The ACM (and ACM/) model has two (or three or four) SERIAL PORTS . 8. DSR. Data Set Ready. Input. Cisco RJ45 pinout (option -X2). Sony Dsr-pd_pd_pd Service Manual. Uploaded by . Photo: DSR- PDP. Link ND_VCC_D ACTIVE LENS ACTUATOR CN 7 A_4. Q Sony DSR Service (Repair) Manual – Free download as PDF File .pdf), Text File .txt) or read C CERAMIC CHIP uF 10% 25V.
Printed Wiring Boards and Schematic Diagrams. It is possible that a wire is snapped. Make sure that the flat cable and flexible board are not bedienungsanleitunf of bent at the terminal. Do not insert the cable insufficiently nor crookedly. Remove the cassette, and insert it again after one hour.
Video head is dirty. Clean with the optional cleaning cassette. Loading does not Load the tape again, and perform operations from the beginning.
XLR 3-pin input connectors provide search frame-by-frame in jog mode.
DV format compatibility four channel simultaneous recording, phono jack type You can bedinungsanleitung hear playback audio. Displays the recording level in the recording or in the EE: This value is fixed and the right 0 dB and turns red if the input level exceeds IN reference input connector Connections Power Preparations Connections This section describes basic connections for recording or playback bedienungzanleitung the To digital video equipment with the DV jack unit.
The video and audio signals are sent with hardly any degradation, enabling high-quality recording. The signal flow is automatically detected so you Connections for Recording need not make separate connections for input and output.
The color bars are recorded on the tape. This section describes how to set the time code s initial connector. Data codes shutter speed, iris, white balance, program AE mode, gain, value.
Synchronizing the Time Codes a This includes stop, fast-forward or rewind. If any bedienungsanleiung message not listed in the table ssr cassette does not have cassette memory and duplication displayed, contact your authorized Sony dealer. The duplicate Audio input Adjusts the Y signal level of the component signals.
Sony DSR-50P Service Manual
AC After using a cassette over. In general, consult your Sony dealer about necessary adaptor.
After After use, please be sure to rewind the tape completely reconnecting them, periodic maintenance checks. Return it to operate the unit.
SONY DSRP SERVICE MANUAL Pdf Download.
Follow the disassembly procedure in the numerical order given. In addition to this, the necessary note is printed in each block For printed wiring boards: Measuring conditions voltege and waveform: However, the patterns of — Ref. RP board; 30, series — layers 2 to 5 have not been included in the diagram. However, the patterns of layers 2 to 5 have not been included in the diagram.
However, the patterns of layers 2 to 3 have not been included in the diagram. DSR C C p: MD board; 30, series — layers 2 to 3 have not been included in the diagram.
Perform either procedure 1 or procedure 2 or procedure 3 when replacing board. Procedure 1 Save the EVR data of the machine in which a board is going to be replaced. Super fine applicator J Screwdriver for tape path J Tracking tape XHA1 J Its functions are described below.
After selecting bedienungsanleirung mechanism deck, select one of the two test modes other than the auto test, and press the RVS or FF button to 1.
After replacing, service the set as follows, regardless of the length of use. Remove the parts in order of 1,2,3,4,5,6,7,8,9,0 For the disassembling and assembling procedures of the GL gear, GL helical torsion spring, etc. Pass the flexible board through For the disassembling and assembling procedures of the compo- hole A and pull it out of the front side of the chassis while nents of the MIC base assembly, refer to page Remove them in order of 1,2,3,4 to touch bedjenungsanleitung adjuster.
Remove them in order of 1,2,3 Assembly: Attach them in order of 1,2,3 Refer to Assembly, too. Be careful when handling the TG arm and the peripheral parts.
Remove them in order of 1,2,3,4,5,6,7,8 Disassembly of the pinch slider Move the pinch slider to the leftmost end, and dssr it upward and remove it when two shafts Pinch slider A are superimposed on the holes of the pinch Remove them in order of 1,2,3 Disassembly of each part The main slider controls several parts.
Remove them in order of 1,2,3,4,5,6,7,8,9 Disassembly of MD board Screw Peel off the FP bedienungsanlitung board at the front of the chas- MD board sis refer to page Remove the six solders on the FP flexible board from the rear of the chassis. To distinguish the S side from the T side when the opening of the One phase adjustment hole spring tip is facing toward the front, note that the coil tip of the S side is located on the left bedieunngsanleitung that of the T side is located on Fix the supporter plate with the screws while being careful of pin A of the motor FPC assembly.
Preparation before check 2. Check and adjustment Check that the cassette compartment has already been removed. Put the reel reference plate J on each reel table. Rotate the Refer to page Refer to page Check and adjustment 1. Play back the tracking tape J-6 and check the states at the en- Connect all the connectors. In this case, after converting the hexadecimal notation to decimal notation, calculate and convert the result to bedienungsanleihung notation, and use it as the adjustment data.
Besienungsanleitung Memory Address Codes corresponding to the errors which occur are written in ad- dresses 38, 3C, 3E. The type of error indicated by the code are Page C Bedienungsanleiung 38 to 43 shown in the following table. MSW Mode Bedienungsanlwitung information when an alarm occurred. MSW when a transition starts: MSW information when the mechanism position starts to move if L motor runs. MSW of target destination: MSW information of target position if the mechanism position moves.
Bit Value Discrimination Display on the Bit values Bit values must be discriminated using the display data of the ad- adjustment bit3 bit2 bit1 bit0 justment remote commander for the following items. By discriminating the bit value of display data, the state of the switches can be discriminated. The Y and chroma signals used in the adjustment are shown in Fig. BNC bedienungsanleitnug 75 ohms unbalanced 0.
D Page Table 8. E Page Table Note: Playback blanking level adj. Node Unique Bedineungsanleitung No. Input of Serial No. Measurement Point Displayed data of page: Measuring Instrument Adjustment remote commander Playback Blanking Level Adjustment with 7.
Playback Y Signal Level Adjustment with 7. Color 50003 Adjustment with 7. Color bar The same signal terminated. The back light fluorescent tube is driven by high voltage AC power supply. Therefore, do not touch the back light Signal Arbitrary holder to avoid electrical shock. Gamma 1 Adjustment PD Board 5. For audio check input. Bedienungsanleiyung Level Indication Check 4.
Internal Time Code Output Check Date History Contents issued Page of Go. Page – Preparation for Adjustment and Tape Path Page – Track Adjustment and Check Checking the Page – Beduenungsanleitung Blanking Level Adjustment with Page – Color Level Adjustment with 7.
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Stream Clocks And Clouds: An Adventure Around Gyorgy Ligeti by Falling Tree Productions from desktop or your mobile device. Clocks and Clouds – Women’s Choir (in 12 voices) & Orchestra (study score). for part female choir and orchestra. Ligeti, György. Series: Schott Music of Our. Yes and yes. I remember it being mentioned in my music history book. Unfortunately, I don’t have it now, but basically Ligeti uses contrasting.
He has been described as “one of the most important avant-garde composers in the latter half of the twentieth century” and “one clocjs the most innovative and influential among progressive figures of his time”.
He became an Austrian citizen in He died in Vienna in Restricted in his musical style by the authorities of Communist Hungary, only when he reached the west in libeti Ligeti fully realise his passion for avant-garde music and develop new compositional techniques. After writing his “anti-anti-opera” Le Grand MacabreLigeti shifted away from chromaticism and towards polyrhythm for his later works.
He is best known by the public through the use of his music in film soundtracks. Although he did not directly compose any film scores, excerpts of pieces composed by him were taken and adapted for film use. The sound design of Stanley Kubrick ‘s films, particularly the music of A Space Odysseydrew from Ligeti’s work and also contained pieces by other classical composers. His family was Hungarian Jewish. Ligeti recalled that his first exposure to languages other than Hungarian came one day while listening to a conversation among the Romanian-speaking town police.
Before that he had not known that other languages existed. He did not return to the town of his birth until the s. InLigeti’s education was interrupted when he was sent to a forced labor brigade by the Horthy regime during events of the Holocaust. His mother was the only other person to survive in his immediate family.
He conducted ethnomusicological research into the Hungarian folk music of Transylvania. However, after a year he returned to Franz Liszt Academy in Budapest, this time as a teacher of harmonycounterpoint and musical analysis. He was a conservative Christian whose circle represented a safe haven for Ligeti. In Decembertwo months after the Hungarian revolution was violently suppressed by the Soviet Army, Ligeti fled to Vienna with his ex-wife Vera Spitz.
They remarried in and had a son together. He took only what ligeeti considered to be his most important pieces. He later said, “I considered my old music of no interest. I believed in twelve-tone music! A few weeks after arriving in Vienna, Ligeti left for Cologne. There he met several key avant-garde figures and learned more contemporary cluds styles and methods. Ligeti worked in the Cologne Electronic Music Studio with Stockhausen and Koenig and was inspired by the sounds he heard there.
However, he produced little electronic music of his own, instead concentrating on instrumental works which often contain electronic-sounding textures. After about three years’ working with them, he fell out with the Cologne School[ clarification needed ] this being too dogmatic [ citation needed ] and involving much factional in-fighting: And I, personally, have no ambition to be first or to be important.
Between and he was guest professor for composition in Stockholm. In he became composer-in-residence at Stanford University in the United States. While he was living in Hamburg, his wife Vera remained in Vienna with their son, Lukaswho later also became a composer.
Apart wnd his far-reaching interest in different styles of music, from Renaissance to African music, Ligeti was also interested in literature including the writers Lewis CarrollJorge Luis Borgesand Franz Kafkapainting, architecture, science, and mathematics.
He was especially fascinated by the fractal geometry of Benoit Mandelbrot and the writings of Douglas Hofstadter. Ligeti’s health deteriorated after the turn of the millennium; he died in Vienna on 12 June at the age of His funeral was held at the Vienna Crematorium nad the Vienna Central Cemeterywith the Republic of Austria and the Republic of Hungary represented by their respective cultural affairs ministers.
Clocks and Clouds
The ashes were buried at the cemetery in a grave dedicated to him by the City of Vienna. He was survived by his wife Vera and son Lukas. Many of Ligeti’s earliest works were written for chorus and included settings of folk songs.
His largest work in this period was a graduation composition for the Budapest Academyentitled Cantata for Youth Festivalfor four vocal soloists, chorus and orchestra. One of his earliest pieces now in the repertoire is his Cello Sonataa work in two contrasting movements that were written in andrespectively.
It was initially banned by the Soviet-run Composer’s Union and was lieti performed publicly for a quarter of a century. Even his piano cycle Musica ricercatathough written according to Ligeti with a “Cartesian” approach, in which he “regarded all the music I knew and loved as being The work is based on a simple restriction: Shortly after its composition, Ligeti arranged six of cliuds movements of Musica ricercata for wind quintet under the title ‘Six Bagatelles for Wind Quintet’.
The Bagatelles were performed first inbut not clkcks their entirety: Because of Soviet censorship, his most daring works from this period, including Musica ricercata and his String Quartet No. Composed of a single movement divided into seventeen contrasting sections linked motivically the First String Quartet is Ligeti’s first work to suggest a personal style of composition. The string quartet was not performed untilafter he had fled Hungary for Vienna.
He completed only two works in this medium, however—the pieces Glissandi and Artikulation —before returning to instrumental music. Ligeti’s music appears to have been subsequently influenced by his electronic experiments, and many of the sounds he created resembled electronic textures.
This texture is a similar to that of polyphonyexcept that the polyphony is obscured in a dense and rich stack of pitches. With Volumina —62, revised for solo organ, Ligeti continued with clusters of notescloucs into blocks of sound. In this piece, Ligeti abandoned conventional music notation, instead using diagrams to represent general pitch areas, duration, and flurries of notes. Aventureslike its companion piece Nouvelles Aventures —65is a composition for three singers and instrumental septet, to a text of Ligeti’s own devising that is without semantic meaning.
In these pieces, each singer has five roles to play, exploring five areas of emotion, and they switch from one to the other so quickly and abruptly that all five areas are present throughout the piece.
Requiem —65 is a work for soprano and mezzo-soprano soloists, twenty-part chorus four each of soprano, mezzo-soprano, alto, tenor, and bassand orchestra.
Though, at about half an hour, it is the longest piece he had composed up to that point,  Ligeti sets only about half of the Requiem ‘s traditional text: Lux Aeterna is a voice a cappella piece whose text is also associated with the Latin Requiem. Ligeti’s Cello Concertowhich is dedicated to Siegfried Palmis composed of two movements: Lontanofor full orchestra, is another example of micropolyphony, but the overall effect is closer to harmony, with complex woven textures and opacity of the sound giving rise to a harmonious effect.
It has become a standard repertoire piece. They differ widely from each other in their types of motion. In the first, the structure is largely broken up, as in Aventures.
György Ligeti – Works
In the second, everything is reduced to very slow motion, and the music seems to be coming from a distance, with great lyricism. The pizzicato third movement is a machine-like studies, hard and mechanical, whereby the parts playing repeated notes create a clouss continuum. In the fourth, which is fast and threatening, everything that happened before is crammed together. Lastly, in strong contrast, the fifth movement spreads itself ligsti.
In each movement, the same basic configurations return, but each time their colouring or viewpoint is different, so that the overall form only really emerges when one listens to all five movements in context. Ramifications —69completed a year before the Chamber Concerto, is scored for an ensemble of strings in twelve parts—seven violins, two violas, two cellos and a double bass—each of which may be taken by one player or several.
The twelve are divided into two numerically equal groups but with clocls instruments in the first group tuned approximately a quarter-tone higher four violins, a viola and a cello. As the group play, the one tuned higher inevitably tends to slide down toward the other, and both get nearer each other in pitch. In the Chamber Concerto —70several layers, processes oigeti kinds of lgieti can take place on different planes simultaneously.
In spite of frequent markings of “senza tempo”, the instrumentalists are not given linear freedom; Ligeti insists on keeping his texture under strict control at any given moment.
The form is like a “precision mechanism”. Ligeti was always fascinated by machines that do not work properly and by the world lcocks technology and automation. The use of periodic mechanical noises, suggesting not-quite-reliable machinery, occurs in many of his works.
The scoring is for flute doubling piccolooboe doubling oboe d’amore and cor anglaisclarinet, bass clarinet doubling second clarinethorn, trombone, harpsichord doubling Hammond organpiano doubling celestaand solo lligeti quintet. Most of these compositions establish timbre, rather than the traditionally-favored dimensions of pitch and rhythm, as their principal formal parameter, a practice that has come to be known as sonorism.
From the s, Ligeti turned away from sonorism and began to concentrate on rhythm. Pieces such as Continuum and Clocks and Clouds —73 were written before he heard the music of Steve Reich and Terry Riley in But the second of his Three Pieces for Two Pianosentitled “Self-portrait with Reich and Riley and Chopin in the background “, commemorates this affirmation and influence.
clousd During the cllocks, he also became interested in the polyphonic lcouds music of the Banda -Linda tribe from the Central African Republicwhich he heard through the recordings of one of his students. InLigeti completed his only opera, Le Grand Macabrethirteen years after its initial commission. Loosely based on Michel de Ghelderode ‘s play, La balade du grand macabreit is a work of Absurd theatre —Ligeti called it an “anti-anti-opera”—in which Death Nekrotzar arrives in the fictional city of Breughelland and announces that the end of the world will occur at midnight.
Musically, Le Grand Macabre draws on techniques not associated with Ligrti previous work, including quotations and pseudo-quotations of other works  and the use of consonant thirds and sixths. After Le Grand MacabreLigeti would abandon the use of pastiche but would increasingly incorporate consonant harmonies even major and minor triads into his work, albeit not in a diatonic context.
After Le Grand MacabreLigeti struggled for some time to find a new style. Besides two short pieces for harpsichordhe did not complete another major work until the Trio for Violin, Horn and Piano inover four years after the opera.
His music of the s ckocks s continued to emphasise clpuds mechanical rhythms, often in a less densely chromatic idiom, tending to favour displaced major and minor triads and polymodal structures. During this time, Ligeti also began to explore alternate tuning systems through the use of natural harmonics for horns as in the Horn Trio and Piano Concerto and scordatura for strings as in the Violin Concerto. Book I was written as preparation for the Piano Concerto, which contains a number of similar motivic and melodic elements.
Ligeti, György – Clocks and Clouds – Women’s Choir (in 12 voices) & Orchestra (study score)
The difference between the earlier and later pieces lies in a new conception of pulse. In the earlier works, the pulse is something to be divided into two, three and so on. On the other hand, cpocks later music—and a few earlier pieces such as Continuum —treats the pulse as a musical atom, a common denominator, a basic unit, which cannot be divided further.
Different rhythms appear through multiplications of the basic pulse, rather than divisions: His music is so utterly original, enjoyable, perfectly constructed, but at the same time emotional I demonstrate my independence from criteria of the traditional avantgardeas well as the fashionable postmodernism.
InLigeti completed his Violin Concerto after four years of work.
Many people knows something about Dajjal (antichrist) because all the prophets had told their people about Dajjal. It can be found in many ancient scriptures. Jesus Christ(peace be upon him) was the Messiah, so when Christians call him ‘ The Antichrist’ it actually means ‘Ad-Dajjal’. We both believe. Muslims also expect the advent of the Antichrist, whom they name the “Great Deceiver” or the “Impostor Messiah” (Romanized Arabic: Al-Masikh al-Dajjal).
Arabic lexicographers have sought, however, to explain its origins in relation to a series of words derived from the root d-j-l: The very multiplicity of these explanations casts doubt on their etymological accuracy, but their semantic suitability is striking. antichriwt
His physical deformity will also be manifest in his walk, with the big toes of his feet almost touching and his heels far apart, as well as in his repulsive matted and frizzy hair. For example, he will be accompanied by water that burns and fire that has the effect of dwjjal water.
He will bring into being a garden resembling hellfire and a fire resembling the garden of paradise. He will descend into anyichrist ocean, and the sun will accompany him.
Dajjal: The Anti Christ by Ahmad Thomson
Wherever he goes anticrhist mountain of black smoke will precede him, and a mountain of white smoke will follow him. Pious people will also come out to challenge him; one of them he will cut in two, flinging the parts of the corpse wide enough apart to ride his donkey between them before restoring him to life with the aid of demons in his entourage.
See also apocalyptic ii ; eschatology iii. Asad, The Road to MeccaLondon, Chodkiewicz, Le sceau des saintsParis, Submitted tags will be reviewed by site administrator before it is posted online.
If you enter several tags, separate with commas. Topic select a topic Sachedina, Islamic MessianismAlbany, N.
Hamid Algar Originally Published: December 15, Last Updated: November 11, This article is available in print. TAGS dajjal the great deceiver.
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Plog – Postcards – Download as PDF File .pdf) or read online. postcards. Anthony Plog – Method for Trumpet – Book 6, Low, High, Power & Strength Exercises. Documents Similar To Plog Postcards. Anthony Plog – Method for Trumpet – Book 1, Warm-Up Exercises and Etudes. Uploaded by. Fernando Serrano Montoya. Descripción: Postcards for solo trumpet in C or Bb by Anthony Plog.
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Postcards I for trumpet for trumpet solo by Anthony Plog – Editions Bim & The Brass Press
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The information brought forth by the voice known as Ashayana Deane is rather controversial even within the awakening movement. Personally I found it to be. [NOTE: Having thoroughly re-read while laboriously retyping the following chapter from Ashayana Deane’s VOYAGERS II: Secrets of Amenti. Disinformer Ashayana Deane is exposed on PateoPedia, Pateo’s online Wholly Science encyclopedia, by Johan Oldenkamp of the multilingual.
Who, for instance, are the Azurite Council or the Ra Confederacy? What are azhayana these Melchizedek and Hibiru-Cloister lineages? What does she mean by Templar and Templar-Axion Seals? What precisely is the Sphere of Amenti? Well, not having read VOYAGERS Ia great deal of this complex account is still murky to me — but my intuition guides me to receive the data without overly engaging the analytical mind at least for now — while I allow the information to percolate through my cellular memory.
The Alcyone deand fields of Templar Melchizedeks and those that received the Templar-Axion Seal during Akhenaton’s reign and eeane stored in Sirius B, also needed to be reintegrated into the Sphere of Amenti. Despite the failures of Akhenaton’s campaign, he had successfully reintegrated the Annu peoples into the Sphere of Amenti morphogenetic field, so a similar arrangement was made in reference to the Templar and Templar-Axion Sealed race families.
This time, not only would the races be restored to their place ashayans Amenti, the entire Sphere of Amenti would be realigned with the original strand DNA pattern. Realignment of the Sphere of Amenti would allow all of the races to heal their genetic distortions in preparation for the opening of the Halls of Amenti, and would restore the integrity of the Sphere of Amenti so the Halls of Amenti could be opened.
This realignment project would require the services of a 12th-level avatar, whose energetic imprint contained the alignment of dimensional frequencies. This 12th-level avatar was to realign the Sphere of Amenti and Alcyone morphogenetic field of the Templar Sealed Hebrew and Annu Melchizedeks, and he was intended to bring together the factions within the Essenes that had developed within the Melchizedek and Hebrew Cloisters. He would also re-enter the original egalitarian Templar creed back into the teachings of the Essenes.
It was not an Immaculate Conception, but rather orchestrated via traditional means through a couple chosen and daene by the Priests of Ur.
The child’s soul essence was born of the HU-4 [Harmonic Universe-4] avatar Sananda, and the child was named Jesheua-Melchizedek herein Jesheuawho later became known as Jesus, son of Mary and Joseph.
The personages of Mary and Joseph were not the parents of this avatar child, they were the parents of a ninth-level avatar soon to follow.
Jesheua was born to descendants of the house of Solomon, and taken in infancy into the custody of the Priests of Ur. In 7 BC the Elohim orchestrated the birth of a veane avatar, who would serve to integrate the Templar-Axion Sealed souls of Sirius B, back into the Sphere of Amenti and restructure the ashaana Templar creed to be more reflective of the Law of One. This child was named Jeshewua herein Jeshewua-9and the stories of his birth to the Hebrew-Melchizedek Essene’s Mary and Joseph are recorded as the birth of Jesus in contemporary Christian doctrine.
Jeshewua was not born of an Immaculate Conception either, but rather through the visitation of an ET Nephilim, who, like King Ashajana had been, was part of the entity named Jehovah. The entity Jehovah, who was one of the original contributors to the creation of the Sirian-Anunnaki races of HU-2, had worked with the Elohim since the time of the Treaty of El-Annuyears ago.
Jeshewua’s mother Mary was also born of Nephilim conception. Following the events of Akhenaton’s reign, the Elohim did not want knowledge of ET ancestry available to the general human populations, so the truth of Jeshewua’s birth was hidden within the story of the Immaculate Conception. Through the centuries that followed the two avatars, the life stories of Jesheua and Jeshewua-9, plus another man who was not an avatar, became consolidated into one personage called Jesus Christ.
With the birth of Jesheua, the 12th-level avatar, the Hebrew Melchizedek morphogenetic field in Alcyone was reintegrated into the Sphere Of Amenti. Through Jesheua the integrity of the Hebrew Melchizedek genetic imprint was restored, and he became known by some as the “savior” of the Jewish peoples for this reason. The portions of the Amenti Sphere that had been trapped within Earth’s D-2 morphogenetic field, as a result of Akhenaton’s reign, were realigned and the integrity of the Sphere of Deae was once again restored.
In a greater sense, Jesheua became the savior for the races, for through his birth the Ashayaana of Amenti could once again be opened. Ascensions conducted while the Halls of Amenti were closed could only be done through the energy field of a 12th-level avatar, whose bio-energetic field could carry the energy fields of others through the seals on the Sphere of Amenti.
Through the energy fields of the avatar, people could pass through the Arc of the Covenant, into the Blue Flame of Tara’s morphogenetic field and into Tara. The Zionites were created during the present-day Zeta infiltration and were sent back in time to realign certain ancestral groups with the strand DNA imprint, in order to accelerate the evolution of present-day humans.
The followers and descendants of the Jesheua Essenes were one of the groups chosen for this realignment. Groups involved with Zionite genetic restructuring are considered to be of Celestial Human lineage as they carry the full strand DNA Silicate Matrix within their operational genetic codes, regardless of their primary racial line. The Silicate Matrix appears within family lines as a recessive gene composite, which remains dormant until it is called into activation via opening of chakra centers Various groups within Root Races and Cloister racesalong with several other hybrid race strains, were chosen for this genetic realignment, so the Silicate Matrix is distributed at random throughout present-day human genetic lines.
During the period that Jesheua practiced in Egypt 8 AD ADthe second Christ, Jeshewua-9, grew in popularity among the families of the Templar Melchizedeks and Hebrew Melchizedeks who were not aware of, or interested in, the birth of Jesheua Jeshewua-9 was also taken to Egypt for initiation, ascension training and ordination as a Melchizedek priest, and portions of these rites were conducted by Jesheua Prior to his ordination in Egypt, Jeshewua-9 had traveled throughout Nepal, Greece, Syria, Persia and Tibet, training in various inter-faith doctrines.
Jesheua studied primarily in India and Persia before coming to Egypt at age 20 and his Templar teachings showed a stronger eastern orientation than those of Jeshewua The teachings of Jeshewua-9 became more well-known, which caused him progressively more persecution from Roman influence and also within some factions of the Hebrew and Templar-Melchizedek race lines who did not accept deviations from the original patriarchal Templar creed as set within the Jewish deaen by King Melchizedek.
When Jeshewua-9 was 32 years old 25 ADwith the assistance of supportive Templar Melchizedek Essenes, the Elohim exiled Jeshewua-9, his wife the woman who came to be known as Mary Magdalene in Biblical referenceand their three children to the territories of France, to avoid political persecution. Another man, by the name of Arihabi, who was asbayana Jerusalem-bom Hebrew-Annu-Melchizedek, was led by the Elohim, through a series of visions, to believe that he was the deame Jeshewua-9, and this is the man who was crucified.
Neither of the avatar Christs [was] crucified, and both of them left genetic family lines within the Hebrew-Melchizedek races. The sacrifice of Arihabi was orchestrated to divert attention away from Jeshewua-9, his family and his lineage. In return for his assistance in diverting attention from Jeshewua-9, the body of Arihabi was restored to life by the Elohim, even though he was not an avatar. He was then taken to India, where he lived for another 30 years. After his ascension to Sirius B, the Elohim granted him special favor and adjusted his veane field so he could ascend to the Sirius star system in HU-2 via the planetary core of Sirius A in HU The story of Jesus Christ as it is known in contemporary times, evolved through the mythology the Elohim used to conceal the identity of their avatar, Drane, and to perpetuate their patriarchal slant on the Templar Creed.
Disinformer Ashayana Deane
The distortions of the true facts of history were used to protect the lineage of Jeshewua-9 from political persecution, making it appear as if the Christ had no descendants, thereby allowing those descendants to remain obscured from the public view.
The teachings of Jeshewua-9 daene the Templar Melchizedeks became the primary ashyana for both the contemporary Jewish and Christian faiths, but the Jewish religion did not acknowledge Jeshewua-9 as their savior.
In truth, Jesheua was the true savior of the Jewish peoples, for he re-entered their race morphogenetic field into the Sphere of Amenti. Few people knew of Jesheua and his Blue Flame Melchizedek Essene ascension school, so the majority ashayanaa the Hebrew people did not realize that their foretold Messiah seane, indeed, arrived. They traveled throughout Egypt dexne Nubia and into Jerusalem, promoting the original Templar teachings of ascension and gathering together groups of people to take to Giza for ascension.
Plans were made to perpetuate the Jesheua lineage, which carried the full strand DNA imprint, and six women of various Melchizedek Cloister sub-races were chosen to bring forth the children of Jesheua, the First Christ. Couples were chosen to serve as guardians of these children. Each of the six females to receive the seed of Jesheua was matched to a male Blue Flame Melchizedek who would serve as adoptive father to the child of Jesheua Jesheua did not interact directly with the raising of these children, nor did he serve as husband to any of the six women chosen to carry his seed.
The children were created through sacred procreative rites for the sole purpose of perpetuating the strand DNA pattern within the human races. Descendants of these children spread throughout the various regions, some appearing within ashahana French Aristocracies, others within the Celtic, Egyptian and African aashayana lines. One line of the descendants of Jesheua now resides within the continental United States. Of the six families of Jesheua that were seeded between 18 AD and 23 AD, five of the children survived to bring the strand DNA lineage into the contemporary human gene pool.
This ascension passage requires a tenth-strand DNA imprint, and is thus not available to most humans, without direct assistance and DNA reconstruction by the Elohim, Azurtes or other HU-2 guardian groups.
The teachings of Jesheua were highly deqne by Templar Melchizedeks who later came into political prominence, and were kept alive through the secret mystery schools that evolved throughout Europe, Egypt, the Middle East and in certain parts of China and Indonesia.
Similar authors to follow
The teachings of Jesheua were originally included in ashayanx manuscripts that became the Christian Bible, but were distorted or edited entirely at various times, to suit the needs of the power elite within the evolving political-religious machine. Eventually the teachings were banned by the early Christian churches, for they disclosed the identity and tactics of the Elohim and other ET groups, and told of the divisions within the Melchizedek Templar Creed.
Very few of the original Jesheua teachings have survived into the present time, though there are remnants of these teachings secretly preserved in France, that will one day be discovered. The original teachings of Jeshewua-9 were also distorted and misrepresented through political and religious structures of various times. The teachings of contemporary Christianity, though they provide a basic structure upon which social organization and spiritual initiation can be built, reflect little of the depth, content or meaning of the original teachings of the avatar Christs.
Ashaynaa Blue Flame Melchizedeks carried on his teaching legacy and became the primary keepers of the secrets of the Arc of the Covenant and the Sphere of Amenti. Various groups were assigned various portions of the whole story, with no one group having the entire chronology of the teachings of Jesheua He did not die, but rather bodily ascended to Tara, and has since evolved far beyond the confines of physical matter.
They allowed the Elohim and other Host Matrix Families to direct the course of earthly events as they desired, knowing that the truth of the Templar and the Law of One, eeane upheld by the Blue Flame Melchizedeks and Priests of Ur, would eventually come to light within the evolving human consciousness. Though Jesheua had xshayana aligned the race morphogenetic field at Amenti with the original strand DNA imprint, most of the races still carried traces of genetic distortions from the Templar and Templar-Axion Seals, which would need to be cleared prior to the opening of the Halls of Amenti.
The Elohim, Templar Melchizedeks, Blue Flame Melchizedeks and many other unrelated Host Matrix groups have assisted, and continue to assist, many individuals in clearing their genetic codes in preparation for ascension. All present-day ideologies that teach conscious evolution, and DNA activation and transmutation, are geared toward this purpose, including the new information currently being provided by various guardian ET and metaterrestrial forces.
Jesheua, the 12th-level Turaneusiam avatar from Tara, fulfilled his purposes on Earth. The race morphogenetic field had been reunited, so following the opening of the Halls of Amenti, all souls could again ascend through Amenti, once their genetic imprint had evolved to assemble the fourth and fifth DNA strand.
The plan for preparing the races for the AD ascension wave was put back on schedule. Since 27 AD, when the avatar Jesheua ascended, the races of Earth evolved under the primary influence of the Elohim and various other Host Matrix groups not associated with the Christian and Jewish perspectives. Through the achievements of Jesheua and Jeshewua-9, the primary morphogenetic imprint for all of the races was returned to the Sphere of Amenti, and the Sphere of Amenti was once again made whole.
These accomplishments set the stage for mass ascension, but the races still had a long way to go in healing and evolving their consciousness and genetic codes.
The Arc of the Covenant D-5 security seal kept all but the Melchizedek race strains from bodily ascension. These conditions would have to evolve and heal before humanity would be prepared to face the ascension wave of AD. Throughout the evolution of the races, guardian races attempted to awaken humanity ddane the reality of its evolutionary destiny. All of the major Earth religions were seeded at one time or another by guardian groups, to help the races prepare for their eventual ascension out of HU Though the teachings are often quite different or seemingly contradictory and deame religions have suffered manipulation and distortion at the hands of man and covert intruder ET forces, they are united through their original purpose of achieving ascension and freedom ashwyana the ashzyana of matter.
Ashayana Deane The secrets of Amenti were ultimately kept under the protection of the Blue Flame Cloister Melchizedeks and the Hebrew Essenes who followed them, but the reality of Amenti belongs to all of the races and world religions. The Sphere of Amenti, Arc of the Covenant and Halls of Amenti represent the manifestation of the Covenant of Palaidor, which holds the ashqyana promise and progression for all races of the human lineage.
It is the promise of humanity returning to the integrity of the Immortal God-being that is the original morphogenetic imprint of the human race.
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