All language subtitles for Ancient.Aliens.S12E08.The.Alien.Frequency.1080p.Hulu.WEB-DL.AAC2.0.H.264-QOQ_track3_[eng]

♪ ♪

Wow.

PAUL DEVEREUX:
For 200 years archaeologists

have been looking
at a silent movie,

but suddenly
we've got a soundtrack.

We're trying to get
the sensory information

that was there when these people
built these places.

And we're picking up
the 110 hertz,

and it's vibrating
around this whole area.

‐You can actually feel it
in your body. ‐Yes.

That's quite amazing, actually.

‐(horn blows) ‐GIORGIO
TSOUKALOS: Many ancient cultures

around the world
worshipped sound.

Is it possible that sound

has this incredible power

with which you could
do certain things?

DAVID CHILDRESS:
Is there some grand design

from extraterrestrials

that was harmonically tuning

all of these sites on Earth?

DAVID WILCOCK: Extraterrestrials
are giving us clues

that frequency
plays a much greater role

in understanding matter,
energy, and consciousness

than we allow for in our current
scientific paradigms.

♪ ♪

NARRATOR:
Baalbek, Lebanon.

The 9,000‐year‐old
Temple of Jupiter

contains three of the largest

monolithic stones in the world,

weighing approximately
1,000 tons‐‐

or two million pounds‐‐ each.

Puma Punku, Bolivia.

Scattered across
a high desert plateau

are precisely‐cut
100‐ton blocks,

believed to date back

at least 2,000 years,
and perhaps much earlier.

The Giza Plateau, Egypt.

The Great Pyramid is built

from more than 2.3 million
limestone bricks,

each weighing a staggering
5,000 pounds.

All around the world
stand colossal monuments

to mankind's ancient past;

gigantic structures that have
endured for thousands of years,

built with stone blocks
so massive

that modern builders
have not even attempted

to duplicate them.

STEPHEN VANDER HART:
Our 988 Cat Loader

can probably lift
a 22‐ton boulder,

just for perspective.

And it can probably roll
and drag along the ground,

uh, maybe a 40‐ton boulder.

But when you're talking
a 50‐ton boulder,

then we would need to bring in
cranes, hydraulic jacks,

steel beams, girders.

It's a whole nother
set of tools,

even with modern‐day technology.

I mean, I can only imagine

how they would move
boulders that size.

It baffles my mind.

I have no idea.

It's crazy to think about.

TSOUKALOS: How is it possible
that 10,000 years ago

our ancestors moved around
the most massive of stones?

Well, the answer is either

another previous
super civilization

existed here on Earth,

or extraterrestrials imparting
technological knowledge to us.

NARRATOR: Ancient astronaut
theorists suggest

such structures
provide physical evidence

that extraterrestrial beings
visited Earth

and assisted our ancestors
in the distant past.

And each of these
three megalithic sites,

as well as numerous others,

have very specific stories
behind them

that say they were built,
not by men,

but by the gods,
using the power of levitation.

Some ancient mythologies
speak of the fact

that some of these stones
were put into place with sound;

that these things all of
a sudden levitated into place.

What the local legend
of Stonehenge talks about

is that those big stones

were transported
by way of levitation.

NARRATOR: Similar to the
mythical story of Stonehenge,

the ancient legends
of Bolivia say that

the megalithic stones of Puma
Punku were floated into place.

In the fifth century BC,

the Greek historian Herodotus
wrote that

the Egyptians
were given knowledge

from the guardians of the sky

on how to float
the massive limestone blocks

with which they built
the Great Pyramid.

WILCOCK: What we see is
the very real possibility

that extraterrestrial
civilizations visited Earth

all throughout the world.

And that each time they did,
they felt it was very important

to impart this sacred knowledge

about the importance
of acoustic frequencies

in the keys to unlocking
the mysteries of the universe.

NARRATOR: The University
of Bristol, England.

January 17, 2017.

Researchers unveil a prototype

for what they call
a "portable tractor beam,"

a handheld device
that can levitate small objects

using only sound waves.

JASON MARTELL: Recently
the University of Bristol

came up with a handheld device
with an array of speakers

that allows the holder of this
to actually focus sound waves,

and sound waves alone,

and then levitate small pieces
of light material.

So when we look at this
portable tractor beam,

can we extrapolate the idea

that this is a technology
in its infancy,

where in ancient times
it was actually being used

to levitate large stones?

NARRATOR:
At Johns Hopkins University,

biomedical engineers

have manipulated
ultrasound frequencies

‐(steady beeping)
‐to deliver specialized drugs

to specific parts in the
brain with surgical precision.

And mathematicians
at Cardiff University

have developed a method

to literally stop a tsunami
in its tracks

using acoustic waves.

(waves crash, then stop)

But while physicists are excited

at the prospect
of using sound frequencies

to levitate
and manipulate matter,

they insist it is only
the beginning

of a wave of cutting‐edge
acoustic technology.

Could these amazing new
scientific breakthroughs

simply be the first steps
in replicating

what our ancestors
had been taught to harness

thousands of years ago?

WILCOCK: What if these
scientific experiments

that we're looking at
are leading us

to a much greater surprise,

which is that sound
can be followed through

to much greater levels
of efficiency

in its usefulness
for all sorts of things

that seem to be impossible?

We may be just seeing now the
very first steps in our society

of a robust technology

that extraterrestrial
intelligent civilizations

have long since
developed and perfected.

NARRATOR:
Vancouver, Canada.

February 17, 2012.

At a symposium for

the American Association
for the Advancement of Science,

researchers gather to unveil
the latest discoveries

in the burgeoning field
of archaeoacoustics.

LINDA ENEIX: Archaeoacoustics
is a new field of study,

multi‐disciplinary, and we
are incorporating three facets:

one would be archaeology,
anthropology,

a second would be
sound and acoustics,

the third would
be space and architecture.

And all three of those areas

are put together
to try to explore

what was going on
with sound in ancient places.

NARRATOR:
Recent tests at Stonehenge

suggest that
the megalithic stones

were positioned to cause sound
wave interference patterns,

similar to noise‐cancelling
headphones,

creating spots of total silence

at various points
around the circle.

Statues of divine beings

in the 3,000‐year‐old
Chavín de Huántar

ceremonial center in Peru

project a feline‐like roar

when ancient shell trumpets
are played nearby.

(trumpeting)

And at the Pyramid
of the Feathered Serpent

in Chichen Itza, Mexico,

sound echoes mimic
the cry of the quetzal...

(clapping, bird chirp echoes)

(quetzal chirping)

...a bird the Mayans
believed was a messenger

for their creator god Kukulkan.

ENEIX:
People are coming forward now

with these ideas that maybe
were considered pseudoscience

for a long time.

These days, it's beginning
to be taken seriously

that sound belongs in the study
of the ancient world.

TSOUKALOS:
Many ancient cultures

around the world
worshipped sound

because sound was deemed
to be divine in origin.

(echoing trumpeting)

Is it possible that
the reason why our ancestors

talked about divine sound
is not necessarily because

they were referring to music...

(trumpeting)

...but that sound has
this incredible power

with which you could do
certain things...

(sound stops)

...but it's just that
we've lost this knowledge

over the millennia?

NARRATOR: According to
ancient astronaut theorists,

there is evidence
that our ancestors

utilized the power
of sound waves

to accomplish amazing feats
that defied gravity.

But might they have learned
of acoustic applications

far more profound
than those involved

in moving giant boulders?

Perhaps further clues
can be found

by examining some of ancient
man's most important structures;

structures that weren't
built with sound,

but built to make sound.

NARRATOR:
Paola, Malta.

Deep beneath this small town

in the middle
of the Mediterranean Sea

rests one of the oldest
subterranean structures

in the world.

ENEIX: On the islands of Malta,
there are prehistoric remains

that are comprised
of megalithic underground sites,

which were considered
to be communal burial sites.

The most famous of these
is the Hal‐Saflieni Hypogeum.

Hal‐Saflieni dates back
to about 6,000 years ago.

ROBERT SCHOCH:
It's multilayered,

three major levels,

and it's really just astounding

to have carved it
into the limestone.

I'm a geologist.
I know how difficult it is

to engineer something like that
and carry it out.

To me, it shows
incredible sophistication

on a technological basis.

I can't claim that I know
exactly how they did it.

NARRATOR:
When the Hal‐Saflieni Hypogeum

was first discovered in 1902,

archaeologists were astounded
to find buried within it

more than 7,000 skeletons.

In May 1920,

a National Geographic article
reported

that many of the remains
were those of humans

that were "long‐skulled."

But during World War II,

the site was plundered
by vandals,

and the skeletons
mysteriously disappeared.

Luckily, 11 of the elongated
skulls were salvaged,

and at least one of these
displays a non‐human feature‐‐

it is missing the sagittal
suture that connects

the parietal bones
on all human skulls.

CHILDRESS:
A bizarre report came

from a woman named Lois Jessop,

who had worked for the British
Consulate in Malta.

She had been visiting
the Hypogeum,

and had convinced
one of the caretakers

to let her go into
the lowest chamber.

She claimed that she came out

into a ledge in a great fissure

that was beneath Malta.

And on a ledge on the other side
of the fissure,

she claimed she saw
very tall men.

TSOUKALOS:
According to her account,

she saw about 20 white‐haired
giants that looked up at her

and motioned her to come down.

One has to wonder if the
Hypogeum has some sort of

an extraterrestrial presence.

NARRATOR: As incredible as
Lois Jessop's story may be,

perhaps the most extraordinary
discovery at the Hypogeum

has to do with sound.

In February of 2014,

archaeoacoustics researcher
Linda Eneix

gathered an assemblage of audio,
geology and archaeology experts

to test the acoustic properties
of the most mysterious chamber

in this site, known as
the Oracle Room.

After extensive testing,

Linda and her team reached

an incredible conclusion.

The entire Hypogeum resonates

at the specific frequency
of 110 hertz.

ENEIX: You physically feel
the vibration of that sound

‐in your whole body.
‐(frequency humming)

It was, uh, mesmerizing.

The water in the body's tissue
responds to that,

and your whole body tunes into
this vibration

that's wrapping around you
in the sound.

(gong resonates)

NARRATOR: Sound is created by
the vibration of an object,

which causes the air surrounding
it to vibrate and form a wave.

MICHAEL DENNIN: Depending on the
frequency it oscillates with,

that will determine the note
or the tone you hear.

Hertz is the unit we use
to measure frequency.

It's basically the number of
oscillations per second.

Resonance is basically whenever
something is vibrating,

that frequency matches the
natural frequency

or vibration of the object.

This is really important with
sound applications.

If you take an enclosed space,
the way you get a resonance

is to make the size of the room
or space match the frequencies

and wavelength of the sound
you're trying to achieve.

So that when it hits the ends
of the walls,

it reflects just right.

These reflections
build up the sound,

or magnitude, of that vibration.

CHILDRESS:
What is going on here,

and why are they specifically
using that frequency?

So, you have to wonder whether
extraterrestrials weren't

involved in tuning the Hypogeum

to create this special
frequency.

NARRATOR:
Could the Hypogeum in Malta

have been built upon
the instructions

of extraterrestrials

with a very specific
acoustic purpose in mind?

If so, does the 110 hertz
frequency that it is tuned to

hold some special power?

County Meath, Ireland.

DEVEREUX:
This is the entrance.

TSOUKALOS:
Wow.

NARRATOR:
In January of 2017,

researcher and publisher
Giorgio Tsoukalos

traveled to the Newgrange
passage tomb

to meet with archaeoacoustics
expert Paul Devereux.

Here in this
5,000‐year‐old tomb,

and at dozens of other
ancient megalithic sites

across the world,

Paul has been studying the
effects of sound resonance.

Wow.

NARRATOR: Today,
he will be running a test

to discover whether or not

the Newgrange structure was
built with an acoustic purpose

and made to resonate
at a specific frequency.

(device beeps)

DEVEREUX:
We sweep a sound wave

through the chamber

until we got the primary natural
resonance of the chamber.

What it means is
you've produced a standing wave

from the sound source
to the wall of the chamber.

So the sound wave goes up, and
then it reflects back exactly

along the same path.

(110 hertz tone resonating)

DEVEREUX:
Okay, that's good, actually.

We're getting an
antinode there.

If you put the microphone, yes,
into there.

Can you bring it
this way a little?

That's good.
Okay, that's fine.

We're picking up the 110 hertz,

and it's vibrating
around this whole area.

You can actually feel it...

‐Feel it in your body.
‐TSOUKALOS: Yes.

DEVEREUX:
It's a physical thing.

And people forget that,
that sound is physical.

‐Right.
‐You know?

‐Can you feel that?
‐Yes.

TSOUKALOS:
That's quite amazing, actually.

NARRATOR:
When the frequency is set

to 110 hertz,
Giorgio and Paul are able

to both hear and feel a change
throughout the chamber.

Remarkably, this is
the same exact resonance

that was discovered
at the Hypogeum in Malta,

at Angkor Wat in Cambodia,

and at as numerous other ancient
structures around the world.

Now, I think it's amazing,
especially that you've

come across similar type
frequencies in other places.

Oh, yes. They knew
what they were doing, um,

but they did it
in a different way to us.

They didn't have this, all this
stuff‐‐ they could feel it.

And the architecture
would have been built

to structure that sound, to
maximize it, to emphasize it.

Yes.

Now, we asked a neuro clinician,

Ian Cook, if there was anything
neurological

about this vibration of 110hz.

And he didn't think so.

None of us did, really.

But he carried out an experiment
a little bit later

with a group of volunteers
who were exposed

to different audio frequencies.

That paper's been produced and
shows that that sound can affect

‐regional parts of the brain.
‐Wow.

NARRATOR: Is it possible that
certain ancient sites

were designed to resonate

at a frequency which manipulates
the way people think?

Perhaps the answer can be found
by testing the effects

of this unique frequency...

on the human brain.

NARRATOR:
Manhattan Beach, California.

March 25, 2017.

Neurophysiologist Dr. Michael
Mark uses an encephalography,

or EEG machine,
to determine the effects

of the 110 hertz frequency
on a test subject.

Position this. Do you want
to go ahead and help?

NARRATOR: The device records
brain wave activity

256 times per second,

to provide a real‐time look
inside the subject's mind.

Okay, Brian, we're now gonna
start with our first

frequency for three minutes‐‐
Here we go.

(machine emitting low hum)

NARRATOR: While Brian relaxes
in isolation,

Dr. Mark exposes him
to a range of frequencies

between 90 hertz and 120 hertz
in random order,

for a few minutes each.

Ok, Brian, here's our second
frequency now.

(humming gets higher)

NARRATOR:
This will allow Dr. Mark

to compare the results
and analyze

whether 110 hertz has any
measurable impact.

Ok, Brian, now our last
frequency.

(higher‐pitched humming)

We're done now.
Can you please remove your mask?

Mm‐hmm.

How was that experience for you?

DODGE:
Very interesting.

I felt the most shift
in the last frequency.

There was a similar drawing in
of the second frequency,

but there was also
this experience of uplifting,

or moving out and up,

um, sort of like a...

an out‐of‐body experience.

It felt like I was floating.

Okay.

NARRATOR:
Dr. Mark compiled the results

of the entire EEG test

to see if the data
indeed reflects a change

in Brian's brain
at this frequency.

The first picture,
as you can see,

the left side,

the area that was lit up

was the executive function role,

which is focus, concentration

and attention.

When we did the 110 hertz,

we see that the right side
of the brain is lit up,

especially in the parietal area,

which is touch,
visual, spatial, expression.

Which can show

how Brian felt
his out‐of‐body experience.

NARRATOR:
If the 110 hertz frequency

has the power to alter

the very functions of the brain

and even induce
an out‐of‐body experience,

could sites like Newgrange

and the Hypogeum in Malta

have been engineered
by extraterrestrials

to tap directly into our minds?

Ancient astronaut theorists
say yes

and suggest
that thousands of years ago,

our ancestors recognized

a connection between
certain unique frequencies

and otherworldly beings.

Hampi, India.

Here lie the ancient ruins
of Vijayanagara,

believed to have been
constructed

between the 14th and 16th
centuries AD.

At its center stands
the Vittala temple complex,

a masterpiece
of Indian architecture

and the largest and most revered
temple in the city.

DEEPAK SHIMKHADA:
Vittala Temple was built

with the mind of creating a
celestial palace here on Earth.

With that in mind,
the king assembled the great,

uh, the architects
and great engineers

and then great craftsmen

to create this wonderful
building that can also have

a wonderful sound
that will please God.

LAYNE LITTLE:
Attached directly to the temple

is what is called the ranga
mandapa, or the stage pavilion.

Here there are many pillars,

some reaching to a height
of nearly 12 feet.

There's a series of what are
called compound pillars,

where you have a central pillar
surrounded on all sides

with smaller colonnettes.

These colonnettes are famous
because when they're struck

they emit beautiful
and haunting sounds.

(melodic tapping)

NARRATOR: According to
the local guides at the temple,

the 56 pillars
are individually tuned

to one of the seven notes
of the Saregama,

an ancient Sanskrit
musical scale

dating back thousands of years

that is still predominant
in Hindi music today.

Certain groups of these pillars
have been crafted to represent

the tonal vibrations of the
scale for different instruments.

Some being crafted
to represent woodwinds...

(melodic tapping)

...some being crafted
to represent

percussion instruments,
etcetera.

(melodic tapping continues)

JONATHAN YOUNG:
The British, when they were

in charge of India,

were mystified
by this amazing quality

and actually cut one of the
pillars to see how it was done.

But it was just granite,

and it was just
very careful workmanship.

NARRATOR:
While the stone pillars

themselves seem like
simple technology,

recent analyses have revealed
they may be comprised

of an advanced geo‐polymer
blend of granite

with silicate particles
and metallic alloys.

But what continues
to puzzle scientists

is that the first basic
geo‐polymers were invented

in the Soviet Union
during the 1950s,

hundreds of years after
these pillars were crafted.

SCHOCH: As a geologist,
how this was done

is really baffling and amazing.

I've heard reports
of people trying

to mimic it in modern times,
to try to just do

a little section of it,
even one pillar...

(melodic tapping)

...and people just haven't
been successful.

So, what were they doing
back then?

We just don't know.

According to Hindu priests,
each of these pillars

was specifically tuned
harmonically

in order to communicate
with the gods.

So, you have to wonder,
did extraterrestrial beings

come down and give instructions

on creating these specific
frequencies?

♪ ♪

NARRATOR:
If the Vittala Temple

was designed to connect humans
with an extraterrestrial realm,

could the performing of music
have had an even more profound

significance than
is traditionally believed?

Perhaps further evidence can be
found by examining the work

of a mathematical genius
from the sixth century BC

who envisioned that sound
could provide a gateway

to mankind's exploration
of the stars.

NARRATOR:
The sixth century BC.

Pythagoras, the famous Greek
mathematician and philosopher,

travels throughout Egypt over
the course of ten years to study

the esoteric arts under various
local priesthoods.

Pythagoras is certainly one of
the most interesting characters

that we see in Greek history.

In 535 BC,

Pythagoras left his home
in Samos, Greece, and traveled

to Egypt, where he was initiated
by the Egyptian priesthood

in all of the different
secret societies

and organizations
that they had available.

And from this secret knowledge,
Pythagoras obtained information

that seems very, very far
ahead of his time.

(clanking)

YOUNG:
Pythagoras, one day,

was walking past
a blacksmith's shop

and heard a sound on the anvils

and got fascinated with sound

and thought it could be
understood mathematically.

SABINA MAGLIOCCO: Pythagoras,
in hearing these tones

made by the metal
striking the metal,

intuited that there was
a mathematical relationship

between the different notes
in a scale.

That there was a proportional,
a relationship of ratios

between these different notes
in the scale.

(clanks)

(piano notes playing)

DENNIN: When you look
at Western music,

it all has its root
with Pythagoras,

and the great discovery he made
is that the waves generated,

say, by strings
or wind instruments,

could be converted
into clear notes and scales

by using fractions
and discreet ratios.

So we end up with thirds,
fifths, fourths, octaves.

By simply taking the string
and holding it

in these fractional ratios,
you get sound in these ratios,

and it's very pleasing and works
very well to the human ear.

So Pythagoras did
this amazing job

of taking math and geometry
and tying it to music,

which then led to the entire
Western musical scale.

NARRATOR:
Pythagoras' revelations

regarding sound and music
led him to speculate

that the universe itself,
and everything in it,

is in a constant state
of vibration.

He theorized that there is
a harmony throughout the cosmos,

and that even the planets
emit their own unique sounds.

Pythagoras thought of
the universe as operating

as a harmonious whole,

which he compared to a lyre,

an instrument that is a little
bit like the modern harp

in that it has
different strings.

Each string vibrates
at a different frequency,

producing a different sound.

He thought that each planet
in the solar system

vibrated at its own
unique frequency,

and produced what he called
the music of the spheres.

(harp notes resonate)

DENNIN: When you look at
the individual planets,

in our solar system
and around the universe,

the radiation that's emitted
in each planet

will be in
its own frequency range.

(electronic trilling)

We can convert that
to an audible signal,

and think of each planet
having its own signal

or tone or music
that goes with it.

(electronic tones sounding)

WILCOCK: NASA has been able
to record sounds

coming out of the planets,

thereby proving that
Pythagoras's notion

of the music of the spheres
is, in fact, correct.

When we look at these
interesting discoveries

about planets giving off
sound frequencies,

we become even closer
to realizing the fullness

of Pythagoras's
extraterrestrially derived idea

of the music of the spheres.

NARRATOR: In the second half
of the 20th century,

quantum physicists developed
a new model

for the atomic structure
of the universe,

known as string theory.

This theory suggests that
the universe is made up

of vibrating strings of energy,

a concept similar
to the one Pythagoras suggested

thousands of years ago.

There are even those who believe
that string theory

will provide
unprecedented breakthroughs

in everything from space
exploration to time travel

by allowing for the creation
of wormholes

through which humans
will be able to move

from one point in the universe
to another.

But how could Pythagoras
have possibly envisioned

the foundation of such
an advanced scientific theory?

The mystery schools that
Pythagoras attended in Egypt

are known as the school
of the magi, the magicians.

But really, they're a lineage
of otherworldly beings,

or humans that are in contact
with otherworldly beings

that have knowledge
of the stars,

have knowledge
of the progression of humanity,

and act as benefactors,
assisting humanity

in its movement forward
and its evolution.

When we are looking at the
Pythagorean knowledge base,

we are seeing something that is
vastly more sophisticated

than what he could have
come up with on his own,

and is, in fact,
vastly more sophisticated

than our current level

of scientific knowledge
allows for today.

NARRATOR:
If the universe is connected

through vibration
and frequencies,

is it possible that we could use
this knowledge to connect

with other intelligent beings
in the cosmos?

Ancient astronaut theorists
say yes,

and suggest that there is
one particular sound

that may provide
an even more direct connection

to our extraterrestrial
ancestors.

NARRATOR: Every year,
millions of tourists travel

to Hampi, India
to see the ruins of Vijayanagara

and witness
the famous musical pillars.

‐(melodic tapping)
‐But for Hindus,

an equally important link
to their past

is the god for whom
the principal temple complex

was constructed‐‐ Vittala.

Vittala is an avatar of two
of the most important gods

in Hinduism, Vishnu and Shiva.

CHILDRESS: Shiva is always
holding the double‐sided drum

known as the "damaru," and he
is constantly beating the drum.

(rhythmic drumming)

And that drum is creating
the vibration of the universe,

and that vibration
is the unique sound of "Om."

The avatar Vishnu
was holding a conch shell,

which he blows into...

(conch blowing)

...and this supposedly makes
the exact same sound of "Om"

that Shiva makes
with his double‐sided drum.

TSOUKALOS:
Om is a frequency

of all vowels combined into one.

A, E, I, O, U: Om.

And some have suggested that the
Om essentially can be regarded

as the frequency
of the universe.

SHIMKHADA: Hinduism, Buddhism,
Jainism, Sikhism,

they all use the concept of Om

as an integral part
of their religion,

of their understanding
of their, you know, life.

Om is the sound of the universe,
the basis of everything.

NARRATOR: Om is first mentioned
in the ancient Sanskrit texts

called the Upanishads,
written over 3,000 years ago,

which proposed that vibration,
along with ritualistic chanting,

singing and prayer,
can provide a direct connection

between humans
and the gods themselves.

Around the world,
there is acknowledgement

that things
are created by sound,

and that sound
is a kind of portal,

a connection point
between the seen and the unseen,

the sacred and the ordinary.

The Igbo people
of Nigeria in Africa

believe that music is actually
the voices of their ancestors.

Yakut shamans throughout
Central Asia use whistling

to summon their spirit helpers

when they're about to go into
trance to help their people.

The Macau people
of South Asia have a poem

that's linked to the idea
that music

is a way to call
upon our ancestors,

to sing them present with us.

CHILDRESS:
This is the vibration

that is inherent
in the universe,

and it's something that humans
would be able to use it,

with our own technology,

to reconnect with the gods,
with the extraterrestrials.

(chanting)

NARRATOR:
Is it possible

that through ancient traditions
of chanting and vocal prayer,

mankind is actually connecting
to an extraterrestrial realm?

And if so, might the same
be true for similar practices

performed by other
major religions today?

We have this in the West.

Cathedrals are engineered
to affect the visitor.

A seeker comes to a cathedral

and the acoustics of the room
will resonate in the body.

It's about sound.

If you go to one of
the great cathedrals of Europe

and hear a Gregorian chant
or other musical performance,

it will alter
your consciousness.

So, devoted to encouraging
mystical experience,

connection
with the unseen world,

will invent instruments, spaces,

so that the human body will
resonate with certain sounds,

certain music,
certain frequencies,

that will put them in touch
with the unseen,

whether that is the gods
or unseen wisdom.

It's a way for us to get
in touch with the consciousness

and the intelligence
of the extraterrestrial beings

that we believe were here
in the past.

They're here in the present,

and they will ultimately lead us
into our future.

NARRATOR: While it has
often been envisioned

that mankind's first contact
with extraterrestrials

would come in the form

of a spaceship touching down
somewhere on Earth,

could it be that contact
is already taking place,

and perhaps has been going on
uninterrupted

for thousands of years?

Ancient astronaut theorists
say yes,

and suggest the proof
of extraterrestrial contact

may lie not somewhere on land,

but deep beneath
the surface of the ocean.

NARRATOR:
Mariana Trench, Pacific Ocean.

July 13, 2015.

Researchers from the
Hatfield Marine Science Center

scan the deepest part
of the world's oceans

with a hydrophone,
listening for whale calls.

But suddenly, they pick up
something unexpected:

eerie sounds
booming from the depths.

These sounds
are quite interesting.

They sound kind of like
whale sounds,

but they can't be attached
to any known species.

It's about eight miles down.

It seems very technological,
but it's very mysterious.

If we analyze the signal

that's coming out of the depths
of the Mariana Trench,

and realize that it's more
technological in nature...

...could this be coming
from some base

that could still be in use
by some extraterrestrial race?

NARRATOR: If the strange sounds
detected at the Mariana Trench

really are from
an extraterrestrial source,

are they meant for us to hear?

As scientists continue
to learn more

about the possibilities
of acoustic technologies,

and also about the vibrational
properties of the universe,

are we beginning to rediscover

how to detect
otherworldly communications,

and possibly connect
with alien beings?

When we look
at all of the evidence,

we have reason to believe
that extraterrestrials

are giving us clues
that help us to realize

frequency plays
a much greater role

in understanding matter,
energy and consciousness

than we allow for in our
current scientific paradigms.

TSOUKALOS:
If you have megalithic sites

that feature these harmonics

and they happen
to be on different continents,

then one has to wonder if,
at some point,

this knowledge
was given to our ancestors.

I think the time has come
that we not only use our eyes

to look at these things,

but to also turn our ears
towards these sites.

Because perhaps
the frequencies of these places

may be the key to unlocking
the secrets of our past.

NARRATOR: Is it possible
that extraterrestrials

have used acoustics to secretly
guide mankind for millennia?

Or could aliens have hidden
clues all around the world

so that once discovered,

we might one day be able
to initiate their return?

Perhaps the truth
can only be found

once we use not our eyes,
but our ears,

to find the extraterrestrial
messages that surround us.