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Time Travel. Billy Meier


 

Performancing Metrics


 

By Kåre Bergheim

May 7th 2012


 

  • How Time Travel is possible.  Billy Meier
  • The seven hyper spaces
  • Billy Meier’s Time Travel to see the aftermath of the next big earthquake to hit San Fransico.
  • The Universe according to Semjase

In the book EXISTENTES LEBEN IM UNIVERSUM (EXISTING LIFE IN THE UNIVERSE) 1978/1993,

Billy Meier explained how time travel is possible. He defined what a second is. How by manipulating the value of the time unit chronon, it is possible for the extraterrestrials to travel towards the future or in the past. Below are some key passages from the book he wrote back then. My translation above the German Original:

 

 

One second as defined by Billy Meier

 

“One second equals the time light needs to travel 299'792, 5 km in space. A second however represents the tangible measurement of the speed constant and the 86'400 part of the middle solar day and the 9'192 '631' 770 times the period duration of the radiation from a Cäsium atom of the isotope 133 Cs. The second itself is subdivided into smaller units of value, such as nano-seconds, etc. Time itself consists of chronons, which is why the smallest unit of time is called a chronon. The number of chronons determines the second, where the chronons are related to present time. If these flow, by the expiry of time, into the past, then they become Tachyons, which will maintain the previous chronon speed, even when time has changed through the steady deceleration of the light constant.”

 

“Eine Sekunde entspricht der Zeit, die das Licht benötigt, um im Raum 299’792,5 Kilometer zurückzulegen. Die Sekunde jedoch stellt das materielle Mass der Geschwindigkeitskonstanten dar sowie der 86’400ste Teil der mittleren Sonnentages und das 9’192’631’770fache der Periodendauer der Strahlung eines Cäsiumatomes des Isotops 133 Cs. In sich selbst ist die Sekunde unterteilt in kleinere Werteinheiten, wie Nanosekunden usw. Die Zeit selbst besteht aus Chrononen, weshalb die kleinste Zeiteinheit Chronon genannt wird. Die Anzahl der Chrononen bestimmt die Sekunde, wobei die Chrononen gegenwartsbezogen sind. Fliessen diese durch den Ablauf der Zeit in die Vergangenheit, dann werden sie zu Tachyonen, die die vorherige Chronon-Geschwindigkeit beibehalten, auch wenn sich durch die stetige Verminderung der Lichtkonstante die Zeit Verändert.”


Billy_Meier_1957.jpg

Left  <Billy> Eduard A. Meier in the year 1957, aged 20 in front of his type writer in Uititkon, Switzerland.

 

First contact took place at age of 5. Over the ensuing years he was contacted by different extraterrestrials who also gave him private tuition. Thus, he gained great knowledge and received unique information from early on.


 

The amount of cronons in a second

 

Billy further writes that the chronon, as with other time units, consists of a certain wave-shaped distance which has a certain constant speed, as is the case with all types of waves. He goes on: 

 

“The chronon has a wavelength or wave distance of 105 septillionth of 140 millimeters. (λ 14700 x 10 ^-24 mm,  f= 20,39404762 x 10 ^ 30 hertz). Now, should the time of one second be measured, it is simply necessary to form a fixed flow point at which it is measured, how many chronons by this measurable point are passing through in the area from the beginning to the end of a beam of light of a certain length.  

The number of chronons passing through gives, on one hand the speed of the second, on the other hand however, the distance as well. So if then for example from the beginning to the end of a light beam of 299 ’ 792.5 kilometres 20,39404762 x 10^30 (Nonillion) chronons passes through the measuring point then it gives the speed of a second with a passage distance of the light of 299 ’ 792,5 kilometers. This corresponds quite exactly to the current light second in kilometre, as well as one second as a small time unit of one earth day.”

German original

“Das Chronon weist eine Wellenlänge oder Wellendistanz von 105 Quadrillionstel von 140 Millimeter auf. (λ = 14700 x 10 hoch minus 24 mm, f = 20,39404762 x 10 hoch 30 Hz). Soll nun die Zeit einer Sekunde gemessen werden, so ist es einfach erforderlich, einen fixen Durchlaufpunkt zu bilden, an dem gemessen wird, wieviele Chrononen durch diesen Zählpunkt  hindurchlaufen im Bereiche vom Anfang bis zum Ende eines Lichtstrahles von bestimmter Länge.

Die Anzahl der durchgelaufenen Chrononen ergibt einerseits die Geschwindigkeit der Sekunde, andererseits aber auch zugleich die Distanz. Laufen also zum beispiel vom Anfang bis zum Ende eines Lichtstrahles von 299’792,5 Kilometer 20,39404762 x 10 hoch 30 (Quintillionen)  Chrononen durch den Zählenpunkt hindurch, dann ergibt das eine Sekunde Geschwindigkeit mit einer Durchlaufdistanz des Lichts von 299’792,5 Kilometer. Dies entspricht ganz genau der heutigen Lichtsekunde in Kilometer, sowohl aber auch einer Sekunde als kleine Zeiteinheit eines Erdentages.”


Grossraumer70.jpg

  “If for example tachyons, with a higher light speed than of those in normal space and the present of the material universe in any given hyperspace,  is stored around a flying object,  it is automatically flung into the past, while a chronon flow below our present speed of light results in a trip  to the future.” Billy Meier

Left A plejaran beam ship capable of time travel. The ship on this occasion was piloted by Semjase. Photo <Billy> Eduard Albert Meier at Hasenböl-Langenberg in Fischenthal on the 29th of March 1976.

 


 

How different hyper spaces are created into existence

From this Billy goes on to explain how hyperspaces are formed:

“As already stated, the expansion speed of Creation at the beginning of time amounted to 44'069'497,5 kilometres per second, with a constant unchanged  speed-half life time of quite exactly 6'347'755'102'040 years, out from which the result is given that the expansion speed of creation (The universe) at the begin of the Universe amounted to 147 times the speeds of light,  that this speed nevertheless with a half-life time of 6'347'755'102'040 years decreased, and further decreases thus the starting point of today's light constant laid at a speed of 344’292,9 kilometers per second.

However through an already elapsed part-half life time it has now fallen by about 44’500,423 kilometers per second which gives the present day light constant,  currently at  299’792,5 kilometres per second. Whereupon an initial light year at the starting point of the present light constant amounted to about 1,390 x 10 ^15 kilometer. (My comment: The calculation Billy has used here is 147 x 299’792,5 km x 60x60x24x365)   

This means that one second at the beginning had an expansion speed 147 times quicker than one second of today because at that time, about 46 trillion years ago, the light speed amounted to exactly 44'069'497,5 kilometres per second. That implies that that one second shows in each case exactly the number of chronons as the light one septillionth  of a millimetre contains in itself because a chronon has a length of 14’700 x 10^-24  millimetre.  And exactly this number of chronons are able to pass a certain point, from the start to the disappearance of a light beam with the present length of 299 ’792,5 kilometres.

 

Then the throughput time of the number of chronons then give the second which presently amount to 299'792'500'000 : 14'700 x 10 ^- 24 chronons. From this result arises the fact that through the change and reduction in the speed of light by the half-life the cronons and space also change, whereupon the normal space changes to hyperspace and the chronons to tachyons, where they will continue to exist as being the smallest time units of the hyperspace, whereupon the oldest tachyons will always show an permanent unchanged constant of 44'069'497,5 kilometres per second in their own separate hyper space.

 

Every dwindling away of a half-life thus creates  its own hyperspace, whereby  seven different hyperspaces  or half life hyper spaces already exist in our universe which are further divided into countless more normal hyperspaces which have originated through the decline of the STEADILY FALLING light speed.”

 

Thus it exists in our creation universe seven main, super or half-life hyper spaces and countless other normal hyper spaces which have formed as a result of the decline in the flow of chronons (decline in the speed of light by the half-life period).  

 

And the existence of these different hyper spaces, thus in which totally different light speed constants prevail (in the past higher and in the future lower), makes it possible that time travels in the past or in the future can can be carried out, as well as travels in the timelessness or in zero time.

 

The zero time and the timelessness here means nothing else than that the speed of the material space present prevailing light constant of of 299’792,5 kilometers per second is exceeded through a sophisticated technical process and becoming immersed into a hyperspace in which the there existing  smallest time units,  with a much higher speed constant,  ensure a million times higher light speed of the flying object than what is possible in the pure-material domain of the universe .

 

For this purpose the extraterrestrials use tachyon engines, by which the tachyons are captured and in a repulsion like way accelerated million and trillion-fold whereby the base propulsion energy is obtained from the everywhere present and inexhaustible electrons. The concerning flying object must simply be manipulable in such a way that the chronon flow can be harnessed and steered.

 

By the use of hyperspace it is necessary to know that the smallest time units existing there, the tachyons, represent nothing else but the chronons which earlier were active in normal space time and which quite simply by the change into the past becomes renamed to tachyons, and that these naturally maintain their old speed and are therefore faster than light, If the current known light constant of 299 '792,5 is assumed.

 

At that, with a hyperspace travel now appears the factor depending on the tachyon speed of the concerning hyperspace (thus depending on its speed of light), that the standard time can be overrided. In the highest form of hyperspace, it can therefore in a normal case be flown with 147 times the speed of light, if not by the means of technology the creation expansion speed is paralyzed, whereby the speed of light can be a trillionfold exceeded, entering the absolute zero time or timelessness, what indeed is possible due to the fact that the highest creation speed is 10^7000 times the light constant.

 

If now hyperspace is utilized by a flying object, then this necessarily occurs by a higher speed than that of light in normal space. In hyperspace, the tachyons show a higher light constant than in our normal space. If for example tachyons, with a higher light speed than of those in normal space and the present of the material universe in any given hyperspace,  is stored around a flying object,  it is automatically flung into the past, while a chronon flow below our present speed of light results in a trip  to the future.

 

But the enire HOW can not be explained here, because these things and facts matters in the highly  developed technologies of extraterrestrial intelligences,  which I ever,  neither have had insight in, nor understand anything of, which is why it would be absolutely pointless to ever ask me for it. As a contact person to extraterrestrials or extra-terrestrial intelligences it would have been extremely unwise for me to interest me even an iota more deeply in these things, because as a result I would no longer be safe from any secret service, scientist and fanatic etc. Therefore, other things cannot here be specified further, quite simply because I lack further knowledge with regard to these matters.

 

Hence, all interested must therefore accept the fact, that the above things simply stand as such, that the Chronons can only stay and move in the normal space, while the tachyons can only move in a hyperspace. To be mentioned concerning this, is only that after the end of the next cosmic half-life time, our known light constant will drop from 299’792,5 kilometers per second to a new constant of 172’146,46 kilometers per second, something definitely of interest to know for those Earth people who want to do certain calculations,  and with it would want to help all of  Earth humanity to make considerable progress

 

German original

“Erklärt wurde bereits, dass die Schöpfungsexpansionsgeschwindigkeit zur Erstzeit 44’069’497,5 Kilometer pro Sekunde betrug, bei einer stetig gleichbleibenden Geschwindigkeitshalbwertzeit von ziemlich genau 6’347’755’102’040 Jahren, woraus sich die Resultate ergeben, dass die Expansionsgeschwindigkeit der Schöpfung (Universum) bei ihrem Universumsbeginn 147 fache Lichtgeschwindigkeit betrug, dass diese Geschwindigkeit jedoch bei einer Halbwertzeit von 6’347’755’102’040 Jahren abnahm und weiterhin abnimmt, so der Ausgangspunkt der heutigen Lichtkonstante bei einer Geschwindigkeit von 344’292,9 Kilometer pro Sekunde lag, jedoch durch eine bereits verflossene Teilhalbwertzeit bisher um 44’500,423 Kilometer pro Sekunde abgefallen ist, wodurch sich die heutige und gegenwärtige Lichtkonstante von 299’792,5 Kilometer pro sekunde ergibt, und wonach ein ursprünglichen Lichtjahr des Ausgangspunktes der gegenwärtigen Lichtkonstante rund 1,390 x 10 hoch 15 km betragen hat. Dies bedeutet, das eine Sekunde der Erstzeit der Expansionsgeschwindigkeit 147 mal schneller gewesen war als eine Sekunde von heute, weil damals vor rund 46 Billionen Jahren, die Lichtgeschwindigkeit ja eben 44’069’497,5 Kilometer pro Sekunde betrug. Daraus ergibt sich, dass eine Sekunde jeweils genau jene Anzahl Chrononen aufweist,  wie das Licht Qadrillionstel Millimeter in sich birgt, weil ein Chronon eine Länge von 14’700 x 10 hoch minus 24 Millimetern aufweist. Und genau diese Anzahl Chrononen vermögen einen bestimmten Punkt zu passieren, vom Ausgang bis zum Niedergang eines Lichtstrahles von der gegenw  ärtigen Länge von 299’792,5 Kilometer. Die Durchlaufzeit der Anzahl Chrononen ergibt dann die Sekunde, die gegenwärtig eine Zahl von 299’792’500’000 : 14’700 x 10 hoch minus 24 Chrononen aufweist. Aus diesen Resultaten ergibt sich auch die Tatsache, dass durch die Wandlung und Niedrigerwerdung der Lichtgeschwindigkeit durch die Halbwertszeit sich auch der Raum und die Chrononen verändern, wonach dann der Normalraum sich wandelt zum Hyperraum und die Chrononen sich zu Tachyonen, die als kleinste Zeiteinheiten des Hyperraumes in diesem weiterexistieren, wonach also die ältesten Tachyonen eine stets gleichbleibende Konstante von 44’069’497 Kilometer pro Sekunde in dem ihnen eigenen Hyperraum aufweisen. Jedes Dahinschwinden einer Halbwertszeit erschafft so einen eigenen Hyperraum, so also bereits sieben verschiedene Superhyperräume oder Halbwerthyperräume in unserem Universum existieren, die noch unterteilt sind in unzählige weitere Normalhyperräume, die entstanden sind durch den Verfall der STETIG ABNEHMENDEN Lichtgechwindigkeit.

Also existieren in unserem Schöpfungsuniversum sieben Haupt-, Super- oder Halbwert-Hyperräume und unzählige weitere Normalhyperräume, die sich mit dem Verfall des Chrononenflusses (Verfall der Lichtgeschwindigkeit durch die Halbwertszeit) gebildet und ergeben haben. Und die Existenz dieser verschiedensten Hyperräume, in denen also grundverschiedene Geschwindigkeitskonstanten des Lichtes vorherrschen (in der Vergangenheit höhere und in der Zukunft niedrigere), ermöglichen es, dass Zeitreisen in die Vergangenheit oder in die Zukunft durchgeführt werden können, so aber auch Reisen in der Zeitlosen oder in der Nullzeit. Die Nullzeit und die Zeitlose bedeuten hierbei nichts anderes, als dass die Geschwindigkeit der im materiellen Raume vorherrschenden gegenwärtigen Lichtkonstante von 299’792,5 Kilometer pro Sekunde durch einen hochentwickelten technischen Vorgang überschritten und in einen Hyperraum eingetaucht wird, in dem die dort existierenden kleinsten Zeiteinheiten mit sehr viel höherer Geschwindigkeitskonstante eine millionenfach höhere Lichtgeschwindigkeit des Flugobjektes gewährleisten als dies im rein-materiellen Universumsbereiche möglich ist. Hierfür benutzen die Ausserirdischen Tachyonentriebwerke, durch die die Tachyonen eingefangen und rückstossmässig millionen-und billionenfach beschleunigt werden, wobei die Grund-Antriebsenergien aus den allgegenwärtigen und unerschöpfbaren Elektronen gewonnen werden. Das betreffende Flugobjekt muss dabei nur so manipulierbar sein, dass der Chrononenfluss nutzbar gemacht und gesteuert werden kann.

Beim benutzen des Hyperraumes ist es erforderlich zu wissen, dass die dort existierenden kleinsten Zeiteinheiten, die Tachyonen, nicht anders darstellen als die früher im Normalraum zeit wirksam gewesenen Chrononen, die ganz einfach durch den Wandel in die Vergangenheit zu Tachyonen umbenannt  werden, und dass diese selbstredend ihre alt Geschwindigkeit beibehalten und somit also überlichtschnell sind, wenn von der gegenwärtige bekannten Lichtkonstante von 299’792,5 Sekundenkilometer ausgegangen wird.

Bei einer Hyperraumreise tritt nun noch der Faktor in Erscheinung, dass je nach der Tachyonengeschwindigkeit des betreffenden Hyperraumes (also je nach dessen Lichtgeschwindigkeit) die Normalzeit überbrückt werden kann. In der höchsten Hyperraumform kann somit im Normalfalle mit 147 facher Lichtgeschwindigkeit geflogen werden, wenn nicht durch technische Hilfsmittel die Schöpfungsexpansionsgeschwindigket paralysiert wird, wodurch die Lichtgeschwindigkeit um das Billionenfache überschritten werden kann und die absolute Nullzeit oder Zeitlose eintritt, was ja dadurch möglich ist, dass die höchste Schöpfungsgeschwindigkeit bei einer 10 hoch 7000 fachen Lichtkonstante liegt.

Wird nun der Hyperraum mit einem Flugobjekt benutzt, dann erfolgt dies zwangsläufig durch eine höhere Geschwindigkeit als die des Lichtes im Normalraum. Im Hyperraum weisen die Tachyonen selbst eine höhere Lichtkonstante auf als in unserem Normalraum. Werden so zum Beispiel Tachyonen mit höherer Lichtgeschwindigkeit als derjenigen im Normalraum und der gegenwärtigen des materiellen Universums in einem x-beliebigen Hyperraum oder Normalraum um ein Flugobjekt gelagert, dann wird es automatisch in die Vergangenheit geschleudert, während ein Chrononenfluss unter unserer gegenwärtigen  Lichtgeschwindigkeit eine Reise in die Zukunft zur Folge hat.

Nur das gesamte WIE, das kann hier nicht erklärt werden, denn diese Dinge und Fakten belangen in die höchstentwickelten Techniken ausserirdischer Intelligenzen hinein, in die ich weder je einsicht hatte noch davon irgendwelche Dinge verstehe, weshalb es völlig sinnlos wäre, mich jemals danach zu fragen. Als Kontaktperson zu ausserirdischen oder extraterrestrischen Intelligenzen wäre es äusserst unklug von mir gewesen, mich auch nur mit einem Jota tiefer für diese Dinge zu interessieren, weil ich dadurch vor keinem irdischen Geheimdienst, Wissenschaftler und Fanatiker usw. mehr sicher wäre . Weitere Dinge können deshalb auch hier nicht mehr genannt werden, ganz einfach darum, weil mir weitere Kenntnisse bezüglich dieser vorgenannten Belange fehlen. Alle Interessenten müssen sich daher mit der Tatsache abfinden, dass die vorgenannten Dinge einfach so liegen, dass die Chrononen sich nur im Normalraum halten und bewegen können, während sich die Tachyonen nur in einem Hyperraum bewegen. Zu sagen ist hierzu nur noch, dass nach Beendigung der nächsten kosmischen Halbwertzeit unsere bekannte Lichtkonstante von 299’792,5 Sekundenkilometer auf eine neue Konstante von 172’146,46 Kilometer pro Sekunde abgefallen sein wird, was bestimmt für jene Erdenmenschen interessant ist zu wissen, die gewisse Berechnungen anstellen und damit der gesamten irdischen Menschheit ein gutes Stück weiterhelfen wollen.”

 

The seven hyper spaces

Each time the speed of light is halved, a new hyper space is created according to Billy Meier. So far seven of them exist. From the starting point as given by Billy above, the boundary for each hyperspace falls on the half-life value and can be calculated as below.

A half life decline obviously means the decline will be steepest in the beginning and slow over time as the calculation shows. The time in between each half life is a constant which Billy puts at 6'347'755'102'040 years as per above. Rounded becomes 6,348 trillion years. This gives the following calculation:  

Hyperspace number / Speed of light km/s

0 Big Bang. Speed of light start at 44’069’497,5 km/s

Half life time period:  6'347'755'102'040 years.

Speed of light decrease: 22’034’748,75 km/s over period

Numerous normal hyper spaces created as result of the decrease in the speed of light.

Same repeats itself in each period below, but with the speed of light decreasing less each time it halves.

1.  6,348 trillion years after big bang 44’069’497,5   : 2 = 22’034’748,75 km/s

Half life:  6'347'755'102'040 years.

 

2. 12,696 trillion years after big bang 22’034’748,75 : 2 =11’017’374’38 km/s

Half life:  6'347'755'102'040  years.

 

3. 19,043 trillion years after big bang 11’017’374’38 : 2 = 5’508’687,19 km/s

Half life:  6'347'755'102'040  years.

 

4. 25,391 trillion years after the big bang  5’508’687,19 : 2 = 2’754’343,59 km/s

Half life:  6'347'755'102'040  years.

 

5. 31,739 trillion years after the big bang  2’754’343’59 : 2 = 1’377’171,80 km/s

Half life:  6'347'755'102'040 years.

 

6.  38,087 trillion years after the big bang 1’377’171,80 : 2 =     688’585,90 km/s

Half life:  6'347'755'102'040  years.

 

7.  44,434 trillion years after the big bang   688’585’90  : 2 =     344’292,95  km/s

Half life:  6'347'755'102'040  years.

 

So far decreased 44’500,423 km/s.                                          

Present time about 46 trillion years after the big bang.

Present speed of light 299’792,5 km/s. 

Yet to decrease 127,646,047 km/s

 

8.  50,782 trillion years after the big bang 344’292,95 : 2= 172’146,47 km/s. This is the speed of light of the next half life.

 

Time travel into the past

If an extraterrestrial in his or her space ship wish to travel into the past, it means the chronon flow must be increased. They are then called tachyons.

Example of a travel:

From the present time back to immediately after the big bang, when light was at 44’069’497,5 km/s.

Formula:

Tachyon frequency f = Speed of light c : Chronon wave length λ

Values:

Tachyon frequency f = 44’069’497,5 km/s : 14'700 x 10^24 mm

Sum:

Tachyon frequency f = 2’997,925 x 10^30 Hz

Times increase:

With the chronon flow of one light second of present time according to Billy being at f = 20,39404762 x 10 ^30 Hz, above number represent an 147 times increase.

The chronon flow around the space ship must be increased 147 times from current value. These then becomes tachyons with same value as at destination. The space ship then plunges about 46 trillion years back in time.

 

Time travel into the future

It now means the chronon flow around the space ship must be decreased from present value

Example of a travel:

From the present time to the next speed of light half-time, at 172’146,47 km/s.

Formula:

Chronon frequency f = Speed of light c : Chronon wave length λ

Values:

Chronon frequency f = 172’146,47 km/s: 14'700 x 10^24 mm

Sum:

Chronon frequency f = 11,710644  x 10^30 Hz

Times decrease:

With the chronon flow of one light second of present time according to Billy being at f = 20,39404762 x 10 ^30 Hz, the above number represent a factor of 0.42578 times, or a 42,578 per cent decrease.

The chronon flow around the space ship must be decreased 42,578 per cent from the present light second value to match the value at destination. The space ship then plunges more than 4 trillion years into the future.

 


 

The future San Francisco Earthquake

What Billy Meier saw and photographed from the space ship

Billy Meier is here taken onboard an extraterrestrial space ship on a time travel to the future. To San Francisco. He is given the opportunity to survey and photograph the aftermath of the next big earth quake to hit the city. Billy’s first reaction when he looks down on the destruction in the aftermath of the quake, is that it looks far worse than what he thought it would. It is a quake of scale which also involves clearly visible dislocation of the San Andreas Fault. Bernadette Brand stated she saw the photos he took of the San Andreas Fault as well.

The general rule Billy had to follow, related to information passed on to him from the extraterrestrials about future events, was not to publish the information before the event had come to pass. But not this time around. Here Billy is initially given permission by Quetzal to publish the photos for the reason it would save human lives.

Since Billy on this occasion used a borrowed camera with a telephoto lens, he would have got images with great details. Details which would be helpful in trying to determine the time frame for when the event would happen. This is also indicated by Wendelle Stevens who claimed it was possible to see the shape of the cars on the street. Bernadette Brand also stated that Billy’s photos showed more details than the GEO painting, part of which can be seen below.

Another indication that Billy was meant to publish these photos, just like he did with the space trip photos, was that he freely circulated them around for others to see. Not only did Wendelle Stevens see them, but also Britt and Lee Elders in addition to many of the locals.

What brought this initial plan to a halt according to contact 106 dated 10 April 78 and also according to  Bernadette Brand’s statement, was that one of the local persons, who saw the photos started accusation that Billy had copied the photos from a painting in the GEO magazine.  From an issue published the year before.

So a similar accusation started brewing as to what happened with some of the photos Billy published from the space trip three years prior. He was here accused of faking the photo he took of the energy tunnel into the DAL universe. The accusation here was the same, that he had copied it from a painting.

So when Billy told this to Quetzal he decided to take all the photos back along with the negatives, in order to avoid a repeat.

This time travel not only goes back to the future, but also to the past. That is, after returning back from the future, the space ship returns back 30 minutes into the past. 30 minutes before the time Billy was picked up. As such there was no time loss in his present time. Billy actually gained 30 minutes which they used for conversation. Also, since minutes here are stated, it indicates that their accuracy as to time travel goes down to the minute.

A similar thing happened in earlier contacts, such as the during the great space trip, where Jakobus Bertschinger saw Billy leave the house clean shaven for contact in the morning to return 22 hours later with a week old beard. As if he had not been shaving for a whole week. In reality that trip spanned 5 days but the by travelling back in time before he was dropped off, Billy only missed 22 hours of our present time.

My translation above the German original

Plejadisch-plejarische Kontaktberichte, Gespräche, Block 3 Published Augsburg 2004 - Contact 104 Saturday 18 March 1978, 03.32 AM Page 131-134

Quetzal

81. Yes, that’s right.

 

Billy

Well then, surely someone will not be delighted. But tell me, Quetzal, can you also enter into other dimensions in this old box?

 

Quetzal

82. Your Question is not logical; what do you want to ask?

 

Billy

I am wondering about, whether you with Menaras ship also can undertake travels into the past and into the future?

 

Quetzal

83. It is possible, but why do you ask?

84. Whenever you ask such questions, then a certain purpose is behind them.

85. Do you want to ask me whether I will undertake a travel with you into the future or into the past ?

 

Billy

Precisely, my son.

 

Quetzal

86.  Sooo - …. this is why you have taken this big photo apparatus with you.

 

Billy

Exactly, my son, but this is not such a complicated thing, as you say, but quite simply a pretty damn normal camera.

 

Quetzal

87. But that’s the same.

88. Nevertheless --- where to do you want to go then?

 

Billy

To Frisco, my son. To San Francisco, but into the future. Namely to that time when the city will be destroyed by the great earthquake. I would here be interested in how it all looks like when the first heavy quake is over, and precisely that is also what I would like to photograph. This would surely be possible to do, or? And it surely would not matter if I publish these photos, if they come out well, right? 

 

Quetzal

89. Against this would surely be no objections, because as a result many people would leave San Francisco and settle elsewhere before the catastrophe occurs.

90. It would save many human lives.

91. Certainly, I agree to this, but it will take several hours if I go there with you.

92. Because this old ship, I have presently no other at my disposal, needs a longer time for preparation, after which you then first at dawn will be back again in normal time.

 

Billy

Nevertheless that does not matter, because you certainly can bring me back again at about the same time as you got me out of bed.

 

93. Quetzal

That would be possible

 

Billy

Good, because then I could also get some more sleep. Let’s go then.

 

Quetzal

94. As you like, but in the meantime, we cannot have any conversation.

 

Billy

Never mind, let’s go now; I am stretched like a string before breaking.

 

Quetzal

95.  So be it.

96. You are truly relentless.

 

Quetzal

97. Here we are about 300 kilometers away from San Francisco.

98. There below, you see the rifts in the Earth, as they already existed for a long time.

99. What you see are widening’s of the so called San Andreas rift, which has bulged up to the Earth’s surface.

 

Billy

May I photograph this?

 

Quetzal

100.  I have nothing against that, but you might also capture it onto your film in your present time, the year 1978, because the changes are only very minor, and probably hardly visible in the photos.

 

Billy

Nevertheless, I want to photograph it.

 

Quetzal

101. So do it then.

102. Come here, look --- here, this floor hatch, so, as you see after shifting this plate aside, it releases this very fine pointed viewing panel, through which you can look directly outside.

103. Through this you can take photos.

 

Billy

All right so, Quetzal, but you however know that, when I take pictures from the ship, these afterwards are always very unsharp and blurred. Is there no other way, you know, that I perhaps can walk outside?

 

Quetzal

104. You get the best view around from up here, here from out of the ship.

105. On the other hand, this time you will get sharp clear pictures in your film, because the propulsion of this ship does not affect your film by rays.

106. You must only make sure not to take photos directly through beneath the propulsion area, because the very strong light emission could affect the film.

107. The slightest damage of the film could be that that the ready pictures would seem illuminated like by a source of light.

108. And in the worst case, an overexposure could happen.

 

Billy

Is this the light, which reaches so far downwards and looks like a searchlight?

 

Quetzal

109. That is right. So make then sure that these light masses do not come into your capture area.

 

Billy

I will try to do so…

 

Quetzal

110. Have you completed your work?

 

Billy

I have, my son. But perhaps I have not been careful enough because of the light. Somehow it seemed to me, as if I had always had seen a shimmering light in the objective.

 

Quetzal

111. Then try again.

 

Billy

No, let us first go to Frisco, because I only have one single film with me, and besides of that it is only a standard negative-film.

 

Quetzal

112. As you want.

113. Go away from the hatch.

114. So, - good, it…..

 

Billy

Man, that is crazy, just look, everything smokes there in front.

 

Quetzal

115. Over there is San Francisco.

116. Well, we already are here; now take your pictures.

 

Billy

Man alive, Quetzal, this looks much worse, than what I thought it would. But listen, somewhere it has to be a building, which should be known as America-Building or similar; take me over there, too. That one, in particular, I would like to photograph, so that no one can come and claim, that I would have shot pictures of the last great quake around the turn of the century.

 

Quetzal

117. Here we are already; my friend, but this time pay better attention to the light source.

 

Billy

I will try.

 

Billy

Thank you, Quetzal, this suffices, still rush back a little. ……. Well, okay, ------ wait. …….Well, now fly a bit over there to the right, … Well this way. Thank you. Wow, that’s gigantic, the cruel destruction.  ……. Thank you, Quetzal, again I got some pictures. This should be enough. Nevertheless please fly once again back to the strange bulging of the San Andreas fault.

 

Quetzal

118.  As you want, but remember, our time is slowly getting exceeded, and I have to make the preparations for the return travel.

 

Billy

All right, Quetzal, you can start with it at once, when we are at the place. I once more want to see it all. But how soon such a half hour of the future is passing. 

 

Quetzal

119. The time is the same, but she only appears to you as much shorter because of the seen events.

 

Billy

Of course, I already know. Oh, here we already are. Now just do your work.

…….

 

Quetzal

120. So, my friend, there we are again.

121. We are about 30 minutes earlier here than when you left your warm bed.

 

Billy

Then we can still use the remaining time to discuss those matters which you wanted to be treated as secrets.

 

Quetzal

122. This was also my intention

 

German Original

Plejadisch-plejarische Kontaktberichte, Gespräche, Block 3. Druck: Offset Druckerei Pohland Augsburg 2004. Einhundertvierter Kontakt Samstag, 18. März 1978, 03.32 Uhr s.131 biz 134

Billy

Nun gut, einige werden sich sicher nicht gerade freuen. Sag mal aber, Quetzal, kannst du mit diesem alten Kasten auch in andere Dimensionen eindringen?

 

Quetzal

82. Deine Frage ist nicht logisch, was willst du fragen?

 

Billy Es nimmt mich wunder, ob du mit Menaras Schiff auch Reisen durchführen kannst in die Vergangenheit und in die Zukunft?

 

Quetzal

83. Es ist möglich, doch warum fragst du?

84. Wenn du solche Fragen stellst, dann steht dahinter eine bestimmte Absicht.

85. Willst du mich fragen, ob ich mit dir eine Reise in die Zukunft oder in die Vergangenheit unternehme?

 

Billy

Genau, mein Sohn.

 

Quetzal

86. Soo-… darum hast du diese grosse Photographierapparatur mit dir genommen.

 

Billy

Genau, mein Sohn, doch das ist kein so kompliziertes Ding, wie du sagst, sondern ganz einfach ein verdammt normaler Photoapparat.

 

Quetzal

87. Das ist doch dasselbe.

88. Doch --- wohin willst du denn?

 

Billy

Nach Frisco, mein Sohn, nach San Francisco, aber in die Zukunft. Nämlich in jene Zeit, da die Stadt durch das grosse Erdbeben zerstört wird. Es würde mich dabei interessieren, wie alles aussieht, wenn das erste schwere Beben vorüber ist, und genau das möchte ich dann auch photographieren. Das wäre doch sicher zu machen, oder? Und sicher spielt es keine Rolle, wenn ich dann diese Bilder, falls sie was werden, auch veröffentliche, oder ?

 

Quetzal

89. Dagegen wäre sicherlich nichts einzuwenden, denn dadurch würden sehr viele Menschen San Francisco noch verlassen und anderswo ansässig werden, ehe die Katastrophe kommt.

90. Es würde sehr viele Menschenleben retten.

91. Gewiss, ich bin damit einverstanden, doch dauert es mehrere Stunden, wenn ich mit dir dorthin will.

92. Dieses alte Schiff nämlich, ich habe gegenwärtig kein anderes zur Verfügung, bedarf einer längeren vorbereitungszeit, wonach du dann erst bei Tagesgrauen wieder in der Normalzeit zurück sein wirst.

 

Billy

Das spielt doch keine Rolle, denn du kannst mich ja dann ungefähr zu derselben Zeit wieder herbringen, wie du mich aus dem Bett geholt hast.

 

Quetzal

93. Das wäre möglich.

 

Billy

Gut, dann könnte ich nämlich auch noch etwas schlafen. Gehen wir also.

 

Quetzal

94. Wie du willst, doch können wir in der Zwischenzeit keine Konversation führen.

 

Billy Egal, gehen wir schon; ich bin gespannt wie eine Saite vor dem Bersten.

 

Quetzal

95. So sei es denn.

96. Du bist wahrheitlich unermüdlich

Quetzal

97. Wir sind hier etwa 300 Kilometer von San Franscisco entfernt.

98. Dort unten siehst du die Zerklüftungen der Erde, wie sie schon seit langer Zeit bestehen.

99. Was du siehst sind Ausweitungen des sogenannten Andreas-Grabens, der sich bis an die Erdoberfläche aufgewölbt hat.

 

Billy

Kann ich das photographieren?

 

Quetzal

100. Dagegen ist nichts einzuwenden, nur, du könntest es auch zu deiner Gegenwartszeit im Jahre 1978 auf den Film bannen, denn die Veränderungen sind nur äusserst gering und auf den Photos wohl kaum wahrnehmbar.

 

Billy

Trotzdem möchte ich es photographieren.

 

Quetzal

101. Dann tue es.

102. Komm hierher, sieh – hier diese Bodenluke, so, wie du siehst, gibt sie nach der Beiseiteschiebung der Platte diese sehr fein punktierte Sichtplatte frei, durch die du direct ins Freie sehen kannst.

103. Durch diese hindurch kannst du photographieren.

 

Billy

Das schon, Quetzal, aber du weisst doch, das wenn ich im Schiff Photos mache, diese nachher immer sehr unscharf und verschwommen sind. Gibt es denn keine andere Möglichkeit, weisst du, dass ich vielleicht aussteigen kann?

 

Quetzal

104. Den besten Überblick hast du von oben, hier vom Schiff aus.

105. Anderseitig wirst du dismal scharfe und klare Bilder auf deinen Film bringen, denn der Antrieb dieses Schiffes beeinträchtigt nicht durch Strahlen deinen Film.

106. Du musst nur darauf achten, dass du nicht direct unter der Antriebsfläche hindurch photographierst, denn die sehr starke Lichtausstrahlung könnte den Film beeinträchtigen.

107. Die geringste Beschädigung des Filmes könnte die sein, dass die fertigen Bilder wie durch eine Lichtquelle beleuchtet erscheinen würden.

108. Im schlimmsten Falle würde eine Überbelichtung stattfinden.

 

Billy

Ist es das Licht, das da unten so weit hinabreicht und wie ein Scheinwerfer aussieht?

 

Quetzal

109. Das ist von Richtigkeit. Achte also darauf, dass diese Lichtmassen nicht in den Bereich deiner Aufnahmebereiche kommen.

 

Billy Ich werde es versuchen.

 

Quetzal

110. Bist du mit deiner Arbeit zu Ende?

 

Billy

Bin ich, mein Sohn. Vielleicht bin ich doch nicht vorsichtig genug gewesen wegen des Lichtes. Irgendwie schien es mir, als ob ich im Objektiv immer einen Lichtschimmer gesehen hätte.

 

Quetzal

111. Dann versuche es nochmals.

 

Billy

Nein, gehen wir erst nach Frisco; ich habe nämlich nur einen einzigen Film mit und zudem noch einen normalen Negativfilm.

 

Quetzal

112. Wie du willst.

113. Geh von der Luke weg.

114. – So-gut, es…

 

Billy

Mann, das ist ja verrückt, guck nur, alles qualmt dort vorn.

 

Quetzal

115. Dort liegt San Francisco.

116. So, da sind wir schon, nun mache deine Aufnahmen.

 

Billy

Mensch, Quetzal, das sieht ja viel schlimmer aus, als ich mir das gedacht habe. Doch hör mal: Irgendwo muss es ein Gebilde geben, das als America-Building oder so ähnlich bekannt sein soll, bring mich doch dorthin. Das möchte ich nämlich vor allem photographieren, damit nicht jemand dann kommen und behaupten kann, ich hätte Aufnahmen gebracht vom letzten grossen Beben um die Jahrhundertwende.

 

 

Quetzal

117. Da sind wir schon, mein Freund, doch achte dismal besser auf die Lichtquelle.

 

Billy Ich will es versuchen.

Billy

Danke, Quetzal, das genügt, sause noch ein Stück zurück. … Gut, ja --- Moment. … Gut, jetzt flieg noch etwas dort rechts rüber --- Gut so, danke. Mann, dass ist gigantisch, die grauenhafte Zerstörung. … Danke, Quetzal, ich habe wieder einige Bilder. Das sollte wohl genügen. Flieg doch bitte nochmals zurück zu den komischen Aufwölbungen des Andreas-Grabens.

 

 

Quetzal

118. Wie du willst, doch bedenke, dass wir unsere Zeit bereits langsam überschreiten und ich die Vorbereitungen treffen muss für die Rückreise.

 

Billy

Schon gut, Quetzal, du kannst damit sofort beginnen, wenn wir am Ort sind. Ich möchte alles nochmals sehen. Wie schnell doch so eine halbe Stunde vergeht in der Zukunft.

 

Quetzal

119 Die Zeit ist die gleiche; sie erscheint dir nur sehr viel kürzer durch das Gesehene.

 

Billy Natürlich, das Weiss ich. Ah, da sind wir ja schon. Mach nun nur deine Arbeit.

 

….

 

Quetzal

120. So, mein Freund, da sind wir wieder.

121. Wir sind rund 30 Minuten früher hier, als du dein wames Bett verlassen hast.

 

Billy

Dann können wir die restliche Zeit noch ausnützen, um jene Belange zu besprechen , die du verschwiegen behandeln wolltest.

 

Quetzal

122. Das war auch meine Absicht.

 

 

 

What Wendelle Stevens saw on the 11 photos

 

In Messages from the Pleiades volume 4 Wendelle Stevens writes that it was one evening in 1978 that they were sitting around the kitchen table at the Center in Hinterschimdruti.

 

 Billy was there and the conversation turned to time travel and the trip he had taken with the Pleiadians to view the great San Francisco earthquake predicted for the future. He told them he was allowed to photograph it with his own camera. Wendelle writes that it was them who insisted on seeing the photos. They continued to insist until Billy left the room and came back with one of those photo shop return envelopes in his hand. It contained the pictures still in it, toghether with the negatives. He had taken these pictures on negative film in contrast to his earlier photographing of the spacecraft on ASA 100 positive slide transparency film.

 

So Billy then opened up the envelope write Stevens and he spread out eleven colour prints on the kitchen table. He said they were pictures from the future San Francisco quake. He then passed them around the table one by one to all sitting around. Stevens writes there were at least nine to ten people sitting around the table at the time. It was himself (Wendelle Stevens) along with Britt Elders and Lee Elders. The Swiss locals sitting there it were Kalliope Meier, Engelbert Wächter, Maria Wächter, Jakobus Bertchinger, Berndadette Brand and a couple more whose names Stevens did not remember.

 

Stevens carefully studied each photo, trying to recognize familiar landmarks and buildings, and any prominent new structures he had never seen before. He writes he saw smaller cars with smoothly rounded corners and no external projections, and some of these had half-glass and others full-glass cabin tops, making them look more like bugs than boxy cars.

 

He saw the Transamerica building cracked through its steep pyramidal shape from upper right to lower left, from the viewer’s angel, and another big rectangular building with higher rectangular towers on either end, collapsing in the middle and taking the two towers down with it. There was shooting flame, black and light smoke, and water and gas spewing from broken pipes, and there was a lot of dust rolling out from the collapsing rectangular building.

 

The photos were sent around the table twice before Meier collected them. They were never published because a few days later the extraterrestrial took both negatives and photos back.

 

Stevens next year got to see the Geo Magazine article with the earthquake painting. An important point Stevens here make is that the Geo Magazine painting which Billy was accused of copying, was just one painting of the destruction which was spread over two pages in the magazine, whilst what Stevens saw was 11 separate photos. These photos looked very real to him, like real photographs, not photographs of paintings


San_Francisco_geo_magazine.jpg

Left The Geo magazine painting

  

“This picture reproduction from the right hand page of the GEO magazine two page spread, shows some of the features revealed in the series of pictures photographed by Meier aboard Quetzal’s ship on the time travel into the future. As I and those members of my team and Meier’s group who saw them remember it, the dozen or so photos Meier handed us to examine that night, showed the Transamerica Building, the triangular one, break diagonally from upper right to lower left, completely through the building. The rectangular building in the mid-center was collapsing in the middle and the two towers on either end were falling into it. Also there was not as much rubble in the streets and surrounding area as is shown here.” Wendelle Stevens in Messages from the Pleiades Volume 4 (1995)


Bernadette_Brand.jpg

 Left

 “The picture of the painting in the GEO magazine was considerably poorer in details than Billy’s photos. The photographic angle of the photos taken by Billy was completely different to the viewing angle of the paintings in GEO.”

Bernadette Brand, Pictures from the future.  Photo from the video CONTACT (1982)


 

 

What Bernadette Brand saw on the photos

 

In Zeugenbuch 2001 (Withness book) Bernadette Brand wrote a 3 page statement about the photos with the headline Bilder aus der Zukunft which in English means Pictures from the future. She writes that on the 18th of March 1978 Billy was summoned for contact with Quetzal.  A few days prior to this date, Billy borrowed her camera, a Konika with telephoto lens.

 

 He told her that amongst other things he was going to take photos of the spring flowers around the Center which he also did. Some time later he handed her camera back and shortly after they all learned for what he really had used the camera for. He was actually brought in Quetzals ship into the future where he took impressive and shocking pictures of a San Francisco which was completely destroyed through an earthquake.  Bernadette writes that the only building which stood up somewhat intact was the pyramid-shaped America building, which with its unmistakable silhouette is know world wide.

 

Bernadette did not put a number of how many pictures she saw, only that there were a great number of different pictures, not only of the destroyed city but also of the dislocation of the San Andreas Fault, of destroyed roads and of highways and bridges. These profound and striking pictures were primarily studied and viewed in details by Engelbert Wachter, Herbert Runkel and herself.

 

Shortly thereafter came Kurt Stadlin, who also briefly got a glimpse of these pictures from the future, to Berandette and took her aside. He showed her a GEO magazine from September 1977. This issue of the magazine displayed so called disaster pictures which at the time was very popular.

 

Kurt suggested that the photos which he had seen at Billy place could only be copied from this magazine, as they quite accurately matched the photos. Bernadette wrote she became very startled when she heard this and she took a look at the magazine pictures. But even at the first brief glimpse she noted that the pictures indeed was similar, but only with a halfway observant viewing she quickly noticed differences which could not by any stretch of the imagination be overlooked.

 

The picture of the painting in GEO, which Bernadette specified was clearly that of a painting, was considerably poorer in details than Billy’s photos. She also noticed that the photographic angle of the photos taken by Billy was completely different to the viewing angle of the painted picture in the magazine.

 

Bernadette told Kurt that his suggestion was completely wrong and that he should be careful with his remarks and showed him that the centermark of the magazine would have become visible if a double-sided printed painting was to be copied. Also when Bernadette refers to the photos in GEO using a plural form my understanding is that she means the one paining which was spread over two pages in the magazine.

 

Despite these irrefutable arguments from Bernadette, Kurt still stood by his suggestion whereby she told everything to Engelbert and also to Billy.

 

Billy, Engelbert and Berndadette then sat down with Kurt and compared Billy’s photos with the painting in GEO, something that he however in his sceptical and in his already stalled judgement could not reassure him, even if he had to admit that the printed pictures and Billy’s photos by no means were identical.

 

The question here arose how a painter happen to paint pictures which Billy had photographed in the future long after 1978 Bernadette writes that this question was answered by Quetzal.

 

He told Billy that the so called Baawi-Intelligences were behind this. An extraterrestrial race who works together with the Plejarans. Bernadette wrote they were responsible for the so called inspirational-transmissions. Unfortunately however an error occurred in their work in regards to the date whereby the corresponding impulse for the catastrophe pictures was released one year earlier than planned.

 

The unfortunate result of this was that Quetzal decided to take the photos back in order to prevent Billy from further attacks. What Bernadette here writes also correspond with the information given in the German contact notes, contact 106 dated 10 April 1978. But she added that this only succeeded partially.

 

Because in the following years people came and asked for the photos and they reacted equally with disappointment when they no longer could be presented. So Billy was simply for that reason also attacked and his trustworthiness questioned because the photos were no longer were available wrote Bernadette in the end.

 

 

 

The Universe according to Semjase

 

In contact 143 on the 22’nd of March 1981, Billy Meier gave Semjase a pen and paper by which she drew a schematic drawing of the Universe. She also explained the function of each belt.

 


Universe_Semjase.jpg  

 

The Universe is divided into seven parts, rings or belts, which together forms the complete Universe. These seven parts, rings or belts, all rotate against each other and they have different diameter. The form of the Universe is egg-shaped.

1. Central Core Belt      (Ger.Zentral-Kern-Gürtel)

2. Primal Core Belt        (Ger.Ur-Kern-Gürtel)

3. Primal space Belt      (Ger. Ur-Raum-Gürtel)

4. Universe Belt             (Ger.Festkörper-Universum-Gürtel)

5. Transformation Belt (Ger.Umwandlungs-Gürtel)

6. Creation Belt            (Ger. Schöpfungs-Gürtel)

7. Displacement Belt    (Ger. Verdrängungs-Gürtel)

 

The material part of the universe is belt 3,4 and 5 . It is where coarse matter exists. Where stars, planets and material life are. These 3 belts combined have a diameter of 7869 Sexdecillion (10^51) light years.

 

The transformation belt converts fine matter energies to coarse matter material. That is it converts immaterial energy it receives from the Creations Belt to coarse matter. In this belt time starts to run in the past whereby age is created. That means that in this belt the chronons comes into existence, whereby they through aging become tachyons and as such build the past.

 

At the same time speed also start to drop off in this belt. This happens in an irregular way, but in a certain half-life periodic form however. This irregular drop off in speed has its starting point in the expansions points, 147 times the speed of light. It comes about through cross interference of already changed time currents with various speeds.

 

In the centre of the Universe is the Primal core belt, which with every contraction of the Universe enlarges to double size. That means when the Universe contracts it becomes twice the size of what it is today. Outside of primal core belt lays the primal space belt, which consist of a dormant energy field, which gives the collapsing universe new Energies for when next expansion phase is to take place in the next Universe.

 

This will happen when the slumber period has ended. A new big bang will then ensue. And a new expansion phase will create a new Universe. But everything in the next universe will be in a more refined form. Which means that everything of coarse matter will not become as stable as it is in this universe. 

 

The Primal space belt is the part of the universe which causes the expansion of creation happens. On the other hand it is also where the creational energy, after every collapse lay dormant, further develops and draws new fundamental forces from the from the primal core belt for then again to expand following a new big bang.

 

The size of the Primal space belt is enlarged from collapse to collapse as is the total mass of creation which doubles in mass with each big bang.

 

From this, obviously the becoming and passing away of the universe is arranged in a big bang- expansion-contraction-big bang-expansion- etc. cycle.

 

The central core belt embodies the belt out of which the original primal mass consist of which carry out creation and life substance activity in a pure spiritual form. It is the actual idea energy created by a primal Creation through which power it became possible for this universe to create itself.

 

This central core is like an enormous and never ceasing self-charging accumulator bloc which exhibits an unmeasurable magnetic energy, which bind the existing universe to itself and prevent a too large expansion of the Universe.

 

This force ensured that from the beginning of the expansion, 46,5 trillion years ago, the expansion speed of 147 times the speed of light began decreasing.  It has been slowly falling since. And this force ensures the expansion speed will continue to fall until the expansion, after 155,520 trillion years comes to a standstill, hence the return or contraction of the Universe will start.

 

The Central Core forms the power and life centre in the Universe, whilst the primal core belt form the energy storage area.

 

However the 3 inner belts, the Central Core Belt, the primal Core Belt and the Primal space Belt  occupy a relatively small space in the Universe as a whole.

 

The largest belt is the Creation Belt which expands and creates new universal space. It expands in the empty space which lies between other universes around.

 

The Creation Belt is the is the actual Creation and the Creational Centre whilst

the Central Core Belt with it’s seven light years in diameter along with the Primal Core Belt with it’s 103 trillion light years in diameter and the Primal space belt with its diameter of 103,5 trillion light years forms the body which is referred to as the Universe Central Sun and the Universe Central Galaxy

 

The Central Core Belt represents in this the central sun of the universe whilst the Primal core Belt and the Primal Space Belt to be seen as the central Universe Galaxy.

 

The external belt of the Universe, the displacement belt, has a diameter of 14 millions light years

 

Its purpose is to outwards displace towards bordering universes and against the non-space in the Absolute Absolutum. It functions as a ram force so to speak, which pushes and displaces everything outwards. It creates the necessary space for the Universe to expand in.

  

 

When it comes to enormous distances given within the Universe, some belt widths are here measured in figures of sexdecillion light years (10^51), then these distances does not only arrive from the expansion of the universe, initially at 147 times the speed of light,  but more importantly from the expansion which happened at the big bang itself. The Universe then expanded at the rate of 10^7000 times the speed of light for the fraction of a second. Immense energies shot outwards at this speed and the seven belts formed simultaneously. This according to Billy Meier in “An Interview with a UFO Contactee” (1995/1999) page 31  

 

1. How did our universe and our world come into existence?

 

Billy Meier:

 

The universe originated from an ancient, archetypal bang, produced by a miniscule but highly compressed, flea-sized ball of energy. Originally this energy consisted of purely spiritual energy which created itself from within, although even it can be traced back to an Ur-Universe’s energy conception [Ur = a German prefix which means archetypal, most ancient or original in English].

 

A universe is also called a “Creation” or a “Universal Consciousness” and so forth, of which exist 10^49 variations. The least evolved Creational form is called a Creation-Universe and the next higher form is an Ur-Creation or Ur-Universe; the one following is called a Central Creation or Central Universe, etc. The ultimate of all Creational forms is the 10^49, called the Absolute Absolutum.

 

This Absolute Absolutum was the initial Creational form which created itself from the Absolute Void by way of the Primary Big Bang, thereupon it embarked on its path through 10^49 different main Creational forms before becoming the Absolute Absolutum. Thereafter it wafts in non-space as the highest of the highest Creational forms and continues to endlessly expand and evolve through the wisdom of all Creations which unite with it once each individual Creation achieves a status of being an Absolute Absolutum as well.

 

Not one Creational form is absolutely perfect, not even the Absolute Absolutum. Creational forms, just as life itself, can only achieve a relative type of perfection over their evolutionary course through processes of constant waxing and waning and waxing again that characterize all life.

 

We live in a Creation-Universe, a material universe, unequivocally the lowest form of a Creation or universe. And our universe, our Creation, Universal Consciousness or whatever else people want to call it, must itself strive to work its way up the evolutionary ladder. It must evolve so as to become one with the Absolute Absolutum once it has passed through the 10^49 Creational-form transformations.

 

 From a human perspective this process takes an unfathomably long time, for alone the period during which our Creation, our Universe, transforms into the next higher Creational form, that of an Ur-Creation or Ur-Universe, takes more than 85 quintillion years [85 x 10^18 or 85,000,000,000,000,000,000 years]. Once the Universal Consciousness, or Creation, reaches the stage of Ur-Universe, respectively Ur-Creation, this Ur-Universal-Consciousness self-generates an idea for a new, simple Creation, the type of material universe with which we are familiar.

 

This “idea” or “concept” consists of the pure spirit energy and contains everything it needs to become self-creating for itself from within itself. From a tiny energy ball the mere size of a flea, it creates within itself new, immense energies which become highly compressed until this process culminates in a monumental explosion – the Big Bang. The energies from this explosion initially shot outward and then expanded for fractions of a second at 10^7000 times the speed of light, as they displace other universes in an effort to create its own space among the uncounted other universes, or Creations, already in existence. The seven Creational belts, or Universe belts, form simultaneously, of which one is the coarse–matter belt, the visible-matter-universe.

 

In this belt originate coarse matter and gases and dust particles from which derive meteors, suns, comets, planets, nebulae, galaxies and other things when coarse matter gathers and condenses. In this way our Earth was born. This means our universe’s birth and that of our Earth, along with foreign worlds, stars and galaxies and so forth, is a Creational-physical energy process and has nothing to do with a Creator-God. These happenings are the result of purely spiritual – physical and material-physical laws and processes based upon physics and chemistry in every way and are, indeed, explainable through them.