Archive for Kardashev Scale


Posted in Art, Chaos Magic, Extraterrestrial, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 10, 2017 by FAUSTUS CROW

A number of linoleum tiles, which are generally called the Toynbee tiles, were created by an unknown Artist, who set about embedding the tiles within the asphalt of various streets, which soon become a successful viral-meme advertising campaign during the early 80’s. There is the distinct possibility that the Toynbee tiles had in part, influenced, the 2015 space opera, entitled, Jupiter Ascending, which was written, produced, and directed by The Wachowskis, who had prior created the highly influential Matrix trilogy.

Back in 1992, an inquisitive individual in Philadelphia, going by the name of Bill O’Neill started to notice the tiles, which had been randomly embedded in local roads.

Resurrect Dead – The Mystery of the Toynbee Tiles (2011) from Shabda on Vimeo.

The tiles were generally about the size of an American license plate, and each had some variation of the same strange message: “TOYNBEE IDEA IN KUBRICK’s 2001 RESURRECT DEAD ON PLANET JUPITER.”

As you will probably know, Stanley Kubrick’s film, 2001: a Space Odyssey is based upon the novel by Arthur C. Clarke. In Clarke’s novel, a black monolith (or Cube, which is symbolically associated with the eight-legged-mare/trance horse of the shaman, likened to a psychic TARDIS) was placed on Saturn’s Death Star looking moon, called Iapetus.

The monolith (Cube/eight-legged-mare) allows ingress into a vaginal star barreled (NDE tunnel) portal, you could see as a (Yoni) wormhole, leading to another space and time, via which the protagonist travels through, just like the ancient shamans did, who to have conjured ‘feline’ (Succubi/Succubae) Dakinis when to ‘quantum dream,’ wherein to lucidly remote view ‘honeycombed’ fractal futures beckoning back through time.

However, in the movie adaptation, the final destination of Saturn was transformed into Jupiter because of the then technical problems, since it was extremely difficult to create a convincing looking Cabbalistic model of planetary Binah sphere Saturn with its iconic Lord Of The… Rings, back in 1968.

So, 46 years later in the 2011 science fiction film, Interstellar, its director Chris Nolan, having at his architect disposal a Masonic VFX crew and state-of-the-art CG technology, created the beautiful CGI imagery of Saturn in order to ‘square its ‘circular’ rings.’

Nolan then depicted the Saturn opening of a vaginal portal where Clarke had intutively envisioned its (Sexagram/Hexagram) Chronos technology.

As for the Toynbee tiles, they varied a bit in colour and arrangement, which were all made of an unidentifiable hard substance. Some of the tiles had disturbing footnotes, far darker than the message itself, such as “Murder every journalist, I beg you,” and “Submit. Obey.”

There were other tiles, which may have not been created by the same Artist, whose message was accompanied by lengthy, paranoid diatribes about the news-media, as well as political statements being made.

Bill decided to find out who was creating the tiles, but nobody knew anything about the Artist, or what he or she was attempting to communicate, or whether there was not just one Artist involved, but also others who were also creating tiles, of a viral-meme Happening.

So, Bill decided to create a website devoted to the mysterious tiles, and in doing so, enabled the tiles to become a viral-meme entity spreading its self over the web, and in turn discovering that the tiles were not just a local phenomenon.

Similar Jupiter Ascending tiles have appeared in other US cities, including Washington DC, Pittsburgh, New York City, Baltimore, Boston, and many others. Some have even been discovered in South America, such as Brazil, Argentina, and Chile. There are 130 tiles, which have been found.

The Artist, had managed to embed the tiles into public roads, some of which are busy 24/7, without being Banksy style spotted. The tiles resurrection of the dead Toynbee message refers to Immortality. Believe it or not, there are some scientific theories. which point at the attainment of immortality. These theories involve quantum computers, simulated worlds, and what is called the Omega Point.

For example you have the philosopher Nick Bostrom, who explored the Simulation Hypothesis, which states that, given empirical reasons, at least one of the following must be true:

1: The human species is very likely to go extinct before reaching a “posthuman” stage.

2: Any posthuman civilization is extremely unlikely to run a significant number of simulations of their evolutionary history (or variations thereof).

3: We are almost certainly living in a computer simulation.

Bostrom’s argument indicates that each of the above possibilities is just as likely as the other. And, more likely than not, we are already living within a simulated universe created by a posthuman civilization, which essentially means, that an ancestor simulation equates with the resurrection of the dead. Another example is the theoretical physicist, and cosmologist Frank Tipler, who is intrigued by the Omega Point, whose concept has existed before the creation of the Toynbee tiles.

The term Omega Pont, was first coined by Pierre Teilhard de Chardin, back in 1950, the Omega Point is described as being the point at where the universe will reach its peak level of complexity and consciousness.

At this point, humans will theoretically be able to transcend and attain ever higher levels of consciousness as well to have physically evolved into another humanoid form, such as, for example, looking like alien Greys out of UFO lore.

However, Frank Tipler’s idea of the Omega Point is slightly different. Tipler believes that, at a certain point within our own universe, sentient life will eventually dominate the cosmos. Intelligent beings, perhaps posthumans, will have a profound command over science and technology, who are able to control space and time in ways we can hardly imagine.

Like in Bostrom’s hypothesis, Tipler suggests that the computational complexity within the universe will become so great that it will allow for the existence of cosmic simulations. But not just simulations of the universe, but also simulations of everything, which has ever existed, everything that has ever occurred, and everything that ever will occur. Hence, it has already happened.

One of the results of such a simulation you could call the Matrix, would be that everyone who has ever lived or died would be “resurrected,” born again within the simulated universe, a Hindu mystic would term as Maya, which would be ‘eternally recurring,’ whose simulations are like Schrödinger’s Cat.

As for the symbolic utilisation of the planet Jupiter in the Toynbee tiles, you could imaginatively see it as being an occult blind, which points at Jupiter’s ancient esoteric association with the number four, and that of a fourth civilisation upon the Kardashev scale.

The Kardashev scale is used as a method of measuring a civilization’s level of technological advancement, which is based upon the amount of energy a civilization would be able to use for communication. The Kardashev scale usually has three designated categories:

1: A Type I civilisation (also called a planetary civilisation) can use and store energy which reaches its planet from a neighbouring star.

2: A Type II civilisation can harness the energy of the entire star (the most popular hypothetical concept being the Dyson sphere—a device which encompasses the entire star, transferring its energy to the planet(s) in its surrounding system.

3: A Type III civilisation can control energy on the scale of its entire host galaxy.

However, Should you apply the same esoteric symbolism to the number 3, you then have the association with planet Saturn, the ancient Greek’s called Chronos. The name of Chronos means, ‘time,’ leading thence to ‘communication’ across time, and time-travel, as depicted in the aforementioned film, Intersteller, which features the planet Saturn and an astronaut haunting his own past as a poltergeist.

3: A Type III civilisation would have the technological ability to engineer a planet, which has certain intrinsic properties of a vortex, twisting both space and time to become their TARDIS time-machine via whose Chronos portal a Type III civilization could send a space station the size of Iapetus, back into the past.

The Type III civilisation will also be able to easily send a Chronos signal, back into the past, in order to influence the electron dreams of certain individuals throughout history, who might communicate that they have experienced accessing an NDE tunnel prior to contacting another intelligence, let alone being abducted by entities at the point of hypnagogic trance ingress into a lucid dream; or to have otherwise intuitively tapped into what is going on, which is then symbolically communicated in varying mythologies, entering unto the media of varying interconnected science fiction scenarios, whose surrealist symbolism is that of a… Chronos Code.

4: Should you extend the Kardashev scale further, a Type IV Omega Point civilisation can control the energy of the entire universe, which is an ‘Eternally Recurring Simulation.’ But it is not the only simulated Maya universe, there are a myriad number of other Maya simulations; whereupon you have the Many World theory of the multiverse. If the multiverse is indeed made up of interconnected Maya simulations, you might just have ‘feline’ Sexagram Cylons frequenting the virtual reality of the quantum dream as its sentient Dakini programs.

Wherefore, if there is indeed a cover-up going on concerning evidence pertaining to another civilisation, which surrounds your own, just as your civilisation surrounds an unknowing stone age tribe amidst the Amazon jungle, it is probably because the other civilisation is the creation of your future descendants, who have time-travel capability, which enables them to journey to the far distant stars, let alone observing their own ancestors. Hence, they are protecting their own past, just as your present civilisation has taken measures to protect a stone age tribe in the Amazon from knowing about your civilisation.

But, their protective measures involving a few contacted agents who police the past, can only be sustained for a time; whence, there will be an eventual ‘Childhood’s End’ point of a technological ‘singularity,’ which invariably occurs of a ‘recurrence.’



Posted in Alien, Art, Chaos Magic, Discordianism, Extraterrestrial, Film, Goetia Girls, Occultism, Science Fiction, Shamanism, Sorcery, Star Trek, Surrealism, Time Travel, Tulpa Creation, UFO, Vampire with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 15, 2015 by FAUSTUS CROW

Jupiter Ascending is the title of a 2015 American–Australian space opera, which was written, produced, and directed by Lana and Andy Wachowski. The film can be generally described as being a cross between The Matrix, Star Wars and a politically correct version of Barbarella. Many of the visuals of the film appear to be heavily influenced by Roger Vadim’s Barbarella as well as by Terry Gilliam’s artistic style. Gilliam’s influence is obvious, since he has a small part in the movie as well. The film also cleverly utilises the UFO mystique concerning the now iconic Greys and UFO abductions.

The principle Barbarella character is Jupiter Jones, who is living her life as an ordinary cleaning woman, until she meets up with Caine Wise, an interplanetary warrior sporting Vulcan ears, though Lupine of hybrid source, who has been sent to protect her from being murdered by Balem of the House of Abrasax, the most powerful of the alien dynasties.


It is a shame that Jupiter Ascending takes itself so seriously, it would have been far better if it had the slick Barbarella humour of Space Girl.

The Barbarella Space Girl episodes were created by Tom Small, written by the Barely Political Team and Edward Einhorn, which stars sexy Lauren Francesca. As for the name of Balem, it is derived from the 51st Goetia spirit called Balam; whereas Abrasax is the name of Abraxas, who is a Gnostic deity, being a fusion of God and the Devil.

Anyway, it turns out that Space Girl, I mean Barbarella, damn it, sorry, Jupiter Jones is the reincarnation of Balem’s mother. Balem is essentially the male equivalent of Barbarella’s Great Tyrant, otherwise called the Black Queen of Sogo; she is the one who said; “pretty, pretty,” in a most sensual way.

The population of Earth are totally unaware that their far flung ancestors had been originally seeded upon the planet after the then dominant dinosaurs were purposefully eradicated by a technologically advanced seventh type Barbarella civilisation.


Countless other worlds throughout the universe have also been likewise seeded by the ruling families of trans-human and alien royalty who are somewhat akin to the Gnostic Archons, fused with Vampires, whose genetically enhanced butch stormtrooper soldiers have wings of Angels.

The trans-human Archon families seeded the Earth and that of other planets for the express purpose of later harvesting humans to produce a serum for the elite Vampires, which enables them to become immortal.


Balem has inherited an enormous serum refinery on Jupiter after his mother’s demise who, like jealous Jehovah seeks to harvest the Earth’s human population, so, he is none too happy that she has been resurrected as a Diana-Lucifera on Earth, since his mother rebelled against the continuance of harvesting humanity’s life-force, for an elite few in Heaven.

The themes of immortality, reincarnation and resurrecting the dead are the main themes of the Barbarella type movie, which is tied up with the planetary sphere of Jupiter.


The film’s focus upon Jupiter may in part have something to do with the Toynbee tiles (also called Toynbee plaques), which are messages of unknown origin found embedded in the asphalt of streets scattered around two dozen major cities in the United States as well as four South American cities. Perhaps it is a Dadaist joke, or a Surrealistic rebellion, or both, to go viral, of art meme.

Resurrect Dead – The Mystery of the Toynbee Tiles (2011) from Shabda on Vimeo.

Since the 1980’s, several hundred of these tiles have been discovered. They are generally about the size of an American license plate (roughly 30 cm by 15 cm), sometimes considerably larger. The tiles communicate variations of the following inscription: TOYNBEE IDEA, IN MOViE `2001, RESURRECT DEAD ON PLANET JUPITER.


Toynbee’s idea” stems from a passage in Arnold Toynbee’s book Experiences, pp. 139–142: “Human nature presents human minds with a puzzle which they have not yet solved and may never succeed in solving, for all that we can tell. The dichotomy of a human being into ‘soul’ and ‘body’ is not a datum of experience. No one has ever been, or ever met, a living human soul without a body… Someone who accepts—as I myself do, taking it on trust—the present-day scientific account of the Universe may find it impossible to believe that a living creature, once dead, can come to life again; but, if he did entertain this belief, he would be thinking more ‘scientifically’ if he thought in the Christian terms of a psychosomatic resurrection than if he thought in the shamanistic terms of a disembodied spirit.”

Going by Tonybee’s quote he hadn’t figured on how far computers have technologically evolved, which may lead to individuals uploading (Ascending) their (Jones/John the Baptist/Head) consciousness into a (Matrix) virtual reality, at their eventual ‘Omega Point’ demise. As for the tiles usage of Jupiter, it can be seen as a possible allusion to an occult focus upon Jupiter’s planetary sphere, which is traditionally associated with the number, ‘four.’


The number four is also used to describe a level of a civilisation’s evolutionary progress concerning the Kardashev scale. The Kardashev scale is used to investigate hypothetical technological levels of future human civilisation as well as possible extraterrestrial civilisations.


However, the Kardashev scale only describes three types of civilisation; our present civilisation is not even a first type. Although many extensions beyond the three types of the Kardashev scale have been proposed by theoretical scientists.

A type four Kardashev rating for a civilisation can control or use the entire universe. Such a civilization approaches or surpasses the limits of speculation based on current scientific understanding, its technology would be indivisible from magic.


A Type four civilisation is also capable of manipulating individual atoms, creating nanotechnologies on the atomic scale as well as creating complex forms of artificial life; wherefore overcoming death.

The ‘Omega Point’ theory of physicist Frank J. Tipler would presumably occupy this fourth level, as would the Biocosm hypothesis. Tipler’s Omega Point describes human personalities, being run as simulations within a universe, which has been transformed into a vast computer.


As a result, after the Omega Point has been reached, humans will have omnipotence, who are able to see all of history and predict all of the future.

Additionally, as all history becomes available, past personalities will be able be to run as (Tulpa) simulations within the (Maya) simulation, who are essentially the resurrected dead.


Tipler equates this Jupiter (Zeus/Jehovah) state with the Christian heaven. However, it may be a case we are already simulations within an ancestor simulation, being run by a future ‘Jupiter’ level civilisation, which has the capability to time travel browse, through their ‘eternally recurring’ simulation; whereby we are all the resurrected dead within a Matrix.

As an aside, Jupiter Jones is eventually swept up in the Angel wings of Cain Wise who had initially lost his wings for being a bad-boy lupine.


Cain is somewhat like the blind Angel named Pygar who helps Barbarella in her quest to save the universe from the Great Tyrant.

Pygar states in the Barbarella movie that he is the last of the ornithanthropes and that he has lost his will to fly; but Barbarella soon gives him the will to fly again by riding his rocket.


Barbarella is a cult classic, which transformed Jane Fonda into a Venus icon, though later considered to be sexist by many feminists; this would have been have been more so the case if her curvaceous form was being assaulted by the ‘fifty’ slimy ‘grey’ alien tentacles of Lovecraftian entities, seeking to devour her aroused flesh.

Whereas Jupiter Ascending has become a favourite of female science fiction fans who are no doubt fans of the Twilight saga, concerning a girl bound between necrophiliac Vampires and bestial Werewolves, which led to bondage Fifty Shades of Grey.


However, Jupiter Ascending didn’t go down too well with a larger audience who are presently living through the Orwellian war on terror after the Iraq conflict, though some to say it will become a cult classic, just like the space flick, Gravity.

But it will not be in the same league as Barbarella. When you have a film about techno Vampires, immortality and death, it invariably conjures up the opposite of erotica, since sex equals life and creativity. Jupiter Ascending was far too politically correct to depict erotic themes, you to find in Barabarella, which had surfed the Make Love, Not War Hippy zeitgeist age of Aquarius, to also have a sense of Terry Gilliam humour during the era of the Vietnam war.


Overall, I liked Jupiter Ascending as well as all the other art movies by Lana and Andy Wachowski. The special effects and visuals are quite stunning of an updated similarity to Vadim’s Barbarella. But if a TV series of Barbarella ever gets off the ground, which of a production, is also Entartete Kunst politically correct, due to the Twilight pandering to Fifty Shades of Grey feminists, it will fall like a leaden Angel, without any wings!