Hey, how you doing, man, Come on in, I would see.
We have such challenges today with our current scientific paradigm. It doesn't look
beyond the scientific method. If it's not provable and you can't test it,
it's not valid. And when we run into ancient sites, you know,
and we talk about them every week, May Egyptian, Chinese, Sumerian,
it's just, you know, we had to look at it through filtered lenses,
and the filters are the education that our historians have limited education. And
how problematic it is when we work with the unseen levels, the unseen energies
that are all around us that make up our planet. Now, we've talked
a lot about how and we've had people on the program talking about how our
ancestors built their temples, their buildings and pyramids over these geomagnetic energy gashes in
the earth that are bubbling uptoleric energy. It seems to be a fact that
our ancestors were more in touch with these energies than we are today. And
just because we can't see them doesn't mean they don't exist. We can measure
them with very rudimentary tools, and some people can actually fill the energy.
But because are archaeologists and Egyptologists are not schooled to look for these things.
We are missing a huge part of our ancestors science and connection to Gaya or
or to the Earth. And I find this a real problem because the Egyptians
and the Maya built their buildings on top of these energy fields for healing,
for conscious awareness, to help them in their research and connect with as we've
heard from Chris Dunn, perhaps power cities and along with powering them. And
we don't know a great deal about the healing effects of geomagnetic energy, but
we do know that more and more science, including medical science, is recognizing
electricity as a form of healing or a healing modality. So that's something to
consider. But on the program today, we're going to go to Egypt and
meet with an author who has studied in depth the Dendera temple known as the
Hathor Temple, and he spent a significant amount of time as an engineer looking
at the details of the temple and the symbology as a part of it.
He's worked with noted Egyptologists in creating this book that we'll talk about shortly,
and getting the decode on what we know from our current scientific paradigm. Again,
and you'll hear this in this interview. He believes there's more to it
than just what you can see symbols, images of gods, zodiac tablets,
astronomical planets and constellations. They understood the subtle energies. The Egyptians, pre
Dynastic Egyptian and the Dynastic understood how these planets affect us. And this is
what's really coming to bear and why we need to pay more attention because not
understanding astronomy and astrology as two sciences that were really integrated of parts of our
previous epoch are the people that lived on the planet. By not recognizing their
influencing their influences on us, we are blind, deaf, and dumb because
these energies. And I might be able to speak a little more or to
this than others because I have trained in the Japanese Tibetan technique of reiki,
where you are anointed and you're connecting with this universe. They call it universal
life force energy, and this it's for healing both others and yourself. I
might be plugged in a little better than most. But if our academics,
if our colleges, if people who are educated in history could present these details
of telluric energy, geomagnetic energy, whatever our ancestors called it, and clarify
it. I think we would have a huge heads up on in harmony with
our environment, that's the Earth, that's the Cosmos, and the influence of
other planets on us, and I think we would be better off. I
think we'd be more harmful. I think we'd have less disease. I think
we'd have less confusion and depression because we're just running in circles with our current
environment. You know, we're stuck on the TV set, We're stuck looking
at TikTok on our phones, We're stuck looking at streaming media, and very
few of us are taking time to connect with nature, to take walks,
hikes, getaways. I mean, I know friends who think that going on
a cruise ship is a form of vacation, and those crews from San Diego
to Mexico get out, visit the town to get back on the boat.
I mean, there's nothing wrong with that. I have friends that do a
lot of that, But why not go beyond. Why not spend the town
a day in town, look at the local people, connect with the region.
I don't know everybody has their choice to do what they want to do.
But we're really really missing out on the subtleties of our planet, of
our ancestors, of the people who have been here for thousands of years before
we were. So I want to play a short excerpt from my friend John
Anthony West, who is a Egyptian scholar. And if you don't know who
John Anthony West was, he wrote a book called Serpent in the Sky where
he talks about the of Egyptian society and how it translates into their buildings.
And in this short talk he presents a brief overview of Egyptian temple vibrations and
their effects on physiology. So let's have a quick listen. But what this
means actually is that, in terms of the sacred science understanding that it is
vibration that produces matter. Finally, it is also vibration, of course,
that produces the effect that art has upon us. All art we know there's
best, we understand it best in music. Everybody knows music is just vibration.
And yet there's a tremendous difference between a Beethoven quartet, the Star Spangled
banner, and the rolling stones. Each of these produced their own emotions,
as it were, and they produced them solely through vibration. Well, it
was Schiller. I thought it was Gerta. I made a mistake, but
even I do it was Schiller who said that, or who described architecture as
frozen music. And this is not just poetically and metaphorically true, it's literally
true, because architecture does in stone what music does in sound. In other
words, it's visual vibrations that that are affecting us, and we're sort of
we're inside the symphony, as it were. When when we're when we're in
a sacred space, when we're in any space, as a matter of fact,
we are being affected emotionally by the vibrational nature of that particular building.
So when we go into an Egyptian temple, we are resonating to its harmonies
and proportions and so on. And if the great stages of the past understood
that each of the cosmic principles which are which are the gods, as it
were, the gods are not sort of strange animal headed beings. They are
the embodiments of They are the embodiments of cosmic principles, and those cosmic principles
are all in one way or another inextricably related to certain numbers, interplay of
numbers which give rise to geometry, harmony, proportion, and measure. And
when you know the secrets of the numbers, as it were, and the
secrets of the principles, you are able to produce a building that will evoke
within the emotional center of the beholder that particular principle. So even though we
virtually lost that, we've lost that knowledge effectively. This is what we're all
busy trying to recoup. But when you go into a hathor temple, you
get a certain reaction to it. If you are reacting to Hator, when
you go into a Horrors temple, your reaction is very different and varies for
different people. Some resonate one more than another. But there's no mistaking the
different emotional effects of these temples, just as there's no mistaking the difference between
the emotional effect of a Bach cantata and a led Zeppelin rock song. That
they're very different from each other, and the reason that they're different is because
of their constituent of their harmonies and the numbers that are involved with John passed
away. It's about eight nine years ago and left a legacy in his observation
of this ancient Egyptian culture, and you know, it's really fun to read
his work and to listen to lectures. You can go to YouTube and listen
to John Anthony West lecture. And he recognized that we are not functioning as
a society because we're disconnected. We're disconnected from the cosmos, we're disconnected from
the earth, and that's this is not a recipe for wellness or harmony.
Actually also longevity too, because we're just kind of living our life day to
day. Wake up, go to sleep, go to work, wake up
to go to work. You know, it's just not it's not it's it's
not a lifestyle that's in harmony at all. And I think as he got
older, he recognized this and wanted to transmit as much as he could on
the previous civilization and how they managed to be how they managed to survive for
thousands of years eloquently, and they also transmuted it into their sculptures, their
pottery, their jewelry. They're wonderful temples and buildings and their society as a
whole. We're still very curious because you can't get it all from the writing.
There's not a hell of a lot of books or codises that are left.
We have to kind of guess at it. But our historians do us
a disservice in trying to explain away subtle energies and won't even go there.
And it's the education center. It's the education that they received. It's not
necessarily their fault. To get a PhD. You have to follow books that
are out of date by hundreds of years, and professors who need to keep
their tenure and so they can't go out. They can't think outside of the
box for anything other than, you know, the standard jargon of ancient history.
So anyhow, we have a fun program today with my guest jose Maria
Barbera, and this wonderful book that he's written called Dendera Temple of Time,
The Celestial Wisdom of Ancient Egypt, The Earth Ancients Grand Egyptian Tour. I
thought it was fantastic. I think it was one of the best traveling experience
I've ever had, not just from being in Egypt and get into see all
these sites and they certainly going on a tour made it easy, you know,
because I didn't have to plan anything. It was all taken Kara for
me, but even more so, I think traveling with a group of people,
having that opportunity to make a bunch of new friends, I think I
think that was pretty pretty special part of it as well. That was a
recent guest to our Earth Ancients Grand Egyptian Tour last year. This year,
our tour is April twenty eighth through May ninth, twenty twenty four. We
all meet in Cairo. This is a fabulous tour, twelve days of intimate
interactions with some of the most iconic sites in Egypt, including pyramids, temples,
museums, and of course, the last day of the tour, we
have a private visit to the Cufu Pyramid and we actually go inside without the
general public. Hi, this is Cliff and we are at a halfway point.
We're almost full. This is your chance to join a private tour at
half the normal price charge. For similar types of itinerary. For more information,
go to Earth Ancients dot com, forward slash tours, see the entire
itinerary and get your registration in word just about at our limit. If you
have any questions whatsoever, go to Earth Ancients for you. The number four
the letter you at gmail dot com and I'll get right back to you.
The Earth Ancients Grand Egyptian Tour hosted by Mohammad Imbrahem and Yours Truly April twenty
eighth through May ninth, twenty twenty four. For more information, Earth Ancients
dot com forward Slash Tours. One of the big fascinations of visiting Egypt is
the magnificent temples. And I've been blessed to be able to see many of
the known excavated temples that dot the landscape of Egypt. And every year we
make a trip to Hathor in Dendera, not only to see the Hathor Temple,
the Isis temple that sits behind it, and also my favorite, the
temple in front dedicated to the God Best And by the way, we're gonna
have to have somebody come on the program and talk about that temple because I
think it's a hell of a lot older. And the other thing that's unique
about these temples is they're megalithic. They're built with multiple ton blocks of granted
and sandstone. How the hell did they lift them, how did they move
them around? And the elegance that these ancient Egyptians worked in the artistic values
are just off the charts. My guest today has written a fascinating book called
dindera Temple of Time, the Celestial Wisdom of Ancient Egypt. And my guest
is Jose Maria Barrera, who would you believe is a software engineer, he's
an architect, and he's also a wonderful photographer. One of my favorite publishers,
has released this book, Inner Traditions, and I got to tell you,
there's so much to like about this book. Other than the beautiful photography
and detailed images. Jose has gone out of his way to do his best
to explain the celestial astrology, astronomy and the details that are embedded in this
temple, which makes it so fascinating. It's one of these temples that we're
going to hear from Jose shortly. It's one of these temples that you can't
go one time, you have to go multiple times. And even if you
go, I mean I've been there four times. Even if you go four
times, there's still aspects of it that are left for discovery. So Jose,
welcome to Earth Ancients. It's such a pleasure to have you on the
program. Well, the plashort youself, my home mine. Thank you so
much for honey. When did you first go to Egypt and visit Denderra?
That was probably like eight years ago. I went for the first time to
Egypt with my family, my two young daughters and my wife, and out
of Egypt, the most favorite place that I found in the most incredible place
is the Temple of Hator, And hence the book. What was it about
the I mean, I've been there, I know how why it's so extraordinary
in many many ways, But what was it about it that led you to
want to know more? And then the creation of this book because the book
you wrote is dominated by the beautiful photography. By the way, the photographs
are beautiful in this book. They're really wonderful and you use very good equipment
to take these photographs. But what is it about hathor temple that is so
mysterious? Okay? So I think that the first thing before we talked about
the Temple of Hator, and this is in particular happens there, but in
general, is that one of the the person and most present feelings that you
get when you go and travel to Egypt is you feel so tiny and so
ignorant and so minute because of the sheer magnitude and the size of the monuments
and the sophistication of them, and they intricate art that is on the walls
and the heeroglyphs, and you feel like you are in an alien land looking
at alien things that they're obviously grandiose and incredible, but you don't understand.
And there is this sense of mystery that is so captivating, and I think
part of the allure of Egypt and why is so popular among people and people
want to go. There is that sense of mystery that it creates, and
it makes you feel tiny, makes you feel small, just like when you're
in the presence of the pyramids and those things are massive, you feel small.
But not only there, but when you see these walls, covers on
wiggles, and hieroglyphs that if you know what they are, they're like these
alien language you feel small again because you feel that the amount of knowledge that
you have is so tiny. And there are so many mysteries that make these
places incredibly attractive to me. And I love mysteries, but I hate mysteries
at the same time because I feel desperate when I'm in the presence of a
mystery because I'm very curious and I want to know. So that's one of
the things that happens in Egypt. And at the beginning, when I first
went there, I went reluctantly. Let's say that or not I went convence
is that I wanted to go. But before that, I was reluctant to
getting to know Egypt because it is so foreign and so different that I thought
that the amount of investment that you have to make in order to try to
comprehend it is so big that I was like, I guess in an early
lifetime, I'll do it, not now. But then I went to an
exhibition in Fifth Avenue. They had a reproduction of the Tomb of King Tooth,
And I went there with my daughters one day and it was so amazing
and so beautiful. King at the met right, the Museum of Metropolitan Museum
of Art. Yeah, they actually they had a reproduction. It was like
on Fifth Avenue, on Fifth Avenue like a gallery or something, yeah,
and a gallery and the US. Like I thought, when I went there,
it was like in the middle of winter. My daughters were little,
they were like thirteen and twelve or something like that. We had nothing to
do that day, and I was like, oh my god, we're getting
into a tourist trap, but we had nothing better to do, and we
went in and it was incredibly done. It was like they used the photos
that Carter took and the real objects and they made a perfect replica of the
rooms, and they put all this stuff inside the rooms like they were in
the photos the way Carter found them, and they were so magnifacent and so
beautiful that I was like, I have to go and see original because this
is a reproduction. I have to see the original thing. And that's what
took me there. And a couple of months later we went to Egypt with
my family, and out of the whole thing, the place that I liked
the most was the Temple of hat or a Tendra. And coming back now
after a long deviation to your question, what fascinates me about these place are
many things. The first one is that probably is one of the best preserved
structures of ancient Egypt, even though it's modern by Egyptian standards, right like
it's two thousand and fifty or one hundred years old, so it is,
in relatively speaking, is new, but it is in perfect condition. Like
you go there and they just restore, like a decade ago, the ceiling.
They clean up the ceiling at the entrance of this temple. That is
a massive ceiling for people that haven't been there. It is probably the size
of two tennis courts. And the ceiling is supported by twenty four columns that
are like seven stories high. So this place is like gigantic. And the
ceiling is covered with images of celestial images and stars and gods and in full
call, and the original colors are still there. And when I when I
went there and I saw that, I was stantalized by my ignorance because I
was in the presence of something grand use and I didn't understand it. And
I look for so when I when I came back to New York, when
I went back, I look for documentation all these places because I wanted to
learn more about it. And to my surprise, there wasn't much documentation.
Isn't it isn't that strange that there's so little documentation. I mean, there's
there's I mean, you could go to National Geographic or the Smithsonian and you'd
probably see a chapter or maybe a magazine dedicated to Hathor. But there's not
a great deal of detail. In fact, the detail that you go into,
especially with the panels on the ceiling. I don't think anyone else has
gone that far, have they? Well the full there is a woman,
a French woman who is the head of the French mission in Egypt, and
she's in charge of the temple of Hatora Dendra, and she spent thirty five
years studying this temple and she has written down the translation of pretty much every
single hieroglyphics on the walls of this place. So it's hundreds of thousands of
pheroglyphs. Yeah. But the problem with this literature is that it's incurently technical
and it's just like the literal translation so oh on the day of let's bless
the gods hot or is boring. It's like you read it and it's like,
oh my god, it sounds like a scientific white paper where it's all
exactly Yeah, it's so true. And it's one of the things if you
think about what happens when you go to museums. You go to museums and
all these pieces and nobody tells you what they mean. They just tell you,
oh, this piece they give you a name, This was made if
they know who made it, made by this person in your X y Z,
and that's it, and made in marble or copper or whatever is the
piece, like the statue or the painting or whatever it is, and that's
it. That's the end of it. Nobody tells you what is the significance
of the pieces in museums and why did they put them together? And what
is what they mean and what is their significance. Same thing happens with this
with these technical books is they're just stating the facts of this is what says
on World thirty two and is this row of characters. And they're also writing
for their I mean, let's be honest, Jose, they're writing for their
contemporaries, their people in their in their field. And if you don't understand
Egyptology or have studied it, it doesn't make sense to you. And there
is no context, right because they have all these context that is not in
the book because they suppose they're technical books. So that's one thing. The
artist. There is no literature or this temple really in English up to now.
So so this book is the book that I didn't found that I didn't
find out the temple. So I was like, I think other people will
be interested in this, and the book is it is I'm not, I'm
not I'm not any gyptologist, right like, this is my hobby and I've
been studying a lot of it, but this book is what I wanted to
find to explain and make sense of this ceiling. Yeah, so, I
mean, yeah, the thing is you're an engineer, which is one important
aspect, but you're also an architect. So you can see the megalithic stone
work number one and be in awe of that. Also in your word clarifies
thing. I'm an architect, but I'm a software architect. I'm not like,
Okay, all right, there you goes, So I can appreciate the
working stone yet Okay, well, but you're engineer and so as an engineer
you can look at it and go, WHOA, how did they do that?
Or wow, they were working in heavy, heavy stones and so forth.
Let's talk a little bit about what we do now. In the book,
you write that it's believed that the temple was dedicated in twenty five hundred
BC. It was probably a smaller version or fragments of what we see now,
right right, So, so usually what happens is that they have these
holy sites, and you can see that that the Catholic Church was very very
used that and is when they found all all temples of oritizations, they created
an instituted like churches on top of them and build church exactly. So you
have these holy sites. And with time what happens is that the places get
out of use and they use the stones to something else and so on,
and they built top and top on top on top on top of so there
are different layers in these places where just like what happens in like if you
go to Rome and you go to churches, you're gonna see that they're on
top of Roman temples, for example. So the same thing happened in Egypt
in this place is this place. Hator is one of the oldest deities of
Egypt, is like its pre dynastic is very old, the most age ancient
deities and probably the most important female deity. And later on all the allure
of Hatter was mostly captured by Isis. But Isis and Hator became like like
almost the same, but but Alator. It was a really really ancient and
important goddess in ancient Egypt. Uh so. So, so there there are
constructions underneath these temple, and they've been doing excavations and they find things that
are like dynastic but four thousand years older things. Let me let me talk
about that for a minute, because when we go there, every single time
they've opened they found a new crypt you know, which is these little rooms.
Uh, we don't know what they were for. And that actual temple
sits on top of an earlier temple because there's places where the floor has been
opened up and you can see what looks like the columns of another temple underneath.
So I and the thing is, I don't know of anybody who's doing
ground penetrating radar, but I'd sure like to see it. What do you
what do you say about sitting a temple on top of the temple. Yeah,
so they're they've been doing excavations there and they have found a basically ancient
or more ancient constructions underneath the current temple. But that's the extent of the
drill. And that happens in many places, by the way, in Egypt,
like because as I mentioned, this temple is a lay temple is at
the time is the time of the Romance so this temple was built in a
big part by Cleopatra, and she was one of like who was the last
Pharah of Egypt. So what was her contribution, you mean, she added
some of the coloring and figures. So her father, her father started the
construction of the temple, I think the year fifty two BC, I think
if I'm or fifty four, I don't remember it. But he started the
construction and two years after he started the construction, he died and Cleopatra continued
the construction and the temple was built in thirty years or forty years, I
think so. So it was under the patronage of Cleopatra that the main,
the main structure of the temple was built. And and these temples are built
like like onions. So they start from the inside out and they start with
the holly of hollies, the with the with the with the most internal room,
and and and they start to build around and they constructed outside and outside
like an onion. Yeah, and so so the main, the main structure
of the temple was finished I think in thirty two years or something like that
at the time of Cleopatra. What is the what is the holy holy section
of that temple is it where is it the close of the stairway to the
observed observation deck or all the structure of these temples is all these temples are
built in the same way. They have the same architecture. So what is
bautiful. So so what you have is at the the heart of the temple
there is a small room that is dark and is where they kept the Holy
of Hollies, the statue of the God or the God is the Day.
So let me just stop it is that one of the creps. It's in
a room in the middle of the temple. Yeah, so so let let's
go to a punching line at the end. This temple is a temple of
fertility and the temple what it represents is the womb is like the whole temple
is the female reproductive organ. That's that's what the temple is. And so
so basically what you have right is and you you think about this when when
the Pharaoh went into the temple, he's penetrating the temple basically, and and
they have these rituals like basically taking the statue at the very center of the
temple, they have a statue of the Deity of the temple in this case
of the goddess Hator. And they took the statue and they took it to
the to the to the roof of the of the temple to there are two
staircases on each side of the temple, and in the in the ceiling,
they consummated the union of Horrors of at Food, which is the consort of
of of Hator and Hator. So so they're they're enacting a sexual act where
where they're creating life because this is a temple of fertility. So that's and
and when you go there and and and you think about it, it's like
the whole thing is represents that. And interesting enough, churches are very similar.
Like you go to Vatican City and Vatican City is very very similar.
And this is I never talk about this publicly with anyone, but this is
a working theory that I have. And think about. Have you been in
the Vatican in the some walked in the in the big center in front like
that. Again, so if think about this, when when when you walk
on on some Peter Square, yeah, Saint Peter Square, Yeah, and
you're walking towards the Some Peter Cathedral, there is an obelisk that they took
from Egypt, and it's right in the middle of the of the of the
square. There. Now, architecturally, if you look at some Peter's dome
and you look at the at the at the at the obelicks, as you
walk through the through the through the road that takes you to to Some Peter,
you're walking towards the the the obelisk, and behind you have the the
the dome. So architecturally, what you're doing is you're aligning the obelisk with
the dome. You're creating an intercourse as you're walking in an architectural intercourse because
you're aligning these two things, the round dome and the and the and the
and the obelisk. And as you walk in the hovel and in the in
Saint Peter's Cathedral, what you're gonna see is that in the dome inside inside,
as you start to walk in, the sun comes through the top of
the of the dome right and comes down. And as you walk in,
what you're gonna see is you create like you can see a dome underneath that
looks round, but you see like a middle moon, like a crescent moon
made by the side of the dome. I can I can show you pictures
of that. What it is is you're walking in and what you're doing is
you're creating an eclipse of the You're you're creating the conjunction architecturally of the sun
and the moon HM. Because you can see literally you see you you see
a crescent made by the walls of the side of the dome and the dome,
and and you see basically the conjunction of the sun and the moon.
And once you walk into into into the center. Right underneath the dome is
the altar in St. Peter's Cathedral. And think about what what happens at
the altar. At the altar, they're consecrating the wafer, the Holy Wafer
right there. And and so they have something that is called the Battle King,
which is this little structure inside on top of the of the of the
altar that is like a roof on top of the alder altar underneath the dome.
If you look underneath the the the the King, these these these roof
that they have there, what you're gonna see is that they have an image
of the Holy Ghost inside on top. So what you're doing, what the
what the what the priest or the pope in this case, which is when
it's Symperire cathedral. What he's doing when he consecrates the wafer, right when
he's doing the communion, what you have is his aligning the light of the
sun that comes at the top of the at the top of the dome with
the battle king that represents basically the the is the maculate conception with the altar
where he has the the cop and and the wafer where he is bringing into
life. Is making the wafer into flesh, and the and the and the
the wine into into blood. Is the act the miracle of the immaculate conceptions.
He is reincarnated. He's re enacting ritualistically the immaculate conception, the miracle
of life. So all these places, what you have is that's the supreme
miracle is life right like where hearing this in the universe which exist and life
is and in so tomorrow it's an incredible miracle. So you're talking about it
symbolically correct, which is important, but go beyond that and talk about it
energetically. When somebody is passing through these monuments like Saint Peter's Cathedral and the
and the when they pass into half or are they symbolically, symbolically and energetically
is the same thing, you see, because we we are made of psyche,
right, we we are consciousness, and the world is not made of
atoms and energy. The world is made of ideas and concepts and preconceptions.
And we live in a world of concepts, and we live in a world
of ideas. So when you create these rituals, which are magical rituals at
the end, what you're doing is you are channeling the psyche into these incredible
things, right And as you re enact and repeat and repeat and repeat these
rituals, what you're doing is you're taking all these ideas and these concepts and
this energy, the psychic energy, and you're giving it life into in quotes,
you're giving it manifestation in reality through the behavior of people. So it's
a pure act of magic, because magic is the manifestation of the psyche into
the material world. And you add to ritual, that's ritual magic, that's
what it is. And all these things what they're doing is you are enacting
that, you're creating life. The Pope is bringing into into the world God
incarnated Jesus Christ on the wafer and the and the and the and the blood.
But the whole thing is in harmony with the temple and the architecture of
the temple and the alignments architectural alignments and the geometry of the temple, and
the ritual and the instance and the music and the clothes and the whole thing.
Yeah, you talk about that in your book. You say that the
features in the temple, the Hathor Temple are inspiring for symbology, time and
cognition. What do you mean by cognition when you're uh discussing Hathor temple.
Mhm, I don't so, so I'm thinking of you. You just explained
uh, Saint Peter's and and and you kind of with the half of our
temple's construction and its multi level beauty and elegance. But is there something about
enhanced cognition when we passed through this wonderful temple. Absolutely? And I think
one of the problems that we have today is that we have lost a lot
of knowledge because of hyper specialization. So what has happened is that since probably
like the I think the killing strike that culminated this is the French Revolution,
with the time of Enlightenment, where they took reason and they replaced the church
with the goddess Reason. And ever since, what we have done is we
have taken reason and one and measurement as the supreme God and the supreme deity
in our society, and we have forgotten any other ways of knowing of knowledge.
So today we live in a world that everything has been reduced to number
and measurement. And your health is what is your cholesterol level, That's a
number, what is your temperature, that's a number, what is your height,
what is your weight? All of those things are measurements. And so
what reason comes from reckoning that is ratio, that is comparison of quantities.
So anything that you cannot quantify, like a consciousness, like awareness, that
you cannot put a number on, that you cannot measure that then are things
that are simply not part of the system that we have of knowledge today and
they're unexplainable. So in the past, and don't take me wrong, reason
is the tool of Lucifer of light right and enlightenment. Lucifer means light better.
And what was the promise of Lucifer to Alamannive when they ate from the
tree of knowledge, is they would become like gods and guess what we have
done that we can fly, we have telepathy, all these tools that we
have created with reason to date, we can go to space, we have
rockets, all these things. Is an incredibly powerful tool, But is it
destroys and kills the spirit because it's antithetic to the spirit, Because racial reason
in counting quantity, cannot commiserate the spirit. Because the spirit cannot be quantified,
can only be experienced and experience itself, which is what we have is
the ultimate tool of knowledge, cannot be quantified. So the theory that we
have to explain everything to them, we took that as a supreme eighty cannot
explain the spirit. Therefore it kills the spirit and treats us as machines and
just automatons. So we've lost that subtlety, the ability to recognize correct And
it starts in language. So imagine that the sounds of your language are the
names of your gods. So the sun Ra Ra is the name of the
of the on, but it's also the name of the god of the sun
of light. And imagine that the basic phonemes and the basic sounds of your
language are the names of the gods. Then anything you name, I don't
know, like you say a box or a house then is composed by the
sounds of the name of the house. But those are the names of the
gods. So as you name anything, what you're doing is everything around you
is imbewed by the essence, the divining essence that are the gods. That
that's symbolically what they are, the fundamental principles of creation and reality. So
when your sounds of your language, your phonemes, are sacred, you live
in a world comprised and made out of God or of they is because anything
when you name it, you are spelling the names of the gods that comprise
that. So all of the sudden, you live in a in a materialistic
world made of objects and utilitarian things, and no anything that you can name
is divine because it's created, is composed by the gods, because the name
is the gods. Imagine that we live in a world like that. Imagine
how meaningful it becomes all of the sudden, and think about like because I
think one of the most beautiful things about Egypt, and that's what happens when
when you have autoctenous cultures, is that the culture in Egypt in ancient Egypt
can only happen at that place when when you when you look and you detail
the the heeroglyphs, and what you realize is they are the animals of the
nile, and they are the flowers of the nile, and they're the utensils
that they use in the day to day life, and they are the sacred
writing. But it's beautiful because it's just like the dates that grow on the
palms on the side of the of the nile. The culture and and and
is is the the fruit, just like the dates are the fruit that beautiful
and then and then but but you know how how how meaningful it is because
the place where you are is what creates this culture is full of meaning.
Everything is meaningful, and it cannot be anywhere else but there. Now we
live in in cultures or we are where the fruits of cultures are not native,
but there are cultures of war and conquering, so they're foreign to us.
So my name is Jose, but to me that's an abstraction. It's
just like my name is a pointer. The word itself has no meaning.
If you are a native from somewhere like in India, or your name means
something like your name means the divine God of the morning or whatever it is.
That's your name, that's who you are. We live in an abstraction
because it was a culture imposed on us and our language and and these monotestic
religions are just religions of conquering and war and and they're abstract. They are
they detach you from the spirit and and they're incredibly powerful at conquest, but
they but they they take you out of the flesh. Yeah, and it's
not harmonious. Interesting, let's talk about the functionality of Hathor temple. We
know that people went there to worship the gods. We know that they were
there for healing. There's a a wonderful uh ceiling that has uh the zodiac
on it. So astrotogy astrology was very important. And also it was for
skywatching or astronomy. Astrology and astronomy what and you talk about this in your
book. What was it? What was the astronomical function of the temple?
Do we know? I think so yes, And I think that's the core
of the Bookie stat Right, So for the start, how much time do
we have? You're fine, We're gonna go as long as we need to
Okay, good, so let's start somewhere else for that. And he's that
the sense of time is very different from what we have to day at what
we was in in antiquity. Our time is lineal, and its ideologically lineal,
right, like like we come here and humans were expelled at the Fall
of Paradise, and we come here, and then Christ there wed enter and
and then we die. And depending on our actions in this world, we're
going to spend our our the rest of ours of the time in eternity,
in in hell or heaven. But it's lineal. It's like you you have
a start, right, and then the time goes as an arrow and it
has an end. That's it. The conception of time in these autotonous ancient
cultures was not linear. It was cyclical, and you could see the time
as the rhythms at the cadence of life. So and you can see you
can all of the sun. We measure time like days, and it's like
Monday Tues when and then it goes the first day of the year, the
second, the third, or three thousand years later. Whatever. Time in
Egypt and in our cultures was cyclical, and it was comprised by different types
of cycles. So the first old you cycle is the cycle of the day
and the night, so every day you can think that time restarts right.
And the way they represented this was the meat of Osiris and isis so Osiris
dies every day and gets resurrected and goes back and forth. And the sun
the sun is born in the in the morning and dies in the afternoon at
sunset and time. And they came up, by the way with the with
the of having twenty four hours during the day. But the difference on their
hours is that because they're in a northern latitude, then the days, the
length of the day changes over time, right over the year. But they
measured the hours. Their hours were organic. They were not like equal amounts
of time like we have them. But their day, the twelve hours of
the day started at sunrise and ended at sunset, and the twelve hours of
the night started at sunset and ended at sunrise. But they change in length
because in winter the night stretches, the hours were longer, the twelve hours
of the night were longer, and the twelve hours of the day were shorter,
and in summer the twelve hours of the day were longer, and the
twelve hours of the night were shorter. So they were like accordions, they
stretched, they were organic because what was important was the qualities of the of
of of the time of time. So let me let me put it this
way. In our time, in our time, in the way we measure
time, every hour is the same as any other hour, right, but
we know that time psychologically is very different. When we're like, we're having
a good time, time goes very fast. When we're bored, time goes
slowly. The Sun to us is an abstraction that is a radiation like a
nuclear ball somewhere like eight light years away from us. And that's it,
like it's that thing. For them, the sun had qualities, had character
So the sun in the morning, at sun at sun rise has different qualities,
is less warm that the sun at noon, and the dying sun in
the afternoon is very different. The color of the sun, the mood of
the sun is different. So they represented the cycle of the sun, which
is basically the ceiling. What it is is all this astronomy is the being
seen in the sky. Right, is a representation of the different cycles of
time. And one of the panels is the hours of the day, and
what they represent is the different hours, the twelve hours of the day,
the sun on a boat at different moments of time. And in the morning,
what they did is this analogy of the sun and the life of a
person. So in the morning the sun is a little child. At noon
is represented as a ram, which is potency. Right, it's the potency
of the sun at noon. In the afternoon, right before sun set,
an old guy with a cane, because the son is weak at that time.
So all of a sudden, you're you're you're qualifying, not quantifying the
sun. You're doing you need qualities, you need flavored taste, right,
Yeah, it's it's organic. It becomes something that is is not an abstraction
and number is it's your life. Son is life. We're going to take
a short commercial break to allow our sponsors to identify themselves, and we will
return shortly with my guest today, Jose Maria Barrera, discussing his latest book,
Denderah The Temple of Time, will be right back. I guess today
is Jose Maria Barrera. He is a photographer but also a software engineer who
has written a fabulous book called Dendera Temple of time, and he has chronicled
the construction of this unusual temple and also photographed this magnificent celestial ceiling that is
a snapshot of our cosmos. Let's talk about the Dendera calendar, which is
up on the ceiling. It's the actual zodiac that Napoleon and scientists took and
they have it in the louver and then later later they made a copy of
it and it's a big plastic roof ceiling. But it's still the same thing.
Why do the Egyptians play such great emphasis on the zodiac along with astronomy.
It's almost like they were two sciences that they worked with. Is there
something that we really have forgotten? Yeah, so I think this distinction that
we have today, like astronomy and astrology were the same thing. Yeah,
we have come to these nuances and differences, right, But before there was
one unified field of knowledge m h and it had different So the main purpose
of astronomy in general, or astrology, whatever you want to call it,
is divination. Now for practical purposes, Egypt depends on the flooding of the
Nile River as an agricule, as a like imagine Egypt, what Egypt is
is a desert with an oasis created by by the Nile River, and it
is a paradox. Is this paradoxical thing that is the hardest, the harshest
and driest place in the world. And all of a sudden you have the
blessing of the water of the Nile and the minerals that come down Ethiopia on
the Nile that create the most fertile land in the world. But there was
another cycle that was the yearly cycle of the flooding of the Nile. So
for an agricultural society, and for the Egyptians in particular, determining when the
flooding would happen was of existential importance because all their culture, the depended on
other shaustinance and everything depended on the flooding of the Nile. So it happens
to be that the flooding of the Nile, it doesn't happen anymore because the
Nile was damped. But before the Nile, the is the the flooding of
the Nile is very regular. So what they found is that what else is
regular well, the movement of the stars in the sky. So by observing
and this is why the temples were observatories, because by observing the stars,
I can measure time during the year, and I can predict events like of
importance, like like of existential importance, not like in the horoscope of who
am I gonna be lucky today and I'm gonna fall in love? Yes or
no? No? Not that kind of This is existential importance. Is the
nile gonna flood? Yes or no? And when it is gonna flood?
Because from that depends when I'm gonna cultivate and I'm gonna plant and I'm gonna
harvest, Like everything in my society revolves around that. Yeah, So the
astronomer priests look at the sky for signs of the of the gods in the
sky, the stars that would predict with that when the nile would flood,
and based on that knowledge, they would enact and create rituals, the ritual
of the harvest, the ritual of the flooding, the ritual that modulate the
behavior of people in the Egyptian society. So basically that the temples and the
priests worked as spacemakers to align the cycles of the of the gods of the
stars with the cycles of nature and the cycles of culture to create a harmonious
society. And I think the trick and the reason why they were so successful
and they lasted for so long, is that they were able to create a
society harmonious with their surroundings, with the reality that they lived on. They
were so sophisticated that another thing that they had in every temple in Egypt,
or in most temples, was something called the nyilmeter. The nilometer was a
well with a scale on the side where they measured the level of the water
of the nile. And think about this. What they did with this,
based on that level was they calibrated how much they would tax the society depending
on how much flooding they had that year, because if there was not too
much water, then the crops would be poor that year, and if they
taxed too much then they would empourage the society. And if there was too
much water then and the floodings would destroy the fields and so on and again.
So so what they were looking was for the right amount of water to
happen, and based on that they calibrated how much, what percentage they would
tax the I didn't know that. That's pretty cool sophisticated. Think about our
irs, like, oh, we're the most powerful culture in the universe.
The I R. S has a fixed rate. It doesn't matter if it's
a good year a year of recession, you have to pay the same damage.
Yeah, but you see, it's not harmonious with society. That can
last for too long because people people are going to revolt or the or the
state is not calibrated to to be optimal. Why why are it seems like
we in our current society have downplayed astrology, whereas these ancient cultures, the
Chinese, the Maya, Sumerians, the Egyptians made it part of their society.
So the influences of the constellations must have they must have understood the subtle
energy is the influences of these planets on Earth. What do you say to
that? Oh? Absolutely, Like, so think about like the obvious ones,
right, Like think about the sun, right, that's just the first
cycle that you have there. Yeah, so creates day and night, and
think about seeking Like in your psyche, what does the sun do? So
at night you sleep and you dream and a day you're awake and you live
in this collective reality. So so just think about that for a second,
Like, like the movement of the sun or the Earth like around the sun
or the Sun around the Earth, depending on how you look at it determines
if you're dreaming or you're awake. And then you go to another one,
the moon, which is one of the other panels that you have in the
in the temple. The moon determines the fertility of humans. The the the
fertility, the fertility cycle of of of women is locked, is synchronized with
the faces of the moon m HM. So hormones, the hormonal rhythms,
the moods are aligned with the faces of the moon. And you have like
there is something called lunatics, right like like lunatics, lunatics is and this
happens when there is full moon, like like people go crazy, their hormones
go crazy. Correct, you have and and and the moon is the planet
of water hm. It affects in In the past, they had four elements.
One of them was water. The the planet that determine the rhythms of
water or influences water is the Moon. And it's obvious right like look at
the ocean goes up and down depending on where the moon is, and so
so you have all these influences that happens, right and and they affect your
hormones, affect your your sleeping cycles, affect your psyche. So so the
planets are intertwined. These these celestial beings are intertwined with our psyches. Remember
what I was saying, before we're made of psyche, we are we are
consciousness, we are we're spirit. So that's before we kill the spirit by
introducing only reason as the supreme goddess. And there were all the gods.
Yeah, and they're super important because they determine who we are. And it's
sad that we have delegitimized astrology and now it's like you look at your Sunday
paper to find out what's going to happen for you, the Virgo of Gemini
whatever for that following week, which is kind of made it into a cartoon,
right when it really does have the ability to prostitute everything, right,
Like yeah, so yeah, we were because it's the only thing, like,
if you cannot quantify it, then you have to market and ridicule it,
because that's the only thing you can do with it. You have to
destroy it. The book we're talking about is dindera Temple of Time, the
celestial wisdom of ancient Egypt and we're speaking with the author Jose Maria Barrera.
I want to get into these wonderful panels, which makes up a large part
of your book. First of all, I want you to talk a little
bit about the makeup of the temple. There's massive columns in the very beginning
and the capitals are the head of Hathor at the top. Why do you
think they did that just to sanctify the goddess Hathor because her head is not
only on it's like four parts of the capitol, and those columns are huge.
Talk a little bit about those because they're very unique. So this ceiling
is the size of two tennis courts, right unrests on twenty four columns,
one for each hour of the day, and each of the columns, as
you mentioned, has the head of the goddess Hator on top of Actually what
they represent are a musical instrument called a rattle that they used to have called
the system, and each of these columns represents a system that is a shaker
that they used to use in rituals and was the instrument of the goddess Hator
because one of the things that the goddess was deity of was music and rhythm,
but more than that is harmony. So what you have at the entrance
of this temple is you have these musical instruments, which is a symbol of
harmony, supporting the ceiling where the different rhythms of life are represented. So
what it is is the whole. That's why the book is called Temple of
Time because this ceiling represents the side and the rhalms of time. So music,
which is one of the attributes of the goddess, and the other one
is fertility. Right, all these things are cyclical. So so what you
have in this ceiling is the representation of harmony and cycles and time wow,
measured by the stars. Right, let's talk about the temple. You call
it the ceiling of pro nas naos, and that is a I guess that's
kind of a representation of time. Right. So pronaus is so basically,
the naos is the main hole, the of the of the of the of
the temple. The pronaus is what goes before the naos, which is the
entrance, and that's where these twenty four columns are. And the temple,
as we we mentioned before, represents the reproductive, the womb, but it's
also the represents the universe. The templelice is as above, so below is
a small representation of the universe. And it was the house of the deities
that live in the temple. And if you go to this, the floor
is the earth, the columns are the trees. And in other temples,
like the Temple of Esna, you can see columns like represented us trees and
the ceiling was the sky. So it's like a small a small model of
the universe, right, what they were creating, which was the house of
the of the deity of the temple in this case of the goddess Hator.
Yeah, you mentioned in the book one of the reasons that the ceiling is
so well preserved after thousands of years is the fact that it's so dry there.
And also didn't they have to dig out a portion of the temple because
it was partially bare and sand, correct, so when they in modern times.
The one of the first modern encounters of this temple with the Western world
was at the invasion of Napoleon of Egypt at the turn of the nineteenth century.
He went there when he was invading Egypt, and he brought all these
academics to study and basically what he wanted to do in Egypt. He wanted
to do basically what Alexander the Great had done and was and what the Romans
had done, that was to take Egypt and make it the bread the bread
basket of the Roman Empire. So Napoleon that had big dreams, as all
these guys have. What he wanted to do was to have the French Empire
and make Egypt into the bread basket of the French Empire. In order to
do that, he had to basically create infrastructure in order to grow like like.
So this is the time of the Enlightenment, and what they wanted to
do was to technify and create like infrastructure in Egypt so they could grow things
there. So he brought all these engineers and architects and artists and all these
people to all these surveys to do this. But his campaign went horribly wrong,
and these people, these academics, were stranded for three years in Egypt.
And what they decided to do was to just go tourist in tourists during
these three years and and create document, document everything that they saw, and
that's the beginning of modern egital basically. And when they came to this temple
for the first time. Yeah, the temple was covered up to like halfway
through on sand because the sand of the desert like blows all the time.
And for two thousand years that these temple had been abandoned, then it was
halfway through covering in in sand. Yeah, And there were veluines living inside,
and they had created like on the on the roof of the temple like
a little village where you have these variants living. And inside the temple they
created like moonfires because to cook and to warm up that night because it gets
cold in the desert. And then the suit, the smoke blackened the whole
ceiling, so when they came in they could see the shapes of the ceiling,
but the colors were disappear underneath the suit, right, And and that's
what they cleaned, by the way, and during the last decade, and
all the colors colors were there, so in a way that suit protected the
colors ye for years. Amazing. Let's pick a panel once you give us,
once you choose one or two that you are most impressed with, and
explain, perhaps a cyclic panel that has sun cycles or something, just to
give our listeners an idea of not only the complexity of these panels, but
what they represent, Okay. So the ceiling is comprised by seven seven pounds,
a central one and three on each side. On the west side and
on the east side, there are three entry. The east side represents the
day side and the west side represents the night side. Also, the east
side represents life, on the west side represents dead. And if you go
to Egypt, you're going to see that all the burials, like the burial
places, like in the value of the king or the value of the queens
is on the west side because it's where the sun sets, where the sun
dies, So it's allegorically that's the side of death, and when the sun
when the sun rises, is the side of birth. That is the east
and that's why it's east and west, day, night and so on.
Right, it's just symbology and allegory. So the central panel and the way
that the cycles are, the ceiling represents the entirety of existence, meaning it
goes from the present to eternity. That's the entirety of time from now to
eternity. So the center, the central panel, the central of the panel
that goes on top of the main axis of the of the temple is where
you had all the traffic of the temple because this is the entrance, so
all the traffic of people coming and going out in and out was underneath the
central panel. This central panel represents the present. That was the panel of
the Pharus. The Pharus were the incarnation of the gods in in particular,
they were they they were horrors incarnated. So this and and the Pharaoh is
the nexus between this reality and divinity. And and he was That's what the
Pharaoh was, was the god incarnated. So this, this central panel represents
that, and it's the present. And then as you start to go to
the sides to your panels, there slower and slower cycles right with slower frequencies
that they the month, the year. And then the ceiling isn't closed by
the goddess nut that is the sky. That is the blackness of the sky,
And that's eternity because it's immovable, nothing happens, nothing moves, that's
eternity. So is the slowest possible frequency is where nothing moves. The fastest
possible frequency is the center, that is the present. So what you have
there is a whole map of existence of any possibility in time and then,
as I mentioned before, one of the first panels that you see is the
panel where they have the boats with the sun at different stages of life,
a child at noon and an old guy in the in the afternoon. That
represents the journey of the sun during the day. That's the first cycle.
Then on the other side, the first panel on the west is the panel
of the moon and is the month. And by the way, month and
moon is the same word, menstruation is the same word. Those three things
are the same word basically themologically. That's the panel of fertility, the cycle
of fertility. The panel of twenty twenty eight point five days or whatever is
the monthly length of the month. And then you have two other panels on
each side that presents something called the deacens. The deacens was thirty six groups
of stars that they used to measure the hours of the night, so that
represents the night, but also a differentique deacan appears every ten days, so
thirty six by ten is three hundred and sixty, which where the original length
of the year on Egypt, three hundred and sixty days. And then they
added five more for five gods, and that's three hundred and fifty days and
that's that's and sixty five days. Sorry, and that's another contribution in astronomy
of the Egyptians is the year, basically the three hundred and sixty five year
day year. And then on the side the panels you have the constellations of
the zodiac that represents the year, and then the great year, which is
the precession, the quinoxial precession, and then it closes with the goddess,
which is Eternity. Well wait a minute, are you saying that the precession
of the equinox is explained in the hieroglyphs and the ceiling. No, basically
the observation of the change of the precession, right, like if you think
about Egypt, So first of all, the signs of the Oudiac, the
constellations of the zodiac are not Egyptian. They're from Babylon. Yes, But
because this is a late temple. And remember the Greeks conquer Egypt for three
hundred years at the end of the of the in the Late Egypt the Greeks
were influenced by the Babylonians and they were the ones who brought the constellations of
the zodiac into Egypt. So in this in this cross breeding between cultures,
the Egyptian and the and the and the Greek culture. One of the things
that the Greeks brought and and the the Persians before, but by the way,
was the zodiac, the knowledge of the of the constellations of the sodiac.
Now, because of the length of the culture in Egypt, that is
like close to six thousand years if you take the official Egyptological timeline, right,
is so long that when you create the temples and you align them to
stars because you want to use the temple as reference points to measure the movement
of the stars, because the culture goes so long because of the procession,
what happens is that the stars start to move and your temple doesn't align with
that star anymore after three four hundred years. So that's how you start to
notice that there is equinoctial precession because you start as in a lifetime, you
cannot see it because it's too slow. But in the lifetime of the culture
of Egypt, they went through three different houses of the Soiliac basically, which
means that they're a lot older than we think. They're probably very very old
culture. Hey, yeah, that's that's absolutely possible. Yes, yeah.
Do you think that the composition of the temple with these panels, with this
objects, this viewing of astronomy and aspects of astrology make it a tool for
prediction or prophecy. Where whereas a priest astronomer could actually look at the ceiling,
look at the sky and say, okay, we can look forward to
this type of agricultural That was the sole function of that was exactly that's the
primordial function of astronomy and antiquity was to be able to predict the seasons and
in this case the flooding of the nile. So all these monuments is Stonehenge.
And when when you start to look at the starts and you start to
align things. Measurement has to come with a cultural and agricultural society requires a
measurement of time because you have to know the seasonality and the rhythms of of
your crops, so you have to start to measure things. So measurement is
a prerequisite of an agricultural civilization. And the way you measure time, the
natural clock is the regular movement of the stars. So what's predictive. The
predictive is the is watching the planets and the constellations, and then as a
observer priest, you can use the temple as kind of a calculator, correct,
because you are aligning your you're aligning your temple to the stars, and
you create calendars where you say, oh, okay, the thing that looks
like a scorpion is showing up now, hence we are in September or whatever
right now. The most important observation that they had was the star series the
Dog Star, because that start they found that it happened right before the flooding
of the Nile, so that was the beginning of the of the Egyptian year.
Was the rising for the first time on the year of the star series
the Dog Star, because that was the whole thing, remember, was about
the flooding of the Nile. That was there were obsests like that. They
had to why are why is the paradigm of the current science so detached from
this type of science? And when I say that, here we are talking
about predictive aspects of the temple, encoding high functionality, but almost on a
metaphysical level. In today's terms, you don't hear Egyptologists talking about this type
of thing. And to me, it's such a huge disconnection. It's almost
like they're outside of the fundamentals of these people, looking in and kind of
guessing at who they were. Where I hear you're talking in more of an
indigenous focal point of these temples, right. I think it's a matter of
perspective, right, Like, one thing is if you look at things from
the outside in or the inside out. So if you go to museums and
they have these dioramas of the science, is the idea of you have this
observer that is looking objectively at society or at reality. From the observer doesn't
intervene in society. So the anthropologist goes to the primitive and sits down with
his book and his western clothes and takes notes on how these primitives worship the
sun? Right and is this and you can see that it's very funny when
when you read the Gyptologists from the turn of the century. Is yeah,
it's these Europeans, enlightened Europeans looking down at the people with no clothes,
right like, and it's very very, very very interesting. Is this looking
down at things? Now? The slap in their face was that they saw
the pyramids and these monuments and they were like Jesus Christ. We cannot build
these things today. Have idea it's better than any of the churches that we
have or any of these things. So is this pilots right and the fascination
is that right? Like at the end, But yeah, it's I think
like, remember this, this is the product of colonialism, right, Like
Egyptology is the conception. The conception is right in the middle of like the
the East India Company at the time, right, was trading in India.
The reason why Napoleon was was was in in in Egypt or when to each
one of the reasons besides trying to make it the Red Basket, was to
cut the communications route through through the Red Sea of the British Empire because they
were at war, right Yeah. So so it's right at the center of
colony. Right. So that's that's the the birth of Egyptology, right.
And I think it's tainted with that because I just I mean, your book
is so thunder read because you're explaining esoteric subject matter and you're talking about a
lost science basically of combining astrology, astronomy, engineering, and earth fundamentals and
I'm talking about the gravitation and things like that. And when we read these
Uh, these academic books, they're just so dry and they they don't seem
to want to combine the fundamental, fundamental aspects of these cultures and the their
connection to these subtle energies that we're talking about, you know, which is
so much a part of their connection with Earth Gaia, you know, to
understand. And the other thing is we don't have a name for their science,
but obviously their their science and their lifestyle is is Earth based. Right,
It's Earth centric. It's not detached. It's like, as the Earth
and the heavens move, so do we as a biological beings on the planet
Earth. Right. Yeah. Absolutely, But also think about this. They
didn't have acor or antibiotics, and that sucks. Yeah, it would have
been tough back then. Oh yeah, you might know anesthetics like how to
bite a piece of wood in order to have an amputation exactly exactly. This
is a wonderful book. Again, it's called Thendara Temple of Time, the
Celestial Wisdom of Ancient Egypt. My guess today has been Jose Maria Barrera.
Uh. Not only is it an amazing uh. And by the way,
we didn't even talk about the cameras that you used to take photographs. They're
just this is an outstanding UH photographic assessment of hath Or Temple. Beautiful camera
work. But your publisher UH was not cheap in reproducing this because this is
an expensive book, simply because from start to fail their color photographs. Right.
It's a real beautiful book. And I want to acknowledge one thing that
I haven't done publicly, but I want to acknowledge the tremendous work that Inner
Traditions did because the only requirement that I had with this book was that I
want the photos to shine right. I wanted to quality the book to be
super because otherwise the book loses its luster. So I want to accoilate for
Inner Traditions. They did a wonderful and beautiful work with this. Yeah.
I want to mention to those of you guys listening to this. We've had
editors from National Geo, National Geographic, and the Smithsonian. We've promoted a
number of books from different authors. This book by Inner Traditions is an equal,
if not better than a lot of those books, simply because Jose captures
not only the central aspect of the ten of heath Or, but subtle areas
the side walls, the columns, which are very very important. And it's
a really great study. It's a it's a great book. And when I
congratulate you, Jose, I wish you well. How can people get ahold
of you? What's your website? Give us your website. Oh, I'm
gonna do it, but it is some mouthful. Oh like, it's not
just Jose Barrera. Is Jose Maria Barrera my full name, like my full
Catholic name. Okay, one hundred and multiple hours and so on. I
think the best way to find me is through Amazon. So if you look
for them, they're a temple of time. Okay, you're gonna find my
name. And if you look, you put all my name together. Jose
Maria Barrera dot com. You can go there. And by the way,
there I have the ceiling, the reconstruction of the entire city, the ceiling
in one image, just like Google, where you can zoom in and you
can see the details. Oh so you use a special three sixty camera lens
and kept it the whole You swept the whole. No, no, I
did it manually. I took five thousand photos of the ceiling. Oh my
god, three months to reconstruct the whole ceiling in one image, so you
can zoom in and see a little details of the zoom see little cracks on
every go. Wow, amazing. Uh, this book just came out.
Uh we were talking about this before. Jose said it came out in January,
but it's I'm showing that. The pub date is February. Uh.
It's available on Amazon and wherever you get your books. Uh, it's it's
it's a bigger book. They call it coffee Table because they there. The
pages are beautiful reproductions of the ceiling. Do you have a do you have
a website? I mean not a website, but do you have a YouTube
channel where you're talking about any of this or where else can people here hear
from you? You have a lecture circuit? Yes, yes, it's from
my website. If you go there, there is a link there to Okay,
fantastic Jose, wonderful work. Thank you for joining me. I appreciate
the fact that you're open and you're very expressive, and I think you understand
the various dimensions of these people and what they reproduced in this temple. So
hey, congratulations on this book, and thank you for joining me. Cleave
no I must stay and thank you for your kind words, and it was
a pleasure. I didn't mention that this book has been out now for a
few weeks and it's available on Amazon and other locations. If you get it
on Amazon now, I think they're shaving a few bucks off. It's a
coffee table book. They're usually expand this book's around sixty, but I think
you can get it for less than that if you look around, I think
you can get it for like fifty or less. It's pretty large, and
it is beautifully rendered. The photographs are beautiful, and Jose's description of the
astrological calendar and mathematics and the other subjects we have just presented are all in
that book. Quick read, nothing extensive, but again the photographs are beautiful.
It really is a good value, so real fun to have him on
the program. I have to have and I was reminded of this in our
conversation. I have to have somebody who has done some serious energy scanning,
in other words, something like John Burke did at t call the Mayan City
and Guatemala, and I think he was at chichen Itza, and they use
very special scanning equipment and they can find the various vortex or geomagnetic energy fields
that are bubbling up from the ground and which per permeate these temples and pyramids.
And this was what makes John Burke's books so important is that he actually
measures the emissions and perhaps describes how the Maya use that energy. We don't
really know, except when you read John Anthony West's book d Lubch, his
mentor's book on pyramid construction, pyramid building design. We don't know exactly if
they are a seasonal vibration that this is when the pharaohs and the queens would
go and be bathed in this energy, or if it's constant like the Kufu
Pyramid, and we've been in there many times. And by the way,
both hath are multiple other temples and Cufu Pyramid is part of the Grand Egyptian
Tour coming up April twenty eight through May ninth, and we have a few
spaces left. Check that out Earth Ancients dot Com Forward tours. But we
don't know. It's hard to measure. We're not wired to understand geomagnetic energy
and to utilize it. We might think about it, we might, as
Jose eloquently described, feel it during lunar cycles. I think that astrology plays
a greater role than we suspect, and when these tools come about that can
measure human physiology and its connection to geomagnetic and other earth tulleric energy fields,
we'll pay more attention to it. I mean, really, to know that
there are spots in different parts of the world and also at these ancient in
some places sacred sites. People will will go there and droves just to be
in it. So this is important. So anyhow, good to have Jose
on the program. And God, I'd love hath Our temple and I was
serious too. When you go there, it's so overwhelming. What they have
done is they've cleaned the ceiling, they've cleaned the columns, and the original
color is exposed to everybody's who can see it. It's beautiful. It's shades
of blue. By the way, I will be posting photographs on the Facebook
page. Go to Facebook, go to Earth Ancients, go to the group
or the international page. And I have some ceiling photographs. I have a
page from Jose's book where he has basically taken hundreds of photographs and reproduced them
so that you can zero in on certain parts of it and see the details.
It's just it's really a classic beauty. It really is Hathor Temple so
much. We didn't get into in this talk too. Where about the cryps?
Now, Eric von Donegan, and this is thirty years ago, went
down into one of the crips and found what he called the dendera lamp.
There's been a lot of people that say he's kind of nutty about that.
It's not true, but he claims that the Dynastic Egyptians had light bulbs,
and there's two what looks like large light bulbs or some form of technology in
this one crypt. Since that's been open, there's three or possibly four cryps
that we visit every year and they're under the surface of the floor. And
Jose was nice about it, but I have to tell you that the Gyptian
authorities, the Antiquities Department, is extremely frustrating for those of you like myself
who are seekers of knowledge, seekers of the information that is embedded in these
places. And why they don't use ground penetrating radar, why we don't use
site scan equipment as well as lightar is just a huge question that no one
seems to be answering, and it really brings up suspicion and question about why
we can't dig in further. I mean, Jose knows most people who visit
Hawthore know that it sits on top of a much older, perhaps ancient temple
that we'll never see in this lifetime because they are hesitant, the authorities are
hesitant to scan. Now, there's also the issue with finance, with money,
and this is a third world country and they have a lot of impoverished
people, so that should be number one on their list. But for those
of us seeking, I pay an extra fifty bucks to go down a crypt,
to go down a shaft to see an earlier temple. Don't get me
started on Egypt. It's a beautiful, wonderful place. I love the people,
but governance is not their strong suit. Okay anyhow, by the way,
just as a side note, Earth Ancients goes to a lot of these
places, and we have some of the guests on this show as hosts.
Our Grand Egyptian tour for this year is April twenty eight through May ninth.
Our host is Mohammed Imbrahem. We'll meet everybody meets in Cairo and from there
on we are escorted through basically a private tour. It's a VIP level tour
for a beer budget, so believe me, it's half the price of what
these typical tours are without the crowds, in a private, air conditioned,
lovely bus, and it is just fabulous. It's just so amazing. For
more information on that tour, go to Earth Ancients dot com Forward slash Tours.
Yeah, check it out. It's coming up and I'm really excited about
it, so that's why I love it. We also are doing Turkey that's
Quebec to Mee Tepee, Darren Kuruk, Cappadocia, on and on and on.
That's a twelve day tour that is August fourteenth through the twenty fourth,
and then we finished the year in Mexico in the Yucatan Peninsula where some of
the world's most beautiful cities are of the ancient Maya. That's going to be
November eight through seventeenth. For more information, Earth Ancients dot com Forward slash
Tours. We have a black there's small tours twenty twenty five. If it's
more than twenty five is fairly rare, and you make friends, you have
fun, and I have a blast with everybody and they're so rewarding and very
sacred too. We do intention meditation, so you could bring in information on
your health, on your future, on relationships, whatever, or just wanting
to know what I mean. I've been to some of these temples and all
sudden an intention and all of a sudden, next morning there's a download,
and I'm going, oh my god, really, so something to consider.
Earth Ancients dot com, Forward slash tours. Hey, it costs a great
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right, that's it for this program. I want to think my guest today,
jose Ria Barrera coming to us from Germany. I think he was in
Berlin. And it's always the team of Gail tour, Mark Foster and everyone
who makes this thing happen. Thank you. You guys rock all right,
Take care of you well, and we'll talk to you next time.