Transcript of #2558 - Tyler Engle

Joe Rogan Podcast, check it out!

The Joe Rogan Experience. Train by day, Joe Rogan Podcast by night!

All day!

Tyler!

What's up, dude?

What's happening, brother?

Thank you very much for being here. I love your fucking Instagram. You, you have a rabbit hole of an Instagram, dude. It's so good. Your latest one on Noah's Ark is really fucking interesting because I knew about the scans. But I did not know about the connections to the Sumerian text and how he was referred to on the Kings List.

Yeah.

Yeah, let's— I sent it to you, Jamie, just to start off, just because I want to really blow up your Instagram because it's so good, dude.

Thanks, man.

My pleasure. It's so many times where I'm doom scrolling, I find that I'm like, oh, I'm learning something. This is justifiable. So, this is, um, it's called baseforge.us. That's Tyler's, uh, Instagram, and this is all about these new scans. And they dug into it today, I think, today or yesterday. It's been 2 days. And they think that they hit petrified wood, which is really interesting. This whole thing is very weird, but let's, let's just hit this.

New scans from Turkey, Mount Ararat, the Noah's Ark location. They got a new little drone out there that's using the same technology that they used to find the Hawara Labyrinth in Egypt recently. Mind you, both of these were not taken seriously by the mainstream. I'm still skeptical, but the evidence is getting a little overwhelming. Because the Earth is not lying. Mount Ararat is almost 17,000 feet high, straddled by 2 of the saltiest lakes on Earth and a dry one to the south. How did it get there? Most people confuse the flood with the Younger Dryas event. That is way too far back in history. The nearby town of Şurupak was buried in 50 feet of mud. That mud was dated very close to the mud that is covering this structure. But Shuruppak is very interesting. That is where Noah was from. The ancient Sumerians called Noah Ziusudra, the last king on the Sumerian Kings List before the flood. These guys were a megalithic culture, meaning they could work really big, really hard rocks. Their temples are so destroyed, there are 10-ton stones just laying out in the middle of nowhere that got thrown off the top of a mountain.

But that's very important because these guys could work really big stones. And right by the site of this ark are these things. What are these things? These are called drogue stones. You see the hole in the top of them? You fit a rope or a chain through that. They're anchor stones. They're found in ancient Greek and Roman ports. What they would do is suspend them off of the boat to keep it stable in rocky water or anchored. Noah's Ark didn't have a mast or anything to steer it. It was the largest ship ever built and meant only to survive this one event. They'd need to be that big for a ship that large, and those dimensions are exceptionally close to what we see in the ground. I put this site and the temples in Hidden History free update.

Explore it.

Okay, for real though, how much more evidence do we need? Just dig the thing out.

Well, I think they are trying to at least slowly excavate that area and figure out what it is, but just the story itself It seems like, as written, so preposterous that all of the animals on Earth were put on, you know, 2 of each on a boat, and then the flood came, and then afterwards they repopulated the Earth.

Yeah.

It seems like a ridiculous simplification of something that was probably at least somewhat true. Like, I don't think that they had all the animals on the boat because that doesn't make any sense. There's not enough room. You know, animals eat other animals. There's a lot of— But it does seem like there was some, probably multiple events throughout history, but some sort of an event that they're documenting.

That one's well documented, actually. The one in Turkey was—

The flood.

Yeah, 3000 BC or so, I think was the— around that area, there was multiple. And that's where you see all this, like the Temple of Ioannis, that whole region there has flood evidence.

Right.

But it's not Younger Dryas flood evidence, you know.

But it's also probably not global.

It's not. That's what— that's, I think, an important distinction that a lot of these places make is they have similar stories, but they probably weren't the same day, you know?

Right.

It could have been sequential, like some, some event's gonna happen somewhere and cause this, and then another one's gonna happen over here and cause this. But the Mediterranean area, that area is very unique because it's basically surrounded by mountains, right? Like there's this giant, from Iran to all the way to Greece, mountain range.

That's— Right. So how does it have a saltwater lake?

That's what— so, so Lake Van is really interesting because Lake Van has like a volcano, volcanic, um, origin, right? There's a volcano underneath it, and so there's like mineral deposits there, but it's one of the saltiest lakes around. You know, the Dead Sea is really close to it as well.

So what about the Great Salt Lake in Utah?

Uh, I don't— I think it's a little— I think it's saltier than— it's a soda lake. So Lake Van is a soda, it's like carbonate, and then the Great Salt Lake is like pure salt lake, same as the Dead Sea. Right? So, those are 2 different distinctions. This is like, this is definitely more of a Randall area than my area. But I like mixing these different things in because all the stories are pointing to the same, you know, that same origin. And that's where the Zayasudra thing comes in.

So, most likely, it was probably a semi-local event, like contained to Turkey, and just their version of the world, what was around them. So when they were— right, you know what I mean? Like, they don't know what's happening in China. How could they? You know, they have no idea what's going on in the Philippines. And it's wiped out, right?

Like, your whole world is gone, right? If everything you see around you is barren wasteland because you got tsunamied, like, right, the world's over, right? And that's what you're gonna put on the rock.

So the question is, was it a real event? And if it was a real event, how the hell did this Noah guy know it was coming? That's That's where things get real weird, because if we talk— even if it's just a local event, even if it's a local event, I mean, by local I'm talking about like the continent, or at least the area of Turkey. So even if it was a local event, how the hell does this guy know enough that he spends years constructing this boat, this massive boat, the biggest boat that had ever been built at the time?

Yeah.

And gets all these animals on it going, we're fucked, in about 3 years. I gotta get to work.

Like, accelerate this process.

Wasn't there— who fucking did a movie? Wasn't there— wasn't there a movie recently?

Noah, the movie.

Wasn't it a Russell Crowe movie?

Yeah, yeah, yeah.

That's right. I didn't see that.

I actually liked it because they, they get a lot of the lore in there, like the old, old lore, you know, of the Nephilim and all that stuff.

Oh, really?

Like the intro to the movie. Yeah, just watch the intro to that thing if you're, if you're curious. They do this whole backstory on it. It's really cool.

So many things that I used to think were nonsense The Nephilim stuff? Yeah, and now I'm like, hey, the giant stuff for sure.

Yeah, giants.

Giants for sure. I am almost all in on giants.

I think, I think we're all almost all in there.

Yeah, it just seems like there's too much. There's just too many stories. There's too many tales. I don't know what it means. Like, does it mean the Mountain from Game of Thrones? You know what I mean? Like, that's a giant, especially compared to me. That guy standing next to me, like Brian Shaw. Do you know Brian Shaw? Brian Shaw was in the mothership the other day. He's, uh, 400 fucking pounds. He's like 7 feet tall. He's the biggest fucking human you've ever seen in your life. His bone structure is so dense that he is one of— I think it's— what? I think there's like 5 or 6 people on Earth that have the same density of bone as this guy.

Really?

No, it's some insane number. Some insane number. It's like 1 out of 500 million people have his bone structure.

Where does that genetic come from? Where are we getting that?

But I'm saying, is it that? Is it just exceptional genetics? Like we have today, we have pygmy tribes, and yet we also have the Maasai, right? So we have these 7-foot-tall people and we have these 3 feet tall or 4 feet tall people. So like, what are we talking about? Are we talking about a different species of human? 'Cause now we keep finding these new species of human. Like the Denisovans.

You saw the new research on that now?

Yes. How big they were? Yes. They were big as fuck.

So, like, and if humans were—

Tell people about that research.

If humans were— okay, so they found, I think, a complete skeleton, if I'm not mistaken, of the Denisovan, which was—

I don't think they found a complete skeleton.

It was a more complete one than they had before.

Yeah, I think they just have pieces, if I'm correct.

Yeah, I don't think we have a full one yet, but proportionally, like, they are definitely— they were bigger than us.

Well, just the skulls alone.

The skulls are huge.

The skulls are massive.

It's like a Brian Shaw skull.

Brian's gonna be like, what the fuck?

This episode is brought to you by Squarespace. If you are thinking about building a website, you should try Squarespace. I know because I use it. That's right. jorogan.com is powered by Squarespace. It has all the features that you need to create a standout website, like an AI-enhanced website builder, SEO optimization tools, and seamless checkouts with mobile pay links. Head to squarespace.com/rogan for a free trial. free trial, and when you are ready to launch, use the offer code ROGAN to save 10% off your first purchase of a website or domain. Oh, he's cool, man. He's cool. He likes being giant. Who wouldn't like being that fucking big, man?

You're right, you're right.

Okay, Denisovans towered over their contemporaries and munched a bunch of meat.

Of course.

Yeah, that's how you get so big.

Yeah.

Um, so how big did they think they were?

7 foot something, maybe.

Interesting, right? So, and this is like the ones we found, right? So like, if you only found like my body, you would say, oh, humans, you know, were under like somewhere around 5 foot 8, 5 foot 7. Yeah, maybe they got to about 5 foot 9. And then you see Shaq's body and you go, oh, okay, well, this is not real.

Clearly.

What's going on? This is a different species. You would think like we only have a small amount of fossilized record, you know, of just human beings. Like, we keep finding these. Like the Denisovans, I think they just found them 10 years ago or less. Less than 10 years.

Getting older too, that's the thing. Like it keeps getting pushed back for Homo sapiens as well as finding new, new versions of them.

Yes. So it says here, um, Neanderthal men averaged about 168— why are they doing it in centimeters? Why are you fucking with me? Denisovans towered at 190 centimeters. What does that mean, Jamie? What's 190 centimeters?

Freedom units.

Here, I'll ask my phone. What is 190 centimeters in feet?

190 centimeters is 6.23 feet.

I was right.

Okay, good job.

I said 6'2, but that'd be like 6'3.

So that's pretty big for the time because people were— it was hard to get food. Yeah, right. So it's hard to get the protein in order to get big. Like, people during the Civil War were like £130. Like, men were tiny because they were starving.

And medieval people were a lot smaller.

Yes, a lot smaller. So it was— and it's basically a food thing.

Yeah.

So obviously this is a very big version of a human, especially considering the time that it existed. But was that a giant? Were people all really tiny and they looked at that? Because like, have you ever been to, to Italy and gone to some of the ancient structures and the castles?

Not Italy, not yet.

Pretty dope. One of the things you notice is the armor's fucking tiny.

Yeah.

Tiny.

Really?

Like tiny.

I've heard, I've heard these things.

It's weird.

And how like their, uh, the, the shoes and stuff, they like— it doesn't look like they could fit into the, the proportions of them.

Well, they're itty-bitty people.

Yeah.

So, um, when I was there, I think it was a castle that we were at. I went to a bunch of different places. Went to— we went to Pompeii, went to Florence. I think it was in Florence, but this armor was like that narrow, like, like super slender and like little. Like 5'5-ish, like tiny little dudes, because I think nobody had any food, man. I think it was hard to get the proper protein, especially if you're a soldier, and you know, you probably come from a poor class of people. You probably didn't have access to enough food to grow right.

Unless you got a lot of those guys, and it'd be kind of—

Well, you got a lot of those guys, and also they're probably killing a lot of other people that are also similar small. Yeah, you know. Yeah, unless they run into the Vikings or the—

maybe the Egyptians.

Yeah, well, maybe the Egyptians, right? Xerxes in the movie 300, right? So, it's— well, he was Persian, actually. But it's like when you hear these stories, particularly the stories of the giants, and then you find out things like Denisovans, you go, okay, so we know that Denisovans existed. And when do they think they existed? What is the timeline?

That article said that most bones, I think, are about 160,000, but radiocarbon testing on, I think, the ones that they'd use for this study were maybe 45,000 years old.

Oh, that's crazy. Okay, so if they find— just let's just think about that. So that's 120,000 years of discrepancy.

Yeah. Right?

That's nuts.

That we never interacted with them too?

Right, for sure we interacted with them.

Yeah, we definitely did.

100% if they're 45,000 or whatever it is. So then you got to think, well, this is only the bones we found, right? If you die, if I die, if Jamie dies, the odds of someone finding our bones somewhere It's so small. It's like the fossil record of dinosaurs alone. Like, dinosaurs lived for fucking hundreds of millions of years, and what do we found? Like a few hundred thousand of them?

We don't even have like a full skeleton on pretty much any of those, like 100% full.

No, I don't think we have any really. We have pretty close ones. We have some really close T-Rex ones and some, you know, some that are real close. But the bottom line is The amount that died versus the amount that we find is very small. So easily that could be the case with people.

And if you're taking— And dragons.

And dragons.

And dragons. And dragons.

And dragons.

We'll get to dragons later.

Enjoy, Behar! We're on it again, honey!

Keep it rolling.

I'm fucking never taking dragon believer off my profile. I think that's awesome.

He believes in dragons! Oh my God.

Why don't you? Why don't you do some research?

Yeah.

There's something weird going on where all throughout history people talk about giants and people talk about dragons. Yep.

And then, yeah, giants were apparently not real and now we're finding those. And then Noah's Ark apparently wasn't real, we're finding that. And all this stuff that's just not real and it was legend is now like, oh yeah, that's obviously right there.

I think very few of those stories were fiction. And I think this is evident when, when they find things like Troy, you know, which Troy was thought to be, yeah, a fairy tale, was thought to be fiction forever. And then they're like, Oh, we actually found the city. Huh. Yeah.

Wow.

And also, like, back then it was so fucking difficult to write a book. You had to write it by hand.

You had to know how to write.

Yeah. And you had to know how to read.

Yeah. Nobody knew how to read or write.

And then you got to imagine, like, how many people are writing fiction? Who the fuck is reading it? Yeah. More likely when you're around back then, it's important to Write a detailed history of what has happened so that your future generations will have— they won't have to learn from scratch.

Yeah, you want accurate accuracy there. But yeah, that's another thing that throws a monkey wrench in the whole Egypt thing too, is like hieroglyphs appear fully formed and sophisticated, right? It's not like there was a— you can see the evolution of that. You start at like Old Kingdom and it is flawless. It's like engineering language right there. And where's the— right, how?

How?

Where does it start from?

So, it's a group of 5 dudes over here like, okay, we're gonna make the cartouche and we're gonna do this and this symbol means this. No, it just shows up.

Well, the idea that we have a complete understanding of the past is just— we should start from there because that's foolish.

Yeah.

And one of the things that you detail so well is some of these temples and the sound that resonates out of these temples and some of them that are just carved right into a mountain with incredible precision. And we don't understand how. We don't really know when. It's just kind of guesswork when.

Yeah.

And we have no idea what equipment they used because it's not possible they did that with other rocks.

No.

So what did they do?

So that— I made a Kailasa Temple video a couple weeks ago, and it was like— that's the one that's in India carved straight out of the mountain, right?

Out of volcanic rock.

Basalt.

Yeah, it is insanely hard.

I got I got so much blowback that that was soapstone or that was this stone. And there's this— there's a YouTube channel called Proto-Civilization. They did this experiment where this dude took a pickaxe, hardened steel pickaxe, and they measured how much volume they could remove from the mountain, like behind Kailasa, like not near the temple. They removed like an area about this big, maybe that deep. They have the scans.

So, you're like 6 inches and like a half of—

Maybe, maybe a half inch deep.

How long did they work at it?

4 hours. And these dudes were huge. These dudes were gassed out, and it was only a 6-inch little thing. And they were doing the calculations, like, there's no way that the population, even working nonstop, could do that. And then they tried to destroy that temple, and you couldn't destroy the temple with the tools they had. So how did they make it?

Didn't they have guys trying to destroy the temple? What was the timeline that they were trying to destroy the temple? It was like 100 guys for like 2 years.

Years.

And they barely scratched it.

And that's what we still have left. 2 years, 100 dudes, nonstop.

They couldn't get anything done. It's, it's really kind of funny.

Yeah.

Because it, it begs the question, what was the technology? And we need to really open our minds to the possibility that there was a civilization that had achieved some sort of a technological sophistication that we don't understand. We don't know what the technology was. We don't know why they had it, what they did with it, but there was something going on. And I think Kailasa is one of the best pieces of evidence that's like, you know, remember the Arsenio Hall Show? Yeah, things that make you go, hmm. This is a thing that make you go, hmm. I mean, it's like, how did you do that? Guys, you know I'm into ketones and I rock with Ketone IQ, but here's something that blew my mind. Throughout history, you see all these civilizations talking about fasting. And how good it can be for your body and brain. I honestly feel sharper when I do it. That's because when you fast, your body starts making its backup fuel ketones. They burn clean, last long, feel amazing, and they help you with focus and mental clarity. But fasting is really hard. So when I need to stay sharp, I take Ketone IQ.

It delivers the same super fuel your body naturally makes when fasting right to your brain. They help me drop into laser-like focus when I want to stay locked in and think clearly. And that's the beauty of it. of it. You get the benefits of ketones without having to fast. Finally, you can pick it up at CVS nationwide, and your first shot of Ketone IQ is always free. So head to your local CVS and try one for yourself, or go to ketone.com/rogan for 30% off your subscription order.

Well, they have— the devil's in the details here, because if you look at it, Kailasa is unique. It's in the process of being finished. It's not finished at all. There's satellite temples that are being worked basically from the ground up and you can see the construction process. It gets a little more detailed at the top, and then at the bottom, you can see the scraping tool marks. There's scrapes and scoops, right? But the scrapes, the penetration depth of the scrape is greater than a jackhammer that we have. So, a jackhammer, a hydraulic one that goes through the rock and, you know, takes it out of the rock wall, does not penetrate as deeply as the marks that are still in Kailasa. So, something was— and the narrow— it's like you have to go sideways through it, and the marks are there. So, they were doing it somehow like—

In a narrow corridor?

In a narrow corridor with no light.

Like as narrow as a human body or more narrow?

It's— it goes to a V.

Can you go through it?

Yeah, it goes to a V. So you start— it starts wide, but you see the tool marks going all the way through it.

So do you think that they started wide and then that's how they V'd it out and then eventually got it parallel?

Yeah, I think, I think they, they were probably using a mixture of what we do today with, with it, but I think their tool that they were doing made it so much easier that the Like, the way that they could just go in there like that looks like it was no problem. It looks like we were just, you know, with us.

That's so insane to think about. And we are just so egocentric in our position that we are the most sophisticated culture that's ever existed on Earth. And I think there's a lot of evidence that that's not true. And the best evidence is the stone. Stonework. Hilarious.

To me, that's what got me into all of this is like, you know, obviously Graham stuff and a bunch of like this community is— there's a bunch of things that kind of shake your worldview up. But when I started looking into this, they were building the Grand Egyptian Museum and they had to move the statue of Ramses. You know which one I'm talking about?

Yes.

The giant one.

Yeah.

So, if you go to that museum, like the pictures don't do it justice. You're standing and you're looking at his shin and there's like a pool around it, you know? I almost fell into the pool. You look at it, it's kind of hard to see. But yeah, you're staring at his shin and you look up and you're like, okay. In the cartoon. Yeah, that's the one. So you barely come up to his shin. And, you know, Ramses put his, his thing on everything. But like, it's funny that you look at his face and his face, that, that Egyptian face is a very generic face. It doesn't look like Ramses. If you look at Ramses as his mummy, it does not look like Ramses. So he did this a lot, though. He put his cartouche on literally everything in Egypt.

Of course.

But It's funny because when they moved this, they had to use an enormous truck with huge steel beams to solidify it. Yeah, that's the one. Look at this thing.

Whoa.

It's like, okay.

Holy shit.

Yeah.

So, so many tons is this thing.

Oh dude, it's crazy. I think it's in 200. It's in— it's out of granite. Wow, it's a big boy.

400 tons? What's that, Jamie? He said 83 tons.

82 tons. Before it was covered up.

So, but you have to assume that the block that they had to get out of the quarry was at least 200 to get, you know, to remove the material around it and stuff. So, but what the point is, there had to be a special road, a special trailer, a big truck, and all the stuff to move this thing. And that's us now. Now do that in sand, no sand or no roads with just sand. putting water on the sand and rolling it on logs from Lebanon that are really not that compressively strong. So like all of it to my engineering brain was just, was absurd. And so I keep having these things and then like the Lacma Stone, the 300-ton boulder they put at the museum, you know, the process they went through on a perfectly flat— I think Jimmy Corsetti was the one that brought that one up. And like just having those examples is very eye-opening to the how What tool? What equipment?

What—

you know, it, it melts my brain, dude. I, I— and I went to school for this, and I had to, you know, do a lot of these calculations. I worked in construction, I worked in building restoration. I've had to do all of these things, and you can't move like a boom lift on certain roads because it'll cave the road in. And those things don't weigh as much as a fucking Ramses statue.

It's just so weird how these conventional archaeologists will dismiss any ideas that are outside of this linear timeline theory. And that, oh, they were just really smart back then. They figured it out with copper tools and sand and this and that. Like, but it doesn't even make sense. None of it makes sense.

They say they're really smart, but they also don't believe the mythology or the Kings List or anything like that. It's a simultaneous, oh, they were super smart, but this stuff was imaginary. You know, the stuff they put on the walls wasn't real, but how they built it was.

It gets to a certain point where they can't explain it away, and then they go into imagination. instead of saying, hey, maybe we don't have a full picture of this. Like, me— look, what we can do today is so preposterous that it looks like magic to anybody that lived 200 years ago. We all know that. Like, just— I drove here in a Tesla. It goes 0 to 60 in under 2 seconds. I press a button, it drives me home.

Yeah.

What? Imagine that, explaining that to someone 200 years ago. I left the club last night and I was on the phone with a buddy of mine and I just pressed doot doot. and it just takes me home. I don't even have to pay attention.

You have a global communication device in your pocket.

Right.

It can access all the world's information.

And I'm on the phone with a guy who lives in Connecticut.

Yeah.

And we're talking. I mean, the whole thing's crazy.

Yeah, like—

And this is normal.

Wipe the Earth's memory and then you're the only one that has a memory of this civilization. Try and explain that to somebody that doesn't. You'd be— they'd be like, no.

Imagine if you could find this technology 200 years from now after a nuclear war and after people had been like using sticks and stones and fucking animal skins for clothes, and then someone stumbles upon some bunker somewhere, and inside there's intact computers and cell phones and satellite dishes. You'd be like, what the fuck is this stuff? This is magic. And then people would try to, for hundreds of years, try to back-engineer it and explain it. Yeah, you know, like, what?

Okay, that's a, that's a perfect segue though, because You could have an instruction manual with those things, right? I could tell you, I could make an instruction manual. This is how you use this cell phone.

Right.

Memory is wiped, cataclysm or whatever happens, no one's going to be able to read English.

Not only that, what if it's someone like me who finds that thing? And I'm like, what? Huh?

Who?

Cell phone?

Then you start worshiping it.

Signal? What's a signal? It's in the air? Can you catch it with a net?

Yeah, it's preposterous. But there's There's— okay, the way I look at it though is the language that you have to read is the geometry, and that's why the tech comparisons are so, so powerful, is because the geometry is guiding and routing signals, and it's doing something. It's performing a function in your phone or your TV or whatever. And on a macro scale, that's exactly what they were doing too. You know, they were routing human behavior through temples. They were routing all this, uh, you know, organization, societal organization and structure for these components. So at a base level, they're doing the same thing, except you're kind of like the data packet. You're the technology instead of the cell phone, you know?

Yeah, yeah. And then there's like whatever is going on with the pyramids in terms of like what the actual function of the pyramids was. The, you know, obviously the conventional position is that those were tombs, but you know, this Filippo Biondi stuff Bondi or Biondi?

It's Biondi.

Am I saying his name wrong? He was a very interesting guy and very humble and, you know, didn't seem like he was using hyperbole when he was describing these things. And he was talking about how many times they've done these scans. Yeah, and people would just want to dismiss that data. And in fact, they retracted his paper.

What?

Yeah, yeah, the— yeah, there's like a big controversy. See if you find the controversy on that.

He just did the scan of the Titanic and nailed it. Uh-huh.

Not only that, Not only that, he's also done scans of existing structures in Egypt that they know, that they've already mapped out. The side shaft. Exactly. And he got all the dimensions correct. So, it's not like this stuff doesn't work. And so, if you've done repeated scans of this area, instead of dismissing it, well, I just don't understand why they're not all gathering around and wanting to have conversations with him and going to look at that stuff.

It doesn't make sense from a business perspective either, because if you discover this stuff, that's like an unlimited source of tourism. 100%.

Which—

have you been to Egypt?

No.

When you go there, you're gonna walk on the plateau and you're gonna be like, if I had a team of 100 dudes, I could clear this thing in a couple months. Like, the work is not the problem. That's really not it.

It's the bottleneck of—

It is absolutely—

Yeah, bureaucracy.

Yeah, because you go— people that run it, you go there and like there's, there's vantage points of like that famous picture of the pyramids with all 3 of them, the camel walking by There's like, that's like a vantage point where you can go and look at everything. You can see it with your eyes without looking at the satellite. There's something under here, there's something under here, there's something under here, and then there's gateways into it everywhere, all over the place. There's gated-off doorways into the underground that's like right up the causeway. Ben's done a great job showing that. So it's, I think it's the, I don't wanna say it's a fear, but like—

It's ego.

It's, yeah.

It's human ego. It's the fact that they've been, they've been, Saying a certain thing. They have been laying out a certain narrative for a long time. And these guys, they teach this. This— their reputation is based on it. And one of the things that experts love to be is the gatekeeper of information.

Yeah.

You know, if you try to talk to a gatekeeper of it, you try to talk to an expert about something that you don't understand, almost always you're met with dismissal. No, no, no, you don't understand. Let me explain. The King's List is all fiction. You don't know. No, no, no, these were tombs. We know there are tombs. Let it go. Like, bitch, you don't know shit. You're just another human who's been looking at this thing. And by the way, this whole fucking— this whole just academia, academia period, is recent.

Well, Eric Weinstein has done a great job in showing how, like, how gatekept that is. And I think there's a movement now where it's like, okay, well, you can say this, but we're gonna show you the opposite. We're gonna show you that it's It's the— there is proof. There's overcuts in granite. There's all this weird stuff that we can't do today. The cultures say different stuff than the history books say. There's a disconnect.

The drill holes.

The drill holes, yes. The disconnect is insane at this point. I was— when I got into it, there was like a small hill of conspiracies when this was, you know, first coming.

Wait, when did you get into this?

Probably like 12 years ago.

Do you remember what got you?

Um, it was one, Graham's book, because I, I was, um—

Fingerprints of the Gods?

Yep. I did, um, I did high-rise window cleaning before this.

Oh my God, dude. I've always said that's the fucking scariest job ever.

I was terrified. And I, like, before I did it, I was— I kind of had a fear of heights, but I had to, like, really get rid of that quick.

How did you get that job?

I—

it kind of fell in my lap, honestly. I had a window cleaning business. My dad had done it for years before, so we'd clean, like, fast food restaurants and stuff. I made great money in high school. And then there's huge money in high-rise window cleaning. You know, these buildings—

'Cause nobody wants to do it?

No one wants to do it, yeah. The insurance is crazy. Like, you have to have huge upfront cash to rent this equipment. Like, it's a wild business, but I had so much time. I would just put my headphones in, I would listen to books. And so I was hanging off the buildings listening to Graham and everybody and like—

I would wanna hear creaks and things.

Yeah, I would wanna hear creaks. Like groundings.

If something starts giving out, I would wanna be like razor sharp I'd want to have suction cups on my hands.

It was one in, one out. It wasn't— I wasn't noise canceling that one. But yeah.

So that's how you got into it?

Yeah, kind of. And then, um, uh, like Magical Egypt. There's a show.

Oh yeah, John Anthony West. I had him on a couple times.

I love his work.

Oh, he was amazing.

So the people— I really resonated with the, the engineering type of mindset because I went to college for computer engineering. And so when they— when you explain it in that way, my brain just got a little tickled because I didn't really think there was anything going on in ancient history at all until I started looking into that. And then what really kicked it off was like the Lebanon Baalbek area. That stuff just smashed me in the face, right? That stuff is insane.

So yeah, the size of those stones is beyond— it's beyond comprehension.

And the whole, the whole base of it, it's not just the Trilithon. The whole base of it is stones that are upwards of 400 tons.

And there's no record of it. That's what's really weird, because the Romans kept meticulous records of the construction, and they have records of the construction of these buildings. They do not have a record the construction of the base. Like, whatever that was was probably ancient and probably there a long time before they ever started building on it.

I think it's Phoenician, honestly.

Phoenician?

Phoenician, yeah. Phoenician Canaanites.

So what year are we talking that?

I— what I think Baalbek is pre-flood. I'm pretty convinced that it's pre-flood.

At least pre-flood, Younger Dryas flood, or pre—

at least, at least the base of it, because you can see There's like a— there's an outer wall, and they're huge stones, and then there's the inner temple wall, right? There's a discoloration between the two. They're like— one is clearly older than the other, at least in repairs. You can see clear layers of repair, right? But the Canaanite, the Phoenician Canaanites were— they helped build the temple, Solomon's Temple in Jerusalem, and in the underground of that temple is a stone that's damn near just as big as the Trilithon stones. It's just not open to the public. You don't see it a lot. You have to get a special permit.

Are there photos online?

Yeah, Yeah, uh, I think it's a Western Wall, Jamie. Um, it's— I, I don't know the estimates of it because I don't know how deep it is, but it looks enormous. And so they would help, uh, the Egyptians build too. So they were kind of like a contractor, essentially. They were really good at, um, sailing, navigation, and, uh, they could move really big fucking rocks. And so that's— the legends are, um, linked kind of by the Templar tradition, if you know any of that back Not really. You know, Timothy Hogan, the Knights Templar master?

I've heard of it, but I don't know much about the history of it.

So, so they, they kind of are the bridge informationally between where all of this is coming from because they were the first ones to excavate in Jerusalem off the record. You know, they were— the Templars were supposed to guard pilgrims when they were, you know, going to the sacred sites, but that was like their front, and then the back was where we're excavating in Egypt and Jerusalem, and you see their graffiti everywhere. There's Templar graffiti on Philae Temple in Egypt, in a whole bunch of places. In the Noah's Ark stones, the anchor stones, those are Templar crosses. Those aren't Christian crosses.

Hmm.

So, it's the angled cross, you know, where the Vs and they go in. That's the Templar cross. So, their graffiti is kind of everywhere they went. That's where they would leave their mark saying that that's, you know, one, to communicate to other Templars that this was a site that they'd been to, but also saying that there's something here that's important.

Mm-hmm. Jamie, did you find that Western Wall stone?

I'm not sure exactly which one I'm supposed to be on the screen. I don't know which one. I don't know if that's it or—

No, you want to say Western Wall? No, Jerusalem Western Wall.

Well, Baalbek is the—

that's like the— I don't think that's what you were looking for either. That's why I didn't look for that.

Keep scrolling down there.

Maybe if you write huge stone.

Yeah, just say a megalith. Western Wall megalith.

Yeah, that's the one.

Okay.

Whoa. Yeah, so yeah, a whole-ass Wikipedia page for it. It's not like—

Holy shit.

It's not a secret or anything, but the—

Holy shit.

Yeah, that's the foundation of Solomon's Temple.

Holy shit. Look at the size of that. Oh my god, that's insane.

Yeah, and they have more than that one.

11.5 feet tall, 41 feet long. And what is it made of?

I don't know that one. I want to say it's limestone. It looks like limestone, but—

500 tons.

Yep.

Holy shit.

I think Brian Forrester's picture was pretty good too.

Oh my god.

Ridiculous, right?

That's just the exposed face is 44.5 feet long.

Yeah.

The largest building block, one of the largest building blocks in the world. Whoa. So prior estimates ranged up to 16.5 meters.

550 to 600 tons.

Wow.

So that, that range is the entire bottom of Baalbek. So what the connection there is, there's 2. One is the builders from the Phoenician builders, is the, the, there's like a guild that did this huge work. They leave traces in the stone, though, and they're called microspherules. And it's a reaction, low-energy nuclear reaction leaves these. So like, if you have a meteorite impact or the plasma, new plasma physics, like the plasmoid science that's coming out now, that stuff leaves these in the stone. So there's traces of plasma interaction in Baalbek, in Jerusalem, in Iran, and some at Saqsayhuaman.

I've seen this on your page.

Yeah.

So I've seen this. What's this? Maybe it'd be a good thing to just go to that because you lay it out really well.

Okay.

Where is it on your page? Do you remember?

It's fairly recent, right? Yeah, has to do with the ringing rocks too. The ones that ring are—

He's got it up there. Which one do you think it would be?

Insane Plasma Anomalies Found in Ancient Stone. That's— well, no, that's the levitation one. The exotic metals. Sorry, my bad. This one?

Yep.

All right, and this time it's not what's in the sand, it's what's in the rock. Exotic metals from the cutting tool have been found lodged inside the rock, and they're typically only found in asteroids and meteorites. They've also been found in megalithic sites all over the world. Back in February, I was in the largest and crispiest temple in all of Egypt, Karnak. I had watched this video by VersaDoku, and it was saying how these are unexplainable cut marks because the cuts are microscopically small. There is no reasonable explanation for a cut that sharp even today without lasers. This research team got a sample, and they were looking for exotic metals that the Egyptians did not have, which they found, but they also found these. Let me explain what these lines are. When we cut granite today, we use giant saws. These saws leave a circular tool mark like the stone my dog Harvey is guarding. Oh, hi, Harvey. What was found in the Carnac stones were perfectly straight lines, which means in layman's terms that something was cutting it more like butter than like a circular saw. Anytime you cut anything, it leaves a mark.

Inside those marks are microscopic cracks where pieces of the tool can embed itself, but that typically only happens with high-speed rotation. So they got their hands on another sample from Dachour. This one has a sloping cut, which is insanely difficult to manufacture. In this one, they found 3 elements that are typically only used in the cooling circuits of nuclear reactors. When they compared this ancient cut to a modern cut of the same material, the only difference was the aged appearance. Now, the material they found the most of was copper. It was an alloy that the Egyptians could not have produced enough heat to make. Best guess was that they used chemical salts to intensify a natural reaction to create more heat. To create the metal, they would need microscopic precision in the mixture. That is something that we do for electronic circuits. Atomic-level imperfections are introduced in silicon to produce transistors. But just by doing that, a simple rock gets transformed into something that can show you me. But we haven't even got to the wildest part. Microspherules were also found in the samples. These only come from cosmic impacts, volcanoes, lightning strikes, geological processes, and human industrial processes.

It happens when something gets really hot and cools really fast. These were found in Dahshur, in Baalbek, in Iran, and pretty much everywhere that has megalithic architecture. Well, how do we rule out geology?

Baalbek.

A typical meteorite— meteorites have about 1 per square meter. Baalbek had 3 per centimeter. One thing that can do this is something called cavitation. If you symmetrically compress a water bubble, it'll release energy. It's the main reason that propellers on boats get worn out so fast. Here you can see what happens in this gear. You can see it happening in this gear, but there's another way to do it. If you hit aluminum foil with ultrasonic frequencies, it creates these holes. With the right frequency, silver is a byproduct. Now there has been demonstrations of vibrating a rock and then putting a tube drill with weight on top of it, and it will actually drill the hole itself. Now with water involved, there could be a cavitation effect going on there, but this This has not been studied. What is for sure is there is some atomic alchemy going on. This is on page 67 of Cryptex if you'd like to further explore that concept. There are 2 huge issues with the normal explanation. One, it does not make sense. Two, it does not fund the haircut that I desperately need. And that's— Glad a haircut, haircut, uh, ending made it.

Well, the, the whole thing about the the cutting of these things is we're trying to rationalize, or we're trying to explain it away using what we use today.

Yeah.

And there's a very real possibility that technology was super advanced, but in a different direction that we haven't pursued. If you think about like the directions that we pursued with internal combustion engines, electronics, electricity, all the different things that we use as technology today, That's just the way we went with the ingenuity that human beings possess. It doesn't mean that these people had to go that way, and it seems like they probably went a different way, and we don't really know what that way is.

I, I think it's an easier way than we're doing it, though. Like, there's a lot of the— that science that I was just talking about there is a lot cheaper to run these experiments. You're familiar with John Hutchison?

No.

So back in the '80s, he made this lab that he called the Submarine, and it was just this amalgamation of Tesla coils and frequency generators. And he was monitoring like Earth frequencies and cosmic stuff, and he was able to get objects to levitate. And he was— he could basically gelify metal and embed metals within other metals. And he was just messing around with some frequencies and Eventually, his work got classified and he was kind of— I think the Canadian government confiscated it. And so that it was like shoved under the rug, but his samples survived. And so the samples that he had got acquired by a guy named Bob Greninger, and he's been doing analysis on these things. And he found the same microspherules that are in the ancient stones, the unexplainable ones, in John Hutchison's samples. So there's a link here between this plasma physics, this low-energy plasma physics, and the ancient stuff. And the way we're going is very high-energy physics, like the Large Hadron Collider, like CERN. That stuff is enormously energy-consuming. Like, the experiments they do there have to, like, shut power grids off, right? This stuff you can run in a room.

Like, it just— it's just basically— it's putting— manipulating plasma through matter in a symmetrical geometric way, and it produces these really weird results. And there's a lot of— and the best way to describe it is transmutation, like old-school alchemy.

So, so here's the question, like, what, what were they using to make this happen?

This is the— so, so Bob explains it really well, but I think I— and I'm not like 100% on this, but there was a tool that we are mistaking for, for an artifact, if that makes sense. There was a tool that doesn't look like a tool. And I think what they were doing is, you know, the scoop mark tool, like the one that you see in Egypt and everywhere else.

Mm-hmm.

It looks like something that you would— it might be so simple is what I'm saying, that we don't recognize it as a tool. So, so within their system of doing things, whether it was generating power or frequencies that were able to be, uh, you know, passed through the human body— because this plasma physics, like all this new stuff, the plasma can go through your, through your body and not harm you. There's, there's safe ways to do it. And if you can, if you can transmit it to an object— and this is where the, the ancient, like, cone stuff gets really, really interesting.

Cone stuff?

Yeah, so like the pine cone from the, the Sumerian stuff, where the guy's giving a pine cone out. There's these things called votive cones. Have you ever heard of those?

No.

Jamie, look up votive cones. They would put these cones, they would, they put a cuneiform inscription on these cones and they would embed them in the temple walls. It was basically like a cornerstone or like a consecration of the temple. And what they were, they don't look like they would be significant in any way to the construction process. But we see these cones all over the place. That's it. Yeah. So basically, they're, they're, yeah, type of foundational deposit. Important buildings. Yeah. Historical memory of the ruler and his achievements. But I don't— I think this is another misinterpretation of what we have.

So yeah, this is the Met Museum's, like, official stance on it.

Yeah, of course.

So what do you think this is?

So I think this is a way of focusing this type of energy. So the same rock—

That little thing is?

Yeah.

How big is that thing?

That's like handheld.

You could—

So you think that stone with those writings on was how they focused energy?

So the, the way that this stuff works is it— they basically embed themselves in the stone. These little plasma objects are called plasmoids. They basically embed themselves. So cool looking, right?

Look at that writing, man. So bizarre.

You know, cuneiform too is— or Sumerian is a language isolate. There's no It just appears. There's no precursor. Cuneiform is like English, like it's a style of writing, but Sumerian, no precursor, just here.

Fucking weird.

Yeah. And so they have these things. And if you look at the megalithic work from the Sumerians, like the Temple of Ionis or Kef Kalesi, that stuff is the most precise stuff. It's more precise than anything I've ever seen. It's A-Y-A-N-I-S.

All right.

I tried. That was close.

Which one is it?

A-Y-A-N-I-S. It's in Turkey or Anatolia. Yeah. See the geometry there? That basalt.

Whoa.

So, the gray one, I think it's like andesite or something.

The one above?

No, no, if you zoom out, Jamie, it says the Fortress of Aeionis, Turkey. That one. Yeah, those are very hard basalt, I believe, and they are completely buried. It's like the vast majority of this temple is utterly unrecognizable, but they have the same polygonal masonry, same signature of, you know, everything we see around the ancient world. But, um, yeah, Matt LaCoury is actually doing some great boots-on-the-ground work with this. He's got the, I think, the only footage that I know of, of him walking around this place. So click that. Um, no, go back one more. That one, Urartarians, Aonis. You're down, or one more. There you go, that one. So you can clearly see that the, uh, like, the style, you know, is exceptionally ancient. And then you've got the same thing you see in Peru where the newer stuff, the mud brick, is on top of it. And, you know, right. Clear signature of this was exceptionally old.

And so these cones, this is the question. What, what are they doing? How are they getting a stone cone to project energy? Like, what is the process? What do they believe? What's the theory?

From my understanding, it's a resonance with the plasma itself. So it embeds itself in the rock when it goes through this process. And the sun can do this. Like, natural processes can do this, and they do it all the time. time. They— there's a, uh, the phenomenon is a rock that rings. So it creates these little voids in the stone. The plasma goes through the stone and it eats away at the grain boundaries and it creates these little voids in the stone. And when you tap on the stone, and this is all over Egypt, all the obelisks ring, most of the central altars will ring. And it is still— it's— the process isn't 100% worked out yet. We're still trying to figure it out. But what I— from what I understand is the the cones or a sharp object, even your finger can do it. Like, it's basically a sharp point is where charge accumulates, right? That's why we have lightning rods on top of houses. That is essentially a tool. And if you have 2 of them, you can kind of guide and position this and work the field that it's in. It creates this thing called a monopole.

And it's, you know, magnets have 2 poles, like a north-south. A monopole has one pole, and it's all— it's a theoretical particle, but it has one pole, and it's embedded in— into this rock, right? But it bends the field around it. It bends the magnetic field of the Earth around it. So if the cone or the tool that you're using resonates with that cavity of the stone, then it can essentially move it around like a— Right.

But where are they getting this energy from, and how are they getting it into the rock?

So that's— that's what we're That's kind of my process, what I'm trying to figure out with the whole temple network of things. Because when you connect, the basic idea of it is connecting the ground to the ionosphere. And if you create a bridge through geometry or temple, then you have a connection between those 2. And then the hardware of that temple kind of routes that signal. And then the signal can then be essentially broadcast out to other nodes in the network. And that's where you're getting your— it's like a Wi-Fi, like a router. And so the process of making them though is you have to essentially pass this energy through the rock. You have to pass this plasma through the rock and it reconfigures the structure of it internally. And one of those signatures is the ringing rocks. That's why I made that video.

How the fuck could they figure that out?

That the divergent science, that's what you're saying, is they went down that path and it's honestly to me, it's easier to understand than our side, the way we're doing things. I think we're kind of beaten. We hit a dead end at some point. We're kind of beating it over the head. Not like we're not making progress, but this stuff seems to be the right way to do it. And it seems like they everywhere knew it, that they could reconfigure this stuff and that it would explain a lot of things. Like, I'm not a huge fan of the geopolymer theory of, you know, they pour these rocks because there's just too much evidence that they they were fit together like that.

Right.

But it would explain it because that gelification, like I was saying with John Hutchinson's work with metals, it does this to pretty much anything. It can do it to rock, to whatever you pass this thing through. It's almost like an intelligent system. I'm probably butchering a lot of this, but like the science is— this is the newest frontier of that research.

And so how long do you think a civilization would have to exist before they went down this alternative route of technology where they could figure that out? This is where it gets probably—

Have you heard of the ringing rocks in Pennsylvania?

Yeah.

I have not. There's a park where there's fucking tons and tons of these rocks that people go and hit with hammers and they ring like bells.

What?

That was—

And no one knows how— what I'm looking right now, no one knows how they got there or how they were formed. One website said witchcraft made them, which is obviously not real, but—

The Native Americans used them. They would bring them to some of their sites, sacred sites.

Well, what is that rock made out of that it does that? Ringing rocks, period of 1,000 years, these boulders were formed, erosion, activation of water, a rare geological experience awaits visitors. When struck lightly with a hammer, each boulder gives off a bell-like tone. Size and shape of the boulder affects the tone. If removed from the site, the boulders will no longer possess this unique quality.

What? So you don't steal them. Yeah, but maybe not. I mean, that's maybe how you stumble across that.

How would that be possible?

Ancient times.

How would it be possible if you remove the boulders and like put it in your backyard? You couldn't get it to ring.

I just made a video on the ringing rock phenomenon.

Yeah, they got to be touching each other or something. That's very strange.

Because it's—

that's weird, but it's not as weird as this idea that you're, you're suggesting. Because it's like when, you know, we have to think, how long did it take us to get to the point where we have cell phones? How long did it take them to the point where they were able to use geometric patterns to connect the ionosphere with temples and generate plasma power with stones or what?

Yeah.

Like, what are we talking about? How long do you think these civilizations existed?

I don't— I'm not sure that it's like a— the way we're looking at it, I don't think it's— that fits. Like, let's take the dynastic Egyptians, for example.

Okay.

I don't think they came up with that. I think there's 2 classes, like the Osirian, the Osiris Shaft, and Great Pyramid. Those are classified, in my opinion, as hardware and infrastructure. Whereas the temples like Luxor, Karnak, and the, the ones that you would traditionally think of as Egyptian, those are the software layer, the operating system of how to use this stuff, right? So you have 2 separate things, and then you have in the middle, you have the wetware, that's the human. So the wetware can be programmed essentially using the infrastructure and the instructions. So that to me doesn't seem to— this whole system does not seem to be invented by the dynastic culture. It seems to have been interpreted by them, maybe through a representative of the prior culture. That's like the, the kind of the Graham idea of, you know, maybe there were survivors, they knew how to work it, they came, they told these guys how to work it, and then they got a little cocky with it.

And when we say the original culture, like, you— are you talking about like the King's List?

Yeah.

You're talking about like Yeah, these people that supposedly lived for thousands and thousands of years.

Yeah, I don't think they were— I mean, especially with mummification stuff, I don't— I think they knew how to like reinhabit, reincarnate intentionally into another body, essentially, you know, so they could continue that.

Where do you get this from?

What do you mean?

Where'd you get this idea from?

I mean, the mummification ideas as how they passed on knowledge, that's, that's like Egyptian lore. That's how they did it. So, Horus is the sun god on earth, right? The wisdom of Horus gets transmitted to every successive pharaoh. So, you would go through the training through the temple complexes and you'd go up the Nile and you would learn what you need to learn at each temple. Each temple has a theme.

Exactly.

Like every single one of them is trying to teach a life lesson, philosophical lesson, history lesson. And so, you would take that initiatic path and then at the end of that path, you would be anointed as the sun god on earth, right? But that was a process that you had to basically tune your brain receiver to handle, right? So it's like, I can't go to the gym and immediately hop on and bench 405, right? I have to spend years and years training and working up to it. But once I hit that 405, I'm crowned the champion if that's my personal best or if I'm at a competition, right? Their crowning of the champion would, would be downloading the previous memories of the, the prior pharaoh. It was a transfer of consciousness, essentially. I was— have you seen the show Altered Carbon on Netflix?

Yes.

Like they had those sleeves.

Yeah, I watched the first couple episodes. This episode is brought to you by Bluechew. Man, let's talk about Bluechew. They're already the number one brand for better sex. But what they're doing with Bluechew Gold is completely next level. Gold is a 4-in-1 formula designed to make your bedroom noisy again. Obviously, it gets you hard like you're back in your 20s, and everything is handled 100% online. But Gold boosts your arousal, getting you ready for sex physically and mentally. Plus, it dissolves under your tongue for faster absorption, so you get that spontaneous energy Back. Look at the stats. Gold is 3 times stronger, 5 times faster, and 8 times longer lasting than old-school methods. Bluechew Gold is the real deal. Right now, buy 2 months of Bluechew Gold and get the 3rd free with my code ROGAN. You'll also receive free overnight shipping. Head over to bluechew.com for details and important safety information. Check it out. This ad and the products being advertised are intended for a United States audience.

I think that was a similar process to what they were doing, but they did it without like a technological barrier.

Okay, so the idea— this is like similar to the idea of the Dalai Lama. Like the Dalai Lama, like each person is like a reincarnated version of the Dalai Lama. They have to go out and find who it is. Yeah, so the idea is that these people didn't live that long. It's not like they lived for tens of thousands of years, but the, the essence of who they were was transported into another vehicle, another body.

Yeah.

Why do you come up with this idea?

Because I think it was a developmental process. And one, I think we would maybe see some evidence of it. And I think that the— it's kind of right in front of our face. The mummification phenomenon is just weird in general. You know, it's just an outlier in terms of history of of a process that we don't really understand. And I think what that was, was a— I would call it a quantum anchor in my terminology. And what I mean by that is like it's a bookmark that can access a certain amount of memory from another person, right? So what the Egyptians would do is— have you seen like the full casket of a mummy? It's layered. There's huge— there's like the outer stone layer and there's a wood layer. And then they just keep getting like— it's like a Russian doll. It's a nested Russian doll. They're selective with their materials, though. The selection of materials is, in my opinion, what they would do to like keep that frequency in that particular mummy. They would hold on to that frequency. And then whenever a new pharaoh would come in, they would basically have a ceremony, probably involve psychedelics of some sort.

download that previous pharaoh's memories and knowledge and wisdom and all that stuff. And so they could continue the, the reign based off of inherited wisdom instead of me talking to you about the lessons that I learned in my life. You directly experience them through an altered state of consciousness.

Mm, you know about Rupert Sheldrake's theory of morphic resonance?

Love it.

Weird stuff.

Right.

And it's also weird that there seems to be some evidence that points to the fact that it exists in nature. Like, if you teach rats how to navigate a maze on the East Coast, the rats on the West Coast navigate it quicker.

Yeah.

Like, it's measurable.

Yeah.

Like, they figure it out quicker.

Yeah.

And that you could pass this information on to generations. Like, there was that study that— there was a young man who, I think it was a lavender smell or something. He did— well, there's one that he did. There was one that they did with caterpillars where they figured out that caterpillars can contain memories.

Oh, because they, they dissolve themselves and then become the butterfly and they still remember this stuff.

Yeah, exactly. Yeah. And so there's some weird stuff with memory and with genetics, and that memory is somehow or another like memories of puzzles and different things that they've tried to get people to do and animals to do, and also different reactions that they have to stimuli, whether it's negative or positive, like getting shocked if they smell a certain thing, and then future generations are— they avoid that thing.

Yeah.

It seems that we don't totally understand what memory is, and we We probably have a very crude idea of how to contain it, and how long it lasts, and like what it actually is. It might be information that just exists in some other state that maybe a very sophisticated civilization has figured out how to quantify that, and how to capture it, and how to transmit it, and how to use it.

Yeah. That's basically the idea, and I think that's what they're saying directly in the Egyptian texts. I honestly do believe that because they get hyper-detailed on how to navigate this, this realm. And it seems very similar to like the stuff you see of the DMT research where you encounter an entity or you have this shared experience of something that you can't really explain. Maybe they were explaining that. Maybe that's what they're, you know, they were mapping that like we're kind of mapping it now. But they, the way they did it was to, if you go into the temples, they restrict your sensory input. That's kind of the point of the temple is you start in this big outside courtyard and you narrow into the final, the naos of the temple, the main big old box of it. And when you get in there, the environment is extremely acoustic. They would obviously have like incense and stuff going too. So you have this like, you have this tuned state that you're in, right? And then the deity itself in each temple, in Egypt, Rome, and the Hindu culture, all of their temples were the literal bodies of the It wasn't a— we associate them with churches, and churches are not the same as cathedrals, and cathedrals are not the same as temples.

Like, these are— they're all technically a temple if you want to put them under that umbrella, but the function of each one, wildly different, right? So the Egyptian version was, was to align your consciousness with this sort of energy frequency. And if they're in physics, there's a concept called spontaneous synchronization. Where if you have a metronome and it's on a moving base, it will sync up with other metronomes on that moving base. And what it is is frequency in training, pretty much. It's, it's the, the dominant frequency subtly aligns the other frequencies until they match up. And in my opinion, that's what they were doing with the brain. And they were essentially building that, that receiver of their brain through this ritual process to receive that deity's consciousness. And that is the temple side of things. That's not what like the Osirian's doing. The Osirian is not one of those things. It's a very huge, large infrastructure project that looks like it was meant to withstand a whole bunch of stuff. The temple is something that's meant— it looks more like a programming interface where you would go in and you would learn this stuff like a university, but basically like Neo downloading the kung fu, you know?

Mm-hmm.

Ooh, so how long would a civilization have to exist before they figured something like this out?

That's—

this is where all of, all of everything kind of converges, because, because if we have it, if we have evidence of— I don't want to say it's ancient aliens, but a civilization that appears to be alien to us, like we were just talking about, if you found a vault with all our technology locked into it, you'd be like, what the But if that were the case, then, and this cataclysm happened, you know, I think that their timeline is correct. I think that we should take their timeline seriously, the Sumerian and Egyptian kings lists. I think that they're probably more accurate than we want to give off.

And their timeline is hundreds of thousands of years.

Yeah.

Especially the Sumerians, right?

Yeah.

Like some of the rulers, how— what's the longest ruler?

I think it's like 50,000, something like that. Yeah. Can you imagine being around here for 50,000 years?

And then you have things like the Book of Enoch.

Yeah.

Right? Which talks about the Watchers who come down and mate with the daughters of men and create the Nephilim, a race that destroys everything.

Yeah.

Which sounds a lot like us. But this idea of being visited is ubiquitous, like throughout all of these ancient cultures. It's— they all talk of something And it's generally coming down.

Yeah.

Like, coming down from somewhere. Those from heaven to earth came.

Yeah.

You know, this is, this is the common theme, that something comes down from the sky.

I, I think too that if they were that capable of, of doing this type of transitionary, uh, you know, memory wiping and re-downloading type of a thing, we, we may not have really even noticed that they were that much different unless they look like the Peruvian mummies or something, you know, like those things. things. But if they could do that, then they probably looked a lot like Egyptians. They probably looked a lot like the people that they were encountering because of this phenomenon of them breeding with the local populations. And then that's where you probably get your explosion of civilizations at this same exact time in history, where we get agriculture and all this, this rule of law and like how to build these crazy things. They all pop up at the same time. So those those are pointing in that direction, in my opinion. And then once they got a stable civilization to kind of hold on to, they could slowly build it back up and keep this process going. But then you have something like that Mesopotamia flood that was intermediate between the Younger Dryas and now, where you have these periodic, like, we almost made it, and then the information gets thrown back again.

So it's just been this, like, cat and mouse game of we almost got it and no, something happened. Right.

So there was probably a period of peace in terms of like natural disasters and cataclysmic wars and whatever it was, a period of peace where there was enough time where they could innovate and get to this insane level of sophistication.

Yeah.

And the evidence that we have is probably these megalithic structures.

Yes. And that's— that to me is the— they knew where the infrastructure was because even the, uh, like, like Angkor Wat has megalithic infrastructure. There's, there's a bunch of places that you can't really tell it's megalithic because they would build on top of these temples.

Right.

And the infrastructure part, like, like Teotihuacan, Chichen Itza, those— that stuff is the best example I use because they're also nesting dolls of pyramids, right? So the inner core of the, of the, the pyramids seems to be that someone knew where that thing was and they were like, look, you got to build it like this and get it aligned properly and then it'll work again. again. And then they just kept on doing that. And then it just builds up. And then by the time you look at like Karnak has megalithic stuff in it, it's the biggest temple in Egypt. But around it, it looks— there's Greco-Roman stuff. There's like modern repairs. It's so hard to tell what is the most ancient stuff. But you could— when you encounter it in Egypt, you physically feel that it's the ancient stuff. There's like a— there's a vibe to it. You can see it.

So, well, this has been detailed too. When people talk about the erosion, when they talk about the erosion, particularly in Giza and some of these areas, there's different levels of erosion. And there's some erosion that seems to indicate tens of thousands of years.

Yeah. And that's, that's what's thrown kind of a monkey wrench in it. There's like, Petra is a great example of this. Some of the stuff in Petra is crazy, crazy eroded, and some of it looks like like pristine, perfect, you know? And, and there's— they're very— Petra's only like 10% excavated. You walk around Petra and you're walking on the roof of some building and you can look down in there and it's— yeah. So that stuff in the right places where they put these big, like the treasury and stuff, looks fine. It looks, it looks like they, you know, well preserved. But there's this— That guy right there, the breathtaking natural wonder, natural colors.

To the left, Jamie?

Yeah.

Down, down and to the right?

Right.

Yeah, that one. Yeah.

Yeah, look how heavily eroded that sucker is.

Isn't this where that lion is too?

Yeah.

There's like a lion cut into the wall. You know what I'm talking about?

No.

I'll look it up real quick.

But hold on a second, stay on that one. So that— so you feel like this is like quite a bit older?

The whole, the whole site of Petra is a crazy enigma, dude. The engineering that went in there and just to make that place livable is— looks super, super old. And then you'll walk through, you'll encounter one of these guys, and then you'll encounter a perfect one in the Treasury, and then you'll encounter one that's just like— is a hole in the wall that looks like it was under construction. It's just like all of it does not make any sense.

So all of Petra is essentially carved out of these mountains?

Yeah, there's, there's a couple Roman— there's a Roman temple and an amphitheater at the end of it. But the main stuff is— yeah.

Oh, there's the lion.

Oh yeah.

That's an old-looking fucking elephant. What is it?

In the right shape, which is why it still looked like a mountain lion. That was, you know, could have lived there.

It's got a tail. Okay, that's a different one. Yeah, is that a different one, or is it a different one?

Whoa. Can I bring up a side note as you're talking? I was thinking of something and looked it up and didn't get taken off my path. Is there a place like the Hill described on telepathy tapes and ancient descriptions of anything? You know what I'm talking about? The Hill? Mm-hmm.

Do you know about that?

I know the telepathy tapes. I'm not familiar with this.

So the telepathy tapes, they talk about these nonverbal autistic kids that all meet up telepathically in this place that they refer to as the Hill. Like people that have not encountered each other physically all talk about this, this area. And this hill is supposed to be a place that— and other people have gotten to it too, right?

So that's the weird part, as I was thinking. It's, it's the hill is— it maybe is a hill, maybe isn't a hill, you know. It's, it's out somewhere in the subconscious or wherever the hell they're actually going. Yeah, but as you're talking about, you know, back in the past, I'm like, well, that didn't just start in the last 50 years.

Right.

That probably has been there forever. Well, the, the ancient Greece has some with like dream temples they're talking about. If you go down to, uh, this says shamanic soul flights, but I think more interesting is ancient Irish and Celtic. They actually, I mean, mound builders, there are hills. And the way it was described in telepathy tapes is that there's various hills. They're, they're sort of geographically located, but there are also big giant hills where there are thousands of people hanging out, talking, communicating, learning. People have learned hieroglyphs. They go ask a teacher.

And this is why drugs are illegal. And then as you're saying, I'm like, they could—

if someone was a ruler, they could have like cut off the path. Like, no one's going here anymore, right? Can we need full control?

That's— that's—

break all the tablets that show you how to get there. Yep, we're done. It's over, you know? And that's— yeah, it's my— I did this, right? I made all of this, right?

And there's a lot of evidence that people do that now. Like, look what what the Taliban did when they blew up all those ancient—

Yeah.

Yeah.

So, and if you— once you add the layer of like an altered state of consciousness, like the most impactful moments in some people's lives are their first psychedelic experiences or near-death experiences, stuff like that. That's the download. You know, you're kind of changed and altered forever after you go through one of these things.

Right.

So if you could control that instead of having this— I'm just going to see what happens on ayahuasca journey. You know, if you could control that and guide it, which is exactly what you find in the, uh, the buried— actual buried, not the, not the pyramid tombs because they're not tombs— in the actual burials of the pharaohs, they have spells on the wall that, that tell you how to navigate, to connect with them, to connect with other deities, to— it's, it's how they would, they would go through this celestial university and interact with ancestors or get full memories sometimes and have these direct experiences that when they came out of their ritual, they would bring them out into the world and teach everybody else. But to do that, not anybody can just do that. You know, you have to be able to hold your conscious form in that realm because anyone that's gone through one of these experiences know that it's kind of like you're you're at the mercy of the experience, you know, you're kind of getting thrown around. But I think to answer that question of like, well, how long does it take their science to do that?

I think that was actually the first core part of the science was learning how to navigate that world. And then everything else kind of would come easy if you could know how to access the information of how do I, how do I gelify this rock? How do I, how do I move it? How do I— because it would, it would give you secrets to nature that you're not necessarily going to see with your limited sensory perception. It's gonna be something internal. It's gnosis. That's what they called it in the ancient world, is direct knowledge of how the mechanics of the natural world actually work.

Jamie, see if you can find the hieroglyphs of the path to the afterworld or the afterlife.

I think it's KV7. I think it's— that's, that's Ramses' burial chamber.

That's weird as fuck.

I keep saying spells. I keep thinking of prompts.

For—

ooh.

And if you don't know the right prompt, you know, you're not gonna get the right thing. Yeah. And—

Or it's gonna be just as magical. Oh dude, I think you just nailed something.

Damn, Jimmy. Sorry.

Yeah. So why are you apologizing?

Jimmy, you need to write a book. Hey, write my book.

That's—

wow.

Yeah, as Jake Bell keeps saying in the chats.

Right. You gotta— and if you don't say it right, you're not gonna get the right answer back.

Right.

I've done that a lot.

So, so yeah, if you knew how to prompt that experience, a DMT-like experience, and this is what you're— so this, the, uh, the snake around the, the, whenever that it's in the hieroglyphs is, is they'll say it's protection, you know. But that's what I'm saying. If by holding your conscious form, holding a space for your conscious form, you, you essentially become an observer in this world that can navigate it, and it's protected by this, this, uh, your, your own personal vibration that you had to build up through this temple initiation protocol.

Well, it's certainly also could be under the spell of a psychedelic experience, which a lot of people encounter serpents.

Yeah, yeah, that's like a main motif in— in—

yeah, like, look, he's got the serpents around him as he's traveling.

Look at the—

look, he's all white, like he's in a protected bubble. Yeah, like he's in a vehicle.

Yeah, that's— so this is—

you'll see this too.

You'll see that's the solar disk.

What?

That's Canoom.

Yeah.

What's the solar disc?

Solar disc.

The—

that's— so the boat there, in, in my interpretation of this, is a wormhole, essentially the way that we would describe a wormhole. Uh, you can click that one, Jamie, that you're hovering over. Yeah, that's— so the solar boat is the method of transport, and this is why I say it's, it's like a direct download, because this was the protocol of like where they were going, where they were, how you find them, and they were would put down the prompt to reach them.

Oh, fuck it. Like, why are they writing this stuff down?

That's what I'm—

you know what I'm saying? Like, is this nonsense, or is this— are they trying to explain something that's an actual process?

Jamie, look up the Book of Caverns. You're gonna love this one. Okay, go to— there are these weird figures on the Book of Caverns.

Like that thing?

No, the very first one had them. Click it and you'll probably get a better one.

Uh, no.

Ken Kesey wrote a book on that? Oh, Introduction by Ken Kesey.

That one, Tour Egypt, right there, that Tour Egypt one. Click that one. Right above you.

Right above you.

Okay, now go to that file extract from the Book of Caverns Wikimedia Commons. Up there. Yeah, look at the creatures on the bottom there. What the hell are those? This one is crazy, man.

This—

the Book of Qavrat is like some of the most wild hieroglyphic imagery you're going to see. I think there— that's what— that to me, I'm, I'm, I'm going full Nephilim on that one.

Yeah, what the fuck are those things?

Yeah, and there's, there's— they're all uniform. There's optical physics in another page, like the spherical refraction, um, the, the diagram for spherical refraction is, is the image.

Where's that? So the Ken Kesey thing's actually just a novel.

Yeah. So there's another one. Maybe scroll down on this one that you're looking at here. What should—

what would be the spell that we put into the—

what's the prompt spell?

Would you say spherical refraction?

Yeah, so, so the optics of a sphere— this is gonna blow your mind. They put this on— it's the Scroll of Queen Kentkhawes.

How about spherical refraction, Jamie?

Yeah, I mean, I ain't got no signal in here.

Is this it? That top, that one in the middle right there where Jamie's— nope, it says Egyptian occult. It shows some sort of refraction.

above that.

Using a Mac, Jamie?

Yeah, I could—

I'm gonna AirDrop this to you.

What is all this stuff right here? So this is—

these are in burial. These are the burial chambers, the actual burial chambers, not the— not the pyramids. So they—

Look at those freaky dudes are on the bottom, the same freaky dudes, but they're on their knees.

Yeah, no, I'm telling you, it's the weirdest stuff you'll ever see. The hieroglyphs you see above ground and in the, like, regular temples They all have long-ass fingers.

Yeah. Yeah, I'm gonna have to search for that.

There are all these very bizarre-looking creatures with long fingers.

Yeah.

And they were standing up walking in the other hieroglyphs, and in this one they're all leaning down. But it seems— it seems to be important that they document the size of their digits in their hands.

They're utterly unlike any other figures that you see depicted too.

Jamie, can you go back to the images we were just talking about? We were just looking at? And yeah, that one. And make those guys in the bottom bigger. Like, what the fuck are those things?

They look almost tied up too.

Well, it looks like they're on their knees, like they're in a box.

And the nested gate thing that, that you see that all over the temples, the, the things that they're trapped in right next to it is like this nested gate kind of stone doorway type thing that you see everywhere.

Go back to that image again. Oh, there it is. Like, what the fuck are those things, man?

And they don't have heads here?

They don't have heads, and they have these weird long appendages that come off of their— almost like they have 2 arms, like 2 lower arms.

Yeah.

And so when you see it larger, it— I thought they were fingers. But now it looks way weirder than that.

Yeah, they're, they're definitely one of the, one of the things I think is, uh, and they're always kind of lower too. So like spirits of the underworld, I guess, like the darker, darker ones.

Fucking weird.

Yeah, I was gonna try to use a search to try to ask what's in the bottom of the image, you know?

Yeah, good idea. What, what are those? What's the conventional explanation for what those things are? Dear Perplexity, help us out.

Here we go.

Our wonderful AI sponsor Perplexity. Checking available files.

It's gonna be hard.

It's gonna have to go—

what?

Stylized human-like figures, some painted black. Wow, Perplexity is taking its time on this one. Usually it bangs stuff out quick. It's freaking out.

Yeah, it's like, this is—

you can't know this. Hey, this is like we're asking it to tell us how to make a bomb. We tried to talk to it the other day to teach us how to smoke PCP. Yeah, it wouldn't do it.

Oh man, you're not— you're not using the right spell, dude.

Eventually we convinced it that we're on PCP. Wow, look how slow it's going.

Can I AirDrop a link to you, James?

Yeah, do you see it? It should, uh—

Here it goes.

See if I can—

Some painted black and others red, walking or standing in sequence. To the left of them are 3 wavy snake-like horizontal symbols. Yeah, I understand that, but what is it?

Human-like figures.

They look headless. Small standing human figures in Egyptian-style profile, rendered as silhouettes rather than detailed people. Their long, slightly bent bodies and arms suggest they may be repeated depictions of a deity or ritual participants, but the image alone is not enough to identify them confidently. Yeah, they don't have an answer.

You can just—

they're just describing it.

You can add like the Book of the Caverns to it and it might tell you a little bit more.

Did you send that refracted—

I, I'm trying to. How do I get this to you, Jamie?

AirDrop?

It's like a link in Canva. I have—

I think you can AirDrop a link.

Okay, let's try that.

So have you had anybody explain to you what those headless weird-looking things—

No. Sometimes I just— I will encounter stuff while looking for this, and it's like, it'll, it'll pop up into my head. And I went to— I met a bunch of people in Egypt, and so I'll send it to them. And often there's not a lot of— like, we have a really poor understanding of hieroglyphs. I want to like make that very clear. The Greeks didn't get everything from hieroglyphs. The Greeks, they— the Egyptian priests, the ancient, ancient Egyptian priests, they didn't tell the Greeks everything, you know. And so, we have the Rosetta Stone that translates the phonetics of hieroglyphs. We know how they spoke hieroglyphics, like their language, but we don't know what their meanings were. We have the best interpretation from the Greeks of what they mean, but that's it.

Mm-hmm.

Like, we're not— we didn't get this straight from the horse's mouth, and it was what I'm saying. This is like, there was never someone that walked a Greek guy like through the temple like, this is what this means. That's not how they taught people. So we're still like kind of throwing our darts in the dark here with a lot of this stuff. And that's why I take the mainstream a little bit seriously in terms of like what the idea is. But you also have to look at it like they were probably looking at it, which is not the way that we would look at it, right? So Let's see if I can do this.

So this thing that you're sending Jamie, what's the, um, what's the significance of it?

So it's, it's basically matching up, like, I'm sure I— what I like to do is show physics in my, like, my videos, right, of them accurately describing processes, uh, that we understand today, but only through our scientific method, right? So that's kind of like a I don't know, a little, little sledgehammer blow I like to take to these, to these things. But yeah, Jamie, I can't— I don't know if I can AirDrop a link. It's showing you're here, but I can AirDrop a file. I'll just AirDrop you the file because this one is—

Bear with us, ladies and gentlemen, as we scramble.

So sorry. Yeah, I was just— I was looking it up. It says Perplexity is sort of saying it's like a depiction of the underworld. That's sort of what you were saying.

This is— it's always, it's always the underworld, it's always fertility, it's always protection. But like, that's such a broad term.

Like, they're getting it from academic research. Yeah, they're getting it from whatever textbooks have been written about it.

Yeah. So there's a, there's a huge gap in between our interpretation because we kind of put a blanket over all of these cultures. And they didn't treat things like we say that they treat these things. And even if you go to places that still have a really good cultural anchor, like Peru, they don't agree with what we say this thing was. You know, they don't agree that the Incas built the pre-Inca-looking stonework.

Right.

They don't claim that, but we will say that the Inca did it. And so that was always a huge problem for me. uh, like trying to make sense of all this stuff is like, well, they're saying this. Why do I believe you just because you are at a university and this is in a textbook I'm reading, you know?

Right. All right, here we go. So what are we looking at?

There we go.

There's a— yeah, so this is in that same book, The Book of the Caverns, right? This is just a different page of it. But what you're looking at down there is, um, this guy Art of Clay Taylor. I use his stuff all the time. He's like, just did this amazing analysis of the— so what's happening is there's being light. This is how a sphere refracts light.

Go back to the top, please.

It's hard to show on the screen for everybody.

Can you shrink it?

No one can see it on the screen.

Oh, I see on TV.

Yeah, yeah, I'm trying to do them both.

Yeah, so the comparison basically, you see where the beam is going in a perfectly straight line there?

Yes.

So that's containing all of these, the deities. You can see that they are pulling the The end there is Khnum. He's, uh, man, we have to go through the entire Egyptian pantheon to explain this. But basically what it's saying is there's an energy, a knowledge, a wisdom being transmitted through this, this light. And when you look at it, it is the exact optical refraction of a sphere. And so that's the, the solar disk is basically the transmitter of this, this information, the deity's consciousness. So how you manipulate that light is what we see in the actual temples. And so it's basically a tuning fork. They use the light as a tuning fork to get this information or to navigate through this underworld spiritual realm. And the evidence of that for me is in the perfect optical refraction of a sphere.

It's crazy that it completely aligns.

No, it's, it's, it's dead on.

And there's a sphere.

Yeah.

Sphere at the right side of the image.

Okay, I'm gonna blow your mind even more here.

And the spherical refraction that you see that's mirrored down below it, what actually happens with light in a sphere. You're seeing the exact thing, including the reversal of the images, top and bottom.

So, so Jamie, if you open that last one, I'll make that— this one will make sense. At the tip of that, that image that we saw, you know, they had that straight line going through it.

Mm-hmm.

If you overlay the, the Great Pyramid over this spherical refraction, it is one— we, we know that the angle of a rainbow is in the side of the pyramid. It is in the concave part of it because the Great Pyramid's 8-sided. There's a line that goes right through it. That is the angle of a double, of a double rainbow. And the the way that the sphere refracts the light is the exact layout of the Great Pyramid. And so where the Grand Gallery goes, that middle part that I'm pointing the area there, the— yeah, I'm putting the arrow to— that is where right on the tip of the sphere, it breaks the colors up into the 7 colors of the rainbow, right? RGB.

Now when you say it's an 8-sided pyramid, how are you saying that?

Yeah, it greatly complicates the construction process being 8-sided as well. So it's— you only see it on the equinox, I believe. It's a shadow of—

yeah, so, so like they're counting that as 2 sides because it's, it's, it's dented in on the flat sides a little bit.

It's got a concavity, but you can only see it certain times a year.

So it looks like it's 4-sided.

Yeah.

But each— so, okay. So do you think that when it was covered in limestone, that was more prevalent?

No, I think they probably smoothed it out. I think it's more of a functional aspect of it, because when you, when you actually, when you look at the tuning of the pyramids, they, they kind of— they, they resonate at the Schumann cavity resonances. And so I think this is a deliberate focusing of those radio frequencies down into the electromagnetic spectrum.

Go back to those images that you were just showing, please.

Which ones?

The ones you just had on screen.

The pyramid one?

Go back, make it larger. I mean, scroll back, scroll back so I can see the rest of the left side of the screen. So that right there, so the Great Pyramid is not 8-sided. What is that?

I mean, this is a thumbnail from YouTube. I don't—

I mean, they— we could go down and watch it.

This guy's— or is it?

It says.

Oh, or is it?

So you can see it when you go there. You'll see a small weird spot in the middle of the Great Pyramid that looks like there's something there, but you only see it really from above on certain times of year.

Wow.

Yeah.

And what do you think this function was?

So when you manipulate the shape of a tetrahedron or a pyramid, what it does is it adjusts the focus internally. So it'll adjust the shape of the— it's It's— there's a quantum process for it, but it adjusts the, the basically the output of what the, what the shape is doing. So if it's, uh, we're tapping into like a radio wave frequency band in terms of how big the Great Pyramid is. But there's, there's a study in 2018 that showed that it can convert radio waves into electromagnetic energy into the ground. And it's doing this passively. It's not like a It's not like Chris Dunn's idea right now. You know, maybe it was at some point, but what it actually does is it interacts with the electromagnetic spectrum and the radio frequencies that are bouncing around the Schumann cavity, which is where we exist in, right? And so what I think was happening is internally there's these chambers and these specific little nodes that were like filters, like bandpass filters, or, or, you know, taking a, a bigger wave that's passing through this and creating something inside of it that kind of slips through and that can utilize the frequencies that are, that are passing through it.

So to me, they're like more of a sink than they were like a transmitter. I think a lot of people think they were a transmitter. I think they were, they were sinking the, this flow of energy into the ground.

Yeah.

So those bands there are the radio frequency bands. And they tested this, I think it was 2018.

Yeah, 2018.

And so how do they think this is happening?

So I think they did a little— I think they did a model of it there. I'm not 100% sure on the— I think they made a model of it and they tested it in a closed environment. I don't think they actually got out there with the, you know, some sort of device that read the signal on the ground. But what they're saying basically is the geometry does that. The geometry focuses the energy. It's an alchemical process. You're taking a bigger wave and you're down-converting it into a smaller wave. And so that can interact with the environment as well. So if you change the soil conductivity or the electrical gradients that are moving through the crust of the earth, then that affects plant growth, that affects germination rates, that affects a whole bunch of things. It affects how, how lively an ecosystem is, is directly related to soil conductivity. And so at minimum, it was interacting in that way. So at maximum, they were probably routing it in other ways too.

Like, what? First of all, that's how they learn this, first of all. And second of all, what are they doing with it?

So this is the importance of— this is why I think it's infrastructure, because I think that, you know, if we're talking about these planetary cycles and stuff like that, the civilization that was before the dynastic Egyptians, the ones that built the infrastructure like Osirian, Osiris Shaft, and pyramids, they probably had to do some environmental modification to make civilization work in certain areas. I think maybe the Earth went through something quite serious before the Younger Dryas even, and this was kind of a recovery system for that. And when you look at the work of, you know, Gerald Pollack does like EZ Water, like structured water.

Oh, okay.

Yeah, he does. He does. Because that's what your body uses. Your body is water, but it's structured water. It's a liquid crystal. And it— that's because it can carry nutrients and electricity and basically all you need for life is in structured water. And every temple was interacting with this structured water, or at least a body of water, an intersection between the two. And Randall talks about this endlessly too. But so there's this geometric interface between the ionosphere and the telluric currents or ground currents that control soil conductivity, right? So if I put a geometric interface between the two, then I can shape that. And then if I shape it even more, with an underground network of pipes and systems that are distributing this out to the environment, like we see at Angkor Wat and at Dahshur in Egypt, then this starts to become an ecological machine, essentially, that has no moving parts, but is interacting with the environment in a way that, like, the best thing I can say is terraforming. You know, they were terraforming or creating a local ecology. that could sustain life where they wanted to live, in the most productive parts of the world, I guess.

So with this geometric pattern, so with the pyramid itself, what do you think the structure underneath it is? Do you have a theory, like what the purpose of it was?

If they are the shape that Filippo is saying that they are, you know, if they are accurately that big and that large, then those to me sound, they look like tuning forks. They look like there's some sort of resonant cavities in a way that if it's— if we're focusing that, that energy from, from, uh, you know, the atmosphere down into the ground, then the, the shape of it, you're essentially looking at the top of an obelisk.

Right.

And we know what the obelisks look like, and we know the obelisk ring. And so all of these, these, um, these things are lining up. So, so the, the Great Pyramid itself, the main thing is made of limestone, right? And then you have the King's Chamber that's made of rose granite that was transported from 500 fucking miles away.

But they're 80 tons.

Yeah, no big deal. But the rose granite's interesting. The rose granite is high in quartz, so it's piezoelectric, and then it is also ferromagnetic. That's why it's rose— there's a lot of iron in it. So if it is taking— if the Great Pyramid is taking in these radio waves and then essentially focusing them into electromagnetic energy, that energy is passing through the King's Chamber Which would interact with that in a way that would basically tune that energy. It's like the spontaneous synchronization of the consciousness we were talking about earlier, same concept, but going into the ground. So if we're taking this and we're tuning that energy going into the ground that our plants and our light, our humans can work with, then we have a system of cultivating this Garden of Eden essentially in any area that we want. You can— if you can bring these little devices and you can put a node here and a node here and a node here, node here, then you create this vast network of a very livable environment. And when they don't work, then you have a very arid environment that is unlivable, which is what they— what we see in Egypt now.

And so—

So you think it was geoengineering?

I think it was— no, I think it was— you can't say our phones are just phones, right? right? Our phones do way more than that.

Right.

I think their main purpose was stabilizing the local ecology and the environment of these places. I think that was a main purpose. A secondary purpose was learning and teaching humans how to use this energy in other ways that benefited life in general. So organizing society in a proper civilization would be very important. Engineering things to withstand earthquakes and environmental disasters would be very important. Hydrology would be very important. All of these things seem to be a part of that system as well, where once you have this, the battery's connected to my phone, my phone's working, right? But then I have to download the apps to do other stuff with it. The apps are essentially what the humans are doing. The apps become the human. You get to, you go into this place and it's providing you with your with your, uh, your environment you can live. And then you go into the temples and it's basically your university where you download your, your information, and then you create your civilization after that. It'd be a way of boxing up a civilization and basically white labeling it so you could do it somewhere else and using the local, uh, creatures that evolved there naturally, which would fit in perfectly with what we see, right?

If Earth evolved primates naturally and then they get modified to accept these signals by these people, these beings that came here or that had been here already, then all you'd have to do is really find another creature that's capable of speaking, and then you have your, your template. And then that template spliced with your genetics and connected with the system becomes a way of living on any world that you choose.

Okay, so you think that this was— so in this ability that these things have to control the environment and make it more hospitable, Do you think this has an ability to affect weather? Do you think they're doing that? Do you think they're making more plant growth? What do you think they're doing with this?

Both. So we have to separate these out into certain— I'll separate into 3 main categories here. So we have the Americas, which was like the biologist— biologists. They were the lab of— that worked with the plants. They were there. We see this in all of their sacred sites, right? They were acclimatizing crops. They were living in Machu Picchu where they could grow food up on top of mountains. They were still close to sea level where they could manipulate that whole environment too. They were masters of working with this. Like, the entire Amazon is pretty much engineered by humans. So, that to me is like going to school for biology or agriculture. And then, you have Europe, the European area, Greco-Roman stuff, which Mm-hmm. Which is ordering society and making sure that resources are distributed properly. And humans can, regardless of how you think about that, the Romans were the most successful empire builders of all time. And they did that by absorbing different belief systems. So they were kind of transmuting the different thoughts of the people around them and in their empire to work for the greater good, I guess. And then you have Egypt, which is consciousness, like all conscious-based, and what all their hieroglyphs and stuff.

They were kind of the people that were like, okay, this is how you make a connection with these natural patterns of nature that we call— they called Neters.

Neters.

But that's where we get our name for nature. The Neters were these patterns of uh, you know, nature consciousness and things like that. And you could essentially tap into those and gain insight, wisdom, and gnosis through that. And then you have the Hindu and the Pacific Islands over here, which if you look at all of their stuff, they were working with the water. They were prepping the water. They were cleaning the water. They were doing all this stuff to water. You have Hindu stepwells. Every one of them has a Shiva lingam that you pour water on to as their ritual, which purifies and makes the water sacred. And then, you get into the Pacific Islands, you have places like Angkor Wat, which is the most hydrologically advanced system that we've ever seen in the ancient world. And, we still don't know its true scale, right? And so, I like using Angkor Wat because it's kind of a good example of what this ancient system was where they all have a piece of, of the same, I guess, theory. They all have the technology, but they have specializations for implementing it into reality. And so with that, you have your, your population evolves in terms of intellect and ability in controlling the environment and survivability.

And so you have a school, essentially a human school of teaching humans how to cultivate this this living thing on this planet, which is the planet itself. It's basically awakening the planet to intelligence, whether that's plant life, human intelligence, whatever works with this type of energy. That was the system for implementing it, is the temple system. And so the evidence in that for my line of research would be, okay, we have clear examples of our tech doing this, and this is what it does. And this stuff, one, yeah, this looks like this, whatever, but we're working with different scales. If you're looking at the layout of these temples, we're working with the electromagnetic spectrum in our phones, and they are working in the acoustic spectrum with the temples. They're all tuned to crazy resonances everywhere, and their note— their notation for that was flowers, essentially. And the flowers match up with cymatic patterns. And so these are essentially the keys to working with the, with the different temple frequencies inside of it. So you're, you're an operator. You're like driving this thing essentially of what it can do.

Jesus Christ. How the hell did they learn this?

Your guess is as good as mine. I'm just, I'm just trying to DJ this stuff and figure out this knowledge.

Well, it's a fascinating perspective, but it also makes you think like, what are we really talking about?

Yeah.

What does this civilization look like? What does this preexisting civilization look like? Like, what was the earliest versions of it?

Well, there's a lot of interesting, and this stuff is kind of on the fringes, but like, let's say that, you know, the Martian world was our original home and it got unlivable. Something happened to it. There's huge scars on Mars. Like, something horrible could have happened to that place. So let's say they had that much time to evolve as a civilization, like on another planet. And we're trying to figure out how to terraform Mars right now. Elon's doing that. So this back and forth, like, okay, we need to have a backup world, isn't a foreign concept. It's not something that would be wildly out there to suggest that we should probably find a way of living on another world, right? Now, let's extrapolate that. Say your whole solar system's dying, or say you need a— you're trying to colonize another world because yours is too full of people. People. Well, if you have this system already, that's not a problem. You don't even have to move things physically. It's an interconnected system that works with the local environment and the local star that it's in, and it's connected to all these other stars. And they've somehow figured out this network that without moving bodies, physical bodies, you could transfer consciousness.

We see that in mummies. So if they can do that, then a star system in Orion or the Pleiades or wherever that these things are aligned to essentially has a communication base, like a router in this system, you know? So you say like, oh, how long would it take to do that? But we're talking about Earth timescales. What if that's not even a factor? What if, what if they had billions of years of evolution, and they just use Earth as a waypost or a seed bank or somewhere to store their information so that let's say something does happen on a planet in Orion, they can come back to Earth, retrieve some genetics from corn and then go to another planet and plant corn, and they can have corn over there. You know, like, that, that to me seems, seems more reasonable than saying these, these things just popped out of nowhere and they're just amazingly sophisticated and they don't have any, any connection with anything else. They just popped up, and this is—

this—

you should believe this story.

Not only that, but it's the oldest stuff that we can find.

Yeah.

The oldest stuff that we can find is the most perplexing.

Well, the Peru example, Jay Anderson, I think you've had him on, right?

Jay Anderson? Yeah.

Yeah. So, he just released his series, I think it's called Ancient Technologies. And he went through Ollantaytambo and was showing how scattered and stuff that stuff was, like the megalithic blocks are just thrown everywhere. And then, the low-tech stone stacking mortar stuff is right on top of it, right?

Right.

So, if that story is correct, If that— if the original history of this stuff is correct, what we're being told at least, then the crappier work would have had to survive something that threw a megalithic block off a mountain. If the Inca built all of this, then the crappier work on top is dated to the same— they're throwing it into the same date range, right?

Yeah.

Something that threw a megalithic block off a mountain didn't touch the crappy brickwork that was on top of it?

No, it doesn't make any sense. Yeah. Well, also, there's also evidence in all these cultures, like when, particularly Lebanon and all these, all these different places, that there seems to be this habit that people have of building on top of far older stuff. And it exists everywhere.

Yeah.

And we just, we need to assume that that's the case, I think, because it seems to be the case everywhere. When they find something incredibly complex and ancient, they build on top of that area. And then there's so much evidence of these cultures that find pre-existing structures. This is the Aztecs. Like, we don't really know who built these Aztec pyramids, which is really weird. I thought my whole life the Aztecs built the Aztec pyramids.

Yeah.

Duh, right? And then you find out, oh no, they don't even say they did it. They called it the place where the gods were born.

Yeah.

And so, that stuff existed at least 1,000 years before they were there.

And that, that just doesn't— it doesn't fit with the level of sophistication that this— that the, the story itself comes with. The cultures come with this really sophisticated and what seems like encoded language in terms— we, we say it's like their legends, but if you look at even stuff like the Quran or the Bible, there's stuff hidden in there numerically and in, in the the legends themselves that can be extracted from it that were— that seem to be intentional. That happens all over the ancient world. All of their stuff seems to be like that, which is, which is the weirdest thing to me. Because if you know all of this, if that theory is correct and they were, you know, terraforming or at least connecting on a like conscious internet level type of a thing, the only way you could really transmit that and they did this is like having a really good legend to orally transmit and that you could, you know, make songs out of and stuff like that. But once it's down on, you know, in a language, in like Sanskrit or hieroglyphics or whatever, once it's down in a language, then you have the inability to really look at it objectively because the guy that can read Sanskrit says this means this and you can't read Sanskrit.

So you're like, obviously this means this. But what doesn't lie is the geometry. And that's what, what I'm focusing on mostly is showing that this geometry has a function, and we use it every day in our devices. And if we scale that up, then we're just working with different levels of vibration in terms of, you know, seismic waves going through the Earth. And that is the equivalent essentially, of what our phones are doing with the electromagnetic spectrum. So their interaction geometrically with the natural, you know, humming of the Earth and the natural processes of the Earth—

And also of space.

And of space, yeah. The natural bridge between that is the actual connection. That's what— that is what they say in the ancient texts. If I'm translating it, that's how I read it. is they're saying to connect to the Earth here, you have to build this temple here, essentially building it, putting a processor, our processor on this spot. And to connect to the energy that that processor needs to run, then you have to align it to this star when the sun rises on this day. And to calculate that, you need to know the cardinal directions. And that's why they're all cardinally aligned. So you have these different clues in archaeoastronomy as well that are kind of validating the, the theories, and what most people would write off is the stuff that I'm like looking directly at, like that, that the legendary stuff that seems too, too crazy to be real. Well, that's probably just the best vocab they had to describe the process.

Right.

We, we have the ability to use English, which is a very high-tech language. It absorbs all other languages, and we have ways of making new words, and it evolves over time. Their systems really didn't, you know. So they had this— they had one thing, like hieroglyphs had usually had like 7 meanings per hieroglyph. So you had to like find which one in context of the hieroglyph it was, whereas ours is hyper-specific. So our language being used to translate this stuff is inherently gonna be muddy because their concepts were much larger. A picture's worth a thousand words. That's what the hieroglyphs were. And now we have to take the hieroglyph and make it into a thousand words because that's, that's our way of understanding That's a really good way of putting it.

This— and we know this is the case where things are lost in translation.

Yeah.

It's very complicated when you're just going from Russian to English, or, you know, we've seen that in scam letters when people go from foreign languages and they try to talk like— pretend like they're speaking English as a native language and they fuck things up. You're like, hey, you're not really from Kansas.

Hey, John. That's why I'm actually from Kansas.

It completely makes sense. It completely makes sense that especially when you deal with other ancient languages, like we know this about ancient Hebrew, right? That ancient Hebrew letters doubled as numbers, which is really weird.

Yeah.

So imagine that there was like numerical value in words. Oh, that's extra.

Check this out. Okay, so like ancient Mayan glyphs, for example, they are based like almost solely on cycles. fits directly in with this genetic engineering, like biological engineering framework that they use, right? The Egyptian language is more closely related to engineering diagrams than it is an actual language. They can be read, some of them can be read almost like you're looking at a part diagram and there's different views of the part, you know?

Mm-hmm.

And then the Hindu language is based on like flow, water type of a— it eventually evolves into Buddhism, right? Which is basically harmonizing the flow of your reality. So each one of these languages evolves into its function in this world, right? So we kind of have to look at it from that perspective as well, instead of blanketing all of this as this was a ritual or like this was for protection or this was for fertility. Well, yeah, it is, but that has such a huge— it has a different impact on whatever function that you're using it for. So that's, that's their manual essentially is, is their style of how they're communicating this stuff and what it— what that looks like in the environment itself.

Ooh.

And that's the crazy The crazy thing about the hieroglyphs, that this emerged. Yeah, out of nowhere. And we don't have like early hieroglyphs. We don't have a crude version of it.

There's, there's not even a— you would think that like you have a, you have a starting symbol like X marks the spot or whatever, like this means I'm the king of something, and then you just grow that into a vocabulary. Like most of these emerged having a fully sophisticated vocabulary of concepts that right now we are still trying to understand. That's how sophisticated they were, is they don't make sense to us because it seems like they— if we're looking at it from a primitive lens, how could they be talking about some quantum physics here or optics?

You know, one of the weird things about these kids, these telepathy tape kids, is some of them could read hieroglyphs like off the rip.

Like, no.

Yeah. No education.

So this would, this would mean they probably downloaded that information somehow.

From the hill?

From the hill. Right.

And the primordial mound is in every culture.

The description on it was that like there's a teacher there that teaches it to them. On the hill? Yeah, like, did they want to know it? There's like a— I don't know if it's a guy or a being or what it would be, but yeah, it's like the teacher of hieroglyphs explains it to them.

Do they describe the teacher at all?

The descriptions through telepathy tapes is now you're getting it from a kid that doesn't talk, so it's a very hard translation.

But man, it's—

yeah, sort of do this.

Well, this is the question, is like, is it— does it benefit the kid that it can't talk, right? It's not communicating, so it's able to— it doesn't have these— it probably doesn't even have the same sense of self that we do.

Or is it routing that, like, the energy of consciousness in the parts of the brain that would normally light up for the stuff that lights us up? Is it being rerouted into something else, right? Or like that.

Or they just not in their own way because they don't speak verbally, because— right? Yeah, they're not— they're, they're not attaching anything to it. It just comes to them. They don't have to process through the filter of culture.

Do you know— do you know who Matthias DeStefano is?

No.

So he's a— he says he can remember his past lives. Yeah, I went to Egypt with him, and he's— yeah, he—

I bet that dude's fun at a party.

Oh dude, no. Like a lot of my work work is kind of like trying to decipher what the hell he just said because it makes sense to me and I gotta like put some science to this because I'm like, obviously that's right. But he's like, he said that the main method of communicating in this way was nonverbal, is their whole society, it was basically engulfed in this field of all of this knowledge. And all you had to do is really tap into where you, what part of the field that you wanted to know this knowledge. He calls it a spider web. And sometimes he'll do this thing where he's like navigating through this spider web thing and there's like nodes of knowledge. And these guys could all navigate through this, this node of knowledge that was being held in it. Basically, you're inside this, this giant supercomputer of, of a database that is just like the concept of the Akashic Records. Yes. Yeah, that's so same concept, different cultures and different ways of accessing it. And he said that the vibration did something with the water. It aligned the water in a— your structured water in a quantum way to where you could get to the location of this information or experience or memory or whatever.

That's why water was so important to humans, is because that was the interface layer of the past and the future. And that's how they were able to predict things in the future, because they could just go to a different node. And if they went to this node and said, okay, the civilization is going to collapse in you know, 100 BC. But if we do this, then we could survive and everything's still gonna, you know, the cycles are still gonna happen. But if you put this temple right here, then people are gonna dig it up and then it's gonna restart civilization. So this is why they were able to mobilize their people, because they all had that shared vision of this thing happening and they could all access it because they were bathed in this field of information that that they were building with this, this temple network.

One of the fucking weirdest things in all the hieroglyphs is these— this stargate thing. Like, that, that is so strange.

Literally means stargate.

Literally means stargate.

So like, our tour guide was Mohammed Ibrahim. He's awesome, and he's kind of the one that, that has pushed the boundaries of reading this stuff, because when you go to Edfu, the building texts of Edfu Edfu are— so building texts are on the walls of the temple, right? The building texts of Edfu are actually the first records of Atlantis that we have. That's not Plato. The story of Atlantis is on Edfu, and you can see it everywhere. There's boats coming in with the gods. They're carrying him in, and he walks through the entire outer wall of the temple. And I'll show you all—

Where is this? Edfu.

It's in Egypt.

And so how old is this depiction of Atlantis?

I don't know what exactly their date is, but I'm pretty sure if Solon got it from the— it probably lines up exactly.

Is this online? Can we look at that?

Yeah, go to Edfu building texts and you'll see all kinds of boats and all the—

So that's the oldest depiction of Atlantis?

Yeah. I don't know why people attribute it to Plato. That's the first written description that we have is Plato, but Edfu is the legend of Atlantis.

That's—

does it have concentric circles? Is the whole diagram of—

They don't have that, but it has a lot of the, um, the, the plasma technology stuff that I was talking about, you know. It has like plasma hieroglyphs everywhere. Yeah.

What?

No, it has a legitimate— I, I went to Egypt to try and find this hieroglyph because I was like, it's got to be somewhere, you know. It was everywhere, dude. Like every temple I went to. Is this Is it? That's Dendera.

Who's those dudes with the wings? What do they represent? That's fucking weird.

So that's your, um, yeah, so the Ka is the hands up and the Ba, the Ba is the spiritual body and that's the, the bird. So there's 3 aspects in Egyptian conscious cosmology where it's the Mer-Ka-Ba, the light, spiritual light body. The Mer means the light, the Ba is the body that can fly through it, and then the Ka is the, your essentially like your human part of it.

So what are we looking at?

Google Edfu building text.

Oh, is this Atlantis, Egypt?

Okay, that one right there.

If you click on—

that's kind of a—

Edfu building texts?

Yeah, no, good. Yeah, Edfu building text. Google that. Building text. Yeah, they're probably not gonna— well, that one, that one's a really good one right there, but these are all over the place. That second one to your right?

Yep.

So this— the images of them coming across the ocean to Egypt are all over this. Like, if you look right above that little thing that's cut where the picture's cut off, the whole wall is them. Basically, it's showing their journey from another land to Egypt.

And look how their heads have been removed. Yeah, it's like they've been defaced.

Almost everything there you'll see that has been scratched off— the faces have been knocked off. All of the old king— old, old, old stuff has been knocked knocked off because they're like, that wasn't him, it was me.

Yeah, it was me, bro.

He's just been conquered like 30 times.

So yeah, yeah, strange how they did that, like just nuked all those guys off the record.

But look at him at that top right there, it'll show the— them, uh, showing how to like grow plant— grow new plants. It's the, the big gods to the right and the little humans to the left. They're showing the humans how to do agriculture and stuff.

Yeah. Um, just see Michael's post I just listened to a new podcast with this guy talking about how the pyramids— Jeffrey Drum.

Oh yeah, have you heard of Jeffrey?

I've heard of him. Yeah, Land of Khem.

Oh dude, his stuff is good.

So go back up please. It says, new theory suggests Egyptian pyramids were industrial chemical manufacturing plants intended to produce the products necessary for agriculture and metalworking. The acid residue is still on the walls of the Great Pyramid. Jeffrey Drum, Land of Khem. M. is an independent researcher who has spent 9 years building the case that the pyramids made fertilizer and industrial acids powered by the Earth's own electrical charge, and the chemistry backs him up. Samples taken from inside the Great Pyramid in the 1970s found a crust of calcium sulfate up to an inch thick on the walls of the Queen's Chamber, and the calcium sulfate is exactly what dilute sulfuric acid leaves behind when it meets limestone. limestone.

Yeah.

PhD chemist Brian Cohen has independently concluded the Great Pyramid produced sulfuric acid. Each pyramid made a different chemical, from methane extracted beneath the Step Pyramid to hydrochloric acid in the Pyramid of Khafre. The Red Pyramid made ammonia, and the smell is still there, strongest in the deepest chamber and fading towards the entrance. The usual explanation is bats, but Drumm says analysis of the staining on its walls found metal oxides, thorium, and nothing a bat colony leaves behind.

Yeah.

Whoa.

The whole plateau is wired. Iron veins run through the bedrock from beneath the pyramid out across Giza, and Drum has mapped them. Analysis found precious metals and rare earths along the length— along their length, one sample at 35% platinum. The long stone pits beside the Great Pyramid are assumed to have held ceremonial boats are in his reading circuit breakers in that network.

Okay, so his, his stuff, you got to dive into, is really good. His stuff fits exactly with this, this model that I'm telling you about. Like, the, the connection of these nodes and where the chambers are and stuff are tuning into different types of energy, different frequencies essentially. And the whole basis for this alchemical process I was telling you about with like the— that goes into the stone and makes the stones ring and all this stuff. That's a tuning mechanism to tune the rocks to do a certain thing. And how they achieve this is through ultrasonic cavitation. It's like sonoluminescence, that video I was showing you where it flashes.

Mm-hmm.

So when it does that, you have a release of energy that could be harvested for other things. And then you have a chemical reaction that is very likely used for what he was saying is— and that would be the mechanism for terraforming, is creating these, these elements that are needed to grow. That's what we fertilize our our plants with is these basic things.

Yeah.

So, the process is building a geometric interface between the natural energies that are already here and already tuned for this planet. And then, you have the non-moving parts mechanism for this whole thing, which is the beauty of it all, is the cavitation aspect of it. And, if you look at— so, like Angkor Wat and the Step Pyramid of Dahshur, they have these really deep wells. They're the best examples I can come up with for this. But these very deep wells would tap into the aquifers that were underneath them. And so when you tap into a certain frequency, let's say it's, you know, in the ultrasonic range, very specific ultrasonic frequency will create a very specific element. And these chambers seem— are obviously tuned acoustically, and the wells below them, they look like they're tuned acoustically as well. So we have this filter, we have a pyramid that's filtering out, and then we have a chamber that's isolating a certain frequency and amplifying that certain frequency. Into the ground. And then when that frequency interacts with the well, the ultrasonic cavitation goes in there, cleans the water, because when you have cavitation, you have this— basically it boils the water.

So it's how you would heat water. There's a guy that made a little device that you could stick in a cup and you just pumped it with air and it would boil the water and it was doing the exact same thing. And so you have this method of cleaning the water and creating the elements that you need for or industrial processes or anything that we see that they had. And you would distribute that out into your network, which is the entire Giza Plateau is filled with these giant shafts that look like they held liquid or that they were containers of something. And then you have the sacred lakes that were the purified water byproduct of what happened on these sites. And that sacred water was used for the humans. So the purified structure water water was used for your rituals and your conscious activities as a human, whereas the stuff that Jeffrey's talking about was used for the plant life and to fertilize plants. So, you're getting all you need out of this one device. And then, the bigger the device grows, the bigger the system gets in Egypt or India or America, then the bigger populations that you can support.

And, we're now seeing that India, Egypt, and America all had populations were vastly larger than we expected because of this process, in my opinion. And so, they knew how to work with it, they knew how to use it, and then they basically built it out on scale like what we do with our devices.

And the question is, how the hell did they learn that?

That's the question.

That's the big one. The big one is, do we take them seriously?

I think we're—

Do we take their legend seriously?

We're more— we more understand the process of what they were doing than where they got it, which is wild, right? We're getting closer to that than where we got it, right?

Like, how?

How?

How? Who?

Where? How long?

Or why?

Right, why?

Why is the question. Like—

But we were—

we're assuming that people beyond that period were simply hunter-gatherers with stone tools.

They, they probably were. Like, there probably were concurrent civilizations that were doing that.

Like they are right now.

Like they are right now. And then, and then, you know, when they say like, you know, Nephilim or whoever bred with the humans, they probably were, probably were taking some, some of the best stock of them and being like, you guys are gonna be us now. And then they, they get into this cycle of, of conscious, you know, transfer. And then you have civilizations that last for 5,000 years.

What the fuck? And you have Stargates.

And then you have Stargates. Yeah, well, that would make a lot of sense. Like the whole, you know, the, the gate phenomenon, the doorways to nowhere phenomenon.

Yes.

You see them in Peru.

Yes.

They're in Saudi Arabia, like Hegra in Saudi Arabia. You know what that is?

I've heard the word. I don't know what it is.

Jamie, pull up Hegra. That— this stuff— so a key component of this system is that the information is transferred in the rock itself. Tesla proved that this was possible, that you could, you could transfer energy and information through, through the stone substrate of the Earth, right?

So if you can do—

yeah, if you can do this, you basically— all you need to do is create gates in the rock and you can remote view like a hologram any place on Earth. You just go through and then you have this geometric gate that you recognize because it's the geometry that every culture is using. And then you basically pop out of a rock in your spirit form. That's what the Egyptians said, the Merkaba could travel through these things. So then you have the— yeah, you have stuff in the middle of deserts that—

And what's the conventional explanation for these things?

Tombs.

Tombs. Hell of a fucking tomb.

Yeah.

Must be a dope dude that died. Look at that thing.

But you see this, this same phenomenon in, uh, Jamie Gould, uh, Lycaea.

But hold on, before we go there, is this in the middle of nowhere?

Uh, it's in the middle of Saudi Arabian desert. Yeah.

Go down to that cat on the bottom that's standing there. Look at him. He's like, hey, check it out.

This is my home.

I wonder what that means to them. I wonder what they think it is.

I genuinely— I talked to a lot of Egyptians when I was in Egypt. I don't think they're very aware of a lot of this stuff. I think they're quite disconnected from—

So there was something that happened that wiped these people out.

Yeah.

And do you think that this aligns with the Younger Dryas impact?

I think that these probably are post that.

Post that?

Just because they're, they're really, they're, they're really crispy.

Crispy in terms of lack of erosion?

Yeah, yeah, like, and they're in the middle of nowhere. You'd expect to see a lot of wind-water erosion on this thing. It's clearly water erosion here.

So who?

Water there? No.

Yeah, what, Jamie?

Water?

Yeah.

in there. Like, it would have— like, it's dry now, like Venice, you know. They're all elevated. Like, these were docks. Like, I'm thinking of Lake Travis when it's empty, you know.

And look at the discoloration on the bottom part versus the top part indicates that the top part was exposed and the bottom part was probably underwater. And you see this waterline across Wadi Rum and Petra and Saudi Arabia and Egypt. There's like a huge discrepancy on, you know, Sphinx shows Sure. Huge discrepancy. And that's like kind of an indicator, in my opinion, of what things were and where they were in that timeline.

And we're super aware that, like, especially when it comes to sub-Saharan Africa, when they find these whale skeletons, like—

The giant ones that are still there? Yeah.

Insane. So this— what do you think that was, though?

I think those are like the transit stations. Yeah, I genuinely like— maybe not for physical bodies. I don't know if that's like— I can't come up with a mechanism that makes that work where you deconstruct your matter. But if you— if the Egyptians could clearly travel with consciousness, they show that in their hieroglyphs, and the Hindus speak of it as well. And so if you could do that, I think— I feel like those were more of, let's say you go into a deep meditative state, you're aligned in your temple, and you have, you know, this maybe possibly psychedelics or some other thing amplifying the connectivity in your brain. and giving it abilities that it doesn't normally have to connect with. Another thing about the psychedelic experience is you feel connected with everything all at once, right?

Right.

So if you're— if you can enhance that feeling and be connected with your whole environment, then navigating that environment would require merging with it, but then emerging somewhere with a pattern you recognize. And that pattern is why you see these doorways carved in there, because in the non-psychedelic physical conscious state that they talk about, the only thing you really kind of decipher is geometry, right? Well, on psychedelics, you see a lot of torus shapes and fractals and stuff like that. But in this world, if you're tuned in with that and you're traveling kind of consciously through the rock substrate, then finding the gateways to exit would be the goal, essentially. And that's why you see these doorways carved in the middle of nowhere in Peru And the same thing in Saudi Arabia is, in my opinion, that's how they talk to each other. They're like, yo, this is, this is happening over in Peru, send help somehow or another.

Yeah, well, that's also one of the weirder things about these temples, particularly some of these temples that exist in India where they have this incredible harmonic frequency inside of them when they're chanting. And you have to think this is by design. And what is the purpose of that? And is it to achieve a certain state of consciousness?

Yeah.

And what kind of consciousness can be achieved? Particularly, imagine you're on psychedelics. So one of the things about psychedelics is, um, do you know what icaros are? Have you heard of those? Icaros are these songs that they sing, um, when you are under the, the spell of DMT. And, um, they do it with, uh, these ayahuasca rituals, but but I've had it done. I've experienced it where you play the songs on DMT and it makes the DMT dance like in this very strange sync. It synchronizes with the music, the experience. Instead of being like completely chaotic and random, it synchronizes like directly. And like the patterns dance with the music. They work together. in some very, very strange way. Now, you got to imagine that if that's the case, that would also be the case with chanting. That would also be the case with if they had songs, if they had something they could do, there was some, some dance they could do with sound while they were inside these incredibly resonant chambers where, like, the one that I sent you on Instagram.

Betsy Caves?

Yeah, I'll send this to Jamie, because this is crazy. When, when you hear how this guy is chanting inside of it and you, you hear the sound that it's making while he's doing that, you're like, what? Why would you do that? Like, what, what is involved in this fucking thing?

Like, it's a specific frequency too. Like, the— it resonates at a fundamental on each one of these things.

Um, I don't know, let me hear this But this is outside. I'm sending you something. I just sent it to you. Yeah, yeah, that's it, that's it. And this is from— what's this gentleman's name?

Liam Richards.

Liam Richards. Freaking crazy.

This is— take a look at this.

It is freaking crazy. This is called a chatya. It's a chanting hall. Its whole purpose is for chanting. It is like nothing I've ever seen. Listen to the acoustics in here. So the Buddhist monks, they would come in here and they would meditate or chant. They would put Perform meditation in here, walking around the stupa and chants like Om, Om. Fuck, it lasts so long.

Can you hear that?

It reverberates. For like 15 or 20 seconds. And this seems like this is all carved out of stone.

Yeah.

Not built, but carved out of the stone.

You can't, you can't make one mistake in it. And, and that's the thing with these, this stuff too, is, um, these things are tuned, all of them. The Egyptian chambers, the Hindu chambers, in cathedrals especially, they're all tuned to a specific resonance. And that resonance is what you'll usually find carved into the floral patterns on the wall. So these resonances were kind of the key to go to these either places of information or possibly even locations like what we were just talking about. It's like maybe Hegra had a location that looked like a 5-pointed star, and then maybe the temples in Egypt had one that looked like an 8-pointed star or something like that, or a flower, you know. And so if you know that, if you know the resting resonance, then that drives your conscious experience, like what you're saying, in these altered states. And it's also why psychedelics are so popular at music festivals and stuff like that, is because music drives the experience. That was the second part of like, I was always into this stuff, but music, when I got into music and making music, was the— it just kicked everything off because that is the physics mechanism of the interaction with your neurology Your vagus nerve is directly connected to your ear.

So the main nerve of your whole body is connected to your ear. It goes to that before it goes to your brain for processing. This is for survival. Loud noises generally kept us alive. If we heard, you know, the tree snapping and that tiger is behind you and you run. That mechanism bypasses the processing centers of the brain, particularly the amygdala, which is the fear-based part of the brain, right? So fight or flight. And so if you bypass that and you are in a state of peace and serenity and protection and maybe a temple environment, maybe a music festival environment, whatever you feel, then you can achieve a level of abstraction from your physical body, meaning you're not paying attention to your sensory inputs as much as your conscious experience. And then once you have that that detached state, that is more mobile than your physical body. I mean, even on like a DMT experience, you feel almost weightless. It feels like the the you know you're coming out of your your physical self. And if you can direct that using sound, and you're in an environment that's connected with everything else, then you have your your method of information exchange or at At least, you know, some sort of conscious travel that we can't really understand yet.

Fuck.

Yeah, the music, music sound is, is like the most vital component to all of this because we, we drive that experience. Sound is the only, the only medium that we can actually manipulate other than our immediate physical surroundings. So like talking to you, you know, the sound travels and we can manipulate the sonic environment of this room just by speaking. That's how they interfaced with the geometric environment of the temple complex. Now, the design where this stuff came from—that stuff is a completely other. Like how how they know how to route this stuff and what signals and frequencies work with what? Don't know that yet. But what we do know directly is that that has a huge impact on your experience, whether it's in a cathedral or an Egyptian temple or a music festival. All of this stuff is happening to the brain in a realm of feeling instead of thinking. So if you bridge those two, then you have gnosis. You have the feeling that comes with the thinking in this environment that is so life-changing that it's the direct download of information.

It reminds me of a Dennis McKenna quote about if you— the more you ignite the bonfire of wisdom the more you illuminate the surface area of ignorance. I might have butchered that. But essentially, the more you learn, the more you realize how little you know.

Yeah.

Like, the more we learn about this stuff, the more we realize, like, what are we even talking about? Like, this is really crazy. Like, I feel like we're doing some sort of archaeology. Like, we're like brushing off the dirt and discovering, like, this is crazy. Whatever it is, like, the undeniable aspects of, like, that temple, How old is that? Who built that? Why? What was your motivation? How did you do it? Where are your tools? Why did you do it? Why does it reach this specific hertz? Why does it reach this specific frequency? Why does it resonate that way?

But this is the gateway. I think what you're saying is the gateway into where we're going.

And how the fuck did they figure out how to do it?

That we get lost in how did they move the big stone, which is also an equally perplexing problem. Problem. But the why for me is where it's going to go, because that is substantial in the sense that you can prove it. If we can alter the experience of somebody, and the conscious experience, and we can drive that experience in a temple environment, or at least an acoustically tuned environment with this geometric ratio, maybe a recreation of an Egyptian temple or something like that, if we can recreate that experience and prove that something is going on that. So they're already trying to map the DMT world at like Stanford or something. Add that to the list of experiments, you know, maybe go to a cathedral, rent it out for a day, and play with some frequencies in there while a bunch of people are on this, you know, sustained DMT intravenous trip and have them, have them see what's going on. Because that's the only way I can't, I can't go do that experiment myself. I'm gonna get kicked out of the cathedral because I'm gonna be acting like a lunatic. I need permission.

But listen, man, there's a lot to absorb. absorb for people. So I think it's probably good to end it right here. We definitely should do this again because it's really fascinating stuff, and, um, I commend you for the amount of time that you spent absorbing all this, and your ability to recite it is very impressive.

Thank you.

It's nutty shit, man. It's easy to get sucked down into that rabbit hole.

That's my day-to-day, dude.

Well, that's awesome, man. I'm glad you're doing it. Uh, baseforge.us is your Instagram.

Um, YouTube Yeah, same thing, same thing on YouTube. Um, doing a lot more live stuff this year too.

So like, what are you doing live?

Uh, so I'm leaving for CPAC tomorrow, the Conference for Procession and Ancient Knowledge that's in Cali, and, uh, I'll be speaking there and then coming back. And then I'm going to be playing a music festival called Wakan in Arkansas. And then after that, I'll be back here for a conference called Quest for Ancients. It's downtown Austin. Um, I'll be speaking and playing there.

So is that the October thing?

Yeah.

Okay. That's October 16th?

15th through the 18th.

Okay, cool.

Yeah, so that one's, that one's gonna be really cool. I'm debuting this brand new project that I've been working on for like 4 years there. So that's—

Ooh.

Yeah, basically a synthesis of everything that we talked about with visuals and music. So—

Oh, amazing.

Yeah, it's gonna be pretty sweet.

Well, dude, thank you very much for being here.

I really appreciate it. Thank you.

It was a lot of fun.

Yeah.

All right, talk to you.

Bye, everybody.