Every year, America sees the towering columns of remembrance for 9/11 and those we lost that day. What most don't know are the occult origins from which this iconic memorial emerged.
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The Occult Origin of the 9/11 Tribute in Light
INTRODUCTION: THE 9/11 ARTISTS
In March 2000, in the heart of New York City 92 floors above the bustling streets below, a covert and illegal operation was being carried out with surgical precision. A group of artists called Gelatin (made up of Ali Janka, Florian Reither, Tobias Urban and Wolfgang Gantner) were busy in their studio space on the vacant 91st floor of the World Trade Center’s North Tower plotting what was to be their most daring escapade yet. Gelatin was one of only a handful of other artists from around the world that had been accepted into the prestigious artist residency program WorldViews, an initiative organized by the Lower Manhattan Cultural Council and put on by the World Trade Center, who donated the vacant 91st and 92nd floors of the complex’ North Tower to the program.
Unknown to officials within the LMCC or the World Trade Center at the time, one of the art troupes they had enlisted for the program was secretly engaged in activities that none of them would have endorsed. Over a period of weeks, members of the group covertly transported construction debris into the World Trade Center, concealing it under their clothing to evade security, and lugging it all up to their studio on the 92nd floor. It was a lengthy and laborious process, but far from the most difficult, as it was only when they acquired enough of this debris that the real work would begin.
After a few weeks of this, the group had collected more than enough materials to pull off what they had come there to do. To ensure their activities went unnoticed, they stacked numerous cardboard boxes around their workspace well ahead of the big day, creating a makeshift wall that concealed their preparations from prying eyes. This clever arrangement allowed them to work undisturbed, effectively obscuring their project from the view of security personnel and other residents. With every component now in place, the group was ready.
One night earlier, Gelatin’s friends and colleagues rented out the top-floor suite of the Millenium Hilton just across the street from the North Tower, which was in full view of the Hilton at that angle. They invited guests over to enjoy what they described as “a night of decadence” and partying in anticipation of the big event.
As the “night of decadence” unfolded across the street at the Millennium Falcon, the art troupe waited patiently and quietly in their studio until morning when finally, after weeks of planning, the appointed moment finally arrived. The four artists donned their harnesses and secured them tightly, fully aware that the impending pressure change in the room at that altitude could be enough to suck them out of the building and send them plummeting over a thousand feet to their death.
They had to work fast, and with their precautions now in place, they commenced the delicate task of scraping away the thick layers of putty caking the outer frame of the seven foot tall, 160lb window pane. When it was all cleared out, they unscrewed the aluminum moldings that held the window in place and, employing two large suction cups, skillfully removed the massive pane of glass near their studio. With the rising sun in full view, the removal of the window brought a rush of Spring air streaming past them and into the building.
“The amazing thing that happens when you take out a window is that the whole city comes into the building.”
With the window removed, the group quickly began outfitting the window with a cantilevered box - one large enough to fit one person at a time. The box wasn’t really just a box, however - it was actually a load-bearing balcony; one that was constructed from the rubble and debris the gang had smuggled passed WTC security and up to their studio in the preceding weeks. As the group was busy working to secure the balcony to the window’s frame, Gelatin’s friends left the suite at the Hilton after a night of partying and, cameras in hand, boarded a waiting helicopter, which took off shortly after and rushed to its destination: the World Trade Center’s North Tower.
As the helicopter got closer, the passengers used a cell phone to communicate with Gelatin inside the WTC. They knew that if they wanted to get this done, it had to be done quick - what they were doing was so above and beyond anything that had ever been done in the past (or anything that the LMCC or WTC authorities would ever approve) that there was no doubt they’d be punished severely should they be caught.
It took a few attempts, but on the helicopter’s second fly-by, they finally saw it: as they focused their eyes on the outer facade of the tower, a small figure dressed in white could be seen standing motionlessly, lurking ominously thousands of feet above the city streets below, standing on the balcony that Gelatin had built over the preceding weeks from the coveted construction materials.
The helicopter was brought to a hover, and hung outside the building as the team snapped as many photos as they could of the seemingly robed figure with their hands clasped in prayer.
Gelitin – The B-Thing, March 2000, installation, 91st Floor of WTC 1, New York
After only a few minutes, the complex operation was over; the ghostly figure in white retreated back into the building, the helicopter made its way back to base, Gelatin quickly disassembled the balcony, and one of the most iconic images among 9/11 “conspiracy theorists” and “truthers” was born.
The daring “20-minute balcony” project undertaken by Gelatin in the spring of 2000 took weeks of preparation to pull off, and only 19 minutes in total to perform. Following their success, though, the project would take on the form of an urban myth, and its reality would soon be complicated - and then eventually cast into doubt - by unfounded rumors and, surprisingly, the denials of its existence by Gelatin themselves, who refuse to ever acknowledge that the project happened. To this day, there are some within the NYC art circuit that maintain that Gelatin’s balcony never happened.
When officials in charge of WTC security were shown these images, they said it was impossible - the World Trade Center towers were the most secure buildings in the world, and there was simply no way that unauthorized construction to the extent that was depicted in the photographs could be possible without setting off alarms. When Port Authority officials were shown a copy of the B-Thing by a reporter, they couldn’t believe their eyes, and then quickly became outraged by it. When told about the group’s removal of the window, Cherrie Nanninga, the director of real estate for the Port Authority of New York and New Jersey, remarked "It was really a stupid and irrational act that in my view borders on the criminal", stating how window removal at the WTC is considered so dangerous that, when it is done, much of the streets below must be cordoned off in order to safely do it.
Gelatin, despite their concerns of deportation and other legal problems stemming from the daring - and illegal - art project, never got into any trouble for what they did in the spring of 2000. In fact, it turns out very few people even knew it happened. Even if Gelatin did get in trouble for this stunt, though, any evidence of their activity was obliterated in the collapse of the World Trade Center towers a year later.
In most mainline historical perspectives of the September 11th attacks, very little - if any - attention is paid to the group of artist’s living and working inside the North Tower on the vacant 91st and 92nd floors in the lead up to the attacks. It’s a part of the complex's history that many people don’t know about, despite the unique perspectives offered by the surviving artists that were lucky enough to enjoy full access to the buildings before they would disappear forever.
When it comes to 9/11 conspiracy theories, though, Gelatin’s activities are far from forgotten, and the images of that ghostly figure standing outside the facade of the now-collapsed North Tower is infamous, bringing to mind the victims that were lost in the tragic events of that day, and more specifically, those that leapt to their deaths from the same floors that Gelitin erected the balcony on. The WorldViews artists that participated in the artist residency program in the months leading up to the attacks will forever be a point of interest to skeptics of the official 9/11 narrative.
However, Gelatin wasn’t the only group of artists that lived and worked inside those buildings in the months leading up to the attacks. Over the years there have been many others, and after recently encountering a book about occult symbolism embedded within the 9/11 attacks, I was inspired to revisit the WorldViews residency program and re-examine the works the participating artists created.
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PART I: LMCC “WORLDVIEWS” ARTIST RESIDENCY PROGRAM
I mentioned above that the upper floors of WTC 1 were vacant, and were donated to the Lower Manhattan Cultural Council (LMCC) by the Port Authority of New York and New Jersey for its artist residency program. The WorldViews artist residency program lasted from 1997 until the attacks in 2001, and it provided an opportunity for emerging and established artists to work and experiment in the unique space offered by the temporarily vacant floors of the towers. The program aimed to foster conceptual and aesthetic exploration.
In a 2021 article posted on the LMCC's website, Alumni artists of the program Naomi Ben-Shahar, Monika Bravo, Simon Aldridge, and Jeff Konigsberg reflect on the program, remarking on its origins[5]:
“We envisioned these programs as a way for artists to access to FiDi (financial district) and experience it as a local worker.
Like so many other New Yorkers, the lives of our artists and our organization were completely transformed when the World Trade Center was destroyed on 9/11. Not only had we lost an artistic home for many, we had also lost an artist-in-residence, Michael Richards, who was working in his World Views Studio on the 92nd Floor of the North Tower when the plane struck.”
In an interview with Artnet News on the Art Angle podcast[5a], the alumni artists reflect on their time in the residency program and describe what it was like to create art on the vacant floors of the most iconic building in America mere months before they’d collapse. They recount the unparalleled privilege of being one of very few to ever not only create art on the vacant floors of the North Tower, but work, sleep, and generally live within its architectural embrace in the structure’s final days. The stories are fascinating, and their memories paint a mesmerizing portrait that captures the serene beauty of the WTC right before the unimaginable events would unfold, forever altering the course of history.
Throughout its duration, the program supported over 140 artists that utilized the empty space the vacant floors of the WTC 1 offered, and was a worldwide program that accepted 15 artist applications per program. At some point during my research into this program, I came across this forum that includes a ton of photos taken by the WorldViews artists on the vacant 91st and 92nd floors, which includes a ton of images that I had never seen before[6]. The page includes actual photographs taken of the art studios themselves.
The reason I had decided to re-examine this well-trodden territory once again was my recent encounter with the book by S.K Bain entitled "The Most Dangerous Book in the World: 9/11 as a Mega Ritual", which theorizes that the attacks had an occult influence behind them, and was not merely a terror attack perpetrated by Al-Qaeda. I don't have time to explore the merits of such claims in this write-up here, and am only mentioning this admittedly "fringe" 9/11 theory because I found the book interesting, and it inspired me to go looking for information on the other 9/11 artists, but this time while keeping an eye out for occult symbolism...especially within the works produced by the artists that were not in the buildings the day of the attacks (the artist residency program was active right up until 9/11.
My underlying assumption guiding this investigation was that if the theories surrounding 9/11 as an occult ritual held any truth, and if certain art teams indeed possessed foreknowledge of the attacks as suggested by many theorists who claim groups like E-Team and Gelitin had foreknowledge, then the works created by artists who coincidentally avoided the towers on that fateful day might contain clues and occult symbolism worth scrutinizing. It goes without saying that this is a wildly speculative angle to take, but I was interested in seeing how much imagery I came across seemed to fall in line with what conspiracy theorists often cite when discussing the occult symbolism embedded within world changing events such as 9/11.
Information on the specifics around the WorldViews artist residency program were elusive at first, and I wasn’t sure initially how many artists were in the program from 1997-2001, how many were actively working on art in the upper floors of the North Tower in the lead up to the attacks, and how many possibly perished in the incident. I still don’t have a totally accurate picture of exactly which artists were involved, when they were involved, and where they were before and after the attacks, but I found a New York Times article that fills in many of those blanks[5b]. From what I can tell, the WorldViews program itself ran from 1990 to 2001, but only 15 artists at a time get invited to participate in it, with each program running for several-month blocks of time. The program the Gelitin and E-Team artists were participating in though (along with most of the artists mentioned here) were part of the 1997-2001 program. The NYT writes:
“In September, 15 artists participating in the World Views program were working in studios on the 91st and 92nd floors of Tower 1 of the World Trade Center. The residency aimed to run from May to November, concluding with an open studio viewing.”
While browsing the images posted in that skyscrapercity.com page I cited earlier, I came across a particular piece of art that stood out to me more than the others. Its called "Bioluminescent Beacon", and it was created by artists Julian Laverdiere and Paul Myoda[7]. The origins of the project stretches all the way back to 1998[X] when the public arts organization Creative Time approached Laverdiere and Myoda about possibly creating some sort of public art installation to mark the new millenium and the first mapped human genome, expected to be completed by 2000.
What caught my attention about this piece in particular (aside from it just looking pretty cool) is that its laid out very much like a schematic, in the same way and style thats employed by Gelitin in their unsettling sketches of the WTC[X]:
A schematic-like drawing depicting how Laverdiere and Myoda would create the Bioluminescent beacon and attach it to the WTC antenna[X]
“…the Bioluminescent Beacon project was a response to the pending completion of the human genome mapping and the new millennium. The work was a light beacon fueled by bioluminescent plankton atop New York City's highest skyscraper at the time: the World Trade Center.”
The infographic is separated into multiple sections starting with a single dinoflagellate, which is minuscule at only 0.02 inches. The dinoflagellate is then equipped with a wet-wired sensor to monitor its bioluminescence. In the “Colony” section, the dinoflagellate graphic is expanded and placed next to the silhouette of a human body, highlighting the sheer size of the World Trade Center buildings by comparison, stating “A single dinoflagellate is to the Bioluminescent Colony what a human is to the World Trade Center”
The "Beacon" section details how luminescent fiber optics, powered by the bioluminescent cells, form an array atop the WTC 1 radio mast, converting the biological light from the bioluminescent dinoflagellate into a controllable signal. The "Radio Mast" section highlights the beacon's integration into WTC 1, focusing on structural and architectural aspects of the design, and the “WTC 1” section presents a complete view of the building with the completed beacon attached to the mast. The accompanying text throughout explains the analogy between the dinoflagellate's scale and human scale relative to WTC 1, conveying the idea of amplifying natural phenomena for large-scale visual effects.
No matter how you interpret it (or how it was meant to be interpreted), it turns out that Bioluminescent Beacon has a very interesting history, and is in fact the informal, little-known predecessor to the iconic 9/11 Tribute in Light[8].
A Brown University article about the Tribute in Light includes further information about its obscure predecessor on their website [8]. In an interview, Laverdiere and Myoda described the inspiration behind the Bioluminescent Beacon idea as being a response to the pending completion of the human genome mapping and the new millennium. The artists were fascinated by bioluminescent organisms and aimed to create a light beacon fueled by bioluminescent plankton atop New York's highest buildings, initially intended to be placed on top of the World Trade Center towers. The image represents the artists' vision of a bioluminescent beacon that would have emitted light, inspired by bioluminescent organisms such as fireflies and dinoflagellate algae.
The Beacon was underway by the time summer of 2001 rolled around, and had already garnered a fair bit of attention from donors and the media at that time [9]. The image represents the artists' vision of a bioluminescent beacon that would have emitted light, inspired by bioluminescent organisms such as fireflies and dinoflagellate algae. The project, although it never debuted, ultimately informed the creation of the "Tribute in Light," which became a widely recognized and poignant memorial to the events of 9/11.
The website continues:
"In 1998, the public arts organization Creative Time approached both Myoda and LaVerdiere and asked if they were interested in creating public art installations to mark the new millennium and the first mapped human genome, expected to be completed in 2000.
'We decided we wanted to make a bioluminescent beacon and put it where everyone could see it: on top of the World Trade Center, the tallest building in New York City,' Myoda said.
The two artists split their time between a laboratory in the American Museum of Natural History, where they bred bright dinoflagellates, and a studio in one of the twin towers, where they installed test beacons and drove around the New York City area to view their work from different angles.
Just weeks after the pair had vacated their World Trade Center studio, the towers collapsed and New York City turned upside down. The pair’s bioluminescent beacon would never debut, but its development helped inform the creation of “Tribute in Light,” a piece that, in keeping with the original vision, could be viewed everywhere across the city."
I also found an additional website about the work that features information that I didn’t see mentioned in any of the other ones. It describes the Beacon as… [10a]:
“...a science-meets-art light sculpture that harnessed genetic technologies for luminous public ends, Bioluminescent Beacon was also planned as ‘an artificial star faintly visible above Manhattan’s skyline’; it was due to be installed, with Creative Time’s help and funding, atop the 360-foot antenna of the South Tower.
When referring to the original Trade Center, LaVerdiere and Myoda still describe the complex as a coral reef, an active ecology, a place they knew better than their own homes. They had covered, theorized, mapped, and photographed every inch of the place, it seemed, either on their laptops or on foot. ‘Then,’ Myoda says, ‘the towers were gone.’”
I’m not entirely sure if the artificial star idea eventually became Laverdiere’s Urban Lodestar[10b] piece, but it would make sense if that’s the case. Like Bioluminescent Beacon, the plans for Laverdiere’s Lodestar are sketched out:
From the way it was described, Bioluminescent Beacon sounds like it would have been a pretty impressive display. I got to thinking about how impressive the Tribute in Light is itself, and from there, began contemplating about the significance attached to the notions of "light" and "illumination" more generally, particularly how those concepts are viewed within various occult practices/traditions (my mind runs). With that, I began digging.
OCCULT ASPECTS OF 9/11
Julian Laverdiere standing under the Tribute in Light
LIGHT
The concept of “light” is one that's ubiquitous across nearly all religious beliefs, and while these concepts lack a singular and uniform interpretation across occult ideologies, they frequently converge around themes of spiritual awakening, deeper truths, and mystical significance. In Freemasonry, for instance, the concept of “light” holds significant symbolic meaning and is central to their rituals and teachings. In the Masonic view, “light” represents knowledge, enlightenment, and the pursuit of truth, and they use the metaphor of moving from darkness into light to signify the journey from ignorance to knowledge, from unenlightened to enlightened.
The process of initiation in Freemasonry often involves the candidate progressing through various degrees, each associated with a deeper understanding of Masonic teachings and principles, symbolized by the increasing illumination of light. The idea of transcendence or transitioning from one phase to another is often a quality that parallels the symbolic depictions of “light” that often appears throughout masonry, which you will see later in this essay with the winding stair set between the two pillars.
If you want to see an example of the Mason’s symbolic use of “light” in action, simply flip a one dollar bill upside down and view the light emanating from behind the Eye of Providence atop the pyramid [11].
As freemason and walking occult encyclopedia Manly P. Hall explains[11a]:
“On the reverse of our nation’s Great Seal is an unfinished pyramid to represent human society itself, imperfect and incomplete. Above floats the symbol of the esoteric orders, the radiant triangle with its All-Seeing-Eye. … There is only one possible origin for these symbols, and that is the secret societies which came to this country 150 years before the Revolutionary War. … There can be no question that the great seal was directly inspired by these orders of the human Quest, and that it set forth the purpose for this nation. ” [2]
Author Robert Heironimus states:
“America’s Great Seal may be seen as a blueprint for the elevation of consciousness. It says, in part, that we must transform ourselves before we can change the world, and that it is during the process of self-transformation that we can catch a glimpse of what part we are to play in national and global transformation.”
And what does this All-Seeing-Eye represent in occult doctrine?
Hieronimus further explains:
“… from the union of spirit and matter (the pyramid is made of stone, rock, and earth—and represents the unconscious. The capstone is made of an immaterial substance—light or spirit—and is conscious), a new being—a transformed being—is created. The seal’s reverse depicts a separation state in the separation of the eye the triangle.
The pyramid exemplifies the initiation stage … it is the house of initiation, in which the candidate confronts the world of darkness and enters the world of spirit. By passing the tests of the elements, the candidate is initiated into the realm of higher consciousness.” [3]
In an article posted onto a Freemasonry website called washington46.org, it describes the significance Light has held across traditions throughout our history[14]:
"In all ancient philosophies man has always contended with the doctrine of the two antagonistic principles of light and darkness, wisdom and ignorance, good and evil. Indeed there is hardly any ancient system that did not possess the basic recognition of light with the reverence as being emblematically representative of the eternal principles of goodness and wisdom as against evil and ignorance"
“All Freemasons know or ought to know that “light” is one of the cardinal words that form the main fabric of Speculative Freemasonry. It is not only the first symbol that is ceremonially introduced to the initiate, but continues all through his progress in the Craft. Truth and Wisdom constitute part of light, which pervades the whole basis of Freemasonry to the extent that Freemasons are even called the Sons of Light."
The importance “light” plays in belief systems like Luciferianism, for example, is evident. For example, Luciferianism[15] is a belief system that holds reverence for the fundamental attributes associated with Lucifer, a name that’s tied to diverse mythological and religious figures connected with the planet Venus. More recently, the name ‘Lucifer’ is mostly recognized as being synonymous with the Devil…at least in Christian theology.
Luciferianism encompasses a variety of perspectives, and there are several different types or branches within this belief system that all have their own unique perspectives and beliefs revolving around Lucifer. There’s Theistic Luciferianism, where practitioners believe in the existence of an actual existing deity associated with Lucifer - unlike non-theistic or atheistic forms of Luciferianism, which treat Lucifer as a symbolic figure or archetype, theistic Luciferians perceive Lucifer as an actual divine being. On top of those, there are Philosophical Luciferians, The Left-Hand Path Luciferians (those who may seek self-deification, individualism, and personal power through magical and ritualistic means), Modern Luciferianism, Esoteric or Occult Luciferianism, Gnostic Luciferianism, and others.
In Anton LaVey's[X] The Satanic Bible, Lucifer is one of the four crown princes of hell, particularly that of the East, the 'lord of the air', and is called the bringer of light, the morning star, intellectualism, and enlightenment.
According to Wikipedia, the etymology of the word is broken down as follows:
“The word Lucifer is taken from the Latin Vulgate,[3] which translates הֵילֵל as lucifer,[4][5] even though the Biblical Hebrew word הֵילֵל, which occurs only once in the Hebrew Bible,[6] has been transliterated as hêlêl,[6] or heylel. The Septuagint renders הֵילֵל in Greek as ἑωσφόρος[7][8][9] (heōsphoros),[10][11][12] a name, literally "bringer of dawn", for the morning star.[13]”
In “The Devil: What Does He Look LIke?” Nwaocha Ogechukwu describes its origins [here]:
“‘Lucifer’ is Latin for light bearer. It is also a Roman astrological term for the morning star which is currently known as the planet Venus. The name Lucifer was the direct translation from the Septuagint of the Greek word beosphoros (meaning dawn-bearer), and the Hebrew helel (meaning bright one) used bv Terome (who was an Illvrian Church priest and…”
According to the basic Wikipedia definition of Luciferianism:
“The tradition usually reveres Lucifer not as the devil, but as a destroyer, a guardian, liberator,[1] light bringer or guiding spirit to darkness,[2] or even the true god.[1]
The term Lucifer is synonymous with Satan, and Lucifer is Latin for “light bearer”. This explains why the practitioners of Satanism and Luciferianism - two separate belief systems that are similar but often mistaken for the other - believe that the Devil is the source of knowledge and wisdom and a positive force. In some branches of Luciferianism, Lucifer, as “the bringer of light”, embodies the qualities of a destroyer, guardian, liberator, or guiding spirit to darkness.
By the way, I can’t help but point out the use of the word ‘Guardian’ here, as it immediately brings to mind the eerily prophetic NORAD drills/exercises “Global Guardian” and “Vigilant Guardian”[15a], annual exercises executed in conjunction with one another. Wikipedia describes them as:
“…an annual training exercise sponsored by the United States Strategic Command in conjunction with Air Force Space Command and NORAD. Its main purpose is to test the military's command and control procedures in the event of nuclear warfare.
Global Guardian is performed in conjunction with "Vigilant Guardian", the annual training exercise conducted by NORAD in which a threat to North American airspace is simulated. The simulated scenario is varied from year to year.”
In a poetic twist that is surely coincidental and that’s it, those exercises were not only happening during the attacks, but they also revolved around an airline hijacking incident. However, when you read the official 9/11 Commission Report (the “official, historical timeline of events”), you would find a very different description of these exercises. According to the Report, Vigilant Guardian 'postulated a bomber attack from the former Soviet Union' on North America’ - a scenario much different than a hijacking exercise. However, this is where things get interesting (and a little creepy) because as it turns out, the only reason we found out that these drills were not actually about an attack by the former Soviet Union was because of Michael Ruppert[x] when he described Vigilant Guardian as "a hijacking drill, not a cold war exercise".
He came to that conclusion through the statements made by direct participants like General Arnold, Tech. Sgt. W. Powel and Lt. Col. Dwane Deskins which pointed toward a scenario where “the drill involved involved hijacked airliners rather than Russian Bombers".
His statements were later corroborated by tape recordings from the control room of NORAD’s Northeast Headquarters. The tapes clearly indicate that the nature of the Vigilant Guardian exercise is not how its described in the 9/11 Commission Report.
Lieutenant Colonel Kevin Nasypany, in a statement to Vanity Fair author Michael Bronner, stated:
"When they told me there was a hijack, my first reaction was 'Somebody started the exercise early,'"
"The day's exercise was designed to run a range of scenarios, including a "traditional" simulated hijack in which politically motivated perpetrators commandeer an aircraft, land on a Cuba-like island, and seek asylum."
You can read more about the above in an article entitled “Amid Crisis Simulation, `We Were Suddenly No-Kidding Under Attack' by Hart Seely on Newhousenews.com.
There was also another eerily prophetic military drill that took place, though it was not ongoing during the attacks themselves. It was called Amalgam Virgo [x], and it was a CINCNORAD joint task counter-terrorist and field training exercise carried out in June 2001. The training exercise involved the hypothetical scenario of a terrorist group launching a cruise missile or UAV at American targets instead of a hijacked airliner like the Guardian drills. The eerie, prophetic nature of the drills emerges again, though, when you notice that Osama Bin Laden’s picture was the one used for the cover of this training exercise.
A bit of a tangent here, but Lucifer being seen as a destroyer and a “guardian” was what initially brought us here, and when it comes down to it, and I couldn’t help but touch on the Global Guardian exercises since we’re on the topic of 9/11 as it is.
Since we’re also in the middle of deriving deeper significance from these events, I should mention that the word “Amalgam” has a relevant etymology, as the word is derived from the Arabic word "al-malgham," which means "an alloy of mercury” - the state of which is similar in appearance to liquid, reminiscent of the molten steel alleged to have been found at Ground Zero. The word was later adopted into Latin as "malagma" and then into English as "amalgam", which refers to a “mixture or a blend” - another apt description of the destroyed towers, as the attacks leveled the towers and reduced them to a blend of dust, dirt, and steel.
The word "Virgo" has its etymological roots in Latin, where it means "maiden" or "virgin" (birth of a new world that would emerge from the destruction?). There’s any number of ways to interpret all of this, but I’m just highlighting the instances around 9/11 where there is an interpretation like the above to be had to begin with.
The concept of “light” and its significance in various occult traditions is probably no better depicted than by the the existence of perhaps the most infamous conspiracy-related group of them all: “Illuminati”.
Among the various conspiracy theories that have emerged over the years, the concept of the "Illuminati" stands out as perhaps the most widely recognized [12], even among those not actively engaged in conspiracy discussions. Despite its prevalence, the general consensus has been to dismiss the Illuminati as a mere concoction, attributed to contemporary conspiracy theorists who assert the existence of a clandestine group of global elites plotting to reduce the world's population and establish a New World Order. While this might be true (the focus of these theories have said as much), it’s much more difficult to prove than the historical reality that the Bavarian Illuminati really did exist, yet that fact often eludes public awareness.
The Bavarian Illuminati was an enlightenment-era secret society founded on May 1, 1776, in Ingolstadt, Bavaria, by Adam Weishaupt. The movement acquired a complex constitution and internal communication system, operating in a large area extending from Italy to Denmark and from Warsaw to Paris. According to mainline historical texts, the society’s stated goals were to oppose superstition, obscurantism, religious influence over public life, and abuses of state power. However, its modern day reputation is a lot more sinister than the stated goals make it out to be, with many people - especially those who believe it still exists to this day - maintaining that its sole aim was to seize control of the world through infiltration and subversion of all sectors of life, mostly through the infiltration and exploitation of secret societies. In one of their general statutes published by the group, that is stated clearly:
"The order of the day is to put an end to the machinations of the purveyors of injustice, to control them without dominating them."
On its face, this quote sounds like a positive thing. Who doesn’t want to put an end to those that perpetuate injustices? The issue there, however, lies in who has control over deciding what is an injustice, and what is not.
However, in 1785, only ten years after its founding, the group was banned by the Bavarian government through an edict issued by Charles Theodore, who cited allegations of conspiracies and plots against the state. This supposedly brought an end to the secret society’s existence, but many would take up issue with that claim. Regardless, to the Illuminati, “light” was also a significant symbolic component to their thinking…after all, it’s incorporated into the name: the word “Illuminati” is derived from Latin, and is the plural for ‘illuminatus’, which means ‘enlightened’.
On Britannica’s website, they describe the significance of “light” as follows [13]:
“According to adherents, the source of the ‘light’ was viewed as being directly communicated from a higher source or due to a clarified and exalted condition of the human intelligence. To the former class belong the Alumbrados (Spanish: “enlightened”) of Spain.
For the last seven years, my central efforts within this realm have been dedicated to elucidating complex and contentious ideas often dismissed as mere "conspiracy theories" by the public, and educating people about the reality of such ideas using publicly verifiable information. Because my focus lies in convincing and informing the wider public about the authenticity of these often-overlooked historical realities, I make it a point to avoid producing content that relies solely on speculative ideas and claims, as fun as those theories can sometimes be. It is in that vein that I must make it clear that there is no solid ground when it comes to theories regarding 9/11 being an occult ritual. The use of symbolic gestures and utilization of symbolism in any form is inherently subjective, and therefore impossible to objectively pin down. In other words, even if 9/11 really was a massively complex occult mega-ritual, there’s really no way to prove that undoubtedly without one of the perpetrators coming out and straight up admitting to not only orchestrating the attacks, but orchestrating the ritual under the guise of a terror attack (even then, would that be enough in today’s climate, and with today’s technology?). While I know enough about this subject to understand fully that potent forms of occult symbolism appear to be present throughout the 9/11 attacks, that type of information will forever be cast in a shadow of doubt over whether this supposed symbolism was intentional, or accidental. Many interpretations can be pulled from many things that mean nothing, and patterns can be seen where there really are none. Still, I remained curious and intrigued by it all, and found myself very entertained as I read more about it. I wanted to learn more.
For awhile I became fascinated by the the claims around the 9/11 mega-ritual concept, and picked up a copy of S.K Bains’ book “The Most Dangerous Book in the World: 9/11 as a Mass Ritual”. This is one of the more important books when it comes to that topic, and I think is everybody’s go-to when trying to learn about it. Any search of the subject yields links to his book, and you cannot avoid seeing references to his work across nearly every 9/11 mega-ritual conversation that happens online. After awhile it becomes very clear as to why: it’s all ridiculously complex, and (at least to me) was very difficult to really understand at first. Anyway, I bring S.K Bain’s book up here because the following is influenced highly by his book, with many excerpts lifted (and cited) in order to tie up certain aspects of this in a way that I cannot do alone. Check the (15) and (15a) to the right for links to the book [15][15a].
Since I was already looking into the deeper meanings and symbolic significance of “light” throughout occult belief systems like Freemasonry, I now wanted to find out how proponents of the 9/11 mega-ritual theories interpret the Tribute in Light and its potential occult and/or symbolic meanings behind it. To me, I figured there had to be troves of analyses on it, looping in all sorts of crazy connections and history to it all, decoding the alleged occult symbolism underpinning it along the way, but I was surprised to find that there really wasn’t much discussion around the Tribute itself. There are many obscure blogs and web pages dedicated to highlighting the occult elements of the attacks as a whole, but overall there seems to be ascarcity of resources specifically dedicated to unraveling the potential occult significance of the Tribute in Light itself.
I did find one analysis of the Tribute on a blog called "The Open Scroll" here[16] that provides their own interpretation:
"The two beams consist of 44 lights per beam, each arranged in a square as you see here. These individual lights number 44+44 or 88 in total. The number 88 is sometimes used to as a sign of the sun god, Ra. That's the atomic number of the element radium on the periodic table, which is identified as, Ra. Why this Tribute in Light with 88 lights? Ra, Lucifer, the god of the Illumined is being honored. The entire ritual involves ritual sacrifice because that's how he demands to be worshiped."
Obviously, this is just one interpretation out of many, many others. The problem was that I really couldn’t find the others. All I could find was much of the same analysis on the symbolism embedded within the attacks themselves, all mostly revolving around the work of S.K Bain and providing other contextual information too. None of it, though, really captured what I was looking for.
When it comes to decoding supposed occult symbolism attached to the events of 9/11, the occult significance of “light” isn’t the only relevant detail to look into. If you spend enough time looking into the occult angle of 9/11, you will also undoubtedly encounter multiple references to something called the Masonic Pillars, two pillars named Jachin and Boaz. Like the two pillars of Jachin and Boaz, the twin towers loomed over the New York City skyline side-by-side.
According to MasonicVibe.com, they describe the importance of the pillars within Freemasonry [17]
"Within Freemasonry, these two pillars hold great symbolic importance. They represent the strong foundations upon which the Masonic tradition is built, symbolizing stability and wisdom. The pillars are also believed to embody the balance between opposite forces, such as light and darkness or strength and beauty."
The names of the two pillars, Boaz and Jachin, hold significant meaning in the Hebrew language. Boaz, situated on the left, conveys meanings of "strength" or "in him is strength," while Jachin, on the right, signifies "He/it will establish". These pillars are intrinsically linked to the concept of illumination and light, symbolizing divine light and the pursuit of wisdom within Freemasonry. Moreover, Freemasonry associates the pillars Boaz and Jachin with the idea of humanity evolving into the third column, embodying wisdom.
In the Masonic tome, "A Bridge to Light," the symbolism of the pillars Jachin and Boaz is expounded upon, underscoring their role in establishing equilibrium and balance. The concept of equilibrium holds paramount importance in Freemasonry, and the convergence of Jachin and Boaz signifies the achievement of balance and harmony. From the perspective of conspiracy theorists ascribing to the notion that 9/11 was an occult ritual, the destruction of the twin towers (the twopillars) and the erection of a singular tower in its place ("One World Trade Center") represents the convergence of Jachin and Boaz, and therefore the attainment of unification and equilibrium through the transformative act of the attacks which, in the immediate aftermath, sparked a sense of community and pride in America that hadn’t been seen in many years. To many conspiracy theorists that align themselves with this thinking, this event marked the solidification of a new agenda, a new avenue opening up on the geopolitical chess board. In many ways, this was exactly what it would be, as the geopolitical developments that would take place in the years following 9/11 - and as a direct consequence of 9/11 - would go largely unquestioned, and almost totally unchallenged, due entirely to that same sense of pride and community that the attacks instilled in us.
For conspiracy theorists engrossed in the occult elements of the 9/11 attacks, the destruction of the twin towers or "pillars" and their subsequent replacement with a singular structure, the "One World Trade Center," is seen as symbolizing a unifying action triggered by the dismantling of the old world (represented by the twin towers) and the ushering in of a new era, or a “New World Order” (represented by the destruction and erection of the new lone tower, One World Trade Center).
NUMEROLOGY
To proponents of the 9/11 ritual theories, it isn’t just the concepts of Light and the Masonic Pillars that are present and important. Numerology also plays a big part.
Likewise, the numbers ‘9’ and ‘11’ hold a degree of occult significance on their own as well. For example, Aleister Crowley, a prominent figure in occultism, is believed to have associated both the numbers with occult significance, associating the number 9 with death, destruction, and endings in western numerology, particularly the Pythagorean method, and the number 11 - a Master number - with illumination, enlightenment, and dramatic, emotionally charged vibrations. It is believed to have extra impetus, potential, and power. In some occult beliefs, the number 11 is also associated with transcendence and the conveyance of divine light which transcends the limits of the world. It is also seen as representing an addition to a pre-existing, complete set of ten, and it refers to a level above the limits of that set, signifying an excess, a spillage, or an over-doing of divine energy (which would be represented by the number ‘10’). It is known to signify the end of a cycle, and can bring about drama, karma, and chaos.
According to the Grand Lodge of British Columbia and Yukon, the number nine[17]...:
“...was consecrated to the Spheres and the Muses…the ancients regarded this number with a sort of terror; they considered it a bad presage; as the symbol of versatility, of change, and the emblem of the frailty of human affairs. Wherefore they avoided all numbers where nine appears, and chiefly 81, the produce of nine multiplied by itself, and the addition whereof, 8+1, again presents the number nine. As the figure of the number six was the symbol of the terrestrial globe, animated by a Divine Spirit, the figure of the number nine symbolized the earth, under the influence of the Evil Principle; and thence the terror it inspired.”
And ‘11’:
“In the Prestonian lectures, eleven was a mystical number, and was the final series of steps in the winding stairsof the Fellow Craft, which were said to consist of 3, 5, 7, 9, and 11. The eleven was referred to the eleven apostles after the defection of Judas, and to the eleven sons of Jacob after Joseph went into Egypt. But when the lectures were revived by Henning, the eleven was struck out. In Templar Freemasonry, however, eleven is still significant as being the constitutional number required to open a Commandery; and here it is evidently allusive of the eleven true disciples”
In Freemasonry, the “winding stairs of the Fellow Craft”[18] is a reference to one of the central features of the second degree - a ritual in which the Fellowcraft must:
“...‘advance through a porch, by a flight of winding stairs to the middle chamber, there to receive his wages.’ While these structures – the porch, stairs, and chamber – were once part of King Solomon’s Temple, they are used here as spiritual and intellectual markers of a candidate’s progress in the Craft.”
The “winding stairs” of Freemasonry can be seen symbolically depicted alongside illustrations of the Masonic pillars of Boaz and Jachin, and is usually seen with a winding stair set[19] or some other tool of upward mobility such as a ladder[20] sitting between the two pillars, serving as a visual depiction of the second degree Mason’s progress through the craft and their gradual ascent towards a deeper understanding of the principles and teachings of Freemasonry. It depicts the journey from darkness to light (‘illumination’), ignorance to knowledge, and from imperfection to perfection.
In various occult traditions and esoteric practices, the significance of '11' is often embraced for its mystical connotations. Numerologists, astrologers, and practitioners of the Western mystery traditions may incorporate '11' into their symbolic systems, and to individuals who study sacred geometry, alchemy, or Kabbalah, the number is sometimes viewed as a symbol of initiation, suggesting that those who encounter it are on the path to deeper spiritual understanding and transformation. Combining the independent interpretations from the separate occult belief systems, we generally get ‘11’ as signifying transcendence, a journey of growth and enlightenment, and moving beyond the physical and reaching for higher states.
It can also be viewed as a symbolic gateway or portal, the number serving as a point of access or entry into dimensions beyond our immediate sensory experience which brings about transformation, suggesting that passing through this symbolic, numerical portal can lead to a profound metamorphosis or shift. In a similar way, the 2nd Degree Mason progresses through each Degree, transitioning from one to another by climbing the winding stair set that sits between the 2 Masonic Pillars Boaz and Jachin representing duality, and their transition into the next degree. To many, this act mirrors what actually happened on 9/11: the world woke up that morning in one world, and went to bed that night in an entirely different one. Collectively, we transitioned into the “next degree”, the next world - the two towers (and their destruction) is the “portal” we passed through to get there.
In this article entitled “Kabbalah of 9/11 'Resurrection'”[21], Cantor David Montefiore provides an insightful examination of the numerological significance of ‘911’ from a Kabbalistic perspective using his own experience with Jewish traditions and mysticism:
“In 2013, Rosh Hashanah fell very close to 9/11, on Sept. 5 and 6, and like 9-1-1 itself, the numbers 5 and 6 add up to 11. I was hoping nothing would happen. As a New Yorker, I wanted to be in the city and felt like I had to say something, but I could not put it into words.
Unfortunately, 9/11 has come to represent tragedy instead of help when we dial 911.
But the kabbalistic numerical value of 911 (11) is strangely full of hope and majesty and of a metaphysical state almost unattainable in life as we know it.”
Montefiore underscores '11' as a symbol of spiritual connectivity with the divine, and ascribes intricate spiritual meanings to the 11 Sephirot on the Kabbalistic Tree of Life, portraying '11' as emblematic of a profound metaphysical understanding and the interconnected fabric of spiritual attributes. Montefiore also integrates the usage of Gematria, a Hebrew numerical system, into his article when he adds up the numbers making up ‘911’.
Note: Gematria does not originate from conspiracy theories. In fact, it has its roots in Jewish tradition and has a very lengthy history. On the Wikipedia page for Gematria[X], it states:
“The most common form of Hebrew gematria is used in the Talmud and Midrash,[2][3] and elaborately by many post-Talmudic commentators. It involves reading words and sentences as numbers, assigning numerical instead of phonetic value to each letter of the Hebrew alphabet. When read as numbers, they can be compared and contrasted with other words or phrases – cf. the Hebrew proverb נכנס יין יצא סוד (nichnas yayin yatza sod, lit. 'wine entered, secret went out', i.e. "in vino veritas"). The gematric value of יין ('wine') is 70 (י=10; י=10; ן=50) and this is also the gematric value of סוד ('secret', ס=60; ו=6; ד=4).[4]”
According to Wikipedia, the first documented use of gematria is from an Assyrian inscription commissioned by Sargon II in the 8th century BCE. In it, Sargon II states:
"...the king built the wall of Khorsabad 16,283 cubits long to correspond with the numerical value of his name."
According to the Jewish Virtual Library, Gematria is…:
“...the computation of individual letters, words, or entire sentences utilizing their numerical equivalence. Some people believe that the words and ideas in the Torah may be connected with or understood from the numerical values and relationships. It is alleged that the numerical word value is not unintentional, but rather prearranged.”
Understanding the very basic fundamentals of gematria and how it works is crucial if one wants to understand the reasoning behind people’s efforts to “decode” the occult symbolism around 9/11. Without the base-level knowledge of gematria or the fact that it even exists, it would be easy to view people’s numerological decodes of certain numbers associated with 9/11 as completely crazy.
Returning to Montefiore’s article, he also adds an additional layer of symbolic significance to the number ‘11’ through contrasting its relationship to the occult, mystical significance of number ‘10’:
“In Jewish tradition, it takes 10 persons to form a minyan in order to constitute a quorum that can pray publicly — plus one[1] = God = 11.”
In this statement, Montefiore is referencing a significant concept in Jewish tradition known as a "minyan" and its connection to forming a quorum for communal prayer. In Jewish religious practice, a minyan is a group of at least 10 Jewish adults required for certain communal prayers and religious rituals. According to this practice, when 10 individuals gather together, they create a minyan, allowing them to engage in specific prayers and religious activities that require a communal context. In other words, they need a minimum of ‘10’ people before they can create a minyan and engage with those specific prayers. In that respect, the number ‘10’ represents a whole, complete unit.
However, if an 11th person is added to the group of ‘10’ that created the minyan, the 11th is considered to represent the divine presence or God, thus ‘11’ is spiritually significant, and signifies the connection between the community (represented by the minyan [10 people]) and the divine presence (symbolized by the additional 11th person). In this context, '11' becomes a symbol of spiritual completeness and the acknowledgment of God's presence within the communal prayer setting.
ORDER OUT OF CHAOS
Among conspiracy theorists, 'Order out of Chaos' is one of the more prominent expressions used to describe the foundational ideology driving the supposed 'higher order' of elites whom they believe orchestrate these catalyzing world events such as September 11th. As you will soon see, the expression doesn’t have its roots in conspiracy theories, though. Instead, it is a phrase deeply embedded in various esoteric traditions and occult practices. It is famously associated with the 33rd degree of the Scottish Rite of Freemasonry, where 'Ordo ab Chao' (Latin for 'Order from Chaos') symbolizes the transformative process of creating harmony and structure from disorder, and reflects the belief in the potential for renewal and enlightenment that can emerge from tumultuous and chaotic circumstances, which is a theme prevalent in many mystical and spiritual disciplines throughout history.
According to gematrix.org, the phrase “Order out of Chaos” has a gematria value of 777, which is considered significant in various occult interpretations. When this expression is discussed in the more conspiratorial communities online, you will often hear that both “Order out of Chaos” and “Chaos out of Order” have a value of ‘777’ (although there seems to be some debate over the accuracy of gematrix.org in terms of the 777 calculation for the two expressions, as it uses a specific system that may not align precisely with traditional Hebrew gematria…I can’t tell for certain, but wanted to include this clarification so you are aware). In Christianity, the number 777 is associated with divine perfection and completeness, and is often referred to as “God’s number”, as it represents the perfection of the Holy Trinity - the union of the Father, Son, and Holy Spirit. That interpretation is also driven by 777 being the ‘opposite’ of the Satanic number ‘666’, also known as the “Mark of the Beast” from the Book of Revelation.
The phrase "Order out of Chaos" is often linked to the motto of the 33rd degree of the Scottish Rite of Freemasonry, "Ordo ab Chao," which translates to "Order from Chaos." This motto is emblematic of the transformative and creative processes that are central to many esoteric traditions, and was the overarching theme of the larger impact 9/11 had on the world. Order had to be established after the chaos of the attacks and the chaos that led to such attacks, and the order will come from the establishment and solidification of the New World paradigm, that shall go unquestioned.
Now that we have the separate occult interpretations for each of the significant numbers making up the 9/11 attacks and also a general overview of the occult significance of fundamental concepts like “light” and the Masonic Pillars, I want to start wrapping all of this up. The above overview, whether these interpretations seem plausible or far-fetched to you, encompasses both genuine occult and numerological interpretations and beliefs, as well as more speculative interpretations of real-world events.
Regardless, this is the type of exercise that 9/11 ritual proponents do when analyzing world-changing events and attempting to “decode” the occult influence and symbolism they believe is purposefully embedded within the event and indicative of some degree of “higher control” responsible for it all. Because conspiracy theorists believe that this clandestine group of Elites follow some flavor of Kabbalistic mysticism (a school of thought within Jewish mysticism), they believe that using the Gematria numerology system that the Kabbalah uses will allow them to decode the occult significance of the times, places, and intentions of the attack.
While that sounds crazy, they actually aren’t far off the mark, at least in terms to how the interpretations are applied.
When it comes to the practice of Gematria, where numbers are assigned to letters to uncover the numerological significance of words and phrases, this is indeed a legitimate method within Kabbalistic tradition. Followers of Kabbalah, like Montefiore mentioned earlier, genuinely believe in the insights provided by these numerical interpretations. Conspiracy theorists who seek to decode the supposed occult symbolism behind events like 9/11 are using the same Gematria methods, but with a different purpose: they believe that the true orchestrators of these events are Kabbalists or individuals with similar esoteric knowledge. Consequently, they interpret the perceived symbolism of 9/11 through this particular lens.
What’s important to understand is that the process of calculating and interpreting numerical values through Gematria is real and practiced by many. However, the conclusions drawn by conspiracy theorists, based on these numerical interpretations, are speculative. While the technique itself is legitimate, the theories they develop about the motivations and identities of the supposed perpetrators as a result of such a method is not something that is able to be confirmed or verified, and thus remains in the realm of speculation and conspiracy.
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COMBINING THE SYMBOLISM
Now that we have a very basic understanding of how “conspiracy theorists” identify occult symbolism by utilizing existing techniques within ancient traditions (such as Gematria) to decode it, let’s do our own exercise by combining the interpreted meanings or symbolic significance of everything I discussed above. By taking individual instances of symbolism scattered across different facets of the 9/11 attacks and synthesizing them, theorists contend that the resulting interpreted meaning should encapsulate an overarching message or purpose behind the events—a message purportedly embedded by ritual practitioners into the very essence of the unfolding occurrences, and designed to be communicated (and received) by the others who know the language.
Like everything else with the occult, the meaning of any specific number is multi-layered, and the number ‘9’ is no exception. This is demonstrated plainly by Crowley who, using the same numerological method as above (Gematria), also considered the number to represent “The Ennead[X], Stability in Change”.
In S.K Bain’s book “The Most Dangerous Book in the World: 9/11 as a Mass Ritual”[X], Bain elaborates on the number ‘9’ on page 80:
“In his book Numbers: Their Occult Power and Mystic Virtues, William Wynn Wescott writes that the number nine holds great significance among many secret societies. ‘The number nine is the number of the earth under evil influences,’ he states.
Our constant companion in the exploration of this megaritual, Aleister Crowley, concurs with Wynn, revealing in Gematria: ‘9. Most Evil, because of its stability. AVB, witchcraft, the false moon of the sorceress.’ Yet, as with many occult matters, the meaning of the number nine is multi-layered. Crowley continues in Gematria, ‘9. The Ennead, Stability in Change.’”
After examining the significance of the number ‘9’ in Freemasonry, Kabbalah, and numerous other occult belief systems and combining them into a singular overarching meaning or interpretation, we can see that ‘9’ embodies the concept of completion and transformation. As the highest single digit before ‘10’, It marks the culmination of a cycle, signifying the end of a phase or a journey. When one cycle or era ends, transformation comes with it, and the very act of transitioning from one era into another is inherently transformative, which in itself is an inherently chaotic and disruptive process. Regarding Crowley, his writings reveal that he sees the number ‘9’ as meaning “most evil”, and also as “The Ennead, Stability in Change”.
The number ‘93’ is also of great significance in Aleister Crowley’s Thelema. Two of Thelemas’ philosophical concepts are encapsulated in the following two phrases, originally written in Crowley’s Liber AL:“Do what thou wilt shall be the whole of the law” and “Love the law, love under will”.
As Bain lays out in his book, the two key terms in these sentences are “Will” and “Love”, and in Greek, “Thelema” and “Agape”. If one were to employ isopsephy[X], a practice related to Gematria which involves adding up the number values of the letters in a word to form a single number, the value of both these words equals 93. Bain states that it is because of this interpretation that Thelemites often use the number ‘93’ as a greeting of sorts, both in person and within informal writings, such as in the opening and closing of such correspondences. It came down to the fact that Crowley’s guideline (that Thelemites should greet eachother with "Do what thou wilt shall be the whole of the Law”) was simply too cumbersome and lengthy to repeat in each instance, thus the use of ‘93’ emerged as a convenient shorthand. In informal written correspondence, it is common to find the single number "93" at the beginning of a letter and "93 93/93" at the end. The initial "93" stands for "Do what thou wilt shall be the whole of the Law," while "93 93/93" signifies "love under will." Thus, "93" is used as a concise way to greet and express the core principles of Thelema.
Crowley himself remarked on this detail, stating:
“‘I am often asked why I begin my letters this way. No matter whether I am writing to my lady or to my butcher, always I begin with these 11 words. Why, how else should I begin? What other greeting could be so glad? Look, brother, we are free! Rejoice with me, sister, there is no law beyond Do what thou wilt!’”
Writing in ‘The Confessions of Aleister Crowley’, he further states that, ‘The matter is of extreme importance; because Aiwass in dictating The Book of the Law repeatedly makes use of correspondences in Greek, such as Thelema, Will, 93 – Agape, Love, 93 … his own name spelt in Hebrew has the value 93.’
Notice how Crowley underscores the importance of gematria in his spiritual philosophy here by highlighting how he reduced the full “Do what thou wilt” phrase into the number ‘93’. As discussed earlier, gematria is a legitimate practice within Kabbalistic mysticism, and Crowley demonstrates that here by showing us that the Greek words 'Thelema' (Will) and 'Agape' (Love) both have a gematria value of 93. He even points out that his own name, when spelled in Hebrew, corresponds to the number ‘93’. Again, gematria is not just a speculative tool used by conspiracy theorists, but a real method for uncovering deeper spiritual meanings that has been used, and is still used, by religious authorities and occult practitioners in the same way that Crowley utilized these numerical correspondences here and in his broader teachings.
Bain continues:
Elsewhere in Confessions, Crowley adds, ‘93 is also the number of the Secret Word of the Neophyte of A:. A:., a word indicating symbolically the whole course of existence.’”
The Seal of Aleister Crowley’s occult order A∴A∴
To the Masons and Rosicrucians, Sirius[X] (also known as the “dog star”) was often called the “Argentinium Astrum” or Silver Star. In 1907, Aleister Crowley started his own occult order called The A∴A∴. The image above is the Seal of A∴A∴ as it appears on Wikipedia, which you can see here[X].
British occultist, novelist and poet Kenneth Grant met Aleister Crowley in 1944 and was initiated into the A:.A:. in 1946. In his book, The Magical Revival, Grant writes,
“First and foremost is the energy or force emanating from the sun Sirius. If it might be so expressed, the energy of thought, or mind force, in its totality, reaches the solar system from a distant cosmic centre via Sirius. Sirius acts as the transmitter, or the focalising centre, whence emanate those influences which produce self-consciousness in man.”
According to Bain, Grant actually provides a different perspective of the interpretation in his 1973 book. In that one, he states:
“The Silver Star (A:.A:.) is Sirius. …the key to the present aeon of Horus, for it represents the energy of Satan that will permeate the earth during the present cycle.”
Bain then notes on the usage of the words “energy of Satan” in the context of Sirius, and how according to sources ranging from Homer to Crowleyite Grant, is apparently a nasty character.
Regarding the number 11, it is considered a Master number and is often associated with duality and enlightenment across various occult belief systems and interpretations. In these traditions, two pillars frequently symbolize the duality of the world (such as light versus dark and good versus evil). However, they also represent the concept of “realizing non-duality,” where the space between the pillars signifies unity between the two. Recognizing the interconnectedness within apparent dualities—symbolized by the space between the pillars—is an essential aspect of this realization. The association of the number 11 with pillars is quite evident: the two digits comprising 11 (1 and 1) placed next to each other resemble two pillars, reinforcing this symbolism.
Similarly, we often see the pillars reflective of balance and harmony, representing opposing forces or ideas that remain in balance with one another through the interconnected non-duality that rests between them.In Freemasonry, The two pillars that stood on the porch of Solomon’s Temple (and now stand at the entrance of Masonic temples) known as Jachin and Boaz are often associated with the number ‘11’, and are often interpreted as embodying a duality of attributes. That duality is shown through Jachin symbolizing establishment or establishment of what is upright, and Boaz representing strength. The duality represented by these pillars is often seen as a metaphor for the complementary forces that contribute to equilibrium and balance within Masonic philosophy. The space between the pillars can be seen as a doorway or a bridge, symbolizing the transcendence of dualistic thinking. Realizing non-duality involves moving beyond the limitations of binary perspectives, perspectives represented by each of the two pillars. Moving beyond that binary, one would think, would be a unifying action.
This concept is prominently displayed throughout Freemasonry. As the Initiate progresses through each degree of Masonry, which requires increasing knowledge and leads to further enlightenment, he crosses thresholds and ascends the winding stairs depicted between Boaz and Jachin in Masonic illustrations. This journey symbolizes leaving one world and entering another, with each completed degree marking a transition and transformation into the next level. This acquisition of knowledge and progression through the Masonic degrees is viewed as an “ascension,” symbolically represented by the winding stairs or ladder between Boaz and Jachin, which serves as a gateway to higher understanding.
Qabbalistically interpreted, these pillars represent Sepiroth on the Tree of Life, symbolizing mercy and severity.
Aleister Crowley[X] has also referred to the number '11' as "the sacred number par excellence of the new Aeon." This designation stems from Crowley's intricate numerical and mystical associations, as well as his comprehensive spiritual philosophy, particularly his understanding of Aeons and the transformative nature of time. Crowley believed that the number '11,' with its unique numerological attributes, embodied the transformative and innovative energies of the Aeon of Horus. According to his belief system, an Aeon represents a distinct epoch characterized by specific spiritual qualities. Crowley asserted that the world transitioned into the Aeon of Horus in the early 20th century.
The number '11' is associated with transcendence in many occult traditions such as Kabbalah, which views ‘11’ as moving beyond the completeness and perfection represented by '10.' While '10' embodies the end of one cycle, '11' represents a journey beyond the ordinary and the limits of the material world. It signifies a higher level of spiritual awareness, a connection to realms beyond the completed cycle, and a transcendence of the status quo.
In this context, '10' serves as a foundation or a stage of completion that '11' transcends. '11' goes beyond the wholeness and perfection of '10,' symbolizing an ascent to higher states of consciousness and spiritual evolution.
Now, to combine each of the disparate interpretations of each number and symbol, let’s refer to Bain’s book:
“Nine, then, is not simply “most evil,” but further invokes deities of supreme importance to occultists. Eleven, as we already know, has a bit of an evil reputation in its own right, but, more importantly in this context, is “the number of Magick in itself,” and “the sacred number par excellence of the new Aeon,” as well as “My number” according to Aleister Crowley, to whom the entire 9/11 MegaRitual is in part dedicated. Writing again in Gematria, Crowley reiterates ‘11. The great magical number, as uniting the antitheses of 5 and 6 etc. and the magic force itself.’ Thus, the Crowleyian formulation—9, ‘Most Evil,’ 11, ‘the magic force itself’—yields: 9/11 = Evil Magic. Not simply numerical shorthand for the day or its proceedings, but communicating the nature of the event itself, a digital combination whose very meaning is ‘Evil Magic.’
The untold number of times that the phrase “nine eleven” has been spoken or written in the past ten plus years…that it has appeared in print or on screen, been uttered on the airwaves in news reports and documentaries, been said by countless millions in private conversation—every time it is used, we unknowingly participate in the MegaRitual, repeating “Evil Magic” over and over.”
Bain then takes it further, introducing other number sequences and characters related to 9/11 and bundling them into the decoded overarching message. What I find most intriguing about this aspect of the process is the fact that the overarching message conspiracy theorists claim to be decoding via known Kabbalistic and mystical techniques remains fairly consistent with every new symbol analyzed
In this next section, Bain takes the analysis even deeper and introduces other number sequences and characters related to 9/11 and bundling them into the decoded overarching message. What I find most intriguing about this aspect of the process is the fact that the overarching message conspiracy theorists claim to be decoding via known Kabbalistic and mystical techniques remains fairly consistent with every new symbol analyzed. In other words, there is no instance where conspiracy theorists with the above knowledge on occult matters apply those known Kabbalistic/mystical teachings to a different crucial aspect of 9/11 and have the interpreted message be something totally opposite of what’s been laid out so far.
Clearly we’re at risk of some form of confirmation bias here (all of this is subjective interpretations anyway), but the consistency around the decoding process suggests a cohesive narrative rather than a series of isolated, unrelated messages. Whether examining the numerological significance, the architectural designs of the structures involved in the 9/11 attacks, or even the frequently used acronyms heard throughout the topic, an analysis of each using the ancient methods above supports a unified theme of transformation and control. Conspiracy theorists argue that these symbols and numbers are not random but purposefully embedded to convey a singular, consistent message.
Returning to Bain’s break down on the various interpretations of the number ‘11’, he states that the number is often associated with spiritual insight, intuition, and enlightenment, with some interpreting it as a gateway or portal to higher consciousness, as laid out above. In the vein of ‘11’ representing a gateway to enlightenment, one might then apply that interpretation to the various ways ‘11’ appears throughout the attacks. He attempts to do that here:
“‘Two towers, two planes, the first aircraft bearing ‘the number of Magick in itself,’ signaling the commencement of the ritual.’ And the second plane?
‘There are three main methods of invoking any Deity…The ‘First Method’ consists of devotion to that Deity … a perfect instruction exists in Liber 175,’ writes Aleister Crowley in ‘Magick’ from Liber ABA:
‘This is the book of Uniting [Oneself] to a particular Deity by devotion,’ reiterates Crowley in Liber 175 itself. ‘Concerning the ceremonies…prepare a powerful Invocation of the particular Deity… let it be known that this method is adaptable to the necessities of all. … let him take anything soever, and consecrate it … let him consecrate each thing that he useth to the service of that particular Deity.’”
Bain then provides his own translation of the above:
“Meaning: This is a ceremonial invocation (the act of invoking or calling upon a deity, spirit, etc., for aid, protection, inspiration, or the like). Flight 11, consecrated with the number of magic and declaring the commencement of a magical operation; Flight 175, invoking Liber 175, stating the intent and purpose of the operation, ie. invoking and uniting with ‘a particular deity.’
“The 11 marks the commencement; the 175 states that the entire ceremony is an act of devotion, unity and invocation”
The synchronicities between letters and numbers don’t stop there, of course. Proponents of occult 9/11 theories will also point to the hijacked airliners - namely, Flight 11 - due to the plane being an American Airlines plane, or, in short: A.A11.A∴A (The name of Crowley’s magickal occult organization) and 11, “the number of Magick in itself” and also “the sacred number par excellence of the new Aeon”).
At 8:46a.m (8+4+6=18)(1+8=9), AA11 smashed into floor 93 of the North Tower, the same floors that E-Team, another LMCC art collective, had performed their ‘127 illuminated windows’ piece just six months earlier. The imipact of AA11 killed all 92 (9+2=11) passengers on board, which included 81 passengers (8+1=9) and 11 crew members (9-11).
The attacks took place on the 11th day of the 9th month, thus making the full date of the attacks September 11th, but more often shortened to 9/11 (9+1+1=11).
The frequency in which the number 9 and 11 appears throughout different facets of 9/11 has been noticed by people even outside the realms of “conspiracy” and occult 9/11 theories. For example, this website breaks down all sorts of numerological synchronicities present around that day[X] (note: I caught two numbers in there that the author got wrong, but there are enough accurate synchronicities laid out there to get my point across).
As Bain writes, 911 is also widely recognized as the emergency number, or the number that has for so long meant “help is on the way” - the sudden inversion or reversal of that number inflicts further psychic trauma on people who were ripped from the one world they occupied (where 911 meant help) and thrust into this new one, where ‘911‘ now means ‘terror’. The ‘inversion of reality’ concept is a key theme underpinning much of the motivations ascribed to the elusive global controllers orchestrating things from the shadows. Keep in mind though, that concept didn’t originate with the conspiracy theorists, and has its own legitimate roots in the esoteric and occult as well.
September 11th is also the 254th day of the year (2+5+4=11). After September 11th, 111 days remain in the year. The first plane to hit the towers was Flight 11, the state of New York was the 11th state to join the Union, New York City has 11 letters, the Pentagon has 11 letters, Flight 77 had 65 passengers (6+5=11). Flight 11 had 11 crew members and 81 passengers (8+1=9) aboard. The twin towers each had 110 floors. Recall that in numerology, the number of times in which these numbers appear consecutively only renders its message more powerful. This is the same reason the time 11:11 is the time where people “make a wish”, and why the number ‘11’ in general is often regarded as a potent number.
Speaking of 11:11, the first victim of 9/11, Daniel Lewin, was an Israeli soldier on Flight 11, and he was seated in seat 9b (9b+11=911 or 9b [a=1, b=2], 9+b[2] = 11). Not long before he’d perish in the tragic attacks, Daniel Lewin would pose for a photo modeling a new wristwatch. The photo was going to appear in some wristwatch magazine, I guess. However, if you look carefully at the image, you’ll see that Daniel is seated in front of a backdrop that looks eerily similar to the WTC’s gray facade, and if you look even closer at his wristwatch, you’ll see that the hands of it are set to 11:11:
Here is a zoomed version of the image:
To make matters more freakishly synchronous, the name of the wristwatch model he was modeling was called Hijacker. Taking it a bit further, the brand that made the Hijacker watch was called Swatch, a word with a Gematria value of 74 (7+4=11). Taking ‘Hijacker’ and running it through a Gematria calculator gives us a value of 65 (6+5=11). Thus, we get 11:11 again.
So, in essence, Daniel Lewin was photographed in front of a backdrop that looks like two separate gray pillars (11) resembling the outer facade of the WTC, he’s wearing a watch made by Swatch called “Hijacker”, and the watch hands are set to 11:11. Lewin, seated in seat 9b of AA11 would go on to be - by all accounts - the first person killed in the tragic events of that day, as official timelines suggest that he was stabbed or “shanked” by the hijacker’s box cutters (the same type of box cutters used by the hijackers on doomed Flight 93, which we are told crashed as a result of the passengers whom managed to fight off the hijackers and drive the doomed airplane into the ground of Shanksville, PA before it could reach its intended target (which is said to have been the Capitol Building). On top of all of that, the ridiculous part about it all is that Danny Lewin was most likely the one passenger most capable of thwarting the type of situation he found himself in. He sat behind one of the hijackers and near the others, he knew Arabic, was highly intelligent, and was a former IDF soldier trained to kill terrorists with his bare hands.
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On a website called 911blogger[X], they write about Danny here:
“Certain aspects of Lewin's life seem unusual in light of the fact that Lewin was the first person killed in the 9/11 attacks. For example, while he was in the military, Lewin reportedly became committed to the cause of "wiping out terrorism." This means the first victim of America's worst terrorist attack, who may have died while trying to stop the hijackers on his plane, happened to be a man who was dedicated to stopping terrorists.
Furthermore, in the years before he died, Lewin acted as if he foresaw the 9/11 attacks or at least something on the scale of 9/11. He told people that a "cataclysmic event" would occur, during which people would turn to the Internet for information.
Of particular note, considering that Lewin died in a terrorist attack, is that just two months before 9/11, his company was visited out of the blue by the White House chief of counterterrorism. Richard Clarke went to Akamai to employ it to protect the White House website from an imminent attack by a computer virus.”
As a result of the two planes impacting the towers, the Twin Towers (or Two Pillars, Boaz and Jachin) were destroyed at the foot of Solomon’s Temple (World Trade Center 7, situated beside the Twin Towers, was known as the Salomon Brothers building; Boaz and Jachin, in ancient lore, sat on either side of Solomon’s Temple). In a single incident or “ritual”, the two towers representing duality and balance (and thus the stability of the Old World) were destroyed, and in its place erected a single building, ONE WORLD Trade Center, signifying the conclusion of the last “cycle”, and representing societies transition into a new one where balance is restored and where the unity of this new world’s ideals are embodied by a single tower rather than the dualistic pillars - with the geopolitical aftermath and agenda to match.
Also note, in classical conspiracy theories, the primary objective that many believe the global Elite are working toward is a singular world government, or a ONE WORLD Order - so, the destruction of the Two (Twin) Towers and erection of One World Trade Center in its place is very much aligned with that vision, not just symbolically, but in practice, too; the countries we invaded as a direct result of the 9/11 attacks were perceived by many years later as an imperialistic move, a power move, a move driven by greed and corruption and a power grab. Yet in the immediate aftermath of the attacks, the collective masses of the nation transcended political boundaries and unified under the broader umbrella of patriotism, nationalism, pride in ourselves and our country. Consequently, there was little criticism when we began decimating an entire region of the world and invading countries that really had nothing to do with the attacks at all - which is now the consensus belief, by the way.
However, I do want to make a distinction here - the prospect of the global Elites wanting to construct some sort of one world governance system is not to be confused with the more speculative topic of occult symbolism in 9/11. The idea of the Global Elite having an objective that revolves around the establishment of a One World system of rule is very much true, and they are far from secretive about it. In many cases, world leaders have openly called for this “New World Order”, and other influential thinkers deeply enmeshed with these circles often call for a top-down system of governance world wide to confront the existential threats that now face us as a planet, not just as a country. And while the usage of gematria and other ancient techniques seen in certain schools of occult practices and branches of mysticism itself is actually real and still used today, we know that the ultimate interpretation we come up with while using the above techniques is not equivalent to objective proof of the claims around 9/11 being a mega-ritual.
These distinctions are crucial, because I don’t want my brief dive into this topic (and subsequent sharing of my findings) to be misconstrued as a serious belief in every aspect of it, or prompt comparisons in credibility between it and the New World Order theories, which are far easier to confirm as real.
Returning to the Bain’s interpretation of the attacks, he zooms in on WTC 7 and writes the following:
“Completed in 1987 and constructed with a trapezoidal design, the 47-story World Trade Center 7, situated directly beside the Twin Towers, was known as the Salomon Brothers building. Recalling from Chapter Three that the Twin Towers represented the Two Pillars of Freemasonry, Jachin and Boaz, it shouldn’t surprise you to learn (if you didn’t already know) that according to tradition these pillars were located on the porch of, you betcha, King Solomon’s Temple.”
“According to the Bible, the Lord gave King David very exact measurements and specifications for Solomon’s Temple, an idea that must have struck the fancy of those responsible for the design of WTC 7, because the building was a deceptively-simple yet powerful modern occult-Masonic construct. Its trapezoidal shape and 47 stories were an architectural embodiment of the 47th Problem of Euclid, more widely known as the Pythagorean Theorem.”
Writing of the significance of the Pythagorean Theorem to Freemasonry in general, this unnamed Masonic author states that ‘The 47th Problem of Euclid represents such a perfect symbol of Freemasonry...encompassing both art and science, that the simple knowledge of it demands a breathtaking awe to which we may only bow our heads in reverence at the perfection, the universality and the infinite wisdom of that which has been given to us by God.’
“Flight 77 strikes the Pentagon, which sits on the 77th Meridian West and is 77 feet tall. Anton Szandor LaVey, founder of the Church of Satan and author of The Satanic Bible, lists the 77 ‘“infernal names’ of the ‘Gods and Goddesses called upon, which make up a large part of the occupancy of the Royal Palace of Hell.’ The number 77 is also a Masonic signal, the number of the Revenge of Lamech, ancestor of Hiram Abiff the Master Mason. Written in 1941 and originally entitled ‘the Book of the Goat’, Aleister Crowley’s Liber OZ (or Book 77) is a single page purporting to declare mankind’s basic and intrinsic rights according to Crowley’s philosophy of Thelema, and he considered it as a sort of manifesto for OTO.”
Bain then references Crowley’s ‘The Book of Lies’:
‘The sublime and supreme septenary in its mature magical manifestation through matter… 7, the septenary; 11, the magical number; 77, the manifestation, therefore, of the septenary. Through matter, because 77 is written in Hebrew Ayin Zayin (OZ), and He-Goat, the symbol of matter, Capricornus, the Devil of the Tarot; which is the picture of the Goat of the Sabbath upon an altar, worshipped by two other devils, male and female…’
Bain then touches on ‘77’ in Crowley’s Gematria:
77. OZ, the Goat, scil. of the Sabbath of the Adepts. The Baphomet of the Templars, the idol set up to defy and overthrow the false god—though it is understood that he himself is false, not an end, but a means. Note the 77 = 7 x 11, magical power in perfection.
With that, Bain concludes with:
‘Again we discover, as in Act One, a number of supreme occult significance, ceremonially coupled with a potent super-sized occult symbol, in this case, the Pentagon.’
Since 9/11, the world has undeniably transformed. The often-repeated sentiment, ‘the world has never been the same,’ captures the profound and enduring impact of that day. Our world as we knew it ended on 9/11, and from the smoking debris of Ground Zero, a new era emerged. The rubble, once a symbol of unimaginable loss, was transported to the Fresh Kills landfill, where it was quickly disposed of, marking a swift and somber end to the physical remnants of the tragedy.
The destruction of the Two Towers/Two Pillars and the subsequent erection of the singular One World Trade Center serves as a physical embodiment of the phrase “Order out of Chaos,” a concept prevalent in many occult and esoteric traditions. This phrase signifies the creation of a new, harmonious order from a state of chaos or disorder and is often linked to the idea of transformation and the alchemical process of turning lead into gold, symbolizing spiritual and personal growth.
Occult 9/11 proponents like S.K Bain believe that the transformative acts of 9/11 were intricate occult rituals that inherently communicated the day's meaning. They see these acts as signifying the emergence of a new world from the chaos of the old one. The proponents argue that these events were carried out covertly due to the power wielded by those behind them and through symbolic communication embedded within the narrative of the event itself, visible to all but understood by few. Those who notice these symbols often dismiss them as coincidences, and those who fully believe in this interpretation are often written off as fools.
In many occult and esoteric traditions, chaos is not necessarily viewed as negative but rather as a necessary precursor to the emergence of new forms and structures. Through the alchemical process, symbolized by the 9/11 ritual, chaos is transmuted into order, representing the soul's journey toward enlightenment and higher consciousness, as exemplified by the Tribute in Light and the new world that follows.
OCCULT ORIGINS OF THE TRIBUTE IN LIGHT
Now that we have given a fairly extensive overview of how proponents of the 9/11 mega-ritual theories think and how they break down their analysis of the purported symbolism embedded within the attacks, I wanted to review the incident in its entirety to see if there are any more blatant instances where we can see occult influence. In other words, seeing symbolism and interpreting it is one thing, but it doesn’t bring us any closer to proving that the attacks were orchestrated in any way that differs from the Establishment’s version of events, let alone orchestrated as a mass ritual or ceremony masquerading as a unconventional terrorist attack to mask the symbolic framework that underpins the entire event. I wanted to see if there were any confirmable instances of occult influence appearing anywhere else in relation to that day.
To do so, I started with an examination of the Tribute in Light and its creators, Julian Laverdiere and Paul Myoda. I also wanted to poke around the topic because, as I mentioned earlier, I really hadn’t seen much discussion around the supposed “occult influence” behind the Tribute; only the attacks.
I used Paul Myoda and Julian Laverdiere’s websites as starting points, knowing that those webpages would offer an exhaustive list of career history, social media links, and probably links to their portfolios, which would give me a good opportunity to see the type of art they have created outside the 9/11 Tribute. After a short time, however, I ended up quickly pivoting to focusing solely on Laverdiere, as it ended up taking only a few minutes of poking around his background before I finally found the inevitable.
Julian LaVerdiere was born and raised in Brooklyn, New York, and is an accomplished artist and production designer[X] based in New York City. In 1993, he earned a BFA from The Cooper Union School of Art, graduating with honors and receiving the Ruth Gutman Epstein Memorial Prize for Sculpture. In 1995, he completed his MFA in Sculpture from Yale Graduate School of Art, where he was a scholarship student, awarded the F.B. Pardee prize for excellence in sculpture, and graduated with honors.
Since graduating from Yale in 1995, Laverdiere art has been showcased in a ton of galleries and museums, and his solo exhibitions include Andrew Kreps Gallery, Lehmann Maupin Gallery, Deitch Projects, No Limits Gallery in Milan, EverGreen Gallery in Geneva, PS1/MOMA, MOCA Miami, MOCA Cleveland, and the Schick Gallery at Skidmore College. He has also participated in group exhibitions at venues like MOCA Tucson, the Tang Museum, Queens Museum, Musée de l’Elysée Lausanne, the National Museum of Natural History & Science in Lisbon, the Library of Congress in Washington D.C., and the United Nations General Assembly building in New York City.
In 1996, LaVerdiere co-founded the public art and production design collective BIGROOM LLC to create elaborate environments, sets, and special effects for print advertising, public art events, broadcast advertising, and feature films. In 2007, he established LaVerdiere Design, Ltd., which is a member of IATSE United Scenic Artists Local 829 and commercially represented by ICM Partners in Los Angeles.
LaVerdiere's recent projects include art direction and design for the television show The Americans (which is was incredible for a primetime cable TV show by the way - it has pretty accurate depictions of Cold War espionage tactics. I’ll do an EMA episode on it one day), and feature films such as The Adjustment Bureau (2011) and The Dictator (2012). His commercial clients include Loréal, Cadillac, Maserati, Nike, and Apple.
So, Laverdiere is a pretty accomplished guy, and an even more accomplished an artist. I spent quite a bit of time looking through his work, and the scenes he creates are extremely vivid. I suggest you take a few minutes to view his work as well; here’s some of the product design and concept art he did for The Dictator[X]:
Laverdiere was also one of the artists selected for the same prestigious WorldViews residency program that E-Team and Gelitin would participate in from 2000 to Spring of 2001. As I was conducting research for this essay, the timeline of Laverdiere’s artistic endeavors at the WTC wasn’t entirely clear to me; Laverdiere is listed as a an alumni of the winter 2000-spring 2001 residency program[X], yet other sources state that Laverdiere and Myoda were living and working within the towers on the Bioluminescent Beacon project mere months before the attacks. From what I can tell, it appears that both are true - he is an alumni of the 2000-2001 WorldViews artist residency program (like E-Team and Gelitin were), and also returned to the WTC later to begin working on the beacon with Myoda, a project that was unrelated to the LMCC program[X].
Before moving on, I’d like to point out that none of the artists that make up the Gelitin collective are listed as alumni of the WorldViews residency program, which is strange given that it is a comprehensive list. That means that both Gelitin and the LMCC refuse to acknowledge that the balcony project ever happened.
After exploring LaVerdiere's work, it becomes evident that his online presence—and seemingly a significant part of his life—is deeply intertwined with the occult. He appears to be a lifelong student of these practices, having amassed considerable esoteric knowledge over the years, which is prominently reflected throughout his posts and his art. It also appears that many of Laverdiere’s friends on Instagram are into the occult as well, or at least seem to possess a degree of knowledge on such matters that surpasses that of the average person.
What first tipped me off to his occult interests was his involvement in a 2005 seminar held at MIT called "Regarding Evil"[X]. The seminar featured speakers such as Jodi Dean, who teaches political theory at Hobart and William Smith Colleges, and Boyd, who presented a chronology of counter-cultural activity and spoke of his relationship with radical evil.
The writing on Regarding Evil's website is intriguing:
"The transnational summit, Regarding Evil, will be called to assembly with the simultaneous sounding of the trumps in six sites around the world projected simulcast. In collaboration with the six individuals who were issued the instruments, each will announce their particular state of emergency and will converge at the Massachusetts Institute of Technology with a seventh blast. Gordon Smith will assume the role of 7th piper. Artists and scholars of international reputation have been invited to present visual and discursive material confronting the elusive and immeasurable subject of Evil, its transpolitical behaviors, charismatic aesthetic, and viral disbursement in the vast enterprise of simulation, symbolic power, and catastrophe. Panel discussion and audience participation will provide a public forum to expand this dialogue.
Engaging in the discourse of ethics as a codal system by which we can only hope to define a subjective good, continues to undermine the intelligence of Evil and fuels the perpetual orbit around exotic 'otherness' as an opaque foreigner situated in an archaic Other World of saboteurs. How then can we speak to/of evil while choosing to sidestep the subject using rhetorical strategies at the risk of sacrificing symbolic power? Must we rely on the performative death act to regain this symbolic power? Including ourselves within the equation of Evil is necessary for a richer appraisal of our condition which may in some cases, require the invocation of such an unwanted guest directly into our universe."
- Cisneros
If you take a look at who else they have listed as a participating artist for this event, you’ll see that Charles Manson is listed (teehee, get it?).
Most interesting, at least to me, is the fact that Matthew Barney was also listed as a participant in Regarding Evil. If that name sounds familiar to you, it’s probably because you just heard about him a few years ago during the Balenciaga pedophilia scandal following the “BDSM Bear” outrage. His book, “The Cremaster Cycle” (co-authored by Michael Goerlig) was seen in the background of one of the Balenciaga shoots, which you can see below:
His book is right beneath Michael Borremans’ book, which includes its own occult, satanic, and pedophilic imagery:
….yeah. Anyway.
The Cremaster Cycle is a series of five feature-length films, accompanied by related sculptures, photographs, drawings, and artist's books, created by American visual artist and filmmaker Matthew Barney. Produced over eight years (1994–2002), the series culminated in a major museum exhibition organized by Nancy Spector of the Solomon R. Guggenheim Museum in New York City, which then traveled to the Museum Ludwig in Cologne and the Musée d'art Moderne in Paris from 2002-03. The soundtracks for the films were composed and arranged by Barney's longtime collaborator Jonathan Bepler. The series features a multidisciplinary narrative that interweaves connections between real people, places, and objects personal to Barney, though they are all fictionalized to some extent.
The "Cremaster Cycle" is rich with occult symbolism, integrating a variety of ritualistic elements throughout its narrative. These films are filled with objects and devices that serve as ritual tools, symbolizing various stages of transformation and alchemical processes. The characters often engage in ceremonial actions that blur the line between the physical and the metaphysical, invoking themes commonly found in esoteric traditions. Barney also employs a vast array of symbolic imagery to convey the themes of transformation and transcendence throughout the series, frequently exploring concepts like metamorphosis and drawing parallels between the transformative process of metamorphosis and the alchemical processes that transform base materials into noble ones, symbolizing spiritual growth
The characters' journeys are depicted as ritualistic quests, involving trials and initiations that reflect occult practices. Daniel Birnbaum at ArtForum.com[X] picked up on this imagery, and had this to say about it:
Matthew Barney’s CREMASTER cycle is a Wagnerian vision for the new millennium. It started, in CREMASTER 4, 1994, with a tap-dancing freak—half glitzy performer, half goat—dressed in white. With great care, the soft hands of three monstrous muses attached prosthetic gadgets to his elegant shoes…and it’s not only shoes in the traditional sense that play a central role in Barney’s work, it’s strange devices attached to the feet, tools for ritualistic practices and occult communication. In CREMASTER 3, a woman with crystal legs is suddenly transformed into a cat-like creature, possibly in heat…
The occultist draws the ultimate conclusion from the fetish-character of the commodities,” Theodor Adomo writes in Minima Moralia (1951). It may be quite logical, then, for Barney to be attracted to esoteric ceremonies and rituals. In fact this tendency has been there all along, and in his most recent works the artist has included scenes and imagery from the worlds of Mormons and Freemasons, the latter an especially rich source of hermetic symbolism.
Once you acquaint yourself with base-level knowledge of the symbolic imagery frequently used by secret societies such as the Freemasons and the other imagery that appears prominently throughout the world of the occult, you begin to pick up on it surprisingly quick. As I was flicking through various screenshots of the Cremaster films, the allusion to masonic initiations quickly became apparent to me.
Mary MacGregor-Reid is a New Zealand-based artist that analyzes occult symbolism in art on her Wordpress blog, where she provided the following write-up on the occult elements of the Cremaster Cycle[X]:
“The Order” occurs in the second half of Cremaster 3 and is replete with quasi-masonic symbolism pulled from the story of Hiram Abiff and the building of Solomans Temple along with recreations of Barney’s own imaginings of masonic Initiatory rites.
The character of The Apprentice (played by the artist) has lost his teeth in an altercation with hitmen punishing him for creating a ‘perfect ashlar’ with cast cement rather than stone, thereby making an unstable foundation for the Chrysler Building.
For reference, here’s what The Apprentice character looks like from the films and art:
Matthew Barney as the Entered Apprentice in Cremaster 3
Macgreggor-Reid continues her analylsis:
He [The Apprentice] begins his initiatory process through 1st to 5th Degree encountering characters from previous parts of the Cycle. The Order is a large-scale production (the whole Cycle a monumental undertaking) enacted and filmed at the Guggenheim, with the spiral gallery being used as a metaphor for ascending through the Degrees as The Apprentice literally climbs the walls to reach each stage in his progression.
None of this imagery or symbolism found its way into Cremaster on accident. Barney's use of quasi-Masonic symbolism is well-documented and intentional, and the narrative of the Apprentice undergoing a series of trials and initiations directly mirrors known Masonic rites, which I have already outlined earlier in this essay. The character's journey and the obstacles he faces are symbolic of the spiritual and moral development emphasized in Masonic traditions.
I don’t want to veer too far off course here, but I found that to be an interesting coincidence (and not the only one, either) because I also discovered that Laverdiere’s social media network overlaps with that of Alban Adam’s social network, another name that got wrapped up in the Balenciaga scandal after sleuths began discovering a ton of satanic and pedophilic imagery across the profiles and posts of those associated with Balenciaga, such as Lotta Volkova, whom he’s close friends with.
Laverdiere follows Alban Adam on Instagram:
The reason I went down this seemingly unrelated avenue is that Laverdiere following Alban Adam on Instagram isn’t the only tie-in there. As it turns out, we also discovered that Alban Adamappears to be a fan of the Cremaster Cycle by Matthew Barney as well! He posted images from some of the films at least twice, including the post seen in the screencap below (before he made his profile private):
An Instagram post made by Alban Adam featuring the character “Satyr” from Matthew Barney’s “Cremaster 4”, depicted with goat-like legs and horns.
This image appears to be a scene from Matthew Barney's "The Cremaster Cycle," specifically featuring the character known as the "Satyr" from "Cremaster 4." The Satyr is depicted with goat-like legs and horns, embodying the hybrid and mythological themes prevalent in the series. The surreal and theatrical nature of this scene is characteristic of Barney's work, which often blends elements of performance, sculpture, and cinema to create a rich, symbolic narrative. Note the concept of the animal-human hybrid, which is also seen throughout occult and satanic concepts, often depicted as Baphomet, the half man half goat figure.
The most popular depiction of Baphomet
Before we move on from this relatively small detail, I want you to navigate to Laverdiere’s page on the Regarding Evil site. If you scroll all the way down to the bottom of his bio[X], you’ll see this very intriguing tidbit regarding his work, and its aims. In it, Laverdiere’s art is described as:
“Employing a pastiche of symbols, signs and themes from the past and the present, LaVerdiere draws attention to pivotal moments and events that serve as historic harbingers of coming change and paradigm shifts.”
Perhaps the best way to draw attention to pivotal moments and events that serve as historic harbingers of coming change and paradigm shifts is to be the creator of the most well known memorial in recent history - a tribute that memorializes a pivotal moment and event that served as a historic harbinger of coming change and a paradigm shift!
After looking into the work Julian has done in the past, I found a lot of it to be fascinating from the perspective of somebody that isn’t nearly as learned on such esoteric matters, and isn’t hugely involved in the world of art (although I enjoy it somewhat casually, and won’t turn down a visit to a museum). I also don’t want this excerpt to come across as if I am directly accusing Julian of being some mastermind behind the 9/11 attacks or anything like that, or even somebody that possessed foreknowledge of such an event. Rather, I highlight him here because the Tribute in Light is one of the most recognizable, iconic memorials of our time - perhaps all time, or at least in recent memory - and its origin is firmly planted within the occult, or at least seems to be. After all, one of the men who created it appears to be well versed in occultism.
Which would mean that the Tribute in Light itself, a memorial erected to remember those we lost in the most tragic attack in United States history, has its roots in occult traditions and beliefs similar to those laid out above, and every year when those two gigantic columns of beaming lights are shot into the sky as the American public watches on in remembrance, they are unknowingly participating in a sort of ritual itself.
To prove this, all you have to do is look at Julian’s online presence, or even just his Instagram[X]. Now, knowing what we know about occult symbolism and how it is sometimes encoded in art, take a look at the images below and tell me what you see:
In this next image, we see Julian referencing a “Destruction Ritual”:
This next post of his I’m throwing in as an extra. A reference to adrenochrome found in the wild, along with a stray Moloch reference (ancient Canaanite God of child sacrifice):
Yeah I know you loved that last find, I bet you haven’t seen it before. Subscribe to my newsletter!
The “Eye of Providence” is referred to here:
Themes of balance are seen in this next post, along with the “As above, so below” concept. I love the “#PatternAndRecognition” inclusion, because pattern recognition is all one needs to see these repeating motifs throughout the upper crust of society:
Magick and alchemy mentioned here:
This next post of his mentions Alice in Wonderland and the concept of the looking glass - both of which deal with themes of altered perception and the exploration of alternate realities. In Alice in Wonderland, Lewis Carroll delves into the idea of a world that operates under different rules, one where logic is inverted and the impossible becomes possible. The looking glass, introduced in Through the Looking-Glass, serves as a metaphor for self-reflection, inversion, and the exploration of parallel worlds.
These themes are prevalent in many esoteric traditions where the journey of self-discovery and enlightenment often involves looking beyond the ordinary and perceiving deeper truths hidden behind the facade of the material world. The looking glass can be likened to the 'inner mirror' in alchemical and Hermetic traditions, representing the introspective journey where one seeks to understand the true nature of reality and the self.
In this next post, we see Julian flanked by two buddies of his at a Freemason Lodge - specifically the Grand Lodge of the State of New York:
I’m not sure what to make of this next one, but for those of you that are well versed in the larger machinations at work just beneath the synthetic layer we call collective reality, it’ll raise an eyebrow. Here’s Julian at RAND Corp for some reason…?
Given the hashtags he included (e.g #R&D, #MAD, #GameTheory, etc), this tells me that Julian is likely more familiar with RAND’s very important role in the current organization of global affairs than the average joe. As a prominent and talented artist like himself, I’m not necessarily surprised to see him associated with RAND in some artistic degree (every organization anywhere needs artistic input at one point or another on all sorts of different projects and endeavors), but I wish we had more context as to what exactly he was doing for them.
I think you get what I’m going for here.
Anyway, I want to conclude this paper on perhaps the most glaring example of all. At the height of the Covid-19 pandemic, Julian shared the below image of an infographic featuring a news blurb of Cuomo as NY Governor announcing strict new guidelines around social gathering in the wake of the virus. Beneath it are a variety of occult imagery. Take a look (and be sure to read the comments as well):
I think the best way to describe what Laverdiere is doing with the post above is deftly intertwining contemporary public health regulations resulting from the Covid-19 pandemic with deeply rooted esoteric and occult themes, creating a rich lattice of symbolic meanings that resonate profoundly - and align perfectly well with - both the surface level mainstream Establishment, and the occult community. This can be plainly seen in the reaction to this post, manifest in his comments section, which is filled with people who appear to not only be well versed in occult matters, but also fully aware of Julian is insinuating with it. For most people, this post would mean nothing - it would perhaps even be considered crazy. As you will see and have seen, that is far from the case; in fact, profound messages can and often are communicated symbolically through artistic channels like the one above. Whether that fact is indicative of something bigger, who knows. What we do know is that the above image makes zero sense to most people, until they unlock the ability to make sense of it through the acquisition of esoteric knowledge, which you now have.
The hashtag references to #NewRules, #ReligiousGatherings, #EnforceStrictMeasures, and #CeremonialMasks immediately set the stage for a nuanced commentary on the intersection of modern governance and ancient ritual practices. The restriction to 10 participants in gatherings is not merely a public health mandate but echoes the sacred numerology revered in numerous mystical traditions. The number 10, symbolizing completeness and unity (as in the return to the Monad in Pythagorean thought), aligns with the idea of maintaining a controlled, sanctified environment, reminiscent of the carefully regulated covens in Wicca or the structured assemblies in Hermetic orders.
The visual juxtaposition of Governor Cuomo’s announcement with imagery from Stonehenge rituals, a witch’s sabbath, and Kabbalistic diagrams underscores the perpetual dance between the mundane and the mystical. The Stonehenge ritual participants forming a circle is a direct nod to the creation of sacred space, a fundamental concept in many occult practices where the circle serves as a boundary of protection and a focal point for spiritual energy. This is paralleled by the modern-day mandate to limit and manage gatherings, implicitly creating a 'sacred' or 'safe' space amidst the chaos of a pandemic.
The woodcut depicting a witch’s sabbath, alongside the modern necessity of masks, bridges historical secret rituals with contemporary needs for anonymity and safety. Masks in occult rituals often serve dual purposes: protecting the identity of the practitioner and aiding in the invocation or embodiment of different spiritual entities. The modern mask mandate, while primarily for health, can also be seen as a symbolic continuation of this tradition.
The inclusion of the Kabbalistic Tree of Life and geometric diagrams further deepens the post’s esoteric resonance. The Tree of Life is a profound symbol in Jewish mysticism, representing the structure of the cosmos and the path to spiritual enlightenment. Its presence here suggests a contemplation of the deeper, spiritual implications of our current societal structures and regulations. The geometric diagrams, emblematic of Sacred Geometry, reflect the underlying order and harmony of the universe, subtly implying that the new regulations are part of a larger, cosmic balance.
The comments on the post reveal an engaged audience attuned to these esoteric undercurrents. Phrases like “All tens. Cuomo knows what’s what” and references to “LVX to the NOX dance” indicate a recognition of the symbolic and mystical layers in the restrictions. LVX (light) and NOX (night) are terms in Hermetic and Thelemic traditions, representing phases of spiritual enlightenment and transformation, suggesting that these regulations are seen as part of a larger spiritual journey or transformation.
The comments on Julian LaVerdiere’s Instagram post reflect a mix of interpretations and attitudes toward Governor Cuomo’s understanding of the symbolic significance behind the new regulations on religious gatherings. Some commenters, such as the one who said “All tens. Cuomo knows what’s what,” imply a belief that Cuomo is aware of the numerological and esoteric significance of the number 10. This suggests that some people perceive Cuomo as having a deeper understanding or at least an appreciation of the symbolic weight of his regulations.
References to "LVX to the NOX dance" and "The VVitch" indicate that the commenters are drawing parallels between the restrictions and occult practices. These comments show that the audience is highly attuned to the esoteric meanings and might be projecting their own understanding onto Cuomo’s actions, regardless of whether he is actually aware of these implications.
Some of the comments are more tongue-in-cheek acknowledgements of the esoteric references, though; they acknowledge the parallels without necessarily attributing full awareness to Cuomo. There seems to be a blend of genuine belief and playful engagement with the symbolism on display here. While it’s clear that the commenters are deeply engaged with the esoteric symbolism, it’s less clear whether they believe Cuomo himself is fully aware of or intentionally leveraging this symbolism.
However, I must concede that the one comment attributing the coincidental nature of the guidelines aligning with occult traditions to an awareness within Cuomo is very telling, and not something you hear echoed very often outside conspiracy circles, let alone circles of genuine, dedicated occultists. If we were to point out such a parallel, we’d be conspiracy theorist schizos, yet to them, it’s just another instance where this “higher order” manifests itself in the midst of the chaos.
We cannot say for certain that the 9/11 attacks were a mass ritual performed under the guise of a terror attack. In this essay, however, I did prove that occult and esoteric traditions and beliefs form the foundation of our mourning and memorializing of the event. Every year, when those two light pillars are illuminated and beamed upward into the sky, it serves as a modern-day ritual, a symbolic representation of the Twin Towers and a connection to higher realms, as well as a gateway that we as a society passed through in the wake of the catalyzing, unifying event we refer to as the 9/11 attacks - an event that set our country, and the entire world, down a new avenue in an ew world with a new perception of reality to match.
It is also a lesson to all of you that refuse to acquaint yourself with such strange, unusual ideas: remember, when you see those brilliant columns of light this September, you are witnessing an occult creation from top to bottom, and like it or not, it’s real, it has been real, and it always will be real. It’s just a matter of whether or not you choose to see it, and what it all means.
“The World Trade Center isa living symbol of man's dedication to world peace... a representation of man's belief in humanity, his need for individual dignity, his beliefs in the cooperation of men, and, through cooperation, his ability to find greatness.” -Minoru Yamasaki, architect of the World Trade Center (1912–1986)
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Verdiere and his partner in the project planned to breed the light-producing plankton in an aquarium and then somehow transmit that light to the top of the radio tower on the roof of the north tower.
"A science-meets-art light sculpture that harnessed genetic technologies for luminous public ends, Bioluminescent Beacon was also planned as “an artificial star faintly visible above Manhattan’s skyline”; it was due to be installed, with Creative Time’s help and funding, atop the 360-foot antenna of the South Tower."
"When referring to the original Trade Center, LaVerdiere and Myoda still describe the complex as a coral reef, an active ecology, a place they knew better than their own homes. They had covered, theorized, mapped, and photographed every inch of the place, it seemed, either on their laptops or on foot"
"Skadden Arps were our lawyers, the architects got Jeff Koons’s lawyers, MAS had their own heavies."
“The World Trade Center is a living symbol of man's dedication to world peace... a representation of man's belief in humanity, his need for individual dignity, his beliefs in the cooperation of men, and, through cooperation, his ability to find greatness.” -Minoru Yamasaki, architect of the World Trade Center (1912–1986)
