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| Image source: Gutenberg Project |
Sun Sentinel - Bermuda Triangle just a myth, U.S. says: Now it's official: The Bermuda Triangle is a bunch of bunk.
For decades, rumors persisted that hundreds of ships and planes mysteriously vanished in the area between Miami, Puerto Rico and Bermuda because it was cursed or patrolled by extraterrestrials.
Most of us already suspected that was a myth. Yet, the National Oceanic and Atmospheric Administration just posted a story declaring the Devil's Triangle, as it's also known, is no different than any other open ocean region — and that foul weather and poor navigation are likely to blame for any mishaps.
Mention “strange metal boxes” on the beach, and “people sort of shut down and call you a UFO nut. They need answers right now, and they won’t give an inch until they either try and understand or simply dismiss what you’re saying because ‘UFO’ is part of it,” added Errol when expressing her personal angst over being shot as the messenger for what other many in society view as real or not real.The UFO connection will not go away. The boxes are disappearing, incorporated into art pieces and taken as souvenirs of alien activity.
In turn, people are funny adds Wise when noting how “the Cold War is over, but there’s still enough nuclear mega tonnage to end civilization,” but, alas, people will fear something unknown – such as UFOs and people who spot strange metal boxes on the beach – over loose nukes in our world.
In turn, this retired professor said in a Feb. 6 Huliq interview at Stonefield Beach that most locals and visitors here “looking for those UFOs” are more or less carrying their own “baggage or self-as-content,” with views and experiences that now seem to define them.
...thinks the many “of these remote living residents who claim to see UFOs at night are simply not using the tool between their ears to figure this stuff out.” [source: UFO sightings at Stonefield Beach reveal strange boxes up and down coast -HULIQAnd the astounding stupidity of those who blithely go up to the boxes, pets in tow, without a thought to the fact the boxes are glowing, and screeching, and just very odd. Either they contain ET or were ejected from UFOs, in which case it seems like they might be dangerous, or they're radioactive debris -- or at least, an unknown something or another debris -- which means they're dangerous, (at least a good dose of potentially dangerous) material. Either way, not a bright idea to hang around the things.
Although many students of the Crop Circle phenomenon conclude the intricate formations that dominate the fields of Britain each summer are the work of aliens, evidence suggests the world of the Occult may play a far more significant role in the phenomenon than anything that E.T. might ever have to offer.
Before we allow ourselves to be convinced however, it is worth taking into account John Rimmer's observation that the witness in this case, "one of a number investigated by Budd Hopkins, had no conscious memory of an abduction before the investigation." The phrase I have underlined is important, not least because the Lam procedure also involves a form of hypnosis, albeit self-administered and -regulated. Rimmer adds that "the UFO abduction as a distinct phenomenon exists as a result of the process of hypnotic regression." And again: "...to a very great extent the evidence for alien abductions stands or falls on the reliability of memories recalled through regression, and the techniques of hypnosis themselves."Very interesting. (Of course, Rimmer, et al are skeptics in the end.)
In real terms most accounts gained under hypnosis are so vague and imprecise as to be virtually worthless. The sensible reaction to them must inevitably be that they contain a certain amount of "confabulated" material, expressing the repressed desires of the unconscious mind. Hilary Evans seems to be referring to something of this sort in Visions * Apparitions * Alien Visitors when he asks, "Are we to suppose that, subconsciously, all the witnesses...were unconsciously seeking their encounter? And in that case do we have to suppose that every UFO percipient is also responding to some subconscious motivation?" I suspect so -- at least as a broad percept. I suspect furthermore, just as the vampires of eighteenth century Hungary were unable to cross a threshold uninvited, so the UFO entities of contemporary folklore are bound by a similar constraint. Having given the matter careful consideration, I am forced reluctantly to conclude that they too are unable to cross the threshold of human experience without first being "invited" in some way.That last sentence: "Having given the matter careful consideration, I am forced reluctantly to conclude that they too are unable to cross the threshold of human experience without first being "invited" in some way" is very intriguing.
Ideas about how UFOs/aliens intersect with esoteric systems and religious presentations of "demons" aren't specific to Crowley or new to UFO research. Remaining open to this arena and how it might apply to UFOs/aliens; revisiting these concepts often reveals a new path or two for us to follow in our journey.Many might be surprised to learn that Strieber himself doesn't (or didn't) necessarily adhere to the nuts and bolts theory, or even that the entities are necessarily aliens. In a Barnes and Noble Author's chat transcript, dated April 12, 1997, he makes these following curious statements: "Is there such a thing as 'grays?' I don't know." " I don't know what the 'visitors' are." And, "I assume aliens are the answer when we don't know what's going on."
Hainsworth said the “Sri Yantra” is known to “just about everyone who’s interested in UFO’s” here in Oregon, but it may not be known or understood by others.
In brief, the Sri Yantra is similar to an ancient Hindu mediation symbol, “but, we’re told it’s much, much older than any civilization from India,” adds Hainsworth while presenting a recently found copy of this proposed UFO “signature” at a recent “watchers” meeting at Seaside.(thanks to Lesley at The Debris Field for link.)
It is a mandala, a geometric abstract that symbolizes the cosmos which, in this case, is also the body of the goddess. The goddess is supposed to reside in her physical, visible form in the dot or bindu at the center of the Yantra while simultaneously permeating the entire universe. This 'double presence' concept is vital in grasping the Sri Yantra. Her seat has four 'pillars': Brahma - the creator, in the Northeast; Vishnu - the preserver, in the Southeast; Rudra - the dissolver, in the Southwest; and Sadasiva - the eternal Shiva, in the Northwest.
Untitled Novel by James (Jim) Rich, copyright 2010.
[The following scene takes place on an ocean liner. Martina is on the deck of the ship with Dr. Bremoli; it is her voice that’s speaking:]
I noticed that there appeared to be a light, just off the bow deep beneath the surface . “Another way for what?”
“Another way for you. Your way is the most difficult.”
For the first time, he seemed old and scary. The light was growing bigger and brighter. Something was rising out of the depths; something huge. “What's that?”
“I haven’t much time. You must listen very carefully: you won’t always remember this.”
The light resolved into a bright central light surrounded by a ring of smaller multicolored lights that rotated around the perimeter of an immense, circular, metallic object. Dr. Bremoli put his lips to my ear speaking softly in a lilting language that I almost understood. It was a song, or a poem, or a lullaby to calm a distressed child. It sank deep into my unconscious tickling the hairs of memory, rustling the leaves of my senses. The craft (at this point I could think of it as nothing else) emerged from the sea like nothing I’d ever seen its passage seemingly displacing no water creating no wave, leaving the sea undisturbed, as it hovered just above me a dozen yards off the bow.
It was dry as a bone. Not a drop of water clung to it; strangely it reminded me of Jillian in the shower. It was incompressible, defying all reason. It was immense - at lease a mile in diameter - and there it hung, motionless, suspended, silent, but for a faint hum so low that I felt it in my gut rather than heard it. Unlike the top, there were no lights on the vast, featureless underbelly of a dark matte finish metal that was practically invisible, blending in with both sky and water. It seemed impervious to the laws of nature, like Magritte's Castle of the Pyrenees.
“What did you say?” I asked, glancing over at the doctor, but he was gone. I spun around; he was no where to be seen among the still, almost motionless passengers. I looked back at the craft, just in time to see it depart, which it did in a fashion I never experienced, moving off in a direction perpendicular to everywhere, shrinking away into nothingness. I turned back around; once again the passengers were promenading around the deck, enjoying the now cool evening air, oblivious to the strange event that had transpired between moments.
I found the orb/sphere imagery interesting, as well as the description of time standing still, the unwareness of the ship's passengers of the USO/UFO, and the scientist character hidden away in the depths of the ship.
[A scene or two later, Martina goes down into the ship to meet with the very wealthy genius -scientist, Rainier Brancusi, in his labatory:]
I set off on my journey, taking the elevator to the lowest deck, where I switched to a service elevator which took me deep into the bowels of the ship. To the rear was the engine room. The air was hot, thick with diesel fuel, throbbing with machinery, but I made my way forward through a maze of narrow passageways to a hatch, beneath which a rusted ladder disappeared into uncertain darkness, and from which a nauseating stench issued like the breath of some infernal beast. “Really?!” I thought attempting to deal with my growing sense of claustrophobia, “was all this necessary? “ I considered turning back; after all, why was I going in the first place?
“Because he knows something,” said Medusa. [Medusa is an MKULTRA created personality that resides within Martina] and we need to find out what.”
I started down the ladder into the unwholesome darkness, like Orpheus descending into the underworld. I preceded rung by rung, my footsteps preternaturally loud, reverberating in the cavernous space accompanied by the creaking of stressed metal and the listless lapping of the liquid below.
The dim interior was lit primarily from a number of small unknown sources above, and an eerie bioluminescence billowing in the water below. As my eyes adjusted, I could make out a catwalk leading from the platform where the ladder ended, across the looming, phosphorescent abyss to a geodesic sphere suspended from cables in the center of the bilge. A figure was waiting for me on the platform.
