1 00:00:00,040 --> 00:00:03,520 Speaker 1: I want you to close your eyes seriously, just for 2 00:00:03,600 --> 00:00:03,919 a moment. 3 00:00:04,000 --> 00:00:06,000 Speaker 2: Yeah, block out the room you're in right now. 4 00:00:05,759 --> 00:00:08,560 Speaker 1: Exactly block it out. I want you to imagine you 5 00:00:08,599 --> 00:00:12,640 are descending. You are going down deep into the bedrock 6 00:00:12,679 --> 00:00:12,919 of the. 7 00:00:12,880 --> 00:00:15,320 Speaker 2: Earth, surrounded by solid limestone. 8 00:00:15,400 --> 00:00:18,519 Speaker 1: Right. It's damp, it's cool, and it is pitch black. 9 00:00:18,640 --> 00:00:22,320 The air is stale, heavy with this ascent of dust 10 00:00:22,359 --> 00:00:24,199 that's been settling for six thousand years. 11 00:00:24,359 --> 00:00:24,879 Speaker 2: Wow. 12 00:00:25,239 --> 00:00:28,160 Speaker 1: And you're standing in a chamber that by all conventional 13 00:00:28,160 --> 00:00:32,000 timelines of history just shouldn't exist. It was carved by 14 00:00:32,039 --> 00:00:34,200 people who shouldn't have had the tools to engineer it. 15 00:00:34,280 --> 00:00:35,479 Speaker 2: And then the sound begins. 16 00:00:35,560 --> 00:00:39,320 Speaker 1: Yes, a sound begins, and it's not a melody. It's 17 00:00:39,359 --> 00:00:42,039 a low resonant hum. You don't just hear it with 18 00:00:42,079 --> 00:00:42,600 your ears. 19 00:00:42,799 --> 00:00:43,479 Speaker 2: You feel it. 20 00:00:43,600 --> 00:00:46,280 Speaker 1: You feel it in your teeth. It rattles your rib cage, 21 00:00:46,439 --> 00:00:49,240 It vibrates in the absolute marrow of your bones. And 22 00:00:49,280 --> 00:00:50,960 this isn't you know, This isn't a scene from a 23 00:00:51,000 --> 00:00:53,079 sci fi movie or a special effect, right, not a 24 00:00:53,119 --> 00:00:57,200 blockbuster effect. This is a reality that has been waiting 25 00:00:57,280 --> 00:00:59,960 in the dark underground for millennia. 26 00:01:00,240 --> 00:01:05,079 Speaker 2: Is a terrifying and honestly awe inspiring image. The idea 27 00:01:05,159 --> 00:01:08,480 that sound is physical, visceral and perhaps the technology we've 28 00:01:08,560 --> 00:01:10,000 completely forgotten. 29 00:01:09,680 --> 00:01:12,920 Speaker 1: How to use it really is Welcome to thrilling threads. 30 00:01:13,200 --> 00:01:14,840 I am your host, and I'm here to pull on 31 00:01:14,879 --> 00:01:17,079 a loose thread in the fabric of reality and just 32 00:01:17,120 --> 00:01:18,239 see what unravels. 33 00:01:18,359 --> 00:01:20,519 Speaker 2: And I am thrilled to be here to help untangle 34 00:01:20,560 --> 00:01:23,680 the mess. Today's thread, well, let's just say it resonates. 35 00:01:23,799 --> 00:01:26,560 Speaker 1: Oh nice pun right off the bat, But seriously, today's 36 00:01:26,560 --> 00:01:31,480 mission is huge. We are looking at unexplained sound technology. 37 00:01:30,920 --> 00:01:33,319 Speaker 2: Which sounds like a fringe topic, but the sources we 38 00:01:33,400 --> 00:01:34,879 have are incredibly grounded. 39 00:01:35,000 --> 00:01:37,359 Speaker 1: Exactly, I want to be clear to everyone listening. We 40 00:01:37,400 --> 00:01:42,560 aren't talking about ancient flutes or catchy prehistoric tunes. We 41 00:01:42,560 --> 00:01:45,599 were talking about sound as a tool heavy engineering. Sound 42 00:01:45,680 --> 00:01:48,480 is heavy engineering. Sound is a communication device with the divine, 43 00:01:48,920 --> 00:01:52,159 and maybe, just maybe sound as a literal key to 44 00:01:52,239 --> 00:01:53,480 unlock other dimensions. 45 00:01:53,760 --> 00:01:56,079 Speaker 2: I know it sounds like hyperbole to say that out loud, 46 00:01:56,480 --> 00:01:58,640 but when you look at the reports we've gathered for 47 00:01:58,680 --> 00:02:02,519 this steep dive, I mean we have geologists like Robert Schulk, 48 00:02:02,719 --> 00:02:07,040 physicists like Mitchiokaku and even declassified government intelligence files. 49 00:02:07,200 --> 00:02:08,479 Speaker 1: The evidence is all there. 50 00:02:08,800 --> 00:02:13,360 Speaker 2: It is. It suggests the ancients understood acoustic physics in 51 00:02:13,360 --> 00:02:17,919 a way that rivals or maybe even surpasses, are modern understanding. 52 00:02:18,000 --> 00:02:19,560 Speaker 1: We have a lot of ground to cover. We are 53 00:02:19,560 --> 00:02:22,439 going to go from a prehistoric underground temple in Malta 54 00:02:22,759 --> 00:02:26,039 to the high level math of string theory. 55 00:02:25,759 --> 00:02:28,159 Speaker 2: And somehow we end up with a CIA spy. 56 00:02:28,000 --> 00:02:31,400 Speaker 1: Program, a CIA spy program that use sound frequencies to 57 00:02:31,439 --> 00:02:34,000 talk to things that well aren't human. 58 00:02:34,240 --> 00:02:37,840 Speaker 2: It's a wild trajectory, but the connective tissue is absolutely there. 59 00:02:37,960 --> 00:02:39,240 It all comes down to frequency. 60 00:02:39,360 --> 00:02:41,759 Speaker 1: So let's start where our source material starts. We are 61 00:02:41,800 --> 00:02:46,039 going to the Mediterranean, specifically a town called Paula on 62 00:02:46,120 --> 00:02:47,479 the island of Malta. 63 00:02:47,240 --> 00:02:48,919 Speaker 2: To the hause Offline hypogm. 64 00:02:49,000 --> 00:02:51,759 Speaker 1: Yes, the hause Offlini Epogem. Now, I had never heard 65 00:02:51,759 --> 00:02:54,000 of this place before digging into these files. What exactly 66 00:02:54,000 --> 00:02:54,840 are we looking at here? 67 00:02:54,960 --> 00:02:58,479 Speaker 2: The Hypogem is one of the most significant and frankly 68 00:02:58,639 --> 00:03:04,360 mysterious are cheological sites on the planet. It's a massive subterranean. 69 00:03:03,680 --> 00:03:06,199 Speaker 1: Complex like an underground city, effectively. 70 00:03:05,759 --> 00:03:09,360 Speaker 2: An underground temple and an acropolis dating back roughly six 71 00:03:09,400 --> 00:03:10,120 thousand years. 72 00:03:10,360 --> 00:03:13,879 Speaker 1: Six thousand years, so we are talking about time way 73 00:03:14,000 --> 00:03:17,199 before the Pyramids of Giza, long before. And the thing 74 00:03:17,199 --> 00:03:20,319 that struck me immediately is the construction. This isn't a 75 00:03:20,400 --> 00:03:22,800 natural cave they just moved into and painted a few walls. 76 00:03:22,840 --> 00:03:26,400 Speaker 2: Right. No, absolutely not. As the geologist Robert Shot points 77 00:03:26,439 --> 00:03:29,840 out in our sources, this structure is multi layered. It 78 00:03:29,879 --> 00:03:33,599 has three major levels carved directly into the limestone. 79 00:03:33,080 --> 00:03:34,639 Speaker 1: Bedrock carved into bedrock. 80 00:03:34,800 --> 00:03:38,840 Speaker 2: Yes, and Shock mentions that the engineering sophistication required to 81 00:03:38,919 --> 00:03:41,879 do this is, in his words, astounding. 82 00:03:42,199 --> 00:03:44,680 Speaker 1: Let's pause on that for a second, because limestone is rock, 83 00:03:45,120 --> 00:03:48,280 it's not butter. To carve out a three level complex 84 00:03:48,479 --> 00:03:51,840 underground requires serious, serious planning. You have to worry about 85 00:03:51,879 --> 00:03:55,719 weight distribution exactly, structural integrity, airflow. If you dig the 86 00:03:55,719 --> 00:03:59,319 wrong way, the ceiling comes down and crushes everyone. Right. 87 00:03:59,439 --> 00:04:02,199 Speaker 2: It requires there's a grasp of structural engineering that we 88 00:04:02,319 --> 00:04:05,560 really don't typically credit to people from four thousand BC. 89 00:04:06,120 --> 00:04:11,000 They created a masterpiece of negative space, removing rock to 90 00:04:11,080 --> 00:04:14,960 create rooms, removing tons of rock to create halls and corridors, 91 00:04:15,039 --> 00:04:17,519 all while maintaining the integrity of the earth above it. 92 00:04:17,720 --> 00:04:20,720 Speaker 1: So we have this architectural marvel. But while the building 93 00:04:20,800 --> 00:04:24,560 itself is impressive, what they found inside is where the 94 00:04:24,600 --> 00:04:29,240 story takes a turn toward the uh well, the creeping macobs. Certainly, 95 00:04:29,279 --> 00:04:31,680 when the Hypogeum was discovered back at nineteen oh two, 96 00:04:32,160 --> 00:04:35,160 and it's basically by accident, right, some construction workers broke 97 00:04:35,199 --> 00:04:35,720 through the roof. 98 00:04:35,839 --> 00:04:38,319 Speaker 2: Yeah, they were sinking a cistern and just fell through 99 00:04:38,360 --> 00:04:40,639 into history. And they found was packed. 100 00:04:40,759 --> 00:04:43,279 Speaker 1: Packed is the right word. It contained the remains of 101 00:04:43,279 --> 00:04:45,639 over seven thousand individuals, a. 102 00:04:45,600 --> 00:04:47,439 Speaker 2: Massive communal burial site. 103 00:04:47,720 --> 00:04:50,639 Speaker 1: Seven thousand people that is a small city. But here's 104 00:04:50,639 --> 00:04:52,399 the thing that jumped out of me from the reports. 105 00:04:52,800 --> 00:04:56,079 These weren't just standard issue skeletons, No, they were not. 106 00:04:56,399 --> 00:04:59,639 There was a report, specifically a National Geographic article from 107 00:04:59,639 --> 00:05:03,000 May nineteen twenty that described the skulls found there in 108 00:05:03,040 --> 00:05:05,959 a very peculiar way. They called them long stulled. 109 00:05:06,439 --> 00:05:08,879 Speaker 2: This is a detail that often gets overlooked in mainstream 110 00:05:08,959 --> 00:05:11,759 history books, but it is right there in the older reports. 111 00:05:11,959 --> 00:05:13,240 Speaker 1: Why is it overlooked? 112 00:05:13,439 --> 00:05:16,800 Speaker 2: Well, Unfortunately, during World War two the site was vandalized 113 00:05:16,959 --> 00:05:19,920 and many of these remains were lost or stolen. However, 114 00:05:20,040 --> 00:05:23,040 eleven of these skulls were salvaged. 115 00:05:22,639 --> 00:05:24,560 Speaker 1: Just eleven out of seven thousand, right. 116 00:05:24,759 --> 00:05:28,480 Speaker 2: And they present a biological anomaly that is extremely hard 117 00:05:28,480 --> 00:05:29,319 to explain away. 118 00:05:29,399 --> 00:05:33,079 Speaker 1: Okay, let's unpack this anomaly, because long skull could just 119 00:05:33,160 --> 00:05:36,439 mean genetic variation, right, like how some people are tall 120 00:05:36,480 --> 00:05:38,959 and some are short. Maybe this was just an isolated 121 00:05:39,000 --> 00:05:40,439 family with distinct features. 122 00:05:40,480 --> 00:05:43,199 Speaker 2: It goes beyond simple shape. The source material notes a 123 00:05:43,240 --> 00:05:47,279 specific physiological difference. At least one of these salvage skulls 124 00:05:47,399 --> 00:05:48,800 lacked the sagital suture. 125 00:05:49,000 --> 00:05:52,959 Speaker 1: Okay, biology, lesson time. What is a sagital suture and 126 00:05:53,160 --> 00:05:54,560 why does it matter if it's missing? 127 00:05:54,639 --> 00:05:57,439 Speaker 2: The sagital suture is the fibrous joint that connects the 128 00:05:57,439 --> 00:05:58,879 two parietal bones of. 129 00:05:58,839 --> 00:06:00,480 Speaker 1: The skull, the plates on the top. 130 00:06:00,800 --> 00:06:02,879 Speaker 2: Basically, yeah, it's the line running down the top of 131 00:06:02,959 --> 00:06:05,720 your head where the skull plates fuse together. All humans 132 00:06:05,759 --> 00:06:08,839 have this, right for babies exactly. It allows the skull 133 00:06:08,879 --> 00:06:11,600 to flex during birth and then fuse as we grow. 134 00:06:12,199 --> 00:06:14,959 It is a defining feature of our skeletal. 135 00:06:14,439 --> 00:06:16,720 Speaker 1: Structure, and these skulls just didn't have it. 136 00:06:17,000 --> 00:06:20,519 Speaker 2: Correct. The source explicitly states the skull was missing this 137 00:06:20,639 --> 00:06:21,560 sagital suture. 138 00:06:21,800 --> 00:06:23,839 Speaker 1: So if you don't have that suture, doesn't that make 139 00:06:23,879 --> 00:06:27,079 it impossible for the skull to grow normally? Or does 140 00:06:27,079 --> 00:06:29,800 it imply that the skull was formed differently from birth? 141 00:06:30,160 --> 00:06:34,480 Speaker 2: It implies a significant biological divergence. If a normal human 142 00:06:34,519 --> 00:06:38,839 skull fused that early, it would typically result in cranio sinistosis, 143 00:06:38,959 --> 00:06:41,920 which is dangerous right very It causes pressure on the 144 00:06:41,959 --> 00:06:46,040 brain and severe deformity. But these skulls were described as 145 00:06:46,160 --> 00:06:49,959 long and seemingly uniform. It raises the question of whether 146 00:06:50,000 --> 00:06:53,040 we are looking at a pathological condition or are we 147 00:06:53,079 --> 00:06:54,800 looking at a distinct subspecies. 148 00:06:54,959 --> 00:06:57,800 Speaker 1: That is the big question. We have something that looks human, 149 00:06:58,279 --> 00:07:01,079 acts human enough to be buried in the temple, but 150 00:07:01,279 --> 00:07:05,000 structurally it is distinct from Homo sapiens as we know them. 151 00:07:05,079 --> 00:07:06,720 Speaker 2: It makes you wonder who these people. 152 00:07:06,480 --> 00:07:08,560 Speaker 1: Were, or if they were even people. 153 00:07:08,399 --> 00:07:11,319 Speaker 2: And that ambiguity leads us into one of the more 154 00:07:11,480 --> 00:07:15,839 controversial but fascinating stories associated with the hypergem. 155 00:07:15,399 --> 00:07:18,000 Speaker 1: Oh, the story of Lois Jessop. Yes, I love this 156 00:07:18,079 --> 00:07:20,560 story because it feels like an urban legend, but it 157 00:07:20,560 --> 00:07:23,759 comes from a source that should be reliable. Lois Jessop 158 00:07:23,920 --> 00:07:26,920 wasn't some you know, conspiracy theorist living in a basement. 159 00:07:27,279 --> 00:07:29,959 She was an employee of the British Consulate in Malta. 160 00:07:29,800 --> 00:07:32,279 Speaker 2: Right, she was a credible witness in terms of her 161 00:07:32,279 --> 00:07:35,319 professional standing. This was back in the nineteen thirties, so well. 162 00:07:35,160 --> 00:07:37,959 Speaker 1: Before the WWII vandalism exactly. 163 00:07:38,279 --> 00:07:40,439 Speaker 2: She recounted a visit to the habit gm where she 164 00:07:40,480 --> 00:07:43,519 managed to convince a caretaker to let her access the 165 00:07:43,560 --> 00:07:45,319 lowest chamber, an area. 166 00:07:45,120 --> 00:07:48,240 Speaker 1: Usually off limits to tourists, which is the classic setup 167 00:07:48,240 --> 00:07:50,120 for a horror movie. You know, let me into the 168 00:07:50,120 --> 00:07:50,959 forbidden basement. 169 00:07:51,040 --> 00:07:54,199 Speaker 2: It certainly is, but according to Jessop, she didn't find 170 00:07:54,199 --> 00:07:57,279 a monster or a ghost. She squeezed through a narrow 171 00:07:57,319 --> 00:08:02,000 passage and emerged onto a ledge. She described looking out 172 00:08:02,079 --> 00:08:05,240 over a great fissure, a massive crack in the earth 173 00:08:05,279 --> 00:08:08,680 beneath the island, and on the other side of this chasm. 174 00:08:08,480 --> 00:08:09,439 Speaker 1: She saw giants. 175 00:08:09,800 --> 00:08:14,519 Speaker 2: Yes, she claimed to see about twenty very tall beings, 176 00:08:15,160 --> 00:08:17,800 twenty of them, and she described them as having white hair. 177 00:08:18,839 --> 00:08:21,160 And the most chilling part, they weren't just standing there 178 00:08:21,199 --> 00:08:21,839 ignoring her. 179 00:08:22,399 --> 00:08:25,079 Speaker 1: They saw her, she said. They looked up in motion 180 00:08:25,160 --> 00:08:27,519 for her to come down like, hey, come join. 181 00:08:27,399 --> 00:08:30,240 Speaker 2: Us in the dark exactly. Now, obviously we have to 182 00:08:30,279 --> 00:08:32,879 take anecdotal accounts with a huge grain of salt. There 183 00:08:32,919 --> 00:08:35,279 is no photo evidence of this, of course now. But 184 00:08:35,320 --> 00:08:37,799 when you layer that story on top of the physical 185 00:08:37,840 --> 00:08:42,360 evidence of the long skulls without sagital sutures, it creates 186 00:08:42,360 --> 00:08:44,080 a really compelling narrative. 187 00:08:44,480 --> 00:08:47,480 Speaker 1: It suggests that perhaps the hypergeom wasn't just a tomb. 188 00:08:48,039 --> 00:08:50,159 Maybe it was a habitat or a gateway or a 189 00:08:50,200 --> 00:08:52,679 place where two different types of beings interacted. 190 00:08:52,759 --> 00:08:53,000 Speaker 2: Yeah. 191 00:08:53,039 --> 00:08:55,320 Speaker 1: But here's where it gets really interesting for me. We 192 00:08:55,360 --> 00:08:58,799 have the visual scares, the skulls, the giants, but the 193 00:08:58,840 --> 00:09:03,159 real technology, the hypogm, seems to be invisible. It's the sound, right, 194 00:09:03,240 --> 00:09:04,120 It's all about the sound. 195 00:09:04,240 --> 00:09:07,399 Speaker 2: This is where we move from folklore to hard science, 196 00:09:07,519 --> 00:09:09,720 and this is where the thread really starts to vibrate. 197 00:09:10,279 --> 00:09:15,480 In February twenty fourteen, a researcher named Linda Anex conducted 198 00:09:15,519 --> 00:09:18,200 a study on archaeoacoustics within the hypogm. 199 00:09:18,440 --> 00:09:20,480 Speaker 1: Archaeoacoustics such a great. 200 00:09:20,320 --> 00:09:22,720 Speaker 2: Term, and she did this specifically in a chamber known 201 00:09:22,720 --> 00:09:23,840 as the Oracle Room. 202 00:09:24,000 --> 00:09:28,080 Speaker 1: The oracle room, even the name implies communication, receiving a message. 203 00:09:28,320 --> 00:09:29,320 What did they find in there? 204 00:09:30,000 --> 00:09:33,799 Speaker 2: They brought in sophisticated audio equipment to test the resonant 205 00:09:33,840 --> 00:09:37,759 frequency of the chamber. Now, to explain that briefly, every object, 206 00:09:37,879 --> 00:09:40,759 every room has a natural frequency at which it wants 207 00:09:40,759 --> 00:09:41,399 to vibrate, like. 208 00:09:41,440 --> 00:09:43,320 Speaker 1: When you run your finger around the rim of a 209 00:09:43,360 --> 00:09:44,279 wineglass and it. 210 00:09:44,200 --> 00:09:47,759 Speaker 2: Sings right the sweet spot. When they tested the hypogm, 211 00:09:47,799 --> 00:09:50,759 they found that the entire structure resonates at exactly one 212 00:09:50,840 --> 00:09:51,799 hundred and ten hertz. 213 00:09:51,879 --> 00:09:54,840 Speaker 1: One hundred and ten hearts. Okay, to the average person listening, 214 00:09:54,879 --> 00:09:56,960 that is just a number. Is that significant? Is it 215 00:09:57,039 --> 00:09:58,879 just a random architectural coincidence. 216 00:09:58,960 --> 00:10:01,759 Speaker 2: It is highly magnificant. It's in the range of a 217 00:10:01,799 --> 00:10:05,919 low baritone human voice. But it's not just about the pitch. 218 00:10:06,720 --> 00:10:10,159 Enix describes the sensation of that frequency as mesmerizing. 219 00:10:10,519 --> 00:10:12,080 Speaker 1: Mesmerizing, how she said. 220 00:10:11,919 --> 00:10:15,159 Speaker 2: You don't just hear it, You physically feel the vibration 221 00:10:15,279 --> 00:10:18,279 in your whole body. It creates a sensation of being 222 00:10:18,480 --> 00:10:19,600 inside the sound. 223 00:10:20,159 --> 00:10:22,759 Speaker 1: It reminds me of being at a concert with massive 224 00:10:23,120 --> 00:10:25,600 subwarfers where the bass just hits you in the. 225 00:10:25,639 --> 00:10:26,840 Speaker 2: Chest exactly like that. 226 00:10:26,960 --> 00:10:29,000 Speaker 1: But this is stone. This is a six thousand year 227 00:10:29,000 --> 00:10:30,600 old room precisely. 228 00:10:30,279 --> 00:10:32,480 Speaker 2: And the fact that it matches one hundred and ten 229 00:10:32,600 --> 00:10:36,440 hertz so perfectly suggests the room wasn't just carved for space. 230 00:10:36,519 --> 00:10:39,639 Speaker 1: It was tuned, tuned like an instrument, just. 231 00:10:39,600 --> 00:10:42,159 Speaker 2: Like you would tune a guitar or a violin. The 232 00:10:42,279 --> 00:10:45,919 architects of the Hypergeen shaped the walls, the ceiling curves, 233 00:10:46,000 --> 00:10:48,720 and the volume of the space to ensure that when 234 00:10:48,720 --> 00:10:51,360 a sound was made inside, it would amplify at that 235 00:10:51,480 --> 00:10:52,679 specific frequency. 236 00:10:52,799 --> 00:10:54,559 Speaker 1: So if you were standing in there and hummed at 237 00:10:54,600 --> 00:10:57,879 a low pitch, specifically one hundred and ten hertz, the 238 00:10:57,960 --> 00:10:59,600 whole room would start to sing with you. 239 00:10:59,759 --> 00:11:02,679 Speaker 2: Yeah. Yes, The reflections of the sound waves bounce off 240 00:11:02,679 --> 00:11:06,080 the limestone walls. If the dimensions are perfect, those waves 241 00:11:06,080 --> 00:11:09,679 build upon each other, creating a standing wave. A standing wave, 242 00:11:09,720 --> 00:11:12,360 it amplifies the energy, It becomes an acoustic battery. 243 00:11:12,759 --> 00:11:15,679 Speaker 1: But why I keep coming back to the effort involved 244 00:11:15,960 --> 00:11:18,600 carving rock is hard enough. Carving rock to be a 245 00:11:18,639 --> 00:11:22,639 perfect musical instrument seems like total overkill unless it has 246 00:11:22,639 --> 00:11:24,360 a very specific practical function. 247 00:11:25,080 --> 00:11:29,200 Speaker 2: That is the million dollar question, and modern neuroscience actually 248 00:11:29,200 --> 00:11:33,200 gives us a clue. Really, Yes, Studies on brain activities 249 00:11:33,279 --> 00:11:35,840 show that listening to sounds at exactly one hundred and 250 00:11:35,840 --> 00:11:39,080 ten hertz has a very specific effect on the human brain. 251 00:11:39,399 --> 00:11:39,960 Speaker 1: What does it do. 252 00:11:40,519 --> 00:11:43,840 Speaker 2: It deactivates the language center and shifts activity to the 253 00:11:43,840 --> 00:11:48,039 prefrontal cortex. That's the part of the brain associated with mood, empathy, 254 00:11:48,120 --> 00:11:49,080 and social behavior. 255 00:11:49,200 --> 00:11:51,879 Speaker 1: Wait, so the sound literally shuts off the talking part 256 00:11:51,919 --> 00:11:53,519 of your brain and turns on the feeling part. 257 00:11:53,799 --> 00:11:56,840 Speaker 2: In a sense, yes, it induces a trance like state. 258 00:11:57,000 --> 00:12:00,799 It alters consciousness. So the Hypogeum wasn't just a burial site. 259 00:12:00,840 --> 00:12:03,279 It was a machine for altering the human mind. 260 00:12:03,399 --> 00:12:06,039 Speaker 1: That is mind blowing. Yeah, it implies they weren't just 261 00:12:06,080 --> 00:12:09,320 digging holes. They were building a psychological tool, a giant 262 00:12:09,360 --> 00:12:12,360 stone instrument that you walk inside of to change how 263 00:12:12,399 --> 00:12:13,399 you perceive reality. 264 00:12:13,639 --> 00:12:15,720 Speaker 2: And this brings us to the broader field of study 265 00:12:15,840 --> 00:12:18,559 mentioned in our sources archae acoustics. 266 00:12:18,919 --> 00:12:21,840 Speaker 1: Yeah, let's define that, because until I read through these files, 267 00:12:21,879 --> 00:12:24,000 I didn't know this was an actual scientific field. 268 00:12:24,200 --> 00:12:28,720 Speaker 2: It is an interdisciplinary field. It combines archaeology, physics, and 269 00:12:28,759 --> 00:12:32,919 acoustic engineering. The goal is to study how ancient sites 270 00:12:32,919 --> 00:12:34,639 were designed to manipulate sound. 271 00:12:35,240 --> 00:12:36,600 Speaker 1: And it's not just Malta right. 272 00:12:36,799 --> 00:12:39,159 Speaker 2: No, as we look around the world, we find that 273 00:12:39,200 --> 00:12:42,360 the hypogeum is not an isolated incident. This was a 274 00:12:42,399 --> 00:12:43,519 global phenomenon. 275 00:12:43,799 --> 00:12:48,600 Speaker 1: Right. The sources mentioned Stonehinge. Now, I have always thought 276 00:12:48,600 --> 00:12:51,360 of Stonehenge as a calendar, you know, lining up with 277 00:12:51,399 --> 00:12:53,919 the solstice to tell the farmers when to plant crops. 278 00:12:54,080 --> 00:12:55,759 Speaker 2: That's the standard visual interpretation. 279 00:12:55,879 --> 00:12:57,320 Speaker 1: But you're saying it was a speaker system. 280 00:12:57,440 --> 00:13:01,639 Speaker 2: Felicia Beardsley, an expert sited in our material, describes Stonehenge 281 00:13:01,639 --> 00:13:05,200 as a sonic temple. Think about the shade. It's a 282 00:13:05,200 --> 00:13:07,639 circle of massive upright stones. 283 00:13:07,960 --> 00:13:10,440 Speaker 1: It's basically a prehistoric surround sound set up. 284 00:13:10,919 --> 00:13:14,679 Speaker 2: It functions as a containment field. Beardsley explains that if 285 00:13:14,679 --> 00:13:17,519 you stand in the center and create a sound, particularly 286 00:13:17,600 --> 00:13:20,879 low frequency drums are chanting, the stones are arranged to 287 00:13:20,919 --> 00:13:22,440 reflect that sound back into. 288 00:13:22,240 --> 00:13:23,759 Speaker 1: The circle, so it traps the sound. 289 00:13:24,039 --> 00:13:27,639 Speaker 2: It creates an echo chamber where the sound intensity builds up, 290 00:13:27,960 --> 00:13:30,639 but the stones block it from escaping outward. 291 00:13:30,799 --> 00:13:33,000 Speaker 1: So the people outside the circle might just hear a 292 00:13:33,039 --> 00:13:36,120 muffled thud, but the people inside are getting their brains 293 00:13:36,159 --> 00:13:37,120 absolutely rattled. 294 00:13:37,240 --> 00:13:41,559 Speaker 2: Exactly. It builds up energy. Beardsley speculates that this containment 295 00:13:41,639 --> 00:13:47,279 was purposeful. They were generating intensity for a specific ritualistic. 296 00:13:46,639 --> 00:13:49,200 Speaker 1: Reason, creating a VIP section for reality. 297 00:13:49,399 --> 00:13:53,120 Speaker 2: It creates a differentiation between the initiated inside the circle 298 00:13:53,200 --> 00:13:57,679 and the public outside. The acoustic experience defined the sacred space. 299 00:13:57,919 --> 00:13:59,759 Speaker 1: It's like a pressure cooker for sound. And then we 300 00:13:59,799 --> 00:14:03,360 have Newgrange in Ireland. This one really convinced me that 301 00:14:03,440 --> 00:14:06,360 this was intentional technology, not just accidental echoes. 302 00:14:06,519 --> 00:14:09,360 Speaker 2: New Grange is incredible. It's a passage tomb older than 303 00:14:09,399 --> 00:14:13,720 Stonehenge and the Pyramids, and the acoustic properties there are undeniable. 304 00:14:13,840 --> 00:14:15,440 Speaker 1: It has the standing waves too, right. 305 00:14:15,519 --> 00:14:19,240 Speaker 2: Yes, researchers have found that the architecture creates those standing 306 00:14:19,279 --> 00:14:22,879 waves we mentioned earlier. But there's visual evidence too. 307 00:14:23,039 --> 00:14:24,600 Speaker 1: The zigzag carvings on the walls. 308 00:14:24,879 --> 00:14:28,440 Speaker 2: Yes. A researcher named Newman suggests that the spiral and 309 00:14:28,559 --> 00:14:32,440 zigzag carvings found inside the chamber aren't just decorative art. 310 00:14:32,440 --> 00:14:33,519 They aren't just doodles. 311 00:14:33,960 --> 00:14:34,440 Speaker 1: What are they? 312 00:14:34,519 --> 00:14:37,679 Speaker 2: They are representations of the sound waves themselves. 313 00:14:37,879 --> 00:14:40,480 Speaker 1: That is such a cool idea that they were literally 314 00:14:40,600 --> 00:14:43,120 drawing what they heard, Like here's the shape of the 315 00:14:43,159 --> 00:14:45,840 sound in this room like in a silloscope, exactly like 316 00:14:45,919 --> 00:14:49,720 looking at an equalizer display on a stereo system, but 317 00:14:49,879 --> 00:14:52,519 carved into rock thousands of years ago. 318 00:14:52,759 --> 00:14:55,799 Speaker 2: It implies they understood the physics of it. They were 319 00:14:55,840 --> 00:14:59,919 recording the acoustic experience. And there's one more detail about 320 00:15:00,080 --> 00:15:02,960 New Grange that is truly staggering. The roof. 321 00:15:03,320 --> 00:15:05,879 Speaker 1: Oh, the corbold roof. I saw this in the notes right. 322 00:15:05,960 --> 00:15:08,639 Speaker 2: The roof is made of these massive stones stacked in 323 00:15:08,679 --> 00:15:12,000 a spiral. Evidence suggests that the builders went back and 324 00:15:12,039 --> 00:15:14,840 adjusted these stones after the initial construction was done. 325 00:15:14,879 --> 00:15:16,519 Speaker 1: They shifted them. Why would they do that. 326 00:15:16,600 --> 00:15:17,519 Speaker 2: To tune the chamber? 327 00:15:17,799 --> 00:15:21,000 Speaker 1: Imagine the physical effort moving a multi ton slab of 328 00:15:21,080 --> 00:15:23,559 rock just an inch to the left because the acoustics 329 00:15:23,559 --> 00:15:25,679 were slightly off, like, no, no, push it back. The 330 00:15:25,720 --> 00:15:28,720 reverb is muddy. That is absolute dedication. 331 00:15:29,159 --> 00:15:32,919 Speaker 2: It proves that the sound was the priority. The structure 332 00:15:33,120 --> 00:15:37,000 was a machine for generating a specific vibrational. 333 00:15:36,399 --> 00:15:38,519 Speaker 1: State, which brings up the next question. 334 00:15:38,320 --> 00:15:41,279 Speaker 2: The question of why what were they trying to achieve 335 00:15:41,360 --> 00:15:42,120 with this sound? 336 00:15:42,360 --> 00:15:45,679 Speaker 1: And that leads us to the wildest part of this thread, 337 00:15:46,080 --> 00:15:48,840 the why, Because if you look at the texts and 338 00:15:48,879 --> 00:15:52,399 the traditions. They actually tell us exactly what the sound 339 00:15:52,480 --> 00:15:55,799 was for. It wasn't just for a cool vibe. It 340 00:15:55,879 --> 00:15:58,000 was for making a call, a call to. 341 00:15:58,039 --> 00:16:00,919 Speaker 2: The divine, or perhaps a transmission. 342 00:16:01,720 --> 00:16:04,600 Speaker 1: Let's talk about the Ark of the Covenant, the Ultimate Artifacts. 343 00:16:04,639 --> 00:16:06,720 We all know it from Raiders of the Lost Arc, 344 00:16:07,000 --> 00:16:11,000 the Golden Box that melt Faces. But David Childress, one 345 00:16:11,039 --> 00:16:13,840 of the researchers in our source stack, has a very 346 00:16:13,840 --> 00:16:16,480 different take on it. He says, the Arc wasn't magic, 347 00:16:16,919 --> 00:16:17,759 it was a machine. 348 00:16:17,919 --> 00:16:20,960 Speaker 2: Childress draws a fascinating parallel here. He looks at the 349 00:16:21,000 --> 00:16:23,919 descriptions of the rituals surrounding the Ark. In the texts, 350 00:16:24,039 --> 00:16:26,000 the high Priest couldn't just walk in and say hello. 351 00:16:26,200 --> 00:16:28,480 Speaker 1: No, there was a very strict protocol. If you messed up, 352 00:16:28,480 --> 00:16:28,960 you were done. 353 00:16:29,000 --> 00:16:30,159 Speaker 2: Exactly. There was a procedure. 354 00:16:30,240 --> 00:16:32,960 Speaker 1: He had to wear the gear, the breastplate of judgment. 355 00:16:33,399 --> 00:16:37,440 Speaker 2: Right. This breastplate had twelve specific stones embedded in it. 356 00:16:38,080 --> 00:16:41,240 Childress suggest these weren't just jewelry or decoration, but there 357 00:16:41,240 --> 00:16:45,559 were hardware. There were functional components, crystalline structures. 358 00:16:45,080 --> 00:16:48,320 Speaker 1: And the priest had to make a specific sound. The 359 00:16:48,399 --> 00:16:52,159 sources describe these deep tonal throat type chants. 360 00:16:52,399 --> 00:16:56,159 Speaker 2: This is the key, the input mechanism, the priest's chance 361 00:16:56,200 --> 00:16:59,240 at a specific frequency. The theory is that these tones 362 00:16:59,360 --> 00:17:01,279 caused the doones on the breastplate to. 363 00:17:01,399 --> 00:17:03,399 Speaker 1: Vibrate because of the piece of electric effects. 364 00:17:03,399 --> 00:17:06,920 Speaker 2: Precisely, they would vibrate and literally glow, and then the 365 00:17:07,160 --> 00:17:09,839 arc would react to that specific audio frequency. 366 00:17:09,960 --> 00:17:13,400 Speaker 1: Children's uses the analogy of a modem. The breastplate acts 367 00:17:13,440 --> 00:17:16,599 as a transceiver, linking the human to the energy source 368 00:17:16,680 --> 00:17:19,240 inside the arc, like an acoustic hand chick, like. 369 00:17:19,200 --> 00:17:21,400 Speaker 2: The old dial up modems connecting to the Internet. And 370 00:17:21,559 --> 00:17:24,279 notice the interaction here. Sound is the trigger. 371 00:17:24,519 --> 00:17:25,960 Speaker 1: The arc doesn't just work on its own. 372 00:17:26,079 --> 00:17:29,400 Speaker 2: It requires the acoustic input from the operator to activate. 373 00:17:29,440 --> 00:17:31,920 Speaker 1: And if you messed up the frequency, yeah, or if 374 00:17:31,920 --> 00:17:34,400 you touched it without the protected gearon, you died. 375 00:17:35,519 --> 00:17:38,240 Speaker 2: The texts are very clear on this. The energy the 376 00:17:38,359 --> 00:17:41,559 Kavo or the glory of God, acted like radiation or 377 00:17:41,599 --> 00:17:44,960 a high voltage electrical discharge. It wasn't a metaphor now, 378 00:17:45,000 --> 00:17:46,920 it was a physical hazard. It was lethal. 379 00:17:47,240 --> 00:17:51,200 Speaker 1: It sounds like voice activated security or a biometric log 380 00:17:51,240 --> 00:17:55,440 in that uses pitch instead of typed password. Access denied 381 00:17:55,599 --> 00:17:57,279 results in instant electrocution. 382 00:17:57,519 --> 00:18:00,359 Speaker 2: And what makes this theory plausible is that it's not 383 00:18:00,519 --> 00:18:04,079 unique to the arc. When we look at religious traditions globally, 384 00:18:04,720 --> 00:18:06,759 sound is always the inner phase. 385 00:18:06,880 --> 00:18:09,440 Speaker 1: Yeah, the sources list a whole bunch of examples across 386 00:18:09,480 --> 00:18:10,160 different cultures. 387 00:18:10,200 --> 00:18:14,119 Speaker 2: Think about the Hindu tradition the obio yes, the primordial 388 00:18:14,240 --> 00:18:18,240 sound of the universe, the vibration that literally created reality, 389 00:18:18,359 --> 00:18:18,720 and in the. 390 00:18:18,680 --> 00:18:20,839 Speaker 1: Jewish tradition Canter's singing psalms. 391 00:18:21,000 --> 00:18:25,079 Speaker 2: Christian choirs think about the architecture of a Gothic cathedral 392 00:18:25,160 --> 00:18:26,200 like Shartra. 393 00:18:25,960 --> 00:18:28,359 Speaker 1: In France, built to soar upward. 394 00:18:28,200 --> 00:18:31,440 Speaker 2: But also designed to amplify the choir to creasonic environment 395 00:18:31,519 --> 00:18:34,240 that lifts the spirit. It's the exact same principle as 396 00:18:34,279 --> 00:18:38,200 the Hypogeum in Malta, just vertically oriented instead of built underground. 397 00:18:38,440 --> 00:18:40,920 Speaker 1: Even in Islam, where there is no music in the 398 00:18:40,960 --> 00:18:44,960 formal sense during prayer, there is the melodic recitation of 399 00:18:45,000 --> 00:18:49,000 the Qur'an. The phonetic structure is incredibly rhythmic. 400 00:18:49,240 --> 00:18:53,640 Speaker 2: The synthesis here is profound. Every culture, independently of one another, 401 00:18:53,920 --> 00:18:58,160 discovered the same fundamental truth. Sound connects the human to 402 00:18:58,279 --> 00:19:01,480 the divine it's universy. Whether it's a stone chamber in 403 00:19:01,519 --> 00:19:04,759 Malta or cathedral in France, the technology is the same. 404 00:19:05,119 --> 00:19:07,720 You use frequency to bridge the gap between this world 405 00:19:07,799 --> 00:19:08,400 and the next. 406 00:19:08,920 --> 00:19:10,960 Speaker 1: But is it just a feeling, you know? Is it 407 00:19:11,039 --> 00:19:14,039 just oh, it feels holy because it echoes nicely, or 408 00:19:14,119 --> 00:19:17,559 is there actual hard physics behind it? Because saying sound 409 00:19:17,640 --> 00:19:20,920 creates reality sounds like poetry, not science. 410 00:19:21,119 --> 00:19:22,880 Speaker 2: Well, this is where we turn to the ancient Greeks 411 00:19:22,880 --> 00:19:25,359 to bridge that gap, and specifically. 412 00:19:24,960 --> 00:19:26,480 Speaker 1: Pythagoras, the triangle guy. 413 00:19:26,720 --> 00:19:28,960 Speaker 2: Yeah, that's the triangle guy, but he was so much 414 00:19:29,000 --> 00:19:32,119 more than that theorem. Pythagoras lived around five hundred and 415 00:19:32,160 --> 00:19:32,839 thirty five. 416 00:19:32,680 --> 00:19:33,960 Speaker 1: BC, and he traveled a lot. 417 00:19:34,039 --> 00:19:36,720 Speaker 2: Right, He traveled to Egypt and studied the esoteric arts 418 00:19:36,759 --> 00:19:40,319 with the priesthood there. He was initiated into their deepest secrets. 419 00:19:40,480 --> 00:19:44,079 Speaker 1: So he probably learned some of this ancient acoustic knowledge 420 00:19:44,079 --> 00:19:47,279 we have been talking about. He saw the temples, he 421 00:19:47,279 --> 00:19:48,319 heard the chance. 422 00:19:48,240 --> 00:19:51,240 Speaker 2: It is highly likely, and he brought that knowledge back 423 00:19:51,279 --> 00:19:55,599 to Greece. Pythagoras developed the concept of the music of 424 00:19:55,640 --> 00:19:56,240 the spheres. 425 00:19:56,920 --> 00:19:59,279 Speaker 1: This is such a poetic idea, but break it down 426 00:19:59,319 --> 00:20:01,119 for us. What does it actually mean. 427 00:20:01,279 --> 00:20:04,039 Speaker 2: In a practical sense, he believed that the universe is 428 00:20:04,039 --> 00:20:07,480 a harmony. He looked at the planets, the wandering objects 429 00:20:07,480 --> 00:20:10,599 in the sky, and he believed their orbits corresponded to 430 00:20:10,680 --> 00:20:11,680 musical ratios. 431 00:20:12,039 --> 00:20:13,920 Speaker 1: So the physical movement creates sound. 432 00:20:14,519 --> 00:20:17,880 Speaker 2: The movement of the planets literally creates a cosmic symphony. 433 00:20:18,359 --> 00:20:20,880 The distance between Earth and the Moon corresponds to a 434 00:20:20,920 --> 00:20:22,599 specific musical interval. 435 00:20:22,680 --> 00:20:24,839 Speaker 1: The universe isn't silent, it is singing. 436 00:20:24,680 --> 00:20:28,559 Speaker 2: Precisely, and Pythagoras identified the number twelve as crucial to this. 437 00:20:28,920 --> 00:20:30,559 He identified twelve notes. 438 00:20:30,359 --> 00:20:32,519 Speaker 1: In the musical system the chromatic scale right. 439 00:20:32,799 --> 00:20:35,920 Speaker 2: He believed this twelveness was a fundamental law of nature. 440 00:20:36,240 --> 00:20:39,119 It harmonized the galaxies, and it harmonized the human body. 441 00:20:39,359 --> 00:20:41,880 As above so below, meaning if. 442 00:20:41,799 --> 00:20:44,519 Speaker 1: Your body is in tune with the music of the spheres, 443 00:20:44,960 --> 00:20:47,880 you are healthy. If you are out of tune, you 444 00:20:47,920 --> 00:20:48,440 are sick. 445 00:20:48,759 --> 00:20:52,359 Speaker 2: That was the foundational theory, and for centuries this was 446 00:20:52,359 --> 00:20:57,319 seen as pure mysticism, philosophy, not hard science. But fast 447 00:20:57,359 --> 00:21:00,559 forward to today and we have modern physicists saying almost 448 00:21:00,599 --> 00:21:01,640 the exact same thing. 449 00:21:01,880 --> 00:21:04,880 Speaker 1: This is the string theory connection. I love this part 450 00:21:04,880 --> 00:21:07,640 of the source material because it totally vindicates the ancients. 451 00:21:07,720 --> 00:21:11,680 Speaker 2: It really does. String theory asks the fundamental question, what 452 00:21:11,799 --> 00:21:13,960 is the universe made of? We used to think it 453 00:21:14,039 --> 00:21:15,279 was particles. 454 00:21:14,799 --> 00:21:17,359 Speaker 1: Little billiard balls called atoms. 455 00:21:17,000 --> 00:21:20,160 Speaker 2: And we zoomed in and found protons, neutrons, electron. 456 00:21:19,839 --> 00:21:21,839 Speaker 1: What are they made of? If you zoom in on 457 00:21:21,920 --> 00:21:24,400 an electron, what do you actually see? 458 00:21:24,640 --> 00:21:28,359 Speaker 2: According to string theory, As Mityu Kaku explains, in our sources, 459 00:21:28,680 --> 00:21:31,960 you don't see a solid dot. You see a vibrating string, 460 00:21:32,400 --> 00:21:36,160 a tiny subatomic loop of energy, like a rubber band, exactly, 461 00:21:36,440 --> 00:21:38,680 And the way that rubber band vibrates determines what kind 462 00:21:38,720 --> 00:21:40,960 of particle it is. A quark is just a string 463 00:21:41,119 --> 00:21:43,079 vibrating at one frequency. 464 00:21:42,599 --> 00:21:45,119 Speaker 1: And a neutron is a string vibrating at another frequency. 465 00:21:45,160 --> 00:21:45,680 Speaker 2: Exactly. 466 00:21:45,880 --> 00:21:48,279 Speaker 1: So matter the chair I am sitting in, the microphone 467 00:21:48,279 --> 00:21:51,000 in front of me, my own hand, is all just music. 468 00:21:51,480 --> 00:21:53,720 It is just energy vibrating at different pitches. 469 00:21:54,039 --> 00:21:57,839 Speaker 2: It is a symphony of strings. Mitio Kaku explicitly says 470 00:21:57,880 --> 00:22:01,279 that the mind of God, which Einstein's thirty years searching for, 471 00:22:01,720 --> 00:22:04,680 is cosmic music resonating through hyperspace. 472 00:22:05,119 --> 00:22:07,559 Speaker 1: That gives me goosebumps every time I hear it. The 473 00:22:07,640 --> 00:22:11,519 ancient said the universe is sound. Modern physics says the 474 00:22:11,599 --> 00:22:15,680 universe is vibration. They are saying the exact same thing. 475 00:22:16,119 --> 00:22:17,759 We just changed the vocabulary. 476 00:22:17,799 --> 00:22:22,440 Speaker 2: We traded spirit for frequency, but the underlying mechanism is identical. 477 00:22:22,640 --> 00:22:24,880 And this is where the source material brings in Rabbit 478 00:22:25,000 --> 00:22:27,319 Zadac to bridge the gap completely right. 479 00:22:27,359 --> 00:22:29,559 Speaker 1: He talks about the number twelve, again tying it back 480 00:22:29,599 --> 00:22:30,319 to Pythagoras. 481 00:22:30,319 --> 00:22:33,480 Speaker 2: He says that contemplating the number twelve, the structure of 482 00:22:33,519 --> 00:22:37,599 the physical world allows perception to influence space and. 483 00:22:37,559 --> 00:22:39,960 Speaker 1: Time, perception influencing reality. 484 00:22:40,079 --> 00:22:42,240 Speaker 2: It is the idea that by understanding the code the 485 00:22:42,359 --> 00:22:45,599 music of reality, you can alter the reality itself, which 486 00:22:45,640 --> 00:22:46,440 sounds like magic. 487 00:22:47,000 --> 00:22:49,920 Speaker 1: But if reality is just a vibrating string, maybe if 488 00:22:49,960 --> 00:22:52,319 you sing the right note, you can change the vibration. 489 00:22:52,519 --> 00:22:55,000 Speaker 2: That is the implication. Think about it. If you know 490 00:22:55,079 --> 00:22:58,079 the resonant frequency of a glass, you can shatter it 491 00:22:58,119 --> 00:23:01,039 with your voice. So if you know the resonant frequency 492 00:23:01,079 --> 00:23:03,079 of reality, what can you do then? 493 00:23:03,680 --> 00:23:06,039 Speaker 1: And that brings us to the most practical and perhaps 494 00:23:06,079 --> 00:23:10,000 the most unsettling application of this technology in the modern era. 495 00:23:10,799 --> 00:23:13,920 We have talked about ancient priests and philosophers. Now we 496 00:23:13,960 --> 00:23:15,160 need to talk about spies. 497 00:23:15,279 --> 00:23:17,240 Speaker 2: This is the pivot that always gets me. We go 498 00:23:17,279 --> 00:23:20,160 from the music of the spheres to the cia. 499 00:23:20,480 --> 00:23:23,240 Speaker 1: It makes perfect sense though. If sound is a tool 500 00:23:23,319 --> 00:23:27,000 for altering consciousness and perception, governments would want to know 501 00:23:27,079 --> 00:23:30,039 how to weaponize it, or at least use it. If 502 00:23:30,079 --> 00:23:32,559 there is a frequency of reality, the Pentagon. 503 00:23:32,160 --> 00:23:35,400 Speaker 2: Wants it exactly. So let's talk about brain entrainment. 504 00:23:35,519 --> 00:23:37,440 Speaker 1: Yeah, break down the biology of that for us. 505 00:23:37,759 --> 00:23:41,920 Speaker 2: Your brain operates on electrical pulses brain waves. When you 506 00:23:41,960 --> 00:23:44,279 are awake and alert, focusing on work, you are in 507 00:23:44,359 --> 00:23:47,799 a beta state high frequency, fast moving waves. When you 508 00:23:47,799 --> 00:23:50,200 are dreaming or in deep sleep, you are in theta 509 00:23:50,359 --> 00:23:52,200 or delta low frequency. 510 00:23:52,279 --> 00:23:54,480 Speaker 1: And entrainment is the idea that you can force the 511 00:23:54,480 --> 00:23:56,519 brain to shift gears from the outside. 512 00:23:56,720 --> 00:24:00,599 Speaker 2: Yes, if you expose the brain to a rhythm pulse 513 00:24:00,640 --> 00:24:03,880 like a repetitive drum beat, the brain will eventually try 514 00:24:03,920 --> 00:24:06,720 to match that rhythm to save energy. It syncs up. 515 00:24:06,880 --> 00:24:10,680 Speaker 1: It entrains and the sources mentioned shamanic drumming specifically as 516 00:24:10,680 --> 00:24:11,759 an ancient version of this. 517 00:24:11,880 --> 00:24:14,960 Speaker 2: Shamans have been doing this for thousands of years. The 518 00:24:15,039 --> 00:24:19,599 typical beat of a shamanic drum is steady, repetitive, around 519 00:24:19,640 --> 00:24:22,240 five beats per second. That is five hurts, and five 520 00:24:22,279 --> 00:24:24,960 hurts just happens to be the frequency of the theta 521 00:24:25,000 --> 00:24:26,680 and delta borderline state. 522 00:24:26,920 --> 00:24:29,640 Speaker 1: It is the twilight zone between waking and dreaming. 523 00:24:29,880 --> 00:24:32,200 Speaker 2: So the shaman isn't just making a loud noise, he 524 00:24:32,319 --> 00:24:35,839 is using a specific frequency to biologically hack the brain, 525 00:24:36,400 --> 00:24:39,440 forcing it into a trance state without falling asleep. The 526 00:24:39,480 --> 00:24:42,880 body sleeps, but the mind remains fully awake, and. 527 00:24:42,799 --> 00:24:45,519 Speaker 1: In that state, the shaman claims to negotiate with other 528 00:24:45,599 --> 00:24:47,759 worldly forces. They enter the spirit world. 529 00:24:47,920 --> 00:24:50,440 Speaker 2: Okay, so shamans do it with drums in the jungle. 530 00:24:50,519 --> 00:24:51,960 How did the US government do it. 531 00:24:51,920 --> 00:24:54,680 Speaker 1: In a lap Enter Project Stargate. 532 00:24:54,599 --> 00:24:56,519 Speaker 2: The famous psychic spy program. 533 00:24:56,920 --> 00:25:00,920 Speaker 1: Yes, in the nineteen nineties, the government admitted that for 534 00:25:01,039 --> 00:25:05,319 decades the CIA and DIA had been using a technique 535 00:25:05,359 --> 00:25:09,319 called remote viewing. This was the ability to use the 536 00:25:09,440 --> 00:25:12,759 mind to spy on distant locations. 537 00:25:12,480 --> 00:25:17,440 Speaker 2: And they had actual, verifiable successes. Right the source is 538 00:25:17,480 --> 00:25:19,319 mentioned finding a down Russian plane. 539 00:25:19,440 --> 00:25:22,960 Speaker 1: Yes. During the Carter administration, a Russian spy plane went 540 00:25:23,000 --> 00:25:25,759 down in the jungles of Africa. Satellites couldn't find it, 541 00:25:26,000 --> 00:25:27,920 Operatives on the ground couldn't find it. 542 00:25:27,960 --> 00:25:29,680 Speaker 2: They brought in their remote viewers and. 543 00:25:29,599 --> 00:25:31,880 Speaker 1: They pinpointed the location within a few miles. It was 544 00:25:31,880 --> 00:25:32,759 a massive success. 545 00:25:32,839 --> 00:25:34,519 Speaker 2: But they didn't just sit in a quiet room and 546 00:25:34,599 --> 00:25:37,880 guess they used technology to get their brains into that state. 547 00:25:38,160 --> 00:25:40,079 They didn't have shamans with drums. 548 00:25:40,359 --> 00:25:43,799 Speaker 1: No, they used binaural beats. Yeah, this is the modern 549 00:25:43,839 --> 00:25:45,480 digital version of the Shamans drum. 550 00:25:45,720 --> 00:25:47,920 Speaker 2: Explain how a binaral beat works for the listener. 551 00:25:48,039 --> 00:25:50,400 Speaker 1: It's a trick of the year. You put on stereo headphones. 552 00:25:50,920 --> 00:25:53,759 In one year, you play a continuous tone at say 553 00:25:53,920 --> 00:25:56,279 one hundred hertz. In the other ear, you played a 554 00:25:56,319 --> 00:25:57,599 tone at one hundred and five herts. 555 00:25:57,799 --> 00:25:59,640 Speaker 2: So there are slightly different pitches. 556 00:26:00,119 --> 00:26:03,079 Speaker 1: Right. You can't really hear the difference consciously, but your 557 00:26:03,079 --> 00:26:06,680 brain notices the discrepancy one hundred and five minus one 558 00:26:06,759 --> 00:26:07,839 hundred equals five. 559 00:26:08,000 --> 00:26:10,960 Speaker 2: The brain creates a phantom beat of five hurts to 560 00:26:11,000 --> 00:26:11,880 make up the difference. 561 00:26:12,119 --> 00:26:15,240 Speaker 1: Exactly. The brain sinks to the difference. It forces the 562 00:26:15,240 --> 00:26:18,599 brain waves into that five hurtz state. The exact same 563 00:26:18,680 --> 00:26:21,319 frequency the Shamans used to enter the spirit world. 564 00:26:21,599 --> 00:26:24,519 Speaker 2: So John Vavonco, who was a remote viewer in the program, 565 00:26:24,640 --> 00:26:28,240 describes using this exact method. He puts on the headphones, 566 00:26:28,640 --> 00:26:31,640 tunes his brain to five hurts using the binaural beats, 567 00:26:32,119 --> 00:26:33,960 and starts looking for a target location. 568 00:26:34,519 --> 00:26:37,079 Speaker 1: But in one particular session, he found something he was 569 00:26:37,119 --> 00:26:38,319 absolutely not looking for. 570 00:26:38,519 --> 00:26:41,960 Speaker 2: This is the story about the RCIBO Radio Observatory. 571 00:26:41,400 --> 00:26:45,559 Speaker 1: Right Ourcibo is that massive telescope in Puerto Rico sadly 572 00:26:45,599 --> 00:26:48,119 collapse now, but back then it was the biggest ear 573 00:26:48,160 --> 00:26:52,880 on Earth looking for extraterrestrial signals in deep space. Vivanca 574 00:26:52,960 --> 00:26:55,319 was tasked with remotely viewing the location, so. 575 00:26:55,319 --> 00:26:57,039 Speaker 2: He projected his consciousness there. 576 00:26:57,240 --> 00:26:59,039 Speaker 1: But he didn't just see the telescope dish. 577 00:26:59,079 --> 00:26:59,920 Speaker 2: He saw beings. 578 00:27:00,079 --> 00:27:04,720 Speaker 1: He described seeing non human entities, aliens, and what is 579 00:27:04,720 --> 00:27:07,119 truly terrifying is that they noticed him. 580 00:27:07,359 --> 00:27:10,799 Speaker 2: Usually remote viewers are like ghosts. They watch, but they 581 00:27:10,799 --> 00:27:12,720 aren't seen by the people they are watching. 582 00:27:13,039 --> 00:27:17,160 Speaker 1: But Vivanco said, his adrenaline spiked fight or flight kicked 583 00:27:17,160 --> 00:27:20,480 in instantly. Imagine being invisible in a room, thinking you 584 00:27:20,519 --> 00:27:23,319 were totally safe, and suddenly the things in the room 585 00:27:23,640 --> 00:27:26,640 look right directly at you, and then. 586 00:27:26,559 --> 00:27:29,519 Speaker 2: Came the contact. He said it was telepathic. 587 00:27:29,039 --> 00:27:31,559 Speaker 1: And the message was we are here to help you, 588 00:27:31,680 --> 00:27:32,880 and we want you to help us. 589 00:27:33,079 --> 00:27:35,480 Speaker 2: We want you to help us. That is so ambiguous 590 00:27:35,640 --> 00:27:38,200 and honestly a little ominous, And. 591 00:27:38,200 --> 00:27:42,720 Speaker 1: Vivanco says he wasn't hallucinating because other viewers in the program, 592 00:27:42,839 --> 00:27:46,880 completely independent of him, reported encountering the exact same entities 593 00:27:47,359 --> 00:27:48,799 at the exact same location. 594 00:27:49,319 --> 00:27:51,519 Speaker 2: So let's connect the dots here. We have essentially come 595 00:27:51,559 --> 00:27:53,000 full circle from where we started. 596 00:27:53,319 --> 00:27:56,359 Speaker 1: Let's trace the line. Six thousand years ago, people went 597 00:27:56,400 --> 00:27:59,559 into a limestone chamber in Malta tuned to one hundred 598 00:27:59,599 --> 00:28:02,400 and ten to communicate with giants or gods. 599 00:28:02,519 --> 00:28:05,319 Speaker 2: The one hundred and ten hertz shifts the brain state. 600 00:28:05,519 --> 00:28:09,000 Speaker 1: Today, spies put on headphones, tune their brains to five 601 00:28:09,039 --> 00:28:12,160 herds using binural beats and communicate with aliens. 602 00:28:12,279 --> 00:28:13,559 Speaker 2: Is it the same technology? 603 00:28:13,799 --> 00:28:18,400 Speaker 1: The implication is staggering. It suggests that these entities, whatever 604 00:28:18,440 --> 00:28:21,920 they are, are always there, but they are broadcasting on 605 00:28:21,960 --> 00:28:25,200 a different channel, and sound is the dial that lets 606 00:28:25,240 --> 00:28:25,920 us tune them in. 607 00:28:26,240 --> 00:28:29,559 Speaker 2: It is the universal interface code, whether it is carvestone, 608 00:28:29,960 --> 00:28:33,119 vocal chanting, or digital audio. It is all the same 609 00:28:33,319 --> 00:28:37,079 fundamental tech. It connects the biological brain waves to the 610 00:28:37,079 --> 00:28:40,480 physical environment and the theoretical framework of string theory. 611 00:28:40,920 --> 00:28:43,680 Speaker 1: We think of ourselves as so incredibly advanced because we 612 00:28:43,720 --> 00:28:47,119 have smartphones and satellites. But if the ancients could build 613 00:28:47,119 --> 00:28:51,079 stone structures that functioned as interjunctional transceivers, maybe we are 614 00:28:51,160 --> 00:28:52,319 the ones in the dark ages. 615 00:28:52,519 --> 00:28:55,480 Speaker 2: Maybe we are just relearning the basic physics they mastered 616 00:28:55,559 --> 00:28:56,279 millennia ago. 617 00:28:56,559 --> 00:28:59,279 Speaker 1: If the universe is a symphony of strings, as string 618 00:28:59,319 --> 00:29:02,519 theory suggests, then reality is just music, and if you 619 00:29:02,559 --> 00:29:04,680 know the song, you can change the reality. 620 00:29:04,880 --> 00:29:07,079 Speaker 2: That is a lot to process for one deep dive. 621 00:29:07,119 --> 00:29:09,440 So what does this all mean for us? For you 622 00:29:09,519 --> 00:29:10,799 listening right now, I think. 623 00:29:10,720 --> 00:29:13,319 Speaker 1: It means we need to listen more closely. We live 624 00:29:13,359 --> 00:29:18,920 in a world of constant, chaotic noise, traffic notifications, digital static, 625 00:29:19,240 --> 00:29:22,799 But underneath all of that there is a fundamental hum, 626 00:29:23,160 --> 00:29:24,359 a resonance. 627 00:29:24,319 --> 00:29:26,880 Speaker 2: The hum of the earth, the hum of the cosmos. 628 00:29:27,079 --> 00:29:30,480 Speaker 1: Perhaps the unexplained sound technology isn't unexplained at all, it 629 00:29:30,559 --> 00:29:33,200 is just forgotten. We have the hardware, our brains, we 630 00:29:33,240 --> 00:29:35,880 have the software which is sound. We just lost the 631 00:29:35,960 --> 00:29:36,599 user manual. 632 00:29:36,720 --> 00:29:38,640 Speaker 2: Well, hopefully today we found a few pages of that 633 00:29:38,720 --> 00:29:39,240 man you are. 634 00:29:39,400 --> 00:29:40,960 Speaker 1: Before we go, I want to leave you with the 635 00:29:41,039 --> 00:29:43,839 thought a question to carry with you into the silence 636 00:29:43,880 --> 00:29:47,079 after this show ends. If the universe is a symphony 637 00:29:47,119 --> 00:29:50,680 of strings, are we just now learning how to play 638 00:29:50,720 --> 00:29:53,960 the instrument? Or did we forget a song we used 639 00:29:53,960 --> 00:29:55,279 to know six thousand years ago? 640 00:29:55,519 --> 00:29:58,240 Speaker 2: And here's the real question to ponder. If you could 641 00:29:58,279 --> 00:30:01,319 put on a pair of headphones, play binaural beat and 642 00:30:01,440 --> 00:30:03,759 tune your brain to the frequency that let you see 643 00:30:03,759 --> 00:30:06,720 the others like the remote viewers did, would you do it? 644 00:30:07,000 --> 00:30:08,680 Speaker 1: Would you want to see who is standing in the 645 00:30:08,759 --> 00:30:11,519 room with you right now, just on a different frequency? 646 00:30:12,160 --> 00:30:14,160 Or is some silence meant to be kept? 647 00:30:14,400 --> 00:30:16,359 Speaker 2: That is a question I ask myself every time I 648 00:30:16,359 --> 00:30:18,039 put on my noise canceling headphones. 649 00:30:18,240 --> 00:30:21,720 Speaker 1: Fair enough, let us know what you think. Would you 650 00:30:21,759 --> 00:30:24,799 turn the dial or would you leave it alone? Drop 651 00:30:24,839 --> 00:30:27,599 a comment, let us know your stand Thanks for joining 652 00:30:27,680 --> 00:30:29,799 us on this journey into the dark and the quiet. 653 00:30:29,960 --> 00:30:33,079 This has been thrilling. Threads, keep listening, See you next time.