#42 - MED - Anomalies in the divine experiment on earth, part 2
Hello once again, this is JLL with Gnostic Intel on the Internet. I'm coming at you on the 17th of May, 2017, with the completion of Part 39, Installment 39, on this channel, “Anomalies in the divine experiment on earth”.
You know, what I'm attempting in these two talks could be called a riff. You know, maybe you could call it a cosmic riff, a cosmological riff. You know, technically a riff is an ostinato phrase that typically supports a solo performance which involves improvisation. And ostinato interestingly comes from Latin and Italian meaning stubborn.
So I am definitely producing a stubborn riff here. How so? Well, simply due to the fact that I've been running this riff for a long time now, a really long time. And every time I run the riff of the cosmological scenario from the Mysteries, it's a little bit different. It's improvised and developed each time.
You know, for instance, take old John Coltrane back in those days in the 60s. When John Coltrane was in the jazz club and he performed “My Favorite Things”, well he took the main theme, the main melodic components of “My Favorite Things”, the chords, and he improvised on them in a solo manner, which is what I'm doing with the Sophianic vision story, the narrative of the fall of the wisdom goddess and my riff is definitely stubborn. I was the person?
Let me put that differently. I was the person who restored this narrative to humanity. I have to say that is a very great fact. It's not easy to live with at times that fact. I consider it a privilege beyond words. I consider it a sacred engagement. I don't consider it a duty or a burden, but I consider it a sacred commitment to get this myth out to the world, this narrative, myth, using the word myth in the sense of a story of power and beauty that explains things that actually did happen.
It's not a superstitious construction or some kind of make-believe fable. You will probably get it by now if you've been following my riff on Sophia. The prunikos, they called her. Prunikos, I love this word. It means audacious. The church fathers, the early Christian ideologues, who hated the Gnostics and argued against them and eventually sent out troops of stormtroopers of the new Christian converts to destroy the Gnostic libraries and hound the initiates into extinction if they didn't kill them, hound them into exile, hated this story because of its sensuous and sumptuous beauty.
And so they commonly considered that the term prunikos would be applied to a whore, and that means a whore who displays herself in an obscene manner. That's what prunikos meant to them. The Aeon Sophia is prunikos. She's audacious. She displays her beauty. She's reckless, and she displays her beauty and her power in a reckless fashion, like a dancer who is totally possessed by the dance that she is performing.
That's our Divine Mother. So anyway, where was I? Oh yeah, my cosmic riff, you should know by now, you should get the drift, that the sacred narrative of the Mysteries is an astronomical myth. It is a mythopoetic narrative describing things that actually happened here in this local galaxy. And it describes as well the consequences of those events on the cosmic scale right down to the existential reality of right here, right now, you here alive on Earth, me here, me talking, you listening, right down to the reality of the world as it is today.
From the galactic core to here and now. This is what the myth describes. And as I've often said, it's an open-ended myth. The final chapters of this aren’t written. By far, the most important event, the momentous event that occurs at a certain moment in the progression of this myth is Sophia's correction.
And as some of you will know, who have been following me from the outset, I consider that the Mandela Effect is both the evidence and instrument of Sophia's correction. I would qualify that by saying it is the initialization instrument. It is the initial setup for Sophia's correction, this phenomenon, which is an event of supernatural intervention into the normal world. Tak. Okay, fine.
So, I'll continue now with this exposition of the anomalies, and to do so I'll link back and present a short review of the first anomaly. I strongly advise that you bring up the tracking page, number four, to look at while I'm talking. You'll see that on the tracking page, under talk 39A, I've presented Hubble's photograph of M31.
It was in fact on the 6th of October 1923 that he made his discovery, which is explained there in the notes. And following that, you come down to a link to a clip on Thunderbolt's project, and that concerns the filamentary universe, the nature of the diffusion and dispersion and interweaving of plasmic filaments throughout the universe. This is a picture from the new theory, the emergent theory of plasma cosmology, also called the EU, the electric universe theory. Totally compatible with the Sophianic cosmology.
I've said this many, many times. I can't tell you if I had been able to do so, which I wasn't, but if I had been able to do so over the years, I would have made a compilation, some kind of file or page on metahistory.org entitled, “Correlations and Corroborations Between EU Plasma Cosmology and the Sophianic Cosmology of the Mysteries”. And there would have been a very considerable list of parallels.
In fact, I can remember at one point watching a clip on Thunderbolt's project where Wal Thornhill was describing plasmic discharges from interstellar and intergalactic bodies. Got that? Plasmic discharges, from which occur at the center of a galaxy, and which can also occur in various cosmic bodies out there in the infinite space of the universe, if you will allow such a visionary scenario for the purposes learning. Okay?
Well, he described the surge of a plasmatic plume or jet out of a cosmic entity, being it a star or a galaxy, as comparable to the reaction of a living creature. I don't think he used the exact analogy of an octopus squirting ink, but that came to my mind. He did use some reference, however, to a living being.
Well, you see, the difference between the Sophianic cosmology that I present you and what the Thunderbolts project people are doing is that they exclude the possibility that the plasmatic activity in the universe of which they speak is alive, sentient, conscient, having memory, having the capacity to act and react, having volition, having discernment, having desire, having discrimination, having perceptual faculties that allow, for instance, can a plasmatic current surging through the universe perceive and scan its environment like an animal would?
Well, I say yes. They don't say that yet, you see. What is lacking in EU plasma cosmology is the animism, the animistic factor. Well, of course, the Sophianic vision story is totally animistic. It's the story of a star goddess, if you want to put it in that language, but it's a description of what happens, or what happened, in the galactic core due to an anomalous surge or a plasmatic discharge from the core.
Have it either way. You can have your cake and eat it too. The mythopoetic scenario, which is my riff, okay, and the plasma cosmology narrative are totally interchangeable, except that they do not allow that plasma could be alive and sentient. Plasma is called in Hindu tantric cosmology akasha, A-K-A-S-H-A, and Akasha is understood to be totally permeated with Cit, which is spelled C-I-T. Cit means the full spectrum of consciousness and all the faculties that consciousness can generate for itself as instruments of perception and action and emotion.
That's what the word plenary means. The Aeon Sophia is a plenary plasmatic luminosity permeating the earth. That is her original substance body from the Pleroma. When she surged out of the Pleroma, that was the first anomaly, and produced the Archons, which I'm getting to in a moment, and eventually turned into the Earth, which is the third anomaly, well, she didn't lose her original properties as a star goddess or a galactic scale field of plasmatic luminosity. She exists as both.
The earth is both what you see, nature, the material garment of the goddess, and it is as well the pure and perfect orb of her celestial radiance. It is both. Now to refer you to the tracking page, beneath the Hubble photograph, famous, famous artifact, that was 1923 by the way, going on a hundred years now, you'll see a link to the Thunderbolts clip, but also a link to the Fall of the Wisdom Goddess on metahistory.org.
And if you click that link, it brings you directly to a section in the nine-episode synopsis of the narrative showing the generation of the Archons. Now this is where the Mandelbrot set comes in.
Obviously, the name Mandelbrot is suggested by the Mandel clue to this phenomenon. And so how does it fit into the narrative? How does the Mandelbrot set, as a puzzle piece, fit into the overall narrative, which is the directive plot against which you know what the Mandela effect is.
You cannot know, really know, what the Mandela effect is, unless you have a narrative in which to place the phenomenon. And that's true of anything. That's true due to the way the human mind works. All the clues in the world don't count if you don't know what crime has been committed.
In this case, the crime is the fall of the Aeon Sophia, the production of the Archons, first anomaly, the shearing of the Anthropos template, the second anomaly, producing the division of the sexes, coalescence of Sophia with the material elements of nature, third anomaly, she does not create the earth, she turns into the planet Earth, she turns into the setting of the very experiment that she had preconceived for humanity when she designed the human genome in the galactic core. That's the whole picture. That's the big picture.
That's the theme, ostinato. That's the stubborn theme that I keep coming back to in my riff. And it's also your riff. It's your riff if you want it to be. You know why people choose to come into planetary tantra and why they get on all this Gnostic intel?
Fuck knows, it's not easy. It's not easy. It's taunting. It's complex. It's elaborate. The Sophianic myth is an elaborate story. So why do people get involved? Well, they get involved because of the staggering beauty of it. The beauty and the complexity and the depth of it draw people in. It's not convincing by its intellectual properties. It's compelling because it is a unique and magnificent story.
And if you don't connect with it in that way, you probably won't connect with it really in the way that will have a lasting, make a lasting difference in your life. So, what you'll see on the tracking page under the category of the first anomaly, the Archons, are two really important links.
One of them goes to the fall of the wisdom goddess and the other goes to an essay called “Alien Dreaming, the enigma of the Archons”. I'm in that page right now on my other computer and there you'll see an illustration which I took from a book called “Turbulent Chaos”, which is a book about fractals. And what it shows is a detail of an iteration of the Mandelbrot set.
And I believe, I can't, I don't have the book on hand, but I believe that that was an iteration that had been carried out what was it? 2.2 billion times. So, when you go to that level of granular detail of the Mandelbrot set by reiterating an equation, the equation that generates this geometric form on a computer, when you reiterate that equation over two billion times, this is the detail that comes up.
This shows the embryonic form of the Archons, and they have the figure of a child actually sucking its thumb, if you can look, if you can catch that detail. But also, there is an upper torso of a child or fetus sucking its thumb, and the lower torso is, of course, the reptilian part of the Archon body.
And you can see that the detail of this fractal design shows that the tail part will ultimately separate from the upper torso. Now it's simply a fact that the Gnostic materials, although they do not describe at length the Archons, the description of them, they may have had done so and that material may well have been destroyed or lost, but they do indicate the two primary types of the Archontic parasitic intruder.
The embryonic type, resembling an aborted fetus, huhe, that is to say a prematurely born fetus, and the reptilian type, dracona. So you see the elementary forms of these two types emerging in the fractal patterns associated with the Mandelbrot set.
Now how did this bizarre alien species actually arise due to Sophia's plunge? While I'm on my riff here, let me see if I can elaborate a little on this particular chord and give you a vivid description.
Imagine that you have a large metal tray, like a serving tray, and it's round. Maybe it's, you know, three feet across. It's a large tray, but it's very, very shallow. Let's say it's only a sixteenth of an inch deep with a very shallow rim. And you pour into this tray a kind of metallic lacquer that you should picture as being a metallic grey.
It's like lacquer, it's like very heavy metallic paint. And you pour it in and you make a coating over the tray, very thin coating. And then imagine that you could, imagine that this tray is floating in front of you, say at pretty much eye level, and imagine that you could magically remove the tray and just leave the skin of metallic paint floating in space.
Therefore you would have a circle, a circular area of a metallic skin floating in space. Now I must repeat, it is not business as usual for an eruption from the pleromic core of the galaxy to proceed laterally across the galactic arms. With the images provided by the Thunderbolts project and many other related images that you can easily search, you often see plasmatic jets erupting vertically from a celestial body or from a galaxy, from the core of a galaxy. That is not the case with the plunge of the Aeon Sophia.
Her plume proceeded laterally across the galactic arms. Now, why did that happen? Well, it happened because of two things. One, she acted unilaterally. She did not surpass the boundary of the Pleroma, which Aeons can do, they can do this if they wish, but she did not do it intentionally in cooperation with her consort, Thelete, or any other Aeon.
Now the illustrations you see today of such plasmatic discharges show them clearly as being a braid, and this is called the braid of the Birkeland currents. When she shot out laterally across the galactic arms, she was not a braid, she was a single strand. And due to that fact, she could not direct her or control the direction in which she proceeded.
So, what determined the direction in which she proceeded? Well, she proceeded in the direction of that which most attracted her and which was the utmost subject of her attention, which was the Anthropic genome of the human species that had already previously been implanted out there in the galactic limbs.
She went there by compulsion, not voluntarily. She was not able to direct the course of her own discharge as she would have been able to do had she joined with another Aeon, had it been a braided discharge, but it was a one-braid discharge. And that discharge led her to the area in the outer cosmos which was of consuming concern to her, the deposit of the genomic plasm of the human species in the Orion Nebula.
She went to her child, like any mother would do in an emergency situation. Okay? However, and this is a mighty, mighty big however, in the process of surging out of the galactic core, crossing the Horus horizon boundary of the yoke of the galaxy, she introduced into the region of the galactic arms, the Kenoma, a field force that does not normally occur there.
It does not normally project itself into that region. And the force of a plasmatic current of a star goddess, if you will, such as the Aeon Sophia. I call these aeons generators. The force of such a generator is that it immediately produces life forms.
You know, the difference between the imagination of a human animal and divine imagination is very easy to understand. I can picture in my imagination, let's say, a ship in a bottle. Let's say that I want to construct a ship in a bottle. I'm undertaking this hobby and so I picture a certain ship that I like, maybe it's a certain kind of racing yacht, and I picture it inside a lovely pale green colored bottle.
But then I have to go through everything that it takes to construct that miniature sailing boat and put it inside the bottle. That's human imagination. Divine imagination, if an aeon or generator conceives of a ship and a bottle, you have a ship and a bottle, like that.
That is the nature of divine imagination. It instantly materializes. This power of instantaneous materialization of what is conceived or dreamed by a divine generator is called maya-sakti in the Hindu tantric writings, maya-sakti. That is to say, the power to immediately bring into material appearance, that which is held in imagination and projected into appearance.
So, when Sophia impacted the area of the galactic arm around the Orion Nebula, where her magical child was incubating in the molecular cloud M42 in the trapezium, which is a stellar formation at the heart of that cloud, when that happened, she inadvertently and involuntarily induced a jolt of life into those inanimate, elementary, non-organic fields of the galactic arms.
And she spontaneously produced produced a species called the Archons, which was a complete anomaly, a complete freak event, because they didn't even have a habitat to live in. Now, what is so astonishing, really, about the Mendebrot set at a high, high level of iteration into the billions, is that it it shows, it depicts, it simulates what materially occurred when Sophia impacted what I call the Dima, or the dense elementary matter arrays.
That is a term for the primordial matter and the primordial mass and residue of previous galaxies which is floating in the galactic arms. It's called ajista in Sanskrit, the residue, the mass residue.
It's like a memory residue, but it's material. She impacted this zone and back to the analogy of the skin of metallic paint, the first effect of her impact was to define a zone like a splash zone. When you drop a rock into a pond it creates a splash zone and the ripples go out to a certain point and then they stop.
So the first thing that happened was that there was a splash zone in the Dima due to her effect, but it had no definition. It was at first like that skin of metallic paint, perfectly flat and without features. But because of the super-animating power of the Aeon, the very presence of the attention of an Aeon produces material events, creatures, results.
Due to that presence of her power, that circular zone of metallic skin, as I'm comparing it to that, fractalized into these creatures. And I describe that there, if you go to the link to “Alien Dreaming”, it says, Episode 9 describes how Sophia, situated in the center of the impact zone, sees her around her something like a sea of tensile waves and riding those waves or actually composing the waves they appear to ride are self-repeating forms that resemble seahorses. And these seahorses are similar to the forms that appear at high iteration of the equation for the Mandelbrot set.
So you see how I'm comparing them to seahorses. That comparison, by the way, goes very, very far into the future. There is something coming in the Super-learning event, which is called the Seahorse Instruction.
Seahorse Instruction is the Aeon Sophia's own direct instruction to you, to each human individual who can receive it, of how to produce Anthropos 11, how to reproduce yourself into a magical body, which is the double of this body.
So the concept of doubling is of course inherent to the Mandela effect phenomenon, wouldn't you say? And it's really remarkable that the Mandelbrot set gives you not only the picture of the emergence of the embryonic and draconic Archon forms due to her impact, but it also suggests or points to the ultimate correction of the Archon problem, which is coming.
It's the central instruction of those who enter the super-learning event and it's the same for everyone. It's called the seahorse instruction and until such time as the Gnostic teacher gets around to formulating the seahorse instruction, if he ever does, go and search on the internet for some high-definition photography that shows how seahorses give birth. So there you have it.
That's a pretty lurid and vivid description of how the Archons were produced. The language in Gnostic materials is the generation of the Archons. She, an Aeon, or generator, generated the Archons spontaneously by the impact of her divine imagination, even though she had no intention to produce them.
Now one of the questions up regarding this bizarre event is, of course, how in the hell could there be these entities which are like locusts? I think the best comparison is to a swarm of locusts. How could they just arise out there in interstellar space? This is not intergalactic space. It's not the space between the galaxies, it's the space within a galaxy.
So, infragalactic space, if you will, interstellar space, how could this bizarre cyborg species just pop out of nothing out there in space? Is this materially possible in terms of anything that we today, in our limited understanding of physics can comprehend? Well, sure!
Just go to the tracking page and click on the link to the true anarchy of life on earth. And there you will find a description of an experiment that proved something called the abiogenesis of the Akari insects. And this experiment, which is actually conducted in the 1800s is described in that in that essay, and I think there's also an audio commentary on that essay.
So what happened was that the massive impact produced a species, insectoid species without an environment and eventually, you know, they were like insects in her hair. I love this analogy. Here is the divine dancer and her hair, which is the filaments of her plasmatic energy, is tossing wildly around her as she dances. And bear in mind that the pure galactic core plasma is mass-free. The organic light, I have said, and this is a very great fact, and you can prove it or not, I really don't care, has infinite density and zero mass. It has zero mass.
When you look at galaxies, whether you believe they really exist or not, or it's a fabrication of NASA, let's put that aside for the moment. I'll get back to that bothersome question. I will, I promise.
When you look at a galaxy, there's a picture of the Andromeda galaxy, what do you see? Well, you see a milky vortex at the center, and then displayed around that vortex are the galactic arms, or the limbs, the spiral arms. Now imagine, or ask yourself what you're seeing. How can, can you imagine what a galaxy weighs? Can you imagine the weight of all the mass material there is in the galactic arms? The planetary systems, there could be a planet a thousand times bigger than the Earth out there. There could be a quadruple planetary system of four planets locked together with sixteen moons that are five thousand times larger than the solar system.
There is so much massive material swirling in the galactic arms. Did you ever wonder? Well, how can the galaxy just be floating? It's obviously floating. Don't you see when you look at it that it floats? You can't see by the way, you can't see the Andromeda galaxy with the naked eye and believe me that's a sight you will never forget.
But what do you see in these pictures? Are galaxies floating? Well, how can they float? Well, they can float in the way they do, due to the fact that the massive pinwheel structure, which is of an inconceivable weight and mass, is seated on a hub with no mass. There is no mass at the center of a galaxy.
There are not black holes at the center of galaxies. This is a fiction, and you will find, if you want to take the time to study the Thunderbolts project material, that those scientists who are at the cutting edge today totally demolish the fiction of black holes. There are no black holes at the center of the galaxy. There is a vortex of pure plasmatic luminosity, which is alive and conscious, and it has infinite density, but zero mass.
Because the core has zero mass, the hub of the wheel of the galaxy, then it is able to support the massive weight of the galactic limbs. Why am I describing this? Well, simply to give you a sense of what the Aeon Sophia was confronting when she found herself out there in the galactic limbs. She's confronting fields of force, particularly of mass and location and stasis and configuration of elementary fields that is completely alien to her. Nothing like that exists in the galactic core.
So, you get the picture and you see that she finds herself in that part of the galactic arms where the genome of the Anthropos creature she designed was deposited, right? And this is all described at length in the mythological material on metahistory.org, okay?
And, it's a great story, best ever. And, she's looking at it, she's gazing at her own creation, if you will. It's because of this magical child, the Anthropos, Rhome, in Coptic, that she's out there in the first place. She was compelled and overwhelmed by her enthymesis, which is to say enthusiasm, empathy, for the plight of the child.
But she finds that she has Archons in her hair. She has Archons insects infesting the filamentary radiations of her plasmic body. So what does she do? Well, she gives them the power, which they themselves do not have, she gives them part of her mind, and they use it to create a Disneyland-type theme park solar system for themselves, which is the solar system consisting of the inorganic planets as distinct from the triad of the Sun, earth, and moon, which is an organic entity, called the trimorphic Protanoia in the Gnostic materials.
So the Earth, according to Gnostic cosmology, is simply an organic planet trapped in an inorganic system, which is the stereoma or matrix of the Archons. This is the big picture. And that is more or less a summation of the first anomaly. The second anomaly follows immediately from this. How so?
Well, try to picture Sophia in a state of massive turbulence and instability. She has to stabilize her own plasmatic body of organic light. She has to assume some kind of form now, because the kenoma, the realm of finite potential, requires that energy take form, whereas in the pleroma, the realm of infinite potential, it doesn't have to take form.
The form that the Aeons or generators in the pleroma take can be compared and has been in many ancient cosmologies compared to the form of great cosmic serpents, great dragons and serpents of plasmatic torrents.
So she's got a lot on her mind, she’s got a lot of things to manage. But at the forefront of her attention, always, and in physical proximity to the zone where the Archons arise, she sees, she beholds the massive molecular cloud where the human genome is deposited.
And there are scenes in a couple of the Gnostic cosmological texts, such as the “On the Origin of the World” and the “Hypothesis of the Archons”, which actually are like enormous special effects sci-fi scenarios. I mean, they beat anything Ridley Scott could ever put on the screen, showing the Aeon Sophia as a turbulent vortex in the presence of the Orion Nebula with the Archontic swarm around her. I mean, all of this is described as a pre-terrestrial cosmic event that eventually produced tremendous consequences for life on Earth.
Now if you want to understand the really deep background of the Mandela Effect and the way it is operating as a factor of Sophia's correction today, well, this sci-fi special effects cosmological scenario is the ultimate background. It's the ultimate backstory to Sophia's correction today.
Now the second anomaly, signaled by the letter B for binary, is closely related to the first. In that pre-terrestrial situation in the galactic arms, Sophia gradually stabilized herself. In order to stabilize herself in the galactic arms, she had to form what is called a dwell point.
She formed that dwell point by making a uroboros, or a kind of serpent swallowing its own tail. The plume that had been emitted, that had surged out of the pleromic core and moved transversely across the limbs, gradually settled into a vortex or a pool.
You could say she kind of went into a fetal position and as she did so however, something also unattended and also unexpected, totally out of her control, happened. The turbulence that she required to form a dwell point, at the same time that she's sort of suspending in her field this stereoma, or this Archontic world that is being constructed by the Archons, so that they stay out of her way, as that turbulence becomes stronger and stronger, and she begins to actually morph toward a terrestrial form. She begins actually to morph into a planet.
And due to that turbulence being so strong, and due to her proximity to M42, the Orion Nebula, part of her turbulence tore into the nebula and rifted the genomic template.
The genomic template she designed originally presented the genetic morphology for a dual-sexed creature, a male and female of the human species. But the male and female of the human species were integrated in the original design of the genome. As a result of the whirlwind of Sophia's plasmic currents sweeping through the genomic cloud, the molecular cloud, she pulled some of the genomic template into her own force field. She sheared it off.
Consequently, she actually incorporated into her fetal form that she was assuming, as she materialized into the earth, she actually incorporated some parts of that genomic plasm. In particular, she incorporated the female component of the dual-gendered genome. Why?
Because she's a female Aeon and like attracts like. And so when she gradually went through the ultimate hypostasis, as the Gnostics called it, which means stepping down, hypo means below, stepping down into material form, when she actually materialized into the planet Earth, she brought with her to the natural body of the planet the seeds of part of the human species that she had designed in a Pleromic core. I mean, what a bizarre event. And as a result of that, the first human beings who appeared on the planet Earth were all women.
Now, I'm not making that up. That is a statement, a claim, that has been made numerous times by different shamanic cultures. For instance, the Ashininka culture of the basin of the Amazon have a very ancient shamanic tradition which is said to go back 20 million years.
That is to say that the shamans of that tradition, by the extension of their power of memory can access the phylogenetic memory circuits of the human species and they can remember things that happened in remote prehistory. And when they go back to the first moments of the appearance of the human species on this planet, what do they find? That there are only women.
Because those women, those primordial women called the Gaian-shi, called the arboreal nymphs, were actually the product of the body of the earth due to the fact that Sophia's earthly form contained the seeds that had been sheared out of the genomic template.
This theme, to put it fast and simple, is called in classical mythology the separation of the sexes. This is part of the story. This is part of the narrative. I mean, it's wild, and yet, and yet, I assure you that the more you contemplate it with respect and discipline, stay in the narrative, don't speculate wildly, the more it will teach you about the way things really are. That is the unique feature of this story.
And obviously, the story, or my riff, has reached minute 47 and I haven't got to the third anomaly yet. Anomaly, anomaly. So I will continue with this delightful exposition and go as soon as I can, to the third part of installment 39 on the anomalies in the divine experiment.
Bear in mind, by the way, as I signal so long, bear in mind that I'm telling you all this because I've got some splainin’ to do, right? I have done so much splainin’, I'm about ready to pass out. I've been doing nothing but splainin’ for the last 30 years. No, actually I started splainin’ when I was 22 years old, but this is the ultimate splainin’.
And why am I doing all this splaining? Sophia's Correction is it. It is the biggest event happening on the planet, happening to the planet, and happening to the human species.
And if you want to understand what is to be corrected in Sophia’s correction, then you need the narrative to tell you, don't you? All these anomalies that I'm describing in detail are in the process of correction as I speak.
They shall be corrected. They shall be corrected immediately. You think, oh, why is she taking so long? Hey, she's only been awake since about 1745, and she's only been able to reset the experiment for over the last 15 seconds of her time.
So we're into about 15 seconds of correction, according to her time. Give her a little slack. I know everyone is really on edge and wondering, well everyone, I know some people who care and who know, and you have to know in order to care, really, are racking their brains and saying why on earth doesn’t she do something, why doesn’t she intervene?
This is the intervention. This is the divine intervention. It's comedic, it's playful, it's deeply magical and mysterious, and you have to be there with it. You have to participate. This is not a spectator event.
So I am giving giving you as much background as I can and presenting it as clearly and concisely as I can. So there you have it. We go on to part C and until then, as always, may your attention be rewarded by the truth.