Speaker 1: I want you to just imagine for a second that
you're standing in this vast, totally untouched wilderness like way back, yeah, exactly,
like ten thousand years ago. Yeah, the airs pristine, you know,
the silence is just well, that's.
Speaker 2: Just the wind, maybe a bird calling, right.
Speaker 1: And you possess absolutely no concept of modern technology. You
don't have words for engines or electricity or like spacecraft.
Speaker 2: Your whole world is just seasons, hunting.
Speaker 1: Foraging, exactly, the steady, predictable turning of the stars. And
then out of nowhere, the sky just tears open. Oh wow,
it doesn't just change, it violently rips apart with this deafening,
chest rattling acoustic shockwave. There's blinding fire, yea billowing acrid.
Speaker 2: Smoke, smelling like ozone. Right, things they have no reference.
Speaker 1: For, totally burning chemicals, and descending from the heavens. Is
this massive metallic vessel that just completely defies.
Speaker 2: Gravity, defies everything they understand about the natural physical world.
Speaker 1: I mean yes, And you watch it scorch the earth,
and when it's over, when the sky is finally quiet again,
your mind is just racing. How do you process that
level of cognitive dissonance?
Speaker 2: It's an ontological shock.
Speaker 1: Right, And more importantly, how do you record what you
just saw so that your descendants will actually believe you? You
crave a permanent ledger.
Speaker 2: You need something that will outlast human memory. So you
find the hardest canvas available.
Speaker 1: You carve it into stone. Welcome to thwilling Threads. I'm
so excited for today's discision too.
Speaker 2: It is the ultimate act of data preservation.
Speaker 1: Honestly, it really is. When faced with an event like that,
the human instinct is to document it. You leave a
mark saying I was here and this impossible thing happened.
Speaker 2: And that's our mission today, isn't it.
Speaker 1: Yeah? Exactly, We're looking at what happens when you take
that terrified, awe stric human impulse to carve the impossible
into stone, and you map it globally.
Speaker 2: Because the stack of archaeological accounts, the ancient texts, the
global rock art we have it's immense.
Speaker 1: It's staggering. And our ancestors weren't just drawing metaphors, right,
they were independently building a unified global database of extraterrestrial
contact and well cosmic portals. Right.
Speaker 2: And to set the framework for today, we need to
clarify our lens. We're pulling from reports by renowned archaeologists,
deeply preserved indigenous lore and researchers analyzing sites all over the.
Speaker 1: World, from the outback of Australia to Italy, from India
to Hawaii exactly.
Speaker 2: And you know, mainstream history usually views these carvings just
as mythology, right, like allegories for the weather, yeah, seasonal
shifts or spiritual concepts. But we are deliberately stepping outside
that today.
Speaker 1: We really are. We're looking through the lens of ancient
astronaut theory. Because why is the visual syntax, the specific
mechanical detail so insanely consistent across isolated cultures.
Speaker 2: Culture is separated by thousands of miles of ocean and
millennia of time. It's the big question.
Speaker 1: And I want to push back on that mainstream allegorical
view right out of the gate, because the mechanical speicity
we're going to see today completely defies the whole It
was just a thunderstorm explanation, oh absolutely. I mean, we
are looking at the mechanics of landings in Australia, subterranean
zones in India, metallurgy in Italy, and the actual physics
of space time traversal in Hawaii.
Speaker 2: It's a highly technical global map, it is.
Speaker 1: So let's ground this by looking at the oldest continuous
cultural memories on the planet. We're starting deep inside the
Brisbane Water National Park in.
Speaker 2: Australia, specifically the Bulgandry Preservation site.
Speaker 1: Right, and the timeline here is just well, it challenges everything,
it really does.
Speaker 2: We're talking about carvings estimated to be between eight thousand
and ten thousand years.
Speaker 1: Old, which is crazy to think about. That's a geological
epoch before they even started quarrying the stones for the
Great Pyramid.
Speaker 2: Of Giza, long before. And at this site we encounter
the lore of a creator being named Bami.
Speaker 1: As detailed by Aboriginal elder Kevin Gaby Duncan.
Speaker 2: Right exactly, this secifix of his origins elevate this from
just a standard creation myth to what looks like an
eyewitness account.
Speaker 1: Because he didn't just manifest from thin air. He arrived
from a specific coordinate.
Speaker 2: Right, the morning Star within what they call Mira Buca.
Speaker 1: And if you look at the linguistics, Mirrabuoka translates to
the river.
Speaker 2: Of stars, a milky way.
Speaker 1: Yeah. So This entity is explicitly categorized as coming from
a specific celestial coordinate system in.
Speaker 2: Our galaxy, and the physical carvings matching this oral history
are remarkably detailed. We see a large humanoid figure, arms.
Speaker 1: Outstretched holding the moon right, Yes.
Speaker 2: The moon in one hand and a morning star which
they describe as resembling Earth in the other, along with
two other moons.
Speaker 1: But the really critical data point is how he arrived
the Low States. He navigated the Milky Way in a
canoe and landed on Mount.
Speaker 2: Yango, which brings us to the lack of vocabulary phenomena. Right.
Speaker 1: Exactly, if you're a hunter gatherer and you see a
high thrust aerospace vehicle, you don't have words for titanium
or gravity fields.
Speaker 2: You use the only mode of transport you understand that
navigates fluid dynamics, a canoe.
Speaker 1: Right, a canoe traversing the river of the night sky.
But the landing on Mount Yengo is what strips away
the whole romantic ethereal interpretation because it was violent, violently chaotic,
deafening noise, blinding, smoke and fire that literally scorched the
mountaintop and.
Speaker 2: Left a brilliant fire trail upon departure.
Speaker 1: I mean, think about it. That is a one to
one behavioral match for a SpaceX rocket touching down, the
blinding light, the roar, the scorched earth.
Speaker 2: It's a precise documentation of thrust mechanics and acoustic shock.
Speaker 1: But skeptics will say it's just a metaphor for a meteorite.
Speaker 2: Which fails when you apply basic comparative linguistics. A meteorite
doesn't sail a navigable craft, No it doesn't, And a
thunderstorm doesn't have a point of origin, land interact and
then launch back up, leaving a propulsion trail exactly.
Speaker 1: And Elder Duncan specifically ors to these carvings as literal
books of truth. They view this as a historical ledger.
Speaker 2: Not camp fire fairy tales.
Speaker 1: Right, there's this pervasive arrogance in modern Western academia that
infantilizes ancient cultures. We assume that because they weren't industrialized,
they couldn't be objective journalists.
Speaker 2: But if you strip away that bias, you see a
culture desperately trying to leave a permanent record of a
traumatic physical event.
Speaker 1: They use the absolute limits of their vocabulary to describe
thermal dynamics and.
Speaker 2: Consider the psychological weight. You don't dedicate massive caloric resources
to carve intricate figures into sandstone for a passing shooting star.
Speaker 1: No way. It implies profound significance. The fact that the
story of his Fiery Canoes survived ten thousand years of
world transmission with such granular consistency.
Speaker 2: It speaks to the traumatic nature of the encounter. It
scarred their cultural psyche.
Speaker 1: Just like its guarded top of Mount Yango, which makes
the geographic anomalies of this region even more baffling because
right there in the same park there's another set.
Speaker 2: Of carvings, the Gosford Glyphs.
Speaker 1: Yes, and they utterly shatter are accept a timeline of
human migration.
Speaker 2: They're one of the most contentious archaeological debates out there.
Two massive eight foot high sandstone walls hidden in the bush.
Speaker 1: Containing over three hundred deeply incized.
Speaker 2: Symbols, and they don't look indigenous at all.
Speaker 1: No, they look like Egyptian hieroglyphs proto Egyptian dating roughly
to forty six.
Speaker 2: Hundred years ago, which challenges the mainstream claim that Australia
was completely isolated until European explorers showed up.
Speaker 1: Right, and you have a twenty first century egyptologist, Ray Johnson,
who actually translated them, and it was verified by doctor
Abu Diegazi.
Speaker 2: Confirming the grammar and style matched early Dynastic Egyptian writing.
Speaker 1: It tells a specific story. Two Egyptian princes shipwrecked. One
Lord Neferti rou died of a snake bite and was
interred there.
Speaker 2: Those walls are his memorial cenotaph.
Speaker 1: But the logitical implications an early Egyptian fleet crossing the Indian.
Speaker 2: Ocean staggering, but not impossible given their knowledge of celestial
navigation and currents.
Speaker 1: But why? Researcher Evan Strong argues they were seeking esoteric
wisdom from the Aboriginals.
Speaker 2: Right. Egyptians were obsessed with cosmological cycles. If they knew
about a culture recording sky heroes for thousands of years,
they'd want that knowledge.
Speaker 1: I got to interject here, though, play devil's advocate. If
a high ranking Egyptian royal mounts a highly dangerous oceanic
expedition in twenty six hundred BC, isn't it far more
likely they were just looking for hard resources.
Speaker 2: Like copper or gold.
Speaker 1: Yeah, crossing the ocean just to chat about the stars seems,
I don't know, highly inefficient for a bronze a jumpire.
Speaker 2: It's a valid materialist critique. But for the Egyptians, the
material and the esoteric weren't decoupled. Sacred knowledge was a
vital resource to maintain cosmic order.
Speaker 1: Okay, fair point.
Speaker 2: If the Aboriginals held the books of Biome detailing the
mechanics of sky gods, that would be infinitely more valuable
to the priesthood than a copper vein.
Speaker 1: Let's unpack this further then, because there is a specific
syntactical anomaly on those walls, the UFO.
Speaker 2: Glyph yes hidden among the standard hieroglyphs.
Speaker 1: It's this undeniable saucer shape with downward radiating lines. Skeptics
say it's just ancient jewelry, like a stylized pendem. Isn't
it human nature to see what we want to see?
Speaker 2: Sure, paradolia is real, But that argument falls apart when
you look at Egyptian memorial art rules the esthetic cannons exactly.
It was brutally strict. Every symbol had a defined proportion
and orientation. This saucer shape is carved upside down relative
to typical jewelry motifs.
Speaker 1: Oh wow, I didn't know that.
Speaker 2: Yeah, it completely breaks the established syntactical flow. It's an
anomaly within an anomaly. It's a semiotic disruption.
Speaker 1: So the artists deliberately broke their own sacred rules to
record something outside their lexicon.
Speaker 2: Precisely, you have Egyptians stranded with an indigenous culture that
has a ten thousand year history of glowing flying canoes.
Ourboriginals probably shared this.
Speaker 1: And the Egyptian scribes tried to reconcile it by carving
the vehicle precisely as described, a disk emitting energy.
Speaker 2: Disrupting their own memorial text to include it.
Speaker 1: That is a staggering historical tableau, a Bronze Age superpower
and an ancient hunter gatherer society cross referencing notes on
estraterrestrial contact in the outback.
Speaker 2: It really is.
Speaker 1: But while Australia gives us these massive open air chronicles,
it leaves a huge operational question right the environment exactly?
If you're establishing a presence here, a mountaintop landing is
highly inefficient for long term observation. You wouldn't rely on
surface camps exposed to extreme weather.
Speaker 2: You would seek absolute environmental stability.
Speaker 1: Which perfectly explains the sudden geographical shift in our sources.
We have to leave the surface and travel deep underground
into central India.
Speaker 2: To the Tarama region in Chattascar right.
Speaker 1: It's rugged, remote, highly inaccessible. In twenty fourteen, archaeologist J. R.
Bagatt found this extensive network of cave paintings.
Speaker 2: Dated right around the same ten thousand year mark as
the Biam carvings.
Speaker 1: But the visual deity here is way more clinical and
honestly kind of disturbing.
Speaker 2: Carrie.
Speaker 1: Deep in these pitch black caves they painted tall bipedal
humanoid figures with absolutely no facial features.
Speaker 2: No nose, no mouth, just blank visages.
Speaker 1: And hovering next to them are these distinct spherical craft
with three landing.
Speaker 2: Legs tripods essentially. And we have to cross references with
local tribal lore about entities called the Rohila.
Speaker 1: The small statued beings who came from the sky in
round objects.
Speaker 2: And occasionally took villagers away who were never seen again.
Speaker 1: We're talking about a ten thousand year old abduction narrative.
It matches modern close encounter reports with terrifying precision.
Speaker 2: And if you scale out to the macro level textual
history of India, the Vedas, the Mahabarada, the Vimanas exactly
highly technical descriptions of aerial warfare and advanced aerospace vehicles.
Speaker 1: The detail propulsion, gyroscopes, metallurgy. The cave paintings are like
the prehistoric visual precursor to those texts, and.
Speaker 2: The choice of location deep underground is key. Caves in
ancient cosmology are luminal points, thresholds where the human world
meets the realm of the gods.
Speaker 1: I'd argue it's even more practical than that. It's about
data preservation. Think about it like a modern day iMac
theater or a secure bunker.
Speaker 2: Right, you don't paint your most profound experiences on a leaf, exactly.
Speaker 1: You put it in the bulk of the earth where
it survives from millennia. You endure the smoke, the darkness,
the treacherous terrain to record this.
Speaker 2: But the source material suggests a darker alternative.
Speaker 1: Right, were they painting them there because that's where they
saw them?
Speaker 2: Did the Rohila actually utilize subterranean bases?
Speaker 1: It shifts the whole paradigm if you need a staging
ground shielded from surface weather and primitive humans, deep cave
networks are the logical choice, and.
Speaker 2: The abduction lore could stem from humans accidentally breaching these
luminal zones, stumbling into active installations.
Speaker 1: And being removed for operational security. And what shatters the
whole hallucination theory for me is the global consistency.
Speaker 2: The morphology of the beings.
Speaker 1: Yes, you cross the ocean back to Australia, the Kimberly region,
the wan Gina cave.
Speaker 2: Paintings, massive heads, large black eyes.
Speaker 1: No mouths, a morphological twin to the Tarama figures. And
then you go to Algeria the Tasselin nag Or Plateau,
same exact, faceless, bulbous headed entities.
Speaker 2: The mathematical probability of isolated cultures independently hallucinating the exact
same anatomical anomaly is near zero.
Speaker 1: It's staggering. It's like thousands of independent journalists covering the
same event in local dialects.
Speaker 2: They weren't imagining a spirit, they were rendering a biological
or biomechanical entity.
Speaker 1: But you know, these figures are still kind of abstract physiologically,
they lack fine mechanical detail, where is the actual gear.
Speaker 2: The life support or localized propulsion.
Speaker 1: Right to find the actual blueprints, we have to move
out of the caves and climb into the Alps of
northern Italy. Falcamonica yes, a massive UNESCO site with hundreds
of thousands of rock figures.
Speaker 2: And researchers like William Henry and Luca Garelli found a
highly concentrated subset of carvings there that break the technological
timeline because.
Speaker 1: Amidst the deer and warriors, there are these humanoid entities
wearing enclosed mechanical helmets, spacemen, and.
Speaker 2: The visual fidelity is incredible. Distinct structural lines to suggesting visors, ventilation, ribbing.
Speaker 1: And radiating lines indicating they were emitting light or energy
active technology.
Speaker 2: And right above them the communion rows.
Speaker 1: Yes, nineteen instances of this mysterious first millennium BC symbol
nine dots in a symmetrical circular pattern.
Speaker 2: It resembles a spinning gyroscopically stabilized disc and the five
pointed stars representing energy descending from the stars.
Speaker 1: And to really decode this we have to look at
the local mythology. Turin is just one hundred and fifty five.
Speaker 2: Miles away, founded after faithOn, son of Helios descended in
a fiery chariot.
Speaker 1: And crashed into a mountain, and then top metallurgy to
the locals.
Speaker 2: If you strip away the poetry, sun, gods and chariots,
what is the sequence of events?
Speaker 1: You have an aerospace vehicle suffering catastrophic mechanical failure, it crashes.
The surviving non human occupant initiates a localized technological transfer
with the indigenous population.
Speaker 2: Teaching them to extract and manipulate complex metals. It's a
textbook UFO crash retrieval and reverse engineering event.
Speaker 1: It really is. And the massive concentration of carvings at
Valkemonica suggests it was a recognized crash site, a pilgrimage spot.
Speaker 2: But the most crucial piece of data isn't on the
main tourist trail.
Speaker 1: Here's where it gets really interesting for you listening. They
found a carving entirely off the path on a highly dangerous,
unstable cliff edge.
Speaker 2: Two large spacemen wearing glowing helmets mirroring each other.
Speaker 1: Right, why carve the most detailed representation on a sheer
cliff face where no one can easily see it.
Speaker 2: Location dictates function exactly.
Speaker 1: I look at it like compartmentalized intelligence. You don't post
stealth bomber schematics on a public boltimboard. You put them
in an seif a secure facility.
Speaker 2: An initiatory site.
Speaker 1: This wasn't the billboard for everyone to see. It was
a top secret briefing room. Only select initiates were brought
up that dangerous path to learn the truth.
Speaker 2: This is what they actually looked like. This is the
secret of the transfer.
Speaker 1: Standing on the edge of that alpine cliff, looking at
these glowing mechanical visors carved into granite, you're reading a
classified briefing document.
Speaker 2: It implies the knowledge was volatile, sacred, or dangerous to
the uninitiated psyche.
Speaker 1: Absolutely. So let's summarize the global architecture. So far. We've
got thrust mechanics in Australia, subterranean bases in India, technological
transfer and classified blueprints in Italy.
Speaker 2: But there is a massive theoretical void.
Speaker 1: Right, How did they traverse the unimaginable distances of space?
How do you get to this tiny blue rock.
Speaker 2: To answer that, we have to look at the underlying
physics of our final destination.
Speaker 1: We're heading to the volcanic shores of Hawaii.
Speaker 2: This is a profound analytical shift, moving from archaeology to
theoretical astrophysics and geophysics.
Speaker 1: Specifically, the Puloa petroglyph field twenty three thousand works of
art carved into hardened lava rock.
Speaker 2: And researchers like David Childress and doctor Michael Sala found
an immediate comparative anomaly.
Speaker 1: The humanoid figures are morphologically identical to the undeciphered Wrongo
Rongo script of Easter.
Speaker 2: Island, which is forty five hundred miles away. Standard historical
models say primitive maritime technology couldn't support that level of communication,
no way.
Speaker 1: But the shared script is just the surface. The field
is dominated by concentric circles and spirals.
Speaker 2: And if you ask Hawaiian elders or Native American tribes
with similar syntax, these aren't decorative. They represent concentrated energy.
Speaker 1: Fields portals gateways to other dimensions.
Speaker 2: Which is where ancient indigenous cosmology intersects with advanced theoretical physics.
They are functionally describing an Einstein rosenbridge, but.
Speaker 1: The energy required to stabilize one of those using exotic
matter with negative energy density is mathematically staggering. You can't
just power that with a standard generator.
Speaker 2: The energy requirements are planetary and scale, and that is
why Hawaii's geological composition is the key.
Speaker 1: Because the Earth isn't just inert rock. It's a massive
electromagnetic dynamo.
Speaker 2: And Hawaii sits on a powerful, continuous undersea magma hotspot,
the basaltic rock. There is dense and reach in crystalline structures,
primarily quartz.
Speaker 1: Which introduces the piece of electric effects exactly for those listening.
The piece of electric effect is when solid crystalline materials
generate a massive electrical charge under applied mechanical stress.
Speaker 2: And in Hawaii you have millions of tons of quartz
rich basalt under immense tectonic pressure and surging magma.
Speaker 1: It's an entire island chain acting as a colossal natural
piezo electric generator producing a localized, incredibly dense electromagnetic field.
Speaker 2: If a highly advanced intele jens understands how to manipulate
the theoretical bridge between electromagnetism and gravity, they.
Speaker 1: Wouldn't expend energy punching a hole randomly in the void.
They'd use the natural grid.
Speaker 2: The immense piezoelectric field could theoretically act as an acoustic
resonance chamber, tuning the local magnetic field to anchor a
space time bridge.
Speaker 1: It's the ultimate synthesis of geology and astrophysics. Hawaii isn't
just an island. It's a cosmic subway terminal.
Speaker 2: A literal geophysical portal.
Speaker 1: If you wanted to travel the galaxy, you wouldn't just
land anywhere. You'd land where the natural physics of the
Earth gave you a runway.
Speaker 2: And that aligns perfectly with ancient Hawaiian beliefs that the
island was a birthing and travel hub for humanity.
Speaker 1: It totally resolves the Easter Island anomaly too.
Speaker 2: Right if Puloa was the central anchor point for a
portal network, cultural data like the Wrongo Wrongo script would
instantly disseminate.
Speaker 1: Completely bypassing the need for one thousand mile canoe voyages.
They were utilizing these geologic energy hubs for instant traversal.
Speaker 2: The rocks were generating the voltage necessary to warp space time,
and the Shamans carved mathematically precise spirals to say this
is the locus point.
Speaker 1: This is where the gravity field fractures. It grounds the
whole episode in tangible physics.
Speaker 2: It's a dense, massive amount of data.
Speaker 1: Let's review the thrilling threads we've woven today. Biam's fiery
landings in Australia, out of place, Egyptian royals, recording saucer.
Speaker 2: Craft, India's underground vaults, detailing faceless bipedal entities.
Speaker 1: Italy's cliff side spacemen and crash retrievals, and finally, the
electromagnetic wormholes of Hawaii.
Speaker 2: When you aggregate these data points across linguistics, geology, astrophysics,
and archaeology, the conclusion is profound.
Speaker 1: It really is.
Speaker 2: Whether you view this as literal extraterrestrial history or complex
human psychology. The mathematical consistency is awe inspiring.
Speaker 1: It forces us to question our assumptions about our isolation
in the universe. Our ancestors weren't primitive children frightened by thunder.
They were acute.
Speaker 2: Observd desperately trying to transmit highly technical data across deep time.
Speaker 1: They left us the ultimate data gash. And that brings
me to a final, slightly unsettling thought that I want
you to process We've spent this entire discussion looking backward
at ten thousand year old rock. But what if we
apply this framework to the present moment. What if the
intense localized geologic conditions that create these resonance chambers, the
magma hot spots, the piezoelectric fields are still totally active,
humming away under our feet right now.
Speaker 2: The physical infrastructure hasn't changed. The resonance is still there,
waiting for the correct frequency exactly.
Speaker 1: What if the anchor points never degraded. What if the
doors are still perfectly functional, and we, in our modern
technological arrogance, have just forgotten how to read the instruction
manuals carved into the stone.
Speaker 2: That is a chilling thought.
Speaker 1: So where do you stand when you look at the
mechanical specificity of Buyme's landing, the classified SCIFs of vel Camonica,
and the physics of the Hawaiians? Do you think these
global rock kartings are mankind's oldest eyewitness journalism or.
Speaker 2: Does incredible coincidences of human imagination?
Speaker 1: We want to know what you think. Drop a comment
below and share your theory with us. We love seeing
how you process this level of complex info. Thank you
for bringing your curiosity to the table today. Keep questioning
the established narrative, keep your eyes on the skies, and
we will see you next time on Thrilling Threads.