Original subtitles

NARRATOR: In ancient traditions around the world,

powerful sacred sounds were used

to communicate with the heavens.

DEEPAK SHIMKADA: The whole universe resonates with the sound "aum."

NARRATOR: But was sound also used

to create megalithic structures?

ERICH VON DANIKEN: They had a certain sound,

a certain vibration,

and the blocks moved by themselves.

NARRATOR: And could seemingly primitive rituals

actually have been connected to otherworldly technology?

DR. JEFF THOMPSON: Within the harmonics and overtones

of a complex sound,

you could impart all kinds of information.

NARRATOR: Ancient astronaut theorist Giorgio Tsoukalos

and author David Childress

have gathered experts in science, religion

and mythology to explore the mysterious power of sound.

GIORGIO A. TSOUKALOS: Monuments worldwide

have acoustic properties, and it's all harmonics.

NARRATOR: And the possibility

that new discoveries in acoustics

could lead to the next giant leap in human evolution.

TRAVIS TAYLOR: This is literally

getting the right vibrations to create

the next experience of reality.

NARRATOR: There is a doorway

in the universe.

Beyond it is the promise of truth.

It demands we question everything

we have ever been taught.

The evidence is all around us.

The future is right before our eyes.

We are not alone.

We have never been alone.

I'm really delighted to be here with you guys because

I think that acoustics is definitely something

that needs to be explored even further.

As humans, music and-and acoustics

are very important to our lives.

Remember, from the Bible, it says

God created the world how?

-In the beginning was the word. -By speaking. -He spoke!

It's spoken, right?

The oral tradition is not just words or intellect.

It's an entire tonal thing.

When the universe was created,

it says that the whole Earth has a grid of tones

that founds everything.

That is the same thing in ancient India with aum.

They're saying exactly the same thing, that...

that the universe started with one note, a single note.

-That's right. -CHILDRESS: A vibration.

And then it's the aum sound.

♪

NARRATOR: Aum is a sacred sound

in the Eastern religions of Hinduism,

Buddhism and Jainism.

[deep chanting]

SHIMKADA: Hindu concept of cosmic sound is simply aum.

"Aum" is made of three letters:

"A," "U" and "M."

Those three letters combined makes the sound "aum."

♪

And the whole universe resonates with the sound "aum."

LAYNE LITTLE: Aum is not just found

in Hinduism and Vedic tradition.

It's very much used in Buddhism.

It's utilized in Jainism and also in Sikhism as well.

And it is the most common and most sacred of all mantras

in all of these traditions.

NARRATOR: The concept of aum first appears in the Vedas,

the religious texts that form the foundation of Hinduism.

According to the texts, specific vibrations,

created through ritualistic chanting, singing and prayer,

can provide a direct connection between humans

and the gods themselves.

The importance of sound in Hinduism and Buddhism

is very, very vital.

[chanting]

Without sound, you cannot pronounce a mantra.

A mantra is combined words made into invocation.

NARRATOR: As described in the Vedic texts,

the gods provided humankind with a visual aid

to remember these sacred sounds:

elaborate patterns called mandalas.

PRAVEEN MOHAN: Mandalas are mnemonic devices

used to aid meditation, often in tandem with chanting.

What's interesting is that in Hindu temples,

we have a visual representation of mandalas.

So, what they're doing is they're essentially

translating sound into visual patterns.

In modern technology, these are called Chladni patterns.

NARRATOR: In 1787, German physicist Ernst Chladni,

known as the father of acoustics,

published his seminal work,

Discoveries in the Theory of Sound.

In it, Chladni describes an experiment that shows

how vibrations can create exotic geometric shapes.

We've got this thing called a Chladni plate,

after the scientist who invented it.

It's a thin metal plate, like a sounding board,

and we've got a transducer attached to the bottom of it.

And they spread sand over the top of this plate.

And we start playing certain tones.

[sustained tone plays]

And those sand particles start

to bounce around and dance around,

and they start to form these mathematical circular patterns.

And as we move up through these frequencies,

the sand goes into kind of a chaos in-between state,

and then it arrives at this next pattern.

And the higher the frequency you go,

the more these patterns become more complex.

NARRATOR: In the 1960s, Swiss scientist Hans Jenny

was experimenting with Chladni patterns,

when he noticed an extraordinary connection.

Jenny tried it with aum.

And it generated an image of a circle

with a dot in the middle.

That itself is actually very interesting

because the most fundamental elements of any mandala

will usually be a circle

with a dot marking the cosmic center.

NARRATOR: Today, the patterns made by frequencies

are known as cymatics.

In modern technology, we are able to create

visual representations of sounds.

What is remarkable is that we see the same patterns

in Hindu temples, in ancient Indian structures.

NARRATOR: At the Sri Ranganathaswamy Temple in southern India

are 40 ornate statues carved from monolithic columns.

The statues depict leaping animals

and, above them, vimanas,

vehicles that, according to ancient Hindu texts,

were flown by the gods.

The word "vimana," in ancient Vedic texts,

means flying machines.

In Hinduism, it is clearly established

that the gods come down from the sky using vimanas.

In the temple of Srirangam, these carvings show

many different types of vimanas.

And what's really unique is that, under these vimanas,

we are able to see some very interesting patterns of mandala.

NARRATOR: Some researchers believe these mandalas represent

more than just an artistic flourish.

According to legend, each type of vimana

can be activated with a specific type of mandala.

If we crack this visual code,

if we crack this cymatic pattern,

we might actually unlock the secret to power these vimanas.

Think about-- all this is somehow connected

to cymatics and some of these shapes that we see in, uh,

the ancient hieroglyphics and some of these structures,

megalithic structures.

And you can reproduce those with sound waves.

And so I wonder if, when these patterns occur,

when we create these sounds, is this kind of like

we're inserting the pin to open up

an encrypted PDF file to the read the information?

And what they're trying to tell us with a mandala is that this

is the cymatic code, the shape, the vibration,

the sound that's going to levitate

-or do whatever. -Or whatever that...

You make this picture with sound, and you've done it.

TZADOK: There is knowledge of the ancients,

which was concealed because mankind was not considered

ready for it.

And this was that technology.

What's interesting about this whole harmonics and cymatics

is that this is a universal thing.

It's gonna be throughout the universe.

It's every single planet.

That's-that's called the anthropic principle.

CHILDRESS: It-it's, uh, like mathematics.

TAYLOR: We have discovered all these

extreme amplitudes of acoustic sounds.

And right now, we're currently working on how we might

be using it for future technologies.

-I love it. This is great. -So let me tell you a story

a-about, uh, an event that happened very recently.

Two scientists have done an experiment.

They go into the great detailed math

of the quantum interaction, with the sound interaction.

And they call that a phonon-photon interaction.

Phonon is the particle for sound.

And discovered that sound

can trigger this negative mass effect.

NARRATOR: In March 2019,

scientists at Columbia University

in New York City made a shocking discovery

that redefined the known laws of physics.

In an experiment, physicist Angelo Esposito

demonstrated that phonons are affected by gravity

but in a highly unexpected way.

Instead of being forced down towards the earth,

phonons actually rise upwards.

Scientists discovered that the phonon itself has mass,

which nobody thought it had before.

But the closer they looked, they realized

that it wasn't mass at all; it was negative mass

and negative gravity.

MICHIO KAKU: It turns out that under

certain conditions with sound waves,

sound waves can actually start to rise rather than fall.

And this was an anomaly, but yes, it seems to be consistent

with the laws of physics, that certain vibrations,

instead of falling down, can actually fall up.

To me, that's experimental evidence

that you can, if you understand sound

the right way, use it to levitate heavy things.

TSOUKALOS: So, could this imply

that the ancient stories of levitation of stones,

that some type of technology like that

-was im... was implemented? -That's right.

TAYLOR: And that comes back to this whole idea with,

uh, cymatics, which is where we're taking, uh,

certain sounds and putting them in

what we'll call standing waves.

And they produce these amazing geometric figures.

And you could envision, if you knew the way

to manipulate this the right way, you could put...

you can make three-dimensional figures with it, even. Right?

You could have sound not just underneath it but all around it.

And, in fact, I've seen one

where there are multiple transducers in a way

and they can levitate little Styrofoam balls.

-And Ping-Pong balls. -TSOUKALOS: Mm-hmm. Right.

TAYLOR: Just by having the sound in the right way.

And even do multiple ones in-in configurations.

So imagine if you could amplify the power,

if you could amplify the-the principle,

wouldn't that or couldn't that apply?

-Absolutely. -Because we have ancient stories

in ancient Egypt, in England.

Some of the Stonehenge blocks,

according to some of the legends,

-magician Merlin... -Right.

...was able to levitate those stones

across the plains of England.

Right.

NARRATOR: Is it possible

that the same principles utilized to move sand particles

and larger objects such as Ping-Pong balls

could also be used on a larger scale

to lift and move much heavier objects?

Curiously, a great number of stories

can be found in the ancient world

that involve the use of sound to levitate massive stones.

All the way around the world,

there are myths and legends relating to the movement

of stone blocks using sound technology.

These are found amongst the Maya of Mexico,

the Phoenicians of the Near East

and in Tibet.

We have stories in ancient Egypt, even,

where they seem to be able to move the stone effortlessly

from one place to another, some weighing hundreds of tons.

NARRATOR: In the tenth century AD,

the Arab historian Abul Hasan Ali al-Masudi

wrote that the Egyptians were visited by beings

known as the Guardians of the Sky,

who gave them knowledge that enabled them

to levitate the massive limestone blocks

with which they built the Great Pyramid.

VON DANIKEN: In old Egypt, they had a certain sound,

a certain vibration, and the blocks moved by themselves.

They show a technology which we do not have.

NARRATOR: If acoustic technology was used

to levitate massive stones,

as ancient astronaut theorists suggest,

might knowledge of this technology

have been left for humankind to rediscover?

This levitation technology

is exotic because we have no idea how to do this today.

For thousands of years now, we've turned this

into the realm of legends and myths.

The fact that we have stories of these ancient gods,

in my opinion, is that we are suggesting

that our ancestors misinterpreted

these beings as gods because their technology

far surpassed their current frame of reference.

-HENRY: Right. -TAYLOR: So, these beings

from our ancient past had probably figured this out

in order to do whatever it was they did.

And that lends us down the road of,

how do we figure it out?

And that's something that I'm really intrigued by.

TZADOK: This technology

will not only transform our society;

it'll change our world.

To me, this is fascinating that there seems to be

acoustics and sound that reach the realm of the gods.

TZADOK: The path of the ten sefirot

in the kabbalah speak of the energy vortexes

which vibrate in five different harmonics

called vowels,

which is called tonal technology.

This knowledge was considered too dangerous

to be publicly displayed.

And according to the stories and the legends,

this technology was unleashed, and it destroyed the world.

-And, I... -CHILDRESS: So, well, first they destroyed Jericho.

-Right? With their sound... -Well, Jericho, Jericho...

Jericho came later, but actually,

when you're bringing up Jericho,

the whole story of the Ark of the Covenant

and the marching, this is only just one

simple biblical example.

NARRATOR: The Hebrew Bible's Book of Joshua

tells the story of how Israel conquered Canaan

beginning with the Battle of Jericho.

According to the story, God commanded the Israelites

to march around the seemingly impenetrable walls of Jericho

once a day for six straight days,

carrying with them the Ark of the Covenant.

But on the seventh day, they were to circle Jericho

seven times, making tremendous noise.

HUSSAIN: On the seventh day, as they circle it,

they blow the trumpets,

and it's the sound that brings the walls down.

And you can think of that from an engineering perspective.

Is it the trumpets and the vibration,

the sound of the trumpets, that somehow resonates

with a particular frequency in the brick of the walls

that causes these walls to collapse?

NARRATOR: Is it possible that the story of Jericho

is a historical account of acoustic technology

being used thousands of years ago?

Ancient astronaut theorists say yes

and point to other stories that describe the power

of the Ark of the Covenant.

What I have always found fascinating

is that we have stories of these magical incantations.

-Right. -But, you know,

operating something with voice commands,

if you don't know what that is, that's a magical incantation.

This is the interesting thing, because when you look at

the Ark of the Covenant...

...you look at the high priest.

The high priest, of course, would speak to God

wearing the Breastplate of Judgement

that had the 12 stones on it.

The high priest would approach the Ark of the Covenant,

and he would start to recite certain tones, sounds.

These were very deep, tonal, throat-type chants.

The tones were said to then cause the stones to vibrate,

and they would send out lights,

and then the Ark somehow would react to this.

There's some active energy there,

which we call the glory, or kavod,of God.

It's not God, but it's some actual energy field

that if you would be in the presence...

-Remember, you couldn't go into the presence. -Or a machine.

-That's right. -Something was there

that if you went too close, you died.

I'll tell you exactly what that sounds to me like.

This breastplate has optical

and/or acousto-optical transceivers on it.

And they're hand-shaking, which is what

the old-school acoustic phone modems would do

when you would call up-- or the fax machine calls up--

to connect to the other side.

HENRY: What we're seeing here is that they would use sound

to link Heaven and Earth.

[deep chanting]

NARRATOR: The idea that sound can facilitate communication

between man and divine beings--

like the Hindu use of aum-- is a common theme

in religious traditions throughout the world.

All religions really use music,

and you see that in worship services.

[chanting]

So the cantor with the psalms in the Jewish tradition...

[choir singing a hymn]

...choir in Christian traditions.

Even in the Islamic tradition, where there's no formal music,

there's a-a melody to the recitation of the Koran.

[melodic chanting]

Every culture has the idea

that this music connects us with the divine.

NARRATOR: For many religious practices,

just as important as musical traditions

are the locations in which the rituals are performed.

THOMPSON: A choir singing in Chartres Cathedral

is magical because of the architectural space.

And so these architectural spaces

in all these various cultures,

from these kind of secret monasteries in the Far East

and in the Middle East,

were famous for having

architectural designed spaces

that call up the sacred.

[congregation chanting]

NARRATOR: Interestingly, a growing number of archaeologists believe

some of the world's oldest structures

were specifically designed to accentuate acoustic properties.

Like all of you, I'm always keeping up

on the latest archaeological developments and research,

and I think it's really fascinating

that monuments worldwide have acoustic properties.

What they're finding is that these were chambers

that were designed where you would have this

acoustic experience that you heard,

but you also felt it in your bones, in your tissue.

-Yeah, they call this archaeoacoustics. -Mm-hmm.

NARRATOR: Archaeoacoustics is an interdisciplinary

field of archaeology dedicated to examining

how sound and acoustics were utilized in the ancient world.

FELICIA BEARDSLEY: It's a relatively new field,

and archaeoacoustics is looking at

the sound quality of ancient sites,

historical sites, archaeological sites

where we see music probably played a role.

Stonehenge is one of those.

Where you stand in the middle of Stonehenge,

you would create the sound blast of music,

whatever implements were used,

'cause we're not really sure, and it would bounce

off the stones and create this sort of echo chamber.

Stonehenge functioned as a sonic temple.

By this, what I mean is that...

individuals, the center of the monument,

would create musical sounds,

particularly of a low frequency,

that would be contained actually inside the stones

and build up an energy, if you like,

for a purpose which we can only guess at right now.

NARRATOR: All around the world, archaeologists have identified

numerous ancient sites that were designed

according to acoustic principles,

such as Gobekli Tepe in Turkey,

the Hypogeum in Malta

and the Newgrange passage tomb in Ireland.

Newgrange has very strong acoustic properties.

What they found is, is that the way the sound waves

bounce around the chamber, they create

what's called standing waves.

And they increase in intensity and sound.

NARRATOR: According to some researchers,

curious carvings found inside Newgrange provide key evidence

documenting that the structure was

purposely designed to have elaborate acoustic properties.

NEWMAN: And it seems that these standing waves were recorded

actually within the chamber itself,

where you could see these zigzags

carved all over the place,

suggesting that they not only understood acoustics

but they were recording the experience

within the chambers.

The other thing of-of real interest is the fact that

when they investigated the corbeled roof,

which is like multiple mega-size stones

almost going around a spiral,

they found that these had been adjusted.

And they found the reason for that was because

they were tuning the chamber acoustically.

NARRATOR: Is it merely coincidence

that ancient structures all over the world

appear to have been designed by different civilizations

that demonstrate such similar acoustic properties?

Or might they share a very common purpose?

And if so, why?

I mean, it's fascinating the whole idea of

these vibrations and acoustics within these ancient sites

and that they were purposely created that way.

HENRY: Yeah, they were set up for,

uh, an extraordinary human experience

that potentially then this can enable an experience

with an otherworldly being, even a... like a godlike being.

They were signifying it was a place,

that they were opening up a spiritual portal

by doing ceremony, chanting--

you know, maybe beating drums or something--

to their ancestor gods or to their sky gods.

What we're seeing here is that these were

meeting grounds of humans and the gods.

The interesting thing about these resonance chambers--

one thing we have discovered at these low frequencies--

you actually can be in a...

in sort of a trancelike state from it.

TZADOK: Apparently, there is a psychological

or spiritual effect.

This was used with shamanistic practices.

NARRATOR: Ancient religious leaders, commonly known as shamans,

were seen as links between humans and a higher realm.

For the shamans, sound was not used

merely to make a spiritual connection with the divine

but to actually interact with otherworldly beings.

BEARDSLEY: The term "shaman"

comes from Siberian religious practices,

and it means somebody who can see

the underlying fabric of the world around them.

These are the negotiators

between this world and the other world.

They could step into the other world

to negotiate with otherworldly forces.

COLLINS: Individuals, shamans,

when they chanted, when they sung,

when they used the instruments,

it was to enter into altered states of consciousness

so that they could communicate with spirit entities

and perhaps connect with

what we might describe as ancient aliens.

TZADOK: The point is that the shamanistic practices

are all built upon what?

Chants, sounds, altered states of consciousness

which bring you into connection with...

extraterrestrials, aliens, whatever is out there.

That's a really interesting point, Rabbi.

You know, we have discovered that sound waves

can actually control our brain.

NARRATOR: In the 1960s, neuroscientists discovered

that rhythm and acoustics can produce

a physiological change in the human brain

through a process known as entrainment.

THOMPSON: If I can create a pulsing

in the external environment

that's pulsing at a brain wave speed,

my brain waves will try to match that speed to save energy,

and my conscious will... will change in the process.

So we can do that using just a drum

to change consciousness at will.

If I hook you up to an EEG machine

so I can look at your brain waves--

and normally, when we're awake,

my brain waves are generating beta function,

which is rapid, between 13 hertz and 38.

And the drumbeat is at five.

And my brain waves are gonna start slowing down

and slowing down, slower, slower,

to take my consciousness from a waking state

into a dream state without going to sleep first,

which means that's a classic definition of a trance.

The earliest examples of brain entrainment

would be shamanic drumming.

The speed of the drumbeat tends to be around five hertz.

And that's about like this.

[chanting]

You know, that's about it. That's about five hertz.

And five hertz is where your brain goes

when you're dreaming at night.

The whole idea is to transform consciousness.

They were trying to achieve a connection

with the divine, with the otherworldly.

NARRATOR: If modern science has proven

that shamanic drumming does, in fact,

induce a state of trance,

could it also be true that it enables

extrasensory abilities

and even allows for communication with other realms?

While it may sound like a far-fetched notion,

in 1995, the U.S. government revealed

that brain entrainment was part of its top secret spy program

called Project Stargate.

Operatives in this clandestine unit

gathered intelligence about persons, places and events

from great distances by sensing with their minds,

a practice called remote viewing.

During the 1970s,

President Jimmy Carter's administration

used remote viewers to locate

a downed Russian spy plane in Africa.

You talk to any of the old remote viewers,

the ones from the Stargate program,

they'll tell you how accurate and how important

and how relevant their information was.

NARRATOR: John Vivanco has been working

in the field of remote viewing

as both a teacher and practitioner

for more than 20 years.

I worked with corporations, intelligence,

uh, counterterror for the FBI after 9/11.

NARRATOR: At the start of every remote viewing session,

John uses specific sounds to entrain his brain waves

and create a trancelike state.

What we do with remote viewing

before we do a session is a cooldown.

Uh, we will meditate,

and one of the aides that we'll use are binaural beats.

So, if you think about frequencies in the ear,

we'll listen to these sounds.

So, if one ear is pulsing a sound

of let's just say... six hertz

and in another ear it's pulsing a sound of four hertz,

your brain waves will synchronize

to around five hertz.

And we like to stay in that zone

in order to get the best information.

NARRATOR: John claims that by entering this trance state

remote viewers have gathered more than just information.

They have also encountered otherworldly beings.

VIVANCO: We were working a project

around the Arecibo Radio Observatory,

and I was the first viewer on this particular tasking,

and I start to get these beings, these aliens.

And I just remember during the session,

uh, I kept saying, "They're coming,

they're coming, they're coming."

And they started to take notice of me.

And I'm starting to freak out because I've got

tons of adrenaline flowing through me.

I-I'm in fight-or-flight.

It telepathically communicated with me, and it said,

"We are here to help you, and we want you to help us."

The other viewers started to experience the same thing.

And so that's when we started to, okay,

now you know I'm not hallucinating.

This is absolutely real.

Travis, you could speak to this probably in more detail,

but we-we live in a spectrum, right?

-We see a very tiny sliver of reality. -Oh...

And what if these frequencies--

what if they're like dials-- you know, you can...

like you're tuning the radio dial?

"Oh, I'm not in Earth frequency anymore.

"I'm just gonna tune it a little bit in this space,

and I'm gonna be able to see what's actually there."

So, what if-- and this is a what-if--

you're in this perfect spot, what if that shifts you

slightly, uh, in the spectrum that you can, uh, perceive?

TZADOK: How about this?

If we could actually, through science,

find the proper resonances, tones

that'll actually put us in contact with... with whom?

-The ancestors. -The only way to find out...

...is to knock on the door and go through and say,

"Who's there?"

There is an ancient book called Perek Shirah

with a chapter of song where in which it's revealed

that everything in nature has its own vibration.

-Right. -Which means it has

-its own consciousness. -Right.

We call that mechanical resonance.

Everything is alive.

TAYLOR: And that comes back to--

the universe itself has this mishmash of vibrations.

-Right. -And it's singing a song, so to speak.

And if we learn how to interpret and/or manipulate the song,

then we can interpret and/or manipulate the universe.

-And it's all harmonics. -HENRY: It's all harmonics.

We've got to go back to Pythagoras

with his "music of the spheres" concept

because he comes up with the idea of the musical scale

and, uh, musical ratios.

NARRATOR: In the sixth century BC, Pythagoras,

the famous Greek mathematician and philosopher,

made an acoustic discovery

that would reverberate through history.

Pythagoras was, in a certain sense,

the father of modern mathematics.

He gave us the base-ten formula

for our Western system of numbers,

and he discovered a divine symmetry, so to speak,

in all things that exist.

JONATHAN YOUNG: One day, Pythagoras is

walking by the blacksmith's,

and he's hearing some harmony

coming out from the smithy area there.

And so, with the kind of a persistence of a scientist,

he figures out that if a hammer is twice the weight

of another hammer and they both strike at the same time,

the notes they make are harmony.

MICHAEL DENNIN: The great discovery he made

is that the waves generated,

say, by strings or wind instruments

could be converted into clear notes and scales

by using fractions and discrete ratios.

So, Pythagoras did this amazing job of taking math and geometry

and tying it to music, which then led to

the entire Western musical scale.

NARRATOR: Pythagoras's study of harmonics led him to theorize

that everything in the universe, including planets and stars,

exists in a constant state of vibration.

Incredibly, he was right.

2,000 years ago, the Greeks asked an elemental question:

What paradigm can explain

the entire complexity of the universe?

Pythagoras said music has the complexity

to explain the diversity of the universe itself.

So, in other words, our universe resonates

with the notes from music.

Pythagoras said that everything is based on music,

which, in turn, is based on certain ratios:

thirds, fifths, octaves.

So, why not explain the solar system this way?

If you look at Mercury, Venus, Earth, Mars, Jupiter, Saturn,

they are aligned according to certain ratios.

Maybe these ratios are the ratios of strings.

And so he called it "music of the spheres."

When planets move around the solar system,

he thought they must create music,

music that we cannot hear.

This is heavenly music, music of the angels,

but nonetheless, that would explain the regularity

of the solar system itself.

And so he thought you could explain

the universe through music.

HOROWITZ: Pythagoras felt he was

unlocking a kind of code of creation.

He was providing humanity

with the language of the gods, so to speak.

Pythagoras said it was Apollo, the-the Sun god,

who taught him about all of these advanced concepts

and laying down the basis for modern music

and everything that we know about music.

So, there's an extraterrestrial connection here

that is very important for us to think about.

All this talk about music and frequencies and harmonics

all boils down to mathematics, correct?

According to the ancient kabbalistic texts,

math, complemented with the appropriate harmonics,

are going to align with the natural harmonic

or universal pattern of the universe.

We are talking about the hidden,

sacred knowledge of the ancients,

which was their secret technology,

their way of reaching out to the higher dimensions,

whether they be to angels or gods or ancient aliens.

This is a really interesting, uh, conversation

about all these different acoustic properties.

I've always thought that there's a... a different pattern.

I call... I've always called it the god fractal--

that, I think, if you found it,

it would be like the mathematical instructions

to building the universe or whatever.

Have you seen diagrams throughout history or whatever

that, to you, suggest the pattern?

-HENRY: The Flower of Life. -I was just about to say.

HENRY: It has to be the Flower of Life,

the-the symbol of creation itself.

NARRATOR: Constructed of overlapping circles,

the Flower of Life holds all geometric forms

within its design.

One of the oldest known examples of this sacred geometry

can be found at the Temple of Osiris in Egypt,

a structure archaeologists claim is 6,000 years old.

The Flower of Life symbol is considered

the seed symbol of all symbols.

The ancient Egyptians understood

this symbol came from the heavens.

CHILDRESS: The Flower of Life is very special.

It's really a... a mandala.

And it may have something to do

with the geometric nature of the-the universe.

We don't know exactly what it did.

Perhaps it was really symbolizing some device

that's a sound device, a harmonic device,

something that's highly technical

and was used by these ancient cultures.

NARRATOR: Is it possible that extraterrestrials

have used acoustics to guide humankind

for thousands of years?

And if so, did they hide clues in ancient traditions,

structures that create altered states of consciousness,

and sacred shapes in the form of cymatic patterns?

Perhaps the next great leap forward

will occur once we tune in

to the extraterrestrial messages around us.

I think, too, the opportunity we have here

for cracking this harmonic code is--

we all talk about a golden age and a time when we're gonna see

extraterrestrial presence on this planet,

and this could be the key to it.

"Harmony" is the right, uh, key word there.

-Exactly. -Yeah, right.

For the whole universe to be in harmony, yeah.

So, this is literally getting the right vibrations

to match with the right vibrations

to create the next experience of reality.

I like that. Guys, look, this has been

absolutely incredible conversation.

And I think we've established that there is

way more to the world that we know of,

there's way more to our reality

and also what we can perceive with our senses.

And I can't wait to continue this at some other time.

To be continued.

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