Ancient Aliens s16e10 Episode Script

1
NARRATOR: In ancient
traditions around the world,
powerful sacred sounds were used
to communicate with the heavens.
DEEPAK SHIMKADA: The whole
universe resonates with the sound "aum."
NARRATOR:
But was sound also used
to create megalithic structures?
ERICH VON DANIKEN:
They had a certain sound,
a certain vibration,
and the blocks
moved by themselves.
NARRATOR: And could
seemingly primitive rituals
actually have been connected
to otherworldly technology?
DR. JEFF THOMPSON: Within
the harmonics and overtones
of a complex sound,
you could impart
all kinds of information.
NARRATOR: Ancient astronaut
theorist Giorgio Tsoukalos
and author David Childress
have gathered experts
in science, religion
and mythology to explore
the mysterious power of sound.
GIORGIO A. TSOUKALOS:
Monuments worldwide
have acoustic properties,
and it's all harmonics.
NARRATOR:
And the possibility
that new discoveries
in acoustics
could lead to the next giant
leap in human evolution.
TRAVIS TAYLOR:
This is literally
getting the right vibrations
to create
the next experience of reality.
NARRATOR:
There is a doorway
in the universe.
Beyond it is
the promise of truth.
It demands we
question everything
we have ever been taught.
The evidence is all around us.
The future is right
before our eyes.
We are not alone.
We have never been alone.
I'm really delighted
to be here with you guys because
I think that acoustics
is definitely something
that needs to be explored
even further.
As humans, music
and-and acoustics
are very important to our lives.
Remember, from the Bible,
it says
God created the world how?
- In the beginning was the word.
- By speaking. - He spoke!
It's spoken, right?
The oral tradition
is not just words or intellect.
It's an entire tonal thing.
When the universe was created,
it says that the whole Earth
has a grid of tones
that founds everything.
That is the same thing
in ancient India with aum.
They're saying exactly
the same thing, that
that the universe started
with one note, a single note.
- That's right.
- CHILDRESS: A vibration.
And then it's the aum sound.
NARRATOR:
Aum is a sacred sound
in the Eastern religions
of Hinduism,
Buddhism and Jainism.
[deep chanting]
SHIMKADA: Hindu concept
of cosmic sound is simply aum.
"Aum" is made of three letters:
"A," "U" and "M."
Those three letters combined
makes the sound "aum."
And the whole universe
resonates with the sound "aum."
LAYNE LITTLE:
Aum is not just found
in Hinduism and Vedic tradition.
It's very much used in Buddhism.
It's utilized in Jainism
and also in Sikhism as well.
And it is the most common
and most sacred of all mantras
in all of these traditions.
NARRATOR: The concept of
aum first appears in the Vedas,
the religious texts that form
the foundation of Hinduism.
According to the texts,
specific vibrations,
created through ritualistic
chanting, singing and prayer,
can provide a direct
connection between humans
and the gods themselves.
The importance of sound
in Hinduism and Buddhism
is very, very vital.
[chanting]
Without sound, you cannot
pronounce a mantra.
A mantra is combined words
made into invocation.
NARRATOR:
As described in the Vedic texts,
the gods provided humankind
with a visual aid
to remember these sacred sounds:
elaborate patterns
called mandalas.
PRAVEEN MOHAN:
Mandalas are mnemonic devices
used to aid meditation,
often in tandem with chanting.
What's interesting is that
in Hindu temples,
we have a visual
representation of mandalas.
So, what they're doing
is they're essentially
translating sound
into visual patterns.
In modern technology, these
are called Chladni patterns.
NARRATOR: In 1787,
German physicist Ernst Chladni,
known as
the father of acoustics,
published his seminal work,
Discoveries in
the Theory of Sound.
In it, Chladni describes
an experiment that shows
how vibrations can create
exotic geometric shapes.
We've got this thing
called a Chladni plate,
after the scientist
who invented it.
It's a thin metal plate,
like a sounding board,
and we've got a transducer
attached to the bottom of it.
And they spread sand
over the top of this plate.
And we start playing
certain tones.
[sustained tone plays]
And those sand particles start
to bounce around
and dance around,
and they start to form these
mathematical circular patterns.
And as we move up
through these frequencies,
the sand goes into kind of
a chaos in-between state,
and then it arrives
at this next pattern.
And the higher
the frequency you go,
the more these patterns
become more complex.
NARRATOR: In the 1960s,
Swiss scientist Hans Jenny
was experimenting
with Chladni patterns,
when he noticed
an extraordinary connection.
Jenny tried it with aum.
And it generated
an image of a circle
with a dot in the middle.
That itself is actually
very interesting
because the most fundamental
elements of any mandala
will usually be a circle
with a dot marking
the cosmic center.
NARRATOR: Today, the
patterns made by frequencies
are known as cymatics.
In modern technology,
we are able to create
visual representations
of sounds.
What is remarkable is that
we see the same patterns
in Hindu temples,
in ancient Indian structures.
NARRATOR: At the Sri
Ranganathaswamy Temple in southern India
are 40 ornate statues carved
from monolithic columns.
The statues depict
leaping animals
and, above them, vimanas,
vehicles that, according
to ancient Hindu texts,
were flown by the gods.
The word "vimana,"
in ancient Vedic texts,
means flying machines.
In Hinduism, it is
clearly established
that the gods come down
from the sky using vimanas.
In the temple of Srirangam,
these carvings show
many different types of vimanas.
And what's really unique
is that, under these vimanas,
we are able to see some very
interesting patterns of mandala.
NARRATOR: Some researchers
believe these mandalas represent
more than just
an artistic flourish.
According to legend,
each type of vimana
can be activated with
a specific type of mandala.
If we crack this visual code,
if we crack
this cymatic pattern,
we might actually unlock the
secret to power these vimanas.
Think about all this
is somehow connected
to cymatics and some of these
shapes that we see in, uh,
the ancient hieroglyphics
and some of these structures,
megalithic structures.
And you can reproduce those
with sound waves.
And so I wonder if,
when these patterns occur,
when we create these sounds,
is this kind of like
we're inserting the pin
to open up
an encrypted PDF file
to the read the information?
And what they're trying to tell
us with a mandala is that this
is the cymatic code,
the shape, the vibration,
the sound that's
going to levitate
- or do whatever.
- Or whatever that
You make this picture
with sound, and you've done it.
TZADOK: There is
knowledge of the ancients,
which was concealed because
mankind was not considered
ready for it.
And this was that technology.
What's interesting about this
whole harmonics and cymatics
is that this is
a universal thing.
It's gonna be
throughout the universe.
It's every single planet.
That's-that's called
the anthropic principle.
CHILDRESS:
It-it's, uh, like mathematics.
TAYLOR:
We have discovered all these
extreme amplitudes
of acoustic sounds.
And right now, we're currently
working on how we might
be using it
for future technologies.
- I love it. This is great.
- So let me tell you a story
a-about, uh, an event
that happened very recently.
Two scientists
have done an experiment.
They go into
the great detailed math
of the quantum interaction,
with the sound interaction.
And they call that
a phonon-photon interaction.
Phonon is the particle
for sound.
And discovered that sound
can trigger
this negative mass effect.
NARRATOR:
In March 2019,
scientists
at Columbia University
in New York City
made a shocking discovery
that redefined
the known laws of physics.
In an experiment,
physicist Angelo Esposito
demonstrated that phonons
are affected by gravity
but in a highly unexpected way.
Instead of being forced
down towards the earth,
phonons actually rise upwards.
Scientists discovered that
the phonon itself has mass,
which nobody thought
it had before.
But the closer they looked,
they realized
that it wasn't mass at all;
it was negative mass
and negative gravity.
MICHIO KAKU:
It turns out that under
certain conditions
with sound waves,
sound waves can actually start
to rise rather than fall.
And this was an anomaly, but
yes, it seems to be consistent
with the laws of physics,
that certain vibrations,
instead of falling down,
can actually fall up.
To me,
that's experimental evidence
that you can,
if you understand sound
the right way, use it
to levitate heavy things.
TSOUKALOS:
So, could this imply
that the ancient stories
of levitation of stones,
that some type
of technology like that
- was im was implemented?
- That's right.
TAYLOR: And that comes
back to this whole idea with,
uh, cymatics,
which is where we're taking, uh,
certain sounds
and putting them in
what we'll call standing waves.
And they produce these
amazing geometric figures.
And you could envision,
if you knew the way
to manipulate this
the right way, you could put
you can make three-dimensional
figures with it, even. Right?
You could have sound not just
underneath it but all around it.
And, in fact, I've seen one
where there are multiple
transducers in a way
and they can levitate
little Styrofoam balls.
- And Ping-Pong balls.
- TSOUKALOS: Mm-hmm. Right.
TAYLOR: Just by having
the sound in the right way.
And even do multiple ones
in-in configurations.
So imagine if you could
amplify the power,
if you could amplify
the-the principle,
wouldn't that
or couldn't that apply?
- Absolutely.
- Because we have ancient stories
in ancient Egypt, in England.
Some of the Stonehenge blocks,
according to some
of the legends,
- magician Merlin
- Right.
was able to levitate
those stones
across the plains of England.
Right.
NARRATOR:
Is it possible
that the same principles
utilized to move sand particles
and larger objects
such as Ping-Pong balls
could also be used
on a larger scale
to lift and move
much heavier objects?
Curiously,
a great number of stories
can be found
in the ancient world
that involve the use of sound
to levitate massive stones.
All the way around the world,
there are myths and legends
relating to the movement
of stone blocks
using sound technology.
These are found
amongst the Maya of Mexico,
the Phoenicians of the Near East
and in Tibet.
We have stories
in ancient Egypt, even,
where they seem to be able
to move the stone effortlessly
from one place to another,
some weighing hundreds of tons.
NARRATOR:
In the tenth century AD,
the Arab historian
Abul Hasan Ali al-Masudi
wrote that the Egyptians
were visited by beings
known as
the Guardians of the Sky,
who gave them knowledge
that enabled them
to levitate the massive
limestone blocks
with which they built
the Great Pyramid.
VON DANIKEN: In old Egypt,
they had a certain sound,
a certain vibration, and
the blocks moved by themselves.
They show a technology
which we do not have.
NARRATOR:
If acoustic technology was used
to levitate massive stones,
as ancient astronaut theorists
suggest,
might knowledge
of this technology
have been left for humankind
to rediscover?
This levitation technology
is exotic because we have
no idea how to do this today.
For thousands of years now,
we've turned this
into the realm
of legends and myths.
The fact that we have stories
of these ancient gods,
in my opinion,
is that we are suggesting
that our ancestors
misinterpreted
these beings as gods
because their technology
far surpassed their current
frame of reference.
- HENRY: Right.
- TAYLOR: So, these beings
from our ancient past
had probably figured this out
in order to do
whatever it was they did.
And that lends us
down the road of,
how do we figure it out?
And that's something
that I'm really intrigued by.
TZADOK:
This technology
will not only transform
our society;
it'll change our world.
To me, this is fascinating
that there seems to be
acoustics and sound that reach
the realm of the gods.
TZADOK:
The path of the ten sefirot
in the kabbalah speak
of the energy vortexes
which vibrate in five
different harmonics
called vowels,
which is called
tonal technology.
This knowledge
was considered too dangerous
to be publicly displayed.
And according to the stories
and the legends,
this technology was unleashed,
and it destroyed the world.
- And, I
- CHILDRESS: So, well, first they destroyed Jericho.
- Right? With their sound
- Well, Jericho, Jericho
Jericho came later,
but actually,
when you're bringing up Jericho,
the whole story
of the Ark of the Covenant
and the marching,
this is only just one
simple biblical example.
NARRATOR: The Hebrew
Bible's Book of Joshua
tells the story of how Israel
conquered Canaan
beginning with
the Battle of Jericho.
According to the story,
God commanded the Israelites
to march around the seemingly
impenetrable walls of Jericho
once a day
for six straight days,
carrying with them
the Ark of the Covenant.
But on the seventh day,
they were to circle Jericho
seven times,
making tremendous noise.
HUSSAIN: On the
seventh day, as they circle it,
they blow the trumpets,
and it's the sound
that brings the walls down.
And you can think of that
from an engineering perspective.
Is it the trumpets
and the vibration,
the sound of the trumpets,
that somehow resonates
with a particular frequency
in the brick of the walls
that causes these walls
to collapse?
NARRATOR: Is it possible
that the story of Jericho
is a historical account
of acoustic technology
being used
thousands of years ago?
Ancient astronaut theorists
say yes
and point to other stories
that describe the power
of the Ark of the Covenant.
What I have always
found fascinating
is that we have stories
of these magical incantations.
- Right.
- But, you know,
operating something
with voice commands,
if you don't know what that is,
that's a magical incantation.
This is the interesting thing,
because when you look at
the Ark of the Covenant
you look at the high priest.
The high priest, of course,
would speak to God
wearing the
Breastplate of Judgement
that had the 12 stones on it.
The high priest would approach
the Ark of the Covenant,
and he would start
to recite certain tones, sounds.
These were very deep,
tonal, throat-type chants.
The tones were said to then
cause the stones to vibrate,
and they would send out lights,
and then the Ark somehow
would react to this.
There's some
active energy there,
which we call the glory,
or kavod, of God.
It's not God, but it's
some actual energy field
that if you would be
in the presence
- Remember, you couldn't go into the presence.
- Or a machine.
- That's right.
- Something was there
that if you went
too close, you died.
I'll tell you exactly
what that sounds to me like.
This breastplate has optical
and/or acousto-optical
transceivers on it.
And they're hand-shaking,
which is what
the old-school acoustic
phone modems would do
when you would call up
or the fax machine calls up
to connect to the other side.
HENRY: What we're seeing
here is that they would use sound
to link Heaven and Earth.
[deep chanting]
NARRATOR: The idea that
sound can facilitate communication
between man and divine beings
like the Hindu use of aum
is a common theme
in religious traditions
throughout the world.
All religions really use music,
and you see that
in worship services.
[chanting]
So the cantor with the psalms
in the Jewish tradition
[choir singing a hymn]
choir in
Christian traditions.
Even in the Islamic tradition,
where there's no formal music,
there's a-a melody
to the recitation of the Koran.
[melodic chanting]
Every culture has the idea
that this music connects us
with the divine.
NARRATOR:
For many religious practices,
just as important
as musical traditions
are the locations in which
the rituals are performed.
THOMPSON: A choir singing
in Chartres Cathedral
is magical because
of the architectural space.
And so these
architectural spaces
in all these various cultures,
from these kind of secret
monasteries in the Far East
and in the Middle East,
were famous for having
architectural designed spaces
that call up the sacred.
[congregation chanting]
NARRATOR: Interestingly, a growing
number of archaeologists believe
some of the world's
oldest structures
were specifically designed to
accentuate acoustic properties.
Like all of you,
I'm always keeping up
on the latest archaeological
developments and research,
and I think
it's really fascinating
that monuments worldwide have
acoustic properties.
What they're finding is
that these were chambers
that were designed
where you would have this
acoustic experience
that you heard,
but you also felt it
in your bones, in your tissue.
- Yeah, they call this archaeoacoustics.
- Mm-hmm.
NARRATOR: Archaeoacoustics
is an interdisciplinary
field of archaeology
dedicated to examining
how sound and acoustics were
utilized in the ancient world.
FELICIA BEARDSLEY:
It's a relatively new field,
and archaeoacoustics
is looking at
the sound quality
of ancient sites,
historical sites,
archaeological sites
where we see music
probably played a role.
Stonehenge is one of those.
Where you stand
in the middle of Stonehenge,
you would create
the sound blast of music,
whatever implements were used,
'cause we're not really sure,
and it would bounce
off the stones and create
this sort of echo chamber.
Stonehenge functioned
as a sonic temple.
By this, what I mean is that
individuals,
the center of the monument,
would create musical sounds,
particularly of a low frequency,
that would be contained
actually inside the stones
and build up an energy,
if you like,
for a purpose which we can
only guess at right now.
NARRATOR: All around the
world, archaeologists have identified
numerous ancient sites
that were designed
according
to acoustic principles,
such as Gobekli Tepe in Turkey,
the Hypogeum in Malta
and the Newgrange passage tomb
in Ireland.
Newgrange has very strong
acoustic properties.
What they found is,
is that the way the sound waves
bounce around the chamber,
they create
what's called standing waves.
And they increase
in intensity and sound.
NARRATOR:
According to some researchers,
curious carvings found inside
Newgrange provide key evidence
documenting that
the structure was
purposely designed to have
elaborate acoustic properties.
NEWMAN: And it seems that
these standing waves were recorded
actually within
the chamber itself,
where you could see
these zigzags
carved all over the place,
suggesting that they
not only understood acoustics
but they were recording
the experience
within the chambers.
The other thing of-of
real interest is the fact that
when they investigated
the corbeled roof,
which is like
multiple mega-size stones
almost going around a spiral,
they found that these
had been adjusted.
And they found the reason
for that was because
they were tuning the chamber
acoustically.
NARRATOR:
Is it merely coincidence
that ancient structures
all over the world
appear to have been designed
by different civilizations
that demonstrate such
similar acoustic properties?
Or might they share
a very common purpose?
And if so, why?
I mean, it's fascinating
the whole idea of
these vibrations and acoustics
within these ancient sites
and that they were
purposely created that way.
HENRY:
Yeah, they were set up for,
uh, an extraordinary
human experience
that potentially then
this can enable an experience
with an otherworldly being,
even a like a godlike being.
They were signifying
it was a place,
that they were opening up
a spiritual portal
by doing ceremony, chanting
you know, maybe
beating drums or something
to their ancestor gods
or to their sky gods.
What we're seeing here
is that these were
meeting grounds
of humans and the gods.
The interesting thing about
these resonance chambers
one thing we have discovered
at these low frequencies
you actually can be in a
in sort of a trance like
state from it.
TZADOK: Apparently,
there is a psychological
or spiritual effect.
This was used
with shamanistic practices.
NARRATOR: Ancient religious
leaders, commonly known as shamans,
were seen as links between
humans and a higher realm.
For the shamans,
sound was not used
merely to make a spiritual
connection with the divine
but to actually interact
with otherworldly beings.
BEARDSLEY:
The term "shaman"
comes from Siberian
religious practices,
and it means
somebody who can see
the underlying fabric
of the world around them.
These are the negotiators
between this world
and the other world.
They could step
into the other world
to negotiate
with otherworldly forces.
COLLINS:
Individuals, shamans,
when they chanted,
when they sung,
when they used the instruments,
it was to enter into
altered states of consciousness
so that they could communicate
with spirit entities
and perhaps connect with
what we might describe
as ancient aliens.
TZADOK: The point is that
the shamanistic practices
are all built upon what?
Chants, sounds,
altered states of consciousness
which bring you
into connection with
extraterrestrials, aliens,
whatever is out there.
That's a really
interesting point, Rabbi.
You know, we have discovered
that sound waves
can actually control our brain.
NARRATOR: In the 1960s,
neuroscientists discovered
that rhythm and acoustics
can produce
a physiological change
in the human brain
through a process
known as entrainment.
THOMPSON:
If I can create a pulsing
in the external environment
that's pulsing
at a brain wave speed,
my brain waves will try to match
that speed to save energy,
and my conscious will
will change in the process.
So we can do that
using just a drum
to change consciousness at will.
If I hook you up
to an EEG machine
so I can look at
your brain waves
and normally, when we're awake,
my brain waves are
generating beta function,
which is rapid,
between 13 hertz and 38.
And the drumbeat is at five.
And my brain waves are
gonna start slowing down
and slowing down,
slower, slower,
to take my consciousness
from a waking state
into a dream state
without going to sleep first,
which means that's a classic
definition of a trance.
The earliest examples
of brain entrainment
would be shamanic drumming.
The speed of the drumbeat tends
to be around five hertz.
And that's about like this.
[chanting]
You know, that's about it.
That's about five hertz.
And five hertz is
where your brain goes
when you're dreaming at night.
The whole idea is
to transform consciousness.
They were trying
to achieve a connection
with the divine,
with the otherworldly.
NARRATOR:
If modern science has proven
that shamanic drumming
does, in fact,
induce a state of trance,
could it also be true
that it enables
extrasensory abilities
and even allows for
communication with other realms?
While it may sound
like a far-fetched notion,
in 1995,
the U.S. government revealed
that brain entrainment was part
of its top secret spy program
called Project Stargate.
Operatives in
this clandestine unit
gathered intelligence about
persons, places and events
from great distances
by sensing with their minds,
a practice called
remote viewing.
During the 1970s,
President Jimmy Carter's
administration
used remote viewers to locate
a downed Russian spy plane
in Africa.
You talk to any of
the old remote viewers,
the ones from
the Stargate program,
they'll tell you how accurate
and how important
and how relevant
their information was.
NARRATOR:
John Vivanco has been working
in the field of remote viewing
as both a teacher
and practitioner
for more than 20 years.
I worked with corporations,
intelligence,
uh, counterterror
for the FBI after 9/11.
NARRATOR: At the start of
every remote viewing session,
John uses specific sounds
to entrain his brain waves
and create a trance like state.
What we do with remote viewing
before we do a session
is a cooldown.
Uh, we will meditate,
and one of the aides that
we'll use are binaural beats.
So, if you think about
frequencies in the ear,
we'll listen to these sounds.
So, if one ear
is pulsing a sound
of let's just say six hertz
and in another ear it's pulsing
a sound of four hertz,
your brain waves
will synchronize
to around five hertz.
And we like to stay in that zone
in order to get
the best information.
NARRATOR: John claims
that by entering this trance state
remote viewers have gathered
more than just information.
They have also encountered
otherworldly beings.
VIVANCO:
We were working a project
around the
Arecibo Radio Observatory,
and I was the first viewer
on this particular tasking,
and I start to get
these beings, these aliens.
And I just remember
during the session,
uh, I kept saying,
"They're coming,
they're coming, they're coming."
And they started
to take notice of me.
And I'm starting to freak out
because I've got
tons of adrenaline
flowing through me.
I-I'm in fight-or-flight.
It telepathically communicated
with me, and it said,
"We are here to help you,
and we want you to help us."
The other viewers started
to experience the same thing.
And so that's when
we started to, okay,
now you know
I'm not hallucinating.
This is absolutely real.
Travis, you could speak to this
probably in more detail,
but we-we live
in a spectrum, right?
- We see a very tiny sliver of reality.
- Oh
And what if these frequencies
what if they're like dials
you know, you can
like you're tuning
the radio dial?
"Oh, I'm not in
Earth frequency anymore.
"I'm just gonna tune it
a little bit in this space,
and I'm gonna be able to see
what's actually there."
So, what if
and this is a what-if
you're in this perfect spot,
what if that shifts you
slightly, uh, in the spectrum
that you can, uh, perceive?
TZADOK:
How about this?
If we could actually,
through science,
find the proper
resonances, tones
that'll actually put us
in contact with with whom?
- The ancestors.
- The only way to find out
is to knock on the door
and go through and say,
"Who's there?"
There is an ancient book
called Perek Shirah
with a chapter of song
where in which it's revealed
that everything in nature
has its own vibration.
- Right.
- Which means it has
- its own consciousness.
- Right.
We call that
mechanical resonance.
Everything is alive.
TAYLOR:
And that comes back to
the universe itself has
this mishmash of vibrations.
- Right.
- And it's singing a song, so to speak.
And if we learn how to interpret
and/or manipulate the song,
then we can interpret and/or
manipulate the universe.
- And it's all harmonics.
- HENRY: It's all harmonics.
We've got to go back
to Pythagoras
with his "music
of the spheres" concept
because he comes up with
the idea of the musical scale
and, uh, musical ratios.
NARRATOR: In the sixth
century BC, Pythagoras,
the famous Greek mathematician
and philosopher,
made an acoustic discovery
that would reverberate
through history.
Pythagoras was,
in a certain sense,
the father
of modern mathematics.
He gave us the base-ten formula
for our Western
system of numbers,
and he discovered
a divine symmetry, so to speak,
in all things that exist.
JONATHAN YOUNG:
One day, Pythagoras is
walking by the blacksmith's,
and he's hearing some harmony
coming out from
the smithy area there.
And so, with the kind of
a persistence of a scientist,
he figures out that if
a hammer is twice the weight
of another hammer and they both
strike at the same time,
the notes they make are harmony.
MICHAEL DENNIN:
The great discovery he made
is that the waves generated,
say, by strings
or wind instruments
could be converted
into clear notes and scales
by using fractions
and discrete ratios.
So, Pythagoras did this amazing
job of taking math and geometry
and tying it to music,
which then led to
the entire Western
musical scale.
NARRATOR: Pythagoras's study
of harmonics led him to theorize
that everything in the universe,
including planets and stars,
exists in a constant state
of vibration.
Incredibly, he was right.
2,000 years ago, the Greeks
asked an elemental question:
What paradigm can explain
the entire complexity
of the universe?
Pythagoras said
music has the complexity
to explain the diversity
of the universe itself.
So, in other words,
our universe resonates
with the notes from music.
Pythagoras said that
everything is based on music,
which, in turn, is based
on certain ratios:
thirds, fifths, octaves.
So, why not explain
the solar system this way?
If you look at Mercury, Venus,
Earth, Mars, Jupiter, Saturn,
they are aligned
according to certain ratios.
Maybe these ratios are
the ratios of strings.
And so he called it
"music of the spheres."
When planets move
around the solar system,
he thought
they must create music,
music that we cannot hear.
This is heavenly music,
music of the angels,
but nonetheless, that would
explain the regularity
of the solar system itself.
And so he thought
you could explain
the universe through music.
HOROWITZ:
Pythagoras felt he was
unlocking a kind of code
of creation.
He was providing humanity
with the language of the gods,
so to speak.
Pythagoras said it was Apollo,
the-the Sun god,
who taught him about
all of these advanced concepts
and laying down the basis
for modern music
and everything
that we know about music.
So, there's an
extraterrestrial connection here
that is very important
for us to think about.
All this talk about music
and frequencies and harmonics
all boils down
to mathematics, correct?
According to the ancient
kabbalistic texts,
math, complemented with
the appropriate harmonics,
are going to align
with the natural harmonic
or universal pattern
of the universe.
We are talking about the hidden,
sacred knowledge
of the ancients,
which was
their secret technology,
their way of reaching out
to the higher dimensions,
whether they be to angels
or gods or ancient aliens.
This is a really interesting,
uh, conversation
about all these different
acoustic properties.
I've always thought that there's
a a different pattern.
I call I've always called it
the god fractal
that, I think, if you found it,
it would be like
the mathematical instructions
to building
the universe or whatever.
Have you seen diagrams
throughout history or whatever
that, to you,
suggest the pattern?
- HENRY: The Flower of Life.
- I was just about to say.
HENRY:
It has to be the Flower of Life,
the-the symbol
of creation itself.
NARRATOR: Constructed
of overlapping circles,
the Flower of Life holds
all geometric forms
within its design.
One of the oldest known examples
of this sacred geometry
can be found at
the Temple of Osiris in Egypt,
a structure archaeologists
claim is 6,000 years old.
The Flower of Life symbol
is considered
the seed symbol of all symbols.
The ancient Egyptians understood
this symbol came
from the heavens.
CHILDRESS: The Flower
of Life is very special.
It's really a a mandala.
And it may have something to do
with the geometric nature
of the-the universe.
We don't know
exactly what it did.
Perhaps it was really
symbolizing some device
that's a sound device,
a harmonic device,
something that's
highly technical
and was used by
these ancient cultures.
NARRATOR: Is it possible
that extraterrestrials
have used acoustics
to guide humankind
for thousands of years?
And if so, did they hide clues
in ancient traditions,
structures that create
altered states of consciousness,
and sacred shapes in the form
of cymatic patterns?
Perhaps the next
great leap forward
will occur once we tune in
to the extraterrestrial
messages around us.
I think, too,
the opportunity we have here
for cracking
this harmonic code is
we all talk about a golden age
and a time when we're gonna see
extraterrestrial presence
on this planet,
and this could be the key to it.
"Harmony" is the right,
uh, key word there.
- Exactly.
- Yeah, right.
For the whole universe
to be in harmony, yeah.
So, this is literally
getting the right vibrations
to match with
the right vibrations
to create the next
experience of reality.
I like that.
Guys, look, this has been
absolutely incredible
conversation.
And I think we've established
that there is
way more to the world
that we know of,
there's way more to our reality
and also what we can perceive
with our senses.
And I can't wait to continue
this at some other time.
To be continued.
CAPTIONING PROVIDED BY
A+E NETWORKS