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Jason to it and that date we believe from the same period.

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Now, these blocks weigh, these here weigh well over 100 tons.

3
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And you see the way they're slotted and jointed into place.

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Actually, the weathering there makes it look as though the joints are rough,

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but when you go back into it, you see that you can't get a piece of paper

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between these joints, even after all of these thousands of years.

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So the question arises, how did so-called primitives,

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with ropes and pullies or not even pullies, but with ropes,

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put these immense blocks into place.

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The standard Egyptological answer is that well, you have enough slaves with ropes,

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and you can pull anything into place.

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But in fact, we discovered that having doing our research a bit,

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that the largest cranes and existence today could just about handle

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blocks of that size.

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And we went out and we found one of these cranes in operation,

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and had an interview with the project manager.

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And we showed him the problems the way that these things are cut

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and placed put into place.

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And he acknowledged, it's on the video,

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that this would be actually impossible with the best modern technology

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that we have today.

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They could move blocks that size, but to get them from where they were cut,

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which is the space enclosure itself,

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remember that the space is cut into the hollow,

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and that hollow was excavated in these enormous blocks.

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You can match up the strata on these rocks to the strata

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and the sinks enclosure.

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And then they will move the couple of hundred yards

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to form this temple.

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Well, this would have been an insurmountable task

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for the biggest modern cranes around,

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because in order to do a lift, a 200 tons,

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the crane has to be cited precisely where it's supposed to be.

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And then it can make one lift and it takes six weeks to set the crane up

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to make that one lift.

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So here we have hundreds of blocks that would have required,

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you know, a e-on to make those to produce this with the cranes,

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and then the project manager, the engineer, said he couldn't figure out

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the way to rig these stones, so that he could actually get him into place.

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So we are left with, obviously, a monumental puzzle

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that is always ignored or dismissed or pushed aside

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by the academics.

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And even if this were a diagnostic Egyptian,

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we're still confronted by a technology that we can't reproduce today.

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And we push this back to its 10,000 year date.

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Then we're confronted by a technology that we can't produce today

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manifested by a civilization that we have no evidence of.

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So you can understand why this thing does attract the kind of abuse

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that it does attract.

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Now, go from this thanks back to the sacred science developed by

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R. A. Schwell is a little bit.

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The little bit was kind of a wonder-kind born about 1890,

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brought up in the scientific household.

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It became very interested in all metaphysical matters,

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and also very conversant with modern science,

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and with actually throughout the 20s, an actual practicing alchemist.

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You didn't think there were any of those around, but there are,

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what they were. I think they're still a horizontal fact.

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In 1937 Schweller, like myself, had no particular interest in Egypt,

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but in 1937, he visited Egypt just on a holiday.

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And in the Temple of Luxor, this is an aerial view of the Temple of Luxor,

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with its strange asymmetric axis.

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He was hit by what mystics call a revelation,

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and poets call an inspiration, and scientists call a hypothesis

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formation.

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And because it has to be respectable, you see,

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you can't have an inspiration of your scientists,

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or an academic.

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But Schweller's hypothesis formation was that this extraordinary structure

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was an exercise in harmony and proportion.

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Harmony and proportion was supposedly Greek inventions,

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specifically of the Faggress, even though the legends all say

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that the Faggress studies for 22 years in Egypt,

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and learned his wisdom there, the Greeks always acknowledge

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that that's a Egypt, by the way, even though in school today,

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we're taught that Egypt was kind of a dry run for Greece,

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which was really a dry run for our magnificent civilization,

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with its hydrogen bombs and strike toothpaste.

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But Schweller realized that if he could prove

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that certain mathematical constants,

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or the elements of harmony and proportion,

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were written into this strange asymmetric structure,

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he would have proved that this knowledge was available

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to the Egyptians roughly a thousand years before Faggress,

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and since there's nothing new about this temple in Egyptian architecture,

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it would show that this knowledge was available to Egypt

87
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from its very beginnings.

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And of course, when we take it still back further to that earlier civilization,

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in which Schweller, of course, believed,

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we understand that this knowledge was available from time in the memorial.

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So Schweller stayed at the site,

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looking specifically for the golden section, or five,

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one plus the square root of five over two.

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Within a couple of months there, he discovered that

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five and other mathematical constants,

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as well as the laws of harmony, were written into the temple,

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not only unmistakably, but with a sophistication that far exceeded

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anything that the Greeks did later.

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The end result was that he ended up staying at Luxor for 17 years

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because the mathematics led him to the mythology and the mythology

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into the symbolism and the symbolism into the medicine and so on.

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And the end result of that was what is called by both adherence and detractors,

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the symbolist school of Egyptology, which is of course,

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I mean, it's hard to imagine there probably is no other discipline on earth

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in which there are two such diametrically opposed interpretations of the same facts.

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And Egyptology incidentally is not scholarship, not science.

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Egyptology is like the Columns of scientists,

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but in science you have to be able to measure, to replicate and predict,

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and you can measure a temple that you can't replicate or make predictions from it.

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Egyptology is actually a scholarly discipline in which you interpret the evidence,

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the evidence of the temples and the tombs and the tombs and the pyramids and so on.

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So the same fact, some of those are the temples and tombs and so on,

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have generated these two diametrically opposed interpretations in the one in Incoherent

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religion carried out by priests basically interested in

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banboosling the people to maintain positions of power and run by a tyrannical

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Pharaoh who was thinking of nothing except in tuning himself in the biggest possible and

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most lavish tomb. And on the other hand, in the symbolist view, a sacred science

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so sophisticated and so in tune with the cosmic principles that are responsible for the creation

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of our society that the civilization itself went on almost unchanged over the course of

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3,000 years in a fairly harmonious fashion, heroditous traveling in Egypt around 600 BC,

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remarked that even at that time when Egypt was already steep in its decline,

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that the Egyptians were the happiest, healthiest and most religious of peoples and I see no reason

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why anybody should argue with the opinions of Heroditous who was otherwise a very patriotic Greek

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and very proud of his Greek civilization. So the science responsible for these amazing structures

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was a science that was actually a science of meaning, a science of attunement to the principles

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responsible for the creation of the universe and of ourselves. Anyway, let's go into a couple of

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the, there you have a view not quite aerial from one of the hotels, but you get a sense here from

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this slide that the notion to hypothesis formation that tells you that this is harmony and

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proportion does not strike you automatically from the from the aerial view maybe so, but when you're

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actually on the ground wandering through the temple it has a very powerful emotional effect,

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but you don't automatically see harmony and proportion written into it. Here you see when

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it's finally got to work and here you see the geometric breakdown of the temple in which

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successed sweeps of the of the compass as it were and and the series of geometric proportions

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determine the main, the main sanctuaries and holes of the temple itself. And here you see

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why he called it the temple of man when a skeleton is drawn and idealized human skeleton

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according to biometric measures and the human skeleton is superimposed upon the temple you see sure enough

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that the that these main sanctuaries correspond to the main joints as it were of the human body.

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And for some reason or another it's this particular drawing that drives the geologist into a frenzy.

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Why exactly I don't know it's perfectly consonant with with Egyptian thinking and with the rest of the

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tremendous monuments around Luxor all of which are part of the giant cosmic scheme

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pyramids fit into this as well what the Egyptians were doing as Graham said was recreating

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the heavens recreating the genesis of creation on earth in other words it was a magical recreation

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or remanifestation of the whole cosmic process and in the doing of course all of the artists

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architects say just whoever would even down to the quarry man whoever's involved in whoever's

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involved in in the work of producing such a thing is of course participating in that revelation

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and when that revelation is understood as the cosmic process itself you understand that you're dealing

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with a civilization that knew how to attune itself to creation itself and to the role of humanity

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within that creation just as a virtue of so just as the players of the symphony orchestra are participating

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in Beethoven or Bach's vision or revelation when they're playing his music so in this case

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you have a civilization full of virtue also working for three millennia or three millenniums

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whichever is correct to reproduce the actual laws of the cosmos and participating in those laws.

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Now the question arises actually and is one that's a answer quite simply but never seems to be

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addressed and when it is addressed is not addressed simply of why and how these temples produce

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their effects because no matter what we do in a slide lecture like this no matter what we write in our books

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the experience of Egypt is something else altogether and was shiller actually who called

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um who called architecture frozen music and this is not just metaphorically true it's actually

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literally true because the we respond visually to architecture the way we respond

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orally to music and as you know I mean if you think about it for a moment you know that music is

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simply a series of notes in different proportions of different volumes and different frequencies

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combined in a certain way and when they're combined in the right way um or in a specific way let's

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say you get a certain emotion from it so Beethoven gives you one thing and Bach gives you something

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quite else again and Mozart still something else altogether and rock music still a very powerful

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emotion but a very different one and Dutchland going to an uber all is still a different emotion

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and so on music has this power to evoke but a temple does this silently and in stone and

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in fact architecture is often thought to be the highest of the arts I concur in this myself actually

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because when you're in a temple you are as it were within the instrument itself I mean if there's

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no separation between yourself become one you fuse with the music in architecture this is even

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simpler and when you look at modern architecture you see why I mean modern architecture is the

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product of an age of chaos and for the most part very rare exceptions when you go into most modern

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buildings you get by and large a very unsettling effect if you get any effect at all the reason

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that you get that effect is because there are no harmonies written into it the the the temples are

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consecrated or our modern temples are consecrated to the one god we know which is man and

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man doesn't care about music cares only about money so when we walk into a temple this is this is

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what we get we get we we we we we note to that temple now these figures that you're seeing here are

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our extensions of of the experiments performed in the 19th century by a of a physicist

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was called the father of of of acoustics and collardney we discovered that if you put a plate on a violin

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and vibrated it and both the violin those that sand would form beautiful geometric patterns

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at certain frequencies and then when you pass that frequency would dissolve into chaos

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and then it would reform itself into other similar geometric patterns when it hit a harmonic

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of that frequency about 40 years ago an anthropococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococ

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ocococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococ

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ocococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococ

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ocococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococococ

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and even God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a misnomer, the God is a

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but because the Egyptians understood this science of cosmic principles, they were building temples appropriate in number, measure, harmony and proportion to the inner meaning of that principle.

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And when you walk into a temple, what happens is that you are associated with or the principle itself is e-boked with in you.

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And that's what gives you that emotional hit as it were. And the emotional hit is very different, temple to temple.

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Some places absolutely knock you out, some temples for some people are negative experience, very powerful negative experiences.

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Sometimes the same temple will give a very powerful positive experience to others, but the experience is unmistakable, particularly when you're there early in the morning and nobody else is there yet.

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So the Egyptians actually are consciously building the experience of cosmic principles into their temples for the participants in the ceremonies and rituals within those temples.

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To learn from or to assimilate with or to.

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So now let's just look at a couple of the ways in which symbolism works.

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Mysterious Egyptian symbolism. So we've basically lost, we've basically lost our knowledge of symbolism.

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The only valid symbolism we really have today as the political cartoon.

195
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But according to Schwarler and I concur in this, the symbolic language is actually a much richer language than our lineage.

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Then our linear language where you can only explain one thing at a time.

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A symbol works on many levels simultaneously.

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And when you can read the symbol, just as in a good political cartoon.

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For example, the Russian bear now fragmented in the 14th part, like Osiris.

200
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And John Bowen, Uncle Sam and La Libre-Ta can be juxtaposed in such a way that you get from it.

201
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A very complex political message. And the more you know about your politics, the richer that message is.

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Well, so with Egyptian symbolism or any symbolic language.

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When you look at the temples or you look at the relief, what you're seeing is sacred symbolism.

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And if you were an Egyptian priest, you would walk into these bewildering, but beautiful temples.

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And you would read from it on a number of levels simultaneously, from the cosmological to the psychological, perhaps even to the practical.

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And you would read from it on a vertically integrated understanding of the principle in action.

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And if you look at the details of some of these symbols, for example, here we have the famous scarab, which is the symbol of the rising sun.

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But actually more accurately, the transformational power of the rising sun.

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Now the scarab is just a done beetle, a humble little insect that lays its eggs within a ball of done.

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Rolls the ball along a ball of done along the desert, the eggs, and then it buries the ball at night.

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In the morning, it digs it up, and so on the simplest level, let's assemble a rising and setting sun.

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But why an animal, why an insect, as humble as the done beetle, with it somewhat nasty habit of laying its eggs in the ball of done.

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But because on within the ball of done, and of course the ball of done, what the ball of done symbolizes, which is matter, of course, in its grossest form.

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The eggs are laid within the ball of done, the eggs hatch, go through the stages of metamorphosis exactly the same as a butterfly.

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Eventually the little larva becomes a nymph, spins a cocoon around itself.

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They see the cocoon actually not of a done beetle, but of a silkworm, basically similar.

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And if that looks like an Egyptian mummy wrapped up, this resemblance is not accidental, because the Egyptians were magically recreating this last stage of transformation,

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as it were, in their mummy wrappings, and at a certain stage when the work has been done, as it were, naturally in the case of the insect, consciously, in human terms, the occupants of that wraping,

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bursts out of its cocoon and a winged insect, in fact, and therefore a spirit flies away into the sunlight.

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So suddenly you see that this humble scarab beetle is a symbol of the whole process of transformation, the whole leap from matter in the spirit, which according to a ascetic tradition, the Egypt and all ascetic traditions actually, is the ultimate goal of our human destiny.

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Our, we are born matter with the potential, with a seed of divinity within us, and through conscious effort and conscious evolution, we have the possibility, goes the doctrine, and not obliged to believe it, I do.

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That the right kind of work puts you in the position where you actually become immortal, which doesn't mean that you live for billions and billions of years as you are now.

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It means that you achieve a level of consciousness that is the level of the stars as of where that is the level of the gods, and in that form your name, which is very important to the pharaohs of Egypt, their name becomes immortal, in other words, their individuality has become conscious and immortal, and that's the goal of the whole process, and if that isn't the goal, the whole process doesn't have any meaning, and we might as well eat drink and be not so merry.

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Because tomorrow we may die, and if not that the day after that.

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So a lot of hinges upon this interpretation and the accuracy of this interpretation, and this is why Egypt is not so important, it's not just a question of proving that a bunch of Egyptologists or academics are wrong.

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Let's look at a couple of the other symbols, and the animals, by the way, this is a novice, the keeper of the, the, who's in charge of in bombing, and also the guide in another form, the guide through the Yacht,

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the guide through the underworld. The Egyptians did not worship animals, rather animals, certain animals which chosen as the embodiments of specific cosmic principles, and if you look deeply at the habits of the particular animal bird or insect, usually you'll find why it's chosen for that task.

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In the case of the jackel, the jackel is an animal that prefers carry into fresh meat, in other words it takes future following flesh and turns it into fresh sustenance for itself.

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Jackel or the dog is also an animal with a terrific homing instinct, put it 40 miles away, you know, drop it 40 miles from your house at night, and it'll be wagging its tail in your front door in the morning.

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So you see why the, the jackel is associated both with him bombing, future following flesh with, with, with the pure essence within it, or the living essence within it, and as the guide through the, through the mysterious land that that follows death.

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Here we have just the point of interest, I always, I'm particularly into dogs myself there, you have the, the Egyptian Greyhound, which is called, which is called the Thessamu Haru, the Greyhound's of Horus.

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As soon as you hear something called the Greyhound's of Horus, it means it has an esoteric significance. Horus represents actually the return to the source, the goal of this whole process.

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And so it is, it is the Greyhound, which represents instinct under control, that hunts down the creatures of set.

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Set represents is not really the God of evil, as he's called, but really the principle of opposition.

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He who does not want to return to the source. And the animals of the desert, the wild animals, are, are, are, are, under pure instinct as it were, are the creatures of set.

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And here you see the Greyhounds, here you see the Greyhounds pulling down the creatures of set.

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There's another one in which you see the Greyhounds and the monkey under the chair of the deceased nobleman.

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So here what you have when seated on means master of Christ's rise into Jerusalem, mounted on an ask, this is not an incidental detail.

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He asks is another another symbol for the, for the, for the Carnal body as it were.

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So he who is master of the Carnal body can ride into Jerusalem, mounted on an ask as it were. So seated on here, the nobleman seated on here is master of his, master of his instinct.

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And the chattering monkey probably represents what it does in China, the cerebral intellect.

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So when you're master of your intellect and your instinct, you're in a position to go somewhere.

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And finally these dogs still exist to this day. They stayed pure on the island of Adisa where I used to live and I've always had these dogs.

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They're now, you know, let's, let's, let's, let's be on man's eat.

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Could you sharpen that up? They're called, they're called Ibezin Hounds and they're rare, but they're around wonderful dogs.

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Here we have the baboon of Juhuti or thought associated with wisdom, the two, the two animals, one of the bird, one of the animals associated with Juhuti or the baboon and the Ibezin.

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Why should those the associated with wisdom? The baboon is an animal that stands that squats for hours like this one, looking into the sun apparently contemplating.

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The Ibezin, I hope this is the next slide. Yes, over here, is a bird that walks through the river seeking endlessly searching out food from the mud in the river and very, very intelligent able to

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correct for the refraction of the water to snatch a snail from the riverbed. So you have the twin aspects of search and contemplation essential to wisdom.

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Here you have the falcon, symbol of the returns of the source or resurrection. The falcon is a bird that flies high in the sky, virtually invisible in the eye of the sun, stoopes, that's technical word for it.

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It's tremendous speed, a couple hundred miles an hour, snatches its quarry and returns to the sun up into the air. Again, perfect symbol for the returns of the source.

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Over here we have segment, the lioness, the consort of the ta, the architect of heaven and earth. The female aspect of the fire principle, again drawn from life.

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As you know, male lion basically does nothing, sits around and roars. It's the female lioness that does all of the work.

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The lioness does all of the hunting and so on. And so the ta is actually shown in many wrappings, all of the ideas in his head, but in holding the sectors of power, but incapable of realizing them,

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it's segment, his consort and wife who actually gets the work done. So each of these symbols, and I'm just getting you the roughest possible approximation of their depth,

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but when they're studied and understood, and they have to be studied with what's rather called the intelligence of the heart, when they studied emotionally, these things can be read a literary.

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See what comes next. These are cosmological scenes that I'm just showing you, not to explain them because the explanations of these things are very, very complex,

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but these mystifying scenes actually contain within them, tremendous cosmological insights as it were, that are only now, it's very interesting because I've found as though I'm very anti-science,

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I'm not really, I'm anti-sartened kind of scientist, a certain cast of mind, but in fact, it's only because of modern science becoming a sophisticated as it is today,

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that we're able to be giving these lectures, there's nothing of the technology that allows us to do this, but in fact, it's only because of the computer that, let's say, the Robert Bologna,

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and his work on the astronomy, and there are now a number of very astute and frontier astrophysicist physicists, quantum mechanics and so on,

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who are realizing that there is a profound link in the leading edge of physics and the ancient cosmologies,

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which is a very interesting book published recently in America by a system theorist, and a man who works in something called sub-quantum kinetics,

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which is the next stage, beyond quantum mechanics, called beyond the big bang, ancient cosmology, and the science of continuous creation,

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because the deeper, the further modern science goes, the closer it gets to an understanding of what was actually going on in these ancient times,

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and so it's only because we now understand scientifically what we do understand that we're actually able to get back to understanding what the ancient Egyptians and other civilizations also knew,

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without modern science, we'd be left in the dark because we'd simply be ignoramuses compared with the people who produced drawings and scats,

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drawings, temples, tombs, and pyramids of this nature.

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There's another cosmological rendition of GED, the earth, NUTH, described, being separated by a god called SHU,

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usually representing the god of KOL, the god of AIR, it isn't really AIR, but extension, that which separates.

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And here you see again, more of these strange mysterious figures of characters on a, on a plinth here with this huge serpent in the middle,

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all coiled up, these are the hours of day and night, and the serpent in between whose name I actually forget,

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but you see them all coiled up, if you count all the coils you get 28, which means the days of a lunar cycle,

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and this is probably the genesis of our, from the years saying the coils of time, many of the, actually many of the,

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the million things that we use today without even thinking twice about them, crossing the great river, the crypt and the flail of Christianity,

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it's Christ, it's the good shepherd, all of these, all of these, or many of these, sayings that we take for granted, have their genesis in Egypt as a matter of fact.

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And here another scene of the, of the judgment hall of Osiris, where the soul is weighed, and Egypt didn't have a hell, by the way,

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that the soul was found on worthy, it was, it was actually consigned to oblivion, there wasn't the punishment, the punishment was non-existence as it were,

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which the Egyptian mind was the greatest punishment of all.

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And here finally we have another schematic of the drawing that Graham showed you from the second tool of Tutankham,

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which incidentally proves as far as I'm concerned, that the Egyptians had an astrology of sunsore,

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as soon as you connect stellar consciousness with human consciousness, and you see that these beams are directed into the third eye,

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in other words, this is our goal, which is to assimilate to the consciousness of the stars,

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and this is the purpose of the doctrine of resurrection or the returns of the source.

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And finally, ultimately, all of this is achieved by the conquest of set, set as I said is the principle of opposition.

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And here you have a very rare drawing where actually you have that strange animal head, no known animal,

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basically set represents just animal as it were, so the Egyptians devised a kind of an imaginary animal that would represent all of the seti in characteristics,

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and here you have the head of Horus, and if you go deep into the Osiris Horus myth, there's this endless battle between Horus and set,

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in which ultimately Horus Conqueres said, but he doesn't kill him. He reconciles with set,

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but this can only be done after the victory as it were. There's no point trying to reconcile with set,

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while the battle is going on, which as you'll see later on at the end of this day, has some pertinent lessons to teach us for the moment.

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Now what I'd like to do now, I would say, is to just very briefly run through Egyptian civilization in pictures as it were,

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because Egypt strains was at his height at his very very beginning, and then gradually declined over the course of 3,000 years,

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and you'll see the reason for me doing this when we go through it'll be very quick.

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So here we have our great thanks, which as we now know, pretty certainly, is not Egyptian.

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Here we have Sakara, supposedly the first major Egyptian construction, built by King Cold Zosir, about 2700 BC,

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you see the distinctly modern look to this. I mean, if this were a wall from a new building built by a very talented architect

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that the University of Arizona or something like that, it's a good job, and in fact, this is no accident,

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when the architects of the Bauhaus were looking for a way out of the Victorian clutter, they went back to Egypt specifically to Sakara,

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and to the great temple of Hachep said, outside of Luxor, for inspiration as to what functional architectures should look like,

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so as a matter of fact, in those rare instances of a modern building that is not consecrated to Nannan,

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you often find a lot of Egypt there. Here we have more from Sakara, again the sense of it,

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this is Sakara reconstructed, and you see this doesn't look like the work of ancient printitons,

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but looks like the work of inspired modern architects. Here we have our swings and the pyramid of Chephrin behind it.

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Here we have the valley temple that I've not talked about earlier, this is these are later additions here,

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these granite columns behind the aerodos enormous lines, stone blocks that were original to the temple.

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Here we have a reconstruction of one of the pyramid complexes, these are not the, these are the fifth and sixth dynasty complexes,

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but again, you get the sense of high-tech modern, whether it's an ancient ruin when you look at this.

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Here we have an extraordinary wooden statue of a character whose name is not known, called the Shakele, the lead,

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which means the Shakele the village because when they found the statue, it looked exactly like the local Shakele,

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and in fact, a very modern Egyptian face, we walked down the streets of Cairo, you see a lot of people who look like this.

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But more to the point, look at the eyes here, and you'll see a better picture, can we sharpen that up?

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Let's see, let's see, here we have another one, here you have what a squatting scrub, a statue that's now in the loom left,

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and here you see those eyes looking back at you.

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Now, one of the peculiar things is that these in-late eyes, which are practically impossible to make,

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because it made of different kinds of quartz crystal, which is a very difficult stone to work in,

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are peculiar to the fourth dynasty. The old kingdom subsequently when in-late eyes were done, there were a much lesser quality,

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and afterwards the art was lost all together.

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But what's particularly important about this is a very interesting point raised by Shakwala Delibit,

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that in order to make a glass eye or a crystal eye that looks back at you, like this,

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we've only been able to do eyes as good as this in the last 50 or 60 years ourselves,

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in order to make an eye that looks back at you, it means that you have to know,

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intimately, the refractive and the reflective properties of the eye.

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So in other words, this presupposes not just technical accomplishment,

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but a very profound knowledge of physiology and physiology, specifically.

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You have to know your anatomy, what things do, and why they do it, in order to produce a glass eye that actually looks back at you.

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So when you look at these details, actually, that you get a sense of the mastery of the Egyptians,

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this is the funeral furniture of a queen called Heta Pettis, who is the mother of Kufu or Kiyops,

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and you contrast it, you see, this is very, very old, the pure simplicity of it,

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compared to let's say the equally accomplished, but definitely,

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the decadent gold of the tomb of Tutankham, and Egypt was at a higher level in its earlier stages than later on.

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Here we have the marvelous temple of Queen Hachepsoff in Derabakhiri, and again, you get that modern sense of the cut against the clif,

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Frank Lloyd Wright would have been proud of a building like that.

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Here we have Hato herself in a chapel of Hachepsoff's temple,

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and you see the strange, agiatic face, Hato's always portrayed this way full face,

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with the ears of a cow.

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Sometimes she's shown as a cow herself, because she represents,

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among other things, the principle of cosmic nourishment,

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and the animal for providing nourishment, par excellence, is the cow.

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Hence, a female face with cows ears, done so, aren't believed,

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and actually unless it's pointed out, you don't even notice that there are cows ears.

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Here we have the great temple of Ramesi's, the second of an Abu Simbil,

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that's this sort of thing that gives Ramesi's his reputation as a great egotist.

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I tend to think it's otherwise, but no room for that.

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Now, he was the great king, and as they say in Texas, if it ain't, if you can do it, it ain't bragging.

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So, when we look at Abu Simbil, we see the great king in repose here,

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and his face is not that of a tyrant, but serene, like a rather reminiscent of some of the buddies up us.

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Even the photograph here doesn't give you a sense of the scale of this temple.

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This does. So, you see what's involved here.

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Now, we're going into later times, into Talonic, into the Talonic period,

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following Alexander's conquest. This is an old Napoleon drawing of the Temple of Khamunbo,

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constructed in Greco-Roman times. Another shot of Khamunbo, you see everything is become,

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in a sense, decadent, much more complex, much less pure, it's Egypt in its decline.

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More has the feeling of overwrite fruit about to fall off the tree, which is, in fact, what's about to happen.

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Here, Dendara, again, that sense of, this doesn't look like the car, like the car,

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but it that way, very different, emotional effect. Here we have Edville, the same kind of effect.

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I mean, these are powerful temples in their own right, but the purity is gone, this sense of whiteness is gone,

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very different, emotional effect produced. Now, you can see the artwork here is not what we've been seeing.

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These are hired hands, who have no sense of the inner meaning of what they're told to draw. This is crude and clumsy stuff.

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And finally, Egypt dies and gives way, gives way to the Greco-Roman period,

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and the spirit has died as it were. And you see, here, the great sphinx has become Tony's a tiger.

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You see what the goddess is now, look like, they look rather as though they've just come back from the origin,

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with this fellow here.

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Here we have the human-headed bird, the bob bird, the symbol of the divine spark that we're all born with us,

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and here, by contrast, a new kingdom version of the same, all its caligraphic beauty.

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This is what the sphinx has happened to the sphinx and Greco-Roman times.

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And finally, here in the tombs of Komochogafa and Alexandria, the last gas of ancient Egypt.

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Here, you see, it's a kind of an underground Disneyland where the symbols of Egypt have been mixed,

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held to sculpt there with Roman and Greco-Roman, Greek and Roman motifs, and the whole fence is eerie and wildly unstiratual as it were.

370
00:40:07,920 --> 00:40:14,920
More on Komochogafa, then what happens Christianity takes over and the Christians don't in fact desecrate the temples,

371
00:40:14,920 --> 00:40:19,920
at least not yet. They were slow to learn how to desecrate temples.

372
00:40:19,920 --> 00:40:27,920
Rather, they took it over, hammered the cop to cross into the inter the surfaces of the columns.

373
00:40:27,920 --> 00:40:36,920
This is a feel-eye down in the Andes one, and Christianity actually took over the temples for a while.

374
00:40:36,920 --> 00:40:44,920
But finally, Egypt, the ancient gods, the subjected to the final indignity, the back of a camel.

375
00:40:44,920 --> 00:40:57,920
And on this note, I'd like to read you a fairly long passage, but we're reading a prophecy made in the Hermetic, the tablets of Hermes to Strice Graid, Ernest Trismatist,

376
00:40:57,920 --> 00:41:08,920
speaking of a time to come. A lot of controversy about these texts, which I can't go into here, but basically there are thoughts of the Neoplatonic,

377
00:41:08,920 --> 00:41:14,920
but with their genesis older in Egypt, they probably date from around the second of the third century AD.

378
00:41:14,920 --> 00:41:20,920
This is from the world of Scott, not the Sir World of Scott translation, and it goes like this.

379
00:41:20,920 --> 00:41:28,920
Do you not know as cleapious that Egypt is an image of heaven, or to speak more exactly, in Egypt, all the operations of the powers,

380
00:41:28,920 --> 00:41:32,920
which rule and work in heaven, had been transferred to earth below.

381
00:41:32,920 --> 00:41:37,920
Ne, it should rather be said that the whole cosmos dwells in this are land as an accentuary.

382
00:41:37,920 --> 00:41:45,920
And yet, since it is fitting that wise men should have knowledge of all events before they come to pass, it must not be left in ignorance of this.

383
00:41:45,920 --> 00:41:52,920
There will come a time when it will be seen that in vain have the Egyptians honored the deity with heartfelt piety in a situous service,

384
00:41:52,920 --> 00:41:55,920
and all our holy worship will be found bootless and ineffectual.

385
00:41:56,920 --> 00:41:58,920
But the gods will return from earth to heaven.

386
00:41:58,920 --> 00:42:03,920
Egypt will be forsaken, and the land which was once the home of religion will be left desolate,

387
00:42:03,920 --> 00:42:05,920
bereft of the presence of the deities.

388
00:42:05,920 --> 00:42:13,920
O Egypt, Egypt of thy religion, nothing will remain but an empty tale which thy own children and thy time to come will not believe.

389
00:42:13,920 --> 00:42:18,920
Nothing will be left but graven words and only the stones will tell of thy piety.

390
00:42:18,920 --> 00:42:24,920
And in that day men will be weary of life, and they will cease to think the universe worthy of reverent wonder

391
00:42:24,920 --> 00:42:25,920
and of worship.

392
00:42:25,920 --> 00:42:32,920
And so religion, the greatest of all blessings for there is nothing or has been nor at the shall be that can be deemed a greater boon

393
00:42:32,920 --> 00:42:34,920
will be threatened with destruction.

394
00:42:34,920 --> 00:42:37,920
Men will think it a burden and will come to scorn it.

395
00:42:37,920 --> 00:42:39,920
They will no longer love this world around us.

396
00:42:39,920 --> 00:42:43,920
This incomparable work of God, this glorious structure which he has built.

397
00:42:43,920 --> 00:42:50,920
This some of good made up of things of many diverse forms, this instrument whereby the will of God operates, and that which he has made,

398
00:42:51,920 --> 00:43:00,920
and grudgingly favoring men's welfare, this combination and accumulation of all the manifold things that can co-forth the veneration praise and love of the holder.

399
00:43:00,920 --> 00:43:05,920
Darkness will be preferred to light and death will be thought more profitable in life.

400
00:43:05,920 --> 00:43:11,920
No one will raise his eyes to heaven, the pious will be deemed insane and the impious wise.

401
00:43:11,920 --> 00:43:16,920
The madman will be thought of brave man and the wicked will be esteemed as good.

402
00:43:16,920 --> 00:43:28,920
As to the soul and the belief that it is immortal by nature or may hope to attain to immortality as I have taught you all this they will mock at and will even persuade themselves that it is false.

403
00:43:28,920 --> 00:43:37,920
No where the reverence or piety, no utterance worthy of heaven and the gods of heaven will be heard or believed.

404
00:43:38,920 --> 00:43:53,920
And so the gods will depart from mankind, a greenvest thing and only evil angels will remain who will mingle with men and drive the poor wretched by name force into all manner of reckless crime, into wars and robberies and frauds and all things hustiles of the nature of the soul.

405
00:43:53,920 --> 00:43:58,920
Then will the earth no longer stand unshaken and the sea will bear no ships.

406
00:43:58,920 --> 00:44:03,920
Heaven will not support the stars in their orbits, nor will the stars pursue their constant course in heaven.

407
00:44:03,920 --> 00:44:07,920
Or voices of the gods will of necessity be silenced and done.

408
00:44:07,920 --> 00:44:17,920
The fruits of the earth will rot to soil will turn barren and a very air will sell them and sit sick in a very air will sicken in a solid stagnation.

409
00:44:17,920 --> 00:44:20,920
After this man it will old age come upon the world.

410
00:44:21,920 --> 00:44:26,920
Religion will be no more, all things will be disordered and arrived, all good will disappear.

411
00:44:26,920 --> 00:44:36,920
And when the old is has befallen, a squeepiest when all this has befallen a squeepiest, then the master and father God, the first before all the maker of that God who first came into being,

412
00:44:37,920 --> 00:44:42,920
who looked on that which has come to pass and will stay the disorder by the count of working of his will which is the good.

413
00:44:42,920 --> 00:44:45,920
He will call back to the right path, those who have gone astray.

414
00:44:45,920 --> 00:44:51,920
He will cleanse the world from evil, now washing it away with water floods, now burning it out with fear,

415
00:44:52,920 --> 00:45:04,920
and thus he will bring back his world to its former aspect so that the cosmos will once more be deemed worthy of worship and wondering reverence and God,

416
00:45:04,920 --> 00:45:11,920
the maker and restore of the mighty fabric will be adored by the men of that day with unceasing hands of praise and blessing,

417
00:45:11,920 --> 00:45:19,920
such as the new birth of the cosmos, is the making again of all things good, a holy and all striking restoration of all nature,

418
00:45:19,920 --> 00:45:24,920
and it is rough in the process of time by the eternal will of God.

419
00:45:24,920 --> 00:45:30,920
So this is what you see, as prophecy that doesn't sound bad, doesn't.

420
00:45:30,920 --> 00:45:35,920
I mean the negative stuff sounds pretty much like the front page of any daily newspaper.

421
00:45:36,920 --> 00:45:50,920
The consequences of that or the further consequences of restoring a civilization that is worth being called a civilization is a mighty task ahead of the people who are actually trying to get this work done in naked public.

422
00:45:50,920 --> 00:45:54,920
So you see this is not just an academic quiddle, quiddle involves.

423
00:45:54,920 --> 00:46:03,920
The people who produce these monuments knew the understood the meaning of their lives and they understood how to go about attaining it.

424
00:46:03,920 --> 00:46:10,920
And our whole object actually in this exercise is to try to recoup as best we can there are no lectures.

425
00:46:10,920 --> 00:46:15,920
It doesn't mean that we're going to in a future let's say a couple of generations that we're lucky if we don't.

426
00:46:15,920 --> 00:46:22,920
Somebody doesn't push the button or the whole thing doesn't go up in smoke or down in or up in flames and down in smoke.

427
00:46:22,920 --> 00:46:26,920
The object of the exercise is to recover that wisdom.

428
00:46:26,920 --> 00:46:36,920
We won't be building pyramids and syncs is again, but the principles upon which all of this civilization was based, those principles are eternal.

429
00:46:36,920 --> 00:46:54,920
They're recoverable and they are noable and with a bit of luck it's these principles that will be re-manifest in the decades to come and produce a civilization worthy of its name, which as far as I'm concerned it means a downfall of what I like to call the church or progress.

430
00:46:54,920 --> 00:47:00,920
And the re-institution of a civilization that worthy of being called a civilization.

431
00:47:00,920 --> 00:47:02,920
Thank you.

432
00:47:02,920 --> 00:47:12,920
Thank you.

433
00:47:32,920 --> 00:47:52,920
I'm going to be talking about 40-45 minutes in a concentrated way to which you've become accustomed about some things that you've already heard about.

434
00:47:52,920 --> 00:48:06,920
And also about some new material which provides remarkable independent confirmation of everything you've been hearing.

435
00:48:06,920 --> 00:48:10,920
And very good.

436
00:48:10,920 --> 00:48:20,920
So that's that out by saying that some of you may have seen by this blue flyer which talks about prehistoric stellar mythology.

437
00:48:20,920 --> 00:48:26,920
And that's what I'm going to be talking about to you right now and explains a little bit about the concept.

438
00:48:26,920 --> 00:48:28,920
I think that we had all agreed.

439
00:48:28,920 --> 00:48:37,920
There's an enormous amount of material here and there are very big ideas and big perspectives being introduced.

440
00:48:37,920 --> 00:48:49,920
But I think I would feel quite safe in saying that everyone here this afternoon perhaps shares one basic intuition, one thing we can agree upon.

441
00:48:49,920 --> 00:49:01,920
And that is that there are these mysterious and inexplicable and magnificent monuments on the earth, not just that geese, of course, there are elsewhere in China and Mexico and Peru.

442
00:49:01,920 --> 00:49:07,920
And that they are designed to tell us something.

443
00:49:07,920 --> 00:49:19,920
And this is the message that we're trying to decode each in our own way through our own imagination and with the tools that are available to us for that decoding process.

444
00:49:19,920 --> 00:49:37,920
And the best way for me to introduce to you the work that I do is by saying that I work with myths and whereas it may seem that myths in certain ways are very intangible.

445
00:49:37,920 --> 00:49:51,920
There are actually not intangible myths can also be seen, especially the myths of the various story constellations of the sky of which this is a map that we'll be using.

446
00:49:51,920 --> 00:50:05,920
What we're learning here with our Stone Age learning tools that we call electronics, which often fail us, is that the monuments are all in the world.

447
00:50:05,920 --> 00:50:09,920
The monuments are already connected with the mythology.

448
00:50:09,920 --> 00:50:19,920
And the point I want to make to you, and the point that I want to leave you with, is that the monuments and the myths are complementary.

449
00:50:19,920 --> 00:50:23,920
They go together and there are two parts of a single language and a single code.

450
00:50:23,920 --> 00:50:28,920
And so what I'm going to be showing you is how to decode the mythology.

451
00:50:28,920 --> 00:50:33,920
I'm just going to give you a sketch of that because it's rather like working on a DNA code or anything else.

452
00:50:33,920 --> 00:50:44,920
It's a bit complicated, but I'll give you a sketch of it which will be enough to show you that it decodes into information that confirms what you've been seeing.

453
00:50:44,920 --> 00:50:50,920
My work specifically, I'm a comparative mythologist, so I've studied myths from all over the world and I compare them.

454
00:50:50,920 --> 00:50:54,920
The Chinese, the Greek, the Polynesian, the American Indian.

455
00:50:54,920 --> 00:51:02,920
But I have, for the last 25 years, concentrated in the area of what is technically called side-derial mythology or stellar mythology.

456
00:51:02,920 --> 00:51:08,920
And that means looking at the myths that are specifically connected with certain constellations.

457
00:51:08,920 --> 00:51:13,920
For instance, you've been hearing all day about the myths connected with the constellation of Orion.

458
00:51:13,920 --> 00:51:18,920
This is not the only one. There are myths connected with many other constellations as well.

459
00:51:18,920 --> 00:51:22,920
And that's called stellar mythology.

460
00:51:22,920 --> 00:51:36,920
And in a very, if I would summarize the studies that I've made in the last 25 years of this, I would say, I would use an analogy that's probably come to your mind quite a few times, afternoon.

461
00:51:36,920 --> 00:51:40,920
It is as if there is a sedereal memory bank.

462
00:51:40,920 --> 00:51:48,920
It is as if the constellations themselves were a memory bank, just like the monuments are obviously a memory bank.

463
00:51:48,920 --> 00:51:58,920
And that we can read back and forth between these two memory banks as Boba has demonstrated in the correlation between Orion and pyramids.

464
00:51:58,920 --> 00:52:02,920
Now, you've heard a lot about procession.

465
00:52:02,920 --> 00:52:10,920
And what I'm going to do now is I'm going to demonstrate to you how to use procession to do mythological research.

466
00:52:10,920 --> 00:52:17,920
I'm not going to explain to you the mechanics of procession because you can read the explanation of that in grammar, fingerprints.

467
00:52:17,920 --> 00:52:21,920
I'm going to just, we don't need to get into what makes procession happen.

468
00:52:21,920 --> 00:52:26,920
I'm just going to tell you about the effect of procession and how that is a tool.

469
00:52:26,920 --> 00:52:30,920
Procession is a research tool that I have used.

470
00:52:30,920 --> 00:52:31,920
It's very simple.

471
00:52:31,920 --> 00:52:37,920
If today we stand facing east at the moment of spring-eak-on-ox.

472
00:52:37,920 --> 00:52:42,920
We will see, and if the sun could be blocked out so that we could see the stars in the background.

473
00:52:42,920 --> 00:52:45,920
We would see a certain constellation.

474
00:52:45,920 --> 00:52:50,920
And the constellation that we would see would be this constellation of the fishes.

475
00:52:50,920 --> 00:52:56,920
As a matter of fact, the location of the vernal point of the spring-eak-on-ox sun is right there.

476
00:52:56,920 --> 00:52:59,920
It's underneath the tail of this fish.

477
00:52:59,920 --> 00:53:03,920
You see this fish is swimming along in the direction of the zodiac,

478
00:53:03,920 --> 00:53:07,920
and the other fish is swimming up and away from the zodiac.

479
00:53:07,920 --> 00:53:14,920
And due to the effect of procession, if we were to have stood at the spring-eak-on-ox,

480
00:53:14,920 --> 00:53:18,920
say let's take a day, 1800 BC.

481
00:53:18,920 --> 00:53:22,920
And if we were to look at the background of the star constellation,

482
00:53:22,920 --> 00:53:24,920
we would have seen something entirely different.

483
00:53:24,920 --> 00:53:26,920
That's the effect of procession.

484
00:53:26,920 --> 00:53:30,920
In 1800 BC, you see I've written 1800 BC there.

485
00:53:30,920 --> 00:53:33,920
We would have seen this figure of the ram.

486
00:53:33,920 --> 00:53:34,920
This is a ram's head.

487
00:53:34,920 --> 00:53:37,920
This is a halo over the ram's head.

488
00:53:37,920 --> 00:53:38,920
And this is the ram's body.

489
00:53:38,920 --> 00:53:42,920
And the ram is looking back over the sequence of the constellations.

490
00:53:42,920 --> 00:53:48,920
I took that ram's head from an Egyptian body-releaf from Abygos.

491
00:53:48,920 --> 00:53:52,920
In 1800 BC, the spring-eak-on-ox occurred there.

492
00:53:52,920 --> 00:53:56,920
In 3000 BC, it occurred there.

493
00:53:56,920 --> 00:53:59,920
In 44 AD BC, it occurred there.

494
00:53:59,920 --> 00:54:02,920
I won't elaborate in going to all the details,

495
00:54:02,920 --> 00:54:06,920
but you can see that what you have is a cosmic timing device.

496
00:54:07,920 --> 00:54:12,920
And it moves one degree every 72 years.

497
00:54:12,920 --> 00:54:16,920
So it's too slow to observe, say, in one lifetime.

498
00:54:16,920 --> 00:54:22,920
But over, if you have a civilization that is obsessed with or fascinated,

499
00:54:22,920 --> 00:54:26,920
mystified and inspired by the skies, they would naturally over generations,

500
00:54:26,920 --> 00:54:28,920
detect this phenomenon.

501
00:54:28,920 --> 00:54:32,920
Now, whatever the value of procession was in the past,

502
00:54:32,920 --> 00:54:37,920
for us today, it's a tremendous research tool.

503
00:54:37,920 --> 00:54:41,920
I'm talking about a slightly different aspect of procession than you heard.

504
00:54:41,920 --> 00:54:46,920
When Robert was talking about the way procession shifts the constellation of Orion up and down.

505
00:54:46,920 --> 00:54:50,920
That's the effect of declination changing.

506
00:54:50,920 --> 00:54:52,920
And that's also an aspect of procession.

507
00:54:52,920 --> 00:54:55,920
But it's not the one that I use for my research.

508
00:54:55,920 --> 00:54:57,920
I simply use this wheel.

509
00:54:57,920 --> 00:55:03,920
And on this wheel, I isolated the 13 constellations of the zodiac.

510
00:55:03,920 --> 00:55:08,920
That is to say, out of all of the 88 constellations in the sky,

511
00:55:08,920 --> 00:55:15,920
these are the 13 through which the sun and all the planets run their periodic cycles.

512
00:55:15,920 --> 00:55:22,920
So you could say, in a very physical sense, these 13 zodiacal or ecliptic constellations

513
00:55:22,920 --> 00:55:26,920
are the ones that are most profoundly connected with the life cycles of our planet.

514
00:55:26,920 --> 00:55:30,920
The sun, the moon, and everything that happens in our planetary system.

515
00:55:30,920 --> 00:55:37,920
And a great deal, an enormous amount of data is contained in these images.

516
00:55:37,920 --> 00:55:44,920
When you go into the texts and you find the myths and stories connected with those images,

517
00:55:44,920 --> 00:55:50,920
I'll give you a very quick example of how some things turn up in a ciderial research.

518
00:55:50,920 --> 00:55:54,920
And sometimes it's ridiculously obvious how they turn up.

519
00:55:54,920 --> 00:56:00,920
The age of the ram was marked by the time when the springy can be shifted from here,

520
00:56:00,920 --> 00:56:02,920
which is the hind legs of the ram.

521
00:56:02,920 --> 00:56:08,920
Through the ram, and to this point here, which is about 108 BC,

522
00:56:08,920 --> 00:56:12,920
we enter the age of the fishes or pices.

523
00:56:12,920 --> 00:56:14,920
We are still in that age, by the way.

524
00:56:14,920 --> 00:56:19,920
And if anyone is telling you that we have reached the next stage, which is down here,

525
00:56:19,920 --> 00:56:27,920
this you can't see too well. It's an image from a Sumerian cylinder seal of the God E or Enky,

526
00:56:27,920 --> 00:56:30,920
who is the water god.

527
00:56:30,920 --> 00:56:32,920
So this would be the Aquarius image.

528
00:56:32,920 --> 00:56:35,920
This is the pices image. You can see where the vernal point is.

529
00:56:35,920 --> 00:56:42,920
It's a long ways before it actually shifts into this next constellation.

530
00:56:42,920 --> 00:56:46,920
But if we go back and look at where it has shifted through the ages,

531
00:56:46,920 --> 00:56:50,920
we go back to say 1800 BC.

532
00:56:50,920 --> 00:56:54,920
We see that it entered the ram, and then they would say in the classical teachings,

533
00:56:54,920 --> 00:56:57,920
the age of the ram, the age of the Aries began.

534
00:56:57,920 --> 00:57:00,920
Well, if we look at history, what do we see?

535
00:57:00,920 --> 00:57:04,920
First thing we see that pop-sauce is 1800 BC,

536
00:57:04,920 --> 00:57:09,920
is the date that scholars and academicians bless their souls,

537
00:57:09,920 --> 00:57:13,920
assigned to Abraham.

538
00:57:13,920 --> 00:57:16,920
The ram was the age of Abraham.

539
00:57:16,920 --> 00:57:20,920
You remember the story in the Bible about the sacrifice of the ram,

540
00:57:20,920 --> 00:57:22,920
all that symbolic language.

541
00:57:22,920 --> 00:57:26,920
The beginning of monotheism, the beginning of the Judeo-Christian religion,

542
00:57:26,920 --> 00:57:31,920
as it has come down to us, was in the epico of the ram.

543
00:57:31,920 --> 00:57:38,920
This is just a very simple detail. Obviously, there are many enormous ensemble of facts and details

544
00:57:38,920 --> 00:57:41,920
that come into this research.

545
00:57:41,920 --> 00:57:47,920
But I have progressed the verbal point back to a certain date,

546
00:57:47,920 --> 00:57:52,920
which you've been hearing a lot today, the date 10,450 BC.

547
00:57:52,920 --> 00:58:00,920
And that simply means that between now, where it is now, the year 2000,

548
00:58:00,920 --> 00:58:05,920
and this point here, which is called 172 degrees of the Eclipse Day,

549
00:58:05,920 --> 00:58:10,920
it took about 12,450 years to make that passage.

550
00:58:10,920 --> 00:58:14,920
So when you wind the cosmic clock back to that date,

551
00:58:14,920 --> 00:58:17,920
you find it under the tail of the lion.

552
00:58:17,920 --> 00:58:20,920
Here's the lion's head, the lion's mane.

553
00:58:20,920 --> 00:58:25,920
This is a very bright star in the heart of the lion, or Leo, if you wish.

554
00:58:25,920 --> 00:58:29,920
And right under the hind paws and the tail star,

555
00:58:29,920 --> 00:58:34,920
is the spring equinox of 10, 450 BC,

556
00:58:34,920 --> 00:58:37,920
about which you already know quite a bit.

557
00:58:37,920 --> 00:58:40,920
And so you see, if I was doing my research,

558
00:58:40,920 --> 00:58:44,920
I could use this timing device to, and I could start from that point,

559
00:58:44,920 --> 00:58:48,920
and I could trace the way that it moves into the constellations,

560
00:58:48,920 --> 00:58:50,920
the way that it changes from one to the other,

561
00:58:50,920 --> 00:58:53,920
and then I could perhaps correlate that with actual events,

562
00:58:53,920 --> 00:58:56,920
and things we know about history or prehistory,

563
00:58:56,920 --> 00:59:01,920
and about the long-term evolution of our experience here.

564
00:59:01,920 --> 00:59:08,920
So it's an enormous perspective that comes into our hands with this tool.

565
00:59:08,920 --> 00:59:16,920
Now, the other point that I want to make,

566
00:59:16,920 --> 00:59:21,920
and be very clear on this, it rotates clockwise,

567
00:59:21,920 --> 00:59:25,920
and that's ahead in time as we're coming around this way.

568
00:59:25,920 --> 00:59:30,920
As a matter of fact, the spring equinox, which is here,

569
00:59:31,920 --> 00:59:33,920
this is a very interesting point, too.

570
00:59:33,920 --> 00:59:37,920
Let's just take again this date, and I'll give you some new data,

571
00:59:37,920 --> 00:59:38,920
and a new image.

572
00:59:38,920 --> 00:59:43,920
This is a mythological image that I would suggest now,

573
00:59:43,920 --> 00:59:46,920
as part of the information that we're developing.

574
00:59:46,920 --> 00:59:50,920
At the time when the spring equinox was significantly located here,

575
00:59:50,920 --> 00:59:52,920
under the hind paws of the lion,

576
00:59:52,920 --> 00:59:55,920
with all of the implications that were now drawing,

577
00:59:55,920 --> 01:00:00:01,920
12,000 years later, the falling quinox was located in the other figure,

578
01:00:01,920 --> 01:00:06,920
which is here, which is a figure, as I said, of Enki or Ia,

579
01:00:06,920 --> 01:00:09,920
the Sumerian god of the waters,

580
01:00:09,920 --> 01:00:14,920
and Sumerian legend tells us that you can read this in the epic of Gilgamesh,

581
01:00:14,920 --> 01:00:19,920
that it was actually Enki, who saved humanity from the flood,

582
01:00:19,920 --> 01:00:23,920
who warned humanity that a flood was coming,

583
01:00:24,920 --> 01:00:29,920
whereas it was Noah, or Utna Pishkin, in the Sumerian version,

584
01:00:29,920 --> 01:00:34,920
who went in the boat and fled, it was actually the god Ia,

585
01:00:34,920 --> 01:00:38,920
to protect and save mankind, who gave the warning,

586
01:00:38,920 --> 01:00:45,920
and we find that the autumnal point is just touching the knees of this figure

587
01:00:45,920 --> 01:00:51,920
of the constellation Ia, the water bear, or Aquarius.

588
01:00:52,920 --> 01:00:56,920
So this is the tool I use, this is the general working perspective,

589
01:00:56,920 --> 01:01:01,920
and I'm going to demonstrate for you what we can learn from this tool,

590
01:01:01,920 --> 01:01:05,920
I'm going to have other variations of the model.

591
01:01:05,920 --> 01:01:10,920
But before I go on, I want to remove perhaps one reservation in your mind.

592
01:01:10,920 --> 01:01:14,920
I know that some of you in back perhaps can't see these images clearly at all,

593
01:01:14,920 --> 01:01:18,920
maybe not so much in front either, if you want to come up later on,

594
01:01:18,920 --> 01:01:22,920
and look at some of my diagrams, please be free to do so.

595
01:01:22,920 --> 01:01:27,920
But you may, you will get the idea that these are drawn images,

596
01:01:27,920 --> 01:01:30,920
and you may be asking yourself, well, how accurate are these?

597
01:01:30,920 --> 01:01:34,920
And I want to assure you that these images, which are of my own devising,

598
01:01:34,920 --> 01:01:40,920
I've drawn these images, they are extremely accurate in terms of the star positions.

599
01:01:40,920 --> 01:01:47,920
In other words, in 10, 450 BC, the spring economics was conjunct this star in the tail,

600
01:01:47,920 --> 01:01:53,920
of the lion, which is called denabella, and that is exact, and that can be calculated.

601
01:01:53,920 --> 01:02:00,920
So even though I have, as it were, superimposed these pictorial or mythological images here,

602
01:02:00,920 --> 01:02:06,920
don't think I'm trying to buffalo you or anything, because those images are composed and constructed

603
01:02:06,920 --> 01:02:10,920
and drawn in a way that took me many years to perfect.

604
01:02:11,920 --> 01:02:20,920
And when the points of the equinoxes fall in those images, that means something very specific,

605
01:02:20,920 --> 01:02:24,920
that is not just a fantasy or an arbitrary design.

606
01:02:24,920 --> 01:02:29,920
So, I'll ask you to extend your trust on that point.

607
01:02:29,920 --> 01:02:36,920
Now, if you go ahead and make an application of this tool,

608
01:02:36,920 --> 01:02:43,920
we're going to change to a slight variation of that same model.

609
01:02:43,920 --> 01:02:49,920
And here it is again, it begins here, and here I've located the vernal point for the year 2000,

610
01:02:49,920 --> 01:02:54,920
underneath the tail of the swimming toward Enky.

611
01:02:54,920 --> 01:03:01,920
And you will see that the cross of the solstices and the equinoxes is a fixed structure.

612
01:03:01,920 --> 01:03:06,920
This is actually, as if you're looking down on the orbital plane of the earth,

613
01:03:06,920 --> 01:03:14,920
because the earth orbits around the rim of this design right along the dotted line.

614
01:03:14,920 --> 01:03:19,920
And that orbital plane of the earth is marked with the cross of the solstices and the equinoxes,

615
01:03:19,920 --> 01:03:22,920
there before we have the four seasons of the year.

616
01:03:22,920 --> 01:03:29,920
And in fact, in more developed sedereal research, we use all four of these points.

617
01:03:30,920 --> 01:03:32,920
Now, I'll give you a demonstration of that.

618
01:03:32,920 --> 01:03:38,920
It's not merely significant that we are still pretty deeply immersed in the age of the fishes or the pithian age.

619
01:03:38,920 --> 01:03:42,920
We have to deal with the problems and the possibilities of that age.

620
01:03:42,920 --> 01:03:46,920
Although we may look forward to the next stage.

621
01:03:46,920 --> 01:03:51,920
But according to the exact astronomical information, this is where we are.

622
01:03:52,920 --> 01:04:01,920
The nose star beta pithies that might mark the extreme limit of pithies is a good eight degrees in time.

623
01:04:01,920 --> 01:04:11,920
And eight times 72 years for each degree you figure out it's five or 600 years before the rental point reaches the nose of that fish.

624
01:04:11,920 --> 01:04:15,920
This is our current situation on the cosmic time clock.

625
01:04:15,920 --> 01:04:18,920
And the other points are very significant too.

626
01:04:18,920 --> 01:04:22,920
For instance, the summer solstice at this point is located between the bull.

627
01:04:22,920 --> 01:04:23,920
This is the bull here.

628
01:04:23,920 --> 01:04:27,920
You see that bright star in the eye of the bull, the horns of the bull.

629
01:04:27,920 --> 01:04:32,920
And over here are the twins, tourists and Gemini as they are usually called.

630
01:04:32,920 --> 01:04:38,920
And right at the feet of the twins, moving toward the horns of the bull.

631
01:04:38,920 --> 01:04:44,920
In the Milky Way, this is the area of the Milky Way, is where the summer solstice occurs.

632
01:04:45,920 --> 01:04:48,920
Down here we have an enormous figure of the Virgin.

633
01:04:48,920 --> 01:04:51,920
She's a veiled woman. This is her hair.

634
01:04:51,920 --> 01:04:53,920
She has a veiled to here.

635
01:04:53,920 --> 01:04:55,920
These are her eyes. She's kneeling.

636
01:04:55,920 --> 01:04:59,920
She can imagine how enormous this figure is when you see it in the night sky.

637
01:04:59,920 --> 01:05:01,920
She's not even standing. She's kneeling.

638
01:05:01,920 --> 01:05:05,920
And she takes up 45 degrees of the Eclipped it.

639
01:05:05,920 --> 01:05:08,920
The Virgin is an enormous constellation.

640
01:05:08,920 --> 01:05:13,920
Obviously these constellations are not of the same proportion or of the same extent.

641
01:05:14,920 --> 01:05:20,920
And when I do the sedereal research, where every star gives me a timing and a date,

642
01:05:20,920 --> 01:05:24,920
I pay attention to those specific star dates.

643
01:05:24,920 --> 01:05:29,920
And I do not work with general ages that are of the same length, you see.

644
01:05:29,920 --> 01:05:35,920
But it's very interesting that the autumnal Eclunance occurs right in the face of the Virgin,

645
01:05:35,920 --> 01:05:38,920
right where her veil is located.

646
01:05:38,920 --> 01:05:43,920
And it's moving into the part of her face where her eyes are.

647
01:05:43,920 --> 01:05:49,920
So you can say now that when we stand and look at the sun at the fall Eclunance,

648
01:05:49,920 --> 01:05:56,920
if the sun will blotted out in a magnificent back background came up with the stars,

649
01:05:56,920 --> 01:06:02,920
you would see the sun in the face of the constellation of the Virgin, ISIS.

650
01:06:02,920 --> 01:06:07,920
So ISIS is staring at us in our effort through the fall Eclunance.

651
01:06:07,920 --> 01:06:12,920
And we are living the mysteries of our effort through that constellation of structure,

652
01:06:12,920 --> 01:06:19,920
that constellation of the star, just as the ancient Egyptians lived in their various sedereal and stellar moments.

653
01:06:19,920 --> 01:06:24,920
And finally, I don't want to swamp you with too much details, so I'll just skip this.

654
01:06:24,920 --> 01:06:29,920
But this is where the winter sauce occurs, and this is also a significant point.

655
01:06:29,920 --> 01:06:38,920
The whole cross rotates, and at every place that these four arms touch, we have dates, dates, dates,

656
01:06:38,920 --> 01:06:46,920
dates that can be calculated down to within 50 years using exact star launchitudes.

657
01:06:46,920 --> 01:06:54,920
And if anything, there's anything that I would say about this tool, I hope I'm giving you some impression of what it's like to work with this tool.

658
01:06:54,920 --> 01:07:02,920
Of course, a lot of this involves going out and observing the skies, because you really have to see the constellations and get to know them over a long period of time

659
01:07:02,920 --> 01:07:06,920
to see what their figures and their forms are. You have to have to imagine them.

660
01:07:06,920 --> 01:07:18,920
And that's also that participation in the mystical vastness around us is also very important to getting this new message that's coming in, putting it together.

661
01:07:18,920 --> 01:07:22,920
We can't do this all out of textbooks and computer simulations.

662
01:07:22,920 --> 01:07:35,920
And so we have almost an abundance and overabundance of information, because of these four arms moving through these constellations and giving us references,

663
01:07:35,920 --> 01:07:49,920
references to the constellation of the bull, the spring equinox, and the eye of the bull, and 3,100 and 2 BC, and that begins to a whole constellation of earthly events are connected with that.

664
01:07:49,920 --> 01:08:04,920
And so what we need is we need a second device that helps us narrow down the information, so that we can have a much more specific set of information.

665
01:08:04,920 --> 01:08:08,920
And that device is provided by the Earth itself.

666
01:08:08,920 --> 01:08:21,920
See, because it's not only that the spring equinox, the structure of the equinox is in solstices which possesses, there's also something else which possesses, which is very important to the long term life of the Earth.

667
01:08:21,920 --> 01:08:27,920
And that is the perihilian and a half-hilian line of the Earth.

668
01:08:27,920 --> 01:08:32,920
I think we can just put this on top of the other one.

669
01:08:33,920 --> 01:08:37,920
Yes, you see the orbit of the Earth, as you know, is not a perfect sphere.

670
01:08:37,920 --> 01:08:41,920
It's a oval, an oval.

671
01:08:41,920 --> 01:08:54,920
And we are told, again, by the historians and the guardians of the conservative spirit of knowledge, that it was Johannes Kepler around 1600, who worked all that out with a pencil.

672
01:08:55,920 --> 01:09:01,920
And since then we've known that the Earth has this, that the Earth's orbit is a shape.

673
01:09:01,920 --> 01:09:11,920
As a consequence of that, one time in the year in July, the Earth is at the point where it's furthest from the Sun.

674
01:09:11,920 --> 01:09:13,920
That's called the aphilian.

675
01:09:13,920 --> 01:09:18,920
And then another time of the year in January, it's at the point where it's closest to the Sun.

676
01:09:18,920 --> 01:09:20,920
It's called the perihilian.

677
01:09:20,920 --> 01:09:25,920
And the line of these two is called the line of the aphilies.

678
01:09:25,920 --> 01:09:32,920
And that explains, by the way, why it's warmer in, why they have the festival in Rio and February.

679
01:09:32,920 --> 01:09:47,920
And why they all do that crazy snake dance down there, because summers are warmer in the southern hemisphere, because the Earth is closer to the Sun in their summer, which is our winter.

680
01:09:47,920 --> 01:09:50,920
So this is a geophysical fact. It's very important.

681
01:09:50,920 --> 01:10:11,920
And as you'll find, a mention in the books, some of the books you've bought today, it is pretty much confirmed that this geophysical reality, being at times closer to the Sun, and at times further away, has to do with the cycles of ice ages, and possible catastrophes and changes on a very large scale.

682
01:10:11,920 --> 01:10:18,920
Now, the interesting thing about this line of the aphilies, I mean, this is really astronomical esoteric.

683
01:10:18,920 --> 01:10:23,920
The interesting thing about this line of the aphilies is that it's not always constant.

684
01:10:23,920 --> 01:10:32,920
It points, for instance, right now, that the perihilian point, I can tell you where that's located in the constellations, it's in a certain direction.

685
01:10:32,920 --> 01:10:39,920
But it doesn't always stay in that direction. It also moves.

686
01:10:39,920 --> 01:10:46,920
And it has its own cycleroporcession.

687
01:10:46,920 --> 01:10:58,920
And that's what it's shown here. See, on the first model that I showed you, it's almost as if we had a clock, a timing device, but it only had the our hand.

688
01:10:58,920 --> 01:11:05,920
Well, it's very hard. We can only estimate the our hand. We can know what our idea is, but we can't tell when it is in that hour.

689
01:11:05,920 --> 01:11:16,920
What we do when we add this precessional, this precession of the earth's aphilies, aphilies, we have a minute hand.

690
01:11:16,920 --> 01:11:25,920
It becomes another hand, another tool, for marking out, because it also drifts through the constellations, and all of its positions can be dated.

691
01:11:25,920 --> 01:11:30,920
So we have a second hand. We now have an hour hand and a minute hand.

692
01:11:31,920 --> 01:11:51,920
And of course, how do we know the exact time? We know the exact time when the our hand and the minute hand when we correlate them, when we put them together, when we look at them in their relationship to each other.

693
01:11:51,920 --> 01:12:15,920
And I have plotted out this relationship, and it's a very valuable one that I'm going to demonstrate to you, because the relationship between this rotating axis, which has four arms, and this rotating axis, which just has two arms, the point closest to the Sun, the point further away from the Sun.

694
01:12:15,920 --> 01:12:26,920
The relation to them, their interaction with each other defines four very interesting moments in our history, four very precise epics.

695
01:12:26,920 --> 01:12:43,920
And there's nothing ambiguous or speculative about this at all. I haven't even started to talk mythology to you yet. This is all astronomy that I'm talking, but the context for understanding what it might mean lies in the figures around.

696
01:12:44,920 --> 01:13:00,920
We see something immediately here, very interesting. We notice now that the summer solstice, which is located between the Gemini and Torres, which is right here, is rather close to the perihelene of the earth.

697
01:13:00,920 --> 01:13:22,920
And as you know, the axes of the Ecliptic rotate this way, the perihelene of the earth, which I've indicated by this arrow, rotates in the other direction, simple logic tells us that at some time not too far back in the past, they were aligned.

698
01:13:22,920 --> 01:13:38,920
And that alignment actually occurred in 1250 AD. And when they were aligned, they were very close to where the perihelene is right now. They were in the legs of these Gemini figures in the legs of the twins, 1250 AD.

699
01:13:39,920 --> 01:13:48,920
Now, this is very interesting because we can ask ourselves a number of very logical questions, can say, well, is this alignment fairly rare?

700
01:13:48,920 --> 01:13:59,920
And the answer is, it happens about every 5,000 years that this double arrow will align with one of these axes.

701
01:13:59,920 --> 01:14:18,920
And so if we choose to do so, if we wanted to use this sedereal timing device and go back and look at other periods of history, we could wind it back to the times when those correlations occurred, which I call convergences.

702
01:14:18,920 --> 01:14:33,920
And this converged perihelene converged with that, 1250 AD, previous to that, there was another convergence and another one and another one and another one going back in time.

703
01:14:33,920 --> 01:15:01,920
And so that gives us four specific moments to look at. And as I say, we find when we plot that out, by the way, to make this all perfectly clear, the rate of, and you've probably inferred this already, the rate of the procession of the econoxys is one degree every 72 years.

704
01:15:01,920 --> 01:15:06,920
The rate of the procession of the axes is a little faster.

705
01:15:06,920 --> 01:15:20,920
And because it's a little faster, this point gains against the stars. If it was exactly at the same rate, this point would be carried along with the ecliptic, and there would be no convergence.

706
01:15:20,920 --> 01:15:44,920
They would have a frozen relationship to each other. But they don't. The astronomical fact is that this point of the perihelene gains and it moves through the constellations, but it moves this way, because it's moving faster, a little faster, and in the opposite direction from the econoxys.

707
01:15:44,920 --> 01:15:54,920
Now, when we plot out, and again, this is all astronomical data.

708
01:15:54,920 --> 01:16:02,920
Yeah, that's even a little clearer. Thank you. When we plot out, very simply, what I've done is I've taken us off the circular map for a minute.

709
01:16:03,920 --> 01:16:12,920
I'm using a standard astronomical star map. Here's a Ryan here. Here's the Milky Way. This is an area that you've been relatively familiar with.

710
01:16:12,920 --> 01:16:28,920
Up here is 1250 AD, the place where this convergence occurred between these two great cosmic systems. I mean, these are the cosmic bio-rhythmical systems of our planet, the ecliptic of cyclovocation and the apsidal cyclovocation.

711
01:16:28,920 --> 01:16:35,920
It's sort of like in your biorisms, you know, some of you know about biorisms. You have three rhythms, a mental and emotional and so forth.

712
01:16:35,920 --> 01:16:42,920
And when those biorisms, when you mental and emotional peaks coincide, they say that that's a particularly strong time.

713
01:16:43,920 --> 01:16:47,920
These are the bioridmitt cycles of our planetary system.

714
01:16:47,920 --> 01:16:57,920
And I have marked here going back in time the locations of four previous convergences.

715
01:16:57,920 --> 01:17:08,920
I've also indicated these two are speculative. Let's say we go back from 1250 AD, there was one very close to 4,000 BC.

716
01:17:09,920 --> 01:17:25,920
So you see the time cycle is a little over 5,000 years. Then they converged again in 9,220 BC. These two were in the constellation of the bull, Taurus, which is looking down directly on the Orion scenario.

717
01:17:25,920 --> 01:17:39,920
In 14,450 BC, they converged here, which if you remember the image of the ram, it's sort of under the hind end of the ram. This is the ram's head. This is the ram's hind legs.

718
01:17:39,920 --> 01:17:48,920
And in 19,000, very close to 20,000 BC, which is where I'm going to begin talking about the miss.

719
01:17:49,920 --> 01:17:55,920
They converged on the borderline between the fishes, this is the fish that's jumping up.

720
01:17:55,920 --> 01:17:59,920
And this is the fish that's swimming in the other direction. On the borderline,

721
01:17:59,920 --> 01:18:09,920
transiting out of the fishes and starting to make this 20,000 year journey toward the point where we now find it.

722
01:18:09,920 --> 01:18:20,920
Now this series of convergences change in each occurrence. For instance, it was the fall equinox that converged at this point.

723
01:18:20,920 --> 01:18:31,920
It was again the summer solstice that converged here. It was the spring equinox that converged at this point.

724
01:18:31,920 --> 01:18:46,920
And it was the winter solstice here. So it says, if those crucial points in the seasonal life cycle of the earth are very much involved and they are implicated strongly in this progression.

725
01:18:47,920 --> 01:18:57,920
Now, one thing you see I've added at the bottom here some dates. Can you slide it up just a bit?

726
01:18:57,920 --> 01:19:07,920
I've added at the bottom here some dates. And what I've done is I've drawn lines, for instance, the convergence that happened to 20,000 BC.

727
01:19:07,920 --> 01:19:14,920
I've drawn this line down and I've written 20,000 BC down here. And then I've made a little graph very much of a sketch.

728
01:19:14,920 --> 01:19:22,920
And if you'd like to know what's in that graph, probably some of you would already know because a lot of it is taken from fingerprints of the gods.

729
01:19:22,920 --> 01:19:31,920
And essentially it's just a time graph. It starts here at 20,000 BC and comes up to the present time, 5,000 year sections.

730
01:19:31,920 --> 01:19:50,920
And it describes some of the events that you can read about in fingerprints. For instance, we now have a geological picture from science that gives us a sense of the flood and certain catastrophes involving near in prehistoric times.

731
01:19:50,920 --> 01:20:02,920
We know that glaciation is this word here built up over a very long period of time until a date around very close to 14,450 BC.

732
01:20:02,920 --> 01:20:17,920
They say that at 15,000 BC there was this moment called the Tazewell Advance. And that was the moment when the earth supported the maximum amount of glacated ice that it could possibly support.

733
01:20:17,920 --> 01:20:28,920
Sometime after that there was a very drastic fall off. There was a meltdown period that occurred as Graham Hancock has explained within two or 3000 years.

734
01:20:28,920 --> 01:20:42,920
All this enormous amount of ice melted and that was the flood. And you see that that's connected with the second point here, 14,450 BC. That point is marked.

735
01:20:42,920 --> 01:20:51,920
And then also we come down, yes, you can slide it down a little more again, very good. Come to the next date, which is 9,000 around 9,000 BC.

736
01:20:51,920 --> 01:21:03,920
We follow that down to the time graph, but we see that that's getting toward the end of the flood period. A lot of the flooding, there was still more flooding, but the massive amount of it had really been released at that time.

737
01:21:03,920 --> 01:21:16,920
And there were other things that happened around 9,000 BC that we now know, which were massive extinctions of animals and undoubtedly human beings who were living on earth at that time.

738
01:21:16,920 --> 01:21:25,920
And so I just want to concentrate again because there's a tremendous amount of information here. I just want to concentrate, say, on that particular sequence.

739
01:21:26,920 --> 01:21:34,920
And without even speculating or without even going into a lot of analysis, it's very obvious. Well, first of all, look at this.

740
01:21:34,920 --> 01:21:43,920
Previous to the 20,000 BC event, there were two other events in the large constellation of the fishes.

741
01:21:43,920 --> 01:21:52,920
So we can say that there was a long buildup, a long slow buildup through this constellation of the fishes.

742
01:21:52,920 --> 01:21:58,920
And below the constellation of the fishes, is this other constellation called Seethus, which is a sea monster.

743
01:21:58,920 --> 01:22:01,920
He represents some kind of monster.

744
01:22:01,920 --> 01:22:10,920
And when you see that drawn in the old star maps and described in the star catalogs, and when you go out and look at it at the night sky,

745
01:22:10,920 --> 01:22:19,920
you see that it is an enormous sprawling monster. It seems to be moving up and looming up in this direction toward the ecupti.

746
01:22:19,920 --> 01:22:24,920
That is toward the plane of life, plane that we live on, the physical plane.

747
01:22:24,920 --> 01:22:34,920
And this movement, actually if you see this movement of the body, this shape of the body of the sea monster,

748
01:22:34,920 --> 01:22:45,920
as well as this long transit through the constellation of the fishes, corresponds to this long long arc of the building up a glaciation.

749
01:22:45,920 --> 01:22:51,920
Now, you may think that that's a very wild sort of connection to me.

750
01:22:51,920 --> 01:22:59,920
And I'm not sure that I can convince you in 40 minutes, how solid that is, but I guarantee you that's much more solid than it may look.

751
01:22:59,920 --> 01:23:04,920
Because you see what do they say about this monster, Seethus.

752
01:23:04,920 --> 01:23:09,920
They say that it was a sea monster, and look at the way that it's depicted.

753
01:23:09,920 --> 01:23:15,920
It's body actually has two parts. There's this very distinct head, which rises up first.

754
01:23:15,920 --> 01:23:20,920
And then it has this long, you can also draw, connect some of these other stars.

755
01:23:20,920 --> 01:23:29,880
It has this long mass, now tell me, can you think of anything that you might see in the sea that would have a small amount of

756
01:23:29,880 --> 01:23:36,880
its mass above the water, like a head, and in enormous amount of its mass below the water?

757
01:23:36,880 --> 01:23:41,880
And that might be considered to be a monstrous or menacing entity.

758
01:23:41,880 --> 01:23:43,880
A nice bird, that's right.

759
01:23:43,880 --> 01:23:57,880
And so, in a way, we can say that this Seethus image can be interpreted as representing a in pictorial or hieroglyphic form,

760
01:23:57,880 --> 01:24:06,880
a nice bird, or if you wish, the formation of a great glacial mass formation of a great ice mass.

761
01:24:06,880 --> 01:24:12,880
Now, if we can slide this down, it means we can get the constellations at the top.

762
01:24:12,880 --> 01:24:19,880
You've probably heard about the constellation of Andromeda, and you may have even heard about the myth of Andromeda.

763
01:24:19,880 --> 01:24:21,880
Now I'm going to bring in the mythology.

764
01:24:21,880 --> 01:24:28,880
I want you to just listen to the story, and don't make any critical judgments.

765
01:24:28,880 --> 01:24:32,880
Just listen to the stories that have been told about these constellations.

766
01:24:32,880 --> 01:24:36,880
Look, and look at the data and see if any correlation comes to you.

767
01:24:36,880 --> 01:24:39,880
You don't really have to force these correlations.

768
01:24:39,880 --> 01:24:42,880
It's one thing that I've learned over the years.

769
01:24:42,880 --> 01:24:49,880
Here's the constellation of Andromeda, higher above the Ecliptic, and you know, but it's pointed to by one of the fishes.

770
01:24:49,880 --> 01:24:52,880
One of the fishes is swimming up toward it.

771
01:24:52,880 --> 01:24:57,880
And here's the constellation of Cetus, looming up from below the Ecliptic.

772
01:24:57,880 --> 01:25:03,880
And the myth says that Cetus was a monster that came out of the sea to destroy Andromeda.

773
01:25:03,880 --> 01:25:09,880
And the name of Andromeda means the guardian of man, she who guards humanity.

774
01:25:09,880 --> 01:25:14,880
And so there was some kind of threat to humanity from this sea monster.

775
01:25:15,880 --> 01:25:20,880
Over here, in the other part of the heavens, very close to Andromeda, we have Perseus.

776
01:25:20,880 --> 01:25:28,880
Perseus is said to be the warrior who came and rescued Andromeda from the sea monster.

777
01:25:28,880 --> 01:25:34,880
And we noticed that Perseus is relatively above the constellation of the bull.

778
01:25:34,880 --> 01:25:42,880
And Perseus is connected in its time frame, and in its star dates, with these later moments in time.

779
01:25:42,880 --> 01:25:50,880
So even though there was a certain threat that is posed by this monster, which seems to have reached an apex at this date,

780
01:25:50,880 --> 01:25:56,880
you notice how this date, 14 450 BC is very connected with the head of the monster.

781
01:25:56,880 --> 01:26:01,880
It's as high as it gets to increasing upon the life zone.

782
01:26:01,880 --> 01:26:11,880
Other events later took place connected with the hero Perseus, which saved humanity or rescued at least a part of humanity from this threat.

783
01:26:11,880 --> 01:26:20,880
Obviously, there's a lot of nautical references in these constellations.

784
01:26:20,880 --> 01:26:26,880
The fish is an article constellation, and the sea monster is an article reference.

785
01:26:26,880 --> 01:26:46,880
Now to move on to the best way that I can pull this together for you.

786
01:26:46,880 --> 01:26:55,880
As I say, because of the limitations of time, it's difficult to give you the impression of how this fits together after many years.

787
01:26:55,880 --> 01:27:03,880
But I'll give you a remarkable statistical fact.

788
01:27:03,880 --> 01:27:08,880
There are 88 constellations in the whole celestial sphere.

789
01:27:08,880 --> 01:27:17,880
That means the 13 constellations of the cryptic, and there are 75 others north and south of the cryptic.

790
01:27:17,880 --> 01:27:25,880
Now, if we take these 88 constellations, these are all the constellations that are now known in Mark.

791
01:27:25,880 --> 01:27:36,880
If we take away the 13 that belong on the cryptic, and we consider the other 75, I can tell you a very remarkable fact about those other 75 constellations.

792
01:27:36,880 --> 01:27:46,880
If you make an inventory of the mythological stories that are connected with them, you will find that there are 40 of them.

793
01:27:46,880 --> 01:27:53,880
Over half that do not have any mythological stories connected with them.

794
01:27:53,880 --> 01:28:02,880
That means that the myths connected to those other 40 constellations have either been lost or there were never myths connected to them.

795
01:28:02,880 --> 01:28:04,880
We don't know.

796
01:28:04,880 --> 01:28:10,880
But out of the 88, there are 40 that do not have mythological reference based.

797
01:28:10,880 --> 01:28:12,880
The data is missing.

798
01:28:12,880 --> 01:28:18,880
Now, let's return then to those that remain, the 48 that remain.

799
01:28:18,880 --> 01:28:31,880
Of the 48 constellations that remain, if you take another inventory, and you say, in each of those 48 constellations, which of them refer to the myth of the flood.

800
01:28:31,880 --> 01:28:37,880
And you can make a list, and you can say, this one is some of them have many references to the myth of the flood.

801
01:28:37,880 --> 01:28:40,880
Some of them have non-watsauver, and some have a few.

802
01:28:40,880 --> 01:28:53,880
If you make an inventory of the remaining 48 constellations, you come up with seven constellations that have enormous proportion of references to the myth of the flood.

803
01:28:53,880 --> 01:28:58,880
And that is a statistical fact from the comparative material.

804
01:28:58,880 --> 01:29:03,880
And what are those seven constellations? They're the constellations that we're looking at right here.

805
01:29:03,880 --> 01:29:09,880
They are the fishes, the ram, I'll use the names you're familiar with.

806
01:29:09,880 --> 01:29:12,880
I tend to use the storybook names.

807
01:29:12,880 --> 01:29:25,880
Pisces, aries, and persias, and dramada, citas, the sea monster, and the solo one called Triangulum, which is connected with the Delta of the Nile,

808
01:29:25,880 --> 01:29:29,880
and is supposed to be the heavenly representation of the Delta of the Nile.

809
01:29:29,880 --> 01:29:53,880
And so, it's a remarkable statistical fact that all of the lore of the flood that you find from all over the world, China, South America, Greece, Mesopotamia, is connected with this complex or ensemble of constellations through which these points are located.

810
01:29:54,880 --> 01:30:09,880
And they are in fact, as we study it more, and we correlate it with the time graph, they are in fact correlated, they're located in places which give dates, and which refer to the sedereal display of the constellations.

811
01:30:09,880 --> 01:30:22,880
So that's a demonstrated, very, very rough sketch of how this works, and how the material, I can't really prove anything to you here this afternoon, and I wouldn't presume to do that.

812
01:30:22,880 --> 01:30:33,880
But I will have succeeded if I could show you how the astronomical material and the geological material correlates or can be correlated with the sedereal myth.

813
01:30:33,880 --> 01:30:51,880
And to finish off, because I like to not talk too long, I just want to show you one more image that ties in with the information that you have been receiving here.

814
01:30:51,880 --> 01:30:56,880
Here's another version of what you saw in the beginning.

815
01:30:56,880 --> 01:31:15,880
And, right, and here you see, I've marked 14,450 BC when the, it was at the pine legs of the ram, then I've inserted this other date, where was the perihilling of the earth in 10,450 BC?

816
01:31:15,880 --> 01:31:22,880
Because conjunct the Pleiades in the neck of the bull, this is the Pleiades here, this is the bull.

817
01:31:22,880 --> 01:31:38,880
It had moved that far in about 4,000 years, it was conjunct the Pleiades, and then the next date, which we located, was 9,200, and it's moved a little further exactly between the Pleiades and the hiades.

818
01:31:38,880 --> 01:31:50,880
Now, this period, as you know, from the fingerprint's material, 10,450 and 9,000 in thereafter, is identified as the period of the flood.

819
01:31:50,880 --> 01:31:59,880
Well, there are no constellations in the sky that have more associations to the flood than the Pleiades and the hiades.

820
01:31:59,880 --> 01:32:09,880
Every culture owner from Peru to China to Greece speaks of myths of those two remarkable visual eye features in connection with the flood.

821
01:32:09,880 --> 01:32:19,880
And, doesn't it again seem rather remarkable that somehow these images are not arbitrary, they are not the result of years of accumulation of fantasy.

822
01:32:19,880 --> 01:32:32,880
Someone designed these images to show us something, they are human made, just as the images you are seeing now were drawn by me, I made those images based on what I understand of the material.

823
01:32:32,880 --> 01:32:41,880
They were designed to give us a message and tell us a story just as the monuments were designed to tell us a story.

824
01:32:41,880 --> 01:32:55,880
And the final thing I want to show you, which has a great shock value, so I hope that I can shock you a little bit with it, because after I initially contacted Graham, yes, that's great.

825
01:32:55,880 --> 01:33:05,880
I initially contacted Graham Hancock, I went back into some old files of mine, because my assembly point was just wobbling like the procession.

826
01:33:05,880 --> 01:33:13,880
And I started to put together some of this old data, and I said, well, we should also look at where the aphiliane of the earth was.

827
01:33:13,880 --> 01:33:24,880
Remember the opposite point when it's further away from the sun, where was the aphiliane at these critical epochs and at this critical date of 10,500 BC?

828
01:33:24,880 --> 01:33:38,880
Well, first of all, this is a constellation called the balance of scales. There's the cross beam of the scales, there's the axis, and these are the pans of the scales, they're hanging from these strings.

829
01:33:38,880 --> 01:33:47,880
And here is a monster, another monster that comes up out of the sea, it's not cetus, it's a different kind of monster, it's a Scaly-crusty devil.

830
01:33:47,880 --> 01:34:01,880
And this Scaly-crusty dangerous creature has come up out of the sea of the Milky Way, and he or she or it has actually reached out with its claw, and this again is not my fantasy.

831
01:34:01,880 --> 01:34:15,880
This is taken from the astronomical maps that I've studied and from the exact star positions, it reaches out with its claw, and it wands the cross beam of the scales.

832
01:34:15,880 --> 01:34:19,880
It's a very strange picture, does this mean?

833
01:34:19,880 --> 01:34:27,880
First of all, you realize that the constellation of the scales or balance, which is called libra, is the only mechanical constellation in the whole zodiac.

834
01:34:27,880 --> 01:34:31,880
Now, why was a mechanical constellation put in there?

835
01:34:31,880 --> 01:34:37,880
Now, when we talk about processions sometimes, and I'm glad that Robert told you what procession was, that made my way much easier,

836
01:34:37,880 --> 01:34:43,880
We sometimes say the earth proceeds like a top that's wobbles when it slows down.

837
01:34:43,880 --> 01:34:47,880
You don't flinch an eye if I compare the earth to a top, do you?

838
01:34:47,880 --> 01:34:51,880
What if I compare the earth to a scales?

839
01:34:51,880 --> 01:34:59,880
What if I say that the earth also has its balance, it must be balanced, and it can go out of balance.

840
01:34:59,880 --> 01:35:09,880
And so this is a mechanism, this is an image which has been designed and left for us to show us something, and it's a time locked image as Robert and Graham have shown me.

841
01:35:09,880 --> 01:35:11,880
Anyway, it's time locked.

842
01:35:11,880 --> 01:35:17,880
The full crew of the scales is locked to the date 14,450.

843
01:35:17,880 --> 01:35:25,880
And the date 10,450 is the exact star where the scorpion hits the scales.

844
01:35:25,880 --> 01:35:31,880
Now, I'll tell you, this might be my last little mythological translation for the day before I close.

845
01:35:31,880 --> 01:35:33,880
I'll tell you what that suggests to me.

846
01:35:33,880 --> 01:35:35,880
Doesn't take any greater imagination.

847
01:35:35,880 --> 01:35:37,880
Imagine the physical act.

848
01:35:37,880 --> 01:35:45,880
Imagine that I have here in front of me a balance with a cross beam, a shaft, and two pans hanging from strings.

849
01:35:45,880 --> 01:35:49,880
And imagine that I hit the end of that balance with my hand.

850
01:35:49,880 --> 01:35:59,880
But imagine that the balance is not feeble, it's actually pretty strong, and I don't succeed in jarring the cross beam.

851
01:35:59,880 --> 01:36:07,880
When you draw the constellation of the balance of the library, I draw it according to the actual stars in its perfect right angle.

852
01:36:07,880 --> 01:36:08,880
It is not tilted.

853
01:36:08,880 --> 01:36:16,880
This suggests to me that when this movement occurred, the stability of the earth remained basically solid.

854
01:36:16,880 --> 01:36:21,880
Nevertheless, the whole mechanism was jared and went out of whack.

855
01:36:21,880 --> 01:36:27,880
If you can sort of imagine that the pans hanging from strings would be going like this.

856
01:36:27,880 --> 01:36:38,880
And so the equilibrium of the earth was disturbed, and it would take a while for that to calm itself down and for the earth to restore itself to its natural balance.

857
01:36:38,880 --> 01:36:49,880
And it seems to me that that simple physical reality, which is a perfect analogy for a global, not a pulse shift, but a pulse shutter.

858
01:36:49,880 --> 01:36:55,880
Massive pulse shutter due to some crusty devil who's moving out of his position.

859
01:36:56,880 --> 01:36:59,880
It's in a way, it's child's play.

860
01:36:59,880 --> 01:37:05,880
I mean, it's not, it's a picture thinking that goes along with very technical information and it works.

861
01:37:05,880 --> 01:37:08,880
Believe me, it works. It can be tested.

862
01:37:08,880 --> 01:37:17,880
So I just wanted to leave you with that image, which I love, the image of the scorpion, jouncing the scales.

863
01:37:18,880 --> 01:37:25,880
And that's all I want to say because I don't want to run over. I know that you really appreciate your patience and your attention. It's been tremendous.

864
01:37:25,880 --> 01:37:32,880
Just like to close by saying that, again, the myths and the monuments.

865
01:37:32,880 --> 01:37:37,880
How, how few of us today look, go out and really look at the night sky.

866
01:37:37,880 --> 01:37:39,880
If you live in the city, you really can't, you know.

867
01:37:39,880 --> 01:37:48,880
That that mystery of participation, as it's called in anthropology, to participate in the mystery of the night sky in its presence.

868
01:37:48,880 --> 01:37:56,880
And in those cosmic pictures, was obviously reality to the Egyptians, and needs to become again a reality in our time.

869
01:37:56,880 --> 01:38:04,880
It's part of our, this legacy that we're rediscovering, and we're retrieving this lost legacy.

870
01:38:04,880 --> 01:38:12,880
I know that everyone here is asked themselves a thousand times the question as well. Who built the pyramids? Who built the Mexican pyramids?

871
01:38:12,880 --> 01:38:17,880
Who built the Chinese pyramids and so forth?

872
01:38:17,880 --> 01:38:22,880
We can also ask ourselves a question, who designed these images?

873
01:38:22,880 --> 01:38:33,880
And I strongly suspect that the answer is going to be the same, because we know that the correlation between the images and the monuments is very, very close.

874
01:38:33,880 --> 01:38:46,880
And so my last word to you would be that who they were points to who we are.

875
01:38:46,880 --> 01:38:57,880
And although this stuff is very vast, and we're dealing really here with vast perspectives that can be difficult to manage at times, it's tremendously important for finding out who they were.

876
01:38:57,880 --> 01:39:06,880
So we can find out who we are. And so we can be aware of the principle of mutt.

877
01:39:06,880 --> 01:39:13,880
In Egyptian mythology, stellar mythology, the balance of the scales represented mutt.

878
01:39:13,880 --> 01:39:21,880
And you will find in the pyramid scriptures the scene of the soul being judged before Osiris, and you see the cosmic image of the scales.

879
01:39:21,880 --> 01:39:26,880
We are all judged by our participation in the life of the earth.

880
01:39:26,880 --> 01:39:36,880
That's our judgment. And when we don't live in the life of the earth anymore, the greater life of the being who takes us on this space journey,

881
01:39:36,880 --> 01:39:44,880
then we risk losing the laws of equilibrium and we risk knowing who we are really.

882
01:39:45,880 --> 01:39:51,880
So that's the message I have to bring from the stars. It's really very down to earth message.

883
01:39:51,880 --> 01:40:02,880
And I think that it can, I hope that it will contribute to this threshold that we're on showing us where the human future might lie.

884
01:40:02,880 --> 01:40:07,880
Thank you very much.

885
01:40:14,880 --> 01:40:21,880
Thank you very much.