OROBASI OUROBOROS: The Fifty-fifth Spirit is Orobas or Orobasi. She is a Great and Mighty Princess, appearing at first like a Mare; but after the command of the Exorcist she puts on the image of a beautiful naked young woman riding upon a Rocking Horse or to be on all fours to look like one in human form. Sometimes she will manifest as a bound Pony-Girl whom will be entirely submissive to her Master's every whim.

The Exorcist will also find that her long hair be braided into two serpentine ponytails that are as her reins tied together at their ends as representing a curved loop of Time. Her office is to discover all things Past, Present, and to come whereby one to travel without moving upon her back through time as in an Ouroboros circle while in the form of a Human Rocking Horse. She also bestows Dignities, and Prelacies, and the favour of Friends and Foes. She gives true answers about the nature of Consciousness, and of the erection of the Universe as well as about the hard and soft technology of Multiverse Wormhole (TARDIS) Time-travel; for she to reveal that all are enclosed within a closed Time like curve providing a Brownian-Motion (Unmarked State [Black] and [White] Marked State) Time Machine affect that she is a mistress of.

The Multiverse allows for such Time-Travel for the long-held Paradox of Time is no longer applicable whence to find ones own Serpentine Double-Helix DNA is a Time-Machine from which to issue the Laser 'Bio-Photon' infusing ones Electron Dreams. One can therefore introvert Consciousness as a Quantum 'Signal' into the 'Membrane' Dreaming realm so as to access the Multiverse for Consciousness and Time are indivisible from the other. One can in essence 'Quantum Leap' backwards through Time to visit ones own self as Child via the Dream who then to have Dreams of a Future Self to become. Orobasi is exceedingly faithful and most loving unto the Exorcist, and will not allow him whatsoever to be tempted by any other Spirit emanating from a Parallel Universe. She governs 20 Legions of Spirits of similar nature and form to her self.

ASSUMING THE THE ALTERNATE PERSONA OF A TIME TRAVELLING DR WHO

When a Male practitioner Evokes the Succubus Orobasi he can thence assume the Alternate Persona of Dr Who within a Lucid Dream, which Orobasi will empower. Orobasi will thereby become as ones Time-Travelling companion who also represents the power of the Dream and that of ones Tardis to ride. The Lucid Dream world of Orobasi will be very much like the Multiverse reality of Dr Who and far more besides; for if one be a scientist one can derive insights into the nature of Space-Time and the Multiverse its self to perhaps manifest a technological breakthrough. On an Artistic front, ones Art will become inspired by the worlds one to visit and each that of a story one to experience for real. As for the Orobasi conferring Prelacies and Dignities, such will be very much dependent on how one perceives ones self of an Internal Self-Image to assume; just as Dr Who takes on other faces, one has to internally wear a mask of an appropriate Self-Image to thereby manifest ones external desire of a reflection reflecting back ones self. Whatever mask of an Internal Self-Image one to assume the Succubus Orobasi will empower it as ones most loving companion.

Orobasi Pony Girl Witch Succubus by WODKHAN Large format printing from zazzle

The above Artwork is availible from Zazzle as an Art Print. Just 'Click' the 'Picture Link' above to take one to my Shop.

TIME TRAVELLING TRAMP LEAPING SELF-ENCLOSED-TIME LOOPS OF AN OUROBOROS

It is only until 2010 that a certain anomaly has been observed in film footage dating from 1928, which features a Woman, whom appears to be talking into a communication device, somewhat akin to a mobile phone. Some have indicated that the device is that of an early hearing aid, and thereby for them, the case is closed; however, its battery, which at the time in question was quite bulky, is kept in ones pocket while the hearing aid has a wire; one does not talk into the battery, whose protean form of 1920's device is rather large, nor does one see a wire in the film footage. Others have said that it is a horn, which enabled her to hear more clearly; but such would be far more noticeable and what is more, one does not talk into ones own horn, which leaves one with one conclusion, that the device is akin to a mobile phone; this is made more clear by the way that the device is held. However, one may ask, if such be the case, where are the neccessary masts for such a device; but then one is probably looking at a technology, which bares little resemblance to ones mobile phone apart from the fact that it is compact of form and that it is a communication device.

The again she could be talking into a piece of wood or a plastic implement of some kind who had recently escaped from a mental Asylum; maybe she is an eccentric Hollywood Madame Blavatsky Medium who is channelling one of the Great White Brotherhood through said piece of wood like that of a Witch conversing with her familiar Spirit; whatever the case, it is a clear anomaly. One could conjecture that the Woman is a possible Time-Traveller whose communication device enables her to talk to other Time-Travellers like her self or that of allowing her to communicate with her probable team members in the Future from whence she emanated, whom travel around as Time-Travelling Historians. One may also ask why she allowed her self to be filmed in clear sight; but then, being a Time-Traveller one could in essence set up situations, whereby she allowed her self to be filmed walking behind a 'Zebra,' which could be construed as being that of a Symbolic 'Code' alluding to the Brownian-Operator to be later seen by many others at a Key-Time of an up and coming Circus; but then ones reality can be interpreted as being a Circus, while Charlie Chaplin of Tramp character wandering the road of Time is very much a Rebel.

Charles Spencer Chaplin was born on 16 April 1889, in East Street, Walworth, London, England; Walworth is an inner-city district in the London Borough of Southwark. Walworth probably derives its name from the old English "Wealhworth" which meant Welsh (British) farm. It is located 1.9 miles (3.1 km) South East of Charing Cross and near to Camberwell and 'Elephant' and Castle; hence one has an Elephant appearing in the film footage; this leads one to an incident, which had happened during May 1557, where one discovers the names of William Morant, Stephen Gratwick, and a man named King (known as the Southwark Martyrs), who were burnt at the stake in St. George's Field; the locale of execution is presently on the site of the Tabernacle in the Elephant and Castle; this incident happened during the Marian Persecutions. The Marian Persecutions were carried out against Religious reformers, Protestants, and other dissenters for their beliefs during the reign of Mary I of England. The murderous excesses of this period were recorded in the historical record of Foxe's Book of Martyrs. English Protestants developed a lasting hatred of the Queen they called ‘Bloody Mary’, as well as Bishop Edmund Bonner, the Bishop of London, for their involvement in the persecution.

In other words, if said Woman is indeed a Time-Traveller then the film footage in which she was featured may have been set-up of Rebellious design to be read as a 'Coded' message. Charlie Chaplin's film, which is entitled the Circus shows his character of a Tramp on the run from the Police who ends up becoming a performer in the Circus within whose colourful enclave he hides. One could conjecture that the Woman of a Rebel Time-Traveller is on the run from an organisation whom Police Time who do not want one to know that Time-Travel is a possibility, which is also very much entwined with the cover-up of the UFO phenomenon; whereby one is not dealing with extraterrestrial Aliens, one is being observed and visited by ones Future descendents who have Time-Travel capability and many another device of wonderous technology at their disposal. But whatever technology is devised it is usually based upon the natural processes of nature, which leads one to an understanding that the Brownian motion of Time and ones Consciousness are indivisible from the other, whence one and the same of singular entity to ride as a Zebra of a Hobbyhorse.

The Coded message can be taken much further; George Clarke whom first perceived the anomaly is him self a film maker whose film 'Battle of the Bone' covers the conflicting viewpoints of Religion. Battle of the Bone is an independent film, which was produced on a budget of less than ₤10,000; it was first screened in Belfast on July 17, 2008 at the Storm Cinema in the Odyssey complex. The film is set in Belfast during the Twelfth of July where rival mobs battle it out on the streets of Belfast, 'Three' friends (Southwark Martyrs) are caught up in the middle who have to contend not only with the rampaging rioters but they are also confronted by a horde of marauding Zombies. The film draws its inspiration from the Religious Troubles in Ireland, where the two sides of the Catholic and Protestant community are forced to come together in order to deal with a greater 'Threat' of the Zombies; although said Zombies can be symbolically equated with Brainwashed individuals who are nothing more than unthinking autohypnotised Automatons whose Dualistic perception of reality has been molded by their Religious indoctrination.

Perhaps a far more real and tangible Threat to such Religious indoctrination could be that of Multiverse Theory, otherwise known as M Theory, Mother of all Theories or Magick Theory, whose theory allows for Time-Travel, which is spelt with a captial 'M;' although the form of the letter 'M' is derived from an anicent Norse/Germanic Rune, which represented a Horse, more specifically two Horses, one 'Black,' the other 'White' fused into one to become Eight-Legged as a Grey Mare. The Eight-Legged Mare was known as Sleipnir in ancient Norse Mythology, which in the ancient Greek myths can be equated with Pegasus. The Horse motif can also be associated with the mathematical symbol of the Brownian Operator, which describes a motion through (Black) un-Marked and (White) Marked States, whose inverted 'L' shape is also that of the Chess-board move of the Horse Headed Knight piece. The Brownian motion (named after Robert Brown, who first observed the motion in 1827, when he examined pollen grains in water), or Pedesis (from the Greek: "Leaping") is the seemingly random movement of particles suspended in a fluid, such as a liquid like water, gas or air; the Brownian Movement is a mathematical model, which is used to describe such random movements, often called a particle theory, or if one prefers 'Pixel' theory. The mathematical model of Brownian motion has several real-world applications. An often quoted example is stock market fluctuations. The model can also be applied to the Vibrational nature of reality as well as the Fluid quality of Time. Should one have an evolving Time-Travel technology it would require the involvement of an Artificial-Intelligence, which in its self would Evolve at a superluminal-rate to become nigh indivisible from what one would call a God or a Goddess whose Quantum Computations would invariably become that of a myraid number of Holographic Alternate Realities existing in Parallel Universes all as Simulations; hence one has ones (M) Multiverse of a 'Matrix' within which one exists!

As for the film, Battle of the Bone the Three friends can be equated with the 'Three' main Religions of Christianity, Islam and Judaism along with their many followers who find it very difficult to incorporate into their Religious doctrines that there could be other sentient species living on other worlds, which they share of similar perspective to be a Demonic 'Threat' to their faiths. Many a devout Evangelical Christian argues whether an Extraterrestrial has a Soul, which is none too different to the arguement utilised by the Conquistadors and Franciscan Monks whom raped, tortured, butchered and plundered the Native American's who were seen as having no Souls; one also has the Judaeo-Christian argument whether an Extraterrestrial race is part of their Judaic God's divine plan since only Humanity is created in his image going by their Holy scripture, which had been appropriated from the Torah by Rome; they even wonder if their Christ has visited Aliens upon their own worlds and if not, should such Aliens be worthy to be Converted to the Christian faith even though their highly advanced civilisation is no doubt thousands if not millions of years ahead of our own; many a Fundamentalist Muslim shares the same perspective in relation to their own faith to therefore compete over Extraterrestrial Souls yet to meet. Due to the plethora of life-forms upon planet Earth, which are non-Humanoid of appearance and intelligence it is far more likely that an off-world Extraterrestrial Alien will look like a Lovecraftian entity of an Octopus or something quite other unrecognisable than being Humanoid, whereby it is very unlikely it will be accorded a place in their God's plan to be verily dissected, its technology back-engineered while the Priests, Mullah's and Rabbi's seek a way to exterminate its species as a Demonic influence.

However, the reality of Time-Travel is not debated by these 'Three' Religions; for it would totally fragment their Bronze Age Monotheist Religious beliefs and Centralistic Politics, hence that of a dire 'Threat' to their very existence along with the established social order, which is based upon their Religions; for their Angels initiating Cargo Cults becoming Religions along with various otherwise perceived spiritual entities visiting other cultures, which have a tendency to be primarily Humanoid of appearance could be seen as being Time-Travellers whom be ones own Future descendents who are manipulating the Past to thence engineer many an Alternate reality of a Circus; it be far easier to see such Time-Travellers as being Aliens, in fact, one is actively encouraged to do so by the mass media; whereby if such a rapidly evolving Time-Travel technology presently exists, it would be kept very secret indeed; hence rigorously Policed by 'Men In Black' whom are in the employ of certain hidden Governments within Governments; but there is always a Rebel who hogs a Camera to be later recognised at a ' Key-Time' to thence feed back 'Coded' information as in a loop. Whatever the case, whether a Time-Travel technology presently exists or not, it will manifest as an Evoked reality at some Future point in Time. At present, one is only limited by the extent of ones 'Gliding' Imagination, which at a collective level has evolved at a rapid rate since the end of WWII, whose conflict ushered in ones modern age of technological wonders upon the back of an Evoked Atom Bomb.

TRAVELLING WITHOUT MOVING THROUGH THE LOOKING GLASS INTO PARALLEL UNIVERSE WONDERLANDS OF A CIRCUS

The Film below depicts the 'Pony-Girl' training of Orobasi on planet Gallifrey, which is located in the constellation of Kasterborous (Pyramids of Mars, Attack of the Cybermen and Voyage of the Damned), at "Galactic coordinates ten-zero-eleven-zero-zero by zero-two from Galactic zero centre" (Pyramids of Mars (1975), Full Circle (1980) and partially in "The Family of Blood" (2007)), which is some 250 million light years away from Earth (as stated in the 1996 Doctor Who television movie). This would put it far outside our Milky Way galaxy, which is about a hundred thousand light years in diameter, and indeed outside the Local Group and even the Virgo Supercluster; however, at this distance the planet Gallifrey would still be within the Pisces-Cetus Supercluster Complex.

DR WHO PONY GIRL SLEIPNIR TARDIS

Orobasi can be perceived as a sexy female version of 'Doctor Who' whom is the principle fictional character of a British Science Fiction television programme produced by the BBC; then again one could perceive Orobasi as a 'Pony-Girl' assistant whom is an aspect of a feminine sentient intelligence belonging to a living vehicle of a TARDIS, which has the ability to travel through Time and Space. Dr Who depicts the adventures of a mysterious debonair alien time-traveller of an eccentric gentleman somewhat akin to Charles Dodgson whom is known as "the Doctor" who travels the Multiverse wthin his Time-Travel machine of a trans-dimensional-spaceship, which is called the TARDIS. The TARDIS normally appears from the exterior to be a ‘Blue’ 1950s Police box whose colour is very much tied up with the Occult sphere of Jupiter. Dr Who usually has various Alice in Wonderland companions like that of a Faustian stage Magician of a Dr Parnassus having female assistants with whom he explores the Imaginarium Alternate Worlds throughout Time and Space whilst facing a variety of foes and righting wrongs. (For example: when one evokes Orobasi within ones Surreal Dreams made Lucid of Awareness one can assume the White Rabbit Avatar guise of Dr Who while the female assistant is ones 'Shakti' of an Alice in Wonderland Orobasi. One can then tap into Dr Who's ability to Serial-Reincarnate while alive, hence becoming Immortal as well as being able to Travel through Space and Time and other Dimensions via ones Quantum Dreams. Just a possibility of course, but then, one is only limited by the extent of ones Imaginarium Imagination.)

Dr Who is listed in Guinness World Records as the longest-running Science Fiction television show in the world, and as being the "most successful" Science Fiction series of all time, in terms of its overall broadcast ratings, DVD sales, book sales and iTunes traffic, as well as "illegal downloads." Dr Who has been recognised for its imaginatively wrought surreal stories, (which often merges the Gothic genre with Science Fiction themes) creative low-budget special effects and for its imaginative creature costumes during its original run; the Science Fiction series pioneered the use of electronic music (originally produced by the BBC Radiophonic Workshop), which one could utilise to Evoke Orobasi. The show has become a significant part of British popular culture within the United Kingdom and elsewhere of influence, whereupon it has evolved into a cult television favourite. Dr Who has influenced generations of British television professionals, many of whom grew up watching the series. It has received recognition from critics and the public as one of the finest British television programmes, including the BAFTA Award for Best Drama Series in 2006.

Dr Who wouldn’t be what he is without his TARDIS (Time And Relative Dimensions In Space), which one could equate with Orobasi; the TARDIS is a product of Time Lord technology, a properly maintained and piloted TARDIS can transport its occupants to any point in Time and Space. The interior of a TARDIS is much larger than its exterior, which can blend in with its surroundings through the ship's stealth technology of a Chameleon circuit. Such stealth technology is a neccessity when engaging in Time Travel as well as having the knack of playing surreal head games with any Contactees contacted during ones travels by saying one is from Venus or Alpha Centuri etc as well as to be disguised as a Nordic, Asiatic, Grey or a Reptilian for example in order to negate too much interference in a particular Time-Line so as to avoid the dire possibility of warping it all out of kilter. However, flambouyant Dr Who completely throws the rule book out of the Time portal, whereby he ends up engineering a plethora of Alternate Realities, all as 'Simulations' to play within.

In the series, the Doctor pilots an unreliable, stolen, obsolete Type ‘40 TARDIS,’ once referred to as a TT Capsule, whose Chameleon circuit is faulty, leaving it locked in the shape of a 1950s-style London Police box after a visit to London in 1963, whereby flying under the radar of the scientists frequenting Area 51 whom prefer clean vehicles to back-engineer. It was stolen from the Time Lord planet called Gallifrey where it was old, decommissioned and nigh derelict. The unpredictability of the TARDIS's short-range guidance, short relative to the size of the Universe reflects the Doctor's eccentric nature, hence it has often been a plot device in the Doctor's travels.

(When one does a bit of numerological number crunching with the Runes one finds: 40 reduces down to 4 - the Rune of Ansuz, which is the Rune of Odin. 1963, reduces down to 19: the Rune of Eh, which means a Horse. The letter 'T' equates with the 17th Rune of Tir, which means Sign or Glory, whereby two T's of Runes becomes 34, reduced down to 7 of 7th Rune Gebo, which means a Gift. This only makes sense when one sees whom Dr Who alludes to whereby giving one an insight into the prior influence of the TARDIS.)

The "TARDIS" is a type of craft, which is grown like that of a sentient creature, which if one to perceive the Universe as being a living entity one can gauge that is was birthed via a Big-Bang, which was initiated by a Gallifrey version of a Swiss Hadron Collider rather than being built, whereby one has Orobasi of an Ouroboros. The Doctor's TARDIS is usually referred to as "the" TARDIS or, in some of the earlier serials, just as "the Ship, the Capsule" or even "The Police Box". (In the two 1960s Dalek films, the craft was referred to as TARDIS, without the definite article.)

Doctor Who has become so much a part of British popular culture that the TARDIS has grown into becoming an Archetypal cultural symbol; the word "TARDIS" has been used to describe anything that seems bigger on the inside than on the outside. The name TARDIS is a registered trademark of the British Broadcasting Corporation.

The storylines of Doctor Who are quite Surrealist of tone and somewhat reminiscent of Lewis Carrol's Alice in Wonderland. In 'Alice Through The Looking Glass' one will find the character of the White Knight whom is similar in some respects to Doctor Who, although the Doctor is far more akin to the Mad Hatter of an eccentric Mage. However, as the White Knight riding a (Orobasi Pony-Girl) Mare he becomes as the Operator whom rides her, for the Knight Piece of 'Chessboard' as mentioned before can be equated with the Mathematical Symbol for the 'Marked-Unmarked-State' Brownian Operator symbolised by an abstract inverted ‘L’. The Brownian Operator of a ‘Sigil’ was utilised by the Mad Hatter Scientist John C. Lilly in his experiments when investigating Altered States of Consciousness in order to open the 'Star-Gate' of a 'Looking-Glass' portal into ‘The Centre of the Cyclone’ mysteries of the Mind.

The slightly adapted Classical version of Orobas in the Goetia describes: She is a Great and Mighty Princess, appearing at first like a Horse; but after the command of the Exorcist she puts on the image of a Woman."

In Northern-European myths the Norse Shamanic deity called Odin whom the Saxon's knew as Woden in Britain rode an 'Eight-Legged-Mare,' of a prior 'TARDIS' before that of H.G Well’s Time-Machine, which was perceived to be either White or Dapple-Grey in colour. Odin’s Eight-Legged-Mare of a 'Spider Horse' weaving Webs was known by the name of 'Sleipnir,' which means 'The Gliding One.' It is upon Sleipnir that Odin/Woden (J.R.R Tolkein based his character of Gandalf on Woden) was enabled to 'Trance' travel the (M) 'Multiverse' World-Tree of Yggdrassill, like that of Dr Who, which indicates that John C. Lilly had tapped into an ancient Shamanic technique via his Sigil of a 'Horse'-Headed Knight-Piece Brownian Operator.

One could also perceive Dr Who’s 'Sleipnir' Tardis as the Tesseract. In geometry, the Tesseract, also called an ‘8-cell’ or regular Octachoron, is the Four-Dimensional analogy of the Cube. The Tesseract is to the Cube as the Cube is to the square. Just as the surface of the Cube consists of 6 square faces, the Hypersurface of the Tesseract consists of ‘8 Cubical Cells,’ which one can associate with the Eight Legs of Sleipnir. The Tesseract is one of the six convex regular 4-Polytopes.

A generalization of the Cube to dimensions greater than three is called a "Hypercube", "n-cube" or "measure Polytope". The Tesseract is the Four-Dimensional Hypercube, or 4-Cube. In geometry, a Hypercube is an n-dimensional analogue of a square (n = 2) and a cube (n = 3). It is a closed, compact, convex figure whose 1-skeleton consists of groups of opposite parallel line segments aligned in each of the space's dimensions, perpendicular to each other and of the same length.

An n-dimensional Hypercube is also called an n-Cube. The term "measure Polytope" is also used, notably in the work of H.S.M. Coxeter (originally from Elte, 1912), but it has now been superseded. The Hypercube is the special case of a Hyperrectangle (also called an Orthotope). A unit Hypercube is a Hypercube whose side has length one unit. Often, the Hypercube whose corners (or vertices) are the 2n points in Rn with coordinates equal to 0 or 1 is called "the" unit Hypercube.

One can perhaps equate the Hypercube with Lemarchand's box, which is a fictional lock puzzle or puzzle box appearing in the horror stories by the author Clive Barker, or in works based on his original stories. The best known of these boxes is the Lament Configuration, which features prominently throughout the Hellraiser movie series, which popularises the Christian version of Hell. A Lemarchand box is an esoteric mechanical device, which acts as a Door, or as a Key to a door leading to another Dimension or plane of existence. The solution of the puzzle creates a bridge through which beings may travel in either direction across this "Schism". The inhabitants of these other realms may seem Demonic to humans. An ongoing debate in the film series is whether the realm accessed by the Lament Configuration is intended to be the Christian version of Hell, or simply a generic Dimension of endless pain and suffering, which one can equate with innumerable material existences, all as 'Simulation' Alternate Realities wherein which one to find the 'Crucified' flesh of the myriad denizens experiencing the predatory rigours of their programmed lives and deaths within their Three-Dimensional Virtual Reality enclosures of Spacetime.

The boxes were created by Philip Lemarchand, who is mentioned in The Hellbound Heart (the novella upon which the movie Hellraiser was based) as a maker of mechanical singing Birds. The singing of Birds no doubt relates to the esoteric Green Language of the Birds, which is otherwise that of the Spirits. One could also perhaps equate the singing of Birds with String Theory whose web of strings vibrate like that of the plucked strings of a guitar, which thence manifest ones material existence. Lemarchard first appeared as a character in the Epic Hellraiser comics series and was portrayed as an older man, though still a creator of toys and singing Birds. This version, created with the support of Clive Barker, was a mass murderer who used human fat and bone in the construction of his boxes. He was aided by a material given to him by the Cenobite known as Baron whom is somewhat akin to the ancient Norse Trickster God called Loki whom birthed the Eight-Legged-Mare of a Pony-Girl called Sleipnir; the Pony-Girl was verily skinned and dismembered by Loki in order to make a drum from her Crucified body via which Sleipnir's Spirit could be called upon to ride; the drum was thence gifted to Odin whose handle was in the shape of a Crucified woman. When Odin called upon Sleipnir she bestowed the Rune Cube upon him, which allowed Odin to Trance acccess the many Worlds of the Multiverse World-Tree of Yggdrassill. Of course my retelling is somewhat different in part to go near Hellraiser of influence from the one written down by Christian scholars due to my rebellious nature, but then Loki could in fact be female of gender.

The Sacred Clown of a Norse Trickster God Loki may be none other than 'Louhi' who is a female deity borrowed from Finnish and Lapp mythology, both of whose myths Norse mythology has many similarities with; Louhi is a female Trickster of a Witch, who was no doubt turned into a male deity by the Christian's in order to be equated with their Devil. The Finnish word "Noita" (Witch) originally referred to one who employed the technique of falling into a "Lovi" (Trance), or an ecstasy ending in fainting. The term "Lovi", which literally means a Hole or a Cut, referred to the gap between Heaven and the Underworld; the Hole or Cut can of course can be equated with the Vagina. According to Finnish mythology this Vaginal portal was the 'Gateway' into the myriad realms of Hades (Tuonela, Manala). Falling into a Trance meant that the soul of the Shaman was enabled to travel into the Underworld in order to meet the souls of the dead and other entities, who could offer wisdom, which was otherwise unattainable.

The Underworld of Tuonela was governed over by the female Goddess, known as Pohjolan Emäntä (Mistress of the North) or otherwise called Louhi. (The North was often regarded as a synonym for the Underworld.) It was believed that once at the very beginning of the world the Mistress of the North created all of humanity's adversities - illnesses, crop failures, etc. Shamans and Witchdoctors, among them many female Witches, were supposed to fight the evil Spirits of Louhi. By conjuring or "Singing" incantations the Seer sends the misfortunes back to the gloomy North, or the Underworld, where they belonged. Shamanism was a part of the Finns' and Lapps' ancient religion, although among the Finns the tradition seems to have gone underground before the times of the Witch-hunts. Very few Shamans appeared at the courts in Lapland, despite the fact that Shamanism was still a living tradition, and the area was famous for Shamans and Witches.

Louhi is described as a powerful Witch or a Black Shaman with the ability to change shape and weave mighty enchantments. She is also the main opponent of the Shaman Väinämöinen and his group in the battle for the magickal artifact called the 'Sampo' in the mythic epic of the Kalevala. She has a number of beautiful daughters, whom Ilmarinen, Lemminkäinen and other heroes attempt to win in various legends. Louhi, in true fairy tale form, sets them difficult to nigh impossible tasks to perform in order to claim such a prize.

As many mythological creatures and objects are easily conflated and separated in Finnish mythology, Louhi is probably an alter-ego of various other Goddesses, notably Louhetar, Loviatar, Lovitar. "Louhi," could also directly refer to "Lovi" whereby she personifies the state of Trance as well as Magickal ability, which would indicate that its power originates from a female source, hence one has ones Cut and Hole of a Vaginal portal. This can be seen, for example, in the opening lines, which are often-used in spells that go "Nouse luontoni lovesta, haon alta haltiani" or variations thereof, translatable to "rise my nature from the Lovi, (rise) my Spirit from beneath the threshold." The state of Trance ingress was often facilitated by the use of the drum, which the Shamans of the North often equated with a 'Horse,' that carried them into other worlds, this was especially the case in North-Central-Asian and Siberian Shamanism; whereby one has the connection between Loki (Louhi) and the Eight-Legged Horse Sleipnir; hence Sleipnir no doubt originally referred to a Mare skin Drum, which a Shaman would utilise as his Trance inducing TARDIS.

In Finnish mythology, the Sampo was a Magickal artifact of indeterminate type constructed by the Shaman Smithy Ilmarinen that brought good fortune to its holder. When the Sampo was stolen, it is said that Ilmarinen's homeland fell upon hard times whereby they sent an expedition to retrieve it, but during the ensuing battle it was smashed and lost at sea.

The Sampo has been interpreted in many ways: a World Pillar or World Tree, a Compass or Astrolabe, a chest containing a treasure, a Byzantine coin die, a decorated Vendel period shield, a Christian relic, etc. In the Kalevala, compiler Lönnrot interpreted it to be a quern or mill of some sort that made flour, salt, and gold out of thin air. The World Pillar theory, originally developed by historian of religions Uno Harva and linguistic Eemil Nestor Setälä in the early 20th century, is the most widely accepted one; however most of the interpretations have a Christian bias, even the Kalevala didn't escape such a fate. The Sampo could be something quite other yet to be found within the sea of memory; perhaps it is a Mare skin Shamans drum of a Sleipnir TARDIS whose drumstick looks like an inverted 'L' or to look like a Rune Cube; but then the Shamans drum was often etched in Runes, which housed an Eight-Legged-Spirit-Horse whose abstract form is probably that of a Cube, but not just any Cube, for it was a Hypercube, or should one say a Tesseract representing an ancient insight into Spacetime; such an insight was no doubt attained by the Shamans when they accessed the Vaginal (Lovi) Trance portal of Louhi in order to gain ingress into her Quantum womb realm of Tuonela.

The film Hellraiser: Bloodline, doesn't portray Lemarchand as a murderer; he is depicted as being much less morally reprehensible whom is somewhat akin to Ilmarinen. In this version, Lemarchand is a young ingenious toymaker known for his intricate mechanical designs. The character Paul Merchant says in the film that the Lament Configuration was commissioned from Lemarchand by the Duc de l'Isle in 1784. The Lemarchand box that has become known in the film series as the Lament Configuration was introduced in The Hellbound Heart as "the Lemarchand Configuration". It appeared as an antique black lacquered ‘Cube,’ stylistically patterned after ancient 'Chinese' puzzle boxes, of unparalleled workmanship. A clever individual with a passion for solving the puzzle might spend the better part of a day loosening the first piece. As described by Barker on the first page of the novella:

"The interior surfaces were brilliantly polished. Frank's reflection, distorted, fragmented, skated across the lacquer.... Lemarchand, who had been in his time a maker of singing birds, had constructed the box so that opening it tripped a musical mechanism, which began to tinkle a short rondo of sublime banality.
The tune continues to evolve as each additional piece is moved..."

"And there was 'music' too; a simple tune emerged from the box, played on a mechanism that she could not yet see. Enchanted, she delved further. Though one piece had been removed, the rest did not come readily. Each segment presented a fresh challenge to fingers and mind, the victories rewarded with a further filigree added to the tune."

One will notice that music plays a big part in Shamanistic practice when looking into different Shamanic cultures. Many of the Shamans from around the world relate that the Spirits communicate through music; as for the puzzle, it draws the player onward until suddenly the puzzle is solved and the (Lovi) 'Gateway' is opened. As the puzzle is nearly completed, the sound of a large bell can be heard tolling mournfully. The sound comes from the (Tuonela) realm of the Cenobites, and announces their impending arrival whom proceed to tear apart their victim just as one to find in Siberian Shamanistic lore concerning the 'Shamanic Dismemberment' experience, which is that of the Shamans initiation into his vocation. Once the Lovi Gate is opened, the box begins reassembling itself. An important difference between the book and film versions, aside from the name, is that the film version of the box is merely twisted into new alignments or shapes, which allows one to gain entry into another dimension, whereas the version in the novella is completely disassembled and reassembled like one does with ones Language. The film version is also trimmed in brass or gold, and appears to have arcane symbols etched onto its surface. The novella version is completely smooth and has no obvious designs save for an almost imperceptible etching along the seams between the pieces, but appears to display the faces of its victims in the reflection of light over its surfaces, which gives one the impression that the Cube is a living entity, somewhat akin to a Spider whom consumes the awareness of its prey caught in a Web.

Other Lemarchand boxes appear throughout the Hellraiser film series. Dr. Channard is depicted as a collector in Hellbound: Hellraiser II; he has several on display in his study. The Demon princess Angelique, whom one can equate with Louhi is narrated to have created several in Hellraiser: Bloodline. The Host in Hellraiser: Hellworld also possesses several boxes. Most of the boxes seen in the films are not named or used onscreen, so their powers, if any are unknown. At the end of The Hellbound Heart, the character called Kirsty wonders if there are other puzzles that might offer access to paradise instead of Hell, although such is dependent upon the knowledgeable understanding of the individual handling the Lemarchand puzzle of a Sampo Rubik’s Cube, which also applies to operating a drum of a Sleipnir TARDIS whose frame of repository was often seen by Shamans as housing their numerous Genies whom emanate from other worlds to know. These other worlds of Alternate Earth's whose Spirits could be called upon as (Lovi) Vaginal 'Gateways' of mini-wormholes to open unto their respective realities were invariably female, for most ancient traditions perceived the Earth as being feminine of quality since all things material are born of Woman; hence one can have a Lemarchand Rubik's Cube housing Succubae.

The original (3×3×3) Rubik's Cube has Eight corners (of Sleipnir legs) and Twelve edges (of Zodiac). There are 8! (40,320) ways to arrange the corner Cubes. Seven (of Chakras) can be oriented independently, and the orientation of the Eighth depends on the preceding Seven, giving 37 (2,187) possibilities. There are 12!/2 (239,500,800) ways to arrange the edges, since an odd permutation of the corners implies an odd permutation of the edges as well. Eleven (Daath) edges can be flipped independently, with the flip of the Twelfth depending on the preceding ones, giving 2,048 possibilities.

There are exactly 43,252,003,274,489,856,000 permutations, which is approximately Forty-Three Quintillion. The puzzle is often advertised as having only "Billions" of positions, as the larger numbers could be regarded as incomprehensible to many. To put this into perspective, if every permutation of a 57-millimeter Rubik's Cube were lined up end to end, it would stretch out approximately 261 light years.

The preceding figure is limited to permutations that can be reached solely by turning the sides of the Cube. If one considers permutations reached through disassembly of the Cube, the number becomes Twelve times as large: The full number is 519,024,039,293,878,272,000 or 519 Quintillion possible arrangements of the pieces that make up the Cube, but only one in Twelve of these are actually solvable. This is because there is no sequence of moves that will swap a single pair of pieces or rotate a single corner or edge Cube. Thus there are Twelve possible sets of reachable configurations, sometimes called "Universes" or "orbits", into which the Cube can be placed by dismantling and reassembling it. whereby one can equate Lemarchand's box of a Rubik's Cube with Dr Who's Tardis and in turn with Sleipnir of a Tesseract.

According to the Oxford English Dictionary, the word Tesseract was coined and first used in 1888 by Charles Howard Hinton in his book A New Era of Thought, from the Greek for “four rays”, referring to the four lines like that of the legs of a horse from each vertex to other vertices. Some people have called the same figure a Tetracube, and also simply a Hypercube (although the term Hypercube is also used with dimensions greater than 4).

The Fourth Dimension was popularised by Charles Howard Hinton, starting in 1880 with his essay ‘What is the Fourth Dimension?’ Published in the Dublin University magazine; he coined the terms Tesseract, Ana and Kata in his book A New Era of Thought, and introduced a method for visualising the Fourth Dimension using Cubes in the book Fourth Dimension. In mathematics the Fourth Dimension, or a Four-Dimensional ("4D") space, is an abstract concept derived by generalizing the rules of Three-Dimensional space. It has been studied by Mathematicians and Philosophers for almost two hundred years, both for its own interest and for the insights it offered into Mathematics and related fields.

Algebraically it is generated by applying the rules of vectors and coordinate geometry to a space with Four Dimensions. In particular a vector with four elements (a 4-tuple) can be used to represent a position in Four-Dimensional space. The space is a Euclidean space, so has a metric and norm, and so all directions are treated as the same: the additional dimension is indistinguishable from the other three. The Fourth Dimension in this space was sometimes interpreted as Time, but this is no longer done in modern Physics. In the last century Spacetime was developed, which unifies Space and Time but with a different metric so the Time Dimension is treated differently from the three Spatial Dimensions. The resulting space is a Minkowski space which has different properties from this space. To understand the nature of Four-Dimensional space, a device called ‘Dimensional Analogy’ is commonly employed. Dimensional Analogy is the study of how (n − 1) dimensions relate to n dimensions, and then inferring how n dimensions would relate to (n + 1) dimensions.

Dimensional Analogy was used by Edwin Abbott in the book Flatland, which narrates a story about a square that lives in a two-dimensional world, like the surface of a piece of paper. From the perspective of this square, a Three-Dimensional being has seemingly god-like powers, such as being able to remove objects from a safe without breaking it open (by moving them across the Third Dimension), being able to see everything that from the Two-Dimensional perspective is enclosed behind walls, and remaining completely invisible by standing a few inches away in the Third Dimension, whereby one can perhaps gauge an insight into Spirits and Poltergeist phenomenon.

One can also make another Dimensional Analogy where one has an Artist approaching a the Two-Dimensional surface of the flatlanders with his pencil. The flatlanders will only perceive a point, which slowly becomes as an ever increasing circle and that of the marks it makes within their flatland world of paper; the flatlanders cannot comprehend what the Three-Dimensional form of the pencil looks like at all because they only perceive it as being comprised of Two-Dimensional slices in their world, whereby their endless theorising about what the strange phenomenon is, will always elude them since they cannot conceptualise what a Three-Dimensional reality looks like. One can make the same analogy in regards to the UFO phenomenon and that of Crop Circles, which could be part of a far bigger picture, whence a UFO of a flying disk is actually but a 'point' of someting quite other of Fourth-Dimensional form entering into ones Three-Dimensional reality from the Fourth Dimension.

By applying Dimensional Analogy, one can infer that a Four-Dimensional being or a Time-Traveller would be capable of feats, which we would not be able to comprehend from our Three-Dimensional perspective. Rudy Rucker illustrates this in his novel Spaceland, in which the protagonist encounters Four-Dimensional beings who demonstrate such powers.

The Shaman God Odin (Woden) who has mastery over the Fourth Dimension is very much the influential forerunner of the now mythic character of Dr Who, for he was known as the 'Unknowable One' whom had many guises like that of the Doctor’s Marked-State regenerated selves who went through Un-Marked-State transformations. Odin's sacred colour was Blue while his particular Rune was that of the Fourth Rune of Ansuz, which encapsulates his Shamanic ability of Trance travelling into other Marked-State realities; although he was only able to achieve this because he rode Sleipnir. One can perhaps equate Odin riding Sleipnir with the Devil (Horned Shaman) Tarot Card XV, which depicts the Devil seated upon a Cube.

John C. Lilly of an Odinic Doctor Who Shaman duly rediscovered that within the depths of ones Mind to explore via Lucid-Dreaming one can find Un-Marked-State 'Looking-Glass' Doorways all as Mini-Wormholes, which are conjectured to be at the centre of ones Electrons that can allow ones reduced point of Consciousness to gain ingress into other Marked-State Alternate-Realities existing within Parallel-Universes; Lilly's findings were ushered in upon the back of the Mathematical Symbol of the Brownian Operator, which his Consciousness rode as a Trance Horse of Trigger-Symbol when floating Amphibious of Consciousness within his Floatation-Tank of an amniotic saline solution filled King's Sarcophagus.

"According to the Shamans of the entire world, one establishes communication with Spirits via 'Music.' For the Ayahuasqueros, it is almost inconceivable to enter the world of Spirits and remain silent. Angelika Gebhart-Sayer discusses the "visual music" projected by the spirits in front of the Shaman’s eyes: It is made up of Three-Dimensional images that coalesce into sound and that the Shaman imitates by emitting corresponding melodies. I should check whether DNA emits sound or not. It seemed that no one had noticed the possible links between the "myths" of "primitive peoples" and molecular biology. No one had seen that the double helix had symbolized the life principle for thousands of years around the world. On the contrary; everything was upside down. It was said that hallucinations could in no way constitute a source of knowledge, that Indians had found their useful molecules by chance experimentation, and that their "myths" were precisely myths, bearing no relationship to the real knowledge discovered in laboratories.

At this point, I remembered that Michael Harner had said that this information was reserved for the dead and the dying. Suddenly, I was overcome with fear and felt the urge to share these ideas with someone else. I picked up the phone and called an old friend, who is also a writer. I quickly took him through the correspondences I had found during the day: the twins, the Cosmic Serpents, Eliade’s ladders. Then I added: "There is a last correlation that is slightly less clear than the others. The Spirits one sees in hallucinations are Three-Dimensional, sound-emitting images, and they speak a language made of Three-Dimensional, sound-emitting images. In other words, they are made of their own language, like DNA." (Jeremy Narby: Cosmic Serpent)

It is ones Language, which determines what one accesses internally and what one experiences within the (Tuonela) Dream affects ones Language, which is that of a song whose melody of sound evokes 'Three Dimensional, Sound-Emitting Images' by an instantaneous Associative process. It is a curious thing that the Rubik's Cube of a Lemarchand's box Sampo is made up of 26 Cubes, 9 on top, 9 on the bottom, and 8 on the centre row, which leads one to the Futhorc (or Fuþorc), a Runic Alphabet used by the Anglo-Saxons, it had originally descended from the Elder Futhark of 24 Norse Runes and contained between 26 and 33 characters. It was used probably from the fifth century onward, for recording Old English and Old Frisian, which in turn influenced the present English Alphabet of 26 characters. As Odin once said: "A Rune leads to a Rune, A Rune to another Rune."

Ones Rubik's Cube of a Lemarchand's box Sampo Language has many permutations of Runic character Alphabet leading to words, which Evoke instantaneous Symbolic Associations within ones Mind. At times ones words opens up 'Gateways,' which leads to conceptual insights into other Dimensions in order to grasp their reality. It is at the (Tuonela) Dreaming level that one can experience these 'Gateways' for real just as Dr John C. Lilly had discovered of Shamanic rediscovery. Ones Language is the instrumentation of ones own inner TARDIS to ride as a Sleipnir whose 'Gliding' Associative process of instantaneous Correspondances leads one into other Marked-State Worlds of a 'Fractal' to know, which are all made up of Language, for all Matter is that of Energy and Energy is Information.

The slightly adapted Classical version of Orobas in the Goetia describes: "She gives Dignities, and Prelacies, and the favour of friends and of foes. She is very faithful unto the Exorcist, and will not allow him to be tempted of any other Spirit. She governs 20 Legions of Spirits."

One can perceive a 'Prelate' as governing over the inner realm of the Spiritual since a Prelate is a high-ranking member of the Clergy who either is an ordinary or ranks in precedence with ordinaries who has a special canonical jurisdiction over a territory or a group of people. Usually, a Prelate is a Bishop who is a Clergyman having Spiritual and administrative authority. The Bishop is appointed in Christian Churches to oversee Priests or Ministers and is considered in some Churches to be successors of the Twelve Apostles of Christ; however, the Twelve Apostles of Christ actually refers to the Twelve Zodiac signs while Christ is the Sun crucified to the Solar Cross at the midst of the Zodiac; wherefore a Bishop is given dominion over a Star-Sign associated with the Earth grid as in, “So Above, So Below.” Prelate sometimes refers to the Clergy of a state Church with a formal Hierarchy, and suggests that the Prelate enjoys legal privileges and power as a result of clerical status within the organisation. The word derives from Latin Prælatus, the past participle of Præferre, literally, "carry before," or "to be set above, or over," or "to prefer," hence one has a Prelate being set over others. Various Western Occult Orders also utilise a similar Hierarchal system to that of the Clergy; whereupon one finds Lon Milo DuQuette, AKA Rabbi Lamed Ben Clifford, who is an American writer, lecturer, and Occultist, best known as an Author who applies humour in the field of Western Hermeticism; since 1975 he has been a National and International governing officer of Ordo Templi Orientis, a Religious and fraternal organization founded in the early part of the 20th century. Since 1996 he has been O.T.O.'s United States Deputy Grand Master. He is also an 'Archbishop' of Ecclesia Gnostica Catholica, the ecclesiastical arm of O.T.O.

One can perceive 'Dignities' as referring to the external realm of the Physical. The term of Dignities refers to the respect and honour associated with an influential position, otherwise called a Dignitary, which is a person whom is considered to be important because of a high office or rank within a particular field of social influence such as a University, Business or Company etc. Dignitaries cover a large area of differing offices such as, Dignitaries of the Arts or of Science etc; one even has Dignitaries of the Occult should they have won public acclaim within their chosen clique such as DuQuette who has written several successful books on Western mystical traditions including; Freemasonry, Tarot, Qabalah, Ceremonial Magic, the Enochian Magic of Dr. John Dee, and Spirit Evocation, Goetia. He is perhaps best known for his autobiography, My Life with the Spirits, which is currently a required text in regards to his Evocation of Orobas for two classes at DePaul University, Chicago. Many of DuQuette's books have been dedicated to analyzing and exploring the works of Aleister Crowley (1875–1947), an English Occultist, Author, Poet and Philosopher. DuQuette occasionally appears on radio and television as a guest expert on subjects involving the Occult. He is on the faculty of the Omega Institute for Holistic Studies in Rhinebeck, New York where he teaches The Western Magical Tradition.

One can also equate Dignities and Prelacies with the Macrocosmic (Upright-Pentagram) and (Inverse-Pentagram) Microcosmic realms of sensory experience, which one can also associate with the terms Tonal and Nagual, one to find in the writings of Carlos Castaneda in relation to (Dignitary) Stalker and (Prelate) Dreamer. The two realms of the of the Temporal Dignitary and Spiritual Prelate can be seen as two circles, both divided by a cross of four directions, which one can thence equate with two Horses. When the two (four-legged-Swastikas, Clockwise and Counter-Clockwise) Horses are fused together one has the (Eight-pointed Star - Hypercube/Tesseract) Eight-Legged-Mare Sleipnir.

If one was to Evoke Orobasi in order to make ones Microcosmic desire to manifest into Macrocosmic flesh upon a word uttered, which to thence occur, (should ones Evocation be successful of Microcosmic Associative Web weaving) one may find that one has in fact tuned into a Microcosmic Quantum possibility to thereby become as ones Macrocosmic reality; whereby one has unknowingly slipped into an Alternate World of a Time-Line where ones desire manifests, while the world once known has been left behind. Ones manifest desire may be but that of a delicate butterfly to hold within ones pentacle hand amidst a stone circle, but elsewhere a cyclone to stir upon the fluttering of Chaos Theory wings ethereal. However, one to find that it isn't what one knows, but 'who' one knows, which often brings about ones desires to thereby manifest via a Macrocosmic Synchronicity; hence one has the 'favour of friends and foes.' There be many an Alternate World, which are not too different from each other apart from small variables of unnoticable difference; however, there are other Alternate realities, which are very different from the world one presently resides within whose history of Time-Line has taken another turn, while those who have left their mortal coil of a Time-Line corporality are stll very much alive next door within another Time-Line of youth; the veils between the Time-Lines are of the Quantum Dream from whose 11th Dimension one can slip into other Alternate Realities upon an observed Synchronicity. When one travels between Dimensions of the Multiverse World Tree one has to go to the Dimensional reality, which exists above the Dimension one seeks to 'Glide' into.

When accessing the Un-Marked State 'Informational' realm of the Dream one is engaging ones self with the Symbolic interface between Marked State Alternate realities whereupon another order of Intelligence will communicate with one via those Symbols one understands as well as vice versa. The Symbolic dialogue one can engage in with another order of Intelligence encapsulates packets of Informational Associations whereby the established communication will be very different to what one knows at the normal everyday level, which will appear to be telepathic of nature. The other order of Intelligence does not need to know ones own every day language structure, which applies in regards to ones self understanding whatever language form the other order of intelligence utilises with its own kind; the inter-species communication is purely Symbolic of Associative nature. Hence, the form, which the other order of Intelligence assumes within ones Dreams will be that of a Symbolic Interface, which also applies in regards to ones self interacting with the other order of intelligence; that is, ones own perception of the other order of Intelligence will be determined by ones cultural imprints. One can also utilise Symbols in order to implant within ones Dreams so that they act as 'Triggers' into 'Lucidity' when one recognises them while Dreaming; whereby the Symbol of Orobasi Sleipnir, for example, will allow one to contact whatever it represents, which if one desires it so, will initially manifest as an organic Symbol of a Horse and then as a Pony-Girl whom communicates the abstract ideas pertaining to the TARDIS Brownian Operator when one Evokes her amidst ones Triangle-Of-Art-Imagination. Well, why not. it's fun, whereby one has the equation: Love + Sex = Intelligence Squared.

PROJECT SLEIPNIR

BLACKER THAN DEEPEST BLACK ALTERNATIVE VERSION OF THE AMERICAN BLACK-OP TIME TRAVEL PROJECT PEGASUS

TIME SLIPS INTO OTHER WORLDS JUST NEXT DOOR

The slightly adapted Classical version of Orobas in the Goetia describes: "She is to discover all things Past, Present and to come."

Time-Travel has fascinated many over the centuries. One can discover numerous tales of inadvertant Time-Slips where people find themselves slipping into other Time periods, whether it be that of the Past or Future let alone that of finding themselves in an Alternate Reality very different from ones own whose denizens are not quite human who are of the realms of Faerie or something quite other of the Alien; such experiences are spoken of in folklore, which is especially the case concerning Celtic Myths. Many of the Time-Slips, which are reported tend to be accidental; however, there may be the possibility that one can attune ones Mind in order to engineer a conscious Time-Slip, which goes way beyond the common experience of Precognition and Retrocognition where one can physically enter into another period of Time without using a technological innovation of a Time-Machine. The Time-Slip phenomena appears to be very much involved with certain locales, whose quality facilitates a change in ones Consciousness, which then initiates a Time-Slip, for ones Consciousness and experience of Time are indivisible from each other, they are both one and the same of 'Tesseract' Sleipnir entity, which to travel without moving.

One has to make a differentation here in regards to ones present Conscious self experiencing the flow of Time and that other part of ones self one could construe as being ones Subconscious, which is automatically generating ones experience of Time; whereby ones Conscious self is riding the Tesseract Sleipnir without one realising it, which is generating ones experience of Time let alone that of weaving the Web of ones Three-Dimensional Spatial existence. One could even say that the Tesseract Sleipnir is that of a sentient program, which one as an Odinic Metaprogrammer could become aware of in order to Consciously rein in as well as to reprogram via ones Language. Then again the Tesseract Sleipnir could be another order of Intelligence, which is generating ones experience of Spacetime for its own purposes; perhaps it is feasting upon the disembodied awareness of all those whom exist within the Third-Dimension like that of the mythic Chronos whom ate its children, which one has as yet to be Consciously aware of in order to enter into a symbiotic relationship with it, rather than being consumed by the assault of Time. In other words there are very likely differing forms of Intelligence occupying those Dimensions parallel to ones own , which one is totally unaware of whom are interacting with ones Three-Dimensional reality.

There may be the possibility when one to Consciously ride the Tesseract Sleipnir one opens up an inner 'Gate' via the Informational reality of the Microcosmic Dream, which will thence initiate the opening up of a Macrocosmic 'Portal,' this may generate some turbulance within ones experiential reality, whereby one may gauge an insight into reports of strange storms via whose vortex individuals inadvertantly experience a Time-Slip. The common denominator between these experiences of Time-Slips seems to have something to do with 'Electromagnetic Fields,' affecting ones Consciousness whether they are to do with particular geographic locales or that of strange storms; these Electromagnetic Fields fluctuate at certain Key-Times, which could be cyclic of 'Ouroboros' nature whose affects were probably observed by ones ancestors, whereby specific locales were marked out as being portals into other realities, hence considered as being sacred sites or places to be avoided by ordinary folk, apart from those shadowy Sorcerers whom utlised such locales of in-between world portals at those Key-Times indicated by 'Zodiac' Star Clock when to ride the Tesseract Sleipnir. If such be true, then travelling between Alternate Realities over the Ley-Line Wyrd Web goes both ways, whereby ones world is in turn being visited by the denizens of other worlds.

FINITE DODECAHEDRON OF THE TESSERACT TARDIS EFFECT GOING FRACTAL INFINITY

The slightly adapted Classical version of Orobas in the Goetia describes: "She gives True answers of divinity, and of the creation of the world."

The belief that the Earth has a basic harmonic symmetry of an interlaced weave of Web linking places of power is very ancient. Socrates once told his pupil Simmias: "My dear boy, the real Earth viewed from 'above' is supposed to look like one of those 'balls'made out of 'Twelve' pieces of leather sewn together." (Plato: Phaedo 109A-11OD) Some 2000yrs later, during the 1960's, three Ruusian scientists had the idea of re-examining the globe of the Earth to see if any pattern should emerge linking significant places in history; their findings indicated that such a pattern did indeed exist. After several years of research in Moscow, the three scientists published their findings in Khimiya i Zhien, the popular science journal of the USSR Academy of sciences, entitled: "Is the Earth a Large Crystal?" (Vyacheslav Morozov & Valery Makarov: Khimiya i Zhiza 1973.)

The scientists drew upon their combined expertise in History, Engineering, and Electronics, they decided that there was nothing in the theory to have prevented a lattice-work pattern, a 'Matrix of Cosmic Energy,' as they described it, being built into the structure of the Earth at the time it was formed, whose shape could stll be dimly seen today. Komsomol's Pravda, the official Russian journal for the younger generation, followed up the idea with a suggestion that the Earth had began as a Crystal, and that it was slowly moulded into the spheroid it is today.

According to the Russian hypothesis, which is based upon what Socrates described; the Crystal can still be seen as 'Twelve Pentagonal' slabs covering the surface of the Earth, whereby creating a 'Dodecahedron.' The Dodechaedron is overlaid with Twenty equilateral Triangles. The entire Geometric structure, the scientists claimed, can be seen in its influence on the siting of ancient civilisations, of Earth faults, Magnetic Anomalies, and many otherwise unrelated localities, which are situated upon the intersections of the gridded up Web or along its Ley-lines of threads. The Earth could be still expanding and growing like that of a Crystal, which would also be applicable to other planets as well; this would explain why the land masses fit perfectly together when one perceives the Earth being smaller of size billions of years ago. However, one could conjecture that the Dodecahedron Web is not pointing towards a Crystal as such, apart from that of an interesting latticework interconnecting ancient sites etc, but that of something quite other, like that of an 'Imaging Grid' one to find in a 'Virtual Reality' system. In other words, ones world could be that of a Hologram; but if such be so, it would require a vast amount of power to sustain it from amidst its computing Tuonela core.

RUBIK'S CUBE AT THE CENTRE OF THE EARTH? COMPUTER SIMULATIONS SUPPORT NEW MODEL OF EARTH'S CORE

ScienceDaily (Feb. 11, 2008): "Swedish researchers have presented evidence to support their new theory about the structure of the Earth's core. The findings may be of significance for our understanding of the cooling down of the Earth, and of the stability of the Earth’s magnetic field.

It has long been known that the inner core of the Earth, a Sphere consisting of a solid mass with a radius of about 1,200 km, is mainly made up of iron. However, seismic observations have shown that elastic waves pass more rapidly through this core in directions that are parallel to the earth’s axis of rotation than in directions parallel to the equator­-a phenomenon that has not been previously explained. At the high temperatures that prevail in the core of the Earth, these waves should pass at the same speed regardless of their direction.

In the present study, scientists from 'Uppsala' University and KTH present an explanation for this puzzling characteristic. The new publication in Science is part of a series of articles published by the same research team in Nature and Science. Initially, in 2003, they published strong theoretical proof that the Earth’s core assumes the so-called body-centred Cubic Crystal structure at high temperatures­-a structure that despite its high degree of symmetry evinces a surprisingly high level of elastic anisotropy, that is, its elastic properties are contingent on direction. This theory about the ‘Crystal’ structure directly contradicted the then prevailing view, but since then the theory has found both experimental and theoretical support.

In this new study the researchers present simulations of how seismic waves are reproduced in iron under the conditions that prevail in the core of the Earth, showing a difference of about 12 percent depending on their direction-­which suffices as an explanation for the puzzling observations. First the trajectories of movement were calculated for several million atoms in strong interaction with each other. On this basis, the scientists were then able to determine that the progress of the sound waves was actually accurately described in the computer-generated model for iron under the conditions prevailing in the core of the Earth.

"We found that the body-centred Cubic structure of iron is the only structure that could correspond to the experimental observations," says Börje Johansson, professor of condensed-matter theory at ‘Uppsala’ University. The Earth’s heat balance, like its magnetic field, is dependent on the amount of heat that is stored in the inner core of the earth. These conditions, in turn, are dependent on the Crystal structure of the iron in the inner core. Previously these estimates were based on models deriving from the hexagonal structure of iron in the inner core. The Swedish scientists’ discovery will now entail a critical revaluation of the cooling off of the Earth and of the stability of its magnetic field.

"This study opens new perspectives for our understanding of the Earth’s Past, Present, and Future," says Natalia Skorodumova, a researcher at the Department of Physics and Materials Science. In their studies these researchers have used models based on the so-called density-functional theory for which Walter Kohn was awarded the 1999 Nobel Prize. The calculations were carried out using the most powerful parallel supercomputers in existence, in Stockholm and Linköping.

The body-centred ‘Cubic Crystal’ structure forms a Cube with 'Atoms in each corner' and a further Atom in the 'middle of this Cube.' It is oriented in such a way that its great diagonal is directed along the Earth’s axis of rotation, which makes it possible for the iron to evince sound propagations with the velocities observed. (Journal reference: Anatoly B. Belonoshko, Natalia V. Skorodumova, Anders Rosengren, Börje Johansson. Elastic Anisotropy of Earth's Inner Core. Science 8 February 2008: Vol. 319. no. 5864, pp. 797 - 800 DOI: 10.1126/science.1150302)

ELECTROMAGNETIC WAVES OF THE ELF BAND PLAYING SCHUMANN'S WALTZ

Of course there isn't a Rubik's Cube at the centre of the Earth let alone that of a Hell-raiser Lemarchand box at its core; but then one could construe that the Cube at the centre of the Earth is affecting ones Rubik Cube Consciousness like a Lemarchand box, whereby leading one to the Schumann Resonances (SR), which are a set of spectrum peaks in the extremely low frequency (ELF) portion of the Earth's Electromagnetic field spectrum. Schumann resonances are global Electromagnetic resonances, excited by lightning discharges in the cavity formed by the Earth's surface and the ionosphere.

This global Electromagnetic resonance phenomenon is named after physicist Winfried Otto Schumann who predicted it mathematically in 1952. Schumann Resonances occurs because the space between the surface of the Earth and the conductive ionosphere acts as a closed waveguide. The limited dimensions of the Earth cause this waveguide to act as a resonant cavity for electromagnetic waves in the Electromagnetic-Light-Frequency (ELF) band. The cavity is naturally excited by electric currents in lightning. Schumann resonances are the principal background in the electromagnetic spectrum between 3 and 69 Hz, and appear as distinct peaks at extremely low frequencies (ELF) around 7.83, 14.3, 20.8, 27.3 and 33.8 Hz; it is no coincidence, that the Brainwave frequency of most vertebrates is around that value, although that of industrialised modern humans is often higher. However, the dominant Brainwave frequency of sensitives, such as Shamans and Healers comes close to 7.83 Hz and may, at times, beat in phase with the Earth's 'Signal,' thereby causing Harmonic Resonance.

If a Shaman is in tune with the Earth's 'Signal,' perhaps the Shaman can in turn affect it by accessing Trance, which enables the Shaman to manipulate the 'Signal,' or should one say that of the underlying 'Tuonela' program to reprogram; this would be akin to reprogramming a Virtual Reality, but more likely that of 'Gliding' into an Alternate possibility to thence manifest as an experiential reality. If there be many an Alternate Reality, may be each has its own Schumann Resonance, like that of a 'Song' that the Shaman can tune into when to fathom the Rubik's Cube puzzle of the Multiverse to ride as a Tesseract Sleipnir to thereby 'Glide' into another world, whereby one has ones Lemarchand box Language of the Birds. Should one look at the scenario from a Cybernetic perspective each Alternate Earth Cube of Dodechahedron Spacetime has its own underlying 'Mechanical Language' of a Microcosmic Informational frequency, which determines ones Macrocosmic 'Higher Language' experience of an experiential reality. Just a possibility of course, but then the entirety of ones existence actually exists within ones head, for it be ones neural-net of the Brain, which puts together ones Macrocosmic experience of reality via ones Five senses like that of a TV set tuning into a frequency of a 'Signal,' which by analogy is that of a Song trembling the Microcosmic Wyrd Web of Super-Strings. One is only tuning into but a portion of reality, which could be that of a Hologram among many others of a Dodecahedron Matrix.

NASA discovered that the physical condition of early Astronauts deteriorated severely whilst in Outer Space, whom were disconnected from the Schumann Resonance of the Earth. The problem was solved by introducing the "Schumann Simulator" into all space shuttles, a magnetic pulse generator mimicking the Earth's frequency. This demonstrates the simple fact that we cannot be healthy if disconnected from the "natural biological frequency" of the Schumann resonance Web of the Earth's Dodecahedron Matrix.

HYPERCUBE CRYSTAL CORE DODECAHEDRON PIEZOELECTRICITY

If one perceives that the Earth has a Crystalline structure it thereby leads one to the phenomena of: "Piezoelectricity, which is the ability of some materials (notably Crystals, certain ceramics, and biological matter such as bone, DNA and various proteins) to generate an Electric Field or Electric Potential in response to applied mechanical strain. The effect is closely related to a change of polarization density within the material's volume. An applied stress/strain induces a voltage across the material, and this voltage will reduce and dissipate if a current is allowed to flow. In order to run a chronic electric load (such as a light bulb) on a Piezoelectric device, the applied mechanical stress must oscillate. For example, if you had such a device in your shoes, you could charge your cell phone while walking but not while standing. The word is derived from the Greek Piezo or Piezein, which means to squeeze or press.

The Piezoelectric effect is reversible in that materials exhibiting the direct Piezoelectric effect (the production of an electric potential when stress is applied) also exhibit the reverse piezoelectric effect (the production of stress and/or strain when an electric field is applied). For example, lead zirconate titanate crystals will exhibit a maximum shape change of about 0.1% of the original dimension.

The effect finds useful applications such as the production and detection of 'Sound,' generation of high voltages, 'Electronic Frequency Generation,' microbalances, and ultra fine focusing of optical assemblies. It is also the basis of a number of scientific instrumental techniques with atomic resolution, the scanning probe microscopies such as STM, AFM, MTA, SNOM, etc., and everyday uses such as acting as the ignition source for cigarette lighters and push-start propane barbecues." Perhaps ones ancestors utilised this understanding in order to tap into a Free-Energy source since the Dodecahedron Earth is under constant 'mechanical' stress from other outside cosmic bodies such as the Moon and Sun, which the likes of Nikola Tesla was investigating whom certain others ignored while cooking their Texan Oil burgers over Middle-Eastern propane barbecues. However, ones ancestors often related throughout the ages that ones experience of a Dodecahedron world is the stuff of Maya like that of a Simulated Virtual Reality.

It just so happens that the present Cosmologists now perceive that the shape of the Universe its self is likened to that of a Dodecahedron, whereby one has a Multiverse of Dodecahedron shaped Parallel Universes. As for the Crystalline form of a Dodecahedron, although enlosed of system one has the Crystalline structures of 'Fractals,' within whose enclosed forms one finds Infinity like that of the 'TARDIS' effect, whereupon one could say one is lving within a 'Fractal Universe, which is powered by its own intrinsic structure affected by mechanical stress.' One could even conjecture that the Dodecahedron lattice of a vast imaging Grid of a Web, which underlies the Universe indicates one is in fact living within a Holographic Universe among many others of Parallel Hologram Universes.

Should a Time Machine be built, perhaps it will be based upon the Dodecahedron model of the Universe its self, which will not only allow for Dimensional travel but also Spatial travel like that of Dr Who's TARDIS; but then it may be already here around us now, which be the very Dodecahedron Universe one is living within of a TARDIS; however one isn't as yet able to figure out its subtle instrumentation, like that of finding out where the numerous Time portals are along its Dodecahedron Grid of a Web, let alone that of tapping into its Free-Energy supply. May be the Russian research into the 'Wyrd Web' of Grid will give one a 'Language' clue?

THE UNIVERSE MAY BE REVEALING ITS SHAPE, NEW FINDINGS SUGGEST

Oct. 6, 2004 - Special to World Science: "For centuries, scientists, philosophers and ordinary people have wondered whether the universe is infinite, and what its shape might be. In two recent studies, scientists say signals from the explosion that gave rise to the Universe may be leading them to answers to both questions.

 Some researchers say the universe may be shaped like a Dodecahedron, in which objects that go out one side come back in the opposite.  As for whether the Universe is Infinite, these signals point to “No,” the researchers say. As for its shape, if ever a shape could be at once hauntingly beautiful, yet impossible to draw or visualize exactly, this one might be it. But roughly, it would resemble a 'Dodecahedron,' a 12-sided box similar to some dice used in the popular role-playing game Dungeons & Dragons. Some researchers disagree with the findings. “I’d be happy to wager a bottle of scotch against the Dodecahedral Universe,” wrote cosmologist Ned Wright, of the University of California at Los Angeles, in an email sent over the web.

The Dodecahedral Universe claims are based on observations of the furthest reaches of our Universe. Since light takes time to travel, the further we peer out into space with telescopes, the further back in time we see. If we look far enough, we can see the aftermath of the “Big Bang,” a tremendous explosion that astronomers believe created our universe. The radiation from this explosion tells us some things about the early universe. In particular, it reveals the approximate density of different areas of the universe during that early time. Slight variations in the density of different parts of the early universe result in corresponding variations in the radiation’s temperature.

These variations follow patterns in space that, mathematically, are identical to the vibration patterns of a musical instrument as it’s being played. Such vibrations that they normally come at many size scales, depending on the size of the instrument. When a bell rings, there are large ripples that span its whole surface, and tiny ones, but none bigger than the bell itself. The size of the largest ripples would reveal the size of the bell. The Universe is thought to work similarly: the size of the biggest ripples could give astronomers some idea of the size of the Universe.

In the case of the Universe, ripples could conceivably be found in a very wide range of sizes. But they’re not found in all these sizes; ripples larger than a certain size aren’t seen. The most natural explanation of this seems to be that space is finite, says Jean-Pierre Luminet of the Paris Observatory, France, and colleagues. This is because only a Universe of limited size could easily explain why the ripples are also limited in size. “Just as the vibrations of a bell cannot be larger than the bell itself, the density fluctuations in space cannot be larger than space itself,” he wrote in the research journal Nature.

This leftover light from the Big Bang – called the cosmic microwave background – may also reveal the shape of the Universe, Luminet and colleagues argue. They claim that the details of the ripples point to a Universe with a Dodecahedral form described by the 19th- and early 20th- century French mathematician Henri Poincaré. (However, Socrates insight far pre-dated Henri Poincaré, whereby one to wonder how Socrates knew?)

A peculiar aspect of this structure is that if we look out to one side of the Dodecahedron, we see not a boundary, but our own Universe all over again, as seen from the other side. It’s like a hall of mirrors, except that instead of seeing your face, you see the back of your head. In addition, you would see the images partially rotated. In the September 2004 issue of the research journal Astronomy & Astrophysics, a group of researchers write that they has found “hints” of the structure Luminet described. If space is structured this way, researchers believe that the cosmic microwave background should exhibit a specific pattern called “matched circles.” This means that as we peer into space, certain areas of the radiation should look the same as other areas.

In the paper, Boudewijn F. Roukema of Copernicus University, Torun, Poland, and colleagues wrote that the patterns they found “correlate unusually well” with the matched-circles pattern required by Luminet’s theory. However, at present it’s hard to prove that this is not a coincidence, they wrote. Wright is skeptical. The researchers “presented no evidence that this result was statistically significant,” he points out on his website. Luminet agrees: “Their result has to be confirmed by further statistical analysis,” he writes in an email. “The question remains open.”

If the findings turn out to be correct, professors may be kept busy for years explaining the shape of the Universe to students. This is because the Dodecahedron picture is an oversimplification. The actual theory has several strange twists. In some 'Video Games,' you can fly your spaceship off the edge of the screen and it comes back in from the opposite edge. A creature dwelling in the world of the video game would have the illusion of living in an infinite space, at least until it started moving around and realizing that things were repeating themselves everywhere. (What if one was able to find a way to go beyond ones self-contained Video Game of a reality in order to 'Glide' into another Video Game of a 'Simulation' via the 11th Dimension when one finds the right 'Angel' Angle of a Word!)

In the same way, we may have the illusion of living in a much bigger Universe than the real one, Luminet argues. This is because as we look far enough out with our telescopes, we begin to see the same objects repeatedly. However, we would see them partially rotated each time. The reason for this rotation is that it allows our Dodecahedral Universe to fit into a bizarre mathematical creation called a 'Hypersphere' – a concept that requires some explanation.

Most people would consider a circle Two-Dimensional, and a ball Three-Dimensional. In fact, a ball is sort of a Three-Dimensional version of a circle. In the same way, mathematicians have invented “balls” that exist in Four or more Dimensions. These objects are impossible to picture, but they are perfectly real in a mathematical sense; in other words, one can do calculations with them, just as with a circle and a ball.

Now, the surface of a normal ball, or sphere, is Two-Dimensional. Thus it makes sense that the “surface” of a Four-Dimensional ball would be Three-Dimensional. This surface of a Four-Dimensional ball is just as impossible to visualize as the Four-Dimensional ball itself, but nonetheless, mathematicians have given a name to this type of surface: a hypersphere. “ A Hypersphere is the 3-Dimensional surface of a 4-Dimensional ball,” wrote Luminet. Nineteenth-century mathematicians first devised the Hypersphere as a possible shape of the Universe. This served as a way to explain how space might be finite, yet have no boundary – just as the surface of a sphere has no boundary, yet doesn’t go on forever.

Understanding the Hypersphere is first step toward understanding what, according to some researchers, is the shape of the Universe. There is also another step or two. Consider a soccer ball (or as non-Americans call it, a football). Its surface is covered with Five-sided shapes, coloured black and white. These shapes are basically 'Pentagons,' but not quite normal Pentagons. Their edges are slightly bent, and their corner angles slightly different, compared to regular Pentagons. These alterations allow these “modified Pentagons” to fit snugly together on the surface of a ball. Otherwise, it couldn’t be a ball, but a shape like that of 12-sided die.

Now, return to the concept of a Hypersphere. Remember, a Hypersphere is the Three-Dimensional “surface” of a Four-Dimensional ball. If Pentagons – which are basically Two-Dimensional – tile a Three-Dimensional soccer ball, it makes sense that some sort of Three-Dimensional objects can be said to tile the surface of a Four-Dimensional ball. It also makes sense that these would be Three-Dimensional versions of the “modified Pentagons” described above.

These bizarre new objects are modified Dodecahedrons: in other words, that 12-sided die shape again, but with slightly “bent edges.” It takes 120 of them to fill a Hypersphere, the same way it takes 12 modified Pentagons to cover a soccer ball. In the case of the Universe, however, 119 of these Dodecahedrons would be illusory, because they are all repeating images of a single one. Nonetheless, the Hypersphere containing them is real – real enough to serve as a framework that determines the details of the shape and angles of the Dodecahedron.

One outcome of the Hypersphere framework is that objects leaving one face of the Dodecahedron come back in the opposite face, but rotated partially. To be exact, the amount of the rotation is '36 Degrees,' which also happens to be the 'ANGLE' by which your direction would change if you turned a corner while walking along the edge of a Pentagon.

Luminet admits that the accuracy of this whole theory remains to be confirmed. The claim that the Universe is finite remains unproven, he says; its confirmation will require a more precise measurement of the density of the Universe today. If the density is above a critical level, it will prove the Universe is finite, he says. A better measurement of the density could come from the Planck Surveyor, a European spacecraft planned for launch in 2007 to study the birth of the Universe. “Since antiquity humans have wondered whether our universe is Finite or Infinite,” Luminet writes. “Now, after more than two millennia of speculation, observational data might finally settle this ancient question once and for all."

YOU ARE LIVING IN A DODECAHEDRON MATRIX OF A SIMULATION

HOLOGRAPHIC UUNIVERSE: DISCOVERY COULD HERALD NEW ERA IN FUNDAMENTAL PHYSICS

ScienceDaily (Feb. 4, 2009): Cardiff University researchers, who are part of a British-German team searching the depths of space to study gravitational waves, may have stumbled on one of the most important discoveries in physics, according to an American physicist. Craig Hogan, a physicist at Fermilab Centre for Particle Astrophysics in Illinois is convinced that he has found proof in the data of the gravitational wave detector GEO600 of a Holographic Universe – and that his ideas could explain mysterious noise in the detector data that has not been explained so far.

The British-German team behind the GEO600, which includes scientists from the School of Physics and Astronomy's Gravitational Physics Group, will now carry out new experiments in the coming months to yield more evidence about Craig Hogan's assumptions. If proved correct, it could help in the quest to bring together quantum mechanics and Einstein's theory of gravity. In order to test the theory of Holographic noise, the frequency of GEO600´s maximum sensitivity will be shifted towards ever higher frequencies. The frequency of maximum sensitivity is the tone that the detector can hear best. It is normally adjusted to offer the best chance for hearing exploding stars or merging black holes.

Even if it turns out that the mysterious noise is the same at high frequencies as at the lower ones, this will not constitute proof for Hogan's hypothesis. It would, however, provide a strong motivation for further study. The sensitivity of GEO600 will then be significantly improved by using 'squeezed vacuum' and by the installation of a mode filter in a new vacuum chamber. The technology of 'squeezed vacuum' was particularly refined in Hannover and would be used in a gravitational wave detector for the first time.

Professor Jim Hough of Glasgow University, one of the pioneer developers of gravitational wave detectors, says: 'Craig Hogan made a very interesting prediction. It may be the first of a number of unexpected possibilities to be investigated as gravitational wave detectors become more sensitive.' Professor Bernard Schutz, Professor at the School of Physics and Astronomy, member of the Gravitational Physics Group at the School, and recently elected as an Honorary Fellow of the Royal Astronomical Society said: "It would be truly remarkable if GEO600 is sensitive to the quantum nature of space and time. The only way to confirm that would be to carry out controlled experiments, the results of which can be solely attributed to holographic noise. Such an experiment would herald a new era in fundamental physics".

Professor Dr. Karsten Danzmann, director of the Hannover Albert-Einstein-Institute, said: "We are very eager to find out what we can learn about the possible holographic noise over the course of the coming year. GEO600 is the only experiment in the world able to test this controversial theory at this time. Unlike the other large laser interferometers, GEO600 reacts particularly sensitively to lateral movement of the beam splitter because it is constructed using the principle of signal recycling. Normally this is inconvenient, but we need the signal recycling to compensate for the shorter arm lengths compared to other detectors. The Holographic noise, however, produces exactly such a lateral signal and so the disadvantage becomes an advantage in this case. You could say that this has placed us in the very centre of a tornado in fundamental research!

The smallest possible fraction of distance is called the 'Planck length" by physicists. Its value is 1.6 x 10-35 m – this is impossible to measure by itself. The established physical theories cease to function at this scale. GEO600 scientists are testing a theory by US physicist Craig Hogan, who is convinced he can hear the noise of space quanta in the data of the gravitational wave detector GEO600. Hogan suggests that the mirrors in an interferometer wander relative to one another in very rapid steps of the tiny Planck amount, that accumulate during the time of a measurement into something as large as a gravitational wave would produce. Hogan and the GEO600 scientists are following up the question whether a certain 'noise signal' in the data recorded by the detector can be traced back to the graininess of space and time.

Because of its innovative and reliable technology, GEO 600 has gained an excellent worldwide reputation and is considered a think-tank for international gravitational wave observation. It was here that the most modern lasers in the world were developed which are being used in all the gravitational wave observatories in the world today. Researchers at GEO600 are taking technology a step further with 'squeezed vacuum'. This technology is designated for use in the third generation of gravitational wave detectors.

GEO600 is a joint project of scientists of the Max Planck Institute for Gravitational Physics (Albert Einstein Institute, or AEI), Leibniz Universität Hannover, Cardiff University, the University of Glasgow and the University of Birmingham. It is funded jointly by the Max Planck Society in Germany and the Science and Technology Facilities Council in UK."

As important as the Double Helix was toward understanding DNA, the Dodecahedron is equally important toward understanding the Genetic code. Perhaps more so since it points to one possibly existing within a Simulation. One will also find that ones very DNA is Crystalline of form, whereupon that of a Fractal, enclosed of Finite shape yet internally Infinite when to look into its Fractal structure, which may lead one to that of an insight concerning Space and Time. One could perhaps apply 'Multiverse Theory' to Space while ones experience of Time may be investigated via the 'Simulation Hypothesis' to thereby merge of a Space-Time equation.

Should one take the 1960's Russian research seriously to thence apply it to ones Dodecahedron Universe it might just indicate where other civilisations are situated amidst its Finite structure of Gridded up Web, let alone that of discovering interesting anomalies, which ones ancestors considered to facilitate Time Slips into Alternate Worlds of innumberable Fractal realities existing within other Dodechahedron Parallel Universes going Ad-Infinitum of number. Perhaps ones ancestors had already Gridded up the Universe as a Dodecahedron of Twelve Pentagonal slabs, which now be ones Zodiac, whereby one has the esoteric saying: "So Above, So Below."

There is an interesting analogy concerning the Dodecahedron of a Grid, which is that of a Virtual Reality Grid. "The 'Virtual Reality Grid' is a 'Matrix' of sensors that allows a Virtual Reality system to track and respond to relatively large scale human movement. To get high-performance animation of parts in the world, computer-created objects should act in requisite harmony with the tangible, living, or similar rules to which their genuine counterparts conform so that the artificially constructed parts seem realistic to higher-order processing by the human brain in addition to lower-order sensation. It is not enough for Virtual Reality (VR) to have a geometric object appear like a cube; it also should behave reasonably like a geometric object when someone engages with it. This standard is more challenging as the physical and living complexity of the artificially-simulated world increases. For example, simulating a living living entity is more difficult than artificially creating a room of low-level cubes, spheres, and other shapes." Ones experience of Time could be that of a 'Simulation' among many others, which are running parallel of Alternate.

DON'T LOSE YOUR HEAD OVER THE POOR LET THEM EAT CAKE

One of the best-known, and earliest, examples of a documented Time Slip was reported by two English women, Charlotte Anne Moberly (16 September 1846 - 7 May 1937) and Eleanor Jourdain (1863–1924), both of whom were the principal and vice-principal of St Hugh's College, Oxford, who believed that they had slipped back into time while visiting the gardens of the Petit Trianon at Versailles during the summer of 1901 to then find themselves walking amidst the era of the French Revolution.

C A E Moberly's account of her experience at Versailles records:

"We walked briskly forward, talking as before, but from the moment we left the lane an extraordinary depression had come over me, which, in spite of every effort to shake off, steadily deepened. There seemed to be absolutely no reason for it; I was not at all tired, and was becoming more interested in my surroundings. I was anxious that my companion should not discover the sudden gloom upon my spirits, which became quite overpowering on reaching the point where the path ended, being crossed by another, right and left…Everything suddenly looked unnatural, therefore unpleasant; even the trees behind the building seemed to have become flat and lifeless, like a wood worked in tapestry. There were no effects of light and shade, and no wind stirred the trees. It was all intensely still."

Eleanor Jourdain's report of the same event states that:

"There was a feeling of depression and loneliness about the place. I began to feel as if I were walking in my sleep; the heavy dreaminess was oppressive."

VANISHING HOTEL OF YESTERDAY GONE TOMORROW OF PRIOR TIME LEADING TO WAR

A widely-publicised case from October 1979, which was featured in the ITV television series ‘Strange But True,’ concerned the Simpsons and the Gisbys; the two British couples were vacationing in the north of France in 1979. While driving, looking for a place to stay for the night, along the way, they were struck by some signs that seemed to be for a very old-fashioned type of circus. The first building they came to looked like it might be a motel, but some men standing in front of it told the travelers it was "an inn" and that a hotel could be found down the road. Further on, they did find an old-fashioned building marked "hotel." Inside, they discovered, almost everything was made of heavy wood, and there seemed to be no evidence of such modern conveniences as telephones. Their rooms has no locks, but simple wooden latches and the windows had wooden shutters but no glass. In the morning, as they ate breakfast, two Gendarmes entered wearing very old-fashioned caped uniforms. After getting what turned out to be very bad directions to Avignon from the gendarmes, the couples paid a bill that came to only 19 francs, and they left. After two weeks in Spain, the couples made a return trip through France and decided to again stay at the interesting if odd but very cheap hotel. This time, however, the hotel could not be found. Certain they were in the exact same spot (they saw the same circus posters), they realized that the old hotel had completely vanished without a trace. Photos taken at the hotel did not develop. And a little research revealed that French Gendarmes wore uniforms of that description prior to 1905.

Reports of Time Slips vary as to whether those experiencing the phenomena can take an active part in the event, interacting with the time being 'visited.' In the Versailles case, the two ladies were apparently seen, and spoken to, by people whom they saw. The French holidaymakers in 1979 went further, staying in a hotel and eating dinner and breakfast in the course of their experience. Both these cases are also unusually prolonged experiences, taking place over at least several hours.

In other cases, the subject is a passive observer of the 'past' scene, and it seems that the 'typical' Time Slip lasts only a matter of a few minutes.

Many Time Slip witnesses report that prior to the manifestation of the phenomena, their immediate surroundings take on an oddly flat, underlit and lifeless appearance, and normal sounds seem muffled. This is sometimes accompanied by feelings of depression and unease. In some respects, this facet of the phenomenon is similar to the Oz Factor, which was identified by the British UFO researcher Jenny Randles in some reports of encounters with supposed extraterrestrial craft, which no doubt generate powerful Electromagnetic Fields.

THE VORTEX EYE OF A TIME STORM BLOWING OF ANOTHER WAR TO COME

In 1935, Air Marshal Sir Victor Goddard of the British Royal Air Force had a harrowing experience in his Hawker Hart biplane. Goddard was a Wing Commander at the time and while on a flight from Edinburgh, Scotland to his home base in Andover, England, he decided to fly over an abandoned airfield at Drem, not far from Edinburgh. The useless airfield was overgrown with foliage, the hangars were falling apart and cows grazed where planes were once parked. Goddard then continued his flight to Andover, but encountered a bizarre storm. In the high winds of the storm's strange brown-yellow clouds, he lost control of his plane, which began to spiral toward the ground. Narrowly averting a crash, Goddard found that his plane was heading back toward Drem. As he approached the old airfield, the storm suddenly vanished and Goddard's plane was now flying in brilliant sunshine. This time, as he flew over the Drem airfield, it looked completely different. The hangars looked like new. There were four airplanes on the ground: three were familiar biplanes, but painted in an unfamiliar yellow; the fourth was a monoplane, which the RAF had none of in 1935. The mechanics were dressed in blue overalls, which Goddard thought odd since all RAF mechanics dressed in brown overalls. Strange, too, that none of the mechanics seemed to notice him fly over. Leaving the area, he again encountered the storm, but managed to make his way back to Andover. It wasn't until 1939 that that the RAF began to paint their planes yellow, enlisted a monoplane of the type that Goddard saw, and the mechanics uniforms were switched to blue. Had Goddard somehow flown four years into the future, then returned to his own time?

CAUGHT BETWEEN THE PYLONS OF CONQUISTADOR TIME

Dr. Raul Rios Centeno, a medical doctor and an investigator of the paranormal, recounted to author Scott Corrales a story told to him by one of his patients, a 30-year-old woman, who came to him with a serious case of hemiplegia - the total paralysis of one side of her body. "I was at a campground in the vicinity of Markahuasi," she told him. Markahuasi is the famous stone forest located about 35 miles east of Lima, Peru. "I went out exploring late at night with some friends. Oddly enough, we heard the strains of music and noticed a small torch-lit stone cabin. I was able to see people dancing inside, but upon getting closer I felt a sudden sensation of cold which I paid little attention to, and I stuck my head through an open door. It was then that I saw the occupants were clad in 17th century fashion. I tried to enter the room, but one of my girlfriends pulled me out." It was at that moment that half of the woman's body became paralyzed. Was it because the woman's friend pulled her out of the stone cabin when she was half entered into it? Was half her body caught in some temporal vortex or dimensional doorway? Dr. Centeno reported that "an EEG was able to show that the left hemisphere of the brain did not show signs of normal functioning, as well as an abnormal amount of electric waves."

HYPERSPATIAL HIGHWAY INTO THE PAST WHEN MANY WEPT OVER THE FALLEN

In October, 1969, a man identified only as L.C. and his business associate, Charlie, were driving north from Abbeville, Louisiana toward Lafayette on Highway 167. As they were driving along the nearly empty road, they began to overtake what appeared to be an antique car traveling very slowly. The two men were impressed by the mint condition of the nearly 30-year-old car - it looked virtually new - and puzzled by its bright orange license plate on which was stamped only "1940." They figured, however, that the car had been part of some antique auto show. As they passed the slow-moving vehicle, they slowed their car to get a good look at the old model. The driver of the old car was a young woman dressed in vintage 1940s clothing, and her passenger was a small child likewise dressed. The woman seemed panicked and confused. L.C. asked if she needed help and, through her rolled up window, indicated "yes." L.C. motioned for her to pull off to the side of the road. The businessmen pulled ahead of the old car and turned onto the shoulder of the road. When they got out... the old car had vanished without a trace. There were no turnoffs or anywhere else the vehicle could have gone. Moments later, another car pulled up to the businessmen and, quite puzzled, said he had seen their car pull off to the side... and the old car simply vanished into thin air.

ALTERNATE WORLD MAD-MAX ROADHOUSE MUTANTS

One night in 1972, four coeds from Southern Utah University were driving back to their dorm in Cedar City after spending the day at a rodeo in Pioche, Nevada. It was about 10 p.m. and the girls were eager to get back to their dorm before curfew. They were traveling along Highway 56, which has a reputation for being "haunted." A while after taking a fork in the road that turned to the north, the girls were surprised to see that the black asphalt had turned into a white cement road that eventually ended abruptly at a cliff face. They turned around and tried to find their way back to the highway, but soon became concerned about the unfamiliar landscape - red canyon walls that gave way to open grain fields and pine trees, which they had never encountered before in this part of the state. Feeling completely lost, the girls felt some comfort when they approached a roadhouse or tavern. They pulled into the parking lot and one of the passengers poked her head out the window to get directions from a few "men" coming out of the building. But she screamed and ordered the driver to get out of there - fast. The girls sped off, but realized they were being chased by the men in strange, tri-wheeled, egg-shaped vehicles. Speeding again through the canyon, the girls seemed to have lost their pursuers and found their way to the familiar desert highway. The reason for the scream? The men, she said, weren't human.

AIR RAID OF BLOODY FUTURE BECKONING BACK

In 1932, German newspaper reporter J. Bernard Hutton and his colleague, photographer Joachim Brandt, were assigned to do a story on the Hamburg-Altona shipyards. After being given a tour by a shipyard executive, the two newspapermen were leaving when they heard the drone of overhead aircraft. They at first thought is was a practice drill, but that notion was quickly dispelled when bombs began exploding all around and the roar of anti-aircraft gunfire filled the air. The sky quickly darkened and they were in the middle of a full-blown air raid. They quickly got in their car and drove away from the shipyard back toward Hamburg. As they left the area, however, the sky seemed to brighten and they again found themselves in the light of a calm, ordinary late afternoon. They looked back at the shipyards, and there was no destruction, no bomb-induced inferno they had just left, no aircraft in the sky. The photos Brandt had taken during the attack showed nothing unusual. It wasn't until 1943 that the British Royal Air Force attacked and destroyed the shipyard - just as Hutton and Brandt had experienced it 11 years earlier.

THE OLD WOMAN AT THE CROSS-ROADS BETWEEN WORLDS REMEMBERING THE CHILDREN

John was a six-year-old in Stoke-on-Trent, England when his brush with the past occurred. He was on his way to school with his friend when they stopped to watch some builders working on some new houses. As they approached the site, they noticed an old cottage nearby. An old lady came out and offered John and his friend some lemonade, and they went into her house.

After leaving the cottage, they continued on to school, only to discover that it was almost 4 o'clock and school was just closing. They had left home at 1:30 p.m. on a journey that should have taken about 20 minutes! The next day, John and his friend took the same route to school, but to their amazement there was no sign of any cottage or the old lady they had seen the previous day. The only explanation seems to be that John and his friend experienced some sort of time slip in which for a few hours they were transported back to an earlier time when indeed a cottage, and its occupant, did exist on that land.

THIRD-TYPE FUTURE CIVILISATION TO VISIT AND BE VISITED IN TURN

Daisy and her friend Rick were driving to another friend’s house in September of 2004 in Rick's beat up old truck. "Suddenly, the truck's engine died and Rick and I were stranded on a deserted highway in the middle of the night," Daisy says. "We were surrounded on both sides of the road by cornfields that stretched into the distance.

"Rick began a desperate effort to restart the truck, but nothing seemed to work. We decided to walk to the nearest town about two miles away to find a payphone to call our friend. We walked for what seemed like hours and the town was nowhere in sight."

"However, just when desperation was about to grip us, we saw a light, a gloriously bright light, shining over the steep hill ahead of us. We ran up the hill that blocked us from the light and were flabbergasted by what we saw. Just over the hill, Rick and I saw what could only be described as a futuristic city with lights streaming out of every window of the massive, metallic towers. In the middle of the futuristic city was a huge silver dome."

"I stared at the city, stunned, until Rick elbowed me, which pulled me out of my trance and he pointed to the sky. Hovering above the city were hundreds of hovercraft. One flew toward us with amazing speed."

"Rick and I were so scared that we took off running back to the broken down truck. I never looked back, but I felt someone watching me the whole way. When we got back to the truck, it started without difficulty. Rick and I took off as fast as we could in the opposite direction. We never went back or spoke of it again to this day."