With multiple layers of cross referencing literal and metaphorical symbolism, including features from previous formations already identified in their meaning, and referenced by myself during our conversation, the pictogram reflected: ‘Human Collective Consciousness’ (mine and Mary’s at the time); ‘Infinite Intelligence’ (The Nine); the physics and the ‘process’ of non-manmade Crop Circle creation (by God), shared with Mary in the same order hours earlier!
Reading the pictogram in a clockwise direction, and like a downward spiral, beginning at the 9 o’clock position (Fig. 4):
Charged particles from the Sun (the Golden Dragon) reach out toward Earth (the third planet), in the form of the Solar Wind (the ‘Dragon’s foot’; the three clawed foot of ‘Tatsu’, a Dragon of Japanese folklore, one and the same as the Golden Dragon, also doubling as a ‘Crow’s foot’; and an ancient sign for ‘The Messenger’ of the Gods). (Fig. 4 & Ref. 13 & 28)
in the center, with the effect of another ‘Sun’ (Fig. 5):
If ‘read’ as suggested, as a simple and complex series of visual metaphors, the Silbury Hill pictogram of 1992 gives a 3-D view of the ‘physical’ process of authentic Crop Circle creation, in addition, to symbolizing the Nine Creation Forces together with the ‘Spokesman’ in the center. ‘From this axis, like the hub of a wheel, everything extends, radiates and rotates spirally. The entire Universe, with all its spatial and temporal states, is but the spiral manifestation of the still center’ (Ref. 8).
THE UNMOVED MOVER
Green (Founder Member of
A Mandala is a sacred visual symbol (a geometric cosmogram) used as an aid to meditation in Buddhism and Hinduism’ (Ref. 9). In India, mandalas based on multiplications of nine represent the Universe, spiritual power, and enlightenment.
The Dharma Chakra (Dharma meaning “the Law” and Chakra meaning “Wheel”) is an eight-spoked Wheel sign (nine if you count the center), symbolizing “the Wheel of Life”, or “the Cycle of Life”, as viewed through “the Wheel of Law” (Natural Universal Law).
Haddington (Founder Member of The Center for Crop Circle
Studies) wrote in ‘The Circular’: ‘“The Celtic Shaman” by John
Matthews. Turning the pages I came to a diagram depicting the
wheel of directions and elements, or the ‘Eight Paths
between the Worlds’, and was intrigued if not astonished to see
that this was essentially the same diagram as the formation that
had recently appeared by Silbury Hill.’ (Ref. 31)
Tom: ‘I am the balance. And when I say ‘I’- I mean because I am an emissary for the Nine. It is not I, but it is the group. And the principle of the Nine is infinite intelligence, and what we try to bring to this planet is this type of intelligence. We are of nine principles of the Universe, yet together we are one. We are separate and one at the same time. Each represents a portion of energy, knowledge, wisdom, love, kindness, technology, and in continuity it goes on until each portion of a spiral is composed of all that is important to bring complete understanding to each atom, until it becomes one with us. There are in actuality multiplications and more (like variations on an infinite theme), but in principle there are nine.’ (Ref. 3)
Michael Green continues:
statement (the 1992 pictogram) of the structure of Ultimate
reality has the eight symbols of Being and Becoming on the
points of the directions. In the center is the ring and dot
symbolizing Deity, further defined as the manifested
state of God by being quartered.’ (Ref. 30)
found on Swedish Bronze Age
VARIATIONS ON THE SAME THEME
‘Where I be is All Around, Listen hard, You’ll hear my Sound.
(Quoted from a 1989 White Crow Message)
been many design variations on the theme of the ‘Spokesman
Spanning some 300 feet in diameter, a pictogram formed in wheat, at Martock, near Yoevil, in Somerset, on July 16th 1996. Like a variation of the High Cross, or Celtic Cross (also known as the Iona, or Ring Cross) design, it can be described:
From the center of the formation extends a Sun Cross sign in four directions. The thicker central ring and circle (an ancient Sun symbol by itself), represents the sun we see; the ‘physical’ sun, while the implied Sun Cross ‘behind’ the sun, the four thinner ringed circles, reflect the ‘invisible Sun’; the High Cross; the ‘purest light, that is a composite of all, that creates all’, Tom said, in one communication; the realm of ‘Divine Spirit’, the ‘Creator’, associated since time immemorial with the sign of the sun (Ref. 3).
As a traditional symbol of the unity of Heaven and Earth (‘As above, so below’), the High Cross sign also represents God, and the purest of man; such as the Being of Christ; or Buddha (Sanskrit for “the Enlightened”), sometimes depicted in the center of the Wheel of Law (Ref. 9).
the extended ‘hemispheres’ of the Martock formation (like a
‘multiplication’ on the same theme of the Sun Cross), as eight
‘elements’, or four ‘pairs’ of elements, the pictogram reflects
nine, if you count the ninth symbol (the central Sun
Cross); the center of the 1992 Silbury Hill formation, reflected
in ‘reverse’, as one.
Kris found an almost identical design, in the book ‘Christ Consciousness’, symbolizing the fusion of the four elements; fire, air, earth, and water, within the center of Creation (Ref. 16).
What was also interesting about this diagram was a six-pointed star, a ‘Star of David’, drawn inside what would be the central ring of the Martock pictogram. This was interesting because one year later, this same geometry (six-fold geometry) would define many of the non-manmade pictograms of 1997.
Amazingly, the title of the book was first published as ‘Sunburst: Return of the Ancients’, a very fitting title, and Sign to associate with the Martock pictogram (Fig. 8, Bottom left).
The Sun Cross sign, or ‘Wheel Cross’ as it is also known, appeared again, in mid-July 1997 only a few miles from the previous Martock pictogram, near Haselbury Pluncknet in Somerset. Like its predecessor, emphasizing the four elements, the Sun Cross, has also represented, since early times, the four cardinal directions: North, South, East, and West (six, if you include Up, and Down, through their common center). In both modern Astronomy and Astrology, the same symbol represents the planet Earth (Fig. 8, Bottom right).
(Gaia), or Ge was the ancient Greek Goddess symbol of the
Earth, and was described as the first being (like Atum)
that sprang from Chaos (‘Nun’ to the ancient Egyptians,
and another crop circle theme since the early 1980s). According
to one Creation story, ‘Gae’a, Erebus, and Love
were the first of beings’ (the Divine Triad of Creation).
Like Juno Dixhiut, prophetic influence was attributed to Gaia,
and a powerful effect on plants! (Ref. 7)
Other notable formations containing, or implying, the Sun Cross/Earth sign, include:
Shorley Copse, Kilmeston, Hampshire, July 22nd 1990.
giant pictogram, continuing in the ‘footsteps’ of East Field
1990, attracting thousands of curious visitors, and heralding
things to come for the 1992 season, was the Grasdorf formation.
The largest pictogram to form in Germany to date it contained
nine primary design symbols; three connected by straight
paths (representing the Divine Triad of Creation, including a
Sun Cross symbol) and six unconnected, making nine (Fig. 11).
inches below the ground, in three of the pictograms design
symbols (identified by their accompanying arcs) three large
metal plates of extremely pure Gold (a sign of the
Golden Dragon I suspect), Silver, and Bronze
(another sacred triad), were unearthed, each containing the
complete pictogram design in relief (the opposite to the
embossed field design, Ref. 17).
was the Alfadhir-
‘the All Father’ of the Scandinavian Gods, also known as
Odhinn, who in ancient Germanic tradition became the ‘All
wise’ at the cost of an eye. His remaining eye was said to be
the sun! (Ref. 7) Interestingly, Juno in Scandinavian Mythology,
is ‘Frig’ga’ or ‘Frigg’; the Supreme Goddess and wife
Urchfont Hill, Easterton, Wiltshire, May 17Th 1992.
off my friends And listen do,
The Dragons, or Crows, of the 1989 White Crow messages urged researchers to ‘listen’, and on June 18th they heard and recorded the crop circle trilling sound.
Chinese folklore the ‘sound’ of Dragons changing form is
‘trilling’ sound recorded at operation White Crow, was later
analyzed by the University of Sussex and found to have a
frequency of 5-5.2KHz.
THE WORD OF THE SPOKESMAN
word I’ve proved, I’ve Ne’re been wrong.
(Quoted from a message received by Rita Gould, from Juno Dixhuit, dated ‘July End’ 1990)
While revisiting a crop circle site at Kimpton in Wiltshire, on June 29th 1987, Colin Andrews experienced what could be called Divine communication by other means (Ref. 10):
‘I stopped about 10 meters from the eastern edge of the ring, facing the small circle to the North and the other two in the distance and thought, ‘God, if you would only give me a clue as to how these are created.’ Moments later, without warning ‘a static electrical cracking noise started to come from a spot about three meters away.’ Increasing in volume, to a pitch where a bang was expected, it suddenly stopped. Lasting for approximately six seconds, nothing was seen, and nothing moved. Colin Andrews, though shaken by the experience, had received a reply. Had God answered, and was ‘Sound’, or sonic energy, the clue?
About a week after Rita recorded the Crop Circle sound in 1990, I awoke abruptly one night with a powerful ‘urge’ to turn on the television. It was about 3am. Upon checking the TV guide, ‘The Radio Times’ first however, I immediately opened to a page containing a photograph that simply ‘blew me away’. Above the words ‘Capture the beauty of our landscape to the sound of specially chosen music’ was a downward close up photograph of bent wheat heads!
words, titling an image of bent wheat heads, started me thinking
about Crop Circle plant bending and sound. For more than ten
years I had treasured a book in my collection called ‘The
Secret Life Plants’, and knew of experiments conducted in
the 1960s that had demonstrated plant sensitivity and
responsiveness to sound, including bending either towards or
away from a particular sound source (Ref. 18).
Chilcomb Crop Circle formation
the symbolism of ‘Indian’ tradition, it was an exact
of an ancient sacred symbol of Creation known as the ‘Sri
Yantra’. Like a Mandala,
(“Great”) Yantra is considered to be the most potent of Yantras,
including in its design a square,
‘The Sri Yantra has been used for centuries in the East, to represent the visual equivalent of a Mantra; an ancient word or formula to aid concentration in meditation when recited or sung. It can also be generated as an exact sound wave pattern, when passed through an electronic transmitter (Ref. 20).
Autumn 1990 I watched a television documentary on BBC2 about
Turning to the Encyclopedia Britannica I learned that ‘Ultrasound can be aimed, focused and, reflected almost like light beams. Specific frequencies can cause certain kinds of molecules to vibrate while others are left unmoved.’ (Ref. 21)
many experiments, exposing plants to music, conducted in
the 1960s, revealed overwhelming evidence that plants can
respond (feel and react) to sonic vibrations, by bending
towards or away from the sound source:
In a previous experiment:
‘The squashes were hardly indifferent to the two musical forms: those exposed to Haydn, Beethoven, Brahms, Schubert, and other Eighteenth and Nineteenth century European music, grew towards the transistor radio; one of them even twining itself lovingly around it. The other squashes grew away from the rock broadcasts and even tried to climb the slippery walls of their glass cage.’ (Ref. 18)
With the plants preferring Classical sounds to rock music other experiments were tried, including one, that exposed several different plant species to the taped musical notes B and D, struck on a piano every second, alternating every five minutes, with five minutes of silence:
‘By the end of the third week all the plants, some of which had been actually leaning away from the source of the sound, as if blown by a strong wind [sonic wind damage], had died with the unaccountable exception of the African violets, which some how remained outwardly unaffected.’ (Ref. 18)
As if to
illustrate these findings, it has been a characteristic feature
of many crop circle formations to have, in addition to bent
crop, hundreds or thousands of free standing undamaged
plant stems, and or different plant species inside the formation
unaffected by the circle making process.
Another interesting detail of the Laguna Canyon formation was an almost total absence of plants within the pictograms design features, as if the seeds in those areas had failed to germinate. Dr. W.C. Levengood found no evidence of herbicides or pesticides from the site. Instead of flattened crop, there was bare undisturbed earth, containing a light scattering of bent Plantain (more than 95% of the plants bent at Laguna Canyon were English Plantain), and a few young shoots from plants that were either unaffected by the circle making process, or had spouted after the event (Ref. 34 & 36).
Dr. W.C. Levengood has found from extensive plant sampling:
Circle energies affect the development of seed embryos: it
appears that when these energies hit plants prior to or during
certain stages of maturation the seeds do not develop,
and that when these energies cause formations in more mature
plants they may significantly enhance or increase
seed growth.’ (Ref. 35)
In the mid-1960s Mary Measures & Pearl Weinberger, of Canada’s University of Ottowa, found that ultrasonic frequencies greatly affect the germination and growth of plant seeds and seedlings. Recorded in the book ‘The Secret Life of Plants’; ‘their experiments indicated, albeit inexplicably, that the enzyme activity and respiration rates in plants and their seeds increased when they were stimulated by ultrasonic frequencies. Stored wheat exposed to high frequency waves for insect control, for example, grew faster than unexposed wheat when planted. However, the very frequencies which stimulated some plant species inhibited others.’ (Ref. 18)
In early June 1991 a crop circle formation appeared in wheat and wild oats, just outside the town of Ilkeston in Derbyshire, leaving behind tantalizing evidence of the effect of sound waves on plant growth.
It was a simple unconnected circle set formation, consisting of one flattened central circle, approximately 50 feet wide; two rings 9 feet in diameter, both two and a half feet thick, 18 feet from the edge of the larger circle, one on either side; and one partially flattened circle, approximately six feet in diameter, 16 feet from one of the rings.
the largest circle was a line of standing wheat and wild oats
(as wide as the maximum width between two tractor lines), six
inches shorter inside the formation than outside.
The wheat standing inside the two rings, was also six inches
shorter and green in colour, unlike the rest of the field that
was a ripe yellow.
The centers of the main circle and the two rings were positioned in a straight line, and aligned to a major leyline linking Arbor Low (the Stonehenge of Derbyshire) to ancient sites in Southern England. It also appeared within a few hundred feet of an artificial lake and stream (Ref. 22 & 28).
There is considerable evidence that water is a vital element in the authentic circle making process, both above ground (including airborne water in the form of Clouds, Mist, and Fog), and/or below ground sources. Water has also been referenced in authentic crop circle design symbolism since the early 1980s (Ref. 28).
In early 1969 Dorothy Rettallack conducted a series of experiments to check the findings of two Denver students that certain music forms, particularly rock music, cause plants to lose water at a higher rate:
Rettallack found that, even during the first week, the
rock-stimulated plants were using much more water than the
classically entertained vegetation. ’Also, ‘The rock music
caused some of the plants at first to grow either abnormally
tall, and put out excessively small leaves, or remain stunted.’
After many experiments exposing plants to different music forms
Mrs Rettallack ‘determined that these different musical styles
markedly affected the evaporation rate of distilled water inside
the chambers. From full beakers, 14 to 17 milliliters evaporated
over a given time period in the silent chambers, 20 to 25
milliliters vaporized under the influence of Bach, Shankar and
jazz; but, with rock, the disappearance was 55 to 59 milliliters
Dr. W.C. Levengood commented after sampling English Plantain taken from the Laguna Canyon formation:
“As we have seen in the past, this degree of change in the cell wall pit diameters indicates that the plants were exposed to a very rapid, high heat input.” (Ref. 34, 36 & 28)
In “Anatomical Anomalies in Crop Formation Plants” Dr. W.C. Levengood stated:
‘The energies involved in crop circle formation induce nodal swelling (think of a balloon being blown up), with expansion both laterally and longitudinally, often creating blown nodes, or “expulsion” cavities, in the nodes.’ Dr. W.C. Levengood continues, ‘On the microscopic level, cell wall pit diameters in bract tissue were observed to be significantly enlarged, compared to controls; the wide range of pit size in the formation plants suggests quite different levels of energy are expended - at different sampling sites within formations and perhaps in different formations.’ (Ref. 35)
The different levels of energy referred to by Dr. W.C. Levengood could be attributed to different sound frequencies. Stated in the Encyclopedia Britannica under ‘Ultrasound’: ‘One specific frequency can cause solder to vibrate, heat up, and melt while only warming the metal being soldered.’
In 1960 a botanist and agricultural researcher, George E. Smith, experimented with maize and speculated that ‘sound energy might increase molecular activity in the maize, and added that thermometers placed in the plots indicated that soil temperature was inexplicably two degrees higher directly in front of the loud-speaker. He was perplexed that the edges of the leaves of those corn plants growing in the slightly heated earth appeared a little burned (Ed: like some Crop Circles) but thought this might be due to excessive exposure to musical vibrations.’ (Ref. 18)
Over exposure to specific frequencies could explain some of the more extreme effects occasionally reported at some Crop Circle sites (in the past known as UFO ‘nests’), such as charred plants, or nodes; large volumes of missing water; baked earth, permanently altered soil; discoloured, disfigured, or dead plants; and unusual substances (Ref. 10 & 28).
Known for its cooking effect, Microwave energy has also been offered as an explanation for the internal heating effects of crop circle formation plants and soil. However, as yet, it has not been detected at crop circle sites. Sonic and Ultrasound vibrations on the other hand have, and appear to be a primary force in their creation. Ultrasound is even used in the manufacturing industry to cook, which it does just like microwave energy, by oscillating water molecules, that in turn produce heat inside the item being cooked.
A RESONANT EFFECT
Close eyewitness reports of circle formation invariably begin with the crop (medium) rustling, as if in ‘resonance’.
‘Baffled by their results, the two researchers (Mary Measures and Pearl Weinberger) could not explain why audible sound had resulted in accelerated growth so striking that it seemed to promise double harvests. The effect could not have been produced by breaking chemical bonds in the seeds, they wrote in the Canadian Journal of Botany, since, to do this, one billion times as much energy as was added by the sound frequencies would be required. Instead, they suggested that sound waves might produce a resonant effect in the plant cells, enabling the energy to accumulate and effect the plant’s metabolism.’ (Ref. 18)
On August 1st 1992 a pictogram formed in wheat, near Froxfield in Wiltshire, looking like a variation on the theme of a ‘Wind Feather’: a meteorological symbol used to denote wind speed and direction (Ref. 28). Its main ‘stem’ also created a silhouette not unlike a sign of resonance (Fig. 17).
Interestingly, a small circle lay at a distance of 18.8m from the corner of the implied Wind Feather, at a bearing of 36 degrees! (Ref. 38)
|Fig. 18 ‘Exploring
A Crop Circle Hologram’ Talk Poster
Poster Copyright 1997 Ed Sherwood/Millennium Research
Summer of 1997 I gave a talk entitled ‘Exploring
A Crop Circle Hologram’ to nine UK
audiences, including details about the 1992 Silbury Hill
pictogram, previously mentioned
(Fig. 18). Quoting from the opening sentence of St John’s Gospel: ‘In the beginning was the Word’, I related how the central symbol of this pictogram represented Atum; the Sun on Earth; the Golden Dragon; the Spokesman of the Nine; the Chilcomb formation, the trilling sound, and The Word!
27th 1997 I presented the same information
to members of the Druid Order: ‘The British Circle of the Universal Bond’, based in London, and learned afterwards from Peter Firebrace, a friend and longstanding member of the Order, that he had
visited China’s Forbidden City in 1984, and a temple completely dedicated to the Nine Dragons.
Tan’, The Temple of Heaven, was built in
1420 during the 18th year of the reign of Emperor Yong Le. It was here in China’s Forbidden City that past emperors offered prayers to heaven and the Nine Dragons for good harvests.
Ascending the stairs of the ‘Circular Mound’, a unique structure of Tien Tan, a visitor is continually reminded of the ancient Chinese reverence of Nine Dragons (Fig. 19).
Ascending One of the Four Directions of the Circular
Photograph Copyright 1984 Peter Firebrace
|Fig. 20 The
Sound Amplification Spot of ‘Tien Tan’
Photograph Copyright 1984 Peter Firebrace
Facing North, South, East, & West, three sets of nine steps, flanked on either side by three pillars (each containing a carved Dragon), climb towards a higher and smaller circular platform divided into nine equally spaced concentric pavements (Fig. 20).
entirely to Dragons (‘Lords of the Weather’, Ref. 13 & 28), and
specifically the Nine Dragons, the Circular Mound is an open-air
temple with no roof. Its central feature (Fig.6) is a
slightly bowl shaped pavement, divided into nine
concentric bands around a center, just wide enough to stand in.
For centuries only the head ‘Spokesman’ of China,
the Emperor, could stand at this spot, deliberately concave to
amplify the sound of his voice, as he addressed
the people of the Forbidden City.
By linking the center of the 1992 pictogram (Fig.1), and Silbury Hill nearby, to the ‘Spokesplace’ of the Circular Mound (the most revered spot in the Forbidden City), Peter Firebrace provided confirmation, in my view, that the Spokesman of the Nine and the physics of sound play a central role in authentic crop circle creation.
‘I am the balance’ Tom said, symbolized by the positive and negative image at the center of the Silbury Hill 1992 Crop Circle pictogram, which looked like a variation on the theme of the Yin-Yang circle (Fig. 21, center).
|Fig. 21 The
‘Yin-Yang’ Circle and Eight ‘Trigrams’ of Taoism
Drawing Copyright 1998 Ed Sherwood/Millennium Research
distinctive Eastern Yin-Yang circle is the primary symbol of
and philosophical thought, based on the teachings of Lao Tse. Symbolizing the
third principle; equilibrium, the Yin-Yang symbol depicts the dynamic balance of two primary opposing forces in Creation: Yin, the negative and passive power (depicted in black, representing femininity); and Yang, the positive and active power (depicted in white, signifying masculinity). (Fig. 21)
Tao teaches the concept of duality (Yin-Yang) in all things, and that harmony can only be achieved when the two are integrated in perfect balance. ‘The Yin-Yang circle symbolizes this concept. Its equal areas of yin and yang are divided by a sigmoid line (denoting dynamism) and are contained within a circle of revolution and unity. A small circle of the opposite colour is contained in each, signifying the seed of the other, and therefore their interdependence (Fig. 21, & Ref. 9).’
Yin-Yang symbol is often depicted at the center of eight
trigrams, or the ‘Pa Kua’, used in Eastern divination and
representing the eight elemental forces of Nature arranged ‘like
the eight spokes of the Dharma Wheel’, and the eight design
symbols of the Silbury Hill 1992 pictogram (Fig. 21 & 3, & Ref.
8 & 9).
Amazingly, the design symbols of the Silbury Hill formation were arranged to be read like the two traditional systems of the ‘Pa Kua’; the Fu Hsi Arrangement reflecting the law of Polar Reversal, and representing the dynamic action of opposites; and the King Wen Arrangement, symbolizing the law of Periodicity, depicting cycles and rhythms in nature suggesting constant transformation in all things.
The trigrams of the Fu Hsi Arrangement and the Crop Circle symbols of Fig. 3 are organized so that opposite ‘pairs’ (facing each other) have opposite symbology.
The symbol of the crescent Moon (Fig. 22) for example, has its pair and opposite (Fig. 23) reflecting a triad of three Ley-line energy points (or three ancient sacred sites) on the earth, denoted by the three satellite circles, arranged like an incomplete Celtic Cross, around a larger circle representing the Earth, activated by the moon aligned opposite.
& 23 ‘Moon’ and ‘Sacred Site’ Symbols
Photos Copyright 1992 Maria Ward
Positioned between the ring connected crescent Moon and the Earth opposite is the Sun Cross sign (Fig. 5), cross referencing and representing, in this case, the bary center; the true center, of the combined mass of the Earth/Moon system, ‘located approx. 3/4 of the way out from the center of the Earth to its surface’, around which both the moon and the center of the Earth revolve (Ref. 37).
The trigrams of the King Wen Arrangement are traditionally read in a clockwise direction, like the symbols of the Great Turning, and the process of an authentic crop circle event, as illustrated near Silbury Hill, on August 18th 1992 (Fig. 3).
Within the design and meaning of the Yin-Yang symbol is also the sign of Infinity, and another theme reflected in many non-manmade formations.
eternity they have no beginning they have no end,
Round and Round Like Atom chain.’
from a 1989 White Crow Message referring to crop circles.
A pictogram appeared in wheat, near West Overton Church, in Wiltshire, on July 28th 1994, that was generally recognized to be an ancient symbol for ‘Infinity’ (Fig.
24a). Measuring 135’ in diameter, or nine in numerology, it references the ‘timeless’ and ‘spaceless’ dimension of the Nine existing beyond the speed of light (Ref. 1, 2 & 3).
|Fig. 24 Crop
Circle Variations on an ‘Infinite’ Theme?
Silhouette Drawing Copyright 1994
Wolfgang Schindler (a)
Silhouette Drawing Copyright 1995
Peter Sorensen (b)
The following year, also in wheat, a very similar, more geometric looking formation appeared near Harewood Peak and Forest; South East of Andover in Hampshire, on July 24th 1995 (Fig. 24b). Looking more like a number ‘8’, it came to nine when added to the circle containing it. In China 9, or ‘Jiu’ represents the number of ‘Eternity’ (Ref. 9).
first pictogram of 1997 to form
in the Czech Republic also reflected the sign of Infinity (the ‘Infinite Intelligence’). Reported to be some 18m long, it was discovered in grass, at Ceska Lipa, near Mimon, around April 23rd on military land.
Between 1994 and 1996 nine authentic pictograms clearly reflected the Nine as one of their mutual layers of design meaning (Fig. 25):
Fig. 25 ‘Nine-fold’ Crop Circle Design Symbolism
Silhouette Drawings Copyright 1994 Wolfgang Schindler & 1995-6 Peter Sorensen
Symbolizing the impact effect of twenty one comet fragments, represented by twenty one semi-circular arcs; the shock waves or sound waves and resonant effect of the Shoemaker/Levy 9 Comet collision into Jupiter’s atmosphere the previous Summer, a pictogram formed in wheat at Litchfield in Hampshire on July 7th 1995, containing nine primary design elements: one large undulating ‘ring’, in this case an ‘open ring’, measuring 267 feet in diameter, representing the point of impact (atomization), surrounding seven thin concentric rings; and a small circle at the center (Fig. 25a). In a series of non-manmade Crop Circle formations in 1994 Jupiter was symbolized by a large wide ring, and the Comet, by descending sized circles (Fig. 25g), now within Jupiter (Fig. 25a & Ref. 29).
After sampling the Litchfield pictogram Dr. W.C. Levengood reported evidence ‘of a massive “spill over” of the radiation damage effects into the standing normal appearing crop.’ (Ref. 41) Perhaps this too was a sign: an invisible biophysical sign that the Litchfield pictogram not only symbolized a massive planetary impact event, but was also the ‘effect’ of one.
Measuring approximately 100ft in diameter, the last major pictogram to form in the Wiltshire/Hampshire region, in 1995 occurred sometime in late July, early August, near East Meon, in wheat. Drawing our attention to the ‘Physical’ and ‘Spiritual’ Sun: a modern ‘Solar motif’ and sign of the Nine, its meaning was simple and subtle (Fig. 25b):
The Physical Sun: A standard model for the sun, divides the star into three concentric zones: the Core, the region where thermonuclear reactions occur, represented by the central circle; the Radiative Zone, where heat is transported by photons, symbolized by a ‘rotating’ radiation symbol; and the Convective Zone, where the sun’s energy is mainly transferred by convection, represented by six spiraling arms.
The thin ring or outer circle signifies the sun’s Corona; the outermost envelope of the sun, described as a ‘halo’ during a total eclipse. The circle within the halo, represents the Photoshpere; the visible disk of the sun, below which, the sun’s dynamics and zones are invisible, and thus contained by the circle (Ref. 15).
In keeping with the Nine communications, the Nine were symbolized ‘Beyond the Sun’, or beyond the photosphere, as nine rotating arms, or three initial ‘radiations’, followed by six. Tom said ‘When you go over nine (counting the halo) it cancels, it becomes one, and nine is complete’ (Ref. 3).
The Spiritual Sun: Out from the center forms the first triad of ‘Creation’; Atum, Shu, and Tefnut. The three’ elements together in balance (equally spaced), also symbolize ‘one pure being’, such as Christ, or Buddha. Add this one (or ‘collective’), to the six spiraling arms, and you have seven. Add the seven to the circle and ring containing them, and you have nine!
A pictogram containing nine primary design elements: one center circle, four concentric rings, and four spiraling ‘arms’, was discovered May 31st 1995, approximately half a mile from the ancient “Long Man of Wilmington”: the largest representation of the human figure in Western Europe, N.E. of Alfriston in East Sussex (Fig. 25c).
Reflecting ‘Cosmic Forces’ or ‘Galactic Oscillation and Rotation’, it spanned approximately 250 feet in diameter and was the largest formation to appear in Sussex up to that date.
Dr. W.C. Levengood found evidence of plant node expansion from this formation as much as 90% beyond control samples from the same field: “The patterns of node expansion in the downed and upright plants clearly indicate a formation produced by very energetic plasma vortex processes which quite obviously are spatially confined to the regions outlined by the downed plants (Ref. 39).” Countless undamaged standing stems and rows of stalks along the tramlines were also reported at the site (Ref. 25).
A pictogram formed on Stockbridge Down near Whitchurch in Hampshire in barley, on July 21st 1995, approximately 60 feet in diameter, symbolizing the Nine by eight small equally spaced circles around a thin ring: the ninth circle, and arc: a symbol of completeness from the center of a spiral, and geometric design feature which, as Dr. W.C. Levengood comments in a BLT Lab report: ‘mathematically follows a model of non-linear ion acoustic shock-wave collisions in an ion-electron plasma’ (Fig. 25d & Ref. 41).
Looking very Yin/Yang, with eight primary design symbols around a thin ring, like the 1992 Silbury Hill pictogram (Fig. 3), the positive and negative image of the Stockbridge Down formation also reflects the sign of The Great Turning: the eight points and areas of the Dharma Wheel sign symbolizing eight states or ‘levels’ of Consciousness: the ‘steps’ in a process to reach the ninth at the center, identified with the Godhead; and the Spokesman of the Nine;
Peter Sorensen, Crop Circle Videographer & Silhouette artist also commented on the Stockbridge Down formation: ‘This novel formation occurred in an area where some years earlier an elderly couple had seen lights in the sky “Like a Ferris Wheel”, with eight lights around a thin ring’!
The Nine have often reflected in authentic crop circle design, or phenomena connected with the appearance of an authentic pictogram, something about the location of the formation that associates it to that particular place or area.
For example, on July 29th 1996 in a wheat field near Avebury in Wiltshire, an authentic pictogram looking like a giant ‘Pinwheel’ formed at a place called Windmill Hill.
Another wheat field, below the ancient hill fort of Barbury Castle near Swindon in Wiltshire, received a massive pictogram during the early hours of July 17th 1991, and “a thunderous rumbling like a hundred aeroplanes” above the hill. Shaken by the experience a local resident, the warden of Barbury Castle, familiar with the sound of low flying airplanes, reported that the ‘sound’ lasted for a few minutes and then abruptly stopped (Fig. 26 & Ref. 19).
The Nine I suspect, like a noisy ‘poltergeist’, reflecting back an aspect of the psychokinetic energy of the ‘place’, heavily associated with airplanes with an old aerodrome nearby, and RAF Lyneham, an active airbase, a few miles away, wanted to make sure they were heard.
|Fig. 26 The
Barbury Castle 1991 Crop Circle Formation
Silhouette Drawing Copyright 1991 Wolfgang Schindler
Barbury Castle formation contained nine primary design
symbols: a central circle and two concentric rings; three
triangles forming a giant equilateral triangle with sides
approximately 180 feet long;
and three different circular design symbols, including one with six spiraling arcs set at 90 degrees to each other, like the Stockbridge Down ‘ratchet’, measuring exactly 333 feet long
and another 9 in numerology
(Fig. 26 & Ref. 19).
approximately 192 feet in diameter the Knoll Down pictogram is
this date, the largest and finest ringed
spiral formation on record. Forming between Beckhampton and Cherhill in Wiltshire, in young barley, on May 29th 1995, the outer ring contained thousands of single standing stalks that were clearly unaffected, or perhaps unselected, by the circle creating Source (Fig. 25e).
Its design symbolism reflected the Nine as nine circle elements, including and contained within an ancient sign for the Sun (and God): a ring with a point at its center, represented in the formation by its striking center circle and outer ring (Ref. 11 & 28).
Illustrating the Spokesman of the Nine; the Word; and the fact that sound waves can be focused, a pictogram appeared in wheat on Cow Down, South of Andover in Hampshire, on June 18th 1995, approximately 250 feet in diameter, reflecting the Nine as nine equally spaced ‘ripples’, with three concentric rings, representing the triad of Creation (the Word), including the center circle, and an overall image strikingly similar to one on the facing cover of a book (in my collection for many years) entitled: ‘Echoes of Bats and Men’, by Donald R. Griffin (Fig. 25f & 27).
Fig. 27 Book Cover Art
Image ã 1959 Educational Services Incorporated
Image George Giusti/Typography
by Edward Gorey
Interestingly, about a week after the pictogram formed a compass deviation of as much as 90 degrees was reported inside the central ring.
Reflecting the approach of the Shoemaker/Levy 9 Comet with Jupiter, a pictogram formed near Moulsford in Hampshire on July 17th 1994, containing nine circle design elements: eight descending sized circles representing the Comet fragments, and a large ring symbolizing Jupiter (Fig. 25g).
Kris discovered that the symbol of the crescent moon, referred to the path and position of the moon passing between the Constellation of Scorpio, stated and implied in many of the authentic 1994 ‘Comet Collision’ formations; the advancing Comet; and Jupiter, all visible in the night sky at the time (Ref. 29).
Appearing in wheat on August 8th 1994 and reflecting nine circle design elements: seven standing rings within a flattened central circle contained by a larger ring; making nine, the Froxfield pictogram symbolized an effect, known as ‘The Jupiter Effect’, or Solar Oscillation; the primary cause of the 1990 higher than usual peak number of Sunspots (electromagnetic ‘rings’ on the photosphere, or visible disk of the Sun, represented at Froxfield within the Sun’s Corona, or thin ring), occurring alongside the most prolific authentic crop circle season on record. Like Jupiter, the Sun can also ‘capture’ Comets and receive impacts, depicted at Froxfield as seven rings within the center of the Sun symbol (Fig. 25h & Ref. 37 & 29).
on August 14th 1996, a pictogram formed near the Long Barrow
of Wayland Smithy in Oxfordshire, reflecting two astrophysical phenomena: ‘The String of Pearls’; the name given to the Shoemaker/Levy 9 Comet, broken up into fragments by Jupiter’s massive gravity, symbolized by nine circles on a thin ‘string’; and ‘Baily’s Beads’, ‘At the moment of totality (of a total Solar eclipse) the disappearing crescent of the sun (doubling as the thin string) breaks up into a number of glowing points’, in this case nine circles of flattened crop (Fig. 25i & Ref. 15).
END OF PART ONE.
Ed Sherwood – June 1998
1996 Laguna Canyon Crop Circle Formation, Ed & Kris Sherwood,
Millennium Research, 1996.
35) “Anatomical Anomalies in Crop Formation Plants,” Physiologia Plantarum,
(Vol. 92, 1994), 356-363, Dr Levengood, BLT.
36) Crop Formation: Laguna Canyon, California, USA 1996, BLT Research Team, Report No 81 April 1997.
37) The Base Drum of the Solar System, Goran Windelius & Peter Tucker, Solaris Research Center, Report 89/3.
38) Agriglyph Geometry, John Martineau 1992.
39) Crop Formation: Alfriston, East Sussex, UK 1995, BLT Research Team, Report No 60 May 1996.
40) Crop Circle Formation: Litchfield, Hampshire, UK 1995, BLT Research Team,
Report No 72 1996.
41) Crop Formation: Whitchurch, Hampshire, UK 1995, BLT Research Team, Report No 75 May 1996.
42) Yui Yi & The Dragon King, A Chinese Folk Tale (See Ref. 13).
Fig. 1 ‘Let Us Remember Dragons’, Ed Sherwood, 1990.
Fig. 2 Illustration from ‘The Rookery’, Ed Sherwood, 1984.
Fig. 3 Silbury Hill 1992 Crop Circle Formation, John Martineau/Ed Sherwood, 1992.
Fig. 7 Sun Cross, Ed Sherwood, 2004.
Fig. 8 Top left, Winterbourne Stoke 1989 Crop Circle Formation, Ed Sherwood, 1997.
Fig. 8 Top right, Chilcomb 1990 Crop Circle Formation, Wolfgang Schindler, 1990.
Fig. 8 Middle left, Skyllberg 1993 Crop Circle Formation, Ed Sherwood, 1997.
Fig. 8 Bottom left, Martock 1996 Crop Circle Formation, Peter Sorensen, 1996.
Fig. 8 Bottom right, Haselbury Plucknett 1997 Crop Circle Formation,
Peter Sorensen, 1997.
Fig. 11 Grassdorf 1991 Crop Circle Formation, Wolfgang Schindler, 1991.
Fig. 12 Ogbourne Maisey Crop Circle Formation, Wolfgang Schindler, 1991.
Fig. 14 Sun/God Symbol, Ed Sherwood, 2004.
Fig. 15 Alvord Desert 1990 Pictogram, Ed Sherwood, 2004.
Fig. 17 Froxfield 1992 Crop Circle Formation, Wolfgang Schindler, 1992.
Fig. 24a West Overton 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 24b Harewood 1995 Crop Circle Formation, Peter
Fig. 25a Litchfield 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25b East Meon 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25c Alfriston 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25d Andover 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25e Beckhampton 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25f Andover 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25g Moulsford 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 25h Froxfield 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 25i Ashbury 1996 Crop Circle Formation, Peter Sorensen, 1996.
Fig. 26 Barbury Castle 1991 Crop Circle Formation, Wolfgang Schindler, 1991.
‘Atum’s’ Song’, Ed Sherwood, 1997.
Fig. 9 The Associated Sound Waves from a Vibrating Tuning Fork,
H.J.P. Keighley & F.R. McKim, 1969.
Fig .17 ‘Wind Feather’, Ed Sherwood, 1997.
Fig. 21 Pa Kua and Yin-Yang Circle, Ed Sherwood, 1997.
Fig. 24 ‘The Infinite’, Ed Sherwood, 1997.
Fig. 25 Nine-fold Variations, Ed Sherwood, 1997.
Fig. 4 & 5 Symbols of the Silbury Hill 1992 Pictogram, Maria Ward, 1992.
Fig. 6 Ball Plasma, Maria Ward, 1992.
Fig. 13 ‘The Sound of Special Music’, Radio Times, 1990.
Fig. 16 Undamaged Poppies, Ed Sherwood
Fig. 19 & 20 The Circular Mound, Peter Firebrace, 1984.
Fig. 22 & 23 Symbols of the Silbury Hill 1992 Pictogram, Maria Ward, 1992.
Fig. 18 ‘Exploring A Crop Circle Hologram’ Talk Poster, Ed Sherwood, 1997.
article is excerpted from a larger work in progress. It may be
copied and distributed for informational purposes only. Under no
circumstances should it be published anywhere, or for monetary
gain, without written permission from the author. Copyright June
1998 Ed Sherwood/Millennium Research.
All Rights Reserved.
© 2005 Ed & Kris Sherwood
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