Interview with Dr. Lock #05

shima: Hello, everybody. I have shortened the range of James Q&A somewhat in this issue, for two big topics are treated: the identity of James, and the symbol pictures or WingMakers pictographs.

I assume many readers feel interest in these topics. I myself have been looking forward to covering these topics very much since this e-magazine was established.

Then, let's start the topics immediately.

The identity of James

shima: The information about his childhood and his family were revealed gradually by the three audio interviews conducted by Mark Hempel in 2008.

As soon as you hear these interviews, you are attracted by his deep and powerful voice. Mark's voice is also very fascinating and his energetic and lightsome voice tone makes a good contrast with James' voice.

Listening to these interviews, I felt a kind of resonance between his family and characters in the AAP novel. For example, I felt Fifteen in his father, part of Samantha's personality in his mother. And I feel strong resonance between Dr. Neruda and James himself as was expected.

Even today, I sometimes wonder if James might be Dr. Neruda. These days I like to think that Dr. Neruda might transform into the multidimensional being or the Sovereign Integral through his study and interaction with WMM.

Now, Dr., what impression do you have from these interviews? I would like your comment on James' portrait.

Dr: A writer inevitably reveals himself and those he knows and has met through his/her writing. Writers are always on the lookout for people in real life to use or modify for inclusion as characters in their writings. So it is not unnatural for you to make these filial connections, but I wouldn't read too much into them.

James is bringing the message forward on the Internet, just as Neruda planned. He is anonymous --as far as is practicable -- just as Neruda had and has to be. So yes, they are certainly counterparts in that respect. Similarly, Fifteen is the father figure to Neruda and so it is understandable you should see Fifteen as somewhat akin to James' father. Remember, however, these relationships are universal; we all have them, which makes the mythology common and relevant to anyone and everyone.

Samantha, on one level, represents the feminine element within the story; almost all successful stories --and mythologies -- will have a mother or female figure involved, because that is such an essential part of reality for each one of us. We all came here from one, and either are one or want to be with one. It's a real loss for a story not to have a female character that plays an important role, and the role is usually far more sensitive (and maybe wise), physically weaker (though not always) and somewhat compromised, used or misunderstood because this is a male dominated society evolving into a balanced society. Hence we become aware of the current feminine role and that something is not quite correct or just about it that needs our focus and correcting.

We should not forget, however, that James is using Sensory Bi-location which enables him to see and observe the actual characters involved. To preserve the secret identities of these real players he has obviously also modified their characters somewhat.   

Finally, let me clarify for readers that the Sovereign Integral itself actually exists on another dimensional level, so Neruda would not transform into that, but through his interaction and immersion into the WMM he did experience a transformation that enabled him to feel and receive the frequency of that other-dimensional level. When responding, and acting from that level, in accordance with its frequency one is essentially acting as a Sovereign Integral, but it is actually on a different level of existence and far removed from the human material domain. Most people reading this could also, like Neruda, experience their own transformation through deep and sincere study of these materials and then express their Sovereign Integral consciousness through their human instrument.

shima: As this supplement goes ahead, the information about his mysterious identity will be introduced, and readers must be surprised and confused by it.

A lot of rumors about James have been whispered all over the world, but I believe there is no crucial evidence to date.

Regarding the identity of James, the most vivid one in my memory is American scientist Dr. Joe Champion claiming that Albert Ignatenko, an Eastern European scientist, is James. (fig.1)

His claim was denied by Mark Hempel in the original WingMakers Forum, but I guess this was a singular case in which the rumor about James' identity was denied by WingMakers LLC officially. Of course, there's the rumor that Mark himself might be James.

fig.1 Albert Ignatenko

Excluding these cases, do you know any rumors about James' identity? Or do you have any hypothesis regarding the particular person James might be?

Dr: First, I believe I've said before that Mark is not James. I know this from the way Mark responded to my papers on the paintings. Mark did not himself understand these paintings very well and he was gracious enough to say my papers really helped him understand the WingMakers paintings much better. It is a long story, but there were details we came across while I was writing them and when Mark was preparing them to go online that made it quite obvious Mark did not understand much about these paintings; he clearly understood less than I did. Had he been James he would, having been the painter, have known everything about all of them. Even now Mark is waiting on me to write a paper on Chamber Painting 12, which is one of his all time favourites. So, no, Mark is definitely not James, besides we can hear them both in the interviews now.

Actually, Prof. Albert Ignatenko comes from the Ukraine and is the Russian Honorary Member of IBSSA (International Bodyguard & Security Services Association, a high office bodyguard organization).
http://www.ibssa.com/index.php?article_id=565.

He has also done magician's work in the public eye.
http://74.6.146.127/search/cache?ei=UTF-8&p=Albert+Ignatenko&fr=moz2&u=autobiography.swami-center.org/page_40.shtml&w=albert+adam+ignatenko&d=Yhd0tN29Tx9e&icp=1&.intl=us&sig=P3HPzoW7Z3d1Le3pmP8Rcg--.

I cannot really imagine James doing either of these things. Also James says he comes from Spanish and/or is of Western European descent rather than east of Eastern Europe.

If there might be something to Dr Champion's claim perhaps Prof. Ignatenko might be James father?

Personally, I have not been interested in investigating and knowing so much about James' personality or background. The personality is actually a distraction from the message, as James has repeatedly said, and if we look carefully at James message we can see that it tells us more about his personality than any early family background information.

Do you think you are correctly identified by where you come from and who your parents are, or even where you lived your childhood? Or are you more what you have made of yourself and how you live and have lived your own life?

Because of the predominant Japanese love of home and how you regularly keep your childhood friends into your old age you might answer, "Yes" to the former question rather than the latter; but for many Caucasians and Europeans, where James hails from, the latter would more like receive the "Yes" answer. People of Caucasian descent often travel far from their families in their lives and live in very different places from where they were born. Migration is in their history if not their blood. Their earlier life can become just a preface to their personal life book written through their own actions, which carries a completely different message. So it is important not to get too hooked on James' personality.

Yet there will be, of course, inherited genetic characteristics that will assist in the forging of character in early life. James' father was involved in governmental service as a scientist. From this James seems to have inherited an appreciation of the grand scheme of things and looks at matters from a grand or overall viewpoint. He sees the big, above-the-forest view, just as on the mundane level, many a government employee would have more of an overview of country or global situations.

Whatever James' upbringing, he was obviously greatly loved, and this is an early factor in life that does greatly sculpt the character and nature of the child and later adult. James said words to the effect that until a civilization has raised itself above the fight for survival it can hardly afford to look into the higher nature of reality and self. Early mankind was too busy surviving the ravages of life to investigate what lay behind human life, made it all function, and why mankind existed. The same goes for life on our individual present-day level. Those with heavy debts, and fighting to stay alive, for example, feel they cannot concern themselves with these higher energies or finer questions. The more immediate concerns of feeding the hungry if not starving self and family take, of necessity, all their energies and focus. And conversely some who donate, or think they donate, all their energies to these higher questions end up living in some form of poverty because they have ignored the mundane practicalities that on Earth just cannot be escaped.

James has obviously had a somewhat privileged childhood, blessed with adequate food, living quarters and most importantly love and support. This could be one reason why he doesn't wish to disclose much about it, partly because it would distract greatly from the message he wishes to give, more so than if he had risen from an ordinary lower middle class or working class home, which would most likely be met with a "Hmm. Just like me" from the general reader who would then likely dismiss the subject of upbringing. There is such a clamoring for wealth, distinction, and a life of ease on a personal basis these days that it could easily become the new primary focus of readers of the WMM if James were to go there; the celebrity or as you say in Japanese selebu syndrome.

Neruda too has no real financial issues to resolve. This enables him to concentrate on the issue that really does count; getting the information out for the benefit of all humanity.

The major difference between Neruda and James as I see it is their focus on what the message is. Neruda, as the mythical message carrier, is about bringing forth hard physical evidence; in a word: disclosure. James has done this too with the WMM but is presenting the specific personal message of one's behavior and living from the heart as being the real crux of the whole message. In essence this is the post-Neruda message.

Upon transformation the heart frequencies of appreciation, compassion, forgiveness, humility, understanding and valor come to the fore becoming the center from which one begins, or endeavors, to express a new life, although it was in my opinion also the ascending of these frequencies into prominence that enabled the transformation to occur. The transformation occurs when one is working for all, or humanity at large. It is when Neruda decides to enlighten the populace that he experiences transformation ? or because the WMs know he will inform the world. It is not only when, or because, he cracks the codes that transformation occurs. It does not occur because of anything he discovers, finds out, or knows himself. That discovery is necessary, but immeasurably more important is what he does with that discovery; he acts to get the message to everyone in the world so it can be of assistance to them.

So rather than wondering what is the nature of James, or who he is, I would encourage readers to discover the true nature of the heart, and heart frequencies. For, in my opinion, it is here that you will find the real James. Actually you are very lucky being Japanese in this respect because in your language you have a single word that more closely expresses "the heart frequencies" than any one word in the English language. It expresses the abiding feeling I receive throughout all of James interviews. To me, it is the word that most sums up James himself, though he is not only this; he is also a wellspring of spiritual and cosmological knowledge, understanding and more. But it is this Japanese word that, for me, reveals more of who or what James is than any background information about his life. That word if you have not guessed it is kokoro.

As I have said, James is not only this. He is a master of, or a very gifted man, at many things. It is James' opinion, however --and mine too --, that at this juncture in mankind's history kokoro, or the collective heart frequencies, are the most important knowledge to have, carry with you, practice and live. If we allow the heart frequencies or kokoro to become dis-coherent at this time it could lead to a war that could destroy our civilization. This is the razor's edge we have been tentatively walking and successfully endeavoring not to fall off for the last 60 years, and we are still walking it. When this walk is over with the discovery of the Grand Portal the focus can and will change to the things of the higher mind, but for now living from the heart remains critical for humanity.

This mode and code of living has always been present with so-called masters, and despite the need for the further great scientific advances that are to come, the heart frequencies and kokoro constitute the secure and successful stepping stone path across our present troubled global waters.

If you find a master, you will find kokoro. Even a child with kokoro is a master who wisely does not speak. Where there is appreciation there is kokoro and where kokoro is there you will always find appreciation, with "Thank you" its grateful voice. Compassion is impossible without kokoro and there is kokoro wherever there is compassion. Forgiveness is the very expression of kokoro and kokoro can always forgive. Humility is the silent expression of kokoro with "sorry" its humble voice, while kokoro lives wherever humility abides. Understanding of your fellowmen is the fertile soil in which kokoro can grow; therefore develop it so you can grow in mastership. With kokoro you will be moved to act with valor when it is for the best, and the only true expression of valor is with kokoro.

Taking this to heart is all you really need to live the life of a so-called master, who is nothing more than just a true human being living from the heart. When you live by these heart frequencies of kokoro I am sure you will come to understand James on a very personal level. In my opinion it is the essence of what he is. Whenever kokoro is witnessed here in Japan, or in any other country, at these times the presence of a master is felt. It is in this form of life expression that, you, I, James, all of us, are indeed one.

With this frequency you will also be ripe for transformation, so include kokoro in all your investigations of the WMM, and for the best of progress and clarity in communiques with fellow WM students. Without kokoro in your postings or messages, misunderstanding is much more likely to occur and this can cause discomfort and wasted time at least, to pain and loss of good friendships in more serious cases. If your online postings or other WM communiques lack kokoro read and rewrite them until kokoro is there. It is your best guarantee of success -- and a most worthy meditation -- to ensure the presence of kokoro.

shima: WingMakers.com releases these audio interviews on the website, if you have not listened to them yet, I strongly recommend to listen to James' voice. His voice has the power of transformation...

Dr: And the essence of kokoro in a wise adult.

Glyphs of WingMakers: language of light

shima: I think the research on glyphs of WingMakers is one of the areas which is not the most advanced. I would like to try to cast new light on this topic through this interview with Dr. Lock.

I guess we clearly know the meaning of only two symbols to date. One is the Wholeness Navigator in Chamber 24, and the other is Para Vach in Chamber 2. (fig.2)

fig.2 Wholeness Navigator and Para Vach

According to one of the "ACIO Classified Documents", it is said that about a third of the glyphs contained on the paintings can be traced to four different, extinct languages: Chakobsan, Anasazi, Sumerian, and Mayan. And in the original interview 2, Dr. Anderson said that the WingMakers' language is based on 98 different symbol pictures instead of the 26 found in our own alphabet. And if you actually count the number of glyphs in Chamber Paintings of the Ancient Arrow site, we find about 250 glyphs are represented.

In the standard of languages on our planet, these numbers indicate the linguistic structural features of phonograms, but James explained the WingMakers' language has a linguistic structure based on ideograms.

Reading more of James' explanation, it is assumed that this linguistic system contains numeric characters, symbols of operation, musical notations or phonetic values besides ideograms.

If this supposition is correct, I presume that the WingMakers' language has a mixture of linguistic ideogram characters and phonograms like Sumerian, Mayan and Japanese.

And looking at the image "quintessence formula" in the fourth interview secret passages, it seems that one mathematical-like formula is represented, obviously in the formation of glyphs.

These glyphs are part of the glyphs in Chamber 2, I think these glyphs express the equation that relates to the discovery of the Grand Portal. (fig.3)

Please let me hear the doctor's insight for the linguistic system of WingMakers.

fig.3 symbol list of Chamber 2

Dr: It's a long question, so bear with me. I think you will find the comments in the classified ACIO documents are examples of the fictional element with some basis in fact. There may be certain Ancient SW USA Indian and Sumerian stylistic similarities with a few of the glyphs, but I haven't noticed any actual glyph similarities with Mayan (not that I'm an expert on Mayan by any means). The Anasazi appear to have had no written language. We don't even know what their spoken language was, only that it was the antecedent of the modern Puebloan languages of Tewa, Tiwa, Towa, Keres, Hopi, and Zuni. They may have left us a few of the rock petroglyphs we find in the US SW, but it is taking literary license to call these a complete language.
http://wiki.answers.com/Q/What_did_the_Anasazi%27s_language_look_like.

Finally, if Chakobsan is a metaphor for the language of the Bolivian Chacobos, which is usually referred to as Chacobo, it is a Latin script which doesn't get us anywhere.
http://en.wikipedia.org/wiki/Ch%C3%A1cobo_language,
http://www.native-languages.org/chacobo.htm.

BTW, according to Andrew Basiago, there was a Dr Anderson actually involved with the Montauk project and the Montauk Chair that, as you know, was allegedly involved with time travel; and just as in the AA P story there were child casualties involved with that.


Our world's scripts, according to ancient language expert Andrew Robinson, are basically of three types: Logosyllabic , which includes Chinese, Egyptian hieroglyphs, Mayan glyphs, Sumerian cuneiform, Hittite hieroglyphs etc ; Syllabic, including Linear B, Cherokee, Cypriot, Persian, and your own kana etc; and Alphabetic and Consonantal, including Russian, Sanskrit, Anglo-Saxon, Arabic, English, Hebrew, Etruscan etc.

Logosyllabic scripts, often referred to as ideographs or pictographs, have anything from 497 signs, in Hittite, up to 5000 plus in Chinese. We have in current use no pure 100% logosyllabic systems as each of these still contain phonetic elements.

Syllabic scripts have around 40 signs (as in Persian) to around 90 (as in Japanese kana, and Linear B which has 87).

Alphabetic scripts have from around 20 (as in Etruscan, with 26 in English) up to about 36 (in Russian,).

Once you have a very good sample of text, or a full lexicon of glyphs, a decipherer can then judge fairly accurately what type of script one is dealing with. Michael Ventris, for example, who deciphered Linear B, guessed correctly that because the script contained only 87 characters that it was a phonetic syllabic script, and from there went on to decipher the language. This he was only able to do, however, because of the thousands of examples of existing text. These are necessary for cross-correlation, checking and confirmation of findings that are often originally little more than hypothesis or suppositions. Even with an actual Rosetta stone, other examples of text are still needed in order to check the correctness or otherwise of the given translations.  

Since, as you recognize, we have over 250 glyphs in our WM lexicon obviously Dr Anderson's comment that the language is based on 98 different symbol pictures is inaccurate and just part of the story. If there were only 98 basic symbol pictures they would presumably be represented phonetically, somewhat in the vein of the Egyptian phonetic pictographs. You know from your kana languages that between 80 -100 characters is enough to provide all the phonemes necessary for a functioning phonetic alphabet.

There is no evidence that the other 152 glyphs (250-98) combine with any basic 98 glyphs to create 152 further or different phoneme variants. Even the International Phonetic Alphabet doesn't have as many phonemes. There would be an abundant redundancy.

It is highly unlikely that we have anything but a small sample of the WM Language of Light (WML) represented. We can therefore, quite confidently predict that the WML glyphs are an ideographic or logosyllabic script; and if we only have 250 of them, with almost no duplicates but some variants, we almost certainly have nowhere near enough to decipher the whole language, or even any part of it from the glyphs alone. We can only really make intelligent -if that -guesses.

The signs Para Vach and Wholeness Navigator also are telling us this: each of these two glyphs illustrates a word or concept i.e. they are logosyllabic. We have no idea of their pronunciation or phonetic quality in the Tributary Zone where they have their origin. They are translated into the Roman alphabet and phonetics of Para Vach and Wholeness Navigator in English. The most we can currently hope for is to understand the WML logosyllables in meaning. We have no possibility of actually reading it in its native phonetics.

A phonetic language would, I think, also be fairly useless for intergalactic communications with a new planetary species speaking numerous languages because it would merely make the language audible but carry no meaning; we would have no idea what the sounds we could make would mean. This is still part of the problem with understanding Mayan. Some Mayan glyphs we can now pronounce but remain ignorant of as to their meaning.

The best bet for communicating with a new multi-language species without personal interaction, in my opinion, would be a lgogsyllabic language that, like the alleged Senzar, would be understandable in any language through its imagery; and would speak more to the subconscious or unconscious. Each culture would then translate each logosyllable into its own language, just as we are doing with Para Vach and Wholeness Navigator, although these two terms are likely new to most Earth languages so they may just be represented phonetically in most of our languages.

By way of illustration: whatever the WML glyph for the English word communication is that glyph would be translated into each language differently once the glyph is understood, but the glyph would convey something of the essence of the word communication to our subconscious. Of course, the problem is we have to come to understand all the glyphs before we can know the language. But we do have a partial form of a WM Rosetta stone, and it is the entire WMM; the paintings, philosophy, poetry, music and story are all telling us basically the same thing but in different language forms, or media.

Personally I think the WML will be as difficult, or more difficult to learn than Chinese, and with as many glyphs or characters. We basically have to learn a whole dictionary of meanings, though the pictographic nature of the characters will help us remember the characters and meanings. I think it likely that the Language of Light or WML glyphs could well prove to have a higher percentage logosyllabic script than even Chinese with perhaps some modifier, and yes perhaps some phonetic, glyphs; but that's just my guess.

There is an interesting, for me at least, precedent for this. Contactee Billy Meier allegedly receives all his communiques in the form of a logosyllabic language which contains thousands of symbols or characters, of which I have almost 600 samples. Being logosyllabic they share some characteristics with the WML glyphs as a language, although their form is generally vastly different --with perhaps one notable exception that I will write on in Chamber Painting 18 paper. Meier calls his language the Spirit Symbols (SS) and they are for the most part strictly geometric compared with the far more organic nature of the WML glyphs. Each of Meier's symbols represents a word or concept in the German language. And he allegedly had to be programmed to understand the whole SS dictionary or lexicon before transmission could begin.

I would not be surprised if the SS and the WML represent respectively a kind of left and right brain language of First Source (which Meier calls Creation), and have been made available because most individuals prefer to function predominantly from one side of the brain or the other, depending on personal idiosyncrasies. I have only noticed one or two instances where the two respective, for want of a better term, cosmic glyph languages have any similarity. So Meier's glyphs again may not aid our understanding of the WML glyphs. Does the left brain understand the right brain and vice versa?

Similarly, a few of our Earth languages' have glyphs that will find some echo in the WML due to their being inspired on occasion to be included and at other times are likely remnants in part from ancient languages when our language was closer to the WML, a time probably before we ever arrived on this planet. This would explain why Blavatsky had the insurmountable problems she did with talking about the Senzar language.

For what it is worth, I also think it possible that a few of the Chinese and Japanese kanji or radicals may have certain elements that have evolved from or were derived intuitionally from either the WML or Meier's SS. And the same may go for other languages too, and this may be what the "ACIO Classified Documents" were hinting at, or metaphorically representing. We are now on a long journey back to the original and primordial languages of humankind; a language or pair of languages that speaks directly to the subconscious from either First Source, Source Intelligence or the Genetic Mind, in a similar way that dreams and visions speak to us, only on a higher level. The WML might be compared to an ideographic, mostly monotone, version of the dream world, except it speaks precisely, clearly, and for the most part without the clutter and confusion of a filtering human mind.

BTW here is the set of presumably linked-glyphs from the Collectors' Edition box of prints.

Titled box cover of Collectors' Edition of Prints.

WM mathematics:
There will doubtless be a numerical system in the WML but I think James was saying that some of our mathematical figures (and music glyphs, and glyphs associated with sound itself and phonetic qualities rather than actual phonetic glyphs) may be featured in the paintings and carry meaning. (Of course, the possibility remains that some are phonetic, and this ironically would add to our problems in deciphering the language.) An example can be seen in the reversed numeral 2 in the chamber 6 painting. This doesn't mean the WM numerical system is represented graphically with numerals as in Western civilization. It doesn't, in my opinion, necessarily represent two of something but the meaning associated with our numerical 2 glyph, i.e. helper, servant (though not servile), facilitator, supporter, and within Chamber painting 6 as the Sovereign Integral servant or facilitator of First Source. But again this is just my idea.

You could be right about the quintessence formula. I tend to think, however, that practical numeric mathematics as a universal language would be more easily recognizable and useful to us, and anyone, if it were an actual numeric equation. Again, it's the meaning of some of our numerical glyphs that may carry a similar meaning within the WML rather than their numerical quantity equivalents. Again, this is merely my current opinion.

Elsewhere within the WMM their numerals are represented in Mayan. It is reasonable to expect that any pure math equation would use these or a similar simple 10 -20 odd glyphic system to represent numerals and then other simple glyphs for more advanced equation elements like integrals, square roots etc. Again, this is just my idea, and we do not know for sure.

Numerals in any advanced language are easier to read and decipher because there are so few of them (usually only 10-25). It's tempting to think the simpler glyphs in your fig 3 (Ch 2 painting) are numerals, and perhaps they are, but as I explain below I have my doubts about this. This doesn't mean, unfortunately, that WM math is necessarily easy to decipher as a complete system.

We still do not completely understand the mathematic system of Linear A, which I have been trying to do a little work on. We still need examples to confirm suppositions. Linear A fractions, for example, remain still largely indecipherable because there are so few samples of them in existence. We can only really guess.

This is also why the Phaistos Disk (PD) and Rongorongo remain undecipherable: there are not enough samples for us to test conclusively any hypothesis. The PD is the only example of this type of text and while Fisher has done some excellent work on these two languages, and linking the PD with ancient Greek and Linear A or B, there is no way we can test and thereby know whether he has the correct interpretations for either of them unless many more examples of the texts turn up. This seems highly unlikely for Rongorongo, though perhaps possible for the PD.

Phaistos Disk

Small Santiago Tablet, showing parts of lines 3 (bottom) to 7 (top). The glyphs of lines 3, 5, and 7 are right-side up, while those of lines 4 and 6 are up-side down.

Our greatest mathematicians have, during dreams, nearly always received communiques directly in the language of math and formula as we know them. This is in stark contrast to other dream communiques that usually use visual semiotics (not to be confused with visionary semiotics) rather than written characters or glyphs. Numerical equations are usually stylistically simple, and if they are in the form of unknown glyphs I would still expect them to be in a similarly stylistic simple glyph format, partly because so few glyphs are necessary, and because simplicity is virtually necessary for the practical utilization of a mathematical language. A numerical and mathematical system doesn't have to be that way, of course, but it would seem easier and more efficient and so I'd expect an advanced language to use a simple repetitive stylistic format of some kind for expressing at least mathematic numerals. As mentioned earlier, we only need 10 glyphs for a basic math system. Yet we have almost no repeats of the WML in the 24 chamber paintings. This suggests there are no numerals as such present; leading me to surmise the quintessence formula is more descriptive and explanatory math than an actual numeric mathematic equation.

An example of one such equation used by James is in his recent interview with Project Camelot (p16). It is: Earth/Nature + Individual Preparation = Sovereign Integral Realization. There are "mathematical equations that guide the process" within the human mind. To paraphrase James, the process is so basic and fundamental that the outcome in the mind is assured and predictable. So much so that it can be reduced to or referred to quite literally as mathematical.

You may remember our previous discussion on fractals, shima. In nature we have the Golden Section, e, pi, etc and First Source or Source Intelligence uses this language of mathematics at a very fundamental level of expression. Upon reaching the material level in the human the formula may be morphed into inaccuracy due to the intervening human consciousness, thinking, actions, or emotions.

The human instrument then is evolving rapidly toward a life in which it lives and expresses from a First Source or Sovereign Integral based fundamental law of mathematics. This does not mean, of course, that we are losing our free will or that we will all become mathematicians. This level of math is fundamental to existence itself, just as it is fundamental to everything existing in cyber space or on the computer.

Just as we do not need knowledge of these numerical values and how they convert into other communication systems and media to successfully operate the computer, neither do we need to understand the numerical values associated with the mathematics of the mind and higher mind in order to, via the human instrument, express with mathematical precision the Sovereign Integral consciousness in our lives. It is enough, and far easier for us personally, to have these math or equations expressed in words or thoughts. Currently at least, it seems these word equations are best expressed as in the above example of James' equation -- a number of details of which are known to me. Perhaps we can discuss these at a later date together with any other questions this interview may give rise to.

I believe other equations have been mentioned by James that you can find and investigate for yourselves. These are key equations in the process of beginning to express oneness and Sovereign Integral Consciousness in our daily lives.

There will, however, likely be a WM glyph representing "=". If you can find some glyphic equations each with an identical glyph that could represent "=" you may be on to something.

Remember too, that we are approaching the time when all the avenues of relevant scientific research combine together in the discovery of the Grand Portal. With the aid of computers and more we will, this century, further the process of expressing everything via mathematics, and via psychology, and via art, and via music. The connection between music and math is fairly obvious, yet the paintings are, in their original formats, partly at least produced, adapted or converted from music --a form of math. It may be difficult to perceive these paintings as math and yet that is also what they are. Just as the organic development of a tree in growth could be mathematically predicted if we had enough knowledge of every single and collective influence upon the tree to occur throughout the lifetime of its growth, everything in the universe could be reduced to or represented in a form of math. If we had all the data we could predict the result. That is math. It is merely because the math behind organic growth is so immensely complex and involved given influences over time that it is often too difficult for us to imagine how it could be predicted, and thereby be mathematical; but it is none the less.

I think these are the kinds of mathematics and formulas James is referring to.But that is just my idea, and until we know for sure, you could be right, of course.

I think the same for the glyphs in Chamber Painting 2, although initially I thought as you that they held the formula for discovering the Grand Portal. We have a variant of the Source Codes glyph there. I see this entire set of glyphs as formulaic and giving an instruction or statement of reality rather than a numerical math formula. The theme for this painting is "Time" and, if I remember correctly, James said somewhere that visions are the most elegant form of time travel. The Grand Portal is not so much about time travel as it is our discovery of spirit. Spirit is the gateway to the timeless or the open door to experiencing vertical time, but again I tend to think the glyphs in chamber 2 are more an instruction on how to access the spirit or soul so that the human instrument can effectively and accurately travel in time via consciousness. I also do not think this is a formula for mathematically building anything like a time machine or BST.

BST could be a metaphor for the ever-growing expansiveness of the empty mind, or no mind, from which, with our Sovereign Integral consciousness, we cerate our new future.

The overriding message in all these paintings is who we really are and how we can best develop, evolve, and live our lives in fulfillment of our rapidly approaching Sovereign Integral destiny. So I tend to think James is giving the math formula metaphorically, as he so often does.

The mathematicians that will need the math, or need to develop it in the future, in order to actually unveil the Grand Portal will, in my opinion, probably receive it in dreams, as they usually do, when the time is right. The WM paintings are, in my opinion, useful and very beneficial for each and every one of us, not just the odd mathematician who can find the hidden equation and the future humans who reap the reward of those published findings (delivered in any media format before the public at large.)

So, in short, I think the glyphs in chamber 2 are telling us how to live our lives in elegance and fulfillment of our truest and highest destiny, and if we do we will attain a new understanding and experiencing of time.

BTW Rocket scientist and mathematician David Adair, who designed the Electromagnetic Fusion Containment Engine that could travel from 0 to 8,754 mph in about 4.6 seconds that he subsequently had to destroy, received much of his math and information from dreams. Furthermore, he was told by Stephen Hawking when they met that Hawking too received much of his mathematical information through dreams.

You can read David's story here: http://www.greatdreams.com/david-adair.htm.

On a tape I have of David Adair he mentions the big alien engine cited online there as having many curious glyphs on it. While testifying before the Congressional hearing he said a few of these glyphs were identical to a couple that were shown as coming from an earlier crash retrieval.

shima: The Rosetta stone for decoding the linguistic system of WingMakers is 7 clusters of glyphs in the 24th Chamber on the opposite wall from 24th Chamber Painting. (fig.4)

What does this image mean? Do Seven Tributary Zones have any relationship with this? Obviously, the double helix symbolizes DNA...

fig.4 translation index for the linguistic system of WingMakers?

Dr: I hope you don't think I'm being picky, but I wouldn't call this the Rosetta stone. The Rosetta stone gave us the answers translated in three languages. It was a gift in that respect. Fig 4 is a hint, key, clue, or as you say, an "index" rather than a Rosetta stone. This gives the impression that not all will be revealed, but something will be understood throwing light on the area under consideration. Even if we knew what these sets of glyphs said --every one of them --we still would not understand anywhere near a quarter of the WML.

I, therefore, believe these sets of glyphs are a key that gives the themes of the seven tributary zones on the Earth (and elsewhere), and thereby reveals a number of the glyph meanings to us. These may then present an index to the ETC sites or Tributary Zones on the earth and a key for helping us understand the glyph messages in the 24 chamber paintings. But the whole WML will be another matter entirely. As we know what the tributary zone themes are we might be able to work out what the glyphs say, or at least which set represent what theme and/or place.

My initial guess is the central bottom set, or possibly the one above it to the left, explain the genetics theme of the Chaco Canyon site. This is because these two sets are located on the DNA strand itself. The bottom central set have a central core going through the DNA strand occupying the central position just as the Chaco Canyon site plays the genetic and central role of all seven sites.

So maybe someone can try their hand at working out what these clusters of glyphs mean.

shima: Regarding the clue as to decoding the meanings of the glyphs, I think the text from Chamber Poetry and Chamber Philosophy are another Rosetta stone. For example, one member of the Japanese WingMakers Forum offered an intriguing hypothesis. Her idea was that the annular shape formation of the glyphs in Chamber 3 Painting might mean the following from the passage in "My Central Message". (fig.5)

"I am behind everything that you see, hear, touch, taste, smell, feel, and believe."

fig.5 annular shape formation of glyphs of chamber 3

What do you think about this interpretation or decoding? And I wonder why these glyphs make a ring...

Dr: As mentioned earlier the reason why the Rosetta stone was such a valuable deciphering tool is because it contained three different languages all carrying exactly the same message. Cross-correlation work by Champollion and Young enabled the, until then, unintelligible Egyptian hieroglyphs to be deciphered for the very first time. So, yes, just as you suggest, the differing languages of Chamber Poetry, Chamber Philosophy, and I would add all the other language or media forms, are indeed our WM Rosetta stone. They are all one and all saying basically the same thing, though of course there will be differences of nuance and more between them; and James has said the paintings are the original media form. Everything else having sprung from them their importance just cannot be over emphasized in my opinion. As I have said before, in my opinion, they represent the clearest and truest representation of the WMM and the message James is presenting to the world.

You will notice the important difference between cross-correlation and plain common comparison which we covered in supplement #3 when in very simple fashion I compared Ch 6 painting to Gauguin's mythological masterpiece.

The hypothesis put forward by your J forum member is indeed intriguing. She is herself using cross-correlation here, and may well be onto something. If I may, I shall talk to her directly in an open letter format that applies to all readers:

I do think you are on to something, but it needs confirming. If you are correct, each word is important and so will likely find some representation in the glyphs. Which words correspond with which glyphs? Or is the whole MCM sentence just one glyph, and if so which one? What of the rest of the MCM, and the rest of the painting?

The annular ring is a fairly, if not the, central message of the painting. The glyphs are one main element of the picture and so must be a major part of the painting's message. What then is the painting's overall major message? When you have this you have the theme of the painting and are at a major breakthrough. This opens for you the intriguing question as to whether the theme of the painting is the sentence you've noticed -- or the entire "My Central Message." I'd go over the entire "My Central Message" passage with a fine tooth comb, looking at every sentence, word, and nuance, and feeling invoked there. Carry it with you and refer to it continually. Look at all the glyphs carefully one by one. Analyze them and then let them speak to you.

I'm not going to do this at this time. It is your journey or that of anyone else who wishes to go there. I will tell you that the upper part of the painting is an expression of various forms of First Source. This adds credence to your hypothesis and the likelihood that this painting could be a message from First Source or that FS plays a very large role in the painting. But take it further and discover through critical cross-correlation and your own attunement to First Source what the painting is saying, both in the annular ring and elsewhere. Also ask yourself, "What kind of portal is this?"

The painting is a unified message. Every painting is. Let it speak to you, but don't be easily satisfied. Keep at it and be determined to find the answers. It doesn't matter if you are unsure about your ideas. Just work them through and note them all down. Eventually when you have enough you will be able to find the relevant ones and expand upon your discovery.

Keep the picture before you whenever possible. Meditate on it. Just by looking at it on the train for ten minutes at a time will help. If you don�ft already do so, look at it for at least 10 minutes before sleeping each night. Listen to the relevant music and read the relevant poetry too, especially while researching it. Carry the relevant poems with you too. If you tire of one media format or reach a mental block, switch to another format. Above all enjoy it and know that if you find answers they will benefit many people. Do it with just a pure love in your heart, not for anyone or anything, but just because it is love. Maybe it is you who are to write a passage on this painting or communicate its meaning to others in some other way. I look forward in anticipation of hearing more from you.

In answer to your question as to why the message is annular, shima: If you found a circular door with a message going all around it would you ask why the message was circular, or would you make an assumption? If the latter, what would your assumption be?


shima: One big feature of the WingMakers glyphs is, as you said in your paper, that they possess a three (four?) dimensional structure.(fig.6 & 7)

fig.6  three dimensional glyphs from Chamber 6

Generally speaking, letters are two dimensional in our cultures, I have never heard about three dimensional letters...

fig.7

And glyphs of WingMakers give us an organic impression. They seem to be alive. (fig.8 & 9)

fig.8

fig.9

In the Prologue of AAP, WingMakers language is said to be written as "Intelligent lines -- a language of light". What does "Intelligent lines" mean?

Dr: Yes, it is a curious feature of the WMs paintings. We do have 3D figures in our cultures on outdoor signs and in neon lights, but seldom in 3D graded tone text writing and especially in paintings where the writing is just included in the picture, as in the WM paintings, and not about the design of the letters themselves. We don't know if this 3D quality is on the original paintings James made, just on the computer digital versions, or if the digital versions are James' original paintings. If they are on original non-digital paintings then I would assume they are 3D because James specifically wanted them that way, presumably because they are like that in original Lyricus artworks, which is probably the case.

The glyphs are made more real and alive in 3D, like ourselves, and this I think answers the second and third parts of your question, which you have virtually answered yourself: Intelligence is something that lives and is therefore alive. Being the lines and Language of Light most closely associated with Source --also termed "insignias of First Source" -- they become the glyphs of Source Intelligence itself. As such they are then the closest thing to Universal Intelligence expressed in writing, i.e. Source Intelligence lines, or "intelligent lines", perhaps even in a sense, alive.


shima: I think this issue also dealt with very technical topics. I hope this interview will be catalyst for researchers in the future. Thank you for commenting, Dr.

Dr: You are very welcome.

This has been a bumper issue and I've noticed our issues have recently become longer and longer. Please do not expect this lengthiness to continue. There will be shorter issues. It is just the questions were long this time and demanded some lengthy input to do them justice.

Much of the information on the three types of languages mentioned in this interview can be found in Andrew Robinson's Lost Languages. It is a book I highly recommend for anyone interested in ancient or lost languages and the deciphering of languages. It is easy to read and stands head and shoulders above most other books on the subject.
English link:
http://www.amazon.com/Lost-Languages-Enigma-Undeciphered-Scripts/dp/0071357432/ref=tmm_hrd_title_0.

John Chadwick's classic The Decipherment of Linear B that traces Michael Ventris's unparalleled achievement is the must-read little book for anyone attempting to decipher a language. Linear B is the only successfully fully deciphered lost ancient language by one man, and in this book you can learn every step of how it was done, and Ventris's final impeccable methodology.
English link:
http://www.amazon.com/Decipherment-Linear-B-Canto/dp/0521398304/ref=sr_1_1?ie=UTF8&s=books&qid=1260113351&sr=8-1.

Andrew Robinson has also written a book on Ventris.
Here's a Japanese link:
http://bookweb.kinokuniya.co.jp/htmy/0500510776.html.

Or for an English synopsis of Ventris see:
http://www.umass.edu/wsp/philology/gallery/ventris.html.

Finally, to realize just what problems one confronts in deciphering an unknown language try Stephen Fischer's Glyphbreaker  (I managed to get a new hardback copy from amazon.com for just 1$). It is a fascinating account of his valiant attempt to decipher both the Phaistos Disk and Rongorongo. While Fischer thinks he has deciphered them both there is no way to confirm either decipherment. His methodology and quest have many admirable qualities but unavoidable assumptions remain so neither hypothesis is generally accepted.
http://www.amazon.com/s?ie=UTF8&tag=mozilla-20&index=blended&link_code=qs&field-keywords=Glyphbreaker&sourceid=Mozilla-search.

End of Session