1 00:00:00,000 --> 00:00:29,040 What we're going to accomplish today again is based in large part on personal reflections 2 00:00:29,040 --> 00:00:36,560 and photos of scenes and tuple walls that I've collected throughout my journeys into Egypt. 3 00:00:36,560 --> 00:00:43,200 I think what you're going to find is that we're really now today on the cusp of understanding 4 00:00:43,200 --> 00:00:46,960 ancient Egypt in a way that perhaps we never have before. 5 00:00:46,960 --> 00:00:50,600 We have some astounding technology that's come online. 6 00:00:50,600 --> 00:00:56,400 We have new ideas and inspirations, especially concerning the human light body and ascension 7 00:00:56,480 --> 00:01:03,440 that have really given us a really welcome window into the ancient Egyptian thinking about our 8 00:01:03,440 --> 00:01:06,880 ascension and transformation. 9 00:01:06,880 --> 00:01:11,760 If you are interested in perhaps getting information about any of our upcoming tours, 10 00:01:11,760 --> 00:01:20,560 you can visit my website which is www.whenrytn at earthlink.net. 11 00:01:20,560 --> 00:01:23,840 That's www.henrytn at earthlink.net. 12 00:01:23,840 --> 00:01:27,440 Drop me a line, I'll be happy to send you a copy of our brochure. 13 00:01:28,480 --> 00:01:35,520 So let's start from the beginning for me of when I started to really look into ancient 14 00:01:35,520 --> 00:01:44,080 Egyptian light body teachings. My quest begins with this very obscure mathematician named Dr. Charles 15 00:01:44,080 --> 00:01:52,320 Museus or Charles Muses. He used a couple of pen names. Back in 1996, I happened to find myself in 16 00:01:52,320 --> 00:02:00,480 his former home in Denver, Colorado, was called Falcon Wing. It was built at basically as a temple 17 00:02:00,480 --> 00:02:07,760 to ISIS and back then I didn't know who he was and had just begun my journey into looking into 18 00:02:07,760 --> 00:02:13,920 ancient Egypt. I remember going to his home shortly after he had passed and I had been given a 19 00:02:13,920 --> 00:02:21,360 couple copies of his books and it was to to my mind of kind of an an unordinary or extraordinary 20 00:02:21,360 --> 00:02:28,560 circumstance that later had in my opinion profound influence on my life and my quest because as I 21 00:02:28,560 --> 00:02:34,720 started to look into the work of Dr. Museus or Dr. Museus, I found some tremendous inspiration. 22 00:02:35,680 --> 00:02:42,880 Dr. Museus proposed that the ancient Egyptians had developed a technology, his term, in which tones, 23 00:02:43,520 --> 00:02:53,600 lights and then as yet unidentified plant are used to trigger as he said or open a rusty valve 24 00:02:54,480 --> 00:03:02,240 that triggered the production of large pulses of hormones like ex-dicell produced by similar to that 25 00:03:02,240 --> 00:03:09,280 produced by larval forms of insects which allows the adult form of the insect to emerge or the 26 00:03:09,760 --> 00:03:16,000 metamorphose, so excuse me, metamorphosed form of the insect. In this way he said this would allow the 27 00:03:16,000 --> 00:03:26,080 gestation or mutation of a non-molecular body, a new skin that would allow the survival of 28 00:03:26,080 --> 00:03:34,640 consciousness beyond physical death. So we're talking tones, lights, and plants, they could cause 29 00:03:34,640 --> 00:03:42,320 or stimulate this metamorphic transmutation of our body into light, into a light being form 30 00:03:42,320 --> 00:03:48,400 that our consciousness could then be deposited at our time of death and then we would continue on. 31 00:03:49,360 --> 00:03:57,120 This is a 5,000-year-old science and as those who are pay attention to my blog, readers of my blog, 32 00:03:57,120 --> 00:04:04,320 or participants of workshops know, I established that 5,000-year timeline is a benchmark for 33 00:04:04,880 --> 00:04:11,200 human transcendence. This quest that humanity has to evolve beyond our larval form, our 34 00:04:11,200 --> 00:04:18,800 pupil phase, this human flesh and blood phase into our ascended light being phase. And as I 35 00:04:18,800 --> 00:04:26,800 discuss quite regularly in Silicon Valley, Beijing, other technology centers, software engineers, 36 00:04:27,600 --> 00:04:33,840 designers are trying to come up with a way of creating a new version of humanity using digital 37 00:04:33,920 --> 00:04:40,800 technology. I call it the skin-gularity. Their aim is exactly the same as what the ancient 38 00:04:40,800 --> 00:04:47,280 Egyptians have to create a new body of light into which we can copy and paste the contents of our 39 00:04:47,280 --> 00:04:54,960 brain, maybe even our soul into a new body of light that will be able to continue on into eternity. 40 00:04:56,400 --> 00:05:02,400 So when we look at scenes such as this on the back of the throne chair of King Tutankhamman, 41 00:05:03,280 --> 00:05:12,240 we see in anointing scene, we also see the use of a plant. We, in fact, the Tutankhamman's wife, 42 00:05:12,240 --> 00:05:18,720 on Cassinumunus here, anointing him with the blue lotus oil, the sacred blue lotus oil, 43 00:05:19,360 --> 00:05:25,680 that is going to empower Tutankhamman. It's going to transform him. It's going to raise him from a man 44 00:05:25,680 --> 00:05:34,720 to more like a God man. So we have a plant here and we have tones and lights. Can you see just 45 00:05:34,720 --> 00:05:41,520 above the head of Tutankhamman and Augustinumun, we have the light of the Aton. I'm going to go back 46 00:05:41,520 --> 00:05:48,560 the light of the Aton. This is the not the sun, although it's symbolized by the sun. The Aton, 47 00:05:48,560 --> 00:05:57,040 according to Tutankhamman's father, Akhenaten, the Aton was actually the light that illuminates the sun. 48 00:05:58,080 --> 00:06:02,960 So think about that. What is the light that illuminates our sun and think of the expansion of 49 00:06:02,960 --> 00:06:09,040 consciousness that is suggested by such a statement or he thought experiment? Well, on the back of 50 00:06:09,040 --> 00:06:16,640 Tutankhamman's throne chair here, he is being anointed by the tones of the Aton, symbolized by the 51 00:06:16,720 --> 00:06:23,280 key of life, the rays that come from the Aton culminate in hands that offer the key of life 52 00:06:23,280 --> 00:06:31,280 to both Tutankhamman and Augustinumun. So they're being baptized in the rays or the tones of the Aton 53 00:06:32,560 --> 00:06:40,000 and we have obviously lights coming from the Aton as well and they plant. We also notice that both 54 00:06:40,080 --> 00:06:47,040 are wearing transparent linen garments, which as we see is going to be developed as a symbol 55 00:06:47,040 --> 00:06:54,320 for our light body, our next level of spiritual evolution. These are photos I took to 56 00:06:54,320 --> 00:06:59,360 back in February of Tutankhamman's throne chair. You see it with this footstool on the left and on the 57 00:06:59,360 --> 00:07:07,200 right. You see the wings, the wings serpents on either side of the arms, along with the two lions 58 00:07:07,280 --> 00:07:12,240 in the frontal view, but on the side we see the wing serpents, which is a very key symbol in our 59 00:07:12,240 --> 00:07:18,080 quest. We're going to be talking about the wing serpents as we continue here in just a moment. 60 00:07:18,080 --> 00:07:23,760 And so here we see that wing serpent in detail. It's very nice when we're visiting each of these days 61 00:07:23,760 --> 00:07:30,240 that they allow the legal photography in the Cairo Museum. We used to have to go illegal, 62 00:07:30,240 --> 00:07:34,880 try to snap a photo here and there. Sometimes they'd ask you to leave the museum with the 63 00:07:34,880 --> 00:07:39,840 cut caught. So fortunately they've loosened up on the photography rules. Almost throughout 64 00:07:40,560 --> 00:07:45,200 the entirety of all the Egyptian temples now, including the value of the King's Tumshur, 65 00:07:45,200 --> 00:07:50,560 allowed to take photos, whereas just a couple years ago, as a complete known now. So it's very 66 00:07:50,560 --> 00:07:56,320 fortunate for us to be able to go into the Cairo Museum now and be able to use our cameras. 67 00:07:56,960 --> 00:08:03,120 So here in the detail, once again, we're seeing Anca Sunimune, a nointing Tutankhamman. This is a 68 00:08:03,200 --> 00:08:10,480 tremendously archetypal scenario. We see something very similar, 12, 1400 years later 69 00:08:10,480 --> 00:08:18,720 in the anointing of Jesus by Mary Magdalene. Same effect, possibly even the same oils were used 70 00:08:18,720 --> 00:08:25,360 by Mary Magdalene and her anointing of Jesus. In fact, there's a lot of research out there that 71 00:08:25,360 --> 00:08:31,280 tells us that Mary Magdalene and Jesus were part of the mystic tribe of the Ascenes 72 00:08:31,280 --> 00:08:37,600 and that the Ascenes were in fact reviving the light-body mysteries of Akanatan, which passed through 73 00:08:37,600 --> 00:08:44,640 Tutankhamman and Anca Sunimune. So here in the Cairo Museum is a wonderful Stella that shows 74 00:08:45,280 --> 00:08:52,800 Akanatan worshiping or being baptized by the light of the Aton, the light that illuminates the 75 00:08:52,800 --> 00:08:59,520 sun. In the detail, we see the serpent hanging from the disk and hanging from the serpent 76 00:08:59,600 --> 00:09:06,800 is the key of life establishing this connection that the Aton does in fact broadcast or 77 00:09:06,800 --> 00:09:14,960 transmit key tones or vibrations. Again, traditional Egyptologists would like you to consider that this 78 00:09:14,960 --> 00:09:21,920 is actually the Sun. But Akanatan is in fact, it can say that the Aton is the light that illuminates 79 00:09:21,920 --> 00:09:29,200 the sun and our sun that becomes a sort of a step down transformer in a way or transmitter of these 80 00:09:29,600 --> 00:09:35,280 much higher frequency vibrations or rays coming from the Aton. It's interesting about this 81 00:09:35,280 --> 00:09:42,080 is that the Stanford Solar Observatory has recently proven that our Sun, in fact, is a musical 82 00:09:42,080 --> 00:09:51,520 instrument. They describe it as an Orcan, like a pipe organ. It plays over a million notes simultaneously. 83 00:09:52,400 --> 00:10:01,200 So maybe Akanatan knew of one note or several keys or notes that he could bring into the earth 84 00:10:01,200 --> 00:10:08,800 plane that could assist us in our transformation and our ascension. Because indeed, as we follow the 85 00:10:08,800 --> 00:10:16,960 trail of Akanatan, we're led to this contemplation that this mystic figure was in fact introducing 86 00:10:17,040 --> 00:10:24,480 to the ancient Egyptians some very powerful concepts about the light body, our ascension body, 87 00:10:24,480 --> 00:10:32,560 and about our ability to sink with key tones or vibrations coming maybe even from a higher dimension. 88 00:10:33,120 --> 00:10:37,760 And this is what we see in these Stellas here all again in the Cairo Museum in Egypt. 89 00:10:38,400 --> 00:10:44,080 These would have been placed on altars and personal homes until El Armanah, the name of the 90 00:10:44,080 --> 00:10:51,840 New Capital City that Akanatan built. He famously shut down all of the Egyptian temples, 91 00:10:53,040 --> 00:10:59,360 dispatched or fired that you hope bureaucracy of ancient Egyptian gods dismantled the priesthood 92 00:10:59,360 --> 00:11:04,560 and told the people all they needed was one of these tablets in their home on their altar. 93 00:11:05,120 --> 00:11:11,440 And that through Akanatan and his wife, Nefertiti channeling those rays that they too 94 00:11:12,080 --> 00:11:19,840 could be field of baptism of the rays of the Aton. So what happened was, is of course this 95 00:11:19,840 --> 00:11:26,000 revolution of Akanatan spun Egypt into chaos, ultimately the military stepped in and they 96 00:11:26,640 --> 00:11:35,120 destroyed attempted to erase every single possible reference that existed of the existence of Akanatan. 97 00:11:35,120 --> 00:11:40,560 So we're very fortunate that some of these tablets, some of these altar pieces, 98 00:11:41,520 --> 00:11:47,840 have come to us down through the ages and we can stand face to face with them in the Cairo Museum. 99 00:11:47,840 --> 00:11:55,600 They are objects of immense power. And also immense mystery. This one happens to be in the Berlin Museum, 100 00:11:55,600 --> 00:12:03,600 the New Museum in Berlin, a very powerful intimate ceremony where we see Akanatan again with Nefertiti, 101 00:12:04,160 --> 00:12:10,000 his wife, their children, all being a noointed or baptized in the rays of the Aton. 102 00:12:11,280 --> 00:12:18,720 As we follow the child, the daughter that's in Akanatan's hands, we see that she is pointing 103 00:12:18,720 --> 00:12:26,000 to a three-prong glyph. This is the Egyptian glyph for mist, which could be the basis for our 104 00:12:26,160 --> 00:12:34,480 root word mystery. He is anointing her in the mysteries of the Aton and awakening her into 105 00:12:34,480 --> 00:12:41,520 this higher consciousness. I covered this in my earlier Stargate Egypt webinar, which also is available 106 00:12:41,520 --> 00:12:47,360 at portaltoacension.com and also available on my flash drives at WilliamHenry.net. 107 00:12:48,800 --> 00:12:54,640 In this detail, we note that Nefertiti wears a transparent linen robe with a sash. 108 00:12:56,800 --> 00:13:02,800 I also discussed the mysteries of this sash in that previous Stargate Egypt webinar. 109 00:13:03,360 --> 00:13:10,080 It's the really the key thread of all the light body mysteries in my view. It ties together 110 00:13:10,960 --> 00:13:15,440 the ancient Egyptian mysteries goes through the Christian mysteries. It goes right up on 111 00:13:15,440 --> 00:13:22,880 its end to today. It symbolizes a lifeline between humanity and the divine realm. 112 00:13:23,760 --> 00:13:30,640 In Egyptian symbolism, the red sash symbolizes the afterlife garment of light as does the 113 00:13:30,640 --> 00:13:37,120 transparent garment that Nefertiti is wearer. It suggests to me that what's being shown in these 114 00:13:37,120 --> 00:13:43,840 baptism scenes is that Nefertiti is actually, as well as that not in her family, are all receiving 115 00:13:43,840 --> 00:13:52,400 the keystones or vibrations, the light rays from the Aton. It is assisting them in crafting 116 00:13:52,400 --> 00:13:59,840 their non-molecular light body garment, as Muzeus described it. This process is also illuminated 117 00:13:59,840 --> 00:14:08,720 for us on the incredible artwork from the tune of King Tutton Common. In the Kyra Museum, 118 00:14:09,600 --> 00:14:15,360 presently we have all of those wonderful nested boxes that Tutton Commons 119 00:14:15,520 --> 00:14:22,400 coffin was placed within. On the exterior of those coffins, there are scenes such as this, 120 00:14:22,400 --> 00:14:31,200 which describe Tutton Common's transformation into a being of light, the alchemical transmutation 121 00:14:31,200 --> 00:14:39,440 of his body through the light of the stars. But as Muzeus told us, there's just, there's not just 122 00:14:39,440 --> 00:14:46,160 the light of the stars that's involved. There's also tones and plants, possibly the plant being 123 00:14:46,160 --> 00:14:53,680 the sacred blue lotus, but possibly other plants as well. What we see in the scene as a star, 124 00:14:53,680 --> 00:15:01,520 probably serious, with three rays or beams of light coming from it. As Muzeus notes, in Egypt, 125 00:15:01,520 --> 00:15:08,480 the Eithiric or Quintessence was represented in the form of a five-pointed sabah star. The word sabah 126 00:15:08,480 --> 00:15:15,520 or star also means door, and with the determinant for walking, which is also included in this scene, 127 00:15:15,520 --> 00:15:22,240 it meant passing through a star door. And it's just to me that what they're actually talking 128 00:15:22,240 --> 00:15:32,640 about is Tutton Common actually walking through a star gate. Now, what's he successful in this star 129 00:15:32,640 --> 00:15:37,920 gate transmutation? I can't say for sure, we actually have his mummy. We know that the 130 00:15:37,920 --> 00:15:44,160 mummification process was part of the ascension process of the ancient Egyptians. It may be that 131 00:15:44,160 --> 00:15:52,480 the part of Tutton Common is now a star walker, and that he is enjoying his num molecular light body 132 00:15:52,480 --> 00:15:59,520 walking in the stars forever. So, very interesting the way this is preserved for us in the ancient 133 00:15:59,520 --> 00:16:06,000 Egyptian temple scenes. And as most notably here, I'm Tutton Common's burial chest. 134 00:16:06,880 --> 00:16:12,880 As Muzeus continues, he tells us that the principal agent of transmutation, in addition to 135 00:16:12,880 --> 00:16:19,520 tone's lights and plants, was a divine food, as he described it, that like some super royal jelly, 136 00:16:20,320 --> 00:16:26,960 like that of the bees, which stimulate metabolic phoric, or excuse me, metamorphic, 137 00:16:26,960 --> 00:16:34,000 neurosecretary organs in the central nervous system, and enable a super biological process to take 138 00:16:34,080 --> 00:16:41,920 place to mature a higher body that can transcend death and is capable of furnishing a sensorium 139 00:16:42,640 --> 00:16:48,240 to perceive and function in a world freer in which we are the one in which we are currently 140 00:16:48,240 --> 00:16:56,880 confined. This says Muzeus was the Ageless Promise that Ancient Egypt held for most explicitly. 141 00:16:57,200 --> 00:17:05,520 So, tone's lights, plants, and some kind of a divine food. Ever since Lawrence Gardner published 142 00:17:05,520 --> 00:17:11,680 his books on Ormese and the Light Body Food, or mana, people have been looking at these scenes 143 00:17:11,680 --> 00:17:17,920 on the Temple Walls and wondering, were the Ancient Egyptians, indeed, practicing the alchemy of 144 00:17:17,920 --> 00:17:24,880 producing white powder gold, as it's described. This mana, or star food, that we know that the 145 00:17:24,880 --> 00:17:31,200 Ancient Egyptians claimed that they were producing, that could alter the biological body 146 00:17:31,200 --> 00:17:36,960 and ultimately could feed the light body. I think Lawrence has taken us a really good way down 147 00:17:36,960 --> 00:17:43,600 the road here towards re-acquiring these Ancient Egyptian mysteries and in our tours and our 148 00:17:43,600 --> 00:17:48,960 explorations of Egypt, still documenting that science. And this is what we're seeing in some of 149 00:17:48,960 --> 00:17:54,480 these scenes here where the Bayros are offering that star food, and I'll go back and show that again, 150 00:17:54,480 --> 00:18:02,000 to Horace, or to various gods, including a moon who's portrayed here. These are extraordinary 151 00:18:02,000 --> 00:18:09,200 scenes that basically tell the God, I know the secrets of the superfood, of the white powder 152 00:18:09,200 --> 00:18:17,040 gold, of the mana that feeds my light body. And I can't point to anybody today that is exactly 153 00:18:17,040 --> 00:18:23,600 duplicated this food, but I can say in general that we are well on our way towards attempting to find out. 154 00:18:24,880 --> 00:18:30,000 This celestial or star food was said to heighten the Pharaoh's powers of perception, 155 00:18:30,640 --> 00:18:36,880 awareness and intuition, and was responsible for an overall transcendence of personality 156 00:18:36,880 --> 00:18:42,240 to the angelic state. Now it's very interesting in light of the research I've been doing recently 157 00:18:42,240 --> 00:18:50,240 that Lawrence Gardner maintains, as to others, that Tupmosis III was actually the founder of the 158 00:18:50,240 --> 00:18:56,000 this alchemical tradition, and that he was also the founder of the Asine tradition, which is 159 00:18:56,000 --> 00:19:01,600 very interesting speculation, and I'll be having much more to say very soon about the Asines and 160 00:19:01,600 --> 00:19:09,520 their ability to produce this angel food or star food. As Miseus continues, he tells us that all 161 00:19:09,520 --> 00:19:17,440 this brings us to a key point about ancient Egyptian ethno botany, that in justion of the sacred 162 00:19:17,520 --> 00:19:25,360 material, was designed not merely to give a high, but to trigger and impel the metamorphic process 163 00:19:25,920 --> 00:19:35,280 leading to a theurject transmutation of human nature into apotheosis. Metamorphic process, obviously 164 00:19:35,280 --> 00:19:43,600 refers to transpiduration or a change of form, a theurject transmutation refers to the divine work. 165 00:19:44,560 --> 00:19:51,120 In sacred traditions, you have theology, which is God talk, or talking about God. This is what 166 00:19:51,120 --> 00:19:59,600 theologians do, then you have theurgy, which means the divine work to do the work of the gods. 167 00:20:00,320 --> 00:20:10,640 The work that the gods always wanted humanity to do was to transform into divine beings. That is 168 00:20:10,640 --> 00:20:21,280 the meaning of the word apotheosis to raise from a human to a divine level. It bothers me in a way 169 00:20:21,920 --> 00:20:28,960 that we've gotten sidetracked in the past maybe 20 years or so by assertions that the gods 170 00:20:28,960 --> 00:20:37,200 somehow came to earth to mind gold and that they were attempting to mind this gold, but they weren't 171 00:20:37,280 --> 00:20:46,960 successful in mining enough of it fast enough. So they genetically altered a primitive form of human 172 00:20:47,760 --> 00:20:55,920 into a worker race, into a slave race so that these new primitive humans could do the work of the 173 00:20:55,920 --> 00:21:05,040 gods mining gold. That never rang true to me even though it's virtually a religion today in the kind of 174 00:21:05,280 --> 00:21:12,480 ancient astronaut or ancient alien theorist realm, if you will. Zechariah's sitchon was the primary 175 00:21:12,480 --> 00:21:17,520 promoter of this idea. So I refer to this as the gospel of Zechariah's sitchon. He 176 00:21:18,880 --> 00:21:24,480 came up with this interpretation that these God beings came to earth created us as a slave race to 177 00:21:24,480 --> 00:21:30,880 mine gold. In my view, that is possible because there's no question that they should 178 00:21:30,880 --> 00:21:38,720 Egyptians use to tremendous amount of gold. I mean, we're talking hundreds upon hundreds of tons. 179 00:21:39,360 --> 00:21:44,640 Virtually everything was covered with gold. If you're walking into a temple and had a door, 180 00:21:44,640 --> 00:21:48,880 it was covered with gold. Many of the scenes on the temple walls were covered with gold. 181 00:21:49,600 --> 00:21:58,400 Gold was practically as plentiful as sand in ancient Egypt and they had an unbelievable mastery 182 00:21:58,400 --> 00:22:06,560 of working with gold. So they had to get it out of the ground somehow. Maybe they did create a 183 00:22:06,560 --> 00:22:14,160 slave race in order to do this. However, we also know and are told in fact by Mr. Sitchan himself 184 00:22:15,360 --> 00:22:23,760 in his speculations that these God beings were alchemists. An alchemist has, as his primary goal or 185 00:22:23,840 --> 00:22:33,360 task, the transmutation of one element into another led to gold, coal to diamond, flesh, 186 00:22:33,360 --> 00:22:43,600 to celestial flesh or our light body. So why would an alchemist need to come to earth and 187 00:22:43,600 --> 00:22:52,240 violate a so-called prime directive and create a slave race to mine gold for it? Why wouldn't he just 188 00:22:52,240 --> 00:23:00,480 take a hunk of lad and transmuted when that be easier? I'm wondering. Furthermore, it suggests 189 00:23:00,480 --> 00:23:06,960 to me this idea that again, getting back to the idea of the earthy, the divine work, that the work 190 00:23:07,360 --> 00:23:15,360 that we do for God and the gods is our divine work, our apotheosis to raise ourselves from 191 00:23:16,080 --> 00:23:24,880 humans into God beics. And that to me is the work that I seek to spend my time exploring 192 00:23:24,880 --> 00:23:31,760 and operate from this premise that these divine beings came to earth on a mission to assist us 193 00:23:32,400 --> 00:23:42,880 in not enslaving us, but in our ascension. This process of ascension was overseen by these 194 00:23:42,880 --> 00:23:51,520 cosmic regions, these living archetypes of stellar powers. I believe that the God beings of ancient 195 00:23:51,520 --> 00:24:00,160 Egypt were real beings that they were probably super-high frequency light beings that could take on 196 00:24:00,800 --> 00:24:12,480 physical form and to obtain awareness of these star powers or star beings is one of our primary goals 197 00:24:12,480 --> 00:24:21,520 if not the primary goal in our own quest for ascension. At the very top of the list of the gods 198 00:24:21,520 --> 00:24:30,240 of ascension, if you will, is the Egyptian god Petat, the creator god, the craft god of craftsmen. 199 00:24:31,200 --> 00:24:39,200 Petat is the namesake of Egypt itself, the word Egypt is a great corruption of hijepsos, which 200 00:24:39,200 --> 00:24:51,360 means the house of the god or light body of Petat. So Egypt itself is named after this very powerful 201 00:24:51,360 --> 00:24:59,360 god Egypt, Egypt toast. You can see Petat in the very name Egypt. Petat, according to Egyptian 202 00:24:59,360 --> 00:25:07,520 mythology and sacred tradition, came from serious, the star system, serious. He has a white for a 203 00:25:07,520 --> 00:25:14,960 consort, her name is Sekmet. She's portrayed here, she's the lion headed goddess in protector of humanity. 204 00:25:16,240 --> 00:25:22,800 When we go to the Egyptian Heirachlific Dictionary, we find the business card if you will of Petat. 205 00:25:23,680 --> 00:25:30,880 He is the architect of heaven and earth, the master craftsmen in working metals, sculptor, designer, 206 00:25:30,880 --> 00:25:38,880 and the fashioner of the bodies of men. He was the blacksmith sculptor and Mason of the gods. 207 00:25:39,840 --> 00:25:46,880 The fashioner of the bodies of men. Now something that I'm unrecorded as saying and kind of out here 208 00:25:46,880 --> 00:25:55,280 on a limb on my own is to say, well look at this Heirachlific of Petat. Can we see a double helix 209 00:25:55,360 --> 00:26:02,800 in his Heirachlific? I believe so. We also see the flag or hatchet symbol of the netter of another 210 00:26:02,800 --> 00:26:10,160 term for the gods and we also see a symbol for a temple. So if you're talking to a traditional 211 00:26:10,160 --> 00:26:15,120 Egyptologist, they're going to be kind of laughing at us at the moment with this suggestion 212 00:26:15,840 --> 00:26:22,160 that Petat or the ancient Egyptians knew anything about genetics and just because 213 00:26:22,800 --> 00:26:30,160 the god, the ancient Egyptians, said fashion, the human body, has a double helix in his Heirachlific. 214 00:26:30,160 --> 00:26:36,000 That really doesn't mean anything. It doesn't prove that he's a geneticist. But to me, 215 00:26:36,720 --> 00:26:43,520 takes us a long way down the road towards speculating that perhaps Petat was in fact this 216 00:26:43,520 --> 00:26:52,080 otherworldly being who came to earth on a mission. Here's the same as Enki in the Samarion 217 00:26:52,080 --> 00:26:59,760 Tradition and returning back to Zechariah, Sitchens, Gospel. Enki is the geneticist in the Samarion 218 00:26:59,760 --> 00:27:04,080 Tradition, Sitchens says that tweak the human body and also create a Sysus slave race. 219 00:27:05,120 --> 00:27:12,000 And that just doesn't tell you a reconcil with what the ancient Egyptians said about Petat. 220 00:27:12,000 --> 00:27:17,920 Very comfortable and then possibly being interchangeable symbolically and mythologically is the same 221 00:27:17,920 --> 00:27:25,520 figure that their mission is completely different. As portrayed on the walls of Queen Nefertariah's 222 00:27:25,520 --> 00:27:33,600 tomb and the Valley of the Queens in Upper Egypt, Petat served a very powerful role. His role, 223 00:27:33,600 --> 00:27:41,760 according to this scene, was that he provided to Nefertariah her transparent garment of life, 224 00:27:42,400 --> 00:27:48,000 her nomenalcular light body into which her consciousness could be deposited into the afterlife. 225 00:27:48,960 --> 00:27:56,320 That is what these four hierarchical symbolize that she is offering to Petat. They symbolize new 226 00:27:56,320 --> 00:28:04,560 clothes. And the way I read this scenario here is that she is thanking Petat for the gift 227 00:28:05,520 --> 00:28:13,040 of altering her DNA so that her consciousness could be amplified and she could then begin this 228 00:28:13,040 --> 00:28:20,480 process of transmutation or manifestation of her non-molecular light body that would put her in a 229 00:28:20,480 --> 00:28:26,560 similar body to what we see Petat in here. As we see Petat in his golden shrine, 230 00:28:26,560 --> 00:28:33,520 he stands on a stone block that symbolizes Mach or Cosmic Order. He wears a tight fitting 231 00:28:34,240 --> 00:28:42,160 garb or garment referred to as the crossed garment by the ancient Egyptians, the crossed garment. 232 00:28:42,160 --> 00:28:47,760 He holds in his hand a combined resurrection stick that is a combination of the Ua's 233 00:28:47,760 --> 00:28:56,000 aunt and Jed symbols meaning life and stability. It's his resurrection stick that enables him to 234 00:28:56,000 --> 00:29:03,360 open the gates of heaven. Behind him is the multi-colored stairway to heaven, the tep pillar, 235 00:29:03,360 --> 00:29:15,120 the power pillar, also symbolizing resurrection. Very importantly Petat, not only fashion the human body, 236 00:29:16,640 --> 00:29:23,360 he also is responsible for creating the arc of the millions of years or the ship of eternity 237 00:29:23,360 --> 00:29:32,320 as it's also called the craft that the soul will sail upon into eternity once it has crafted 238 00:29:32,320 --> 00:29:41,600 or made its nomilecular light body. In this instance here we're looking at a king, one of the 239 00:29:41,600 --> 00:29:48,320 Tala-mayah kings from the ceiling of the Temple of Hathara Dendara and he stands holding his 240 00:29:49,280 --> 00:29:58,560 resurrection stick sailing towards the constellation of Orion. Something that I noticed a long time 241 00:29:58,560 --> 00:30:04,880 ago and what I refer to as my Robert Boval moment. That moment when Robert Boval looks at the 242 00:30:06,240 --> 00:30:12,480 pattern of the three pyramids of Giza looks up at the three Beltsdarspo Orion and makes that 243 00:30:12,480 --> 00:30:18,960 mere connection that haven't earthed as above so below connection. Back in 2003 I looked up at the 244 00:30:18,960 --> 00:30:23,520 ceiling of Dendara and said, wait a minute, the way the ancient Egyptians portray the arc of the 245 00:30:23,520 --> 00:30:30,560 millions of years looks exactly like the way modern science portrays a wormhole. And that started 246 00:30:30,560 --> 00:30:38,720 me on this quest to understand the possibility that the ancient Egyptians were familiar with the wormhole 247 00:30:38,800 --> 00:30:44,240 or certainly the symbolism of the wormhole as a mechanism through which the soul can travel the 248 00:30:44,240 --> 00:30:52,000 cosmos. We all experience a birth, we experience a life and we experience a death. That cycle is 249 00:30:52,000 --> 00:30:58,640 modeled by the wormhole. We all experienced an inhuman past. We didn't come from earth originally. 250 00:30:58,640 --> 00:31:04,800 We came from somewhere else. We all experience a life which we call the present and we will all 251 00:31:04,880 --> 00:31:11,840 experience a resurrection in the future. We will perhaps return to the stars. And this is what we see 252 00:31:11,840 --> 00:31:18,800 modeled by the ancient Egyptians is that they portray their resurrected beings sailing the stars as 253 00:31:18,800 --> 00:31:27,840 eternal beings on their wormhole shape arcs of the millions of years. This connection that again 254 00:31:27,840 --> 00:31:35,520 fused way back in 2003 launched me on this quest along with those material of Charles Musaus to 255 00:31:35,520 --> 00:31:41,600 try to put together, as much as we can about the ancient Egyptian light body teachings. And it's 256 00:31:41,600 --> 00:31:50,880 suggested to me that if Pata is the one who fashioned the human body that perhaps, or perhaps he must 257 00:31:50,960 --> 00:31:59,680 have tweaked our body so that it could be more adaptive to travel in the stars through a wormhole. 258 00:32:00,960 --> 00:32:06,880 One thing I know for certain is this flesh and blood body is not going to sit on this feather 259 00:32:06,880 --> 00:32:14,240 descentions row and travel the stars. It is only our non-molecular light body that is capable 260 00:32:14,320 --> 00:32:19,680 of making this journey. And so it's very important for us to begin to connect with, 261 00:32:20,400 --> 00:32:25,600 mentally physically and spiritually and emotionally, our future self, which is what we see portrayed 262 00:32:25,600 --> 00:32:31,360 on the on the temple walls. Here we see the Talamayah king wearing the crown of wisdom, 263 00:32:32,400 --> 00:32:37,520 with his lotus craft, the arc of the millions of years, his feathered ascension throne, 264 00:32:37,600 --> 00:32:45,920 Scottish Resurrection stick, and the ancient Egyptian symbol, the key of life. In my opinion, 265 00:32:46,480 --> 00:32:52,800 these are all aspects of our light body, psychospiritual attributes. It's not like we're going to 266 00:32:52,800 --> 00:32:58,800 go down to Nordstrom and go by the latest key of life. Target won't sell you or best buy won't 267 00:32:58,800 --> 00:33:05,200 sell you the latest Resurrection stick. This is all developed from within us. It's conscious of 268 00:33:05,200 --> 00:33:10,880 awareness, opening up our crown, recognizing that our Resurrection stick is probably our spinal cord 269 00:33:10,880 --> 00:33:19,360 system. The key of life in ancient Egypt is compassion and action. All of this ultimately 270 00:33:19,360 --> 00:33:25,360 assists us in manifesting our Resurrection throne, our feathered Resurrection throne, 271 00:33:25,360 --> 00:33:32,800 and opening the star gates or wormholes that take us into eternity. This, in my opinion, 272 00:33:33,680 --> 00:33:41,600 is why Petal was here. This is the teaching of Petal and Sechmet. And the record of this teaching 273 00:33:41,600 --> 00:33:48,240 is left for us on various temple walls, including Metanet Habu, where we see this beautiful 274 00:33:48,240 --> 00:33:56,080 depiction of Petal as a blue-green being. Same thing here with Sechmet. She's also portrayed as 275 00:33:56,080 --> 00:34:01,120 blue-green, we're talking a moment about why they're portrayed as blue-green beings. 276 00:34:02,080 --> 00:34:06,480 Back at Metanet Habu, once again, another great representation of Petal. 277 00:34:07,520 --> 00:34:12,960 When we're on tour, I'm very often paying as close attention as I can to Petal. 278 00:34:13,600 --> 00:34:19,360 Looking at the columns, looking at the temple walls, taking the pictures and bringing Petal's energy 279 00:34:19,360 --> 00:34:27,840 into my consciousness. Because I know that Petal is probably two things. He is both a stellar consciousness 280 00:34:28,240 --> 00:34:34,960 who's capable of transmitting his consciousness across past distances and communicating with us 281 00:34:34,960 --> 00:34:41,280 especially in dreams, which is what we learned at Sechara. And he could also be a physical being as 282 00:34:41,280 --> 00:34:49,760 well. He could manifest himself physically in an incarnate form. We're going to see that this 283 00:34:49,760 --> 00:34:57,280 is literally true here in just a moment. I want to share this with you. We were in the Sechmet 284 00:34:57,280 --> 00:35:04,640 Chapel at Carnac Temple, a very special place where you see this, it's just absolutely incredible 285 00:35:05,280 --> 00:35:11,120 3,500-year-old living statue of Sechmet. It's one of Claire's favorite stops on our tours. 286 00:35:11,840 --> 00:35:17,280 And in this particular occasion, Claire, as you can see, is Crowchene at the feet of Sechmet. 287 00:35:17,280 --> 00:35:24,160 She is touching her hands to the statue and looked behind Claire who's on the left. 288 00:35:24,720 --> 00:35:30,320 Look at what is coming out of the wall. A couple of our guests were flabbergasted, 289 00:35:30,320 --> 00:35:35,760 gobsmack when they saw this image and asked, is it possible that that is actually 290 00:35:36,640 --> 00:35:45,440 Sechmet or could it even be Petal who is stepping out of some other world and into that chapel at that 291 00:35:45,440 --> 00:35:50,080 moment? I can't say yes or no for sure, but it sure is a provocative scene. 292 00:35:51,040 --> 00:35:55,600 Another couple examples of Petal just want you to be very familiar with the representations of 293 00:35:55,600 --> 00:36:03,040 how Petal is portrayed in the Egyptian temple walls. These examples here are actually at 294 00:36:04,000 --> 00:36:09,360 the Temple of Setti, the first at Abados. A couple more examples here from Abados. 295 00:36:10,960 --> 00:36:18,960 Just absolutely mind-boggling images when you think about what the story is behind this figure. 296 00:36:20,080 --> 00:36:29,680 Of a benevolent celestial being comes to earth from serious on emission to augment the human body to 297 00:36:29,680 --> 00:36:38,960 tweak it so that we can become more like the divine beings and that we in fact can ascend from 298 00:36:38,960 --> 00:36:45,280 the earth playing. That is the essential and core mystery of Petal. And now coming back to 299 00:36:45,280 --> 00:36:51,840 Nefertari's tomb, we see the this anointing by not just Petal but also by ISIS, 300 00:36:51,840 --> 00:36:58,000 where we once again see Nefertari wearing a transparent linen garment. The object of the lightbody 301 00:36:58,000 --> 00:37:07,360 quest of the ancient Egyptians with a red sash or lifeline to the divine. It's always such a pleasure 302 00:37:07,360 --> 00:37:14,000 to visit Nefertari's tomb. Yeah millions of visitors that go to Egypt every year. 303 00:37:14,080 --> 00:37:21,280 And I would I would estimate that the total number of visitors that visit Nefertari's tomb every year 304 00:37:22,160 --> 00:37:27,840 is just the hundreds. It's in the valley of the Queens. It's kind of off the beaten trail a little bit 305 00:37:27,840 --> 00:37:35,040 for your traditional tours. But we always make a point to to go to Nefertari's tomb just because 306 00:37:35,040 --> 00:37:43,600 it is so spectacularly beautiful. And also also for the meaning behind these scenes here. 307 00:37:43,680 --> 00:37:48,240 We're now we're looking at Osiris and his lifebody. Garment, his crossed garment. 308 00:37:48,960 --> 00:37:54,400 Always of course with his red sash on his lifeline to the divine realm. 309 00:37:55,120 --> 00:38:03,040 It's to me one of the most peaceful places anywhere on the planet and it's always just a very 310 00:38:03,040 --> 00:38:10,880 special moment to be able to just go into this tomb. 33,000 plus year old tomb and just contemplate 311 00:38:11,600 --> 00:38:17,680 what it is actually that we are looking at here of a human on her path to ascension. 312 00:38:18,160 --> 00:38:26,000 And this quest that she had at Nefertari had for transmutation, for coming face to face with the gods 313 00:38:26,000 --> 00:38:33,680 and becoming a celestial being. Nefertari of course is also portrayed. She's the wife as I mentioned 314 00:38:33,680 --> 00:38:39,120 earlier of Ramsey's The Great. So she's often portrayed in statues at Karnak and elsewhere 315 00:38:39,280 --> 00:38:46,080 and even in these statues here at Luxer. Well, always make a beeline when we visit the Luxer 316 00:38:46,080 --> 00:38:54,560 temple to go see Pyamid. If you will to to Ramsey's The Great who we see here in these giant statues 317 00:38:55,200 --> 00:38:59,760 and love connecting with Ramsey's The Great have a real special affinity 318 00:39:00,720 --> 00:39:10,240 with these Ramsey's kings. But it's beyond Ramsey's really there to see is Nefertari. She's 319 00:39:10,240 --> 00:39:16,480 tucked just underneath her husband. She's shown a much smaller course that King has always shown 320 00:39:16,480 --> 00:39:24,560 as this massive being of perfection. But standing beside him are these just absolutely just truly 321 00:39:24,640 --> 00:39:29,440 elegant scenes of Nefertari. She of the beautiful face as she was called, 322 00:39:30,320 --> 00:39:37,680 the absolute masterpieces of sculpture. And in all these instances we see the same scenario. 323 00:39:37,680 --> 00:39:44,560 She is wearing her transparent linen garment which is to me portrayed as we see here on the right 324 00:39:44,560 --> 00:39:50,640 quite hauntingly. It tells us that this again is the object of the ancient Egyptian 325 00:39:50,720 --> 00:39:56,800 mysteries is to craft this light body. We crafted through our thoughts, we crafted through our 326 00:39:56,800 --> 00:40:04,320 intentions. But especially we crafted through our connection with with Patah. And Patah is again 327 00:40:04,320 --> 00:40:10,960 the god he can enter into our dream state and assist us in our ascension. And again we're going 328 00:40:10,960 --> 00:40:18,400 to come back and talk about that because it was here at Sekara in lower Egypt which is actually the 329 00:40:18,400 --> 00:40:23,040 northern part of the country that this complex was entirely developed for excuse me, 330 00:40:23,040 --> 00:40:31,440 devoted to Patah and the stargate mysteries of the ancient Egyptians. This complex was built by the 331 00:40:31,440 --> 00:40:37,840 world's first acknowledged architect, his name is Imhotep. He was sort of the Leonardo da Vinci of 332 00:40:37,840 --> 00:40:47,360 his age who built this stairway to heaven and also the massive, of, four miles of tunnels that 333 00:40:47,440 --> 00:40:54,000 honeycomb the Sekara complex underneath this stairway to heaven or step pyramid are four miles 334 00:40:54,000 --> 00:41:01,440 of tunnels that run out into the desert and think of just the enormity of this complex that that 335 00:41:01,440 --> 00:41:09,840 Imhotep was able to conceive and execute a commoner by birth. Imhotep whose name means the one who 336 00:41:09,840 --> 00:41:18,240 comes in peace was the high priest of the King Zoser. He was called the son of Patah and he is the 337 00:41:18,240 --> 00:41:27,440 first human engineer architect and physician in history known by name. In depictions that we find at 338 00:41:27,440 --> 00:41:35,280 Sekara and elsewhere we see Imhotep seated on his feathered ascension throne. His feathered because 339 00:41:35,280 --> 00:41:42,800 it flies Jewish mystics later called it the Merk ofothroam and it tells us that Imhotep himself 340 00:41:43,920 --> 00:41:51,520 probably ascended. He was certainly deified centuries later, especially by the Greeks, 341 00:41:51,520 --> 00:41:58,560 who tell us that he actually is the first human to become a god. Think about that. The first human 342 00:41:58,640 --> 00:42:05,680 to become a deified being was Imhotep who conceived this whole complex at Sekara and was referred 343 00:42:05,680 --> 00:42:13,440 to as a son of Patah. Some people think that means he was actually an incarnation of Patah on earth. 344 00:42:15,200 --> 00:42:21,760 Trivia Imhotep was the one who coined the saying, eat drink and be married for tomorrow. We shall 345 00:42:22,640 --> 00:42:30,240 but actually I think what he meant was for tomorrow we shall ascend. So as the son of Patah 346 00:42:31,120 --> 00:42:37,760 we can have some wiggle room here to speculate that he had the consciousness of Patah. He made 347 00:42:37,760 --> 00:42:43,200 him quite a bit of an incarnation of Patah and earthly incarnation. Maybe he was channeling Patah. 348 00:42:43,360 --> 00:42:52,000 Whatever way we have to assume or speculate, safely, comfortably, that he had the expanded 349 00:42:52,000 --> 00:42:58,000 consciousness of Patah and this is in part what enabled him to conceive of Sekara and to execute 350 00:42:58,000 --> 00:43:04,480 this incredible complex. Well, it's very interesting that the ancient Egyptians taught that by his will 351 00:43:05,360 --> 00:43:12,480 by his thought, Patah brought the world into existence. It was first conceived by thought 352 00:43:12,960 --> 00:43:22,400 and realized by the word. Patah conceived the world by the thought of his heart and gives life 353 00:43:22,400 --> 00:43:30,160 through the magic of his word. Think about that. Think about that in light of what we know 354 00:43:30,240 --> 00:43:37,600 today about quantum physics and about how we have to feel it to believe it, to see it, 355 00:43:37,600 --> 00:43:43,920 that if we want to manifest something in our lives we're taught now to feel it in our heart, 356 00:43:43,920 --> 00:43:52,240 to feel it as if it was actually already in existence, in your reality. And to get into that 357 00:43:52,240 --> 00:44:00,720 emotional state of what it would be like to have experience that new job, that item you want to 358 00:44:00,720 --> 00:44:11,040 manifest, that relationship or whatever, feel it to live it. Patah exactly exemplifies this 359 00:44:11,040 --> 00:44:19,520 quantum principle and then through the power of his word, he brings existence or creation into 360 00:44:19,520 --> 00:44:28,000 existence. Well, what is a word? Well, our word is a vibration and the beginning was the word 361 00:44:28,000 --> 00:44:36,480 according to the gospel of John and the word is love. So we've just circled back now to Patah. 362 00:44:36,480 --> 00:44:44,800 I haven't we who do the power of his heart, do the power of love. He's able to manifest and then 363 00:44:45,360 --> 00:44:52,880 assisting that manifestation is the power of his word or vibration. Is an interesting 364 00:44:52,880 --> 00:44:59,120 in that context that when we look at Patah's resurrection stick, we look to the bottom part of it 365 00:44:59,120 --> 00:45:05,360 where his feet would be. It looks resembles highly resembles a tuning fork. It makes me wonder if 366 00:45:05,360 --> 00:45:10,720 this resurrection stick is in fact some kind of a manifestation stick that with that Patah was able 367 00:45:10,720 --> 00:45:18,480 to use to transmit or to actualize his word or his thought. Excuse me, his thoughts. 368 00:45:19,600 --> 00:45:29,520 So Patah, very powerful, extraterrestrial being, very powerful, quantum technology, perhaps, 369 00:45:29,520 --> 00:45:37,280 genetic technology to Earth and infusing this ancient Egyptian civilization with his consciousness 370 00:45:37,360 --> 00:45:46,160 at Sikara through his son, Imhotep. It's also with Sikara, of course, where we find the incredible 371 00:45:46,160 --> 00:45:54,640 pyramid of unas or what's left of it. It's kind of an in, in pretty dilapidated state these days. 372 00:45:54,640 --> 00:46:02,080 But about 60, 70 feet beneath that temple that pyramid, we find what are called the pyramid text. 373 00:46:02,800 --> 00:46:08,560 And these are considered to be among the oldest religious texts in the world. 374 00:46:09,680 --> 00:46:16,400 According to one of their interpreters, Faulkner, Scholar, the pyramid text should be regarded as part 375 00:46:16,400 --> 00:46:23,600 of the Egyptian star religion. In fact, I would go so far to say that it's actually the Egyptian 376 00:46:23,600 --> 00:46:31,440 star gate religion. Because what the pyramid text describe is the software, the star gate 377 00:46:31,440 --> 00:46:38,480 metaphysics that goes with the utilization of the hardware, the step pyramid, in fact, all 378 00:46:38,480 --> 00:46:46,080 pyramids, including the great pyramid itself. In these texts, we learn of utterances that talk 379 00:46:46,080 --> 00:46:55,040 about the king becoming a flash of lightning. The purpose of these texts is to assist the king 380 00:46:55,040 --> 00:47:00,960 in the process of his divination providing knowledge and also magic power to the king 381 00:47:01,440 --> 00:47:09,600 in the afterlife. The king is entuned underneath this pyramid with these texts written on the walls. 382 00:47:10,320 --> 00:47:16,640 His ba, or soul, comes out of his body at death and can read these texts. In fact, what we're 383 00:47:16,640 --> 00:47:25,200 told is that these texts are actually magically active. It's not so much that the soul reads these 384 00:47:25,280 --> 00:47:35,760 texts, but it's more that these texts act upon in a magical way to soul, assisting it in its transformation 385 00:47:35,760 --> 00:47:45,360 into a being of light. In utterance 215, the king ascends to the skies as a star. The king 386 00:47:45,360 --> 00:47:54,160 joins the sun god, Ray. A stairway to the sky is set up for me that I may ascend on it to the sky. 387 00:47:55,280 --> 00:48:00,000 There's a summons to the celestial ferryman. I have come to you that you may ferry me across 388 00:48:00,000 --> 00:48:06,720 in this ferry boat in which you ferry the gods. The ferry boat, of course, is the arc of the millions 389 00:48:06,720 --> 00:48:14,800 of years. The wormhole shaped boat. The king climbs to the sky in a ladder. The gods who are in the 390 00:48:14,800 --> 00:48:20,000 sky are brought to you. The gods who are on earth assemble for you. They place their hands under you. 391 00:48:20,080 --> 00:48:26,240 They make a ladder for you so that you may ascend on it into the sky. The doors of the sky are 392 00:48:26,240 --> 00:48:32,560 thrown open to you. The doors of the starry firmament are thrown open for you. These are all 393 00:48:32,560 --> 00:48:38,400 utterances from the pyramid text that tell us of the transmutation or the ferro into a being like 394 00:48:38,400 --> 00:48:45,840 lightning and the opening of portals or gateways into the stars onto into which the king ascends. 395 00:48:46,000 --> 00:48:53,520 Now, one of the most magical and my view of the hieroglyphs that we see on the pyramid 396 00:48:53,520 --> 00:48:59,040 text or in the pyramid text is this glyph here. It was pointed out to me by Laird Scraton 397 00:48:59,760 --> 00:49:05,200 and his book on the Sacred Symbols of Egypt. This is the Egyptian Hieroglyph to Tair. 398 00:49:06,080 --> 00:49:11,520 The Egyptian Hieroglyph to Tair. We see it all over the place in Egypt. So it's not just isolated 399 00:49:11,600 --> 00:49:17,440 into the pyramid text, but what Laird Scraton pointed out which is absolutely mind-blowing is that 400 00:49:17,440 --> 00:49:25,840 the Egyptian Hieroglyph to Tair symbolically matches the tearing of the fabric of space time 401 00:49:26,720 --> 00:49:34,160 in a warm hole growing. Now, that's a magic moment right there because that perfectly 402 00:49:34,160 --> 00:49:40,160 dubbed tails with what we have been already shown at the temple of Dendera with the Ark of the 403 00:49:40,240 --> 00:49:46,880 Millions of years matching the shape of the wormhole and the idea that the light body is able to 404 00:49:46,880 --> 00:49:53,760 open or Tair holes in the fabric of space time and travel via wormholes throughout eternity. 405 00:49:55,200 --> 00:50:03,440 To pull a riff from ancient aliens is impossible that this is how the gods and the ascended 406 00:50:03,440 --> 00:50:09,680 humans travel the stars. I believe it is. That is my operating hypothesis or premise. 407 00:50:09,680 --> 00:50:14,880 This is what I keep. It's one reason I keep going back to Egypt to understand this, 408 00:50:14,880 --> 00:50:21,120 to look for more clues about how they affected this transformation or transmutation of the 409 00:50:21,120 --> 00:50:29,680 Pharaoh into a being of light. The king becomes a flash of lightning. Well, we know for certain 410 00:50:29,680 --> 00:50:34,720 that the great pyramid itself was a transmutation machine. It's a resurrection machine. That's 411 00:50:34,720 --> 00:50:41,760 what the Egyptians told us. It's an ascension device. Here's this extraordinary photo of 412 00:50:43,760 --> 00:50:52,320 lightning bolt striking the second pyramid. It's more than just a fun photo because it 413 00:50:52,320 --> 00:51:00,080 points us in the direction of the nature of the light body that the ancient Egyptians told us 414 00:51:00,080 --> 00:51:10,720 they were transmuting into. Lightening is plasma. You have solids, liquid, gas. There's a 415 00:51:10,720 --> 00:51:19,440 fourth state of matter and that is plasma. All of us see plasma every day in the four of our sun. 416 00:51:19,440 --> 00:51:28,880 Our sun isn't in fact a big ball of gas and plasma. What they're telling us is that in our light 417 00:51:28,960 --> 00:51:36,960 body transformation we change from this state of matter into a higher state of matter similar to what 418 00:51:36,960 --> 00:51:45,600 our sun is composed of plasma. In fact, we're told that 99% of the universe is plasma. 419 00:51:46,960 --> 00:51:56,160 If you KNOW plasma, if you know plasma, you know the universe. It's what we're told. 420 00:51:56,160 --> 00:52:04,000 If there is NO plasma, there's NO universe. We're also told. So it's very important for us to 421 00:52:04,000 --> 00:52:10,560 speculate on or follow this line of thought that the ancient Egyptians were a cutely aware 422 00:52:11,120 --> 00:52:16,320 of the powers of the sun and our kinship with the sun. In fact, we could in fact become 423 00:52:17,120 --> 00:52:23,040 solar beings. Maybe another reason why the arc of the millions of years has referred to as the solar 424 00:52:23,120 --> 00:52:31,040 barge. So when Claire and I are with groups in Egypt, we tend to like to kind of just play with the sun. 425 00:52:31,040 --> 00:52:37,200 And by that, I mean really are connecting with raw or ray in an extraordinary way and 426 00:52:37,200 --> 00:52:46,000 and asking ray to awaken our consciousness to send rays of light, of illumination into our being. 427 00:52:46,880 --> 00:52:51,840 It infuses us with great joy just to be in the motherland. Here we are on the 428 00:52:51,920 --> 00:53:03,040 Nile at our hotel, the Luxor Hilton and Luxor. And just to be in this light is just a moment of 429 00:53:03,040 --> 00:53:08,240 remembrance for so many that they join us because many many many of the people that they're 430 00:53:08,240 --> 00:53:14,720 come on tour with us believe that they've had past lives in Egypt and they are retracing steps of 431 00:53:15,280 --> 00:53:22,640 places they have been before and seeking to connect with the sun as one great way of doing this. 432 00:53:25,760 --> 00:53:31,680 Wonderful, Temple Seen here, excuse me, tomb Seen from the tomb of Ramsees, the sixth, 433 00:53:31,680 --> 00:53:36,080 where we see the salute to the sun as this prayer posture is called. 434 00:53:37,200 --> 00:53:43,120 With the solar barge on it, with the divine beings traveling on the sun. Ancient Egyptians aren't the 435 00:53:43,120 --> 00:53:49,440 only ones to tell us that the divine beings are connected with the sun. Buddha came from the solar 436 00:53:49,440 --> 00:53:56,320 clan. Christ is called the sun god or the sun of God. There's many many connections to be made 437 00:53:57,040 --> 00:54:02,720 with the sun as a conscious entity. The Egyptians had this really acute sense 438 00:54:03,840 --> 00:54:10,000 that the sun played a vital role in our ascension. In fact, they taught that the way to heaven was through 439 00:54:10,640 --> 00:54:16,480 the sun, with this is what we see here with the lions of yesterday in tomorrow on either side of the 440 00:54:16,480 --> 00:54:22,640 the horizon symbol, the gateway symbol, with the sun in the center indicating that the sun is the 441 00:54:22,640 --> 00:54:30,880 gateway to the heavenly realm. But again, the sun is plasma. This is a state of matter 442 00:54:30,960 --> 00:54:41,040 that was not identified or unidentified until 1879 when William Crooks invented the Crooks 443 00:54:41,040 --> 00:54:49,120 tube. He called plasma radiant matter. Basically a Crooks tube is a glass bulb that gives off 444 00:54:49,120 --> 00:54:54,320 fluorescent light when a high voltage current is passed through it. The nature of the Crooks 445 00:54:54,320 --> 00:55:00,720 tube cathode ray matter was subsequently identified by British physicist, Dr. or Serge J. Tomson, 446 00:55:00,720 --> 00:55:08,720 in 1897, we called it plasma. Or rather, it was called plasma by Irving Langmuir in 1928. 447 00:55:09,520 --> 00:55:15,120 The cathode ray tube is something we use every day in our lives. It's the basis for television 448 00:55:15,120 --> 00:55:21,840 technology, your computer screen, all based on this original discovery and invention 449 00:55:21,840 --> 00:55:28,720 of William Crooks of the plasma tube. Now, some of you probably anticipated where I'm going with this 450 00:55:28,800 --> 00:55:34,560 because you may have seen something that looks just like a Crooks tube in ancient Egypt. 451 00:55:34,560 --> 00:55:41,200 And that of course is what we find in the the crypt at Dendera. The Temple of Hathor, 452 00:55:41,200 --> 00:55:49,680 or the Temple of Love and Joy. Famously in the 1960s and early 70s, Eric Fondoniken saw the Crooks 453 00:55:49,680 --> 00:55:57,040 tube or the the light bulb as he referred to at Dendera and said, this is evidence of ancient 454 00:55:57,120 --> 00:56:03,280 alien technology that this in fact is an early example of the use of electricity 455 00:56:04,400 --> 00:56:09,280 in ancient Egypt. And I think that that's entirely possible, but I also think there's a 456 00:56:09,280 --> 00:56:15,040 bigger mystery that is alluded to here. And that's what I want to talk about with you all today. 457 00:56:16,480 --> 00:56:23,440 This is the Temple of Hathor at Dendera, the Temple of Love and Joy. Always one of our favorite 458 00:56:23,520 --> 00:56:29,120 two or stops when we're in Egypt. It's one of the most peaceful places in Egypt among many 459 00:56:29,120 --> 00:56:39,520 peaceful places built around 330 BC by the Tala Mayak kings of Macedonia who took power and 460 00:56:39,520 --> 00:56:44,880 Alexandria Egypt and rebuilt many of these ancient Egyptian temples, including Dendera, 461 00:56:45,680 --> 00:56:49,680 which they built on the pad of a former temple that once existed here. 462 00:56:49,760 --> 00:56:57,520 In the ceiling of Dendera and the interiors where we see these incredible scenes of the 463 00:56:57,520 --> 00:57:03,280 Tala Mayak kings, these humans who have gone through this process of transmutation and 464 00:57:03,920 --> 00:57:12,000 attained their nonmolecular light body. In the correct is where we find these extraordinary 465 00:57:12,000 --> 00:57:17,760 scenes that Fondoniken identified as a light bulb, but what I'm going to suggest to you now may 466 00:57:17,840 --> 00:57:23,840 in fact be something even more mysterious than that. There are five of these chambers, these 467 00:57:23,840 --> 00:57:30,720 grips underneath the Temple of Hathor at Dendera. There was a statue of the goddess Hathor that was 468 00:57:30,720 --> 00:57:42,000 stored in here as a very sacred part of the temple. It's possible because it's underneath the current 469 00:57:42,080 --> 00:57:49,280 level temple that this may have been part of the original temple that was in place the one that the 470 00:57:49,280 --> 00:57:58,160 Tala Mayak kings built on top of. Here I am with my back to the wall that has the scene of the 471 00:57:58,560 --> 00:58:05,120 so-called light bulbs looking down through the correct. You can see it's very narrow and it has 472 00:58:05,120 --> 00:58:10,480 several chambers within it and then on the wall that I'm standing at is where we actually see 473 00:58:10,560 --> 00:58:15,680 these light bulbs scenes or so-called light bulbs scenes. If they're not light bulbs, they're 474 00:58:15,680 --> 00:58:24,320 definitely plasmotubes. The symbolic correspondence is very direct. In fact in my opinion, 475 00:58:24,320 --> 00:58:31,840 it's more direct than this being some kind of an incandescent light bulb. So where my thinking took 476 00:58:31,840 --> 00:58:42,720 me on this is that if this is a plasmotub, who are the beings that are operating this plasma too? 477 00:58:42,720 --> 00:58:50,880 And what are they ultimately trying to show us? Well here is a plasmotub, a current-day depiction 478 00:58:50,880 --> 00:58:57,040 of a plasmotub. What we see are a bunch of positrons in blue, the antirch which are the antimatter 479 00:58:57,120 --> 00:59:04,800 siblings of electrons traveling down the tube of hot ionized gas or plasma in orange. And what we see 480 00:59:04,800 --> 00:59:16,720 is the wake of those positrons as they go through the plasma. So compare that image with what we see 481 00:59:16,880 --> 00:59:27,760 at dendera. Is the serpent a filament of a light bulb or is it the wake of positrons going through 482 00:59:28,480 --> 00:59:39,040 a tube of hot ionized gas? In my opinion, it's plasmotub. And this is what is being shown to us here. 483 00:59:39,200 --> 00:59:48,320 There are actually three representations of these plasmotubes at dendera. There's one upstairs 484 00:59:48,320 --> 00:59:53,920 in color that I'm showing you here with these blue beings operating the plasmotubes. 485 00:59:55,520 --> 01:00:00:02,080 And there's one out back in a separate little chapel called the ISIS chapel, which talks about 486 01:00:02,160 --> 01:00:10,720 the birth, it's a birthing chapel or chamber of ISIS. And we also see the plasmotubes on the wall 487 01:00:10,720 --> 01:00:16,720 of this ISIS chapel. So these are the only three places in ancient Egypt where you will see these 488 01:00:16,720 --> 01:00:20,960 plasmotubes. And so they have to have some kind of powerful significance. 489 01:00:23,920 --> 01:00:30,320 You know what I believe they're pointing us to is that the beings who are operating them 490 01:00:30,880 --> 01:00:37,200 are not flesh and blood beings. Look at the way they are portrayed on the wall here. They have 491 01:00:38,000 --> 01:00:48,720 double faces. They have double skins. That to me is a very telling clue. They're trying to tell us 492 01:00:48,720 --> 01:00:55,040 something about these beings who are considerably larger than those being who is kneeling 493 01:00:55,040 --> 01:01:01,600 underneath the plasmotubes. You might describe them as giants compared to the kneeling figure 494 01:01:01,600 --> 01:01:08,800 who could be a human. Why do the ancient Egyptian artists who do not make mistakes, by the way, 495 01:01:09,360 --> 01:01:15,440 their their artistry is masterful in almost every single instance where you see it. 496 01:01:16,480 --> 01:01:23,120 Why do they portray them with this double face? Is it because they're trying to show two people or 497 01:01:23,280 --> 01:01:32,640 multiple people holding or operating these plasmotubes? My opinion is that they're trying to show us 498 01:01:32,640 --> 01:01:41,280 that this is actually their double body and what they're showing us is their ethereal body. 499 01:01:41,280 --> 01:01:50,320 They're fogged like luminous light body. They're plasma body. They're plasma body that lives 500 01:01:50,400 --> 01:01:56,240 in a higher energy universe. This Robert Monroe found real them in row institutes says 501 01:01:56,240 --> 01:02:02,960 the plasmot body is normally invisible to the naked eye. In order for it to be visible it must 502 01:02:02,960 --> 01:02:11,200 either reflect or radiate light. I think that what we're looking at here are plasma life forms, 503 01:02:11,200 --> 01:02:18,960 plasma beings who have bioplasma bodies. That's the light body of the gods. 504 01:02:19,680 --> 01:02:24,720 These are the electromagnetic bodies which generate electromagnetic fields and radiate 505 01:02:24,720 --> 01:02:31,120 electromagnetic waves similar to the Aurora Borealis of our planet, which is also plasma. 506 01:02:31,680 --> 01:02:34,400 When cosmic rays come from the of the sun, 507 01:02:35,920 --> 01:02:41,760 stimulates ionosphere and produces this extraordinary display of colored lights. 508 01:02:41,760 --> 01:02:49,840 They're occuring. They occur when the solar wind particles trapped by earth magnetic field 509 01:02:50,480 --> 01:02:58,160 collide with molecules of air in the upper atmosphere. They ionosphere. They produce this incredibly 510 01:02:58,160 --> 01:03:05,040 spectacular sight of these rapidly shifting patches of color and dancing columns of light 511 01:03:05,120 --> 01:03:18,800 of various rainbow colored cues. The Aurora Borealis. Now, plasma is as I said, a state of matter. 512 01:03:19,760 --> 01:03:28,080 Plasma is what lightning is composed of. Plasma is what our sun is composed of. 513 01:03:28,080 --> 01:03:42,640 So, could it be possible that plasma is what the light body of these beings are also made of?