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We're going to be talking about Stargates of the Gods.
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I actually have a DVD presentation available by that title.
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So I decided to make this one a variation of it.
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It's volume two.
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This one is called The Gods and Their Craft.
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So we're going to be focusing more on that aspect of this story as opposed to what was
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previously presented.
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As I mentioned, I call myself an investigative mythologist.
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This is sort of like being an investigative reporter, only I focus on mythology.
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I believe that myth symbols and code especially are signposts that give us indications of
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where we're at as a culture and a civilization.
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By learning to see the signs and read the code, it helps us to better navigate where
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we are as individuals and where we also are as a collective civilization.
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So a typical or an ordinary mythologist will look at mythology or even scriptures such
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as the Bible, the Koran, and they'll investigate it typically on four different levels.
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They'll start with the literal, the historical.
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They might move on to the allegorical, metaphorical.
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Then if they're brave, they'll go into the symbolic aspect of it.
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But I've added two other dimensions to mythological inquiry.
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I believe that mythology talks about the anatomy of the human body and very often presents
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a picture of almost a superhuman, a spiritualized human, someone that exists in what might
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be described as full consciousness with more than the five senses activated.
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Sometimes the Egyptians talk of we having as many as 360 senses.
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This is going way beyond ESP and telekinesis and other of these so-called psychic abilities
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into this picture of the incredible potential that's enfolded within us.
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I also believe that mythology makes references to advanced technology, that when we're in
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certain books and stories, what they're actually describing is a technology that the ancient
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world once possessed.
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One of the key examples that I focus on, which is actually the logo for my enterprise, is
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the pillar of Osiris.
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Osiris, of course, is the Egyptian god of resurrection.
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He's called the lord of eternity, the lord of the nether world.
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In fact, J.M. Barrie's story, Peter Pan, is inspired by the story of Osiris.
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Osiris being the king of Netherland and J.M. Barrie's Peter Pan took everybody to Never-Neverland,
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which is perhaps another dimensional world.
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Osiris's hieroglyph features the Tet pillar here that was called the power pillar to the
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Egyptians and many of you have probably seen examples from the temple at Dendera of the
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Tet pillar supporting what appeared to be light bulbs, what appeared to some to be
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cathode ray tubes, what appeared to be some to be crooks tubes.
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We're not exactly certain what this is, but these Tet pillars in the combination with
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the serpents in these bulbs are often cited as examples of an advanced pre-flood civilization
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and a technology that once existed and gives researchers such as Chris Dunn and others
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to stand on in their supposition that hey, those who built the incredible temples of
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ancient Egypt possessed technology similar to that that we might even be familiar with
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today.
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At Dendera you actually find several color examples of this upstairs that are not widely
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shown.
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This is another one that appears out back in the temple of Isis at Dendera.
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Another key temple site that I've investigated is Abydos, which is called the gate to the
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underworld.
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This is the shrine of Osiris.
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Abydos, which looks like a modern corporate facility, is located where it is because
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of a former temple that once existed behind it called the Osirion.
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Researchers such as John Anthony West have examined the incredible 100 ton red granite
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blocks that we see here at the Osirion and I have my picture here to reference the incredible
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size of these blocks.
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They've concluded that this is an example of a pre-flood temple.
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The conservative date for the creation of this Osirion is around 10 to 12,000 BC, although
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there are other Egyptian researchers, indigenous Egyptian researchers who subscribe to the
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oral tradition in Egypt that tell us that this temple is in fact possibly older than
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50,000 years old.
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This is John Anthony West and he has noted that the Osirion, the incredible colossal
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red granite blocks at the Osirion, are found at only a couple other places in ancient
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Egypt, the Valley Temple beside the Sphinx and the Great Pyramid and also at the Sphinx
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Temple itself.
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In fact, I've got a trip with John Anthony West to Egypt in January 2007.
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You're all invited to join us if you like.
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It's going to be a symbolist tour of Egypt, looking at these temples and looking at examples
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of advanced ancient technology.
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Here we are again with the Osirion on top and on the bottom is the Valley Temple with
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the incredible colossal red granite blocks.
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When we come back to, and this is me standing beside these, when you're in this gateway
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here, which is what these blocks actually composed, it's an incredible feeling because
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these stones, as even Dr. Zahi Youas says, these stones speak.
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They talk to you.
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They are working on you from the cellular level on up.
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It's really an incredible experience.
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But when we come back to the Osirion, we see etched on the temple wall a very intriguing
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scene that actually has what I consider to be a sort of a corporate logo.
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Next onto the wall is this pillar of Osiris symbol, which is actually what we saw in
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the hieroglyph just a moment ago.
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The Egyptian term for this pillar right here is called the Shudi Pillar.
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What Shudi means is enlightenment pillar.
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We can see that the Egyptians used a form of a pun here.
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They have a serpent levitating or hovering in this enlightenment pillar.
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This is of course is an allegory, or later was used as an allegory by the writers of
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the Old Testament for the serpent of wisdom.
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Inside the temple of Abydos is the shrine of Osiris, and this is where we see the Osiris
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device.
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I use the word device intentionally because this clearly looks like some form of a technology.
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When you look up the word device in the dictionary, you find that that word means an instrument.
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It means an appliance.
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It means a tool.
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But it also means a symbol.
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So a device is an appliance, an instrument, a tool, and it's also a symbol.
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Think of a heraldic device or even a logo.
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And so this Osiris device is all of those things.
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I believe it is an actual tool.
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It is an actual appliance.
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It is also a symbol that was used as the logo for Osiris and his mystery school, the mystery
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school that taught the mysteries of literally eternity.
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This is Isis who is cited as the companion of Osiris standing beside Osiris, and you
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can clearly see he is not a person.
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Osiris is a device.
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We might even think of it as a machine.
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The question is, what did the Osiris device do?
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If it's a tool or appliance, what function did it perform?
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Well we learned from Dr. Richard H. Wilkinson from the University of Arizona that the Egyptians
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also called the Osiris device a tower, spelled T-A-W-E-R.
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And what tower meant was the bond between heaven and earth.
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So now we learn exactly what the Osiris device did, what function it performed.
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It united heaven and earth.
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When we look at the Osiris device through Hebrew eyes, we clearly see that it has a
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platform that resembles the biblical arc of the covenant.
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But what's attached to it, and by the way, the arc of the covenant was used as a transmitter.
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Some even think it was some form of a capacitor, an energy device that held the two tablets
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of the Ten Commandments and the manna and other things.
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But the Egyptians clearly portrayed it with this enlightenment pillar attached to it.
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They referred to Osiris, this device, as the stairway to heaven.
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They called it the ladder to God, the backbone of Osiris, always featuring it as some form
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of a device that linked heaven and earth.
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And when we look at a depiction such as this, a color representation by my artistic collaborator,
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Mr. Dana Augustine, we see that they appear to be operating this device almost like they're
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drilling for oil, which isn't too wild of a speculation as it turns out.
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As I mentioned, part of my quest is to put mythology into the body.
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And when we apply the principles of the Osiris device, the bond between heaven and earth,
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we see that it perfectly matches the pattern of a meditating woman.
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We're all probably familiar with the seven energy centers that dot the spine, and we
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count one, two, three, four, five, six, seven.
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All good children go to heaven.
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Indeed, I believe our body is an allegory or an analog of this device.
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Our human body is, in fact, the stairway to heaven that many of us are seeking.
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And by studying the Osiris device, this tool, this appliance, we can learn a tremendous
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amount about our body and how this link between heaven and earth is actually made.
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The connection that we want to make tonight with the Osiris device is that Egyptian myth
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and legend said that this device could drill holes in space.
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Today we call such holes in space stargates.
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And one of the things that I seek to do is to look at the human body as an interface
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between the earthly realm and the heavenly realms, as the gateway itself for our soul.
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Something very interesting and I think quite compelling happens when we go to the temple
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of Hathor at Dandera where they provide for us another example, another citation of the
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Osiris device.
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Here it is in a photograph I took off the temple wall, and this is a line drawing of
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this actual temple depiction here.
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And what we notice is that Isis and Nephthys are tending or operating the pillar.
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Here is the ark platform once again, but now we notice that something new has been added.
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They have added what is called the ship of the gods, also known as the bark of the millions
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of years.
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This is the ship that Osiris will ride into eternity, and they have clearly connected
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it with this Osiris device.
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Here it is in detail.
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Now what I want you to do is to compare the shape of that ship of eternity with the way
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modern science depicts a wormhole.
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And to me, there's a quite compelling comparison to be made here, and the question that I ask
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is, is it possible that what the ancient Egyptians are telling us is that the way that Osiris
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and the other Egyptian gods traveled into the stars for eternity was through stargates
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and wormholes.
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Now to a traditional Egyptologist, that sounds absolutely ridiculous.
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In fact, to a modern technologist, that sounds crazy too.
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But my take is this, is that if you're interested in designing wormholes and opening gateways
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into other dimensions and traveling through millions or billions of light years of space-time
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by entering the mouth of the wormhole and traveling through it and coming out the other
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end as if there's nothing in between, then it would behoove you to go back and take a
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look at some of this Egyptian imagery in the text that accompanied it, because it will
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give you some incredible insight into the way the Egyptians thought about how we might
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be able to travel into the stars.
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So again, when you consult Google, here is a traditional image of the way modern science
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portrays the wormhole.
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Now again, the ancient Egyptians were creating craft with technological skills far beyond
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their time, well beyond or before the time of the invention of the wheel, and it has
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even been suggested that these craft enabled them to cross the earthly oceans.
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And so again, it sounds absolutely crazy to suggest that maybe they even had craft
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that enabled them to cross the cosmic ocean.
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But that's what I'm asking you to consider tonight, and something else I want you to
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think about is this comparison between an Egyptian lotus ship with the shape of a modern
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wormhole.
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How does this correspondence come about?
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Who got this idea first?
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Is it possible that this is the primordial sacred shape of a wormhole?
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And somehow modern science, modern physicists have tapped into this primordial sacred shape.
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Or did they just simply model it after the way the ancient Egyptians presented their
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ships?
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You see what I'm saying?
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I mean, I'm wondering if it's possible that the Egyptian ships that sailed the earthly
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Nile were actually modeled after what might even be the original primordial or sacred
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design for the ship of the gods that enabled them to sail across the heavenly Nile.
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Here's another classic example of what I'm describing from the Egyptian Book of the Dead.
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The inscription says, I, even I know the hidden ways to the doors of the field of Uru.
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The word Uru means blessed.
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And so what we're seeing here is the god aboard his ship sailing into the field of the blessed.
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I think we can take out the word field and put in the word dimension, and it's an accurate
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interpretation of what this scene is actually describing.
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Because what we see is the god aboard his ship sailing into a gate of stars.
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I call that a stargate.
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And he just so happens to be sailing upon a ship into this gate of stars, or perhaps
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even galaxies, that very closely resembles the way modern science portrays a similar concept.
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This is NASA's image from 1996 or 1998 of a warp craft entering a wormhole, traveling
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into a distant galaxy.
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From a mythological or symbolic perspective, this is a penis entering a vagina.
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This is also a sperm entering an egg.
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The Egyptians had a law, as above, so below, as within, so without.
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So it makes perfect sense that the way modern science would portray a warp craft entering
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a wormhole would be somehow analogous to the functioning of our body and the very secrets
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of creation themselves, a sperm entering an egg.
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NASA's image became very important to me because it illustrated the stargater wormhole as concentric
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rings.
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When cartoonists want to express the concept of sound or vibration, they use the concentric
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rings.
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But it's also important to recognize what the concentric rings in the NASA image illustrate
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for us.
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It illustrates a three-dimensional concept of a, the 2D diagram of the concentric rings
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actually represents a three-dimensional experience of going through a vortex or a gateway.
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So anytime I'm in a piece of artwork and now that I'm seeing the two-dimensional image
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of the concentric rings, I'm thinking that it actually represents a three-dimensional
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experience of entering the mouth of a vortex or a wormhole traveling through the throat
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of it and coming out the other end.
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Modern science tells us that if we're successful in harnessing the limitless energy of what's
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called the zero-point field, that we're going to be able to create these anti-gravity type
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warp drives and create a post-technological civilization.
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Understanding the science is literally the bridge to enlightenment.
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It's fascinating to me that another way of thinking about this bridge to enlightenment
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in its most simplistic form, the way we can symbolize it, is with the circle with the
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dot in the center.
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Isn't that simply a zero point, referencing perhaps the zero-point field?
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This symbol also represents the human eye, and it most certainly is a component to the
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eye that is involved in this.
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But what we're actually looking at here is the Egyptian hieroglyph for light, for enlightenment
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in fact.
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And so I find it very interesting that the Egyptian hieroglyph for light and enlightenment
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correspond so directly to the way NASA portrays a warp craft entering a wormhole.
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It's my view that these two images are telling the exact same story.
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A craft is entering a stargate or a wormhole.
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A craft is entering a gate of stars, a stargate.
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And this is why I feel that modern designers or people who research the zero-point field
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or are interested in building these warp craft that would ultimately represent the enlightenment
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of our species can go back to imagery such as this and the teachings that accompany it
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and derive tremendous new knowledge from it.
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So I focus on the gods and their craft.
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And here we have the pharaoh who is sitting upon his craft.
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He has his feather on his knee.
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This is symbolic of a very important Egyptian concept called mat, which symbolizes cosmic
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order or cosmic truth.
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Only those whose hearts were light as a feather were able to access the field of the blessed.
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And we clearly see this figure aboard his craft entering into this net or this field.
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This field again is called the field of Uru or the field of the blessed.
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And the craft that this figure is portrayed riding is literally the bridge to that field
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of eternity.
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The field or dimension of the blessed is a sea of intelligent energy that permeates all
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of creation.
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It is creation.
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And what we're learning today is it is conscious.
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We are becoming reacquainted with these ancient concepts and beginning to bring them into
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our own spiritual reality as well as our technological reality.
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Again as I said only souls which weighed less than mat symbolized by the feather were allowed
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to start the long and perilous journey to the blessed Uru, to the field of the blessed,
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to exist in pleasure for all eternity.
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And the question that goes along with this is that how light hearted am I?
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How light hearted am I?
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And do I have the eye of light that will enable me to perceive these gateways and to actually
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enter them?
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It's a little bit out of the range of our topic tonight but it's a seed thought I wanted
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to leave you with because it's all about the heart and it's all about developing the spiritual
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vision that will enable us to actually build these craft.
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The field, the zero point field connects everything in the universe to everything else like some
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vast invisible web.
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And here in the Egyptian depiction we see the pharaoh aboard his craft sailing into
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this field that could well be the field that connects everything to everything else.
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Mind and intelligence are woven into the fabric of the universe says Freeman Dyson and this
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is another depiction of the way modern science portrays a wormhole.
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They talk about the fabric of the universe, the fabric of the cosmos and the opening
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of a serpent rope or a wormhole, the spreading open of the fabric of the universe.
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Many of us are familiar with this whole idea of the net of the cosmos, the fabric of the
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universe and we have to remember that at one time we thought that the building blocks of
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our universe were atoms but then our worldview shifted and we were told that it turned out
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that these were not, the atoms were not fundamental at all but made of protons, neutrons and
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electrons and then we found out that the protons and neutrons are in turn made of quarks and
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deeper still we now learn today that tiny vibrating strings and membranes living in
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a space of 10 or 11 dimensions comprises our reality.
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And I just find it very interesting that when we go back to the teachings of Osiris, the
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Lord of eternity, what do we find but the string that is lifted up and I think that
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string is symbolically representative of string theory, that maybe they did have some
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awareness of the tiny vibrating strings that comprise our reality and what this enlightenment
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pillar was all about was a technology that enabled us to resonate with this fabric of
21:39.180 --> 21:45.740
creation and ultimately also to open stargates and wormholes.
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This for example is how we can describe the bending of space time.
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This is an image done by Dana Augustine once again but what I'd like you to do is to compare
21:55.460 --> 22:01.460
this image with these drawings here that were rooted out by Laird Scranton, another researcher
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who's looking into the symbolism of the ancient Dagon tribe of Mali.
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On the left what we see is a diagram torn from Brian Greene's book, The Elegant Universe.
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Brian Greene is sort of the new Carl Sagan, the mainstream physicist who's telling us
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what is really the limits of our reality and what he's portraying for us here is the
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fabric of space time tearing and a wormhole growing.
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What we see on the right is the Egyptian hieroglyph to tear and what we notice is that it's the
22:34.980 --> 22:40.060
exact same symbolism that's being used and the question that seems to emerge from this
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is you know what's happening, is Brian Greene a reincarnated Egyptian priest who's suddenly
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remembering all this ancient Egyptian symbolism or is modern science tapping into the original
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sacred primordial science that the Egyptians seem to have possessed.
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I think that that's exactly what's going on, is that the Egyptians had encoded this original
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sacred science and modern science is using the same symbolism and even the same language
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because they're talking about the same science and so in my view when we see the pharaoh
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aboard his craft sailing into the net it could well be representative of the same concept
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that modern science presents of the tearing open of space time, the fabric of space time
23:26.540 --> 23:33.540
in the opening of a wormhole and again I believe that these two images are telling the exact
23:34.100 --> 23:41.100
same story of a craft going into a gate of stars or a field or a net of stars.
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This is another of my favorite images from ancient Egypt, it's actually a funerary chest
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and what we see is a goddess who's sailing aboard her craft. We're told that when she's
23:53.100 --> 24:00.100
sailing on her craft she's sailing on the Nile, that's the traditional Egyptological
24:01.100 --> 24:06.100
explanation for this diagram, this drawing. But we also have to figure in is the as above
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so below law which suggests that she's not sailing on the earthly Nile when she's aboard
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her craft, she's sailing on the heavenly Nile which is in fact the Milky Way galaxy, the
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river of life. The Egyptians compel us to look at this imagery using the as above so
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below law and we can only explain this craft by suggesting that she's in fact riding on
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what we today would call a wormhole into eternity. Modern science again tells us that
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the universe is interconnected by quantum waves that carry on into infinity. Is it possible
24:44.900 --> 24:49.900
that that's what she's actually riding on as well as these quantum waves that take us
24:49.900 --> 24:55.900
into eternity? The Egyptian book of the dead and many of the depictions of the Egyptian
24:55.900 --> 25:02.900
afterlife frequently will show us these watery canals and the afterlife that they spend
25:03.900 --> 25:08.900
in eternity. What we have to remember is that these canals that they're sailing upon
25:08.900 --> 25:13.900
are not earthly canals. These are the heavenly canals. These are the heavenly waters that
25:13.900 --> 25:19.900
they're sailing upon and when they're sailing they are always portrayed sailing in their
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craft that resembles again the way modern science portrays wormholes. A couple more
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examples, very acute examples of these craft and what we notice in this example in particular
25:31.900 --> 25:37.900
is that this craft is emerging from the waters. It's a dual headed serpent ship that has
25:37.900 --> 25:43.900
a stairway to heaven mounted upon it. As John Anthony West tells us, we have to look at
25:43.900 --> 25:49.900
these imagery such as this in similar fashion to the way we look at cartoons today. We
25:49.900 --> 25:54.900
have to understand the whole backdrop of what is being presented here in order to get the
25:54.900 --> 25:59.900
pun or to get the teaching that's encoded within it. The teaching that's encoded within
25:59.900 --> 26:06.900
this here is that we have a dual headed serpent ship that is in fact the stairway to heaven.
26:06.900 --> 26:11.900
Again, the comparison is made between the dual headed serpent ship and the traditional
26:11.900 --> 26:18.900
modern image of a wormhole. The ancient Egyptians tell us that this figure here, Ptah, was
26:18.900 --> 26:25.900
the one who was responsible for building the craft that the Egyptians sailed into eternity.
26:25.900 --> 26:31.900
I pulled Ptah's business card from E.A. Wally Budge's book, The Gods of the Ancient
26:31.900 --> 26:36.900
Egyptians, and we find out that Ptah was the architect of heaven and earth, the master
26:36.900 --> 26:42.900
craftsman and working metals, sculptor, designer, and the fashioner of the bodies of men. He
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was a blacksmith, sculptor, and mason of the gods. Now, when I look at the detail of Ptah's
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business card here and I see this double helix here and compare it with the modern depiction
26:53.900 --> 26:58.900
of a double helix, I think we're looking at exactly the same thing. Egyptologists will
26:58.900 --> 27:04.900
laugh their ass off at a suggestion such as that because it doesn't say that anywhere
27:04.900 --> 27:09.900
that this is actually the double helix, but it clearly is. And when we match that up
27:09.900 --> 27:16.900
with the understanding that Ptah is the fashioner of the bodies of men, we have to at least
27:16.900 --> 27:22.900
be open to the possibility that this Egyptian god, Ptah, knew how to manipulate human DNA.
27:22.900 --> 27:30.900
And again, it's my supposition that he was manipulating DNA in preparation for this body
27:30.900 --> 27:38.900
to interface with the craft that will enable us to sail into eternity. So here is how we see
27:38.900 --> 27:43.900
the full body of Ptah here wearing his bird suit. He's got his power staff called the
27:43.900 --> 27:52.900
Tet Pillar, the uaz, and the ankh all together. This was actually found in the tomb of Tutankhamun
27:52.900 --> 28:02.900
in 1925. In the Book of the Om Duat, which is called the Book of the Twelve Hours or
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Twelve Gates, we see the Egyptian initiate, typically the pharaoh or the high priest,
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sailing on his craft into eternity. And so here we see him, here in the center in his shrine,
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we see his boat sailing upon what could be the quantum waves once again. And when we pull the
28:24.900 --> 28:28.900
detail here, it looks like the front of the ship is disappearing into what could easily be
28:28.900 --> 28:37.900
imagined as another dimension. Again, sailing into eternity. This craft, this boat, according to
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the Egyptians, again is called the bark of the millions of years. And it provides for us an
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insight into the secret of eternal renewal to the Egyptians. I believe the secret of eternal
28:50.900 --> 28:57.900
renewal has to do with stargates and wormholes. And this visual code is giving us, I believe, all
28:57.900 --> 29:05.900
the evidence that we need to follow that line of speculation. The Egyptians told the legend that
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at the dawn of each new age, the heron, the bird of light would emerge from the center of the Milky
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Way galaxy and it would climb aboard its craft. And what we notice is that the craft of the heron
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almost precisely matches the way Professor Stephen Hawking depicts a wormhole. And we have to ask,
29:24.900 --> 29:30.900
is it possible that this bird of light, the Egyptian symbol for the Messiah, actually came to
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earth riding upon a wormhole? In the Egyptian legend, this heron, this being of light, actually,
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not just a bird, would land on top of the pyramid of human civilization and from its outstretched arms
29:45.900 --> 29:52.900
it would radiate light and then deliver a teaching symbolized by the key of life. What I'm calling
29:52.900 --> 29:58.900
your attention to here is that this perch upon which the heron is sitting is actually sitting on top
29:58.900 --> 30:05.900
of one, two, three pyramids. And what I ask is, is it possible that the three pyramids that that
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heron is sitting upon are in fact the three pyramids of Giza? I like to tease my Christian friends
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that these are not just three pyramids, these are actually three crosses, which is something that
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they don't really like to consider. And so here is the detail now of the heron atop its perch with
30:28.900 --> 30:36.900
the one, two, three pyramids. And the reason I'm going into this is because this is Dr. Zahi Hawass.
30:36.900 --> 30:42.900
He's the secretary general of the Egyptian Antiquities Organization. I call him the Grand Puba of
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the Great Pyramid Complex of the Giza Plateau. In 1999, he had intended to put a golden capstone
30:49.900 --> 30:55.900
on top of the pyramid. He wanted to complete the Great Pyramid. But the world press went crazy
30:55.900 --> 31:01.900
saying that it was too Masonic, and so we pulled back on that initiative. But here he is presenting
31:01.900 --> 31:08.900
the drawing of that golden capstone. And what do we see? We see a heron on top of the pyramid.
31:08.900 --> 31:16.900
And this is Zahi Hawass's vision of the completion of the Great Pyramid. In 2005, in a lecture in
31:16.900 --> 31:21.900
Philadelphia, Pennsylvania, Hawass said that, I really personally believe that the secret chamber
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of Khufu is hidden inside the Great Pyramid. In 2006, in June of 2006, he came to my hometown,
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Nashville, Tennessee, and gave a lecture where he said, I will open the secret chamber of Khufu at
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the end of 2006. Now, Hawass himself explains that the Giza Plateau is known by the Egyptians as
31:36.900 --> 31:42.900
the House of Osiris. And the fact that the house of Osiris is the house of Osiris is the
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house of Osiris. Now, Hawass himself explains that the Giza Plateau is known by the Egyptians as
31:48.900 --> 31:56.900
the House of Osiris. And the Giza Pyramid is in fact directly connected with Osiris. And what I've
31:56.900 --> 32:02.900
presented to you is evidence that Osiris is not a person. And so when Hawass is talking about
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opening this secret tomb inside the pyramid, what non-traditional Egyptologists, alternative
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researchers believe is what he's actually talking about is not the tomb of Khufu, but rather a
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secret chamber of Osiris. And what I'm wondering is if it's possible that later this year Zahi Hawass
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is going to reveal a secret chamber in the Great Pyramid that is in fact going to be related
32:26.900 --> 32:32.900
directly to Osiris. Larry Hunter is an Egyptologist who is doing some incredible work on the Giza
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Plateau in the late 90s. He believes that this lost or secret chamber of Khufu or Osiris actually
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is a 250 foot tall chamber that's at the base of the Great Pyramid. Well, again, what I'm asking
32:44.900 --> 32:50.900
you to consider here is that the revelation of this tomb, the opening of this secret tomb will
32:50.900 --> 32:56.900
undoubtedly have to do with Osiris. And if it has to do with Osiris, it has to do with Stargate.
32:56.900 --> 33:02.900
And if it has to do with Osiris, it has to do with Stargates and wormholes because that's what the
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Osiris device did. It was the bond between heaven and earth. And there are indeed many people who
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believe that the Great Pyramid is in fact some form of a Stargate device.
33:14.900 --> 33:20.900
If this Egyptian imagery is of interest to you, you might be interested in taking a look at my
33:20.900 --> 33:26.900
DVD set, Egypt, Shadow of Atlantis, because I go into more detail about it. For now, we're going
33:26.900 --> 33:32.900
to move on and talk about some other topics that surround this whole idea of ancient Stargates and
33:32.900 --> 33:38.900
wormholes. I actually started on this line of research in 1982 when I read this book, Holy Blood,
33:38.900 --> 33:44.900
Holy Grail. We won't go into the details. I'm sure many of you are familiar with it. But I present it
33:44.900 --> 33:50.900
because this is the book that awakened me to this whole idea that there's a whole parallel tradition
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that accompanies or runs right alongside the traditional or mainstream version of the story.
33:56.900 --> 34:02.900
And it's not until you really jump tracks and get over into that parallel version that you actually
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get into the really exciting research that's being done. So I read Holy Blood, Holy Grail in 1982,
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July 1987. I read Whitley Streber's book, Communion, which had another powerful impact on me.
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And I had no idea then that 20 years later, almost 20 years later, I would be doing guest hosting
34:20.900 --> 34:26.900
interviews on Whitley Streber's Dreamland Show, something I'm very grateful for and have enjoyed
34:26.900 --> 34:32.900
becoming friends with the Strebers. Around 1990, I saw Randy Winters' presentation in the Pleiadian
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connection. Many of you are probably familiar with that. This was his expose on the Billy Meyer case
34:38.900 --> 34:44.900
in Switzerland where the Swiss farmer was taking these incredible photographs of these what are called
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Pleiadian beam ships. Many of them ended up being fakes. But still it had a profound effect on me
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because I'll never forget leaving that lecture that night and driving home. And I remember
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the first time in my conscious awareness looking at the stars and recognizing that those aren't
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just two dimensional points of light in the black sky, that there's whole vast regions of
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three dimensional space beyond that. And what that event did for me is it took my consciousness
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and just expanded it in an instant. And we'll never forget the feeling of that moment.
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And it's a great thing to have that connection. And I'll never forget the feeling of that connection that came from that experience.
35:26.900 --> 35:32.900
Again, as I asked you to ponder which came first, the primordial sacred shape of the wormhole or the way
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the Egyptians crafted their ships. And now I ask you to ponder another connection between the way
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crafter presented today with the UFO and the wing disk of our Milky Way. Which came first?
35:44.900 --> 35:50.900
Obviously the wing disk of the Milky Way came first. And I find it very interesting to ponder
35:50.900 --> 35:56.900
the possibility that the craft that we see are in fact a harmonic of the Milky Way itself.
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They are a step down version based upon the original primordial sacred design of the Milky Way.
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Moving along in my progression of studies on UFOs and getting into the star system,
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moving along in my progression of studies on UFOs and getting into the stargate and wormhole idea,
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I read Sitchin's book, The Twelfth Planet in 1990. And that was another incredible awakening experience.
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I went actually then went to Wendell Stevens International UFO Conference in Tucson,
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met Bill Cooper who is still alive at that time, met William Bramley who had just published The Gods of Eden,
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another really interesting UFO book. But it was primarily Sitchin's Twelfth Planet that got me going on
36:38.900 --> 36:44.900
this whole line of research that we're going to explore now. As many of you probably recall in that
36:44.900 --> 36:50.900
book, Sitchin had reinterpreted ancient Sumerian myth, focusing in particular on this story here
36:50.900 --> 36:56.900
of a planet called Marduk in its attack or its confrontation with another world called Tiamat.
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And in the Sumerian creation myth, we're told that mounted on his terrible chariot,
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interbined with terrifying auras, Marduk confronted Tiamat. And as a result of this confrontation,
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Tiamat was split in half. In fact, Sitchin tells us, and here's another depiction of Marduk chasing
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or riding upon Tiamat who's portrayed not as an oracle but as a
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oracle but as a
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oracle but as a watery dragon or a serpent. Sitchin tells us that as a result of this confrontation,
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Tiamat was split in half. And one half of Tiamat became the asteroid belt circling the sun between Mars
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and Jupiter. The other half of Tiamat became Earth. To cite Sitchin, he says that Earth is
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Tiamat reincarnated. And he goes on to suggest that it's possible that Tiamat was in fact an
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inhabited world. So I pulled this Finlandia ad up here. It says, in a past life I lived in Atlantis
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and you thought the Titanic was a disaster. And here we see this broken goddess on the shore.
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And the broken goddess is Tiamat, who later becomes called Gaia or Sophia, the Earth itself.
38:16.900 --> 38:22.900
Well, the interesting thing about this is this is the original bedrock story that becomes so familiar
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to storytellers and those who read myths and legends, the story of the dragon. And here we see a
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female who has control of this dragon, obviously representing Tiamat herself, this great heavenly
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goddess. In myth, the dragon is the guardian of treasure. And if you can get past the dragon,
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out with the dragon, you have access to this tremendous treasure, which could even be a cosmic
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treasure. It's because of this treasure that I feel that so many legends surround this whole
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serpent idea and the reason why we're raised to be afraid of the serpent. But yet then we're
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confronted with stories such as Moses, who lifted the serpent of healing. When Moses lifts that
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serpent of healing, he's doing exactly what the Egyptians said Osiris did, the Osiris pillar
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lifting the serpent. And I believe that the Moses story is a derivative of the original Osiris
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story. Here we see Jason of the golden fleece fame being spit from the mouth of the serpent while
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the goddess Athena supervises this maneuver. And then later in medieval Christian art, they
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portrayed Jesus using a pillar across to open the mouth of something called the Leviathan, which
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is obviously being portrayed as the open mouth of a serpent, but in my terminology would actually be
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a wormhole. Today, the slaying of the serpent and the opening of the mouth of the Leviathan is
39:54.900 --> 40:00.900
ways that we can describe the opening of a wormhole. And once we slay this serpent, metaphorically
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speaking, it means that we will have regained this knowledge or perhaps gained it for the first
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time, this ability to tear open holes in space time and to actually enter the mouth of the serpent.
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I think it's possible that we might even be getting a much closer or sooner look at this than we
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might have imagined. My friend and colleague John Major Jenkins published a book called Maya
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Cosmogenesis 2012. And what John has noted is that the Maya 2012 prophecy centers on a prophecy
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that in December 2012 from the center of our Milky Way galaxy, here represented by this eight-rayed
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star, a ladder will emerge and from out of this ladder will appear a serpent rope. And riding upon
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this serpent rope is an enlightened being or perhaps a group of enlightened beings. Now, many consider
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John a genius and I'm certainly one of them. And one of the takes that John presented in this book is
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that we can take out the archaic Mayan term serpent rope and put in the modern word wormhole. And we
41:04.900 --> 41:10.900
have exactly what the Mayans are describing is going to happen in 2012. A wormhole is going to open
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and from out of it will emerge a group of enlightened beings. I find it highly intriguing to compare the
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way the Mayans portrayed this enlightened being riding the serpent rope with Marduk riding upon
41:22.900 --> 41:28.900
Tiamat as a serpent. These two diagrams appear to be telling a very similar tale. And it makes me wonder
41:28.900 --> 41:34.900
if in fact when Marduk slayed the serpent Tiamat, the serpent rope was able to be used to
41:34.900 --> 41:40.900
! If in fact Tiamat was a stargate or a wormhole. After this celestial confrontation, Marduk became
41:40.900 --> 41:46.900
the chief god of Babylon. His symbol is a tool, a spade called a mare or a mar.
41:46.900 --> 41:52.900
Well, that's what scholars call it. They call it a tool or a spade, but it's not a
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tool. It's a tool that is used to make a snake or a snake or a snake or a snake or a snake or a snake or a
41:58.900 --> 42:04.900
mar. Well, that's what scholars call it. They call it a tool or a spade, but it's possible this is actually
42:04.900 --> 42:10.900
something different. Marduk. I like to joke that when I first moved to Nashville 25 years
42:10.900 --> 42:16.900
ago I had to learn to speak southern. And a friend of mine put this in front of me and said,
42:16.900 --> 42:22.900
here, read this. And so I read it and it said, Mr. Ducks, Mr. Not Ducks, Mr. Two Ducks.
42:22.900 --> 42:28.900
And he said, no, you have to read that by speaking southern. So he demonstrated it for me.
42:28.900 --> 42:34.900
This actually reads, M.R. Ducks, M.R. Not Ducks, M.R. Two Ducks. And now we're speaking
42:34.900 --> 42:40.900
southern. The reason why I present that is because in 1982 I had that strange word,
42:40.900 --> 42:46.900
Marduk, implanted in my consciousness in this kind of humorous way. And I was
42:46.900 --> 42:52.900
never forgot it. And when it came back up in Sitchin's book, I'm like, wow, hey, that's pretty cool.
42:52.900 --> 42:58.900
M.R. Ducks, M.R. Not Ducks, M.R. Two Ducks. M.R. actually means brightness or shining.
42:58.900 --> 43:04.900
And so I think it's just slightly ridiculous to think that Marduk, this god of enlightenment,
43:04.900 --> 43:10.900
is standing before a spade as an example of a snake or a snake or a snake or a snake or a snake or a snake.
43:10.900 --> 43:16.900
I think that Marduk, this god of enlightenment, is standing before a spade as in a
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gardening tool. But yet the meaning of it means brightness or shining.
43:22.900 --> 43:28.900
I mean, I've never seen a bright or shining spade. I think we're talking about something entirely different here.
43:28.900 --> 43:34.900
In fact, when we flip over to Egypt, we find out that the Egyptian hieroglyph of M.R. is a pyramid.
43:34.900 --> 43:40.900
Egyptologist Mark Lainer, who's a close associate of Zahi al-Was, has stated that the ancient
43:40.900 --> 43:46.900
Chamechean term, the ancient name for Egypt, that term for pyramid was something he calls M.R.
43:46.900 --> 43:52.900
pyramid. Lainer bases this on his translation of M.R. as place of ascension.
43:52.900 --> 43:58.900
That's what the Great Pyramid was to the original Chamecheans, a place of ascension.
43:58.900 --> 44:04.900
And isn't it interesting that the M.R. was also used to describe what appears to be something that is ascending here?
44:04.900 --> 44:10.900
In fact, when we go back over to ancient Babylon, we find out that the
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temple dedicated to Marduk called the Isagilla, where the mar or mare was located, was called the
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Lofty House. The Lofty House. And was known as the mooring
44:22.900 --> 44:28.900
post of heaven and earth. The mooring post of heaven and earth. Like a place of ascension?
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This is the symbol of Marduk set above a
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compositive creature that's called the Moosh Rushu. This is dated to around 612 B.C.
44:40.900 --> 44:46.900
Moosh Rushu, that's a really funny word. I used to have an opportunity on occasion to lecture with James Arthur,
44:46.900 --> 44:52.900
the mushroom man. And if James were here, he most certainly would say that Moosh Rushu sounds like mooshroom.
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In fact, he used to say that one day I'm going to wake up and realize that everything I'm actually talking about is the psychedelic mushroom.
44:58.900 --> 45:04.900
Well, that's part of it, I know for a fact. But it's not the whole thing.
45:04.900 --> 45:10.900
So here's the way they portrayed this mare device sitting on top of this dragon
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They united the dragon, the symbol of Tiamat, with this mare device. And we see it happening over and over again.
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We're clearly not looking at a gardening tool.
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We're looking at something else. Some other kind of device. It was obviously an object of worship and adoration.
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And here it in fact looks very much like a mushroom to me.
45:34.900 --> 45:40.900
And it's a very, what appears to be a technological scene with the dragon as the base or platform for this ascension or brightness or shining device.
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In Egypt, we see the similar pillar shape being used to represent on, which means heaven or light or even God.
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And on is used to describe the pillar at Helios.
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And the pillar is used to describe the pillar at Helios.
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And the pillar is used to describe the pillar at Helios.
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Which was also called on, spelled O-N.
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Zachariah Sitchin maintains that the Onunaki gods who came to Earth after this cataclysm or this celestial confrontation with Tiamat
46:16.900 --> 46:22.900
may have done so in what appeared to him to be Apollo style rocket ships.
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At least that's the supposition he makes in the 12th Planet, citing this drawing right here from ancient Egypt as an example of an Apollo rocket,
46:28.900 --> 46:34.900
At least that's the supposition he makes in the 12th Planet, citing this drawing right here from ancient Egypt as an example of an Apollo rocket,
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a command module sitting above the ground with the rocket beneath the ground.
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I was once in Memphis giving a presentation on this subject to the Mensa Society there.
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And then the crowd took issue with this saying that this is an Apollo command module, that's a snow cone.
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So somewhere in between a snow cone and an Apollo command module,
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we might have some understanding of what we're actually looking at here.
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And then Sitchin presents these images of these Shem, as he calls them,
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waiting in these Shem craft and he compares them with the Apollo command module and again suggests that these gods had some form of spacecraft that they were traveling in.
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waiting in these Shem craft and he compares them with the Apollo command module and again suggests that these gods had some form of spacecraft that they were traveling in.
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Well I've become intrigued by these Shem objects or these pyramidians and have collected several of them that I'll show you here.
47:28.900 --> 47:32.900
Well I've become intrigued by these Shem objects or these pyramidians and have collected several of them that I'll show you here.
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This one is very interesting. It shows the lord of Sokar is what his name is.
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Sokar the lord of Rastow, which happens to be the ancient name for the Giza Plateau.
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And we see Sokar standing in between these two pillars which form a gateway.
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And we see Sokar standing in between these two pillars which form a gateway.
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He's standing on the Egyptian symbol for truth and these goddesses here appear to be either beaming him reiki energy or in a prayer posture here.
47:58.900 --> 48:06.900
We see the winged sun disc hovering up above, which is a common motif that was shared by both the Egyptians and the Sumerians.
48:06.900 --> 48:12.900
Here's another example where we see the same two figures who are in the prayer posture here.
48:12.900 --> 48:14.900
Here's another example where we see the same two figures who are in the prayer posture here.
48:14.900 --> 48:18.900
And now we see the god up above in the craft.
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And as we go forward now we see that that craft is once again appears to be disappearing into these vertical lines that suggest to me going through a
48:34.900 --> 48:38.900
This is Osiris standing in his shrine.
48:38.900 --> 48:42.900
This is Osiris standing in his shrine.
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And here is the the shem or the pyramidion that features the entire scene.
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And here is the the shem or the pyramidion that features the entire scene.
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We see the winged disc up above.
48:50.900 --> 48:56.900
These scenes are important to me because it suggests to me that when Osiris is in his shrine there that he could be in fact in some form of an intermediate realm.
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We see the winged disc up above.
48:58.900 --> 49:00.900
These scenes are important to me because it suggests to me that when Osiris is in his shrine there that he could be in fact in some form of an intermediate realm.
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The analogy I like to make is that these gods are preparing to leave earth and they're going into the heavens.
49:06.900 --> 49:12.900
And very much like a deep sea diver when he returns to the surface of the water doesn't immediately get aboard his ship he goes into a decompression chamber.
49:12.900 --> 49:16.900
And very much like a deep sea diver when he returns to the surface of the water doesn't immediately get aboard his ship he goes into a decompression chamber.
49:16.900 --> 49:18.900
I wonder if that's what we're looking at here.
49:18.900 --> 49:22.900
In fact I had a gentleman in my audience before who's an aircraft engineer.
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And he likes to think of it in terms of Star Trek that maybe what we're actually looking at here is some form of a transporter device.
49:28.900 --> 49:32.900
A device that takes these beings off the earth and then puts them aboard a ship and then it's the ship that actually takes them into the wormhole itself.
49:32.900 --> 49:40.900
A device that takes these beings off the earth and then puts them aboard a ship and then it's the ship that actually takes them into the wormhole itself.
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I mean there's nothing in the Egyptian inscriptions on this that suggests that's what's happening.
49:45.900 --> 49:49.900
But it looks to me like when they're presenting themselves in the shrine that they are in some form of intermediate phase between earth and heaven.
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But it looks to me like when they're presenting themselves in the shrine that they are in some form of intermediate phase between earth and heaven.
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Here are some examples cited by Sitchin of the winged disk which he attributes to Nibiru, this 12th planet that he thinks makes a 3600 year orbit of our sun and solar system.
49:59.900 --> 50:04.900
Here are some examples cited by Sitchin of the winged disk which he attributes to Nibiru, this 12th planet that he thinks makes a 3600 year orbit of our sun and solar system.
50:04.900 --> 50:08.900
Here are some examples cited by Sitchin of the winged disk which he attributes to Nibiru, this 12th planet that he thinks makes a 3600 year orbit of our sun and solar system.
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Some cite these as examples of wing craft like they could be ancient examples of UFOs.
50:11.900 --> 50:14.900
Some cite these as examples of wing craft like they could be ancient examples of UFOs.
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But here's what I think we're actually looking at with these winged disks.
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But here's what I think we're actually looking at with these winged disks.
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I think we're looking at the Milky Way itself.
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And the reason why I think that's so is because periodically galaxies, including our Milky Way, go into an active phase where the galactic center begins spewing debris and cosmic energy that builds up in the center and side of the galaxy.
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And the reason why I think that's so is because periodically galaxies, including our Milky Way, go into an active phase where the galactic center begins spewing debris and cosmic energy that builds up in the center and side of the galaxy.
50:29.900 --> 50:36.900
And the reason why I think that's so is because periodically galaxies, including our Milky Way, go into an active phase where the galactic center begins spewing debris and cosmic energy that builds up in the center and
50:36.900 --> 50:39.900
And the reason why I think that's so is because periodically galaxies, including our Milky Way, go into an active phase where the galactic center begins spewing debris and cosmic energy that builds up in the center and
50:39.900 --> 50:44.900
scientists, including those at NASA, portray the ejection of this debris and this cosmic energy as vortexes that spit out in jets up and down the galaxy.
50:44.900 --> 50:51.900
scientists, including those at NASA, portray the ejection of this debris and this cosmic energy as vortexes that spit out in jets up and down the galaxy.
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So when I return to the ancient Egyptian depiction of the winged disk, I wonder, could this central ring actually be the galactic center?
50:56.900 --> 50:59.900
So when I return to the ancient Egyptian depiction of the winged disk, I wonder, could this central ring actually be the galactic center?
50:59.900 --> 51:09.900
And what if these serpents that we see on either side are actually these vortexes of energy that are the jets of energy spewing from the galactic center?
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And then the wings here would actually be the wings of the galaxy.
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And so what I've begun to develop is this sort of Milky Way based perspective that any beings coming to the Earth from outside of our solar system would have had knowledge of our Milky Way galaxy.
51:14.900 --> 51:25.900
And so what I've begun to develop is this sort of Milky Way based perspective that any beings coming to the Earth from outside of our solar system would have had knowledge of our Milky Way galaxy.
51:25.900 --> 51:31.900
And it would be reflected in their symbols, and I believe that that's what we're looking at here.
51:31.900 --> 51:37.900
Here we see a depiction that Eric von Donikin cites.
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The caption that he accompanies it with is, God's in a flying machine.
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And he's referencing this craft that we see up above with the figures sailing within it.
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Here's the detail of the gods and their craft, which von Donikin argues is actually a UFO.
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But I'm not so sure that that's what we're actually looking at.
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I think we might be looking at something even more profound than that, which I'll explain in a moment.
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But for now, I wanted you to compare the symbolism that we see in the Shem depiction here of this god standing in this gateway or doorway with the winged disc above.
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That's what we see here. We see two figures on either side of a radiant pillar that appears to be emitting some kind of energy.
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We see the crescent moon, and then we see the gods and the winged disc up above.
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They're very comparable scenes, and I think that they're actually describing the same occurrence.
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Here we now, when we broaden our perspective on this scene, we see the two figures before the radiant pillar with the gods hovering in the craft again.
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But now tucked away over in the corner, we actually see the mooring post, the mare device, the bright shining device mounted to the dragon once again.
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So it seems pretty evident that this mooring post device is somehow connected with the scene here of how the gods or these beings ended up in that winged disc up above.
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Sorry.
53:13.900 --> 53:28.900
Now we jump to a Neo-Assyrian depiction from 1049 BC, and what we see is the goddess Inanna standing in front of the same mare device with a pointing to this pine cone shaped top.
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We see a serpent entering into or exiting from the device, and we see her satellite dish up above.
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Well, her satellite dish, her winged disc, her craft, whatever it is, but we see a very clear depiction of it, and here is the dragon symbolizing Tiamat right beside it.
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This depiction and this depiction are actually the same.
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We're looking at the exact same device, but now instead of Marduk, the god of enlightenment, we have Inanna, another Anunnaki priestess who's actually operating this device.
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She is performing the exact same ceremony that Moses performed earlier of the lifting of the serpent.
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If this were a presentation about the myths of the body and activating the body's latent spiritual capability, we would be talking about Kundalini energy rising up the spinal cord.
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There are numerous ways that we can look at depictions such as this, but all of them refer ultimately to ascension, which is what these scenes actually describe.
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What we note here is that this mered device is mounted to a Babylonian style ziggurat, which is what we see at the bottom.
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The Babylonian ziggurats are modeled after this place right here, which is called Eridu, which is the most ancient Sumerian temple.
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Eridu, after the kingship was descended from heaven, kingship was in this place called Eridu, the pure place.
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It looks again like some kind of a massive corporate facility.
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In fact, the picture that Sitchin presents of the Anunnaki, the beings who built this place, was that they're an intergalactic or certainly interstellar gold mining conglomerate.
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The Baghdad Museum in Iraq on their website features these figurines from 4000 to 3500 BC that were found at Eridu.
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We can clearly see that the being on the left appears to be some form of reptilian form.
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The being on the right appears to resemble what we call today the non-organic beings called the greys.
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Perhaps they were the original inhabitants of Eridu or interacted there.
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As I've discussed in several of my books and in articles and presentations, Saddam Hussein believed that he was the reincarnated Babylonian king Nebuchadnezzar.
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And he had gone about assembling all of the ancient texts that he could get his hands on relative to Eridu and the goings on there in the beings that dwelled there
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and the secrets of their bright shining object that I believe opened stargates and wormholes.
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I started talking about this story with Art Bell in 1998 and the whole thing just unfolded right before my very eyes when we invaded Iraq and made a beeline for the National Museum
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and looted thousands upon thousands of these cylinder seals and other tablets that contained the blueprints for this technology.
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In Eridu we're told that Al-Ulim became king and he ruled for 28,800 years.
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The Sumerian kings list goes on to describe and tell us all about the kingship and how it was moved to other places and how these kings ruled for 241,200 years.
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So when we talk about this ancient technology we're talking about a vastly advanced civilization that existed over 250,000 years ago.
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And it's very possible that that technology was lost, it might have been regained, then it was lost, then it was regained.
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And we go through these cycles perhaps in 24,000 or 26,000 year cycles where we claim this knowledge, then we lose it, enter a period of darkness,
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then we re-enter a period of light where we reclaim it.
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And I think that right now we are re-entering that period of light where we are in fact reclaiming it.
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As the Sumerian kings list tells us that after 241,200 years the flood swept over the earth.
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And this is believed to be the cataclysm that destroyed what we think of as Atlantis.
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The cataclysm that may have rendered the great pyramid of Giza inert and inoperable and in its present state.
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Enki or the Akkadian Iae was the god of the Abzu of Eridu.
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And he was especially associated with wisdom, magic, and incantations and with the arts and crafts of civilization.
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He was in fact an alchemist.
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And they left us very intriguing depictions of Enki in his Abzu temple.
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This is Shamash here who is known as the guardian of the gate who is scaling a stairway to heaven.
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And please note the musical term scaling the stairway to heaven.
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We see a gateway at the very top of this stairway.
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And then he's able then to enter the watery domain, the Abzu of Enki.
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I don't think that Abzu is on earth.
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I think that that Abzu is a heavenly place and what Shamash, the guardian of the gate, possesses is the knowledge of how to scale the stairway to heaven in order to enter that heavenly temple.
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This knowledge of how to build these star gates or stairways to heaven is what again Saddam Hussein was most deeply interested in.
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Enki, we're told by Samuel Noah Kramer, the noted Sumerian scholar, was a spirit.
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And he was worshiped as a spirit.
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One of his most important aspects therefore had to do with his relationship with the spirit world.
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How was Enki portrayed by the Sumerians?
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Well, he was portrayed as a being who was half human, half serpent, offering the secrets of the stars to humankind.
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The secrets of the stars that he's handing off to him look very much the way we portray the symbol for atomic energy today.
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I was in France at the Louvre Museum last year and took these photographs of cylinder seals that portray Enki as this half human, half serpent being with the symbol of the stars in front of him.
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The serpent of wisdom is something that in the West, especially in the Christian tradition, we fear.
01:00:00.900 --> 01:00:04.900
But in other cultures, other civilizations, they don't fear this wisdom at all.
01:00:04.900 --> 01:00:05.900
They embrace it.
01:00:05.900 --> 01:00:16.900
And I believe that if we're going to learn how to lift the mouth of the serpent, rope, the wormhole, we're going to have to go back and reexamine imagery such as this and the teachings that were affiliated with it.
01:00:16.900 --> 01:00:32.900
According to Timothy Farris in his book, Coming of Age and the Milky Way, the Sumerians who lived, of course, on the plains of the Tigris and Euphrates, identified the supernova Vela 10 with their god Ea, the alchemist who crafted the human body.
01:00:32.900 --> 01:00:41.900
This is opening up a whole other dimension in our understanding of this mythology that Enki as a spirit might not have been human at all.
01:00:41.900 --> 01:00:48.900
That Enki, in fact, might have been a supernova, which we know is the source material that forms our bodies.
01:00:48.900 --> 01:01:01.900
Science now tells us that supernova explosions contain high energy cosmic rays that stimulate human evolution and may even cause spontaneous mutation.
01:01:01.900 --> 01:01:11.900
And when these supernovas pop off throughout history, it marks times when we make sudden leaps forward in our intellectual understanding.
01:01:11.900 --> 01:01:29.900
The last one was Kepler's supernova in 1604, which was immediately followed by the invention of the printing press and all kinds of other inventions that suddenly brought about the unity of the human race and the spontaneous evolution of life on Earth.
01:01:29.900 --> 01:01:45.900
So the question that emerges, is it possible that Enki is, in fact, a supernova and the ancients had knowledge of supernovas and their impact on the human flesh, on the human body, and on human consciousness?
01:01:45.900 --> 01:01:53.900
I mean, this goes to this whole idea that they had a much more profound and expanded view of our cosmos than we're giving them credit for.
01:01:53.900 --> 01:02:11.900
By the way, Enki is considered to be identical with the Egyptian god Ptah, who was the master craftsman of the human body and also was the being who manufactured the craft of the gods.
01:02:11.900 --> 01:02:20.900
He's also portrayed as, in a half human, half fish form in Babylon, where he's called Owans.
01:02:20.900 --> 01:02:38.900
And I bring this up because in Mesopotamia around 1000 BC, we see the priests of Owans or the priests of Enki clad in their fish garments, standing before a radiant pillar that's emitting some kind of energy that they're going to harvest and put inside these pails,
01:02:38.900 --> 01:02:51.900
while Enki hovers above in his craft, his winged disc, which again, Vandana Kidd would ask us to consider as some kind of a UFO.
01:02:51.900 --> 01:03:03.900
But actually, I wonder, is it possible that when Enki's portrayed in his winged disc, it's representative, perhaps, a light, an energy, a vibration that comes from the Milky Way itself?
01:03:03.900 --> 01:03:12.900
I believe that we have to at least allow for that as a possible interpretation, because the imagery so perfectly corresponds.
01:03:12.900 --> 01:03:21.900
Jules Morgenstern tells us that the officiating priest in these ceremonies here is called the Mas Masu, or the purifier.
01:03:21.900 --> 01:03:26.900
Ie, or Enki, and Marduk are repeatedly called Mas Masu Elani.
01:03:26.900 --> 01:03:33.900
From this, he deduces that what we're actually looking at here is a purification ceremony.
01:03:33.900 --> 01:03:43.900
This is a baptism ceremony, where they are harvesting some form of a substance from this device right here, from this radiant pillar.
01:03:44.900 --> 01:03:50.900
They're putting it in their pails, and it has something to do with this craft up above.
01:03:50.900 --> 01:03:56.900
What Morgenstern tells us is that the name of this utensil was called the Mule Ilu.
01:03:56.900 --> 01:04:00.900
Mule, interestingly enough, is the Sumerian word for star.
01:04:00.900 --> 01:04:07.900
Ilu could mean light, making the star of light one possible interpretation of Mule Ilu.
01:04:07.900 --> 01:04:13.900
Now, when we're speaking Southern, people say, hey, don't take the elevator, take the stars.
01:04:13.900 --> 01:04:22.900
If you're in Nashville and someone says, take the stars, they're not saying, take the stars, they're saying, take the stairs.
01:04:22.900 --> 01:04:32.900
When I plug that in, taking the word play or pun, I wonder if this is actually a stair of light that we're seeing here, instead of a star of light.
01:04:32.900 --> 01:04:41.900
Which would be very interesting, because the Egyptians portrayed their pharaohs scaling a stairway to heaven that is opened by this utensil here.
01:04:41.900 --> 01:04:48.900
This is the god of divine magic and alchemy, Thoth, who is levitating before this ship of the gods.
01:04:48.900 --> 01:05:01.900
And so, hmm, maybe there is this interesting connection between these utensils that open the stair of light and the way that these pharaohs and gods were portrayed scaling this ladder.
01:05:02.900 --> 01:05:08.900
In fact, I believe that these two depictions, once again, are portraying a very similar type of a ceremony.
01:05:08.900 --> 01:05:11.900
We see the utensils here as the featured thing in the middle.
01:05:11.900 --> 01:05:19.900
We see the stairway to heaven, and we see the ship of the gods waiting once we have gone through this purification process.
01:05:19.900 --> 01:05:26.900
And here would be the craft or the ship of the gods.
01:05:26.900 --> 01:05:32.900
And once again, in the detail here, we see the craft or ship of the gods.
01:05:32.900 --> 01:05:43.900
And now, once again, we make our comparison between the way the Egyptians portrayed that ship and the way modern science portrays a wormhole.
01:05:43.900 --> 01:05:54.900
A Neo-Assyrian cylinder seal from 1000 BC portrays a virtually identical scene, where we see the priests on either side of the radiant pillar with the craft up above.
01:05:54.900 --> 01:06:04.900
This time, we actually see that this winged disc or craft is emitting some kind of an energy here, and they appear to be harvesting that energy.
01:06:04.900 --> 01:06:16.900
In this Assyrian scene, we see now eagle beings on either side of the priests here, which is very interesting because some believe that this is what the Anunnaki actually looked like.
01:06:17.900 --> 01:06:26.900
What's intriguing about these eagle beings, though, is that this is how NASA portrays a spacecraft today.
01:06:26.900 --> 01:06:34.900
When we first landed the man on the moon, the first words back were, Houston, this is tranquility base, the eagle has landed.
01:06:34.900 --> 01:06:40.900
And we know from that that we're not actually talking about a bird that has landed on the moon.
01:06:40.900 --> 01:06:43.900
We're talking about a spacecraft.
01:06:43.900 --> 01:06:49.900
Flying on eagles wings is often a reference to ascension or soaring into the heavens.
01:06:49.900 --> 01:07:03.900
And so here in these scenes, we have these beings that are portrayed as humanoids or angels, but they're also portrayed as eagles, as beings of ascension that take us, in fact, into the stars.
01:07:03.900 --> 01:07:17.900
And so I think that when we plug those symbols and puns into this equation here, that what we're talking about is beings that have something to do with ascending into the stars, and that's what this winged disc or craft has to do with as well.
01:07:17.900 --> 01:07:22.900
We're now continuing on this subject of the craft.
01:07:22.900 --> 01:07:38.900
And as you've probably ascertained, I like to employ the wordplay or the pun to help pry open stuff that might not normally be apprehendable to the conscious mind, the surface mind.
01:07:38.900 --> 01:07:41.900
I also like to use the dictionary as a research tool.
01:07:42.900 --> 01:07:48.900
And when you look up the word craft in the dictionary, you learn that craft means a skill.
01:07:48.900 --> 01:07:51.900
Craft is a boat, a ship, an aircraft.
01:07:51.900 --> 01:07:54.900
Craft refers to work.
01:07:54.900 --> 01:07:57.900
And craft also refers to technology.
01:07:57.900 --> 01:08:06.900
And I think that if we're going to be trying to understand the craft of the gods, these winged discs, that we have to interpret them on all of these levels here.
01:08:06.900 --> 01:08:09.900
We have to look for the skill behind them.
01:08:09.900 --> 01:08:14.900
We have to look at them as boats or ships or aircraft, which is what they certainly are.
01:08:14.900 --> 01:08:22.900
We have to look for the work behind them and also try to understand the technology that we see presented in this symbolism as well.
01:08:22.900 --> 01:08:27.900
The craft, it turns out, is also an alchemical term.
01:08:27.900 --> 01:08:33.900
This is what the alchemists refer to as their great work, as the craft.
01:08:34.900 --> 01:08:40.900
And the craft of the alchemists is transmuting an impure soul into a pure soul.
01:08:40.900 --> 01:08:49.900
It's often thought of as taking lead and turning it into gold or taking gold and turning it into the white powder of gold in the research of Lawrence Gardner.
01:08:49.900 --> 01:08:58.900
But the key point here is that if we're talking about the craft of the gods at one level of interpretation, that craft has to do with alchemy.
01:08:58.900 --> 01:09:06.900
And one of the primary symbols of alchemy is the Uroboros serpent, the great round, the symbol for eternity.
01:09:06.900 --> 01:09:17.900
And so now we come back to Assyrian depictions such as this, where we see beings uplifting the symbol for heaven and we see a god riding in a ring.
01:09:17.900 --> 01:09:23.900
Could that ring in fact be this Uroboros serpent here?
01:09:23.900 --> 01:09:32.900
Does this describe this being as a purified being who is sailing into the stars in his ring or what is in fact his craft?
01:09:32.900 --> 01:09:35.900
And is that a ring at all?
01:09:35.900 --> 01:09:48.900
Adding another layer of intrigue to this, when I describe the word ring, we're talking about a circle or a ring, but another way to describe a ring is a vibration.
01:09:48.900 --> 01:10:00.900
So what if in fact this portrays a being who has shifted his vibration and he is in fact riding that vibration into another realm, into the heavenly realms?
01:10:00.900 --> 01:10:10.900
In fact what we see here is the comparison between Enki and his craft and now the Azoroastrian god Ahura Mazda who's riding in his winged ring.
01:10:10.900 --> 01:10:15.900
And he also holds in his hand a ring or chakra of power.
01:10:15.900 --> 01:10:22.900
The word chakra meaning ring, and we as we know have at least seven of those dotting our spinal cord system.
01:10:22.900 --> 01:10:33.900
We're told that in Persian mythology, Iranian mythology, that this chakra or ring of power in his hand is called the ring of cosmic sovereignty.
01:10:34.900 --> 01:10:36.900
The ring of cosmic sovereignty.
01:10:36.900 --> 01:10:45.900
Now I don't know what that means to you, but what it means to me is that this being here is able to go and do just about anything he wants.
01:10:45.900 --> 01:10:55.900
I know there's a lot of people that talk about earthly sovereignty and what that means to them is unplugging from the U.S. government and becoming a sovereign being.
01:10:55.900 --> 01:11:02.900
Well I think a more fruitful approach to life might be trying to become a cosmically sovereign being.
01:11:02.900 --> 01:11:11.900
Which means a being who's capable of shifting or adjusting their vibration, their ring, and sailing into the stars.
01:11:11.900 --> 01:11:20.900
And so here we see the detail of Ahura Mazda again on his winged ring with the familiar serpents down here,
01:11:20.900 --> 01:11:25.900
or what are symbolically serpents emanating from the ring.
01:11:25.900 --> 01:11:39.900
This whole idea of the craft of the gods and of it ultimately being a traversable wormhole is traced right back to Carl Sagan's book Contact,
01:11:39.900 --> 01:11:41.900
which was later made into a film.
01:11:41.900 --> 01:11:50.900
As many of you probably realize, Carl Sagan wasn't a really big fan of the UFO culture and investigation into UFOs.
01:11:50.900 --> 01:11:55.900
In fact he pretty well ran people into the ground who thought along these terms.
01:11:55.900 --> 01:12:04.900
And so it makes it kind of suspicious or just a little bit strange that he would write a novel about first contact with an extraterrestrial civilization.
01:12:05.900 --> 01:12:13.900
And the problem that he ran into when he wrote this novel was that he had to find a way for this civilization to come to Earth.
01:12:13.900 --> 01:12:16.900
They needed some form of a craft to travel the stars.
01:12:16.900 --> 01:12:25.900
And this is when he contacted his friend, the physicist Kip Thorne, and together they came up with this idea of the traversable wormhole.
01:12:25.900 --> 01:12:41.900
In the movie, this traversable wormhole was opened by a device that was a machine that was built from plans that were discovered by Jodie Foster in the movie.
01:12:41.900 --> 01:12:53.900
She played this astronomer named Ellie Arroway who was listening for messages from the stars and made contact with this message.
01:12:53.900 --> 01:13:01.900
And what it ultimately told them was of this machine and blueprints for creating this machine that's a hyperdimensional stargate.
01:13:01.900 --> 01:13:05.900
And in the film they portrayed the machine as looking like this.
01:13:05.900 --> 01:13:08.900
And it was really an extraordinary piece of special effects.
01:13:08.900 --> 01:13:10.900
I loved it overall.
01:13:10.900 --> 01:13:18.900
But the really interesting thing to me about this story was the name of the character that Carl Sagan chose to be the builder of this machine.
01:13:18.900 --> 01:13:22.900
His name was S.R. Haddon of Haddon Industries.
01:13:22.900 --> 01:13:32.900
He was this sort of Howard Hughes type figure who was a master of technology, sort of like the Enki of the modern age.
01:13:32.900 --> 01:13:42.900
And I was intrigued by this because S.R. Haddon, that's a name of an ancient Babylonian king who ordered the rebuilding of Babylon in 681 B.C.
01:13:42.900 --> 01:13:51.900
Babylon is where the Gate of the Gods was located, the Tower of Babel here represented by this tiered ziggurat.
01:13:51.900 --> 01:13:57.900
Originally the Tower of Babel, the word Babel meant gate or ladder to heaven.
01:13:57.900 --> 01:14:08.900
But Yahweh or Jehovah, the Old Testament custodial god decided he didn't want company at that time so he smashed our tower or gate and separated humankind by language.
01:14:08.900 --> 01:14:17.900
But throughout time there were others that came along that attempted to rebuild that gate and to rebuild Babylon and S.R. Haddon was one of those figures.
01:14:18.900 --> 01:14:28.900
I had a chance to interview Richard C. Hoagland on Dreamland one time and the reason I wanted to talk with Richard above all was because I knew that he was friends with Carl Sagan.
01:14:28.900 --> 01:14:36.900
And he had spent long hours conversing with Sagan on some of these subjects involved in contact and other things that are of interest to us.
01:14:36.900 --> 01:14:48.900
So I asked Richard about this. I said, Richard, you know in contact Sagan named his character who built this machine, the hyperdimensional stargate, he named him S.R. Haddon.
01:14:48.900 --> 01:14:57.900
I said, Richard, do you think that Carl Sagan was telling us a message or giving us a clue about where this technology really came from?
01:14:57.900 --> 01:15:09.900
And his response was, damn right he was. In fact, he cited Emily Dickinson who had a famous line that she said, tell them the truth but tell it to them slant.
01:15:09.900 --> 01:15:17.900
Tell them the truth but tell it to them slant. Which means essentially to me that, hey, some are going to get the message.
01:15:17.900 --> 01:15:26.900
Some are going to go find out or recognize that S.R. Haddon is the name of the ancient Babylonian king who rebuilt Babylon and connect this machine to ancient Babylon.
01:15:26.900 --> 01:15:30.900
The others, it's just going to go right over their head and it doesn't matter to them anyway.
01:15:30.900 --> 01:15:35.900
But I think that Carl Sagan was indeed telling us a very deep secret.
01:15:35.900 --> 01:15:46.900
That the secrets of this gate of the gods, this stargate technology, is or was or is in ancient Babylon, modern day Iraq.
01:15:46.900 --> 01:15:55.900
This is a ninth century B.C. Babylonian depiction of the lowering of kingship, the symbol of kingship, this eight-rayed star.
01:15:55.900 --> 01:16:07.900
And here we see the king with his watery costume on sitting upon his throne, sitting upon these waters here which again symbolize the earthly waters and the heavenly waters.
01:16:07.900 --> 01:16:18.900
What I want you to do now is compare the lowering of kingship or the kingship with the way the machine is portrayed in the movie Contact.
01:16:18.900 --> 01:16:29.900
And what we notice is that the eight-rayed star here and the concentric rings of this device are correspondent with one another.
01:16:29.900 --> 01:16:37.900
And so to me, the kingship, the ultimate ship of the kings is the craft.
01:16:37.900 --> 01:16:43.900
It is the open gateway that enables us to become cosmically sovereign beings.
01:16:43.900 --> 01:16:53.900
And I just think that Carl Sagan again is telling us directly where this technology originally came from and where it is to be rediscovered today.
01:16:54.900 --> 01:16:59.900
And this is, I believe, our motivation for why we went into Iraq.
01:16:59.900 --> 01:17:06.900
Matt Visser is a physicist who's also worked on this whole wormhole theory concept.
01:17:06.900 --> 01:17:11.900
He teaches in Australia now. He used to be at the University of Washington in St. Louis.
01:17:11.900 --> 01:17:20.900
And he says that, hey, you know, the image of the concentric rings, the circular gate, is certainly one design of a wormhole.
01:17:20.900 --> 01:17:32.900
But he also believes that another design that would be just as appropriate is of a cube and that if you were to see a wormhole in space, it would appear as a black cube.
01:17:35.900 --> 01:17:49.900
This is an actual citation from Matt Visser's website where he describes his graphic here as another highly idealized artistic conception of just what a traversable wormhole might look like, this being a very artificial sort of construction.
01:17:49.900 --> 01:17:51.900
But Matt Visser does something very interesting.
01:17:51.900 --> 01:17:59.900
He compares his design of a wormhole with that that Arthur C. Clarke presented in the movie 2001, A Space Odyssey.
01:17:59.900 --> 01:18:12.900
Here again, quoting Matt Visser, he says, The idea is that we are looking at a wormhole that is somewhat reminiscent of the monolith in 2001 and seeing different windows to different parts of the universe on various faces of the wormhole.
01:18:13.900 --> 01:18:17.900
The edges of the cube would be supported by negative tension cosmic string.
01:18:17.900 --> 01:18:21.900
And he says, I should not need to tell you that this is well beyond our current capabilities.
01:18:21.900 --> 01:18:25.900
And there are suspicions that maybe it will always be beyond our capabilities.
01:18:25.900 --> 01:18:32.900
But that's kind of the point, because this whole science represents, according to Mishio Kaku, the salvation of our species.
01:18:32.900 --> 01:18:37.900
That's what we're aspiring towards is to get a hold of this technology.
01:18:37.900 --> 01:18:44.900
And clearly, Carl Sagan and Arthur C. Clarke are hinting that this technology was possessed in the ancient world.
01:18:44.900 --> 01:18:48.900
It was brought to Earth from the heavens.
01:18:48.900 --> 01:19:00.900
And in the movie 2001, A Space Odyssey, Arthur C. Clarke portrays this black monolith as a device that spontaneously transforms humankind.
01:19:00.900 --> 01:19:05.900
It has an evolutionary stimulating effect on humankind.
01:19:05.900 --> 01:19:15.900
And in the end of the movie, 2001, is when Dave Bowman, the astronaut, looks into this black monolith and utters those words, My God, it's full of stars.
01:19:15.900 --> 01:19:23.900
He is introducing us to the idea of the Stargate itself as this evolutionary stimulating device.
01:19:23.900 --> 01:19:29.900
Not only are these Stargates full of stars, they're also actually full of galaxies.
01:19:29.900 --> 01:19:32.900
Perhaps even hundreds of billions of them.
01:19:32.900 --> 01:19:41.900
And in between these galaxies are what we're told by science are the naturally occurring wormholes that were an after effect of the Big Bang.
01:19:41.900 --> 01:19:55.900
So I think that what we're looking at here in fiction and in film and in modern physics is this confluence of this idea that we're on the edge of being able to comprehend these ideas.
01:19:55.900 --> 01:20:00.900
Whether or not we actually will be able to build these things in the near future remains to be seen.
01:20:00.900 --> 01:20:06.900
But I'm very optimistic that we actually possess this technology today.
01:20:06.900 --> 01:20:12.900
I think that we're starting to see evidence of that, especially in the maneuvers that we see in Iraq.
01:20:12.900 --> 01:20:19.900
And I wouldn't be surprised if we start seeing it showing up in our technology and the open literature here soon.
01:20:19.900 --> 01:20:25.900
Michio Kaku likes the idea of this black cube of space as the wormhole.
01:20:25.900 --> 01:20:33.900
At least he featured it on the cover of his book, Hyperspace, a scientific odyssey through parallel universes, time warps, and the 10th dimension.
01:20:33.900 --> 01:20:37.900
Here is clearly Arthur C. Clarke's Windows into Time concept.
01:20:37.900 --> 01:20:45.900
And also that presented by Matt Visser as the ideal image of a wormhole.
01:20:46.900 --> 01:20:55.900
When we return to ancient art, we see some very intriguing examples of a black cube as this symbol of all that is.
01:20:55.900 --> 01:21:02.900
In the meditation room of the UN, Doug Hammarskjold, the secretary general of the UN from 1953 to 1961,
01:21:02.900 --> 01:21:11.900
had this six and a half ton black cube installed in the meditation room of the UN as a symbol of all the world's religions.
01:21:11.900 --> 01:21:27.900
Now what was special about this one, I don't know, but Hammarskjold went to a Swedish mine and had 60 of these similar blocks hauled out of this mine before he selected this particular one that now sits in the meditation room of the UN.
01:21:27.900 --> 01:21:39.900
In the description that accompanies this, the lights that shine on this black cube look like tiny pinpoints of light, just like Arthur C. Clarke's Stargate.
01:21:39.900 --> 01:21:46.900
And so maybe, I don't know, Doug Hammarskjold had some kind of vision of this as the symbol of all the world's religions.
01:21:46.900 --> 01:21:55.900
And when you look in the top down view of this black cube in the meditation room, you see that it's full of stars, or what appear to be stars, pinpoints of light.
01:21:55.900 --> 01:22:05.900
This is the black cube at Mecca, with a stairway emitted from it, perhaps the stairway that Mohammed rode into the stars.
01:22:05.900 --> 01:22:14.900
Now let's shift gears just a little bit and talk about some of this other gateway imagery.
01:22:14.900 --> 01:22:24.900
This is Akkadian, 2250 BC. We see Shamash, the guardian of the gate, with a saw in his hand, emerging from between these twin peaks.
01:22:24.900 --> 01:22:35.900
This is Enki over here, surrounded by the fish. He's stepping over a bull, which is a processional symbol, a symbol of the changing of the ages.
01:22:35.900 --> 01:22:43.900
Enki in this gateway, or excuse me, Shamash in this gateway, has been highly intriguing to me for a long time.
01:22:43.900 --> 01:22:49.900
And I had made the comparison between it and this Aztec depiction of this serpent.
01:22:49.900 --> 01:22:54.900
And we can clearly see that the two mounds, or the twin peaks, are virtually identical.
01:22:54.900 --> 01:23:03.900
And I was kind of stymied about what is exactly the connection between these two, until I heard a presentation by John Anthony West, the Egyptologist.
01:23:03.900 --> 01:23:11.900
And he noted that at the entranceway to the Egyptian temples, you always see the twin peaks, just as we see here.
01:23:11.900 --> 01:23:16.900
In the Egyptian temples, the sun rises in between the twin peaks.
01:23:16.900 --> 01:23:21.900
Well, what John Anthony West offered was a critical piece of information.
01:23:21.900 --> 01:23:28.900
He said, this right here, that's a sine wave. That's a symbol for a vibration.
01:23:28.900 --> 01:23:36.900
And what it opened up to me is the possibility that what we see is this gateway that is actually a vibrational gate.
01:23:36.900 --> 01:23:43.900
It is a ring. It is a tone, a frequency that these beings are traveling in between or through.
01:23:43.900 --> 01:23:52.900
And so when we come back to these other depictions, we see Shamash, the guardian of the gate, with his saw, with these rays emitting from himself, stepping through the twin peaks.
01:23:52.900 --> 01:23:57.900
And we see these guardians over here with these pillars on either side.
01:23:57.900 --> 01:24:06.900
That's exactly what we saw earlier in the hieroglyph of Osiris, with the shrine or the gate and the two TET pillars on either side.
01:24:06.900 --> 01:24:17.900
And now we can sort of fill in the blanks that the Osiris device, the enlightenment pillar that sits on top of this that we saw earlier, is the device that opens the gate.
01:24:17.900 --> 01:24:23.900
And perhaps it works on some sort of vibrational basis.
01:24:23.900 --> 01:24:28.900
In the Louvre, I took these photographs of this cylinder seal rolled out.
01:24:28.900 --> 01:24:31.900
Here's a photograph of the cylinder seal rolled out.
01:24:31.900 --> 01:24:45.900
And what again it shows is Shamash, the guardian of the gate, stepping through the same twin peaks with the same two guardians on either side that appear to be the TET pillars or power pillars of the ancient Egyptians.
01:24:45.900 --> 01:24:51.900
Here's another example of the God being stepping through the gate.
01:24:51.900 --> 01:24:57.900
This one looks like it's on fire.
01:24:57.900 --> 01:25:06.900
Here we see once again Shamash scaling the stairway to heaven with the open gateway at the top entering the Abzu.
01:25:06.900 --> 01:25:10.900
We looked at that earlier.
01:25:10.900 --> 01:25:20.900
The point of emphasis here though is that this Abzu or Abyss of Enki is also known as the Deep, the Deep, which is very interesting.
01:25:20.900 --> 01:25:27.900
When we come back over here to Gilgamesh, we learn the story that Gilgamesh learned that he was two-thirds human and one-third divine.
01:25:27.900 --> 01:25:38.900
And Inanna sent him on a quest in order to find the secrets of immortality so that he could enter the gate of the gods as a fully purified being.
01:25:38.900 --> 01:25:44.900
And what we see in this depiction from Acadia 2340 BC is Gilgamesh standing in the gate.
01:25:44.900 --> 01:25:56.900
He has scaled the stairway to heaven and we notice that on either side of the gateway here appear are these squiggly lines that appear to be either water or symbolic of frequency and vibration.
01:25:56.900 --> 01:26:00.900
Is he in fact standing in a water gate?
01:26:00.900 --> 01:26:04.900
I think that's a very good analysis of what we're looking at here.
01:26:04.900 --> 01:26:09.900
Now here's another kink that we can put into this.
01:26:09.900 --> 01:26:17.900
The Old Testament term for mighty and deep, Tehom or Tehomoth, is almost identical to Tiamat.
01:26:17.900 --> 01:26:28.900
The waters of the Red Sea or the Reed Sea, which was split into columns by Moses, were also described as Tehom or the Deep.
01:26:28.900 --> 01:26:33.900
This point was picked up by eminent scholar Alexander Heidel who commented as follows.
01:26:33.900 --> 01:26:48.900
He says, since the waters of the Red Sea were called mighty waters in Tehomoth, there is no reason why they could not equally well be designated as Mephtihom Raba, the water of the great deep.
01:26:48.900 --> 01:26:59.900
So what this scholar Alexander Heidel is actually telling us is that when Moses parted the waters of the Red Sea and they parted into columns according to the book of Exodus,
01:26:59.900 --> 01:27:08.900
they may be describing an identical scene to Gilgamesh standing in the gate with the columns of water on either side.
01:27:08.900 --> 01:27:14.900
What this means is that when Moses parted the Red Sea, it was not an earthly sea.
01:27:14.900 --> 01:27:19.900
I mean, some believe that Moses took as many as two million Israelites with him.
01:27:19.900 --> 01:27:25.900
They were followed by 600,000, excuse me, 300,000 members of the Pharaoh's army.
01:27:25.900 --> 01:27:30.900
What happened to these people? There's no evidence, physical evidence that any of this actually happened.
01:27:30.900 --> 01:27:38.900
I believe it's because it's an allegory. It's a remembrance of a far more ancient story of what may be in fact the origin of it.
01:27:38.900 --> 01:27:46.900
Maybe in fact Gilgamesh parting the waters of the mighty deep and entering the gate of the gods and entering the Stargate itself.
01:27:46.900 --> 01:27:56.900
Now another thing that reinforces this take is that scholars argue is the Red Sea called the Red Sea or the Reed Sea?
01:27:56.900 --> 01:28:04.900
There's a very big difference between the two and it's critical if it's actually the Reed Sea because the Egyptian term,
01:28:04.900 --> 01:28:08.900
they call the field of the blessed, the field of a Rue.
01:28:08.900 --> 01:28:14.900
And another term that the Egyptians used for the field of the blessed was the field of reeds.
01:28:14.900 --> 01:28:21.900
And as I suggested, the field of reeds might in fact, or the field or dimension of the blessed might be the same thing.
01:28:21.900 --> 01:28:27.900
And so if Moses is parting the Reed Sea and it's the field of the blessed,
01:28:27.900 --> 01:28:36.900
it suggests that he also from another angle is opening a gateway to another dimension and entering the real promised land,
01:28:36.900 --> 01:28:46.900
which is not a pathetic dot of real estate on earth. It's the promised land in the stars.
01:28:46.900 --> 01:28:56.900
Gilgamesh in the Watergate, just like the gateway composed of water in the movie Stargate, right?
01:28:56.900 --> 01:29:10.900
This is worth commenting on briefly. In the Gilgamesh epic, we're told that Gilgamesh entered the crossing point.
01:29:10.900 --> 01:29:15.900
The crossing point and the name of that crossing point is Nibiru.
01:29:15.900 --> 01:29:22.900
And I've long surmised that Sitchin's planet, Nibiru, is not a planet at all.
01:29:22.900 --> 01:29:26.900
It's described as a star, a gate, and a crossing point.
01:29:26.900 --> 01:29:35.900
And it drives scholars crazy, but I put the words star and gate together and surmise that Nibiru is in fact a stargate.
01:29:35.900 --> 01:29:41.900
And the means by which these ancient gods, the Anunnaki, came to earth was through stargates.
01:29:41.900 --> 01:29:47.900
Straight is the crossing point, the Nibiru, a gateway, and narrow is the way that leads to it.
01:29:47.900 --> 01:29:55.900
Strange, this is exactly what the Nazarean pathfinder Jesus said about the gate to God in one of the Beatitudes in the Sermon on the Mount.
01:29:55.900 --> 01:30:03.900
Narrow is the gate, straight is the way through the gate, straight is the crossing point, the gateway.
01:30:03.900 --> 01:30:10.900
The New Testament author obviously borrowed without attribution directly from the epic of Gilgamesh.
01:30:10.900 --> 01:30:17.900
In Gilgamesh, it's just parting of the waters of what I think are the gateway to the cosmic ocean.
01:30:17.900 --> 01:30:25.900
The archaeologist David Rohl believes that whatever was built on top of this massive corporate facility, this massive foundation,
01:30:25.900 --> 01:30:30.900
was probably the structure that is described in Genesis as the Tower of Babel.
01:30:30.900 --> 01:30:34.900
And again, the Tower of Babel was a gateway.
01:30:34.900 --> 01:30:45.900
It's portrayed as this vortex, this upward pointing vortex, but in the original translation of the word, it meant gate or ladder to heaven.
01:30:45.900 --> 01:30:54.900
But again, Yahweh decided He didn't want company, so He smashed our tower, smashed the gate, closed the gate, and separated humankind by language.
01:30:54.900 --> 01:31:02.900
Afterward, the meaning of the word babel was changed to mean confusion and nonsense.
01:31:02.900 --> 01:31:08.900
Yeah, it's nonsense, this idea about stargates and wormholes. It's impossible for us to do this.
01:31:08.900 --> 01:31:18.900
I don't think so. I think the ancient record is clear that gateways were the whole motivating or coagulating force that brought humankind together with the gods.
01:31:18.900 --> 01:31:22.900
And these stories are being recreated for us today.
01:31:22.900 --> 01:31:30.900
And again, as I pointed out, we see Ananah standing before this mare device, this pillar with the craft and the serpent.
01:31:30.900 --> 01:31:36.900
And it's mounted to this ziggurat, which is in fact the Eridu temple itself.
01:31:42.900 --> 01:31:49.900
Now, if we're going to open gateways, modern science tells us that in order to do that, we need what's called a particle accelerator.
01:31:49.900 --> 01:31:56.900
And I believe I found evidence of an ancient particle accelerator, and that's what I want to talk about now for the next few minutes.
01:31:56.900 --> 01:32:04.900
The Tower of Babel, we're told, was modeled after the ancient cosmic axis, which was called Meru.
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Meru is the ladder to heaven, the cosmic axis, the stairway to heaven, and this is a diagram of Meru from a second century Chinese manuscript.
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Not only was Meru the basis for the Tower of Babel, but Sumer itself was named after it.
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Sumer was called Sumeru. Meru, of course, is spelled M-E-R-U, and what we saw earlier was this mare device spelled M-A-R.
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It looked like some kind of a, well, it's described as a spade, but it looked like some kind of a vehicle ascending.
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I think the diagram is actually referring to this device right here, the Meru cosmic axis.
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Again, coming from a second century Chinese manuscript.
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This has been a very intriguing diagram to me for a number of years, and when we follow the more detailed path of it, we see what appears to be almost like a vertebrae system.
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It looks strikingly similar to a human vertebrae system, among other things.
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At the apex of this Meru pillar is a triangle, or a pyramid, which is symbolic of a place called Shambhala,
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which was the name of the place where this Meru pillar was originally located, Meru being the name of the center of Shambhala,
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and Shambhala being the name of the place also known as the realm of the immortals, the home of the immortals.
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Now Shambhala is one of those really funny words because it has within it words we've already discussed tonight,
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including Shem, which Sitchin identifies as the shining fiery stone, specifically the capstone to a pillar,
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and Sitchin identifies this as the craft of the Anunnaki.
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Shem is the root of our word shaman, and also of Shambhala, the realm of the immortals.
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I was researching this whole Shambhala business a number of years ago and giving a presentation on it,
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and a scientist came up to me after this one particular presentation, and he said,
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I was basically asleep through your presentation until you put up that blueprint.
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And I said, what blueprint?
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And he went through my slides until he came to this diagram right here, and he said, that blueprint right there.
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And he proceeded to tell me that he designed particle beam weapons for a living, you know, Star Wars type weapons.
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And he said, do you realize that this right here is a blueprint for a particle accelerator?
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He said, here's the weapon system right here. It's designed to rotate on this platform, and this is the pulse emanating from the weapon.
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The reason why it looks like a sword is because this is in fact a weapon system that you're looking at.
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And the question is, what was it doing in a second century Chinese manuscript?
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So I took the scientist's bait, and I came home, and I consulted God, or a form of God, Google, and I typed in particle accelerator.
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And here came Ernest Lawrence's diagram of the particle accelerator that was used in the splitting of the atom.
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And when I compared it with the base of the Meru diagram, I can see exactly what that scientist was talking about.
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There is a pretty interesting correspondence between this modern particle accelerator and this ancient diagram.
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And the question is, how does that happen?
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I mean, is it possible that this second century Chinese manuscript featured a blueprint for a particle accelerator?
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Just exactly the device that you need in order to open a wormhole in space?
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And this diagram, again, is the model, or possible model, upon which the tower of Babel, the gate, is based.
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Paul Davies, writing in Scientific American, theorizes that one day we will be able to build giant space-based particle accelerators that open wormholes.
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And when I look at the two, I sort of see a correspondence. I think that maybe this is in fact a blueprint for an ancient particle accelerator.
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And it's also a harmonic of the human body as well.
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So, from a spiritual perspective, that's what the body is. From the soul's perspective, this hunk of flesh is actually a stairway to heaven.
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And if we could learn how to manipulate it or operate it properly, there's no telling what we could actually do.
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This looks like a sword, and it's the proverbial sword that is beat into a plowshare.
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Because with understanding that this is a particle accelerator, we can indeed make and build incredible weapons of mass destruction.
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This is why politicians and military types are so interested in ancient research.
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But we can also build weapons of peace. We can transform our bodies away from swords and the battles between these corrupt and insane politicians,
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and transform our bodies instead into instruments of peace that ultimately transform our planet and enable us to reach out into the stars and become a galactic civilization.
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Here's what the gate really is. It's the female anatomy.
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And I think it's quite striking and indeed profound that at the same time that the Old Testament scribes are taking away the Tower of Babel story and the gate and the potential that we can open the gate,
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at the same time they did that, they subjugated women, literally enslaving women and taking away the power of the divine feminine.
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There's a connection between the two, a direct correspondence between the two.
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And I believe that the rise of the divine feminine in our world is going to be the key that will unlock this consciousness that will open up the gate to heaven once again.
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So ladies, you know, let's get busy.
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We're told that the Egyptians modeled the pyramids on the primordial mound that rose out of the waters of the abyss at the time of creation.
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And these, in fact, here are symbolic of the primordial waters rising out of the moment of creation.
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The pagodas of India also model a similar concept.
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They were deliberate replicas of Mount Meru.
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Like the towers, these mountains were widely envisioned as terraced structures, and that's what we see.
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And as the mountain pierced through the heavens, its seven or nine layers correspond to the imaginary sheets of heaven, as they're described, that lay superimposed over one another.
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So what we see here is the cosmic pillar Meru piercing these sheets of heaven.
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And I think that's a very intriguing description because remember the ancient Egyptians portrayed a symbol that meant to tear, and it corresponds with the tearing of the fabric of space time.
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Space time in this case is portrayed as sheets or fabric that can be torn.
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And so I think the ancients are clearly leaving us a kind of a message here that this is about this diagram, this Meru, these Meru stories and myths are about the tearing of holes in space time, and to go back one time to piercing the sheets or veils of heaven.
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This is, in fact, a pagoda that's in San Francisco.
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See it at night.
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And what we see here then is these are the sheets of space time here, potentially, so what we're describing.
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And so here are the sheets, again, being pierced by the craft up here at the top that may, in fact, have been emitted from this vortex generator or Stargate generator at the base of the pillar.
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Going back one, what we see at the very bottom is this pagoda here at the base of the Meru diagram.
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This pagoda and this one are, to me, strikingly similar.
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Does anyone recognize what this is right here?
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I'm sorry?
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That's right.
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That's the king's chamber of the Great Pyramid.
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And so maybe these stacked slabs here are symbolically equivalent to the sheets of space time that are torn open.
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And maybe this idea that the Great Pyramid was a place of ascension, or in fact a Stargate, is opening into a more and more real possibility all the time.
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This is the cover of Chris Dunn's book, The Giza Power Plant, which he talks about the Giza Pyramid as a massive power plant operated or powered by water and hydrogen.
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And what we see in this artistic representation is these concentric rings of energy being emitted from the king's chamber that perfectly correspond with the rings of energy coming off of the vortex of the Meru diagram,
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complete with the pagoda down here in a slightly different position, but the same symbolic elements are present.
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And I think that there's an interesting correspondence being suggested between these two diagrams.
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A couple of years ago I hired a digital artist named Jack Andrews to render this two-dimensional image in 3D for us.
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And this is what he came up with. This is what the platform or the base of the Meru diagram looks like rendered in 3D.
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And I did sort of a double-blind with Jack when I asked him to do this for us. I didn't tell him what he was working on.
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I just said, Jack, give me a very accurate or reliable, well not really reliable, but don't tweak this a lot.
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Just tell me what this would actually look like in 3D. And this is what he sent back.
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And it was driving him crazy because he wanted to know what you got me working on. This is really intriguing.
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And I just told him I'll tell you when you're finished. And so I think that it's fairly remarkable that you can take a second century drawing and render it in 3D using a computer
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and come up with something that is so profoundly technological appearing.
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Here's the very top of it. Jack said it gave him a lot of difficulty trying to render this in 3D. He couldn't figure out what this cone actually was.
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But what I think it is is the same snow cone or cone that Sitchin thinks is the shemcraft of the Anunnaki.
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And I think that what ultimately the shemcraft of the Anunnaki is is not a Apollo command module. I think it's actually a warpcraft.
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We notice something very interesting that Sitchin omitted from his drawing is that there was a pillar that was placed underground underneath this cone shaped object.
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And the pillar that's placed underneath the ground is actually this right here, which is none other than the pillar of Osiris.
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Which is potentially some kind of a particle accelerator, a device the Egyptians said could drill holes in space.
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And here it is perfectly present in this diagram.
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Back to Jack's drawing of the apex of the Meru diagram.
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I think that again what we're actually seeing in the second century diagram is a warpcraft being spit out of a stargate.
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And that in fact the apex of that diagram and this warpcraft designed by NASA or proposed by NASA are actually describing the same thing.
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And so when we see Anonna standing in front of this Meru device that's mounted to the Tower of Babel, the Tower of Babel is the gate.
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It's the particle accelerator. And what she's witnessing here is this device right here.
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And this pine cone shaped object at the top here is this right here and what it in fact is is a warpcraft.
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And what the Anunnaki possessed was this technology of opening the gates of the gods and that's what's buried 20 feet beneath the sands of Baghdad.
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It is the secrets of the ancient gates of the Anunnaki.
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And if we can get a hold of those, it transforms our civilization and will lead to a rebirth and renewal of our civilization.
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The question remains are we going to actually be privy to that knowledge or will it like so much other stuff just go black, go dark?