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What would it truly take to convince the world that paranormal entities might be moving through hidden realms, sharing the same earthly space as you and me? Why are we so quick to dismiss what we capture on camera, or to ridicule anything that defies easy explanation? Why do we seem almost determined to destroy or ignore evidence of life beyond our comprehension? Humanity often appears more comfortable clinging to mystery—or perhaps to a kind of cosmic selfishness—insisting that we are the only form of intelligence in existence. But does the idea unsettle you, even slightly, that other beings may walk this earth alongside us, or visit whenever they choose? And if they have adapted to coexist within our world, isn’t that a question worth exploring for anyone willing to acknowledge such possibilities?  Image Lucy Pringle (c) 2009 Back in 2009, I was given access to a set of raw images and data from Andrew Pyrka, who at that time remained a firm believer that crop circles were created by forces beyond human understanding. Andrew had earned the trust of the Crop Circle Connector, who would alert him the moment a new formation appeared so he could document it first hand. It was early evening on Monday, the 3rd of August, when Andrew received a text from Mark Fussell. A new crop circle had been reported—only a few miles from Andrew’s home near the Rollright Stones, not far from Stow‑on‑the‑Wold. Within minutes, Andrew, his wife, and their two young children were on their way. They arrived just after 6 p.m., greeted by heavy cloud cover that cast a dull, muted light across the landscape—far from ideal conditions for photography. From the moment you stepped into the Rollright site, you could just make out the formation from the stone circle itself. Andrew wasted no time. He assembled his camera onto his trusted long painter’s pole—a makeshift but reliable setup. The process, however, was far from perfect: set the timer, raise the flexible pole skyward, steady it before the shutter fired, hope for the best. It was a hit‑and‑miss operation, requiring dozens of attempts just to secure a handful of usable shots.  While his wife and children wandered through the formation, Andrew began taking a series of photographs. “We’d been there no more than fifteen minutes,” he recalled, “when something black darted across one of the circles and stopped at the edge. I wanted to go straight over, but I didn’t want to spook it. So I angled the camera downward into the circle and took the shot.”  After reviewing the first image, Andrew initially saw nothing more than a dark smudge. It was clearly not a cat or any familiar animal. But when he adjusted the brightness on the camera screen, something far more intriguing began to take shape. He walked slowly toward the circle, hoping to spot it again, but there was nothing—no movement, no figure, not even the dark patch that appeared in the photograph. Setting the moment aside for the time being, he continued documenting the formation. A light drizzle began to fall, making it even more urgent to capture as many shots as possible before the weather closed in. They were just about ready to pack up when Andrew decided to take a final handful of photographs. As he raised the camera on the pole, something caught his eye. “I saw something moving from one circle to another,” he said later. “It looked like it was gliding smoothly across the wheat on some kind of machinery, not walking. I just froze, staring into the distance, trying to make sense of what I was seeing.” Whatever it was, it stopped—and turned its head. It was one of those pure WTF moments that rooted Andrew to the spot. For a few seconds, he forgot he even had a camera. When the shock loosened its grip, he lifted the pole and fired off a shot. He checked the screen immediately—blurry, but the figure was still there. He took another. This time, the image was clearer. Not perfect, but unmistakably capturing something. Andrew looked back toward the being. It felt almost like a moment of acknowledgement—I’ve seen you, and you’ve seen me. Then, without haste, the figure glided away into a tramline. Andrew dropped his gear and sprinted to the spot. The being was gone. But the wheat where it had been was warm to the touch, as if some kind of energy had been discharged from whatever craft or device it had been riding.  Photo above - you can just about see a dark patch in the further most circle and almost centre
Zoomed in Images - showing a being with a large head - dark eyes - appears to be sitting on some gliding craft. Judging by the height of the wheat the being was small - estimated between 2-3ft but definitely no more. The experience didn’t end there. When they returned to the vehicle, Andrew realised his Bluetooth earpiece was missing. Assuming he’d dropped it in the formation, he went back into the circle to search, but found nothing. His wife then decided to try her luck. She stepped into the first circle—and almost immediately, the missing headset struck her foot, as if it had been tossed toward her by something unseen. She let out a startled gasp, the kind that comes from pure instinct, and sprinted straight back to the car with excitement. When she explained what had happened, Andrew examined the device. The headset was intact, but it no longer worked at all—as though its electronics had been completely fried by whatever force had just returned it. The very interesting factor here is that physical items can be handled by unseen/invisible entities - poltergeist type entity comes to mind.
The question at the time was simple: what on earth were we looking at? Andrew called me almost the moment he walked through his front door. “Mike, you’ve got to see this,” he said, breathless with excitement. Still on the phone, he began uploading several images to my inbox. I fired up my ancient Windows 7 PC and waited—painfully slowly—while the full, unedited files downloaded. At first, I struggled to make out what he was describing. But then I zoomed in… and the lightbulb moment hit me square in the face. My reaction was pure, unfiltered: WTF! It looked—at first glance—like an alien on a funky scooter. How do you even begin to describe something no one has ever seen before? We laughed about it, but in hindsight, that off‑the‑cuff description was my mistake. After I posted the images on the CropCircleWisdom website, Andrew ended up taking the brunt of the criticism from the online community. Looking back, I should have called it “an alien on some kind of hover seat”—not that it would have made things any easier to explain. We will probably never know what he captured that day. But one thing I can confirm with absolute certainty is this: the very first thing I check is the digital stamp on any photograph. I always verify whether an image is unedited and genuine, no matter how much I trust the person sending it. The photos Andrew sent me were 100% untouched and authentic. The point is this—Andrew had an ability to interact with the paranormal. It wasn’t limited to crop circles; it followed him into other parts of his life. So I knew that whatever he photographed at the Rollrights was, in his world, entirely consistent and entirely genuine. After examining the images again and again, I almost let myself believe he had captured the circle makers themselves. But then reality tugged at my sleeve. I already knew crop circles were created by human artists. For a moment, I was thrown into a genuine quandary—was I really about to believe, all over again, that something non‑human was responsible? If anything, the Rollrights incident reinforced a theory shared by many who’ve spent years around this phenomenon: human land art seems to attract the paranormal. Why? No one knows. But the pattern is hard to ignore. As for the Rollrights event—I refuse to let it fade into obscurity. Andrew was ready to tuck it away in a drawer and let history forget it. I told him, firmly, that this would be wrong. He’s now in his sixties, yet he recounts the experience with the same clarity, precision, and emotion as if it happened yesterday. Every detail, every word, unchanged. A crystal‑clear memory. There are several other events connected to Andrew that deserve to be documented, and in time, I will share them here on this website. Why Are Crop Circles Discovered So Quickly? Have you ever stopped to wonder how crop circles get reported to the Crop Circle Connector so fast? It’s not magic, and it’s certainly not coincidence. As with most things, it’s less about what you know and more about who you know. Think about it: at dawn, do you really imagine joggers and dog walkers roaming thousands of hectares of farmland? Many formations are tucked away in dips, hidden by land undulation, or positioned so far from public footpaths that they’re invisible from ground level. Often, the only way to spot them is from the air. In fact, in many cases the farmer has no idea a crop circle is on their land until they see it online. Here’s how the process actually works—and how it has worked for years: 1. The circle makers create the formation. 2. Once finished, they alert a trusted photographer or drone operator. They send a text or make a phone call with the exact location—sometimes even GPS coordinates—so the photographer doesn’t waste time searching. The goal is simple: get aerial images before the farmer discovers the formation and cuts it out. Before drones became common, the makers would notify Crop Circle Connector directly. A representative would then head to the nearest airfield, take aerial photographs, and upload them as soon as possible. How Is All This Funded? Historically, flight costs were covered by DVD sales, website memberships, and sometimes even the photographer’s own wallet—especially when the photographer was a curious tourist. Revenue from photos, calendars, books, and other memorabilia also helped keep the operation going. Today, things have shifted. Drone operators often head out for free, motivated by the chance to capture the first images for social media and YouTube. Views generate income from major platforms, and operators can also sell their footage to newspapers or documentary producers—provided they hold a commercial drone licence. 3. And that’s really all there is to it. You can debate it if you like, but this is the practical, grounded explanation of how the system works. No mystery. No telepathy. No extraterrestrial hotline to the Crop Circle Connector.  First some bits and bobs explaining what the crop circle challenge was about - then I'll get into the nitty gritty side of it all. The Crop Circle Challenge 2013 was a high‑profile test proposed by a group called TCCC (formerly Expanding Heart Awareness), fronted by actress Sarah Miles and Janez Ferjancic , offering £100,000 to the Circle makers collective if they could recreate the massive Milk Hill formation from 2001. The Circle makers declined, citing their long‑standing policy of not accepting such challenges. What the Challenge Was • Organizer: The TCCC Group, led by Sarah Miles. • Target Formation: The famous Milk Hill 2001 crop circle, one of the largest and most complex ever recorded, spanning hundreds of feet with a six‑armed spiral design. • Offer: A £100,000 reward if the Circlemakers could successfully reproduce the formation to TCCC’s satisfaction. • Rules: TCCC stated there were no imposed rules—the Circle makers were free to create the formation however they wished. The Circle makers’ Response • The Circle makers (Rob Irving, John Lundberg, and others) were described by TCCC as “the most well‑known, prolific and media‑supported crop circle‑makers in the world.” • Despite the lucrative offer, the Circlemakers refused to participate, maintaining their policy of not engaging in public challenges or competitions. • Their stance was consistent with their broader philosophy: crop circles, for them, were an artistic and cultural practice, not something to be proven under external conditions. Why It Mattered • Public Debate: The challenge reignited arguments about whether crop circles were human‑made artworks or something more mysterious. • Media Attention: By attaching a large cash prize and a celebrity figurehead, the challenge drew headlines and renewed interest in the phenomenon. • Legacy: The refusal underscored the Circlemakers’ desire to keep their work in the realm of art and mystery rather than demonstration. Context in 2013 That year was already seen by researchers as a transitional season for crop circles, with formations like the Hackpen Hill “Dream‑Catcher” and Ridgeway concentric ribbons symbolizing change and reorientation. The Challenge added a layer of drama to the cultural conversation, contrasting the mystical interpretations of formations with the pragmatic artistry of known circle makers. One quiet morning, as I savoured my Earl Grey tea and carried out my usual ritual of scanning the latest crop circle news, a headline leapt from the screen—the infamous Crop Circle Challenge. The shock nearly made me spray tea across the room. Knowing the tangled history of the circle‑making world, my first instinct was to shout at the monitor, urging the Circle makers to seize the offer. But reason quickly tempered my excitement. The challenge seemed less about testing their ability to recreate the legendary Galaxy formation--already no great secret—and more about publicly unmasking those behind it. The whole affair struck me as a theatrical stunt rather than a genuine test of skill. At the centre of this spectacle stood Sarah Miles and Janez Ferjancic, dangling a fortune as bait. Yet whispers circulated that the promised funds might be little more than smoke and mirrors. Rumour had it that Sarah Miles herself was struggling to patch a leaking roof, raising doubts about whether such a grand prize could ever truly be delivered. The Challenge conditions: The draft of the conditions for The Crop Circle Challenge 2013 Is it possible for a team of "artists" to re-create the largest crop circle ever seen? In seven hours? In the pitch-dark? In a rain sodden field? On the 12. of August 2001 409 circles, arranged in a spiralling galaxy formation, appeared in a field of mature wheat on top of Milk Hill, Wiltshire. Since then debate has raged over the authenticity, or otherwise, of the giant glyph. Now 'The Challenge" is being set! Can or will the "artists" step up and prove their claims of authorship? 1) An award of £100,000 (one hundred thousand pounds) w ill be paid by EHA group to a team of crop circle “hoaxers” who are able to successfully replicate the 'Galaxy' Milk Hill (409) crop circle of August 12. 2001. T he £100.000 w ill be deposited and held in an escrow account at the official launch of the challenge. The legal representatives of the EHA Group in this project will be Chancery Solicitors, London (http://www .chancerysolicitors.com). Upon establishment of the escrow account, an additional $1,000 will be added to the prize by Crop Circles Research Foundation, Inc. (http://cropcirclesresearchfoundation.org/). 2) Payment of the prize w ill depend on the decision of a mutually agreed judgment panel’s end finding. 3) The Challenge 2013 will be launched on 21. of March 2013. There will be three months time, available for applications, which will end on 21. of June 2013. 4) T he challenge will take place around the same date as the original 2001 event. 5) The team that take up the challenge may consist of up to 13 people. 6) Seven hours will be allowed for the completion of the formation. Clock starts at 22:00. 7) T he exact date and location of the challenge is to be the choice of the event organizer. 8) No pre-preparation of the chosen test site will be permitted. The team that takes up the challenge will be given the exact location of the test 36 hours in advance of the challenge. 9) T he formation must be created using survey diagram, photos and other recorded material taken. 10) The team may only use the simple tools and equipment that crop “artists” commonly claim to employ in their activities, i.e., survey tapes, wooden boards, sticks and string etc. If any high-tech devices are to be used in the creation of the replica formation such devices must have been readily available to the general public in 2001. No artificial lighting of any kind is allow ed. 11) All parties must agree in advance to a reasonable margin or ‘error’ tolerance w hen judging the outcome of the test (e.g. up to 2%). 12) T here w ill be at least one independent professional photographer who w ill take high resolution photos both from air and from the ground for later judgement and evaluation. Only accredited personnel w ill be allowed to record the whole event on the ground prior to final judgment. 13) Only accredited journalists will be allowed to follow the challenge from the field boundary on the day/night of the exercise. 14) T he panel that w ill make a final judgment of the event will consist of two crop circle researchers, two crop circle “hoaxers”, two independent respected public figures and one member of EHA Group. Judgment w ill be based on the recorded physical attributes from the original 2001 formation. 15) All participants must agree in advance to being interviewed before and/or after the challenge by accredited journalists and/or a video team - as part of the documentation of the event. T he participants must agree that all the recorded material of their work w ill be published and made freely available on the internet and other media – regardless of the challenge outcome. (This is a draft of Terms and Conditions. A complete and legally binding set of T&C will be published on 21. of March when the Challenge 2013 is officially launched.) Here's Sarah Miles unedited blog as written by herself about the crop circle challenge below: " Hello, I was sure I would never write a blog, so why be such a fickle creature now? I have been experiencing England’s Crop Circles since 1986, and due to this rampant curiosity of mine, (it keeps you young!) the E H A group are offering the hoaxers – those who claim they have made all of England’s Crop Circles – a £100,000 if they can successfully replicate the August 2001 G A L A X Y – the largest Crop Circle the world has ever seen (CROPCIRCLECHALLENGE.CO.UK). If the hoaxers succeed, I will eat my hat on live television. I have been practicing hat eating – (just in case!) – and it certainly requires the three deadly ‘P ’s – practice, patience and perseverance – as do all things that are truly worthwhile. E H A stands for ‘Expanding Heart Awareness’, and when spoken out loud resembles the sound of a donkey braying – donkeys are divine, but sadly becoming extinct. Many any might ask why members of the E H A group are throwing away £100,000 on something as trivial as to whether Crop Circles are man-made or not. Surely E H A should be giving this huge amount of money away to those in need? Yes, maybe we should. But could there possibly be another way of looking at all this? Could it not be that the whole of mankind is in need – dire need – having landed up in an unsustainable cul-de sac? What if we were to show that the Crop Circles are not all made by man, even though many of them are? What if we were to demonstrate that there might be another explanation for some of the artwork using England’s glorious summer fields for their canvas? What if not a single hoaxer team takes up the Challenge … what then? A part from the relief of not having to eat my hat on live T V, it will surely give pause for thought. And by quietly thinking through the ramifications of this for a moment, even some sceptics might acknowledge that something else could possibly be at play here. F or there is no doubt that the staggering beauty of the artwork has no whiff of the malevolent about it, on the contrary, its very benevolence lifts and expands the heart … A friend of mine, Richard, echoed an expression recently that I had heard during the seventies while living in America. I had a wigwam erected on my roof and I recall Big Chief Siting Bull siting there and telling me about ‘WA K A N ’. In my own humble experience of visiting many different varieties of crop circles over the past twenty-seven years the genuine ones could be ‘WA K A N ’– (pronounced Wahkhan). It is a Native American word from the Lakota Sioux language meaning “Sacred” or “of the Divine” – not made by man, but created by a higher, enlightened intelligence. Indeed, this stunning artwork could be serious offerings – maybe even urgent – designed to enlighten us through demonstrating the unity, the linking up of everything – the Oneness – not only everything pulsing here on earth, but how each one of our individual pulses is directly connected to everything else pulsing on every planet, every galaxy, every solar system, every Universe or Multi-Universes which we all S H A R E equally. Could that be what the genuine circles are offering? That there will never be any peace without justice and never be any justice without sharing " It’s staggering to think how crop circles have driven people to make such rash offers and even publish books that are, in truth, closer to fiction than fact—without ever exploring every possible avenue first hand. The absence of sense or logic in these ventures could easily have cost them a small fortune. Even Monique Klingenberg went so far as to pay fees to secure the use of farmer Bryan Reed’s land, a sum of £2,500, underscoring just how far the fascination could push people into costly commitments. 
The Organisers U-Turn - it had to come in some way or another but still doomed with failure  And then came the rather witty response from the circle makers The Crop Circle Challenge 2013 Contact information: Rob Irving [email protected] This information concerns a recent challenge by a group calling itself the TCCC Group [formerly known as the EHA (Expanding Heart Awareness) group] fronted by the actor and author Sarah Miles, made to us, an artists’ collective known as The Circle makers (www.circlemakers.org), who TCCC describe as “the most well known, prolific and media supported” crop circle-makers in the world. Their challenge is to create a facsimile of a large crop circle that appeared at Milk Hill, Wiltshire, in 2001. TCCC are offering us “a reward” of £100,000 for the successful (in their eyes) completion of the task. Details are available on the TCCC 2013 website: www.cropcirclechallenge.co.uk/ The most pertinent detail is that TCCC have stated that they do not impose any rules: “You are free to make them yourself.” In our thirty years of active service, The Circle makers have maintained a policy of not claiming authorship of specific crop circles, except the ones we make for commercial purposes (Greenpeace, Microsoft, Nike, etc., as well as creative collaborations with Santiago Sierra, the Nu Metal band Korn, and others). As a rule, we believe that our work is most effective when it is affective; that once identified as man-made art, crop circles are unable to sustain the effects/affects otherwise ascribed to them. These artworks are made to be consumed by people who do not regard them as art. No one has ever claimed authorship of the Milk Hill event of 2001, and we expect this artistic impasse to continue indefinitely. Our decision to accept the challenge should not be interpreted as a claim to the original event. We accept the TCCC challenge under the following terms and conditions: 1. We make the circle in the USA, either in Bakersfield, California, or in a field of our choosing near the prehistoric Serpent’s Mound, Ohio. 2. We are transported to and from the site by helicopter and greeted at each end with a press conference. 3. A sushi chef is on hand at all times. 4. TCCC are responsible for paying our Healthcare charges in the event of any catastrophic ‘act of God,’ assassination attempts, food poisoning, accident, etc. 5. We are allowed to exploit TCCC’s links with Share International (www.shareinternational. org) and have Maitreya the World Teacher step forward and help us with the crop circle, at least by performing a miracle of returning us to the fitness levels we enjoyed twelve years ago. 6. Uri Geller and crop circles researcher Lucy Pringle will also be involved as part of the team, Pringle as Scientific Advisor with Geller responsible for ‘node bending’ support. Both will be expected to assist with the flattening. 7. Sarah Miles performs scenes of her choice from Blowup, Ryan’s Daughter, The Hireling, Those Magnificent Men in Their Flying Machines, The Silent Touch, The Big Sleep, and White Mischief in the crop circle as we are making it. 8. A very large grandfather clock is situated at the edge of the field to help us keep track of time. 9. We are allowed breaks for a team of qualified Swedish and/or Thai masseuses to soothe away any muscular aches we may have before, during or after the completion of the task. 10. We will be paid £50,000 one month in advance. The remaining £50,000 will be presented in cash in a suitcase by people dressed in black suits, driving a 1964 Cadillac Coupe de Ville. In addition to the reward of £100,000, we will each receive a hearty pat on the back and a kiss from Sarah when the task is completed (Ms. Miles not to have consumed any urine for at least one hour before kissing). 11. We are provided with a private dressing room with Moroccan drapes, candles and a ping pong table. 12. There will be quality snacks on hand such as Pringles/Dorritos and dipping sauces, custard creams, Rich Tea biscuits, cheese and pineapple on cocktail sticks, Ferrero Roche, Wagon Wheels, Olives, Ginsters pasties, blue M&Ms, Hobnobs, all to be served on china plates by TV chef Rusty Lee. There will be NO bowls of communal crisps with mixed flavours or own brand Rich Tea biscuits. No plastic or Styrofoam cups, glasses must be supplied. 13. The whole process is documented by film maker Morgan Spurlock.  After countless heated—and often hateful—exchanges across social media, the much‑touted challenge eventually fizzled into nothing. In the end, nothing was gained apart from the farmer who walked away with £2.500. All that was required was an open mind, yet what prevailed instead was the very opposite: a rigid, closed mindset. Rather than embracing the possibility of multiple explanations, participants clung stubbornly to a single belief—that the Galaxy formation was the product of something “other,” even aliens. This fixation blinded them to broader perspectives and reduced the debate to dogma rather than discovery. What could have been an opportunity to expand understanding and foster dialogue became a stalemate, a spectacle of entrenched positions where logic and curiosity were sacrificed to belief. The challenge dissolved, leaving behind only the echo of arguments and the reminder that mystery demands openness, not certainty.  The Galaxy crop circle its all here: The “Galaxy” Crop Circle The “Pi Crop Circle” appeared on June 1, 2008, near Barbury Castle in Wiltshire, England. It encoded the first ten digits of the mathematical constant π (3.141592654) in a spiral design. Its origins remain disputed: enthusiasts saw it as a sign of extraterrestrial intelligence, while sceptics argued it was a clever human-made puzzle.  Temporary Temples (c) 2008 What the Pi Crop Circle Was • Location: Barbury Castle, near Wroughton, Wiltshire. • Date: June 1, 2008. • Size: Roughly 150–200 feet in diameter. • Design: A spiral divided into 10 equal segments (36° each), with radial jumps encoding digits of π. A small circle represented the decimal point. • Mathematical Precision: Astrophysicist Michael Reed confirmed the digits were correctly encoded, even rounding the tenth digit properly. Why It Stands Out • Complexity: Often described as one of the most intricate crop circles ever seen in Britain. • Symbolism: Pi is the essence of circles themselves, making its appearance in a crop circle both poetic and self-referential. • Cultural Impact: It sparked fascination among mathematicians, artists, and UFO researchers alike, becoming one of the most famous modern formations. Who Made It? • Extraterrestrial Theories: Enthusiasts saw the Pi formation as a coded message from mathematically gifted visitors beyond Earth. • Human-Made Theories: Skeptics countered that it was the work of skilled circle-makers, blending geometry with artistry. • Consensus: Officially, no one ever claimed responsibility. Unlike other formations later admitted as hoaxes, the Pi circle remains “unattributed.” The Hidden Story That consensus, however, is only the surface. Internet archives preserve the mystery, but true knowledge comes from fieldwork—meeting the people, listening to their stories, and piecing together the human threads behind the phenomenon. In 2007, I met Peter Sorensen—a witty, sometimes satirical storyteller who devoted himself to creating high‑resolution silhouette diagrams for researchers and enthusiasts. His diagrams stripped away photographic distortions, revealing the raw geometry of each formation. They became both a tool for study and, intriguingly, inspiration for what circlemakers might attempt next. Peter lived simply, tucked away in a caravan on a Wiltshire farmyard. His fascination with crop circles deepened over time, but he wasn’t content with just another design. He wanted to leave a legacy—something unforgettable. Yet he remained shy about admitting to any creations. Perhaps it was fear of legal entanglements, or simply a desire to protect his reputation. Those close to him knew he was a likeable, private man who kept his nocturnal activities discreet. And then came the idea that would ignite the crop circle world: the Pi design. Peter knew its elegance and mathematical resonance would capture imaginations everywhere. He was right. The formation set the community ablaze, ensuring his legacy lived on—even if his name was never formally attached to it - now it is! Even after all the tears that have passed - Peter still remained shy towards admitting his legendary creation. Bless you Peter - take the credit. Footage clip ' A Field Full Of Secrets ' (C) 2009 The Vanishing Complexity Why are crop circles no longer the grand, intricate marvels they once were? The answer, though simple, carries the weight of cultural change. In the early days, young men and women brimmed with restless energy. They weren’t tethered to glowing screens, endlessly scrolling through social media. Their nights were free, their imaginations untamed, their hands eager to shape mystery into the fields. Today, ask a young person what a crop circle is, and you’ll often be met with a blank stare. The phenomenon that once captivated the world has slipped into obscurity. The Age of Mischief and Mystery Back then, aspiring artists flocked to the fields. Some joined established teams, others formed their own. Their mission was not profit, nor fame—it was mischief wrapped in mystery. They revelled in watching believers stumble, convinced that aliens had descended from the stars. And they were good at it—astonishingly good. Technology was on their side. Drones with thermal imaging were the stuff of military arsenals, far removed from civilian hands. Night vision was expensive, clumsy, and unreliable. The fields were dark sanctuaries, perfect canvases for daring artistry. Under the cloak of night, they carved elaborate geometries that seemed impossible. By dawn, the world would awaken to riddles in the wheat, asking: How could this be done in a single night? The Artists Behind the Circles Forget the myth of drunken men stomping recklessly through fields. The truth was far more fascinating. Many circle makers were unemployed locals, living along the Avon Kennett canal, surrounded by endless farmland. They had time, patience, and a mischievous streak. Others came from professional backgrounds, traveling on weekends or holidays to join the spectacle. Notice the timing: so many crop circles appeared during holiday periods. Coincidence? Hardly. It was a seasonal theatre, a ritual of creativity and rebellion. The Modern Decline But times have changed. Farmers and police now wield drones, scanning their fields with precision. The circle makers know this, and their art has shrunk. Designs are simpler, smaller, confined to two or three tramlines instead of sprawling across entire landscapes. And the artists themselves? They have aged. The stamina that once carried them through long nights has waned. Arthritic hips replace the fluid movements that once drew construction lines. The sprint of escape is no longer the sprint of a gazelle. Meanwhile, younger generations shy away. They see crop circle making not as playful rebellion, but as criminal damage. With rural police patrolling against theft and animal baiting, the risks are higher than ever. A criminal record today can erase career prospects, as background checks tighten their grip. The thrill has lost its allure. The Curtain Falls Crop circles are fading into history. Farmers mow them down quickly, preventing tourists from trampling their fields. Businesses no longer see them as profitable spectacles. The artists are dwindling, the audiences dispersing. What was once a living, breathing phenomenon is becoming an archive of memory. And yet—there lingers a whisper of possibility. Perhaps one day, a new generation will rise, bold enough to reclaim the fields. Perhaps, in a grand finale, the circle makers will return for one last masterpiece, a farewell etched in wheat. Until then, crop circles remain what they have always been: a dance between mystery and mischief, fading into legend.   Peter Sorrenson teaching young aspiring artists how to make a crop circle ! That was back in 2009  The tools of the Phenomenon Wiltshire’s Hidden Entities: Myth, Mystery, or Reality? Are Wiltshire’s entities real? Do they truly exist? It is a question that resists easy answers. Yet to dismiss decades of witness accounts as mere fantasy—or as tricks of the mind—is to ignore a body of testimony too vast, too persistent, to be brushed aside. For some, the encounter is deeply personal. A seeker may enter the fields in meditation, consciously inviting a presence. And sometimes, if intent is pure, the phenomenon responds—as if rewarding the pilgrim for their reverence. The Sceptics and the Saboteurs Many hopefuls march into the night armed with cameras, determined to capture proof. Yet when nothing appears, their disappointment curdles into scepticism. Some go further—mocking those who have experienced something, ridiculing evidence, or sabotaging others’ accounts. But here lies the paradox: if one approaches the mystery with doubt, cynicism, or arrogance, the phenomenon remains silent. It does not perform for the unworthy and even alters the mindset of the seeker. Buried Evidence and Fear of Ridicule Countless photographs and testimonies lie hidden, buried under the weight of ridicule. Fear of being branded a “nutcase” has silenced many witnesses. Imagine what truths might emerge if a serious body—governmental or scientific—took these accounts at face value, rather than leaving them to be sensationalized by documentary channels. Could it be that hidden worlds share space with us, slipping through portals, or arriving from distant galaxies? The Veil Between Worlds Too much money is spent gazing outward into space, when perhaps the greater mystery is already here—on Earth, concealed behind a veil. The phenomenon seems cautious: yearning to be recognized, yet wary of exposure. For if its origins were revealed, humanity’s instinct to destroy what it cannot understand might threaten its very existence. Hypocrisy in the Crop Circle World Here lies another contradiction. Within the crop circle community, many seek the paranormal. Yet when evidence is presented, doubt swiftly follows. Why? Perhaps because the mystery feels diminished once explained. Or perhaps because the experience did not happen to them—so it must be fake, photoshopped, CGI. Of course, mistakes and hoaxes exist. Wiltshire is ringed by military bases, with Salisbury Plain alive with exercises. Flares streak across the night sky, easily mistaken for glowing orbs. Logic must be applied before declaring the unexplained. Hoaxes and the Oliver’s Castle Lights The infamous Oliver’s Castle “balls of light” hoax remains a cautionary tale. A fabricated vision of wonder, born from longing. Yet such hoaxes muddy the waters, diverting attention from genuine mysteries, and eroding trust in authentic experiences. Await the Testimonies Stay tuned. Many have shared their encounters with me—accounts I have scrutinized fairly, offering logical explanations where possible. Yet among them remain experiences that defy reason, that whisper of something truly otherworldly. Wiltshire’s fields hold secrets. Whether entities or illusions, hoaxes or hidden worlds, the phenomenon endures—waiting for those who approach with intent, humility, and wonder.  Does human artwork, especially when placed on historic landscape attract something from beyond the human visual spectrum? The 7-7-7 “Ohm” crop circle was one of the most dramatic and controversial formations in crop circle history, appearing at East Field, Wiltshire, on July 7, 2007. It was filmed by Winston Keech, allegedly witnessed by Gary King, and later revealed to have been created by a team of seven circle makers led by Lee and Debbie Woodstock. The Event • Date & Location: July 7, 2007, East Field, Alton Barnes, Wiltshire. • Design: The formation incorporated the Ohm symbol (ॐ), a sacred sound and spiritual icon in Hinduism, Buddhism, and other traditions. Its presence gave the formation a mystical aura, aligning with the numerological significance of the date (07/07/07). • Circle Makers: Lee and Debbie Woodstock, known for nature-inspired designs, led a team of seven people to execute the formation overnight.  Filming & Witnesses • Winston Keech: A dedicated UFO hunter, Keech had set up multiple cameras around East Field. His footage captured the field before and after the formation appeared, though crucially, no direct footage of the circle being made was shown. • Gary King: Alongside Paula Presdee-Jones, King claimed to have witnessed the sudden appearance of the formation in the early hours. His testimony became central to the narrative, though skeptics argue that the timing and visibility conditions make the claim questionable. Controversy • Mystery vs. Human Origin: For years, the 7-7-7 Ohm circle was cited as evidence of non-human creation due to the alleged eyewitness accounts and Keech’s surveillance setup. • Revelation of Circle Makers: It later emerged that Lee and Debbie Woodstock, with their team of seven, had created the formation. This revelation reframed the event as a masterpiece of human artistry, rather than unexplained phenomena. • Debate: Believers maintain that the timing and scale suggest something extraordinary, while skeptics point to the Woodstock team’s involvement as proof of human ingenuity. Legacy The 7-7-7 Ohm crop circle remains iconic because it sits at the crossroads of myth and truth: • To enthusiasts, it symbolizes cosmic alignment and spiritual resonance. • To researchers, it demonstrates the artistry and precision of human circle makers. • To historians, it marks a turning point where eyewitness testimony, film evidence, and human artistry collided, creating one of the most debated formations in crop circle lore.  Winston Keech with his complex setup of cameras. Gary King leapt too quickly into the spotlight. His testimony, delivered with conviction, became a burden he would carry for the rest of his life—retelling the same story, haunted by a truth that will shadow him to the grave. Winston Keech, too, bears his regrets. He released those fleeting seconds of footage far too hastily, and Terje Toftenes pounced. A small conference was convened, billed as a revelation, but in reality it was little more than a gathering of familiar researchers. The irony? Winston himself wasn’t even told, nor invited, to witness his own capture being dissected before the crowd. And so the tale erupted into folklore. Yet behind the curtain, the reality was far murkier. Winston had allegedly recorded hours of material on old‑fashioned videotape—footage that would take endless hours to watch, let alone edit. This was 2007, long before the sleek digital tools we take for granted today. So the question lingers: what else did Winston capture? Surely, with all that equipment, more than a few seconds of dawn breaking over a field. But night vision was crude back then, and the mystery deepened. The so‑called witness testimony collapses under scrutiny. Neither Gary nor Winston actually saw the formation being made—unless, of course, Winston holds tapes that have never seen the light of day. Rumours swirl that the late Janette Ossebaard befriended Winston, allegedly to gain access to his unseen footage. But Winston sensed the trap, and the relationship dissolved into nothing. Rather than me rewriting history, I’ll point you to the film Oh to Catch a Circlemaker. In it, Matthew Williams lays bare what really happened—lifting the veil on one of the most infamous episodes in crop circle lore.
The Mayan Headdress Crop Circle: A Spectacle Opposite Silbury Hill On the misty dawn of 5 July 2009, a vision emerged opposite Silbury Hill that would electrify the crop circle season. Spanning nearly 400 feet across, the formation unfurled like a ceremonial crown of feathers—an intricate Mayan headdress, shimmering in the wheat as though conjured by ancient hands. To many, it was Quetzalcoatl’s Headdress, a symbol of cosmic wisdom and spiritual awakening. To others, it was simply one of the most breathtaking designs ever etched into the Wiltshire landscape. Key Facts • Date & Location: 5 July 2009, opposite Silbury Hill, Wiltshire • Size: 400 feet (122 meters) in diameter • Design: A stylized feathered headdress, echoing Mayan and Native ceremonial regalia • Season Context: 2009 was a year of wonders—the Jellyfish at Wayland’s Smithy, the Dragonfly at Yatesbury, the Phoenix rising at Yatesbury—yet the Mayan Headdress towered above them all in complexity and grandeur. • Community Fascination: Researchers, photographers, and seekers of mystery flocked to it, convinced they were witnessing a bridge between ancient myth and modern enigma. Behind the Curtain: The Story of Its Creation The 2009 season was already ablaze with activity—arguably the most prolific year in crop circle history. Into this whirlwind stepped a film crew from Los Angeles, connected to researcher Colin Andrews, intent on capturing the phenomenon for a documentary. Their footage, however, risked blending into the sea of ordinary crop circle films—unless they could secure a spectacular finale, a “mic drop” moment to eclipse all others. The answer lay not in chance, but in design. At the Barge Inn, the unofficial headquarters of circle makers, fate intervened. Terry Roderick, a circle maker living aboard a barge on the Avon Kennet canal, found himself in conversation with the crew. Over pints of “alien ale” and whispers of much-needed funds, a plan began to crystallize. The Plan It was deceptively simple. The crew would climb Silbury Hill in the pre-dawn hours, set up their cameras, and wait. Terry’s instructions were clear: do not roll until dawn. Whether they obeyed is anyone’s guess. Perhaps they have more footage than meets the eye, they did after all have some decent night vison recording equipment. As the first light broke through the mist, the miracle unfolded. Out of the clearing haze, the outline of the Mayan Headdress revealed itself—majestic, fresh, and untouched. The cameras rolled. The crew had captured what every documentarian dreams of: the birth of a crop circle, shimmering into existence as though summoned by the gods of the hill. They entered the formation, breathless, declaring themselves the first humans to step into its sacred geometry. The footage was gold—the kind of capture that could make their entire journey worthwhile. The Aftermath Later that month, the crew appeared on George Noory’s radio show with Linda Moulton Howe, recounting their extraordinary luck. The audience was spellbound. Yet behind the curtain, whispers spread. Circle makers, never shy of boasting, began to spill the truth. When the radio segment surfaced on YouTube, Howe had it swiftly removed. Why? Perhaps because the illusion of mystery was too precious to lose. The documentary itself A Field Full of Secrets remains a curious artefact. Part satire, part sincere exploration, it dances between revelation and enigma. Like most crop circle films, it clings to the mystery, because without mystery, the magic fades. Legacy The Mayan Headdress remains one of the crown jewels of crop circle lore. Whether seen as a divine message, a masterwork of land art, or a staged spectacle for the cameras, its impact endures. Opposite Silbury Hill, where ancient earthworks whisper of forgotten civilizations, the headdress seemed to remind us: myth and mystery are never far apart. Footnote It is whispered—half in jest, half in reverence—that after the harvest of the Mayan Headdress formation, a tonne of grain from the circle was exported to Mexico, where it was transformed into “tortilla wraps.” Whether fact or folklore, the tale adds yet another layer of myth to a crop circle already steeped in a deceptive frame. The Theatre of Wiltshire Skies Wiltshire, England—rolling fields, ancient monuments, and a sky thick with secrets. This was not just the stage for crop circles; it was a militarized landscape. RAF Lyneham, active during the peak years of the phenomenon (closed on the symbolic date of September 11th, 2011) and RAF Boscombe Down, still operational today, made the county’s airspace one of the most closely monitored in Britain. Any pilot wishing to cross those skies had to radio through to the towers. The Ministry of Defence watched constantly, radar screens glowing with the pulse of the unseen. When anomalies appeared—blips that defied easy explanation—helicopters were dispatched. Sometimes it was routine. Sometimes it was something else. The Helicopter Spectacle For visitors to Wiltshire’s fields, the military presence was impossible to ignore. Apaches, Gazelles, Pumas, and Chinooks thundered low over formations, their floodlights sweeping across the crops. To the casual observer, it was thrilling—an added layer of mystery. To the watchful, it was unnerving. Most flights were exercises, but not all. On rare occasions, Wildcat-style helicopters were seen chasing luminous balls of light in daylight. The lights darted and teased, evading capture, playing a dangerous game of cat and mouse with trained pilots. Such incidents demanded reports. Anything unidentified was a potential threat to national security. And so the helicopters returned, again and again, circling the mystery.  The Westwoods Incident, 2009 One night in 2009, around 1 a.m., six military helicopters descended over Westwoods. Their floodlights carved through the trees, circling in formation. This was no drill. It felt like a hunt. Something had triggered their radar, something worth mobilizing a fleet in the dead of night. Eyewitnesses on the ground felt the tension: the roar of rotors, the sweep of beams, the sense that something unseen was being pursued. What they found—or failed to find—remains unknown. But for those who watched, it was proof that Wiltshire’s mysteries had drawn the full attention of the military machine.  Rumours of Proof Whispers persist that the military has captured evidence of unidentified aerial phenomena—proof hidden from public view. Stories circulate of Apache helicopters recording circle makers at work under cover of night, their infrared cameras documenting what few outsiders ever saw. Whether these tapes exist or remain locked in classified archives is unknown. But the rumour's alone fuel speculation that the military knows far more than it admits.  Other Agencies in the Shadows It wasn’t just the military. Rumours swirled of MI5, the CIA, and other clandestine agencies taking an interest. In the early days, when crop circles were still unexplained, the possibility of alien involvement could not be dismissed. If extraterrestrials were at play, these agencies would be the first to contain the situation. Researcher Colin Andrews claimed he was approached by a CIA agent offering large sums of money to declare all crop circles man-made. He refused. But the encounter underscored the stakes. Even the British Royal Family showed interest, with correspondence between Andrews and the Royals later surfacing—an extraordinary revelation that added weight to the mystery and ultimately contributed to Andrews leaving the UK for the USA. And then there were the strange gestures from within the circle-making community itself. Circlemakers.org once placed an advert for MI5 recruitment on their website. Was it satire, provocation, or a signal of deeper ties? The question lingers unanswered.  The Human Experiment Theory Some believe the agencies were less concerned with aliens than with us. Crop circles, they argued, were a perfect laboratory for studying human psychology: how communities respond to unexplained phenomena, how belief systems form, how mystery manipulates perception. Were the fields of Wiltshire being used as a grand social experiment? The Fade of the Phenomenon By the late 2000s, as evidence mounted that most geometric crop circles were human-made, the fever began to cool. Mystery thrives on the unknown, and once the curtain is pulled back, the magic dims. The helicopters flew less often, the men in suits asked fewer questions, and the agencies scaled down their presence. The Silence Is Not Absolute Today, Wiltshire’s fields are quieter, the buzz diminished. Yet the phenomenon has not vanished entirely. Balls of light still appear on occasion, darting across the night sky as if reminding us that the mystery chooses its own moments to return. The silence may be deafening, but it is not final. Legacy The involvement of military and intelligence agencies in the crop circle phenomenon remains one of its most compelling mysteries. Were they chasing UFOs, monitoring human artistry, or studying the psychology of belief? The truth may never be revealed. But their presence added layers of intrigue, transforming Wiltshire’s fields into a stage where folklore, science, and secrecy collided. 
The Crabwood Alien crop circle appeared on August 15, 2002, near Winchester, Hampshire, England. It depicted a humanoid “alien” face alongside a spiral disc encoded with a binary message, making it one of the most famous and controversial crop formations ever recorded. Key Facts • Location & Date: Crabwood Farm House, near Winchester, Hampshire, discovered on August 15, 2002. • Design: A large alien-like face paired with a circular disc resembling a compact disc, filled with binary code. • Message: When decoded by Paul Vigay, the binary disc reportedly contained a warning: “Beware the bearers of false gifts and their broken promises. Much pain but still time. Believe there is good out there. We oppose deception.”. • Symbolism: Above the alien’s shoulder, three dots were interpreted by some researchers as Orion’s Belt (Alnitak, Alnilam, Mintaka). • Cultural Impact: It quickly became one of the most discussed crop circles, often cited as evidence of extraterrestrial communication. The Mission: Unmasking the Makers Behind the scenes, a trio of investigators — Andrew Pyrka, Hamish Jacobs, and circle maker Dene Hine — were convinced the Crabwood Alien was no cosmic transmission but a man‑made stunt. Yet the burning questions remained: Who created it? And why? Their first move was bold: approach veteran researcher Colin Andrews, long regarded as a keeper of hidden truths. After years of silence, Andrews finally cracked open the vault. Colin's Initial Statement was: " I was approached and contracted to Disney to provide data and a number of photographs of crop circles for the movie "Signs" and its publicity. Disney PR people, I was in regular contact with well ahead of the planning for the movie release, told me that the team were considering hiring some people to create some amazing crop circles which they hoped would hype the interest in crop circles and in turn the movie. Other dramatic plans were also being considered. I voiced my disapproval and had nothing to do with their idea. I agreed to provide my research data an a number of photographs to be used as backdrops for TV interviews with the actors and the Director, also at a number of pop festivals to promote it. The movie "Signs" was released on August 2 2002 in the USA and 13th September 2002 in the UK. The Crabwood ET face with disc crop circle was discovered 15th August 2002. After the crop circle was made and my own TV appearances had been completed - some with Mel Gibson and Night Shyamalan via satellite to advertise the film, I spoke with one of the 'circle makers' (Name on file) team based in London and asked if he would cooperate with me in confirming that they had been commissioned by Disney to produce the ET and disc crop circle, to eliminate my need to fly back to UK to carry out investigations on site? I was given sufficient information to confirm my personal anger at Disney. They had deliberately deceived the public, in favour of maximizing seats in the movie theatre "
The Clues in Plain Sight The trail seemed cold until Andrew Pyrka made a breakthrough. Scouring the digital backwaters of the internet, he stumbled upon Pinterest images of the Crabwood Alien and the earlier Arecibo crop circle, each signed with the cryptic name: “B1ackprojects.” This revelation was electrifying. At the time, B1ackprojects had never surfaced in crop circle forums or Facebook debates. Their sudden appearance suggested a hidden hand — a clandestine group operating outside the usual circle‑making chatter. The hunt was far from over, but the mystery had deepened. The Crabwood Alien was no longer just a crop circle — it was a cipher of deception, artistry, and corporate intrigue, a riddle that blurred the line between extraterrestrial myth and human manipulation.
It was no brainer — the path was already marked, you simply had to follow the signs. The trail led to a website, now it appears to have vanished into the ether, as if erased from history (possibly) Yet before it disappeared, it revealed something extraordinary: an image of two young men standing defiantly within a crop circle, guardians of a secret etched into the fields. The discovery felt less like chance and more like destiny — a fleeting glimpse into the hidden hands behind the mystery. However a much more refined website is still up and running - LINK  Matt Lawrence and Martin MacKinney . University graduates studying Product Design Once Colin Andrews confirmed the names and their direct involvement in the creation of the Crabwood Alien, Andrew and Hamish stepped forward with a declaration of their own — a statement that sought to pierce the veil of secrecy and bring the truth into the light. The original statement which is held on file, however it appears that it triggered other circle makers to react ! Crabwood - Arecibo - Chilbolton * Finally Solved * On Wednesday, June 19th, 2019, one of the most iconic crop circles ever laid down in a field, the Crabwood, Wiltshire, alien face and disc, of August 15th, 2002, possibly the only one which has ever held a direct, allegedly "prophetic" message, was revealed by Colin Andrews as being a commission by Disney Studios at that time. The commission was made as a publicity stunt, to generate interest in the movie, Signs, starring Mel Gibson, which was released in the UK, and the USA, on dates just either side of the crop circle itself being “discovered” in 2002. But, as revealing as Colin's statement was, there were still some pieces of information which were missing, and essential, to bring coherence, legitimacy, and observable parallels to any further expose. Colin told us what he could about the fact of Disney’s commissioning of the work, and he offered plenty of paperwork to back that statement up. But, understandably, he was much less forthcoming, and not at all clear as to who was responsible for the actual creation of the artwork in the field, on the ground, not wanting to break confidences. A different question altogether. All we had was that a “London team” of circle makers were known to have made the Crabwood Alien. That left things unresolved, but pointing to one known team in particular. Even though generic terms like “London team”, or “Circlemaker” (even with a cap, but no .org, in his comment, as misquoted elsewhere) could realistically apply to lots of people, the comments provoked a reaction, and the ire of well-known circle making outfit, circlemakers .org (there’s the .org), aka Team Satan. They questioned Colin’s statement and/or memory, having reasonably made the assumption that Colin was referring to them (it did seem that way), Team Satan, as a) being the team whom Colin had spoken to a member of in London, and b) implying that they had made the Crabwood alien. Unfortunately, the dialogue did not progress, but degenerated, as is often the way, and Colin was understandably not prepared to elaborate, or disclose anything further at that time. But, our curiosity was piqued, and we decided to investigate, as we didn't think Colin meant Team Satan - he had someone else in mind. And, it is fair to say, the result of that investigation has taken us completely by surprise. In fact, we are now aware, and can reveal, that there was/is a team of circle makers who were known only to a few within the crop circle community. A team with the extremely high end values, skills, and contacts, as well as access to the very best tech, necessary to create works on the level of Crabwood, the Chilbolton face, and the Arecibo message “response”. A team who’s professionalism, largely cryptic existence, and abstinence from all known CC haunts, have kept them hidden from view – until now. However, it would appear that these elusive, talented, artists have been hiding in plain sight all the time. They openly confess to collaborating extensively with circlemakers .org, Team Satan, as well as fine circle maker, and sand artist, Julian Richardson. We wish to make it absolutely clear that none of information discovered has been supplied by Colin Andrews, and we would like very much to thank all those who did contribute for their dedication, and for providing vital information, leading to a wealth of new revelations, and discoveries, for genuine researchers in this notoriously muddy field. Introducing, the men we believe to be the all but certain designers, and land artists, responsible for the Crabwood Alien, Chilbolton faces, Arecibo response, and many more, Matt Lawrence, and Martin McKinney, aka, b1ackprojects. From the b1ackprojects web site: “Matt Lawrence and Martin McKinney first crossed paths back in the early 90s at university, where they were both studying for a BA degree in Product Design. ‘What we both didn’t realise at the time was that, aside from a shared interest in design, we also had an interest in an “alien” art form that was all the rage in the UK at that time… crop circles! Over the following years, we teamed up and spent many nights stomping around in corn fields, creating land art that many thought, and still do to this day, was beyond the capabilities of mischievous creative humans. We’ve made many designs in everything from crops, to sand, and even painting on the landscape. This website details many of our past land art projects (well, the ones we can tell you about), encompassing both passion projects, and commissioned works.” Matt Lawrence is the Head of Design at Envy Advertising Agency, London. Having completed a master’s degree in film and TV design at Kingston he joined VFX house, Rushes, in 1998, working his way up to head of their in-house motion graphics department. In 2014 he left Rushes to join Envy. From the Envy website: “Inspired by paranormal crop circles (of Doug Bower and Dave Chorley) Matt Lawrence and Martin McKinney formed land art group, b1ackprojects. Alien to some, this art form is not too dissimilar from an architectural project: planning out measurements on a software (such as Illustrator), taking the dimensions and scaling up exponentially, then heading out to craft the image into the sand, where the work is then monitored using drones – an idea pioneered by b1ackprojects. The air of mystery behind the art work has led to collaborations with ‘The Circlemakers’ on commercial projects such as UKTV Gold’s sand portraits of comedy legends. Lawrence and McKinney are currently developing their methods of creating land art to have more of a shaded look.” From Shots, advertising industry magazine, July 15th, 2016: “Though many b1ackprojects creations have been for love, their collaboration with another group of land artists, The Circlemakers (aka Team Satan) led to notable commercial work, including in 2002, a collection of ‘cereal portraits’ promoting Orange Telecom’s picture messaging service and of daytime TV hosts, Richard and Judy, for Channel 4. The ‘Circlemakers’ wanted to use the imaging techniques we’d developed to create faces so they brought us on board.” Later on they collaborated on C4’s Big Brother giant eye idents and the UKTV Gold sand portraits of comedy legends. “To create the faces we used a combination of methods, but it’s essentially lasers. We plan out all the measurements first on software, such as Illustrator, take dimensions then scale it up. Then we go out with a drawing, like an architectural plan. Martin developed this electronic gadget that can swing out accurate angles with a laser. You walk along the laser with your board [or rake if working in sand] and you get a perfectly straight line.” A campaign in 2004 for tech company AMD saw b1ackprojects and The Circlemakers create five giant land art designs across America and the UK to promote a 64-bit processor. Commercially, Lawrence says land art goes on- and off-trend, but he and McKinney always have passion projects on the go. They collaborated with artist Julian Richardson on the world’s longest sand drawing, The Brean Mile in Somerset, and they’re always interested in developing new methods.” They also collaborated heavily with circlemakers .org, Team Satan, on the short film, The Mythologist, in 2004. IMDb link - https://www.imdb.com/title/tt0427578/fullcredits?ref_=tt_cl_sm#cast An extensive array of links, images, and videos are provided to back up our conclusions. May we say, only the wilfully blind will not see, or deny, the obvious. But, it does appear to us that Matt and Martin never had any real intentions of keeping it all a secret forever anyway. They just wanted us to find the information through numerous clues, all of which were freely available online. All we had to do was put the missing pieces of the puzzle together. Every crop circle season new distractions and diversion come along - hence all the clues have been overlooked for so long. But, now, at last, the picture is complete. So, thank you, Matt and Martin, for many years of mystery and suspense, and the occasional argument, too, for sure. You had us all perplexed, and in awe, for a very long time. Outstanding. So, wrapping it up guys, we just have to ask… Is there still “time”? ;) The featured statements provoked a response from one of the former members of Team Satan. Team Satan name, once notorious in the crop circle underground, has since been abandoned — deemed too provocative and inappropriate. Today, they are known simply as the Circlemakers. Among them, Wil Russell stands out as a long‑time member of circlemakers.org, his involvement woven deeply into the group’s legacy.  Further in time, Wil confirms as seen below.
The famous 5 behind the Touchstone Pictures movie 'Signs' Disney's commissioned Crabwood Alien crop circle. Others may have been involved but its irrelevant now as the case has been solved. |
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