Speaker 1: You see something's going to happen.
Speaker 2: What What's going to happen? I'll take one.
Speaker 1: What. Welcome to the Occult Rejects tonight. We are going
Speaker 1: over sacred sound, sound of the Spirit. In the beginning
Speaker 1: was the word. The word was with God, and the
Speaker 1: Word was God. So we are going over all of
Speaker 1: the elements. It's going to be a fantastic journey tonight.
Speaker 1: I've got Nick with the Cult Rejects, I've got TJ
Speaker 1: with Contemporary Problems. I've got Robbie Marx and Ethan Indigo.
Speaker 1: If you guys want to introduce yourselves and plug what
Speaker 1: you're working on, that would be a great way to
Speaker 1: start real quick.
Speaker 2: Yeah, Nick from the Occult Rejects. One thing that is
Speaker 2: new that's coming out of will be doing a video
Speaker 2: documentary on the catacombs in New York City at Saint
Speaker 2: Patrick's Cathedral or Old Old Cathedral. So that's something new
Speaker 2: that I'm working on that you can keep an eye
Speaker 2: out for it. And odds are if you're listening to this,
Speaker 2: you already know about the Occult Rejects. But if this
Speaker 2: is the first time you happen to be hearing me
Speaker 2: coming across us, Yes, This is the Ocult Rejects and
Speaker 2: it's on bitchoop Rumble and YouTube and all major podcasts.
Speaker 1: Thank you very much, thank you.
Speaker 3: Good TJ Contemporary Problems. If you don't know, well now
Speaker 3: you do, so.
Speaker 4: Don't know, Yeah, Bobby, and let them know where you
Speaker 4: can be found.
Speaker 5: Yeah, if anybody wants to check out my other stuff,
Speaker 5: do artwork for various bands and stuff as well as
Speaker 5: I have the podcast, and then you know, all the
Speaker 5: social media sites. You can check out my link tree
Speaker 5: which is linked tree r M A r X and
Speaker 5: then I'll pull up everything I got.
Speaker 1: All right, then Ethan Indigo.
Speaker 6: I got a bunch of articles out there on everything
Speaker 6: from the political to the esoteric, and I've written a
Speaker 6: few books as well, and I always honored to be
Speaker 6: here with you guys.
Speaker 1: Well, thank you. So I think this is sort of
Speaker 1: going along with our elemental series, right, So we've done
Speaker 1: water consciousness before and now moving into sound and cimatics
Speaker 1: and talking about Walter Russell talking about the periodic table
Speaker 1: of the elements, talking about resonance, talking about ancient history.
Speaker 1: When it comes to this stuff, sound plays such a
Speaker 1: major role in ancient history. It cannot be understated. How
Speaker 1: masterfully sound was used in the ancient world. So many
Speaker 1: different stories talk about how these shamans were able to
Speaker 1: levitate stones into place using sound waves alone. So they
Speaker 1: had a much greater grasp of how the geometry of
Speaker 1: sound worked, and they had a better idea of their
Speaker 1: relationship to these resonances. So I think to get a
Speaker 1: few you know things out of the way, let's talk
Speaker 1: about what resonance means. So, if you've got two different tones,
Speaker 1: you're going to create a resonance between the two tones
Speaker 1: that meshes up and creates what are called a beat. Right,
Speaker 1: So these two separate tones together are going to create
Speaker 1: this beat frequency, right, and that beat frequency is used
Speaker 1: in hypnosis tapes. That's called the bineural beats, where they've
Speaker 1: got a slight variation from one resident from one tone
Speaker 1: to the other, creating a third tone in the beat.
Speaker 1: I think that's a really important factor when considering how
Speaker 1: nature might utilize that. One of the ways that I've
Speaker 1: seen the bineural beats occurring in nature itself is in
Speaker 1: the swamps at night when you hear the frogs going off.
Speaker 1: The tones are slightly different from one side to the other,
Speaker 1: and if you concentrate really hard in those swamps. You'll
Speaker 1: understand why these some of these frogs produce five dmt
Speaker 1: out of their backs, because I believe there is some
Speaker 1: sort of a thinning of the veil that goes along
Speaker 1: with sound and the mastery of sound. So I think
Speaker 1: having that sort of idea in your mind when it
Speaker 1: comes to this stuff and how it impacts our DNA,
Speaker 1: how it impacts the molecules themselves, It's important to remember
Speaker 1: everything in the world is vibrating, and everything has a
Speaker 1: resonant frequency. So Walter Russell created a periodic table of
Speaker 1: the elements using the resonant frequencies of all of the
Speaker 1: different elements in that table. So he gives you a
Speaker 1: really nice visualized version of the periodic table and the
Speaker 1: associated tones that are, you know, resonant with the different elements.
Speaker 1: And when you can visualize it in that manner, you
Speaker 1: can really start to understand how these things fit on
Speaker 1: a much different level than just the the atomic weight
Speaker 1: and the protons and electrons in each one of these
Speaker 1: energy shells. And that do you have that slid ready
Speaker 1: to go? Nick, Let's take a look at that. So
Speaker 1: right here you can see this this periodic table of
Speaker 1: the elements has these different octaves that the elements are
Speaker 1: broken down into. So the tenth octave looks like it
Speaker 1: would be a much wider frequency, much lower, So I
Speaker 1: think that would be more dense matter. I'm not sure exactly.
Speaker 1: I'd have to go really into depth to get all
Speaker 1: of the different things together. But what's interesting to me
Speaker 1: is how similar this looks to the idea of the monochord,
Speaker 1: and the monochord was really important for Pythagoras because Pythagorists
Speaker 1: determined that if everything has this frequency, you can use
Speaker 1: a single chord as a way of creating these different tones,
Speaker 1: these different ratios that would be reflective in nature itself.
Speaker 1: So I think from Pythagorasts talking about how music is
Speaker 1: associated with the spheres and how the sun is the
Speaker 1: central mover of this monochord type system, and then over
Speaker 1: to Walter Russell. Between the two of them, they're mapping
Speaker 1: out the universe sound. So having the idea of the
Speaker 1: monochord in your head and understanding how resonant frequencies really
Speaker 1: do bind everything together in a kind of sonic net.
Speaker 1: Everything is sort of part of the sonic net, and
Speaker 1: it's always resonating off of each other because everything is
Speaker 1: already vibrating. It may be subaudio. You might not be
Speaker 1: able to hear the vibrations, but those vibrations are there
Speaker 1: all around you all the time. The only way you're
Speaker 1: gonna get away from it is if you were in
Speaker 1: absolute zero. So at that absolute zero level, that would
Speaker 1: be where all of the vibrations would stop. To me,
Speaker 1: it just sounds theoretical because I don't think scientists have
Speaker 1: been able to get mattered down to absolute zero yet,
Speaker 1: But I think once you do, that's really good to
Speaker 1: be uh revealing in terms of baseline vibration. Did anybody
Speaker 1: have anything to say about this Walter Russell diagram?
Speaker 2: No, but I did want to, like just mention there
Speaker 2: was a few things that you said. I just want
Speaker 2: to just touch on real quick. Anyway, It was interesting
Speaker 2: how you said about like, you know this, I think
Speaker 2: a few different types of theories on people moving things
Speaker 2: with sound. I mean some people have thought I mean,
Speaker 2: I don't know if you want to go there with theyank,
Speaker 2: but some people do think that that has some sort
Speaker 2: of capabilities of doing that or whatever. Maybe the Egyptians
Speaker 2: did that, But I mean there has been people I've
Speaker 2: even seen do videos that like well like can make
Speaker 2: rocks move actually at least lift them up, just through
Speaker 2: like frequencies and stuff. So I did find that interesting
Speaker 2: that you mentioned that, because I mean, there is proof
Speaker 2: of being able to do that, and one thing that
Speaker 2: you just happen to mention that. Really it made me
Speaker 2: think about Girtschev and then it made me think about
Speaker 2: the Fellowship of Friends. And you know, I don't know
Speaker 2: much about Girtcheffs, so I can't, but I do know
Speaker 2: he was into like the whole octave stuff with music,
Speaker 2: and the Fellowship of Friends kind of basically took his
Speaker 2: teachings and perverted it to manipulate people. And they started
Speaker 2: taking music and they would do things in octaves, like
Speaker 2: when we covered it in the past, they actually had
Speaker 2: it like certain weeks it was gonna be certain octaves done,
Speaker 2: and like within those octaves they were like, I guess
Speaker 2: whatever they were saying or what they were trying to
Speaker 2: teach or do were supposed to go along with the
Speaker 2: music to where it made them like absorbent more. It
Speaker 2: was very weird. They explained it too, you know, so
Speaker 2: so sound was you know, it's it's important.
Speaker 1: So with gi Gerdjeff, his idea was that you would
Speaker 1: need to have perfect synchronization between your body and the
Speaker 1: sound so that you could experience a type of resonant
Speaker 1: frequency from that experience. So he would have his participants
Speaker 1: do these dances over and over and over again until
Speaker 1: they had them absolutely perfect, right and in that perfection,
Speaker 1: that's where the meditative state would would start to have.
Speaker 2: Some OA stuff right there.
Speaker 1: Yeah, yeah, definitely, And I think that goes into the
Speaker 1: water too, because with water you get the cymatics of
Speaker 1: the different frequencies in the tones. Why would it be
Speaker 1: any different with your own body. If your body is
Speaker 1: now having a resonance with that water, with the music
Speaker 1: and the motions, you're talking about maximizing the energy and
Speaker 1: creating a type of flow that would be something different
Speaker 1: than any other of consciousness that you could normally have.
Speaker 2: I think that's kind of what goes on with besides
Speaker 2: other things. I do think that's part of sometimes ritualistic rituals,
Speaker 2: especially i'd say the Star Ruby because even in the
Speaker 2: Ruby that Crowley wrote, each direction you're pronouncing whatever word
Speaker 2: you're saying, you're gonna be pronouncing it a different way.
Speaker 2: So there's a reason for that, I'm sure. Besides it
Speaker 2: trying to I think go along with the quarters and
Speaker 2: the elements, like you know, some way you're screaming because
Speaker 2: it's supposed to be representing an an eagle, you know,
Speaker 2: something like that, but you're doing things in different sounds.
Speaker 2: And even like then in like the pentagram ritual and
Speaker 2: the Hexagram ritual, it may not even just be Crowley.
Speaker 2: I think like even in other people's representations of it,
Speaker 2: they may just be pulling it from Crowley anyway. But
Speaker 2: it is specified to vibrate certain words to like almost exhaustion.
Speaker 2: Like there's a reason for that. I'm assuming you know. Then,
Speaker 2: I do think it's you're doing something with the movements
Speaker 2: and the vibrating, and I do think it might actually
Speaker 2: be more maybe just to put your whole body into
Speaker 2: a certain state.
Speaker 5: So I was gonna say, now, with this Walter Russell chart,
Speaker 5: when when you look at how the vibration makes up
Speaker 5: the central the central core, it's talked about that the
Speaker 5: elements basically reflect as above so below. As you're moving
Speaker 5: up this ladder, the ones above them and above them,
Speaker 5: and they basically nest into one another depending upon how
Speaker 5: the frequency resonates and how dense it it becomes versus
Speaker 5: how light it becomes. But they're the same elements, but
Speaker 5: changing form through resonant structure as they move up or down,
Speaker 5: which I find really interesting.
Speaker 2: That is.
Speaker 1: Well with this Walter Russell diagram. His uh, his focus
Speaker 1: was mainly on the light that was given up by
Speaker 1: these frequencies and how the light interacted with each other.
Speaker 1: But this also works with the you know, the sound
Speaker 1: as well, and I think the crossover between sound and
Speaker 1: light is really interesting to me because that the first
Speaker 1: thing that comes to my mind is the cavitation bubble.
Speaker 1: I know, if you've ever had experience with boats, you
Speaker 1: see the bubbles coming off of the propeller in the
Speaker 1: back of the boat. And those bubbles aren't created by
Speaker 1: the air on the top of the water. Those are
Speaker 1: cavitation bubbles which occur because of a fast moving object
Speaker 1: through the fluid well. Cavitation bubbles can actually be held
Speaker 1: by sonic frequencies, and those cavitation bubbles produce light. And
Speaker 1: it hasn't been fully explained by science yet, but you
Speaker 1: can have a bubble producing light held within a sonic structure,
Speaker 1: creating resonance. Within the water. Now, this goes straight back
Speaker 1: into that water consciousness idea, something about the water that
Speaker 1: is producing an energy that creates this collapsed sort of
Speaker 1: energy within the water itself. So a cavitation bubble would
Speaker 1: be like a collapse. You're collapsing the energy. It's a
Speaker 1: different form of energy than the normal explosive force, which
Speaker 1: goes back to the water wizard. You know, if you
Speaker 1: think about the two different ways of experiencing energy, you've
Speaker 1: got the heat loss right, and then you would have
Speaker 1: like a tornado. A tornado is way more powerful than
Speaker 1: an explosion and its self sustaining. And because the cavitation
Speaker 1: bubble itself is more on the collapsing path, we all
Speaker 1: know when these tornadoes happen in the bathtub, what's happening
Speaker 1: is you're getting that spiraling effect that becomes self sustaining.
Speaker 1: So it has to do with the geometry, it has
Speaker 1: to do with the collapse. And if that is a
Speaker 1: different way of producing energy than regular explosions, that could
Speaker 1: be a much more sustainable way of producing energy for consumption. Now,
Speaker 1: obviously in our world, heat loss is the main way
Speaker 1: of producing energy. But if you think about the spiral
Speaker 1: going outward. That would be the heat loss. So let's
Speaker 1: say you've got an explosion. Whenever you see a fire
Speaker 1: on a really cold day, you get that fire tornado,
Speaker 1: and that sort of represents the heat loss. That would
Speaker 1: be the spiral outward. And then if you're talking about
Speaker 1: cold weather mixing with warmer weather, you've got another type
Speaker 1: of tornado, which would be that inward cycle of energy.
Speaker 1: And that inward cycle of energy would be the more
Speaker 1: sustaining cold cold fusion and type energy, right, and the
Speaker 1: cavitation bubble being held in stasis by you know, sound
Speaker 1: and producing light would be the perfect representation of that
Speaker 1: collapsing type energy, which I think is is perfectly represented
Speaker 1: by the idea of sound, because sound can not only
Speaker 1: be explosive, it can also be implosive.
Speaker 2: I too, like how you see like the Fibonacci sequence
Speaker 2: in there too. Kind of yeah, but you know, you
Speaker 2: with your whole spiral thing, I have wondered if, I mean,
Speaker 2: I don't know how it works since we're not getting
Speaker 2: knocked over, But for some reason I have thought that
Speaker 2: gravity might actually kind of work in that well. I
Speaker 2: don't think gravity is really what it is, like what
Speaker 2: we think it is anyway, But I have wondered if
Speaker 2: it's like a spiraling down type of.
Speaker 5: Well, you see within the sound, the active function of
Speaker 5: the spiral, you see it within the water, you see.
Speaker 5: I mean, I think everything within creation, from the DNA
Speaker 5: to potentially gravity, has a relationship with some sort of
Speaker 5: a spiral dynamic.
Speaker 2: It's like a downward spiral by any shows, any shows.
Speaker 7: I just wanted to underline some stuff that you mentioned headless,
Speaker 7: uh than that, and in so many different traditions, from
Speaker 7: Egyptian and to more primal and indigenous cultures, the sound
Speaker 7: is kind of the point of creation, right, And it's uh,
Speaker 7: not only it's a it's a something that we hear
Speaker 7: and i'm something that we evoke as well. And there's
Speaker 7: all kinds of different ways to look at it, but
Speaker 7: I think it's a kind of generative quality that we have.
Speaker 7: There is one of my favorite little Indian guru metaphors,
Speaker 7: if you will. A monk who's learned and has to
Speaker 7: fulfill his duties by traveling and teaching other people about
Speaker 7: the dharma or what have you that he was teaching,
Speaker 7: and he has to, you know, go on pilgrimage and
Speaker 7: he goes throughout these villages and all over teaching. And
Speaker 7: one day someone tells him about a hermit on an
Speaker 7: island in the middle of a lake, and he should
Speaker 7: go to this island and teach him. And he takes
Speaker 7: a boat to the island and he goes and he
Speaker 7: finds this, you know, esthetic this guy living in his
Speaker 7: underwear or what have you. And he's like, oh my gosh,
Speaker 7: oh oh, that's so wonderful that you hear. You have
Speaker 7: so much to teach me. And the learned monk is, well, yes, yes,
Speaker 7: i'll teach you. There's so many things, or I'll teach
Speaker 7: you what I can, but I can't stay for long.
Speaker 7: And you know, he tastes on the role of teacher
Speaker 7: and master. And they're sharing their various mantras and the
Speaker 7: hermit shares his mantra with the monk that the mantra
Speaker 7: recognizes and he said, no, no, no, no, you're wrong, you're off.
Speaker 7: The mantra goes like this, not like that, not like that.
Speaker 7: Oh oh my goodness, thank you so much for teaching
Speaker 7: me this. I would have been lost and saying the
Speaker 7: mantra the wrong way for a lifetime. Thank you, and
Speaker 7: the monk, the learned monk feels good the next morning
Speaker 7: or what have you. He leaves, and the hermit blesses
Speaker 7: him and thanks him, and the boatman is taking him
Speaker 7: across the water and he stops and he's dumbfounded look
Speaker 7: on his face. And the monk turns around just in
Speaker 7: time to see the hermit walking on water saying wait, wait,
Speaker 7: how do you say the mantra again correctly? Which I
Speaker 7: think is a really funny way of noting that behind it,
Speaker 7: the mental attitude is what is super important rather than
Speaker 7: the pronunciation. And and to that point, with the one
Speaker 7: O eight, they often will repeat the mantra with the
Speaker 7: intent to have one hundred repetitions that are decent enough
Speaker 7: to be acceptable and eight for incorrect pronunciation or for
Speaker 7: other people who haven't said the mantra. So I just
Speaker 7: wanted to say, and the whole, the whole generative quality
Speaker 7: of communication. I just wanted to underline, thank headless, this
Speaker 7: is awesome presentation.
Speaker 1: Thank you. So that kind of goes into a little
Speaker 1: bit of what I sort of think about when it
Speaker 1: comes to vibrant these words. I think Crowley mentions it
Speaker 1: in book four. But what you're supposed to be doing
Speaker 1: while you're vibrating the words is you're supposed to be
Speaker 1: clearing out the mind, right, So he likens it to
Speaker 1: sand on a beach towel, and what you're trying to
Speaker 1: do is you're trying to vibrate that beach towel to
Speaker 1: get all the sand off of it. So if you're
Speaker 1: holding it up and you're kind of shaking it, all
Speaker 1: that sand kind of creates that climatic effect, and now
Speaker 1: it's forming that that sort of mandola of frequencies within
Speaker 1: that thing, and you're trying to vibrate that sand or
Speaker 1: all of the distractions out of your mind as you're
Speaker 1: vibrating it. So it has a cleansing quality to it too,
Speaker 1: And if you think about it, having that frequency being
Speaker 1: the basis for how you're doing the cleansing, would really
Speaker 1: get a lot deeper and a lot more more thorough
Speaker 1: than other forms of cleansing during rituals. So you're actually
Speaker 1: taking your voice and using that as an energetic tool
Speaker 1: to cleanse the mind and cleanse the body of all
Speaker 1: of the different distractions that may be plaguing you at
Speaker 1: the time. So there is that cleansing quality to the
Speaker 1: sound as you're as you're using it, so I think, uh,
Speaker 1: I think we're good on this one. We can go
Speaker 1: over to the next one there.
Speaker 7: May I may I underline something too that, uh, the
Speaker 7: healing power in the rhythm and vibration and those being
Speaker 7: tenets from the Kaibali, and those are often mixed up,
Speaker 7: not necessarily mixed up, but maybe considered that maybe one
Speaker 7: isn't needed because one could suffice for both. I was
Speaker 7: kind of thinking about sound and relation to rhythm and
Speaker 7: vibration when I was doing some chi young and a
Speaker 7: simple demonstration I think helps, like the rhythm is the
Speaker 7: rate at which I'm making the tap, but the vibration
Speaker 7: is what's causing that in my voice, right, So so
Speaker 7: it's kind of like math and numbers with these causes
Speaker 7: and effects, if you will. Sorry for interrupting this. I
Speaker 7: just wanted to add that because I thought it's right,
Speaker 7: that's the point.
Speaker 1: And what you're doing with all that math is you're
Speaker 1: creating ratios, right, And the mathematics of music is all
Speaker 1: about ratios and how they exist in relationship to one another.
Speaker 1: And I think that's why this, uh, this you know
Speaker 1: slide right here is really important because what they're trying
Speaker 1: to show is that it all kind of fits into
Speaker 1: the golden ratio. And when you've got the golden ratio
Speaker 1: as your base level understanding of how sound and light
Speaker 1: interact with one another, you can kind of start to
Speaker 1: get the idea of where you can use this sound
Speaker 1: as a tool to start to transform sound and light.
Speaker 1: And if that's really where we're at, you know, you've
Speaker 1: got string theory, which talks about how, at the very
Speaker 1: most basic level, it's just vibrating energy, right, And if
Speaker 1: that's the case, why wouldn't sound and light be more
Speaker 1: structurally important then maybe the physical matter that we sort
Speaker 1: of interact with on the scale we exist at. So
Speaker 1: you know, we're looking around and we see objects when
Speaker 1: really it's vibrating energy. And if you take it from
Speaker 1: that perspective, you can kind of see how we're living
Speaker 1: in a hologram. If everything's just vibrating strings of energy,
Speaker 1: then light is at the very basic nature of every thing,
Speaker 1: and it's that vibrating light that creates the illusion of objects, right,
Speaker 1: because nothing is really solid if everything is vibrating. And
Speaker 1: when you understand that, you know the light spectrum is
Speaker 1: mostly invisible and there's a lot of different sounds that
Speaker 1: we don't necessarily hear audibly. You could see how having
Speaker 1: all of that come together would create the illusion of
Speaker 1: solidity within the world around us. And by being able
Speaker 1: to transcend the idea that maybe everything is solid, maybe
Speaker 1: everything is as you know, concrete, as we think it is.
Speaker 1: By transcending that idea, we might be able to have
Speaker 1: a little bit more influence over our lives. And if
Speaker 1: you think about it, you have to start believing that
Speaker 1: things are possible to break the cycles that you're stuck in,
Speaker 1: and believing outside of just the normal physical world of
Speaker 1: solidness and form. That takes a lot more energy, internal energy,
Speaker 1: and it transforms it into a sort of a spiral pattern.
Speaker 1: And the more you engage with that spiral pattern, the
Speaker 1: more likely it is that you get out of the
Speaker 1: cycles that you're stuck in. So, you know, in this case,
Speaker 1: we're talking about how all of these different frequencies resonate
Speaker 1: with one another and create these different patterns. You're already
Speaker 1: in a pattern. You know, once you've started to identify
Speaker 1: that pattern, once you get to know yourself a little
Speaker 1: bit better, you can understand how to break those patterns.
Speaker 1: You can understand how to resonate outside of the cages
Speaker 1: that we've produced for ourselves. Also, this one is based
Speaker 1: off of four point thirty two. Hurt modern tuning is
Speaker 1: at four forty. So there is this sort of distinction
Speaker 1: between the old way of doing things, which was much
Speaker 1: more and tune with the rest of nature, versus this
Speaker 1: new tuning which came out of the same people who
Speaker 1: basically ruin everything the you know, Rockefeller Foundation.
Speaker 2: I was gonna bring that up, I.
Speaker 7: Was gonna say, and I think to underline the significance
Speaker 7: of four thirty two, it's one hundred and eight times four, right,
Speaker 7: which is fascinating, not no coincidence.
Speaker 5: And interestingly, I collect a lot of old blues records,
Speaker 5: and if you take like some of that early Robert
Speaker 5: Johnson and you put it on the turntable and you
Speaker 5: can slow it down by about you know, one one
Speaker 5: and a half revolutions, it sounds much more natural the
Speaker 5: way that it's They sped it up to increase the frequency,
Speaker 5: and it sounds much more agitating. So there's this whole
Speaker 5: idea of going back to Plato and he talks about
Speaker 5: the idea that you change the resonant frequency of a
Speaker 5: society and it can you know, either help them excel
Speaker 5: or completely break them down.
Speaker 1: You know, yeah, absolutely no, I completely agree by By
Speaker 1: changing how we interact with music and how we interact
Speaker 1: with the sounds around us, you could start to change
Speaker 1: the resonant frequencies within the body itself. And there have
Speaker 1: been cases where sounds have been able to negatively influence
Speaker 1: the body itself. Right. A lot of right an infrasound
Speaker 1: are said to create a sense of dread, a sense
Speaker 1: of fear, and so basically those are those are frequencies
Speaker 1: that are sub audio, so you're not really going to
Speaker 1: hear them. This happens a lot with machinery. So if
Speaker 1: you're working around machinery that is stuck at these frequencies
Speaker 1: that are not in tune with the body, you can
Speaker 1: get sick from it, which I think is just you know,
Speaker 1: it's the perfect evidence that if people know about this,
Speaker 1: why wouldn't they use it? And that goes into blue
Speaker 1: light spectrums too. If we're stuck in the blue light spectrum,
Speaker 1: we're supposed to have a pretty good balance of both
Speaker 1: blue and red light, right, and you're supposed to be
Speaker 1: able to increase the body's healing capabilities by getting up
Speaker 1: at dawn and feeling that ultraviolet light from the first
Speaker 1: rays of sunlight from the dawn. But you know, most
Speaker 1: people don't get up at dawn, so we're sort of
Speaker 1: missing out on the ability to have a increased metabolism,
Speaker 1: better protection from the sun. All the rest of these
Speaker 1: things sort of come down to the very light spectrum itself,
Speaker 1: and once we can, you know, control role how we
Speaker 1: are interacting with the light spectrum during the early parts
Speaker 1: of the day. Our eyes send signals to different parts
Speaker 1: of our brain to produce the type of hormones needed
Speaker 1: for that day. We may not do it consciously, but
Speaker 1: our brains and our bodies are optimized to figuring out
Speaker 1: what is needed based off of the light it receives
Speaker 1: at dawn. And you can tell a lot from the
Speaker 1: dawn light, you know. I mean, I'm sure everybody's heard
Speaker 1: the saying, what is it red sky? At night? Sailors?
Speaker 1: The light red sky and morning sailors take warning. The
Speaker 1: idea there is that you could tell a lot about
Speaker 1: the coming weather patterns just by looking at the light
Speaker 1: during these limital time periods.
Speaker 5: And I also wanted to say that, you know, in
Speaker 5: regard to some of those sounds that can agitate and
Speaker 5: cause you to become sick, like the brown note, which
Speaker 5: will make you defecate in your pains.
Speaker 3: Essentially.
Speaker 5: There's also other frequencies that have been used for healing purposes.
Speaker 5: There's that German scientist doctor Reich. What's what's his full
Speaker 5: name there right? I think Wilhelm, But there's another one,
Speaker 5: Reke gearhard Hammer. So there's a couple scientists in the
Speaker 5: past that have actually, you know, used sound frequency and
Speaker 5: then uh with who you were talking about there, what
Speaker 5: was his name, Willhelm Reich?
Speaker 3: Willhelm Reich.
Speaker 5: Yeah, he actually set up this whole theories of fair
Speaker 5: day cages inside of faar Day cages, where it would
Speaker 5: be like four or five fair Day cages deep, and
Speaker 5: then you would get inside of this device and it
Speaker 5: would essentially stop all sound wave frequency, cosmic waves, vibrations
Speaker 5: from the Earth, any electromagnetic frequencies and put you in
Speaker 5: this ultimate state of stillness where there was no vibration.
Speaker 5: And the ultimate theory was that when you were in
Speaker 5: that state where you weren't being barred by all these
Speaker 5: alternate frequencies that the world deals with, you know that
Speaker 5: you would essentially allow your your body to resonate at
Speaker 5: its own, you know, resonant structure, so that it could
Speaker 5: heal and restructure itself.
Speaker 1: Right. Well, this accumulator that you're talking about was actually
Speaker 1: this could be apocryphal, this could be a myth, but
Speaker 1: I remember it was seized by a cop who you
Speaker 1: know he was Wilhelm Mike was always under scrutiny from
Speaker 1: the police. It was seized by a cop, but the
Speaker 1: cop wanted it specifically so that he could put his
Speaker 1: wife in there right, so that she wouldn't be such
Speaker 1: a bitch all the time. So that's funny. So they're
Speaker 1: stealing his inventions so that they can use themselves, and
Speaker 1: I think that really kind of plays into the wider
Speaker 1: notion of what's going on when it comes to these crackpots,
Speaker 1: as the medical establishment likes to call them. They like
Speaker 1: to take whatever they want and use it however they want.
Speaker 2: I keep forgetting Will Holmes did mess with or going too.
Speaker 4: Yeah, the idea there was that he was talking about
Speaker 4: this orgasmic energy, and the orgasmic energy can be collected
Speaker 4: through alternating layers of organic and inorganic substances.
Speaker 1: So that's what this Faraday cage was. You'd have that
Speaker 1: layer of metal, and then you'd have a layer of wool,
Speaker 1: a layer of metal, and then another layer of wool.
Speaker 1: And the idea is that there was a certain type
Speaker 1: of life energy that would be transmitted between these layers
Speaker 1: that would keep it in balance and it wouldn't you know,
Speaker 1: expose the person to any harmful rays coming through the
Speaker 1: those type of things. And there have been experiments with
Speaker 1: plants that have shown that, yes, plants do grow better
Speaker 1: in that environment.
Speaker 5: So and I think that that reflects also on the
Speaker 5: Great Pyramid as far as blocking out the resonant frequencies.
Speaker 5: And you hear the tails in the various you know
Speaker 5: legends through time of them talking about taking seeds and
Speaker 5: putting them in the King's chamber and then being more
Speaker 5: resilient and growing faster. And I've heard there's been some
Speaker 5: studies done on this, but it's been a long time,
Speaker 5: you know.
Speaker 1: Well, what they found is that at places like Stonehenge,
Speaker 1: in places with megaliths, more often than not, these sacred
Speaker 1: sites had magnetic anomalies, and you know magnetics, that's the
Speaker 1: same kind of frequencies, and these magnetic anomalies would would
Speaker 1: create more sprouting seeds than normal so they think that
Speaker 1: they were used as a way of getting all the
Speaker 1: seeds the sprout a more you know, even fashion, so
Speaker 1: you would get a lot less duds and you can
Speaker 1: actually grow more. So I think the ancients had this
Speaker 1: stuff from lock and I think they were seeing it
Speaker 1: through visions. And the idea behind these visions is maybe
Speaker 1: you don't have all of the right jargon and lingo,
Speaker 1: but what they're seeing is something real right.
Speaker 7: Well.
Speaker 5: And also yeah, with those monuments, as far as the
Speaker 5: stone circles, the pyramids, the various temples, it's interesting that
Speaker 5: they would set those up on certain points of the
Speaker 5: earth that had a certain resonant frequency.
Speaker 1: Exactly exactly, and some of these places can make you sick,
Speaker 1: and other of these places will, you know, induce visions.
Speaker 1: They've got what they call the god helmet. Now where they.
Speaker 2: People use that shit? You know, you know who is
Speaker 2: big on that? Which I all, right, whatever, just my
Speaker 2: opinion of the whole show. I think it's reality TV.
Speaker 2: But what was that hellier? They used that shit? You know,
Speaker 2: trying to cut talking about Pin at the end of net.
Speaker 1: Right, Well, Pan is heavily associated with music as well,
Speaker 1: and you also have the idea of these the seven
Speaker 1: notes of the ancient world being associated with the seven planets,
Speaker 1: and all of these things are sort of in residence
Speaker 1: with each other to create the type of environment that
Speaker 1: will allow you to transcend regular physical matter. And I
Speaker 1: believe you know, if you think about sacred sites like
Speaker 1: the Delphic site where they would have all this prophecy,
Speaker 1: you would have to have everything in perfect resonance so
Speaker 1: that you could get the right type of oracle coming through.
Speaker 1: So I was listening the other day they were talking
Speaker 1: about how if the oracle wasn't delivered in hexamic pentameter,
Speaker 1: they would doubt the veracity of the predictions being made, right,
Speaker 1: I think, yeah, you were the one talking about that, Nick,
Speaker 1: So I don't they have everything in that perfect beat
Speaker 1: structure so that it would come through in the right
Speaker 1: And if you think about it, what better test for
Speaker 1: the spirits is there as to their veracity if you
Speaker 1: can get what they should be in time with, because
Speaker 1: that will show their resonant frequency as well. So if
Speaker 1: the spirits are delivering messages in a perfect poetry, then
Speaker 1: you can tell that this is not in disharmony. Right,
Speaker 1: It's a good test.
Speaker 2: I think Jim Morrison wrote in that a lot of
Speaker 2: people do itama.
Speaker 5: Interesting also when you go back to the mystery schools
Speaker 5: and the bringing of music up as a whole, you know,
Speaker 5: it's always based around these pan flutes or the leer
Speaker 5: or the lyar, you know, and then you have the
Speaker 5: tamburroborism and the simple the symbol symbols that come later,
Speaker 5: you know, but there's always this intrinsic thing in regard
Speaker 5: to using these instruments to create trans states.
Speaker 1: Right That goes back to the frogs. You know, once
Speaker 1: they start that resident frequency and you get into it,
Speaker 1: that's that sort of state is very powerful, and you know,
Speaker 1: creating an altered frame of consciousness. And I think that's
Speaker 1: that's what a lot of the music was back then,
Speaker 1: was a way of trying to alter consciousness using these
Speaker 1: sonic frequencies. But yeah, I think I think if people
Speaker 1: want to see that more, you know, they can screenshot it.
Speaker 1: But that's a that's a pretty powerful symbol right there.
Speaker 1: I mean, we all know that the way that the
Speaker 1: golden ratio works is found within all these different you know,
Speaker 1: plants and animals and structures and the human body and
Speaker 1: all the rest of it. So there has to be
Speaker 1: some sort of a resonant frequency that goes along with
Speaker 1: that golden ratio that starts to make everything make sense
Speaker 1: within this hologram. You know, Can we go to the
Speaker 1: next one?
Speaker 2: Sure, I got you, budd there we go.
Speaker 1: I like this one right, this one is in German.
Speaker 1: But what I think it's it's really showing well is
Speaker 1: the idea of the three dimensional nature of these spirals. Right,
Speaker 1: So as we're watching a spiral occur in a plant
Speaker 1: or an animal, it's occurring in three dimensional space as well.
Speaker 1: So you've got the bottom layer, right, which would be
Speaker 1: the flat layer, and then on top you can see
Speaker 1: exactly what's going on within that spiral, that spiral shape itself,
Speaker 1: so this would be more of a helical structure, but
Speaker 1: that helical structure is sort of an indicator of some
Speaker 1: other energy emanating from that spiral itself, right, all of
Speaker 1: it in perfect golden ratio as well. So understanding that
Speaker 1: will give you a better idea of auras if you ever,
Speaker 1: you know, get the opportunity to do or viewing on trees,
Speaker 1: you'll notice that in certain points in the tree, certain
Speaker 1: types of energy is changing and transforming. Pine trees themselves
Speaker 1: are part of this golden ratio structure. So on the
Speaker 1: outside the energy layer that's that's created by that object,
Speaker 1: you end up seeing that energy taking shape outside of
Speaker 1: the thing itself. And if you think about all the
Speaker 1: different ideas about the soul, you can see, you know,
Speaker 1: the Christians have their halos, the Greeks talk about the
Speaker 1: wide shining one. That's one of their favorite phrases to use.
Speaker 1: But the idea there is that there is some kind
Speaker 1: of an energy that is given off by people and
Speaker 1: things that resonates with other stuff. And we're talking about
Speaker 1: light energy, we're talking about electromagnetic energy. There are ways
Speaker 1: of seeing and experiencing these things that connect all of us.
Speaker 1: And this really does go into ancient philosophy and how
Speaker 1: they were trying to rectify that using the type of
Speaker 1: logical capacity that they had. So you would have guys
Speaker 1: like Parmanodes which said that all things are one and
Speaker 1: motion is impossible. Motion is just an illusion, nothing is
Speaker 1: actually moving. We're all part of the same thing.
Speaker 3: Walter Russell said a very similar thing.
Speaker 2: I said that when when I said I have had this,
Speaker 2: when I have my experiences with magical experiences, when it
Speaker 2: gets really dark. Right before the eclipse starts to show
Speaker 2: and it gets really dark. I said, there's a time
Speaker 2: where it looks like it turns into a white like
Speaker 2: a black wave, like it looks like a black oil.
Speaker 2: But I said, for some reason, after a few times
Speaker 2: of seeing it and looking at it differently, I was like, honestly,
Speaker 2: to me, it looks like a white light shining on something,
Speaker 2: and given the illusion that it's waving, I don't think
Speaker 2: it's actually I that's what I think is actually happening
Speaker 2: something to that.
Speaker 1: Well, I could go into the idea of the the
Speaker 1: Flame of Aphrodite. I love that in that episode when
Speaker 1: you're talking about the Flame of Aphrodite dancing in the
Speaker 1: back of the eyeballs.
Speaker 2: Yeah.
Speaker 1: Empedocles was talking about the four Elements and he said,
Speaker 1: the way that we view things is there's light, invisible
Speaker 1: light coming from our eyes hitting the object and then
Speaker 1: coming back to us. Now, in some ways you have
Speaker 1: to kind of see that as maybe an early attempt
Speaker 1: at describing this sort of aura phenomenon, because it's sort
Speaker 1: of like we're the emanators and we're the collectors as well,
Speaker 1: so it's like we're seeing what is inside of us.
Speaker 1: And in some ways I think there is that kind
Speaker 1: of a concept of as above so below. Within the
Speaker 1: flame of aphrodite dancing in the eyes.
Speaker 7: There's a I forget his name, so I apologize, but
Speaker 7: Indian guru kind of not so ancient but fairly modern.
Speaker 7: He says, effectively, nothing happened, nothing has happened. Also in
Speaker 7: in martial arts, uh, and I like to correlate this
Speaker 7: with the four dimensions of geometry. In martial arts, you
Speaker 7: can deduce four sets of posturing and and four ways
Speaker 7: of moving.
Speaker 2: Uh.
Speaker 7: Stillness as a point, linear, a straight line, uh, circular
Speaker 7: hook kind of thing. If if we're just going with
Speaker 7: demonstration of forgive my crude demonstration of punching and spiraling energy, right,
Speaker 7: and the spiraling energy is considered to have three directions,
Speaker 7: uh and and those, excuse me, those are made those
Speaker 7: have the points, lines, planes, and solid correspondence with the geometry,
Speaker 7: the four dimensions of geometry. But the spiral movement, the
Speaker 7: spiral flow is noted to be kind of the highest.
Speaker 7: Not that it's maybe the perfect choice all the time,
Speaker 7: but what happens is you in a spiral energy, you're
Speaker 7: inputting force in three directions and that is that overwhelms
Speaker 7: the human system. Ninety percent of the time. Ninety percent
Speaker 7: of people can't withstand the forces coming at them in
Speaker 7: three directions in that spiral thing. So forgive my crudeness
Speaker 7: of being the martial arts correspondence, but I think it's
Speaker 7: so basic that it's neat Well.
Speaker 1: I think the martial arts correspondence is a good one
Speaker 1: because that kind of gets into the Fibonacci sequence. So
Speaker 1: you're talking about one step plus one half step, and
Speaker 1: if you're thinking about that in terms of music, you
Speaker 1: can easily see how that would completely go along with
Speaker 1: the monochord. And then you've got the different threats being
Speaker 1: spaced the way they are because every time you're moving
Speaker 1: that half step up, you're changing the octave, you're changing
Speaker 1: the note being produced. So there's a large crossover between
Speaker 1: these ideas that is translated directly into music using that
Speaker 1: Fibonacci sequence, because that is the ratio by which these
Speaker 1: different notes are then formed. Now, if you're to take
Speaker 1: the the pentagram, the pentagram is a perfect version of
Speaker 1: that Fibonacci sequence. So you've got the if the two
Speaker 1: long legs right, one of those long legs bisected would
Speaker 1: give you the next figure in that Fibonacci sequence, and
Speaker 1: then you would bisect it again and bisected again. Everywhere
Speaker 1: these lines are bisecting one another, you get another segment
Speaker 1: in that Fibonacci sequence. So this is one of the
Speaker 1: reasons why it was such a popular figure geometric figure
Speaker 1: for the I'll help me out the guy who developed algebra.
Speaker 1: You know, a square plus b b squared equals c square,
Speaker 1: which is pag Fagoras. Yes, Pythagoras always looked at the
Speaker 1: pentagram as being one of the highest geometric forms, and
Speaker 1: that was actually one of the ways that they would
Speaker 1: signal each other is with the pentagram. So when you
Speaker 1: would have signs like let no man ignorant, ignorant of
Speaker 1: geometry enter here, which would be at the academic level,
Speaker 1: you had to know Pythagoras inside and out. You had
Speaker 1: to know these different sequences so that you could then
Speaker 1: make these educated correspondences with the maga mathematics and the geometry,
Speaker 1: so that your your words and your your actions could
Speaker 1: then become in harmony. Right, So having that basic idea
Speaker 1: of geometry would bring your life into harmony because you
Speaker 1: could see how one action should be in proper proportion
Speaker 1: to another.
Speaker 2: I do find that interesting. Somebody said that looks like
Speaker 2: what the treble cliff is something I can't remember what
Speaker 2: I saw it before with it does look a lot
Speaker 2: like something I've seen in music notes on back in
Speaker 2: the day when I was a kid and actually knew
Speaker 2: how to read music, remember there was something that looks
Speaker 2: like that.
Speaker 1: It does have that treble type quality to it. And
Speaker 1: you know, if you're talking about ways of learning, you
Speaker 1: would have the ancient ways of learning was the trivium
Speaker 1: and the quadrivium. So you've got grammar, logic, and rhetoric,
Speaker 1: and then you've got music, astronomy, arithmetic, geometry, and then
Speaker 1: there was one more. I forget the last one, but anyways, Yeah,
Speaker 1: the agent ways of learning had the sevenfold path, right,
Speaker 1: which was the most basic, which would be the threefold path,
Speaker 1: which would be the trivium, which means the three roads,
Speaker 1: and then the quadrivium would be the four roads. And
Speaker 1: I think when you're talking about combining the four and
Speaker 1: the three, you've created this figure of a seven that
Speaker 1: is repeated over and over and over again throughout all
Speaker 1: of nature, throughout all of the ratios required for music.
Speaker 1: The seven and then the extra step of the eight
Speaker 1: creates the octave. Right, so you see the.
Speaker 5: Fourth part of the quadrivium is indeed sound itself or music.
Speaker 1: I think I started with that, Yeah, okay.
Speaker 7: If I may add on to the seven idea, actually
Speaker 7: and more specific the four and the three. The own
Speaker 7: symbol is has the main four parts, A, U, M,
Speaker 7: and silence, but it's also noted to have in in
Speaker 7: between each of those are are the intersections or the
Speaker 7: you know, going the place where you're going from one
Speaker 7: and to the other. So it's very much like the
Speaker 7: human hand. You have the three spaces in between the
Speaker 7: four parts, the transitional zones if you will. Of the
Speaker 7: ohm has that seven in it, and the sound of
Speaker 7: silence is considered a very important thing right.
Speaker 1: When you When you have less physically obsessed cultures, negative
Speaker 1: space becomes a lot more important in their everyday lives.
Speaker 1: So they're looking at the negative of space between things
Speaker 1: and understanding the connection between these ideas. And if you
Speaker 1: can think about that, you start to see there's so
Speaker 1: much going on between the things that we think are
Speaker 1: important that it makes those things that we think are
Speaker 1: important a lot less important, And that kind of goes
Speaker 1: into numerology too, because when you understand all of these
Speaker 1: different numerological relationships between each other, you can understand how
Speaker 1: things are going to play out a little bit better.
Speaker 1: I think now those numbers again, in terms of Pythagoras,
Speaker 1: he believed that the base quality of everything was number,
Speaker 1: and number would be its own thing because it has
Speaker 1: its own form that is perfect. You cannot mess with numbers,
Speaker 1: You cannot chisel with numbers. He believed that there was
Speaker 1: some sort of a base quality to number that humans
Speaker 1: could mess with and nature could mess with. It just
Speaker 1: was and it existed in kind of a perfection. And
Speaker 1: you know, obviously that was taken to another degree when
Speaker 1: it comes to Plato and the Platonic solids and the
Speaker 1: idea of geometry being this world of forms, right forms
Speaker 1: without substance, and you get that with the golden ratio
Speaker 1: as well. That golden ratio exists over and over and
Speaker 1: over again, and yet you can never touch the golden ratio.
Speaker 1: It's not something you invented. It's something there, but it's
Speaker 1: also not there. You know, these ratios and these proportions
Speaker 1: and numbers represent the kind of blueprint that we live in,
Speaker 1: and that blueprint has a lot more to do with
Speaker 1: our mindset and the way that we see the world
Speaker 1: than we really even fully understand. These numbers all exist
Speaker 1: in ratios to one another, and it gives you a
Speaker 1: more clear picture of how these things are relating.
Speaker 7: The circle base is very reminiscent of what we know
Speaker 7: now is the Yin yang symbol and really looks like
Speaker 7: exactly like more primordial versions of it.
Speaker 1: Well, you can see the lines coming down and touching
Speaker 1: that bottom isometric figure, and it's sort of being, you know,
Speaker 1: shown on a different scale on the top version, so
Speaker 1: you're looking straight down at this spiral, and then the
Speaker 1: other version you're looking at it on the side, So
Speaker 1: it's an isometric sort of thing. But yeah, you get
Speaker 1: the golden ratio in there, and you certainly feel the
Speaker 1: connection between the yin Yang and the golden ratio if
Speaker 1: basically you split the golden ratio in half and then
Speaker 1: blended those those two together. So yeah, oh yeah, Da
Speaker 1: Vinci's helicopter is like a screw.
Speaker 2: Yeah, trying to look it up.
Speaker 5: Da Vinci also invented the screw for bringing water uphill
Speaker 5: as well. It's kind of a screw pipe that like
Speaker 5: a pump almost that'll move water uphill as well.
Speaker 3: Da Vinci worked a lot in spirals.
Speaker 1: Absolutely, it's not just our generation that is totally obsessed
Speaker 1: with spirals and the Golden ratio and FI and all
Speaker 1: the rest of these concepts. I can tell you anytime
Speaker 1: I run across another occultist, they're they're straight into that mindset,
Speaker 1: trying to figure out FI, trying to figure out the
Speaker 1: golden ratio, trying to figure out the Fibonacci sequence and
Speaker 1: how it applies and where it goes, what it's doing.
Speaker 1: And the Fibonacci sequence is sort of like this sort
Speaker 1: of material coding. It codes material. This is the most
Speaker 1: efficient way that material can be coated, not in squares,
Speaker 1: not in boxes, but in a much more naturalistic way
Speaker 1: that creates these spirals.
Speaker 7: One more thing of correspondence and interest in mathematical significance.
Speaker 7: I believe it was this guy named Jane as in
Speaker 7: the Janists, and he's from Australia. He found a twenty
Speaker 7: four digit sequence in the Fibonacci sequence. Where you add
Speaker 7: up every twenty four digits, it breaks down to one
Speaker 7: oh eight.
Speaker 1: Wait again, I found that if you take three, multiply
Speaker 1: it by four multiply it by seven, and then multiply
Speaker 1: it by seven or twelve you get one thousand and eight,
Speaker 1: which would be the atomic weight of hydrogen. So, if
Speaker 1: you're going to go from the per Pythagoras perspective, before
Speaker 1: you reach matter, you have to have these certain sequences
Speaker 1: of number that come together and vibrate at a certain frequency,
Speaker 1: and that vibration then creates what we think of as
Speaker 1: matter itself.
Speaker 7: This makes me think of another thing that I mean,
Speaker 7: it's a little bit abstract, but there is the notion
Speaker 7: of the sacred geometry being generational and the word being
Speaker 7: generational or generative, and then there is a very neat
Speaker 7: word that has this kind of idea that corresponds with
Speaker 7: the tetragrammaton, which is the word of creation and God,
Speaker 7: and the tetragrammaton. The way it's sometimes laid out is
Speaker 7: with the tetractyx, which is kind of the Greek version
Speaker 7: of the tetragrammaton, and it has a number of points
Speaker 7: in this triangular almost pyramidal, flat surface, triangular depiction of
Speaker 7: one at the top, two at the next level, then three,
Speaker 7: and then four, and that kind of has this geometry
Speaker 7: aspect again again, the point the two point for the line,
Speaker 7: three point for the plane, and four points for the
Speaker 7: minimal number of points needed for a solid. And in
Speaker 7: the Bible there's a neat word that's used often enough.
Speaker 7: Certainly wasn't Hebrew more Greek influenced, and there's an old blessing,
Speaker 7: so maybe it is a Hebrew word or has Hebrew roots,
Speaker 7: But the word is a countenance. May the countenance of
Speaker 7: God look upon you and you be able to really
Speaker 7: do what you want. And for the numerous numerologists out there,
Speaker 7: the word countenance, if you look at an a dictionary,
Speaker 7: it's the face, the facial attitude of a person. We
Speaker 7: might use it as in conversation, but the etymological roots
Speaker 7: of it are literally count ten inse I found that fascinating.
Speaker 7: So the whole face of God with the ten points
Speaker 7: and the geometry, and there it is in that word
Speaker 7: that made the countenance. And so it's just this numerological,
Speaker 7: geometrical root at the end of it.
Speaker 1: Right. Well, in the Bible too, you've got Ezekiel ten
Speaker 1: fourteen and twenty two describes a living creature with four faces,
Speaker 1: the face of an angel, a human, a lion, and
Speaker 1: an eagle. And if you go to any Catholic church,
Speaker 1: you'll find that that fourfold angel somewhere in the motifs
Speaker 1: in that Catholic church. And if you go back to
Speaker 1: the Greek version, the the orphic egg is supposed to erupt, right.
Speaker 1: The orphic egg has a serpent that wraps around it
Speaker 1: seven times, right, and then once it erupts, you've got
Speaker 1: that same kind of fourfold angel, which then becomes the
Speaker 1: twelve signs of the zodiac. And then you've got all
Speaker 1: of that stuff sort of packed in there. But you know,
Speaker 1: Ezekiel kind of has that too, so you definitely have
Speaker 1: a continuity between finest protogonos, the being inside of this
Speaker 1: orphic egg erupting out and creating all things in the universe,
Speaker 1: a very you know, big bangy type creature. And then
Speaker 1: you know, in the Christian version it's this fourfold foreheaded angel,
Speaker 1: and you know, you can ask about that four headed
Speaker 1: angel and they'll just be like, it's a mystery, so
Speaker 1: they don't really want to talk about it. I think
Speaker 1: that the writers of the Bible knew a little bit
Speaker 1: more about this then they were letting go.
Speaker 5: Yeah, if you go back into some of the rabbinical writings,
Speaker 5: there are stories of those four beings. Essentially, they were
Speaker 5: these forces that were put at the four corners of
Speaker 5: the four Watchtowers of reality that basically, like you were
Speaker 5: talking about, takes four to make a plane in regard
Speaker 5: to the creation of physical matter itself, and they were
Speaker 5: basically the guardians of the towers to keep cortison or that,
Speaker 5: you know, the generative chaos out of the plane of
Speaker 5: created matter.
Speaker 1: Right. So the four sorry, well, the four watch towers
Speaker 1: were very important from the ancient perspective of having this
Speaker 1: dome of sky over top of us. So at some
Speaker 1: point you're gonna we're gonna hit that dome of sky,
Speaker 1: and that would be representative of these four watch towers
Speaker 1: at the very edge corners of the universe. And so
Speaker 1: from what's beyond that, you want to have something powerful
Speaker 1: protecting this little bubble that we're living in from these
Speaker 1: ancient you know, horrific beasts and deities that live on
Speaker 1: the outside of known reality, which is very psychological too
Speaker 1: if you think about it, like we also live in
Speaker 1: our own perspective bubbles, and we put out these guardians
Speaker 1: to keep us from you know, having that unfiltered reality experience.
Speaker 1: So yeah, I think, I think we can move on
Speaker 1: from this one, and I think I've got a couple
Speaker 1: of oh yeah, yeah. So here we're seeing how the
Speaker 1: eighty eight keys existed harmony with one another.
Speaker 2: I like that.
Speaker 3: From eighty eight back to Mercury, back to Mercury.
Speaker 1: And again, if we're talking about that sound, sound travels
Speaker 1: through everything, Everything has a resonant frequency. What better idea
Speaker 1: than having that mercurial consciousness being able to transcend all
Speaker 1: borders using vibration. Since everything's made out of vibrating numbers,
Speaker 1: why not, Why wouldn't it be this vibration between all things.
Speaker 1: You know, even within this they're trying to give you
Speaker 1: the idea of the colors of the rainbow being associated
Speaker 1: with all of these different octaves as well. And so
Speaker 1: there is this definite, almost concrete crossover between light and
Speaker 1: sound that really can't be underplayed because I think it's
Speaker 1: within that crossover between light and sound that we find
Speaker 1: all of reality.
Speaker 5: And I find it interesting when you look at Pythagoras,
Speaker 5: and I've seen some tales that talk about he could
Speaker 5: he could physically hear the singing of all the planets,
Speaker 5: which inspired him to basically come up with the chord
Speaker 5: structured system. That was very much, you know, in line
Speaker 5: with the song of Osiris as far as the but
Speaker 5: all of those sounds that create the chord structure came
Speaker 5: from the different planets in regard to so when you
Speaker 5: start to look at the colors of the planets and
Speaker 5: how those relate to the Tree of Life, and how
Speaker 5: those relate to the platonic solids, and how those relate
Speaker 5: to the chart you showed in the beginning with Walter
Speaker 5: Russell and the various elements and how they nest into
Speaker 5: one another. All of these things cohesively are within the
Speaker 5: structured system.
Speaker 1: Right And you know, we can we can focus on
Speaker 1: the positive space, which would be the emergence of these elements,
Speaker 1: or we could look at the negative space, which would
Speaker 1: be the ratio of numbers to one another to create
Speaker 1: the blueprint of all this stuff coming into existence. And
Speaker 1: far too often I think we're focused on that positive space,
Speaker 1: the matter itself, instead of thinking about how we can
Speaker 1: connect to the idea of how that matter could possibly
Speaker 1: come into existence using this sort of framework of light
Speaker 1: and sound.
Speaker 7: This is so powerful and inspiring to me.
Speaker 1: What I had planned to say.
Speaker 7: I thought might be remotely inspiring to others. After what
Speaker 7: you've said, headless, I'm certain of it, and I swear you,
Speaker 7: guys and everyone, we didn't talk about what we're going
Speaker 7: to say together, it almost would appear so one little
Speaker 7: thing to just build on what you're saying headless. Here
Speaker 7: there is in tai Chi practice an expression. I couldn't
Speaker 7: find its root the expression, but I found some high
Speaker 7: quality related ideas in the Eastern mind. But in tai
Speaker 7: Chi practice, we'll say, here with your eyes, and see
Speaker 7: with your ears, and it's very much just a way
Speaker 7: to switch the brain into being a little bit more sensitive.
Speaker 7: But this also is depicted in I Love the dar
Speaker 7: Devil idea right, and many other storylines where the death
Speaker 7: or blind has their sensory capabilities enhanced because they have to,
Speaker 7: because it has to write.
Speaker 3: But they find.
Speaker 7: Ways that they can really see with their ears and
Speaker 7: here with their eyes.
Speaker 1: The whales do.
Speaker 7: It too, and and we can do it too. The whales,
Speaker 7: I forget which ones, but the ones that click well,
Speaker 7: they send out an audio burst to figure out what's
Speaker 7: going on around them, possibly for hundreds of miles maybe more,
Speaker 7: and so they're kind of hearing how their sound interacts
Speaker 7: and and so the I think it's a really inspiring idea,
Speaker 7: just a little bit of a mind switch to here
Speaker 7: with their eyes and see with our ears. And it's
Speaker 7: related to Confucius ideas, and even beyond that, I believe.
Speaker 7: Let me find these quotes real quick. Excuse me. There's
Speaker 7: there's a body Dharma quote, and there's a Confucius quote.
Speaker 7: I apologize.
Speaker 1: I think that's a really good point though, because it's
Speaker 1: in the separation of light and sound that our entire
Speaker 1: world exists. Once you and on a back together, you've
Speaker 1: got something else, you've got something.
Speaker 7: Yeah, yeah, it really just that thought for me has
Speaker 7: has really enhanced my sensitivity to my surroundings, if you will.
Speaker 7: And then putting it into practice, certainly the body Dharma
Speaker 7: quote I was looking for, to your pointless, seeing forms
Speaker 7: with your eyes, hearing sounds with your ears, smelling odors
Speaker 7: with your nose, tasting flavors with your tongue, every movement
Speaker 7: or state is all in your mind. And that kind
Speaker 7: of goes to the four Wise Monkeys, which has this
Speaker 7: kind of sensory aspect to it too. And there is
Speaker 7: also a Confucious statement that I believe relates to the
Speaker 7: Wise Monkeys, and it has the word propriety, and I
Speaker 7: think propriety means kind of cultural influence, cultural controllers, cultural
Speaker 7: manure that we get kind of caught up into doing
Speaker 7: a response from things that we've excuse me, a reaction
Speaker 7: probably from things that we've heard, rather than a thoughtful response.
Speaker 7: And the quote is look not at what is contrary
Speaker 7: to propriety. Listen not to what is contrary to propriety,
Speaker 7: speak not what is contrary to propriety. Make no movement
Speaker 7: which is contrary to propriety. So you kind of have
Speaker 7: this four aspects going on there, and he in in
Speaker 7: that in that sentiment, he's very much supportive of the
Speaker 7: cultural dynamic and the the big state. But but I
Speaker 7: think if it's if it's natural, yeah we probably should be.
Speaker 7: If it's perverted, then well we should we should uh
Speaker 7: you know, flip that on its head. But the fact
Speaker 7: that they point to those four kind of aspects of
Speaker 7: input and output is is uh is an interest there.
Speaker 7: So yeah, that that sentiment I think is a really
Speaker 7: powerful one, especially with what you just we're talking about headless.
Speaker 1: Right, it would be uh, it would be the union
Speaker 1: of these uh seemingly separate things that we can, right,
Speaker 1: and so people are mentioning synesthesia. From what I've studied
Speaker 1: is some synesthetic people will have different associations when it
Speaker 1: comes to sound and light because they're seeing, uh, they're
Speaker 1: seeing sounds and they're they're hearing you know, uh, the
Speaker 1: the light, right, and so they'll have different associations. But
Speaker 1: those associations that they make are still powerful and still
Speaker 1: actually give a lot more insight than what is normally
Speaker 1: given off by just the sound and light. So the
Speaker 1: cinis sthetic people have the idea that numbers have a
Speaker 1: certain color to them and that these these you know,
Speaker 1: I guess you would call them conceptual objects are flavored
Speaker 1: in some way, and that flavor is almost irreducible from
Speaker 1: the concepts themselves. So things will take on a different
Speaker 1: quality to them. And it's almost like seeing beyond the veil,
Speaker 1: because there's a certain aspect or quality that all things
Speaker 1: have that should be more deeply considered when it comes
Speaker 1: to interacting with the different signposts in our lives. You know,
Speaker 1: I mean, what do these numbers mean? What do these
Speaker 1: sounds mean? Is there a deeper meaning that I'm not
Speaker 1: seeing right now? Is that keeping me in a pattern
Speaker 1: that is helpful or harmful to me.
Speaker 5: And I do want to say when you look at
Speaker 5: this chart in regard to how the keys break down
Speaker 5: and nest within one another, Like we were talking about
Speaker 5: before with the periodic table of elements, it's essentially created
Speaker 5: a toward field where you're seeing its spinning in and
Speaker 5: collapsing and expanding upon itself, as well as also creating
Speaker 5: a sort of a tree of life with the branches
Speaker 5: above and the roots below right.
Speaker 1: So essentially, if you can imagine these figures rotate around
Speaker 1: one another and also creating a spiral with the different
Speaker 1: notes that are produced, you definitely get that toroidal field right.
Speaker 1: And that toroidal field of sound also goes right along
Speaker 1: with the torotal fields produced by electromagnetic energy, because all
Speaker 1: the electromagnets and all magnetism in general goes along with
Speaker 1: that toroidal field. And with the toroidal field of magnetic energy,
Speaker 1: you also start to come up against Ken Wheeler's concept
Speaker 1: of the plane of inertia, and it's within the plane
Speaker 1: of inertia that all life on the planet has the
Speaker 1: most sway or the most ability to grow and regenerate.
Speaker 1: But I mean that's Walter Russell's plan right.
Speaker 3: There, right there. Yeah, if you flip it on its side,
Speaker 3: for sure, right and.
Speaker 1: So well, I'm just saying like within the rotation and
Speaker 1: the movement of light and sound, you get magnetism. And
Speaker 1: there's that crossover again. You know, once you've once you've
Speaker 1: sort of taken a step back from the material world,
Speaker 1: and you see how the the blueprints that go into
Speaker 1: the material world are rotating around each other and creating
Speaker 1: that energy that brings the material world into form. You
Speaker 1: could start to have a better connection to the material world.
Speaker 5: And if you go back now to the Greek there
Speaker 5: is the goddess Calliope that is all about the spiraling
Speaker 5: wave form of the sounds, the calliope of sound as
Speaker 5: it spins around you. You know, when you're in a
Speaker 5: setting of you know, large amounts of music, an ambiance
Speaker 5: and the you know, the calliope itself.
Speaker 1: And it's so funny that calliope got transferred over into
Speaker 1: those organ shows and the you know, traveling kind of
Speaker 1: a circus idea because it's the muse is all about
Speaker 1: getting your attention, and she's the muse of music, and
Speaker 1: so it's all about getting your attention and inspiring, bringing
Speaker 1: you into a trance. That whole concept is all sort
Speaker 1: of wrapped up and in the people trying to get
Speaker 1: your attention. You know, I'm making this harmony so that
Speaker 1: now I can grab your attention.
Speaker 2: And see said, well it looks like moon Goddess, isn't
Speaker 2: there ms? Right?
Speaker 5: But yeah, whenever I'm out at a festival, I always
Speaker 5: think about calliope, just because the sound is it's it's
Speaker 5: wrapping around you, it's penetrating, vibrating through you, you know,
Speaker 5: moving you essentially, you.
Speaker 1: Know, right, none of this stuff is two dimensional. Every
Speaker 1: time you're encountering sound, it is within a three dimensional space.
Speaker 1: And that three dimensional space is changing the quality of
Speaker 1: the air around you. And you can change the quality
Speaker 1: of the air around you to such a significant level
Speaker 1: that I can could start to rend that veil a
Speaker 1: little bit, get behind this sort of holographic existence, right.
Speaker 5: And I've even heard it was with Ousley who used
Speaker 5: to cook the acid for the Grateful Dead. When they
Speaker 5: were building the wall of sound they were there was
Speaker 5: discussions about the idea that they were going to layer
Speaker 5: frequency on top of frequency on top of frequency in
Speaker 5: order to try to affect people's sensibilities and their emotions.
Speaker 1: You know, I would not trust the Grateful Dead with that.
Speaker 1: Those guys were sick bastards. I don't know if you've
Speaker 1: ever listened to Oh what's his name, he's like one
Speaker 1: of the og conspiracy podcasters. He came out with the
Speaker 1: list of all of the corporate logos and how they
Speaker 1: all have deeper meanings.
Speaker 5: Yeah, there was a few between Freeman and who is
Speaker 5: the other guy? They both did the corporate logos around
Speaker 5: the same time, and they were arguing with each other,
Speaker 5: like you stole my so yeah. Yeah, but Freeman was
Speaker 5: one of them, and then there was the other. One
Speaker 5: was the Irish author. I wish I've gone through so
Speaker 5: many of his writings it'll come to me. But yeah,
Speaker 5: he has some great stuff as well.
Speaker 1: Right well, Freeman was talking about how they the Grateful
Speaker 1: Dad would play at these private events inside of Masodic Tempasonic.
Speaker 3: They still do, yeah, and they recently.
Speaker 1: They just do it so that they can freak out
Speaker 1: their fans. It's like, how sick do you have to
Speaker 1: be if you're messing with your your own fans, I mean,
Speaker 1: leave them alone?
Speaker 5: Yeah, the Dead, I mean, when you get into the
Speaker 5: whole Masonic velocity and everything they have. One of they
Speaker 5: have an old song that wasn't released on any of
Speaker 5: the albums called Mason's Children, and it talks. It's got
Speaker 5: a kind of a hire Emabyeth kind of story wrapped
Speaker 5: in it, you know, right, there's something weird about how
Speaker 5: the Masons treat the profane that just really turns me
Speaker 5: off to ever being.
Speaker 1: Involved with that organization. It's like they think, you know,
Speaker 1: it's the whole Enlightenment elitist ideal. It's like, well, we
Speaker 1: can do whatever we want to them because they're profane.
Speaker 1: They don't really matter. It's just gross. Well, I think
Speaker 1: there's one more left.
Speaker 2: Oh yeah, I don't know why. I feel like I'm
Speaker 2: looking at some sort of like art that I've seen
Speaker 2: on the.
Speaker 1: Tower card or something the tower, yeah.
Speaker 2: Or like some kind of like feminine thing between I
Speaker 2: don't know.
Speaker 3: When it was not flipped.
Speaker 8: When it was not flipped, I could see the Jester
Speaker 8: the Jester hats, like it's like this middle of the
Speaker 8: circle in the big circle.
Speaker 3: If that's like the head you have, like the Gester.
Speaker 2: There's a whole lot in here. I think, I don't know.
Speaker 1: Yeah, well, what they're showing there is the different harmonies,
Speaker 1: so which note goes along with which other note and
Speaker 1: then those create their own resonances. So I wanted to
Speaker 1: end with this quote by Nikola Tesla and talk about
Speaker 1: the the secrets of the universe are energy, frequency, and vibration.
Speaker 1: He's not talking about material things. He's talking about the
Speaker 1: blueprints for all the material stuff, and that is how
Speaker 1: you really should be thinking, because it's within those blueprints
Speaker 1: that you can then make a better plan for yourself
Speaker 1: and knowing how you relate with all of it. So
Speaker 1: I got a lot of these from one of my
Speaker 1: favorite dudes on Twitter. His name is Welcome to the
Speaker 1: ABYSS three six'. NINE i encourage everybody watching this to
Speaker 1: go give him a follow THE abyss three sixty. Nine
Speaker 1: he's working on projects having to do with pyramidal energy
Speaker 1: and how the pyramids are used to create water and
Speaker 1: all sorts of cool. Stuff if you follow, HIM i
Speaker 1: guarantee it you will appreciate. It, Also Simatic. Jewel if
Speaker 1: you're not Following Simatic, jewel definitely give her a. Follow
Speaker 1: she's always doing experiments with cimatics and how to figure
Speaker 1: these things out and. SIMATICS i didn't really get into
Speaker 1: it too, much but what they've done with cimatics in
Speaker 1: the past ten years or so is really. Interesting what
Speaker 1: they'll do is they'll take a speaker and a microphone
Speaker 1: and they'll go inside a completely empty. Cathedral they'll put
Speaker 1: that microphone straight up to the, speaker and within the feedback,
Speaker 1: loop you'll get simatic sort of figures out of the
Speaker 1: water that's associated with or that's close to that, speaker
Speaker 1: and the resonant frequency inside of the cathedrals will be
Speaker 1: reflected in the simatics of that water on top of the.
Speaker 1: Speaker so as you're creating that feedback loop of just. Emptiness,
Speaker 1: again it's that it's that base, layer it's that complete
Speaker 1: negative space that's creating a resonant frequency that then can
Speaker 1: be seen in different parts of the. Structure because each
Speaker 1: and every one of those cathedrals are built in proportion
Speaker 1: to one, another so they have the same type of
Speaker 1: ratios that a lot of well that's what music is made,
Speaker 1: Of so you can think about those cathedrals as being crystallized.
Speaker 1: Music and when you get.
Speaker 5: Into folconelli and the mysteries of the, cathedrals it specifically
Speaker 5: gets into the ideas of these ancient symbols being, incorporated
Speaker 5: but also the ancient mysticism and the.
Speaker 3: Sound and.
Speaker 5: Frequency and when you look at the stained glass and
Speaker 5: a lot of the, cathedrals which we can't even, recreate
Speaker 5: a lot of those colors that those alchemists at the time,
Speaker 5: were you, know making for those stained. Glass you can
Speaker 5: actually take those stained glass and directly find the ceimatic
Speaker 5: frequencies that match them.
Speaker 1: Absolutely and it's so interesting how they would be able
Speaker 1: to figure that stuff. Out AND i think a lot
Speaker 1: of this stuff came from. Visions it came from people
Speaker 1: who were able to quiet their minds to the level
Speaker 1: of being able to put this stuff together on a subconscious.
Speaker 1: Level and THAT i think that should be one of the,
Speaker 1: goals is to be able to find the flow within
Speaker 1: nature to such a degree that it starts to build
Speaker 1: itself in your. Mind and having that ability to have
Speaker 1: your imagination build. Itself that's almost priceless because it then
Speaker 1: connects to every other part of the piece of the
Speaker 1: universe in. Harmony that goes back to that frequency and vibration, again.
Speaker 5: And what you were saying earlier in regard to make
Speaker 5: no move that's outside of the natural, waveform or function
Speaker 5: of the manifestation itself as.
Speaker 1: Well very important when it comes to martial. Arts if
Speaker 1: you're trying to redirect your opponent's, energy you have to
Speaker 1: work with that. Energy you have to be in harmony
Speaker 1: with all of.
Speaker 2: It did you have anything you wanted to?
Speaker 8: Add, yeah, well one thing that's like funny with that
Speaker 8: energy frequency. Vibration it was just like talking to The
Speaker 8: jamatria gods a long time, ago AND i just was.
Speaker 1: Like what's the best thing you could?
Speaker 8: Say SO i type in the best thing you could?
Speaker 8: Say and that matches with the phrase energy frequency. Vibration and,
Speaker 8: yeah so it's, like, okay lesson learned.
Speaker 1: That's the Bluebritt.
Speaker 5: Well and it's also what is it The volkswagen. Symbol
Speaker 5: i've seen some diagrams that that is actually in accordance
Speaker 5: with the function of the, three the, six and the
Speaker 5: nine as far as waveform you know.
Speaker 3: Function, yeah.
Speaker 1: Right i've seen some people try to DEBUNK tesla math, saying,
Speaker 1: oh you, know that's just because they're using the base ten,
Speaker 1: system but they don't apply it to music because you
Speaker 1: can have different base level notes that aren't inside of
Speaker 1: the base octave, movement, Right so there can be other
Speaker 1: ways of tuning the, instruments but you're still going to
Speaker 1: have the same ratio. Development and that's WHAT i think
Speaker 1: you're seeing with that three six nine, figure is the ratio.
Speaker 1: Development you're not necessarily focused on the numbers themselves or
Speaker 1: the you, know the mathematic points on a on a.
Speaker 1: Line what you're doing is you're highlighting the, relationship and
Speaker 1: that relationship doesn't change too much based off of changing
Speaker 1: the base number numbering system that you're. Using so when
Speaker 1: they're trying to debunk, it they end up coming back
Speaker 1: with another figure which is very, similar maybe slightly different
Speaker 1: in some ways from that three sixty nine ratio that you're,
Speaker 1: seeing but it still has to do with the. Ratio
Speaker 1: so when when you're talking about mathematics and all the
Speaker 1: rest of this, stuff you've got to keep in mind
Speaker 1: the most important part is the relationship between the, numbers
Speaker 1: not just the numbers.
Speaker 5: Themselves SO i was going to, say GOING i do
Speaker 5: a lot of music events and stuff for the past
Speaker 5: like thirty plus, years AND i think that my favorite
Speaker 5: instruments are the instruments that lied up and down the
Speaker 5: scale and hit the points in between that aren't within the. Chord,
Speaker 5: structure like the dobro or like, this you, know steel pedal,
Speaker 5: guitar or like the, trombone some of these things that
Speaker 5: can kind of hit those vibrational frequencies that are within
Speaker 5: the normal chord, structure just in regard to frequency you
Speaker 5: don't get normally just through listening to regular, music.
Speaker 1: Right AND i think that's so important when you're talking
Speaker 1: about arcade music, too because we're not exactly sure how
Speaker 1: to play some of the instruments from Ancient egypt because
Speaker 1: they were working on a different based numbering. Structure that
Speaker 1: then becomes difficult for us to understand because we've got
Speaker 1: our own base. Numbers and you, know this was a
Speaker 1: problem with a lot Of greek music as well because
Speaker 1: they didn't have the. Notation but if you add up
Speaker 1: all of the other things that you, have all the
Speaker 1: other metadata about, it you can easily fill in the.
Speaker 1: Gaps the problem is is who's actually out there. Translating you,
Speaker 1: know we will find this.
Speaker 5: Stuff and when you get into music theory itself as a,
Speaker 5: whole you, know you have The american chord structure that's
Speaker 5: based on the four and the eight or the twelve.
Speaker 5: Count but if you get into Like hindu music. Theory
Speaker 5: they break it, down some of their progressions will go
Speaker 5: into the, thousands and they have much, larger much more
Speaker 5: open musical function and structure than The western, world.
Speaker 1: Right and it's all about that. Ratio it's the ratio
Speaker 1: that binds all these different music theories together.
Speaker 8: All right on the on the based like base ten
Speaker 8: and base, twelve kind of thing you can apply at
Speaker 8: like music would be base twelve because you have twelve
Speaker 8: tones in each. Octave so but you can apply the
Speaker 8: base ten and count your notes, upwards so like your
Speaker 8: your twelve note would actually be three because it'd be
Speaker 8: one plus, two so you're keeping it as you're like
Speaker 8: one to. Nine And Sebastian bach was known for doing, this,
Speaker 8: yeah and applying applying numerology to the way his music, was.
Speaker 5: And how he would write forward for a long progressive
Speaker 5: period of time and then flip it around backwards and
Speaker 5: go through the exact same thing. Backward he was doing
Speaker 5: all kinds of musical. Trickery, yeah some really great.
Speaker 8: Stuff and in my oh, SORRY i was in in
Speaker 8: my experience with like, that THE i called it musical.
Speaker 8: NUMEROLOGY i said that used to be the name of
Speaker 8: one of my. Accounts BUT i found like when you
Speaker 8: would apply the numerology and say you're like, going say
Speaker 8: you're taking that that sound of the number one and
Speaker 8: you're moving it to the next octave up or. Whatever
Speaker 8: like the WAY i could describe it that that numerical
Speaker 8: valued note that's equal is, like that's what that a
Speaker 8: one would have sounded like in a higher. OCTAVE i
Speaker 8: don't know IF i IF i can explain, that but
Speaker 8: it's like it would have the same vibe like when
Speaker 8: it fully did, It like all the one notes would
Speaker 8: have the same, vibe all the two notes would have
Speaker 8: the same.
Speaker 3: Vibe it was a very, cool cool.
Speaker 5: Thing, well and then there is, also like we were
Speaker 5: talking about, earlier when you're playing one song over itself,
Speaker 5: exactly you start to get that phase shifting of the. Sounds,
Speaker 5: yeah but there's also a phenomena where if you create
Speaker 5: one note here and one note, here as they resonate
Speaker 5: in the, middle it will actually create a higher chord
Speaker 5: within the resonant tone and frequency of its own natural.
Speaker 3: Progression, awesome. Awesome one other THING i would add to that's.
Speaker 8: FUN i was WHEN i was on like this path
Speaker 8: of this musical numerology and all these. THINGS i started
Speaker 8: looking into patents about like understanding, music but also then
Speaker 8: like it was like astrology and numerology and spiritual kind
Speaker 8: of patents and the one THAT i was reading on
Speaker 8: in order to get your astrology, patented if you like
Speaker 8: kind of create a new, one you have to still
Speaker 8: align it to twelve, notes and those twelve, notes they
Speaker 8: have to run it over like thousands of songs and
Speaker 8: if and if it matches enough with whatever system they,
Speaker 8: have then then you get the.
Speaker 3: Past you can get the patent for your type of.
Speaker 8: Astrology so there's so like astrology and music are very.
Speaker 3: Much, connected and there's like a.
Speaker 1: History that they are a mystery that they.
Speaker 3: Know but it's like if you can prove, it you
Speaker 3: can get astrology.
Speaker 1: Patents that's. COOL i didn't know about. That thank, YOU, ti.
Speaker 2: Sir ANYBODY i got anything else they want to add,
Speaker 2: that we could probably wrap it.
Speaker 1: UP i, guess, YEAH i think that's a good good.
Speaker 2: Spot, yeah, no thank, you thank. You that was an awesome,
Speaker 2: presentation real thank. You it's a really good discussion AND
Speaker 2: i appreciate, everybody everybody coming. ON i Guess i'll wrap
Speaker 2: it up headless let everybody know where they can find
Speaker 2: your stuff as.
Speaker 1: Well you can find me On i've got a. Cat
Speaker 1: she likes me and oh, CATS i, mean come, on,
Speaker 1: man we're all about you, know with the purring something.
Speaker 5: Else there's there's actually a thing where the cat will
Speaker 5: vibrate at a certain resonant frequency that will help, you
Speaker 5: uh into meditative.
Speaker 3: States very.
Speaker 2: Nice, Yeah i've heard of. That, yeah well like helps
Speaker 2: lower your blood pressure right or something like.
Speaker 3: That, yeah, yeah.
Speaker 2: Something interesting with, That. Ethan let everybody know where they
Speaker 2: can find your stuff. At.
Speaker 7: Please Oh i'm on all the usual social media And.
Speaker 7: AMAZON i have some books and always willing to communicate
Speaker 7: with anyone that reaches out an honor to be here.
Speaker 7: Headless that was awesome presentation.
Speaker 1: Everyone, yeah that was that was.
Speaker 2: Fun that was really. Interesting robbie marks D.
Speaker 5: Og, yeah you can just find all my, stuff my,
Speaker 5: art my miscellaneous, podcast the mid Of mind cast at
Speaker 5: my link, tree which is OUR M a R x
Speaker 5: and that'll pull everything.
Speaker 2: Up, listen thank you very much and back to, you.
Speaker 2: Teach where can they find you if you want to
Speaker 2: plug any of your social media.
Speaker 8: And, Stuff, uh it'll be at contemporary problems most likely
Speaker 8: with an underscore as. Well, Yeah Link Tree Contemporary Problems,
Speaker 8: underscore you'll find all kinds of things that do podcasting
Speaker 8: and all kinds of random.
Speaker 2: Things, yes, yes you do Have, ay that's. Right you
Speaker 2: should promote your podcast more. Often you do have one
Speaker 2: what's the name of it? Again? Problem it is right,
Speaker 2: now that's WHY i thought it. Was, yeah but, yeah
Speaker 2: just making sure because like you really don't ever really
Speaker 2: mention your. Podcast, YEAH i.
Speaker 8: Know well it's LIKE i do plug it, stuff but
Speaker 8: IT'S i don't know if the struggle is real on
Speaker 8: like the internet and, stuff like you post anything original
Speaker 8: and it's just like two hundred views And i'm, like can't, hey,
Speaker 8: Guys i'm out, here turns into an echo chamber pretty.
Speaker 2: Quick, yeah, YEAH i don't. Know it's just you, know,
Speaker 2: yeah go check out his stuff as. Well and thank
Speaker 2: you everybody for coming on Again. Headless thank you very
Speaker 2: much for bringing this topic to the. Show that was an,
Speaker 2: awesome awesome. Discussion that was really. Great that was good.
Speaker 2: Stuff and uh, yeah thank you for the chat everybody
Speaker 2: in the, chat. Man there was a lot of stuff
Speaker 2: going on in. THERE i really appreciate. It there was
Speaker 2: a lot of a lot of stuff going, on and
Speaker 2: that's what's, up and that's WHY i tried to go.
Speaker 2: Live so, yeah if people are checking the, replay check
Speaker 2: out the, chat or at least try to check out
Speaker 2: the screen and see what the kind of the COMMENTS
Speaker 2: i threw up too as. Well there was some interesting
Speaker 2: discussions and comments in. There and that is the end
Speaker 2: of Another Occult rejects and until the next, one everybody be.
Speaker 2: Well later