Home Guidelines Reading Alternative Grail Psychonautics
Lydia's Well Gnostique Gaia-Sophia Magdalene Living Myth
Sky Lore 2012 S h i f t Rite Action

 

 

Site Guide

 

 

 

 

Director's Cut

Editing the World Movie

 

I began to ponder what happens at the end of the Kalpa one afternoon at Adyar, the world headquarters of the Theosophical Society near Madras, India. I had just turned nineteen years old. Sitting in the musty library that looks out on the lotus pool, I came across the word manvantara in The Secret Doctrine by Madame Blavatsky. I began then to puzzle long and hard over that word.

Front view, world headquarters of the Theosophical Society, Adyar.

Blavatsky explained that manvantara is composed to two words, manu and antara, with the u converted to a v for ease of pronunciation. (You find the same trick in the world evangelic, derived from eu-, "health", and angelos, "messenger", where the u changes to a v.) Manvantara is thus the interval (antara) of time between the reigns of two manus. Such was the baffling clue that kicked off my pondering upon Kalpic timing, the Days and Nights of Brahman, the identity and role of the Manus, and the mysterious pralayas, cosmic intermissions, intervals of inactivity or missing time between immensely long cycles of cosmic manifestation -- now understood according to Gnostic intel pertinent to the Fallen Goddess Scenario as phases or stages of Aeonic experiments unfolding in planetary laboratories. Whew.

Kalpa (Sanskrit, "correct measure," equating to the Greek kairos, "opportune moment") is the term for a period of cosmic timing which I have defined, based on astronomical studies, as 25, 920 years, the interval of one full precession of the equinoxes. Kalpa-kairos is a loose term. But this definition in precise, limited astronomical terms is particular to me. The Kalpa is the long-term, encompassing timeframe for events in a planetary experiment. The manvantara is the pause or intermission between such events.

In plain English, it all comes down to this: Brahmanic tradition preserves an esoteric concept (manvantara) that describes how the world-process periodically ends, takes a break, and begins again -- comparable to the interlude between two parts of a long feature film. The mysterious part of this concept is how the movie of world history in which we are acting can suddenly be interrupted, broken off, only to be picked up again later after the break (antara, interval). In this concept, the 'Manu" is the "culture-hero" or divinely inspired overseer of the world-process, the mastermind of the plot -- in the cinematic analogy, the director who also knows the script or perhaps has written it (auteur: writing and directing).

The breaks between manu-periods are paced according to an all-encompassing frame of Kalpas, cycles of cosmic timing measured by the precession of the equinoxes. Hence, "the end of the Kalpa" refers to the breakoff moment, suddenly, when the world movie ends. Manvantara ensues. Intermission follows. WFT?

It is extremely baffling to consider this concept because the human mind balks at the idea that the world event could be broken off with the suddenness of a film. The human tendency is to expect some kind of catastrophic event to cause an end of the world scenario. But even were such an event to happen, it would not entirely end the world process, it would merely change the material basis for it -- by the destruction of certain living conditions of a planet, for example. Life itself would continue.

Once you begin to entertain the idea that the world event, including what we call history in linear time, is projected like a movie from a supernatural source, you can allow the possibility that the world movie ends in a way that differs from any world-ending scenario previously conceived.

Cinematic Metaphor

My current conception of the Kalpa takes form in language framed in cinematic terms: film projection and editing. It recently dawned on me that the difference between the end of the Kalpa as it normally elapses, according to the Aeonic protocols for a planetary experiment, and the anomalous ending now underway due to Sophia's Correction, could be described by a film-editing analogy. Needless to say, first you have to know what happens "routinely" (!) in the turnover of the Kalpa to know what happens in the anomalous case now unfolding. Do I have your attention yet?

My insight about "editing the world movie" is rather complex and intricate. Or perhaps not. You decide. While you are working out if you can follow me on this riff, or even care to do so, consider this analogy: film-making requires the technical process of editing, cut and splice. Perhaps not today, but cast your mind back, if you can, to the time when movies arrived at your local theatre in cans or canisters. Usually a film ran in three reels, but longer ones in five reels. The projector booth had to house two projectors. The projectionist would mount the first reel and starting running it, but also prepare the second reel so that then the first length of footage ran out, all the film from the can having run through the machine, he would switch immediately to the other projector to continue the film running on the second reel. Back again to the first projector, for the third reel, and so on.

I invite you to imagine a five-reel feature for the complete Kalpa of approximately 26,000 years, measured by star timing. The world movie runs to its end approximately every 26,000 / 5 years or 5200 years. In other words, in this model the Kalpa breaks down into five 5200-year sub-cycles. The current and concluding cycle, the fifth reel, runs from 3012 BCE to 2216 CE. We are now living at a moment 200 years or about 11 minutes of Aeonic "screen time" from the end of the Kalpa.

Kalpa Timeframe Analogue

360 degrees of equinoctial precession at 1 degree/72 years = 25,920 years, one Kalpa of five sub-phases

25,920 years = 1 day of Aeonic time

/24 = 1080 years, one hour of Aeonic time

/60 = 18 years, one minute of Aeonic time

/60 = .3 years, or 108 days, one second of Aeonic time

2016 to 2216 CE = 200 years / 18 = 11.11 minutes of Aeonic time left in this Kalpa. (Note 216 years = 6 x 6 x 6)

***Calculations and correlations exclusive copyright John Lash

So, the complete analogy I propose for "editing the world movie" requires a five-reel feature film, each reel running about five hours. In the normal routine of cosmic timing, the Aeons project a five-reel feature film to the end of the Kalpa, then they "reel up" the next film, the sequel, also consisting of five reels of five hours each. Reflect on this concept for a while, and be certain that you can grasp it clearly, so that you can advance to the exception or anomaly that now transpires in the five-reel sequence.

Splice-Over

In Correction, the fifth reel does not run out its footage as normally. Rather, the Aeon Sophia performs a cut-and-splice, editing the movie at the last 11 minutes of the full-length twenty-five hour spectacle. Yet, at the same time, the original feature film keeps running down to its conclusion. How is this bizarre edit possible? The splicing trick does not substitute an eleven-minute strip at the end of the reel, in place of the film that is currently running. Instead, it overlays the existing celluloid with a second strip of footage: a splice-over. In electrical work, such a device is called a rat-tail or pig-tail splice.

Wikipedia: A rat-tail splice, also known as a twist splice or a pig-tail splice, is a very basic electrical splice that can be done with both solid and stranded wire. It is made by taking two or more bare wires of the same diameter and wrapping them together symmetrically around each a common axis. The bare splice can be insulated with electrical tape or other means.

Rather than wire, imagine two strips of superposed film running through the sprockets of the projector in the last eleven minutes of the fifth reel. The two strips of footage are intercalated, interwoven, braided, as DNA strands are braided -- equivalent to a pig-tail splice. Obviously, however, Sophia's spliceover involves an overlay of two strips of film rather than braiding -- yet the image of braiding is still relevant, indeed, highly pertinent (see below).

The splice-over causes the anomaly of two films projected simultaneously on the same screen. One strip shows the human experiment running to the midnight hour, the turnover of the Kalpa in 2216 CE, as it unfolds without the human actors participating in Correction. The other strip is the Aeonic Mother's rewrite of how the experiment ends according to her desire, facilitated by her witnesses and those who align to her designs and purposes -- the director's cut. Wikipedia definition:

A director's cut is an edited version of a film (or television episode, music video, commercial, or video game) that is supposed to represent the director's own approved edit. 'Cut' explicitly refers to the process of film editing; in preparing a film for release, the director's cut is preceded by the assembly and rough editor's cut and usually followed by the final cut meant for the public film release. Director's cuts of film are not generally released to the public, because on most films the director does not have a final cut privilege.

The characters, props, actions, and settings of both films are nearly identical at first, but diverge more and more as the final frames of the fifth reel run past the projector beam.

In Correction, cosmic projection directed by the Aeon Sophia is running two films at once on the same screen.

At the end of the Kalpa in 2216 the unedited movie ends, and the entire five-reel "feature film" ends, to be followed by its sequel, coming next: "Son of Man, II," for example. But the splice-over running simultaneously does not end in the same way at that moment. As it diverges from the unedited film during those final minutes, the splice-over footage projects the opening scene of a new feature film, playing now, already starting before the Kalpa turns over. Hence, the five-reel feature based on the director's cut begins before the fifth reel ends, and the movie it plays gradually separates over 200 years from the other feature in simultaneous play.

Detail of a mechanical feeder of a film projector designed to run at 32 frames a second. The perforated celluloid footage, fitted to the sprocket teeth, is fed through the projector apparatus and drawn along by the rotating sprockets.

Bear in mind that the actions, props, and characters with their memories and histories in these two films are the same. And the running plots are initially similar, but they diverge sharply from the moment splice-over begins, eventually to reveal two distinct plots in development at once. The splice-over footage carries the opening scenes of a new feature film that will continue when the unedited fifth reel runs out. Hints of the new film begin to flicker on the screen as soon as splice-over starts running, and continue becoming more distinct and clearly distinguishable as the unedited film runs to its end. As this happens, some actors in the world movie notice the discrepancies in detail, decor, product placement, dialogue, setting, plot.... Pause and consider this extraordinary situation.

Threading film into a projector. Picture the splice-over as a second strip of film, equal to 11 minutes of screen time, inserted in the process of running the last reel. Picture the splice-over footage pinched in the fingers of the right hand, about to be threaded into the spooling mechanism where the first film is already running. This action is not inconceivable mechanically. It would require a separate set of sprockets attached to the body of the projector, so that the splice-over footage could be fed to the projection beam on an independent mechanism. Hold that analogy.

Only by subtle, fleeting, and baffling divergences, seemingly trivial at first, can those who are living in the world movie detect that there are two reels running simultaneously. As they do so, they note odd, startling, and seeming trivial discrepancies in what they remember about the footage that has already elapsed. The proof that Correction (the director's cut) is real and reaching the "mainstream" or mass mind of the human species comes to be detected when some people notice that their memories do not correspond to the current record of the film. Certain details of local settings, household decor, lines of dialogue, names and other commonplace features, are not as they remember them to have been. This baffling phenomenon gradually leads some actors to infer that the total cast of the film -- the world population -- is operating on two distinct memory-lines. This is a proximate but accurate inference.

Aeonic Inception

The film Inception (2010) was written and directed by Christopher Nolan, who also did The Prestige (2006), a film about theatrical magic and twinning, doubling. Inception tells the story of a career thief who steals information by infiltrating the subconscious of other people. In an exceptional situation, he is offered the opportunity to apply his skill to the extremely delicate and complex mission of inception: implantation of another person's intention into a target's subconscious. In short, he will plant an intention, or the idea for an intention, in the subconscious of the target, rather than steal stored information.

Vast discussion has arisen around Nolan and his grand schemes involving dream, time, memory, and doubling. Inception was quite a mess in all respects from casting to editing, hard to follow, too complicated, too contrived. But the title of the film survives as a meme referring vaguely to some kind of occult manipulation of mind and memory. I have noted that "inception" could be a translation of the Greek word pronoia found in Coptic-Gnostic writings, where scholars translate it as "providence." Hence, providence is the fore-knowing of God which in-cepts/intercepts events in the human world. Such is the idea considered along traditional lines.

The Aeonic power of pronoia can be equated to the cosmic projection. Every experiment designed in the galactic core and played out in a planetary laboratory somewhere in the galactic arms is a true divinely directed inception event. The cinematic analogy for cosmic projection introduced here cannot be exhausted by the human mind. Listen closely to the recorded talk that comes along with this text.

Recall that I said that Aeonic projection of the world movie shoots and plays the film in the same action. Or did I say that? Imagine a camcorder with the typical rectangular screen attached, where you see what you are filming. A model from Sony contains a projector option built into the camera: once you have shot some footage, say, of a cat playing with a ball of twine, you can activate that function and immediately see the film projected on a white wall. You shoot film in one action and play it in another.

But in cosmic projection, inception-pronoia, shoot and play are simultaneous. This is a concept that can be stated in plain English, but conveys something which hovers on the edge of inconceivability.

Cosmic Projection

Typical textbook representation of gene-splicing technique: recombinant DNA. Compare to the pig-tail splice above.

Everything is material. The films that run through the cosmic projection device (yet to be described!) are actually streaming DNA -- spooling narratives, in Gnostic jargon. It is as if you have a projector threaded with beaded DNA strands rather than flat celluloid. Instead of frames there are DNA triplets. More accurately, flattened plasma streams that act like photographic tape carry DNA code sequences in the material form of three-letter nucleic acid clusters, nucleotide triplets or codons: AGT, GAA, TGU, UUA. TAC... These sequences run through the Aeonic projector exactly as frames of film do. But in this great mystery, called Mahamaya, cosmic projection both shoots and plays the film at the same time.

Listen closely to me. I am not saying this to hypnotize you but to wake you up, to shift from a dead ignorant trance into an enlightened living trance. Director's Cut stands with the most advanced description given by a telestes, that a gnostic teacher can give to humanity today, drawing your mind to the far limit of its conceptual powers.

The textbook illustration of the technique of recombinant DNA, or gene-splicing, recalls the pig-tail splice. But the pictured structure of DNA, developed from the laboratory discovery made in 1953 by two scientists (Watson and Crick) under the influence of LSD, based on radiographs provided to them by a woman (Rosalind Franklin), also recalls celluloid bands of film braided together:

 

Imagine a projector that runs that kind of film. As the cosmic light source plays through the DNA bands, a single image forms like a column running down the center of the braid. The column is like the beam of a torch in which a 4-D picture-stream event is unfolding. Divine inception would add an overlay to one of the bands, causing a split image (initially detected as a "ghost" image or "glitch in the matrix") to occur in projection. Picture it.

The description of the full mechanism of cosmic projection remains for another talk and text. It relies on the ancient model of the "36 Tattvas" from Hindu Tantra. For the present exposition, one distinction has to be made clear and retained. Pronoia effectuates cosmic projection in two ways: the inception of the world event, and interception in the world event. So, in Correction, the Aeon Sophia uses the power of inception that effectuated or initiated the world event in which we live, to intercept that event while it is in progress. There are two uses of applications of pronoia here, two cases of inception. The second case of inception is identical to what has been called divine intervention.

This essay is intended to be taken for a complement to "Her Name Is Silence." where I explained that the Aeonic Mother is mute. She can speak or could speak, of course, but she chooses not to. She is mute by choice: her name is Silence! Do you see how that four-word statement conveys high initiatory knowledge? If you allow the analogy to film-making and regard Sophia as the director, then you don't imagine that the director will break into the set while the movie is being shot, pull out a bullhorn, and order everyone around to change the action, dialogue, setting. No, Sophia does not intervene in that way.

Rather, she intercepts the world movie through the mechanics of cosmic projection which she, as an Aeon, knows how to handle. The sacred narrative explains how Sophia, Thelete, and the entire company of Aeons engaged in a collective act of projection to emanate the Anthropos genome into the galactic arms. With pronoia, Sophia and Thelete designed the genome, and with another application of the same Aeonic power, supported by the entire company of Aeons, they projected it into the stellar nursery of the Orion Nebula. That is a very great fact that can and soon will eventually be proven by conventional astrophysics.

Fine, but what about the second application of pronoia, inception manifesting as divine intercession in Correction? Sometimes it takes fifty years or better to complete a thought, one single thought. Those many years ago at Adyar, I began to think about how the Kalpa ends. Like everyone else who contemplates this enigma, I needed to form a concept of the routine or standard mechanism of ending a Kalpa. I compare it here to the end of the five-reel feature film. Next follows the sequel, another five-reel extravaganza. But there is an intermission between screenings -- the manvantara, turnover of the Kalpa.

Such is the standard procedure. Now compare this to the Director's Cut for Sophia: she begins to screen a new film during the last 11 minutes of the old one. The new footage is not just 11 minutes long, however. Nope. The 11-minute splice-over carries the opening scenes of a new film that will continue to run when the "mainstream feature" concludes at the end of the fifth reel. Obviously, in that movie, there will be no intermission.

I have to admit, I wonder if "the fifth reel" could morph into a powerful meme -- or more properly named, a mneme? A NEEM.

Finally, if you have to ask -- and you do have to ask, if your wonder circuit is working as it was designed to do -- how can the Aeonic Mother actually accomplish this inception within the ongoing experiment? How can she technically and mechanically achieve it? Well, go back and look at the photo of threading a film into a projector. Picture the left hand touching the film running, just a light touch but it might effect the timing of the frame-stream, inducing anomalies in the pace of events, an odd faltering of time. Picture the right hand inserting the new film into the sprocket -- an action called "threading", of all things. The right hand deftly hooks the new film on the teeth so that it gets immediately drawn through the projector apparatus with the film already running, and both bands of celluloid stream before the projector light simultaneously.

As I noted in the comment on that photo, such an insertion of new footage could be mechanically plausible IF there were an additional apparatus installed within the body of the projector capable of holding the new footage and feeding it in paralleo with the footage already running. Just so, the Aeon Sophia achieves her Correction from the advantage of her anomalous condition, situated within the planetary experiment she projected from the galactic core. How is she able to correct the world event before the end of the Kalpa, the fifth reel? She does not change the ending of the old film but she overlays the footage with the Director's Cut, the version she originally dreamed of how it could play out, given that the Anthropos was left free to own and express its genius-level endowment, unhampered by extraneous deceit.

The insight that Sophia provides the projection mechanism for editing the world movie while it is running to the end of the fifth reel, and inserts a different ending to commence an alternative film, is the completion of the thought I began to have by the lotus pool at Adyar, in December 1965.

jll : November 3, 2016 Andalucia

 

 

 

 

 

 


Material by John Lash and Lydia Dzumardjin: Copyright 2002 - 2017 by John Lash.