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In the simplest model of ancient Egypt, at least two concurrent simultaneous levels are

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at work in any given instance.

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One is the study of Egypt as a civilization that existed in a factual geographic place

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and time.

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It's people, mythology, social forms, it's chronological unfolding, it's monuments and

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artifacts.

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But this is only a backdrop or support for another Egypt, which might be called a quality of intelligence.

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This Egypt is outside chronological consideration.

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It is rather both an ever-present and recurring possibility of consciousness.

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There are two different stories told about this same land, two different histories,

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almost as if there were two Egypts.

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His ancient land has always partaken of a dual nature.

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The public face of Egypt is known the world over, entalled in every history book.

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But there is another side of Egypt that is not so widely known,

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Egypt is also a land of secrets.

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Another history, a secret history, tells of Egypt as the inheritor of deep wisdom and

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magical ability from an even earlier ancestor culture.

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It is the account of the Egyptians themselves.

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This alternate history is echoed by parallel accounts from the myth and history of other ancient

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cultures as well as myriad secret societies and occult sources.

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There are remarkable number of parallels in these stories, provides a unique window into this

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other Egypt.

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In this six-part series we will take a look at the shadowy history and magical practices of this other

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Egypt. Egypt is the keeper of secrets, the land of riddles, the birth case of magic and the home

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of the mystery schools.

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As we join symbolist author and Egyptologist John Anthony West for a symbolist tour of

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magical Egypt, we would explore not only the sacred sites, but the ancient teachings that

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lie concealed there. We will see the ancient mysteries through a decoding limbs, a

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cipher that brings the lost magic to life and returns to humanity that teachings and magic

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about ancestors. I think it is possible to say that Egypt regarded the entire universe as an

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active, a gigantic act of magic, the transformation of consciousness into the material universe.

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Did ancient Egypt inherit its mysterious abilities from an even older culture, lost to history

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and forgotten by the modern world?

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The ancient Egypt was the first time in the world, and the ancient history of the ancient

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history of the ancient Egypt.

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Although Western civilization is generally considered to be the product of Greek and Roman

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culture, the Greeks and Romans both acknowledge ancient Egypt as the source of great ancient wisdom,

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a mysterious land of riddles whose secrets were considered the highest prize to some of the

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greatest minds in history. Egypt was known to the ancient world as a repository of high knowledge

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and magical practices. These universal secrets were contained and kept alive in the mystery schools.

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The teachings of magical ability they imparted were held in the highest secrecy and reverence,

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entrance to the temples that held the secrets as tightly restricted. They were the domain of

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royalty, priests and privileged initiates.

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Four fathers of modern thought, such as Pythagoras, Plato and others, tell of waiting more than 20 years

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preparing before acceptance into the mystery schools.

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The secret teachings were known as esoteric or occult or symbolist teachings and were held

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to contain the secrets of the universe and the keys to great magic. Those who were allowed to

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receive the revelations of the mystery schools often went on to become history's greatest minds

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and a whose who of historical movies and shakers, Pythagoras, Plato, Aristotle, Galileo,

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Copernicus, Devintu, Kepro, Isaac Newton, Napoleon, they were rewarded for their pursuit of the

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ancient wisdom was not just knowledge but a new way of thinking that allowed them to write

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their names in human history. There is even mentioned of Jesus returning from Egypt,

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is not only a profound knowledge of esoteric study but the ability to perform miracles.

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A metacism and a light in shambhaithametica were held to be the western retelling of the

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wisdom from the mystery schools. They contained or be it in a degenerated form,

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strains of the ancient wisdom set to have been passed down from the gods.

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There are fragmentary hermetic texts dating from dates and dispute but dating from

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third-second first-century's AD in which the language and mode of expression is ancient Greek,

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but the subject matter is if not entirely largely derived from or actually

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a part of the ancient Egyptian doctrine of the transformation of the soul. This is the basis

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of the hermetic belief and it then proliferates into those various disciplines. Rises is practiced

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in one form or another in throughout Islam percolates up into Western Europe in the Italian

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Renaissance and then occupies much of the minds and hearts and studies of the major Renaissance

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figures up to and including Isaac Newton who actually spent much more time of his life studying

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alchemy and number of symbolism than he did studying what would now be modern science. This is an

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acknowledged fact that is seldom acknowledged by modern scientists but this is a matter of fact

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Newton might be called not one of the last certainly but one of the most eminent of the hermeticists.

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Although today in much of the Western academic world the symbolist interpretation of ancient

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Egypt is vigorously opposed in its ancestral form which was the object of great fascination

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and in some cases obsession with some of the greatest minds and forces in human history.

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The term mystery schools refers not to a specific place or time in ancient Egypt but the

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timeless secret teachings passed down through word of mouth or sometimes encrypted into the

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temples concealed and enshrined by the veil of higher glyphs and symbolism. What secrets were

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held in the mystery schools been made them so important so sought after. One of the secrets of the

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ancient mystery schools was an alternate history of human past that is cyclical. Civilisation,

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consciousness, understanding and ability, rising to incredible heights in the distant past and then

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falling back into barbarism, again and again like the waves of high and low tides.

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This story has resonance in all cultures in the stories of the flood or the periodic

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catastrophes from many ancient myths. In this alternative model of our past a vast accumulation of

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knowledge and ability was inherited from previous epochs. A legacy of high wisdom from an incredibly

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distant past is the source of the mysteriously powerful and unexpained accomplishments of the ancients.

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A accomplishments which even by today's standards seem in scope and operation to be nothing

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short of feats of magic.

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Ancient Egypt wheeled a mastery over the material world that bordered on the supernatural.

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It seemed at times almost alien. It's art and architecture showing not only in understanding

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but an eerie control of the invisible forces and building blocks of our material world.

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Rightly considered powerful and dangerous tool, it was guarded with the utmost secrecy.

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Some priests accepted death before debolging the secrets to concrete Roman user-per-fairos.

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Where did they learn the science behind these incredible acts and strange are still?

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How could these abilities just appear seemingly complete at the very beginnings of Egyptian history?

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Where did the knowledge come from?

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The Egyptians, both ancient and modern, remain curiously silent on this topic.

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Egypt seems to have started out at its height and gradually declined, like a copy of a copy of

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a copy of a copy over the centuries. The mysteries held a little less with each successive

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retelling. In an attempt to guard the magic from abuse at the hands of the profane public,

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the mystery schools went into hiding. The ancient secrets were shrouded in allegory and

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symbol and placed under the guardianship of various streams of initiatic and secret societies.

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In time, it appeared that many, if not all connections to the original source were severed

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or so diluted, that the true mysteries were lost to history. Over the millennia, the temples

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fell into ruin and eventually so did the teachings they enshrined. When the great library of

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Alexandria was burned, all hoped we connection to the wisdom of the past, so lost.

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When we return, we look at an unusual man who rekindled the lost magic and returned to the

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modern world, the teachings and wisdom of the ancient mystery schools.

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The secrets and magic of the mystery schools seemed lost to history. When in 1937,

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a most unusual man, again reopened a window into this culture and the magical technology that

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was his legacy. R.H. Fwalla-Dulubits was a Latter-day alcanist, as well as an accomplished mathematician,

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chemist author and philosopher. Schwalla opened a window into the lost magic and

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mentality of the ancients. Through an ingenious reinterpretation of the evidence, Schwalla

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recreated a model of ancient Egypt that resurrects the ancient secrets from modern eyes.

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Understanding the mentality of the ancient world, through the decoding lens of symbolism,

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Schwalla showed the Egyptians were not the superstitious savages, modern Western academic thought

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holds them to have been. Instead, he showed example after example of high wisdom and accomplishment,

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not only equalling that of modern science, but in some instances far surpassing modern abilities.

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The key that unlocked the ancient veil lie in a slight change and perspective of mindset.

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As one learns to enter the mindset of pharaohonic Egypt, the cryptic message from the past

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comes to life that allows access to previously invisible and unimaginable realms of consciousness

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understanding and ability. The crux of the old teachings was contained and transmitted through

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what Schwalla called sacred science, which includes symbolism, harmonic proportion, and sacred geometry.

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Sacred science was the original unified source of the myriad screams of modern mysticism,

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occultism, esotericism, and magical disciplines that exist today. It is also the unified source

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for such diverse contemporary sciences as chemistry, physical science, philosophy, medicine,

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astronomy, geometry, architecture, music, and mathematics. Through the lynchpin of sacred sciences,

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Schwalla not only showed an original unity of the material sciences, but even shared new

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light on such shadowy subjects as the taro, astrology, and many, many other forms of magic.

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Schwalla spent over a decade on sighted Luxor Temple, which would come to be known as the Temple

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of Man. He was here that he performed his master work. A lot of day Renaissance man,

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he was born in the 1890s died in the early 1960s and was another thing, a practicing

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Latter-day alchemist and very much deeply involved in alchemy. He was also thoroughly

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conversant with the esoteric and mystical traditions of the East and at the same time,

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equally conversant and familiar with the modern developments in science, mathematics, physics,

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and so it was Schwalla who in two decades of work in Egypt mainly at the Temple of Luxor,

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who reformulated and transmitible and accessible fashion with the wisdom of the ancients. It is

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through Schwalla that we are able for the first time to actually gain access to the doctrine,

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the sacred science or sacred sciences, responsible for those astonishing resonating temples,

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pyramids and tomb. Prior to Schwalla there was a long-standing tradition dating back to the Greeks

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themselves in which Ancient Egypt was the founder of wisdom, which subsequently degenerated

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and dispersed over time. But prior to Schwalla it was impossible to actually argue

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from documented evidence that this wasn't indeed the case. Schwalla provides the documentation

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in impeccable form. It's there to be disproved if anyone can do so in the 50 years since Schwalla

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produced the body of his work. A number of scholars have abused him roundly, but none have actually

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offered anything resembling satisfactory, disproved or discredit to his extraordinary works.

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In its own way the Temple of Man was a kind of Rosetta stone. It contained a means within

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itself, while it did decode and reconstruct the layers and subtleties of the symbolic and sacred

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technology of the Ancient Mysteries. Schwalla showed that the Temple was not just the location of

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the teaching, but was itself the teaching. It's hieroglyphics and harmonic proportions contained a

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catalog of the occult laws, sacred geometry and archetypal forces that combine to make the universe

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and its culmination living man. Through a chain of analogies, occult correspondences,

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sacred geometry and symbolism, the Temple itself becomes the actual technology through which one can

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undergo the initiation process and begin to experience the mentality and magic of the ancients.

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When correctly interpreted, the Temple echoes and amplifies the great archannon as above so below.

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Man and the cosmos can be seen to be magically analogous, governed by the same rules or sacred

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geometry, each and octaves of the other.

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After Schwalla's death, the torch was picked up by a new generation of symbolists,

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or the most venerated of whom is John Antony West. West brought the obscure French work to the

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public eye in the Sybilist classic serpent in the sky. West not only rekindled Schwalla's

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revelations, but built upon them in a manner that acted like a fool from upsetting the stoic

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worlds of archaeology, theology and science. When serpent was published, shockwaves erupted as an

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evidence bomb that lay in full view of all of the very sight of the greats' finks exploded.

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An observation by Schwalla mentioned in passing caught West's attention. Schwalla noticed and recorded

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the fact that vertical fissures cut deep into the walls of the Sphinx enclosure, West consulted

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Boston University Geologist Robert Schott, his intuition was confirmed. These vertical fissures were

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unmistakable signs of precipitation in juiced erosion. They were the telltale sign of exposure

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to years and years of rain, but it hasn't rained in the Sahara desert since before the Ice Age.

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Could this be proof that this finks or at least this finks in closure was the product of an

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even older civilization? Predating the catastrophic events at the end of the last Ice Age?

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We believe that our spinks there, the water weathering of the Sphinx is evidence of those

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of that earlier civilization. Until or unless the water weathering of the Sphinx is adequately

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explained within the context of accepted chronology of ancient Egypt, it remains a thorn in the

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side of orthodoxy because until it is explained, it seems to suggest that, over a strongly

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suggests, that the Sphinx was there prior to those catastrophic events that put the rest of the

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civilization down and there are the bits and pieces of geological evidence and architectural evidence

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that we believe supports the theory of an advanced or let us say again within carefully within

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inverted quotes and Atlantean civilization. But this is the big issue whether or not they

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was such a civilization. We have of course on the textual side we have played us account

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to Atlantean that supposedly came to him from his grandfather Solon who himself got it from an

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Egyptian priest. This would be somewhere around six or seven centuries, these are somewhere that

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kind of area. And of course we also have throughout the world, around the world everywhere in

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the higher or more sophisticated civilizations as well as in the mythologies and legends

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of widely separated traditional societies. We have accounts, virtually all of them have accounts

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of a denuege. A denuege is a common place and in many of them if not in all, there are also references

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to vanished civilizations, vanished high levels of civilization, golden ages in the past and the

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ubiquity of these stories is enough to make, I would believe, and he's serious scholar at least

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holding open mind to the possibility that these advanced civilizations did indeed exist and that they

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did indeed go down or disappear virtually entirely under the catastrophic conditions prevailing

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for several thousands of years following the event, whatever it may have been or events, that

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initiated the melting of the ice and the dissolution of the last ice age.

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After years of research and study, John not only brought new life to the work of Schuala,

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but his himself become an icon for a new generation of esotericists and simbolists.

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In addition to the bombshell water-weathering theory, he has become a veritable compendium of

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symbolist theory and history. His research is ongoing and to this day his onsite tours and lectures

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continue to be a wellspring of revelations about this ancient land and the magical secrets it

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still holds. As we join West Forest symbolist tour of Egypt, we begin to glimpse the magic and

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mysteries still waiting here, encoded into the ruins or the preserved seeds of a technology and

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mentality that by comparison to even modern standards are at the far edge of comprehension.

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When seen through symbolist eyes, the revelations of the ancient mystery schools come to life again,

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often causing a personal transformation from which there is no return.

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Florence Nightingale, surprisingly enough, one of the one of the most perceptive of the visitors

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to Egypt in 1850, wrote one wonders that people can come back from Egypt and live lives the way they

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live them before. This proves to be the case 150 years later, it's very rare that anybody who takes on

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16 days in Egypt on one of these magical Egypt tours comes back home unchanged.

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Far from being a lost dead technology, the temples continue to perform their function of inducing

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initiation. It is difficult to distinguish between witnessing the majesty and mystery of the temples

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and participating in the transformative process oneself. We're confronted by temples,

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by artwork, by pyramids, by structures that evoke in us a kind of emotion that is very hard to

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ascribe to mere superstition or emancipation romance. These temples are based upon principle

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that are in fact sacred sciences. They are, let us say, the science of their mortality,

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the science of obtaining eternal life and the sacred sciences are a kind of knowledge, very different

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from our kind of knowledge, but scientific nonetheless based upon, based upon readily

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communicable principles and these principles embodied in these spectacular temples,

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tombs, pyramids, artwork and so on. These principles evoke in us the sense of the eternal

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of the divine, of the sacred and they are, we might say, all of these temples are means of accessing

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that higher consciousness that we, by birthright, have access to but by if left to our own devices,

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leading our normal work of day lives, we don't readily access, in many cases don't access at all.

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An exposure to the sacred science residing here often causes spiritual stirrings and many other phenomena

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normally considered supernatural. It is sometimes as if this old magic is transmitted to us through our eyes.

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It's spell is cast through sacred geometry and volume. The harmonic proportions and

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higher-regalists speak into our normal faculties, while operating simultaneously on a higher

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octave to awaken and reconnect us to our higher symbols. The experience sometimes referred to as

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waking up. The sacred sciences that fueled or that underpinned, these temples involved mathematics,

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philosophy, religion, art and in fact, ancient Egypt, perhaps the greatest of these ancient

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civilizations or in any event, it's the ancient civilization to which we have most access.

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It's left us the greatest legacy of sacred art and architecture. This was a profound doctrine

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that fused art, religion, philosophy and science into one inextricable whole, whereas in our society,

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art, religion, philosophy and science are separate disciplines with little or no relationship

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to each other. In ancient Egypt, they were inextricably in twine, so there was no art.

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That wasn't religious, no religion. That wasn't philosophical, no philosophy. That wasn't scientific,

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no science. That wasn't art. When we are in the presence of one of these Egyptian temples,

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we are whether voluntarily or involuntarily put into the presence of the divinity or the

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principle to which that temple is consecrated and whether we like it or not, we respond often

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with awe and wonder. And this awe and wonder is not that a say and artifact of our

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susceptible imagination or romanticism on our part. It's an example of the high science of the

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ancients, a sacred science. The sacred science, the timeless wisdom of the mystery schools,

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the secrets of the invisible college and the keys to powerful magic have been preserved

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enshrined behind a veil of harmony, proportion, myth and symbolism.

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It's said that symbolism is the first veil. The initial student of the mysteries begins his

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path with this most important tool through an understanding of symbolism the old wisdom is revealed.

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The symbols speaks to a different part of the brain than does ordinary writing or language.

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The right brain, the intuitive non-verbal visual brain which deals with spatial and abstract

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relationships with intuition and the subconscious. The part of the brain that is not bound by

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rational linear logic perhaps the part of the brain which is hooks to our higher cells,

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our innate divinity. The enigmatic language of symbolism serves as a bridge between the two modes

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or polarities of intelligence described by Schwala as such. It goes beyond language to become a

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sort of user-evolving technology as the symbol promotes the cooperation and coordination,

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the simultaneous and unified interworking of the two hemispheres of the brain. This is one aspect

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of the alchemical arcanum of the Androgym. The union of the Sun and Moon. The true dweller in two

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worlds partakes of a kind of dual intelligence, the separating discriminating intelligence of

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logical reason and the unifying integrating intelligence of intuition and recognition,

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instinct and inspiration. Through the balanced coordination and simultaneous wielding

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of both types of intelligence a new formally invisible world opens to us. The ancient technology

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of hieroglyphic symbolism becomes a kind of evolutionary step ladder,

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optimizing and empowering the mind of the user.

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Every gesture, every costume, every headdress, every implement used in these reliefs

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will have a specific meaning that will communicate holistically, instantaneously,

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to the beholder or to the initiated beholder at any rate. So the symbol is actually a very brilliant

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and sophisticated means for transmitting very complex meanings,

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universally, but the understanding of that meaning will depend upon the level of expertise or

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initiation of the holder. Symbolism allows the mind to intuitively see what is not directly

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visible in the material world around us. The symbol at once contains not only a specific

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object or concept but also a bundle of invisible qualities and tendencies that it embodies.

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The Egyptians commonly use birds, animals, plants for certain symbolic for their own symbolic

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reasons. And when you look into them you find that the bird animal plant or whatever is taken from

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real life but it is the embodiment itself of certain principles. For example, a bird flies. This is

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what we associate with birds. So we'll symbolize the volatile, the principle of volatility

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is associated with spirit in other words the ethereal. So the bird carries that complex of meaning

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it's a big mistake to think that this is a carryover from earlier anemistic orautochemistic

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or still more superstitious beliefs. Rather it is a very complex and sophisticated and scientific way

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of giving of allowing the beholder access into the actual meaning, the abstract meaning of the

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principles that are anchored by the material symbol, bird, lioness, dog, monkey etc etc etc.

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As one becomes versed in reading symbolism one learns the art of looking past the visible symbol

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to the underlying rules, the archetypes, the forces and our connections that it represents.

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Because each symbol expresses an essential component of sacred science,

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profound esoteric wisdom could be encoded and read from the symbolism held in higher glyphs

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and reliefs as well as in the geometry, volume, proportion and number symbolism incorporated into

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the temples. This symbolism acted not only as a repository of meaning but was itself a component

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with magical technology. The symbol of the winged disk held a place of prominence over every door

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in the ancient temples. The sheer ubiquity of the science speaks to it being deeply important to

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the Egyptians, what did it mean? The incarnating or exciting spirit is symbolized as a winged

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sun, an ancient emblem for the indestructible human soul both in birth and in death.

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The symbol of the winged disk served as a constant reminder that just as the initiative entered

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each room to perform a task and leave again that so was the spirit only temporarily housed on the

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flesh. The more constant the attention to self-perfection, the greater the abilities and the next life,

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the next world. This was the great work, the art of constructing and constantly working to

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perfect the tower within. Like a shoehorned for the wandering mind, a continuously returned one

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sorts to the work of preparing for the afterlife. In the symbolism of the snake, we get another

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glimpse into the sophistication and high wisdom of the ancients. Energy, which is modern physicists,

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recognize as the sub-structure or the the the the primordial stuff of the universe,

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is really another name for de-spiritualized, conquest consciousness. Energy manifests itself through

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vibration, through polarity, through the sine wave, the ancients in all civilizations with thoroughly

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cognizant of that and portrayed energy as or vibration often as a snake which

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moving along the ground or through water in fact produces a sine wave. So the snake is the

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perfect symbol and it is pretty much a universal symbol for unity, becoming duality and a

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de-unity that becoming duality that is the cosmological basis of all valid, of all valid philosophical

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systems. Vibration of course is the means whereby the arts are transmitted to us, to our emotional

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faculties. This is obvious in music of course this is where we're most familiar with it,

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vibration in the form of sound waves and orchestrated through volume and intensity and

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tonality and key and so on. Music produces an emotional effect depending upon the piece of music.

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The great poet, Gertta, called architecture, frozen music. This is not just poetically and metaphorically

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true, it is actually true. A great temple of that matter of shopping mall communicates its meaning or

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lack of meaning as the case may be entirely through vibration. We tend not to think of it that way

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because it's visual vibration obviously color transmits itself. It's itself to us as visual

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vibration. This we're accustomed to and we recognize but we don't think of architectural form.

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It's a static as vibration but it is indeed vibration and it communicates

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exactly or anyway andologically exactly as does music through harmony, proportion, measure and geometry

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which is the interplay of number. When scenes through the symbolist decoder, this voice from the past

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suddenly begins telling the same story as the latest findings of modern science.

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Our own forefront of understanding in many cases lies parallel to the oldest mysteries.

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In some cases the old wisdom continues beyond where we ourselves have reached.

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What else did they know that we have yet to learn?

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To truly enter the temple, a change in mindset must occur. This is sometimes referred to as the

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process of initiation into the mysteries, the development of the intelligence of the heart.

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The initials must learn to focus on the inside rather than the outside and look beyond the

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visible to the invisible to what lies beneath and the world within. It's precisely the things we

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don't see, we can't see that we're the secrets of the mystery schools.

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Sometimes difficult concepts to grasp it can require an adjustment in thinking and perception.

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As it focuses not on the physical material world but on its underlying causes.

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The great mysteries concern the invisible laws, forces, archetypes and secret connections that

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are the building blocks, the invisible templates of our reality. Perhaps the road map to

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operating in higher realms as well.

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One of the most famous of the students of the mystery schools is the legendary Pythagoras.

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Pythagoras waited in prepared for 20 years before his initiation into this science of the invisible.

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It went on to start a revolution in thinking when he revealed to the perfane world another secret

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of the Egyptian mysteries. In the simple and irrefutable science of geometry,

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like the secrets of the universe and of life itself. Pythagoras returned the lost key of

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meaning to the alchemical maxim as above so below. The universe and man as the embodiment of the

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universe live and work by the same rules are brought into an out of existence by the same forces

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and are both subject to the same laws. Each can be understood using the same maps. The shapes

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and forces described by a sacred geometry are the road map and perhaps even the seed of life itself.

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In the design of the temple of Karnak, we observed first hand the sacred geometry that was the

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source of Pythagoras's inspiration. The invisible science of the ancients was preserved and at the

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same time veil behind the symbolism and measure of the temple. The temple itself was the embodiment

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of the ancient teaching of the mystery schools. It's living walls in shrine and forever teach

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and understanding of the deep secrets of creation. It's sacred geometry in shrines and mirrors

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the fundamental geometric laws that are the working schematics of the creator universe and life

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within it. The temple is consecrated to armon the invisible, the animator of form, the breath of life

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across the waters. The temple is the house of Amul. For a time it was the living body of Amul.

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Over the 500 years span of its active life, the temple lived and grew by the same laws of sacred

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geometry that govern organic life and growth. It was for a time animated by the voice of life.

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It was host to Amul. The temple incorporates an archetypal or natural geometry that lies behind

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all of life. This geometry is the result of a mysterious number pattern that occurs throughout

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nature known to the modern world as the Thibonacci series. The invisible voice of life shows itself

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in the material world through an interplay of numbers and form. These primal archetypal forms

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are the template and seeds of life. The sacred geometry expressed in the Thibonacci series

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allows us to clearly see this invisible other world that is the mysterious source of life.

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To better understand the role of the Thibonacci series and organic geometry in the world around us,

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we met with Michael Schneider, also of a beginner's guide to constructing the universe.

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Michael demonstrates the dynamic presence of the Thibonacci sequence in the living growing world.

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Well the Thibonacci numbers refers to a sequence of numbers that grow by continual expansion,

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but a very special balanced growth expansion. The mathematical definition of them

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release an archetypal pattern starts off with the number zero and one zero sort of acts like a seed

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in a sense. Zero and one and the rule is that each next term is the sum of the two previous terms.

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So zero plus one, make one, one plus one, make two, one plus two, make three, two and three,

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make five, three and five, make eight, 13, 21, 34, 55, 89, 144, 233, and endless. But it's an expansive

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pattern that shows organic growth patterns that occur off nature. The invisible fiebonacci spiral

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shows itself in the visible world in the mortalish shell, the sunflower and the branching of trees.

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This mathematical sequence charts nature's progress, organic spiraling growth,

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the self accumulation. The appearance of the sequence,

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invited by the Thibonacci spiral, golden spiral, and plants and walls or solar systems,

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tells us that the Thibonacci sequence and fight ratio, underlying internal harmony,

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excellence and dynamic balance during the inevitable growth and dissolution processes.

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It is the play of life itself, clothe in the four states of matter. These characteristics are

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the open secret of balance, the animal home, seashells, plants and galaxies. For example,

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is the chambered modulus creature grows larger, the gland that exudes shell material also grows,

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building a widening shell. The shell's golden spiral shape maintains the same center of gravity

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at any size, so the modulus need not learn how to balance itself as it matures. The same is true

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for the growing horns of a ram. As the horn material accumulates, growing larger and more

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massive, its golden spiral shape maintains the same center of gravity. Thus the ram need not

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adjust its posture throughout life to a whole its growing horns. Similarly, the treat of puts out

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branches and leaves and spiral staircases up and around the respective trunks, can get enormously

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large, get the tree always balances, and how massive and complex it grows to be.

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So any kind of organic expansion will benefit from this kind of growth that incorporates balance,

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physical balance. It will pack the most seed in these space.

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Whenever you find these fibonacci numbers, you also find spirals. The benefit of spiral is a

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course organic expansive growth. In a kind of a fashion that will also maximize all the benefits

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of the seed properties of life. The way they show up in the plant world, the plant world is

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right. With these numbers, for example, in this artichoke flower, I will simply

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I'll draw a mark so we know where we started on this. Now, count this row of petals as one

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and one of these count feet numbers of parallel rows of petals. So there's one, two, three,

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four, five, six, seven, eight, and then back at the beginning. So there are eight

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rows leading this direction. But each petal plays a role in two directions. So I can also think of

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these as spiraling this way. And if I count the numbers of parallel rows here,

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we'll count that as one, two, three, four, five, and back at the beginning. So there are eight

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in this direction, five in that direction. That's what you'll find throughout nature. Two consecutive

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fibonacci numbers, composing the same structure. And what this does, what this number pattern

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does, is it gives perfect balance to the structure at its row. Not as a static structure. But

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these fibonacci numbers and the spiral the logarithmic organic spiral that occurs with them

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balances through growth transformation expansion. That's the idea of this. It's balanced

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through growth and change through these numbers. It's an organic expansion from that you might say zero

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seed to as large as you like, but it's always going to have a self resembling property. The closest

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the logarithmic spiral is the closest definition to get to a definition of life.

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The fibonacci numbers and the sake of geometry they produce seem to be the very voice of life.

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When we return we'll see how these numbers were employed in ancient architecture to give life to the

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temples.

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As House of Life, consecrated to organic growth and the living world, it is difficult to imagine

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a more perfect template for the design of Karnak than those patterns governing and animating life itself.

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To further investigate the presence of the fibonacci series in the design of Karnak,

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we went to UCLA campus in Los Angeles.

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We found a very rare print of a book containing architectural studies of sacred geometry and harmonic

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design in the temples on model of the servents and Egypt. The book is the master work of architectural

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historian Alexander Badawi. It shows the temple of Karnak to be based upon the same fibonacci

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number series that is the very voice of life.

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This will end in this book of harmonic design Alexander Badawi, the art historian,

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the architectural historian, the ecologist, the determinants that in the great temple of Karnak

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and just about everywhere else in Egypt, very sophisticated harmonic design is what's responsible

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for the temples and it is the harmonic design that is in turn responsible for the effect of these

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temples produce in Karnak in particular. The fibonacci series is employed in a variety of sophisticated

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and different ways and efforts in the fibonacci series in particular is related to the golden

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section and to the processes of organic growth in this temple that is consecrated to the material

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universality, that's any animated universe, particularly significant that the a mathematical

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proportion that is found everywhere in nature and the way that things grow from some

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polar seeds, the model of shells, this fibonacci series should be employed to determine the various

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proportions of the temple itself.

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Specifically, consecrated to a dedicated to the principle of the creation of the organic world,

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the living world and in keeping with God, not only is it a state of constant creation,

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the temple itself is a kind of representation of ideal, but even actual

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organic growth. The temple is consecrated to a moment and his role of animator of form,

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of the breakfast, the stir-of-life across the waters.

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One of the more primitively dependent on the solid-send of the valley, who was an expert on

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a specialist in architecture, worked out that the Fibonacci series is the template of the

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temple upon which this entire gigantic construction is based and the western knowledge of the

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the archaea, the archaea, just to me as a college, does not contest this finding, but what they don't

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do is recognize its significance because that's a living in the battle, is that the Egyptians

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are not only the ones that they know the Pippinacci spiral and series, but they understood for

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well the role of that play and the organization of the organic world, that's something else again.

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They know that, and they're talking about a very high and a sacred science, which is of course exactly

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what they're trying to deny with them to lead to. So that's what's going on here in the

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district of the temple, and in the sector it's been found that Fibonacci series has been

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found in other Egyptian constructions as well, but here's the best one, most of the free

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expression of it exactly in the temple that is actually in fact consecrated to organic,

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the organic world, and that's something that we know the archaea then is done for now,

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it's a function of this, and don't understand that it's part of a complete understanding of the genesis of

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human beings.

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Like so many things that was known in deep antiquity, that particularly when you see Fibonacci spiral

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associated with a gigantic temple that is consecrated to the principle of organic growth that

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become very interesting. The entrance to the temple is flanked by a colonate of ram-headed

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sphinxes. The ram is symbolically associated with ummune, and aside from its astrological implications,

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there's an embodiment of the Fibonacci spiral in this shape of its horns. The sacred geometry of

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the Fibonacci series infuse the entire temple literally brought it to life. The temple is the

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living embodiment of the numbers and patterns that are the very voice of life, the house of arum and

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the body of arum. The harmonic design acted as a kind of magical technology affecting us,

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changing us, inspiring us. Bridging the gap between the archetypal and physical worlds,

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bringing us into the mindset appropriate to commune with the deity or netto which the temple was consecrated.

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When understood in the true meaning of netto, arumun becomes the archetype, the embodiment of the

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invisible forces, laws and forms of life, the physical expression of the laws of nature.

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Rudar's stino, an influential modern misty from the turn of the century, provides an insight into

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the thinking and sophistication of the ancients through a thought exercise. Hold a seed in one hand,

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and a stone of similar size in the other. Look at them both and try to visualize how they are

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the same and how they are different. When the breakthrough occurs, we suddenly see into a higher

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dimension, the fourth dimension of growth. All living things live in an additional dimension of growth,

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expansion, an organic change over time. As the living representation of the forces of life,

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the temple of Karnag was itself alive, it existed in at least four dimensions.

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In a stunning but not isolated example of four-day architecture, the temple itself not only grew

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but grew in accordance with natural law. It was for a time, host to arumun. It was animated by

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the wave of life, continuous construction passed down through the centuries like a torch from

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one generation to the next. The wave of life passed through it as it did the successive generations

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of those who worshiped within its living walls. Not only is it in a state of constant creation,

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I think the earliest extent that the temple go from the state, from the middle kingdom,

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most of it is new kingdom, some of it is Tala-Nag. I believe that every single ferro

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has left some element or some piece of... Every single ferro did something here, some bit of

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construction. Starts as old temples do with the Holy of Bowlies, the sanctuary and then grows out.

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But in this case it grows out sort of like an onion. In other words it's in layers that

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they'll continually out and out and out and out and out they're all together. Ten high lawns here. I

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think six this way and four that way. So it's continually expanding. Each one has to have

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its stamp on this particular temple. Not one other temple, so other temples are built

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often in one fell swoop and then additions are made after one or two but here every single ferro

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does something or another. I think that's part of the overriding plan. Just 500 year extended exercise

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in the high magic. This is the science of the invisible, the invisible science, the science of

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worship, the worship of science. It is our hope that these brief glimpse into the ancient

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sciences of the invisible will open a new pair of eyes trained not on the material every day

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world but on the realm of the neczer. On what lies beneath and what lies beyond

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on the world behind the veil.