THE WORD IS NINE
Crop Circle Metaphors of 1997 (Part 1)

By Ed Sherwood

“In the beginning was the Word,
And the Word was with God,
And the Word was God.”

The Gospel According to John 1:1

Nine months after the spectacular East Field ‘Crop Circle Pictogram’ of 1990
I discovered that the ‘Intelligence’ behind its creation was the ‘Infinite Intelligence’,
also known as: ‘The Nine'; 'The Nine Principles  & Forces’ of God’; ‘The Nine Creation Gods’; and ‘The Nine Dragons’ (Ref. 1, 2, & 28).

Represented in the timing, placing, geometry, mathematics, and sign symbolism of many formations, ‘The Nine’ have been symbolized in every crop circle season since the early 1980s,  including 1997. The Nine Glyph Crop Circle Pictogram Near Silbury Hill Photo Copyright 1992 Maria Ward

THE NINE

‘At exactly 9 P.M., a deep sonorous voice came out of Dr. Vinod’s mouth, totally unlike his own high pitched, soft voice, saying in perfect English without an accent:

“M calling: We are Nine Principles and Forces, personalities if you will, working in complete mutual implication. We are forces, and the nature of our work is to accentuate the positive, the evolutional, and the teleological aspects of existence.”’

It was December 31st 1952 and the first of many channeled communications very relevant to crop circle research. Documented in three books, spanning more than 20 years, the ‘Source’ of the communications are referred to as The Nine (the ‘Elohim’ of Hebraic tradition) and The Infinite Intelligence.

One of The Nine serves as the Representative and Communicator of The Nine. Known by many names, since ancient times, this Principle, Force and Personality was given the name ‘Tom’ by the psychic ‘transceiver’ channel Phyllis Schlemmer (Ref. 1, 2, 3).

When Andrija Puharich asked Tom in the late 1970s ‘could you explain the profound mystery: Why there are nine basic manifestations of, I guess we should use the word ‘God’, for lack of a better term?’

Tom replied:

‘Nine is complete. Everything is nine. In your world you have said seven so many times, when everything is truly nine. There are nine chakras, which are the nine principles and nine elements of what you call God. There are nine bands around this planet Earth. There are nine etheric bodies, and the purpose of growing your etheric bodies or going through your transformations and transitions is to attain the nine etheric bodies. Nine is a complete number, it is whole. When you go over nine it cancels, it becomes one, and nine is complete. This does not change. But remember this: We ourselves are not God. All of you and all of us make God.’ (Ref. 2, 3)

TOM

The ancient Hieroglyphic sign for the mouth, is in the shape of a seed, and is the same sign used to write the name of the ‘Supreme Being’; Re (the Egyptian ‘Sun God’), who, as creator, (or Spokesman) was known as Atum-Re (Ref. 4).

‘Tom: “I am Tom. I am the spokesman for the Council of Nine. In truth I am Tehuti. Yes. I am also Hamarkos, I am also Herenkar, I am known as Thomas and I am known as Atum.” (Ref. 3)

‘Atum’ was the primary ‘Creation God’ of the first religion of Egypt. He was symbolized as the Divine ‘initiator’ of Creation, who in a state of blissful total ‘Self’ contemplation (Infinite Conscious Awareness), provoked an ‘ejaculation’ (the ‘Word’), which caught in his throat (symbolizing the eternal cycle, or perpetual cycle of Creation, and the Word, from the ‘speech center’), causing him to cough out his own seed, giving birth to the Universe (‘And God said, Let there be light’, Genesis 1: 3, Ref. 5). By this act he produced ‘Shu’ and ‘Tefnut’ (Yin and Yang; the ‘division of Unity’ into opposites, in Chinese tradition), who together with himself, form the first Triad of the Nine Great ‘Neteru’, or ‘Principles of Creation’, of early Egypt (Ref. 4).

M: “To be simple, we (the Nine) accentuate certain directions as will fulfill the destiny of creation.” (Ref. 1)

By the early 1980s, crop circle researchers began to focus serious attention on the crop fields, and as we did, so did the Neteru; the Nine; the Infinite Intelligence, begin to appear in the fields.

DIVINE COMMUNICATION BY OTHER MEANS

Fig. 1 Let Us Remember ‘Dragons’ ‘Messages’ Report Cover Illustration Copyright 1990 Ed Sherwood/Millennium Research

Tis time for me to Lay a Ghost
The puzzle that has been the most-
Talked about Pillar to Post.’

Quoted from the White Crow ‘Message ’of March 25th 1989 (Ref. 6 & 28)

In June 1989, Colin Andrews organized the first sophisticated Crop Circle Surveillance Operation named ‘White Crow’, at ‘Cheesefoot Head’ in Hampshire, England. Twenty four hours a day, for eight days, the fields and hills around this location were watched for ‘Signs’ of circle creation, with no new formations to report anywhere in the country. However, as dawn lifted on the morning of June 18th, the ninth day, nine participants could not dispute that ‘they’ had been there, for only a few hundred yards from where a strange ‘trilling’ sound had last been heard, a new crop circle had appeared! (Ref. 6)

In addition to a new crop circle and the trilling sound recorded on tape, organizers of White Crow had also received signs of a different kind; by post, in the form of two hand written ‘Messages’, precognitive in content. The first, dated March 25th, and received on the 31st, contained details of events that would unfold exactly on June 18th (Ref. 6): 

Full moon was June 19th, and the signs included a bright luminous ‘object’, reported by Ron Jones, above six of the final nine White Crow participants.  

Many clues to the  ‘Authors’ identity appeared in the text, including references to; ‘Dragons’, ‘Crows’, and the signature: ‘Juno Dixhuit’ (Ref. 6). Another clue was their clairvoyant, and sometimes precognitive content, a characteristic of the Nine
communications (Ref. 2), and an occurrence within crop circle design symbolism (Ref. 28).

 SIGNS OF THE SOURCE

‘Dragons will not Sing for those who will not hear,
Nor Shine for eyes that will not see.
 Let us Remember Dragons.’

 Quoted from the ‘Source’ of the White Crow Messages, dated March 26th 1990.

In Eastern traditions Dragons symbolize the transformative forces, and energies, of the Earth and Cosmos. They are creative and destructive, subtle and powerful, pure and elemental.

‘Dragons Watched when time was born out fire and darkness,
Dragons Live for ever Men do not.’

(White Crow Message of March 25th 1989)

Thought to be present at the worlds ‘creation’, and essentially benevolent towards humanity, they were revered and sometimes feared, especially when associated with stormy weather.

‘Check your charts when you have time, Same Patterns are up in the sky.’

(Quoted from a later White Crow Message of 1989).

 The ‘charts’ being referred to, by ‘Juno Dixhuit’, were meteorological (weather) charts. The ‘Patterns’, were crop circle pictograms, depicting International Meteorological symbols, and weather conditions, conducive to crop circle creation. The best known example being the East Field pictogram of 1990 (Ref. 28).

In China Dragons have been associated with ‘wind and water’ (two known ‘elements’ of the non-manmade circle creating process), and the subtle magnetic energy of the Earth (a third), for at least 2000 years. And in the ‘Forbidden City’, the world’s largest palace complex, in Beijing, Chinese emperors revered One of Nine Dragons: ‘The Golden Dragon’, or ‘Cosmic Dragon’, above all else. Chinese folklore says: “He wanders in the wilds among the heavens. He comes and goes, and at the proper season, if there is perfection, he comes forth, if not, he remains unseen.” (Ref. 13 & 28)

The Sun, ‘wanders in the wilds among the heavens’, as the Solar Wind;
the Cosmic Dragon. He comes and goes, like tidal forces, that constantly bathe the Earth’s magnetic field in a stream of electromagnetic energy, and at the proper season; Summer, when the Earth receives the most intense sunrays, if there is perfection (the right Cosmic/Earth conditions, including weather conditions), he comes forth (we might witness an atmospheric plasma; an ‘Earthlight’; a ‘Dragon’), if not, as folklore says, he remains unseen.

 Dr Terence Meaden, a Meteorologist, brought to our attention in the early 1980s,
the fact that certain weather conditions play a formative role in authentic crop circle creation. ‘An essential prerequisite for vortex generation seems to be a quiet air mass with good, stable stratification which remains effectively undisturbed even in the presence of a steady weak air flow.’ (Ref. 6) According to folklore the Golden Dragon “waits for the wind and rain and deports himself in the azure air” (Ref. 13 & 28).

Since ancient times, Crows and Ravens have symbolized ‘The Messenger of the Gods’, a statement that took the form of a crop circle pictogram in August 1992, at ‘Old Sarum’, near Stonehenge (Ref. 28). If taken not only metaphorically but literally, as one 1989 White Crow message suggested (below), the source of the 1989 White Crow messages and many non manmade crop circles, can be seen (collectively) in the form of crows:

‘It has been Said that Crows Are black,
One White you Seek is that your tack.
If no white has neer been Seen,
Why spend this time for one Pipe dream.
If black they be that’s where be I,
So Simple flying in the sky.’

 Who other than ‘God’, and the Nine, could be literally ‘seen’ in this form?

Juno, Hera in Greek mythology, is synonymous with Creation, as the Roman Goddess symbol of Births, Marriages, and Deaths (and a theme spectacularly illustrated in the fields, and the ‘Heavens’ in 1994, Ref. 29). Married to Jupiter, Zeus in Greek mythology, Juno reflects the feminine aspect of the male Godhead; Jupiter; Zeus, ‘the Supreme Deity of classical antiquity, ‘Father of Gods’ and men’; Brahma, the Hindu ‘Creator’ of the Universe, also represented as the first in a divine triad (like Atum), with Vishnu; the ‘Maintainer’; and Siva, (or Shiva); the ‘Destroyer’, as his two opposites (Ref. 7); Hor-em-Akhet (Harmarchis or Hamarkos, Ref. 23 & 3), ‘I am the day, and I am the evening, and I am the mid-noon’, in other words, the Sun, symbolically  ‘reborn’, as the ancient Egyptians thought each morning, that dies in the evening, and reaches  its ‘zenith’ at  mid-noon (Ref. 2 & 3); or the Golden Dragon, ‘He can be large  or small, short or long, obscure or manifest, alive or dead’ (Ref. 13
& 28), and so on.

Dixhuit is eighteen in French, or nine in numerology. It was June 18th (Juno Dixhuit), when researchers at operation White Crow received a ‘response’ to the spoken request for a crop circle (Ref. 6). Juno Dixhuit can also be ‘read’ as a straight signature; ‘Spokesman of the Nine’; the ‘Authors’ of the 1989 White Crow Messages.

I first encountered the messages with a friend (Vince Palmer) in late July 1990 after meeting Rita Goold, an Internationally known psychic and rare ‘materialization medium’ living in Leicester at the time. Rita had served as a psychic medium during Operation White Crow, and in late July 1990 was at Bratton Camp, near Westbury, during ‘Operation Blackbird’ (organized by Colin Andrews and Pat Delgado), trying to gather a small group of researchers together to continue a psychic and interactive approach to onsite Crop Circle research. My friend and I were at Operation Blackbird on the night of July 28^th for this very purpose, and quickly made friends with Rita.

The following afternoon, after we exchanged personal UFO encounters, psychic experiences, and views about approaching the Crop Circle phenomenon, Rita took us into her confidence and showed us the actual 1989 White Crow messages, and several that she and her husband (Steve) had received in 1990 (unknown to other researchers at the time).

I learned later that for many years, and often with another witness present, Rita had received materialized or ‘aported’ messages. Though not about Crop Circles, they frequently included precognitive information. In 1989 the messages began to include literal and metaphorical information (like that reflected in genuine Crop Circle pictograms) about ‘Who’ and ‘What’ was really creating the worldwide Crop Circle phenomenon. This continued in 1990, and as I looked over the messages I was struck by several observations all at once. Rita, the psychic ‘channel’, by her own admission only understood part of the messages content; they were precognitive; and my friend and I meeting Rita was also referenced in one of them, in a message dated June 20^th, more than a month before we actually met!

“The world will Scoff I said before
Then you’ll meet the open door
framed in all they have on wall”

The world ‘scoffed’ at the Crop Circle phenomenon on July 25^th 1990, after Colin Andrews and Pat Delgado announced through the International TV media that they had recorded on video camera ‘a major event’, involving ‘orange lights’ above a field below the Westbury White Horse and Operation Blackbird, preceding the discovery of a new Crop Circle pictogram! However, it was soon discovered to be nothing more than a hoax, perpetrated to debunk serious research, the phenomenon, and ‘diffuse’ growing public interest. Three days after the media frenzy at Bratton Camp Vince and I met Rita for the first time (Ref. 6). 

At Operation Blackbird Rita tried to gather a small group of Crop Circle researchers together to continue a psychic and interactive approach to the phenomenon, but without success, until the night of July 28^th, when my friend and I arrived totally committed to that very purpose. We were the ‘open door’ for Rita, and framed on all of our walls (at my apartment and at Vince’s parents house where he was living at the time) was the proof! On my walls were illustrations from a book of poetry I had written and illustrated about Crows (Fig. 2), while on my friend’s walls were paintings he had done of UFOs!

Fig. 2 An Illustration from ‘The Rookery’ Illustration Copyright 1984 Ed Sherwood/Millennium Research

Juno Dixhuit continued the Crop Circle messages in 1990 and I was one of a very few people to read them.
The following year, after copies of the 1989 White Crow messages were widely circulated at a Crop Circle conference in Oxford, obvious hoaxed messages from rehashed information found only in the 1989 messages began to be received by various Crop Circle researchers (including myself). However, the culprits of the 1991 hoaxed ‘messages’ hadn’t read any from 1990, which, after deciphering, revealed a lot about what was really happening in the fields at the time.

COCREATION

Over the course of several hours, between the night of August 17^th, morning of the 18^th 1992, I described to Mary Bennett (Editor of the 1994 book ‘The Only Planet of Choice’, Ref. 3) how the majority of non manmade pictograms were, in my view, ‘Co-created’ from the Psychokinetic energy of Human Collective Consciousness; The Nine; and natural ‘physical’ forces, and processes, of the Earth and Cosmos. In a simplified sequence, beginning with a 26,000 year old cycle of the Sun (Ref. 37), that ‘peaked’ in 1990 (the most prolific year for crop circles to date), and finishing with 90 degree plant bending by ‘Ultrasonic’ frequencies, I summarized what I had learned from nine years research of crop circles.

Later that day, on August 18th 1992 Mary and I entered the last formation of the year, near Europe’s largest ancient sacred manmade Mound, ‘Silbury Hill’ in Wiltshire, England, speechless by what we found: a giant pictogram depicting nine principle design symbols; eight connected by a thin ring, and one in the center!
(Fig. 3)

Fig. 3 The Silbury Hill Crop Circle Pictogram (‘The Charm Bracelet’) Depicting Nine Cross Referencing Design Elements Silhouette Drawing Copyright 1992 John Martineau/Ed Sherwood

Fig. 4 A Sign of the ‘Golden Dragon’ Photo Copyright 1992 Maria Ward

Fig. 5 A Sign of the Sun (and ‘God’) on Earth Photo Copyright 1992 Maria Ward

Fig. 6 ‘Ball Plasma’ Photo Copyright 1992 Maria Ward

With multiple layers of cross referencing literal and metaphorical symbolism, including features from previous formations already identified in their meaning, and referenced by myself during our conversation, the pictogram reflected: ‘Human Collective Consciousness’ (mine and Mary’s at the time); ‘Infinite Intelligence’ (The Nine); the physics and the ‘process’ of non-manmade Crop Circle creation (by God), shared with Mary in the same order hours earlier!

Reading the pictogram in a clockwise direction, and like a downward spiral, beginning at the 9 o’clock position (Fig. 4):

Charged particles from the Sun (the Golden Dragon) reach out toward Earth (the third planet), in the form of the Solar Wind (the ‘Dragon’s foot’; the three clawed foot of ‘Tatsu’, a Dragon of Japanese folklore, one and the same as the Golden Dragon, also doubling as a ‘Crow’s foot’; and an ancient sign for ‘The Messenger’ of the Gods). (Fig. 4 & Ref. 13 & 28) 

Finishing in the center, with the effect of another ‘Sun’ (Fig. 5):

An authentic Crop Circle upon the land, materialized from the ‘Sound’ of an atmospheric ‘ball plasma’ (Fig. 6), frequently witnessed in association with the phenomenon, and metaphorized in the Silbury Hill pictogram in the form of an ancient sacred symbol for the Sun and Earth (Fig. 5).

If ‘read’ as suggested, as a simple and complex series of visual metaphors, the Silbury Hill pictogram of 1992 gives a 3-D view of the ‘physical’ process of authentic Crop Circle creation, in addition, to symbolizing the Nine Creation Forces together with the ‘Spokesman’ in the center. ‘From this axis, like the hub of a wheel, everything extends, radiates and rotates spirally. The entire Universe, with all its spatial and temporal states, is but the spiral manifestation of the still center’ (Ref. 8).

THE UNMOVED MOVER

Michael Green (Founder Member of
The Center for Crop Circle Studies) likened the 1992 Silbury Hill pictogram
to an ancient Mandala: ‘It takes the form of the most profound Indo-Aryan symbols;
‘The Great Turning’, as it is known in Prehistoric Europe, and in the East as the ‘Dharmic Wheel’ (Ref. 30).

A Mandala is a sacred visual symbol (a geometric cosmogram) used as an aid to meditation in Buddhism and Hinduism’ (Ref. 9). In India, mandalas based on multiplications of nine represent the Universe, spiritual power, and enlightenment.

The Dharma Chakra (Dharma meaning “the Law” and Chakra meaning “Wheel”) is an eight-spoked Wheel sign (nine if you count the center), symbolizing “the Wheel of Life”, or “the Cycle of Life”, as viewed through “the Wheel of Law” (Natural Universal Law). 

John Haddington (Founder Member of The Center for Crop Circle Studies) wrote in ‘The Circular’: ‘“The Celtic Shaman” by John Matthews. Turning the pages I came to a diagram depicting the wheel of directions and elements, or the ‘Eight Paths between the Worlds’, and was intrigued if not astonished to see that this was essentially the same diagram as the formation that had recently appeared by Silbury Hill.’ (Ref. 31)

Each detail of a Mandala (Sanskrit for “Circle”) is designed to help focus the mind until its true nature (its transcendent reality) is experienced. As the ‘Eight Paths between the Worlds’, the Dharma Wheel sign is identified with attaining eight different states of Consciousness, focused by one, the ninth; the principle of the ‘Godhead’ (Peace), the Spokesman of the Nine, in the center.

Tom: ‘I am the balance. And when I say ‘I’- I mean because I am an emissary for the Nine. It is not I, but it is the group. And the principle of the Nine is infinite intelligence, and what we try to bring to this planet is this type of intelligence. We are of nine principles of the Universe, yet together we are one. We are separate and one at the same time. Each represents a portion of energy, knowledge, wisdom, love, kindness, technology, and in continuity it goes on until each portion of a spiral is composed of all that is important to bring complete understanding to each atom, until it becomes one with us. There are in actuality multiplications and more (like variations on an infinite theme), but in principle there are nine.’ (Ref. 3)  

Michael Green continues:

‘This statement (the 1992 pictogram) of the structure of Ultimate reality has the eight symbols of Being and Becoming on the points of the directions. In the center is the ring and dot symbolizing Deity, further defined as the manifested state of God by being quartered.’ (Ref. 30)

Since ancient times the sign of a cross, circumscribed by a circle has represented ‘The Sun’. Known as the ‘The Sun Wheel’, ‘The Sun Cross’, and ‘Wuotan’s, or ‘Odhinn’s Cross’, used to mark the site of a holy place (a place of concentrated Cosmic and Earth energy), it forms the basic structure of the Celtic/Christian ‘High Cross’, reflected in crop circle design symbolism since the early 1980s (Fig. 7 & Ref. 6).

Often found on Swedish Bronze Age
Alters, the Sun Cross sign also appears
in the earliest systems of writing, used by the Egyptians, Hittites, Cretians, Greeks, Etruscans and Romans (Ref. 11). From the 1st to the 3rd epoch, it was used in the Greek alphabet to represent the number nine, and if turned 45 degrees, so the same lines cross diagonally,
it also symbolized nine in ancient Semetic cultures (Ref. 12).

VARIATIONS ON THE SAME THEME

‘Where I be is All Around, Listen hard, You’ll hear my Sound.

(Quoted from a 1989 White Crow Message)

There have been many design variations on the theme of the ‘Spokesman
of the Nine’, including:



Fig. 8 Crop Circle Pictogram Variations
Diagram Copyright 1998 Ed Sherwood/Millennium Research
 
Fig. 9 The Associated Sound Waves from a Vibrating Tuning Fork
Based on an Original Diagram Copyright 1969 H.J.P. Keighley & F.R. McKim

The last and most intriguing pictogram of 1989 appeared on August 12th, not far from Stonehenge, near Winterbourne Stoke, in Wiltshire. As if in ‘response’, to question the ‘ideas’ of Dr Terrence Meaden (originator of the ‘Plasma Vortices Theory’- Ref. 6, 28), and others, that “Single rings around single circles always rotate in a sense opposite to that of the interior”, a pictogram formed in wheat with a lay of bent plants flowing in four different directions, set at 90 degree angles to each other! It was recognized as an ancient (universal) symbol of the Sun, and a sign of ‘good fortune’; a ‘Dragon’s blessing’ (Fig. 8, Top left, & Ref. 13).

As if to remind us of the central role that ‘Sound’ plays (and the Spokesman) in authentic crop circle creation, a pictogram symbolizing the effects of Sonic energy formed in wheat, on June 6th 1990, on Longwood Estate, near Chilcomb, close to the site of operation White Crow of the previous June. If the formation is ‘rotated’ 45 degrees invisible lines (like inaudible sounds) create the sign of the Sun Cross
(Fig. 8, Top right).
 
Reflecting the ancient cultures of the land it formed on; an exact representation of a diagram containing ‘Nine Runic Elements’ (with Earth in the center), appeared near Skyllberg, in Sweden, in August 1993 (Ref. 14). It was the most impressive of several pictograms to be found in Scandinavian countries that year. Thanks to Kris, half Swedish by birth, finding a ‘Runic’ connection in the 1997 formations, I later discovered this one (Fig. 8, Middle left).

Spanning some 300 feet in diameter, a pictogram formed in wheat, at Martock, near Yoevil, in Somerset, on July 16th 1996. Like a variation of the High Cross, or Celtic Cross (also known as the Iona, or Ring Cross) design, it can be described:

From the center of the formation extends a Sun Cross sign in four directions. The thicker central ring and circle (an ancient Sun symbol by itself), represents the sun we see; the ‘physical’ sun, while the implied Sun Cross ‘behind’ the sun, the four thinner ringed circles, reflect the ‘invisible Sun’; the High Cross; the ‘purest light, that is a composite of all, that creates all’, Tom said, in one communication; the realm of ‘Divine Spirit’, the ‘Creator’, associated since time immemorial with the sign of the sun (Ref. 3).

As a traditional symbol of the unity of Heaven and Earth (‘As above, so below’), the High Cross sign also represents God, and the purest of man; such as the Being of Christ; or Buddha (Sanskrit for “the Enlightened”), sometimes depicted in the center of the Wheel of Law (Ref. 9).

Counting the extended ‘hemispheres’ of the Martock formation (like a ‘multiplication’ on the same theme of the Sun Cross), as eight ‘elements’, or four ‘pairs’ of elements, the pictogram reflects nine, if you count the ninth symbol (the central Sun Cross); the center of the 1992 Silbury Hill formation, reflected in ‘reverse’, as one.

Two diagrams can be found in the book ‘Introduction toAstronomy’ closely associated in design and meaning to the Martock formation (Ref. 15). Representing the motion (oscillation) of the Earth around the ‘bary center’ (‘the focus of the combined mass’) of the Earth/Moon system, currently ‘considered to be more or less rigidly locked onto the sun’ (the Sun Cross), the pictogram reflects the ‘transition’ between the three designs. (Fig. 10 & Ref. 37)



Fig. 10 Earth Oscillation
Diagram Copyright 1954 Cecilia P Gaposchkin

Kris found an almost identical design, in the book ‘Christ Consciousness’, symbolizing the fusion of the four elements; fire, air, earth, and water, within the center of Creation (Ref. 16).

What was also interesting about this diagram was a six-pointed star, a ‘Star of David’, drawn inside what would be the central ring of the Martock pictogram. This was interesting because one year later, this same geometry (six-fold geometry) would define many of the non-manmade pictograms of 1997.

Amazingly, the title of the book was first published as ‘Sunburst: Return of the Ancients’, a very fitting title, and Sign to associate with the Martock pictogram (Fig. 8, Bottom left).

The Sun Cross sign, or ‘Wheel Cross’ as it is also known, appeared again, in mid-July 1997 only a few miles from the previous Martock pictogram, near Haselbury Pluncknet in Somerset. Like its predecessor, emphasizing the four elements, the Sun Cross, has also represented, since early times, the four cardinal directions: North, South, East, and West (six, if you include Up, and Down, through their common center). In both modern Astronomy and Astrology, the same symbol represents the planet Earth (Fig. 8, Bottom right).

Gae’a (Gaia), or Ge was the ancient Greek Goddess symbol of the Earth, and was described as the first being (like Atum) that sprang from Chaos (‘Nun’ to the ancient Egyptians, and another crop circle theme since the early 1980s). According to one Creation story, ‘Gae’a, Erebus, and Love were the first of beings’ (the Divine Triad of Creation). Like Juno Dixhiut, prophetic influence was attributed to Gaia, and a powerful effect on plants! (Ref. 7)

Like a sign from Gaia, and our Collective Conscience, a pictogram was found at the land ‘development’/protest site, of Laguna Canyon, in California, on March 9th 1996. It consisted of three primary design symbols (the Triad of Creation); one in the form of nine concentric rings; another as five concentric rings (identified by a Native American elder of the Chumash tribe, indigenous to the area, as the number of ‘the Creator’, ‘the Great Spirit’, Nocuma); and a third, in the form of a solar motif, a Chumash ‘Sun Staff’ symbol, and sun compass, created by fourteen radial ‘spokes’, around two central rings, each spoke terminated by a small adjoining ring, with one small ‘unattached’ ring nearby. The total number of design elements came to 45 (9 + 5 + 14 + 17), another 9 in numerology (Ref. 34).

Other notable formations containing, or implying, the Sun Cross/Earth sign, include:

1) Shorley Copse, Kilmeston, Hampshire, July 22nd 1990.
2) Northside, Saskatchewan, Canada, August 1990.
3) Bareham, Northamptonshire1991.
4) Grasdorf, near Hildesheim, Germany, July 22nd 1991

Another giant pictogram, continuing in the ‘footsteps’ of East Field 1990, attracting thousands of curious visitors, and heralding things to come for the 1992 season, was the Grasdorf formation. The largest pictogram to form in Germany to date it contained nine primary design symbols; three connected by straight paths (representing the Divine Triad of Creation, including a Sun Cross symbol) and six unconnected, making nine (Fig. 11).



Fig. 11 Grasdorf 1991 Crop Circle Formation
Silhouette Drawing Copyright 1991 Wolfgang Schindler

18 inches below the ground, in three of the pictograms design symbols (identified by their accompanying arcs) three large metal plates of extremely pure Gold (a  sign of the Golden Dragon I suspect), Silver, and Bronze (another sacred triad), were unearthed, each containing the complete pictogram design in relief (the opposite to the embossed field design, Ref. 17).

Situated in the heart of Saxon Europe (Christianized from the 9th century A.D.), the Grasdorf pictogram appeared at the foot of an ancient sacred Teutonic moot site, known as a ‘Thierberg’, and included in the immediate vicinity the ‘Wuldenberg’, an ancient Germanic site dedicated to Wuotan (Ref. 17).

Wuotan was the Alfadhir- ‘the All Father’ of the Scandinavian Gods, also known as Odhinn, who in ancient Germanic tradition became the ‘All wise’ at the cost of an eye. His remaining eye was said to be the sun! (Ref. 7) Interestingly, Juno in Scandinavian Mythology, is ‘Frig’ga’ or ‘Frigg’; the Supreme Goddess and wife
of Odhinn (Ref. 7).

And:

5) Urchfont Hill, Easterton, Wiltshire, May 17Th 1992.
6) Market Lavington, Wiltshire, May 18th 1992.
7) Sompting, West Sussex, June 24th 1992
8) Chilgrove, West Sussex, July 20th 1992
9) Novy Jicin, North Moravia, Czech Republic 1996 

LISTEN

‘switch off my friends And listen do,
And- I will tell you what to do.
Get this Mind And Sit around,
In quiet of dark upon the ground
Listen hard for every Sound
Not white bird? But us Around.’

The Dragons, or Crows, of the 1989 White Crow messages urged researchers to ‘listen’, and on June 18th they heard and recorded the crop circle trilling sound. 

In ancient Chinese folklore the ‘sound’ of Dragons changing form is described:
“like the twittering and trilling of thousands of birds” (Ref. 13, 28, 42).

The ‘trilling’ sound recorded at operation White Crow, was later analyzed by the University of Sussex and found to have a frequency of 5-5.2KHz.

Sound frequency experiments, conducted on grains and seedlings of Spring Marquis and Winter Rideau wheat, during the 1960s by two biologists, Mary Measures and Pearl Weinberger, revealed that depending on how long they had been ‘vernalised’ (chilled to shorten the growth period between sprouting and seeding) wheat responded best to a frequency of 5KHz! (Ref. 18)

On July 29^th 1990 I entered a formation of three Crop Circles in wheat, opposite East Field, and saw for the first time plant stems bent at 90 degrees; in addition to their natural bending, bent near ground level, without a break or a crease (Ref. 28).

Later that night Rita Goold, Vince Palmer and myself, chose the largest of three circles to sit in and listen and watch for signs of the true circle ‘creators’. The weather was overcast, and threatening to rain. After about an hour into our vigil, around 12pm, Rita placed a tape recorder at the center of the circle, and left it on ‘Record’ until it finished. When the tape was played back later it included the sound of the wind, us talking, and something else: a faint, high pitched, whining, pulsating sound, that steadily grew in volume, until it was the only sound recorded by the tape (Ref. 28).

I asked Paul Usher, a friend knowledgeable in electronics, how this sound could have been recorded on good working audio equipment, without being heard by us at the time. He proposed a modulated magnetic field, perhaps a geomagnetic field. The recording was the sound of a pulsing magnetic field, at a frequency not audible at the time, impressing itself upon the sensitive magnetic tape and recording heads of the tape recorder used.

A much less distinct but very similar, inaudible sound, was also recorded by Mary Bennett inside a pictogram that formed at Ogbourne Maisey in Wiltshire, on July 10/11^th 1991 (Fig. 12).



Fig. 12 Ogbourne Maisey 1991 Crop Circle Formation
Silhouette Drawing Copyright 1991 Wolfgang Schindler

Michael Green noted in the book ‘Crop Circles; Harbingers of World Change’ that ‘This configuration (referring to the 1991 East Field Crop Circle pictogram design), but much larger, was repeated nine days later at Maisey Farm, Ogbourne Maisey, near Marlborough. Although in 1990 no pictogram was exactly repeated, here in 1991 an almost exact duplication was to be seen. It was interesting to recall that in 1988 the first giant quincunx (High Cross) formation near Silbury Hill had been repeated exactly in the same field just nine days later.’ (Ref. 19)

THE WORD OF THE SPOKESMAN

‘My word I’ve proved, I’ve Ne’re been wrong.
Even to My Every Song.’

(Quoted from a message received by Rita Gould, from Juno Dixhuit, dated ‘July End’ 1990)

While revisiting a crop circle site at Kimpton in Wiltshire, on June 29th 1987, Colin Andrews experienced what could be called Divine communication by other means (Ref. 10):

‘I stopped about 10 meters from the eastern edge of the ring, facing the small circle to the North and the other two in the distance and thought, ‘God, if you would only give me a clue as to how these are created.’ Moments later, without warning ‘a static electrical cracking noise started to come from a spot about three meters away.’ Increasing in volume, to a pitch where a bang was expected, it suddenly stopped. Lasting for approximately six seconds, nothing was seen, and nothing moved. Colin Andrews, though shaken by the experience, had received a reply. Had God answered, and was ‘Sound’, or sonic energy, the clue?

About a week after Rita recorded the Crop Circle sound in 1990, I awoke abruptly one night with a powerful ‘urge’ to turn on the television. It was about 3am. Upon checking the TV guide, ‘The Radio Times’ first however, I immediately opened to a page containing a photograph that simply ‘blew me away’. Above the words ‘Capture the beauty of our landscape to the sound of specially chosen music’ was a downward close up photograph of bent wheat heads!

Fig. 13 A Musical ‘Prompt’ Photo Copyright 1990 The Radio Times

These words, titling an image of bent wheat heads, started me thinking about Crop Circle plant bending and sound. For more than ten years I had treasured a book in my collection called ‘The Secret Life Plants’, and knew of experiments conducted in the 1960s that had demonstrated plant sensitivity and responsiveness to sound, including bending either towards or away from a particular sound source (Ref. 18).

Later that morning, I started researching sonic and ultrasonic energy, and its effects,
for clues about how Crop Circles
might be formed, and while checking
a physics book (also in my collection for more than ten years), I found a diagram depicting
‘The Interference of Sound Waves’ reflected in a Crop Circle pictogram discovered weeks earlier near Chilcomb, as a good place to start! (Fig. 8, top right, & 9, & Ref. 27)

At the center of the diagram A are two bars representing a vibrating tuning fork with its associated sound waves, as viewed from above. B, E, C, D represent ‘lines of minimum sound intensity’ created by the interference effects of two sets of sound waves, compressed and rarefracted, leaving one set half a wavelength in advance of the other. Where they almost coincide a listener positioned along these lines would experience almost complete silence (Fig. 9).

As if to doubly affirm the role that sound plays in the physics of non-manmade crop circle creation, the Chilcomb pictogram, symbolizing the effects of sonic energy, also appeared only a few fields from where the first sophisticated Crop Circle surveillance operation (Operation ‘White Crow’) was held the previous June, and where a mysterious ‘trilling’ sound was heard and recorded in association with the appearance of a non-manmade Crop Circle formation! (Ref 8)

Amazingly, the Chilcomb formation depicted both the audible and inaudible aspect of the interference of sound waves, and by its inference the two types of sounds recorded inside certain Crop Circle formations. It also beautifully symbolized ‘The Word’ (Ref. 1, ‘In the beginning was the Word’, and the Word was with God, and the Word was God.’ John 1:1), by combining in the form of a simple graphic one of the oldest sacred symbols used by ancient cultures around the world to represent the Sun and God (‘The Creator’, or ‘Creator God’); a circle with a ‘dot’ at its center, represented in the Crop Circle pictogram by the outer ring and the central circle, with four ‘ring arcs’ or sound waves to symbolize The Word, and Creation (in this case, non-manmade Crop Circle creation by The Word)! (Fig. 14)

Fig. 14 A Sign of the ‘Creator’ Silhouette Drawing Copyright 2004 Ed Sherwood/Millennium Research

The Chilcomb Crop Circle formation
opened my eyes to the metaphorical language of Crop Circle design symbolism, and was the first pictogram I ‘deciphered’. The following year I learned that professor Gerald S Hawkins had discovered ‘musical ratios’ reflected in the mathematics and geometry of certain Crop Circle formations, including the Chilcomb pictogram!

Another formation, and affirmation, created in 1990 linking non-manmade pictogram creation to Sound,
The Word, and the Nine-ness of God, materialized on
a dry lakebed, East of Steens Mountains, in Harney County, North of Alvord Desert, Oregon. Discovered
on August 10th, it was the largest pictogram to have appeared to date, consisting of 13.3 miles of lines,
each 10 inches wide, by 3 inches deep! (Fig. 15 &
Ref. 32 & 33).

Fig. 15 The Alvord Desert 1990 Pictogram Silhouette Drawing Copyright 2003 Ed Sherwood/Millennium Research

Reflecting the symbolism of ‘Indian’ tradition, it was an exact representation of an ancient sacred symbol of Creation known as the ‘Sri Yantra’. Like a Mandala,
a Yantra is a geometrical diagram used to aid meditation, without depictions of Deities, or lettering.

 The Sri (“Great”) Yantra is considered to be the most potent of Yantras, including in its design a square,
with four ‘Gates’, signifying the four cardinal directions; concentric circles, two sets surrounded by lotus petals (first eight, then sixteen), traditional symbols of purity and harmony, and nine intersecting triangles; four pointed downward, symbolizing the female principle
of Creation (Sakti) and five pointed upward, representing the male principle of Creation (Siva).

Combined the nine triangles spread like ripples, multiplying into 42 triangular fragments around a central triangle (three points). Adding to nine in numerology (4 + 2 + 3), the image created also symbolizes the multiplicity and interconnectedness of the manifest Universe, based on the concept of Nine Archetypal forces (Ref. 4 & 9).

‘The Sri Yantra has been used for centuries in the East, to represent the visual equivalent of a Mantra; an ancient word or formula to aid concentration in meditation when recited or sung. It can also be generated as an exact sound wave pattern, when passed through an electronic transmitter (Ref. 20).

SOUND INTERFERENCE

In late Autumn 1990 I watched a television documentary on BBC2 about
‘Ultrasound’, and was astonished to see in one demonstration:  a candle flame (an ion plasma) bending 90 degrees to Ultrasonic frequencies! If Ultrasound could bend a candle flame, I wondered, could it also bend a harder medium like a living plant stem?

Turning to the Encyclopedia Britannica I learned that  ‘Ultrasound can be aimed, focused and, reflected almost like light beams. Specific frequencies can cause certain kinds of molecules to vibrate while others are left unmoved.’ (Ref. 21)

One of many experiments, exposing plants to music, conducted in the 1960s, revealed overwhelming evidence that plants can respond (feel and react) to sonic vibrations, by bending towards or away from the sound source:

‘She [Dorothy Rettallack] wondered how the plants would be affected by more sophisticated music of both East and West. She chose some Bach organ preludes and some classical Indian music played on the sitar by Ravi Shankar. The plants gave positive evidence of liking Bach since they had leaned an unprecedented thirty- five degrees towards the preludes. But even this affirmation was far exceeded by their reaction to Shankar: in their straining to reach the source of the classical Indian music they bent more than half way to the horizontal, at angles of more than sixty degrees, the nearest one almost embracing the loud-speaker.’
(Ref. 18)

In a previous experiment:

‘The squashes were hardly indifferent to the two musical forms: those exposed to Haydn, Beethoven, Brahms, Schubert, and other Eighteenth and Nineteenth century European music, grew towards the transistor radio; one of them even twining itself lovingly around it. The other squashes grew away from the rock broadcasts and even tried to climb the slippery walls of their glass cage.’ (Ref. 18)

With the plants preferring Classical sounds to rock music other experiments were tried, including one, that exposed several different plant species to the taped musical notes B and D, struck on a piano every second, alternating every five minutes, with five minutes of silence:

 ‘By the end of the third week all the plants, some of which had been actually leaning away from the source of the sound, as if blown by a strong wind [sonic wind damage], had died with the unaccountable exception of the African violets, which some how remained outwardly unaffected.’ (Ref. 18)

As if to illustrate these findings, it has been a characteristic feature of many crop circle formations to have, in addition to bent crop, hundreds or thousands of free standing undamaged plant stems, and or different plant species inside the formation unaffected by the circle making process.



Fig. 16 Undamaged Poppies Inside the Silbury Hill 1997 Pictogram
Photo Copyright 1997 Ed Sherwood/Millennium Research

At Laguna Canyon in 1996 a crop circle pictogram formed that was clearly defined by selective plant bending. On a steep construction embankment many species of native and non-native Californian plants and weeds grew but only two species were bent at 90 degrees in the characteristic fashion of a non manmade formation: English Plantain and Wild Oats. Looking at the evidence on site, later analyzed by W.C. Levengood (noted biophysicist and expert in crop circle plant analysis) and authenticated, I wondered what natural resonant frequencies might ‘select’ only two species from so many scattered across the hillside (Ref. 34).  

Another interesting detail of the Laguna Canyon formation was an almost total absence of plants within the pictograms design features, as if the seeds in those areas had failed to germinate. W.C. Levengood found no evidence of herbicides or pesticides from the site. Instead of flattened crop, there was bare undisturbed earth, containing a light scattering of bent Plantain (more than 95% of the plants bent at Laguna Canyon were English Plantain), and a few young shoots from plants that were either unaffected by the circle making process, or had spouted after the event (Ref. 34 & 36).

W.C. Levengood has found from extensive plant sampling:

‘Crop Circle energies affect the development of seed embryos: it appears that when these energies hit plants prior to or during certain stages of maturation the seeds do not develop, and that when these energies cause formations in more mature plants they may significantly enhance or increase seed growth.’ (Ref. 35)

A handful of seeds collected by Kris from a pictogram that appeared near Litchfield in 1995 (Fig. 9a), and planted the following year, produced multiple stems and seed heads off one main stem. One stem became four, while another developed into six! It reminded me of an ancient species of wheat I saw growing in the South of France in 1988, from Egypt, that grows to a height of about six feet tall, and produces seven wheat heads from one main stem. Just think, if we knew the specific frequencies to duplicate this effect, higher yields in smaller fields could feed the world, and have less impact on the environment.

In the mid-1960s Mary Measures & Pearl Weinberger, of Canada’s University of Ottowa, found that ultrasonic frequencies greatly affect the germination and growth of plant seeds and seedlings. Recorded in the book ‘The Secret Life of Plants’; ‘their experiments indicated, albeit inexplicably, that the enzyme activity and respiration rates in plants and their seeds increased when they were stimulated by ultrasonic frequencies. Stored wheat exposed to high frequency waves for insect control, for example, grew faster than unexposed wheat when planted. However, the very frequencies which stimulated some plant species inhibited others.’ (Ref. 18)

In early June 1991 a crop circle formation appeared in wheat and wild oats, just outside the town of Ilkeston in Derbyshire, leaving behind tantalizing evidence of the effect of sound waves on plant growth.

It was a simple unconnected circle set formation, consisting of one flattened central circle, approximately 50 feet wide; two rings 9 feet in diameter, both two and a half feet thick, 18 feet from the edge of the larger circle, one on either side; and one partially flattened circle, approximately six feet in diameter, 16 feet from one of the rings. 

Crossing the largest circle was a line of standing wheat and wild oats (as wide as the maximum width between two tractor lines), six inches shorter inside the formation than outside. The wheat standing inside the two rings, was also six inches shorter and green in colour, unlike the rest of the field that was a ripe yellow.

Judging by the difference in height between the plants I guessed that the formation was about six weeks old. The farmer later verified this. The field up to the boundary of the formation had continued to grow, while the plants inside the formation had remained green as if ‘frozen’ in their growth. The farmer, amazed by the phenomenon, told me he had planted wild oats in the tramlines (tractor lines) making them unwalkable, and that he and his son had found the formation without tracks leading into it.

The centers of the main circle and the two rings were positioned in a straight line, and aligned to a major leyline linking Arbor Low (the Stonehenge of Derbyshire) to ancient sites in Southern England. It also appeared within a few hundred feet of an artificial lake and stream (Ref. 22 & 28).

There is considerable evidence that water is a vital element in the authentic circle making process, both above ground (including airborne water in the form of Clouds, Mist, and Fog), and/or below ground sources. Water has also been referenced in authentic crop circle design symbolism since the early 1980s (Ref. 28).

In early 1969 Dorothy Rettallack conducted a series of experiments to check the findings of two Denver students that certain music forms, particularly rock music, cause plants to lose water at a higher rate:

‘Mrs Rettallack found that, even during the first week, the rock-stimulated plants were using much more water than the classically entertained vegetation. ’Also, ‘The rock music caused some of the plants at first to grow either abnormally tall, and put out excessively small leaves, or remain stunted.’ After many experiments exposing plants to different music forms Mrs Rettallack ‘determined that these different musical styles markedly affected the evaporation rate of distilled water inside the chambers. From full beakers, 14 to 17 milliliters evaporated over a given time period in the silent chambers, 20 to 25 milliliters vaporized under the influence of Bach, Shankar and jazz; but, with rock, the disappearance was 55 to 59 milliliters (Ref. 18).’

Were sonic frequencies responsible for the stunted growth seen at the Ilkeston formation, or the disappearance of approximately 20 tons of water from a rice paddy in Japan following a crop circle event in 1986? (Ref. 10, 19, 28)

W.C. Levengood commented after sampling English Plantain taken from the Laguna Canyon formation:

“As we have seen in the past, this degree of change in the cell wall pit diameters indicates that the plants were exposed to a very rapid, high heat input.” (Ref. 34, 36 & 28)

In “Anatomical Anomalies in Crop Formation Plants” W.C. Levengood stated:

‘The energies involved in crop circle formation induce nodal swelling (think of a balloon being blown up), with expansion both laterally and longitudinally, often creating blown nodes, or  “expulsion” cavities, in the nodes.’ W.C. Levengood continues, ‘On the microscopic level, cell wall pit diameters in bract tissue were observed to be significantly enlarged, compared to controls; the wide range of pit size in the formation plants suggests quite different levels of energy are expended - at different sampling sites within formations and perhaps in different formations.’ (Ref. 35)

The different levels of energy referred to by W.C. Levengood could be attributed to different sound frequencies. Stated in the Encyclopedia Britannica under ‘Ultrasound’: ‘One specific frequency can cause solder to vibrate, heat up, and melt while only warming the metal being soldered.’

In 1960 a botanist and agricultural researcher, George E. Smith, experimented with maize and speculated that ‘sound energy might increase molecular activity in the maize, and added that thermometers placed in the plots indicated that soil temperature was inexplicably two degrees higher directly in front of the loud-speaker. He was perplexed that the edges of the leaves of those corn plants growing in the slightly heated earth appeared a little burned (Ed: like some Crop Circles) but thought this might be due to excessive exposure to musical vibrations.’ (Ref. 18)

Over exposure to specific frequencies could explain some of the more extreme effects occasionally reported at some Crop Circle sites (in the past known as UFO ‘nests’), such as charred plants, or nodes; large volumes of missing water; baked earth, permanently altered soil; discoloured, disfigured, or dead plants; and unusual substances (Ref. 10 & 28).

Known for its cooking effect, Microwave energy has also been offered as an explanation for the internal heating effects of crop circle formation plants and soil. However, as yet, it has not been detected at crop circle sites. Sonic and Ultrasound vibrations on the other hand have, and appear to be a primary force in their creation. Ultrasound is even used in the manufacturing industry to cook, which it does just like microwave energy, by oscillating water molecules, that in turn produce heat inside the item being cooked.  

A RESONANT EFFECT

Close eyewitness reports of circle formation invariably begin with the crop (medium) rustling, as if in ‘resonance’.

‘Baffled by their results, the two researchers (Mary Measures and Pearl Weinberger) could not explain why audible sound had resulted in accelerated growth so striking that it seemed to promise double harvests. The effect could not have been produced by breaking chemical bonds in the seeds, they wrote in the Canadian Journal of Botany, since, to do this, one billion times as much energy as was added by the sound frequencies would be required. Instead, they suggested that sound waves might produce a resonant effect in the plant cells, enabling the energy to accumulate and effect the plant’s metabolism.’ (Ref. 18)

On August 1st 1992 a pictogram formed in wheat, near Froxfield in Wiltshire, looking like a variation on the theme of a ‘Wind Feather’: a meteorological symbol used to denote wind speed and direction (Ref. 28). Its main ‘stem’ also created a silhouette not unlike a sign of resonance (Fig. 17).

Interestingly, a small circle lay at a distance of 18.8m from the corner of the implied Wind Feather, at a bearing of 36 degrees! (Ref. 38) 

Fig. 17 Froxfield 1992 Crop Circle Pictogram Design Symbolism
Diagram Copyright 1997 Ed Sherwood/Millennium Research

AT THE TEMPLE MOUND

Fig. 18 ‘Exploring A Crop Circle Hologram’ Talk Poster Poster  Copyright 1997 Ed Sherwood/Millennium Research

In the Summer of 1997 I gave a talk entitled ‘Exploring A Crop Circle Hologram’ to nine UK audiences, including details about the 1992 Silbury Hill pictogram, previously mentioned
(Fig. 18). Quoting from the opening sentence of St John’s Gospel: ‘In the beginning was the Word’, I related how the central symbol of this pictogram represented Atum; the Sun on Earth; the Golden Dragon; the Spokesman of the Nine; the Chilcomb formation, the trilling sound, and The Word!

On July 27th 1997 I presented the same information
to members of the Druid Order: ‘The British Circle of the Universal Bond’, based in London, and learned afterwards from Peter Firebrace, a friend and longstanding member of the Order, that he had
visited China’s Forbidden City in 1984, and a temple completely dedicated to the Nine Dragons.

‘Tien Tan’, The Temple of Heaven, was built in
1420 during the 18th year of the reign of Emperor Yong Le. It was here in China’s Forbidden City that past emperors offered prayers to heaven and the Nine Dragons for good harvests.

Ascending the stairs of the ‘Circular Mound’, a unique structure of Tien Tan, a visitor is continually reminded of the ancient Chinese reverence of Nine Dragons (Fig. 19).

Fig. 19 Ascending One of the Four Directions of the Circular Mound Photograph Copyright 1984 Peter Firebrace	Fig. 20 The Sound Amplification Spot of ‘Tien Tan’ Photograph Copyright 1984 Peter Firebrace

Facing North, South, East, & West, three sets of nine steps, flanked on either side by three pillars (each containing a carved Dragon), climb towards a higher and smaller circular platform divided into nine equally spaced concentric pavements (Fig. 20).

Dedicated entirely to Dragons (‘Lords of the Weather’, Ref. 13 & 28), and specifically the Nine Dragons, the Circular Mound is an open-air temple with no roof. Its central feature (Fig.6) is a slightly bowl shaped pavement, divided into nine concentric bands around a center, just wide enough to stand in. For centuries only the head ‘Spokesman’ of China, the Emperor, could stand at this spot, deliberately concave to amplify the sound of his voice, as he addressed the people of the Forbidden City.

By linking the center of the 1992 pictogram (Fig.1), and Silbury Hill nearby, to the ‘Spokesplace’ of the Circular Mound (the most revered spot in the Forbidden City), Peter Firebrace provided confirmation, in my view, that the Spokesman of the Nine and the physics of sound play a central role in authentic crop circle creation.

THE BALANCE

‘I am the balance’ Tom said, symbolized by the positive and negative image at the center of the Silbury Hill 1992 Crop Circle pictogram, which looked like a variation on the theme of the Yin-Yang circle (Fig. 21, center). 

Fig. 21 The ‘Yin-Yang’ Circle and Eight ‘Trigrams’ of Taoism Drawing Copyright 1998 Ed Sherwood/Millennium Research

The distinctive Eastern Yin-Yang circle is the primary symbol of Taoist religious
and philosophical thought, based on the teachings of Lao Tse. Symbolizing the
third principle; equilibrium, the Yin-Yang symbol depicts the dynamic balance of two primary opposing forces in Creation: Yin, the negative and passive power (depicted in black, representing femininity); and Yang, the positive and active power (depicted in white, signifying masculinity). (Fig. 21)

Tao teaches the concept of duality (Yin-Yang) in all things, and that harmony can only be achieved when the two are integrated in perfect balance. ‘The Yin-Yang circle symbolizes this concept. Its equal areas of yin and yang are divided by a sigmoid line (denoting dynamism) and are contained within a circle of revolution and unity. A small circle of the opposite colour is contained in each, signifying the seed of the other, and therefore their interdependence (Fig. 21, & Ref. 9).’

The Yin-Yang symbol is often depicted at the center of eight trigrams, or the ‘Pa Kua’, used in Eastern divination and representing the eight elemental forces of Nature arranged ‘like the eight spokes of the Dharma Wheel’, and the eight design symbols of the Silbury Hill 1992 pictogram (Fig. 21 & 3, & Ref. 8 & 9).

Amazingly, the design symbols of the Silbury Hill formation were arranged to be read like the two traditional systems of the ‘Pa Kua’; the Fu Hsi Arrangement reflecting the law of Polar Reversal, and representing the dynamic action of opposites; and the King Wen Arrangement, symbolizing the law of Periodicity, depicting cycles and rhythms in nature suggesting constant transformation in all things. 

The trigrams of the Fu Hsi Arrangement and the Crop Circle symbols of Fig. 3 are organized so that opposite ‘pairs’ (facing each other) have opposite symbology.

The symbol of the crescent Moon (Fig. 22) for example, has its pair and opposite (Fig. 23) reflecting a triad of three Ley-line energy points (or three ancient sacred sites) on the earth, denoted by the three satellite circles, arranged like an incomplete Celtic Cross, around a larger circle representing the Earth, activated by the moon aligned opposite.

Fig. 22 & 23 ‘Moon’ and ‘Sacred Site’ Symbols Photos Copyright 1992 Maria Ward

Positioned between the ring connected crescent Moon and the Earth opposite is the Sun Cross sign (Fig. 5), cross referencing and representing, in this case, the bary center; the true center, of the combined mass of the Earth/Moon system, ‘located approx. 3/4 of the way out from the center of the Earth to its surface’, around which both the moon and the center of the Earth revolve (Ref. 37).

The trigrams of the King Wen Arrangement are traditionally read in a clockwise direction, like the symbols of the Great Turning, and the process of an authentic crop circle event, as illustrated near Silbury Hill, on August 18th 1992 (Fig. 3).

INFINITE INTELLIGENCE

Within the design and meaning of the Yin-Yang symbol is also the sign of Infinity, and another theme reflected in many non-manmade formations.

‘Like eternity they have no beginning they have no end,
Round and Round Like Atom chain.’

Quoted from a 1989 White Crow Message referring to crop circles.

A pictogram appeared in wheat, near West Overton Church, in Wiltshire, on July 28th 1994, that was generally recognized to be an ancient symbol for ‘Infinity’ (Fig.
24a). Measuring 135’ in diameter, or nine in numerology, it references the ‘timeless’ and ‘spaceless’ dimension of the Nine existing beyond the speed of light (Ref. 1, 2 & 3).

Fig. 24 Crop Circle Variations on an ‘Infinite’ Theme?  Silhouette Drawing Copyright 1994 Wolfgang Schindler (a) Silhouette Drawing Copyright 1995 Peter Sorensen (b)

The following year, also in wheat, a very similar, more geometric looking formation appeared near Harewood Peak and Forest; South East of Andover in Hampshire, on July 24th 1995 (Fig. 24b). Looking more like a number ‘8’, it came to nine when added to the circle containing it. In China 9, or ‘Jiu’ represents the number of ‘Eternity’ (Ref. 9).

 The first pictogram of 1997 to form
in the Czech Republic also reflected the sign of Infinity (the ‘Infinite Intelligence’). Reported to be some 18m long, it was discovered in grass, at Ceska Lipa, near Mimon, around April 23rd on military land.

YOU WILL KNOW THEM BY THEIR WORKS

Between 1994 and 1996 nine authentic pictograms clearly reflected the Nine as one of their mutual layers of design meaning (Fig. 25):

Fig. 25 ‘Nine-fold’ Crop Circle Sign Symbolism
Silhouette Drawings Copyright 1994 Wolfgang Schindler & 1995-6 Peter Sorensen

Symbolizing the impact effect of twenty one comet fragments, represented by twenty one semi-circular arcs; the shock waves or sound waves and resonant effect of the Shoemaker/Levy 9 Comet collision into Jupiter’s atmosphere the previous Summer, a pictogram formed in wheat at Litchfield in Hampshire on July 7th 1995, containing nine primary design elements: one large undulating ‘ring’, in this case an ‘open ring’, measuring 267 feet in diameter, representing the point of impact (atomization), surrounding seven thin concentric rings; and a small circle at the center (Fig. 25a). In a series of non-manmade Crop Circle formations in 1994 Jupiter was symbolized by a large wide ring, and the Comet, by descending sized circles (Fig. 25g), now within Jupiter (Fig. 25a & Ref. 29).

After sampling the Litchfield pictogram W.C. Levengood reported evidence ‘of a massive “spill over” of the radiation damage effects into the standing normal appearing crop.’ (Ref. 41) Perhaps this too was a sign: an invisible biophysical sign that the Litchfield pictogram not only symbolized a massive planetary impact event, but was also the ‘effect’ of one.

Measuring approximately 100ft in diameter, the last major pictogram to form in the Wiltshire/Hampshire region, in 1995 occurred sometime in late July, early August, near East Meon, in wheat. Drawing our attention to the ‘Physical’ and ‘Spiritual’ Sun: a modern ‘Solar motif’ and sign of the Nine, its meaning was simple and subtle (Fig. 25b):

The Physical Sun: A standard model for the sun, divides the star into three concentric zones: the Core, the region where thermonuclear reactions occur, represented by the central circle; the Radiative Zone, where heat is transported by photons, symbolized by a ‘rotating’ radiation symbol; and the Convective Zone, where the sun’s energy is mainly transferred by convection, represented by six spiraling arms.

The thin ring or outer circle signifies the sun’s Corona; the outermost envelope of the sun, described as a ‘halo’ during a total eclipse. The circle within the halo, represents the Photoshpere; the visible disk of the sun, below which, the sun’s dynamics and zones are invisible, and thus contained by the circle (Ref. 15).

In keeping with the Nine communications, the Nine were symbolized ‘Beyond the Sun’, or beyond the photosphere, as nine rotating arms, or three initial ‘radiations’, followed by six. Tom said ‘When you go over nine (counting the halo) it cancels, it becomes one, and nine is complete’ (Ref. 3).

The Spiritual Sun: Out from the center forms the first triad of ‘Creation’; Atum, Shu, and Tefnut. The three’ elements together in balance (equally spaced), also symbolize ‘one pure being’, such as Christ, or Buddha. Add this one (or ‘collective’), to the six spiraling arms, and you have seven. Add the seven to the circle and ring containing them, and you have nine!

A pictogram containing nine primary design elements: one center circle, four concentric rings, and four spiraling ‘arms’, was discovered May 31st 1995, approximately half a mile from the ancient “Long Man of Wilmington”: the largest representation of the human figure in Western Europe, N.E. of Alfriston in East Sussex (Fig. 25c).

Reflecting ‘Cosmic Forces’ or ‘Galactic Oscillation and Rotation’, it spanned approximately 250 feet in diameter and was the largest formation to appear in Sussex up to that date.

W.C. Levengood found evidence of plant node expansion from this formation as much as 90% beyond control samples from the same field: “The patterns of node expansion in the downed and upright plants clearly indicate a formation produced by very energetic plasma vortex processes which quite obviously are spatially confined to the regions outlined by the downed plants (Ref. 39).” Countless undamaged standing stems and rows of stalks along the tramlines were also reported at the site (Ref. 25).

A pictogram formed on Stockbridge Down near Whitchurch in Hampshire in barley, on July 21st 1995, approximately 60 feet in diameter, symbolizing the Nine by eight small equally spaced circles around a thin ring: the ninth circle, and arc: a symbol of completeness from the center of a spiral, and geometric design feature which, as W.C. Levengood comments in a BLT Lab report: ‘mathematically follows a model of non-linear ion acoustic shock-wave collisions in an ion-electron plasma’ (Fig. 25d & Ref. 41).

Looking very Yin/Yang, with eight primary design symbols around a thin ring, like the 1992 Silbury Hill pictogram (Fig. 3), the positive and negative image of the Stockbridge Down formation also reflects the sign of The Great Turning: the eight points and areas of the Dharma Wheel sign symbolizing eight states or ‘levels’ of Consciousness: the ‘steps’ in a process to reach the ninth at the center, identified with the Godhead; and the Spokesman of the Nine;

Peter Sorensen, Crop Circle Videographer & Silhouette artist also commented on the Stockbridge Down formation: ‘This novel formation occurred in an area where some years earlier an elderly couple had seen lights in the sky “Like a Ferris Wheel”, with eight lights around a thin ring’!

The Nine have often reflected in authentic crop circle design, or phenomena connected with the appearance of an authentic pictogram, something about the location of the formation that associates it to that particular place or area. 

For example, on July 29th 1996 in a wheat field near Avebury in Wiltshire, an authentic pictogram looking like a giant ‘Pinwheel’ formed at a place called Windmill Hill.

Another wheat field, below the ancient hill fort of Barbury Castle near Swindon in Wiltshire, received a massive pictogram during the early hours of July 17th 1991, and “a thunderous rumbling like a hundred aeroplanes” above the hill. Shaken by the experience a local resident, the warden of Barbury Castle, familiar with the sound of low flying airplanes, reported that the ‘sound’ lasted for a few minutes and then abruptly stopped (Fig. 26 & Ref. 19).

The Nine I suspect, like a noisy ‘poltergeist’, reflecting back an aspect of the psychokinetic energy of the ‘place’, heavily associated with airplanes with an old aerodrome nearby, and RAF Lyneham, an active airbase, a few miles away, wanted to make sure they were heard.

Fig. 26 The Barbury Castle 1991 Crop Circle Formation Silhouette Drawing Copyright 1991 Wolfgang Schindler

The Barbury Castle formation contained nine primary design symbols: a central circle and two concentric rings; three triangles forming a giant equilateral triangle with sides approximately 180 feet long;
and three different circular design symbols, including one with six spiraling arcs set at 90 degrees to each other, like the Stockbridge Down ‘ratchet’, measuring exactly 333 feet long
and another 9 in numerology
(Fig. 26 & Ref. 19).

Measuring approximately 192 feet in diameter the Knoll Down pictogram is to
this date, the largest and finest ringed
spiral formation on record. Forming between Beckhampton and Cherhill in Wiltshire, in young barley, on May 29th 1995, the outer ring contained thousands of single standing stalks that were clearly unaffected, or perhaps unselected, by the circle creating Source (Fig. 25e).

Its design symbolism reflected the Nine as nine circle elements, including and contained within an ancient sign for the Sun (and God): a ring with a point at its center, represented in the formation by its striking center circle and outer ring (Ref. 11 & 28).

Illustrating the Spokesman of the Nine; the Word; and the fact that sound waves can be focused, a pictogram appeared in wheat on Cow Down, South of Andover in Hampshire, on June 18th 1995, approximately 250 feet in diameter, reflecting the Nine as nine equally spaced ‘ripples’, with three concentric rings, representing the triad of Creation (the Word), including the center circle, and an overall image strikingly similar to one on the facing cover of a book (in my collection for many years) entitled: ‘Echoes of Bats and Men’, by Donald R. Griffin (Fig. 25f & 27).

Fig. 27 Book Cover Art Image ã 1959 Educational Services Incorporated Image George Giusti/Typography by Edward Gorey

Interestingly, about a week after the pictogram formed a compass deviation of as much as 90 degrees was reported inside the central ring.

Reflecting the approach of the Shoemaker/Levy 9 Comet with Jupiter, a pictogram formed near Moulsford in Hampshire on July 17th 1994, containing nine circle design elements: eight descending sized circles representing the Comet fragments, and a large ring symbolizing Jupiter (Fig. 25g).

Kris discovered that the symbol of the crescent moon, referred to the path and position of the moon passing between the Constellation of Scorpio, stated and implied in many of the authentic 1994 ‘Comet Collision’ formations; the advancing Comet; and Jupiter, all visible in the night sky at the time (Ref. 29).

Appearing in wheat on August 8th 1994 and reflecting nine circle design elements: seven standing rings within a flattened central circle contained by a larger ring; making nine, the Froxfield pictogram symbolized an effect, known as ‘The Jupiter Effect’, or Solar Oscillation; the primary cause of the 1990 higher than usual peak number of Sunspots (electromagnetic ‘rings’ on the photosphere, or visible disk of the Sun, represented at Froxfield within the Sun’s Corona, or thin ring), occurring alongside the most prolific authentic crop circle season on record. Like Jupiter, the Sun can also ‘capture’ Comets and receive impacts, depicted at Froxfield as seven rings within the center of the Sun symbol (Fig. 25h & Ref. 37 & 29).

Discovered on August 14th 1996, a pictogram formed near the Long Barrow
of Wayland Smithy in Oxfordshire, reflecting two astrophysical phenomena: ‘The String of Pearls’; the name given to the Shoemaker/Levy 9 Comet, broken up into fragments by Jupiter’s massive gravity, symbolized by nine circles on a thin ‘string’; and ‘Baily’s Beads’, ‘At the moment of totality (of a total Solar eclipse) the disappearing crescent of the sun (doubling as the thin string) breaks up into a number of glowing points’, in this case nine circles of flattened crop (Fig. 25i & Ref. 15).

END OF PART ONE.

Ed Sherwood – June 1998

Authors Note:

The ‘The Word Is Nine: Crop Circle Metaphors of 1997 (Part 1)’ was originally written, copyrighted, published, and distributed by myself, to many National
and International magazines and journal editors in June 1998. It was published in ‘The Center for Crop Circle Studies’ journal ‘The Circular’ in September 1998
(Issue 32), and was soon plagiarized thereafter, by a competitive, self-promoting and profiteering Crop Circle researcher, who has taken and published
for many years now my original written research as ‘his own’, without giving due reference and credit to his source, despite repeated requests.

The same person has received significant attention and money citing specific information contained in ‘The Word Is Nine (Part 1)’, including very significant
and ‘groundbreaking’ observations I first made in 1990, and have disseminated since to Crop Circle researchers and the public, and published in 1998, linking
the physics and metaphysics of ‘Sound’ and ‘Ultrasound’ to non-manmade
Crop Circle creation.   

The plagiarism has gone on too long to remain un-addressed!
This is an attempt to set the historical Crop Circle research record straight!

Ed Sherwood – March 2005

Click to read more.

REPORTS:

34) The 1996 Laguna Canyon Crop Circle Formation, Ed & Kris Sherwood, Millennium Research, 1996.
35) “Anatomical Anomalies in Crop Formation Plants,” Physiologia Plantarum,
(Vol. 92, 1994), 356-363, W.C. Levengood, BLT.
36) Crop Formation: Laguna Canyon, California, USA 1996, BLT Research Team, Report  No 81 April 1997.
37) The Base Drum of the Solar System, Goran Windelius & Peter Tucker, Solaris Research Center, Report 89/3.
38) Agriglyph Geometry, John Martineau 1992.
39) Crop Formation: Alfriston, East Sussex, UK 1995, BLT Research Team, Report No 60 May 1996.
40) Crop Circle Formation: Litchfield, Hampshire, UK 1995, BLT Research Team,
Report No 72 1996.
41) Crop Formation: Whitchurch, Hampshire, UK 1995, BLT Research Team, Report No 75 May 1996.

FOLK TALES

42) Yui Yi & The Dragon King, A Chinese Folk Tale (See Ref. 13).

ILLUSTRATIONS

Fig. 1 ‘Let Us Remember Dragons’, Ed Sherwood, 1990.
Fig. 2 Illustration from ‘The Rookery’, Ed Sherwood, 1984.

SILHOUETTE DRAWINGS

Fig. 3 Silbury Hill 1992 Crop Circle Formation, John Martineau/Ed Sherwood, 1992.
Fig. 7 Sun Cross, Ed Sherwood, 2004.
Fig. 8 Top left, Winterbourne Stoke 1989 Crop Circle Formation, Ed Sherwood, 1997.
Fig. 8 Top right, Chilcomb 1990 Crop Circle Formation, Wolfgang Schindler, 1990.
Fig. 8 Middle left, Skyllberg 1993 Crop Circle Formation, Ed Sherwood, 1997.
Fig. 8 Bottom left, Martock 1996 Crop Circle Formation, Peter Sorensen, 1996.
Fig. 8 Bottom right, Haselbury Plucknett 1997 Crop Circle Formation,
Peter Sorensen, 1997.
Fig. 11 Grassdorf 1991 Crop Circle Formation, Wolfgang Schindler, 1991.
Fig. 12 Ogbourne Maisey Crop Circle Formation, Wolfgang Schindler, 1991.
Fig. 14 Sun/God Symbol, Ed Sherwood, 2004.
Fig. 15 Alvord Desert 1990 Pictogram, Ed Sherwood, 2004.
Fig. 17 Froxfield 1992 Crop Circle Formation, Wolfgang Schindler, 1992.
Fig. 24a West Overton 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 24b Harewood 1995 Crop Circle Formation, Peter 
Fig. 25a Litchfield 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25b East Meon 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25c Alfriston 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25d Andover 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25e Beckhampton 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25f Andover 1995 Crop Circle Formation, Peter Sorensen, 1995.
Fig. 25g Moulsford 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 25h Froxfield 1994 Crop Circle Formation, Wolfgang Schindler, 1994.
Fig. 25i Ashbury 1996 Crop Circle Formation, Peter Sorensen, 1996.
Fig. 26 Barbury Castle 1991 Crop Circle Formation, Wolfgang Schindler, 1991.

DIAGRAMS

Fig. 8 ‘Atum’s’ Song’, Ed Sherwood, 1997.
Fig. 9 The Associated Sound Waves from a Vibrating Tuning Fork,
H.J.P. Keighley & F.R. McKim, 1969.
Fig .17 ‘Wind Feather’, Ed Sherwood, 1997.
Fig. 21 Pa Kua and Yin-Yang Circle, Ed Sherwood, 1997.
Fig. 24 ‘The Infinite’, Ed Sherwood, 1997.
Fig. 25 Nine-fold Variations, Ed Sherwood, 1997. 

PHOTOS

Fig. 4 & 5 Symbols of the Silbury Hill 1992 Pictogram, Maria Ward, 1992.
Fig. 6 Ball Plasma, Maria Ward, 1992.
Fig. 13 ‘The Sound of Special Music’, Radio Times, 1990.
Fig. 16 Undamaged Poppies, Ed Sherwood
Fig. 19 & 20 The Circular Mound, Peter Firebrace, 1984.
Fig. 22 & 23 Symbols of the Silbury Hill 1992 Pictogram, Maria Ward, 1992.

TALK POSTER

Fig. 18 ‘Exploring A Crop Circle Hologram’ Talk Poster, Ed Sherwood, 1997.

This article is excerpted from a larger work in progress. It may be copied and distributed for informational purposes only. Under no circumstances should it be published anywhere, or for monetary gain, without written permission from the author. Copyright June 1998 Ed Sherwood/Millennium Research.
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