I began my work on the Isisian Codes around the start of the popularizing of the Internet. Originally, I set the information into various "Wiccan" forums, one being "Ask a Witch Society". Those were the rough and tumble days of the Internet, and markets were still as fluid as plasma and formulating online niches were in the earliest of communal phases.
It was clear from the outset that the development of the Isisian Codes was going to be a difficult "sell", even as the formula was cleverly constructed against Western esoteric knowledge sets. Indeed, the development of the Isisian Codes has a unique history in that much of its development occured "online" and in total public view. There has never been an attempt to hide it, for the subject matter is difficult even as the premise is simple.
The first premise is the Alphabet is itself a hyper-dimensional representation of "the Word" as spoken of by various Initiated Systems, but especially those at the fragmentation period of Mdme. Blavatsky and the muddling of "white" Masonry with its darker, and more Setian influenced "Illuminatus" Bavarian systems such as the Black Lodge and O.T.O.
Two years before the release of the Matrix Reloaded, I had met up with the author Robert Baird, an recognised expert on the Initiatory Schools. I recall that he was not thoroughly convinced in my early presentations, but over time, as my efforts at communicating improved, and his efforts to understand what I was doing began to pay off, he slowly began to see that what I was doing was truly emulating from the depths of various Initiatory Systems.
I was not going to come in from the cold, and I had every intention of returning a birthrite to any interested in hearing.
So Robert Baird and I began an informal collaboration that continues to this day. Two years prior to the release of the original "National Treasure" by Disney in 2004, Robert Baird and I were trouncing into friendly territory or otherwise, he
Funny then when the site came out for "National Treasure", the entry point was set against a set of cipher wheels, and I recall much play about Oak Island, a subject Robert and I were working on ourselves some two years prior.
Film and Art as Disseminators of Hidden Knowledge
What we have seen in the past half decade or so is a rising tide of success for art, especially film and literature, that speaks with a subtle mystical clarity as to the nature of the Construct.
The Da Vinci Code scored a remarkable success hinting at the Kabballistic nature of the design, and yet with remarkable persistency, even as the inherent nature of imbedded ciphers in English are shown, so many people ignore what is set before them and presume that the only mystical truths are to be found in the Hebrew.
With D located at 4, we can show that the sum of 1:4 = 10
With T located at 4, the same, the result is of course the same.
And with N located at 14, this same pattern of summing the constituent digits in a correlational factor reveals yet the same again. It makes rational sense that a people imbedding ciphers into language constructs would too take into account the actual physiology of the design as the sounds are intonated.
Where better to hide the knowledge than in the sound itself?
Then who could forget "A Beautiful Mind", directed by Ron Howard, where a genius is tormented by codes inside his mind that of course, are but the result of schizophrenic ramblings? The message sent is clear. There are of course "codes", but beware if you seek to come to understand them. Another film hiding this little anomoly tells clear this message.
One is left to wonder if that is an intentional or a coincidental approximation of the Sanskrit glyph for OM in the upper left window pain, even as Theta = Pi.Delta. Even if true, you would only be hearing "voices in your head", for plausible denial is everywhere, even as some messages are more overt than others.
Like, the movie "The Number 23".
A man goes mad seeing the patterns of numbers appearing in all things, and especially the number "23". His fascination turns on his soul, and he appears to go more and more mad as the numbers from the Universe invade his conciousness and the connections become manifold within his personal universe.23. The Number of the Black Widow. The Spider and the Owl. The Sparrow = 110. 2/3 = .666. When does it end? Can it ever end, seing how all things are ordered really against 1-9 as a numbering system, with these ultimately reducing to non-linear 1's and 0's? Yet to deal in the reality of reality becomes a bit unsettling, so reality is simply inverted on its head: what is rational and sane is irrational and insane, and what is insane and irrational is seen as perfectly normal and ordinary.
The warning is clear. Do not conciously seek to enter "The Matrix" if you value your sanity. And yet, who really does not find an allure to the very temptation of precisely doing so?".
"Passing through the two dimensional sheet of code that formed the main title we enter a three dimensional world of code.
Drifting through a universe built of entirely phosphorescent characters, we begin to sense shapes."
Trinity
"I'm in."
"Suddenly, Trinity and the courtyard behind her disintigrate, overtaken by the frenzied mass of code as before. It shifts and seethes, a twisting digital mercury snakebed.
"We rush along the writhing landscape, ripping through the green arteries of the building, space and time ---
"Entering a code built elevator shaft, rocketing straight up, gaining on the rising elevator, passing through its bottom carriage ---
"Sizzling lines of code shoot through the body of a man, sending an electronic spasm through the code of his body, changing it, overwriting it.
"The Code world reforms."
And so is told another story eerily comparable to a form associated with "kabballah" as taught in the Initiatory Systems. Rising up (astral projecting), gaining on the rising elevator passing through its bottom carriage (the Sepherah to Tipheroth). So the experiences can be seen in the film idiology.But see where there is a Catch 22? Plausible denial is everywhere, even as it taunts and toys. This is simply the way "the Beast" plays, providing itself with a perfect knowledge and forcing upon you an imperfect foundation from which to try to solve the puzzle.
So everything I say is false, even if it incredibly lucid and true.
Neo stands at a window looking out over a sea of darkness gleaming with urban light.
Keymaker - Exactly three hundred and fourteen seconds.
Ghost - Five minutes.
Keymaker - That is the length and the breadth of the window.
