The 2015 crop circles were slow to talk, though the early-season circles at Newton Barrow and Luxenborough were intriguing. The resonant opposing arc designs hinted at an emerging theme – but after 2014’s lively discussion of the mechanics and implications of our co-creative role in interdimensional communication, I wasn’t feeling at all clear about this summer’s direction.
It wasn’t until mid-July that I saw what was, for me at least, the real season opener at Clearbury Ring (left, bottom). This was the real deal, no doubt about it conversation starter. I couldn’t wait to get going with it – but wait I would, for my schedule for the rest of the day was packed.
Later that afternoon I popped into the library at closing time to return some books. With no time to browse I was about to leave emptyhanded when Beneath the Seven Seas caught my eye. The cover depicted underwater archaeology, a fascination of mine, and its title reminded me of Atlantis and the Seven Stars which has been informing my work since the beginning. Perfect! I rushed to check it out.
Perfect indeed. The image I saw when I opened the book at home that evening answered my earlier ponderings about the crop circle at Clearbury Ring: on the frontispiece was a photo of a 3400-year old gold pectoral, its two arcs positioned alongside four rays, complete with a ring of studs around a small central circle – exactly as at Clearbury.
Soon vast amounts of communication began to unfold in a series of related synchronicities, like a download, confirming the direction my work had taken over the past year. Before long I had another key realisation: the opposing crescents around a small central circle exactly mirrored the shape that appeared to me during a crop circle meditation in 1997 and materialised in a subsequent crop circle at Oliver’s Castle.
That I visualised the crescents while in the Goddess crop circle is part of the synchronicity: The Upham Goddess was located at the edge of a WWII bomb crater, and many of us who visited it and felt a protective energy radiating from it. Perhaps the symbols I received there represent a shield, just like the ancient pectoral – and the Clearbury circle.
Clearbury Ring draws our attention to a time thousands of years ago – the time of the gods and goddesses and the real historical roots of mythology which we’re rediscovering today. Physically absent and forgotten by most, perhaps the gods who had so much influence thousands of years ago have found a way to communicate through the crop circles – just as we approach the ability to comprehend such phenomena in the age of post-LHC physics.
We were even shown how it happens with the circles of 2014.
Seen together, these individual high-magnitude synchronicities comprise a megasynchronicity that continues to unfold as a living dialogue. Answers often bring questions. Why did I see the crescent shape so vividly that day in 1997, and how did it become the basis for the Oliver’s Castle formation that showed up in response? Where did those who assembled the grand formation at Clearbury Ring this year get their design? And what inspired the same design on the 3400-year old pectoral that fell into my hands with perfect timing?
Once again: interdimensional communication arrives through crop circle synchronicities. The harder we listen, the louder they speak.
– STACE TUSSEL