In a sense, the tunnel connecting the two chambers is a birth canal, and the twenty-fourth chamber is the baby.
The Fourth Interview of Dr. Jamisson Neruda
As the novel and Neruda interviews reveal, the WingMakers’ Chaco Canyon hidden structure was designed as a single strand of DNA, or one strand of the double helix. Because the DNA molecule contains twenty-three chromosomes, the WingMakers’ helix consists of twenty-three chambers. Further, we learned that each chamber contained a painting and an artifact. As enigmatic as the paintings were, the artifacts proved to be even more mysterious. The guess was that these were forms of technology so advanced, that they appeared to be ordinary looking objects—simply nondescript.
The twenty-third chamber proved to be different. First of all, unlike the smooth surfaces of the other twenty-two chambers, this twenty-third chamber’s floor was rough and unfinished, strewn with small rocks and stone debris. The second feature of interest was the artifact. Unlike the others, this one was immediately recognizable, for it appeared to be a media disc of some kind.
The disc was eventually decoded by the Labyrinth Group’s supercomputer, ZEMI, and the CD-like disc proved to contain more than eight thousand pages of information that the WingMakers apparently wanted humanity to know about.
It was not until the fourth Neruda interview was released in late 2002 that we learned that there was a secret twenty-fourth chamber built into the Ancient Arrow site four meters behind the antechamber. Once James released the fourth interview, he also revealed the twenty-fourth Chamber Painting at the WingMakers website.
As the fourth interview continues, Dr. Neruda explains that the ZEMI supercomputer determined that there was a higher density of symbolism in the twentyfourth painting than in any of the others. The other interesting feature of this painting is that it is depicted horizontally whereas all the other Chamber Paintings, except the twenty-third, are designed vertically. (It should also be noted that the ten Portal Paintings appearing on the First Source disc are also horizontally oriented.)
This fact strongly hints that the twenty-third and twenty-fourth paintings have a special relationship (as might the ten Portal Paintings). Neruda speculates that because the twenty-fourth chamber can only be accessed through the twentythird chamber, this means that the twenty-third chromosome—related to sexual reproduction and gender identity in humans—will somehow lead to an as yet undiscovered chromosome related to our spiritual identity. Furthermore, Neruda goes on to explain that the twenty-third chromosome is very susceptible to alteration and therefore its possible mutation might give birth to the twentyfourth chromosome.
As so often happens with James’ materials, Dr. Neruda’s discussion of these two chambers and chromosomes leaves us with more questions than answers. We can suggest, however, that the dimensional shift around 2012 could very well be a factor relative to the emerging twenty-fourth chromosome.
The shift, according to James, will be the most profound shift of human consciousness in the history of humanity. For all those engaged in the process of bringing spirit into their lives, this shift and expansion of consciousness will open up new faculties of psychological and spiritual significance. James describes these generally as “a new transparency into wholeness and a new accessibility to our heart’s intuitive guidance.” (When-Which-How Practice) This dimensional shift, and what I also like to call “dimensional expansion,” will most likely contribute to or be the catalyst for the emergence of a new exploratory energy system that is addressed in the fourth philosophy paper “Beliefs and Their Energy Systems.”
In addition to this consciousness shift and expansion, which may very well contribute to the creation or activation of the twenty-fourth chromosome, the catalytic triggers embedded in James’ materials (writings, music, imagery) are explicitly designed to alter our DNA.
The topic of this genetic triggering is discussed in the first interview of Dr. Neruda:
“When we had translated the first thirty pages of text from the optical disc, we learned some interesting things about the WingMakers and their philosophy. Namely, that they claimed that the three-dimensional five-sensory domain that humans have adjusted to, is the reason we are only using a fractional portion of our intelligence. They claimed that the time capsule would be the bridge from the three-dimensional five-sensory domain to the multidimensional seven-sensory domain.
“In my opinion, they were saying that in order to apply BST, the traveler needed to operate from the multidimensional sevensensory domain. Otherwise, BST was the proverbial camel through the eye of the needle… or in other words… impossible…”
The First Interview of Dr. Jamisson Neruda
As you may recall, BST, or Blank Slate Technology is the secret time travel project of Fifteen and the Labyrinth Group. Also, the so-called “time capsule” is the helix-shaped Ancient Arrow site.
This quotation reinforces the fundamental idea discussed in the other writings of James and the teachings of Lyricus translated by him. Remember, the central scientific discipline of Lyricus is genetics and we know that the primary mission of the LTO is the discovery of the Grand Portal. Further we read the following:
“Within our genetic substrate is the inborn structure that will ultimately deliver our species to the central universe as a perfected species. The WingMakers have encoded this within our DNA, and set forth the natural and artificial trigger points that cause our genetic structures to alter and adapt. In this process, it activates parts of our nervous system that feed the brain with a much richer stream of data from our five senses and two additional senses that we have yet to consciously activate.”
The First Interview of Dr. Jamisson Neruda
Setting aside the ultimate perfection of the species, the more immediate and foundational step to this ultimate perfection is the discovery of the Grand Portal. We can attempt some reading between the lines of these two extracts and consider that the Ancient Arrow site is a metaphor for the discovery of the Grand Portal. We might also consider the concept of BST (time travel) as a hint toward one aspect of the Grand Portal. Perhaps the Grand Portal is not only the revelation that humanity is one collective organism and that this organism somehow extends throughout multiple dimensions of the multiverse, but that the Grand Portal is also a means of traveling through time.
When we think more deeply about the story that James has delivered to us, the emphasis he places on time travel could very well be a signpost pointing to the timeless nature of the higher dimensions of the galaxies themselves. If so, in the post Grand Portal era we may not only be exploring the physical and non-physical dimensions of human planetary populations across the billions of galaxies in the multiverse, but also have access to the past and future, as well as the present.
Tying this all together is James’ assertion that the twenty-fourth chamber is a key to the Grand Portal. Although the nature and details of this “key” are not yet known, further examination and pondering of Neruda’s discussion of the relation between chambers twenty-three and twenty-four may yield further insights into this mystery. Also, remember that the twenty-fourth chamber painting contains the highest degree of symbolism compared to the other twenty-three paintings. Let’s also keep in mind that the horizontal orientation of the twenty-third and twentyfourth paintings strongly hints at their connection.
Additionally, the ten Portal Paintings are also oriented in landscape style. This connection between these twelve paintings links them in some mysterious way. The only known clue to the meaning of the Portal Paintings is contained in James’ introduction to the DVD, “Meditations in TimeSpace”: “Within these portals are stored the encoded knowledge of the Central Race—humanity’s progenitors, known also as the WingMakers.”
From a strictly symbolic point of view, a horizontal layout suggests breadth, expansion and distribution. Coupled with James’ writing about the Portal Paintings containing the stored “encoded knowledge of the Central Race,” this might mean that our knowledge of how to attain the Grand Portal will be expanded and distributed to humanity. In addition, this knowledge will come through discoveries and research related to the twenty-third and twenty-fourth chamber paintings that represent the twenty-third chromosome, and leading to the emergence of the twenty-fourth.
Thus, these twelve paintings provide a rich source of contemplation and discussion of the expansion of our DNA, our consciousness, and our sensory equipment, all ultimately leading to the Grand Portal.
John Berges, Collected Works of the WingMakers
