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Have you noticed
similarities among
mandala motifs,
crop circles and
fractal images? Have you
noticed that they are frequently reported as being seen in dazzling
beauty by many who share their reports of near-death experience and
other altered states of consciousness? (Note: See the
UFO/NDE connection page) Similarities and connections abound.
As Pythagoras
taught,
Sacred
Geometry is an ancient, universal language
(land-guage). Geometric formations hold information and communicate
ideas; not necessarily at a cognitive level, but often at a cellular
level. They in-form
us cellularly, just as our cells, the building blocks of our physiology,
inform our bodies, providing a template for our development. Our cells
are vehicles of involution; the movement from spirit to matter, as well
as vehicles of evolution; movement from matter to spirit.
One
such tool of Sacred Geometry is the
Phi Ratio, the number 1.6180339...
(1.618 is commonly used)
The progression or development of the
whole of nature, from the subatomic to the supergalactic, follows this
ratio. The twelfth century Italian mathematician,
Leonardo P. Fibonacci, observed a predictable sequence of all
natural development as shown by a progression of numbers:
1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144,
ad infinitum.
[1 + 0 = 1] [1 + 1 = 2] [2 + 1 = 3] [3 + 2 = 5] [5 + 3 =
8] [8 + 5 = 13] etc.
The
Fibonacci Sequence demonstrates the idea that each stage of natural
growth or development refers to its prior state in order to take its
next evolutionary step. (This is not unlike
Piaget's principle of rapprochement in child psychology.) It
also follows the Phi Ratio, e.g. [5 X 1.618 = 8.09] or
approximately 8.0, and over the course of the sequence, 1.618... is
exact.
The spiral is a common element of Sacred
Geometry as well as to all natural development. Spirals in nature tend
to follow the Phi Ratio or Fibonacci Sequence in their rates of
expansion.
The
Sanskrit term mandala roughly translates to "magic circle" or
"sacred circle". Mandalas, ancient and modern, frequently offer
beautiful examples of radial symmetry and contain elements of Sacred
Geometry. They tend to act as activation templates of consciousness.
Carl G. Jung
studied mandalas from a wide field of world cultures and eras, as well as
having advocated for creating our own mandalas as vehicles of soulwork.
He noted that when we draw mandalas from the center outward, we tend to
process our personal issues or challenges du jour and often gain
increased clarity and energy which we can apply to our lives. We are
similarly informed simply by gazing at these designs.
The phenomenon of crop circles is also intriguing. These landscape images
have been seen for decades, primarily in agricultural regions, yet also
in the sands of the Sahara, in arctic snow, and may also be referred to
as sand circles or snow circles. Most often, they are found in northern
European countries, especially each summer in southwest England in
fields of grain and other crops. Since the early 1990's, they've
appeared in greatest number, often dozens per season. There has been
considerable speculation and controversy concerning their origin,
purpose and validity. There has also been the belief that the entire
phenomenon has been a hoax, however, it appears that the hoax theory
itself is a hoax.*
Among the interesting features of crop circles is that the crops are laid
over in such a way that the stalks are not damaged and continue to grow.
This seems impossible to replicate with mechanical means or even by
hand. Also, the stalks and surrounding soil are electromagnetically
altered, as measured with instrumentation.
Crop
circles are typically 100 – 200 feet in diameter, although one of 787
foot diameter occurred at Milk Hill in Wiltshire, UK, Aug., 2001. Many
of them resemble mandalas. Photograms and images of other shapes have
appeared in fields as well and many examples have been aerially
photographed. Several elements of Sacred Geometry appear in these
designs including
Platonic solids,
Vesica Pisces, pyramids or tetrahedrons, the
Golden Mean and more. Many angles of the designs follow the Phi
Ratio. Sometimes the designs are further articulated with apparent
reference to our solar system and other star systems as well as a form
of hieroglyphics, in a style reminiscent of Egyptian hieroglyphics. The
Qabalistic glyph of the Tree of Life has appeared in perfect
proportion, as well as symbols from other religious and spiritual
traditions. One photogram appeared in Aug., 2001, clearly depicting the
Face on Mars, even with a crop line across the face at the same angle
which is seen in the Viking (NASA/JPL) photographs of the actual
Face on Mars.
Of the myriad explanations of the crop circle phenomenon, one that seems
most relevant to me is that of one of my teachers,
Bashar, which he offered in a taped, group sharing in the early
1990's. In response to a participant's query, he stated that crop
circles are symbolic communication, preparing us for further contact
with other beings and other civilizations. Although there has been
speculation that these other beings are of extraterrestrial origin,
Bashar suggested that many of them are Earth inhabitants, but are
extradimensional beings within other dimensions or higher octaves of our
dimension. He also suggests that crop circles and crop formations (not
necessarily just the circles) are produced through the collective
consciousness of these beings and many humans engaged, in certain states
of consciousness, in awakening ourselves on a cellular level to higher
dimensions of awareness through this symbolic communication.
Fractal images represent the timely marriage between mathematics and
computer science. They are often thought of as a new art form as many of
them are quite beautiful and inspiring. Among their interesting
properties is "self-similarity" or "fractal recursion." This means that
if one zooms into any portion of such fractal imagery, infinite design
continues to unfold ... similar to peering more deeply into the atom or
peering further into deep space.
Prof.
Benoit Mandelbrot, a mathematician at Oxford University, discovered
a fractal formula in the 1960's, the
Mandelbrot Set, which is regarded as one of the classic fractal
formulae. Earlier in the 20th century, French mathematician
Gaston Julia, discovered a fractal formula referred to as the
Julia Set, characterized by spiral patterns which follow the phi
ratio and mimic the energy flow in various natural phenomena, including
the nautilus, lightning, spiral-armed galaxies, etc. Since their
discoveries, numerous fractal equations have been created. These designs
often carry elements of Sacred Geometry and communicate to us on many
levels, as well as dazzle us with their beauty.
I invite you, if you're so inspired, to peruse the following websites
and to draw your own conclusions concerning the myriad connections among
these subjects, including their relationship to altered states of
consciousness such as NDE.
Related websites on Sacred Geometry can be found here: (01),
(02), (03),
(04), (05).
 Dr. Mandelbrot delivered a lecture at
Oxford Univ. in 1991 concerning his discoveries associated with fractal
geometry and the Mandelbrot Set. In a slide presentation, he showed
several depictions of the Set, including the signature Mandelbrot image.
The following morning in a corn field a few miles from the university,
a crop circle appeared which perfectly depicted the Mandelbrot image.
Local residents were variously concerned, alarmed and intrigued by this
development. According to Dr. Chet
Snow and other sources, the British Army was called in by the
government that morning to burn the field and the design, and a
diversionary explanation for the media regarding the occurrence was
asserted. This was the birth of the hoax theory which suggested that two
Englishmen, known simply as
Dave and Doug, had been creating crop circles throughout the English
countryside for two decades, using little more that sticks and wooden
boards.
Although some crop designs may have been
created in a like manner by people, there is little comparison in size,
precision and measurable physical effects to the crops and the soil of
these, and the majority of crop circles discovered to date. Drunvalo
Melchizedek makes a distinction between 'dead' crop circles
(those made physically by humans) and 'live' crop circles.
In the late 1990's, several crop circle enthusiasts and cereologists
(those who study crop circles) captured on videotape the creation of
crop circles as described in the above text. What they had observed and
recorded showed two balls of light, each approximately the size of a
grapefruit, appearing above a field of crops, usually at night, moving
very rapidly in circular patterns, causing the crops to lay over and
forming complete designs in the course of 6 - 12 seconds. Then, these
balls of light quickly vanished in the sky. This has been recorded
repeatedly. Some of the video footage has been lab-tested in the US and
UK, verified as authentic and unmolested, and can be viewed on video
copies available commercially.
Mandalas
Phillip has drawn mandalas
from 1981 to 1994. Many of them contain elements of Sacred Geometry.
Many, especially those of his Inner Temple Series, show depth toward the
center, as if one could enter the mandala. People that have commissioned
personalized mandalas have sometimes reported that in gazing at them or
meditating upon them, they would have the experience of entering them
and gaining access to "soul information," as if their personal mandala
served as a consciousness grid or template which would facilitate a kind
of soul travel. Many of these designs were created in a meditative state
and the particular design elements would reveal themselves as he began
to move his pen. Several of the designs contain elements found in crop
circles which appeared in later years in southwest England. Most of them
are rendered in prismatic coloring and are generally intended to
communicate the idea that it is a beautiful experience to go inside
one's self.
Late in the night of August 17, 1987, while camping at the holy mountain
of Boboquivari, a very significant place of power in southern Arizona
for many Native Americans, Phillip was shown a most amazing and
indescribably beautiful light show of mandalas during an out-of-body
experience in which he experienced himself just outside of Earth's
atmosphere. He produced a number of mandalas following this experience
in which he attempted to replicate some of those visions.
The following examples show three types of mandalas that he has drawn:
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"Megamion"
© 11-'87 Phillip S. Mitchell |
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Megamion is an
example of the Medallion Series, which Phillip has chosen as
a personal logo. The pyramid and sun motif appears in
variations in many of his mandalas. |
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"Enheartenment"
© 10-'87 Phillip S. Mitchell |
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Enheartenment
is an example of radial symmetry with clockwise movement and
a center image that offers a glimpse of the cosmos,
suggestive of the idea of beauty and expansiveness in
traveling inward. Those that claim to see our chakras often
report similar rotation in them. |
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"Temple of Inner Space"
© 10-'87 Phillip S. Mitchell |
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Temple of Inner
Space is an example of the Inner Temple Series which offers
an inviting temple which one can enter, travel inward, and
thus access the heart of creation through their own being. |
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