All language subtitles for [English] The Lost History of Our Past And Flat Earth - Star Forts Generators All Over The World - Part 1 [Dow-1

És itt vagyunk ismét nézők,
egy újabb nagy utazás küszöbén . Mi van ha azt mondom

hogy előttünk létezett egy civilizáció,
amely a legfejlettebbekért volt felelős

technológiát, amit valaha is fejlesztettek, és ez volt a tudásuk
lapos birodalmunk működéséről

ez volt az innovációjuk kulcsa, és mi lenne, ha
azt mondanám, hogy nagy valószínűséggel a miénk

az igazi történelem, mint egy nép, csak alig több mint 200
évvel ezelőtt kezdődött. Még egyszer őrültnek gondolna?

A videó összes
stábja az eredeti alkotót, EwarAnont kapja. Kerestem
a youtube csatornáját, de a youtube törölte,
ezért kérjük, támogassa őt a
@Ewaranon távirati csatornáján

A lapos föld elveszett története

A következő egy spirituális folytatás

A lapos föld elveszett története

I. kötet – Jól láthatóan eltemetve

I. epizód – A történet megkérdőjelezése

Ha egyszer ébren van, szinte
lehetetlen újra elaludni.

Ha egyszer rájössz, hogy a Föld nem
forgó földgömb, hanem lapos és álló

sík égbolt fölött, minden
megváltozik. A megbízható hangok és a sátáni

A tudományos papok, akik egykor formálták valóságunkat és
a világról alkotott felfogásunkat, már nem megbízhatóak.

Első kézből szerzett tapasztalatunk a Földről, mint
álló birodalomról, ellentétben áll velük

koholt narratíva az űrről és a forgó bolygókról.
Földünk hegesedése és a barbár bányászat

a Föld egykor fenséges óriásfáiról, amelyek ellentétben állnak
a történelemkönyvekkel és a geológiai narratívával,

és az ébren lévők azon tűnődnek, mi a franc
történt? Ha hazudtak a földről, az űrről és

lapos birodalmunk pusztulását, akkor hogyan
bízhatunk a hivatalos mainstream történelmi narratívában?

A történeti narratívának, akárcsak a heliocentrikus
modellnek, nincs értelme. Nem jön össze,

és csak egy alaposabb vizsgálatra van szükség, és
hazugságaikról, amelyek megértésünket irányították

a történelem és a világ születésünk óta kezd
szétesni. Kavarjuk fel az elmét néhány emberrel

töprengések. Azt mondják, hogy az első igazi
elektromos szerszámot 1895-ben találták fel, amikor egy német

cég elektromos motort kombinált kézi
fúróval. A fúró 16 és fél fontot nyomott

és több operátort igényelt. A
bosch nevű cég csak 1957-ben kezdett el tervezni

ömlesztett elektromos szerszámok, amelyek gazdaságosak és
nagy teljesítményűek is voltak. Akkor hát hogyan jártak történelmi őseink,

primitívebb fejletlen emberek terveznek
és építenek néhány olyan szerkezetet, amivel találkozunk?

Mi a helyzet
azokkal a gigantikus, monolit kövekkel, amelyekkel ilyen pontosan vágtak?

Kérdezd meg magadtól, meg tudnád-e ezt ma megismételni a rendelkezésünkre
álló felszerelések arzenáljával?

és mi a helyzet a csodálatos ókori
keleti lépcsőkútokkal? Stepwells nekünk mondták

többszintes kutak voltak, amelyeket primitív
őseink építettek a vízellátás megőrzése érdekében

aszályok idején, de nézd meg
ezeknek a szerkezeteknek a bonyolultságát és bonyolultságát.Nézd a dicsőséget

és a finomság. Nézd meg a geometriai pontosságot.
Mindegyiket kiásták és kéziszerszámokkal készítették el.

Ja, igaz. Mi a helyzet azokkal a gigantikus csatornahálózatokkal
, amelyeket szerte a világon találunk?

Az amerikai Erie-csatorna állítólag
1817 és 1825 között épült.

építőmérnökök Amerikában ebben az időben. Az
építkezés tervezéséért felelős személyek kezdők voltak,

azt mondják nekünk. A csatorna 12 méter széles és
4 méter mély. Az Erie-csatorna 363 mérföldet ível át.

De ez nem csak arról szólt, hogy minden nap ástak
az ír bevándorlók és ökörtársaik számára.

Több száz fát kellett kidönteni, miközben
áthaladtak az őserdőn. Volt nekik

bonyolult vízvezetékeket és zsilipeket építeni, és
át kellett haladniuk a niagara-lejtőn.

80 méter magas kemény mészkő fal.
Fekete port kellett használniuk, hogy átfújják ezt, azt mondják,

mivel a dinamitot még fel kellett találni. A
csatorna mérföldekre terjed ki, és megépült

nyolc éves időszak alatt. Ez azt jelenti, hogy
nyolc naponként átlagosan egy mérföldet teljesítettek.

Micsoda rekord. Főleg, hogy a felelősök
újoncok voltak, az elektromos szerszámok és a dinamit pedig még nem voltak

ki kell találni. Most már elmondhatom, hogy
Amerika úgynevezett korai telepesei nem építettek

ezek a csatornarendszerek, és mi a helyzet a
birodalmunkban szétszórt hatalmas és csodálatos kastélyokkal?

Tudta, hogy a legtöbbet
vízvezeték-rendszerek nélkül tervezték és gyártották, és

módszerek a helyiségek megfelelő fűtésére? Hmm. A királyság és
a múlt elitje megelégedett anélkül, hogy megvoltak volna

a túlélés elérhető szükségletei,
mindaddig, amíg a nagy és a

dicsőséges volt, míg a parasztok szerény lakóhelyükön
melegséget élveztek a hosszú, sötét teleken keresztül.

Nem hiszem. És persze ott van
a nagy gízai piramiskomplexum lehetetlensége.

A piramisok, mint tudjuk,
valahol ie 2500 körül épültek.

Maga a nagy piramis 2,3
millió mészkő- és gránittömbből áll,

és teljes szerkezete 6 millió tonnát nyom.

A legnagyobb gránitkövek egyenként 20-80
tonna tömegűek . 20 tonna 20 000 kilogramm. Ezek a blokkok

kőbányákból faragták ki rézvésővel,
és állítólag 800 kilométerről szállították

el. Az úgynevezett szakértők csak elméletben tudnak lenni arról,
hogy hatalmas mennyiségű rabszolgamunkára volt szükség. Lény

hiszékeny és bedől
a rabszolgamunka hivatalos narratívájának , az egy dolog, de tud valaki

kérlek magyarázd el, hogy a nagy
piramis légtengelyei hogyan illeszkednek olyan szépen a körkörös csillagokhoz?

Aztán ott van a sztárerő különös esete
, vagy a világ hivatalos hazudozói

hívja a bástya négyesét. A 15.
század végén és a 16. század elején kialakult gondolatok, mint tudjuk,

a puskapor és az ágyú korszakában tervezték.
A geometrikus kialakítás egy nemzet hadseregét kínálta

védelem a holttér ellen konfliktusok során.
Természetesen ők tudták ezt a legjobban

A háború alatti védelem egy
ilyen pontos geometriai mintázatú erőd tervezése . Van benne igazi

Történész valaha is megállt, hogy azon gondolkodjon, mennyire tökéletes
itt a geometria? Primitív őseink tették

nem rendelkezik a szerkezetek
felülről való megtekintésére alkalmas technológiával . de mégis sikerül ezt elérniük ?

Adj erőt. Nincs rá mód.
Ma nem tudnánk ilyen tökéletes geometriát ilyen léptékben előállítani.

Már megint becsaptak minket.
Egy hamis történelmi narratívával oltottak be bennünket

és az idővonalat, és az ostoba heliocentrikus modellhez hasonlóan
csak egy közelebbi pillantást kell vetni erre a narratívára

és a dolgok hamarosan kezdenek szétesni, és a
hazugságok olyan kirívóan nyilvánvalóvá válnak. Mivel

sátáni hazugságaikról, összerakva
egy pontos, őszinte történelmi idővonalat,

lehetetlen rubik-kockává vált. A hivatalos
narratíva, egy pandora szelencéje, csak egy aprócska

nyomok, féligazságok és csalások.
Valódi történelmi idővonalunk varrásai meglazultak.

A tartalom felemelkedik és összezavarodik. Mielőtt
még megszülettünk volna erre a világra, és itt fekszik

a probléma. Honnan tudhatod, hová mész,
ha nem tudod, hogy hol tartasz először

hely? De látod, az ébredés valóban ajándék.
Hetente egyszer megtudjuk, hogy mindig megkaptuk a válaszokat

közvetlenül előttünk. Mindig is több volt, mint
amennyit tudtunk, de előbb vissza kellett nyernünk a látásunkat

mielőtt a dolgok a helyükre kerültek volna. Mielőtt a
dolgok egy kicsit értelmesebbek lettek volna,

és itt vagyunk ismét nézők,
egy újabb nagy utazás küszöbén . mi van ha azt mondom

that before us, there existed a civilization that
was responsible for the most advanced technology

ever developed, and that it was their understanding
of the workings of our flat realm that was key to

their innovation. And what if i told you that
it is highly likely that our true history

as a people, only begun just over 200 years
ago? Would you think of me as mad once again?

Do i sound as preposterous as when i
first told you that the earth is flat?

Perhaps, and that's why i need to show you. What i
hope to show you, is one of the greatest cover-ups

of all time.It is on par with the heliocentric
lie in its enormity and the impact it has upon

humanity. And as i will try to show you, it is
inextricable from the true nature of our flat

realm earth, and you cannot understand one
without understanding the other. We cannot

waste time. For we must journey in search of lost
time. At its heart, this is a story about deception.

It is also a story of endings and beginnings,
of death and rebirth, and please bear with me.

Due to the deceptions and falsities
underpinning our historical narrative,

this story cannot be told in a linear fashion. We
need to go back and forth in time to really draw

out something that brings us a little closer to
the truth. It is also imperative to understand

that like much contemporary science, history
as a discipline was corrupted a long time ago.

At its most innocent, a lot of established
historical narrative is guesswork. But at

its worst, it is a set of lies agreed upon.
As a so-called napoleon, put it so succinctly.

We are going to be digging in the dark.
No historian will be there to help us.

We are alone in this journey. Our journey is a hunt
for things buried in plain sight, and things may

become a little uncomfortable at times but it is
necessary. We have been living a comfortable life

for far too long now. Come on, jump in and put
your seatbelt on. For to understand our place

in the world, we need to do the unthinkable. It's
time for us to take a journey back to the future.

Our journey begins in the unlikeliest of places.
19th century saint petersburg. At the entrance

to sent isaac's cathedral, the city cold, the early
morning myths dissipating with the approach of the

sun, and our boots caked in mud. The year is
1860, and while saint petersburg stands regal

and proud, its inhabitants are nowhere
to be found. It is quiet. Too quiet.

The population of saint petersburg in the
1860s was, we are told, roughly 500 000 people,

and yet, there is not a soul
in sight. Where is everybody?

The long shadow of alexander column, gives us
a clue as to the time of the sun's journey

above this region. Long shadows only occur
during morning or evening. It must be morning,

but it appears that no one has surfaced
yet. If we travel 400 miles across to moscow,

we see the same thing. Empty quiet streets.
In 1860 moscow shared a similar population

with saint petersburg, roughly 500 000
citizens, but again, where is everybody?

What about the rest of the world during
this time period? Edinburgh scotland 1840s,

copenhagen denmark 1840s, dresden germany 1860s,

rio in brazil 1860s,

toronto canada 1860s,

athens in greece 1860s,

and then london. Finally people.

And what about paris? People, life.

The first photograph, we are told, was created
in 1822. The art of photography relies on

methods of juxtaposition, of comparison and
contrast, to deliver its message and sentiment.

In these old photographs, we do not find the
same deliberate techniques of juxtaposition

that contemporary photographers craft
into their art, but rather, we find natural

contrasts that are so important and central
to navigating through our deceptive history.

Contrast is a phenomenon natural or
artificial in which meaning is generated

and conveyed through the comparison of two
opposing elements. When looking at 1860s russia

there is an immediate contrast between the
lack of population and the sheer size of

these cities. Even in the 19th century, both
moscow and saint petersburg are enormous.

The infrastructure found in the photographs, could
hold a population well into the millions. Why are

the cities so vast if the population was only 500
000 in each? Furthermore, the official narrative

gives us a population that increases in a linear
fashion from 1764. Many of the buildings we see

here were built years before the photograph was
taken. Did the russians just plan well in advance?

But it's when the population is introduced into
these photographs, that a new contrast emerges

that is staggering. That is between the people
and the environment itself. It may be the reduced

population numbers or it may be the monochromatic
starkness of the black and white images, but they

present to us something that we've lived amongst
our entire lives and never paid any mind to.

That is the enormity and impossibility of the
architecture. As we engage with the industry

and act of tourism, we journey from place to place
and observe, taking it all in, learning, hearing, and

being told what we are looking at, and how it
came to be, and standing in front of a structure

like the arc de triomphe in paris. We might even
exclaim, wow, how did they do this? But the moment

inextricably wrapped up in the busyness of the
scene. Perhaps prevents us from really asking that

question with sincerity. Standing in front of a
structure like the arc de triomphe while the crowd

frantically takes pictures on their smartphones,
makes it all a reality and we conclude before

being shoved away by new tourists. Well they had to
have done it somehow because i'm here and looking

at it. During our indoctrination of school, we are
seldom shown old photographs of the grand cities,

scattered around our flat realm, and perhaps for
good reason, because when we marinate on images

like this, and are presented with the visual
evidence of a very primitive victorian people

dotted around like grasshoppers within the shadows
of the most magnificent, grandiose, brilliant

architecture a human could ever imagine, we begin
to have doubts indeed how did they build this.?

The arc de triomphe is made from 36.695 cube meters of limestone,

and weighs 95.407 tons, or just over 95 million

kilograms. They tell us it took
12 years to build the giant arch

in two different periods, between 1806 to 1814, and
between 1832 to 1836. How did they transport this

amount of limestone with the same horse
and cars that we see in the photographs.?

Look closer at the four sculptures that
adorn each of its sides. Look at the intricacy

of the sculptures, and the patterning of
the ornamentation that frames the arch.

Each section is perfectly repeated
without any deviation or inconsistency.

The first true power tool was not invented
until 60 years after this arch was completed.

They tell us this was crafted by hand. Is
that even possible? And then there is the

ceiling of the arch. Immaculate, 3d sculpted
roses. Perfect in their geometric symmetry.

The nuance of the detail and finesse of each
petal and cross-section borders is overwhelming.

Look at the rest of paris during this time. Again, a
plethora of unbelievable gigantic and magnificent

structures. The city's infrastructure, glorious, and
the people, and their means of transport, primitive,

unsophisticated, and seeming not at all developed
to the point of producing a city like this. The

roads are improperly paved and uneven, they are
dirty and muddy. We also see buildings during

this period in which the architecture aligns with
the inhabitants. Buildings of misshapen proportions,

less developed and refined. Charming in their own
way, but coarse in their use of wood and plaster.

This is exactly the type of architecture we expect
of a generation of horse and cars. A generation

ignorant to the discoveries and technology that
would follow in the years to come. Furthermore at

the time of this photograph, the arch is roughly
40 years old since its completion. Yet can you see

how worn some of the parts of the structure are.
We see weathering on the stone that suggests the

arch is much older. As we approach the late 19th
century, we see that the people of moscow have

finally decided to leave their homes, and venture
out into the streets. The infamous red square now

bustling with life. Saint basil's cathedral, and the
spaskaya tower, dominate the frame of the square.

The construction of saint basil's cathedral began
in 1555 and was completed in 1561. A mere six years.

It suffered a huge fire in 1737 and underwent
restoration over a 20-year period. But look at it.

What a structure. Almost unreal and like no
other. It is composed of thousands of red bricks

and tin sheet metal that has been shaped
into the distinctive onion domes we see.

Look closer at the intricacy of the domes. How
did they bend metal to achieve such precision

and perfection in the 18th century? And again, if
they had the skills and dedication to build a

wonder such as this, then why are the conditions
of the road so poor and covered in mud?

We see these incredible structures and
buildings everywhere in 19th century photography.

We have the wondrous crystal palace of london.
A monstrous structure with the greatest area of

glass ever seen in a building and all constructed
before england had automatic glass manufacturing.

We have westminster abbey and parliament.

We have the old houston arch constructed
out of pure sandstone in 1837,

and streets unpaved and full of mud. Why did these
people not prioritize the streets they walked upon?

The frown curd the domed masterpiece of dresden
germany it's intricate and opulent splendor

in direct contrast with the beat up wagons and
horse-pulled carts of the people below. A people

dependent on the bare necessities. A people
completely dwarfed by its size and majesty.

The library of parliament in ottawa
canada, built over a period of 17 years.

The first major settlers arrived in 1800 and at
the time of construction the city's population

was under 20 000. With a grand glorious
library really be a priority for settlers?

Why does the building look like it's been
cropped out of europe and pasted into canada?

Even at the turn of the century, 40 years before

bosch economized the power tool, we
have the old penn station in new york.

Look at the size of this. Completely mind-blowing
proportions. As we can see here in the photograph

each octagonal sculpted pattern on the arched
dome ceiling is larger than one individual human.

Look at the gigantic columns and detail the santa
sleeves decorating the tops of each pillar. They

tell us this station took six years to build. Six
whole years. Yeah right. Why are we so gullible? Even

without access to modern power tools, printable
construction pieces, and crane technology, we could

not reproduce this today, and more importantly we
don't reproduce this type of architecture today.

The official liars of our world have an umbrella
term for this type of architecture that we see in

north america. They call it historism. Historism is
a term coined to describe a style of architecture

that is revival in nature, or in other words,
copies of style of another period in time.

The grand arches and buildings with giant columns
we see, are built in the classical or greco-roman

style, and the cathedrals are built in the
renaissance and gothic styles of medieval europe.

Components of these particular styles of
architecture, feature large spires, arched windows,

towers, turrets, domes, arcaded arches,
sculptures, enormous doors, circular

geometric windows, columns, clock faces,
and bell towers. Traces of this impossible

az építészet szó szerint mindenhol megtalálható,
minden városban és mai világunkban.

Néhányat megőriztek és karbantartottak, mint a párizsi
diadalív és a Notre Dame, mások pedig elvesztek,

és rég elfeledett, mint a houstoni
boltív és a régi penn állomás New Yorkban.

Mi, emberek mérföldeket utazunk, hogy
magunk készítsünk fényképeket ezekről a csodákról,

de a 19. század fotósai megajándékoznak
minket valamivel. Valamit, amit soha nem tennének

azt várták, hogy a jövő nemzedékét adják.
Perspektíva. Primitív népet látunk

egyértelműen fejlett
építészeti infrastruktúra hátterében . A hivatalos

a világ történészei a darwini
evolúcióról és az időszakok közötti előrehaladásról mesélnek .

Azok az emberek, akik ezután következtek, mindig
fejlettebbek voltak a finomítás és újradefiniálás terén

az előtte jött generáció módszerei.
Ha az innováció és az ipar csúcsa során

A 19. században még a ló és az autó volt
az utazás eszköze, aztán ahogy ezek a fényképek árulkodnak,

ez az építészeti stílus éppúgy lehetetlen
volt az azt megelőző évszázadokban élők számára.

Aki hajlamos a gondolkodásra és a
kérdezősködésre, az azonnal érzékeli, ha néz

ezeken a fényképeken, hogy valami
rohadt Dániában. Az a valami

is off with the mainstream historical
narrative. That something is not adding up.

In a panoramic image of san francisco in 1877, we
see a collage of historicist architecture. We see

columns adorning the entrances to very regal
buildings that stand out like sore thumbs from

some of the timber shacks surrounding it. We see
gothic spires, and towers in the distance. We see

domed cathedrals and buildings. We also see just
how sprawling and huge the city has become. In 1846

there were under 500 mormon settlers living on the
area of land in which we now call san francisco.

It was frontierland and ready for the
take-in. Between 1848 and 1849 with the

start of the california gold rush, the population
increased from 1 000 people to 25 000 people.

28 years later this panorama was taken.
The population at this time we are told

was getting close to 200 000. Who in their right
mind would believe this story? Does this look

like a city of 200 000 people? Without any modern
technology, power tools, automatic manufacturing,

electric motors? A people in a strange,
unfounded land, just making their mark.

Do we really believe that a burgeoning people
built this entire city in just 30 years?

And again, such quietness, such stillness. This
is a photograph of an empty city. Where are all

the people? The shadow of the post here tells us
that it is not the early hours of the morning.

Short shadows only appear toward midday. A city of
this scowl at noon should be bustling with life.

But there is not a single person
in the shot of this panorama.

The only life we see, is that of a horse without
any master in sight. It seems highly unlikely that

all the people were told to stay indoors because
a cityscape photo shoot was taking place. And this

silent scene becomes all the more eerie, when we
consider that there is intention behind the lens.

Someone was there, standing at a vantage
point and taking this photograph, but who?

And for what? And what as a chance is, that
in the 19th century, during similar decades,

we see deserted russian, european, and
north american cities photograph like this?

And then only a few years later, we find
the same locations bustling with people.

A people clearly incapable of building
the architecture found in these cities.

And what to do with these photographs? If we accept
the narrative and these strange anomalies, then we

stop here and get back to our busy lives, but the
narrative we've received is not the truth. And

we shouldn't accept any narrative. No matter how
official and certified it is, unless it makes sense.

The people we see in these photographs and
their early ancestors could not have built

the magnificent architecture we see. It is an
impossibility. Come on, jump in. We must venture

further into these cities and look a little closer.
There must be some clues waiting to be uncovered

that helps us understand why these cities are
empty. Wait. What's that you say? You want to wipe

the mud from your boots first? Do not bother.It's
a waste of time. Come on, jump in and let's go.

For it is the mod that offers us some small clues
as to what could have occurred during this time period.

The lost history of flat earth.

Episode III - Inheritors of mud and magnificence.

In june 2011, christchurch new zealand, suffered an earthquake that left a lot of the city

in chaos. Destroying buildings and infrastructure
and leaving over 50 000 homes without power.

As a result there were collapsed houses, ruptured
water mains, flooding and fires due to disrupted

electrical lines. Due to the strong ground
motions and intense shaking, part of the city

experienced a strange phenomenon known as soil
liquefaction. Sand boils emerge from asphalt roads,

toppling and sinking cars, and causing boulders
to fall from hills resulting in more home damage.

Soil liquefaction occurs when saturated
soil loses its strength and stiffness

in response to an applied stress such as shaking
or other sudden changes such as a strong explosion.

Loose saturated soil or sand has a
tendency to compress when a load is

applied, but in the event of a stress such as
shaking or an explosion, we see the opposite.

The soil tends to dilute, and the result is
treacherous quicksand or quick clay. The land turns

to liquid causing structures of heavy mass such as
buildings, infrastructure, and cars to start sinking,

top all over or collapse. It can also affect dams
and bridges. Turbidity currents can also form

huge landslides that are impossible to stop. In the
worst case scenario entire cities may be destroyed.

As you can see, liquefaction can move entire areas
of land. The mud can rise dramatically and rapidly,

and its destructive force is unstoppable. It is
a well documented phenomenon. The 1964 earthquake

in nagata japan calls liquefaction, and we can see
the effects very clearly in these photos. The same

here with the 1964 alaska earthquake. Buildings
toppling, cars sinking, infrastructure collapsing.

Once the stress has subsided, the
soil begins to solidify once again,

and we can see the aftermath. Uneven muddy
streets remain where there was once road

paving. Returning to photographs of 19th
century cities we see a similar situation here.

The roads are unrefined and full of mud. We see
unsophisticated, uneven, coarse, and muddy roads

everywhere against a backdrop of refined,
sophisticated, and magnificent architecture.

Could these cities have suffered a similar fate
of soil liquefaction that we see in more recent

times? Perhaps. But unfortunately, muddy roads is not
enough evidence to base any conclusions on. Is it?

Children are the most vital of questions,
and adults in their foggy stupa usually

provide the most unsatisfactory answers. Often
regurgitating, learned nonsensical information

that leave the child's imagination unfulfilled.
Squelching along these muddy 19th century roads

observing their surroundings, a child may ask, why
did they build the windows so low to the ground?

And what an excellent question. Yes. Why
indeed did they build windows on ground level?

So you see, the people we see in these
photographs, sadly did not build this architecture.

And maybe some of them, at some
point in their busy day-to-day life

ask the exact same question. We see
it everywhere. Windows at ground level.

Windows partially below ground level.

First floor entrance is
raised from the ground level.

Steps leading down to entrances below ground level.

We can find this in almost every
major city across our realm.

In both old photographs and when
we walk in the streets today.

And what does it tell us? That a society
with access to modest construction tools,

and horse, and car, constructed their infrastructure
by first spending countless amounts of hours

and energy, clearing land with a depth of
over three meters to begin their construction?

Building basement floors is incredibly hard work.

Since the 20th century, large powered excavation
machines, such as backhoes, and front end loaders

have reduced a time and manpower needed to dig
a basement dramatically, as compared to digging

by hand with a spade. Perhaps you could say that
our historical ancestors were just that dedicated

to the architecture they built. And you could
say that many of the sunken buildings we see

are actually due to elevations and
depressions in the natural landscape.

The official narrative which is
always full of inconsistencies

perhaps with sapphires if it was
not for contemporary excavation.

When we look at photographs such as this, it
immediately dawns upon us that what we are seeing

are windows and doors two to three
meters below the ground surface.

Why are there windows and doors underground?

What is this that we see in our cities?
Natural soil accumulation over time?

Geologists have never been able to ascribe a
consistent value to worldwide natural topsoil

accumulation. Because it is impossible
some regions of our realm experience

consistent topsoil accumulation, whereas other
regions actually experience consistent erosion.

Many historians and archaeologists have noted
that many cities over the centuries have been

destroyed through war. A natural phenomenon
such as earthquakes, volcanic ash, and flooding.

Aren't these just the layers
of previous civilizations?

No. They are not. We see over and over again

whole floors of buildings consistent with the
architecture existing above the layer of ground.

You see, what lies beneath, is not the unfamiliar
traces of previous generations, but of the same

generation that built these structures. And
once you really see this kind of sunken,

buried infrastructure that exists in such
prevalence across our world, you can never unsee it.

We see that the foundations of old
churches are actually the original

first floors with consistent entrances and windows.

Before After

Domes and spires... Where is the rest off the structure?

We see mosaics unearthed.

We see pillars, columns, and arches that were originally much larger, and it was the layer of soil that reduced their size

as if they weren't big enough to begin
with.

and like with the 1964 earthquake in the
garter japan.

We also find many so-called ancient
structures that are leaning.

As if at some point the soil beneath these structures
loosened, and liquefied.

We have the sahersen church tower, and our dear lady at the mountain church tower in germany.

The tiger hill pagoda in china.

The leaning tower of nevayansk in russia.

The leaning temple of huma in india.

Udkirk in the netherlands.

The tower of zaragoza in spain.

And of course the tower of pisa.

The official liars of the world, try to justify the
buried and tilting structures we see, filling our

heads with stories of antiquity and ever-changing
geology, but it becomes trickier for them when we

turn our attention to america. If we are to believe
their narrative, then all of the buildings we see

in 19th century photographs of the virgin
in american cities are newly constructed.

Why do we see famous structures such as a
washington capital building with consistent

infrastructure that buries very deep into the
ground?

And again, the inconsistencies do not add up.

Why would an underdeveloped people waste resources,
energy, and time, constructing the foundations of

the capital building to be consistent with
the column style we find above the surface?

The foundations did not have to feature columns.
Columns, we are told, are a stylistic choice.

Not a functional one. So why would they
do this? In a nutshell they wouldn't.

We see images that suggest that the people of the
19th century were actually concerned with moving

a lot of the vast amount of mud we see. Leveling
the ground and excavating existing structures.

The consistency and prevalence of
buried architecture across our realm

indicate that whatever happened, was a worldwide
event. Despite regional differences in natural

topsoil accumulation and erosion. And there
is no official narrative explanation that

justifies the buried architecture we see. No
explanation provided to justify the amount of

mud we see in 19th century photographs of our
cities. On the roads mud piles from clearing.

Az utak egyenetlenek. A föld feldúlt, de
az építészet tökéletes és érintetlen.

Az irodalomtudósok tapsolnak, amiért a
ködöt kezdeti hasonlatként és metaforaként használja

fesse meg London portréját, mint egy romlott
központot, a virágzó iparosítás közepette.

Sokan gyakran figyelmen kívül hagyják Charles Dickens 1852-es
regényét, a sivár házat, amely valójában mással nyílik meg.

kép. London. Mostanában vége
a Mihály- napi időszaknak, és a kancellár úr Lincoln halljában ül.

Az engesztelhetetlen novemberi időjárás annyi sár az
utcákon, mintha a vizek frissen visszavonultak volna

a föld színéről. A cseppfolyósítás
pusztítást okozott a harisnyakötőben a templomban,

de ezek elszigetelt földrengések voltak,
és minden városnak csak egy része volt érintett.

Nem lehetséges, hogy
egyidejűleg hatalmas földrengések voltak a környéken

hasonló időszakban. Vagy ez? Még a
wikipédia is azt mondja, hogy cseppfolyósodás előfordulhat

természetesen vagy mesterségesen földrengés
vagy egyéb hirtelen stresszhelyzet változás következtében.

Még ha így is lett volna, akkor sem látunk
ugyanolyan szerkezeti károsodást az épületeken

században, mint
például a christchurch és a negarta eseteiben.

Az általunk látott eltemetett építészet nagy része érintetlen.
Vagy megsüllyedt, vagy a földszinten van

been raised at least three meters, sometimes in a
uniform manner, and other times partially buried in

rolling mud hills as if there were huge landslides.
The strange case of the buried architecture

provides the following conclusions. The what
lies beneath, are not the remains of previous

civilizations, more often than not the buried
structures are consistent with the architecture

we see above ground, that the structures
are much larger than originally suspected.

And therefore they are even more of a construction
impossibility for a victorian generation of

horse and cars and those existing before them. That
natural topsoil accumulation and soil liquefaction

are not satisfactory explanations for what
we see here. Whatever took place had to be

something much larger and widespread, such as a
natural or artificial earthly cataclysm of sores.

As many of the photographs show, many citizens of
the 1800s were responsible for moving much of the

mud level in the ground and excavating buildings
which suggests that whatever happened, had happened

very recently in their past. The complete absence
of a reasonable mainstream justification for

the buried architecture we see suggests that
the controllers of our realm are deliberately

trying to hide whatever happened. And what of the
deserted cities we see in the earlier photographs?

If these cities were truly empty, then we must
ask why? We must also ask, how all the people

got there in the end? In the space of 30 or so
years, we see a city go from baron, to bustling.

Interestingly it is charles dickens and
19th century literature more generally

that offers some clues. Two central themes run
throughout 19th century victorian literature.

That of marriage and female chastity and
that of orphans and adoption. Many of the

fictional characters we've come
to love over the years are orphans.

We have oliver twist, and pip from great
expectations, we have little orphan jane eyre, and

heathcliff from wuthering heights, we have mowgli
from the jungle book, cazette from les miserables,

we have heidi, rapunzel, peter pan, snow white, we
have tom sawyer, and huckleberry finn, and anne of

green gables, and these books were of their time,
as far as orphan prevalence goes. The only issue

is that these novels romanticize the orphan
as a figure dislocated from society by default

and therefore pave their life's path as one of
unforeseen opportunity. This was not reality. The

theme of marriage and chastity that we find in so
many 19th century literary works, such as those by

jane austen, the brontes, george elia, dickens, thomas
hardy, leo tolstoy, victor hugo, and more was nothing

more than carefully disguised well-written
propaganda. With their sole purpose to solidify

and justify a social value framework that
would separate children from their mothers.

Children born outside of marriage or wedlock
were regarded as illegitimate. Meaning they

did not have a legal status. Iillegitimate children
was a serious stigma throughout the 19th century.

The majority of employers would not hire women
with an illegitimate child. Many unwed mothers

with illegitimate children ended up without a
home. In poor health, starving, exhausted. Their

only place of refuge would be the workhouse, where
they would carry out the most unpleasant duties.

In some places women with illegitimate
children were singled out and had to wear a

special uniform which alerted everyone to their
status as an unmarried mother or fallen woman.

As a result, a vast amount of orphanages
and foundling institutions were established.

This is the london foundling hospital that was
very active in the 19th century. Look at the

size of it. Charles dickens was obsessed with
this place. Inspiration they say. The official

narrative tells us that an estimated 4500 women
handed over their children to this huge building.

De ez csak egy intézmény volt. A Wikipédia
részleges listát ad nekünk több mint 64 árvaházról

században alapították az Egyesült Királyságban. A
lista csak részleges. Különös esete a

és a legtöbben egyetértenek abban, hogy szinte lehetetlen
olyan számokat megállapítani, amelyek valóban igazságot szolgáltatnak

hány árva volt ebben az időszakban.
Lábnyomuk nem került be a rekordok könyvébe.

A sárban keletkezett, majd elmosódott. Nem
csak az Egyesült Királyságról volt szó. Ez világméretű jelenség volt.

Csak New York városában négy talált-menedékház volt,
amelyek évente több ezer gyermeket láttak el.

A 20. század elejére Olaszországban
évente 32 000 gyermeket jelentettek.

Spanyolország és Portugália évente 15 000
leletről számolt be . 1860 előtt 374 000 csecsemőt regisztráltak

Ransall kijelenti, hogy Moszkvában
az 1880-as évekre 16-18 000 csecsemőt fogadtak évente,

és ezekből
évente több mint 10 000-et küldenek gondozásra a külső falvakba.

1882-ben
a moszkvai otthonból 41 720 leletről számoltak be, akik 32 000 nevelőcsaláddal éltek.

4418 faluban szétszórva. Egy
tucat falunak több mint 90 nevelőintézete volt.

Az egyik dolog, amit gyakran figyelmen kívül hagynak, az az,
hogy az 1800-as években számos törvényt fogadtak el

ami szinte lehetetlenné teszi a
nem házas anyák számára, hogy megtartsák gyermekeiket.

Az 1833-as szegényes törvényreformáció gazember
záradékokat vezetett be, amelyek a teljes felelősséget áthárították

a törvénytelen gyermekért az anyára.
A társadalmi megbélyegzés azt jelentette, hogy nem lesz az

képes gondoskodni gyermekéről, és
kénytelen lenne átadni őket a hatóságoknak,

vagy még rosszabbak
lettek az újságokban az örökbefogadásra vagy ápolónői ellátásra vonatkozó hirdetések .

És ahogyan sok tudós rámutatott, ezek
az úgynevezett babagazdálkodók vagy fizetett gazdák frontja voltak

gyilkosság. Ahogy Dorothy l Hala állítja, a hirdetések
félrevezethették a nagyközönséget,

de úgy olvassa el, mint egy kódolt üzenetet a nem házas anyáknak.
Nem kérnek referenciát, és nem is kínálnak.

A heti 15 shilling összeg egy
csecsemő vagy egy beteg gyermek eltartására nem volt megfelelő, és

egy beteg gyermek és egy két
hónaposnál fiatalabb csecsemő volt a legkevésbé valószínű, hogy túlélte,

és a legolcsóbb eltemetni. A csecsemőket elvitték, nem
tettek fel kérdéseket, és ez érthető volt

12 kiló, nem volt elvárás, hogy kérdéseket tegyenek fel.
Az anya és a baba közötti tranzakció

gazdálkodó rendszerint nyilvános helyen,
tömegközlekedési eszközön vagy egy másik félen keresztül történt.

No personal information was exchanged. The money
was paid, and the transaction was complete.

Themother knew she would never see her infant alive
again. Most children however were not murdered,

but were dropped off at the doorsteps of
orphanages, or the workhouse. All children

taken into these institutions were given entirely
new identities. They were provided for with shelter,

food, and clothing temporarily, and then sent off
to workhouses, or another location. Photographs in

the 19th century were scarce, but towards the
end of the century we see more photographs,

and the last continent to experience such mass
exodus of orphans was the united states, and it is

itt az árva vonatok bizonyítékát látjuk. Az
első ilyen csoportot árva érkezett michigan

1854-ben, és attól a pillanattól kezdve a mozgalom
több százezer gyermeket szállított át

1929-ig. Hivatalosan
több mint 97 intézmény foglalkozott árvákkal

században pedig az árva vonatok. És
ismét, ez nem csak az Egyesült Államokra vonatkozik.

Annie mcpherson olyan nőként vonul be a történelembe,
aki több mint százezret csalt át

találtak, és szállították őket az Egyesült
Királyságból Kanadába, Új-Zélandra és Dél-Afrikába, és

még a föld szélére is, Ausztráliába,
hogy el lehessen adni őket gyerekmunkára.

Miért látunk annyi fényképet árvákról a
munkásházakban? Miért dolgoznak gépekkel

felnőtt használatra készült? Nem volt
ez idő alatt elég felnőtt a munka elvégzéséhez? És akkor

van egy furcsa eset a szűzről az amerikai
vidámparkokban a 20. század fordulóján.

A túrákon és a kiállításokon kívül sok
ilyen park szokatlan látványosságokkal is szolgált.

Inventoriumok. Ezekre a részekre látogatók
fagylalttal sétálhattak és hintázhattak

ezek az állomások. egy
teljesen működőképes újszülött intenzív osztály látogatásának megfelelő látogatás ,

inkubátorokkal kiegészítve, tele
alvó koraszülöttekkel.

A történelem kegyes volt Martin Cooney-hoz. A
hősként hirdetett ccooney volt a német elme mögött

inkubátorok. Úgy
tudjuk, első találkozása a koraszülöttekkel az 1896-os világkiállításon volt.

Azonnal tudta, hogy a kiállítás
csecsemők életét mentheti meg. A technológia az idő előtti tartáshoz

A babák életben tartása drága volt, és tudta, hogy a lakosság
fizetni fog azért, hogy a babákat inkubátorban láthassa. Megtenné

belépődíjat kell fizetnie a vidámparkokba,
hogy pénzt gyűjtsön a babák életében.

Az ápolónők gondoskodtak a csecsemőkről, ahogy az elragadtatott közönség
nézte. Mint minden más szórakozás korai

A babakiállítások között szerepeltek karneváli ugatók, akik megpróbálják
rávenni a közönséget, hogy jöjjenek el megnézni a babákat.

Nem tudom, hogy ti hogy vagytok vele, de valami nagyon szokatlant találok
ezekben az inkubátorokban. A következő hirdetők:

élő babák. Sok vásár,
ahol Cooney megmutatta a babáit

eugenikai kiállításokat is bemutatott. Az eugenika
a romlott áltudomány területe

amely támogatja a szelektív tenyésztést
az emberi populáció genetikai minőségének javítása érdekében .

Az eugenikát a darwinizmus ihlette, és
a nácikat tápláló ideológia volt .

Miért fizetnek az emberek azért, hogy élő csecsemőket lássanak,
mintha még soha nem láttak volna élő csecsemőt?

Az akkori embereknek nem volt saját
babájuk? És hol vannak ezek a csecsemők szülei?

Hogyan tudták
a 19. századi technológiájukat idő előtt tartani

csecsemők élnek ilyen módon? Vagy
megint nincs rendben valami a hivatalos narratívával?

80 000 koraszülöttet
kezeltek ezekben a vidámparki inkubátorokban.

80 000. A
19. századi árvák százezrei alig hihetőek.

Tényleg ennyire gondtalanok voltak a nők? Esetleg
amerika még a lakosság számát

80 000 koraszülött igazolására? Itt nem
árvákról beszélünk, hanem koraszülöttekről.

A narratíva nem meggyőző vagy reálisan
felfogható. Honnan jöttek ezek a babák?

More troubling is cooney's background. As many
historians have pointed out, he had no medical

degree or training. His story is a very similar
one of unconvincing philanthropy that we find

surrounding some of our contemporary figures
today that also do not have medical degrees.

And then, there is marie dressler. A canadian
silent film and depression era movie star.

She adopted one of these incubator babies. Ahhh.
Celebrities and adoption. The official narrative

conveniently leaves us out of her story and
tells us that she may have had a daughter

who died as a small child, but the photographs
suggest otherwise. Did she adopt her incubator

baby at one of these fairs, were the fares
affront for illicit adoption of premature babies?

Even if they were premature, did that mean they
had no parents? Who owned and was responsible

for these parks? And what happened to the
babies once they grew and left the incubators?

If something feels eerily wrong about the entire
narrative surrounding these parks and orphans

it's because we are not being told the truth. Why
were there hundreds of thousands of parentless

children in the 19th century? Where did they come
from? They were relocated all over the world. Europe

america, russia, australia, canada. Why?
Epecially when most still had a living parent.

If pregnancy out of wedlock was such a social
stigma, that resulted in such trauma, why would so

many people put themselves in that position in
the first place? Did the government really care

about social morality enough to pass laws? And all
the effort to build and maintain orphanages, and

orphan relocation networks. Would this not burden
governmental finances and administration systems

it certainly would have, but you see, there was a
greater purpose behind the government's worldwide

agenda. Repopulation. The social narrative of
chastity was nothing more than propaganda

and justification for stealing children. The reason
we see empty cities in the early 19th century,

is because they were in fact empty. Void
of population, and the reason they are

bustling 30 years later is because orphans were
shipped into these cities to repopulate them.

You see, in the early 19th century there was a
worldwide reset of sorts through depopulation,

and then repopulation. The people we see in these
photographs did not build this architecture.

Theyinherited it along with a lot of mud. Not only
did they inherit it without a clue as to what it

actually was and who it belonged to but they were
unknowingly complicit in repurposing pretty much

all of these structures. I know. None of this is
making much sense at the minute. You are probably

vajon miért voltak ezek a városok üresek és
tele sárral? Ami történt, az kormányokat jelentett

szükséges a Föld újratelepítéséhez? És tudom, mire
gondolsz. Mindez nagyon izgalmas, de

mi köze ennek a lapos földhöz? Többet szeretne
tudni az égboltról, a napról és a holdról,

és az álló gépünk. Ne aggódj. Minden
világosabb lesz, ahogy folytatjuk utunkat.

Az eltemetett infrastruktúra elterjedt bizonyítéka,
párosul az elhagyatott városokkal és a virágzó fejlődéssel

az árvák iparága csak a kezdet. Ezek mind
szükséges nyomok, amelyek valamiféle kataklizmára utalnak,

de az igazi történet még nem kezdődött el igazán. A
színpad kellett állítani az első és most készen áll.

És ha még nem is látod, tudom,
hogy nézőnek érzed. Az elhagyatott városok, az eltemetettek

az építészet és az árvák, mind a fenyegető
sötétséget jelzik . Nagy fekete felhő van előtte

tőlünk, és nem fogok hazudni. Pontosan
a lényege felé tartunk . És ahogy korábban mondtam, mi is így teszünk

nincs sok ideje. Na gyere. Itt az ideje, hogy
betartsam ígéretemet, és visszavigyem a jövőbe.

A lapos föld elveszett története.

IV. rész – Vissza a jövőbe.

Víz. Szervetlen, átlátszó és szagtalan
vegyi anyag, amely 70 százalékát fedi

az ismert földfelszínről. Ez
a szénalapú élőlények mozgatórugója

amelyek virágoznak földünkön. Határozza és
elválasztja földjeinket, és összegyűjti és megszilárdul

lapos
stacionárius birodalmunk belső és külső vidékein . Istennek üzenetet kellett volna küldenie

a föld lakóinak. És volt pontos,
és azt mondta nekik, hogy figyeljék a vizet, meditáljanak rajta

funkcióját és természeti törvényeit, mert az ő
idejükben nagy megtévesztést vetnének rájuk,

mint egy ismeretlen aljas király hideg árnyéka.
És talán Isten küldte ezt az üzenetet a formában

özönvízről, de igazságát mitologizálták és
eltemették, a hazugságot pedig ennek ellenére terjesztették

A nyugvóvíz nem görbül és nem domború. A
nyugvó víztest természeti törvényei ragaszkodnak hozzá

hogy pontosan az általa
megtöltött tartály alakját veszi fel , és mindig sík szintet talál és tart fenn.

A vízben való pihenés mindig laposan pihen, és a vízre figyelés, amikor kilátókon ülünk.

Amikor fent
utazunk repülőn, és mielőtt kortyolnánk egyet az italunkból

emlékeznünk kell arra, hogy soha ne felejtsük el ezt a törvényt. A legtöbben
ösztönösen megértjük a víz törvényeit

és mégis sokan folytatják mindennapjaikat, szándékosan
részt vesznek az értelmetlen heliocentrikus álhírben.

De nekünk, akik tudjuk, hogy a Földünk nem egy
forgó bolygó, az űr végtelen vákuumában,

the ones that have studied the sun diligently,
and realize that it is the sun that is moving

and not the earth. The ones that have plotted the
illogical roots of flight paths on a globe model,

and concluded that the model is incorrect.

The ones that know that the laws of density, govern
the rise and fall of objects and have studied

vanishing points. The ones that have forsaken
conventional telescopic lenses, pondered rainbows,

sun dogs, and the stars above us know that we
reside within a dome firmament, and there exists

water above us, and the ones that understand that
our entire enclosed earth system is governed by

electromagnetism, frequency, and vibration that
emanates from a central magnetic north pole.

We are the ones that scratch our heads and wonder,
how on earth we got in this heliocentric mess

in the first place? And if meditating on the stars
in the water beyond our firmament long enough, and

on the electromagnetism, frequencies, and vibrations
that make them twinkle through so many shades of

vibrant colors, and geometric patterns, one might
perhaps, just perhaps, ask, is there something

more to electromagnetism? Something that has been
missed or overlooked? Something untold or hidden?

Electromagnetism is a fundamental force of earth.
The electromagnetic field takes a form of a taurus

amelyben minden elektromágnesesség,
frekvencia és rezgés áramlik.

A toroid egy forgó felület
, amely donor alakot ölt.

A toroid induktorok és transzformátorok
központi szerepet töltenek be az elektromos energia előállításában.

Sokféle módon
lehet elektromágnesességet előállítani. Korábban megnéztünk néhányat.

Tudjuk, hogy a mágneses mező képes
elektromosságot termelni , és az elektromosság képes

mágneses teret hoznak létre. Mindkét irányban működik.
A mágnesesség és az elektromosság elválaszthatatlanok.

Ez a polaritás tánca. Az elektromos töltések vagy
taszítják, vagy vonzzák egymást. A mágneses pólusok vonzzák

vagy taszítják egymást. Minden északi pólushoz
tartozik egy megfelelő déli pólus. Egy elektromos áram

a vezeték belsejében haladva megfelelő
mágneses teret hoz létre a vezetéken kívül. És egy elektromos

áram keletkezik egy huzalhurokban, amikor azt
egy mágneses mező felé vagy onnan távolítják el.

A patkómágnesek erős állandó
mágnesek. Alakjuk miatt, amelyben

mindkét mágneses pólus közel van egymáshoz,
erős, erős mágneses mező keletkezik.

A patkómágnes
elektromágnesként is funkcionálhat . Az első elektromágnes az volt

1824-ben találták fel, úgy tudjuk, és
patkómágnes formájú volt. Az ereje

kezdettől fogva nyilvánvaló volt. Mindössze
200 grammot nyomott, de négy kilogramm vasat tudott felemelni.

A patkómágnes
erejének kulcsa a pólusok elhelyezése.

Itt láthatja a mágneses teret,
amelyet a vektorvonalak képviselnek . Ha alaposan megnézed, megteheted

lásd a mágneses tér koncentrációja
nagyobb a mágnes pólusai közelében.

Amióta emlékezünk,
a jövő ötleteivel állunk elő és szórakoztatjuk őket.

Nem feltétlenül a mi jövőnk, mint egyének,
hanem az emberiség jövője, a technológia,

és a társadalom egészében. Legyen szó
hollywoodi filmekről, ismeritek azokat, az akciókat

filmek, tudományos-fantasztikus történetek és animációs filmek,
vagy irodalmi zenei és művészeti kiállítások.

Ezekben azt látjuk, hogy a technológiánk a
korlátai közé került. A kézműves repül, a számítógépek élnek, a robotok segítenek

Holografikus paravánok díszítenek minden helyiséget. A városok
továbbra is uralkodó látképekké nőnek felfelé.

Néhányan képesek teleportálni és az űrutazás
már lehetséges, és az elfogadott norma.

A fikción kívül is vannak kijózanító
dokumentumfilmjeink, amelyek elmondják, hol vagyunk

cím. Általában egy idős
férfi narrációjával siratja a megállíthatatlan utat, amelyen járunk.

Minden nagyon komoly. Elpusztítjuk
bolygónkat. Az egyetlen, amink van.

És vannak politikai pártjaink, civil
szervezeteink, és a megbízható hangok ill

tudományos díjnyertes zsenik, akik hasonló
üzeneteket osztanak meg . És tényleg, ha jobban megnézed

mind a fikció, mind az állítólagos tények
ugyanazt az alapfeltevést és elveket osztják.

Technológiailag annyira fejlettek
vagyunk, hogy a bolygó, amelyen élünk, már nincs meg

elég, vagy már nem tudja fenntartani a tevékenységünket.
A fejlett mesterséges intelligencia rendszerek,

a repülő mesterségek, a klónozás
és az orvosi ágyak áttörései azt jelentik, hogy a természeti világ

szenvedett ennek következtében. És attól függően
, hogy milyen műfajt szórakoztat

a megoldás vagy az egy,
ha ennek következtében az emberiség elpusztul. Talán elpusztította a

nagyon mesterséges intelligencia rendszereket hozott létre
először, vagy talán egy természetes tüdővel

fulladás vírus, amely mutált, és végigsöpör a
földön, hogy helyreállítsa a természetes egyensúlyt vagy kettőt az emberek számára

elbúcsúzni magányos kis kék labdájuktól,
és elindulni az űrbe új otthont keresni.

De látod, nincs gömbbolygó, és
nincs tér, és ezért minden vízió

a jövő tisztán kitalált, és nem különösebben
ártatlan. Amit nem látunk, az ezekben hangsúlyos

a jövő víziója azonban az
elektromágnesességben rejlő potenciál az egész emberi élet átalakítására,

a technológia és a társadalom, ami furcsa, ha
figyelembe vesszük, hogy az egész élet, és maga a föld is

elektromágnesesség nélkül lehetetlen. Miért ne
akarnák a látnokok ezt részletesebben megvizsgálni?

Lehetséges, hogy nem engedik?
Lehetséges, hogy félnek valamitől?

Félünk attól, hogy túl sok pontot
kötünk össze. És ismét a patkómágnesek működhetnek

mint erős elektromágnesek. Ha egy civilizáció
technológiailag fejlődni akar, a használat révén

elektromágnesesség, akkor a patkómágnesnek
minden bizonnyal óriási szerepe lenne

abban a fejlődésben. Igen, minden bizonnyal így lenne,
és minden bizonnyal így is lett. A patkómágnes,

a diadalív. Igen. Az egyik
legerősebb elektromágnes, amelyet valaha építettek.

És nem csak diadalívek formájában!

Részei voltak valaminek

Sokkal sokkal sokkal nagyobb!

Ezek a szerkezetek...

nem azok, amiknek gondolod...

A hatalom eszközei voltak

amely energiát gyűjtött, termelt és osztott el

antennák

tüskés antennák

nemesfém vezetőgömbök

kupolás rezonátorok

ívek és oszlopok, erős erősítők és tekercsek

kondenzátor akkumulátor

hazugság... egyenrangú a földgolyóval...

Üdvözöljük a jövőben, kivéve, hogy ez a múlt.
A jövő jött és ment, és nekünk hiányzott.

A csodálatos építészet,
amelyet egész birodalmunkban látunk

amelyben
világunk hivatalos hazudozói és irányítói historistának, neoklasszikusnak,

reneszánsz, gótika stb. Mindegyik
egy egységes civilizációhoz tartozik.

Egy annyira fejlett civilizáció, hogy
kihasználták az elektromágnesesség erejét

olyan magas szinten, hogy nemcsak megépítették
ezeket a hatalmas építményeket, hanem meg is alkották őket

tökéletes finomság és szépség.
Saját technológiai fejlődésük ünnepe .

Az építményeket kizárólag
a betakarítás és a generálás szándékával tervezték

elektromágneses energiát és elosztja azt
a világban. A városaik, településeik és az egész útjuk

az élet futott, és a szabad,
tiszta és erős elektromágneses energia használatától függött .

The energy was harnessed and collected
from the ionosphere above our heads

through the use of antennas, spires, domes, and
towers. All the impossible structures we see

today have been repurposed and rebranded by our
controllers, and the citizens of the 19th century.

This is not a church. This is not a mosque. This is
not a castle, and this is not a government building.

These are generators, powerful and
gargantuous. They would collect

and generate the electromagnetic energy which was
then stored in huge power stations and distributed

and redirected by sophisticated advanced
structures. One of which is a huge electromagnet

or what we've come to know as triumphal arches.

The energy was stored in batteries and
capacitors such as towers and obelisks.

All cities were constructed across
our realm in the form of one

big interconnected power grid, much
like a huge computer motherboard.

I already know what you're thinking. What? He's
finally lost it. He had us with flat earth

but this is just too much. I know. I know. I know.
The backup programming is kicking in but before

you turn away to leave and cast aside your muddy
boots, let me show you how it worked. As you know,

we live on a flat stationary plane. At the center
is a source of magnetism at the north pole,

and directly above this is polaris. Fixed at
the central and highest point of a wondrous

crystalline dome firmament. Beneath the firmament
different layers of atmosphere exist at different

heights. The ionosphere starts at about 30
miles above earth. It includes a thermosphere,

and the mesosphere. The ionosphere
is an electrical atmosphere

that is ionized by the sun's electromagnetism. It
also forms the inner edge of the magnetosphere.

I know. A lot of big words and abstract
concepts. But you are familiar with this

process and have been witness to it every day
for the entirety of your lives. As you can see,

the vials here contain molecular gases that
are present in the atmosphere above us.

When an electromagnetic source such as a tesla coil
is applied within close proximity of these gases

the coil's magnetic field ionizes or charges these
gases and the result is phosphorescent plasma.

The gases become colorized. This is why our sky is
primarily blue, because the sun's electromagnetic

presence ionizes the atmosphere and the result
is colored plasma. when the sun is entering or

exiting our region, or what the liars of the world
call sunrise and sunset, we see a variety of color

gradients due to its distance from the ionosphere
above us. When the sun is no longer journeying

above our region, the sky loses its color, and
we can see the stars in the firmament beyond.

Although the official scientists designate
the ionosphere as an atmospheric layer it is

actually an ethereal layer. Ether is the fabric or
element that carries electromagnetism. It connects

everything in our realm. It is the fabric that
makes a sun and moon and their concentric

journey above our disk possible in the first
place. Ether is the mysterious fifth element.

It connects everything electromagnetically
through vibrational energy. It is the glue,

the web, the driving force behind absolutely
everything. The four other elements air, fire,

water, and earth, only exist because of the ether.
They are expressions of ether's vibrations.

Cymatics is a good example of ether's presence.
The frequencies fed through the gladney plate

make the sand or salt form precise and complex
geometric shapes. The higher the frequency,

the more complex the geometric pattern. But what is
the conduit that takes the frequency's vibrations

and allows the sand to take such shape? That is
the ether at work. That's why we see fruits and

vegetables that closely resemble cymatic patterns.
It is the ether at work. All matter is ethereal

and the shape and form of that matter
are different expressions of the ether

determined by frequency and vibration. Ether is
the bridge between electromagnetic frequency

and vibrational energy, and the form of matter
itself. You could call it, the holy spirit of god.

The historical and scientific discourse
of ether is a deliberately manipulated one.

The enemy introduced the truth only to this credit
and subsequently bury it. Some of the alleged

figures of the past have written on ether. The
so-called aristotle called it, the fifth element.

James clerk maxwell, the so-called father of
electromagnetism, spoke of the ether stating,

in several parts of this treatise, an attempt has
been made to explain electromagnetic phenomena,

by means of mechanical action transmitted from one
body to another by means of a medium occupying the

space between them. The undulatory theory of
light also assumes the existence of a medium.

We have now to show that the properties
of the electromagnetic medium

are identical with those of the luminiferous
medium.The medium he refers to here is the ether.

Albert einstein and others successfully
solidified the heliocentric model through

fraudulent schools of scientific thought, but even
einstein could not deny the presence of ether.

According to the general theory of relativity,
space is endowed with physical qualities.

In this sense therefore there exists an ether.
According to the general theory of relativity,

space without ether is unthinkable. For in such
space there would not only be no propagation of

light but also no possibility of existence
for the standards of space and time.

Measuring rods and clocks not therefore any
space-time intervals in the physical sense.

Even contemporary scientists under the spell
of heliocentrism admit it is nonsensical to

deny ether's existence. Today the vacuum
is recognized as a rich physical medium.

A general theory of the vacuum is thus a
theory of everything. A universal theory it

would be appropriate to call the vacuum ether
once again. Returning to the ethereal ionosphere

as i said, this layer of ether above our
heads is a constant sea of electromagnetism

and is responsible for the color
plasma above that we call the sky.

The source of its electromagnetism is the sun.
It is because of this ionized layer that we

get ionospheric lightning, in the form of sprouts
which in turn influence the thunderstorms below.

An ion is a particle atom or
molecule with a net electrical charge.

Electricity is a continuous flow of ions.
The electrolytes in our body are ionized.

Everything is connected by electromagnetism and
the ether. Our highly developed and sophisticated

historical ancestors, not only understood
the workings of the ionosphere and the ether,

but they had developed methods to masterfully
harvest it as a fuel to power the entire earth.

And while the exact process by which they were
able to extract the ether is deliberately hidden

from us and remains unknown, the structural
remains that humanity has since repurposed

and reused as architecture offer us many clues as
to how it all worked. The evidence is everywhere

for those with eyes to see, and once you see it,
it becomes so glaringly obvious that you'll kick

yourself for never noticing in the first place.
The matter is very complex and it will take

time to really flesh out, so for now let's have a
closer look at some of these structures, and i will

introduce some basic concepts. As we continue our
journey, we will explore everything in more detail.

We see them everywhere. On top of
all these magnificent structures,

towers, spires, and pinnacles that rise into
piercing antennas. It was through these complex

antennas that the ether was harvested. You see,
after the great reset of the 1800s, the enemy

fractured the old world's unified understanding
of god and created multiple religions

to try and hide god and justify the existence of
such grand and beautiful technological structures.

And i know this may trigger
some people, but stay with me.

I will not let you down, but for now, it is critical
to understand that a lot of the religious icons

that adorn and make up these antennas, were never
indicators of different religions in the old world.

Nor were they intended to be. They
signaled something else entirely.

They are usually made from copper and gold. Both
are excellent conductors of electricity. In many of

the structures we call cathedrals, the symmetrical
spikes on the pinnacles worked in a similar

fashion. Extracting ether from the ionosphere.
Once harvested, the energy would inevitably have

been drawn down into the top larger portion of
these domed structures. When examining many of the

interiors of these domes, we come to realize that
they rely heavily on symmetrical ornamentation.

This is achieved by indentation or cavities in
the masonry. In the world of electromagnetism,

a cavity resonator works through symmetry to produce
oscillation or vibration of energetic particles.

Symmetrical shapes force energetic particles or
irons to vibrate in a constant manner.

Is this why we see perfect symmetrical ornamentation
within the ceiling of many domed structures?

It no doubt sounds absurd but the majority of
these structures also feature a smaller type

of cavity resonator, or what is more appropriately
termed, cavity magnetrons. That offer some clarity

as to the real function of these structures. A
cavity magnetron is a high-powered vacuum tube

that generates microwaves using the interaction
of a stream of irons with a magnetic field

while in the cavity resonator. A magnetron
operates through a hollowed symmetrical vacuum.

It emits powerful microwaves that can act as a
source of free energy. If you break the symmetry,

or close the vacuum, it no longer functions. But
can you see the resemblance? These structures

were never intended to hold glass within them. The
controllers added the stained glass to the rose

windows to shut off the magnetron's function.
They closed our instruments of free energy.

And they are everywhere in these structures...

Interestingly, if you look at the geometry of
entire sections of the structures themselves, then

it becomes very evident that they functioned in
their entirety like a cavity magnetron to generate

energy. All cavity magnetrons consist of a central
heated circular metal chamber in which the current

leaves and it's called a cathode. Look at that
word, cathode. Does it remind you of another word?

Cathedral, cathode, like with everything else they
corrupt the truth and hide things in plain sight.

The controllers removed most of the
cathodes integral to these cavity magnetrons,

but there are some structures today in which you
can see traces of the old cathode still present.

The heavy reliance on symmetry and cavities
within these structures is not coincidental.

The symmetrical ornamentation would have worked in
a similar manner causing the energetic particles

to vibrate in a constant manner. The flowers
within the squares can be understood as similar

to acoustic resonators working to vibrate the
ions. It is here that the energy would have been

continually manipulated into vibrational and
electromagnetic energy of specific frequencies.

Really look at these magnificent acoustic
resonators. Could you craft one of these

by hand today and at such height? Why would an
underdeveloped people spend so much of their time

crafting such perfect symmetrical ornamentation,
especially if it had no function and was purelyascetic ?

They wouldn't. The cavity resonators
and magnetrons would have had to have worked

in partnership with a central engine or
reactor contained within all these structures.

Both resonator and reactor are interesting
words. Just like the words conductor, generator,

creator, and the name mercator. They all contain
the word tor within their linguistic structure.

They hold a linguistic memory and pay homage
to the taurus or toroidal filled.

The taurusis the flow of electromagnetism. Without this
flow of energy, there would be no life on earth.

No one can really know for sure but some have
suggested that the engine was probably similar

to a fusion reactor. The traces of these engines
can be found within all of the larger generators.

The empty shell of where the engine used to
reside, is usually but not always octagonal.

It's been right in front of our faces the
whole time. The controllers remove the engines.

Sometimes repurposing the space
as baptisteries and bandstands.

Sometimes just leaving the base either baron
or attempting to cover them up.

We see theseoctagonal structures in cathedrals, government
buildings, mosques, and attached bandstands.

And unless they have been repurposed, these
structures seem to hold no overall function.

They do not contribute to the overall structure.
They appear superfluous and unnecessary.

Theories have surfaced at the engines or central
technological mechanism was similar to a tokamak,

and while i do not subscribe to this idea which
will become evident as to why later in our journey

for now we will use it for illustrative purposes.
A tokamak is a powerful device that uses a

magnetic field to produce plasma in the form
of a taurus. The contemporary taco max we see

are used in thermonuclear fusion power. The
tokumax toroidal field in conjunction with the

vibrating ions from the ether, would have produced
a highly conductive electromagnetic field of gases

called plasma. Just like our sun and ionosphere.
If those of the old world used anything, closely

resembling a tokamak's capability, then the
result would have been an abundance of free,

powerful, clean electromagnetic energy that could
fuel entire cities and the entire earth.

These were never churches. cathedrals, castles and parliament
buildings. They were all huge engine generators.

Florence cathedreal has one of the largest resonators in the world

It's engine was so large it was located outside of the structure

It's known today as baptistery

''baptistery'' engine room

The controllers invented labels, and terms, such as
renaissance, greco-roman, and so on to describe the

style of these structures, but as you can see, all
these magnificent impossible structures, all share

the same fundamental structural principles and
design. Despite location, time period, and cultures,

and this is because they were created with the
sole purpose of generating energy, and just because

these structures were never used for prayer and
worship, does not mean they were not holy sites.

The civilizations of the past had a relationship
with the source and the holy spirit or the ether

like no other. And they paid homage, reverence, and
thanks to it by constructing their generators with

such splendor and beauty. And not only that, but
they constructed the entirety of their structures

statues and ornamentation in reverence of this
gift, in reverence of the energy production that

made their way of life possible in the first place.
The laurel reef which the satanic controllers have

corrupted in their appropriation of the symbol
and redesignation of it to represent apollo and

lucifer is in fact a toroidal coil. And we see
the toroidal coil throughout the old world's

infrastructure. A simultaneously having both
a function and a celebration of this function.

Electromagnetic coils are electrical conductors.
They are used using applications where electric

current interacts with a magnetic field.
In devices such as generators, motors,

inductors, and transformers. Most coils
take the form of a toroidal coil or spiral.

Wire coils are used in conjunction with a
magnet to produce powerful electromagnetism.

The more turns of the wire, the stronger
the magnetic field. Coils generate vortexes

which in turn create an electromagnetic
field. It's all one interconnected system.

And we see it everywhere. This is what
columns and rotundas were used for.

Powerful coils to generate electromagnetism
and carry the current in loops.

The taurus is found at the base of pretty
much every column found throughout our realm.

It is everywhere. Look at the
movement of electricity for a wire,

and the simultaneous magnetic field
it produces. This is exactly the shape

of a column, and we see this present in all of
these gigantic and meticulously crafted columns.

This is why we see the magnetic field represented
at the top of a lot of columns. It's the movement

of the ions in the magnetic field. It's the
movement of the toroid and the toroidal vortex.

As you saw, coils of copper wire are essential
in electrifying the magnet, and i know what you

want to say, that's great but the columns and other
structures you are referring to are made of stone.

But you see, all of these impossible structures
are made from a mixture of stone and metal.

They used iron bars in their
construction. Iron is magnetic.

These iron rods run throughout the stone
infrastructure and are complemented with

copper and gold ruthin. Copper and gold
are strong conductors of electricity.

Often we find entire statues, arches, domes, and
roofing made from a distinctive blue copper.

Furthermore the limestone, granite, and dolomite
stone is mixed with crystal silicon or quartz.

Quartz has strong electric potential.

The colonnades and arches we see
everywhere.

Were at once integral components to the
overall electromagnetic infrastructure.

While also constructed in geometric forms that
mirror the flow of electromagnetic energy such as

coil loops, horseshoe magnetic fields, and toroidal
vortexes. As with everything else constructed in

the old world, they were both functional
and crafted as a homage to that function.

A lot of ethereal energy was stored in structures
constructed from red bricks and concrete.

Red bricks and concrete are excellent conductors of
electricity. They operated as huge capacitors orbatteries.

According to new research red bricks
can be converted into energy storage units

that can be charged to hold electricity,
like a battery, and can store energy until

required for powering devices. The key to this
battery-like function inherent within red brick

is the iron oxide. The development and use of red
brick is so important and we will be returning to

this subject much later in our journey. The really
big red brick power stations and batteries were

designated and recognizable by their white stripes,
such as saint pancras railway station in london,

and many other famous structures. We still carry
this red and white stripe designation of power

stations today, and it is also an indicator
for the magnet. Some were constructed of blue,

black, and brown with white stripes. Towers,
obelisks, and small clock towers functioned as

the intermediate capacitors or batteries to store,
distribute, and provide energy throughout the grid.

The entire flat realm earth was connected as one
whole grid. A complex interconnected system of free

energy production, distribution, and consumption, and
this entire grid was destabilized and deactivated

somewhere between the 17th and 19th century. Power
grids like this do not function on a sphericalmass.

Our historical ancestors knew that the earth
they walked upon was flat. This type of futuristic

technological advancement, is the result of a
civilization knowing exactly what type of earth

they lived upon. They were not subject to the same
satanic deceptions and abuses as we are.

They were not raised believing they existed on a lonely
globular rock spinning in the vacuum of space.

The true ethereal electromagnetic properties of
the earth were not hidden from them.

They knew there was a domed firmament above their heads.
They studied it. They imitated its properties

and understood its central relationship with the
entire ethereal existence of electromagnetism.

They revered the magnificence of its
craft and showed utmost gratitude

to the source, to god, and the ethereal holy spirit
for giving them everything they needed.

Look ...

Domes...

Have you seen anything as overwhelmingly exquisite
as this before? How have we lived our entire lives

and not seriously considered the impossibility
of these structures? How have we lived our entire

lives walking amongst the skeletons of the future
long forgotten? I know. This is all a lot to take

in. And i know that the picture has not formed
properly in your mind yet. It is hard to imagine an

interconnected electromagnetic power grid of this
size across the earth, and the technical nature

of electromagnetism doesn't help. And i know that
you're full of questions. Who were these people

or beings that built these structures? Where did
they go, and why were the power grids deactivated?

What about all the religious iconography and art
we see inside of the cathedrals and mosques?

Whatabout all the histories and photographs we
have of the construction of these structures?

What about the romans and the greeks? What
about some of the grand mosques that have

been constructed in recent times? And if what
you're telling me is true, then how did they

distribute and store all of this energy like you
say? Was it similar to our wi-fi and radio signals?

We will get to all of these in good time. We have
barely scratched the surface, but for now, it is

the last question that is important. How did
they distribute and store all of this energy?

And in what form? For you see, how sophisticated
historical ancestors did something that we as a

society have come to neglect. They watched
the water, and they watched it closely.

Right here on earth and up above beyond
the firmament. Come on, let me show you.

The lost history of flat earth

Episode V - The whispering of the water...

Tip tap goes the rain, spitting on my window
pane, drip drip from the trees, sod on earthy

and soggy leaves, splash splash puddle pools,
jumping on their way to schools. Onomatopoeia.

The formation or use of words that imitate
the sounds associated with the object

or actions they refer to. The property of
a word of sounding like what it represents.

WWater has many. The interdependent relationship
between water and sound is so fundamental to

our connection and understanding of water. The rain
patters and drums, the waves roar, the brook murmurs

and whispers, the puddles of mud squelch. That it is
intrinsically woven into the very linguistic code

of our language. Many have explored the powerful
connection between sound and water. We have masuro

emoto and his study exploring the impact of
sound on the molecular structure of water.

We have those that like to
play around with cymatics.

There is peter davey, a saxophone player who
invented a device that boils water with sonicwaves.

The innovative use of sound coupled
with water seems to have no end. So much so

that in recent times biologists are discovering
that ultrasonic water can even treat the most

resistant of infections and heal wounds at rapid
pace. And in a future where electromagnetism was

harnessed with the utmost innovation, water, sound,
and frequency, had to have a major role to play.

And of course it did. They wanted us to
know that it did and not just the water

here on earth. They were telling us to look up and
above. They wanted us to know that what they had

achieved right here on earth, was only possible
because they had studied what existed above.

In the beginning god created the heaven and the
earth, and the earth was without form, and void,

and darkness was upon the face of the deep, and the
spirit of god moved upon the face of the waters,

and god said, let there be light, and there
was light, and god said, let there be a

firmament in the midst of the waters, and
let it divide the waters from the waters,

and god made the firmament, and divided the waters
which were under the firmament from the waters

which were above the firmament and it was so. Some
criticized the king james translation of the bible

for its use of the word firmament. But in the
original hebrew, the word is rakia which translates

directly as firmament. In the new international
version, it is called the vol. In the english

standard version it is an expanse. In the good news
translation it is dome. What is important however

is that in all translations, and in the original
hebrew, the notion of the firmament or vault

separating the waters above from the waters
below does not change and remains consistent.

There is water above our realm.

The telescope is an interesting instrument. Both at
once an apparatus for discovery and simultaneously

a weapon of deceit. There are two primary types
of telescope. The refractor, and the reflector.

A refractor uses an objective lens usually a
convex lens, and a reflector utilizes a single or

a combination of curved mirrors to reflect light
and form an image. Many reflected telescopes use

either a concave mirror or a parabolic mirror. This
is what a reflection looks like in these mirrors.

The eyes we were born with and which we see
the world through are convex lenses.

We do not witness a world through curved mirror reflections.
This is jupiter as seen for a reflected newtonian

telescope, and despite the slight spherical
distortion caused by the reflective mirrors,

this is still not what nasa has shown us. Your
mind immediately sees a planet because you have

been programmed since birth to associate an
image like this with the notion of a planet.

Just in the same way you associate the
moon with a ball of rock by default.

Here is jupiter through both reflecting and refracting telescopes.

And now a Nikon camera...

But as you can see here, both refracting and
reflecting telescopes produce images similar

to the nikon p900. The nikon lenses have been
criticized by some astronomers as lacking the

power to really see the luminaries above, but as
you can see here, there is not much difference

between the nikon and both types of telescope, and
in each we see that jupiter is radiating some kind

of light of its own. Both amateur and professional
astronomers present footage such as this.

But look what happens next...

Stached image using autostahhert 3...

After RGB bbalancing and light wavebelts in registax 6

I watched jupiter and collected data for about 1.5 hours...

Here is the results:

The astronomers here are using imaging processing
software to turn their raw images and footage

which display a circular object in the sky above
us radiating its own light into a nasa style

planet, and this type of doctored processed image
is not what we see with our own eyes through these

lenses. I am not saying that this is deliberate
deception. Astronomy is a practice of its own but

it is very important to never confuse the highly
edited images and footage we receive with reality.

And it is also worth being mindful of
those that are being very manipulative.

They are usually the astronomers with their paid
sponsorship from magazines and websites. It is also

important to know that what we call planets, are
not actually planets. They are wandering stars.

And all of the wandering stars are of a similar
nature to the moon. Unlike the rest of the stars

above our firmament, their course and journey
above us is not fixed and consistent.

Theirpaths deviate from the concentric paths that the
rest of the stars consistently make around polares.

And the reason for this is because they are not
located within the waters beyond the firmament.

Tthey are very different, and their function is way
more occult, and their significance to life here on

earth much more important than we realize. We will
be returning to the true nature of the so-called

planets and moon later. Back to the waters.
Arcturus is one of the brightest stars in the sky.

Here is science magazine's artistic impression of
the star, and now here is arcturus as seen through

a refracting telescope. There is no resemblance.
What we see through this telescope footage is

really similar to what we see when you zoom in on
the stars above with a powerful nikon camera.

Manycriticize a refracting telescope because it can
produce chromatic aberration. Chromatic aberration

is a failure of the lens to focus all color to the
same point. The result can be purple fringing, and

we see that here. Photographs can suffer from
chromatic aberration. Interestingly the nikon

does not produce the same chromatic aberration
when zooming in on arcturus. Therefore you could

say that the nikon is actually more reliable and
stable. Through both the telescopic lens and the

nikon, arcturus is pulsing, shifting, rippling. It
is dancing geometry. Many will jump up from their

seats and exclaim it's because of atmospheric
distortion, and light pollution. It's because

arcturus is so far away. But if it is atmospheric
distortion then, why do all the stars display

their own unique geometry and light patterns? They
should all distort in a unified consistent manner.

It is not atmospheric distortion. The stars are
pockets of sonoluminescence in the water above.

They are self-illuminating, radiating their
own light and frequencies in the waters above.

Our own convex lensed eyes tell us that there
is some kind of water above. we see it in the

stars and when rockets accidentally hit the
firmament , and like i said before, just because

the so-called planets or wandering stars, and
the moon appear spherical, does not mean theyare.

They are not synonymous with the stars in
the water beyond. They are something else entirely.

Our advanced predecessors wanted us to watch
the stars. They wanted us to understand that

electromagnetic vibration and frequency produced
pockets of sonoluminescence. In the waters above

they were pointing it out because they
wanted us to know that water was the key

to unlocking the real potential of electromagnetic
energy. They wanted us to know that once harnessed,

the ethereal electromagnetic energy, could
be fused with water so it could be stored

and distributed, and once produced, the water could
be manipulated, enhanced, and elevated to a level of

new possibilities through the use of vibration,
frequency, and sound itself. Their civilization

depended on the industry of what we will call,
the living waters. Their technological advancement

enabled them to transform the entire earth
into a power grid. But this grid was only

possible because of water. The civilization of
the future was an electromagnetic water world.

Canals are no great secret. They are found
everywhere across our realm. Both the great

and the small. Most of the great canals around
our earth are connected to the ocean. Salt water

is an excellent conductor of electricity. Sodium
chloride is ionized. We have the corinth canal

connected to the aegean sea. We have the panama
canal that connects both the atlantic and

pacific oceans. The suez canal connects with the
mediterranean sea, and there is the volgadon canal

connecting the azov sea, caspian sea, and black
sea with the major oceanic networks. All of the

canals built before the 1920s. Were not built by
us, or those in the history books. We inherited them

and while the official narrative tells us that,
the volga don was finished during the 1950s,

its construction actually began back in the
16th century. All narratives surrounding the

construction of these canals is purely fabricated.
And i will show you how much later in our journey.

Once you start paying attention it becomes very evident that most continents and countries feature

a combination of canals and rivers that span the
entirety of the land itself. The citizens of the

old world utilize the oceans and rivers to create
a grid of interconnected waterways, to provide

water to all of their areas of habitation. In order
to pass difficult sections and keep the supply

going, they would build aqueducts and viaducts.
Sometimes these were constructed with the purpose

of energizing the water as it passed through and
into different areas and that is why many were

designed with symmetrical archival structures.
The romans did not build these structures.

The entire infrastructure of so many cities
found across our realm are designed around

canal systems. Look at amsterdam from above. The
precise geometric grid lines here are not roads.

They are canals and the sole purpose was
to supply water from one area to another.

The water was stored and manipulated for a
variety of purposes in reservoirs, water towers,

pumping stations, systems, and other structures. The
water also functioned to provide necessary balance.

A complex grid of electromagnetic production,
distribution, and consumption, would generate a

lot of heat and magnetism. Water provided not only
a balance of diamagnetism but also ensured the

entire grid did not overheat. When looking at all
the magnificent generators and other instruments

of power from the old world, we can always find
water nearby or the remains of water storage.

Sometimes this is hidden primarily underground.
Many do not realize that many so-called victorian

cisterns and reservoirs run very far under
a lot of our cities and other times it is

a central characteristic feature of these
structures. An example of which is what the

controllers have redesignated as castle moats.
The electromagnetic water grid was not just an

energized version of what we are already familiar
with in our cities and towns. It was much, much, much more.

It was way more magnificent, impressive,
and futuristic than we could even imagine.

The grid was connected to central bigger power
stations of what is more appropriately termed,star stations.

Sometimes these were isolated
stations and other times they comprise entirecities.

We are going to have to fly to a
higher altitude for this. I need to show you.

Hold on tight now and keep your eyes open...

Look...

Such perfect geometry

on such a scale...

These were never isolated ''forts''

They are the remains...

Of the power grid...

They used to be surrounded by water...

The controllers destroyed, isolated...

and tried to hide traces of the grid...

They drained the water supply...

They are found everywhere across our realm...

From europe and the americas...

To asia and africa...

All of our favorite cities were once...

Huge inhabited star stations...

This was the grid! Look!

Lisle

casal

amsterdam

Bayonne

Vienna

Berlin

Turin

Bethune

Hamburg

Breda

Dresden

Cologne

Nicosia

Copenhagen

Timisoara

Geneva

Milan

Luxembourg

Munich

Strasbourg

The sole existence, let alone construction of these
star structures, is almost beyond our comprehension.

As you saw, they are found everywhere across our
realm with undeviating geometric consistency.

A wondrous impossibility. Perhaps they had some kind
of technology that allowed them to view huge areas

of land from above while planning and building.
They were never force. That is a fairy tale

invented by our controllers. tHE stunning geometric
precision and symmetry of the star structures

would most likely have functioned to enhance the
power of the generators and to etherize the water,

or turn the water into living, energized water. We
can see from comparing some of these ruined sites

and some left a little more intact that water
would have been present throughout the structure.

Before the controllers destroyed and drained
most of these structures, they were full of water.

They were connected to rivers, and canals,
and the oceans. They were a key component

of the entire power grid. The star structures are
fractals of symmetrical geometry. Just like many of

the ceilings of these huge energy generators, and,
like the acoustic cavity magnetrons and resonators

the symmetrical sharp diagonal walls would
have caused the ions to perpetually vibrate.

Old plans and illustrations which have no doubt
been edited or manipulated in some way or another

offer suggestion as to how complex, integrated,
and essential the star geometry was to the entiregrid.

Look at paris here. It isn't obvious
at first glance, but upon closer inspection,

we come to realize that the entirety of paris
was itself a star station or a star city, and

like with everything else constructed in the old
world, these structures were at once functional and

the celebration of the source of their innovation.
Look closer at the star geometry here. Can you see

the resemblance? The snowflake. Do you remember what
happened in missouri moto's experiment on water?

Ethereal vibration expressing itself
through water's molecular structure.

Those of the old world had perfected this science.
They knew the key to releasing electromagnetism's

potential, was through sound and water. Just
imagine what they were able to achieve.

Sound, vibration, and frequency was just as
integral to the success of their technology,

as water was. Those of the old world
did not hide their adoration for sound.

Traces of this lovely sound are everywhere. These
structures were literally instruments of power,

or as the so-called gerta put it so
succinctly elsewhere, music is liquid

architecture, architecture is frozen music. This
is why so many generators, capacitors, power

stations, and intermediates feature holes, pediments,
dentals, indentations, and complex 3d ornamentation.

They were structural openings to manipulate
sound waves, the vibrations and acoustics so

they could tune the electromagnetic energy in
conjunction with the water in a variety of ways

to achieve different results. They were similar
to the aerophone instruments such as the flute,

the pipe, the recorder, the bassoon, and the trump here. The old world revealed the geometry of the

star because it was through the study of the stars
in the waters above that they learned the power of

fusing, electromagnetism, vibration, and frequency
with water itself. They all work harmoniously and

in concert with one another. This interconnected
and interdependent energetic relationship

is what makes the stars and all life
itself possible in the first place.

Look a little closer at the dancing geometry of
the sonoluminescence stars beyond the firmament.

Do they remind you of something else? That's
right. All of the magnetrons of what we've come

to call rose windows, were designed to mirror
the cymatic patterns of ether's vibrations

in water itself. Artist tanya harris was
onto something in 2013 when she turned

her attention to studying and recording
the silent resonant frequency of churches.

By placing water inside of a loudspeaker, she
was able to discover the hidden geometry of

these resonant frequencies. The result showed
that even the silence within these structures

produced strong cymatic patterns. And again. Can
you see the resemblance? Others have applied

the same technique and study the cymatic patterns
displayed when bells chimed within the structures.

Look at the patterns. Magnetrons. This
is why so many magnificent rose windows

resemble cinematic pattern so closely. This is why
they look like the petrified pulsations of a star.

The entire ceilings of many cathedrals
also mirror this sacred cymatic geometry.

This is why so many of the structures contain
huge bells and chiming clocks. The tolling bells

would emit powerful vibrations, and frequencies,
and influence an entire area's water supply.

The sound would influence the molecular structure
of the water which was then used for a variety

of purposes, and that's not all. Many of these
structures also housed another wonder of theworld.

The king of sound. The organ. Have you ever
stopped to look at some of the great organs before?

These were not constructed by ordinary people
in the 19th, 18th, 17th, and 16th centuries.

Likethe structures they reside in, they are a marvel
of elegance and majesty. The most powerful sound

instrument in the world. The specific organ sound
waves of low and high frequencies, would no doubt

have enabled those of the old world to manipulate
the ethereal energy in ways they saw fit.

The magnetron rose windows that would not
have contained glass would amplify these

sound waves, which in turn would influence
a molecular structure and properties of the

etherized living water. Organs would have had
multiple uses. Perhaps providing entire towns

with specific resonant frequencies for good health
and prosperity. The specific functions of the organ

have been deliberately hidden
and withheld from our knowledge.

Interestingly the official history states that
the first organs of the world were water organs, in

which the power source push in the air is derived
by water from a natural source or by a manual pump.

No doubt a deceptive half truth disguising the
instrument's true interaction with water. And like

i said before most of these structures had areas
nearby to store and hold large quantities of water.

Many of the structures feature underground
cavities or huge cisterns some of which have

been drained and some kept intact. Sometimes the
system was located apart from and outside of thestructure.

The controllers have redesignated many
of these areas as roman baths. That's why bath

cathedral in england is located right next to the
roman baths. The water was also stored in red brick

power stations, capacitors, or water towers open
rectangular sites, reservoirs, wells, and step wells.

This is why step wells were constructed with
precise geometric patterns. Again, the symmetrical

structures here work to encourage oscillation
or vibration of the ions. They kept the water

electromagnetically charged and the aqueducts and
via ducts would have worked in a similar fashion.

It is likely that a lot of the huge electromagnets
we see scattered across our realm would have

actually straddled passing water much like we see
on the volgadon canal even though it's unlikely

that the vulgar arch is original, and that many
roads themselves were constructed during the greatreset.

It is likely that the inheritors of the 19th
century were instructed to drain and fill many

of the tributaries that once carried water. That's
why we see drained castle moats and star stations.

Perhaps that's what a lot of the surplus
mud we see during this period was used for.

Perhaps a lot of homes and buildings were
constructed with underground chambers to store

their own personal supply of living water and
these areas were destroyed, filled in and forever

hidden with vast amounts of mud during the 19th
century. The use of electromagnetism, sound waves,

and water, would have had endless applications
and uses in the old world, most of which we will

never know about but many structural remains do
offer a lot of clues. The abundance of remarkable

and impossible stately homes, halls, and manners
found throughout our realm, all point to the

mass scale farming practices of the old world.
We travel miles to marvel at their beauty and

grandeur, but more impressive than the structures
themselves are their gardens and water gardens.

We have the palace of
versailles, schwech zingen palace,

the royal palace of caserta,

nithenberg palace,

herron halls and palace. Even today they still
retain much of their splendor and brilliance.

But it's when we look at some of the old
plans of these areas, then we realize just

how otherworldly these sites were. They
were never constructed to house the elite.

They were the farms of old. Look at
the gardens. They are cymatic gardens.

Even from these old illustrated plans, we
can see just how gargantuas these farms were.

Microcosmic grid systems suggestive
of the entire larger power grid itself.

The cymatic gardens were likely grids cultivated
with sound and the living water to grow food,

herbs, and who knows what else. Even contemporary
scientists openly acknowledge that sound waves

strongly influence the growth of fruit, vegetables,
and crops, and to this day, some of these structures

retain a lot of their glory when viewed from
above. The palace of the sigh, a wondrous geometric

marvel. A collection of impossible structures,
extraordinary cymatic gardens, and water systems.

Let's venture closer into the palace of
versailles and have a look. Hold on now...

Wait, what? This is not the palace of the
sire. I really need to fix this thing.

It's been acting up a lot lately. Where are we?
Wait a minute. I recognize this place. Memories

from a long time ago. This is chatsworth house
in the peak district england. Oh well... This shoulddo.

Come on, let's see what we can find... Chatsworth
house was completed in 1708, we are told. Its story

much like the story of the entire peak district is
a fabrication, a complete lie. The place has changed

much over the years. It is situated beneath two
large bodies of water. The emperor and swiss lake.

The water from the lakes is channeled across
a broken aqueduct before falling 79 feet and

meandering gently down the hills in complex
waterways and running right into chatsworth estate.

The waters feed the estate's own lakes, rivers and
streams for a series of runways and a multitude

of complex tunnels beneath the estate and the
structure itself. Due to the estates repurposing

much of this remains hidden, but you can see
the tunnels quite clearly here snaking their

way down. It is one interconnected water system.
Waterways deliver themselves into waterfalls

at the impressive rockery before continuing
on their journey. All of the water gathers into

a central rectangular front piece which feeds
the emperor fountain. The water then continues

underground until it pours into the river derwent.
A 66 mile long tributary of the river trench which

runs throughout the peak district. While much of
the estate has undergone some serious restoration

which is actually a fancy deceptive word for
criminal gutting and destruction of technology

there are a lot of haunting
remains of its former glory.

It is important to note that unlike many of
the huge energy generators, chatsworth house

was probably partially occupied by farmersthat is. The central engine was located

off-site, and has been subsequently removed and
repurposed as a larder to store hunted games.

This magnificent gorgeous structure would
have functioned as a small generator

which also contained a small engine in its
center. It was repurposed as the stables

The horses of the 19th century, clearly lived
better lives than most of the population.

Aboveatop of the hill next to the emperor and swiss
lake we can see the quadruple capacitor or water

tower. This was repurposed as a hunting tower, but,
stalking the 105 acre grounds a visitor with eyes

to see, might spot some unusual sights, one of
which is the half ruined obelisk hidden away in

the tangled overgrowth at the bottom of the hill
below the lake. The official, controlled history,

the visitors receive when touring chatsworth,
conveniently leaves out any mention of the obelisk.

For you see, the hunting tower was not
chatsworth's only capacitor. The entire

estate needed constant water storage to fulfill
its energetic requirements and purposes.

Thereare many odd structures dotted around that remain
unexplained, and then, there is this, the cascade.

A true little wonder. The dome, a series of toroidal
circles that rise to meet the smaller copper dome.

They tread carefully here, making sure
they force a distorted history on you,

but, as always they cannot help themselves. They
just have to tell you in their own roundabout

controlled manner, as the placard stays, water can
be made to flow over the roof and out of 13 spouts.

Some of these spouts are crafted in the form
of immaculate stone dolphins and giant fish.

There are even hidden jets in the floo,
they tell us, the water is received from

the lakes above, and is used twice more in
its journey to meet the river derwent below.

Once in the south lawn fountain and again the
private west garden. But look closer at what they

acknowledge. Each step of the cascade is different
from the one below and above it to vary the sound

of the falling water. This was allegedly built
in 1703. Why would an 18th century people be

concerned with varying the sound of falling water?
How did they even have the knowledge and skills to

manipulate the sound of water like this? And
it's everywhere in the estate. The waterways,

streams, and rivers, all meander gently down
to rest briefly at ponds and lakes before

continuing their journey toward the river derwent.
Their journey is one of such splendid sounds.

As you begin to traverse the labyrinthine passages
of our corrupted history, you will inevitably

meet the lithographs, renderings, engravings,
illustrations and paintings. How easy it is to lie

when there is no photographic or visual evidence.
Just artistic interpretation. We would never accept

illustrations as reliable sources of information
today, so why do we accept them as historically

accurate? And while these are not to be trusted,
devoting some time to browsing their particulars

can yield some interesting insights. For instance,
the fountain here looks wildly out of proportion.

Did it used to jet water more powerfully?
And some would claim artistic exaggeration,

but if you dig a little deeper, you come to
learn that the original emperor fountain

constructed in 1843 was able to jet water at
a height of 296 feet. What? How? This is the 19thcentury

we're talking about. And like i said, they
cannot help themselves. Even wikipedia states that,

the water power of the fountain found a practical
use in generating chatsworth's electricity.

There it is. Barely hidden in plain sight. And as
we continue browsing these little illustrations

we stumble across it. An old engraving of
chatsworth from above. Look at the size of this.

Cymatic gardens. Rows and rows of crops. Large
bodies of water that are no longer there.

And again, many would claim artistic
exaggeration. The unreliability and inaccuracy of illustrations,

and rightly so. But when we look at chatsworth from
above on google earth, what is this we find? Shadows

on the ground across from the river? No. These are
the markings of old infrastructure that was torndown.

The markings suggest there was once a
bridge here. A bridge we see in the illustration.

Look a little closer. An octagon with
the clear outline of an old generator.

So yes. The illustration is a lie. The estate was much much larger than depicted here.

In 2018 there was a heatwave in england
and the old markings of chatsworth's former

glory started appearing in the grounds
themselves. They had to acknowledge it.

Sometimes mud and lies are not enough to bury the
truth. Chatsworth was a huge farm in the old world.

As i said before, the illustrations and paintings
are not to be trusted. More often than not they

are used as tools of deception against us.
But as you see here, they do have a tendency

to backfire on the controllers. Just like
with the plans of star stations and cities,

our own technological access to tools such
as google earth, validate these old plans and

illustrations as half truths. You can bet good
money that even the plans and illustrations are

only giving us a fraction of the full picture.
Just like here with the plan of chatsworth.

And it's in chatsworth that we encounter the first
of many acts of barbaric desecration by the hands

of the enemy. Chatsworth's great conservatory stood
immense until destroyed in 1920. It was 84 meters

long and 20 meters high, and constructed,
they say, in 1840 before the establishment

of automatic glass manufacturing. Huge
interconnected tunnels and water pipes collected

under the ground of the structure to provide heat
in via boilers and hot water. An engineering feat

as impossible as the construction of the structure
itself. It was designed by chatsworth's gardener

joseph paxton. Paxton is a phantom that haunts the
pages of the history books. Paxton's story is one

of fortunate circumstance. Daring innovation and
success. It is unfortunately a dishonest story an

unconvincing fiction. We are told that paxton
secured a guard in him role when he was 20

years old while working at chiswick gardens, and
it was here that he encountered william cavendish,

the duke of devonshire who was so impressed by
young paxton's horticultural abilities that he

hired him as head gardener of chatsworth house.
Paxton is responsible for creating the following,

chatsworth's arboretum, his rockery, the emperor
fountain. You remember the fountain that

sprayed water into the air at twice the height
of nelson's column. The great conservatory.

He was responsible for cultivating the cavendish
banana. The most consumed banana in the world today.

And designing railway stations all over the peak
district. What a talented and productive young man.

Paxton's achievements however did not end with the
banana and the conservatory. The fast doesn't endhere.

What a tangled web we weave when setting
out to deceive. Paxton's success with chatsworth

led him to design the infamous crystal palace of
london. Just in time for the great exhibition of1851.

It was originally constructed in hyde park
for the fair. It was constructed in just over ayear.

An engineering feat never again repeated. It
was made from more than 1000 iron bars and

its overall mass comprised of over 4 000 tons of
iron. The chance brothers glassworks in smithwick

provided the 300 000 sheets of glass. Remember,
this was before automatic glass manufacturing.

This is the glassworks in which the glass
was produced. A simple maths equation gives

us an average of 822 glass panes produced
every day, seven days a week, for a year.

Right here, in this factory. This was paxton's
initial planned sketch for the structure. He went

from this, to this in a year. Furthermore the entire
crystal palace was able to house gigantic trees,

and they had to board a lot of the glass panes up
and cover a lot of the top of the structure during

the world's fair exhibition because the interior
of the structure became too hot. Wouldn't paxton

who designed the chatsworth conservatory know that
a huge glass palace would produce immense heat.

The entire narrative soon dissolves into stupidity
when we realized that a year later in 1852

they dismantled the crystal palace and moved
the entire structure to sydnum in southeast

london where it was rebuilt with two additional
huge water towers at either end of the monstrousstructure.

Interestingly no photographic evidence
of the original hyde park palace exists.

Justillustrations. Wouldn't the structure have been the
focus of many photographers during the opening of

the great exhibition of 1851? the first of its kind.
It is highly likely there were either two of these

crystal palaces in london, and both destroyed
or the high park palace is just an outright lie.

Interestingly, a few years after its relocation
to sydenham, this map of the palace was produced.

All designed at the hand of our genius gardener.
He struggled with the water supply, we are told,

after all, supplying 12 000 fountains, two of which
shot water 250 feet into the air, and the various

cascades would be a difficult task to achieve.
But clearly not for paxton. He made it happen

interestingly. The crystal palace also featured one
of these impossible, grand, and spectacular organs.

Oh, and if that wasn't enough, while mr paxton
was redesigning the crystal palace at sydnum,

he was also designing the glorious meant more
towers for none other than baron mayer rosschild.

Who would have thought that a random
young 20-something gardener would go on

to be responsible for some of the most impossible
and impressive engineering feats in history?

Let's also not forget about his banana. Paxton is
an example of the enemy's laziness when it comes

to hiding our true history. It is not fathomable or
even possible for the citizens of the 19th century

to have even built these structures. Let alone
assign their inception to one soul man. The crystal

palace, and its gardens, just like chatsworth, were
huge farming grids that used to live in water in

conjunction with sound and electromagnetic energy
to cultivate a whole range of wondrous produce.

Kew gardens in london is another example.
The abundant electromagnetic energy was able

to produce conditions of heat with ease and
the vibrational frequencies encourage growth.

Perhaps that's why crystal palace housed a grand
organ. Utilizing frequencies and vibrations to

enable the growth of produce, and that's why the
controllers were able to assign the cultivation

of the banana, an exotic fruit, to a fabricated
englishman. The technology already established

in england was able to grow many things with
ease. Among other impressive horticultural

achievements attributed to paxton's genius with
the perfect pineapples, another tropical fruit

he grew at chatsworth. He grew enormous lily
pads which could hold the weight of a human.

He grew gigantic sequoia redwoods at chatsworth
which usually only thrive in humid conditions.

He grew them with ease and many of these redwoods
remain today. A spectacular sight to behold.

It's probably worth noting that among paxton's many
other talents, wikipedia also tells us that he

became quite skilled in moving gigantic trees,
as well as gigantic crystal palaces. The largest

of these trees weighing 7 000 kilograms. How?
With horse and car? Why are humans so gullible?

They destroyed the beautiful and impossible
chatsworth conservatory in 1920. As the duke's son

said in a letter to his father, they blew off well
over 200 pounds of explosives to tear it down.

So it must have been well built. The structures of
the old world were built to stand for centuries.

What a great shame. The lies surrounding
the peak district do not end with paxton.

The entire national park was one gigantic
interconnected electromagnetic water system of

the old world. It was most likely one of britain's
primary suppliers of farming goods. The national

park boasts one of the largest collections of
stately homes, halls, and manors, all of which

would have functioned as huge farms. It was also a
regional retreat that specialized in healing. Yes.,

That's right. Healing. The pete district is home
to two large towns, matlock and buxton.

Buxtonis famous for its bottled water and matlock is
renowned for its historical baths. Even today both

towns boast an enviable collection of old world
structures. We see an abundance of old generators,

domed pavilion structures, capacitors, colonnades,
columns, bandstands, gardens, and water systems.

Overlooking the town of matlock, is river castle.
Its silhouetted frame and turrets stand regal

in the distance. It is a derelict structure and
has been derelict for over a century. The curious

public are not allowed near the structure.
They tell us it was built very quickly

by a mr john smedley. Smedley was, we are told,
an industrialist. By the 1850s he had become

the driving force behind matlock's hydropathic
industry. Hydropathy is the practice of healing

and curing diseases through the use of water. The
official narrative states that smedley builds

medley's hydro which sits on smedley street in
matlock. It is now a government council building.

Smedley's hydro was just one of
the hydropathies in the region.

At one point, we are told, there were over 20
hydropathic establishments in the region.

Justlook at these structures. Smedley did not build
the hydro. Its structure and immense water tower

evades his capabilities and the capabilities of
all the 19th century citizens. The citizens of the

19th century pete district inherited all of this
infrastructure, and the controllers of our realm

knew that they needed to squash any possibility of
it being used for its original intended purposes,

or for any of the inheritors to discover the truth.
It was just too obvious and soon someone amongst a

crowd might start putting two and two together. So,
they did what they do best, and employed a puppet.

But unlike paxton who was able to achieve fame and
fortune for taking all of the credit, smedley had

a different role to play. A role that many puppets
in our society today still play. His mission was to

carefully control the introduction of hydropathy.
Only for it to be declared primitive or fraudulent

and then subsequently buried and eradicated as a
serious practice. His story is a very similar story

to another enemy puppet that has gained a lot more
attention over the years. I too once fell for the

lies surrounding this man's story. The hydropathies
were able to accommodate hundreds of patients,

and they were tremendously successful, incurring
a whole host of diseases, and issues, ranging from

inflammation, and bilious attacks, to paralysis,
rheumatism, and fevers. This was conducted through

an array of different bathing techniques, applying
dripping sheets as bandages, and fusing electricity,

sound waves, and water. There were, as one newspaper
reported, electric bells throughout the buildings.

No doubt the actual potential of hydropathy was
never fully expressed in smedley's array of hydros,

but they nonetheless helped people tremendously,
and they were a huge success so the controllers

temporarily profited financially. The hydro's
healed and increase the well-being of people

through water and its fusion with sound,
vibration, frequency, and electricity.

Look at the electric treatment
menu from one of the old brochures.

Options for higher powered parabolic reflector,
electric ionization, and high frequency treatment.

Smedley also demonstrated the ability of etherized
water to heat entire rooms in a profound way.

The fernery at the hydro had a water heating
system built into its walls and always maintained

a constant temperature of 65 degrees. Even when the
room was filled with a crowd of 350 or so visitors,

the temperature never deviated. How was this
kind of technology available in the 19th century?

And yet today we do not have access
to this kind of sophisticated heating.

Historians and journalists of the time would
deliberately smear smedley, casting hydropathy as

pseudo science comparable with homeopathy. Smedley
had many battles with the burgeoning medical

industry, and after his death, the hydros were
purchased and the structural alterations began.

Like tesla, smedley played his role and
successfully introduced the science of the old

world, to have it debunked, tarnished, and sidelined
forever. Hydropathy today is regarded as nothing

more than a relaxing spa venture. All of its
original applications of frequency and electricity

have been eradicated from the practice. Smedley's
role-playing allowed the controllers to justify

the entire water grid system of the peak district
successfully preventing the current 19th century

and further subsequent generations from
questioning its presence. The remains of the grid

today are so evident. You can sit and relax to the
soothing sound of water falling over the turreted

regal derwent reservoir which connects the entire
region for its branching rivers and canals.

You can stroll around shopping inside of old power
stations and at old pumping stations, and in every

area of the region there are wonders waiting to be
discovered. Not only in the larger towns do we find

old fountains that once provided the living
waters, but also in the remote villages. Tucked away

we find an old dry fountain. Look. The lord's gift. A
bittersweet joy to behold. The citizens of the old

world unlock the power of electromagnetic water
by studying the stars above in the firmament.

The stars above taught them that the key to
manipulating the ethereal energy they harnessed

from the ionosphere was through water, sound waves,
vibration, and frequency. They honoured this gift by

constructing domes, by crafting star cities, cymatic
magnetrons, and praising the lord and holy spirit

for the living waters they received in return.
They understood the firmament as both scientists

and disciples. Viewer, i am hoping the picture
is starting to become clearer in your mind,

and you will inevitably start to see things in
a different light when pondering all of these

impossible structures. It is not a coincidence
that some structures like the colosseum

are also referred to as amphitheaters. Have
you seen them from above? They look like

speakers. Amphitheater is an interesting
word. An amp is a unit of electric current

and an amplifier is a device that increases
signal especially microwaves and audio,

and no doubt you will start to put two and two
together in terms of some of the inventions that

we were allowed to play around with before they
were discarded as antique in their efficiency.

But time is of the essence. We could ponder
examples of the old world's electromagnetic

water grid system for hours, but i encourage
you to get out and hunt down these structures

yourself, and to document them in your own time.
We have to move on. We need to start, wait. What?

You want to know if these came from the old world?
Yes, they did, and they're extremely important.

The inevitable ticking of the clock a
deeply unsettling instrument but unavoidable.

I need to show you one more missing
piece of the electromagnetic puzzle first,

and then we will take a closer look at these time
keeping instruments. Come on, let's keep moving...

The lost history of flat earth

Episode VI - Offerus and the alchemist

All credits for this video are going to the original creator EwarAnon. I was searching for his youtube channel but youtube has deleted it so please support him on his telegram channel @Ewaranon

Thank you in advance!

Check the link in the description for part 2

The earth is flat ... Check the links in the description for proofs...

Normal tree Petrified titan tree

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Let me not then die ingloriously and without a struggle, but let me first do some great thing that shall be told among men hereafter." ― Homer, The Iliad.

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