He has also written a paper on the subject: “Kabbalah and Freemasonry” by W. Kirk MacNulty, 32°
Symbolism in art and architecture, secret societies and the occult.
by Phillip D. Collins ©, Dec. 31st, 2004
Replete with esoteric symbols, conspiracy research certainly warrants semiotic examination. Although fraught with historical flaws and theological distortions, The Da Vinci Code by Dan Brown acknowledges the value of semiotics in studying the conspiratorial world. In fact, the novel’s central character is a semiotician specializing in symbology. Evidently, Brown recognized the potential of semiotics in analyzing the coded messages of cabals occupying history’s darker corners. September 11th is one such corner that is worth semiotic analysis.
Numerous researchers like Michael Ruppert and Dennis Cuddy have done an excellent job compiling the evidence of government complicity in 9-11. Recapitulating their arguments is not the purpose of this article. However, it is this researcher’s contention that there is a supranational power elite positioned above the political machinations of national governments. It was this supranational elite that created Bin Laden and, through strategically placed surrogates, de-activated portions of American’s national security apparatus that could have prevented 9-11. Commenting on this supranational elite, Professor Keller explains: “Like a secret society, those at the top rarely reveal the inner workings of their worlds” (3).
Semiotics could provide the Rosetta Stone to deciphering the esoteric language of the elite, particularly the subtle messages that they embedded within the events of 9-11. This article shall semiotically dismantle the early media reports that NBC broadcasted on September 11, 2001. It is this author’s contention that these early reports, working intertextually with sci-fi films of previous years, helped the power elite to impose a politically expedient narrative paradigm upon 9-11.
Originally Published at Conspiracy Archive on 2012/08/05
Anyone the least familiar with the Bohemian Grove has come across the claim that the 40-foot stone owl is a reference to Moloch, associated with child sacrifice in the Bible and rabbinic tradition. The owl, however – to the Bohemian club, as well – has traditionally symbolized wisdom. While there’s no ancient description of what a Moloch idol actually looked like, relatively modern representations have invariably depicted a bull-headed statue. Throughout history, in fact, not once was Moloch ever associated with an owl – until, that is, the age of the internet.
I’d initially surmised that Alex Jones was the first person to put the Moloch spin on the owl. In 2000, as we know, he snuck into the Grove, videotaped the Cremation of Care ritual, and became an internet superstar – and rightly so. Numerous times in his film, Alex matter-of-factly states that the Bohemian owl represents Moloch.
Originally Published at Conspiracy Archive on 2010/01/13
There’s a growing field of scholarly study devoted to unravelling Masonic, esoteric symbolism in architecture. James Stevens Curl is perhaps the authority on the subject with such works as The Art and Architecture of Freemasonry and The Egyptian Revival. And more recently, the obsessive investigations of Frank Albo on the Manitoba Legislature building have informed a wide audience on the notion that Freemason-architects have constructed buildings that not only incorporate hermetic/occult symbolism, but intended as “a type of initiatory theatre.”
In a similar vein, comes an offering by Lance Factor, Professor of Philosophy at Knox College – Chapel in the Sky: Knox College’s Old Main and Its Masonic Architect. In an article at the Knox College website, we read that the book, “released this month by Northern Illinois University Press, explores how in 1856 Old Main’s architect, Charles Ulricson, secretly incorporated symbols from Freemasonry into the main campus building of a fervently anti-Masonic institution.”
Originally Published at Conspiracy Archive on 2009/07/19
The above was a quote from the December 1969 issue of the The New Age Magazine, the official magazine of the Supreme Council 33° A.&A. Scottish Rite of Freemasonry of the Southern Jurisdiction, Washington, D.C. (See the details here.) Edwin E. Aldrin, Jr., 32°, visited the Scottish Rite headquarters at the House of the Temple in Washington, September 16, 1969, after the historic moon landing of Apollo 11, and brought back the Freemasonic flag that he took with him to the moon.
The Apollo program was rife with Masons; they were proud of being involved, and weren’t shy about advertising the fact.
In the November 1969 edition of The New Age Magazine, there is an extensive article by Kenneth S. Kleinknecht, 33°, the Manager of the Apollo Program Command and Service Modules; Deputy Manager, Gemini Program; Manager, Project Mercury.
On page 13, we read:
Note how many of the astronauts themselves are Brother Masons: Edwin E. Aldrin, Jr.; L. Gordon Cooper, Jr.; Donn F. Eisle; Walter M. Schirra; Thomas P. Stafford; Edgar D. Mitchell, and Paul J. Weitz. Before his tragic death in a flash fire at Cape Kennedy on January 27, 1967, Virgil I. “Gus” Grissom was a Mason, too. Astronaut Gordon Cooper, during his epochal Gemini V spaceflight in August of 1965, carried with him an official Thirty-third Degree Jewel and a Scottish Rite flag. Via the lunar plaque, the Masonic ensignia and flag, and the Masonic astronauts themselves – Masonry already is in the space age. Can we doubt Freemasonry and its spiritual relevance to the modern era when even its material representatives have today made historic inroads into the infinite expanses of outer space?
Originally Published at Conspiracy Archive on 2008/08/31
From The New Age Magazine, December 1969 (pp. 34-6):
Astronaut Visits Grand Commander
The history of Masonry in the space age took another step forward on September 16, 1969, when Astronaut Brother Edwin E. Aldrin, Jr., 32°, visited the House of the Temple in Washington. Accompanied by his father, Edwin E. Aldrin, Sr., also a Scottish Rite Mason, Astronaut Aldrin paused in his busy schedule to greet Grand Commander Smith and to present to him the handmade Scottish Rite flag he had taken to the moon.
The flag is made of white silk, measures 22 x 30 centimeters, and is edged by a band of gold. It is embroidered with the words “The Supreme Council, 33°, Southern Jurisdiction, USA” and the motto “Deus Meumque Jus.” It is also decorated with the double-headed eagle, the crown of the Thirty-third Degree, the insignia of the Sovereign Grand Commander, and the insignia of a Master Mason.
On that historic lunar flight from July 16 to 24, 1969, the presence of this flag symbolized Masonry’s universal importance. When man reaches new worlds, Masonry will be there.
Originally Published at Conspiracy Archive on 2008/09/08
A few years ago someone sent me a photo of a metal-cast plaque he had found on the wall at the house of a friend of his family’s. I no longer have the original email and I fail to recall the exact details of what the person (at whose home it was found) did for a living, but he was probably an engineer or a cyberneticist. The person who contacted me was inquiring as to whether I had seen something like this before – I hadn’t.
Here is the photo: