A Journey Through Power, Secrecy, And Intuition - Reader House Interview with SF Brennan

 

Hi everyone! Just dropping a little news.

Earlier this month, I was contacted by Readers House Magazine from London England for an in-depth author interview regarding my book, “The Shard of Asclepius”. The interview was a wonderful surprise for me, was conducted on a highly professional level and was chosen for their 49th online and physical edition for their prestigious literary magazine.

Readers House Magazine is considered to be London’s gateway to discovering today’s voices of literary excellence and celebrated authors. My interview is in very good company within the 49th edition of the magazine which includes a stellar line up of award winning, bestselling and indie authors including the Sunday Times bestselling author, Scott Mariani.

If you are looking for great stories, books and author’s, Readers House Magazine is where you can find them. So, I highly recommend visiting their online magazine editions to find out the best books and authors of the day.

To view the entire magazine issue # 49 and the exceptional authors within, click on the following link.

Reader’s House Magazine – Issue #49

My interview is on page 68 and 69 but I have also included the interview below for your convenience.

Here is that interview:

Readers House Magazine Interview – Stewart F. Brennan

Editor’s Desk – London

A Journey Through Power, Secrecy, And Intuition

Stewart F. Brennan discusses his debut novel, The Shard of Asclepius, blending ancient history, hermetic principles, and modern technology, while exploring themes of power, intuition, and humanity’s connection to nature.

Stewart F. Brennan is a name that resonates with intellectual depth and creative brilliance. A man of many talents, Brennan has seamlessly transitioned from a career as a lean manufacturing specialist and electrical engineer to becoming a celebrated author whose works challenge, inspire, and provoke thought. His journey from analysing corporate systems to exploring the mysteries of ancient history and the complexities of modern geopolitics is nothing short of remarkable. With a mind honed by critical thinking and a heart attuned to the rhythms of poetry and prose, Brennan has gifted readers with a body of work that is as diverse as it is profound.

His earlier series, The Activist Poet, showcased his ability to weave together poetry, political commentary, and prose into a tapestry of thought-provoking literature. Now, with his debut supernatural thriller, The Shard of Asclepius, Brennan has taken his storytelling to new heights. This action-packed novel masterfully blends ancient mysteries with high-tech intrigue, offering readers a gripping narrative that is as intellectually stimulating as it is thrilling. Set against the evocative backdrops of Quebec and New York State, the story delves into themes of hermetic principles, secrecy, and the balance of power, all while exploring the profound connection between humanity and nature.

Brennan’s ability to draw from his own life experiences—whether it’s his deep connection to the natural world, his fascination with ancient civilizations, or his expertise in electrical engineering—imbues his work with authenticity and depth. His creation of the shadowy Collective and the enigmatic Order of Hermes reflects a keen understanding of both historical and contemporary power structures, while his protagonist, David Collins, serves as a relatable figure for anyone who has ever experienced a profound awakening of the mind and soul.

In this exclusive interview, Stewart F. Brennan takes us behind the scenes of The Shard of Asclepius, sharing the inspirations, philosophies, and personal experiences that shaped his extraordinary debut novel. Prepare to be captivated by the insights of an author whose work not only entertains but also challenges us to see the world—and ourselves—in a new light.

“Stewart F. Brennan is a masterful storyteller whose profound insights and thrilling narratives captivate readers and challenge conventional thinking.” ~ Editor, Reader’s House

What inspired you to create the concept of the Collective and their shadowy control over society? Are they based on any real-world influences?

Born in 1960, I’ve seen and experienced, the rise of corporatocracy which is now prevalent throughout the western world. The concept of the Collective in the Shard of Asclepius is based on this model of dystopian economics where a powerful group holds the reigns of hundreds of corporations, banks and governments.

Decision making in this model comes from the top and makes its way down the chain of command much like a military organization. Yet, the real power in a corporation like this rest with the largest shareholder(s) whom make the final decisions on the business direction. Those decisions are based on its annual growth target, regardless of how immoral the path to achieving their goal is.

Examples can be seen through the weapons companies that prosper on war or the pharmaceutical industry that prospers on illness. These are some of the largest companies in the world. They are too big to fail while their growth requirements are exponential. There is no off switch and so they need to expand their footprint constantly or experience decline.

To thrive, both examples also require ignorance of the population. In this context, the multi-national commands political influence, has intelligence services or insiders working for them and have their people within the media and justice system. It is very much like a parasite or a cancer.

So, in a nutshell, that is where the concept of the Collective comes from.

“The concept of the Collective in The Shard of Asclepius is based on the model of dystopian economics.” ~ Stewart F. Brennan

How did you develop the character of David Collins? Is he inspired by someone you know or perhaps aspects of yourself?

In many ways, David Collins is me. He’s made from some of the experiences I have gone through in life but he also stands as a composite figure for those that have experienced a mind and soul awakening. Thus, his character can be identified by many people.

The Order of Hermes plays a significant role in the story. What research or mythology influenced your portrayal of this secret organization?

In short, the influence for the Order of Hermes comes out of the Ptolemaic history in Egypt and its role in building the great library of the old world in Alexandria.

The Order of Hermes follows hermeticism which centers around the works of Hermes Trismegistus, the Greek version of the Egyptian deity Thoth who was responsible for the regeneration of humanity after a major cataclysm on earth destroyed the ancient world.

So, in reality, the influence for the Order of Hermes is born out of the connection between Ptolemaic Egypt and the mythical keepers of the ancient knowledge of Egypt.

The story takes place across Quebec and New York State. Why did you choose these locations, and how do they contribute to the narrative?

I’ve lived in and around southern Quebec for most of my life and spent a lot of time touring Ontario and New York state. These places hold special memories and deep-rooted natural connections for me. The Shard of Asclepius not only centers on earth’s ancient past, but also on old ways of thought. Nature becomes the key in rediscovering old ways of thought for David.

“David Collins is me… a composite figure for those that have experienced a mind and soul awakening.” ~ Stewart F. Brennan

There is a magic in nature that connects us to a greater consciousness. Something that I personally experienced many times over the years in the forests and waterways of Quebec, Ontario and British Columbia. Having a connection with nature, I believe, is an integral part of trying to understand who we are and our role here on earth.

It is also part of the hermetic experience, of inner knowledge and intuition. So, I included some of the places I was familiar with for reasons of natural connection and the concealed theme, which is, healing.

What inspired you to blend ancient mysteries with high-tech intrigue in “The Shard of Asclepius,” and how did your background in electrical engineering and history influence the story?

When studying ancient places across the world, such as in Egypt, it became clear to me that the builders of the pyramids and the many temples across Egypt could not have been made without possessing highly advanced technology. There is suppression of this fact that is just as mysterious as the megalithic structures and stone artifacts themselves.

By comparison, I have studied electrical engineering and seen the rapid advances in digital electronics over the past two decades that have gone from a very simplistic core of binary numbering systems and programming for toys and computers, to Artificial intelligence and drone warfare.

Electrical advances in communication have also become invasive of our personal privacy and so the contrast between a technocratic prison verses personal freedom becomes a serious question for this day and age

I wrote both old and new worlds into the story to bring attention to these very real scenarios.

The novel explores themes like Hermetic principles, secrecy, and the balance of power. What message or reflection do you hope readers take away from these elements in the book?

The world today is ego and greed driven which is the complete opposite of where we should be going. In a way, the story is a reminder that there is another way to live.

As mentioned, there are elements within the book that speak directly to one’s conscious spirit. Nature provides the greatest example of this because it speaks to the individual at a conscious level, which is something many of us have been disconnected from.

Intuition plays a role in everyone’s lives. There is a knowledge within that is not book knowledge (episteme), but a conscious understanding of things; a gnosis or an intuitive knowledge of spiritual truth. Most people can identify with this but do not practice it. Therefore, the message I hope people take away from the story is to trust in intuition. Don’t be afraid to live your life or be afraid to express your point of view regardless of how stacked the pressures are against you. There are always people who see things the way you do. Those people are your tribe and will appear in your life when you begin to express yourself truthfully. You are not alone and there is a new horizon just waiting for you.

Where can someone buy the book?

The book is available to purchase world wide at all major and minor stores. Here are just a few links but you should be able to find it wherever books are sold:

Barnes & Noble

Indigo

Amazon

Friesen Press

Apple

Waterstones

For more information on the Book and Author Stewart F. Brennan visit his official website.

World United Awakening and New Horizon’s

 

Hello everyone, my name is Stewart F. Brennan. I’m the creator of this, the World United Awakening blog.


Over the past two decades, I’ve juggled my time and energy populating five different blogs containing alternative news, music, economics, political activism, ancient history, and creative passions while also supporting hundreds of artists, activists and alternative news journalists. I did so because those I supported, offered something that mainstream did not.

The goal of my past efforts has been to show, with proof, that there were other sides to a story, and of course, better music offered by artists not in the mainstream spotlight.

World United Awakening was a place for me to express my deep passions anchored in our ancient past and our profoundly deep connection with all levels of consciousness, while also supporting alternative history investigators such as Graham Hancock, Brien Foerster and Randle Carlson to name a few.

However, on my other blogs, I also began expressing my discontent with the way the world was heading. In doing so, I eventually combined my Geo-political and Geo-economic observations with my societal discontent and my poetry into a three-book series, titled, “The Activist Poet - Vol 1, Vol 2 & Vol 3” hoping that they would help awaken a population that was sleep walking into a consolidated economic tyranny and another World War. These books remain my testament to truth against powerful western propaganda and censorship.

The Message

My message has always been, that there is a better way to live on this planet than the way in which we are living right now. The world I believe in, is a world that is inclusive for all and not just for the privileged few…of course, I was censored just like the thousands of concerned online journalists and artists trying to make the world a better place.

So, due to massive online censorship of this blog and important voices, I have taken the next step forward in my quest to make the world a better place and written a science fiction / supernatural thriller of historical fiction called, “The Shard of Asclepius”. This book is a continuation of World United Awakening because it is not only a Super Natural, Science Fiction Thriller, it is also a book of historical fiction that focuses on a highly advanced civilization that was destroyed at the end of the last ice age 15,000 years ago. The story I wrote is my way of bringing inconvenient topics to the front page.

The following quote by Gao Xingjian reflects my belief and why I wrote this book.

Quote: “It's in literature that true life can be found. It's under the mask of fiction that you can tell the truth.” ~ Gao Xingjian ~

I have hope that many people will see and read this intriguing book, “The Shard of Asclepius”, but it’s virtually impossible to get the book populated on mainstream bookstore shelves, even though it’s available online through Ingram's global network of book sellers. As an independent author, I need your help.

My book is on the Indigo, Amazon and Barnes & Noble websites but in order to get the book seen by the public, I need my supporters to go to those websites, rate the book, buy a copy from them and maybe leave a review of the book. It helps move the book into attention. Books that are not supported by a major publisher or large online community, are not visible to the public and so an independent author such as myself relies on friends and community for support.

I’ve also created a new website which will be dedicated to all the books I publish as an author going forward. Here is the link to my new website. ~ Official website of Stewart F Brennan ~

To the people I’ve supported and / or the people who’ve visited and supported my blogs in the past, thank you! I hope you will also follow me on this next step of my journey.

Here is a short video trailer for my book, “The Shard of Asclepius”. Please consider visiting my new website to find out more about the book and then consider sharing the link with your network of friends. Thanks for taking the time to read this blog post and for your support! I look forward to hearing from you. Have a great week!

VIDEO TRAILER

Let's Connect!

Awakening Voices – Issue 01

Awakening Voices: Issue 01
By: Stewart Brennan

Hello, welcome to the first edition of, “Awakening Voices” a unique monthly post that brings a wide range of interests together to present the independent, community minded spectrum of Art, Music, Poetry, Photography, Journalism, and Activism.

Each post going forward will present a nexus of people, with a sample of their creativity, their works of art, enlightenment and / or reporting that have, at their heart, the properties and essence for building stronger human foundations and communities. All those presented will be “Alternative Voices” working to enlighten us while trying to make the world a better place.

Today’s post will feature the soul quenching folk roots music of “Rising Appalachia”, the soulful poetry of Stewart Brennan, the amazing photography, prints and art of “Tariq Dajani” and the courageous investigative journalism of “Eva Bartlett”.

Meet four threads of consciousness within the human fabric, all of whom create and work within the realm of empathic vision and task.

Be sure to visit their websites where you can see, hear and read more of their work while finding out what they are up to; and don’t be shy in sharing this post with your online community, sharing is caring while also lighting up and expanding our collective consciousness…be the light. 😉

Music: Rising Appalachia

Rising Appalachia are a self-made musical success story founded by sisters Leah and Chloe Smith who’ve established an international fan base due to relentless touring, tireless activism and a perseverance to be independent while nurturing the true qualities of freedom.

As world travelers for nearly two decades, Rising Appalachia have evolved into one of the most premier folk groups on the planet today. Along the way, they have experienced many cultural music traditions which have influenced their own southern folk, roots style music to create a rhythmic soul lighting down to earth musical experience that connects and lights up the spirit through their very positive energy flowing music and performances.

Rising Appalachia’s latest album “The Lost Mystique of Being in the Know” is a testament to how absorbing their music can be, and as always, it comes at a very important moment in time, as most of the world is still in the grips of a lockdown...a lockdown of despair that has many holding their breath under a sea of negative energy…Picture “Pepper Land” overrun with “Blue Meanies” where everyone is frozen in-place or in a bubble of silence…but then, the miracle happens and Pepper Land turns from dystopia to utopia by the positive energy of music.

“Catalyst”, opens Rising Appalachia’s new soulful album which sets the tone for the eight songs that follow as they call out in poetic rhythm to bring about a transformation in consciousness, urging us to take the reigns in these dark times and begin the healing.

The album of nine songs connects deep within and takes the listener on a rhythmically healing journey, one which is certainly needed at this point and time. “The Lost Mystique of Being in the Know” is already a favorite of mine and destined to be one of my favorite albums of the year, and why not, it’s that good. ~ Stewart ~

Rising Appalachia Are:

Leah Song - vocals, banjo, bodhran
Chloe Smith - vocals, fiddle, double bass
Biko Casini - djembe, calabash kit, percussion
Arouna Diara - N’Goni, balafon
Duncan Wickel - fiddle, cello
David Brown - guitar, double bass

All songs written, produced, and performed by Rising Appalachia.

Together, their blend of folk, world, and urban music has become a calling card to the soul in fans around the world. “Rising Appalachia”.

Catalyst

Keep Going

Tempest

Silver

Buy Full Album at Bandcamp:
(Released May 01, 2021)

Links:

Official Website
Facebook
Soundcloud
Twitter
World United Music Profile (2011)
YouTube

Store - Bandcamp

Poetry: Stewart Brennan

About: Stewart Brennan

Born in Montreal, Quebec, Canada in 1960, Stewart Brennan is a Canadian poet, writer, blogger, geo-political and economic analyst, lean manufacturing specialist, critical thinker, activist, video producer, photographer, and music promotor.

Stewart just released his first book called, “The Activist Poet” which combines his memoirs, poetry, activism and social political commentary while weaving together his experiences, impressions and observations made during the economic decline of North America between 1970 and 2021.

An avid reader and analyst on geo-political and economic trends, Stewart also weigh’s in on past and current events while also painting emotional expressions of the human condition through thought provoking poems.

“I believe that everyone born into this world has a mission to fulfil and while maybe not readily aware of the details at first, the mission does eventually become clear to those that have been awakened.”

“The path we set out on when we’re younger never ends the way we envision, because the road ahead for most of us is not guaranteed regardless of one’s standing or education, especially when you learn that nothing is truly in your control. You have to fight or surrender. I’ve been fighting injustice all my life and continue to do so more intently the further down this timeline we go, my book is a testament to that so I guess it’s safe to say, I have not surrendered.”

“I don’t like what the deep state has to offer, so I decided to build my own World where creativity, music, and truth prevail. Therefore, I became a photographer, writer, video producer, news reporter, music promoter, radio DJ, poet, activist, and problem solver with a focus and vision on building community while trying to leave the world in a better place.”

Stewart’s experience over the years has taken him through the Aerospace / Aviation, Packaging, Transportation and Logistics Industries in managerial positions and later as an author via several blogs including World United News, World United Music, World United Awakening, Alternative Views and SF Brennan Art, a blog of creative writing, poetry and prose.

He’s had several poems published in Diana Thoresen’s “Red Hibiscus: Anthology” series Volumes 17, 18, 19, 20 & 21 as well as in an “All Poetry” Group Publication, “Late Night Poets Virtuosos” & “Late Night Poets Anthology Volume 1 & 2”

Stewart has been writing and archiving information on World United News since 2007 and is known for his economic analysis and critical thinking on geo-political and geo-economic events. He’s also been published on Global Research, the center for research on globalization.

Stewart Brennan is also the creator, producer and promotor of World United Music, a project that started in 2010 promoting signed, unsigned and independent musicians and bands.

Stewart offer’s two poems today, “The Dancing Light” being one of 83 poems from his book “The Activist Poet” which was inspired by a Piano composition by Russian Composer Vadim Kiselev called, "Les danses de la lumière". The music composition can be heard in the video below his poem. The second poem, “The Taurid Collision is Coming”, is a new poem and will be in his second book “The Activist Poet” (Volume II) scheduled for publication later in 2021.

The Dancing Light

By: Stewart Brennan

Grey skies shade my thoughts with sorrows,

my essence a prisoner of sadness,

hope uplifts all my tomorrows,

but realities drive me to madness.

A glow illuminates over the bog,

gracefully waltzing out of reach,

it’s shadows shiver in the fog,

with lessons destined to teach.

The road ahead lingers fright,

my path revealed in dreams,

and when awakened by chill of night,

the light shines down in beams.

I race to capture understanding,

cumbrous weight denying me,

yet the light ahead begins expanding,

and reveals the truth to me.

------------------------

Vadim Kiselev - Les danses de la lumière 

Vadim Kiselev Official Website 

The Taurid Collision is Coming

Hurry to the Serapeum,

Saqqara on Giza’s plateau,

bring all of mankind’s achievements,

so the future will come to know,

an asteroid smashed our planet,

and brought our world to an end,

let’s give some hope to survivors,

so that they might rebuild again.

A seed bank of agriculture,

engravings of mathematics,

entombed underground our history,

with electrical schematics.

Each culture brings what defines them,

in a way that stands against time,

with maps and science for bearings,

and star charts to help with their climb.

Bring it to the Serapeum,

the lifeline that we will bestow,

our history encased in granite,

all gathered on Giza’s plateau.

--------------------------------

About this Poem: About 12,900 years ago, the Earth was hit by a comet that broke up into many pieces hitting and melting the Ice Sheets of North America and Europe, ending the last ice age. (Some of the ice was two miles thick.) The resulting flood and rapid climate change, wiped out thousands of plant and animal species and raised the oceans between 200 to 400 feet causing a breakdown of the ocean conveyor which in turn caused a rapid change in climate known as the Younger Dryas period.

When looking at all the ancient sites around the world in Egypt, Peru, Turkey, India, and many, many other places that are above water, the precision megalithic building and shaping of stone, makes it clear that there was a more advanced civilization here before us. Accademia would have you believe otherwise, however, in the Internet era, they can no longer hide or deny what is staring the world in the face…that a civilization more advanced than our current one, once thrived on this planet but when it was destroyed, it sent mankind back to a survival mode and reset.

Our civilization today is what has emerged from that new beginning yet even today we do not have the technology to shape or form stone as those ancients did.

It is my belief that this advanced civilization knew about its demise and set out to preserve their advanced knowledge and buried it in the perfectly squared, hollowed out granite boxes at the Serapeum at Saqqara. The Serapeum itself, is a wonder if you consider how they moved 100 ton rectangular stone boxes underground, down long corridors and into their resting place which leaves very little room to maneuver.

If we are to look at mankind’s rapid rise over the past 160 years, it coincides with the discovery of the Serapeum at Saqqara in or around 1860. At no other time in history has mankind evolved so quickly. We went from wooden wheels to rocket ships and nuclear energy in a flash when compared to the time before. Here is a great missing link in the puzzle of our past and very much worth our attention.

Stewart’s Website & Links:

Book: The Activist Poet - Volume One

Link to Book in Canada

Link to Book in UK

Art & Expressions of SF Brennan
World United News Blog
World United Music Blog
World United Awakening Blog
Alternative Views Blog
World United Music YouTube Channel

Photography & Prints & Art: Tariq Dajani

About: Tariq Dajani

Born in England to a Palestinian father and an English mother, Tariq has worked and lived in a number of countries throughout Europe and the Middle East. The experience of living among different cultures and communities, fostered Tariq’s great appreciation of the worlds mosaic of people and cultures, which groomed his natural perceptions of the world.

Tariq’s craft in photography and printmaking was shaped over 25 years through commercial work in advertising and design in London, Stockholm and Dubai, and also through his personal work on various artistic projects.

Beyond the intellectual and technical realms, his interest in art leans towards the emotional and the aesthetic. When a work of art catches his eye, it is because he is drawn to it emotionally.

“Without knowing why, I instinctively know how it makes me feel. When working creatively I aim for elements of beauty and simplicity to naturally, even poetically, come together, and to inform the heart of the vastness within us.” ~ Tariq

A favorite quote of Tariq:

“It is only with the heart that one can truly see. What is essential is invisible to the eye" ~ Antoine de Saint-Exupéry, "The Little Prince"

Tariq - "The picture above marked the start of my career in photography. It was my first print in a ‘proper’ exhibition held at the Photographers Gallery, London in 1994 - about 26 years ago. The exhibition entitled Freedom Now was to raise funds for liberated South Africa’s Voter Education campaign. I was delighted to be told that my print sold at the very beginning of the exhibition!

The image was photographed during a 6-month trip to Mexico and Guatemala. It shows a group of indigenous Maya women walking past the austere-looking Iglesia de Santo Domingo of San Cristóbal de las Casas, Chiapas, leaning forwards under the weight of the bags on their backs.

While I normally printed my own photographs, this time I chose to use the services of Danny Chau, then the best B/W printer in London. I recall Danny asking me if this was it, that I was going to quit my day job and go into freelance photography seriously? And if so, would I do editorial or commercial work for clients or would I be an artist? He warned me that commercial work might pay the bills, but it would kill the truly creative soul! He was right - in a way. I had to earn an income so eventually I did do commercial work, but I also continued with my own personal art projects on the side. I hoped to find a balance, and that the technical skills required for high level commercial work would feed into my ability to produce better quality art work. And that is what happened. There were many times when I felt as if I wasn’t getting anywhere, though I never once thought to give up. Eventually, the persistence and hard work paid off - not financially, but soulfully!

Less than a decade ago, I gave up entirely on commercial shoots for clients and decided to focus solely on personal work. I now live on a rural, organic homestead in Galicia, north-western Spain, with my family that includes Arabian horses, Saluki dogs and cats. I continue to pursue new art projects and to exhibit regularly. I also run workshops and teach the ancient and very beautiful craft of photogravure printmaking (photo-etching) as well as some photography courses in my 120-year old farmhouse studio. Being a photographer-printmaker remains challenging, and it still isn’t easy, but should it ever be?

Still life from nature: “Quince I & II, 2020”

In hommage to the C16th Spanish still life master Juan Sánchez Cotán

Autumn is the season of the rich colours of the turning leaves and the final ripening of certain fruit. The quince is one of those fruits whose velvety texture and deep yellow, dimply skin lends itself perfectly to still life. This classic setup is simple, yet remains timelessly pleasing to behold.

Two horses coming together, to greet each other respectfully, thoughtfully, gently... essential sentiments that we severely lack in the world.

Let us dream of a better world. Let us be the change we want to see.

Tariq Dajani’s Gallery and Shop

Official Website

Investigative Journalism: Eva Bartlett

About: Eva Bartlett

Eva Bartlett is an independent investigative journalist, writer and rights activist with extensive reporting experience from the Israeli occupied Gaza Strip and from inside western backed terrorist besieged Syria.

Eva lived on and off in Gaza for three years and reported from there from late 2008 to June 2010, and then off and on from 2011 to March 2013. She has also visited Syria 14 times, (twice with official delegations) where her investigation and reporting in war zones like Aleppo, Homs, al-Waer, Madaya, al-Tall, Damascus, Dara’a and Douma Syria, have helped lift the veil of western media propaganda on what was really going on over there.

Truth and information are important foundations in our democracies, without it our democracies will perish, yet truth in reporting it’s practically non-existent in our western mainstream media, nor do our governments tell the truth in anything that matters. Whereas “REAL” investigative journalists such as Eva Bartlett do outstanding jobs relaying the truth from the war zones that our western countries have instigated, armed and funded. Eva’s reporting from Gaza Palestine and Syria have been outstanding as she goes where mainstream media does not.

In March 2017, Eva was awarded the “International Journalism Award for International Reporting” by the Mexican Journalists Press Club and was also the first recipient of the “Serena Shim award”, an honor which is given for uncompromising integrity in journalism.

Eva’s story is unique and has played an important part in history by bringing truth to the world when none existed in the western mainstream media and government offices. It is my considered opinion that “Eva Bartlett” should be celebrated in every country that calls itself civilized for her dedication to humanity, human rights, peace, justice and her drive in uncovering the facts.

Douma: Three Years On - How independent media shot down the false “chemical attack” narrative.

All of Eva Bartlett’s writing and videos on Syria can be found here: 
and here:

A more detailed account of her activism and writings can be found here: 

Eva’s social media sites


[01] VIDEO: Syria Insider interview with Eva Bartlett

Election’s celebrations & cruelty of Western sanctions against the Syrian people

Eva talks about the vibe around the presidential elections in Syria and what she saw during and after the election’s, including the massive celebration in central Damascus. Eva also talks about the criminal western sanctions and their support of terrorism against the Syrian people.


[02] Eva’s latest Post (June 12th, 2021): Ukraine

Eva address issues which Ukraine, the West’s client state, does not like and you could end up on a ‘hit list’ because that’s apparently how flourishing democracies roll.

Last week, photojournalist Dean O’Brien participated in a United Nations meeting to give his perspective on the war in Donbass, Ukraine’s breakaway region in the east. Shortly after the discussion, Dean O’Brien came under fire from the Ukrainian embassy in the UK.

However, smears from Ukrainian officials are nothing compared to what the controversial ‘enemies of Ukraine’ database, the Mirotvorets (Peacekeeper) website, could bring.

In May, O’Brien and I discussed this hit list, noting that we were both on it, with photos of us published on the witch-hunt website...

You can read the rest of Eva’s report at the following Link: Kiev government’s Kill list includes reporters

Political Activism:

Turning the Tide

 

A MILLION IN MOTION - The Month the Tide Turned - (London, May 2021)

Framing Reality

There is a better way to live on this planet than the current way we've been programmed to...something I've been saying and writing about for a long time. Here's a really good video representation of our reality and a different reality we should be moving towards. It's time to start rebuilding our world!

Video Description:

"All humans on the planet are living under an illusionary paradigm that can be compared to what was presented in the 'Matrix'. A mental prison that exists within the minds of the collective. This prison exists as the societal paradigm we have chosen to accept. That is all cultural, religious, political and economic doctrines.

Based on the works of the late Jacque Fresco -- who provides solutions to the human race -- this documentary is a psychological and sociological breakdown of our society.

- Showcasing the Multigenerational Reconstruction Project, which will be necessary to shift humanity from the path of self-destruction.

- Presenting alternative solutions to the world’s problems. Such as new social paradigms which render the current model of living obsolete." – David Al-Badry

Great job on the Video David!

Video Source: David Al-Badri

SUPPORTING LINKS:

Jacque Fresco - What the Future Holds Beyond 2000 - Nichols College (1999)

Jacque Fresco - Lecture (1996)

The Venus Project - Future by Design

The Venus Project - Introduction to a Resource-Based Economy

The Choice is Ours (2016) Official Full Version

Paradise or Oblivion

The Venus Project - Jacque Fresco's Vision

Zeitgeist 2 - Addendum 

Do schools kill creativity? | Sir Ken Robinson

Resource Based Economy

Neohumanism

Buckminster Fuller - Thinking Out Loud (documentary 1996)

Buckminster Fuller - Everything I Know - session 01 (entire) - January 20, 1975

Graham Hancock - The War on Consciousness BANNED TED TALK

Self Actualization - A Documentary by David Al-Badri

Link to video:

SYNOPSIS - The Awakening of Gaia was about realizing that we are connected to the Earth and to the Universe itself. The Next Lost Civilization was about realizing the truth about our society and our history. Self Actualization is about discovering the truth about the nature of reality. That we are all one consciousness experiencing itself as all manifestations of matter. The Universe is a multidimensional fractal living organism. And, we are it. If enough people realize this, it would grant an opportunity for a paradigm shift. Allowing mankind to transcend into Neohumanism.

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Badami Cave Temples Karnataka India

Video Source: Amazing Places on Our Planet

Badami Cave Temples:

The Badami cave temples are a complex of four Hindu, Jain and possibly Buddhist cave temples located in Badami, a town in the Bagalkot district in northern part of Karnataka, India. The caves are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture, which dates from the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, which ruled much of Karnataka from the 6th to the 8th century. Badami is situated on the west bank of an artificial lake ringed by an earthen wall with stone steps; it is surrounded on the north and south by forts built in later times.

The Badami cave temples represent some of the earliest known examples of Hindu temples. UNESCO has described the designs of the Badami cave temples, and those in Aihole, as having transformed the Malaprabha River valley into a cradle of temple architecture that defined the components of later Hindu temples elsewhere in India.

Caves 1 to 4 are in the escarpment of the hill in soft Badami sandstone formation, to the south-east of the town. In Cave 1, among various sculptures of Hindu divinities and themes, a prominent carving is of the Tandava-dancing Shiva as Nataraja. Cave 2 is mostly similar to Cave 1 in terms of its layout and dimensions, featuring Hindu subjects of which the relief of Vishnu as Trivikrama is the largest. The largest cave is Cave 3, featuring Vishnu-related mythology, and it is also the most intricately carved cave in the complex. Cave 4 is dedicated to revered figures of Jainism. Cave 5 may be a Buddhist cave. Another cave was discovered in 2015, about 500 metres (1,600 ft) from the four main caves, with 27 Hindu carvings.

History:

The cave temples, numbered 1 to 4 in the order of their creation, in the town of Badami – the capital city of the Chalukya kingdom (also known as Early Chalukyas) – are dated from the late 6th century onwards. The exact dating is known only for Cave 3, which is a temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, 578/579 CE). The inscription, written in the Kannada language, has enabled the dating of these rock cave temples to the 6th century.

The Badami caves complex is part of a UNESCO-designated World Heritage Site candidate under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley, considered a cradle of temple architecture that formed the model for later Hindu temples in the region. The artwork in Caves 1 and 2 exhibit the northern Deccan style of the 6th and 7th centuries, while those in Cave 3 simultaneously represent two ancient Indian artistic traditions; the northern Nagara and the southern Dravida styles. Cave 3 also shows icons and reliefs in the Vesara style, a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples in Karnataka of yantra-chakra motifs (geometric symbolism) and colored fresco paintings. The first three caves feature sculptures of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

Temple Caves:

The Badami cave temples are man-made, all carved out of soft Badami sandstone on a hill cliff. The plan of each of the four caves (1 to 4) includes an entrance with a verandah (mukha mandapa) supported by stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa, or main hall (also maha mandapa), and then to the small, square shrine (sanctum sanctorum, garbhaghrha) cut deep inside the cave. The cave temples are linked by a stepped path with intermediate terraces overlooking the town and lake. The cave temples are labelled 1–4 in their ascending series; this numbering does not reflect the sequence of excavation.

The architecture includes structures built in the Nagara and Dravidian styles, which is the first and most persistent architectural idiom to be adopted by the early chalukyas. There is also a fifth natural cave temple in Badami, a Buddhist temple, a natural cave that can only be entered by crouching on all fours

CAVE 1

Troglodytique Shiva Badami Karnataka India - Cave 1 - Photo By Jean-Pierre Dalbéra

Cave 1 is about 59 feet (18 m) above ground level on the north-west part of the hill. Access is through a series of steps that depict carvings of dwarfish ganas (with bovine and equine heads) in different postures. The verandah, with an inner measurement of 70 feet (21 m) by 65 feet (20 m), has four columns sculpted with reliefs of the god Shiva shown in dancing positions and incarnations. The guardian dwarapalas (door keepers) at the entrance to the cave measure 6.166 feet (1.879 m).

The cave portrays the Tandava-dancing Shiva as Nataraja. The image, 5 feet (1.5 m) tall, has 18 arms in a form that expresses the dance positions arranged in a geometric pattern, which Alice Boner – a Swiss art historian and Indologist, says is a time division symbolizing the cosmic wheel. While most of the arms express mudras (symbolic hand gestures), some of the arms hold objects such as drums, a trident and an axe; some also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining the Nataraja, one wall depicts the goddess Durga, who is depicted slaying the buffalo-demon Mahishasura. Elsewhere, the sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty, are seen in one of the carved sculptures on the walls of the cave, with Kartikkeya riding a peacock.

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 7.75-foot (2.36 m) high sculpture of a fused image that is half-Shiva and half-Vishnu. To the right, toward the end of the wall, is a relief sculpture of Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati. All the figures are adorned with carved ornaments and surrounded by borders with reliefs of animals and birds. The lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleft in the back wall of the cave is a square sanctuary with more carved images.

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva; the god of justice; Bhringi, a devotee of Shiva; a female decorated goddess holding a flat object in her left hand, all of which are part of Ardhanarishvara. The roof of the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bas-relief 2.5 feet (0.76 m) in diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures and the panel at the end is carved with lotuses.

CAVE 2:

 Badami Cave 2 entrance - Photo By Michael Gunther

Cave 2, lying to the west of Cave 3 and facing north, was created in late 6th century. It is almost same as Cave  1 in terms of its layout and dimensions, but it is dedicated primarily to Vishnu. Cave 2 is reached by climbing 64 steps from the first cave. The cave entrance is a verandah divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like Cave 1, the carved cave art is a pantheon of Hindu divinities.

The largest relief in Cave 2 shows Vishnu as Trivikrama, with one foot on Earth and another directed to the north. Other representations of Vishnu in this cave include Varaha (a boar) shown rescuing Bhudevi (a symbol of the earth) from the depths of the ocean; and Krishna avatars, legends found in Hindu Puranas texts such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle; according to Alice Boner, the panel is an upright rectangle whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle".

The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah are adorned with sculpted panels: to the right, Trivikrama and to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nāga) below. The adjacent side walls and ceiling have traces of colored paint, suggesting the cave used to have fresco paintings. The columns show gods and battle scenes; the churning of the cosmic ocean (Samudra Manthan); Gajalakshmi and figures; Brahma; Vishnu asleep on Shesha; illustrations of the birth of Krishna; Krishna's youth; Krishna with gopis; and cows.

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda. The main hall in the cave is 33.33 feet (10.16 m) wide, 23.583 feet (7.188 m) deep, and 11.33 feet (3.45 m) high and is supported by eight square pillars in two rows. The roof of this hall has panels filled with bas-relief carvings. At the upper reaches of the wall, a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of the 6th and 7th century similar to that found in Ellora caves.

CAVE 3:

Vishnu image inside cave number 3 in Badami - Photo By Dineshkannambadi

Cave 3 is dedicated to Vishnu; it is the largest and most intricately carved cave in the complex. It has well carved, giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. Cave 3's primary theme is Vaishnavite, though it also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies.

Cave 3, also facing north, is 60 steps away from Cave 2. Cave 3's temple's verandah is 70 feet (21 m) in length with an interior width of 65 feet (20 m); it has been sculpted 48 feet (15 m) deep into the mountain; an added square shrine at the end extends the cave 12 feet (3.7 m) further inside. The verandah itself is 7 feet (2.1 m) wide and has four free-standing, carved pillars separating it from the hall. The cave is 15 feet (4.6 m) high; it is supported by six pillars, each measuring 2.5 square feet (0.23 m2). Each column and pilaster is carved with wide, deep bases crowned with capitals that are partly hidden by brackets on three sides. Each bracket, except for one, has carvings of human figures standing under foliage in different postures, of male and female mythological characters, and an attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally 7 feet (2.1 m) long), has about thirty compartments carved with series of two fat dwarves called ganas. The cave shows a Kama scene on one pillar, where a woman and a man are in maithuna (erotic) embrace beneath a tree.

Cave 3 also shows fresco paintings on the ceiling, some of which are faded, broken and unclear. These are among the earliest known surviving evidence of fresco painting in Indian art. The Hindu god Brahma is seen in one of the murals; the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of the four-armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with eight arms; Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha; Vishnu as Narasimha (half human, half lion); Varaha fully armed; a boar incarnation of Vishnu in the back wall of the cave; Harihara (a syncretic sculpture of Vishnu and Shiva); and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha; adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it.

At one end of the pilaster is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja; this is decorated with various types of weapons. A crescent moon is crafted above his face and the crown of Vishnu decorates his head. He is flanked by Varaha and two other figures; below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councillor. Reliefs stand 4 metres (13 ft) tall. Some aspects of the culture and clothing in the 6th century is visible in the art sculpted in this cave. The roof of the verandah has seven panels created by cross beams; each is painted in circular compartments with images of deities including Shiva, Vishnu, Indra, Brahma and Kama, with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

The roof of the front aisle has panels with murals in the centre of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof of the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured to be Agni. Images of Brahma and Varuna are also painted on the central panels; the floating figures are seen in the remaining panels.

CAVE 4:

Wall relief1 in the Jain cave temple no 4 Badami - Photo By Dineshkannambadi

Located to the east of Cave 3, Cave 4 is situated higher than the other caves. It is dedicated to revered figures of Jainism and is the most-recently constructed of the caves. Like the other caves, it features detailed carvings and a diverse range of motifs. The cave has a five-bayed entrance with four square columns – each with brackets and capitals. To the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 31 feet (9.4 m) long by 6.5 feet (2.0 m) wide, extending to 16 feet (4.9 m) deep. From the hall, steps lead to the sanctum sanctorum, which is 25.5 feet (7.8 m) wide extends to a depth of 6 feet (1.8 m).

On the back part of this, Mahavira is represented sitting on a lion throne; this figure is flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath about 7.5 feet (2.3 m) tall with his head decorated with a multi-headed cobra representing protection and reverence. Carvings include Indrabhuti Gautama covered by four snakes, and Bahubali seen to the left of Gautama with his lower legs surrounded by snakes, together with his daughters Brahmi and Sundari.  In the sanctum is an image of Mahavira resting on a pedestal containing a 12th-century Kannada inscription marking the death of one Jakkave. Many Jaina Tirthankara images have been engraved on the inner pillars and walls. In addition there are idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Most scholars believe Cave 4 was created in the mid-7th century, but some place its creation in the 8th century.

CAVE 5:

Cave 5 is an as-yet-undated, natural cave of small dimensions that is approached by crawling due to its narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), a tree, elephants, and lions in an attacking pose. The face of this statue was reasonably intact until about 1995, it is now damaged and missing parts.

There are several theories as to who the statue represents. One theory holds that it is a relief of the Buddha in a sitting posture. According to this theory, those holding the chauris are Bodhisattvas flanking the Buddha. In the intervening centuries, the cave was converted to a Hindu shrine of Vishnu, as is seen from the white, religious markings painted on the face of the Buddha as the ninth incarnation of Vishnu. According to B.V. Shetti – archaeologist and curator of Prince of Wales Museum of Western India, the cave was not converted but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before the 8th century.

A second theory, found in colonial-era texts such as one by John Murray – a missionary in British India and Jainism scholar, say the main image carved in Cave 5 is that of a Jaina figure. According to a third theory, by Henry Cousens and A. Sundara – archaeologists, and supported by local legends, the statue is of an ancient king; in a photograph of the statue taken before its face was damaged, the figure lacked the Ushnisha lump that typically goes with Buddha's image. The statue has several unusual, non-Buddha ornaments such as rings for fingers, a necklace and a chest-band; it wears a Hindu Yajnopavita thread and its head is stylistically closer to a Jina head than a Buddha head. These features suggest the statue may be of a king represented with features of various traditions. According to Carol Radcliffe Bolon – Assistant Curator at the Smithsonian Freer Gallery of Art, the date and identity of the main statue in Cave 5 remains enigmatic.

Other Caves:

In 2013, Manjunath Sullolli – Assistant Director of Bagalkot district working for the state government of Karnataka, reported the discovery of another cave with 27 rock carvings, about 500 metres (1,600 ft) from the four main caves. Water gushes from this newly discovered cave year round. It depicts Vishnu and other Hindu deities, and features an inscription in the Devanagari script. The dating of these carvings is unknown.

Bhootnath temple complex near Augustya Lake in Badami Cave Temples - Photo By Shatarupa Bhattacharyya

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