Thursday, April 29, 2010

April 22 - A prophetic drawing from 1967 showed a “message on a spiral disc”‏‏

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A prophetic drawing from 1967 showed a “message on a spiral disc”, similar to what appeared in crops 35 years later at Crabwood in 2002, and several kinds of Mayan imagery to suggest what might happen in 2012

The contents of the following article will hardly be believable to the average reader, who might not familiar with the near-magical technologies which seem available to our crop artist friends. Yet it should be of considerable interest to other readers, who already follow these strange crop-circle or UFO phenomena in some detail, and wish to learn more.

Our presentation will begin with a psychic transmission from the crop artists to a respected researcher in Finland in 2002, whom they chose to play a major role in decoding their ASCII message at Crabwood in southern England, which had appeared in crops a few days earlier. Most people on Earth today do not believe in advanced psychic technologies! Yet this author himself received an instructional dream to help solve a crop picture in 2008: namely the “Emerald Formula of Alchemy” which appeared in East Field on August 25. That contact seemed very lucid and real, and its information could be verified by an independent source (see eastfield2008d or kiernanantares).

So we would argue that psychic transmissions from the crop artists may not be beyond the realm of what is possible for an advanced extra-terrestrial civilization. Indeed, the message dream as described below may provide new and useful clues as to the identity of those crop artists, and what might happen in December 2012 when the Mayan Long Count calendar ends.

A strange dream after the ASCII crop picture of August 15, 2002 at Crabwood in southern England

On August 19, 2002, before researcher Martin Keitel in Finland had heard about the amazing ASCII message which appeared in crops at Crabwood in southern England, four days earlier on August 15, he received and recorded on his website an instructional dream that may be summarized as follows (see or

“The place is a schoolroom. Tapani Koivula (a Finnish UFO researcher) is presenting a huge book. He says this book has been received from space. It is written in an unknown language, but has been partly decoded. It tells about future changes, for example about our new Sun. Then a woman begins to speak. She says she has something to say about the Mayans.

Next she disappears, and a huge ‘snake’ image appears instead. The ‘snake’ speaks to me with a low male voice. It says that I have an important task to perform, but I don’t have to do it alone. It swirls around me in the form of a spiral, and I feel a strong loving energy radiate from it.

It gives me a small plastic box filled with red plates. Each plate has some kind of text written on it. The ‘snake’ says they are instructions. I should take out one plate at a time as necessary (author: one plate or eight binary digits in ASCII stand for one written letter in English).

Then he goes back into the centre of the room, and is replaced by the same woman. She seems unaware of what just happened. Yet she says again that we need to listen to the Mayans. It is very important!

The dream continues: I am with a group of people, and feel connected to them. We are discussing how Earth children will be prepared for an upcoming spiritual change in the world, although Earth governments won’t support it.”

After receiving that dream, Martin played a key role in decoding the ASCII crop message, independently from Paul Vigay in England or Linda Howe in the U.S.A. (see or More recent analyses of that Crabwood message have shown that it contains not only a primary ASCII code in English, but also two other hidden codes which help to confirm its authenticity (see time2007n or time2007o).

A prophetic drawing from 1967 in Russia seems to predict what appeared in crops in southern England, thirty five years later in 2002

Two months later on October 13, 2002, Martin posted an even more remarkable finding on his website. He noticed that a Russian drawing from 1967 apparently matched in some detail the “message on a spiral disc” which had just appeared in crops at Crabwood in August 2002 (see

That 1967 drawing showed: (1) a binary message on a spiral disc, (2) an alien landing on Earth from a saucer in the sky, (3) a group of tall mountains on the right, perhaps Machu Piccu in Peru, (4) flames emerging from an alien face on the left, (5) a large alien face on the left, consisting of several overlapping images, and (6) a spacetime wormhole or conduit through which the disc message has been sent. We can also see in the distant background two different “Mayan Suns”: an “old” one which will set or die in 2012, and a “new” one which will figuratively rise or be born.

Some of those symbolic images from 1967 match what Martin Keitel was told in a lucid dream: four days after the Crabwood crop picture appeared on August 15, 2002, but just before he heard of it.

Furthermore, the “message on a spiral disc” which was drawn in Russia in 1967 seems to bear a close resemblance to the ASCII-coded spiral disc which appeared in crops at Crabwood in 2002:

The primary ASCII message from that spiral disc was given in English, and its complete text has been transcribed just above the 1967 drawing on the left. Certain secondary features of that message have been omitted for clarity, but can be found in detailed analyses elsewhere (see time2007o).

The big question: when does “much pain but still time” begin?

Now here is the big question: to which year in the modern calendar might their cryptic warning of “much pain but still time” begin? In other words, when will the human race get into trouble on an already overcrowded, over-polluted Earth, and face a sudden die-off due to either environmental or geological concerns? The earliest plausible date might be 2012 AD, when the Mayan Long Count calendar ends, although it could be somewhat later in the twenty-first century as 2050 AD or greater.

Martin Keitel was told in his dream about a “new Sun” which would appear in 2012 AD, and was asked to “listen to the Mayans”. That 1967 drawing from Russia likewise contains several kinds of Mayan imagery to suggest what might happen in 2012 AD, as will be discussed further below.

Continuing in this same context, the “snake” who told Martin with a low male voice how to decode the ASCII message would clearly be Quetzalcoatl, the famed “Feathered Serpent” who has always promised to return in December of 2012, when his Long Count calendar ends.

Is this all fantasy, dreams and legend? I think not! There may be some reality to it. For example last summer on July 5, 2009, a magnificent “Quetzalcoatl headdress” crop picture appeared near Silbury Hill in southern England, leaving no doubt as to a modern reality for that legendary central American figure (see /silburyhill2009 or

How could all of this possibly have happened? In order to investigate such a deep mystery, let us first go back to 1967, and ask why the original Russian drawing was made.

The original drawing was made in 1967 for a Russian magazine Sputnik, in order to illustrate a legend of extra-terrestrial “Dropa stones” in Tibet

The original version of that 1967 drawing was actually made for a Russian magazine called “Sputnik”, in order to illustrate a legend concerning extra-terrestrial “Dropa stones”, that had been found in the rugged mountains which divide China and Tibet:

"Northeast of Lhasa in the mountains of Baian-Kara-Ula, a Chinese archaeological team in 1937 made an incredible discovery. Half buried in the dirt floor of certain mountain caves they found many unusual disks, originally referred to as 'odd stone disks', and described as 'fashioned by the hand of an intelligent creature.'

Those disks were approximately nine inches in diameter and three-quarters of an inch thick. In the centre of each was a round hole, and etched into each flat face was a fine groove spiralling outward from the centre to the rim, making the disk look like some kind of primitive phonograph record. A total of 716 such disks were recovered. Their grooves, upon close inspection, showed a continuous line of unknown writing.

One of the best preserved disks was dated to between 10,000 and 12,000 BC. That was incredible news, but what was to come would be even more remarkable. In Beijing. Professor Tsum Um Nui claimed to have deciphered some of the 'speaking grooves' in those discs. Those stone disks supposedly told the story of a spacecraft from another planet, which came to crash long ago in the Baian-Kara-Ula mountain range. Their strange script told how the peaceful intentions of crashed aliens had been misunderstood, and how many of them had been hunted down and killed by members of a local Ham tribe, who lived in neighbouring caves”
(see dropa or,

Then a second version appeared in which many important details were changed, for example the nature of coding within the disc itself

Sometime between 1967 and 1972, a second version of that drawing appeared, and was described in popular books (say by Erich von Daniken) as a “cave painting” from thousands of years ago (see fergana or uzbekistan or erich_von_daniken). In truth of course, it was a modern painting from almost the same year, but no one has yet claimed artistry of it.

Now in that second version, many important details were changed, for example the nature of coding within the disc itself:

The original 1967 version showed a “Dropa stone” with spiral grooves, which contained some kind of hieroglyphic writing. Yet the second version 1967-1972 showed a “spiral binary code”, such as would be produced by printing modern ASCII characters on a compact disc.

When Martin Keitel first came across that second version in October of 2002, he carefully aligned and compared the two images as shown below:

The 2002 disc in crops was much larger than the one drawn in 1967. Only its centre has been shown here. Yet some of the binary digits from its centre seem to “line up” with those from the 1967 second drawing in an approximate fashion.

A self-portrait of the artist also changed when going from a first version to a second version in 1967-1972

Another important change in going from a first to second version concerned a self-portrait of the artist, close to some “flames” that were drawn emerging from an “alien face” on the left. The first version from “Sputnik” magazine in 1967 portrayed the artist metaphorically as a “seahorse”:

Yet a second version from 1967-1972 portrayed the artist as a tall, thin man with a long, pale face, and wearing a brown coat. He hardly looks human!

The second version of that drawing, instead of Dropa stones, showed a series of “Mayan 2012” symbols

The second version of that drawing also showed a series of “Mayan 2012” symbols, instead of the original Dropa stones as for Sputnik magazine. For example, in the far background we can see an “old Sun” setting, while a “new Sun” is rising over three tall mountains on the right:

Yet that is what Martin Keitel was told in his dream! The Mayans called our old Sun the “Fifth” in a series of historical epochs, each lasting for approximately 5000 years. They called our new Sun the “Sixth”, once again intended to last for 5000 years. Their Long Count calendar was designed to count time from one Sun to the next (see Mesoamerican). Archaeologists have determined that their current Long Count calendar began on August 13, 3114 BC, and will end on December 23, 2012 AD.

Now if we look at that drawing very carefully, we can see that its large “alien face” on the left was patterned after an “old or Fifth Sun” from the Aztec Sunstone, which is a modern cultural icon of Mexico (see nationalgeographic):

Likewise, a group of three tall mountains on the right (and rough-cut stones below) seem to match the three mountains seen near Machu Picchu in Peru:

Similarly, its many “flames” on the left, which are shown emerging from an “old or Fifth Sun” in 2012, seem to match “flames” shown in the “phoenix” crop picture from 2009 (see

In that remarkable crop picture, our old Sun has been compared metaphorically to an Egyptian phoenix bird, which lays its eggs in fire and then dies. From the ashes, a new phoenix or new Sun is born.

Other details from the 1967 drawing also match their crop-based message in 2002

Elsewhere in that 1967 drawing, we can see behind in the distance (on the left) some kind of wormhole or “conduit” in spacetime, through which the 2002 crop picture has been sent:

They said at the very end of the ASCII message from that disc: “Conduit closing”, meaning that a conduit in space time had been opened to send us that crop picture, and was now closing again. How could any artist in 1967 have anticipated such a subtle feature of the 2002 ASCII code?

Also on the left, we can see the two dark, slanted eyes of a “grey alien”, which were shown prominently in the 2002 crop picture:

Their 2002 ASCII message told us to “beware the bearers of false gifts and their broken promises”. Who else but the greys, who by rumour signed a secret treaty with the U.S. government in 1953, promising to supply advanced weapons to win the Cold War, but then reneging on those promises, while still abducting humans and collecting livestock for biological research (see or esp_exopolitic)?

Aliens walking around southern England near newly-made crop pictures: true or false?

Very recently in 2009, a series of photographs were taken which seem to show real extra-terrestrials walking around on Earth in southern England, close to newly-made crop pictures (see or martinsell). One such example has been reproduced below, where a strange “goggle wearing alien” is shown standing with one arm raised in greeting, next to a farmhouse on Martinsell Hill:

He certainly looks like the cartoon-type alien shown in that 1967 drawing (see above on the right). Studying both images, we can see that both figures are wearing heavy black goggles, and have two large buttons on their chests:

The average reader might imagine that all of these “alien walking” images could have been constructed using Photoshop, by inserting an alien figure from some other source into the English landscape. However I asked those photographers many times during the summer of 2009 for raw digital camera images, to check whether the anomalous “aliens” were really there? In every case, I was able to confirm that the images were real, and had not been altered. Also I met personally many of the photographers, and none of them would have the funds or sophistication to create such strange images on a computer.

Three staged incidents during the summer of 2009

What would be the chance of some unsophisticated photographer, being able to capture a remarkable image on camera such as the alien shown above? Practically zero! Aliens are not generally walking around the diverse English landscape, no more than large fish are jumping into fisherman’s boats in the North Sea.

Therefore, at least some of those images may have been “staged”, at the intent of the extra-terrestrials themselves, to show themselves to humans on Earth in a safe and non-threatening fashion. Last summer in 2009, there seem to have been at least three staged incidents, as described in the links below:

(a) June 14 at Barbury Castle (see barburyUFO),

(b) July 31 on the road to Yatesbury (see,

(c) October 4 at Martinsell Hill (see /martinsell).

It will be really interesting to see what the summer of 2010 brings!

What could all of this mean? Could that 1967 Russian drawing tell us anything about the events of 2012?

Were it not for the 2002 Crabwood crop picture, and much Mayan 2012 imagery in the 1967 Russian drawing, this strange and improbable story would have little significance. But what if the tall, thin, pale-faced fellow who drew that picture for Sputnik magazine (or its second version) was one of the crop artists themselves, living on Earth incognito? Or a local human who had been contacted by them?

Did the artist from that 1967 drawing know anything about the upcoming events of 2012: for example “flames” emerging from our “old Sun”, or an extra-terrestrial landing in Peru? Could he have helped to make the "Aztec Sunstone" crop picture at Silbury Hill in 2004?

Would that be Quetzalcoatl himself posing in a spacesuit, in order to match a prophetic drawing from 42 years earlier? Might all of these events presage the return of Quetzalcoatl and his friends in December 2012, when the Mayan Long Count calendar ends?


The crop picture shown above appeared on July 5, 2009 near Silbury Hill, and is commonly known as the “Quetzalcoatl headdress”. Its fourteen large “feathers” remind us of the quetzal bird, shown above on the left, while its long, curved “zig zag” reminds us of the coatl snake, shown above on the right. Hence the name “quetzal-coatl” which means “feathered serpent”.

Did some of those tall, blond extra-terrestrials come down to Earth briefly on July 5, 2009, in order to inspect the "Quetzalcoatl headdress" which they had just made (see

Is that why they showed a date of December 23, 2012 in crops at Avebury Manor in 2008, to remind us that Quetzalcoatl and his friends would return on that day (see aveburymanor2008)?

Is that why many traditional symbols for Quetzalcoatl---for example his "feathered serpent", "bright morning star" or "jester's hat" motifs---have been appearing regularly in English crop pictures since 1999 (see time2007k or WHAT DO MODERN CROP PICTURES MEAN)?

All in all, the stage seems to be set for a very exciting period on Earth over the next three years 2010-2012, especially in southern England, where a new set of crop pictures are soon to appear.

CMM Research

P.S. We would like to thank Martin Keitel, Olivier Morel, Jack Roderick, Jack Turner, plus Mike and Sue for some of the figures presented here.

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How to Digitally Record/Video a UFO sighting:

Como registar digitalmente ou gravar um vídeo de um avistamento de um UFO:

Stabilize the camera on a tripod. If there is no tripod, then set it on top of a stable, flat surface. If that is not possible lean against a wall to stabilize your body and prevent the camera from filming in a shaky, unsteady manner.

Estabilize a camera com um tripé. Se não tiver um tripé, então coloque-a em cima de uma superfície estável. Se não for possível, então encoste-se a uma parede para estabilizar o corpo e evitar que a camera registe de maneira tremida e instável.

Provide visual reference points for comparison. This includes the horizon, treetops, lampposts, houses, and geographical landmarks (i.e., Horsetooth Reservoir, Mt. Adams, etc.) Provide this in the video whenever is appropriate and doesn’t detract from what your focus is, the UFO.

Forneça pontos visuais de referência para comparação. Isso inclui o horizonte, cimo das árvores, postes de iluminação, pontos de referência geográficos (como o Reservatório de Horsetooth, Mone Adams, etc) Forneça esses pontos no vídeo sempre que for apropriado e não se distraia do que é o seu foco, o UFO/a Nave.

Narrate your videotape. Provide details of the date, time, location, and direction (N,S,E,W) you are looking in. Provide your observations on the weather, including approximate temperature, windspeed, any visible cloud cover or noticeable weather anomalies or events. Narrate on the shape, size, color, movements, approximate altitude of the UFO, etc and what it appears to be doing. Also include any unusual physical, psychological or emotional sensations you might have. Narrate any visual reference points on camera so they correlate with what the viewer will see, and thereby will be better able to understand.

Faça a narração do vídeo. Forneça pormenores sobre a data, hora, local e direcção (Norte, Sul, Este, Oeste) que está a observar. Faça observações sobre as condições atmosféricas, incluindo a temperatura aproximada, velocidade do vento, quantidade de nuvens, anomalias ou acontecimentos meteorológicos evidentes. Descreva a forma, o tamanho, a cor, os movimentos, a altitude aproximada onde se encontra o UFO/nave, etc e o que aparenta estar a fazer. Inclua também quaisquer aspectos pouco habituais de sensações físicas, psicológicas ou emocionais que possa ter. Faça a narração de todos os pontos de referência visual que o espectador irá ver e que, deste modo, será capaz de compreender melhor.

Be persistent and consistent. Return to the scene to videotape and record at this same location. If you have been successful once, the UFO sightings may be occurring in this region regularly, perhaps for specific reasons unknown, and you may be successful again. You may also wish to return to the same location at a different time of day (daylight hours) for better orientation and reference. Film just a minute or two under “normal” circumstances for comparison. Write down what you remember immediately after. As soon as you are done recording the experience/event, immediately write down your impressions, memories, thoughts, emotions, etc. so it is on the record in writing. If there were other witnesses, have them independently record their own impressions, thoughts, etc. Include in this exercise any drawings, sketches, or diagrams. Make sure you date and sign your documentation.

Seja persistente e não contraditório. Volte ao local da cena e registe o mesmo local. Se foi bem sucedido uma vez, pode ser que nessa região ocorram avistamentos de UFOs/naves com regularidade, talvez por razões específicas desconhecidas, e talvez possa ser novamente bem sucedido. Pode também desejar voltar ao mesmo lugar a horas diferentes do dia (durante as horas de luz)para ter uma orientação e referência melhor. Filme apenas um ,inuto ou dois em circunstâncias “normais” para ter um termo de comparação. Escreva tudo o que viu imediatamente após o acontecimento. Logo após ter feito o registo da experiência/acontecimento, escreva imediatamente as impressões, memórias, pensamentos, emoções, etc para que fiquem registadas por escrito. Se houver outras testemunhas, peça-lhes para registar independentemente as suas próprias impressões, pensamentos, etc. Inclua quaisquer desenhos, esbolos, diagramas. Certifique-se que data e assina o seu documento/testemunho.

Always be prepared. Have a digital camera or better yet a video camera with you, charged and ready to go, at all times. Make sure you know how to use your camera (and your cell phone video/photo camera) quickly and properly. These events can occur suddenly, unexpectedly, and often quite randomly, so you will need to be prepared.

Esteja sempre preparado, Tenha sempre uma camera digital, melhor ainda, uma camera vídeo consigo, carregada e pronta a usar sempre que necessário. Certifique-se que sabe como lidar com a sua camera (ou com o seu celular/camera fotográfica) rápida e adequadamente. Esses acontecimentos podem acontecer súbita e inesperadamente e, por vezes, acidentalmente, por isso, necessita estar preparado.

Look up. Be prepared. Report. Share.

Olhe para cima, Esteja preparado, Relate, Partilhe.



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