self reflecting ©
Hackpen Hill, August 26th 2012.
Hackpen Hill, 26-8-2012. Picture: Simon Brown.
Thanks to cropcircleconnector.com.
Mind the mind of ascension.
This brilliant formation has stunned people in amazement for its most
superb design and quality in the way that it was made. It is what we call
the obvious Grand Final for the cropcircle season at the year of years 2012.
Precise analysis reveal even much more brilliancy involved then meets the
eye at first glance, which, by the way, is characteristic for a lot of
I have split this article into two parts. Part 1 concerns a technical
reconnoitring of the design. Part 2 is about interpretation.
In main terms we speak of a cube surrounded by a ring. The cube looks
like being constructed with the use of multiple little cubes. At the
outlines of the major cube we find the little cubes are open, and thus
showing their framework. The cube seems to float on a circular
background which is beautifully textured by woven bunches of golden crop.
Looking at the ring, it seems broad and is cut by a most delicate
fine and sharp circle. This fine circle lays just enough out of center
to connect the inside with the outside of the broad ring.
As we will see, the Hackpen Hill formation has an abundance of
numbers to it. Besides the very basical numbers 6, 8 and 12
that a normal cube delivers, (6 sides, 8 corners and 12 edges)
this Hackpenn cube offers us many more numbers due to the use
of little cubes while all derived from aswell a two-dimensional
perspective as from an imaginairy three-dimensional perspective.
The ambivalence between 2-D and 3-D will play a crusial role
in this study.
Talking about numbers, from the two-dimensional perspective we should,
at least to make a start, think in terms of squares or diamonds that
can be counted. Ofcourse, counting is also possible while seeing
the figure as a three-dimensional object, only than we speak in terms
of little cubes or blocks.
Numbers derived from counting units. In 2D the counted units are diamonds or squares,
in 3D they are cubes.
Noteworthy is a difference between opened and closed surfaces.
This distinct from each other seems meaningfull and according
a certain order. To be concrete; opened surfaces seem to
belong to blocks that define the outside edges of the total cube.
Although the overall sight of the large cube perfectly well,
a closer inspection will reveal that 13 of the little open
cubes are somehow "impossible" in terms of perspective. They seem
by the shape of their inner construct, to be misplaced in the
greater context of the actual large cube. They seem to be false
cubes or impossible cubes. To say it in judgemental words; they
Left: Diagram as from the original cropformation.
Right: Diagram as would follow expected logic or harmony.
But wait a minute. Would we take the outside cubes away (outside only
according 2D perspective), than it becomes possible to look at this
picture as if we are looking at a top corner inside a room or box.
In other words; we see ourselves confronted with an interior. In my
opinion, there's nothing wrong with that. It only turns out there's
a conflict between the inside and the outside.
Left: Like outside a box. Right: Like inside a room. (the UFO is a light-ornament)
Considering the artwork a masterpiece as seldom seen before, this conflict
will most likely be intended. We will soon proof this to be the case indeed,
but first I want to continue with exposing some more related numbers.
Numbers derived from counting the outside category in 2D.
Numbers derived from counting the outside category in 3D.
all the visible aswell as the imagined cubes at the backside are counted.)
Why can we say that the conflict between inside and outside is intended?
When we compare the outer ring with the strange cube, we find again a twist
in the perspective. It seems like the ring is inverted. As if the backside
is turned in such way that it is partly showed at front. Just as the little
13 cubes seem to do, it is turned inside out. This "inside out" or "inversion"
correspondance is only just a first indication that underlines my thesis of
Left: Inversed ring showing both sides at the same time.
Right: Inversed ring seems also an invitation for further expansion!
Besides an inversion correspondance, we also find a correspondance in sizes.
As the right diagram shows, the ring seems almost like an invitation for expending
the cubic construct. At the same time, we notice the small cubical unit as presented
for the demonstration, sliced in a particular way. I guess we can say that's all
part of dualistic involvement. Still, it leaves us with plenty new directions for
For now, I stick with the search for another indication of intented impossibilities.
As we might have experienced while looking at the diagrams related to counting, a
severe case of short-circuiting in the head is possible when it comes to placing
the central little cube. We can not be sure if we are looking at a real cube or an
interior or elements of neighbouring blocks. Or even elements of neighbouring blocks
of neighbouring blocks!
Left: Something hard to wrap the head around.
Right: A subjective
correction towards an option.
In an attempt to wrap the head around it anyhow, one of several options will
be to compare the single isolated cube with a cluster of 8 little cubes. What
becomes evident than, is that our central cube turns out to be a clear
Compound cubes with rows of an even number of blocks can not
contain an central block.
Eight cubes each missing 1/8 part in such way an extra cube would fit.
Would we insist on a central cube in 3-D reality, the cluster of 8 blocks would have
to offer some space, making them incomplete cubes. I hope the above diagrams
demonstrate clearly enough what I'm trying to tell.
However, it is fact that
compound cubes with rows of an even number of blocks can under no circumstance
contain a central block.
Having extrapolated on this so-called central cube, we seem to have reached
another indication for expressing an intended impossibility. This time the
impossebility turns out only impossible in the context of a false premise. There
was only the assumption of a little cube at the center!
As we have discovered there's the potential for expension, and also, as we have
followed stages or steps of growth, we find that with each growing
stage, there appears "a conflict" between the existance and non-existance of a
little center unit. I mean to say, that in case of rows made of an úneven number
of blocks, a centerstone is possible after all...
Let's continue the thread of related numbers. Now it's gonna get really fascinating!
On the day the formation got reported, that was August 26, I awoke that morning
with a subtle voice telling me; "twenty-six". Somehow I knew the Grand Final had
arrived and that this number would be a key to it. Intuïtively I felt there would
be more to 26 than only just the date of reporting.
The day before, I had been working on a chapter about segments in cropcircles
formed by tramlines. Ofcourse, I could not resist counting the segments in this
flabbergasting late summer present too. It turned out with staggering results!
The outer ring consisted of 26 segments. More precisely, two times 13 segments!
In order to find the segments we have to involve the tramlines that cut the
various elements of the design. The picture below will show what I mean.
Two times thirteen segments to be found in a special ring.
So, we have an outer ring of 13 segments at the front and another 13 at the backside
made visible by the special inversive twist, to be compared with 13 inversed little
cubes at the front of the large cube... Does it take much fantasy to imagine that
another 13 little cubes can be found at the back of the large cube? No matter how
these hidden little cubes at the backside would look like, the 2 times 13 plús 2
times 13 is ways to coïncidential to be called coïncidence here!
Also, this striking find is a clear indication that the inverted cubes are no mistake,
Another clue concerning 26 in related to the formation is that the number represents
the sum of all the basic numbers of a cube. So, 6 sides plus 8 lines plus 12 corners,
these taken together make 26.
As we managed to count the segments of the ring, it would be half work not to
count the tiles in the actual cube or interior. Doing so, we find a wall of 27
segments. Another wall of 28 segments and funny enough a wall containing 27 ór
28 segments. Although I am not sure about the significance of these numbers,
they nevertheless appeal somehow. Is it coïncidence these numbers 27 and 28 are
the follow up of 26? Maybe. Or maybe a hint towards a certain expanding?
Total in white; 28 segments, in pink; 27 segments, in yellow; 27 or 28.
Maybe, it is worth mentioning about Red Collies reflection on this
formation. He stated that at each side 20 open cubes can be counted.
In his vision these little open cubes represent square roots of 2. That means
20 times square root of 2, makes 20 times 1,414 is same as 28,28. That's an
intruiging number after having found two times 28. Or have we not found?
An arbitrairy descision to be made?
I remember a huge cropformation at the same Hackpen Field, in 2008 it was, that
used only one standing stalk in its center to represent a whole segment!
Whatever is the case, when square rooting is involved, it means that there's
something going on with diagonals. Searching in that direction leads us to another
fascinating reflection. It was given by Bnktop Mahbko (don't let me pronounce)
who demonstrated how the three days earlier formation at Oxleaze Combe would
match with each side of our cubic system.
Left: Oxleaze Copse, 2012. Right: Interesting projection by Bnktop Mahbko from Russia.
Taking this projection a little further, we would easily recognise that the wider
background disk at the Oxleaze Combe formation should in a 3D representation as
a cube is, be placed at the very core of the cube. Food for mathematicions I
would think. More in particular the ones that are obsessed with squaring the
circle. They now might have some tool to cube the ball?
The projection a little further. (Two options.)
The ball seems quite small compared to the cube. (B.t.w.; note that the diagram
doesn't show the exact size due to the squeezing towards 3-D) Maybe, we should
not cube the ball, but square it? Questions, questions and questions as usual...
I suppose a profound study of the Oxleaze Combe formation would be of great help.
Talking of great help; in line with the suggestion of squaring curved objects, I
múst attend you on an insight delivered to us by Bert Janssen.
An explanation about the thin mystery circle. © Bert Janssen.
Under the title of "the thin circle mystery", Bert explains; the diagram on the
left shows the formation with "squaring the circle" superimposed on it. The
diagram on the right shows the circle shifted to the right. Notice how it
exactly overlaps the thin circle. The thin circle in the formation is part of
a hidden "squaring the circle"!
The axis is slightly turned in relation to highest and lowest point of the thin circle.
Another feature of the thin circle can be considered its diameter. Would we want
to connect the most upper point with the lowest point, we find quite a marge in
how to do that. The most obvious way to draw that line, is by assuming the closest
axis in the cube will get us there. It could indeed be right, but I don't accept
it as a certainty just because it seems so. After having inspected the points of
cutting, (or meeting) of the thin circle with both the outside as inside
edge of the broad ring it turns out that the most upper point and the most lower point
are slightly out of position compared to the assumed axis based on the cube. It
seems a difference of about 2 degrees. Although it is hard to locate the exact
cutting (or meeting) points, I am sure enough that we can speak of a slight turn
here. Keep the idea of "a slight turn" in mind...
We have seen the thin circle been cutting the broader ring in numberal segments. It
would also provide an inversed perspective from which we could say that it shows
frontside and backside resulting in inside and outside at the same time. After that,
Bert proofs us, it is a squared circle. Also, we just found a slight turning idea.
Would one think it is all the information that can be gained from it, than let me
share with you again another way of looking at the thin circle.
Separating the two crescents formed by the thin circle cutting the broad ring, we can
easily speak of "moon crescents". Curious enough the formation appeared in a month
that had two times a full moon. The second full moon is called a blue moon. That was
on friday 31. It is, as the saying "once in a blue moon" indicates, a rare occasion
when that happens. Ofcourse this blue moon phenomenon can only occur in our Gregorian
calendar. Would we have a much more natural calendar such as the Mayan Tzolkin calendar,
no months could have twice a full moon, as there would be 13 months of 28 days.
Talking about the Tzolkin calendar, which is a calendar based on mooncycles, I repeat:
"MOONCYCLES", isn't it intruïging to find these numbers 13 and 28 popping up again?
To my estimation, we have contemplated enough over the moony rings now, to return to the
cube or interior again. Seeing it in contrast to its pretty woven background, I have to
say that somehow it occurs heavy and dark to me. Also, it looks quite closed as only the
edges contain little open cubes or whatevers. Almost from the beginning that I saw the
pictures, I had a feeling that another phase could be inserted. The cube as a whole could
be more open and therefore less solid. It could become even more beautiful than it
allready is. I posted a few suggestions in that direction, quietly hoping that maybe a
second stage would happen, but it didn't. At least, not anything dramatic.
It was while having found these numbers 27, 28 and a doubtfull 27 or 28, that I thought a
change in the night between 27 and 28 of august would be very much possible. As just stated,
no real difference was the case. Or was it, after all? A little grapeshot was reported by
Andrew Pyrka at the edge of the field at the date of 28! Such a phase was not as spectacular
as I hoped, but nevertheless, additions like these can hold important clues.
Grapeshot at August 28. © Andrew Pyrka
Left: Grapeshot from distance aligns with one edge of the construct. © Black
Right: The alignment shows two bends. © Black
In this case there is a relation between the formation, the grapeshot and the surrounding
landscape. It seems about similarity in bends. One bend (of the road) top hill, the other
bend (of the formation) down below. So, with this up and down, another duality is added to
inside and outside, or frontside and backside. Also, we can recognise another "slight turn",
The idea of turning the structure, or the ability for turning, adds new perspectives
for interpretation ofcourse. Earlier in the 2012 season, I was highly fascinated by
a formation close to Liddington, that to my opinion relates a lot to the Hackpen Hill
formation. It seems to also speak about cube, perspective and turning.
Liddington, july 1 2012. © Peter March
The Liddington formation presents a construction that will hardly be recognised as
cubic, but with closer observation we might discover a little cube around its
center. As it seems part of multiple little cubes, we somehow must accept this center
has basicly the same construct features as the Hackpenn center.
Only here the little cubes fade away in a perspective warp (or stretch if you like).
Center of Liddington formation. Left: © Peter March. Right: © Randell.
In case we zoom in deeper on the center of this formation, we find something
very subtle. The three paths that come together at the very midpoint demonstrate
a play with the thickness of used lines. As I was lucky enough to have visited
this formation, I am able to show some detailed pictures of what I mean.
Lefthand lines versus righthand lines. © Randell
There is some kind of twist-effect involved by the way these three paths connect.
It is done by using the sidelines of the paths. Exactly the edge between the
standing and flattened crop can be considered a line in itself. So, each path
has two sidelines. When you walk towards the center, you have a (border-)line
on your lefthand and one on your righthand. The lefthand lines seem to find
eachother closer to an exact midpoint than the righthand lines. Also, the
triangle these lefthand lines form, seems flipped or inversed compared to the
righthand triangle. This means that we need to imagine extra lines in case we
want to find the exact midpoint. These lines should be constructed somewhere
at the left half of the paths. Further inspection of the Liddington formation
would show that various other and real manifested lines correspond with this
subtle flip or twist at the center.
To return to the Hackpen Hill formation; we find also a twist at its very center.
I find it hard to judge on whether the same kind of left-side/right-side movement
suggestion takes place, but than, there's a beautiful tightly swirled bunch of
stalks that does provide a turning feel anyway. So, the swirl representing the
midpoint might be telling us that the little misconstructed cubes can get
transformed towards harmonious ones, indeed.
Center of Hackpen Hill formation. Left: © Simon Brown. Right: © Brigitte Williams.
Sometimes the events that matter jump in while writing... Straight after having
supposedly finished this part of the article by having concentrated on the possible dynamics
involved at the center, new material reaches me from Brigitte Williams who had
just revisited the formation. She had found two extra swirls added to the center!
To me this event is confirming my idea about a "turning point or flip point". It shows a
"before" and an "after" the actual turn. This means, the swirls are able to represent
the exact corner points of the cubic structure that are in visual line with the center.
One new swirl would be the closest corner, the other new swirl the corner that is
This additional event shows a clear progression towards a "turning" or a
"flipping" if you like. It can be considered a duality aspect added to a neutral
center. As we see, there's always synchronicity stuff involved in the continuüm.
New swirls found on 9-9-2012 at the center of the Hackpen Hill formation.
Picture; © Brigitte Williams.
The main theme of this formation can be thought of as "the cube". At least the
main impression of the formation remains a cube, even if, as we have discovered,
it turns out an optical illusion.
A cube in general represents a state of perfection. The highest reachable
cultivation of "the ball". It can be considered the solid of all solids.
A mind-construct or projection about evolutionary completion. The cube
could also represent the universe or heaven.
Hackpen Hill, 2012 © Lucy Pringle.
To me, the formation seems a product of the same school that was responsible for
the formation that depicted a Penrose Triangle in 2005 at Waden Hill. The Penrose
triangle represents "impossebility in its purest form". There are many features
in both cropformations that match, although they are under the surface of superficial
observation. Also the formation at Sugar Hill has the same excellence as these two and
reveals the same problem of impossebility.
Left: Waden Hills Penrose triangle formation. © Peter Sorenson.
Right: The excellent Sugar Hill formation. © Steve Alexander.
The way the cube is depicted at the Hackpen formation makes it obvious to talk of a
construct, as it seems build up by multiple little cubes. Also, some of these cubes are
opened so that frames are visible. It is funny how the cube as a whole adaptes the
idea of a framework aswell. "The frame of mind", springs into my frame of mind here.
The cropcircle cube, because it is build up by little cubes, has a lot in common with
the famous "Rubic's Cube". It is certainly worthwhile to overthink Rubic's brilliant
invention in all its aspects, as it can provide us a better understanding
of certain idea's behind the formation, such as "balancing between rolling (or turning) and
Reaching a better understanding.
Most significant for the interpretation is the idea of multiple little cubes versus one
overall cube, being the sum of all the little ones. This idea can easily be transposed
onto, for example, the structure of society. In other words; "the system". Many
individuals organised together, form a massive overall structure that mirrors, more or
less, each individual. Another example could be the living cells of an organism forming
an organ, or the organism as a whole.
As far as the little cubes are concerned, I like to stick for a while with the idea
of understanding them as mind-concepts or character-structures. Our frameworks or constructs
of the mind. The conditioned mind-sets from which we operate through life. It becomes apparent
that these individual constructs are made out of influences or experiences from something much
bigger than we are. At the same time, we create a much bigger construct on the base of our
individual choises. Unfortunatly, we don't always oversee the consequences of our creative force.
Maybe, the formation stimulates our ability to view wider skies.
Interpreting the cubes as mind-constructs should in my opinion not get confused with
seeing them as human beings. It might be usefull to understand that people can change
their minds, or tune in on existing mind-constructs. Therefor, thinking in terms of
mind-constructs is one level closer to the scource of things. Cropformations, in my
understanding, usually tend to lead us to scource information, automaticly making multiple
I won't question what it is, that our minds are aiming for. Consequently, I won't preach
about the conditions of our poor little minds. So, no answers are available here
concerning luck, control, knowledge, love, lust, power or what else is there we can be
Very essential to the design of the formation is the troubling 13 inversed or
illusionary cubes. It seems that, if there's a message to be read here, it would be
about distorted harmonics.
Very essential to the design of the formation is the troubling 13 inversed cubes. It seems
that, if there's a clear message to be read here, it would be about distorted harmonics.
"Disrupted harmony", a monumental painting that I made many years ago.
The message would be about the meaning and the influence of the 13 impossible frameworks
towards the bigger picture. These mis-constructs or mis-concepts challenge the viewer most
probebly on an almost emotional level. They don't fit in our sub-conscious feel for harmony.
It could even occur to us, there's the big "Y" or "WHY" question at stake.
Still, we have found out, it is all a matter of perception. The 13 can be viewed as serving
the logics of expressing an interior. In that perspective it makes the 30 outside cubes the
So, in other words, unless both directions of perception want to be percieved, one or
the other will be considered "negative". Thus, it might aswell be the case that the Hackpen
cosmogram communicates about the vital question; "why do we have to deal with disharmony?"
It seems to me, a great part of the answer has just been given. We percieve things in the way
we want to percieve them. "Positive" and "negative" are just labels we prefer to use for
Although, things do not seem to fit with eachother, at the same time they co-exist next to
eachother in some logical order. We have seen that there are certain functions to the
opposing directions. Also, it seems as if the number 13 functions here as the ultimate
transformer of the whole problem. (I consider the central cube being the thirteenth of
the inverted group.)
Towards the center, it is the "order" of 13 that we see ourselves confronted with. A
statement like this can easily remind us to the teachings of Jesus Christ and his 12 apostles.
Related to this idea, there's the general accepted association with number 13 as being
the number of death. The number that supersticious people prefer to avoid as it stands for
serious misfortune. It was Jesus taking in the 13th position enabling him to teach the
The last supper of Jesus Christ and his 12 apostles.
Accepting the central little cube as our number 13, it seems as if we are facing the
heart of all illusions. It is a non-existing cube looking like an existing one.
In terms of character-building, it calls for self-sacrifice. Let me state that the
art of self-sacrifice should not get confused with suïcide in the most direct sense.
It is much more appropriate to think in terms of dying multiple deaths during a
complete lifetime. Self-reservation is maybe another usefull term here. In this
context, the thirteenth speaks of a certain death and also the illusion of death
followed by the overcoming of death. (or should I say the overcoming of illusion?)
Concentrating on cube 13, we could even think of an "anti-christ" in case we look at
it from an inverted point of view. It could be a massive black hole, a heart of
darkness as a cosmic necessarity that needs to oppose the light for the sake of
creations diversity. In that case we percieve the little cube as a little liar, while
the total formation exposes the center of all conflict.
From the Crowley Tarot deck; number 13, Death.
Whatever it might represent, it is exposed to the light of at least cropcircle
enthousiasts and will certainly find its ways to greater amounts of people. Instead
of "constructors" we find "obstructors" possessing a center of organisation and this,
as pointed out, the other way around aswell, simply depending on what we hope to find
or try to realise! Transfer this onto the continuïng conflict between the so-called
"believers" and the so-called "debunkers" that the cropcircle community seems
so rich of, and maybe one day we might overcome this tragic stupidity...
The 12 zodiac signs.
Another idea that is also deeply installed in the collective subconscious, and
that carries a number of 12 grouped around a most important center, is that of the 12
starsigns, the zodiac, spinning around the earth, or the sun. Maybe, the abstact
expression of the formation has it to embrase both idea's? I mean, the Christ between
his disciples ánd the earth/sun surrounded by the starsigns? In astrology, the 12 zodiac
signs represent in essence 12 differend illusions to overcome. I give it a fairly good
chance, the idea of 12 apostles is based on exactly the same idea. Teachings to become
master over 12 basic illusions. The number 13 has to be the absolute master over these
illusions. He or she embodies all 12. It is the transformer for the 12. Also, the twelf
edges or outside lines that a cube has, can refer to the same idea.
Untill here, we have associated our cube of crop with a model of a perfect universe. We have
associated it with earlier formations, depicting the impossebility in its purest form and the
endlesness of a most impressive starfractal (Sugar Hill). We have thought of the cube as a
frame of mind. We noted the similarity with the rubic's cube. We mentioned the structure of
society and natural organisation. Concentrating on the challenging 13, we associated with the
teachings of Christ, with death as an illusion, and with disrupted harmony. Also, we associated
with the centerpoint of the 12 zodiac-signs.
Having summed up these, there's one more association I would like to extrapolate on. In fact
the "model of the universe" that I started with, can be considered similar or close related to it.
I'm talking about the Kaballa.
The mystical tree of life that embodies the tree of knowledge, has many angles and features
to look at. Because of that, the Kaballa has many varieties in its schematic representations.
Due to this multiple applicability, the following pictogram I found usefull to tell about the
basical order of light, dark and everything that's in between these's extremes.
The Kaballa tree projected onto the formation.
On top we find a white sphere, in kabbalistic terms called a "sephira". As white contains all the
colours of the lightspectrum, it might aswell represent the light itself. To the left there's a
black sephira that can, ofcourse, be associated with darkness. Between the light sphere and the
dark sphere there's another stage, the grey sephira. It won't be difficult to understand that
many differend greys can be found due to the degree of shading.
It is with the many degrees of shading, something interesting takes place that is about the
nature of colour. Colours are all based on the breaking of light. It all has to do with textures
that create differend shades. In essence, and as hard as it may be to understand, objectivly
spoken, in reality everything has only greytones, due to the breaking of light. It is by the
limitation of our senses, more in particular our vision, that we translate all the greyish
superfine textures to a lovely illusion of colour. But it in essence it is said to be a psychic
Observation of colour is only just a psychic or psychological attribute. And in the context of
this formation; so is observation of three dimensionality...
The limitations involved by the use of basicly ór standing, ór flattened crop, I always found
a very interesting aspect of cropformations. Although there have been cases of special treated
surfaces, (both in lay as in standing crops) usually there's hardly anything else but the direct
contrast between light and dark surface. It expresses the idea of mirroring scource information.
As if it is to us, to add colours (colour of interpretation?) or not. It can be us, projecting
our subjectiveness to the textures.
The Kabbala system demonstrates more or less the same idea, when the colours are brought in
only at the lower planes. Also, it does it in a very orderly way, which can be of great help to
understand the laws of harmonics in colour-compositions. First we see the three primary colours
red, bleu and yellow. Than, on again a lower plane, we find the basic complementairy colours
of the primary ones. These complementary colours are necessarily mixed colours. Concentrating
on cubic expression, we can manipulate the idea towards the next diagram.
A cube of colourfull order.
This 2012 cropcircle-season has, according to me, produced quite some hints leaning towards the
idea of a colour-spectrum involved. When we turn back to the Liddington formation, it becomes
necessary to say it came in two phases. Remarkable to the first stage was the use of light lines
and dark lines. The difference simply occured by the use of variety in thickness of its lines.
At inspecting its center, we already came to the use of variety in thickness of lines. Only now
we understand a little more about it.
The idea of shading was manifest at this first phase.
At the second phase, a clear thirth tone appeared. Or actually fourth tone I should say,
as the standing crop needed to be considered as the initual colour-tone Than thin lines
looked dark or black. Wider lines or surfaces of flattened crop looked light or white. Now,
at the second phase, new surfaces of flattened crop added some sort of layer of transparent
light green over the picture. The earlier "white" had died, stomped by many visiters under rainy
conditions and later dried out so that it became more yellowish. The new layer of flattend
crop seemed more green than at the first layer of flattened crop, because the stalks had
grown and became deeper green.
Poppies! Ogbourne Down, july 29 2012.
Another obvious play with colours can be noticed at the "poppies formation" near Four Mile
Clumb at Ogbourne Down. Never before in the cropcircle history we have seen a formation in a
red poppyfield. Luke Falcon explains to us, on Crop Circle Connector, that a "retinoic acid
molecule" together with a lens, is expressed by the formation. Retinoic acid is found in
poppies and important to eye- and DNA-health. It has the same chemical structure as vitamine A
and vitamine A Aldehyde.
Further investigation has learned me that one of the main qualities of retinoic acid is that
it saves visual pigment effects. I'm not sure what that exactly means, but it definitly tickles
my imagination, while it supports the "cropcircles speak of colours" theory.
More formations that relate to the shading or use of colours, I present here, but without
comments as I already seem to drift away from the actual study of the Hackpen Hill formation. I
assure there are more formations than exposed here, very likely related to the theme.
Back to the kaballistic interpretation, one very essential direction in Kaballa is numberology.
I believe the numbers 26 and 13 have had enough explanation by now. So, I would like to
continue with some other important numbers derived from the Hackpen glyphe, but only
after mentioning that traditionally, the 10 sephiroth together with the 22 paths, give us the
most direct numbers associated with Kaballa. These two numbers taken together make 32. We have
seen that number before in a very outspoken way at
another Hackpen Hill formation. That was
Besides the hint "26" as it was given to me from the so-called subconscious plane,
another number from the subconscious region appeared to me later on at my intensive study. It was
"33" as supposedly important to look at.
Both diagrams express number 33 (in red). The diagram at the left shows 33
The diagram right shows 33 two-dimensional units.
The most well-known associations with 33, I consider first of all the age of Jesus at which
he ascended to heaven, and second, the pyramidical hierargy used by the Freemasons. The
Freemasons on their turn, have taken the 33-symbology from the Temple of Salomo.
The resurrection of Jesus was also mentioned in relation to number 13. Noticing two numbers
associated with resurrection, makes me think about even a third number that refers to this theme,
which is "20". In Tarot, number 20 is the most explicit resurrection card. Would we allow
ourselves to look at the cube from the angle as showen in the following diagram, a similarity
in reaching the exact amount of necessary units to fulfil the edges of the object, can be found.
Cubes from a different angle. Left: diagram.
Right: Chilcomb Down near Winchester, Hampshire, july 1 2012. © Richard Lansdowne
Why resurrecting should correspond with a closed arrangement of units at the outer edges, has now
become the question. An answer I can think of sounds like; an expanding mind should not expand
just in one direction, but make sure all is taken into account. If not, mistakes will easily be
made. As we can see, the numbers 13, 26, 33 and now, by the use of another perspective, 20, seem
numbers of completion.
As far as the freemasonery is concerned, we can conclude that the secret organisation is into
modelling the structure of society. They are not the only ones, but I believe their power should
not be under-estimated. Nowdays, the structure of society or "the system", seems, in its
restless manifestation, to dominate all lifeforms here on earth, while it has all the
characteristics of a holy skeleton. Holy in the eyes of bankers, directors of big
companies and opportunistic politicians.
As I'm not involved in the freemasons practices, and therefor cannot judge on these, I won't
blame them for todays large scale catastrôfies. But, there is, as generally known, some pretty
suspect material coming from the direction of certain lodges.
Freemasons of the 33th degree.
Most left; Aleister Crowley who was actually never an official member.
Most interesting in relation to the Hackpen Hill formation ánd the earlier connected Oxleaze
Combe formation, is that the highest boss at the freemasonery is initiated to the highest
reachable degree, which is the 33th. If anyone wonders why such a highest chief commander carries
a symbol of Baphomet on his ceremonial hat, than let me tell you, you are not the only one.
Left: The key of Baphomet from the ceremonial hat.
Right: Three of these keys to form a matrix of 33.
What I dó know, is that the symbol or key of Baphomet is a compilation of 11 crosses within a
diamond. Three of these diamonds are able to form a cubic shape (in case of 2D representation).
That, ofcourse is no coïncidence when we are facing the (3 times 11) 33th degree master.
The relation between the Baphomet-key and the Oxleaze Combe glyphe is obvious. Notice also how
the key is touched by four disks of the Oxleaze Combe glyphe that seem exceptional since they
are not, as all the other disks, on the outside. In relation to the Hackpenn cube these
four can represent centers of closed units at the corners. Now they seem to tell at least
a little more of themselves; they keep the Baphomet-key in position.
At last I would like to take a look at number 64. It is the complete number of the I Tjing
cosmology. The book of changes uses 64 hexagrams to mirror all possible life-situations. In the
formation we find 64 in the category of hidden cubes. (or content-cubes while they are not found
on the outside surface.) As hexagrams relate to number 6 (hexa), it becomes obvious
that a connection can be made between a hexagram and a cube.
The key of Baphomet relating to the Oxleaze Combe design.
Both diagrams express number 64, although the diagram at the left shows 64 cubes that
seem to be taken apart in a way.
Right: A cluster of 64 cubes when seen in 3-D perspective.
The hidden 64 cubes can be thought of as potential possebilities, or als as
content of the past when we accept that the construct expands. It is far from
meaningless to involve the time-dimension into the interpretation. Remarkable
in this context can be considered that the sum of numbers of the growing-stages
delivers us the crownnumber of 100! That means that at the start a single 1 cube
is followed up by a cluster of 8 cubes. The stage after that counts 27 cubes.
So; 1 + 8 + 27 = 36. The following cluster of 64 added to to this makes 100.
We have found numbers of completion. Various of those numbers we have
connected to the idea of ascension. But what actually about the date of
21-12-2012? The date of which is said that it will be a great historical
day of ascension for humanity and our earth? Could it be possible that this
special date can be recognised in a convincing manner in the formation?
The question can be answered positively!
First we need to distinct 3 categories of imagery elements, so that days,
months and years can be seperated from each other.
To keep it simple I limit myself to one single side-view of the cube. We
than see a square that is devided in many squares. We could also speak of a
Left: one single side-view of the cube. Right: The grid.
For the days, I want to look at the many squares that actually can represent
the sides of the little cubes. So, therefore I will call them "blocks".
For the months, I take "lines"as imagery-elements. For the amount of years,
I use the two-dimensional idea "tiles". We now have blocks, lines and tiles for
respectively days, months and years.
To begin with, we are in search for 21 blocks that must represent the 21 days of
2012's december-month. In the next diagrams I have painted them in broken white.
The diagram on the right will tell us that these 21 blocks are not choosen as
randomly as seems at first glance. We only have to remember the red-coloured
L-shape as the seperate category of "harmonical" grouped little open cubes.
The 4 empty little boxes at the center direct us to the center of the large cube
and might aswell come handy for finding the date of its birth.
Left: 21 blocks. Right: With L-shape of seperate category blocks.
For the 12th month, we need to find 12 lines. Ofcourse, we could think of the 12
outside-lines of the cube as a whole, but even within the limits of the two-dimensional
diagrams, there is a dainty composition of 12 lines available. It is the gridwork
that carries the 21 plus 4 (missing?) blocks.
This now found grid, we will use to find the 2012 tiles. As we can see, the grid of 12
does not fit in the four-folded geometry of the bigger picture. One could have the
inclination to pull it to the middle. At least I do. Let's see what happens when we
Left: 6 horizontal and 6 vertical lines.
Rechts: The grid pulled towards the middle.
What happens is that we now find exactly 100 little squares. I will colour them broken
white in the next diagram. In case we multiply these 100 new tiles with the 20 left
over spaces, than we have reached number 2000. The 20 left over spaces, ofcourse,
correlate with the 20 open cubes (both harmonic as impossible cubes) from the original
Left: 100 tiles.
Right: 20 left over spaces.
With the 20 x 100 tiles, we will have to add 12 tiles to complete the year 2012. For these
I will return to a beautiful collection from the original grid. After all, we also gained
our number 20 from there. What I find somewhat slovenly about the method is that we
multiplyed the first serie and than swapped to adding with the other serie.
Left: The original grid with 12 tiles.
Right: In combination with the 20 and the 100 tiles.
The final 2012 diagram again demonstrates a powerfull growing suggestion. Maybe, we
could also speak of a return that makes increase possible. Whatever is the case, ofcourse
we want to see another diagram, yet one in which the complete date can easily be found
The complete 21-12-2012 diagram.
Also the date of 25-8-2012, which is the date of birth of the formation, can be detected
After having discovered so many numbers of completion, one may wonder how much more completion
is awaiting us. In the diagrams relating to 33, aswell as in the diagrams relating to 64, we find
there's a potential or a suggestion towards growth. In fact, this idea can be found in many other
aspects of the formation. Each time, it manages to somehow disturb a stable or outspoken
conclusion. Each time, there's something that bends or twists or undermines our observation.
To my understanding, the Hackpen Hill formation can be considered a mind, heart and power
expanding tool, mirroring basical universal cosmic relationships. From there, it can offer us
possebilities in all sorts of directions.
We can think of a new world order when related to freemasonery, or even an organisation in
charge, that is overruling the masons. After all, there are always bosses above bosses in
life. We can think of an alchemical stone of knowledge and wisdom suitable for all sorts
of scientific or philosofical directions. On the more direct level of existing as a human
individual, we can think of a concept that teaches or helps us orientate about who we
essentially are, or where we actually stand in the cosmos.
In Buddhism, aswell as in many other great scources of wisdom, it is often said that everything
is an illusion. Maya. It seems to me, the fantastic Hackpen Hill formation underlines that
idea. It helps us to get closer connected to the (super-)position of seeing through the world
of illusions. By lifting us up to this position, it enables us to overcome great difficulties.
It will help us to become master over our illusions. By doing so, it offers us possebilities
we hardly dare dreaming of In my opinion, this formation is therefore truly miraculous aswell
as for its superintelligent complexity without expressing that in a wilderness of artificial
oddities. What a wonderfull gift! Oh, what a wonderfull gift!