesseract featured. Steve says it's HYDRA's secret weapon. Let's take a closer look at that.

Everything HYDRA is related to water, like the word, hydro. Water-as-time.

“In Greek mythology, the Lernaean Hydra was an ancient serpent-like water monster with reptilian traits. It possessed many heads – the poets mention more heads than the vase-painters could paint – and for each head cut off it grew two more. It had poisonous breath and blood so virulent that even its scent was deadly. The Hydra of Lerna was killed by Heracles as the second of his Twelve Labours. Its lair was the lake of Lerna in the Argolid, though archaeology has borne out the myth that the sacred site was older even than the Mycenaean city of Argos, since Lerna was the site of the myth of the Danaids. Beneath the waters was an entrance to the Underworld, and the Hydra was its guardian.” (Wikipedia)

While the Marvel productions remind us regularly of HYDRA's growing of more heads to replace each one that is cut off, I don't recall hearing this beast's job mentioned. HYDRA's namesake is the legendary guardian of the entrance to the underworld that is beneath the waters. (Seen “Pacific Rim” lately?) This identification is key, and with Steve's observation that the Tesseract is HYDRA's secret weapon, we can interpret the realm accessed using the Tesseract to be the underworld. This actually involves some flip-flopping. The dimensional gateway opening has to do with water, or literally with time.

The HYDRA logo looks like an Octopus and totenkopf (Nazi SS) or a variant on the skull and bones. To call it an allusion to H. P. Lovecraft's Cthulhu mythos is no stretch. Leviathan? Yes, indeed. Decoding the logo, we only see 6 appendages, three on each side. Code 33. The curling tentacles present an obvious 666 on our left, and a mirror of it on the right. With 6 numbers 6 thus written out for us, the numbering of the watery abyss is signaled; 66. HYDRA - Water beast of the abyss. The encircling of the imagery adds another 6 (O ~ 15 ~ 1+5) to provide redundancy in support of the 666 read directly on the left and on the the mirrored side. The HYDRA brand is also an XO MOB symbol. Including the head, there are 7 appendages to this beast. We see that SHIELD has assigned this matter a Security Level 7. Seven. It's another time number.

Here's some bonus imagery. Nexxus. HydraLight

After Steve's comment about the Tesseract being HYDRA's secret weapon, Fury says, “Howard Stark fished it out of the ocean when he was looking for you. He thought what we think. The Tesseract could be the key to unlimited sustainable energy. That's something the world sorely needs.” He emphasizes the words, “fished it out,” and we immediately see the fishy octupus-like figure in the document held by Steve. I believe there's a messianic reference being implied in the emphasis on the fish. (We'll see this interpretation validated with a later reference.) Isis searched for and found Osiris and then fished the parts of her dead husband / brother out of the water, except for his phallus, because it had been eaten by a fish. Why bring up the phallus of Osiris? In last season's SHIELD TV series, the Macguffin was a mystical alien obelisk. An obelisk is the phallus of Osiris. The comment Fury made about the world sorely needing unlimited sustainable energy is another dose of green propaganda from the Big Green Propaganda Machine that drives the world today, but there's more to it than just that. For one thing, there's the coded NLP reference to space-time in the mention of the ocean and the world in the same snippet of dialog. We're going to hear Iron Man voicing the green mantra in the next scene.

Director Fury's last line in the gym is a question. “Is there anything you can tell us about the Tesseract that we ought to know now?” The word, now, is superfluous, linguistally, but repetition serves to strengthen the NLP with additional time word content. Steve responds, “You shoulda left it in the ocean.” In the ocean, where it was figuratively lost in time.

Before moving on we should give our attention to what Steve is doing as the scene ends. He is leaving the gym. He picks up one of the heavy-bags and throws it over his right shoulder. With his gym bag in his other hand, he walks out through a passageway built with secure looking chain-link fencing. Why would he remove a heavy-bag from the gym? It makes sense to bring a heavy-bag the other way, to the gym, because that's where you use them. The bag represents a large unit of time, probably heptadic. (I note that it's #3 of 7 in sequence, leaving 4 remaining on the floor.) We see him carry it out past the columns, representing time travel, passing through the steel or iron gate, the dimensional barrier. He removes it from the gym. A large unit of time was removed from the time-space domain. Time truncation. While he models to us the removal of a fixed amount of time from the closed system, his commentary gives us something to think about. “You shoulda left it in the ocean.” There's a dark agenda being served by the removal of time from the domain, and I'm not referring to the fictional Marvel universe. The Everlast bag filled with the sands of time wasn't the only thing Steve took. What was in the gym bag? Gym bags typically contain clothing, garments. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments. How could Steve leave the gym without changing his garments? Well, because he took the bag of sand with him. He has time, and control of time, for a fixed season, and that provides access to multiple domains.

To be continued, Lord willing.

No comments:

Post a Comment