Ontological Reality is delighted to announce that work is well underway to research and write a book that will decode many of the illustrations and artwork of Emily Margaret Trim. I first heard of Emily through The Phenomenon documentary, written and produced by James Fox. It was the first time I had ever heard of the Ariel School incident, and at the time, as an active investigator in law enforcement, I was captivated by the level of evidence this case provided. 62 child witnesses successfully passing cross-examination would be enough to convict someone of a crime — to the threshold of beyond all reasonable doubt — yet the children were ignored, and like me before 2020, most people will never have heard of the incident.
In or around 2022, I watched the Ariel Documentary by Randall Nickerson and Christopher Seward, and it really did move me. It was a fantastic production, and there are moments in that documentary which have been the catalyst for Project Resonance. It was around this time that I followed Emily on Instagram. I loved her artwork and illustrations, although I really had no idea what they meant at the time. I would spend a lot of time trying to understand them, and sometimes I would engage with Emily — which, after a while of her no doubt thinking “who is this guy writing comments on my posts?”, led to us beginning to communicate lightly.
It wasn’t much communication, but it was enough to learn and understand that Emily herself did not really know what the illustrations she created meant — and if she did, she wasn’t letting on. At the end of 2024, I picked up on a post from James Fox on X, stating that Emily had succumbed to an illness she had been so bravely fighting. Emily had been diagnosed with cancer, and at the time I really had no idea how unwell she was. It came as an absolute shock, and I’m sure, like all those who knew Emily, I was devastated — there I was in tears over a person I had never actually met, known only through a few brief online exchanges and a familiarity with her art. That, though, is the power of Emily; she is simply special — there is no other way to describe her.
In the weeks and months that followed, I made a real effort to understand her artwork, using AI LLMs to fill in the gaps. I thought that feeding the images into GPT would solve everything — but that isn’t how they work. What happened instead was that I learnt the hard way about AI hallucinations and their very real limitations. The ability to extract text was poor, and even then, with roughly 50% incorrect data, the system would simply spin a narrative as fact, leading you off into some delusional tale. It was a tough moment to realise, after hours of work, that I had been misled by an AI system. I decided to walk away. I felt I had wasted my time and that of everyone I had been consulting in the scientific community.
This year, I was weighed down by a heavy feeling and a sense of guilt that I hadn’t done what I had promised Emily I would do — I gave up when the going got tough. I decided to revisit the project, but this time with a system: a rigorous approach that would take time and perseverance. I decided to manually convert all the images I had archived from Emily’s Instagram account into text. I would then slowly decode everything I did not understand from that data, using LLMs as a tool, and cross-check at every step.
At the time of writing, I have only made a small dent in the sheer volume of images Emily posted, but I now have enough to know that what Emily illustrated is beyond what any person could produce simply by picking words from a book or absorbing things from their surroundings. What is demonstrated in the illustrations is systems knowledge at a very high educational level — not just in one subject, but across several very complex disciplines — and it is encoded in a way that deserves its own book for sheer ingenuity.
To get this far, even with AI support, has taken thousands of hours of research and analysis — but it has been worth it. Not only have I learnt an incredible amount on this journey, spanning languages, mythology, science and mathematics, but I have enjoyed every step of it, and at times have been left speechless by what has been uncovered. I have encountered things in the data which are clearly intended as a message for the scientific community — and therein lies the challenge of the book.
How do you get data intended for scientists into scientific minds when, as soon as they know its provenance, they shut down? I already know I am up against it, based on some initial approaches to those in the scientific community who really should be open to this kind of material. I’m afraid there’s nothing but silence — but that’s understandable, because you cannot present this data in an email or a post on X. You have to see the full picture, and that will take time.
I have high hopes for the project, and I would very much like to involve those who knew Emily, particularly family or close friends. I would also like to speak to a few of the other child witnesses from 1994 who appear in the data — so Salma and Lisil, if you read this, I hope you can find the time to respond, as there are very specific questions I have which constitute important witness testimony.
I can’t really say more than this for now, because at the end of the day it is a book, and I don’t want to spoil the story. What I will say is that, knowing what I know now, I feel very differently about who I am, who you are, and what surrounds us all. I have great faith that this book, if completed, will lead scientific and mathematical minds — unlike my own — to great things, and humanity will be a better place for it. If that is the case, then we can thank Emily and the other 61 children who were not listened to in 1994.
I will aim to update progress as we go. This is, unfortunately, going to be a long-haul project, as the research and analysis must be completed and fully documented before the writing of the book can begin.
Project Resonance — Update: 24/06/2026
I have now converted just over 400 illustrations and notes into text descriptions, mainly concentrated on the earliest period of 2020–2021. This is a period during which Emily was uploading a large number of notes and artworks that had accumulated over the years. They include a great deal of personal content and creative writing, supported by her love of the arts, mythology, and theology.
It is in late 2020 that you begin to see a shift in the illustrations and, by May 2021, Emily is suddenly writing in a heavily scientific and mathematical register, supported by her own understanding of the arts, which essentially fill in the gaps and signpost the meaning behind the science and mathematics.
The project now has an established system for converting the notes into text and then performing cluster analysis using the latest Claude LLM models (curse them for removing Fable5, which was very effective at this). Through the cluster analysis, it is possible to identify the placement patterns of words and symbols, which in turn helps provide context and reveals the meaning of some of Emily’s unique symbols that have no real-world meaning or established use.
While some parts of the story are clear—for example, climate change—other parts rely on interpretation and clearly venture into areas of science that we have yet to understand. There is a strong emerging theme surrounding cancer research, and it appears to signpost a possible cure for cancer. This is remarkable because much of this early 2020–2021 material was presumably created before Emily had received any diagnosis of her terminal condition.
What has struck me the most is just how frustrated Emily was at not being heard. She made comments suggesting that some personalities within the UAP “celebrity” community exploited her and failed to tell her story as it actually happened. It is clear from the notes that Emily experienced mental illness, but, as she asserted herself, I can confirm that this alone would not account for what she produced over the years. It is this that inspires me to continue, investing thousands of hours of my own life to produce the most honest version of her message possible and to make people listen.
Having now examined most of the 8,000 illustrations, I have a much better idea of where this story is going. It appears unlikely that I will be able to provide conclusive proof that Emily received transmissions from a non-human intelligence. To establish that, I would need to demonstrate that Emily wrote something specific that could not have been known at the time she wrote it, which itself would depend upon the Instagram date and time stamp of the original post. Based on what I know about the phenomenon, this does not surprise me, as it appears to be an intelligence that always maintains plausible deniability. Proof is never on the table.
The material has already crossed the threshold into becoming a genuine artefact-phenomenon: an object that resists standard deflationary explanations and demands to be reckoned with on its own terms. The separate questions of whether its source is anomalous and whether its content is true will remain for the reader to decide.
I have also been considering the end game for the project, which is ultimately a book. That presents challenges because it is very difficult to write a book about someone you never met when virtually all the information I currently possess comes from open sources. I would therefore repeat my appeal for any of Emily’s family or friends to get in touch, as I would very much like to produce something that is as accurate as possible.
The book is really just the cover of the project; its real value lies in the data. I plan to release the complete dataset through an online repository. It is still early days, but the project is now fully operational. The work is incredibly demanding, but I have enjoyed every moment of it, and I am grateful to Emily for spending so much of her time on this planet producing and sharing her extraordinary creativity.
Project Resonance — Update: 17/05/2026
I have just completed the text description for the 90th of Emily’s illustrations, having previously spent a couple of weeks securing and preserving over 8,000 illustrations from her Instagram account. The first rule of evidence gathering is to secure and preserve evidence because we have no idea if that Instagram account will always remain live and/or accessible.
After capturing so many illustrations, I had to pair up duplicates of the first 100 we are examining, which mostly sit within what I call the “notebook era” of Emily Trim’s illustrations. These are the most data-dense illustrations because they came from a time before Emily’s automatic writing transitioned from English into whatever abstract text appeared in the later years.
What is interesting — and extremely important evidence — is how Emily built and added to notebook pages, because this demonstrated that either she or her source had a genuine understanding of the expert fields being written about.
One of the biggest breakthroughs of the project came today when I finally nailed down the model of the universe Emily illustrated with absolute scientific and evidential precision. I now know what makes up the rest of the universe — the part science does not yet understand — and from this macro scale I now have an anchor from which to work downward and construct the finer details all the way to the micro scale, covering technologies and the humanities.
Another major breakthrough came when the data led me indirectly to the works of Charles Hinton, P. D. Ouspensky, and Claude Bragdon. It appears that Emily’s illustrations constitute a continuation of this extra-dimensional ideology, and what truly shook me was the source. Bragdon was inspired by the automatic writing of his wife, Eugenie Bragdon, and he wrote a book compiling all of her automatic writings called The Oracle.
Eugenie passed before her time some seven years into the writings, which — coincidentally or otherwise — is the same length of time Emily was posting on Instagram before tragically passing from cancer, also at a very young age. There is a clear difference in the language used between Emily’s and Eugenie’s source, but there are many commonalities which cause me to suspect that the language style adapts itself to the mind of the recipient while maintaining a consistent message.
My current level of understanding has also allowed me to begin constructing the skeleton of the book, but as you will see, I have decided to remove spoilers from my X account. The reason for this is because I do not want the work stolen and, at the time, posting it there was a waste of effort because no one was reading it.
What is important is that this work is finished, because it is game-changing for the world. God forbid anything should happen to me — someone would need to retrieve a copy of the data from my computer and continue the work.
Whatever the outcome, the data I now hold is one of if not the most remarkable single-witness artistic outputs connected to a major UFO/NHI contact case in all of history. It is a dense, evolving techno-mythic system produced by a credible firsthand experiencer and the world needs to hear what Emily has passed on.
Ontological Reality 