by Jedi Simon

Anamorphosis is a distorted projection that requires the viewer to occupy a specific vantage point, use special devices,

or both to view a recognizable image. It's used in painting, photography, sculpture and installation, toys, and film special effects.

The word is derived from the Greek prefix ana-, meaning "back" or "again", and the word morphe, meaning "shape" or "form".


Instrumental arcs





Solution and abstraction


Explanation. Go molecular or plasmatic and apply the concept.

Intemingled reality

Sigma 91 eye vision

Sigma 60

Sigma 25

Sigma 27

Sigma 13

Anamorphic projection

A half circle protractor marked in degrees (180į). Goniometer

Angles and fractions


Maurits Cornelis Escher

Sky above




Art Shows

Excersise: Impossible Video Try this one and feel what happens to Your State of  Mind as soon as awareness takes place.

Conceptually, paradoxical...


Fragmentation 2


3 Dimensional Anamorphosis

Street Art


There are two main types of anamorphosis: perspective (oblique) and mirror (catoptric). More complex anamorphoses can be devised using distorted lenses, mirrors, or other optical transformations.

An oblique anamorphism forms an affine transformation of the subject. Early examples of perspectival anamorphosis date to the Renaissance of the fifteenth century and largely relate to religious themes.

With mirror anamorphosis, a conical or cylindrical mirror is placed on the distorted drawing or painting to reveal an undistorted image. The deformed picture relies on laws regarding angles of incidence of reflection. The length of the flat drawing's curves are reduced when viewed in a curved mirror, such that the distortions resolve into a recognizable picture. Unlike perspective anamorphosis, catoptric images can be viewed from many angles.: 131  The technique was originally developed in China during the Ming Dynasty, and the first European manual on mirror anamorphosis was published around 1630 by the mathematician Vaulezard.




Glancing Angle

In Rome, there are a total of 8 Egyptian and 5 Roman obelisks.  In the context of this article, we will focus on four obelisks that were re-erected by Pope Sixtus V.  Around 1587, all of Romeís obelisks were toppled down and it was Pope Sixtus V who started re-erecting four of the fallen obelisks in Rome. Pope Sixtus V also redesigned the Piazza in front of the Saint Peter Basilica that was itself under construction at the time. The current oval shaped piazza with the obelisk at the Vatican was designed and built at the orders of Pope Sixtus V. It was part of an overall urban redesign of the city of Rome in which four of the obelisks were given new locations. These four new locations were centered around the obelisk at St. Peterís Square which became the focal point.  

The first Egyptian obelisk was originally shipped by Emperor Augustus in 10 BC from Heliopolis, Egypt (dedicated to Seti I/ Ramesses II) to the Circus Maximus in Rome. Circus Maximus was a Roman hippodrome used for chariot racing. The obelisk was moved by Sixtus V from Circus Maximus to Piazza del Popolo where it still resides today.

The second Egyptian obelisk was originally shipped from Thebes (temple of Amun, Tuthmosis IV) to Circus Maximus in Rome by Constantine II the son of Constantine the Great. The initial plans to ship the obelisk to Circus Maximus (Latin for the greatest circus) in Rome however were made by Contantine the Great who didnít have the facilities to actually ship the largest of the Egyptian obelisks (32.18 m tall) to Rome. Eventually, his son succeeded in carrying out his father plans. Both obelisks were placed on the Spina of Circus Maximus. The Spina (backbone) is a 217 meter long wall in the centre of the hippodrome. This obelisk was moved by Pope Sixtus V from Circus Maximus to Piazza di San Giovanni (Laterno) next to the Basilica of San Giovanni.

Itís important to realize that both obelisks of Circus Maximus aligned with the Winter Solstice Sun at sunrise, since the Spina on which they were placed also aligned with the Winter Solstice Sun at sunrise! (see Vatican Alignment calculations)

The third Egyptian obelisk was originally moved to Rome in 37 AD by Emperor Caligula and situated at the Vatican Circus. The origin of this obelisk is unclear. Itís the only obelisk without hieroglyphs. This obelisk was again relocated by Sixtus V to St. Peterís Square where it is seen today.

The fourth and last obelisk is a Roman obelisk that originally stood in Mausoleum of Augustus and was moved by Sixtus V to the piazza in front of the Basilica of Santa Maria Maggiore at the Piazza del Esquillino.

What is interesting in the context of this article are the before and after locations of these obelisks in the overall urban redesign plan of Pope Sixtus V.

Circus Maximus, for instance, was built in a bend on the bank of the River Tiber, and on a Winter Solstice day the Sun would be seen rising over the Tiber River in line with both obelisks at the Spina when viewed from the Vatican. Pope Sixtus V could have restored Circus Maximus and placed the obelisks at their original locations. Itís interesting to notice that viewed from the St. Peterís Square these obelisks would be aligned with the Winter Solstice Sun! This is because St. Peterís Square lies exactly in line with Circus Maximus and the Winter Solstice Sun. Instead, Sixtus had chosen to relocate one of the obelisks of Circus Maximus to the Piazza del Popolo.

The obelisk at the Piazza del Popolo, however, aligns with the obelisk at St. Peterís Square and the summer solstice Sun at sunrise!  (See 
Vatican Alignment calculations)

Like the Equinox Sun, the summer solstice Sun is seen rising over the River Tiber from St. Peterís Square since the obelisk at the Piazza del Popolo is situated only two blocks away from the river.

The other obelisk of Circus Maximus was Romeís tallest obelisk and was moved to the Piazza di San Giovanni in Laterno (in southeast direction from the Vatican) which resides at an azimuth of 114į 0í which is 9 degrees off the Winter Solstice sunrise azimuth of 123į for Rome. While both obelisks in Circus Maximus originally aligned to the Winter Solstice, Pope Sixtus V deliberately altered these alignments and made sure that one of the obelisks now aligned with the Summer Solstice Sun.  The other obelisk that previously aligned to the Winter Solstice Sun was now deliberately misaligned.

Itís obvious that the alignment of both the obelisk at St. Peterís Square and the obelisk at Piazza del Popolo must have been intentional since both obelisks were put there by Sixtus V. While he could have chosen for a Winter Solstice alignment of St. Peterís Square obelisk by erecting the other obelisk at Cricus Maximus itself, he chose otherwise.

Itís beyond any doubt that Sixtus V was well aware of these alignments since he designed St. Peterís Square to be a giant sun dial. In 1817, circular stones were set marking the tip of the obeliskís shadow at noon. Since the Sun moves in between the tropics during a solar year, it enters all of the signs of the zodiac in one solar year, and the marks set out in stone therefore make a gnomon of the obelisk at St. Peterís Square. But thereís more Ö

We surmise that Pope Sixtus V was also well aware of the significance of the Great Celestial Conjunction around 2012 and its association with the biblical End Times.

To enhance this argument, itís interesting to realize that the coat of arms of Pope Sixtus V contained an eight-pointed cross above four stacked mountains (or hills). The coat of arms of Sixtus was sometimes also depicted with three instead of four hills.

As explained before, in ancient Egypt and freemasonry mountains, pillars and clouds all represent the Milky Way. The four mountains in Pope Sixtus coat of arms could therefore represent the four Great Celestial Conjunctions or the four Milky Way Equinox/Solstice alignments that occur in a Great Year!

Pope Sixtus V used the eight-pointed cross in abundance in architectures and; in many cases he even placed the four-pointed Christian cross on top of an eight-pointed cross! The obelisk at Piazza di Giovanni, for instance, was adorned with both a four and eight-pointed cross by Pope Sixtus V. It was also a reference to this coat of arms! 

The four Great Celestial Conjunctions in a Great Year are the four mergers of the two superimposed four-pointed crosses (Earth Cross and Galactic Cross) to form a single four-pointed cross!

                We therefore suggest that the eight-pointed cross at St. Peterís Square symbolically represents a Great Celestial Conjunction.
                Itís the alignment of the Earth Cross with the Galactic Cross that is being symbolized at St. Peterís Square. Notice that there is a small four-pointed cross in the center around the obelisk (the Sun) that is aligned with the outer eight-pointed cross. The eight-                pointed cross is the superposition of the Galactic Cross and the Earth Cross. This is why Pope Sixtus V placed a four-pointed cross on top of the eight pointed cross! The crosses are recognized as follows:

            The axis on which the two fountains at St. Peterís Square reside is the Galactic Equator of the Milky Way since the Milky Was is associated with water.
            The cardinal direction of this Galactic Equator axis corresponds with the Milky Way that straddles the East horizon from North to South.
            The Earth Cross aligns closely (but not perfectly) with the two solstice axis
            The esoteric significance of the Summer Solstice alignment of St. Peterís Square obelisk with the obelisk at the Piazza del Popolo is that it symbolizes a Summer Solstice Galactic Alignment. Since the sky chart over St. Peterís Square with the
            Pleiades residing over the Seven Hills symbolizes the Silver Gate, we postulate that the Vatican alignments represent a Summer Solstice Galactic Alignment at the Silver Gate.




        The silver gate is located between the horns of Taurus, the bull, sign ruled by Venus, which is another name for Isis, divine feminine archetype. Isis is usually depicted with horns and the silver gate between them in a very prominent way.

Isis Horns

The enslavers of our world have sought to hijack this energy in their financial system, with for example the $ symbol (2 i and 2 s) standing for Isis, the famous bull statue in front of wall street, and the word for money in french being 'argent', which means silver.

Money is obviously linked to our sense of being nurtured, supported and connected to our environment by the ability to create in it. When one is in the enslaving system and deprived of money, one can feel alienated, abandoned and all alone, disconnected from Unity, which is the feminine energy.

I believe that the enslaving system seeks to hijack and control Isis for their own sick purposes, but that the true essence of Isis is that of Divine Feminine, which is Unity, providing every body with the abundance of all creation.

On the other side, I'm logically assuming that the golden gate is linked to Isis's complement Osiris, divine masculine archetype, whose story of death, rebirth and underworld resonates with the zodiac sign Scorpio. The Scorpio sign is often considered to have three stages of evolution, the scorpion, then the snake, then the eagle. It's interesting to see how, if we go from the galactic center towards our sun, after passing through the golden gate near the Scorpio constellation, we pass through the snake of the Ophiucus constellation, and then through the Aquila (eagle) constellation, as seen on the above picture of the golden gate location.

Then we pass through our solar system, towards the silver gate. As seen on the above picture of the silver gate location, just before entering the silver gate we pass through the Lepus constellation, and then the Orion constellation. Orion in ancient egypt represented Osiris. Lepus was said to be Osiris's boat to journey every night to the underworld, situated through the silver gate, by following Anubis's lead. Next to the Lepus constellation is the Canis Major constellation, the dog, that the ancient egyptians associated with Anubis, dog-headed deity.

The Lepus constellation is nowadays depicted as a white rabbit, a widely used symbol in nowadays media, for example in Alice in Wonderland and Matrix, the white rabbit is followed down the rabbit hole, where we can choose between two paths, cakes that make you tall or small, blue pill and red pill, one of these paths leading into another world. In Matrix, Morpheus even says "you take the red pill, you stay in wonderland, and I show you how deep the rabbit hole goes"

As an additional synchronicity, many cultures have seen a hare (guide towards the silver gate) on the surface of the moon, feminine archetype linked to silver and silver gate.

Additionally, Ophiucus seems to actually represent Isis. This constellation depicts a snake handler, a feminine attribute associated with many Goddesses. The myth of Ophiucus is that of a man healer who resurrected Orion. Isis is a woman healer who resurrected Osiris. The Ophiucus myth is part of ancient Greek mythology, which is composed of stories that were passed down from ancient Egypt, sometimes losing their essence in the process. As we know, Orion is actually Osiris, and therefore Ophiucus is actually Isis. This constellation was removed from the mainstream zodiac in an attempt to suppress divine feminine energy, disconnecting people from the 13 zodiac/moon cycle by changing the calendar, and hiding the Isis constellation by changing the myth.

It's interesting to note that when Osiris was killed, he was split (disconnected individuality) into 14 parts (our 14 zodiac constellations), and resurrected and put together by Isis (Unity), who could only find 13 pieces (13 zodiac per year). The missing piece was his phallus, and she made a golden one to replace it, perhaps the additional day in a 13 months year (a lunar cycle is 28 days, 28x13=364, +1=365 days in a year)

Osiris is usually depicted with the crook and the flail. The flail having three branches reminded me of Shiva's Trident, another masculine archetype who has three aspects like Scorpio/Osiris and whose theme of creation/destruction resonates with death/rebirth. This theme doesn't need to imply suffering, but is here to express the movement/action/masculine aspect of life, creating cycles, different forms and shapes, and transitions into different worlds.

To sum it up, as seen on the constellation maps above, Orion/Osiris (masculine) and the Taurus (feminine) are pointing at the Silver Gate (feminine), and Ophiucus/Isis (feminine) and Scorpio (masculine) are pointing at the Golden Gate (masculine). This is a perfect mirror, representing how balance is needed in all things.

The path that goes from the galactic center towards our sun, through the silver and golden gate, is the milky way, which was considered in ancient Egypt to be the celestial river upon which Osiris's boat is sailing.

Many other Egyptian deities are pictured on boats that ressemble wormholes:

Silver and golden gates can explain the essence of feminine and masculine energies, and symbolism attached to it has been widely used in our world.

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Video of the teaching; complete version livestream

JEDISEARCH\ANAMORPHOSIS\  Keshe Plasma Reactor Group May 10th 2023 VIDEO CUT.mp4

Keshe Plasma Reactor Group May 10th 2023 AUDIO CUT.m4a




Jedi Path Metaphysical and Alchemical Works
Written and compiled by Jedi Simon for personal and educationl purpose.2023 All rights reserved.
by Jedi Simon and the authors of the included texts, images and drawings recollected here to allow
a better and factual comprehension of concepts, topics, ideas and principles involved in the process.
Many thanks to Leon Keer, Chalkfestival, and all the artists that partecipated with their artworks to
open up this dimension. This is a temporary page created for the teaching. Personal viewing and use only.