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"Journal" entries:

For the Record...
"For the Record"


"D minus 5"


"This City..."


"All the light..."

"D plus 35"

"D plus 637"


"D plus 2866"

"D plus 3589"

Other works by Jim Eberhardt:


Saint Bismarck's Pyramid

"ANNUIT COEPTIS, Saint Bismarck's Pyramid (Standard Issue)"
This illustration provides insight into some of Eberhardt's journal entries. This can only be understood as the same pyramid that "opened the door." Comparing this drawing to Eberhardt's backyard concrete pyramid, this pyramid seems to be solid up to a flat top, then completed by a point made of light and containing an eye. Is it truly "Standard Issue"? For whom?

What did the founding fathers know about this device? Many of them were Masons, whose order traces its roots back to the Temple of Solomon, and is one organization of the fabled "Illuminati." (significantly, this name means "Enlightened Ones." Light radiates from the pyramid.) They are one of Earth's oldest institutions. How long have these Mortis Omega (whom Eberhardt calls the Army of God) been watching us? Did they teach the Masons something of their technology?

Dollar Bill

The ancient Egyptians are well known to have given the world its oldest pyramids. Were they, like poor Eberhardt, mimicking a technology that they perceived briefly, or from afar? Perhaps, unable to create sculptures of light, they "filled in" their pyramids with tops of stone. If we were to take one of the tops apart, would we find a giant stone eye?

Some have posited that the astronomical obsessions of ancient cultures as expressed in megaliths--whether the Egyptian pyramids, the Mayan ones, or Stonehenge--implies the existence of aliens (e.g. "Grays") who made contact with these enlightened cultures long ago. This new evidence makes a strong claim that the ancient benefactors were not aliens per se, but agents of the Mortis Omega. The astronomical obsession may have less to do with interplanetary travel and more to do with a Mortis Omega-like watchfulness over the heavens.

nested pyramids

In the illustration above, Eberhardt shows us two pyramids of differing size, one nested inside the other. They are connected by an open circle (as well as possibly two sides of an open square). Compare to the photograph of the Pyramids of Giza below: Are we meant to align the small pyramid with the bigger ones? Sadly the drawing's meaning remains obscure.

Update: See this website for additional connections: http://www.greatseal.com/mottoes/coeptis.html

Pyramids, 1904


"Hundreds of Earths..."

Hundreds of Earthsglass of water

The text of the first illustration reads "Hundreds of Earths, and the Dragon in the Outer Darkness...", "Mortis Omega" and "Separated by a flick of the quantum finger" with an arrow between the worlds. On the far left, another arrow says "Have I returned to where I started from?"

The second illustration reads "glass of water: separate lives."

Here, Eberhardt sheds new light on a cutting-edge interpretation of quantum physics, known as the Many Worlds Interpretation (MWI). In layman's terms, this theory holds that the Uncertainty Principle is never resolved: The cat in Schroedinger's box, rather than turning out to be alive or dead in the end, is forever both: in one world, alive, and in another, dead. The quantum uncertainty propagates several, perhaps infinite, different parallel realities. However, these quantum divergences may aggregate: they may "collect" or "build up" (see constructively interfering waveforms) to create not just a living cat and a dead cat, but cats, dogs, horses--entire realities, comprised of "in-sync" quantum divergences. A complete such reality would appear as a parallel Earth, with its own parallel Sun and parallel galaxies.

More about the technology of the Mayan pyramids as it relates to quantum divergence here: http://www.paramacxa.nl/nassim_haramein.htm

quantum splittingquantum events splitting into multiple realities

On the "D Day" at the center of his journals, Eberhardt describes a singularity: that is, the end of one reality and the beginning of another: from his bizarre African valley (itself perhaps already within the singularity's "event horizon"), to the "Shining City" he describes, and eventually (by way of a forest?) to New York City. In a singularity, time slows to a standstill and mass increases infinitely. What does such a moment feel like? All heaven and hell seem laid bare to Eberhardt in that instant, as he travels "to [a] star." Then, the moment passes. We can only understand him to be saying that his physical and mental being have coherently transitioned from one parallel existence to another, and then to another again.

Hence Eberhardt's disquiet: Can he really be sure that the Earth he inhabits after his singularity (ours) is the same as the one he inhabited before (his)? The fact that we knew of an Eberhardt before his self-perceived singularity does not settle the matter: How do we know that we have regained the same Eberhardt?

The drawing of the water glass echoes the work of Cubist painters such as Marcel Duchamp and Georges Braque. What did the Cubists (known hallucenogenic drug users) perceive about parallel realities?

There is additional danger indicated in the first drawing: the "Dragon" in the "Outer Darkness." From his journals, it is clear that Eberhardt interprets his experiences through the medium of his biblical education. In the Bible, the Dragon is Lucifer, the rebel angel. Is there a real-world (real-worlds) analog to this character? How are we to understand its claws puncturing the many worlds? This is yet another area where we can only wish we had more of Eberhardt's journals and materials.


"The End of Death"

Eberhardt gives us to understand that the "Shining City" to which he travels is where St. Bismarck meets with the "angels of God." The secret name he gives them, heretofore unknown on this planet, is "the Mortis Omega," a name that partakes equally of Latin and Greek. Translated roughly, it means "the End of Death." Are we meant to infer that Latin and Greek are the true languages of the angels, or are they simply two of the many tongues used to give voice to the ineffable?

St. Bismarck appears, in the photo, to look like an ordinary human being, albeit one in exceptional physical health. Yet because St. Bismarck seems to know the "angels" and later puts on the "whole armour of God," it is reasonable to infer that he is himself one of this host: one of "those blessed Others" who "know the ordnance of heaven." What is this heavenly army? What is their mission? Why was St. Bismarck posing as a Marine? What does the U.S. Government know about the Mortis Omega?

wings and eye