Speaker 1: I want you to close your eyes seriously, just for
a moment.
Speaker 2: Yeah, block out the room you're in right now.
Speaker 1: Exactly block it out. I want you to imagine you
are descending. You are going down deep into the bedrock
of the.
Speaker 2: Earth, surrounded by solid limestone.
Speaker 1: Right. It's damp, it's cool, and it is pitch black.
The air is stale, heavy with this ascent of dust
that's been settling for six thousand years.
Speaker 2: Wow.
Speaker 1: And you're standing in a chamber that by all conventional
timelines of history just shouldn't exist. It was carved by
people who shouldn't have had the tools to engineer it.
Speaker 2: And then the sound begins.
Speaker 1: Yes, a sound begins, and it's not a melody. It's
a low resonant hum. You don't just hear it with
your ears.
Speaker 2: You feel it.
Speaker 1: You feel it in your teeth. It rattles your rib cage,
It vibrates in the absolute marrow of your bones. And
this isn't you know, This isn't a scene from a
sci fi movie or a special effect, right, not a
blockbuster effect. This is a reality that has been waiting
in the dark underground for millennia.
Speaker 2: Is a terrifying and honestly awe inspiring image. The idea
that sound is physical, visceral and perhaps the technology we've
completely forgotten.
Speaker 1: How to use it really is Welcome to thrilling threads.
I am your host, and I'm here to pull on
a loose thread in the fabric of reality and just
see what unravels.
Speaker 2: And I am thrilled to be here to help untangle
the mess. Today's thread, well, let's just say it resonates.
Speaker 1: Oh nice pun right off the bat, But seriously, today's
mission is huge. We are looking at unexplained sound technology.
Speaker 2: Which sounds like a fringe topic, but the sources we
have are incredibly grounded.
Speaker 1: Exactly, I want to be clear to everyone listening. We
aren't talking about ancient flutes or catchy prehistoric tunes. We
were talking about sound as a tool heavy engineering. Sound
is heavy engineering. Sound is a communication device with the divine,
and maybe, just maybe sound as a literal key to
unlock other dimensions.
Speaker 2: I know it sounds like hyperbole to say that out loud,
but when you look at the reports we've gathered for
this steep dive, I mean we have geologists like Robert Schulk,
physicists like Mitchiokaku and even declassified government intelligence files.
Speaker 1: The evidence is all there.
Speaker 2: It is. It suggests the ancients understood acoustic physics in
a way that rivals or maybe even surpasses, are modern understanding.
Speaker 1: We have a lot of ground to cover. We are
going to go from a prehistoric underground temple in Malta
to the high level math of string theory.
Speaker 2: And somehow we end up with a CIA spy.
Speaker 1: Program, a CIA spy program that use sound frequencies to
talk to things that well aren't human.
Speaker 2: It's a wild trajectory, but the connective tissue is absolutely there.
It all comes down to frequency.
Speaker 1: So let's start where our source material starts. We are
going to the Mediterranean, specifically a town called Paula on
the island of Malta.
Speaker 2: To the hause Offline hypogm.
Speaker 1: Yes, the hause Offlini Epogem. Now, I had never heard
of this place before digging into these files. What exactly
are we looking at here?
Speaker 2: The Hypogem is one of the most significant and frankly
mysterious are cheological sites on the planet. It's a massive subterranean.
Speaker 1: Complex like an underground city, effectively.
Speaker 2: An underground temple and an acropolis dating back roughly six
thousand years.
Speaker 1: Six thousand years, so we are talking about time way
before the Pyramids of Giza, long before. And the thing
that struck me immediately is the construction. This isn't a
natural cave they just moved into and painted a few walls.
Speaker 2: Right. No, absolutely not. As the geologist Robert Shot points
out in our sources, this structure is multi layered. It
has three major levels carved directly into the limestone.
Speaker 1: Bedrock carved into bedrock.
Speaker 2: Yes, and Shock mentions that the engineering sophistication required to
do this is, in his words, astounding.
Speaker 1: Let's pause on that for a second, because limestone is rock,
it's not butter. To carve out a three level complex
underground requires serious, serious planning. You have to worry about
weight distribution exactly, structural integrity, airflow. If you dig the
wrong way, the ceiling comes down and crushes everyone. Right.
Speaker 2: It requires there's a grasp of structural engineering that we
really don't typically credit to people from four thousand BC.
They created a masterpiece of negative space, removing rock to
create rooms, removing tons of rock to create halls and corridors,
all while maintaining the integrity of the earth above it.
Speaker 1: So we have this architectural marvel. But while the building
itself is impressive, what they found inside is where the
story takes a turn toward the uh well, the creeping macobs. Certainly,
when the Hypogeum was discovered back at nineteen oh two,
and it's basically by accident, right, some construction workers broke
through the roof.
Speaker 2: Yeah, they were sinking a cistern and just fell through
into history. And they found was packed.
Speaker 1: Packed is the right word. It contained the remains of
over seven thousand individuals, a.
Speaker 2: Massive communal burial site.
Speaker 1: Seven thousand people that is a small city. But here's
the thing that jumped out of me from the reports.
These weren't just standard issue skeletons, No, they were not.
There was a report, specifically a National Geographic article from
May nineteen twenty that described the skulls found there in
a very peculiar way. They called them long stulled.
Speaker 2: This is a detail that often gets overlooked in mainstream
history books, but it is right there in the older reports.
Speaker 1: Why is it overlooked?
Speaker 2: Well, Unfortunately, during World War two the site was vandalized
and many of these remains were lost or stolen. However,
eleven of these skulls were salvaged.
Speaker 1: Just eleven out of seven thousand, right.
Speaker 2: And they present a biological anomaly that is extremely hard
to explain away.
Speaker 1: Okay, let's unpack this anomaly, because long skull could just
mean genetic variation, right, like how some people are tall
and some are short. Maybe this was just an isolated
family with distinct features.
Speaker 2: It goes beyond simple shape. The source material notes a
specific physiological difference. At least one of these salvage skulls
lacked the sagital suture.
Speaker 1: Okay, biology, lesson time. What is a sagital suture and
why does it matter if it's missing?
Speaker 2: The sagital suture is the fibrous joint that connects the
two parietal bones of.
Speaker 1: The skull, the plates on the top.
Speaker 2: Basically, yeah, it's the line running down the top of
your head where the skull plates fuse together. All humans
have this, right for babies exactly. It allows the skull
to flex during birth and then fuse as we grow.
It is a defining feature of our skeletal.
Speaker 1: Structure, and these skulls just didn't have it.
Speaker 2: Correct. The source explicitly states the skull was missing this
sagital suture.
Speaker 1: So if you don't have that suture, doesn't that make
it impossible for the skull to grow normally? Or does
it imply that the skull was formed differently from birth?
Speaker 2: It implies a significant biological divergence. If a normal human
skull fused that early, it would typically result in cranio sinistosis,
which is dangerous right very It causes pressure on the
brain and severe deformity. But these skulls were described as
long and seemingly uniform. It raises the question of whether
we are looking at a pathological condition or are we
looking at a distinct subspecies.
Speaker 1: That is the big question. We have something that looks human,
acts human enough to be buried in the temple, but
structurally it is distinct from Homo sapiens as we know them.
Speaker 2: It makes you wonder who these people.
Speaker 1: Were, or if they were even people.
Speaker 2: And that ambiguity leads us into one of the more
controversial but fascinating stories associated with the hypergem.
Speaker 1: Oh, the story of Lois Jessop. Yes, I love this
story because it feels like an urban legend, but it
comes from a source that should be reliable. Lois Jessop
wasn't some you know, conspiracy theorist living in a basement.
She was an employee of the British Consulate in Malta.
Speaker 2: Right, she was a credible witness in terms of her
professional standing. This was back in the nineteen thirties, so well.
Speaker 1: Before the WWII vandalism exactly.
Speaker 2: She recounted a visit to the habit gm where she
managed to convince a caretaker to let her access the
lowest chamber, an area.
Speaker 1: Usually off limits to tourists, which is the classic setup
for a horror movie. You know, let me into the
forbidden basement.
Speaker 2: It certainly is, but according to Jessop, she didn't find
a monster or a ghost. She squeezed through a narrow
passage and emerged onto a ledge. She described looking out
over a great fissure, a massive crack in the earth
beneath the island, and on the other side of this chasm.
Speaker 1: She saw giants.
Speaker 2: Yes, she claimed to see about twenty very tall beings,
twenty of them, and she described them as having white hair.
And the most chilling part, they weren't just standing there
ignoring her.
Speaker 1: They saw her, she said. They looked up in motion
for her to come down like, hey, come join.
Speaker 2: Us in the dark exactly. Now, obviously we have to
take anecdotal accounts with a huge grain of salt. There
is no photo evidence of this, of course now. But
when you layer that story on top of the physical
evidence of the long skulls without sagital sutures, it creates
a really compelling narrative.
Speaker 1: It suggests that perhaps the hypergeom wasn't just a tomb.
Maybe it was a habitat or a gateway or a
place where two different types of beings interacted.
Speaker 2: Yeah.
Speaker 1: But here's where it gets really interesting for me. We
have the visual scares, the skulls, the giants, but the
real technology, the hypogm, seems to be invisible. It's the sound, right,
It's all about the sound.
Speaker 2: This is where we move from folklore to hard science,
and this is where the thread really starts to vibrate.
In February twenty fourteen, a researcher named Linda Anex conducted
a study on archaeoacoustics within the hypogm.
Speaker 1: Archaeoacoustics such a great.
Speaker 2: Term, and she did this specifically in a chamber known
as the Oracle Room.
Speaker 1: The oracle room, even the name implies communication, receiving a message.
What did they find in there?
Speaker 2: They brought in sophisticated audio equipment to test the resonant
frequency of the chamber. Now, to explain that briefly, every object,
every room has a natural frequency at which it wants
to vibrate, like.
Speaker 1: When you run your finger around the rim of a
wineglass and it.
Speaker 2: Sings right the sweet spot. When they tested the hypogm,
they found that the entire structure resonates at exactly one
hundred and ten hertz.
Speaker 1: One hundred and ten hearts. Okay, to the average person listening,
that is just a number. Is that significant? Is it
just a random architectural coincidence.
Speaker 2: It is highly magnificant. It's in the range of a
low baritone human voice. But it's not just about the pitch.
Enix describes the sensation of that frequency as mesmerizing.
Speaker 1: Mesmerizing, how she said.
Speaker 2: You don't just hear it, You physically feel the vibration
in your whole body. It creates a sensation of being
inside the sound.
Speaker 1: It reminds me of being at a concert with massive
subwarfers where the bass just hits you in the.
Speaker 2: Chest exactly like that.
Speaker 1: But this is stone. This is a six thousand year
old room precisely.
Speaker 2: And the fact that it matches one hundred and ten
hertz so perfectly suggests the room wasn't just carved for space.
Speaker 1: It was tuned, tuned like an instrument, just.
Speaker 2: Like you would tune a guitar or a violin. The
architects of the Hypergeen shaped the walls, the ceiling curves,
and the volume of the space to ensure that when
a sound was made inside, it would amplify at that
specific frequency.
Speaker 1: So if you were standing in there and hummed at
a low pitch, specifically one hundred and ten hertz, the
whole room would start to sing with you.
Speaker 2: Yeah. Yes, The reflections of the sound waves bounce off
the limestone walls. If the dimensions are perfect, those waves
build upon each other, creating a standing wave. A standing wave,
it amplifies the energy, It becomes an acoustic battery.
Speaker 1: But why I keep coming back to the effort involved
carving rock is hard enough. Carving rock to be a
perfect musical instrument seems like total overkill unless it has
a very specific practical function.
Speaker 2: That is the million dollar question, and modern neuroscience actually
gives us a clue. Really, Yes, Studies on brain activities
show that listening to sounds at exactly one hundred and
ten hertz has a very specific effect on the human brain.
Speaker 1: What does it do.
Speaker 2: It deactivates the language center and shifts activity to the
prefrontal cortex. That's the part of the brain associated with mood, empathy,
and social behavior.
Speaker 1: Wait, so the sound literally shuts off the talking part
of your brain and turns on the feeling part.
Speaker 2: In a sense, yes, it induces a trance like state.
It alters consciousness. So the Hypogeum wasn't just a burial site.
It was a machine for altering the human mind.
Speaker 1: That is mind blowing. Yeah, it implies they weren't just
digging holes. They were building a psychological tool, a giant
stone instrument that you walk inside of to change how
you perceive reality.
Speaker 2: And this brings us to the broader field of study
mentioned in our sources archae acoustics.
Speaker 1: Yeah, let's define that, because until I read through these files,
I didn't know this was an actual scientific field.
Speaker 2: It is an interdisciplinary field. It combines archaeology, physics, and
acoustic engineering. The goal is to study how ancient sites
were designed to manipulate sound.
Speaker 1: And it's not just Malta right.
Speaker 2: No, as we look around the world, we find that
the hypogeum is not an isolated incident. This was a
global phenomenon.
Speaker 1: Right. The sources mentioned Stonehinge. Now, I have always thought
of Stonehenge as a calendar, you know, lining up with
the solstice to tell the farmers when to plant crops.
Speaker 2: That's the standard visual interpretation.
Speaker 1: But you're saying it was a speaker system.
Speaker 2: Felicia Beardsley, an expert sited in our material, describes Stonehenge
as a sonic temple. Think about the shade. It's a
circle of massive upright stones.
Speaker 1: It's basically a prehistoric surround sound set up.
Speaker 2: It functions as a containment field. Beardsley explains that if
you stand in the center and create a sound, particularly
low frequency drums are chanting, the stones are arranged to
reflect that sound back into.
Speaker 1: The circle, so it traps the sound.
Speaker 2: It creates an echo chamber where the sound intensity builds up,
but the stones block it from escaping outward.
Speaker 1: So the people outside the circle might just hear a
muffled thud, but the people inside are getting their brains
absolutely rattled.
Speaker 2: Exactly. It builds up energy. Beardsley speculates that this containment
was purposeful. They were generating intensity for a specific ritualistic.
Speaker 1: Reason, creating a VIP section for reality.
Speaker 2: It creates a differentiation between the initiated inside the circle
and the public outside. The acoustic experience defined the sacred space.
Speaker 1: It's like a pressure cooker for sound. And then we
have Newgrange in Ireland. This one really convinced me that
this was intentional technology, not just accidental echoes.
Speaker 2: New Grange is incredible. It's a passage tomb older than
Stonehenge and the Pyramids, and the acoustic properties there are undeniable.
Speaker 1: It has the standing waves too, right.
Speaker 2: Yes, researchers have found that the architecture creates those standing
waves we mentioned earlier. But there's visual evidence too.
Speaker 1: The zigzag carvings on the walls.
Speaker 2: Yes. A researcher named Newman suggests that the spiral and
zigzag carvings found inside the chamber aren't just decorative art.
They aren't just doodles.
Speaker 1: What are they?
Speaker 2: They are representations of the sound waves themselves.
Speaker 1: That is such a cool idea that they were literally
drawing what they heard, Like here's the shape of the
sound in this room like in a silloscope, exactly like
looking at an equalizer display on a stereo system, but
carved into rock thousands of years ago.
Speaker 2: It implies they understood the physics of it. They were
recording the acoustic experience. And there's one more detail about
New Grange that is truly staggering. The roof.
Speaker 1: Oh, the corbold roof. I saw this in the notes right.
Speaker 2: The roof is made of these massive stones stacked in
a spiral. Evidence suggests that the builders went back and
adjusted these stones after the initial construction was done.
Speaker 1: They shifted them. Why would they do that.
Speaker 2: To tune the chamber?
Speaker 1: Imagine the physical effort moving a multi ton slab of
rock just an inch to the left because the acoustics
were slightly off, like, no, no, push it back. The
reverb is muddy. That is absolute dedication.
Speaker 2: It proves that the sound was the priority. The structure
was a machine for generating a specific vibrational.
Speaker 1: State, which brings up the next question.
Speaker 2: The question of why what were they trying to achieve
with this sound?
Speaker 1: And that leads us to the wildest part of this thread,
the why, Because if you look at the texts and
the traditions. They actually tell us exactly what the sound
was for. It wasn't just for a cool vibe. It
was for making a call, a call to.
Speaker 2: The divine, or perhaps a transmission.
Speaker 1: Let's talk about the Ark of the Covenant, the Ultimate Artifacts.
We all know it from Raiders of the Lost Arc,
the Golden Box that melt Faces. But David Childress, one
of the researchers in our source stack, has a very
different take on it. He says, the Arc wasn't magic,
it was a machine.
Speaker 2: Childress draws a fascinating parallel here. He looks at the
descriptions of the rituals surrounding the Ark. In the texts,
the high Priest couldn't just walk in and say hello.
Speaker 1: No, there was a very strict protocol. If you messed up,
you were done.
Speaker 2: Exactly. There was a procedure.
Speaker 1: He had to wear the gear, the breastplate of judgment.
Speaker 2: Right. This breastplate had twelve specific stones embedded in it.
Childress suggest these weren't just jewelry or decoration, but there
were hardware. There were functional components, crystalline structures.
Speaker 1: And the priest had to make a specific sound. The
sources describe these deep tonal throat type chants.
Speaker 2: This is the key, the input mechanism, the priest's chance
at a specific frequency. The theory is that these tones
caused the doones on the breastplate to.
Speaker 1: Vibrate because of the piece of electric effects.
Speaker 2: Precisely, they would vibrate and literally glow, and then the
arc would react to that specific audio frequency.
Speaker 1: Children's uses the analogy of a modem. The breastplate acts
as a transceiver, linking the human to the energy source
inside the arc, like an acoustic hand chick, like.
Speaker 2: The old dial up modems connecting to the Internet. And
notice the interaction here. Sound is the trigger.
Speaker 1: The arc doesn't just work on its own.
Speaker 2: It requires the acoustic input from the operator to activate.
Speaker 1: And if you messed up the frequency, yeah, or if
you touched it without the protected gearon, you died.
Speaker 2: The texts are very clear on this. The energy the
Kavo or the glory of God, acted like radiation or
a high voltage electrical discharge. It wasn't a metaphor now,
it was a physical hazard. It was lethal.
Speaker 1: It sounds like voice activated security or a biometric log
in that uses pitch instead of typed password. Access denied
results in instant electrocution.
Speaker 2: And what makes this theory plausible is that it's not
unique to the arc. When we look at religious traditions globally,
sound is always the inner phase.
Speaker 1: Yeah, the sources list a whole bunch of examples across
different cultures.
Speaker 2: Think about the Hindu tradition the obio yes, the primordial
sound of the universe, the vibration that literally created reality,
and in the.
Speaker 1: Jewish tradition Canter's singing psalms.
Speaker 2: Christian choirs think about the architecture of a Gothic cathedral
like Shartra.
Speaker 1: In France, built to soar upward.
Speaker 2: But also designed to amplify the choir to creasonic environment
that lifts the spirit. It's the exact same principle as
the Hypogeum in Malta, just vertically oriented instead of built underground.
Speaker 1: Even in Islam, where there is no music in the
formal sense during prayer, there is the melodic recitation of
the Qur'an. The phonetic structure is incredibly rhythmic.
Speaker 2: The synthesis here is profound. Every culture, independently of one another,
discovered the same fundamental truth. Sound connects the human to
the divine it's universy. Whether it's a stone chamber in
Malta or cathedral in France, the technology is the same.
You use frequency to bridge the gap between this world
and the next.
Speaker 1: But is it just a feeling, you know? Is it
just oh, it feels holy because it echoes nicely, or
is there actual hard physics behind it? Because saying sound
creates reality sounds like poetry, not science.
Speaker 2: Well, this is where we turn to the ancient Greeks
to bridge that gap, and specifically.
Speaker 1: Pythagoras, the triangle guy.
Speaker 2: Yeah, that's the triangle guy, but he was so much
more than that theorem. Pythagoras lived around five hundred and
thirty five.
Speaker 1: BC, and he traveled a lot.
Speaker 2: Right, He traveled to Egypt and studied the esoteric arts
with the priesthood there. He was initiated into their deepest secrets.
Speaker 1: So he probably learned some of this ancient acoustic knowledge
we have been talking about. He saw the temples, he
heard the chance.
Speaker 2: It is highly likely, and he brought that knowledge back
to Greece. Pythagoras developed the concept of the music of
the spheres.
Speaker 1: This is such a poetic idea, but break it down
for us. What does it actually mean.
Speaker 2: In a practical sense, he believed that the universe is
a harmony. He looked at the planets, the wandering objects
in the sky, and he believed their orbits corresponded to
musical ratios.
Speaker 1: So the physical movement creates sound.
Speaker 2: The movement of the planets literally creates a cosmic symphony.
The distance between Earth and the Moon corresponds to a
specific musical interval.
Speaker 1: The universe isn't silent, it is singing.
Speaker 2: Precisely, and Pythagoras identified the number twelve as crucial to this.
He identified twelve notes.
Speaker 1: In the musical system the chromatic scale right.
Speaker 2: He believed this twelveness was a fundamental law of nature.
It harmonized the galaxies, and it harmonized the human body.
As above so below, meaning if.
Speaker 1: Your body is in tune with the music of the spheres,
you are healthy. If you are out of tune, you
are sick.
Speaker 2: That was the foundational theory, and for centuries this was
seen as pure mysticism, philosophy, not hard science. But fast
forward to today and we have modern physicists saying almost
the exact same thing.
Speaker 1: This is the string theory connection. I love this part
of the source material because it totally vindicates the ancients.
Speaker 2: It really does. String theory asks the fundamental question, what
is the universe made of? We used to think it
was particles.
Speaker 1: Little billiard balls called atoms.
Speaker 2: And we zoomed in and found protons, neutrons, electron.
Speaker 1: What are they made of? If you zoom in on
an electron, what do you actually see?
Speaker 2: According to string theory, As Mityu Kaku explains, in our sources,
you don't see a solid dot. You see a vibrating string,
a tiny subatomic loop of energy, like a rubber band, exactly,
And the way that rubber band vibrates determines what kind
of particle it is. A quark is just a string
vibrating at one frequency.
Speaker 1: And a neutron is a string vibrating at another frequency.
Speaker 2: Exactly.
Speaker 1: So matter the chair I am sitting in, the microphone
in front of me, my own hand, is all just music.
It is just energy vibrating at different pitches.
Speaker 2: It is a symphony of strings. Mitio Kaku explicitly says
that the mind of God, which Einstein's thirty years searching for,
is cosmic music resonating through hyperspace.
Speaker 1: That gives me goosebumps every time I hear it. The
ancient said the universe is sound. Modern physics says the
universe is vibration. They are saying the exact same thing.
We just changed the vocabulary.
Speaker 2: We traded spirit for frequency, but the underlying mechanism is identical.
And this is where the source material brings in Rabbit
Zadac to bridge the gap completely right.
Speaker 1: He talks about the number twelve, again tying it back
to Pythagoras.
Speaker 2: He says that contemplating the number twelve, the structure of
the physical world allows perception to influence space and.
Speaker 1: Time, perception influencing reality.
Speaker 2: It is the idea that by understanding the code the
music of reality, you can alter the reality itself, which
sounds like magic.
Speaker 1: But if reality is just a vibrating string, maybe if
you sing the right note, you can change the vibration.
Speaker 2: That is the implication. Think about it. If you know
the resonant frequency of a glass, you can shatter it
with your voice. So if you know the resonant frequency
of reality, what can you do then?
Speaker 1: And that brings us to the most practical and perhaps
the most unsettling application of this technology in the modern era.
We have talked about ancient priests and philosophers. Now we
need to talk about spies.
Speaker 2: This is the pivot that always gets me. We go
from the music of the spheres to the cia.
Speaker 1: It makes perfect sense though. If sound is a tool
for altering consciousness and perception, governments would want to know
how to weaponize it, or at least use it. If
there is a frequency of reality, the Pentagon.
Speaker 2: Wants it exactly. So let's talk about brain entrainment.
Speaker 1: Yeah, break down the biology of that for us.
Speaker 2: Your brain operates on electrical pulses brain waves. When you
are awake and alert, focusing on work, you are in
a beta state high frequency, fast moving waves. When you
are dreaming or in deep sleep, you are in theta
or delta low frequency.
Speaker 1: And entrainment is the idea that you can force the
brain to shift gears from the outside.
Speaker 2: Yes, if you expose the brain to a rhythm pulse
like a repetitive drum beat, the brain will eventually try
to match that rhythm to save energy. It syncs up.
Speaker 1: It entrains and the sources mentioned shamanic drumming specifically as
an ancient version of this.
Speaker 2: Shamans have been doing this for thousands of years. The
typical beat of a shamanic drum is steady, repetitive, around
five beats per second. That is five hurts, and five
hurts just happens to be the frequency of the theta
and delta borderline state.
Speaker 1: It is the twilight zone between waking and dreaming.
Speaker 2: So the shaman isn't just making a loud noise, he
is using a specific frequency to biologically hack the brain,
forcing it into a trance state without falling asleep. The
body sleeps, but the mind remains fully awake, and.
Speaker 1: In that state, the shaman claims to negotiate with other
worldly forces. They enter the spirit world.
Speaker 2: Okay, so shamans do it with drums in the jungle.
How did the US government do it.
Speaker 1: In a lap Enter Project Stargate.
Speaker 2: The famous psychic spy program.
Speaker 1: Yes, in the nineteen nineties, the government admitted that for
decades the CIA and DIA had been using a technique
called remote viewing. This was the ability to use the
mind to spy on distant locations.
Speaker 2: And they had actual, verifiable successes. Right the source is
mentioned finding a down Russian plane.
Speaker 1: Yes. During the Carter administration, a Russian spy plane went
down in the jungles of Africa. Satellites couldn't find it,
Operatives on the ground couldn't find it.
Speaker 2: They brought in their remote viewers and.
Speaker 1: They pinpointed the location within a few miles. It was
a massive success.
Speaker 2: But they didn't just sit in a quiet room and
guess they used technology to get their brains into that state.
They didn't have shamans with drums.
Speaker 1: No, they used binaural beats. Yeah, this is the modern
digital version of the Shamans drum.
Speaker 2: Explain how a binaral beat works for the listener.
Speaker 1: It's a trick of the year. You put on stereo headphones.
In one year, you play a continuous tone at say
one hundred hertz. In the other ear, you played a
tone at one hundred and five herts.
Speaker 2: So there are slightly different pitches.
Speaker 1: Right. You can't really hear the difference consciously, but your
brain notices the discrepancy one hundred and five minus one
hundred equals five.
Speaker 2: The brain creates a phantom beat of five hurts to
make up the difference.
Speaker 1: Exactly. The brain sinks to the difference. It forces the
brain waves into that five hurtz state. The exact same
frequency the Shamans used to enter the spirit world.
Speaker 2: So John Vavonco, who was a remote viewer in the program,
describes using this exact method. He puts on the headphones,
tunes his brain to five hurts using the binaural beats,
and starts looking for a target location.
Speaker 1: But in one particular session, he found something he was
absolutely not looking for.
Speaker 2: This is the story about the RCIBO Radio Observatory.
Speaker 1: Right Ourcibo is that massive telescope in Puerto Rico sadly
collapse now, but back then it was the biggest ear
on Earth looking for extraterrestrial signals in deep space. Vivanca
was tasked with remotely viewing the location, so.
Speaker 2: He projected his consciousness there.
Speaker 1: But he didn't just see the telescope dish.
Speaker 2: He saw beings.
Speaker 1: He described seeing non human entities, aliens, and what is
truly terrifying is that they noticed him.
Speaker 2: Usually remote viewers are like ghosts. They watch, but they
aren't seen by the people they are watching.
Speaker 1: But Vivanco said, his adrenaline spiked fight or flight kicked
in instantly. Imagine being invisible in a room, thinking you
were totally safe, and suddenly the things in the room
look right directly at you, and then.
Speaker 2: Came the contact. He said it was telepathic.
Speaker 1: And the message was we are here to help you,
and we want you to help us.
Speaker 2: We want you to help us. That is so ambiguous
and honestly a little ominous, And.
Speaker 1: Vivanco says he wasn't hallucinating because other viewers in the program,
completely independent of him, reported encountering the exact same entities
at the exact same location.
Speaker 2: So let's connect the dots here. We have essentially come
full circle from where we started.
Speaker 1: Let's trace the line. Six thousand years ago, people went
into a limestone chamber in Malta tuned to one hundred
and ten to communicate with giants or gods.
Speaker 2: The one hundred and ten hertz shifts the brain state.
Speaker 1: Today, spies put on headphones, tune their brains to five
herds using binural beats and communicate with aliens.
Speaker 2: Is it the same technology?
Speaker 1: The implication is staggering. It suggests that these entities, whatever
they are, are always there, but they are broadcasting on
a different channel, and sound is the dial that lets
us tune them in.
Speaker 2: It is the universal interface code, whether it is carvestone,
vocal chanting, or digital audio. It is all the same
fundamental tech. It connects the biological brain waves to the
physical environment and the theoretical framework of string theory.
Speaker 1: We think of ourselves as so incredibly advanced because we
have smartphones and satellites. But if the ancients could build
stone structures that functioned as interjunctional transceivers, maybe we are
the ones in the dark ages.
Speaker 2: Maybe we are just relearning the basic physics they mastered
millennia ago.
Speaker 1: If the universe is a symphony of strings, as string
theory suggests, then reality is just music, and if you
know the song, you can change the reality.
Speaker 2: That is a lot to process for one deep dive.
So what does this all mean for us? For you
listening right now, I think.
Speaker 1: It means we need to listen more closely. We live
in a world of constant, chaotic noise, traffic notifications, digital static,
But underneath all of that there is a fundamental hum,
a resonance.
Speaker 2: The hum of the earth, the hum of the cosmos.
Speaker 1: Perhaps the unexplained sound technology isn't unexplained at all, it
is just forgotten. We have the hardware, our brains, we
have the software which is sound. We just lost the
user manual.
Speaker 2: Well, hopefully today we found a few pages of that
man you are.
Speaker 1: Before we go, I want to leave you with the
thought a question to carry with you into the silence
after this show ends. If the universe is a symphony
of strings, are we just now learning how to play
the instrument? Or did we forget a song we used
to know six thousand years ago?
Speaker 2: And here's the real question to ponder. If you could
put on a pair of headphones, play binaural beat and
tune your brain to the frequency that let you see
the others like the remote viewers did, would you do it?
Speaker 1: Would you want to see who is standing in the
room with you right now, just on a different frequency?
Or is some silence meant to be kept?
Speaker 2: That is a question I ask myself every time I
put on my noise canceling headphones.
Speaker 1: Fair enough, let us know what you think. Would you
turn the dial or would you leave it alone? Drop
a comment, let us know your stand Thanks for joining
us on this journey into the dark and the quiet.
This has been thrilling. Threads, keep listening, See you next time.