Tuesday, 8 July 2014

Crop Glyphs

Crop Glyphs: Allowing for Hope?

Daniel Rozman

There are currently 6492 crop glyphs documented and archived Their proliferation and evolution in design has escalated radically over the past quarter of a century. The phenomenal spirit of the glyphs has charmed the bullish, the meek, and all personalities between – thousands who have undertaken cross-thematic studies from their point of reference, from the standpoint of their professional background. Yet the murciriality of crop glyphs remains, and in climactical frustration a shroud of common denial has cast a shadow over that which would otherwise illuminate. For those who have avoided the trap of coyness, and treat the glyphs with significance, miracles have ensued.
Crop Glyphs have made their mark worldwide, but the concentration of the most evolved glyphs has occurred amidst the fields of England’s Wiltshire Triangle, which extends to Avebury, Stonehenge and Glastonbury. There are several features to this specific geography that are worth mentioning since they inform (even if only partially) the reason for glyph placement.
Geologically this area sits atop a vast aquifer. Research undertaken by Glenn Broughton in the 1990s showed that 94.6% of all crop glyphs occurred above underground water. This one observation makes an interesting point of study for anyone who concerns her/himself with the relational dynamics extrapolated by Tesla from his study of the Giza Pyramids. The energy of charged water beneath the Earth’s surface might be harnessed to project the impression on the compliant crop(s).
Additionally, the glyphs’ most common and deliberate placements are in close proximity to ancient sacred sites – monuments that have endured for millennia – for instance Silbury Hill and the West Kennet Long Barrow.
In 2005, Andreas Muller interviewed Credo Mutwa, who said in significant revelation that:
    “What you call Crop Circles is the same that what the Zulu call Izishoze Zamatongo and which means the designs or the writings of the gods. We have known about them for more than 4,000 years.”
Mutwa, the great Shaman, went on to state that the hundreds of thousands of megalithic structures (which Michael Tellinger is bringing to our attention at apace) were indeed stone monuments placed to venerate – in a worldly permanence – these very designs. This explanation would go a long way to explaining why England’s crop glyphs share so many similarities of geometric proportion, alignment and relationship, with the enigmatic henges of the area.
An immediate charm of the glyphs is found in their visual style, sympathetic to the self-organising fractal patterns of nature. As such, their designs, if studied (as has been done by the likes of John Michell, John Martineau & Michael Glickman), almost always offer mesmerizing sacred geometry extrapolations, and regularly clarify the definition of principles such as the golden ratio and squaring the circle – to name but a few.
To call something sacred is but another way of identifying something as eternal. The guiding force of God’s Universe would see that if something fell from the stars that thing (animate or inanimate, tangible or etheric) could find an immediate affinity with those things it interacts with on Earth. So to define sacredness, is to define eternity; only harmony can remain in such truthful perpetuity – not taking but simply being, and so always giving.
An artist would distinguish their practice by speaking about the medium through which they choose to communicate. In this case, the mark is left on a canvas of rolling fields nestled in wondrous vales. One might argue that theirs is an imposition on commercial crops, but has anything in the world with which we now interact not been appropriated and assigned an ownership designation? Nature’s natural product is being hurriedly tampered with in order to proliferate distortion feed and command patent-ability. The medium of that which sustains us (crop) and speaks to the future (seeds) should only be found to be upright. In the author’s opinion, in conceptual reflection the crop glyphs couldn’t present themselves in a more provoking medium.
Studies in the late ‘90s, collated by Nancy Talbott, demonstrated that the harvest yields associated with the affected fields were often boosted in statistical significance – almost as if to innately compensate in the language of commodity trade.
Furthermore, according to studies undertaken by the biophysicist William Levengood, seeds that had matured by the time of formations landing, would germinate to delivered boosted returns – again. Hence, uprightness has always been championed by this benevolent phenomena, their innocent impressions upon the rural landscape indicative of that which we might do well to revere once again.
The exhibition can be admired in person during a seasonal window beginning with Spring’s renewal and the culmination of Summer, again speaking to the cyclical nature with which we as a mass consciousness have become detached, to our own detriment.
When one holds barricaded, contemporary visual arts up against artistry found in the fields, there is simply nothing with as much innovation, context, concept, composition, scope for philosophical deduction, nor sheer humbleness.
We would do well to let go of any emotional attachment associated with the common argument of criminal damage, and let others try and reconcile this case against a backdrop of watchful farmers and (to date) no prosecutions. Those who would claim it a prolific art form do not ask why over the course of decades, in spite of their prolificness, not a single artist has claimed the art – or at the very least documented a significant commentary to substantiate their practice, which is otherwise left vulnerable to the hoards that scoffed. These are conundrums that many seek to unravel, and in so doing are determined to remain rooted at square one. It is, as all misinformation, a simple trick that leaves the intellect paralyzed by its own projected illusion.
The glyphs appear in golden fields, but much like the fabled El Dorado, these represent a city of gold associated with fruitful gifts serving the individual soul journey. Its endowment, a platform-acceleration and hence little relation to boosting the entrenchment of egotistical accolade, ie. man’s first sin – pride.
On the ground, social persuasions exhibited by visitors and researcher alike are comparable to an amplified school dynamic. The bright ones seek approval from authority, the quiet ones arrive at their own conclusions, and the bullies fragmenting the harmony to the point of their own exhaustion, or boredom – whichever tames them first.
It is thought-provoking to obverse that crop glyphs are known as crop circles, and formations. To experience crop circles firsthand is often to undertake a (trans/in)formative experience.
Raising our aura, is a function of interaction with chosen (powerful) locations in nature and the subliminal messages of the glyphs that are reawakening those capacities, which would aid us (not painlessly) to restore our individual presences. Those who stick around for more than a fleeting glimpse, often share accounts of inexplicable familiarity. Almost as if echoes of our future (and past) lives reverberate throughout the inter-personal experience. There is a strong case to be made for Crop Glyphs acting like a beacon for soul clans to be united in space and time by a unifying image projection. Indeed dozens (over the years, thousands) of visitors travel cross-continent by an indomitable compulsion, and far from the daily influences that may will the further distortion of our original design.
Evolution has been studied, to varying degrees of authenticity and applicability. Yet there is an unavoidable common conclusion that perceived evolutionary steps have been fast, and occurred in the pattern of a step-change. There is a case to be heard that Humanity has degenerated to the point of confronting an abyss, and hence the best remedy would be an applied step-change in consciousness expansion. Perhaps it is here already, tapping us on our shoulder and asking; do you want it? Just as children are never an imposition but always a graceful opportunity to deliver us to a place which cannot be discovered by pursuing expectations. Maybe the soul clan dynamic is geared for us to realise that we are one, to take on different roles – as masterfully depicted in Cloud Atlas.
The Glyph, and the Soul phenomena is a mystery that humanity has not got to grips with, but this fact is not one to be regarded in self-perceived inferiority. Rather we are allowed to marvel, to observe and on occasion learn outside the artificial constraints of an academic ‘fixed law.’ We are allowed to observe its ebbing and flowing, like the oscillations of our gravitational field or the speed of light. To accept the wisdom that we can only be as aware of that with-out, as we are that with-in. Just as Alan Watts once said, the Godhead cannot ever be in full awareness of itself, and so we will never be in full knowledge of the crop glyphs, even if an ultimate truth is there for the taking.
Conventionally respected disciplines have studied the glyphs with applied intellect too. PhDs, their radars, magnetometers and surveying equipments all these are only as appropriate as their specialty. The exotic energy which creates many of the formations, is applied by a sentience comparable with the teacher nudging, encouragingly us the observer students (willing or not). As with any such equivalent, the symptom will invariably not hasten one to the source. Nor explain through the prism of conventional reasoning – how could the limiting web of lower consciousness, intellectual entrapment rationalise with man-made logic why these glyphs appear within a matter of moments, fully formed and without revealing the hand of their conceptor(s).
Hence, one might truly resort to the belief that we are being instructed to explore and develop our crypticised senses? That can be unlocked through our metaphysical interaction in the fields, or by merely giving an applied attention to their designs.
So what does this say about the experience; is it transcendent; is it transformative; is our interaction with them truly personal? For some, the glyphs will simply reintroduce a person to nature, and compel them to define those senses which are there and theirs but otherwise in neglected stasis. For others they might lead to a series of events, which reach into the astral realms and give nutrition to the rest of their experience. It might cause some to confront personal denials and to finally break emotional attachments with those aspects of life that are not serving a higher good, and thereby leading us to serve others too. Countless other things, beyond definition, are possible too – and deserving of an excitement stemming from taking personal responsibility. Continued in wakingtimes
About the Author
Daniel Rozman is the author of the metaphysical novel Transition (2013); he has published over fifty articles on www.cropcirclecyclist.com, and is speaking at the Summer Crop Circle Lectures (UK) this July.