"Sophia" by Alex GreyI happily received my Alex Grey year calender from my best friend, 3 years running this X-mas. Combined with this gift and yesterdays perusal of Christoper Knowles blog (Secret Sun) article "Nine Eleven Ten Thirteen" I was influenced to write this post.
Actually everything influences everything else, but to make reality cognisable we edit it into a convenient narrative.
Mr Knowles investigates the most classic of all 911 sync winks, the infamous "Lone Gunmen: Pilot Episode". Second only, in my mind, to excellent rap outfit "The Coup's" 2001's pre-911 "Party Music" album Cover.
The original album cover art depicted group members Pam the Funkstress and Riley standing in front of the twin towers of the World Trade Center as they are destroyed by huge explosions; Riley is pushing the button on a guitar tuner. The album's planned release date was just after the events of the September 11, 2001 attacks, and the cover art was withdrawn hastily. The cover art was finished in June 2001; there was no connection between the band and the attacks. The album release was held back as alternative cover art was prepared. (Wiki, The Coup) The Coup - Ride the Fence
Great track "Ride The Fence" (video above) from this millennial album further entrains with 911 in this manner.
We see the Giza/Dome of the Rock/Freedom Tower octagon. (See Goro Adachi for the octagonal theme origins)
The emergency telephone number 911 with the line "911 calls the Antichrist". Nothing spooky here. The Antichrist is simply a stargate (as Lucifer, light bringer, 666, Venus or the Sun etc) symbol, dark flavoured but actually quite harmless.
I believe the elegance and magick with which these symbols entrain with stargate events like 911 is due to the underlying consciousness of space/time or NOW. Consciousness beyond thoughts and things, which indeed gives rise to the relatively small facet of life we call things or stuff. That with which our current culture is obsessed, the object (ignoring the inseparable subject). Leading to insanity such as mental separation of self from other, commonly know as ego.
Alex Grey's 1989 painting "Gaia" shows two opposing facets of earthly existence separated by the Tree of Life. On the side representing life out of balance our visionary artist chooses to represent the decadence of humanity through the smoggy skyline of Manhattan Island complete with the 'Twin Pillarmid Stargate' and two jet planes. Its amazing to contemplate how this scene has already changed post 911, symbolising to me the re-awakening of consciousness in humanity or birth of the godhead into matter. Notice also the grid symbolism present in Crowley's "Book of The Law" "Grid Page" adding OZ/77 flavour. (See Tunney Trilogy and 911 Stargate) 
The life in balance side (above) again synchromysticly entrains with the pillarmount (WTC Tower as Mountain (K2)) theme explored at lenght recently in these pages. Three major mountains can be seen resonating Giza. A perfect juxtaposition to the WTC pillarmids.
On the dark, death and 'modern era' side's top half we see the Saturn planetiod. The planet which keeps synchromysticly popping into the 911 Stargate Mega-Ritual sync web with its Omphalus resonating polar hexagon.
Proving the point yet again we see a pre 911 Sega Saturn console standee with Manhattan Island (the Pillarmids present and accounted for) destruction theme.Creative artists like Alex Grey and The Coup open the stargate of cosmic Illumination becoming agents of consciousness in varying degrees. They entrain with and realize the stargate object at the end of space/time and history. All creative pursuits will bear this resemblance by its very nature as emanating from consciousness itself. The message might be encoded obscurely and dark flavoured like The Coup's "Party Music" song "Ride the Fence" or elegant and more overt like Alex Grey's "Gaia" painting.
Either which way the story is the same.
For more musings about artists synchronizing with stargates see K2 Candy 3
"Namaste" by Alex Grey 
