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- part 4 -
Diffusing a shadow of history.
The song-play 'The Abduction from the Seraglio' became tremendously successful. It appears that Mozart had devoted a great effort to it, to really make this project work. However, another, and possibly far greater, liberating factor may have also stood in the background, that contributed to its success.
The plot of 'The Abduction from the Seraglio' was highly relevant to the time of the American War of Independence, in which a decisive American victory was won in mid October of 1781 that ended the war, which was the year when Mozart began to work on the opera. He had devoted his entire time to this project, as he had no other projects going on at the time.
The fast progression in which the world suddenly changed, was amazing, in which the British Empire had lost its war to take back its American colonies that had dared to escape its 'harem,' who had declared themselves free.
In the beginning of the year 1781 the British seemed to have their victory in the pocket. They controlled numerous key areas, such as New York, the Carolinas, Georgia, and the biggest city and sea port in the South. The southern American army had been defeated. Washington's army was in tatters. Then suddenly events unfolded simultaneously in many places around the world that were coming together almost simultaneously, which forced the British to capitulate in Yorktown in autumn that same year, which ended the war.
After 8 years of fighting for their freedom, the people of America had won. They had won their freedom from serfdom, the freedom that Emperor Joseph II had tried to give to his people, but had managed only as a legal gesture, and not economically too.
Had America demonstrated to the world that resistance to empire, on the entire front, is possible? The American victory was evidently celebrated in many lands in Europe. It had changed the world. Or was there a third factor involved, a Mozart factor, a spiritual factor that Mozart had played an active role in?
In 1779 Mozart had begun writing his opera 'Zaide', exploring with it the issue of people breaking free from the enslaving system of the seraglio in its numerous forms of expression. Mozart had stopped the work on Zaide. It probably appeared to be too difficult a subject to deal with in an universally elevating manner.
It also appears that the needed breakthrough was achieved later, when he was commissioned to get the job done. He couldn't simply walk away from this one. He had no choice, but to dig deeper and deeper until the breakthrough was made.
It appears to have been the breakthrough in the development work on this difficult and universal subject, rather than the actual performances of the finished opera afterwards, which had the ripple effect around the world that appears to be evident. This pattern is evident in areas as well with different concerns and different circumstances.
The existence of these types of resonant connections has been suspected for centuries but have not been physically verified as they are not physical in nature in the way we see physics. When remarkable coincidences happen, we say they happened by chance. But do they really? For example, some years ago when I needed to find some answers about puzzling aspects of the Giza pyramids in Egypt, a person whom I had not spoken to for more than 10 years, had called me at this precise time from Jordan, from half way around the world, who had lived in Egypt for a while and had been able to provide the needed answers. This sort of thing has happened several times in different respects. Where those all by chance? Or exists there a spiritual resonance phenomenon that creates links we have yet to explore?
Music points in the direction of spiritual resonance. Great music often inspires a wide range of resonances. And when the music is further modulated with profound spiritual aspects, such as love, truth, freedom, honour, good, joy, and so on, wouldn't these find a resonance in many people, as these spiritual aspects appear to be rooted in our universal humanity?
Mozart may have been asking himself, 'is it possible for a natural human being to connect up with these grand spiritual ideas?' He may have been asking, is anyone out there who can hear me? The answer may have been a resounding, yes, on a wider platform than we yet dare to acknowledge.
When we say that Mozart was one of the greatest composers of all times, do we say this simply because he composed a total of 60 symphonies, over 600 compositions, and 22 operas in his short span of 35 years?
Or is it something far greater that stands behind a great person's greatness, such as a quality that cannot be measured, for which Mozart, for example, is remembered as a world-historic, immortal person? If so, then Mozart gave us some laboratory evidence in a field of exploration that we have barely begun.
Christ Jesus may have healed on a similar platform, with a different kind of 'music'. He may have said to a sick sufferer, 'are you not a human being with infinitely greater resources at your disposal in your divine humanity than you give yourself credit for? So, use them and be free. Many rose up to the challenge.'
In Mozart's time, the librettist Stephanie may have responded in a similar manner, when Mozart suggested, that as human beings we have the resources at hand to get ourselves out of the crap of endless cycles of war and slavery to despotism and small-minded cowardice. 'We can do this,' he may have said to Stephanie. 'So let's do it!'
Stephanie would likely have celebrated hearing those thoughts expressed that were also his thoughts based on his personal experience.
Stephanie had experienced the Seven Years War in which the so-called great powers of Europe had been fighting each other over colonial processions and over control of trade routes, and so on.
In this single war that became a world war, one and a half million people were killed in Europe and in distant places.
And what was it for? When it ended the big powers had shifted the lines that divided the world up between them, in terms of possessions of colonies and people inducted into slavery, or the routes of trade to them. Britain had gained the most in this war. The British East India Trading Company had become established as the first private empire with a worldwide reach, which likely had inspired disgust rather than respect in a normal human being.
Stephanie was probably one of those who were disgusted. He had been taken prisoner in the Seven Years' War that had raged from 1754 to 1763. And what had it been all for? Society hadn't benefitted from it.
Stephanie may have celebrated when he heard that some daring patriots for humanity had banded together in America, and had boldly scoffed at the colonial 'harem' that rapes, loots, and enslaves in many forms. Stephanie may have celebrated that Mozart had celebrated the same spirit of freedom and had the courage to reach for it.
Emperor Joseph II may have celebrated likewise. He too, knew from personal experience what it is like to live in the 'gilded cage,' a term sometimes applied to a harem. The Emperor had inherited the crown of the Holy Roman Empire in 1765, at the death of his father, but had ruled only as "joint ruler" with his mother.
Joseph II had been born 15 years before Mozart, in 1741, as the son of Maria Theresa of Austria and Francis I, the Holy Roman Emperor. As their son, he had been given a rigorous education in the Enlightenment that emphasised rationality, order, and carefully organized statecraft. But even as Emperor he was bound to submit to his mother. When she died in November 1780 he found himself no longer locked into the 'golden cage.' He was free to act, but challenged to act wisely.
Joseph's stepping out of the cage may have contributed to his commissioning of 'The Abduction from the Seraglio' from Mozart. The performance of it on stage in 1782 may have been a celebration for him too, as he probably took great interest in it.
- part 5 -
A mode above Shakespeare.
Many in Mozart's time, who had eyes to see, and there may have been more than just a few, may have glimpsed something of the connections between the liberating processes that were going on, and the liberating concepts that Mozart was dealing with, which Mozart had put on the plate of society for its celebration, may have celebrated them.
Mozart had raised the scene far beyond the political level. He elevated the core element that is inherent in each human being. His work became a celebration of the soul. It also became a celebration of love over death. But he went farther with that, than the mere abolition of the death penalty. He rendered love the motivating power in life and civilization. He was saying to society, that the greatest victory of love, imaginable, is possible. He raised the status of love to the level of truth. He elevated the Pasha of the harem in the story, to become the celebrated hero of the plot. He gave him, who once ruled with power, the dignity of a human being who understands the truth, who came to realize that the value of a human being is too great to be destroyed, by recognizing that the destruction of it and of the love that is reflected in it, would be so tragic that his murdering would haunt him forever, while his honouring of what is good and beautiful would bestow on him a dignity and self-respect that he would value forever.
Mozart may have recognized that this fundamental reality is something that a natural human being would understand, resonate with, and respond to.
Mozart thereby put a model up for celebration that stood taller than Shakespeare's tragedies.
Shakespeare had highlighted in his plays of tragedy, what society had been lacking, for which it fell repeatedly into tragedy, while in each case the tragedy could have been avoided. Shakespeare had said in essence that civilization stands on certain universal humanist principles that no one can overrule, so that if these are ignored, tragedies result.
In the play, Hamlet, where the critical principles were not recognized, the consequences of the folly were not avoided and everyone ended up dead in the end. And in the flow of it, the nation lost its freedom, which it hadn't claimed to begin with, and hadn't protected.
Shakespeare is still celebrated as a genius for his mastery of illustrating the dynamics of tragedy. He was limited only by what language could convey in his time, even while he did much to develop the language, and with it stepped beyond just shallow moral preaching.
Mozart went further. He established a higher-level foundation, which the art of musical composition had enabled. He said to society with his music, in essence: you are the gem in the world; you bow to no one; you have the power within you to be that light that Shakespeare laments is all too often hidden under the cloak of accepted smallness and indifference.
In his great operas, Mozart ennobled each of the main characters, so that when the music ends at the closing of the opera, each character stands taller as a human being than he or she stood at the beginning. This is possible with music. Mozart became a master of this power.
Thus each performance of Mozart's great musical plays and operas stands timelessly as a celebration of a profound human victory that still remains to be fully won, which had evidently contributed to his work's great and enduring popularity.
With his music, the spirit that he saw in the light of life and humanity, became encoded into notes of music, in which it became forever represented. In a sense, Mozart encoded the spirit of freedom that unfolds in humanity, which society had longed for throughout many ages.
Mozart's own independence as a free man, by being no longer the owned 'property' of a system of empire and its minions, may have enabled him to produce and advance further these spiritually significant concepts that bring light into the political landscape.
Society may have celebrated the universal freedom and independence as a potential reality, by seeing it coming true in America, where a people proved that resistance to empire is possible. With America's arousal to victory, the American people had fulfilled a dream that came out of the Golden Renaissance.
America had demonstrated for the first time in history that an alternative exists to the system of empire. It fulfilled the dream of Cardinal Nicolas of Cusa, one of the founders of the Golden Renaissance in the 15th Century, who saw it necessary for a people to build outside the prison cage of the seraglio of empire, to have a free life, and to heal the world with it.
Cusa said in essence, 'the devil cannot be reformed.' The system of empire cannot repent. If it did reform, it would cease to exist. However, if society would step away from it, away from the seraglio, crossing the oceans, starting a new society in distant lands with those few people who had remained uncorrupted by the system of oligarchy and empire, who would bring with them their recognition of the great value of the human being, than a new form of civilization would arise with a light that would banish the darkness of empire forever.
Almost 200 years after Cusa had said this, when the corruption and brutality had become unbearable across Europe, a few pioneers did carry out what Cusa had proposed so long ago. They set sail to America and established a new world for themselves.
They stepped away from all their dependence on empire. They even created their own money, the Pine Tree Shilling, with which they financed the building of the industries that they needed for a more productive living in the New World. The Saugus Iron Mill was the most advanced mill of its type, at this time. And more than that, with the creation of their own currency, they demonstrated to humanity that an alternative to living under empire is possible. With these steps the pilgrims had pulled themselves out of the king's financial seraglio and raised themselves up to become a 'city upon a hill' that had the eyes of the world drawn unto it.
Naturally the masters of empire reacted. The new, self-appointed British King, William of Orange, crushed the American 'city upon the hill' that the people had raised up way above empire. By the end of the 17th Century the Bay Colony of Massachusetts found itself enslaved again to the rule of empire.
However, in the background, the spark had remained alive in the memory of the patriots. The spark was quietly nurtured until, nearly a hundred years later, it became a fire that became a revolution.
With the American Revolution now becoming reality a free nation was born; free in the heart and soul; a nation that became inspired to raise itself to freedom, away from the 'harem' of empire, of which it had been said before that no one gets out of alive. The pioneers made a commitment to freedom that was revolutionary all by itself.
This is the freedom that was won when the British commander Cornwallis, who had been besieged, in October 1781, surrendered his entire army of over 8,000 men. On this day, the freedom of America, which had burned as a fire in the heart, became an irreversible political reality.
In this significant year, 1781, the devotion to freedom, that was felt around the world had abducted a precious pearl from the 'harem' of empire. This happened in the background while Mozart's opera that deals with an even greater abduction, was being developed.
In the story of Mozart's opera, 'The Abduction from the Seraglio,' which premièred the next year, in 1782, the scourge of war does not enter the scene. Here the traditional scene of vertical power is transformed into a profoundly lateral scene, rich with happiness.
The death penalty for those who would escape the harem of empire, which is set up as a forgone conclusion near the end of the opera, is vacated by the Pasha from a higher level standpoint. No war occurs here. The traditional death sentence for rebels and violators is scientifically overturned in Mozart's story in the light of the unfolding love for the good, and for our humanity.
The higher-lever exit from empire that Mozart illustrated, remains yet to be achieved in the modern world. Enormous threats are presently made by the masters of the seraglio, to prevent any type of escape from it: threats of nuclear war; threats of depopulation; threats of economic collapse into chaos and starvation, and so on. These threats are real. They are native to the system of the seraglio. We are moving towards their implementation.
I have made two presentations on the subject: One has the title, 'Shadows that are Light,' and the other, 'The End of a Delusion.'
The onus is on us to learn from Mozart, who says to us, 'the escape that you need, is possible, if your love matches the challenge.
The Austro-Hungarian Emperor, Joseph II, who had become free to act in 1780, had moved into the direction laid out in Mozart's opera, in his imperial realm. He embarked on a new direction that no doubt raised many eyebrows. He abolished serfdom in 1781, and abolished the death penalty in 1787. These bold moves were both revolutionary for the time.
It seems that for a period a new light had dawned in civilization that Mozart became caught up in, and had contributed to, possibly more than we may know. By the time this light began to shine brightly in the world, in 1781, Mozart had more than 300 musical compositions to his credit, and more than 10 operatic works. The seraglio of the system of empire was breaking in many places around the world and in many ways.
Who knows what effect on the human landscape the unfolding of great musical freedom has had, which Mozart had pioneered, which evidently had developed a greater sense of dignity and worth in the self-perception of humanity.
America's moon landing had a similar effect. The success of the Apollo mission, had generated a great cultural optimism that was felt around the world. The Apollo moon landing project was a love festival, of humanity falling more in love with itself than it may ever had. While the love fest had been brutally crushed later on, with assassinations and war, at the hands of the masters of the seraglios of oligarchy, the moon landing still stands today as a symbol of what can be accomplished when the stranglehold of the seraglios is broken, which Mozart had illustrated as being possible.
Both Mozart's music, and the pioneering work of Johan Sebastian Bach, had an uplifting effect in their time that was similar to the moon landing.
All of these achievements continue on to instil a sense of awe and pride for our humanity, by which such marvels are possible. They take us a long way outside the seraglio of the imperial system that is built on the opposite platform, the dehumanizing platform.
The promise of attainable freedom inspires cultural optimism.
That's the effect that America's Apollo Moon Landing project had on humanity. It illustrated the freedom and the potential that is inherent in the human being, which reflects everyone's humanity. The Apollo project was a celebration of humanity that was felt in the jungles of Africa as much as in the hearts of America. It served to illustrate the grand creative and productive capacity of humanity. It gave the world an example of the power of the human being. In this sense The Apollo achievement was everyone's achievement. It enabled to some degree everyone's escape from the seraglio of small-minded thinking.
Mozart's music gave humanity a similar escape from the small-minded world, by demonstrating that divine greatness is inherently possible in a human world.
These two factors of great achievements gave us a glimpse of the grand truth about our humanity that the masters of the seraglios are determined to hide, because the fuller unfolding of this truth would necessarily dissolve the vertical system of oligarchy, empire, and its seraglios and set humanity free.
- Part 6 -
The challenge continues.
Freedom in truth is not allowed in the world today. The truth is dead. The world has become imprisoned into a near-world-wide seraglio of top-down vertical control in which humanity is being executed at an alarming rate. It is done with lies that claim to be the truth. The seraglio hides the truth on every front. It controls culture. It controls society's thinking and aspirations. It even controls science where scientific honesty has been buried.
Science is directed by financial patronage and peer control. What is termed scientific truth is determined at the Royal Court of the late Sir Bertrand Russell, the master of the oligarchs in charge of keeping the flame of science no brighter than a smouldering ember.
Science is one of the most hated enemies in the courts of the oligarchic system that cannot be maintained except on lies, stealing, and the subjugation of humanity.
The global warming hoax, for example, flies with the banner, "the truth is dead." When the banner fails, honest science will unfurl the banner of the Ice Age Challenge. This challenge, when it is taken up honestly, will rip the heart out of the oligarchic system, because the challenge cannot be met in a vertically dominated world. For this reason, the vertical system: empire, oligarchy, and the seraglio, will be vacated from the landscape of civilization and grace the trash-bin of history, instead of humanity. The Ice Age Challenge is that big. In the ashes of the seraglio, the truth will come alive again. The truth is that valuable.
Many aspects of evidence tell us that the next Ice Age will likely begin in 30 years. The magnitude of the inherent challenge is so large that it requires the complete transformation of the world, with vast new infrastructures for the continued living of humanity on this planet. This requires a new industrial and scientific revolution with a creative and productive power, as has never been seen on this planet, which is presently physically possible to achieve, but requires a lateral foundation for human relationships to become implemented. The critical shift from the vertical mode that is choked with property values, to the lateral mode that builds freedom and happiness, determines whether humanity will live richer than ever before, or will perish.
A large body of scientific evidence tells us that an Ice Age does not begin gradually over a long period of time, but begins suddenly with an electric threshold event by which the Sun powers down to roughly 30% of its present energy radiation, in possibly as short a period as a single day.
When 70% less energy is coming from the Sun, the regions that remain suitable for habitation shrink to but a narrow strip between the 40 degree latitudes, and an even narrower strip that remains potentially suitable for agriculture. This means that almost all of today's agriculture needs to be relocated before the Ice Age begins in 30 years, or be placed into indoor facilities with artificial environments and artificial daylight. This also means that everyone of the northern great nations, such as Canada, Russia, the European nations, and parts of China and parts of the USA, need to be relocated as their territory becomes uninhabitable.
It will likely take 30 years of planning and building to make this possible, for which the work should already be in progress. This is the truth. Unfortunately, the truth is dead. The challenge remains unacknowledged. The truth remains buried in the seraglio. No preparations to secure the future of humanity are on the agenda, or even considered. This is the present state of the world.
The physical evidence that the next Ice Age looms on the horizon, with the potential to begin in 30 years, is rather plain. If the truth of the evidence is to rise again, it needs to be abducted from the seraglio where it is kept under a blanket of denials, whereby the very existence of the seraglio is doomed. The answer to the question, will she rise again, is located here. Our actions provide the answer.
The technical aspects are rather simple. A different universe comes to light if we look beyond the doctrines that define our Sun as a sphere of hydrogen gas that is heated at its core by massive nuclear fusion reactions. If one looks honestly, quite a different Sun comes to light, because by just looking at the Sun it becomes self-evident that the Sun is not internally heated, because it is darker on the inside than on the outside.
When sunspots open up, an opportunity presents itself for us to look through the umbra of the sunspots at what lies below the shiny layer. And behold, there is nothing there. The Sun is dark on the inside.
The dark interior of the Sun makes it rather plain that no gigantic heat source resides inside the Sun.
The sunspots also tell us that the Sun's energy is radiated from a rather thin reactive layer that is obviously externally powered. This is significant, because what is externally powered can also be externally interrupted.
Measurements by NASA's Ulysses satellite indicate that a weakening towards a potential interruption is in progress. The measurements suggest that the power input into the Sun is presently diminishing, by measuring the solar wind that results from the powered reaction. The satellite tells us that the solar-wind pressure has diminished by 30% over the ten years until the Ulysses mission was terminated. The 30% drop in 10 years is a huge rate of diminishment. It tells us that the solar energy input is diminishing rapidly.
Why then was the Ulysses mission terminated at this critical juncture? The satellite didn't malfunction. It was powered down in 2008 and the NASA team associated, was disbanded. It took 35 years to develop and deploy the mission. Was it scrapped to hide the truth?
The truth that the Ulysses mission presented to humanity, is actually rather elementary . It was once taught to school children. Almost everyone is familiar with the principle involved.
If one places a tea kettle on a stove and turns on the energy, the water begins to boil, and the kettle begins to emit steam. If one turns up the energy, more steam is emitted. If one turns the energy down, less steam is emitted. In all cases, however, the temperature of the water remains the same, because liquid water cannot exist at temperatures higher than the boiling point. Past the boiling point it becomes steam. When the energy input is increased, the increased energy makes more steam, but it doesn't make the water hotter. This was once common knowledge.
The type of dynamic also applies to the Sun. The Sun's stable temperature is 5,780 degrees Kelvin. If the cosmic energy input is greater than what the solar process requires for the Sun's external reaction process, the excess energy is 'boiled off' by the process in the form of a higher density solar wind, which is the electric equivalent to boiling off excess energy as steam.
When Ullysses measured the solar 'steam' diminishing by 30% in ten years, it saw the effect of diminishing solar energy input, while the Sun's operating temperature remained constant over this period.
Over the five years since the spacecraft was powered off and the team disbanded, the solar 'steam' appears to have diminished by another 15%. If we project this trend forward, we may reach the point in 20 years when no more solar wind, or 'steam' as it were, is being emitted. From this point on the Sun's energetic reaction will begin to diminish, whereby the Sun will become dimmer.
With the diminishing flow of plasma-electric power into the Sun, the electromagnetic primer fields will diminish likewise, which focus interstellar plasma onto the Sun and create a high-density plasma sphere around it, which powers the Sun.
Since these magnetic primer fields depend on a minimal rate of electric flow through them, they will collapse below a minimal threshold level.
Such a cut-off may happen in possibly thirty years at today's rate of diminishment. The cut-off may also be reached sooner, or slightly later. The precise cut-off level is presently unknown. However, it is self-evident that when the primer fields break down, the Sun will go inactive. It will glow dimmer then, powered only by its residual energy resources.
There is nothing magical about this process, by which the Sun goes inactive. A child can illustrate the basic principle for it, in the kitchen. However, it is not allowed to draw conclusions.
The truth is dead, and is forced to remain dead. Only the mythical theory of the internally heated Sun is allowed to be considered, which is officially upheld by the mechanics of hired peer consensus.
For as long as the seraglio of oligarchy imprisons society on all sides, the truth will not be allowed to rise, because to do so would dissolve the seraglio.
Mozart seem to suggest that an abduction of the truth from the seraglio is possible, whereby the seraglio would collapse that exists as but a concentration of lies: lies that suppress the truth; lies that suppress our humanity; lies that tie economics to monetarism.
The truth is not too hard to find. While the principles that power our Sun are a little more complex than I had illustrated, they are recognizabe by anyone who cares to look. Also, while we are no longer able to make the direct measurements of the solar wind pressure, with the Ulysses satellite having been turned off, we can nevertheless see the evidence all around us, of the weakening solar system. The weaker solar winds produce a weaker heliosphere around the solar system, which allows increased cosmic-ray flux past its barrier. The effect gives us increased cloudiness and a colder and dryer planet, as increased clouds reflect more sunlight back into space, and reduce the water vapor density in the atmosphere. While all of these are but fringe effects, and will increase over the next 30 years till the Ice Age begins, they are significant warning signs that a major dynamic transition is in progress.
Inside the seraglio, of course, the drought, like California's drought emergency, is not even being acknowledged for what it is, much less is it being addressed.
For this reason it is increasingly becoming critical for humanity to become abducted from the seraglio so that the truth can live again. It is, as if Mozart is saying to us, without the abduction of humanity from the seraglio, no one can live.
It takes the building of vast infrastructures to place the world's agriculture afloat across the tropical seas for the lack of sufficient land in the narrow band where agriculture will remain possible in the coming Ice Age world.
It is self-evident that this challenge cannot be met with humanity remaining imprisoned in the seraglio of the present world-imperial platform of looting monetarism.
For al long as money is deemed to have value, rather than life, truth, honour, and love, nothing will be built, even if it is necessary to save the existence of humanity. Only when love is put into the driver seat, as Mozart suggests, will, what today seems impossible, become possible. This includes love in its wider dimension for our humanity universally,
It seems that Mozart tells us today that nothing will be built to assure the future of humanity for as long as humanity remains imprisoned in the seraglio of monetarism, even while the materials for the building, including the energy resources, and the technologies, do presently exist to meet the needs for the future many times over, and hands down, with the greatest industrial revolution that is powerful enough to assure that civilization will survive the Ice Age transition with ever-greater prosperity for all times without end. This is the promise of Mozart. And it is not an empty promise.
The immense worldwide Industrial Revolution that the Ice Age Challenge urges us to create, would enable housing, even entire cities afloat on the oceans for the farmers of the floating agriculture, to become so effortlessly produced that housing becomes universally a free product for all people as a required foundation for uplifting the creative and productive capacity of a human society. This grand future reflects the potential we have today.
So, why should we wait? This grand future can be created now. Once the abduction of humanity from the seraglio of small-minded perceptions begins, the entire world dominating system of the oligarchic seraglio in all its myriad forms and shiny illusions will invariably vanish, like a soap bubble that pops. We may be close to this threshold.
With the next Ice Age being only 30 years away, the imperative that the Ice Age challenge imposes, which is real - which, if we respond to it - will likely end hunger, poverty, slum living, war, and slavery, long before the Ice Age begins.
Our facing the Ice Age challenge honestly, with open hearts and minds, will inspire us to create an immensely powerful and productive human world, to compensate for the reduced sunshine and solar heat. On this path the great challenges of today's world will fall by the wayside.
The resulting industrial for meeting the greater challenge will make free housing a reality along the way to house the new breed of farmers, together with floating agriculture produced in high temperature automated industrial processes utilizing nuclear power and basalt as feed stock.
The new industrial revolution will likely begin with the building of intercontinental floating bridges to rebuild Africa.
It may include simultaneously the building of a worldwide water distribution system, afloat in the oceans, fed by the Amazon River and the Congo Rivers.
The great projects will also implement the simple principle of deep ocean reverse osmosis desalination that utilizes the weight differential between freshwater and seawater, to power the system by itself.
With this simple principle, we can create rivers of freshwater flowing effortless out of the sea to irrigate agriculture, and to meet human needs, all independent of climate conditions.
We will build a New World on this basis, and this New World will be powered by cosmic electric energy, which is gigantic in scale and has no depletion limit.
In fact we have no choice, but to develop the existing cosmic-electric energy resources. While what we call civilization is only 6,000 years old, and in this period our large scale energy use, which began during the last 200 years, has depleted a large portion of our energy resources already, of which we may have enough remaining for just another few hundred years, we expect to live on this planet for millions upon millions more years. This means that we have no choice but to develop the only energy resource that exists that cannot be depleted, which is the cosmic-electric energy that powers the cosmos. And this we can do, and will do, once we get ourselves out of the seraglio of small-minded thinking, oligarchism, imperialism, and monetarism.
Towards meeting the Great Ice Age Challenge Mozart's revolutionary ending of his opera, 'The Abduction from the Seraglio,' speaks to us in our age.
In our age, the breakout from the tra of the confining system of empire, seems almost impossible, to even imagine.
Here Mozart is saying to us, when you say 'impossible,' you lye to yourselves; you deny that you are human beings. You say, 'impossible,' 'impossible,' because, after all these years of you having been trapped by the despotism of smallness in thinking, it appears natural to you to deny yourself and do the wrong thing, to doubt yourself, whereby you deceive yourself. I would advise you to despise that smallness in mind that you presently 'cherish.'
Mozart would also say, listen humanity, when you remember me in your distant modern age, take my gift of freedom and leave your smallness behind you, and learn my lessons. Go, teach them to your sons, discuss them with your father and mother and neighbours - the lessons that set people free by knowing that it is a far greater pleasure for one to live above the injustice of smallness of mind, and its slavery and fear, and to live richly with creative accomplishments to your credit, so that evil becomes a lost word in human language.
And to those who say to me, ' you astonish me,' let me answer as I always have, that I am not surprised that you would say, 'you astonish me.'
However, please note that I firmly believe that you are human beings, and that as such you are able to rise above your accepted smallness, and are capable to become infinitely more human and alive, and loving, and creative, and productive in all your ways than you evidently imagine yourself to be capable of. I believe that the rising of humanity is on the horizon, and that it will happen. Those were not idle words.
A hundred years after Mozart, America's spiritual pioneer, Mary Baker Eddy, the discoverer and founder of Christian Science, liberated the Christ idea from the seraglio of doctrinal religion.
She was saying in agreement with the great apostle John of Christianity, that 'man has the power to become the son of God,' that is, when you see your sonship with God in the context of the Hebrew custom in which a month is called 'the son of year,' then a wide horizon opens up with infinite possibilities.
Before we get the Christ out of the seragli of doctrinal religion, a lot of quiet development work remains yet to be done. We need to heal history. We need to heal our perception of the exemplar of the the Christ, who laid our humanity before us to inspire us to become human.
With her saying that man has the power to be the son of God, Mary Baker Eddy defines the greatest form of freedom that humanity can claim and ultimately can have. She abducts humanity universally from the seraglio of small-minded perceptions of itself, to the freedom of the sons of God with the power to meet the Ice Age challenge. While this challenge hadn't yet been on the horizon in her time, it is so now. But she understood the science of the spiritual foundation on which the most supreme challenge that will ever arise, can be met, and likely will be met.
Mozart would likely have added in his time, saying to humanity, 'when you get to where you have to power already within you, to be, then my work in raising the bar for humanity will not have been in vain.'
And he would have been right in saying this, which is already evident by the fact that his music remains cherished in your world after 200 years, and still draws people to sold-out performances,' even while greater miracles than his are now possible.
This means that our journey into the light is in progress, because we can see that light in the human soul that Mozart has seen, and see it as a reality, just as all the great pioneers have likewise seen it so. This means that it is our turn now, to build on the promise that the pioneers have placed before us, and to supersede them.