The Heart of The Ark of the Covenant

There’s more to the Ark of the Covenant than meets the eye. Its whereabouts have been shrouded in mystery for thousands of years. It’s quite fitting that acacia wood, the Ark’s primary building material requested of Moses by God, literally contains a heart-shaped center. There’s a hidden love language contained within its dimensions. 45 inches in length x 27 inches in width x 27 inches in height. 27 is my lucky number and is considered to be one of the most significantly spiritual of the Angel Numbers as it relates directly to the Holy Trinity. The length is significant in that by adding 4 + 5 we arrive at a sum of 9 which is also 3 3s. 3 + 3 + 3 = 9. 3 x 3 x 3 = 27. Three-thousand years ago God spoke directly to Moses with very specific instructions for the construction of the Ark. Exodus 25:10–16 states in the Standard Christian Bible:

ACACIA WOOD HEART

10 “They are to make an ark of acacia wood, forty-five inches long, twenty-seven inches wide, and twenty-seven inches high. 11 Overlay it with pure gold; overlay it both inside and out. Also make a gold molding all around it. 12 Cast four gold rings for it and place them on its four feet, two rings on one side and two rings on the other side. 13 Make poles of acacia wood and overlay them with gold. 14 Insert the poles into the rings on the sides of the ark in order to carry the ark with them. 15 The poles are to remain in the rings of the ark; they must not be removed from it. 16 Put the tablets of the testimony that I will give you into the ark.”

ABOVE AND BELOW : Ralph McQuarrie’s Bible illustration of the Ark of the Covenant as seen in Raiders of the Lost Ark, 1981.

“For nearly 3000 years man has been searching for the lost ark. It’s not something to be taken lightly. No one knows its secrets. It’s like nothing you’ve ever gone after before.”

— Denholm Elliott as Dr. Marcus Brody, Raiders of the Lost Ark, 1981. Story by George Lucas and Philip Kaufman. Screenplay by Lawrence Kasdan. Directed by Steven Spielberg. Visual effects by Industrial Light & Magic. Set design by Norman Reynolds.

Sound Design Bites

“The lightsaber was, in fact, the very first sound I created for A New Hope. Inspired by the McQuarrie concept paintings, I remembered a sound of an interlock motor on the old film projectors at the USC Cinema Department (I had been a projectionist there). The motors made a musical ‘hum’ which I felt immediately would complement the image in the painting. I recorded that motor, and a few days later I had a broken microphone cable that caused my recorder to accidently pick up the buzz from the back of my TV picture tube. I recorded that buzz, and mixed it with the hum of the projector motor. Together these sounds became the basis for all the lightsabers.”

— Ben Burtt Q&A, FilmSound.org

Hearing familiar, overused sound bites is far more common now that budgets are getting cut across the board. You’d think there was a broader library for the giggling children snippet used in Gladiator when Maximus was dreaming of the wheat fields. I hear that sound bite in nearly every other film or episodic I watch. The days of Ben Burtt crafting the sound of a lightsaber through experimentation have gone by the wayside. The days of hundreds of real extras and magical matte paintings allowing our imaginations to expand and run wild are now in the rearview mirror. Now replaced with cheaper digital versions which no matter how accurate the simulation, it’s still just that, a computer simulation, and we can inherently spot the difference.

There’s a reason why the craft of filmmaking is taking a U-turn back to its roots. Digital works to a degree, but the best way to build dreams on screen is to not put all of the proverbial eggs in one basket. Use all techniques available and weave a tapestry of realized collective imaginations. The art of film is truly the art of play. We don’t really go to work. We play with our toys and every now and then stumble across a breadcrumb of originality. Vanilla ice cream is fine, but it so much better when it’s layered with fudge sauce, Red Hots, and sparkling sprinkles. Say no to vanilla with no sprinkles and embrace the layering of styles bringing sound design back to its heyday when wielding sound design as a mad scientist was paramount.

Window to the Soul

We’ve heard for centuries that the eyes are the window to the soul. If that’s the case, then the heart and soul of Hollywood is coated in green screen-tinted glasses. So often, we see green rectangles reflected in glasses of our favorite characters, not only in episodic streaming, but even running rampant in Hollywood blockbusters. However, some VFX houses have attempted to do justice to this ongoing issue. Nearly every movie or episodic streaming show is shot digitally, quite often utilizing green screen. Some compositors will overly blur and remove the chroma in the reflections on the character’s sunglasses as can be seen in Hot Tub Time Machine. Since artists cannot just blur out unwanted green screen reflections in a character’s clear eyeglasses some will attempt to shift the hue so that it that might potentially match a reflection from a light source found off-camera in the surrounding scene.

While I’ve heard folks say these magenta reflections in Voller’s glasses were intentional, I doubt it as they’re apparent in many other scenes reflected in other actors’ glasses. Lucasfilm’s artists tweaked the reflections in Voller’s glasses in Indiana Jones and the Dial of Destiny, 2023, by shifting the reflection’s green hue to a saturated magenta. I do applaud ILM for using magenta as it is associated with the spiritual growth and harmony.

The DC Universe film Wonder Woman 1984, 2020, missed the boat in a variety of scenes where the green screen reflections clearly seen in Cheetah’s glasses weren’t disguised in post-production. The first time I noticed this artifact of digital production using on-set green screen goes as far back as television’s Seinfeld way back in the Nineties. Reflections can be quite tricky when it comes to digitally “erasing” these unwanted visual artifacts.

In Wonder Woman 1984 Kristin Wiig’s character can be seen in a variety of scenes with a blatant stamp of raw green screen reflections in her glasses. It’s a glaring misstep in modern day cinema, and it’s more common that one would think. In Indiana Jones and the Dial of Destiny from Disney’s Lucasfilm, the character Voller, played by Mads Mikkelsen, has a recurring series of scenes throughout the film with saturated, magenta reflections in his glasses. Since there is no light source in the scene with this tint this series of reflections was an attempt to remove the obvious green screen. Sometimes, even when the characters aren’t shot against green screen, some of the set pieces and background elements are. In some cases, even on-set monitors are to blame for introducing these visual blemishes. At least the VFX artists working on this Indy film took the time to attempt to tweak the chroma values of these glaring windows to the soul. I think it’s ironic that Voller’s eyeglass reflections were tinted magenta in Dial. I wonder if that color was intentional as it gives a nod to the concept of one wearing rose-tinted glasses. Did it become a visual symbol of his passion to discover and experience the truth to Archimedes’ dial?

In the raunchy, over the top comedy Hot Tub Time Machine, 2010, during post production the film’s compositors tracked the character’s dark sunglasses and applied a heavy blur in order to disguise the revealing on-set reflections. For the most part it worked fine, except the blur amount varied from shot to shot. 

Remember the old man on Saturday Night Live portrayed by Dana Carvey that complained that the current state of life wasn’t even close to how great things were when he was growing up. He’d say things like “Back in my day…” Well, at 51 I feel that I’ve become that same grumpy old man except I am complaining about: inch marks being substituted for quotation marks, jiggly retiming, strobing, incorrect motion blur, HDR overbright distractions, business card-sized billboard type, green screen reflections, and logo homogenization with a side order of overused sound libraries leaving us, the audience, wanting less, not more. Quality rather than never-ending quantity of rehashed stories, each tweaked in order to pander directly to certain groups of people. It applies to all things, especially to storytelling. Prove to us that original stories still exist; something new, original, and exciting. Please stop pandering to the “modern audience” by shifting all of our favorite stories attempting to have your content less controversial. How about ignite the passion that existed in film for decades? Story. Dialogue. Blocking. Twists. Turns. Cliffhangers. Infuse what we loved about movies from the past. Dare to go against the grain of pandering to the masses, take risks, and flip the script on Hollywood itself.

“Run for it Marty!”

Michael J. Fox and Christopher Lloyd took us “OUTATIME” via Doc’s plutonium-charged 1981 DeLorean DMC-12 on this day in their first film in the Back to the Future series. The story was written by Robert Zemeckis, who also directed, and Bob Gale.

“Wait a minute. Wait a minute, Doc. Ah...are you telling me you built a time machine...out of a DeLorean?”

— Michael J. Fox as Marty McFly, Back to the Future, 1985

“The way I see it, if you’re going to build a time machine into a car why not do it with some style?”

— Christopher Lloyd as Doctor Emmett Brown, Back to the Future, 1985

Equations of Love

For 51 years I’ve been known by my doctors, family, and friends as manic, depressive, schizoaffective, overly dramatic, extremely emotional (thank God for DBT), and sometimes quite eccentric — even bordering on beyond help. In all truth I was quite insane as defined by The Diagnostic and Statistical Manual of Mental Disorders (the DSM). Yet my personal psychiatrist from six years ago even posed the idea that I may not have a mental illness at all. She felt I was possibly just an intelligent guy with an overly active imagination. Also, to note, she was also the Medical Director at my local hometown’s mental hospital. At this point I have to be completely transparent. To know me is to know I don’t hide behind anything, let alone a series of diagnoses.

I was recently watching the story of John Nash via the film A Beautiful Mind, 2001, starring Russell Crowe. While many moments proved so familiar to my own series of mind-bending madness and revelations, it was in John’s final speech which summed up my own life thus far. Speaking directly to his wife, Nash sums up his fascination of numbers, equations, and endearing love itself. Russell’s delivery was quite extraordinary (below).

John Forbes Nash, Junior (June 13, 1928 – May 23, 2015), an American mathematician who made fundamental contributions to game theory, real algebraic geometry, differential geometry, and partial differential equations.

“I’ve always believed in numbers; and the equations and logics that lead to reason. But after a lifetime of such pursuits, I ask: ‘what truly is logic? Who decides reason?’ My quest has taken me through the physical, the metaphysical, the delusional…and back. And I have made the most important discovery of my career, the most important discovery of my life: it is only in the mysterious equations of love that any logic or reasons can be found.

I’m only here tonight because of you. You are the reason I am. You are all my reasons.

Thank you.”

— John Nash as portrayed by Russell Crowe in A Beautiful Mind, 2001. Directed by Ron Howard

“Ben Day” by Potlatch Paper

Potlatch Paper produced this little gem in the mid-90s reminding creatives that we’ve all “Ben” there. The diabolical clients, the endless Whoppers. Ben Day, the world’s greatest designer, gives his in depth perspective as to the creative processes that taunt and haunt him to the very core. He draws us into his world where the Happy Hamburger Helper Hand reigns as his supreme advisor. Ben doesn’t disappoint.

“This story is not true. For all his vibrancy, Ben Day does not exist. But we think a little piece of him lives in the hearts and minds of all creatives. Where an idea, fragile as it is, can be nurtured beyond the confines of mere capitalism, helping us move forward as a people...until, of course, a client crushes your little idea like a bug.” — “Ben Day,” Potlatch Paper Company, 1995 film written and directed by Dana Arnett and Bob Rice.

I STILL HAVE MY ORIGINAL “BEN DAY” BUTTON AND PLAYBILL FROM THE MID-NINETIES.

“Would you say: ‘hey Mister Da Vinci...Leo, we want Mona there to show some teeth?’”
— Kyle Colerider-Krugh as Ben Day, The World’s Greatest Designer

VSA Partners, LLC posted “Ben Day” Potlatch Paper — Short Film on Vimeo for all of us to enjoy ad infinitum.

Remembering Our Superman

Christopher D’Olier Reeve (September 25, 1952 – October 10, 2004) was an American actor, film director, author, activist, and best friend to Robin Williams. The dynamic duo were first roommates at Juilliard which led to their lifelong friendship. In 1978 Reeve starred in Superman: The Movie, while that same year Robin Williams landed in his egg-shaped spaceship as Mork from Ork on Happy Days in “My Favorite Orkan.” In the fall of that same year Robin Williams and Pam Dawber arrived in our living rooms across America in Mork and Mindy. Today we remember and celebrate Christopher’s legacy. He will always be our Superman.

I was quite fortunate to see both of my childhood heroes years later as an adult. Christopher Reeve gave a talk one year in the late nineties at the Broadcast Designers Awards. He embodied a spirit unmatched. He truly was a super hero and super human. When my daughter was quite young she gave us tickets (via her mommy) to see Robin in Atlanta. Every moment was so fresh and new. He didn’t recycle any of his material from previous comedy tours.

Both of these super folk will forever be in our hearts for they gave us the recipe to truly fly and follow our dreams. I haven’t worked a day in my life. Every day is just another chance to dream and play on my own stage, and every now and then, fly as I did when I was a child gliding, swimming through the air down the hallway while my family slept.

“So many of our dreams at first seem impossible, they then seem improbable, and then, when we summon the will, they soon become inevitable.”
— Christopher Reeve

Albrecht Dürer: Exploring Symbolism in Knight, Death and the Devil

During the summer of 1995 while hiking through the Tuscany hills in Cortona, Italy, I was fortunate to stumble upon the vast portfolio of Albrecht Dürer’s life’s work on display just outside the Uffizi Museum in Florence. Dürer, master painter, printmaker, and theorist, was well known for his detailed depictions of both everyday and divinely inspired scenes deeply rooted among natural settings. Through his exploration of depicting nature he sought to discover his life’s purpose. While peeking into his world through the works displayed in Florence, I recognized familiar faces, places, and locales, but there were many works I’d never seen before in print.

I was familiar with Saint Jerome in His Study and The Four Horsemen of the Apocalypse, but one piece in particular caught my attention. His 1513 work Knight, Death and the Devil (at bottom of post) immediately drew me in. In order to fully appreciate it one must not only immerse themselves in the ultrafine, multidirectional, crosshatched strokes rendered but also at the iconic significance in the human, animal, and otherworldly subjects themselves. Not known to be subtle in his use of symbolism each element’s purpose lends greater depth to the intertwined narrative captured in each intentional stroke of intricate genius.

Dürer’s original title for Knight, Death and the Devil was simply The Rider. During the time surrounding his creation of this piece his mother was in his care as she was very ill. She passed into the afterlife in 1514. During this period, he immersed himself in producing copperplate engravings of such explicit, exquisite detail that significantly stand apart from his other works. Knight, Death and the Devil took three immersive months to complete. This piece and two others formed his collective set of three master engravings. Knight, Death and Devil, Saint Jerome in His Study, and Melencolia I are known as the Meisterstiche, Master Engravings. So let’s see what clues the artist has left us to discover.

First and foremost the Rider’s stance is casual, his progress through the frame quite relaxed, as he gallops along the path. This path could be divine as the knight has exercised a Christian inspired life. However, I’m not convinced there is any relation to Christianity in this piece. The Rider displays there is no threat within the scene as his helm’s visor up, not down signaling a fighting position thus protecting his face from attack. He looks ahead devotedly stoic yet relaxed knowing he has led a fulfilled life of bravery and devotion. The Rider is possibly just moments from certain death. He knows full well he lived a good life as he slowly gallops into the afterlife just around the next bend along his shared path.

The Rider looks ahead, not distracted to the side or behind with regrets in his past. He lives in the here and now experiencing practiced mindfulness. He doesn’t dwell on the past or future. He breathes gently while his trusted companions, his faithful horse and dog, lead him with fierce love and admiration for their master. The Rider’s horse is adorned with oak leaves, to some referencing Christ. These leaves could also reference growth or fertility, but in this depiction, they reference the never-ending cycle of life and death and then life again in another realm.

The dog signifies loyalty, love, and protection for his master, is in a running pose rather than walking casually like his master. The dog sees what lies ahead, and the Rider trusts his faithful companion with his life and well-being. The fox tail on the Rider’s lance which he holds lightly over his shoulder references good luck or protection. Some feel it references lies and deceit. I wholeheartedly disagree with that analysis. This knight is noble, not an evildoer.

The village in the background pictured above the primary scene is placed above the head of the Rider as if he’s thinking of home. Is he a king in disguise? It’s juxtaposition serves as a thought bubble or daydream. He calls this home, but not his true home, in the beyond, it is only his earthly home. The village, high above, distant, could be referring to the afterlife or Heaven itself.

Lofty aspirations for the Rider, will he be king of this village in the sky? Although it is in the distance, it can be seen plainly. Perhaps this is symbolic of either the beginning or end or both of the knight’s quest. Maybe it also signifies his familial roots run deep, but now they are exposed quite literally in the framing of the woods between the village and the foreground menagerie.

The woods are dead, leafless, lifeless, in decay with visible roots trickling along the framing around the Devil. The roots are exposed and these trees and brush will not survive the winter. These roots could signify the uprooting of one’s own life through sin, perhaps. Or do they signify veins holding the lifeblood of our motley crew. Their inclusion gives further insight of the artist’s beliefs surrounding nature itself. We are all both beautifully and wonderfully made creatures living in a world of the same account. Nothing natural is truly ugly in the sense of human perception. Everything in nature is perfect by design and honed to mathematical precision.

The Devil is grotesque with a pig’s snout, three horns, a snakelike tail, has a spear hoisted over its shoulder casually, a visible clawed hand, and two hooved feet, one visible just behind the dog’s framing. The large horn on top of the Devil’s head looks like a Grim Reaper-styled scythe ready to cut down the Rider. It’s very presence initially proves intimidating to the viewer, however to the Rider he sees beyond this mask. He knows the Devil is rather a joke, a ridiculous being, more appropriate as a sideshow freakish attraction rather than the Prince of Darkness.

There is a bell around the neck of Death’s horse that may signify the tolling bell of inescapable death. However that bell may be for Death so he doesn’t lose his own horse. There is a slight sense of lightness to the entire scene. These characters have known one another for a lifetime. This scene doesn’t spell impending doom for The Rider. These fiends are truly the knight’s friends. I didn’t really see that coming either, but now it makes good sense.

The Devil as well as Death are companions, not the knight’s adversaries. The Rider understands full well that the meaning of a fragile life is certain death at any moment. One must live in the present, not past or future, to survive, and eventually arrive at the gates of lofty places on high, divine or not. Death holds an hourglass adorned with a sun dial attempting to shake the Rider into a race rather than his gentle gallop. The knight’s stance reinforces that Death is just another friend along life’s pathway. The two opposing snakes look left and right whose gaze aren’t fixed on the knight. They are just another distraction, a reference to both the Garden of Eden’s devilish snake and possibly a reference to the Greek Medusa mythos. These snakes are just along for the ride. Just two more of the journey’s companions. Now what’s going on with the other figures here?

Death’s horse is weary, weak and looks downward in its frailty. One ear up, the other level, leaning down to the ground below. It looks downward to the jawless skull in the bottom left corner of the composition where the artist’s signature resides. The skull, a bit askew, gazes directly at the “AD” logomark. The skull sits on an oak stump that many believe is another biblical reference. This stump may also represent a grounding ability and connection to one’s ancestral wisdom or put more plainly, family tree.

The lizard-like creature between the back two foreground horse’s hooves is scurrying in the opposite direction of the Rider. An iguana or possibly even a chameleon which makes more sense as it can change color camouflaging into its surroundings. Always on the defensive it’s led a life hiding from the truth that lies ahead. It heads into the past, unable to witness the present. Some believe this is an ill omen, however I disagree. It may symbolize the Rider’s own past skill of adaptability in adverse situations. Now through wisdom it scurries away from the hero. He doesn’t follow this defensive status anymore. He looks ahead, rather calmly, with his faithful companions, including Death and the dastardly Devil itself.

“The artist is chosen by God to fulfill his commands and must never be overwhelmed by public opinion.”

Knight, Death and the Devil, 1513, engraving. Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg)
Dimensions: Sheet: 9 13/16 x 7 11/16 in. (25 x 19.6 cm)
Plate: 9 9/16 x 7 3/8 in. (24.3 x 18.8 cm)

“The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences.”
— Albrecht Dürer

The Knight’s smirk resets the mood.

Some final observations are that Death and the Devil both adorn crowns and the Rider appears to be smiling. Death’s crown is quite sharp and standard fare while the Devil’s crown is organic resembling a symmetrical flame. It may even be another horn-like protrusion from its silly head. Upon closer inspection the Rider appears to have a half smile, even a slight grin. Notice his dimple. This one last clue holds the key to the entire piece. Rather than a serious, divinely-driven work, the artist is toying with his audience providing a tongue in cheek scene meant to not take itself too seriously. Will the art history experts agree? Possibly. Get The Life and Art of Albrecht Dürer from Princeton University Press here. Use coupon code EXH30 for 30% off your order.

Radium: the 88th Element

Incredibly radioactive, radium is an alkaline earth metal (symbol Ra). It’s silvery-white in pure form and is found in quite minute, trace amounts within uranium ore. What is “88 MPH?” Eighty-eight refers to radium’s place on the Periodic Table of Elements. Maybe “MPH” refers to the metallurgical power of hydrogen. Well that’s what my version stands for. Most folks thought I was just talking about an obvious reference to Back to the Future and time travel. Ya’ll were partially correct, but there’s far more to it than that assumption. As it turns out in my lab experiments radium is needed to send objects from our reality to alternate planes of existence. As we delve deeper we’re on the precipice of quantum teleportation but tweaked just a tad. Teleportation? Isn’t that a stretch? No, not really. Scientists have successfully transported data using this method.

Do you ever wonder where they got the idea for 88 MPH (or 39.33 meters per second) as the exact speed needed to produce enough velocity to allow a metallic object with organic passengers the ability to time travel?

Some folks think it’s rather simple in that an eight on its side is the infinity symbol. So, two eights could be infinity in both directions, past and future. That’s partially why my 88 MPH graphic has a skid mark in both directions. Infinity to the past and future. I have a better theory now. What did Doc Brown need to power his time-travelling car? Uranium. What is found inside uranium ore? Radium. Remember radium is also the 88th element on the Periodic Table. Just a theory as I have not Googled this. But yeah, I have a sneaky suspicion that’s the case. Otherwise, this is just a neat coincidence. Either way, I’ve got to get back to my “Metallurgical Power of Hydrogen” experiments attempting to unlock the power of pure radium. Things are cooking along nicely in the lab, and the first hypothesis has been proven partially correct.

27 strikes again! If you’ve been following my Angel Number 27 rants, you’ll understand why 39.33 (3x3x3 or 9x3=27) meters per second is so amazing to me as I see 27 everywhere. Don’t worry I’m not glowing…yet. Well, maybe a little.

M.C. Escher: Synthesizing Illusions with Mathematics and Graphic Arts

M.C. Escher was the absolute master of synthesizing illusions with mathematics and the graphic arts. From his multi-faceted perspective he redefined reality. What was up was also down. He weaved imaginary worlds governed by this duality. To call Escher a genius would be an understatement. The sheer volumes of detail was astonishing to behold in person. Escher’s dizzying array of works led me to later discover decades later some of his studies which were tied together with his enigmatic system of mathematical guidance in producing these visually stunning pieces. His works totaled 448 prints over the course of a sixty year career. Although he produced a small volume per year, his works were vastly complex. One cannot deny his genius as well as his sense of humor while poking fun at himself for the absolute absurdity found in one of his most well known woodcuts and wood engravings.

ABOVE: HIS MOST AMBITIOUS WORK SMALLER AND SMALLER — M.C. ESCHER. IMAGE COPYRIGHT M.C. ESCHER. IMAGE USED FOR EDITORIAL PURPOSES ONLY.

His ability to teleport us to imaginary worlds where infinity loops abound became his hallmark signature. His work Smaller and Smaller is known as his most ambitious work. The continuously infinite details are incredible. We are transported into a world where infinity in both directions goes on for as he put it “ad absurdum.” This Latin term refers to something that has gone beyond the point of absurdity. Happily poking fun at his own craftsmanship Escher’s fascination with mathematics cannot be denied. He clearly relies on mathematical principles in order to break and redefine them while defying gravity, even planar existence in each of his works. Reality as he portrayed it possessed as having no bounds.

“The halving of the figures is continued ad absurdum. The smallest animal still possessing a head, a tail and four legs is about two millimeters long.”
— M.C. Escher

ABOVE: THE ARTIST’S NOTES, DIAGRAM, AND MATHEMATICAL STUDY FOR A QUARTER OF SMALLER AND SMALLER — M.C. ESCHER. IMAGE COPYRIGHT M.C. ESCHER. IMAGE USED FOR EDITORIAL PURPOSES ONLY.

Bipolar Coordinates Title Design Update

The title design for my first book, Bipolar Coordinates, is now complete. After fourteen years journaling my bipolar experiences, I’ve arrived at the notion that anything is possible. It’s all about mindset. Once I found the equilibrium within my physical, mental, and spiritual faculties I arrived at true homeostasis. I am releasing this book as historical fiction as some topics may appear a bit out there (aka X-Files). I’ll leave it up to the reader to gleam the truth for themselves. Angel Number 27, Men in Black, God’s iPhone? Coming in the spring of 2024.

The Last Supper and Angel Number 27

At 3:33 (3x3x3=27) pm on the 27th of August I was researching the hidden clues that have been discovered within one of the most famous and mysterious works in all of art history. I can only attribute the timing of my researching Leonardo da Vinci’s The Last Supper to the concept of the Divine Comedy of Dante which contains three sections: Inferno, Purgatorio, and Paradiso. Each one consisting of thirty-three cantos or the division within this long work of poetic prose (so that’s three 3s, or 27, again). I’m not referring to a literal translation, more so a wink at the idea that here I am unbeknownst to the time of day I glance at my clock and note the time is 3:33 pm. All I’m saying is that God has a sense of humor as do all gods within every culture. Also curious is that today is August 27th (3x3x3=27), my Angel Number. This number is considered by many to be the most spiritual of numbers as it is constructed of three 3s. It is three to the third power and the numbers add up to 9 which is 3+3+3. The number 27 speaks to me, guiding me with markers that always lead to something else just around the corner. I discuss the power of 27 in my life further on the eyes:/only page. For a thorough explanation of the hidden messages found within The Last Supper go here.

LEONARDO DA VINCI’S DEPICTION OF FOUR GROUPS OF THREE WITH ONE IN THE CENTER POINT SOME TO LAMENTATIONS 3:31-33 (BELOW). DA VINCI ALSO PORTRAYED ALL THIRTEEN CHARACTERS WITHOUT HALOS, THUS REVEALING THAT LEONARDO MAY HAVE BELIEVED THAT ALL, INCLUDING CHRIST, WERE ORDINARY MEN AND NOT DIVINELY INSPIRED. CHRIST IS CLEARLY SHAPED AS A TRIANGLE WITH THREE WINDOWS IN THE BACKGROUND. BOTH OF THESE ELEMENTS OF THREES ARE POSSIBLY A DIRECT NOD TO THE HOLY TRINITY. THE PORTRAYL OF JOHN “THE BELOVED” IS THE MOST CONTROVERSIAL CHARACTER HERE. TO THE RIGHT OF JESUS SOME BELIEVE, INCLUDING ME, JOHN IS ACTUALLY MARY MAGDALENE, THE WIFE OF JESUS. THE NEGATIVE SPACE BETWEEN CHRIST AND MARY IS IN THE SHAPE OF THE FEMALE WOMB OR THE HOLY GRAIL.

Lamentations 3:31-33 NIV (New International Version):

31 “For no one is cast off by the Lord forever.”

32 “Though he brings grief, he will show compassion, so great is his unfailing love.”

33 “For he does not willingly bring affliction or grief to anyone.”

Remembering the Late, Great Sean Connery on His Birthday

In the Fall of 2020 we lost one of our favorite good guy spies, adventurers, and knights, both on the screen and off. Sir Thomas Sean Connery’s delightful moments in cinematic history were far and wide. His Scottish swagger produced the best of Ian Fleming’s 007. His long life spanned 9 decades from August 25, 1930 – October 31, 2020.

The very first, but not the last, Sean Connery went down in 007 history as the quintessential James Bond in seven films.

One of my favorite scenes has always been his moment on the beach orchestrating his version of Alfred Hitchcock’s The Birds in order to take down a German plane hell-bent on wiping out the father and son duo. Today we remember him and never forget his fearless, endless commitment to his craft.

— Sir Thomas Sean Connery as Doctor Henry Walton Jones, Senior, Scottish professor of medieval literature and Grail lore expert and Harrison Ford as Doctor Henry Walton “Indiana” Jones, Junior, Indiana Jones and the Last Crusade, 1989.

“I suddenly remembered my Charlemagne: ‘Let my armies be the rocks and the trees – and the birds in the sky.’”

— Sir Thomas Sean Connery as Doctor Henry Walton Jones, Senior, Indiana Jones and the Last Crusade, 1989

Say Hello to the Future of Vinson Design

After spending the past 14 years journaling my accounts of my manic depressive battle I’ve finally arrived at a state of homeostasis. For the first time in my life my mental, physical, and spiritual faculties are in equilibrium. I’m aiming for Spring of 2024 for the release of my first book Bipolar Coordinates: Navigating Vibrations and Undercurrents. The book will be published by eyes:/only (SM), the newly formed publishing division of Vinson Design.