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CROPCIRCLE RESEARCH

Silbury Hill, april 29th, 2011.


Silbury Hill formation. © Oliver Morel

Renewal.

With a first look at this formation it strikes me that the figure, both in design as in the way it is made, misses een certain perfection. It leads me to thoughts of similarity with a wall-painting that I made about half a year ago. I did that in the Belgium village named "Doel" near Anvers. About this piece of wall-art I will reflect further down this article.

It is quite simple to agree that the figure, that seems to be based on the flower of life, contains six parts (or moon-crescents). The curiousity here is that these six crescents are marked by three different features. The first I call "initiation", the second "limitation" and the third "completion". These characteristics are choosen on the base of associating, more or less approximately, meaning that they can eventually be replaced by other idea's.
       
Left; initiation     Middle; limitation     Right; completion.

Every feature appears two times which makes three times two similar parts. Within a six-folded structure like this, it would eye perfectly harmonic when the parts would be divided in a more orderly sequence. Unfortunately, this is not the case. A design like this could therefore easily be brandmarked as "less harmonic".
      
Left; the original design. Right; as it looks more harmonic or balanced.

Concerning the way that the formation is fabricated, it strikes me that the curves are not smooth enough. In particular when we look at the two completed parts (planes of flattened crop) we notice a clear difference in the sizes of what I would call the covering. It is as if the makers had a struggle with finding the exact angles for drawing the curves. To do that in a proper way one would in fact need an assisting circle. With such an assisting circle it can be measured out where the midpoints for the six secondary cirkels should be placed. (I presume it stands that the secondary circles refer to the six curves.)
It speaks for itself that on the drawing-table such an assisting circle can be erased easily. Doing that in a canola-field becomes a total different story! For what's left it can be observed that, like mentioned before, the curves are not very smooth, but that could be due to the positions of the individual plants in combination with how they fell.
      
Diagrams directly derived from the aerial photograph.
Left; different sizes. Right; the imaginary assisting circle.

It is the absence of perfection, both in the design as in the way it is worked out, that made me write this article. Had I not been confronted with both of these faults while doing the wall-painting at Doel, it would probebly have been a different case. The formation therefore wakes me up as it were, to publish the story behind this wall-painting and ofcourse also to digress on the creative aspect of the formation itself.

The clumsy impression that proceeds from of the formation, including the disappointing lay (broken stalks and boardmarks all over the place), strongly indicates that it is manmade. Nevertheless, strong indications are not the same as proof. The nuance is important in the field of cropcircle research where it often happens that nothing is what it seems. Would it be confirmed to be manmade indeed, it still doesn't bother me to go in depth, analising the work of art on peculiarities and/or meanings. It should be clear for the average cropcircle-fan that the phenomenon has to an important degree to do with creative interaction with invisible intelligence.
Therefore it is justified to question what the factor "inspiration" implies, also when a formation is doubtlessly made by human beings. This counts the more when we consider that paranormal events often occur in relation to manmade formations aswell.

To get it straight; I don't say this Silbury Hill formation is a manmade formation. I don't say it is an "authentic" one eighter. I simply don't make any of such conclusions, but try to simply picture all the ins and outs of the formation.
     
Comparison.

When I compare the formation with the wall-painting I notice a reasonable similarity. Does that automaticly imply that the formation holds a conscious reference to the wall-painting? No, but I certainly find the idea intriguing.
Let me expose about the wall-painting.

At the cropcircle-season of 2010 I visited on my way to England the harbour-town of Doel. The highly surreal environment baffled me and partly on the basis of growing discontent about my life in the North of Holland, ás by mysterious whisper, I decided at that moment to try to start a new life here. I presume it takes the spirit of a pioneer to be willing to live here. The village of Doel is truly like a wild west gosht-town. Since many years, citizens of the town are bought out of their houses, if not, being manipulated, strangled and intimidated by the local government together with big harbour companies. Nearly all the citizens have left their homes now, not being able to withstand the hard long lasting pressure. The reason for all this was to expand the harbour. A huge container-company would settle there.

It was by the resistance of the locals, aswell as by the collapse of economy that the plans didn't fully work out as thought. Although the uppermost of the houses are left or demolished, there is still a handfull of habitants that have not left. As stated, the village looks like a wild west gosht-town. Everywhere there are houses in decay. The spooky atmosphere is compensated by very many colourful and often humoristic wall-paintings. To make the description complete, there is also that huge nuclear powerstation straight at the edge of the village, that day in day out, produces big clouds besides energy. Mind also that there are giant high-tension towers inside the town that carry the distribution-cables away from the nuclear plant.

All together the absurdity of the village strongly attracts me, because it seems model for the end of our western capitalistic society. What I'm projecting on it is the possebility of an alternative community developing on the remains of the catastrofe. As hopeless it might seem, so necessary does it appear to me to start something like that.

Driven by my idealism, it appealed friendly to me if I would go for an artistic contribution that would lift up the view of the place. Because I have become somewhat possessed by the cropcircle phenomenon I wanted to paint a nice cropcircle-design on an empty wall. Thinking it, became saying it, became doing it. After going through my archive I decided to do a design based on the flower of life. It should not become too complicated. For some reason I couldn't make a clear choice between all the existing cropcircle-designs based on the flower of life. So, I made my own design that could convincingly stand for an original, let's say, authentic cropcircle-design...

The original design-sketch.

The design stands for "renewal". It is the vortex effect in combination with the flower of life elements that gives a feel of movement in connection with harmony. I choose for it to create the painting in openness, not able to immagine that anyone would object to it. The house on which I would paint was ofcourse an empty one and in the state of decay, clearly an object nominated for demolishing. What is the problem? The second day, I was just finishing another phase, I was stopped by the police. The cops told me they had been instructed by the owner of the house to stop me from spoiling his possesion. It was concidered to be an act of vandalism. Personally I would say ruďning a whole town looks a little more like vandalism to me, but as it goes, I got my fine while all the painting materials including a ladder that I had borrowed of a friend were confiscated. This, in my humble opinion, is nothing else but a serious act of stealing. The servants of the law always manage to give us the right example!
     
Differend stages of completion. At the very right, the moment short after the police had stopped me.

What is concerned the objections of the owner, it is in fact the harbour-company that bought all houses in the town, his only intention is to destroy all of these houses in time. How cynical it than becomes to get punished as a motivated idealist for what they interpretated as "vandalism". The truth is that I was working on a serious piece of art in which beauty and harmony were given a central place. It is a free gift to every visitor in the village. But ofcourse the autocratic and destructive rulers would have their way as usual.
The shame of disrupting the whole community is totaly out of proportion, while I don't think that those who are responsible for all this damage have already had a single fine yet...

There was no way for me to leave the artwork unfinished as it was. That simply didn't feel good. Altough it still is not finished for one hundred procent, at least it looks much better now. What I find amusing is that Moby Dick has fallen in love with my creation!

Moby Dick loves art!

What I would like to touch upon with describing this incident, are the under laying structures of power and the processes that can lead to this kind of absurdities. The human proportions seem more and more lost in this "end-time". While far out most people sit heavily upon the moral corrupt activities of these super-companies, it turns out again and again, that the immoral power is strong enough to get away with large-scale human and environmental destruction.

More and more people become aware that we need to get rid of the system that has run totally out of control. It's monstrous destructive aspects have come so clearly to the surface, now. People are anxious for renewal in the direction of justice, real freedom, environmental care, health, peace and more of these things. The big problem is that the right actions are often not undertaken. In case there are suitable actions undertaken, it happens easily that these are getting frustrated for short time or selfish motives. How critical must things become? And in the meantime there's so much suffering going on...

One of the main difficulties is that human beings, collectively or not, have made themselves dependent of the system. While the system should work for them, it now has become the case that they work for the system. People hand their power over to the system and than complain against the power of the system. This inconsequencial behaviour or even lifestyle, can only lead to chainreactions of gloomy events. It is necessary that each individual for him or herself needs to draw up the balanssheet and break loose of the institutionalised cancer. Such an act of self-conquest is certainly possible and will definitly find support from the spirit-world! Furthermore, it does not only confine to break loose of the system, it also becomes needed that whenever possible, misbehaviour gets challenged.

Thus, I had disputed the moral injustice to the police-officers that condemned my act of unselfishness. It is not that I make myself many illusions about any eventual compunction at these officers, but some contraweight needs to be. Besides there is something like the subconscious for which communications like these are of greater value than commonly imagined. By the way, it is not my intension to nail people that have commited themselves to the system. On the contrary, I am only trying to get them away from the dangers that the destructive machinery has in store for them as well as for others.

Doel seen from the dike.

At this moment, the question arises inside of me, is, if there has been a paranormal steering that leaded to the Silbury Hill formation as it is?
The similarity between the wallpainting and the formation reminds me to certain paranormal experiments. In these experiments one person creates a drawing in a separate room from another person that is suppost to have a paranormal talent. After the drawing is made, it gets fold up, than put in an envelope. After that, the paranormal candidate has to proof his ability by producing a drawing that matches the drawing inside the closed envelope.

Could it be, that there has been a conscious steering behind the making of the formation as it is, so that it would trigger me to reflect on renewal of society? I don't exclude the possibility that this article will be updated with a second part. After all, not all the imagery-aspects of the formation have been fully exposed.

 

 

 

 

 

 

 

 

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