UFO'S of UAP'S, ASTRONOMIE, RUIMTEVAART, ARCHEOLOGIE, OUDHEIDKUNDE, SF-SNUFJES EN ANDERE ESOTERISCHE WETENSCHAPPEN

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The crop circle above appeared in 2002, in a field near Crabwood, UK. Yes, it’s real, it’s been filmed and documented in the Crop Circle archives, and you can see better pictures and video footage of it below. So, it happened, regardless of who you believe made it. It’s ridiculously precise, like many others, and contains a humanoid face but looks like a version of the typical “grey” alien. It also includes a hand with fingers and in the hand is a disc with a binary code, as well as 3 points in alignment over the beings right shoulder that may represent the constellation of Orion (Orion’s Belt).

Crop circles happen all over the world, and they’re made quite often. Constantly ignored by mainstream media, these intricate, complicated, precise and beautiful designs only seem to be brought up in a ridicule type piece. Perhaps because UFOs (balls of light) are associated with some of these designs (more on that below), and because there was, as the first director of the Central Intelligence Agency once said (CIA), an “official campaign of secrecy and ridicule, many citizens are led to believe the unknown flying objects are nonsense.”

It’s not surprising given what we already know about the CIA’s connection to mainstream media, and why we’ve seen so many ridicule pieces on these kinds of things in the public, thus influencing the collective mind.

For anybody who has looked into the phenomenon in a serious matter, and many have, there are anomalies surrounding them that can’t really be explained, unless you accept an ‘unconventional’ explanation.

The only time they get attention are when they are sloppy and man made, like this one. The more complex and extremely precise ones have strange measurements associated with them (mentioned later) and are made in the dead of night leaving no traces, marks, or footprints.

To be honest, I wouldn’t be surprised if many circles were man made (many are and we know this), but if it was deliberate to debunk the phenomenon is another matter to be discussed.

The photograph below was taken by Lucy Pringle, as well as the one above, but it was viewed by many. Here’s a close up of the Binary Circle:

Not all are unexplainable, some are clearly man made, while others remain drowned in mystery. Richard Taylor, a physicist at the University of Oregon, is one of several academics to take interest in the crop circle phenomenon within recent years, unfortunately, his is the only work that seems to be published in a serious peer reviewed scientific manner.µ

Taylor, despite ridiculing any ‘supernatural’ type of hypothesis, believes that “crop circle artists are not going to give up their secrets easily.” He believes that unknown artists are venturing “into the countryside close to your homes” to “carry out their craft, safe in the knowledge that they are continuing the legacy of the most science-oriented art movement in history.”

I’ve used him as an example in multiple crop circle articles that I’ve written, and that’s because there are strange measurements taken at crop circle locations that can’t be debunked. Taylor has suggested that crop circle artists are using GPS devices, lasers, and microwaves to create these astonishing patterns of geometric forms due to the measurements that he obviously became aware of in his research.

Some of these designs are so mysterious and complex that they’ve even been studied in a laboratory setting, and some have indicated that the nodes of some of the stalks were blasted out on one side. It’s not conclusively known how this was done, but the effect has been replicated by highly localized microwave heating. This type of technique causes water inside to vaporize and dislodge. As a result, the stock flops completely over to one side. (Dolan, Richard. UFOs For the 21st Century Mind: New York: Richard Dolan Press, 2014)

Here’s another angle, taken from a helicopter.

Many other scientists and academics, who are completely convinced that there should be serious attention given to these designs, would never have their work published, simply because of the implications and the fact that it defies belief. We see the same type of thing with regards to non-material science, and parapsychology which, despite having significant statistical results that match our ‘hard’ science, is still somewhat ridiculed by many. But things are changing and progress is being made.

And another:

What Does The Code Say?

Paul Vigay, a British computer consultant, notable for work in developing and supporting RISC OS software, a longtime research in the field, having also worked with Mel Gibson on the film signs, unfortunately died a very mysteries death, he was the one who discovered that the message was encoded in ASCI binary code. According to his interpretation, it reads:

“Beware the bearers of false gifts and their broken promises. Much pain but still time. (Damaged word.) There is good out there. We oppose deception. Conduit closing (bell sound).”

Video Footage of the Circle

Below are pictures taken from a youtube video, they are blurry screen shorts compared to the actual footage. This is one of many fascinating corp circles, that defy belief, regardless of whether it is human or extraterrestrial.

In this one you can see people roaming around in it after it’s been discovered. The traces in and out were made after its discovery for people to come and look at it, but there was no sign of entrance or exit prior.

This one you can see a couple of people standing in the binary area.

Strange Light Phenomenon

Another interesting oddity regarding crop circles is that the electromagnetic field over the area where the crop has been laid down to create the image is often electrostatically charged.

“There is a mounting body of evidence that suggests that a rare form of electromagnetic energy called an ionised plasma vortex (generally known as ball lighting) is involved.”
– Greg Jefferys, historian.

This explanation was originally offered by physicist Dr. Terence Meadon, who believed that these patterns were the result of atmospheric phenomena. He suggested that wind currents and ionized plasmas are the culprit. This type of theory does have validity, as several investigators believe that some kind of light energy is key in creating these circles.

The light phenomenon is discussed and filmed in the video below, there are many floating around on youtube., and many pictures have been taken of this type of light which seems to go hand in hand with multiple crop circles. Military activity into ‘strange’ phenomenon is nothing new so the video below shouldn’t surprise you, especially now that it’s been disclosed that the military have been ‘chasing’ these objects for years.

Personally, based on my research over the years, I have no doubt that some of these designs are ‘extraterrestrial’ and or spiritual in nature I still have a lot of research to do, and there are a lot of peoples work in this area that I am still looking into.

The crop circle phenomenon is very interesting. Understandably, one might be quick to instantly dismiss the idea that some of these designs could be the work of some unknown entity. Many reasons to further ponder these wonders of the world exist.

Foster Gamble, heir to Proctor Gamble Corporation, and great-great-grandson to James Gamble, illustrates in his film Thrive that the extremely complex circles are also littered with strange magnetic particles.

The world’s most successful director has had a lifelong obsession with UFOs, and his films have moulded our expectations of otherworldly visitors. Between them, Steven Spielberg’s alien movies have grossed far in excess of a billion dollars… and that’s just his directorial projects. As producer, Spielberg’s alien-themed credits include the Men in Blackfranchise (1997–2012), the alien abduction mini-series, Taken(2002), the Transformers franchise (2007 –), the alien invasion series, Falling Skies (2011–2015), and Super 8 (2011), among many others. That Spielberg continues to make movies about alien visitation is not just down to good business sense but is due in no small part to his own childhood fascination with UFOs—a fascination that would intensify into his late-twenties and culminate in his cathartic production of Close Encounters of the Third Kind (1977).

In 2005, Spielberg returned to the alien subgenre with the world’s biggest movie star, Tom Cruise, for a cinematic updating of H.G. Wells’ War of the Worlds. In the classic story, Martians from a dying civilization view our thriving planet with envious eyes and launch a full-scale invasion to claim it as their own, only to be defeated by the tiniest of foes—the human germ.

Dreamworks and Paramount Studios poured $132 million into the Spielberg-Cruise project and would eventually see an impressive $607 million return on their investment. The combination of Spielberg, Cruise, and aliens was a no-brainer. It’s now been 13 years since the release of War of the Worlds, and it’s as good a time as any to look back at what, at the time, promised to be one of the biggest and best sci-fi movies ever made.

Spielberg’s film tapped into what Susan Sontag referred to as the “imagination of disaster,” fear of “the cataclysmic destruction of civilization, [and] mayhem of an unimaginably higher order than we had ever seen before.” The director stated to the press that his film’s distinctive imagery was intentionally reminiscent of that seen in New York as the Twin Towers fell, and, with dialogue like “is it terrorists?” during the first wave of the aliens’ sneak-attack, the parallels are far from subtle.

The tagline for Spielberg’s film, “They’re already here,” is a reference to the fact that the aliens strike not from above, but from below, having buried themselves beneath our feet in a time long forgotten. “They’ve been planning this for a million years,” says Tim Robbins’ cracked survivalist, Ogilvy, “They defeated the greatest power in the world in a couple of days. Walked right over us… this is not a war any more than there’s a war between men and maggots. This is an extermination.”

Spielberg on set with Dakota Fanning and Tom Cruise.

The most terrifying scenes in War of the Worlds are entirely alien-free—it is the human-on-human violence that draws the most horrified gasps. As panic grips the world, humanity’s basest survivalist instinct kicks in. Within hours, it’s every man for himself as widespread looting, car-jacking, and general criminality sweep the streets, and it is in these moments that Spielberg’s film is arguably at its most realistic, such behaviour being tragically inevitable when a society fractures through external force.

Appropriately, in a nod to sound science, Spielberg chose to dispense with all things Martian by removing from his adaptation all references to the Red Planet, opting instead to leave the aliens’ origin to the imagination of the viewer. Presumably their roots are extra-solar—numerous NASA missions over the decades having thrown cold water on the idea that Mars might be teeming with sentient life.

Spielberg’s movie was backed by the US Department of Defense, and it gives considerable screen time to the US armed forces, despite them being essentially helpless in the face of an overwhelmingly superior foe. It is only when the alien tripods’ impenetrable force fields are rendered ineffective by Earthly bacteria that US troops are able to inflict any damage on them whatsoever.

In contrast to its disapproval of Independence Day, the DoD had no qualms about cooperating with Spielberg on War of the Worlds. However, unlike Independence Day, Spielberg’s movie did not draw explicitly from modern UFO mythology as its narrative featured no government conspiracy, no UFO-related terminology (such as “Area 51”), no references to historical UFO events (such as Roswell), nor, indeed, did it feature any UFOs in the conventional sense—only the tripods of H. G. Wells’ source material. So, while War of the Worlds projected to audiences a vivid, vérité rendering of what a post-9/11 alien invasion might look like in reality, crucially, for the Pentagon, it also provided a recruitment-friendly depiction of the professionalism and sheer fire power with which the US military would respond to such an invasion.

Although Spielberg’s movie features no “UFOs” in the conventional sense (due in part to his source material having been written 49 years prior to the birth of the modern UFO phenomenon), the director, a self-described “UFOlogist,” did add some UFOlogical flourishes. The film’s aliens, for example, have large glassy black eyes and yawning craniums, and, from their shoulders-up, at least, bear a striking resemblance to the iconic alien Gray.

Spielberg is arguably the master of the modern alien movie, so a Spielberg adaptation of history’s best-loved alien novel should have been a masterpiece. Instead, what the director delivered was a handful of impressive set-pieces desperately in search of a cohesive movie. David Koepp’s flimsy screenplay is driven for the most part by two-dimensional characters.

Spielberg had worked previously with Tom Cruise on the brilliant Minority Report (2002), and the two superstars evidently felt a second sci-fi team-up would be a great idea. Cruise has delivered a number of outstanding dramatic performances during his long career (Rain Man, Magnolia, for example), but here, in the role of Ray Ferrier, the actor is set to cruise-control (pardon the pun). He does his best playing the everyman, but no matter how fast he runs from Spielberg’s aliens, he never escapes the fact that he’s Tom Cruise—a cinematic mega-hero whose survival skills and ultimate fate are never in question. We never truly fear for his safety or doubt the fact that he will protect and save his imperiled daughter, Rachel (Dakota Fanning). He’s TOM CRUISE. In short, he was miscast in the role, and his powerful presence drastically imbalances a movie that was meant to show how ordinary people (not extraordinary people) respond to an extraordinary situation.

Spielberg and Cruise on set for War of the Worlds (2005)

There’s also the issue of *that* ending. The death of the Martians in Wells’ original story by way of exposure to Earthly bacteria was always a bit of a damp squib, but Spielberg’s handling of it is especially disappointing, as, like the alien tripods, the movie simply collapses in its final act, dragging itself limply towards a frankly infuriating resolution which sees Ray miraculously reunited with his son, Robbie (Justin Chatwin)—completely unscathed from the napalm conflagration that had seemingly consumed him earlier in the movie. It’s one of the most slapdash, inexplicable endings of Spielberg’s career.

Still, despite its many flaws, there’s a great deal of fun to be had in War of the Worlds. For the most part, Spielberg shoots us up with adrenaline as few other filmmakers can do, and there are moments of genuine terror and dread. If only Spielberg could here have balanced his famous technical prowess with his oft-exhibited mastery of human drama.