2000

A final report by Freddy Silva. Photos © Freddy Silva, Lucy Pringle, Colin Andrews.

A pictogram at Alton Priors depicting a pentagram in hexagonal alignment, with its elements curiously flattened in alternate segments, heralded the start of one of the busiest crop circle seasons, one marked by patterns of extraordinary complexity and anomalies such as electromagnetic frequencies in the high MHz and even GHz range. Over 120 formations were reported throughout England alone; Canada also received a fair number of visits from the Circlemakers, as did continental Europe.

The Alton Priors formation visually alluded to the bi-polar, dark and light nature of life. This was amplified in its 5:6 ratio, a Universal harmonic, with 5 (the pentagram) representing living organisms, and 6 (the hexagon) all non-living things; the sum can also be expressed as 11, the sacred marriage between heaven and earth, and the code behind later formations. This ratio is expressed in the 25,920 year precession of the equinox relative to the 21,600-mile equatorial circumference of the Earth.

Interesting that 11 years also relates to the sunspot cycle of which this year maked the top of the cycle.

This 'life' concept was later expressed in a 'lotus' formation below Golden Ball Hill, its five petals spinning magnificently around an incomplete sixth; encoded in this design was a heptagon, expressing the spiritual nature of life- 5:6:7, the relationship of body, mind and spirit. The highest EM frequencies in a crop circle were also detected here, frequencies which rendered camera circuit boards obsolete, and even created a polarizing effect on LCD displays.

Early in May I was driving with respected channeler Isabelle Kingston past West Kennett long barrow and we remarked to each other how the field bordering it could be 'felt', as if charged and ready to pop. Less than eighteen hours later a new formation appeared at that precise location, once again demonstrating how sensitive people can pick up the presence of a crop circle long before its physical manifestation. The design was composed of one large equilateral pyramid, bordered by a ring of twelve smaller triangles; 24 hours later, a further development took place, when the triangular pyramid mutated into a set of nine smaller triangles, its elements effectively encoding the harmonics of Light- 3, 6, 9, 12 and 24 (at present it is not certain whether this is coincidence because the added triangles appear to be suspicious). Ironically, pyramid translates as 'the measure of Light'.

Last year I remarked to a few of my colleagues how the formations were showing a tendency towards 3-D, partly suggested by two designs from 1999, and partly because the floor lays were appearing uncharacteristically raised. Imagine my surprise to discover a 260-foot formation below Windmill Hill containing a square, grided in alternating rectangular segments which, from the air, gave the resemblance of a ball stretching through a net. The inclement weather kept many away from this remote site, and within days the plants had begun to rise, giving the pattern an embossed appearance; many plant samples showed the characteristic blown nodes of genuine crop circles- tiny holes in the plants' knuckles where water tries to escape due to having been superheated from the inside for a fraction of a second. My research shows this effect is likely to be caused by infrasound.

The design itself appears to be demonstrating the Einsteinian concept of curvature of light around large mass objects such as planets. If so we have entered the realm of quantum physics and fourth dimensional geometry.

A large number of camera failures were reported inside this and subsequent formations; sections of film negatives shot from the air failed to register images, despite the before and after negatives developing as normal. My camera repair lab alone registered no less than five such occurrences, all cameras and films having failed following contact with crop circles.

The '4-D' theme continued at East Kennett where another grided square, this time consisting of 1600 elements, all arranged in diminishing degrees of thickness, created a visual illusion of four cubes- two raised and two embedded. Perhaps this was a reference tomaya , the illusion of our three-dimensional world? The construction of what many would initially consider a bisection of straight lines revealed a different story: each rectangular segment was, in fact, defined by a short length of straight lay fanning outward, like an 'S', to create one side of each rectangle. The smallest rectangles of standing plants were less than a foot wide. Would humans have bothered to go to such trouble?

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