My good friend Michael Langevin asks me what crop circles might mean (after I send him a photo of a Brazilian crop circle that I found on facebook) and I sent him this, from my book The Sphere and the Hologram. It was nice to be reminded of the information, which came in about a dozen years ago. “R:” means Rita Warren, who asked the questions of me in an altered state.
R: Okay, I’m going to move to some of the questions that came from people who read this last session. There are a series of questions here about crop circles. Who makes them? How are they made? Why are they made? What are they trying to communicate?
TGU: [pause] The simplest answer – although not the most useful answer – is they’re trying to communicate the magical, indivisible nature of the universe. In other words, these are signs coming forth in 3D without ostensible mechanical or physical means, which by definition tells people that they were made in some other way. So the meta-message is that there’s more to physical life than physical things. Or a better way of looking at it is, physical matter has a seemingly non-physical component to it. You extend into other realms. Those realms in turn extend into yours, and so they can affect it. Your crop circle phenomenon is – how shall we call it? A prayer? A song? An instruction book? A greeting card? A little of each of those.
Suppose you had two groups of people, races of people, on opposite ends of an ocean, who never saw each other, and who never could see each other because for some reason they couldn’t cross the ocean, and one found a way to communicate with the other, but they had no common language and no common traditions. How would you begin?
This is the situation of those on the other side – or no, let’s clarify that. When we say “on the other side,” they’re in another dimension, they’re not on our side in the way that we are. You know how we say we look at everything that’s in the physical as earth, whether it’s in Alpha Centauri or here? Well, it’s also whether it’s here in what you look at as four dimensions, or whether it’s here in what they look at as five dimensions, or three dimensions, or six. In other words there’s only one earth, but there are all kinds of earths superimposed at different frequencies. This is another frequency of the earth. What they can do is manipulate the frequency of the wheat in their dimension, which has the effect of manipulating it in this dimension. You may have read how crop circles are partially formed by the grain growing parallel to the ground rather than at right angles. In other words, they make a right angle on their own stems, without being damaged, or injured.
Well, there’s no way to do that in three dimensions. But in another dimension, you just turn it. And if you turn it in that dimension, that’s what happens down in three. It’s quite simple on their side. The [pause] message is that you will have these symbols appearing in more and more unlikely places including on the sides of cliffs. All right? And when they appear on the sides of cliffs it’s going to be more difficult for guys to say it was two men and a board in the middle of the night.
That’s one reason it will appear on the sides of cliffs. But they will appear and then disappear. And when crop circles appear, there’s residue, you know. They don’t go away exactly. But when people have gotten sufficiently accustomed to the crop circles that they actually forget that they were new and magical, then a new manifestation will appear, because one of the important things that’s being said is that it’s new and magical.
So that’s the greeting card element. There is an attempt also to convey information, and some of the easiest ways to convey information is to say that “we are as intelligent as you are.” So when you have a crop circle that looks like a Mandelbrot set, they’re saying, “we know what Mandelbrot sets are”! This tells people on this end who are sufficiently mathematically advanced, “all right, these people must be at least this much advanced.” They didn’t write e=mc squared, or H2O, but they said “okay, we know this. So if you can recognize this, bingo, you know where we are.”
Now you may very well ask where this is leading to. And the answer to that will seem to have nothing to do with crop circles, because the answer to that is again, the extension of your consciousness into other realms, into other parts of yourselves, to extend your effective consciousness further. When you do that, you’ll be in contact with the people that are making the crop circles. The crop circles by themselves, although they’re beautiful, are not the end result, they’re the means. When a ship sends a semaphore signal, looking at the beauty of the flags fluttering in the wind is not the point of the exercise. It’s okay, it doesn’t hurt, but it would be better to read the signal. [laughs] And in this case, many people will believe that they’re reading the meaning in the symbols themselves, and that’s all right, but be skeptical of people’s explanations. It’s easier to come up with an explanation than to have the right explanation. But the underlying purpose should be self-evident now. They are designed to stretch your way of thinking so that they will stretch your effective consciousness so that you will become more aware of what you are, which, in its own turn, connects you with previously unsuspected facets of the universe.
If you’re listening to that sentence carefully, you understand that “facets of the universe” is the same as saying “facets of yourself.” Because at that point you’re stretching over to our side of the equation, in which we’re all one. The more you stretch your perceptions and your everyday consciousness, the more it leads you to see things more our way. That’s the fundamental change that’s happening in your time. And we will say this, somewhat flatly. Every mysterious circumstance that you see in your lives has that same purpose, to lead you to stretch your consciousness and to stretch your awareness, to bring you closer to experiencing and living being both an individual and part of one. It’s never been done for a long, long time on earth.
R: I’m aware of this stretching dimension, but I’m finding that, although one can say “all right, I can stretch my imagination to the point where I can see something else in what seems like our space and time,” I don’t know what to do with that. It sounds like you’re saying that the process itself is the achievement, not the interpretation of that phenomenon.
TGU: More or less. You build muscles and flex them, not for the sake of moving the barbells up and down, but for the sake of another purpose later. UFOs, or crop circles, or other things, stretch your ideas about the limits that you’ve set around your own universe, but then as you get a little familiar with that, the stretching goes further and further. The more you look at them, the more you question. So they remain mysterious, and they actually get more mysterious the more you know about them, because you have more detail, and that’s part of their purpose. We don’t mean to say that they have no purpose on their own and their only purpose is to confuse you into waking up. However, that is a purpose. A purpose.
But then, so was World War II, in a sense. Beyond the battle of free will that went on in terms of “were individuals going to continue to be encouraged or not,” the entire war was, not a wake up call, it was a waking up. [pause] Digression.
R: Let me just ask if I understood that the energy that’s making these crop circles is another form of the earth. A non-physical earth?
TGU: No, it’s a physical earth, but it’s not the same dimensions that you’re in.
R: Another dimension, still physical.
TGU: Yes. That’s right.
R: So that the energies from that world are still individual energies who are bringing this about? Or are we now talking about a completely different form of operation here?
TGU: Suppose we told you that it was yourselves?
R: [pause] Well, I would say how am I supposed to understand that?
TGU: It’s an encouragement for you to consider that in this way as well, you extend far beyond what you are typically conscious of. You see?
R: To other dimensions?
TGU: Yes, exactly. After all, if from our point of view everything is one, when you carry it over on your end, there are analogies there. You might want to think about it. [pause] All right, how do we say this? Every identity depends upon the viewpoint. We could say that you and your neighbors are all Virginians; all Americans; all inhabitants of earth; all mammals. We could also make divisions at each of those levels, and the divisions would be as real as the unity; it just depends on which way you look.
Well, you that’s here now, and you in other places, and you in other times, and you in other dimensions – your jobs, should you choose to accept them, are to pull together your awareness of your underlying unity in all this seeming diversity. Now, this is at least a two step process, because first you have to become aware of the diversity. But that’s happening. The next step beyond awareness of the diversity is to become aware of the unity within the diversity. This does not have to be completed by next Wednesday.
R: [chuckles] Good. [they laugh] I don’t know if I got an answer. Well, I did get an answer, when I was asking how these crop circles come about, what’s the process. You’re saying we’re carrying out the process.
TGU: You could shine a light upon a surface, and something that lived on that surface would experience the light as something extraneous. That’s a very rough analogy to what they’re doing. They’re manipulating one dimension of their own reality in such a way that it shows on your reality. It’s a simple thing, but difficult to explain. None of the terms are here. If you will concentrate on the fact that the stalks grow at right angles more or less to what they should grow, without being in any way damaged, and take the implication that that means they were drawn through another dimension and turned – and that’s all we can say about that – that’ll give you as much sense as you need, because we can’t explain it – I mean, if we said, “well the mesons interfered with the” you know. [they chuckle]
R: We wouldn’t understand it any better.
TGU: No, that’s right. And it’s not a reflection of your intelligence; you don’t have any of the experience. How would you explain to a fish a bicycle?
R: All right, one of the questions is, “why are they made,” and I can understand what you’ve said about their being made with respect to our information, but what are those individuals who are making them trying to do?
TGU: Exactly what you’re trying to do. It’s a reciprocal process.
R: The being in touch with –?
TGU: Yes. Yes, exactly. And for them to be in touch with you is a stretch, and for you to be in touch with them is a stretch, but if you’re each stretching, it helps. And if you’re sort of touching fingers in the meantime by way of the crop circles, that helps too. Because it [pause] objectifies a possibility, sort of. Gives you something to look at, gives them something to do with their time [they laugh] and in both cases it focuses your attention. Once you get the idea that it is not the crop circle but the question of contacting the maker of the crop circle, then it focuses both of your attentions on something that will show you that it’s not both of you at all. [pause] We could rename the book Paradoxes Are Us, if you wish. [they chuckle]
R: Well, we made a feeble attempt in this direction, I guess, when we first sent out satellites into outer space, to send along elements from our civilizations in hopes that we would communicate with someone out there who might find them.
TGU: But look at the difference in your civilization’s assumptions. You sent out a mechanical object, with designs and equations sketched on to it, and thought, someone out there in a different body would look at this piece of information and possibly trace it back to the owner. All of those assumptions packed into that whole project! That it isn’t you out there; that material objects are the only feasible way, or at least the most feasible way, to communicate; that technology is the desired or even the likely interface. You know, there’s a lot of assumptions stacked one after another. That mechanistic approach is as far away from us as you can get, and crop circles are nearly as far away from it as you can get. We take your point. Somebody was thinking about contact. But you see, it isn’t the same, because they were thinking about contacting others. But then, having said that, people who are trying to contact the makers of the crop circles will be thinking of them as other, as well, so, so it’s –
R: Yes. And they were done by mechanical means, it looks like, at this end, and –.
TGU: Well, we would have thought of it as organic rather than mechanical, but we can see that. All right. It is the manipulation of matter, after all.