Friday, May 11, 2012


S’Aha Djed (Transforming Star-lightning awareness in to Sunrise-love)”

February-March 2003 Hobart Tasmania

            This painting is very much in the spirit not only of ancient indigenous “civilization” – where people lived together in natural harmony in loosely-organized but organically connected tribal groups, enjoying the support and cooperation of their fellow beings, without the imposition of nation-state agendas – but also of future indigenous civilizations, which we are now creating.
            Lemuria, or Mu, may have been such a place.  The story goes that she was a large island continent in the southern Pacific ocean which sank into the depths of the sea some 20-odd thousand years ago.
            Mainstream archaeologists and geoscientists  tend to discount her existence;  but who can really know?  These minds do acknowledge evidence of homo sapiens going back hundreds of thousands of years;  cultures of advanced indigenous peoples could easily have existed in areas now unexplorable.  Moreover, an indigenous “civilization” would not have left the Godzilla foot-print that our parasitic world-machine has bequeathed.
            Some researchers say that the ancient Egypt we know was merely the tail-end or remnant of a much vaster and greater civilization, where the “mother tongue” was spoken, a language from which the “ancient harmonic languages” (Chinese, Egyptian, Hebrew, Sanskrit, and Tibetan) may have evolved.  The people of this culture would have been highly-evolved spiritually and psychologically, but not nearly as materialistic as we are.  Maybe they were like the Mayans, the native Americans, the Tibetans, the indigenous Australians?  Perhaps they had extremely advanced forms of music and uses of sound and vibrational healing, of artistic creativity, of telepathy, of astronomical knowledge, shamanic exploration,  and of the “musics of the spheres.”
            Who knows?  But this painting is dedicated to them, and to all indigenous artists, musicians, and shamanic visionaries of all times, dimensions, and species.
            This painting is a mandala approximately 1.5 by 2.5 meters, done with acrylic and corrction pen on custom board.
            It contains symbols from seven different ancient cultures, primarily Egyptian hieroglyphs.  The others are Tibetan, Sanskrit, Hebrew, Chinese, Anasazi, and Mayan.
            The solar disc in the center represents, of course, the sun.  To the ancients, the sun was not worshipped at the chief deity but was viewed as a symbol thereof.  Emanating from the solar disc are nine bolts of star-lightning.  These may also represent the nine original emanations of Ra.
            The main body of the Egyptian hieroglyphics in the painting, running counter-clockwise from 8:00 to 4:00, means “transforming star-lightning awareness into sunrise-love.”
            The sun, or Ahau to the Mayans (represented by the yellow face also at 8:00) is the guardian over passages in cycles of time, and is also a chakra within a galactic being, transducing evolutionary energies directly from the hunab ku (Mayan for the center of the galaxy).
            According to the Mayan and Egyptian calendars, we are now in the “beak of time”, a “window” or a “sacred moment in time” which occurs once every 26,000 years;  at this time the winter solstice point of our sun’s position in the sky gradually aligns with the hunab ku, the galactic center in Sagitarrius.  During this window transformative consciousness streams into us via the sun and assists in our creation of and ascension to a higher-dimensional reality continuum!
            At the top is the centrel symbol of Egyptian spirituality, the Djed pillar, Osiris’s backbone and symbol of regeneration and cosmic stability and harmony.  Within the upraised Djed is the Chinese symbol “yung” meaning “eternity.”  To either side of the Djed pillar is the Eye of Horus, or Uadjat, representing divine guidance and protection.  These uadjats are painted in their androgynous manifestations.
            Counterclockwise, the next grouping of symbols means “inspiration” or literally “light-life moving within.”  The next grouping translates as “place of origin” “instantly “ or “ here and now.” 
            Then beginning at 4:00 we have three glyphs;  the triangle with star and semi-circle is “Ast”, ancient name for Sirius/Isis.  Beside it is “tiet”, a bow which is another name for Isis.  Above these is “sia”, meaning “intelligence of the heart.”
            Finally, the glyph in the next region is “atchaas”, or “primeval wisdom.”
In Egyptian, the entire band of hieroglyphics would read

S’aha djed, uadjat, seshp b’me ankh-akh, ta nun er nuit, kheprer sba s-tehen thamit er uben mir atchaas, uadjat.”

            In English, this would mean “Djed be raised, divine guidance and inspiration, originating here and now, transforming star-lightning awareness into sun-rise-love, Isis, intelligence of the heart, primeval wisdom, giving guidance and protection.”
            The two faces represent Ma’at on the left, the goddess of and archetype of truth, justice and cosmic harmony;  and on the right, Isis, goddess of life and magic.  In their hands they hold an ostrich feather (“shut”), which is the symbol of truth.  In the afterlife of Egyptian mythology, the soul comes to judgment after a journey through the duat, or netherworld.  The heart of each person is weighed on the scales of Ma’at, or truth, balanced against the weight of her feather.  If the balance was unfavourable, the soul was thrown to Ammat, a cross between a lion, a hippopotamus and a crocodile, and was devoured, never to return.  If the balance was favourable, the soul entered a real of eternal paradise according to their nature and Osiris’ guidance.
            The four “dot-eclipse” motifs in the corners represent the four GREAT FORCES of the universe, the four pillars of creation.  The two colored areas are dual rainbow spectra (the chromatic components of visible light), symbols of celestial beauty and peace, and the bridge to the higher kingdoms.
            The painting is a mandala, which is a universal and cosmic centerpoint and symbol of the “self.”  It is the still-point singularity from which consciousness and creativity emanate.
            The patterns inside the inner circles, just outside the solar disc, are what I call “mullum-keringke glyphs.”  This is a new style of painting which started coming through when I first came to Australia. I think of it as “the electrical circuitry of plants” or “the optical characteristics of DNA,” maybe an “organic higher-light language.”  I call them “mullum-keringke” because I was near Mullumbimby NSW when they first came through, and their first fully manifested appearance was on a set of rocks which I sent to my aboriginal art-sisters of the Keringke group near Alice Springs NT.
            This “mullum-keringke” domain could also represent the consciousness of solar energy as it interfaces with DNA to create “spectraglyphs” expressing the “breath of Ahau” as it gives life to and revivifies life on Earth.
            The next ring out shows a stepping down of these energies into visible light frequencies, and their utilization in vision by the animal kingdom and in photosynthesis by the plant kingdom.
            These glyph continua may also relate to morphogenetic chakra fields (MGCF’s), creating cross-species/kingdom resonances amplifying the heart-chakra life-force energy spectrum.
            The third ring is the domain of the biophysical, the Earth, Gaia, and her myriad species of florae and faunae, geographies, climates and ecosystems.
            The solar disc may also represent the plasma core of the Earth, receiving transmissions from Ahau, then sending the energies out through the Earth-continuua, through the different octaves of local space-time, harmonizing and recalibrating each domain to optimum holonomic `synchronization, purifying the Earth, cleansing her ecosystems, healing her life-forms and clearing the noosphere of conflict and karmic residue.
            The outer blue band contains the hieroglyphics – floating in the ocean of space, the atmostphere of clarity and transcendence – protecting the Earth in a womb of love, representing new constellations of ascension in a true kingdom of heaven. S’aha Djed.

May 2004


Jose Arguelles, Time and the Technosphere;  Earth Ascending
James Churchward, The Lost Continent of Mu
Graham Hancock, Mirror in the Sky and The Orion Mystery
Carl Jung, Man and his Symbols
Moira Timms, “Raising the Djed” and  Beyond Prophecies and Predictions

Thanks to Moira Timms for hieroglyphic translation assistance

see "The Raising of the Djed:  Re-membering the Centre", Moira Timms

"KANDINSKY'S ASTRONOMY LESSON in Lemuria" Jeff Phillips Mural


                This painting is a mural approximately 2.5 by 8.5 meters, done with acrylics and correction/technical pens on custom board, using drafting instruments adapted to the large scale.  Only my human biocomputer was used, with advanced creativity enhancement algorithms.  Photography of the completed image was accomplished using a Rolleiflex 6x7 with Kodak asa 400 color negative film;  three negatives were drum-scanned and assembled using Photoshop and Adobe Illustrator.  This image is very close to how the original painting looks, minus the seams between the individual wood panels.
                   Kandinsky was a Russian painter of the early 20th century;  many of his works used discrete geometrical shapes floating in mathematical array. Many of my paintings have been compared to his, but mine are more “high-tech” and 21st century-looking.
                   There’s a lot of astronomy in this image, beginning with the arc of the Milky Way spanning the horizon. The dark center is very river-like, and very Aboriginal looking, I am told, probably because of the huge number of dots representing stars.
                   Lemuria was a semi-mythical continent/civilization which flourished somewhere between 20,000 and 100,000 years ago;  supposedly Australia, the south island of New Zealand, and Easter Island were part  of it. I read recently that the statues on Easter Island are the only existing artifacts  of Lemurian culture.
                   “Neshen” is the pronunciation of the Egyptian hieroglyphics for “grand solar eclipse.”  The “moment of Neshen” window would be a relatively brief interval of time in which one experiences the total eclipse – a very magical portal into an expanded multi-dimensional consciousness;  the “eye of God” looking down upon us!
                   The point of view of the participant/observer in this image is directly within the path of totality, at a terminus which is also a vortex of “no-time” within a higher-frequency template of the Great Pyramid.  Two shafts align with two stellar energy sources, and an expanding wavefront of phi-based (phi is a universal proportion, the Golden Mean, or 1:1.618) harmonic modulations emanates from the sun, transmitting diverse meta-continuua of cosmic creativity and rippling through the very fabric of space-time.  Ahau, the Mayan deity of the solar mind, and guardian over passages in cycles of time relays this spectrum of energies whose source is the Hunab Ku, the center of the galaxy.  In the year 2012AD the precession of the Earth’s axis brings it into perfect alignment with the galactic plane, thereby generating an upward frequency shift, or ascension of our reality into a higher vibrational domain of the implicate and explicate holomovement.
                   Essentially, this image is a visual representation of the meta-harmonic substrate of an objectifiec planetary “reality-matrix”, an exploded vision of simultaneous relationships connecting time, space, consciousness, sacred geometry and the “music of the spheres.”
                   In the upper left corner is, of course, the primary control panel, which is activated by the master metaharmony algorithm (mamal) and modulated by complex keys consisting of spoken words, sung sounds, intoned phonemes, mimicked memes, visual contact and tactile transference.  Once the mamal is fully activated, broad-band thought synthesis begins and the participant/observer “enters” the painting.  At this point, one may “dial into” the evening sky at any time on any date in any calendar from any location on any planet in any star system in any galaxy, at any frequency or wavelength, real, imaginary, probable or impossible.
                   In the lower right is the “indigenous wisdom” panel, with Ahau at the bottom;  next up is “fu”, hexagram 24 of the I Ching, which represents “the turning point” or “crisis as opportunity”;  above that is the djed pillar, an ancient Egyptian symbol of Earth stability (literally, Osiris’ backbone);  then we have the kokopelli, a native American fertility symbol;  and on top is an egg-like eclipsed amoeba…universal symbol of fertile bio-luminescent micro-organisms!
                   In the upper right corner is a representation of the Southern CrossGuthrey cloud, a recently discovered super-cluster abundant in super-conducting bio-nebulae and other improbable manifestations of cosmic creativity, including thousands of planets where previously unknown forms of golf are played. (crux australis) seen at the 21cm wavelength.  Myriad galaxies, quasi- and completely-stellar objects, radio anomalies, and planetary bodies populate the Milky Way river;  in the region just above where the Milky Way meets the horizon on the right is the
                   The same cosmic intelligences who create crop circles (and with whom the whales are in direct and continuous communication) are at work in this image, conveying information on the dynamic processes of our minds as creative holons of the cosmos in conjunction with holographic thought-algorithms attuned to quantum-relativistic noo-cybernetic synergies.
                   When the average homo sapiens awakens to the fact that they ARE the ultimate technology, then the doors of perception are cleansed, revealing a universe of immense and unbelievable beauty…of which we each are an integral part!

This painting is dedicated to the whales, to the elohim, and to indigenous artists of all dimensions.

Thanks to Peter Guthrey and Philip Kennedy for making this possible;  to Moira Timms for hieroglyphic translations and cosmic inspiration;  to Samuel Miller for photographic assistance and digital image processing;  and to the Great Spirit for  creating such a wonderful universe for us to live in!


1)     Jose Arguelles, Earth Ascending
2)     David Bohm, Wholeness and the Implicate Order
3)     John Major Jenkins, Maya CosmogenesisGalactic Alignment
4)     Vasily Kandinsky, On the Spiritual in Art
5)     Moira Timms, Beyond Prophecies and Predictions;  “Raising the Djed” article
6)     David Wilcock, The Divine Cosmos

LINKS   (John Major Jenkins)   (David Wilcock) (my website, “The Ultimate Technology”    (jose arguelles)   (speculations on Lemurian civilization)    (map of the ancient continent)   (bio/image gallery)    (bio/image gallery)    (articles on ancient spiritual experience of solar eclipses)