7. Ancient Arrow Project Novel
Sensory Bi-location (SBL)
Ear-Brain System
Senzar Glyphs
Chamber Paintings
Coding
Time Travel (Blank Slate Technology— BST)
Hakomi Site
Ancient Arrow Project Novel
Question 12-S1: Is the mystery girl (Lea) that Neruda must find, a real person? Has she been found? (Is her mother "Sarah", Sarah De Rosnay?) If she is real and hasn't been found, are you hoping her to turn up in this forum? What is her purpose?
A. In the story of the Ancient Arrow Project, characters are fictional. In the story yet to be released Lea plays a key role. Her character is an architect of the interdimensional Tributary Zones, and she is incarnate to activate them. Collectively the seven physical sites play a role in the discovery of the Grand Portal.
Question 1-S2 - Am I correct in believing that the events and technologies as depicted in the Ancient Arrow story are correct, whilst the names, places, organizations, photo's and artifacts are fictitious/mythological? I assume that the factual aspects of the story were obtained by yourself through a form of RV?
A. You are correct on both accounts.
Question 18-S2 - Interview 4 with Dr. Neruda mentions technologies from real US and Russian corporations. The technologies originate from ACIO research. I have checked this out, and the info on the Mig-29 and the Internet compression technologies stand up to scrutiny. Is there a risk of legal action against yourself, Mark and the South Bay Group for making these allegations?
A. Yes, but it is an acceptable risk.
Question 43-S3 - Why has the storyline changed from Dr. Anderson to Dr. Neruda and why the time changes in the story line?
A. The story was modified to track misappropriations of the Ancient Arrow story within the
marketplace. There are more subtle changes than the ones you mentioned in your question. None of the primary (encoded) content has been altered since it was first published.
Question 44-S3 - Why did the Wingmakers allow the ACIO to discover the AA site, if the ACIO was going to keep the public out?
A. The ACIO was the only earth-based organization that could decode the content. Because Dr. Neruda worked at the ACIO and was known to be the key architect of the discovery's public release, it was essential that the discovery occur at the ACIO.
Question 45-S3 - Why did the WingMakers not use their time travel abilities to insure that the planting of the Map artifact did not result in loss of the students' lives, therefore effectively nullifying any chance of this event having a 'dark cloud' over it's happening, and subsequent WingMakers Information. Would you consider changing the story line and erasing the needless deaths of the students who found the artifact?
A. Every discovery of import has a "dark cloud" over it. It is intrinsic to the drama of life that important discoveries are dimensional and mesoteric - that is, they include the exoteric and esoteric life rules, which number among them the sacrifice of human life. The students represent the metaphor of the innocent discoverers that must be sacrificed in order to underscore the importance of their discovery.
Question 54A-S3 - Did the Wingmakers leave material at all of the Seven Tributary sites at the same time to be found in sequence? Or did they leave it over a period of time?
A. The WingMakers sites - each of the seven - will be translated in a specific order. Remember that each site carries a central theme that is connected to the seven disciplines of Lyricus. These seven disciplines - collectively - are the triggers for those incarnating in approximately 35-40 years who will be the scientists, scholars, psychologists, and artists that will uncover and disseminate the Grand Portal.
The seven disciplines of Lyricus are:
Genetics
Neo-Sciences (Cosmology)
Metaphysics
Sensory Data Streams
Psycho-coherence
Cultural Evolution
Sovereign Integral
Sensory Bi-location (SBL)
Question 2-S2 - In answer to a previous question, you said that the Ancient Arrow story was factual because there were 'techniques that could be applied to secure the information'. Do you mean remote viewing, and its associated Re-Play technology?
A. The information is based on factual data secured through a form of remote viewing, referred to by my teaching organization as sensory bi-location. SBL is different from classic RV because it is associated with the higher mind rather than the psychic channels of astral vision. Because of this distinction, SBL permits one to analyze motive and intent, in addition to the sensory/action environment that RV technology acknowledges. SBL is also more focused on active sensory channel selection, rather than reactive selection as in the case of RV.
Ear-Brain System
Question 35-S3 - Of the physical WingMakers materials (poems, music, philosophy, art, etc.) what is the most potent catalyst for our consciousness? Is this also the case with the etheric versions or the originals that reside in the Galactic Tributary Zones?
A. This is dependent on the individual and how they respond to different vibrations as well as their innate learning preference of eye-brain verses ear-brain. However, independent of this assessment, the ear-brain is more powerful as a catalyst for consciousness and transformation than is the eye-brain.
The reason is that the harmonics and overtones of music can embody significantly more encoded information than that of a painting or word symbol. This is also true when contrasted with the primal Light and Sound of First Source.
The Sound vibrations are considered more deeply connective and catalytic to the consciousness than the cosmic Light if no other reason than they are easier to absorb and assimilate than the structure of Light, which is often too intense to absorb and integrate.
Senzar Glyphs
Question 34-S3 - I am interested in the paintings and especially the symbols in them. Can these be translated into English? Are they the Senzar symbols, which DK mentions in his writings?
A. Senzar, besides being an alphabet of its own, can be rendered in cipher characters, which correspond to the nature of ideographs rather than of syllables.
Senzar, as a language, was brought by the Central Race to Earth.
The reason is quite simple. Ideographic language can convey a tremendously complex concept in a single character. It's very efficient and can be effectively encoded for highly targeted transmission.
Cosmological and mathematical concepts of significant importance could be reduced to a symbolic rendering, but the contextual meaning of color and secondary matrix brought the full meaning of the symbol to light, thus its encoding was complete.
In other words, you can look at a specific symbol of the 24th Chamber Painting (e.g., the second, primary character in the vertical matrix in the upper left section of the painting).
If taken out of its framework, this particular character means one thing, which would transpose to Sanskrit, but when viewed in its contextual matrix, it is elevated to Senzar, where its meaning is encoded as representing the Wholeness Navigator within the human instrument.
Senzar is a language that flows between alphabetic characters, mathematical symbols, and musical notes. It is an integrated language, sometimes referred to as the Universal Language of Light or the Insig-nias of First Source.
Chamber Paintings
Question 60-S3 - Al Bielek said the paintings we see and buy are not the real ones, "...the real ones are classified." Is this so? Are there parts of the paintings that have been changed, or are they all 100% authentic as transposed from Lyricus?
A. The Chamber Paintings, as they're represented on the WingMakers' website, are translations of the real paintings. The original works reside within the Tributary Zone near the galactic center of the Milk Way galaxy. The original "paintings" are photonically animated by an advanced technology that permits the art to morph intelligently as dictated by the music. In other words, music is the engine that animates the painting.
The original environment in which the art is stored requires that I, the translator, take a "snapshot" of the painting that best represents the dynamic image statically. These original works are not "classified" by any government organization I assure you. They simply exist in a different dimension and are visible to a different range of senses.
The DVD Meditations in TimeSpace is an attempt to capture some sense of how the paintings are actually presented in their native environment.
Coding
Question 3-S3 - "Octavio Fifteen" is 85 65 which corresponds to "The Earth Kumara." You warned me about esoteric numerology earlier, but the Corteum does relate to Sirius and according to DK, Sanat Kumara (also 120) does have a special relationship to the Sirian Logos.
Something is going on here. Either this means something significant to your story's esoteric meaning, or it is a mere coincidence of language structure combined with my over-active imagination. Can you tell me which it is? The thing that bothers me about this correspondence is that (at least up to chapter 8) Fifteen appears to be a pretty ruthless character.
In the framework of DK's teachings (and Theosophy), Sanat Kumara is an advanced cosmic Entity, who for all intents and purposes is the God of our planet. He ensouls this world in which we live. I will leave it to the reader to research this topic further, for there are various views available.
A. You are correct that the works developed by the Lyricus order are encoded (as we've discussed before); however, they're not necessarily encoded in the numerological equivalents that you apply. We do not presume that this equates as effective instruction for the aspiring student. It is more the case that we are in the habit of encoding information for the purposes of discretion.
When the habit is so well formed and the work is so important, as is the case with the Tributary Zones, we naturally encode information in numerological, symbolic, language undertones, mantristic rhythms, color frequencies, and musical frequencies. All of these aspects are woven into a deeper meaning that reflects the cosmological and multi-verse structures that bind human consciousness to the Wholeness Navigator.
Time Travel (Blank Slate Technology-BST)
Question 59-S3 - Do the dates August 12, 2003, August 12, 1983, August 12, 1963, August 12, 1943, August 12, 1923, ad infinitum have any significance as far as time travel and earth biorhythms are concerned?
These dates are mentioned in the Montauk Project series of books as being significant dates for time travel e.g the Philadelphia Experiment.
A. No. BST does not require a fix on earthly or human biorhythms. BST, or even lower forms of time travel, is not a function-relationship of portals, gateways, or dimensional alignments. It is a function of technology appropriately married - in this case - to a human operator.
Hakomi Site
Question 51-S3 - How many chambers does the Hakomi site have? Does the Hakomi site have chamber paintings? And if so, when can we see them?
A. The Hakomi site consists of 17 Chambers. Music is the one consistency across all of the 7 sites. Art is also used in all of the sites, but it is slightly different in its use of symbols and even style.
As to when you can see them, you may already be seeing them as Mark has posted some of the Hakomi art on the WingMakers site, though I can't say for certain where it is in terms of the page URL. Others will follow with the release of subsequent music CDs.
