Universal Transmissions — the sequence

A numbered body of work

Universal Transmissions is a named collection in the archive, described as “Transcending syntax and linguistics — gateways to new dimensions of innerstanding, inspired by trans-dimensional linguistics and the Akashic Records.” Its artwork list contains eleven numbered works, from Universal Transmissions I - Tetragrammaton through Universal Transmissions XI - Vitruvian Spirit - Seeding the new renaissance. The Roman numerals establish the presented sequence; the creation dates show that the works were not completed in simple numerical order.

The opening record is Universal Transmissions I - Tetragrammaton, created in Istanbul on May 27, 2014. Its narrative states, “This is where it all began,” calling it the first image for the Codex and the image that gave birth to a unique style of art. In the collection list, it is followed by II, III, IV, IX, V, VI, VII, VIII, X, and XI. The source data thus preserves both an authored numbered order and a stored list whose entries do not follow creation chronology.

Early numbered works

Universal Transmissions II - Tesseract is dated July 9, 2014, also in Istanbul. Its narrative is only “Of strange surfaces...” Universal Transmissions III - Merkaba, dated July 11, 2014, is described as “On the Hyper-Carbolation of Translinguistic objects.” Universal Transmissions IV - Tetra, dated July 8, 2014, is described as “Strange things concerning hyperspherologies of the divine.” The dates place IV before II and III in the surviving archive even though the Roman numerals present II and III earlier in the sequence.

Universal Transmissions V - Higher Access, dated May 18, 2014, is earlier than I–IV by creation date. Its narrative calls it “The Dark Page...” and adds “On accessing higher dimensional realities”; the work is therefore framed in its own record through the language of access. Universal Transmissions VI - Vehicular Dynamics, created May 24, 2016, expands the record with references to trans-dimensional linguistics, out-of-body literature, dimensional travel, the Akashic Records, and the Adam Kadmon as a divine pattern or “Light Body.”

The middle and later sequence

Universal Transmissions VII - External Womb, created February 23, 2017 in Istanbul, carries the one-word narrative “Hoodwinked.” Universal Transmissions VIII - Recursive Pantheism, dated October 18, 2017 in Alaçatı, names Athanasius Kircher and Robert Fludd as influences and describes an attempt to syncretize macro and micro, zodiac signs and chakra centers, organs, cymatic patterns, and frequencies. These are the influences and concerns stated in the artwork record.

Universal Transmissions IX - The Cosmic Egg, created December 29, 2018 in Alanya, includes a short C. G. Jung quotation about setting the egg before oneself and incubating it with the warmth of one’s gaze. The artist’s narrative identifies it as the ninth installment and says it is deeply inspired by syncretic cosmologies of ancient civilizations. Its connections include Toroidal Tantra, Sacred, and XI.

Universal Transmissions X - Vortex Dynamics, dated November 16, 2019 in Fethiye, is described as a transmission on spiral charge compression and phase conjugation in relation to Sufi ennealogy, dervish dynamics, and implosive bliss practices. Universal Transmissions XI - Vitruvian Spirit - Seeding the new renaissance, created January 15, 2021 in Fethiye, closes the numbered run currently represented in the archive. Its narrative emphasizes balance among divine feminine and masculine, the human spirit and imagination, and a desire to seed a new Renaissance. It also links back to VI, IX, and VIII. The separate, publicly routed Making of Vitruvian Spirit video record describes a 27-hour workflow condensed into a 14-minute time-lapse and includes the artist’s own clarification of how the work should be read. It is a process witness to XI, not another numbered image.

What the sequence establishes

The collection list and artwork records support three conclusions. First, Universal Transmissions is a collection and a numbered series, not merely a visual style label. Second, I is explicitly described as the beginning of the Codex and the origin point of the style, while XI is the latest numbered work by date in the supplied records. Third, numerical order and production chronology diverge: V predates I, IV predates II and III, and the later works extend from 2016 to 2021. The sequence is therefore an authored order whose works also carry an independent, uneven chronology.