Chamber 1 Painting
Suggested Painting Title:
“The Transforming of Genetic Mind and Humanity.”
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Fig． 2． Chamber 1 Painting Detail from FSCD. 6
Interpretation and Meanings
This painting shows the transforming Genetic Mind (GM ) and a new humanity cocooned in
a brown border, casing, sheath or skin. Humanity is: a) breaking away from the old, heavy, worn-out,
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“fundamental misconceptions” (G GM ) of the GM below it that no longer assist the higher
evolutionary development of humanity, for humanity has, in this painting, evolved on; and b)
cocooned in a new more highly evolved, less dense, sheath of GM that is itself nourished directly by
First Source (FS) -- the deep “universal blue” background or backdrop for the painting (Part 1; Lock
2003). A source of this nourishment is via the streak of light in the top right of the painting that
represents what the WingMakers and Lyricus philosophy calls the Underivative Information
Structures (UIS) with its attendant Source Intelligence (SI) red frequency (Part 1; Lock 2003)
charging the transforming GM.
The UIS
The UIS are not physical structures, but a primary field of vibration or quantum primacy
across all dimensions of space. An adjacent philosophy and website to the WingMakers is Lyricus
(link: http://lyricus.org). In the WingMakers philosophy Lyricus is regarded as a subset of the
WingMakers with most of its members from the WingMakers or Central Race. The Lyricus material
states that Lyricus exports these non-material genetic “templates of life” (UIS). James, the translator
of the original WingMakers and Lyricus material, says they are:
…sub-quantum and represent the primary blueprint for living systems and inorganic matter. It
is UIS that gives rise to the quantum fields that interpenetrate planets, stars, galaxies, and the
universe at large. It is the communication field of life that connects the nonlocal and the local,
the individual and the collective, the one and the infinite (James, Lyricus: “Templates of Life”).
As mentioned in the “Templates of Life” when discussing the master templates that
“interface between each field of vibration”, the UIS, master templates, and energetic systems arising
from it “are constantly in an interactive process of communication.” This communication “informs
the evolutionary design of a species, organism, or material object -- whether organic or inorganic”
(James “Templ. of Life”).
We see, on close examination of the light blue streak “charging” or infusing the new GM
(fig. 3), a thread of red SI weaving or spiraling through it confirming this is the UIS. We know this
because the “interactive process” cited above “of the energetic systems” is:
…monitored by a frequency of UIS that is called Source Intelligence [emphasis mine] or the
Universal Spirit Intelligence. This frequency absorbs, filters, and processes the communication
between the fields of vibration and distills them into packets of information suitable for utilization
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by First Source.
Fig. 3. The Underivative Information Structures (UIS), and portal link to GM.
Color copy from Collector’s Edition print. Permission Mark Hempel.
This is the manner in which the interactions between all dimensions of existence are brought
into coherence and applicability to the formation of new worlds, species, and dimensional
constructs. This is the conduit in which the multiverse evolves and all life within it advances into
higher dimensional expressions (James, “Templ. of Life”).
This is a perfect description of what we are seeing in the upper right hand corner of Chamber
1 Painting in which red SI (Part 1; Lock 2003) is absorbing, filtering and processing the
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communication between the new GM – the brown outer casing, cocoon or sheath -- and humanity,
and distilling this “into packets of information suitable for utilization by First Source.” FS is the
deep cosmic blue (Part 1; Lock 2003) behind the UIS streak. At intervals all along the spiraling
length of the UIS we see them sending smaller streaks or feelers of energy or “packets of
information” into the vast FS blue ocean of cosmic consciousness that constitutes the backdrop of
the painting. According to the WingMakers’ philosophy it is via this UIS conduit that the GM and
humanity evolve, and it is by which, or how, we can observe the transforming of the GM and
humanity occurring within the painting. A whiter edge to the GM casing can be seen where the UIS
and GM meet. This inflowing energy via UIS enables the old, heavy portion of the brown GM full of
misconceptions to fall away, and for humanity, the GM, and thereby Earth, to advance into a higher
level of expression.
These Underivative Information Structures (UIS) depicted as the light blue streak entwined
with a frequency of SI in the painting provide:
…the structure behind the quantum fields and energetic systems that yield form and the
living systems that support form. The soul carrier is an outcome of the master template that is
energetically distributed to life-bearing planets upon the multiverse vehicle of UIS. This template,
which creates and interacts with the morphogenetic field of the soul, defines the soul carriers’
limits of functionality and expression – but only in the flow of time (James “Templ. of Life”).
So this vehicular light blue streak with its SI thread that we see in the top right hand corner of
the painting, structures, for the WingMakers, the energy systems and quantum fields that create the
living system. We see too, that the UIS is intimately related to human beings or HIs, as soul carriers,
and “creates and interacts with” the/our “morphogenic field of soul.”
This in turn implies that the soul is represented by a sympathetic color at the core of
humanity, which will make it the light blue nucleus of the cell-like cocoon in Chamber 1 Painting.
Confirming this suggestion is James’ statement, “The soul is attuned to UIS and operates therein
because this is the vibratory field that is native to its essence” (“The Presence of Soul”). Color is
nothing more than a vibratory frequency or field, so if the UIS and soul have the same vibratory
frequency they will certainly have the same vibratory coloration: i.e. a light blue. (See below for
more.)
The Transforming Process
These UIS even hint perhaps at a possible time for the process in expression in Chamber 1
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Painting. Under the heading “Developmental Shifts” in the Lyricus material four stages of
developmental shifts that sequentially precede the Grand Portal (GP) are outlined. At the end of the
fourth shift around the time of the discovery of the GP -- around 2080 according to the Lyricus
material -- “the energy of the UIS and the virtual structures of the master template begin to ‘descend’
within the planetary dimension of time and space – attracted by the shifting consciousness of the
species” (James “Purpose”). It is difficult to say we are specifically looking at the depiction of a
presumed future of around 2080, because, although the templates descend at that time they remain.
Therefore we could also be looking at a time after the discovery of the GP.
(See Timing of Transformation below.)
Of course, “[a]s a greater percentage of the species embody their soul consciousness, it
becomes easier for the remaining members to do so as well” (James “Lyricus: Presence of Soul”).
When these remaining members do so we are looking at the transformation of humanity as a whole.
However, the WingMakers say this will not happen suddenly with the Earth moving into some kind
of instant ascension. As James clarified in “Sovereign Integral”:
This transformation is not occurring as broadly as some suggest. It is limited to the human
instrument of a small percentage of the overall human population. I am aware that there are
reports alleging that the earth, as a whole, is undergoing nothing short of a global transmutation,
but it is not the case.
Transformation occurs one individual at a time, at the request of the individual. It is not
orchestrated for all life forms simultaneously because this would require a cessation of freewill.
Again, in “Lyricus: Teachers Q&A 12” James says:
The mission of Lyricus is not an event of transformation brought from a Holy or Divine
source. It is the unfolding process of humanity discovering its fundamental identity and its
relationship with the multidimensional universe.
Obviously time is required for an entire species to transform in this way. It occurs “[a]s more
and more individuals call forth the Wholeness Navigator [soul, individuated spirit/Source vibration]
and subsequently alter the function of their human instrument.” This makes it easier for others
incarnating “to embody the unification vibration within their human instrument.” And it is “part of
the divine blueprint for the evolution of the human species as a soul carrier capable of cosmological
exploration” (James “Sovereign Integral”).
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This transforming process we are witnessing in Chamber 1 Painting is referred to in P4 as a
movement “from a survival – based energy system to an explorer-based energy system.” Indeed the
cocooned earth/humanity in this painting is about to drift away and sail into the cosmic-blue ocean
of FS as humanity finds its rightful place as an exploratory race within the universe; and it will be
shown the glyphs in this painting collectively express ineffective aspects of the survival or
saviorship energy system that humanity is now rapidly outgrowing, and in the painting, finally
leaving behind forever.
While Chamber 1 Painting may be a transforming process beginning around 2080 with the
discovery of the GP, the painting could also be said, naturally enough, being the first painting in the
series, to represent our orientation, giving from the WingMakers’ viewpoint, a planetary overview of
our situation and where we as a collective humanity are heading from 1996 onwards. For the
WingMakers G states that from 1996 – 2016:
…the genetic mind will become increasingly fragmented and thus, vulnerable to
modification. This will be an effect of the growing ubiquity of intelligent networks and artificial
intelligence therein. The expanding interconnection of intelligent networks has a significant
impact on the genetic mind because of the emergence of a global culture that accompanies the
arrival of such technologies (“Genetic Mind”).
Whether this increasing fragmentation fully materializes in the 1996 – 2016 time frame
remains to be seen, of course, though it can be said to have already begun (see FitzGerald below).
GM, All That Is (ATI) and Chamber 1 Painting Glyphs
The GM in Chamber 1 Painting is indicated, as mentioned before, by the brown shapes,
which in this painting represent “the soil of genetic memory” (G&P2). The largest brown shape at
the bottom and its glyph-filled shape represent the imperfect knowledge, teaching and belief systems
filtering down to humanity after the knowledge of ATI has been strained through the thick filter of
the Hierarchy (H) leaving the essence behind and beyond humanity’s experience.
Part 1 (Arai and Lock 9-10; Lock 2003) revealed that glyphs on these Light-bands in
WingMakers’ paintings represent knowledge from ATI. James, the original supplier of all
WingMakers’ material to website manager Mark Hempel, in answer to a question I put to him on the
paintings answered that some of the symbols and imagery in them are the same as those in the GM
due to their “universality and pre-existent states of geometry” and the “imagery of All That Is is
codified into a higher dimensional language, which in turn is encoded into the original works” (Q&A
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64).
In this painting however, the glyphs are kept separated or totally divorced from the cocooned
planetary humanity and have a deep black boundary or barrier surrounding them, strongly implying
these glyphs or “revelations” are of the H and have been very ineffective guidance, revelations or
religious teaching. This has resulted in humanity at large having had no clear comprehension of what
lies beyond the H’s belief systems or rituals. These glyphs entrapped within the soil of the GM are
virtually useless abstractions from ATI. Surrounded in black they lack any coherent connection to
FS; and the portal to FS’s domain floating on the far mid-right of the painting appears to be either
gently assisting in pulling away this no longer necessary portion of GM, or expressing the extremely
tenuous link the GM has to the small portal which is dwarfed by the GM’s ponderous structure.
Illustrating this in the Collector’s Edition and “museum grade” prints is a faint hair-breadth light
blue line linking the portal with the very top point of this heavy section of the GM at the very point
of fracture from where it is falling, or being pulled away. (See fig.3.)
The knowledge and information represented in this glyph-filled area has a very different feel
to it than its counterparts in almost, if not all, the other paintings. Here the figures all seem upside
down or in a state of fall or struggle. This glyph-filled shape is turned on end as a graphic on the
website giving the glyphs an even greater sense of falling. Perhaps James gave this as a clue. In fig.
1 these glyphs are lying down at the bottom of the picture in a somewhat chaotic and disorderly state.
Moreover, some of the characters or glyphs are -- and this is a very rare feature of the WingMakers’
paintings -- cut in half or incomplete showing the half-truths, ineffective or incomplete knowledge
and beliefs that have been filtered down to humanity, via the GM, by the H (G&P).
Two website composite computer graphics (CG) images exist showing a part of this
set of glyphs with the titles “grandportal” and “portalelement” (fig. 4 and fig. 5). It could be argued
that qualities represented by these glyphs are then either necessary for, or result from, the discovery
of the GP, thus conveying upon them more positive evolving characteristics. In my opinion if the
glyphs in these jpegs have meanings, they may represent the necessary beginnings of contact with
ATI in order to develop the GP. This glyph area is one that has been used separately as a CG vertical
image since the inception of the www.wingmakers.com website in 1998. It could be its waisted
shape that makes it useful for the CG artwork James has wanted to present; and on the original
website it was a vertically represented CG further enhancing its falling qualities, just as in fig. 4 and
fig. 5. It is possible to read too much literally into the composite CG works.
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Fig. 4. “Grand Portal.” James.
They are fundamentally different from the chamber paintings themselves as artworks. They
are James more lyrical, poetic creations and occasionally may carry, rather than specific meanings, a
more personal, subjective artistic expression accompanying a cogent philosophical dictum, insightful
aphorism or statement from the WingMakers’ philosophy, or an aspect of reality, feeling, being etc.
At other times they may just be fictional works to add image to the myth (e.g. image of 15).
It appears to me, that each of the compositional elements in these two CG images reads in
basic terms only, and is then combined into a CG artwork: wings do not represent real wings, but
mythical, transformational wings and those “received” with the discovery of the GP; the DNA bands
and the global world illustrate the global eye/portal and global scientific and spiritual vision
necessary for the discovery, of the GP; the biogenetic DNA, world and global electronic science
images show that global advances in these fields will lead to the GP’s development for the entire
world; the glyphs show that contact with ATI will also play a central part in the discovery. The
specific glyphs in the CGs may have no more meaning than the specific writing on early twentieth
century collages and synthetic cubist works, which basically represented general printed characters
as an artistic expressional image contrasting with the more formal artistic colored and shaped areas
of the artwork. Here they add the human element illustrating humanity’s fledgling contact with ATI.
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Fig. 5. “Portal Element.” James.
A look at the glyphs on the lower portion of the GM in fig. 1 and fig. 6 reveals them to be the
old tools of a H and GM that have proven woefully inadequate over the ages for providing proof or
actual experience of Source.
An Interpretation of the Glyphs
The far right glyph appears to show a human with four herringbone bars and one spot situated
at the heart region probably denoting the heart and emotion. In Chamber 6 Painting it was shown
(Part 1; Lock 2003) that five bars across a similar figure represented the five-sensed HI. The four
bars could well represent matter, energy, space and time, the glyph denoting a being immersed
within MEST -- as these four are referred to in the WingMakers/Lyricus philosophy. The four bars
could also represent the HI attempts at ”coherence of evolutionary consciousness”, the four being the
four aspects of the HI: body, mind, heart, and human soul (see “Coherence of evolutionary
Consciousness” Fig. 1. 7); or alternatively, the four HI aspects of physical body, emotions and
feelings, mind and thinking, and GM (see “Anatomy of the Individuated Consciousness” jpeg 8).
Could the four bars perhaps even denote ‘imbalance’ and four senses only -- meaning it is spiritually
blind or deaf? What can be more clearly stated is that even the best heart-felt attempts of those
immersed in MEST when put into the belief systems of the Hierarchy have very rarely resulted in
contact or union with Source – and if and when this has occurred such experiences have initially
been virtually totally ignored or denounced. Koch has four straight bars across a vertical line
showing the “soul’s pilgrimage through life…to its purification and [that it] wins through from
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darkness into light” (94). However, beyond these bars the direction line through the head leads to a
dead end, indicating to me a possible limit to progress. Further, Koch has four upward angled cross
bars – just as in this glyph -- forming an ear of oats (80), perhaps indicating the Human Instrument
(HI) stuck at the “survival level of existence” (G&P) in a cycle of merely working to eat.
Amerindians of the SW also used this chevron glyph, though usually reversed, for corn or corn stalks
(Patterson 58; Awatsu et al 032). Corn was a survival crop; but, also indicative of life. It might also
then mean the unfulfilled upward aspirations of the HI.
The glyph appears to indicate an emotional heart-felt reaching up to a higher life, but its way
beyond looks barred. Here the glyph area tapers to an end, cramping, and closing off any further
journeying for the aspirant.
Fig. 6. Chamber 1 Painting glyphs. Collector’s Edition copy.
The glyph left of this one is cut in half, incomplete, and so tells us nothing really helpful.
The next left, the long squiggle glyph – actually a three dimensional spiral helix -- with a
head and circle at the end having just a solitary dot at one curve is a severely incomplete form, or
variant of, the Source Codes (SC) glyph (Part 1; Lock 2003). They are shown in full on the Dagger
in Chamber 17 Painting where they indicate SCs activated within the HI (Part 2; Lock 2004). SC are
essential for awakening the HI to evolve into the Sovereign Entity (SE). So in this painting there is,
in this lower glyph area, as there has been throughout history, little chance of humanity’s awakening
to evolve in consciousness. The SC have remained inactivated, thereby preventing the HI from
directly experiencing Source.
Above this are two glyphs: one looks upside down or capped and restricted; the
other dissected making it meaningless.
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SECU, Patriarch, Dragonfly, and Para Vach Glyphs
Following these two, still moving left, is a double cross glyph with a head. For
many Native Americans the straight double-crossed bar represented the star, especially Venus
meaning “guidance” (Indian Heritage inside cover), and due to influences from the south, the
teacher and guide Quetzalcoatl (Ortiz 61-61 qtd in Patterson 191).
The double cross with the lower bar longest, as in fig. 1 and fig. 6, has the two similar
meanings of “archbishops” according to Chevalier and Gheerbrant (CG 252) and “patriarchs” for
Kock (16) and Jeff Nisbet (Atlantis Rising 67), and when raised on stands, “Archangelical crosses”
(Kock 21).
Fig. 7. “Anasazi”. James.
The papal cross is the triple cross. In fig. 1 the cross appears fallen, suggesting, fallen or
misguided hierarchy figures (see FitzGerald below). It notably has one bar “crooked” – indicating
“not straightforward,” “deviating from uprightness of character or conduct” and possibly “dishonest”
(“crooked”). Though somewhat dissimilar to this glyph, two bars of equal length indicate a
poisonous botanical substance (Kock 64).
The vertical line with two horizontal bars is, interestingly enough, the ancient Linear B and
Linear A syllable phonetically pronounced “pa” (Robinson 100; Pope 171). The “pa” character is
Page 20 - © 2005 Christopher Lock and WingMakers LLC, All Rights Reserved
also combined with a vertical line and three horizontals transliterating to “pa-te”, or in Mycenaean
and Classic Greek “pater” meaning “father”. It is also the first syllable of the Linear B transliteration
“pa-ma-ko” from which is derived our “pharmacy” and “medicine” (www.
ancientscripts.com/linearb.html). James has said that the WingMakers’ glyphs generally are closer to
Senzar than ancient scripts like Linear A or B. Nevertheless, these “pa” characters present an
interesting parallel in writing, sound, and meaning to the WingMakers’ Para Vach glyph that looks to
be more than chance alone.
There are 60 common, 87 in total, Linear B signs making the odds on this glyph having the
same phonetic as “pa” in Para Vach 1 in 60 – 87 from this alphabet alone. The odds on the exact
same glyph having the exact same phonetic, and frequent similar patriarchal meaning taking into
consideration all the possible combinations of letters, characters and glyphs in the world’s languages
would be many thousands to one, though I haven’t checked for its occurrence in all other
non-modern languages, and we do not know the home-world phonetic sound of the WingMakers’
Para Vach glyph, more details of which follow below. While etymological connections and
comparisons alone often offer nothing conclusive and are mere speculation there is a hint of some
connection between the Linear B “pa” and the “pa” of para vach. WingMakers researchers and
speculators might ponder whether its ancient usage suggests a universal root language syllable or
phonetic, although it seems almost certain due to the WingMakers frequent use of ideographic
glyphs that their characters do not par se represent a phonetic alphabet, like Linear A or B for
example.
This double-cross glyph, in fig. 1 and fig. 6, is also almost identical to the Native American
rock art glyph for the dragonfly, which usually has the upper horizontal longer and the lower shorter
(Patterson 85). In addition, the Native American dragonfly glyph often has the small round head.
Examples of Native American dragonfly glyphs with the two horizontals almost equal exist on actual
kiva murals in Awatovi and Kawaika-a in Arizona (Smith 218-20). Patterson (85) reports the
dragonfly and its glyph are “most often portrayed on alters, pottery, and petroglyphs, possibly
because they are shamanistic creatures” (Parsons 250; Wright 151-2), and have “supernatural
powers” (Benedict v. ll, 9; Wright 151-2). The dragonfly itself is a positive sign of water, fertility
and abundance (Harris, R. 45).
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Fig. 8. “SECU.” James Fig. 9. “Para Vach.” James.
In his Atlantis Rising article “The Further Mysteries of Rosslyn Chapel” Jeff Nisbet cites
Boyd Rice (“Dagobert’s Revenge”) in presenting other meanings of the European double cross,
namely: the union of opposites; the intersection of creative force and destructive force; the union of
male and female principles; and as above so below. It was included within “the Royal Art of
hermeticism – a tradition which according to legend was passed down to man by a race of fallen
angels.” When the “ancient hermetic text Corpus Hermeticism was first published in
French…dedicated to Mary of Guise…[she] adopted the [double equal-armed] Lorrain Cross as a
personal symbol”(Atlantis Rising 66). The shortened upper bar is thought to have been created as a
way of bringing the hermetic cross into Christian orthodoxy, the upper bar becoming a reference to
the INRI inscribed crucifixion board affixed to the cross by order of Pontius Pilate. Nisbet’s Rosslyn
ceiling cross is a perhaps curious – for Europe -- reversed version with the upper arm longest (see
illus. Atlantis Rising 40; Herder 50).
We see here a cross-cultural spiritual usage of this glyph as an image representing spiritual
leaders in the form of the occidental archbishop and patriarch, and the Native American shaman,
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noting that the short and long horizontal bars are usually reversed in their respective European and
American settings. Either way the glyph suggests spiritual leaders or principals associated with
teaching or guidance systems.
Three online composite computer graphic (CG) images contain this glyph, two of them the
same glyph from the same source with the top bar longer and the bottom shorter as in the Native
American dragonfly image. The three images (see fig. 7, fig. 8 and fig. 9) are of an Anasazi as a
SECU, the second a SECU (Sovereign Entity of the Central Universe), and the third presumably a
representation of Para Vach, or a Teacher of the Lyricus Order that is the “subset of the
WingMakers” whose “teachers assembled the [WingMakers’] materials and have exported them
Fig. 10. SECU, or dragonfly glyph (top). Fig. 11. Para Vach glyph. Chamber 2
Chamber 22 Painting. Collector’s Edition print. Painting. Collector’s Edition print.
to…planets like Earth” (James Q&A 47) (see www.lyricus.org). The first two at least (fig. 7 and fig.
8), obviously represent teachers, guides, or SECUs. Their “Anasazi” SECU dragonfly image and
“SECU” image are taken from the bottom right corner of Chamber 22 Painting (see fig. 10).
The Para Vach glyph (fig. 9) is a longer bodied, curving upper bar/arms variation taken from
Chamber 2 Painting where it stands above three horizontal bars (see fig. 11). It is almost certain this
latter variation means the same as its CG title: “Para Vach”; here lying beyond the triune human
instrumentation of body, emotions, and mind; and beyond these three corresponding aspects
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comprising the WingMakers; and beyond the three primary vibratory levels of DNA/molecular,
sub-atomic, and sub-photonic (see fig. 12). Notably the bottom bar is at the heart region in fig. 9
indicating the way for the HI to experience Para Vach is from the heart.
The ‘Para’ of Para Vach: means “beyond”, and according to Puruker, in his The
Occult Glossary ‘Vach’ “may be said to be the feminine or vehicular aspect of the Logos, or the
power of the Logos when enshrined within its vehicle or sheath of action.” Para Vach then is that
which lies beyond the logos enshrined within the human form. In WingMakers/Lyricus terminology
it corresponds to FS, that lies beyond the Wholeness Navigator (WN ) or human soul (see bottom of
fig. 12). Para Vach is “an outlet for First Source’s expression of Sound and Light” (James,
“Coherence of Evolutionary Consciousness.” Hakomi 4-6 ). A longer definition by James:
Para Vach is the primordial, causal Sound and Light that transcends both manifestation and
non-manifestation. It is the Breath of First Source beyond the cosmos that creates, vitalizes, and
sets in motion the vibratory substance of matter. It transcends the manifestation of light and sound
even as it exists in its most pure and luminous state (http:// wingmakers.com/music-hakomi4-6).
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Fig. 12. “Hierarchy of Vibrations.” James.
The SECU, dragonfly, patriarch glyph can be found again in the website Chamber 21
Painting (fig.13), and a double bar, three-dimensional cross glyph in the upper left corner of
Chamber 22 Painting (fig. 14). There is yet another version of the SECU, dragonfly, Para Vach
glyph on the WingMakers: Hakomi 4-6 CD back sleeve, on the figure’s forehead (fig. 15), and a
smaller version of Para Vach from Chamber 2 Painting on the CD frontispiece.
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Fig. 13. SECU, dragonfly glyph. Fig. 14. Double bar, 3D cross.
Website Chamber 21 Painting. Chamber 22 Painting. Coll. Ed.
Fig. 15. WingMakers: Hakomi 4-6. CD. Back cover.
The WingMakers and Lyricus pure dragonfly glyph then represents a SECU as an
enlightened guide or teacher; and the curvilinear variant, Para Vach glyph in Chamber 2 Painting,
appears clearly to be a, or the, WingMakers and Lyricus glyph for FS with Para Vach connotations.
Chamber 1 Painting Glyphs Continued
Returning to the glyphs in Chamber 1 Painting: The last two glyphs on the far left in fig. 1
and fig. 6 are again cropped, though presumably what is visible is by far the greater portion. The
main section of the bottom glyph with a pointed top and two cross bars echoes Koch’s glyph for
“iron” (69); which is also a symbol for protection against evil spirits (CG 573) – arguably a
disempowering and fear-breeding manipulative precept of so many H systems that again divorces the
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HI from FS. The whole glyph, however could possibly have a different meaning.
Above this, the final glyph is a man holding a large clockwise spiral up into the
air. In Cunkie’s Talking Pots: Deciphering the Symbols of a Prehistoric People the clockwise spiral
denotes ascension. Bealaura says that in the Celtic tradition it “represents the emerging, growing,
material manifestation of energy” and that which would “send energy into the environment” (Celtic
Circles, David). Significantly Gary David in his online “Spiralgate” on mythology and images of the
Southwest Amerindians shows the Hopi, who are descendants of the Anasazi, used the clockwise
spiral (fig. 16), like this one, on their coil baskets to “symbolize the path we take in life’s journey”
and adversities on its path. (David illus. 5; Lock 2004 24).
There is an Anasazi petroglyph in “The Valley of Fire” showing a man holding something in
his right hand connected to a spiral (Ancient America). The famous Fremont style petroglyph from
Dinosaur National Monument, Utah, shows a “heroic figure”, possibly a shaman, mythological
figure, or supernatural anthropomorph with a radiating spiral in his right hand (Cole 186-91; Awatsu
et al 060-061). Dated for the period AD 500-AD 1400 (Welsh 12) it comes almost centrally within
the alleged time period of the WingMakers’ paintings of AD 800.
The spiral for Native Americans most popularly signifies migrations, journeys and travels,
especially to the center of being. A spiral with a person often indicates the person’s or tribe’s
wanderings or migration toward the new home. The beginning glyph in Chamber 1 Painting then
suggests the embarkation onto a journey or quest.
While scholars contest the meanings of spirals the glyphic figure holding the spiral in fig. 1
and fig. 6 certainly appears active and outgoing. It might not be amiss therefore to read it as
representing the enthusiasm and zeal of the initiate embarking on the quest, or perhaps the fervor of
the missionary seeking converts in society. It certainly expresses the feeling of outgoing zeal,
enthusiasm and anticipation of the quest’s fulfillment.
Fig. 16 - “Boo-da.” Enhanced by Lock.
(David “The Arc of the Covenant”; Hopi “Techqua Ikachi” # 21).
Page 27 - © 2005 Christopher Lock and WingMakers LLC, All Rights Reserved
A Tentative Interpretation of the Set of Glyphs
A tentative interpretation then of the whole set of glyphs can be given: The HI with
enthusiasm and desire for consciousness evolution sets out on the quest only to be manipulated by
fear, met by misguided or misinformed peers who cannot assist or lead to awakening of the SC, and
thus the HI spiritually stagnates with nothing to offer but his or her heart-felt zeal and enthusiasm. If
this is correct it presents a sad but accurate picture of humanity’s path to date under the hierarchical
structures of the ages, and the ineffective Source-divorced GM constructs that have been utilized.
However, humanity is becoming painfully aware that without radical transforming the H’s belief
systems and methodology no longer serve it on its path forward; and of the H’s too frequent
“deviating from uprightness of character or conduct” shown by the crooked patriarchal bar in the
painting’s ‘teacher’ glyph.
To cite just one example, perhaps a 2002 prelude to this coming freedom from a fallen H is
seen in the international newspaper article “A Woman’s Place is Behind the Alter” revealing the
horrendous scandals of pervasive chronic abuse by catholic priests, and the many sisters now
working to end the blatant discrimination in work, chores, and office by male priests (FitzGerald 7).
In fig. 1 these artificially constructed survival modes and imperfect knowledge and
information systems are seen falling away together with the mass of “fundamental misconceptions”
(G GM ), false beliefs, and concepts of the GM as humanity comes of age and contacts Source itself.
GM and Humanity Transforming
The orange-red, green/yellow, and blue colors representing the transforming HI and
humanity in this painting are, on the right hand side of the painting, already seeping through –
breaking through -- the threadbare brown fabric of the worn out, useless H aspects, and outdated GM
constructs, that are, at the time expressed in the painting, fracturing off and being left forever behind.
The WingMakers’ material says that Sovereign Entities (SE) incarnating are destined to tear down
these misconceptions.
The hold exerted by the heavy bottom mass of GM on humanity is, in Chamber 1 Painting,
virtually broken and gone. We see that the interpretation given above for this line of glyphs basically
expresses the extraordinary limiting potential, at the time expressed in the painting, of the saviorship
model that has been propagated and promulgated by the hierarchy for millennia. The very word
“propaganda” has its etymological roots in a committee of Roman Catholic Church cardinals
founded in 1622 as the Congregation of the Propaganda, College of the Propaganda. We are, in
Chamber 1 Painting, seeing this no-longer-fruitful propagandized saviorship model finally falling
away. When the upper brown cell finally breaks away from this mass – as it is in the process of
Page 28 - © 2005 Christopher Lock and WingMakers LLC, All Rights Reserved
doing in this painting -- a new humanity will have developed and evolved in consciousness; and it
will be aided by a transformed, FS-nourished cocoon or sheath of a new transformed GM that finally
proves an excellent servant to mankind (G&P). We see this new GM cocoon in the top left
surrounded on both sides by blue FS frequencies. The lighter shade of blue is a near mix of the
UIS/soul blue and darker FS blue (more on light blue below). The GM cocoon is finally, in the
painting, nourished, and nourishing, as a true teacher and leader of a transformed humanity.
This cocoon looks very much to be a cell with its undulating border casing and central
nucleus, and a few WingMakers forum members have already alluded to this. The Lyricus material
(see www.lyricus.org) concerning the various planetary species states, “Collectively, these species
represent the cellular structure of First Source, while the individuated consciousness represents the
indivisible part thereof” (James, Lyricus: “P&M, Findings of GP” 3). Each planet and planetary
species is then a microcosmic cell within the “body” of FS. Generally speaking, cells are invisible
from the viewpoint of the greater organism: our bodily cells are invisibly minute to our naked eye;
we, HIs, as planetary cells are invisibly minute from the planetary overview; and our planet as a
cosmic cell is invisibly minute from the universal overview.
The question is, which cell are we looking at in Chamber 1 Painting? Is it the planetary cell
within the deep blue cosmic body of FS, the HI as cell of a planetary humanity, or the biological cell
within the human body? Is it two of them, or all three? The beauty of, and difficulty in understanding
abstract symbolism, is its innate potential for multiplicity of both meaning and function signifier.
Chromosome 1
As discussed above, the new brown cocoon of GM looks tantalizingly like a cell with its
central light blue nucleus. It is said in the WingMakers material that each of the 23 chambers appears
on one level to represent its respectively numbered chromosome. Chromosome 1 is the largest
chromosome and 23 the smallest. They are actually numbered according to their decrease in size.
The Ancient Arrow book suggests a different order or sequence of the chamber paintings in situ;
however James has said that the order as now given on the website is the correct order regarding the
WingMakers website material, meaning Chamber 1 Painting on the website (not the CD, see note 2)
represents in some way chromosome 1.
While chromosome research is still in its infancy a web search under “Chromosome 1
influences” brought forward confirmatory evidence of a parallel representation. It is found at the
Penn State Milton S. Hershey Medical Center website.9 The article discusses Charcot-Marie-Tooth
Disease (CMT) a hereditary motor and sensory disorder of the nervous system affecting the nerves
that carry information to and from the spinal cord causing “weakness and loss of sensation in the
Page 29 - © 2005 Christopher Lock and WingMakers LLC, All Rights Reserved
limbs” or areas “farthest from the spinal cord.” This transmittal process -- not the physiological
organs or areas -- is astonishingly similar to the process depicted in Chamber 1 Painting of the way
SI is carried along the UIS to the GM sheath and through into the soul nucleus and thence out to the
HI itself.
Chamber 1 Painting is about motor functioning of humanity on the cosmic level; of our
having a free flowing of energy and input from the GM, SI and FS through to the soul and out to the
HIs, the farther extremities from FS, and through this becoming master explorers of the universe
with our soon-to-be-developed high sensory capacity and nervous system evolution pushing the
envelope of this new innovative cosmic motor capacity. In the paragraph subtitled “What Causes it?”
cited below from the Milton S. Hershey Medical Center’s online article I have inserted in square
brackets the WingMakers’/Lyricus terms that could be exchanged here to reveal an exact mirror,
parallel, or overlay of the process occurring in Chamber 1 Painting. This is only looking at ‘process,’
octaves down from the cosmic level -- at work on the genomic level. It is advised to read the
paragraph twice, once with just the original wording to gain an understanding of the process behind
CMT, and then again inserting the WingMakers/Lyricus terminology to see how exactly this
complex process overlays, parallels and mirrors almost exactly what we are seeing in Chamber 1
Painting scaled up to embrace a cosmological overview from Source:
CMT [defective GM ] affects the groups of nerve cells [UIS] that carry information to and
from the spinal cord [FS ], called the peripheral nerves [UIS]. The peripheral nerves [UIS] have
cells in the brain [soul] and spinal cord [FS ] and nerve fibers [energy systems] that run from the
brain [soul] and spinal cord [FS ] to the whole body [HI/humanity]. The signals the peripheral
nerves [UIS] send control muscle movement [how the HI/ humanity acts and responds], and the
signals they receive relay feelings of pain, pressure, temperature and position back to the brain
[soul] and spinal cord [FS ]. The genetic defect that causes CMT [defective GM ] affects the
myelin sheath [GM ], which is the coating that insulates the nerve fibers [energy systems] so
nerve impulses [Source energies] can travel freely over the fibers [throughout the HI energy
system]. If the myelin [GM ] is defective, the impulses either travel more slowly or carry a
weaker signal. The areas of the body [HI/humanity] most affected are those farthest from the
spinal cord [FS ], the hands and feet [HI ]…Defects in chromosomes 1 and 17 affect the myelin
sheath [GM ] and cause the nerve impulses [Source energies] to travel more slowly than is
normal.

 

	1.Crown Chakra - Mount Kailas, Tibet
	2.Third Eye Chakra - Currently at Glastonbury & Shaftesbury,     England
	3.Throat Chakra - Great Pyramid, Sphinx & Mount of Olives,    Egypt
	4.Heart Chakra - Glastonbury & Shaftesbury, England
	5.Solar Plexus Chakra - Uluru. Australia
	6.Sacral Chakra - Lake Titticaca, South America
	7.Base Chakra - Mt Shasta, North America

 

 

 

 

 

Question 39 – Is there an initiation required for students to learn the esoteric ways of the ascended masters?

Answer 39 – I am one of the teachers who have some degree of intolerance towards concepts like light quotient, ascension schedules, initiations, ascension seats, etc. These concepts are of the old Tributary Zones, and they are continued by those who are prisms of these Tributary Zones who have become indoctrinated by the teacher-student ordering of the old hierarchy. This particular student was one who was impregnated by these concepts at an early age and couldn’t quite let go of them.

When a student of this mindset meets a teacher like myself, it can often be unsettling for them because I will rip apart the indoctrination like someone who unwraps a mummy, exposing its frail skin to the sunlight. If the student survives this, they will look upon their role differently. They will walk a sovereign path built on their own inner wisdom, and it may not have a thing to do about the Hierarchy, or ashramic work, or this ray or that ray. It will be about the entity’s expression in realtime, and how that expression is resonating with those whom its life is intricately connected. It is about living the Life Principles of the Sovereign Integral.

Returning to this individual, he came to me one day and announced his plans to leave. He had felt a need for some time to return to his indoctrination (my words, not his), and like the prodigal son, return to his master. He felt that I was not carrying on the tradition of being a master who teaches knowledge by words and deeds, that I was too enamored by teaching through art, music, psychology, etc. To him, he needed a teacher who could tell him what to do, where to go, how to get there, and who to be once he arrived.

I bid him farewell, explaining my resolution to create tools and not to instruct in what I refer to as the Minutiae of the Esoteric (MOTE). But for this student, this was what he needed. The minutiae of the esoteric was the scaffolding that supported his need for that elixir of elitism called arcane knowledge.

Experience of the Wholeness Navigator is not in any way related to MOTE, and this experience is what I teach. The problem with experiencing the Wholeness Navigator is that for some students they find themselves unable to become teachers themselves, and this is why most students or initiatives arrive to my door. They desire to be teachers of MOTE, though they masquerade as students of spirit.

Why? Because as a teacher of MOTE they suddenly belong to the Hierarchy, hoping to launch themselves like an ascending rocket to the heavens where all things are possible. The lurking, subconscious equation: Mastery of MOTE + Ascended Master + Initiation Process = Control. Thus, when a student comes to me, I scrutinize their intentions, filtering the authentic desire for experience of the Wholeness Navigator from the indoctrination artifacts that create a leaning towards MOTE.

Control is the indoctrination artifact that leads many a student to my door, though they generally are not aware of it. I would ask you to ponder this. Examine your intentions, and see if you desire experience or knowledge. They are not mutually exclusive, if experience of the Wholeness Navigator is prized above control; and if the expression of the Wholeness Navigator is honored above the acquisition of MOTE.

I will return momentarily to the scenario I mentioned earlier in this letter. If you are a prism of a contemporary Tributary Zone of resonance to your heart and mind, and that part of you, referred to as the Wholeness Navigator, arises as your teacher, you will see that you are not a concretized prism of a particular shape, but that you can shape-shift to any geometric shape desired.

This is the beauty of experiencing the Wholeness Navigator and expressing its innate abilities. You are not protecting or professing MOTE; you are not an initiate desirous of teaching and control; you are not parroting the words of your master; rather, you are transparently transforming contemporary Tributary Zones to the dispersed masses of humankind who are seeking a new direction that is illumined by the tools of art and personal experience that have been decelerated to their particular needs.

In closing, I want you to know that I am not impugning the value of the ashramic missions as I know them, but rather, as you know them. You know them through the words of prisms not yet aware of their Wholeness Navigator. You know them through the MOTE that other initiatives have expressed from obsolete Tributary Zones. There is much less division and specialization within the Hierarchy than is acknowledged. The masters are not interested in MOTE… the initiates are.

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進化中的意識之凝聚－與Hakomi 4-6室相連的資料

‘Para Vach’是超越‘可表現出來的’和‘不可表現出來的’兩者而存在著的（transcends both manifestation and non-manifestation），最初始的、起因的（causal）聲與光。它是超脫於宇宙（cosmos）之外的〝最初源頭的氣息〞，它創造出物質，賦予物質活力，並且啟動了物質之振動性的基質。它超越了‘聲與光所表現出來的形式’而存在（It transcends the manifestation of light and sound）正如它存在於它最純粹與最光輝的狀態裡那樣（even as it exists in its most pure and luminous state）。

事實上幾乎在所有宗教的經文裡都有提到，物理學和宇宙論也有描述到－－不管是如何地拐彎抹角－－‘Para Vach’。在聖經裡它是使長出肉的指示（In the Bible it is the Word made flesh）；它是奧義書（印度〝吠陀經〞的最後一部分）裡的Nada；可蘭經裡的Kalma-I-ilahi或內在聲音；伊斯蘭教蘇菲派的HU；在畢達哥拉斯的哲學裡的‘天體的美妙聲音’（music of the spheres）；它是佛教裡的Fohat；以及中國的神秘玄學裡的Kwan-Yin-Tien（譯註：觀音天？）。不管它的名字或確切的定義（是什麼），它就是在大宇宙（the Grand Universe）裡所有的聲與光之‘原始的起因’（fundamental cause），‘所有的聲與光 ’依次才是所有的表現（all manifestation）之‘原始的起因’。

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「光音天」的世界

時間是人類計算時數的一種代表，在每一個當下的瞬間，成立了一個世界。
反觀吾人的思惟中，幻化出一個世界，雖然是一種感受，但確實能讓吾人融入其中。
很多人在美妙的音樂中陶醉，飄飄然，這樣融入在共修，唸佛與本尊的持誦咒音裏時，諸佛海會的世界即刻現前。
在密教的修持中，行者以肉身想像成宇宙大身的壇城，冥思自己即是宇宙的縮影，而遨遊十方法界。在華嚴經法界觀裏，所構建的法界亦是從時間、思想、聲音和光的世界中，建立一個精神世界。「光音天」即是詮釋那無量光、無量時間和美妙音聲裏的一種心境。在光音天心境中的行者，正在享受那無量光明，美妙眾樂、無限時間的內在極樂法喜中生活，唯有行者拋開偏執與小心眼的心時，才能到達心靈的彼岸。這亦是唯佛所能了解，所能知道的一個世界。

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金剛經研讀第五十三集　 一合相即非一合相（一）

 

我們曾經提過，生命是從無始以來就有的，“無始”不是沒有開始，而是無從知道的一個開始。根據佛經的說法，人，是來自於光音天。
　　光音天在色界的二禪天範圍，二禪天有三天，分別是少光天、無量光天、光音天，這是一個什麼樣的境界呢？在老禪師的圓覺之道之三心地法門中有詳細的介紹。
　　我們要知道，色界在三界之中，還是眾生的受報處，不能出離生死輪迴。
　　只不過當世界進入到壞劫時，第一個壞劫會有小三災──饑饉劫、刀兵劫、疾疫劫，其實一切的劫難跟人類本身息息相關，形成由人，消弭也由人；就像化干戈為玉帛，化腐朽為神奇一樣，吉凶禍福端在人為。
　　比方人間國主，如果缺乏天地之仁心，又欠缺寬厚的德養，那就得不到天神地祇的尊敬、厚愛與護祐，天災就會降臨；如果人謀不臧，互相鬥亂與那刀兵疾疫就會相繼降臨。俗話說是福不會錯，是禍躲不過，一切萬法的現象，不外基於心的現象而轉變。
　　我們曾經提到過，器世間的形成有成、住、壞、空四個階段，而成、住、壞、空各有二十個劫，此劫包括一增一減，人壽由八萬四千歲始，每隔百年遞減一歲，至十歲止，此謂之減劫；而後每隔百年復遞增一歲，直至八萬四千歲，此謂之增劫，而成、住、壞、空各有二十個如此的增減小劫，試想那是多麼不可思議的漫長！？
　　當第一個壞劫來臨時，會有小三災，當第二十個壞劫來臨時，那時世界就會出現大三災
　　──水、火、風三大災難；前者是人禍，後者是天災；如果以徵兆來說，人禍當是人類咎由自取，比方濫殺動物、濫伐林木、濫用藥物，濫研科技等等，人類自私的結果最終會葬送子孫生存之地球，到達天神地祇都忍無可忍時，那就是天災來臨時了。到那時節，整個世界將被摧毀，只有二禪光音天以上的範圍不受影響，無量光天以下的眾生無一能倖免，所以當世界面臨壞劫被毀時，光音天以上的眾生還是存在的，他們是進入禪定，受色界禪天報，或是無色界的四無色天報。色界與無色界眾生的壽命都很長，但千萬別羨幕，因為縱使壽長八萬劫，依舊輪迴受生死。
　　壞劫之末世界被毀，即進入到空劫，如此不可思議的億萬年之後，有一個像地球一樣的星球出現，由於地表長出花果五穀，美味異常，又有山河林地適合居住，當光音天的眾生無意間飛來遊玩，著地之後，吃了地面上的東西，他的身形頓時濁重起來，失去了光潔，於是著地成形，就再也飛不回去了，這就是佛經上告訴我們的地球人類的起源。這不是一個神話，
　　這是一個相當符合科學知識理論的結果。因為佛陀所證明的不只是物質世界的現象，而是精神世界的領域。因為一切世界的現象就是眾生心識所顯現的結果，也就是說，都是眾生隨業識習性造作輪迴的結果，而這都是佛陀深入禪那，智慧觀照的發現。
　　以前學佛人不知怎麼來解釋這一奧妙，現在我們知道，色界、無色界都是禪定修養眾生的受報處。生命無始以來就存在，依於造作而入輪迴，唯殺、盜、婬，三為根本，以是因緣，業果相續。除非學佛人知道要刳心懺悔，或者入實相理諦，作實相懺悔，否則罪難除滅。所以只要有惡業，就必須承受苦果，定業不可轉，唯懺悔能除滅。

千佛山雜誌社

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

    廣西壯族自治區的左江發源于越南的北部山區，江水自西南往東北方向流去，經我國廣西壯族自治區的龍州、憑祥、崇左、扶綏等縣市。沿江兩岸，奇鋒拔起，峭壁對峙，山光水色，交相輝映，一幅幅壯觀的赭紅色的崖壁畫，就時斷時續地分佈在沿江數百公里的懸崖峭壁之上。