WEBVTT 1 00:00:02.200 --> 00:00:05.000 You see something's going to happen. 2 00:00:06.320 --> 00:00:13.119 What What's going to happen? I'll take one. 3 00:00:15.480 --> 00:00:27.920 What. Welcome to the Occult Rejects tonight. We are going 4 00:00:28.039 --> 00:00:32.000 over sacred sound, sound of the Spirit. In the beginning 5 00:00:32.200 --> 00:00:35.119 was the word. The word was with God, and the 6 00:00:35.159 --> 00:00:37.840 Word was God. So we are going over all of 7 00:00:37.880 --> 00:00:42.039 the elements. It's going to be a fantastic journey tonight. 8 00:00:42.119 --> 00:00:45.920 I've got Nick with the Cult Rejects, I've got TJ 9 00:00:46.280 --> 00:00:51.600 with Contemporary Problems. I've got Robbie Marx and Ethan Indigo. 10 00:00:51.640 --> 00:00:53.759 If you guys want to introduce yourselves and plug what 11 00:00:53.799 --> 00:00:55.759 you're working on, that would be a great way to 12 00:00:55.799 --> 00:00:57.600 start real quick. 13 00:00:58.320 --> 00:01:01.640 Yeah, Nick from the Occult Rejects. One thing that is 14 00:01:01.679 --> 00:01:03.240 new that's coming out of will be doing a video 15 00:01:03.280 --> 00:01:06.319 documentary on the catacombs in New York City at Saint 16 00:01:06.359 --> 00:01:10.200 Patrick's Cathedral or Old Old Cathedral. So that's something new 17 00:01:10.239 --> 00:01:11.560 that I'm working on that you can keep an eye 18 00:01:11.560 --> 00:01:13.840 out for it. And odds are if you're listening to this, 19 00:01:13.879 --> 00:01:15.599 you already know about the Occult Rejects. But if this 20 00:01:15.680 --> 00:01:17.120 is the first time you happen to be hearing me 21 00:01:17.359 --> 00:01:19.920 coming across us, Yes, This is the Ocult Rejects and 22 00:01:19.959 --> 00:01:23.040 it's on bitchoop Rumble and YouTube and all major podcasts. 23 00:01:23.359 --> 00:01:26.760 Thank you very much, thank you. 24 00:01:26.840 --> 00:01:31.560 Good TJ Contemporary Problems. If you don't know, well now 25 00:01:31.560 --> 00:01:32.400 you do, so. 26 00:01:32.680 --> 00:01:38.000 Don't know, Yeah, Bobby, and let them know where you 27 00:01:38.040 --> 00:01:39.400 can be found. 28 00:01:40.040 --> 00:01:42.439 Yeah, if anybody wants to check out my other stuff, 29 00:01:42.920 --> 00:01:45.959 do artwork for various bands and stuff as well as 30 00:01:45.959 --> 00:01:48.319 I have the podcast, and then you know, all the 31 00:01:48.319 --> 00:01:51.159 social media sites. You can check out my link tree 32 00:01:51.200 --> 00:01:55.319 which is linked tree r M A r X and 33 00:01:55.319 --> 00:01:56.840 then I'll pull up everything I got. 34 00:01:57.840 --> 00:02:01.480 All right, then Ethan Indigo. 35 00:02:01.519 --> 00:02:04.359 I got a bunch of articles out there on everything 36 00:02:04.439 --> 00:02:09.360 from the political to the esoteric, and I've written a 37 00:02:09.400 --> 00:02:12.319 few books as well, and I always honored to be 38 00:02:12.360 --> 00:02:13.199 here with you guys. 39 00:02:14.840 --> 00:02:18.199 Well, thank you. So I think this is sort of 40 00:02:18.240 --> 00:02:22.840 going along with our elemental series, right, So we've done 41 00:02:22.919 --> 00:02:28.120 water consciousness before and now moving into sound and cimatics 42 00:02:28.159 --> 00:02:32.199 and talking about Walter Russell talking about the periodic table 43 00:02:32.199 --> 00:02:36.520 of the elements, talking about resonance, talking about ancient history. 44 00:02:36.520 --> 00:02:38.719 When it comes to this stuff, sound plays such a 45 00:02:38.840 --> 00:02:43.319 major role in ancient history. It cannot be understated. How 46 00:02:44.199 --> 00:02:49.319 masterfully sound was used in the ancient world. So many 47 00:02:49.360 --> 00:02:54.759 different stories talk about how these shamans were able to 48 00:02:54.879 --> 00:03:00.759 levitate stones into place using sound waves alone. So they 49 00:03:00.800 --> 00:03:06.520 had a much greater grasp of how the geometry of 50 00:03:06.639 --> 00:03:10.560 sound worked, and they had a better idea of their 51 00:03:10.599 --> 00:03:15.439 relationship to these resonances. So I think to get a 52 00:03:15.520 --> 00:03:18.879 few you know things out of the way, let's talk 53 00:03:18.919 --> 00:03:24.319 about what resonance means. So, if you've got two different tones, 54 00:03:26.199 --> 00:03:30.280 you're going to create a resonance between the two tones 55 00:03:30.800 --> 00:03:35.520 that meshes up and creates what are called a beat. Right, 56 00:03:35.639 --> 00:03:40.159 So these two separate tones together are going to create 57 00:03:40.639 --> 00:03:44.719 this beat frequency, right, and that beat frequency is used 58 00:03:44.840 --> 00:03:51.120 in hypnosis tapes. That's called the bineural beats, where they've 59 00:03:51.120 --> 00:03:55.120 got a slight variation from one resident from one tone 60 00:03:55.120 --> 00:03:58.599 to the other, creating a third tone in the beat. 61 00:03:58.879 --> 00:04:03.360 I think that's a really important factor when considering how 62 00:04:03.639 --> 00:04:07.840 nature might utilize that. One of the ways that I've 63 00:04:07.840 --> 00:04:12.280 seen the bineural beats occurring in nature itself is in 64 00:04:12.319 --> 00:04:15.199 the swamps at night when you hear the frogs going off. 65 00:04:16.319 --> 00:04:19.319 The tones are slightly different from one side to the other, 66 00:04:19.399 --> 00:04:22.279 and if you concentrate really hard in those swamps. You'll 67 00:04:22.360 --> 00:04:27.199 understand why these some of these frogs produce five dmt 68 00:04:27.839 --> 00:04:30.279 out of their backs, because I believe there is some 69 00:04:30.319 --> 00:04:32.639 sort of a thinning of the veil that goes along 70 00:04:32.720 --> 00:04:36.959 with sound and the mastery of sound. So I think 71 00:04:37.600 --> 00:04:41.120 having that sort of idea in your mind when it 72 00:04:41.160 --> 00:04:44.399 comes to this stuff and how it impacts our DNA, 73 00:04:44.839 --> 00:04:49.920 how it impacts the molecules themselves, It's important to remember 74 00:04:51.120 --> 00:04:54.959 everything in the world is vibrating, and everything has a 75 00:04:55.000 --> 00:05:01.040 resonant frequency. So Walter Russell created a periodic table of 76 00:05:01.079 --> 00:05:06.639 the elements using the resonant frequencies of all of the 77 00:05:06.800 --> 00:05:11.319 different elements in that table. So he gives you a 78 00:05:11.360 --> 00:05:16.879 really nice visualized version of the periodic table and the 79 00:05:16.959 --> 00:05:25.279 associated tones that are, you know, resonant with the different elements. 80 00:05:25.639 --> 00:05:28.839 And when you can visualize it in that manner, you 81 00:05:28.879 --> 00:05:32.000 can really start to understand how these things fit on 82 00:05:32.079 --> 00:05:39.160 a much different level than just the the atomic weight 83 00:05:39.920 --> 00:05:43.759 and the protons and electrons in each one of these 84 00:05:45.000 --> 00:05:49.120 energy shells. And that do you have that slid ready 85 00:05:49.120 --> 00:05:52.920 to go? Nick, Let's take a look at that. So 86 00:05:54.040 --> 00:05:58.519 right here you can see this this periodic table of 87 00:05:58.560 --> 00:06:02.399 the elements has these different octaves that the elements are 88 00:06:02.439 --> 00:06:07.160 broken down into. So the tenth octave looks like it 89 00:06:07.199 --> 00:06:12.519 would be a much wider frequency, much lower, So I 90 00:06:12.560 --> 00:06:15.480 think that would be more dense matter. I'm not sure exactly. 91 00:06:16.000 --> 00:06:18.120 I'd have to go really into depth to get all 92 00:06:18.160 --> 00:06:21.839 of the different things together. But what's interesting to me 93 00:06:22.759 --> 00:06:26.839 is how similar this looks to the idea of the monochord, 94 00:06:27.399 --> 00:06:32.240 and the monochord was really important for Pythagoras because Pythagorists 95 00:06:32.879 --> 00:06:38.800 determined that if everything has this frequency, you can use 96 00:06:39.079 --> 00:06:44.800 a single chord as a way of creating these different tones, 97 00:06:45.000 --> 00:06:49.600 these different ratios that would be reflective in nature itself. 98 00:06:50.040 --> 00:06:54.160 So I think from Pythagorasts talking about how music is 99 00:06:54.199 --> 00:06:57.759 associated with the spheres and how the sun is the 100 00:06:57.920 --> 00:07:02.600 central mover of this monochord type system, and then over 101 00:07:02.680 --> 00:07:05.759 to Walter Russell. Between the two of them, they're mapping 102 00:07:05.839 --> 00:07:11.120 out the universe sound. So having the idea of the 103 00:07:11.199 --> 00:07:16.040 monochord in your head and understanding how resonant frequencies really 104 00:07:16.120 --> 00:07:22.040 do bind everything together in a kind of sonic net. 105 00:07:22.519 --> 00:07:25.240 Everything is sort of part of the sonic net, and 106 00:07:25.319 --> 00:07:28.279 it's always resonating off of each other because everything is 107 00:07:28.360 --> 00:07:32.480 already vibrating. It may be subaudio. You might not be 108 00:07:32.560 --> 00:07:35.879 able to hear the vibrations, but those vibrations are there 109 00:07:36.079 --> 00:07:38.720 all around you all the time. The only way you're 110 00:07:38.720 --> 00:07:41.199 gonna get away from it is if you were in 111 00:07:41.560 --> 00:07:45.160 absolute zero. So at that absolute zero level, that would 112 00:07:45.199 --> 00:07:49.399 be where all of the vibrations would stop. To me, 113 00:07:49.519 --> 00:07:52.639 it just sounds theoretical because I don't think scientists have 114 00:07:52.680 --> 00:07:56.360 been able to get mattered down to absolute zero yet, 115 00:07:57.120 --> 00:08:00.199 But I think once you do, that's really good to 116 00:08:00.240 --> 00:08:06.279 be uh revealing in terms of baseline vibration. Did anybody 117 00:08:06.319 --> 00:08:10.560 have anything to say about this Walter Russell diagram? 118 00:08:11.000 --> 00:08:13.199 No, but I did want to, like just mention there 119 00:08:13.240 --> 00:08:15.120 was a few things that you said. I just want 120 00:08:15.199 --> 00:08:18.079 to just touch on real quick. Anyway, It was interesting 121 00:08:18.079 --> 00:08:20.040 how you said about like, you know this, I think 122 00:08:20.079 --> 00:08:23.759 a few different types of theories on people moving things 123 00:08:23.879 --> 00:08:26.279 with sound. I mean some people have thought I mean, 124 00:08:26.279 --> 00:08:27.800 I don't know if you want to go there with theyank, 125 00:08:27.879 --> 00:08:29.639 but some people do think that that has some sort 126 00:08:29.680 --> 00:08:32.360 of capabilities of doing that or whatever. Maybe the Egyptians 127 00:08:32.360 --> 00:08:34.840 did that, But I mean there has been people I've 128 00:08:34.840 --> 00:08:37.440 even seen do videos that like well like can make 129 00:08:37.759 --> 00:08:40.320 rocks move actually at least lift them up, just through 130 00:08:40.399 --> 00:08:43.639 like frequencies and stuff. So I did find that interesting 131 00:08:43.639 --> 00:08:45.279 that you mentioned that, because I mean, there is proof 132 00:08:45.320 --> 00:08:48.960 of being able to do that, and one thing that 133 00:08:49.000 --> 00:08:51.440 you just happen to mention that. Really it made me 134 00:08:51.440 --> 00:08:54.799 think about Girtschev and then it made me think about 135 00:08:54.840 --> 00:08:57.399 the Fellowship of Friends. And you know, I don't know 136 00:08:57.480 --> 00:08:59.919 much about Girtcheffs, so I can't, but I do know 137 00:09:00.360 --> 00:09:04.080 he was into like the whole octave stuff with music, 138 00:09:04.639 --> 00:09:07.159 and the Fellowship of Friends kind of basically took his 139 00:09:07.240 --> 00:09:11.080 teachings and perverted it to manipulate people. And they started 140 00:09:11.120 --> 00:09:14.240 taking music and they would do things in octaves, like 141 00:09:14.320 --> 00:09:16.559 when we covered it in the past, they actually had 142 00:09:16.559 --> 00:09:19.440 it like certain weeks it was gonna be certain octaves done, 143 00:09:19.480 --> 00:09:22.519 and like within those octaves they were like, I guess 144 00:09:22.559 --> 00:09:24.480 whatever they were saying or what they were trying to 145 00:09:24.559 --> 00:09:26.919 teach or do were supposed to go along with the 146 00:09:26.960 --> 00:09:29.200 music to where it made them like absorbent more. It 147 00:09:29.240 --> 00:09:32.360 was very weird. They explained it too, you know, so 148 00:09:32.360 --> 00:09:35.519 so sound was you know, it's it's important. 149 00:09:36.519 --> 00:09:40.360 So with gi Gerdjeff, his idea was that you would 150 00:09:40.399 --> 00:09:45.159 need to have perfect synchronization between your body and the 151 00:09:45.200 --> 00:09:51.120 sound so that you could experience a type of resonant 152 00:09:51.200 --> 00:09:56.559 frequency from that experience. So he would have his participants 153 00:09:57.080 --> 00:10:00.840 do these dances over and over and over again until 154 00:10:00.840 --> 00:10:05.279 they had them absolutely perfect, right and in that perfection, 155 00:10:05.840 --> 00:10:09.039 that's where the meditative state would would start to have. 156 00:10:09.159 --> 00:10:10.399 Some OA stuff right there. 157 00:10:10.960 --> 00:10:15.320 Yeah, yeah, definitely, And I think that goes into the 158 00:10:15.360 --> 00:10:20.159 water too, because with water you get the cymatics of 159 00:10:20.200 --> 00:10:23.519 the different frequencies in the tones. Why would it be 160 00:10:23.559 --> 00:10:27.519 any different with your own body. If your body is 161 00:10:27.600 --> 00:10:32.559 now having a resonance with that water, with the music 162 00:10:32.960 --> 00:10:38.600 and the motions, you're talking about maximizing the energy and 163 00:10:38.639 --> 00:10:43.360 creating a type of flow that would be something different 164 00:10:43.480 --> 00:10:46.960 than any other of consciousness that you could normally have. 165 00:10:47.720 --> 00:10:51.559 I think that's kind of what goes on with besides 166 00:10:51.600 --> 00:10:55.200 other things. I do think that's part of sometimes ritualistic rituals, 167 00:10:56.360 --> 00:10:59.840 especially i'd say the Star Ruby because even in the 168 00:11:00.200 --> 00:11:03.639 Ruby that Crowley wrote, each direction you're pronouncing whatever word 169 00:11:03.679 --> 00:11:06.200 you're saying, you're gonna be pronouncing it a different way. 170 00:11:06.720 --> 00:11:08.799 So there's a reason for that, I'm sure. Besides it 171 00:11:08.960 --> 00:11:11.759 trying to I think go along with the quarters and 172 00:11:11.799 --> 00:11:14.360 the elements, like you know, some way you're screaming because 173 00:11:14.399 --> 00:11:17.559 it's supposed to be representing an an eagle, you know, 174 00:11:17.639 --> 00:11:20.639 something like that, but you're doing things in different sounds. 175 00:11:21.159 --> 00:11:23.679 And even like then in like the pentagram ritual and 176 00:11:23.720 --> 00:11:26.960 the Hexagram ritual, it may not even just be Crowley. 177 00:11:27.039 --> 00:11:29.879 I think like even in other people's representations of it, 178 00:11:30.320 --> 00:11:32.480 they may just be pulling it from Crowley anyway. But 179 00:11:33.240 --> 00:11:37.120 it is specified to vibrate certain words to like almost exhaustion. 180 00:11:38.480 --> 00:11:41.720 Like there's a reason for that. I'm assuming you know. Then, 181 00:11:41.960 --> 00:11:44.600 I do think it's you're doing something with the movements 182 00:11:44.720 --> 00:11:47.559 and the vibrating, and I do think it might actually 183 00:11:47.559 --> 00:11:49.320 be more maybe just to put your whole body into 184 00:11:49.320 --> 00:11:50.399 a certain state. 185 00:11:51.720 --> 00:11:55.320 So I was gonna say, now, with this Walter Russell chart, 186 00:11:56.080 --> 00:12:00.200 when when you look at how the vibration makes up 187 00:12:00.240 --> 00:12:05.120 the central the central core, it's talked about that the 188 00:12:05.240 --> 00:12:11.360 elements basically reflect as above so below. As you're moving 189 00:12:11.440 --> 00:12:16.320 up this ladder, the ones above them and above them, 190 00:12:16.480 --> 00:12:22.039 and they basically nest into one another depending upon how 191 00:12:22.080 --> 00:12:27.240 the frequency resonates and how dense it it becomes versus 192 00:12:27.279 --> 00:12:31.799 how light it becomes. But they're the same elements, but 193 00:12:32.120 --> 00:12:37.639 changing form through resonant structure as they move up or down, 194 00:12:38.279 --> 00:12:40.200 which I find really interesting. 195 00:12:40.919 --> 00:12:41.320 That is. 196 00:12:42.879 --> 00:12:47.279 Well with this Walter Russell diagram. His uh, his focus 197 00:12:47.399 --> 00:12:50.519 was mainly on the light that was given up by 198 00:12:50.519 --> 00:12:53.879 these frequencies and how the light interacted with each other. 199 00:12:54.279 --> 00:12:57.960 But this also works with the you know, the sound 200 00:12:58.039 --> 00:13:02.559 as well, and I think the crossover between sound and 201 00:13:02.720 --> 00:13:06.480 light is really interesting to me because that the first 202 00:13:06.480 --> 00:13:09.279 thing that comes to my mind is the cavitation bubble. 203 00:13:10.200 --> 00:13:14.120 I know, if you've ever had experience with boats, you 204 00:13:14.200 --> 00:13:17.519 see the bubbles coming off of the propeller in the 205 00:13:17.519 --> 00:13:23.240 back of the boat. And those bubbles aren't created by 206 00:13:23.279 --> 00:13:27.320 the air on the top of the water. Those are 207 00:13:27.360 --> 00:13:32.240 cavitation bubbles which occur because of a fast moving object 208 00:13:32.360 --> 00:13:37.519 through the fluid well. Cavitation bubbles can actually be held 209 00:13:38.000 --> 00:13:43.399 by sonic frequencies, and those cavitation bubbles produce light. And 210 00:13:43.440 --> 00:13:46.600 it hasn't been fully explained by science yet, but you 211 00:13:46.639 --> 00:13:53.080 can have a bubble producing light held within a sonic structure, 212 00:13:53.720 --> 00:13:57.960 creating resonance. Within the water. Now, this goes straight back 213 00:13:57.960 --> 00:14:01.159 into that water consciousness idea, something about the water that 214 00:14:01.279 --> 00:14:08.279 is producing an energy that creates this collapsed sort of 215 00:14:09.279 --> 00:14:13.679 energy within the water itself. So a cavitation bubble would 216 00:14:13.720 --> 00:14:17.960 be like a collapse. You're collapsing the energy. It's a 217 00:14:18.200 --> 00:14:24.039 different form of energy than the normal explosive force, which 218 00:14:24.080 --> 00:14:27.639 goes back to the water wizard. You know, if you 219 00:14:27.679 --> 00:14:32.519 think about the two different ways of experiencing energy, you've 220 00:14:32.519 --> 00:14:35.200 got the heat loss right, and then you would have 221 00:14:35.279 --> 00:14:39.519 like a tornado. A tornado is way more powerful than 222 00:14:39.519 --> 00:14:44.559 an explosion and its self sustaining. And because the cavitation 223 00:14:44.759 --> 00:14:48.200 bubble itself is more on the collapsing path, we all 224 00:14:48.240 --> 00:14:52.559 know when these tornadoes happen in the bathtub, what's happening 225 00:14:52.759 --> 00:14:56.600 is you're getting that spiraling effect that becomes self sustaining. 226 00:14:57.039 --> 00:14:59.440 So it has to do with the geometry, it has 227 00:14:59.519 --> 00:15:03.360 to do with the collapse. And if that is a 228 00:15:03.600 --> 00:15:08.759 different way of producing energy than regular explosions, that could 229 00:15:08.799 --> 00:15:14.360 be a much more sustainable way of producing energy for consumption. Now, 230 00:15:14.399 --> 00:15:18.879 obviously in our world, heat loss is the main way 231 00:15:19.000 --> 00:15:24.240 of producing energy. But if you think about the spiral 232 00:15:25.000 --> 00:15:27.600 going outward. That would be the heat loss. So let's 233 00:15:27.600 --> 00:15:31.279 say you've got an explosion. Whenever you see a fire 234 00:15:31.320 --> 00:15:35.240 on a really cold day, you get that fire tornado, 235 00:15:35.360 --> 00:15:38.360 and that sort of represents the heat loss. That would 236 00:15:38.399 --> 00:15:42.519 be the spiral outward. And then if you're talking about 237 00:15:43.000 --> 00:15:47.519 cold weather mixing with warmer weather, you've got another type 238 00:15:47.559 --> 00:15:53.000 of tornado, which would be that inward cycle of energy. 239 00:15:53.440 --> 00:15:56.480 And that inward cycle of energy would be the more 240 00:15:56.559 --> 00:16:02.200 sustaining cold cold fusion and type energy, right, and the 241 00:16:02.200 --> 00:16:06.399 cavitation bubble being held in stasis by you know, sound 242 00:16:06.840 --> 00:16:10.759 and producing light would be the perfect representation of that 243 00:16:10.879 --> 00:16:17.399 collapsing type energy, which I think is is perfectly represented 244 00:16:17.440 --> 00:16:20.840 by the idea of sound, because sound can not only 245 00:16:20.879 --> 00:16:23.120 be explosive, it can also be implosive. 246 00:16:24.240 --> 00:16:26.440 I too, like how you see like the Fibonacci sequence 247 00:16:26.480 --> 00:16:29.399 in there too. Kind of yeah, but you know, you 248 00:16:29.519 --> 00:16:32.559 with your whole spiral thing, I have wondered if, I mean, 249 00:16:32.600 --> 00:16:34.120 I don't know how it works since we're not getting 250 00:16:34.159 --> 00:16:36.000 knocked over, But for some reason I have thought that 251 00:16:36.039 --> 00:16:38.279 gravity might actually kind of work in that well. I 252 00:16:38.320 --> 00:16:40.080 don't think gravity is really what it is, like what 253 00:16:40.080 --> 00:16:42.559 we think it is anyway, But I have wondered if 254 00:16:42.600 --> 00:16:46.120 it's like a spiraling down type of. 255 00:16:46.000 --> 00:16:50.799 Well, you see within the sound, the active function of 256 00:16:50.840 --> 00:16:53.799 the spiral, you see it within the water, you see. 257 00:16:53.799 --> 00:16:58.000 I mean, I think everything within creation, from the DNA 258 00:16:58.480 --> 00:17:03.519 to potentially gravity, has a relationship with some sort of 259 00:17:03.559 --> 00:17:05.119 a spiral dynamic. 260 00:17:07.119 --> 00:17:10.480 It's like a downward spiral by any shows, any shows. 261 00:17:13.079 --> 00:17:17.240 I just wanted to underline some stuff that you mentioned headless, 262 00:17:17.400 --> 00:17:24.480 uh than that, and in so many different traditions, from 263 00:17:24.559 --> 00:17:29.839 Egyptian and to more primal and indigenous cultures, the sound 264 00:17:30.720 --> 00:17:37.759 is kind of the point of creation, right, And it's uh, 265 00:17:37.960 --> 00:17:41.559 not only it's a it's a something that we hear 266 00:17:41.680 --> 00:17:47.680 and i'm something that we evoke as well. And there's 267 00:17:47.839 --> 00:17:49.640 all kinds of different ways to look at it, but 268 00:17:49.640 --> 00:17:54.559 I think it's a kind of generative quality that we have. 269 00:17:55.720 --> 00:17:59.720 There is one of my favorite little Indian guru metaphors, 270 00:17:59.720 --> 00:18:05.480 if you will. A monk who's learned and has to 271 00:18:05.519 --> 00:18:11.160 fulfill his duties by traveling and teaching other people about 272 00:18:11.160 --> 00:18:14.079 the dharma or what have you that he was teaching, 273 00:18:15.240 --> 00:18:20.680 and he has to, you know, go on pilgrimage and 274 00:18:21.319 --> 00:18:25.119 he goes throughout these villages and all over teaching. And 275 00:18:25.200 --> 00:18:28.880 one day someone tells him about a hermit on an 276 00:18:28.920 --> 00:18:33.440 island in the middle of a lake, and he should 277 00:18:33.480 --> 00:18:37.279 go to this island and teach him. And he takes 278 00:18:37.319 --> 00:18:41.920 a boat to the island and he goes and he 279 00:18:42.000 --> 00:18:45.960 finds this, you know, esthetic this guy living in his 280 00:18:46.240 --> 00:18:49.359 underwear or what have you. And he's like, oh my gosh, 281 00:18:49.559 --> 00:18:52.119 oh oh, that's so wonderful that you hear. You have 282 00:18:52.240 --> 00:18:56.240 so much to teach me. And the learned monk is, well, yes, yes, 283 00:18:56.640 --> 00:18:59.240 i'll teach you. There's so many things, or I'll teach 284 00:18:59.240 --> 00:19:01.759 you what I can, but I can't stay for long. 285 00:19:02.599 --> 00:19:06.599 And you know, he tastes on the role of teacher 286 00:19:06.680 --> 00:19:13.519 and master. And they're sharing their various mantras and the 287 00:19:13.559 --> 00:19:17.359 hermit shares his mantra with the monk that the mantra 288 00:19:17.480 --> 00:19:21.519 recognizes and he said, no, no, no, no, you're wrong, you're off. 289 00:19:21.599 --> 00:19:25.359 The mantra goes like this, not like that, not like that. 290 00:19:26.000 --> 00:19:29.279 Oh oh my goodness, thank you so much for teaching 291 00:19:29.319 --> 00:19:32.000 me this. I would have been lost and saying the 292 00:19:32.039 --> 00:19:35.519 mantra the wrong way for a lifetime. Thank you, and 293 00:19:35.720 --> 00:19:38.599 the monk, the learned monk feels good the next morning 294 00:19:38.720 --> 00:19:42.519 or what have you. He leaves, and the hermit blesses 295 00:19:42.599 --> 00:19:47.720 him and thanks him, and the boatman is taking him 296 00:19:47.720 --> 00:19:53.480 across the water and he stops and he's dumbfounded look 297 00:19:53.680 --> 00:19:57.359 on his face. And the monk turns around just in 298 00:19:57.440 --> 00:20:02.880 time to see the hermit walking on water saying wait, wait, 299 00:20:02.960 --> 00:20:09.000 how do you say the mantra again correctly? Which I 300 00:20:09.000 --> 00:20:13.160 think is a really funny way of noting that behind it, 301 00:20:13.279 --> 00:20:18.920 the mental attitude is what is super important rather than 302 00:20:18.960 --> 00:20:23.440 the pronunciation. And and to that point, with the one 303 00:20:23.480 --> 00:20:29.480 O eight, they often will repeat the mantra with the 304 00:20:29.519 --> 00:20:34.279 intent to have one hundred repetitions that are decent enough 305 00:20:34.359 --> 00:20:41.160 to be acceptable and eight for incorrect pronunciation or for 306 00:20:41.319 --> 00:20:44.160 other people who haven't said the mantra. So I just 307 00:20:44.160 --> 00:20:46.880 wanted to say, and the whole, the whole generative quality 308 00:20:46.920 --> 00:20:51.200 of communication. I just wanted to underline, thank headless, this 309 00:20:51.240 --> 00:20:52.400 is awesome presentation. 310 00:20:53.319 --> 00:20:56.279 Thank you. So that kind of goes into a little 311 00:20:56.319 --> 00:20:59.200 bit of what I sort of think about when it 312 00:20:59.240 --> 00:21:03.359 comes to vibrant these words. I think Crowley mentions it 313 00:21:03.400 --> 00:21:06.000 in book four. But what you're supposed to be doing 314 00:21:06.039 --> 00:21:11.200 while you're vibrating the words is you're supposed to be 315 00:21:11.400 --> 00:21:15.400 clearing out the mind, right, So he likens it to 316 00:21:15.839 --> 00:21:18.400 sand on a beach towel, and what you're trying to 317 00:21:18.440 --> 00:21:20.960 do is you're trying to vibrate that beach towel to 318 00:21:21.000 --> 00:21:23.440 get all the sand off of it. So if you're 319 00:21:23.480 --> 00:21:26.440 holding it up and you're kind of shaking it, all 320 00:21:26.559 --> 00:21:29.960 that sand kind of creates that climatic effect, and now 321 00:21:30.000 --> 00:21:37.440 it's forming that that sort of mandola of frequencies within 322 00:21:37.559 --> 00:21:41.119 that thing, and you're trying to vibrate that sand or 323 00:21:41.160 --> 00:21:45.240 all of the distractions out of your mind as you're 324 00:21:45.359 --> 00:21:49.279 vibrating it. So it has a cleansing quality to it too, 325 00:21:49.640 --> 00:21:53.319 And if you think about it, having that frequency being 326 00:21:53.480 --> 00:21:57.079 the basis for how you're doing the cleansing, would really 327 00:21:57.119 --> 00:22:01.839 get a lot deeper and a lot more more thorough 328 00:22:02.640 --> 00:22:06.839 than other forms of cleansing during rituals. So you're actually 329 00:22:07.440 --> 00:22:11.160 taking your voice and using that as an energetic tool 330 00:22:11.319 --> 00:22:15.400 to cleanse the mind and cleanse the body of all 331 00:22:15.440 --> 00:22:18.680 of the different distractions that may be plaguing you at 332 00:22:18.720 --> 00:22:21.960 the time. So there is that cleansing quality to the 333 00:22:22.039 --> 00:22:26.400 sound as you're as you're using it, so I think, uh, 334 00:22:26.640 --> 00:22:28.119 I think we're good on this one. We can go 335 00:22:28.160 --> 00:22:29.319 over to the next one there. 336 00:22:30.039 --> 00:22:33.359 May I may I underline something too that, uh, the 337 00:22:33.440 --> 00:22:39.240 healing power in the rhythm and vibration and those being 338 00:22:39.799 --> 00:22:44.279 tenets from the Kaibali, and those are often mixed up, 339 00:22:45.279 --> 00:22:48.880 not necessarily mixed up, but maybe considered that maybe one 340 00:22:49.039 --> 00:22:53.000 isn't needed because one could suffice for both. I was 341 00:22:53.079 --> 00:22:56.559 kind of thinking about sound and relation to rhythm and 342 00:22:56.640 --> 00:22:59.319 vibration when I was doing some chi young and a 343 00:22:59.440 --> 00:23:05.839 simple demonstration I think helps, like the rhythm is the 344 00:23:05.920 --> 00:23:10.000 rate at which I'm making the tap, but the vibration 345 00:23:10.759 --> 00:23:15.480 is what's causing that in my voice, right, So so 346 00:23:15.599 --> 00:23:20.920 it's kind of like math and numbers with these causes 347 00:23:20.960 --> 00:23:24.640 and effects, if you will. Sorry for interrupting this. I 348 00:23:24.680 --> 00:23:27.359 just wanted to add that because I thought it's right, 349 00:23:28.039 --> 00:23:28.799 that's the point. 350 00:23:28.839 --> 00:23:30.920 And what you're doing with all that math is you're 351 00:23:30.960 --> 00:23:35.480 creating ratios, right, And the mathematics of music is all 352 00:23:35.519 --> 00:23:40.359 about ratios and how they exist in relationship to one another. 353 00:23:40.640 --> 00:23:44.319 And I think that's why this, uh, this you know 354 00:23:44.559 --> 00:23:47.839 slide right here is really important because what they're trying 355 00:23:47.920 --> 00:23:51.160 to show is that it all kind of fits into 356 00:23:51.160 --> 00:23:54.880 the golden ratio. And when you've got the golden ratio 357 00:23:54.920 --> 00:23:59.720 as your base level understanding of how sound and light 358 00:24:00.079 --> 00:24:03.079 interact with one another, you can kind of start to 359 00:24:03.119 --> 00:24:07.200 get the idea of where you can use this sound 360 00:24:07.279 --> 00:24:11.960 as a tool to start to transform sound and light. 361 00:24:12.319 --> 00:24:16.680 And if that's really where we're at, you know, you've 362 00:24:16.720 --> 00:24:19.720 got string theory, which talks about how, at the very 363 00:24:19.839 --> 00:24:24.880 most basic level, it's just vibrating energy, right, And if 364 00:24:24.880 --> 00:24:28.920 that's the case, why wouldn't sound and light be more 365 00:24:29.680 --> 00:24:34.960 structurally important then maybe the physical matter that we sort 366 00:24:35.000 --> 00:24:38.480 of interact with on the scale we exist at. So 367 00:24:38.920 --> 00:24:42.039 you know, we're looking around and we see objects when 368 00:24:42.119 --> 00:24:46.759 really it's vibrating energy. And if you take it from 369 00:24:46.799 --> 00:24:49.519 that perspective, you can kind of see how we're living 370 00:24:49.559 --> 00:24:53.440 in a hologram. If everything's just vibrating strings of energy, 371 00:24:54.200 --> 00:25:00.279 then light is at the very basic nature of every thing, 372 00:25:00.960 --> 00:25:06.839 and it's that vibrating light that creates the illusion of objects, right, 373 00:25:06.920 --> 00:25:10.559 because nothing is really solid if everything is vibrating. And 374 00:25:10.599 --> 00:25:17.200 when you understand that, you know the light spectrum is 375 00:25:17.279 --> 00:25:21.839 mostly invisible and there's a lot of different sounds that 376 00:25:21.880 --> 00:25:27.440 we don't necessarily hear audibly. You could see how having 377 00:25:27.559 --> 00:25:32.559 all of that come together would create the illusion of 378 00:25:32.680 --> 00:25:37.759 solidity within the world around us. And by being able 379 00:25:37.799 --> 00:25:42.160 to transcend the idea that maybe everything is solid, maybe 380 00:25:42.279 --> 00:25:47.240 everything is as you know, concrete, as we think it is. 381 00:25:47.440 --> 00:25:51.119 By transcending that idea, we might be able to have 382 00:25:51.160 --> 00:25:53.559 a little bit more influence over our lives. And if 383 00:25:53.559 --> 00:25:56.440 you think about it, you have to start believing that 384 00:25:56.480 --> 00:26:00.400 things are possible to break the cycles that you're stuck in, 385 00:26:01.000 --> 00:26:05.559 and believing outside of just the normal physical world of 386 00:26:05.759 --> 00:26:15.079 solidness and form. That takes a lot more energy, internal energy, 387 00:26:16.240 --> 00:26:20.279 and it transforms it into a sort of a spiral pattern. 388 00:26:20.359 --> 00:26:23.519 And the more you engage with that spiral pattern, the 389 00:26:23.559 --> 00:26:25.759 more likely it is that you get out of the 390 00:26:25.799 --> 00:26:29.559 cycles that you're stuck in. So, you know, in this case, 391 00:26:29.680 --> 00:26:33.839 we're talking about how all of these different frequencies resonate 392 00:26:33.880 --> 00:26:38.759 with one another and create these different patterns. You're already 393 00:26:38.799 --> 00:26:42.440 in a pattern. You know, once you've started to identify 394 00:26:42.480 --> 00:26:45.240 that pattern, once you get to know yourself a little 395 00:26:45.240 --> 00:26:48.519 bit better, you can understand how to break those patterns. 396 00:26:48.559 --> 00:26:53.319 You can understand how to resonate outside of the cages 397 00:26:53.359 --> 00:26:58.319 that we've produced for ourselves. Also, this one is based 398 00:26:58.359 --> 00:27:02.839 off of four point thirty two. Hurt modern tuning is 399 00:27:03.119 --> 00:27:06.759 at four forty. So there is this sort of distinction 400 00:27:07.039 --> 00:27:11.079 between the old way of doing things, which was much 401 00:27:11.119 --> 00:27:15.440