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The first time I've seen a lot of people in the world, I've seen a lot of people in the world.

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The first time I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world,

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I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I've seen a lot of people in the world, I

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the overriding theme behind the engine that fueled the engine from 3,000 years of almost uninterrupted peace, prosperity and religion, was the doctrine of immortality, the idea,

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that we human beings are of divine origin and through our own internal efforts, we can reestablish within ourselves, that connection and ourselves become divine, the embodiment of that principle was the Pharaoh himself, until we see Ransi's II, one of the very greatest of the Egyptian Pharaohs, certainly its most prodigious builders, proclaiming himself and that's the way he is,

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proclaiming himself and that guy's, here at Al-Busundl, on the great days of October 22nd, February 22nd, supposedly the birth day of coronation day of himself, we see a phenomenon that is my call, the physical manifestation of a illumination.

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Here at Al-Busundl, we will be looking at this principle of immortality, that's the way we see it,

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that the principle of immortality, that the sacred science, that the idea of illumination, which is not contingent upon electricity, is our modern scholars seem to think.

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Almost daily, it means thousands, nutrients of lost art, from our lost world, behind the veil lies another Egypt, hidden in Egypt, that's a good one.

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And we're going to have to spend this magnitude and quite incredible perfection, that marks the

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time of the Egyptian Empire during the time of Ramses, which is about 12, 11 something, he reigns for 66 years, so it's the most of the 12th century, the chunk of the 12th century.

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He's building it here, well at Mark's team, it's a set of marks, the southern extent of the Empire, and he's about exactly saying the where he's not really saying, it looks like both things, but it's not both.

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And the thing that's interesting is that the way the king is the king is the realization of the divine principle.

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During his lifetime, I think that's what makes this temple unique, always the king is of divine birth, that's part of the canon part of the metaphysical doctor from the very beginnings of Egypt, that's there.

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What seems to be what Ramses seems to be saying here is that he has achieved divinity within his lifetime.

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The Temple of Abu Simpel is a marvellous engineer and a must-a-piece of symbolic architecture.

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The temple was engineered to commemorate the birthday and coronation day of the Pharaoh.

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It is aligned in such a way, is to capture the first rays of the rising sun on these two special days.

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And if you're here, a boy, if you're here on that day, actually the day itself is always a absolute zoo.

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And the place is always full of you have to get here at 430 in the morning to be close to the head of the line, but if you get there and watch this, you know, the, I mean this is a very, very good lighting man, it works, it comes up in the east.

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And this thing, I mean you're sitting there in the darkness and you're just getting a little bit lighter, a little bit lighter, and all of a sudden the sun gets to the sun gets over the horizon.

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If it's a clear day now, it doesn't matter if you're just clear, it just, it lights up like that, and everybody in the temple looks up.

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And then you watch the text by 15 minutes away.

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We've across the light up before gods and turns, and it's quite an experience.

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The light penetrates the temple to its very cold, lights the four dead and statues we've had.

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Now you don't know it, go on, go on, go on.

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It's a good thing.

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The whole idea of architecture is to design a monument that provides the machinery of the ritual to become alive.

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So that's what he's done, he's integrated the symbolism, the mythology that surrounds the king.

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And you just did the light of the sun in order to bring the temple to activate the temple, it's like it's like inserting a battery.

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It doesn't matter, it's like I didn't know I came up with more work, I said put batteries, where dead battery was the sun.

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Sun rises, a certain day, and a certain time of the year.

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Part of the time we come alive, in the correct order, it's a logical order.

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It's a clock, it's a frozen time, that's what they are.

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It is marking what is coming more a day, and the time is the coronation of the king, or some argue his birth.

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But what they are today is that he used time, and time is a strong time, is position of the sun.

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So he locks the temple to time.

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But not just that, I mean, he's simply not pointing the temple to the sunrise on that particular day, which is the second October.

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He's also using what the sun does on that day at its rising, in order to tell the story.

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So he's designed in such a way, he's put his symbols that represent the first activity of the sun, the baboons, like the top of the temple, and so forth.

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So finally the light strikes at the right position, perfect conjunction with the axis.

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He gets the apotheosis, the apotheosis is that the king is divine.

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That's the hall of the earth.

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The whole idea of the king is to confirm his divinity and to renew his divinity and the tributes.

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So that's what the temple does, it still does it, without the priesthood, without the king, because it's frozen.

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The temple is frozen in time, as is the understanding of the underlying patterns and rules of the universe.

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The temples of permanent repositories, describing the mysteries and the interconnection between them in that other vast mirror realm, our consciousness.

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The statue is the presence of the living people and the time.

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They truly believe this.

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And in many ways, one could argue that they do.

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These statues and statues, the talismans, they are the god that is having absorbed the essence of the prince's divinity.

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And they do, because what he is, is that the king essence, as the divine king, as the horror king, is the sun.

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But his transmission is coming to earth at a specific time, which we call the second of the talismans.

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Once one is sun was in this position, so in short, the statue becomes alive and becomes the essence of the sun on the day.

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He's achieved the nearest one can with architecture to express this.

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Both the Robert Boava explores the temples as a magical technology and is upcoming book, Talisman.

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In short, the temples is only stone if you don't understand it's symbol.

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And the temples is only stone if you do not integrate with it.

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It's a really pretty, very good place.

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But that's not what it's supposed to be.

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The temple is a talisman that needs to be activated by your presence.

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They here, which standing alone in the temple, were present.

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We're being affected partially by the symbols we see, by the harmony of the architecture.

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But in no way to the degree that initiates full initiative would be in short with inside the hardware,

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but with not charged with the software that has not been initiated.

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Whereas had you been initiated in the full sense of Egyptian initiation, temple initiation.

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Then you would have been a software which is programmed to interact with the temple.

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You wouldn't be here talking to me, you'd be exhorting with the statues and the symbols you would explode here.

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It's the lecture and spiritual.

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Hariglifts, as an expression of high ancient symbolism, are the crossing of language and magic.

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This very misunderstood technology works with the brain of the initiative to evoke a dense and richly complicated web or matrix of meanings and associations.

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Hariglifts are charged. They are collapsed ideas.

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In some cases, they can be entire schools collapsed into a single image.

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To the initial, to that person who has been given the keys to understanding the many visual and geometric clues.

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The Hariglifts from magical talismans.

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Each capable of exploding into a whirlwind of ideas, associations, understandings, lessons,

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deep and mysterious are common.

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Hariglifts are even employed as a repeatable means of rapidly evoking unusual states of consciousness.

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Symbolism is something that is simply told by teachers to a cupant.

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Part of it is, but the major labour or understanding the symbol is to experience it.

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So it takes a long long time. I make the threat of explaining to you to learn blue in the face.

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What my symbol means, I'm wearing something.

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Long and a Christian talisman.

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But even though I'm explaining to you, I still would be able to protect you in my fullest feeling about what this means to me,

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the experience that brought me to where this and what it causes in me intellectual inspiration.

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When I do, I consider it a thousand, very often touches.

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The only way is that you are me and have experienced the same thing.

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So you need to experience it.

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And before we learn more and more about symbols, we learn more and more about the temple.

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You could come here for hundreds of them.

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But as you can see, it's loaded with details and every detail is charged with this kind of meaning.

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You're not going to be there. There is not just one that around,

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you take it to the followers and go out. The ideas to stay here and meditate at corners to pound around the meaning of the symbols that you see,

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on the scene that is on the reliefs, on the effects of light.

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And if you take you here, it's to discharge the information of the temple into your life.

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So that when you do find a relief that's the age, you are completely one with the temple.

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So then you can move faster, but then you're the speed of your understanding.

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The trigger that is on the leaf, the return you pass next to your symbol, and works faster.

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Like computers use of hierarchy, higher cliffs are icons.

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They are folders, containers much as we have loaded into the folders through the process of successive initiations.

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They are magical icons which command and cause the desired brain state.

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They are programs which perform to the extent that we have installed the upgrades.

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Like the complex, we're going to paint you one at a painting form.

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If you see the analogy, you start here being totally unprogrammed and you begin slowly to be programmed.

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And the temple becomes more active because you are more receptive.

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To find a hardware which has the capacity of a painting form, whatever you call it,

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and you are a program that is perfectly designed to interact with that speed.

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And you discharge your initiation and the temple discharge, and you both interact with produce this ultimate result of full understanding.

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By simply looking at the objects, the temple becomes like a silent teacher, and you are the perfect people.

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The whole idea of the statue, the whole idea of the temple, but the text statue is more obvious example.

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It's not the way we see it as artwork.

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It is artwork in the sense that it is a magnificent garden, it is impossible.

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But the damage statue was the body, the permanent body.

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The transmitters that were last.

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In order for the tallysmatic qualities of the principle, the king or the divinity, the habit, the how did they do this?

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It was a depression of hope, as the saying, made the statue the king and the following kings and kings.

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They fed it in sense with meaning.

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The same way we would create meaning in order.

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Many people have times when without being aware of it, while in the way.

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The favorite tallybell is a timeshose, because they are fed with meaning.

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So the object is not just an object, it is imbued with meaning.

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So this is how it is.

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The experiment we made was when it was initiated with time to the temple.

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We did not see the statue.

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We would see the representation of the king with all its qualities, the essence of the principle.

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The principle may be stars, maybe the flood of the night, maybe the king may be divinity.

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Maybe an idea.

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You may be wearing a ring, because it presents your fraternity and a university.

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But therefore this ring is in view of the idea of your membership, the fraternity, all the people belong to it, the friendships that you made there.

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The experiences that you had.

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So the drink to you has that meaning.

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When you see that ring, you see beyond it.

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That is how they thought they did their life correctly, that if the mind responds to this kind of object, to tallysmons.

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The tallysmons can be anything.

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Statues, temples, even natural objects, the flower.

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I think the flower that is given on the day of the proposed future wife, she takes the flower, she dries it and puts it in a book.

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She is the flower 20 years later, but breaking to tears.

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Right? That is the power of imbueing.

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That is how it works.

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That is how we are made to it.

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They are cleverly understood this and they are cleverly combined it with architecture.

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So architecture becomes the material expression of the immaterial force of talent.

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Architecture is meant for that.

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It makes the law so we can work in office.

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Architecture is the use of the quality, the royal art, but it was for the foredo.

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Architecture was for rich purposes.

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They would consider architecture when you build a house and live there.

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This is not architecture.

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What we call a architecture is to then notion of designing a temple.

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The hands of those who were initiated to do so, they were priests.

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They were strong.

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They were those who had studied symbols.

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They were magicians.

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And the drawback is not the labour, it is the standard.

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The architect is not the guy who designed shapes, the man who used the design.

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The culture and the idea behind the building be the temple, be it a church, be it a kiddo.

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Even be it a bank.

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He succeeds in that.

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Then his children is objective.

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Otherwise he is really creating a box or a full sphere of entertainment.

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The whole game of light is coming down to the basics of physics.

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As I explained, the temple is aligned in such a way that it could see a flight at the civic times of the year and of the day.

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In order to activate the various parts of the temple, the very symbol.

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It is a symphony of light that is frozen for most of the year and becomes active defrosts of the second of the top.

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So if you are here on that day and you are initiated, better still if you were the king.

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You were at a feast the second and you would come here.

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This temple is the materials and symphony presentation of yourself, of your life, of your coordination, of your birth, of your achievement.

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Can you imagine the effect of the king's hand, of the integrated, of the solar light, with the temple and with himself?

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You must have blown his mind to his tremendous exhortation.

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When we return, the talisman is a neat little package of spiritual force.

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You know, in magic, you can't even ignore puns and plays on words, because words themselves are magical tools.

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And when we talk about higher glyphs as talismanic objects, it is not too far-fetched to treat higher glyphs as low as the world.

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As low goes, their magical logos, and of course, logo in Greek means the word, the transmitting power of the universe.

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Because everything in the universe is connected to everything else.

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It's not far-fetched and it's highly permissible in magic to incorporate puns in your understanding of the universe around you.

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Reason I'm bringing the word pun up is because I'm talking about the talismanic virtues of the Egyptian highroglifts or highroglifts in general.

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We may as well use the modern term their logos.

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In the same way as corporate logos, a communicate a vast amount of information in a cute, easy-to-remember image.

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Where the puns come in is the Greek word for the word or the communicating entity of the universe is logos.

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And that's exactly what the magical highroglifts are acting as. They're the word. They're communicating much much more than just one or two ideas.

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They're literally vibrating with the vibration that holds the universe together. That's responsible for creation.

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Highroglifts is a logo. A highroglift is a logos.

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A talisman is an inanimate object that someone makes animate. That's the broad definition of a term.

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A talisman is in doubt with specific magical properties. It's different than an amulet.

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An amulet is something you wear as a protection against something else. The talisman is something that someone actually in doubt with magical force of a specific nature.

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It could be something just as simple as a sentimental object or souvenir of some kind that when you look at it years later, it evokes an emotional response.

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Even sounds and smells the talisman can be in sense. Anything that invokes that auto response is the talisman he got you.

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Even your best cutter, if you're a golfer, the cutter that you perform miracles with is in a way a talisman.

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Even the alphabet, the individual letters of the alphabet are talismans in a way.

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Because they convey to us or can convey to us far greater far more profound meanings than just the ABCDE.

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The Hebrew alphabet in particular is almost hieroglyphic in nature in that the individual letter not only stands for the letter, the consonant sound itself,

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but an object of some kind, all of means, ox, but it also is the number one.

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But imagine all of the things that ox means though. It's just not the beast represents power and fertility and all sorts of other things.

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And if you learn the Hebrew alphabet at the same time that you're learning all of these other collateral meanings, then it becomes rich, rich in meaning, universal meanings.

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I'm as you see the individual words made out of individual letters, whether you know it or not, you're still processing all of that information.

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Another thing that a talisman is often confused with is a panetical.

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The panetical is the magicians, is a diagram of the magicians total understanding of the universe.

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In other words, it's a symbolic picture of the magicians' worldview.

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Talismans can be a part of a panetical.

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The terro, the 78 cards of the terro, would be a panetical.

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Actually, it's a material panetical.

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The 78 cards of the terro are often called the book of soath, the book of the path, the Egyptian Mercury.

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The terro is a panetical.

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In that, it becomes a mandala of the entire universe.

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You can put everything in the universe within those cards.

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But the individual cards themselves are more in the nature of a talisman.

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Because they represent specific forces within the universe.

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Isolated, cozy, all in one neat little package.

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The talisman is a neat little package of spiritual force.

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Here's another example of a panetical.

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This is my personal panetical.

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Like I said, a panetical is the magician's worldview.

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And here we have four versions of the cabalistic tree of life.

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And there's a tree of life for each of the four cabalistic worlds.

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And each of those four cabalistic worlds is an embodiment of the powers and energy in the Yodh, K, Bob, K.

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Formule.

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It's more than a deity.

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It's a formula.

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The account secret of the full foe structure of the universe is also expressed

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and the symbolism of Abbey's symbol.

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The presence of four figures and their divine attributes is itself.

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The sacred and revered revelation of the tetragamatone.

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The primal form in a fysciclic life and the foundation of the universe.

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So here at Abbey's symbol, on the great days of October 22nd, February 22nd.

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Supposedly the birthday and coronation day of the king himself.

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We see a phenomenon that is, my call, the physical manifestation of the illumination.

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What happens here is just the sun rises.

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It gets above the horizon.

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Shooks through the nave of the six extraordinary temple.

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And illuminates and turns for figures are among king, rahalacti.

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It's a cosmological and also an internal lesson to be learned from this.

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Break down the shaft there and hand across the poor figures in the sanctuary in sequence.

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And the sequence is, is, on this side, then I'm on, then the king and then rahalacti.

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And why those, why those four or in that sequence, I think I know.

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And that is that it's again like, as it Abbey does, it's a total cosmology written into the,

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into the figures of the gods and the king.

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As architective heaven and earth, a moon is the animating spirit of the universe.

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The king represents the synthesis of, that's how organic creation and rahalacti is,

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fusion of the broad and power of the solar principle and power of the principle of salvation,

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returns to the source, represents the ability of humanity to again become divine.

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So it is, it goes into the sequence of the book of the book.

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It's a progression from creation of the universe to return of humanity to the, to the, to the divine source.

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There are four of them near because there are potential four of cardinal directions and four elements and all like we could,

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but four, the four square of matter.

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After I learned the first three numbers, I was given to understand the great law of four, the alpha and omega of all.

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I am the great law, the Empress said, I am the name of God, the four letters of his name are in me and I am in her.

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I am in the four principles.

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I am in the four elements.

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I am in the four cardinal points.

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I am in the four sides of the tower.

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I am the beginning.

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I am action.

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I am completion.

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I am the result.

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For him who knows how to see me.

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There are no mysteries and births.

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There is a belief in ancient and modern occult circles that activity carried out on the

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ascral plane can influence events that transpire on the physical plane.

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The higher glist to picking the events of the battle of Kaudesh may have in fact been a kind of magical activity employed to assure and perpetuate the victory of the King.

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The outcome of the battle is written in stone.

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The first fall, the eight figures, the king, as Ozairis, the eight figures of the war on that wall.

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The battle of Kaudesh, no one is 100% certain how real this battle is, but it is probably one of those instances where symbolism conforms to the symbolism conforms to the actual history.

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The story is that the king is in the company of his four armies under the armies of Ta-A-Non, Ra, and Set, interesting when he is in the inner.

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He is with his armies, but he is out of the couple of informers come from the enemy, but the hit tight is case.

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They say that the hit tights of all flunk can't be afraid of him, he can march in by himself and claim the victory.

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These are actually spies, and when he goes into advance of his armies, all by himself, suddenly there is the enemy.

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They have got him, so he launches this immense prayer to Amon, a very poetic prayer.

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To Amon, who comes to his aid, the single hand of these slaves 100,000 with the enemy and throws them into the river.

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Then his armies catch up with them, and so written into that, into that northern wall, is the whole story of this battle.

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It is very intricately wrought, and this still seems to be quite a bit of a minor influence there, so it is rather more lively and animated than you would expect that of strictly classical.

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You know, this is about 50 or 60 years after, after a knock-knot, and even a bit more, still you see that a minor style here.

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This is Nefertari's temple with Ramses' royal queen, and from the evidence it seems fairly reasonable to suggest that, I mean, this was a real, this was not just an arranged marriage, I mean,

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but it was very fond of each other, and King is, you know, living chorus in life, and the queen is the living at the door, although I'm just read on this kind of good book that I found out of the symbol in the French.

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The headrest that she's wearing here, is not just a book, but is a separate series.

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When you go in here, you'll see that the example of the artwork is better than the artwork in Ramses, but it's something about it.

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This is a very special place, a special, a spealy temple actually. Everything is in yellow because it's the queen, the queen is, and the queen's name is in the cartoon, so the movie which she's divine as well, and eternal.

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And we go in, we'll see the author columns, and on your left.

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But very interesting, one of the rare scenes of chorus and set powering the king, and the king is reconciling the otherwise irons, irreconcilable principles.

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Set and chorus are eternally opposed.

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They are polarities. They are Yin and Yang, positive and negative. They are spirit and matter.

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The empowering the king and the king is the king in between them is the reconciling principle between these otherwise absolutely irreconcilable polarities.

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In Egypt and all of the other gods are principles, are in triads in the express of which is an active and a passive or a masculine and a feminine and a reconciling or a child of the two.

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The power is in set, there is no reconciliation, that's our job as to reconcil the chorus and set principles.

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The Pharaoh, symbolic of every man or mankind in general, brings reconciliation of the two through balance.

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The reconciling of opposite polarities is another deep occult secret which finds an echo from our most distant past.

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We see in this the eternal struggle between left and right brain between logic and intuition between waking and dream state, between linear and abstract thinking, between the secular and the sacred.

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Set is the power that imprisons spirit in matter and chorus is the power that releases spirit from matter.

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Therefore, they are forever at war because left to his own devices will never let go.

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And left to his own devices, chorus is helpless. Only the king who represents the king who represents the possibility of reconciliation can affect that reconciliation of opposite and allow him to rely on the other.

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Another aspect of chorus and set might be seen as symbolizing the inner and outer worlds.

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We as the Pharaoh are the mediator or the reconciling element between the two.

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The only sculpture in the round I know of in Abu Simbil in the marvelous Hawthor Chapel in the Nefertari Temple you see the similar scene, but the scene in the round is very impressive.

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The king's role within the grand cosmic scheme is a way to be a human being.

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The magical Egypt will return in a moment.

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So here at Abu Simbil on the great days of October 22nd, February 22nd, supposedly the birth day in Karnatian day of the king himself.

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We see a phenomenon that is, might call the physical manifestation of the illumination.

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The most, the most favorite explanation, and I think probably the most, the most likely to be true is that these chorus branches the birth day in Karnatian day of the round six.

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Because they don't have any astronomical significance, not as solstice as it's not an equinoct, it's not a cross-quarter, it has no special astronomical significance, but it does have, it does have that particular personal significance.

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The Karnatian day might be seen as the day that the king was seen the light.

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The illumination is experienced by old who grasped the symbols represented here.

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The light of consciousness connects the four inner deadings with the outer floor.

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The illumination is the recognition of the connectedness of the inner world with the outer.

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These ideas have quickly laid it down through history after Egypt felt, infragnated form sometimes degenerate sometimes the dazed, sometimes running off tangentially, but nevertheless keeping that flame alive.

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It's a peculiar thing that over the course of the last century, now the beginnings of the 21st, a number of extraordinary scholars, scientists, teachers, esotericists, had succeeded in putting together and reformulating that ancient doctrine in a way that makes it not only comprehensible, but to a considerable extent comprehensive.

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We now have had our fingertips the potential material to reformulate that ancient doctrine in a manner,

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to commentulate to our 21st century minds, which are perhaps unfortunately largely rationalistic.

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It's a trilogy of what is called thinking with the heart, is an essential of understanding what we are going to ask and equally essential to in a tempting tune.

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In attempting to re-establish another civilization based upon the same principles, but undoubtedly very different in how it would form an aspect.

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We are now in the context of the world's greatest understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's

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understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding of the world's understanding