Ancient Aliens s12e08 Episode Script

The Alien Frequency

1 Wow.
PAUL DEVEREUX: For 200 years archaeologists have been looking at a silent movie, but suddenly we've got a soundtrack.
We're trying to get the sensory information that was there when these people built these places.
And we're picking up the 110 hertz, and it's vibrating around this whole area.
-You can actually feel it in your body.
That's quite amazing, actually.
-(horn blows) -GIORGIO TSOUKALOS: Many ancient cultures around the world worshipped sound.
Is it possible that sound has this incredible power with which you could do certain things? DAVID CHILDRESS: Is there some grand design from extraterrestrials that was harmonically tuning all of these sites on Earth? DAVID WILCOCK: Extraterrestrials are giving us clues that frequency plays a much greater role in understanding matter, energy, and consciousness than we allow for in our current scientific paradigms.
NARRATOR: Baalbek, Lebanon.
The 9,000-year-old Temple of Jupiter contains three of the largest monolithic stones in the world, weighing approximately 1,000 tons-- or two million pounds-- each.
Puma Punku, Bolivia.
Scattered across a high desert plateau are precisely-cut 100-ton blocks, believed to date back at least 2,000 years, and perhaps much earlier.
The Giza Plateau, Egypt.
The Great Pyramid is built from more than 2.
3 million limestone bricks, each weighing a staggering 5,000 pounds.
All around the world stand colossal monuments to mankind's ancient past; gigantic structures that have endured for thousands of years, built with stone blocks so massive that modern builders have not even attempted to duplicate them.
STEPHEN VANDER HART: Our 988 Cat Loader can probably lift a 22-ton boulder, just for perspective.
And it can probably roll and drag along the ground, uh, maybe a 40-ton boulder.
But when you're talking a 50-ton boulder, then we would need to bring in cranes, hydraulic jacks, steel beams, girders.
It's a whole nother set of tools, even with modern-day technology.
I mean, I can only imagine how they would move boulders that size.
It baffles my mind.
I have no idea.
It's crazy to think about.
TSOUKALOS: How is it possible that 10,000 years ago our ancestors moved around the most massive of stones? Well, the answer is either another previous super civilization existed here on Earth, or extraterrestrials imparting technological knowledge to us.
NARRATOR: Ancient astronaut theorists suggest such structures provide physical evidence that extraterrestrial beings visited Earth and assisted our ancestors in the distant past.
And each of these three megalithic sites, as well as numerous others, have very specific stories behind them that say they were built, not by men, but by the gods, using the power of levitation.
Some ancient mythologies speak of the fact that some of these stones were put into place with sound; that these things all of a sudden levitated into place.
What the local legend of Stonehenge talks about is that those big stones were transported by way of levitation.
NARRATOR: Similar to the mythical story of Stonehenge, the ancient legends of Bolivia say that the megalithic stones of Puma Punku were floated into place.
In the fifth century BC, the Greek historian Herodotus wrote that the Egyptians were given knowledge from the guardians of the sky on how to float the massive limestone blocks with which they built the Great Pyramid.
WILCOCK: What we see is the very real possibility that extraterrestrial civilizations visited Earth all throughout the world.
And that each time they did, they felt it was very important to impart this sacred knowledge about the importance of acoustic frequencies in the keys to unlocking the mysteries of the universe.
NARRATOR: The University of Bristol, England.
January 17, 2017.
Researchers unveil a prototype for what they call a "portable tractor beam," a handheld device that can levitate small objects using only sound waves.
JASON MARTELL: Recently the University of Bristol came up with a handheld device with an array of speakers that allows the holder of this to actually focus sound waves, and sound waves alone, and then levitate small pieces of light material.
So when we look at this portable tractor beam, can we extrapolate the idea that this is a technology in its infancy, where in ancient times it was actually being used to levitate large stones? NARRATOR: At Johns Hopkins University, biomedical engineers have manipulated ultrasound frequencies -(steady beeping) -to deliver specialized drugs to specific parts in the brain with surgical precision.
And mathematicians at Cardiff University have developed a method to literally stop a tsunami in its tracks using acoustic waves.
(waves crash, then stop) But while physicists are excited at the prospect of using sound frequencies to levitate and manipulate matter, they insist it is only the beginning of a wave of cutting-edge acoustic technology.
Could these amazing new scientific breakthroughs simply be the first steps in replicating what our ancestors had been taught to harness thousands of years ago? WILCOCK: What if these scientific experiments that we're looking at are leading us to a much greater surprise, which is that sound can be followed through to much greater levels of efficiency in its usefulness for all sorts of things that seem to be impossible? We may be just seeing now the very first steps in our society of a robust technology that extraterrestrial intelligent civilizations have long since developed and perfected.
NARRATOR: Vancouver, Canada.
February 17, 2012.
At a symposium for the American Association for the Advancement of Science, researchers gather to unveil the latest discoveries in the burgeoning field of archaeoacoustics.
LINDA ENEIX: Archaeoacoustics is a new field of study, multi-disciplinary, and we are incorporating three facets: one would be archaeology, anthropology, a second would be sound and acoustics, the third would be space and architecture.
And all three of those areas are put together to try to explore what was going on with sound in ancient places.
NARRATOR: Recent tests at Stonehenge suggest that the megalithic stones were positioned to cause sound wave interference patterns, similar to noise-cancelling headphones, creating spots of total silence at various points around the circle.
Statues of divine beings in the 3,000-year-old Chavín de Huántar ceremonial center in Peru project a feline-like roar when ancient shell trumpets are played nearby.
(trumpeting) And at the Pyramid of the Feathered Serpent in Chichen Itza, Mexico, sound echoes mimic the cry of the quetzal (clapping, bird chirp echoes) (quetzal chirping) a bird the Mayans believed was a messenger for their creator god Kukulkan.
ENEIX: People are coming forward now with these ideas that maybe were considered pseudoscience for a long time.
These days, it's beginning to be taken seriously that sound belongs in the study of the ancient world.
TSOUKALOS: Many ancient cultures around the world worshipped sound because sound was deemed to be divine in origin.
(echoing trumpeting) Is it possible that the reason why our ancestors talked about divine sound is not necessarily because they were referring to music (trumpeting) but that sound has this incredible power with which you could do certain things (sound stops) but it's just that we've lost this knowledge over the millennia? NARRATOR: According to ancient astronaut theorists, there is evidence that our ancestors utilized the power of sound waves to accomplish amazing feats that defied gravity.
But might they have learned of acoustic applications far more profound than those involved in moving giant boulders? Perhaps further clues can be found by examining some of ancient man's most important structures; structures that weren't built with sound, but built to make sound.
Coming up.
NARRATOR: Paola, Malta.
Deep beneath this small town in the middle of the Mediterranean Sea rests one of the oldest subterranean structures in the world.
ENEIX: On the islands of Malta, there are prehistoric remains that are comprised of megalithic underground sites, which were considered to be communal burial sites.
The most famous of these is the Hal-Saflieni Hypogeum.
Hal-Saflieni dates back to about 6,000 years ago.
ROBERT SCHOCH: It's multilayered, three major levels, and it's really just astounding to have carved it into the limestone.
I'm a geologist.
I know how difficult it is to engineer something like that and carry it out.
To me, it shows incredible sophistication on a technological basis.
I can't claim that I know exactly how they did it.
NARRATOR: When the Hal-Saflieni Hypogeum was first discovered in 1902, archaeologists were astounded to find buried within it more than 7,000 skeletons.
In May 1920, a National Geographic article reported that many of the remains were those of humans that were "long-skulled.
" But during World War II, the site was plundered by vandals, and the skeletons mysteriously disappeared.
Luckily, 11 of the elongated skulls were salvaged, and at least one of these displays a non-human feature-- it is missing the sagittal suture that connects the parietal bones on all human skulls.
CHILDRESS: A bizarre report came from a woman named Lois Jessop, who had worked for the British Consulate in Malta.
She had been visiting the Hypogeum, and had convinced one of the caretakers to let her go into the lowest chamber.
She claimed that she came out into a ledge in a great fissure that was beneath Malta.
And on a ledge on the other side of the fissure, she claimed she saw very tall men.
TSOUKALOS: According to her account, she saw about 20 white-haired giants that looked up at her and motioned her to come down.
One has to wonder if the Hypogeum has some sort of an extraterrestrial presence.
NARRATOR: As incredible as Lois Jessop's story may be, perhaps the most extraordinary discovery at the Hypogeum has to do with sound.
In February of 2014, archaeoacoustics researcher Linda Eneix gathered an assemblage of audio, geology and archaeology experts to test the acoustic properties of the most mysterious chamber in this site, known as the Oracle Room.
After extensive testing, Linda and her team reached an incredible conclusion.
The entire Hypogeum resonates at the specific frequency of 110 hertz.
ENEIX: You physically feel the vibration of that sound -in your whole body.
-(frequency humming) It was, uh, mesmerizing.
The water in the body's tissue responds to that, and your whole body tunes into this vibration that's wrapping around you in the sound.
(gong resonates) NARRATOR: Sound is created by the vibration of an object, which causes the air surrounding it to vibrate and form a wave.
MICHAEL DENNIN: Depending on the frequency it oscillates with, that will determine the note or the tone you hear.
Hertz is the unit we use to measure frequency.
It's basically the number of oscillations per second.
Resonance is basically whenever something is vibrating, that frequency matches the natural frequency or vibration of the object.
This is really important with sound applications.
If you take an enclosed space, the way you get a resonance is to make the size of the room or space match the frequencies and wavelength of the sound you're trying to achieve.
So that when it hits the ends of the walls, it reflects just right.
These reflections build up the sound, or magnitude, of that vibration.
CHILDRESS: What is going on here, and why are they specifically using that frequency? So, you have to wonder whether extraterrestrials weren't involved in tuning the Hypogeum to create this special frequency.
NARRATOR: Could the Hypogeum in Malta have been built upon the instructions of extraterrestrials with a very specific acoustic purpose in mind? If so, does the 110 hertz frequency that it is tuned to hold some special power? County Meath, Ireland.
DEVEREUX: This is the entrance.
NARRATOR: In January of 2017, researcher and publisher Giorgio Tsoukalos traveled to the Newgrange passage tomb to meet with archaeoacoustics expert Paul Devereux.
Here in this 5,000-year-old tomb, and at dozens of other ancient megalithic sites across the world, Paul has been studying the effects of sound resonance.
NARRATOR: Today, he will be running a test to discover whether or not the Newgrange structure was built with an acoustic purpose and made to resonate at a specific frequency.
(device beeps) DEVEREUX: We sweep a sound wave through the chamber until we got the primary natural resonance of the chamber.
What it means is you've produced a standing wave from the sound source to the wall of the chamber.
So the sound wave goes up, and then it reflects back exactly along the same path.
(110 hertz tone resonating) DEVEREUX: Okay, that's good, actually.
We're getting an antinode there.
If you put the microphone, yes, into there.
Can you bring it this way a little? That's good.
Okay, that's fine.
We're picking up the 110 hertz, and it's vibrating around this whole area.
You can actually feel it -Feel it in your body.
DEVEREUX: It's a physical thing.
And people forget that, that sound is physical.
-You know? -Can you feel that? -Yes.
TSOUKALOS: That's quite amazing, actually.
NARRATOR: When the frequency is set to 110 hertz, Giorgio and Paul are able to both hear and feel a change throughout the chamber.
Remarkably, this is the same exact resonance that was discovered at the Hypogeum in Malta, at Angkor Wat in Cambodia, and at as numerous other ancient structures around the world.
Now, I think it's amazing, especially that you've come across similar type frequencies in other places.
Oh, yes.
They knew what they were doing, um, but they did it in a different way to us.
They didn't have this, all this stuff-- they could feel it.
And the architecture would have been built to structure that sound, to maximize it, to emphasize it.
Now, we asked a neuro clinician, Ian Cook, if there was anything neurological about this vibration of 110hz.
And he didn't think so.
None of us did, really.
But he carried out an experiment a little bit later with a group of volunteers who were exposed to different audio frequencies.
That paper's been produced and shows that that sound can affect -regional parts of the brain.
NARRATOR: Is it possible that certain ancient sites were designed to resonate at a frequency which manipulates the way people think? Perhaps the answer can be found by testing the effects of this unique frequency on the human brain.
NARRATOR: Manhattan Beach, California.
March 25, 2017.
Neurophysiologist Dr.
Michael Mark uses an encephalography, or EEG machine, to determine the effects of the 110 hertz frequency on a test subject.
Position this.
Do you want to go ahead and help? NARRATOR: The device records brain wave activity 256 times per second, to provide a real-time look inside the subject's mind.
Okay, Brian, we're now gonna start with our first frequency for three minutes-- Here we go.
(machine emitting low hum) NARRATOR: While Brian relaxes in isolation, Dr.
Mark exposes him to a range of frequencies between 90 hertz and 120 hertz in random order, for a few minutes each.
Ok, Brian, here's our second frequency now.
(humming gets higher) NARRATOR: This will allow Dr.
Mark to compare the results and analyze whether 110 hertz has any measurable impact.
Ok, Brian, now our last frequency.
(higher-pitched humming) We're done now.
Can you please remove your mask? Mm-hmm.
How was that experience for you? DODGE: Very interesting.
I felt the most shift in the last frequency.
There was a similar drawing in of the second frequency, but there was also this experience of uplifting, or moving out and up, um, sort of like a an out-of-body experience.
It felt like I was floating.
Mark compiled the results of the entire EEG test to see if the data indeed reflects a change in Brian's brain at this frequency.
The first picture, as you can see, the left side, the area that was lit up was the executive function role, which is focus, concentration and attention.
When we did the 110 hertz, we see that the right side of the brain is lit up, especially in the parietal area, which is touch, visual, spatial, expression.
Which can show how Brian felt his out-of-body experience.
NARRATOR: If the 110 hertz frequency has the power to alter the very functions of the brain and even induce an out-of-body experience, could sites like Newgrange and the Hypogeum in Malta have been engineered by extraterrestrials to tap directly into our minds? Ancient astronaut theorists say yes and suggest that thousands of years ago, our ancestors recognized a connection between certain unique frequencies and otherworldly beings.
Hampi, India.
Here lie the ancient ruins of Vijayanagara, believed to have been constructed between the 14th and 16th centuries AD.
At its center stands the Vittala temple complex, a masterpiece of Indian architecture and the largest and most revered temple in the city.
DEEPAK SHIMKHADA: Vittala Temple was built with the mind of creating a celestial palace here on Earth.
With that in mind, the king assembled the great, uh, the architects and great engineers and then great craftsmen to create this wonderful building that can also have a wonderful sound that will please God.
LAYNE LITTLE: Attached directly to the temple is what is called the ranga mandapa, or the stage pavilion.
Here there are many pillars, some reaching to a height of nearly 12 feet.
There's a series of what are called compound pillars, where you have a central pillar surrounded on all sides with smaller colonnettes.
These colonnettes are famous because when they're struck they emit beautiful and haunting sounds.
(melodic tapping) NARRATOR: According to the local guides at the temple, the 56 pillars are individually tuned to one of the seven notes of the Saregama, an ancient Sanskrit musical scale dating back thousands of years that is still predominant in Hindi music today.
Certain groups of these pillars have been crafted to represent the tonal vibrations of the scale for different instruments.
Some being crafted to represent woodwinds (melodic tapping) some being crafted to represent percussion instruments, etcetera.
(melodic tapping continues) JONATHAN YOUNG: The British, when they were in charge of India, were mystified by this amazing quality and actually cut one of the pillars to see how it was done.
But it was just granite, and it was just very careful workmanship.
NARRATOR: While the stone pillars themselves seem like simple technology, recent analyses have revealed they may be comprised of an advanced geo-polymer blend of granite with silicate particles and metallic alloys.
But what continues to puzzle scientists is that the first basic geo-polymers were invented in the Soviet Union during the 1950s, hundreds of years after these pillars were crafted.
SCHOCH: As a geologist, how this was done is really baffling and amazing.
I've heard reports of people trying to mimic it in modern times, to try to just do a little section of it, even one pillar (melodic tapping) and people just haven't been successful.
So, what were they doing back then? We just don't know.
According to Hindu priests, each of these pillars was specifically tuned harmonically in order to communicate with the gods.
So, you have to wonder, did extraterrestrial beings come down and give instructions on creating these specific frequencies? NARRATOR: If the Vittala Temple was designed to connect humans with an extraterrestrial realm, could the performing of music have had an even more profound significance than is traditionally believed? Perhaps further evidence can be found by examining the work of a mathematical genius from the sixth century BC who envisioned that sound could provide a gateway to mankind's exploration of the stars.
NARRATOR: The sixth century BC.
Pythagoras, the famous Greek mathematician and philosopher, travels throughout Egypt over the course of ten years to study the esoteric arts under various local priesthoods.
Pythagoras is certainly one of the most interesting characters that we see in Greek history.
In 535 BC, Pythagoras left his home in Samos, Greece, and traveled to Egypt, where he was initiated by the Egyptian priesthood in all of the different secret societies and organizations that they had available.
And from this secret knowledge, Pythagoras obtained information that seems very, very far ahead of his time.
(clanking) YOUNG: Pythagoras, one day, was walking past a blacksmith's shop and heard a sound on the anvils and got fascinated with sound and thought it could be understood mathematically.
SABINA MAGLIOCCO: Pythagoras, in hearing these tones made by the metal striking the metal, intuited that there was a mathematical relationship between the different notes in a scale.
That there was a proportional, a relationship of ratios between these different notes in the scale.
(clanks) (piano notes playing) DENNIN: When you look at Western music, it all has its root with Pythagoras, and 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 discreet ratios.
So we end up with thirds, fifths, fourths, octaves.
By simply taking the string and holding it in these fractional ratios, you get sound in these ratios, and it's very pleasing and works very well to the human ear.
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' revelations regarding sound and music led him to speculate that the universe itself, and everything in it, is in a constant state of vibration.
He theorized that there is a harmony throughout the cosmos, and that even the planets emit their own unique sounds.
Pythagoras thought of the universe as operating as a harmonious whole, which he compared to a lyre, an instrument that is a little bit like the modern harp in that it has different strings.
Each string vibrates at a different frequency, producing a different sound.
He thought that each planet in the solar system vibrated at its own unique frequency, and produced what he called the music of the spheres.
(harp notes resonate) DENNIN: When you look at the individual planets, in our solar system and around the universe, the radiation that's emitted in each planet will be in its own frequency range.
(electronic trilling) We can convert that to an audible signal, and think of each planet having its own signal or tone or music that goes with it.
(electronic tones sounding) WILCOCK: NASA has been able to record sounds coming out of the planets, thereby proving that Pythagoras's notion of the music of the spheres is, in fact, correct.
When we look at these interesting discoveries about planets giving off sound frequencies, we become even closer to realizing the fullness of Pythagoras's extraterrestrially derived idea of the music of the spheres.
NARRATOR: In the second half of the 20th century, quantum physicists developed a new model for the atomic structure of the universe, known as string theory.
This theory suggests that the universe is made up of vibrating strings of energy, a concept similar to the one Pythagoras suggested thousands of years ago.
There are even those who believe that string theory will provide unprecedented breakthroughs in everything from space exploration to time travel by allowing for the creation of wormholes through which humans will be able to move from one point in the universe to another.
But how could Pythagoras have possibly envisioned the foundation of such an advanced scientific theory? The mystery schools that Pythagoras attended in Egypt are known as the school of the magi, the magicians.
But really, they're a lineage of otherworldly beings, or humans that are in contact with otherworldly beings that have knowledge of the stars, have knowledge of the progression of humanity, and act as benefactors, assisting humanity in its movement forward and its evolution.
When we are looking at the Pythagorean knowledge base, we are seeing something that is vastly more sophisticated than what he could have come up with on his own, and is, in fact, vastly more sophisticated than our current level of scientific knowledge allows for today.
NARRATOR: If the universe is connected through vibration and frequencies, is it possible that we could use this knowledge to connect with other intelligent beings in the cosmos? Ancient astronaut theorists say yes, and suggest that there is one particular sound that may provide an even more direct connection to our extraterrestrial ancestors.
NARRATOR: Every year, millions of tourists travel to Hampi, India to see the ruins of Vijayanagara and witness the famous musical pillars.
-(melodic tapping) -But for Hindus, an equally important link to their past is the god for whom the principal temple complex was constructed-- Vittala.
Vittala is an avatar of two of the most important gods in Hinduism, Vishnu and Shiva.
CHILDRESS: Shiva is always holding the double-sided drum known as the "damaru," and he is constantly beating the drum.
(rhythmic drumming) And that drum is creating the vibration of the universe, and that vibration is the unique sound of "Om.
" The avatar Vishnu was holding a conch shell, which he blows into (conch blowing) and this supposedly makes the exact same sound of "Om" that Shiva makes with his double-sided drum.
TSOUKALOS: Om is a frequency of all vowels combined into one.
A, E, I, O, U: Om.
And some have suggested that the Om essentially can be regarded as the frequency of the universe.
SHIMKHADA: Hinduism, Buddhism, Jainism, Sikhism, they all use the concept of Om as an integral part of their religion, of their understanding of their, you know, life.
Om is the sound of the universe, the basis of everything.
NARRATOR: Om is first mentioned in the ancient Sanskrit texts called the Upanishads, written over 3,000 years ago, which proposed that vibration, along with ritualistic chanting, singing and prayer, can provide a direct connection between humans and the gods themselves.
Around the world, there is acknowledgement that things are created by sound, and that sound is a kind of portal, a connection point between the seen and the unseen, the sacred and the ordinary.
The Igbo people of Nigeria in Africa believe that music is actually the voices of their ancestors.
Yakut shamans throughout Central Asia use whistling to summon their spirit helpers when they're about to go into trance to help their people.
The Macau people of South Asia have a poem that's linked to the idea that music is a way to call upon our ancestors, to sing them present with us.
CHILDRESS: This is the vibration that is inherent in the universe, and it's something that humans would be able to use it, with our own technology, to reconnect with the gods, with the extraterrestrials.
(chanting) NARRATOR: Is it possible that through ancient traditions of chanting and vocal prayer, mankind is actually connecting to an extraterrestrial realm? And if so, might the same be true for similar practices performed by other major religions today? We have this in the West.
Cathedrals are engineered to affect the visitor.
A seeker comes to a cathedral and the acoustics of the room will resonate in the body.
It's about sound.
If you go to one of the great cathedrals of Europe and hear a Gregorian chant or other musical performance, it will alter your consciousness.
So, devoted to encouraging mystical experience, connection with the unseen world, will invent instruments, spaces, so that the human body will resonate with certain sounds, certain music, certain frequencies, that will put them in touch with the unseen, whether that is the gods or unseen wisdom.
It's a way for us to get in touch with the consciousness and the intelligence of the extraterrestrial beings that we believe were here in the past.
They're here in the present, and they will ultimately lead us into our future.
NARRATOR: While it has often been envisioned that mankind's first contact with extraterrestrials would come in the form of a spaceship touching down somewhere on Earth, could it be that contact is already taking place, and perhaps has been going on uninterrupted for thousands of years? Ancient astronaut theorists say yes, and suggest the proof of extraterrestrial contact may lie not somewhere on land, but deep beneath the surface of the ocean.
NARRATOR: Mariana Trench, Pacific Ocean.
July 13, 2015.
Researchers from the Hatfield Marine Science Center scan the deepest part of the world's oceans with a hydrophone, listening for whale calls.
But suddenly, they pick up something unexpected: eerie sounds booming from the depths.
These sounds are quite interesting.
They sound kind of like whale sounds, but they can't be attached to any known species.
It's about eight miles down.
It seems very technological, but it's very mysterious.
If we analyze the signal that's coming out of the depths of the Mariana Trench, and realize that it's more technological in nature could this be coming from some base that could still be in use by some extraterrestrial race? NARRATOR: If the strange sounds detected at the Mariana Trench really are from an extraterrestrial source, are they meant for us to hear? As scientists continue to learn more about the possibilities of acoustic technologies, and also about the vibrational properties of the universe, are we beginning to rediscover how to detect otherworldly communications, and possibly connect with alien beings? When we look at all of the evidence, we have reason to believe that extraterrestrials are giving us clues that help us to realize frequency plays a much greater role in understanding matter, energy and consciousness than we allow for in our current scientific paradigms.
TSOUKALOS: If you have megalithic sites that feature these harmonics and they happen to be on different continents, then one has to wonder if, at some point, this knowledge was given to our ancestors.
I think the time has come that we not only use our eyes to look at these things, but to also turn our ears towards these sites.
Because perhaps the frequencies of these places may be the key to unlocking the secrets of our past.
NARRATOR: Is it possible that extraterrestrials have used acoustics to secretly guide mankind for millennia? Or could aliens have hidden clues all around the world so that once discovered, we might one day be able to initiate their return? Perhaps the truth can only be found once we use not our eyes, but our ears, to find the extraterrestrial messages that surround us.
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