Ancient Aliens s16e10 Episode Script

1 NARRATOR: In ancient traditions around the world, powerful sacred sounds were used to communicate with the heavens.
DEEPAK SHIMKADA: The whole universe resonates with the sound "aum.
" NARRATOR: But was sound also used to create megalithic structures? ERICH VON DANIKEN: They had a certain sound, a certain vibration, and the blocks moved by themselves.
NARRATOR: And could seemingly primitive rituals actually have been connected to otherworldly technology? DR.
JEFF THOMPSON: Within the harmonics and overtones of a complex sound, you could impart all kinds of information.
NARRATOR: Ancient astronaut theorist Giorgio Tsoukalos and author David Childress have gathered experts in science, religion and mythology to explore the mysterious power of sound.
GIORGIO A.
TSOUKALOS: Monuments worldwide have acoustic properties, and it's all harmonics.
NARRATOR: And the possibility that new discoveries in acoustics could lead to the next giant leap in human evolution.
TRAVIS TAYLOR: This is literally getting the right vibrations to create the next experience of reality.
NARRATOR: There is a doorway in the universe.
Beyond it is the promise of truth.
It demands we question everything we have ever been taught.
The evidence is all around us.
The future is right before our eyes.
We are not alone.
We have never been alone.
I'm really delighted to be here with you guys because I think that acoustics is definitely something that needs to be explored even further.
As humans, music and-and acoustics are very important to our lives.
Remember, from the Bible, it says God created the world how? - In the beginning was the word.
- By speaking.
- He spoke! It's spoken, right? The oral tradition is not just words or intellect.
It's an entire tonal thing.
When the universe was created, it says that the whole Earth has a grid of tones that founds everything.
That is the same thing in ancient India with aum.
They're saying exactly the same thing, that that the universe started with one note, a single note.
- That's right.
- CHILDRESS: A vibration.
And then it's the aum sound.
NARRATOR: Aum is a sacred sound in the Eastern religions of Hinduism, Buddhism and Jainism.
[deep chanting.]
SHIMKADA: Hindu concept of cosmic sound is simply aum.
"Aum" is made of three letters: "A," "U" and "M.
" Those three letters combined makes the sound "aum.
" And the whole universe resonates with the sound "aum.
" LAYNE LITTLE: Aum is not just found in Hinduism and Vedic tradition.
It's very much used in Buddhism.
It's utilized in Jainism and also in Sikhism as well.
And it is the most common and most sacred of all mantras in all of these traditions.
NARRATOR: The concept of aum first appears in the Vedas, the religious texts that form the foundation of Hinduism.
According to the texts, specific vibrations, created through ritualistic chanting, singing and prayer, can provide a direct connection between humans and the gods themselves.
The importance of sound in Hinduism and Buddhism is very, very vital.
[chanting.]
Without sound, you cannot pronounce a mantra.
A mantra is combined words made into invocation.
NARRATOR: As described in the Vedic texts, the gods provided humankind with a visual aid to remember these sacred sounds: elaborate patterns called mandalas.
PRAVEEN MOHAN: Mandalas are mnemonic devices used to aid meditation, often in tandem with chanting.
What's interesting is that in Hindu temples, we have a visual representation of mandalas.
So, what they're doing is they're essentially translating sound into visual patterns.
In modern technology, these are called Chladni patterns.
NARRATOR: In 1787, German physicist Ernst Chladni, known as the father of acoustics, published his seminal work, Discoveries in the Theory of Sound.
In it, Chladni describes an experiment that shows how vibrations can create exotic geometric shapes.
We've got this thing called a Chladni plate, after the scientist who invented it.
It's a thin metal plate, like a sounding board, and we've got a transducer attached to the bottom of it.
And they spread sand over the top of this plate.
And we start playing certain tones.
[sustained tone plays.]
And those sand particles start to bounce around and dance around, and they start to form these mathematical circular patterns.
And as we move up through these frequencies, the sand goes into kind of a chaos in-between state, and then it arrives at this next pattern.
And the higher the frequency you go, the more these patterns become more complex.
NARRATOR: In the 1960s, Swiss scientist Hans Jenny was experimenting with Chladni patterns, when he noticed an extraordinary connection.
Jenny tried it with aum.
And it generated an image of a circle with a dot in the middle.
That itself is actually very interesting because the most fundamental elements of any mandala will usually be a circle with a dot marking the cosmic center.
NARRATOR: Today, the patterns made by frequencies are known as cymatics.
In modern technology, we are able to create visual representations of sounds.
What is remarkable is that we see the same patterns in Hindu temples, in ancient Indian structures.
NARRATOR: At the Sri Ranganathaswamy Temple in southern India are 40 ornate statues carved from monolithic columns.
The statues depict leaping animals and, above them, vimanas, vehicles that, according to ancient Hindu texts, were flown by the gods.
The word "vimana," in ancient Vedic texts, means flying machines.
In Hinduism, it is clearly established that the gods come down from the sky using vimanas.
In the temple of Srirangam, these carvings show many different types of vimanas.
And what's really unique is that, under these vimanas, we are able to see some very interesting patterns of mandala.
NARRATOR: Some researchers believe these mandalas represent more than just an artistic flourish.
According to legend, each type of vimana can be activated with a specific type of mandala.
If we crack this visual code, if we crack this cymatic pattern, we might actually unlock the secret to power these vimanas.
Think about all this is somehow connected to cymatics and some of these shapes that we see in, uh, the ancient hieroglyphics and some of these structures, megalithic structures.
And you can reproduce those with sound waves.
And so I wonder if, when these patterns occur, when we create these sounds, is this kind of like we're inserting the pin to open up an encrypted PDF file to the read the information? And what they're trying to tell us with a mandala is that this is the cymatic code, the shape, the vibration, the sound that's going to levitate - or do whatever.
- Or whatever that You make this picture with sound, and you've done it.
TZADOK: There is knowledge of the ancients, which was concealed because mankind was not considered ready for it.
And this was that technology.
What's interesting about this whole harmonics and cymatics is that this is a universal thing.
It's gonna be throughout the universe.
It's every single planet.
That's-that's called the anthropic principle.
CHILDRESS: It-it's, uh, like mathematics.
TAYLOR: We have discovered all these extreme amplitudes of acoustic sounds.
And right now, we're currently working on how we might be using it for future technologies.
- I love it.
This is great.
- So let me tell you a story a-about, uh, an event that happened very recently.
Two scientists have done an experiment.
They go into the great detailed math of the quantum interaction, with the sound interaction.
And they call that a phonon-photon interaction.
Phonon is the particle for sound.
And discovered that sound can trigger this negative mass effect.
NARRATOR: In March 2019, scientists at Columbia University in New York City made a shocking discovery that redefined the known laws of physics.
In an experiment, physicist Angelo Esposito demonstrated that phonons are affected by gravity but in a highly unexpected way.
Instead of being forced down towards the earth, phonons actually rise upwards.
Scientists discovered that the phonon itself has mass, which nobody thought it had before.
But the closer they looked, they realized that it wasn't mass at all; it was negative mass and negative gravity.
MICHIO KAKU: It turns out that under certain conditions with sound waves, sound waves can actually start to rise rather than fall.
And this was an anomaly, but yes, it seems to be consistent with the laws of physics, that certain vibrations, instead of falling down, can actually fall up.
To me, that's experimental evidence that you can, if you understand sound the right way, use it to levitate heavy things.
TSOUKALOS: So, could this imply that the ancient stories of levitation of stones, that some type of technology like that - was im was implemented? - That's right.
TAYLOR: And that comes back to this whole idea with, uh, cymatics, which is where we're taking, uh, certain sounds and putting them in what we'll call standing waves.
And they produce these amazing geometric figures.
And you could envision, if you knew the way to manipulate this the right way, you could put you can make three-dimensional figures with it, even.
Right? You could have sound not just underneath it but all around it.
And, in fact, I've seen one where there are multiple transducers in a way and they can levitate little Styrofoam balls.
- And Ping-Pong balls.
- TSOUKALOS: Mm-hmm.
Right.
TAYLOR: Just by having the sound in the right way.
And even do multiple ones in-in configurations.
So imagine if you could amplify the power, if you could amplify the-the principle, wouldn't that or couldn't that apply? - Absolutely.
- Because we have ancient stories in ancient Egypt, in England.
Some of the Stonehenge blocks, according to some of the legends, - magician Merlin - Right.
was able to levitate those stones across the plains of England.
Right.
NARRATOR: Is it possible that the same principles utilized to move sand particles and larger objects such as Ping-Pong balls could also be used on a larger scale to lift and move much heavier objects? Curiously, a great number of stories can be found in the ancient world that involve the use of sound to levitate massive stones.
All the way around the world, there are myths and legends relating to the movement of stone blocks using sound technology.
These are found amongst the Maya of Mexico, the Phoenicians of the Near East and in Tibet.
We have stories in ancient Egypt, even, where they seem to be able to move the stone effortlessly from one place to another, some weighing hundreds of tons.
NARRATOR: In the tenth century AD, the Arab historian Abul Hasan Ali al-Masudi wrote that the Egyptians were visited by beings known as the Guardians of the Sky, who gave them knowledge that enabled them to levitate the massive limestone blocks with which they built the Great Pyramid.
VON DANIKEN: In old Egypt, they had a certain sound, a certain vibration, and the blocks moved by themselves.
They show a technology which we do not have.
NARRATOR: If acoustic technology was used to levitate massive stones, as ancient astronaut theorists suggest, might knowledge of this technology have been left for humankind to rediscover? This levitation technology is exotic because we have no idea how to do this today.
For thousands of years now, we've turned this into the realm of legends and myths.
The fact that we have stories of these ancient gods, in my opinion, is that we are suggesting that our ancestors misinterpreted these beings as gods because their technology far surpassed their current frame of reference.
- HENRY: Right.
- TAYLOR: So, these beings from our ancient past had probably figured this out in order to do whatever it was they did.
And that lends us down the road of, how do we figure it out? And that's something that I'm really intrigued by.
TZADOK: This technology will not only transform our society; it'll change our world.
To me, this is fascinating that there seems to be acoustics and sound that reach the realm of the gods.
TZADOK: The path of the ten sefirot in the kabbalah speak of the energy vortexes which vibrate in five different harmonics called vowels, which is called tonal technology.
This knowledge was considered too dangerous to be publicly displayed.
And according to the stories and the legends, this technology was unleashed, and it destroyed the world.
- And, I - CHILDRESS: So, well, first they destroyed Jericho.
- Right? With their sound - Well, Jericho, Jericho Jericho came later, but actually, when you're bringing up Jericho, the whole story of the Ark of the Covenant and the marching, this is only just one simple biblical example.
NARRATOR: The Hebrew Bible's Book of Joshua tells the story of how Israel conquered Canaan beginning with the Battle of Jericho.
According to the story, God commanded the Israelites to march around the seemingly impenetrable walls of Jericho once a day for six straight days, carrying with them the Ark of the Covenant.
But on the seventh day, they were to circle Jericho seven times, making tremendous noise.
HUSSAIN: On the seventh day, as they circle it, they blow the trumpets, and it's the sound that brings the walls down.
And you can think of that from an engineering perspective.
Is it the trumpets and the vibration, the sound of the trumpets, that somehow resonates with a particular frequency in the brick of the walls that causes these walls to collapse? NARRATOR: Is it possible that the story of Jericho is a historical account of acoustic technology being used thousands of years ago? Ancient astronaut theorists say yes and point to other stories that describe the power of the Ark of the Covenant.
What I have always found fascinating is that we have stories of these magical incantations.
- Right.
- But, you know, operating something with voice commands, if you don't know what that is, that's a magical incantation.
This is the interesting thing, because when you look at the Ark of the Covenant you look at the high priest.
The high priest, of course, would speak to God wearing the Breastplate of Judgement that had the 12 stones on it.
The high priest would approach the Ark of the Covenant, and he would start to recite certain tones, sounds.
These were very deep, tonal, throat-type chants.
The tones were said to then cause the stones to vibrate, and they would send out lights, and then the Ark somehow would react to this.
There's some active energy there, which we call the glory, or kavod, of God.
It's not God, but it's some actual energy field that if you would be in the presence - Remember, you couldn't go into the presence.
- Or a machine.
- That's right.
- Something was there that if you went too close, you died.
I'll tell you exactly what that sounds to me like.
This breastplate has optical and/or acousto-optical transceivers on it.
And they're hand-shaking, which is what the old-school acoustic phone modems would do when you would call up or the fax machine calls up to connect to the other side.
HENRY: What we're seeing here is that they would use sound to link Heaven and Earth.
[deep chanting.]
NARRATOR: The idea that sound can facilitate communication between man and divine beings like the Hindu use of aum is a common theme in religious traditions throughout the world.
All religions really use music, and you see that in worship services.
[chanting.]
So the cantor with the psalms in the Jewish tradition [choir singing a hymn.]
choir in Christian traditions.
Even in the Islamic tradition, where there's no formal music, there's a-a melody to the recitation of the Koran.
[melodic chanting.]
Every culture has the idea that this music connects us with the divine.
NARRATOR: For many religious practices, just as important as musical traditions are the locations in which the rituals are performed.
THOMPSON: A choir singing in Chartres Cathedral is magical because of the architectural space.
And so these architectural spaces in all these various cultures, from these kind of secret monasteries in the Far East and in the Middle East, were famous for having architectural designed spaces that call up the sacred.
[congregation chanting.]
NARRATOR: Interestingly, a growing number of archaeologists believe some of the world's oldest structures were specifically designed to accentuate acoustic properties.
Like all of you, I'm always keeping up on the latest archaeological developments and research, and I think it's really fascinating that monuments worldwide have acoustic properties.
What they're finding is that these were chambers that were designed where you would have this acoustic experience that you heard, but you also felt it in your bones, in your tissue.
- Yeah, they call this archaeoacoustics.
- Mm-hmm.
NARRATOR: Archaeoacoustics is an interdisciplinary field of archaeology dedicated to examining how sound and acoustics were utilized in the ancient world.
FELICIA BEARDSLEY: It's a relatively new field, and archaeoacoustics is looking at the sound quality of ancient sites, historical sites, archaeological sites where we see music probably played a role.
Stonehenge is one of those.
Where you stand in the middle of Stonehenge, you would create the sound blast of music, whatever implements were used, 'cause we're not really sure, and it would bounce off the stones and create this sort of echo chamber.
Stonehenge functioned as a sonic temple.
By this, what I mean is that individuals, the center of the monument, would create musical sounds, particularly of a low frequency, that would be contained actually inside the stones and build up an energy, if you like, for a purpose which we can only guess at right now.
NARRATOR: All around the world, archaeologists have identified numerous ancient sites that were designed according to acoustic principles, such as Gobekli Tepe in Turkey, the Hypogeum in Malta and the Newgrange passage tomb in Ireland.
Newgrange has very strong acoustic properties.
What they found is, is that the way the sound waves bounce around the chamber, they create what's called standing waves.
And they increase in intensity and sound.
NARRATOR: According to some researchers, curious carvings found inside Newgrange provide key evidence documenting that the structure was purposely designed to have elaborate acoustic properties.
NEWMAN: And it seems that these standing waves were recorded actually within the chamber itself, where you could see these zigzags carved all over the place, suggesting that they not only understood acoustics but they were recording the experience within the chambers.
The other thing of-of real interest is the fact that when they investigated the corbeled roof, which is like multiple mega-size stones almost going around a spiral, they found that these had been adjusted.
And they found the reason for that was because they were tuning the chamber acoustically.
NARRATOR: Is it merely coincidence that ancient structures all over the world appear to have been designed by different civilizations that demonstrate such similar acoustic properties? Or might they share a very common purpose? And if so, why? I mean, it's fascinating the whole idea of these vibrations and acoustics within these ancient sites and that they were purposely created that way.
HENRY: Yeah, they were set up for, uh, an extraordinary human experience that potentially then this can enable an experience with an otherworldly being, even a like a godlike being.
They were signifying it was a place, that they were opening up a spiritual portal by doing ceremony, chanting you know, maybe beating drums or something to their ancestor gods or to their sky gods.
What we're seeing here is that these were meeting grounds of humans and the gods.
The interesting thing about these resonance chambers one thing we have discovered at these low frequencies you actually can be in a in sort of a trance like state from it.
TZADOK: Apparently, there is a psychological or spiritual effect.
This was used with shamanistic practices.
NARRATOR: Ancient religious leaders, commonly known as shamans, were seen as links between humans and a higher realm.
For the shamans, sound was not used merely to make a spiritual connection with the divine but to actually interact with otherworldly beings.
BEARDSLEY: The term "shaman" comes from Siberian religious practices, and it means somebody who can see the underlying fabric of the world around them.
These are the negotiators between this world and the other world.
They could step into the other world to negotiate with otherworldly forces.
COLLINS: Individuals, shamans, when they chanted, when they sung, when they used the instruments, it was to enter into altered states of consciousness so that they could communicate with spirit entities and perhaps connect with what we might describe as ancient aliens.
TZADOK: The point is that the shamanistic practices are all built upon what? Chants, sounds, altered states of consciousness which bring you into connection with extraterrestrials, aliens, whatever is out there.
That's a really interesting point, Rabbi.
You know, we have discovered that sound waves can actually control our brain.
NARRATOR: In the 1960s, neuroscientists discovered that rhythm and acoustics can produce a physiological change in the human brain through a process known as entrainment.
THOMPSON: If I can create a pulsing in the external environment that's pulsing at a brain wave speed, my brain waves will try to match that speed to save energy, and my conscious will will change in the process.
So we can do that using just a drum to change consciousness at will.
If I hook you up to an EEG machine so I can look at your brain waves and normally, when we're awake, my brain waves are generating beta function, which is rapid, between 13 hertz and 38.
And the drumbeat is at five.
And my brain waves are gonna start slowing down and slowing down, slower, slower, to take my consciousness from a waking state into a dream state without going to sleep first, which means that's a classic definition of a trance.
The earliest examples of brain entrainment would be shamanic drumming.
The speed of the drumbeat tends to be around five hertz.
And that's about like this.
[chanting.]
You know, that's about it.
That's about five hertz.
And five hertz is where your brain goes when you're dreaming at night.
The whole idea is to transform consciousness.
They were trying to achieve a connection with the divine, with the otherworldly.
NARRATOR: If modern science has proven that shamanic drumming does, in fact, induce a state of trance, could it also be true that it enables extrasensory abilities and even allows for communication with other realms? While it may sound like a far-fetched notion, in 1995, the U.
S.
government revealed that brain entrainment was part of its top secret spy program called Project Stargate.
Operatives in this clandestine unit gathered intelligence about persons, places and events from great distances by sensing with their minds, a practice called remote viewing.
During the 1970s, President Jimmy Carter's administration used remote viewers to locate a downed Russian spy plane in Africa.
You talk to any of the old remote viewers, the ones from the Stargate program, they'll tell you how accurate and how important and how relevant their information was.
NARRATOR: John Vivanco has been working in the field of remote viewing as both a teacher and practitioner for more than 20 years.
I worked with corporations, intelligence, uh, counterterror for the FBI after 9/11.
NARRATOR: At the start of every remote viewing session, John uses specific sounds to entrain his brain waves and create a trance like state.
What we do with remote viewing before we do a session is a cooldown.
Uh, we will meditate, and one of the aides that we'll use are binaural beats.
So, if you think about frequencies in the ear, we'll listen to these sounds.
So, if one ear is pulsing a sound of let's just say six hertz and in another ear it's pulsing a sound of four hertz, your brain waves will synchronize to around five hertz.
And we like to stay in that zone in order to get the best information.
NARRATOR: John claims that by entering this trance state remote viewers have gathered more than just information.
They have also encountered otherworldly beings.
VIVANCO: We were working a project around the Arecibo Radio Observatory, and I was the first viewer on this particular tasking, and I start to get these beings, these aliens.
And I just remember during the session, uh, I kept saying, "They're coming, they're coming, they're coming.
" And they started to take notice of me.
And I'm starting to freak out because I've got tons of adrenaline flowing through me.
I-I'm in fight-or-flight.
It telepathically communicated with me, and it said, "We are here to help you, and we want you to help us.
" The other viewers started to experience the same thing.
And so that's when we started to, okay, now you know I'm not hallucinating.
This is absolutely real.
Travis, you could speak to this probably in more detail, but we-we live in a spectrum, right? - We see a very tiny sliver of reality.
- Oh And what if these frequencies what if they're like dials you know, you can like you're tuning the radio dial? "Oh, I'm not in Earth frequency anymore.
"I'm just gonna tune it a little bit in this space, and I'm gonna be able to see what's actually there.
" So, what if and this is a what-if you're in this perfect spot, what if that shifts you slightly, uh, in the spectrum that you can, uh, perceive? TZADOK: How about this? If we could actually, through science, find the proper resonances, tones that'll actually put us in contact with with whom? - The ancestors.
- The only way to find out is to knock on the door and go through and say, "Who's there?" There is an ancient book called Perek Shirah with a chapter of song where in which it's revealed that everything in nature has its own vibration.
- Right.
- Which means it has - its own consciousness.
- Right.
We call that mechanical resonance.
Everything is alive.
TAYLOR: And that comes back to the universe itself has this mishmash of vibrations.
- Right.
- And it's singing a song, so to speak.
And if we learn how to interpret and/or manipulate the song, then we can interpret and/or manipulate the universe.
- And it's all harmonics.
- HENRY: It's all harmonics.
We've got to go back to Pythagoras with his "music of the spheres" concept because he comes up with the idea of the musical scale and, uh, musical ratios.
NARRATOR: In the sixth century BC, Pythagoras, the famous Greek mathematician and philosopher, made an acoustic discovery that would reverberate through history.
Pythagoras was, in a certain sense, the father of modern mathematics.
He gave us the base-ten formula for our Western system of numbers, and he discovered a divine symmetry, so to speak, in all things that exist.
JONATHAN YOUNG: One day, Pythagoras is walking by the blacksmith's, and he's hearing some harmony coming out from the smithy area there.
And so, with the kind of a persistence of a scientist, he figures out that if a hammer is twice the weight of another hammer and they both strike at the same time, the notes they make are harmony.
MICHAEL DENNIN: The great discovery he made is that the waves generated, say, by strings or wind instruments could be converted into clear notes and scales by using fractions and discrete ratios.
So, Pythagoras did this amazing job of taking math and geometry and tying it to music, which then led to the entire Western musical scale.
NARRATOR: Pythagoras's study of harmonics led him to theorize that everything in the universe, including planets and stars, exists in a constant state of vibration.
Incredibly, he was right.
2,000 years ago, the Greeks asked an elemental question: What paradigm can explain the entire complexity of the universe? Pythagoras said music has the complexity to explain the diversity of the universe itself.
So, in other words, our universe resonates with the notes from music.
Pythagoras said that everything is based on music, which, in turn, is based on certain ratios: thirds, fifths, octaves.
So, why not explain the solar system this way? If you look at Mercury, Venus, Earth, Mars, Jupiter, Saturn, they are aligned according to certain ratios.
Maybe these ratios are the ratios of strings.
And so he called it "music of the spheres.
" When planets move around the solar system, he thought they must create music, music that we cannot hear.
This is heavenly music, music of the angels, but nonetheless, that would explain the regularity of the solar system itself.
And so he thought you could explain the universe through music.
HOROWITZ: Pythagoras felt he was unlocking a kind of code of creation.
He was providing humanity with the language of the gods, so to speak.
Pythagoras said it was Apollo, the-the Sun god, who taught him about all of these advanced concepts and laying down the basis for modern music and everything that we know about music.
So, there's an extraterrestrial connection here that is very important for us to think about.
All this talk about music and frequencies and harmonics all boils down to mathematics, correct? According to the ancient kabbalistic texts, math, complemented with the appropriate harmonics, are going to align with the natural harmonic or universal pattern of the universe.
We are talking about the hidden, sacred knowledge of the ancients, which was their secret technology, their way of reaching out to the higher dimensions, whether they be to angels or gods or ancient aliens.
This is a really interesting, uh, conversation about all these different acoustic properties.
I've always thought that there's a a different pattern.
I call I've always called it the god fractal that, I think, if you found it, it would be like the mathematical instructions to building the universe or whatever.
Have you seen diagrams throughout history or whatever that, to you, suggest the pattern? - HENRY: The Flower of Life.
- I was just about to say.
HENRY: It has to be the Flower of Life, the-the symbol of creation itself.
NARRATOR: Constructed of overlapping circles, the Flower of Life holds all geometric forms within its design.
One of the oldest known examples of this sacred geometry can be found at the Temple of Osiris in Egypt, a structure archaeologists claim is 6,000 years old.
The Flower of Life symbol is considered the seed symbol of all symbols.
The ancient Egyptians understood this symbol came from the heavens.
CHILDRESS: The Flower of Life is very special.
It's really a a mandala.
And it may have something to do with the geometric nature of the-the universe.
We don't know exactly what it did.
Perhaps it was really symbolizing some device that's a sound device, a harmonic device, something that's highly technical and was used by these ancient cultures.
NARRATOR: Is it possible that extraterrestrials have used acoustics to guide humankind for thousands of years? And if so, did they hide clues in ancient traditions, structures that create altered states of consciousness, and sacred shapes in the form of cymatic patterns? Perhaps the next great leap forward will occur once we tune in to the extraterrestrial messages around us.
I think, too, the opportunity we have here for cracking this harmonic code is we all talk about a golden age and a time when we're gonna see extraterrestrial presence on this planet, and this could be the key to it.
"Harmony" is the right, uh, key word there.
- Exactly.
- Yeah, right.
For the whole universe to be in harmony, yeah.
So, this is literally getting the right vibrations to match with the right vibrations to create the next experience of reality.
I like that.
Guys, look, this has been absolutely incredible conversation.
And I think we've established that there is way more to the world that we know of, there's way more to our reality and also what we can perceive with our senses.
And I can't wait to continue this at some other time.
To be continued.
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