Silbury Hill, Wiltshire, U.K.
With a first look at this formation it strikes me that the figure, both in design as in the way it is made, misses a certain perfection. It leads me to thoughts of similarity with a wall-painting that I made about half a year ago. I did this in the Belgium village named “Doel” near Anvers. About this piece of wall-art I will reflect further down this article.
It is quite simple to agree that the figure, that seems to be based on the flower of life, contains six parts (or moon-crescents). The curiosity here is that these six crescents are marked by three different features. The first I call “initiation”, the second “limitation” and the third “completion”. These characteristics are chosen on the base of associating, more or less approximately, meaning that they can eventually be replaced by other idea’s.
Every feature appears two times which makes three times two similar parts. Within a six-folded structure like this, it would eye perfectly harmonic when the parts would be divided in a more orderly sequence. Unfortunately, this is not the case. A design like this could therefore easily be brand marked as “less harmonic”.
Concerning the way the formation is fabricated, it strikes me that the curves are not smooth enough. In particular when we look at the two completed parts (planes of flattened crop) we notice a clear difference in the sizes of what I would call the covering. It is as if the makers had a struggle with finding the exact angles for drawing the curves. To do that in a proper way one would in fact need an assisting circle. With such an assisting circle it can be measured out where the midpoints for the six secondary circles should be placed. (I presume it stands that the secondary circles refer to the six curves.) It speaks for itself that on the drawing-table such an assisting circle can be erased easily. Doing that in a canola-field becomes a total different story! For what’s left it can be observed that, like mentioned before, the curves are not very smooth, but that could be due to the positions of the individual plants in combination with how they fell.
It is the absence of perfection, both in the design as in the way it is worked out, that made me write this article. Had I not been confronted with both of these faults while doing the wall-painting at Doel, it would probably have been a different case. The formation therefore wakes me up as it were, to publish the story behind this wall-painting and of course also to digress on the creative aspect of the formation itself.
The clumsy impression that proceeds from of the formation, including the disappointing lay (broken stalks and board marks all over the place), strongly indicates that it is manmade. Nevertheless, strong indications are not the same as proof. The nuance is important in the field of crop circle research where it often happens that nothing is what it seems. Would it be confirmed to be manmade indeed, it still doesn’t bother me to go in depth, analysing the work of art on peculiarities and/or meanings. It should be clear for the average crop circle-fan that the phenomenon has to an important degree to do with creative interaction with invisible intelligence.
Therefore it is justified to question what the factor “inspiration” implies, also when a formation is doubtlessly made by human beings. This counts the more when we consider that paranormal events often occur in relation to manmade formations as well. To get it straight; I don’t say this Silbury Hill formation is a manmade formation. I don’t say it is an “authentic” one either. I simply don’t make any of such conclusions, but try to simply picture all the ins and outs of the formation.
When I compare the formation with the wall-painting I notice a reasonable similarity. Does that automatically imply that the formation holds a conscious reference to the wall-painting? No, but I certainly find the idea intriguing. Let me expose about the wall-painting.
At the crop circle-season of 2010 I visited on my way to England the harbour-town of Doel. The highly surreal environment baffled me and partly on the basis of growing discontent about my life in the North of Holland, ás by mysterious whisper, I decided at that moment to try to start a new life here. I presume it takes the spirit of a pioneer to be willing to live here. The village of Doel is truly like a wild west ghost-town. Since many years, citizens of the town are bought out of their houses, if not, being manipulated, strangled and intimidated by the local government together with big harbour companies. Nearly all the citizens have left their homes now, not being able to withstand the hard long lasting pressure. The reason for all this was to expand the harbour. A huge container-company would settle there.
It was by the resistance of the locals, as well as by the collapse of economy that the plans didn’t fully work out as thought. Although the uppermost of the houses are left or demolished, there is still a handful of habitants that have not left. As stated, the village looks like a wild west ghost-town. Everywhere there are houses in decay. The spooky atmosphere is compensated by very many colourful and often humoristic wall-paintings. To make the description complete, there is also that huge nuclear power station straight at the edge of the village, that day in day out, produces big clouds besides energy. Mind also that there are giant high-tension towers inside the town that carry the distribution-cables away from the nuclear plant.
All together the absurdity of the village strongly attracts me, because it seems model for the end of our western capitalistic society. What I’m projecting on it is the possibility of an alternative community developing on the remains of the catastrophe. As hopeless it might seem, so necessary does it appear to me to start something like that.
Driven by my idealism, it appealed friendly to me if I would go for an artistic contribution that would lift up the view of the place. Because I have become somewhat possessed by the crop circle phenomenon I wanted to paint a nice crop circle-design on an empty wall. Thinking it, became saying it, became doing it. After going through my archive I decided to do a design based on the flower of life. It should not become too complicated. For some reason I couldn’t make a clear choice between all the existing crop circle-designs based on the flower of life. So, I made my own design that could convincingly stand for an original, let’s say, authentic crop circle-design…
The design stands for “renewal”. It is the vortex effect in combination with the flower of life elements that gives a feel of movement in connection with harmony. I choose for it to create the painting in openness, not able to imagine that anyone would object to it. The house on which I would paint was of course an empty one and in the state of decay, clearly an object nominated for demolishing. What is the problem? The second day, I was just finishing another phase, I was stopped by the police. The cops told me they had been instructed by the owner of the house to stop me from spoiling his possession. It was considered to be an act of vandalism. Personally I would say ruining a whole town looks a little more like vandalism to me, but as it goes, I got my fine while all the painting materials including a ladder that I had borrowed of a friend were confiscated. This, in my humble opinion, is nothing else but a serious act of stealing. The servants of the law always manage to give us the right example!
What is concerned the objections of the owner, it is in fact the harbour-company that bought all houses in the town, his only intention is to destroy all of these houses in time. How cynical it than becomes to get punished as a motivated idealist for what they interpreted as “vandalism”. The truth is that I was working on a serious piece of art in which beauty and harmony were given a central place. It is a free gift to every visitor in the village. But of course the autocratic and destructive rulers would have their way as usual. The shame of disrupting the whole community is totally out of proportion, while I don’t think that those who are responsible for all this damage have already had a single fine yet…
There was no way for me to leave the artwork unfinished as it was. That simply didn’t feel good. Although it still is not finished for one hundred percent, at least it looks much better now. What I find amusing is that Moby Dick has fallen in love with my creation!
What I would like to touch upon with describing this incident, are the under laying structures of power and the processes that can lead to this kind of absurdities. The human proportions seem more and more lost in this “end-time”. While far out most people sit heavily upon the moral corrupt activities of these super-companies, it turns out again and again, that the immoral power is strong enough to get away with large-scale human and environmental destruction.
More and more people become aware that we need to get rid of the system that has run totally out of control. It’s monstrous destructive aspects have come so clearly to the surface, now. People are anxious for renewal in the direction of justice, real freedom, environmental care, health, peace and more of these things. The big problem is that the right actions are often not undertaken. In case there are suitable actions undertaken, it happens easily that these are getting frustrated for short time or selfish motives. How critical must things become? And in the meantime there’s so much suffering going on…
One of the main difficulties is that human beings, collectively or not, have made themselves dependent of the system. While the system should work for them, it now has become the case that they work for the system. People hand their power over to the system and then complain against the power of the system. This inconsequential behaviour or even lifestyle, can only lead to chain reactions of gloomy events. It is necessary that each individual for him or herself needs to draw up the balance sheet and break loose of the institutionalised cancer. Such an act of self-conquest is certainly possible and will definitely find support from the spirit-world! Furthermore, it does not only confine to break loose of the system, it also becomes needed that whenever possible, misbehaviour gets confronted.
Thus, I had disputed the moral injustice to the police-officers that condemned my act of unselfishness. It is not that I make myself many illusions about any eventual compunction at these officers, but some contra weight needs to be. Besides there is something like the subconscious for which communications like these are of greater value than commonly imagined. By the way, it is not my intension to nail people that have committed themselves to the system. On the contrary, I am only trying to get them away from the dangers that the destructive machinery has in store for them as well as for others.
At this moment, the question arises inside of me, is, if there has been a paranormal steering that leaded to the Silbury Hill formation as it is? The similarity between the wall painting and the formation reminds me to certain paranormal experiments. In these experiments one person creates a drawing in a separate room from another person that is supposed to have a paranormal talent. After the drawing is made, it gets fold up, then put in an envelope. After that, the paranormal candidate has to proof his ability by producing a drawing that matches the drawing inside the closed envelope.
Could it be, that there has been a conscious steering behind the making of the formation as it is, so it would trigger me to reflect on renewal of society?
On the face of it, the comparison between the wall painting and the Silbury Hill formation leaves us with a similarity that I would call neither strong nor weak. It doesn’t prove a real convincing link between the two, in that sense that the crop formation would with purpose intent direct to the wall painting. But that’s just on the face of it…
Normally, at any given comparison, people automatically search for similarities. In this case it is clear there are, but there are also quite a lot of differences. In case, when one is alert enough to also pay attention to the differences, than remarkable insights will be found. To begin with, there are some typical oppositional imagery elements involved. At least four!
First of all, there’s the obvious difference of turning direction that is suggested by the curves that emanate from the centre. In the wall painting, this direction goes against the clock. In the formation the turning direction goes wíth the clock. So, that’s clearly opposite to each other.
Another difference concerns the number of characteristics within the six parts. In the wall painting I have only made two different types of parts. These are light yellow parts and dark yellow parts. The characteristics have thus been defined by the tone of colour. In this comparison, the light yellow parts I have given the number 1. The darker yellow parts have number 2. All together, we notice 3 times two different parts. In the formation the exact opposite appears. It happens to be that in it, there are two times three different parts! The characteristics have not been accentuated by tone of colour, but by different shapes. As we speak, there is the shape that can represent “completion”. There is the shape that can represent the “limitation” character. And there is the shape of “initiation”.
The third opposite is a little harder to recognise because of the fact that the wall painting is not totally finished. I have to admit, the silly police action has had a negative effect on my motivation here. Anyway, the opposite here, tells about the covering curves that form the parts. In the wall painting these curves are hardly anything else but small lines. I intended to widen them up like has happened in the original design.
What we then see, is an outside and an inside at each curve. In my design as well as my wall painting, the inside-lines start from the centre. This opposite to the the formation, where the outside-lines start from the centre!
Is it the police repercussion that starts to itch, or is it the opposites that do so?
According to me, two more opposites can be pointed out in the comparison. We can observe a horizontal separation-line in the wall painting. It is formed by the unfinished demolishing of the house that used to be next to the house that still exists. The line is in fact the upper side of a wall left over. Held next to the picture of the formation, a similarity with the tramline becomes clear. The lining of the walls looks a lot like the lining in the field.
Both relate in a very interesting way to the centres. In the upper comparing images we see in both cases the centre of the figure positioned directly at the bottom-side of the horizontal line. From the crop formation we cannot understand what is to be considered above and below, if there is such at all. The image of the crop formation is therefore allowed to be put upside down. In that case we would notice the fourth opposite. As obvious it remains unclear if we have found an opposite or similarity here. Nevertheless, at the time I wrote this article I had a dream that indicated that the turned around version, meaning the one with the exact midpoint just above the horizontal line is the most correct. It is based on intuition that make me assume the dream was related to the formation.
Another factor of meaning is about the turning of the figure in comparing with the wall painting. It may be so that we have found a similarity by the recognition of a middle line, still it had to be so that this line bridges in one case the shortest, and in the other case the longest possible distance! Again, we have gained an opposite!
By now, we can conclude that the design of the Silbury Hill formation stands in a much closer relationship to the wall painting than superficially seen was the case. It turns out to be a play with opposites. That by itself is already so much more interesting than when a simple copy of the wall painting would have been appeared in the field.
Now we have this beautiful outcome, but it doesn’t mean all the secrets of the magic are revealed.
One of the seemingly weak aspects in the design of the crop formation, concerns the placing of the “inside curves”. One would expect the inside curves to be parallel or concentric with the outside curves. That would look more aesthetic and that’s how I have done it in my own design. Would I like to believe it is the clumsiness of the crop circle makers than nothing more needs to be said. But of course I would not like to believe so.
In case there’s an reasonable explanation for the these non-concentric bends, than the answer lays in my original design. In it, I had made a fading effect in between the inner and outer curves going from dark to light. This type of accentuation might be very hard to reach in a canola field. The solution to this problem could be, to create a fading track going from small to wide!
In the transmission from design to actual wall painting I had decided to leave the fading effect behind for practical reasons.
Something in the comparing of the wall painting with the crop formation that hasn’t been given attention yet, is that the six petalled seed of life seems to be absent. This is a remarkable difference that undermines the idea that the Silbury Hill design can be based on the wall painting. But now that we have discovered so many relations between the two works of art, my curiosity is tickled enough to find out, if there’s a particular reason for the fact that we haven’t seen the little flower in the formation.
It speaks for itself, hopefully, that in the hidden structure of the formation, the little flower of life can be found indeed. The outside curves only have to be enlarged to complete circles to discover it. The possibility to show the seed of life (little flower) didn’t have to be very difficult it seems. It is because of that, that in search for an explanation, I have more interest in the inside curves. I want to know what they will do when enlarging these curves to circles…
In case we try to find the petals back in the overlapping inside circles, than we notice, not totally unexpected, the influence of the 2 x 3 different characteristics. The characteristics seem to be in close relationship to the new found petals! What strikes the most, is how the two little points, or small rings in fact, are attached to two of these petals.
For a better overview, I tear the two groups apart from each other. That way, we discover how a group of three different circles interact upon another group of three different circles. It is almost bizarre how the three different characteristics attend us on the possibility of six different circles! The application of transparency has caused that not one of the circles is similar to another.
Without concerning the influence of transparency, we would keep the original thought about two times three different circles.
In fact, the characteristic differences as given above are not yet optimal. The influence of transparency may have been annihilated, one can easily accept that the moonlike shapes are caused by overlap. The circles undone from that overlap effect look as followed:
In the way we look at the circles this time, no terms like crescents or parts can be used. No petals either. The material contains of three original elements. It brings us, after a long investigational trip back to what could be seen at the start anyway; the three different and oh so prominent characteristics! The meaning of these have to be of crucial importance. But what are they really telling us? The earlier associations; “initiation, limitation and completion”, feel like approaches. I have reached out for a more satisfying explanation, but I won’t give that track as many words as I did with the original version written in Dutch.
About the circle with the dot, it can be said that the dot is actually not a point, but a very little empty circle. A little ring so to speak. Would it be a point indeed, than the earlier idea of “initiation”, would have been enough accurate. Now at closer inspection I have interpreted it as potency or maybe even better as “a possibility”.
The little rings where originally attached to a neighbouring petal or circle, but since no petals or completed circles have formed in the end result, they seem to flow freely. I consider this very meaningful. It tells us in fact about a hidden relationship. Or if not, a certain relationship, that has ended. Also bare in mind, that no matter how small these rings look like, they dominate by attracting attention in a very powerful way. Another very intriguing association with these two rings is of “wedding-rings”. Permit it a serious thought. The date of appearance of the formation was April 29th 2011. The world that day seemed under the spell of the fairy tale marriage of Prince William with middle-class girl Kate! It is already been said the marriage of the century!
The next characteristic I have called “limitation”. It could also be related to the idea of contraction or “giving in”. These idea’s I have based on the curve line of which its thickness is expanded inwards.
Not only does this thicker curve lead us to the suggestion that it continues underneath the following circle (diagram a), it also demonstrates interesting proportions when it shines through a hidden petal.(diagram c) To be more precise, I wonder about the volume of this petal. Does the line fill it up exactly halfway? (diagram d) Diagram b represents the thicker outlines of a crescent in case such was wanted to be expressed.
A third aspect is that it seems doubled in thickness. It could remind us to the little ring. As if it has expanded to its outer limit! The little ring is the smallest possible ring. Becoming smaller would make it a disk or a point, not a ring. The expanded ring is the widest possible ring. These extremes in small and wide directly bounce me back to the beginning of my wall painting design. I used Hackpen Hills crop formation of 2008 as inspiration.
It is said that this formation is about the human ability to observe the smallest as well as the widest! With only a single isolated stalk in the exact centre of this incredible huge formation it will certainly be more than ordinary rumour.
As the three characteristics seem to relate to each other in a logistic or progressive order it becomes clear that each set of three is about a certain development. With two of likely the same developments in one pictogram, we may wonder about the particular type of development that is involved. In case the idea of marriage is intended to take a closer look at by this formation, one might say that maybe two weddings are under our attention. The royal wedding of William and Kate came to show us only one wedding-ring. Therefore it is a little doubtful to take the two developments for the developments of the two candidates themselves. The development concerns more likely one marriage as a whole.
So what other marriage could be referred to than? It is simple. Another Royal wedding took place the same season. It was the marriage of Prince Albert and Charlene Wittstock in Monaco. In case you still doubt the crop circle makers would reflect on these events, than just take a quick look at the following formation:
It was discovered on the same day of the Royal wedding in Monaco. Although it appeared in England as most usual, it is definitely able to represent a logo or magic banner for marriage. As it is very easy to see two persons in opposition (light and dark) with each other, becoming united, it looks very appealing. Personally, I would call it “embracement” I believe.
More aspects of the Silbury Hill formation concern the directions of flow in connection with the suggestion of a turning movement. It has leaded me to the principle of succession. This article will tell you more about succession in relation to crop circle language. I will also be short on this, but summarise with stating that two developments seem expressed. One is going with the flow, the other against it. It depends on the perception of what should be considered the natural flow which direction is taken…
Another aspect seems to direct to the Kabbalistic pillars of balance and all that is related to them. I leave this as a hint, that’s all for now. In the next article more about duality and unity will be considered.