#extraterrestrial technologies in the temples and sculptures

[dont-read-this-im-dead]

I thought this was going to be more UFOs and aliens, but it was actually just a history lesson of the Maya. It was pretty interesting, and it went a lot into their stone carvings, trying to decipher them, see if their gods really were aliens, or just from Asia or some such.

[madamlaydebug]

The Seven Functions of the Pyramid

1. Power generator and distributor

2. Preservation

3. Transportation

4. Energy balance

5. Prophesy

6. Resurrection

7. Divine unity

The ancient Egyptian/Ethiopian empire used a certain form of electricity that was generated and distributed by pyramids. It is different than modern electricity in that the modern type is a low form of electricity that requires transmission wires.

All the substances of the universe have a range or spectrum of frequencies. You are familiar with the most common spectrum - that of light. Scientists have named the extremes that they know of this, calling them infrared and ultraviolet. That means if you look at the seven colors of the rainbow, starting with red then orange then yellow, green, blue, indigo, and violet, then the light spectrum starts from below red (infrared) and goes all the way to beyond violet (ultraviolet).

Similarly the other forms of matter also have a range. Solid matter comes in a range of solidity, from soft solids like lead to very hard ones like diamond. Liquids also have a range, starting with thin liquids like pure alcohol or substances such as benzene, to thick liquids like gels. This is true for all the seven forms of matter through the gases to the ether, light, electricity, and magnetism.

Modern generated electricity is a lower-spectrum type, barely above static electricity (the type that makes your clothes cling). The ancients used a higher form of electricity that did not require wires for transmission. It was transmitted directly in the ether (i.e. in space) the same way radio waves are transmitted. It was transmitted to the temples, which served, among other things, as receiving stations. So the temples had antennas used to receive the transmission. These antennas can still be seen today erected in front of some of the temples. Modern people call them obelisks. There is one near you in Central park, New York that was stolen by Americans from one of the temples, and many more that were stolen by Europeans, perhaps the most famous one being the one called Cleopatra's needle.

Now, the ancients had great reverence for technology. To them it was a gift of nature coming directly from the Gods - the 144 Chiefs of the Black nation. So they did not treat it as casually as modern people do. Today everyone in western countries has access to electricity, including batteries, and they use it casually. There is no reverence whatsoever for this gift of the Gods. The ancients used it only when necessary, including it in the appropriate rituals, and only for projects that were for the benefit of the general society rather than individuals. Other than that they went about their business the usual way, using ordinary hand tools.

For this reason modern archeologists claim that the ancients did not have the knowledge of high technology such as electricity because they see the ancient Egyptians going about their business using hand tools and physical labor most of the time. Yet, there are many instances where they have seen the manufacture of certain implements such as stone coffins that were obviously made using some kind of high-speed machinery. They dismiss these instances as exceptions, and so never mention them in their studies and reports. There are many sculptures and other pieces of art found that are made of very hard stones such as diorite, including vases with very thin walls, narrow necks and wide bottoms. When they look at them, it's quite obvious that they could not possibly have been made by hand. They were certainly made using some kind of rotary machine that required electricity. These are the kinds of items that they bury in the basements of their museums because they do not fit their theories and explanation concerning the level of ancient technology.

The ancients understood the concept of balance in all its aspects. They understood that balance is necessary in all things, including the use of technology. Even though electricity is to be used to make life much easier, it is not supposed to be exploited to the point where it replaces all other uses, especially the uses of hand tools and physical labor. Such behavior leads to a deterioration of the human body. It discourages the exercising of our muscles using natural activities. Our muscles need natural activities in order for our bodies to remain in a state of good health. It does not help the body to replace natural activities with artificial activities such as weightlifting and gymnasium exercises. The everyday activities of the ancients, such as farming, washing clothes by hand, milling grains, making wine, rowing boats etc ensured that their bodies never went lacking for natural exercise and the muscular fitness and balance required for good health and long life. That's the reason they kept their ancient ways even in the midst of technology that was vastly superior to that of the modern day.

Every person had to reach a certain level of initiation before he could use it. The technology was not given for free or for money as it is today. It was earned by knowledge and understanding obtained in the rituals associated with it. They understood that all technology has a higher purpose above that of merely making life easy - it lends to the overall balance of the forces of nature. Without this balance, the life of a society will degenerate to one of two extremes; the extreme of greed, where the gifts of nature are used solely for the satisfaction of physical desires with no spiritual value whatsoever. This is what we see with the way the light-skinned people use technology today. The other extreme is that of over-technologization, which leads to over-intellectualization - i.e. giving up the heart for the sake of the head. This is the case with the extraterrestrial races today, who have given up all emotional life for the sake of the intellect, to the point where they have lost all capacity to love or to empathize.

These two extremes illustrate the end result of the unbalanced use of the gifts of nature.

Knowing this, the ancients were able to keep using high technology for thousands of years without the harmful effects we see today such as the ecological disaster that is being foisted upon mother earth by the light-skinned races, or the genetic deterioration that comes as a result of losing one's capacity to feel emotions, such as is being experienced by the extraterrestrial races.

The pyramids were also used for the preservation of life forms, or the function that has been attributed to Noah's ark. Periodically, it becomes necessary to preserve life forms on earth, both of animals and plants, so that they may continue after certain events that devastate the earth during its periodic cleansing. I will talk more about this function and events at some other time.

Pyramids are also used for space travel. This requires the manufacture of a monolithic pyramid. This is a large pyramid (much larger than the Great Pyramid) that is made of a single stone. The stone is obtained in space from among the debris of large rocks that orbits alongside the planets, that are called asteroids.

When our first ancestors came to earth from Sirius, they used twelve such pyramids, each one occupied by 12,000 men and women.

They landed the pyramids at twelve different locations on our earth, that were the energy nodal points of that time. The pyramids remained there for a long time in the far, far distant past, trillions of years ago. Such pyramids are always used when large groups of people leave to settle a new planet. We will see their use again here on our earth in the near future.

Pyramids are also used to balance the earth's energies. They are placed at the 12 primary nodes of the earth where space energies enter our planet. Every inhabitable planet receives energies from other stars in space that are essential for human and other life. These energies must be balanced as they enter the nodal points, otherwise they could upset the earth's magnetic shield. The earth's magnetic shield is crucial for keeping out things in space that could cause harm to the planet, such as large meteors and harmful rays. Our earth and other planets in our solar system are still bombarded by such things because our solar system is still evolving. They will cease when the entire solar system reaches a state of perfect stability, where all its energies are in perfect harmony with the energies received from outer space.

The Great Pyramid also acts as a prophetic 'book of stone'. It's constructed in such a way that it tells the future story of the age we are in. Every King or Queen who rules the earth builds a stone pyramid as part of their ordination. In its construction, they 'write' the future of their 25,000-year reign. They do not write it in Hieroglyphs, but in the sizes and types of stones used, and the way they are placed, as well as the way the chambers are constructed. A person who is initiated into its mysteries can read the future events of the earth from it.

It is also used as a resurrection 'machine'. I've already described the two facets of resurrection for which the Great Pyramid of Giza is used.

Lastly, and most important, the Pyramid is used to facilitate divine unity during rituals. This is a function that belongs to the 24 Elders.

[esonetwork]

Timestamp #179: The Impossible Planet & The Satan Pit

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Timestamp #179: The Impossible Planet & The Satan Pit

Doctor Who: The Impossible Planet Doctor Who: The Satan Pit (2 episodes, s02e08-09, 2006)

  “I shall become the manifest.” Er, I mean, ah… welcome back!

The TARDIS reluctantly materializes in a tight room, and while the Doctor is concerned about the capsule, he and Rose laugh at the idea of going somewhere else. After all, since when have they ever cut and run from something unknowable? They explore the area, traversing a corridor to an large chamber. The Doctor identifies the station as a sanctuary base, and after Rose spots “Welcome to Hell” on the bulkhead, the Time Lord is puzzled by text that won’t translate with the TARDIS matrix. That means it’s really, impossibly old. They prepare to leave when they are cornered by tentacle-mouthed aliens holding glowing orbs, repeating a single phrase: “We must feed.”

Our travelers try to leave what looks like an alien buffet, but it turns out that the extraterrestrial speech technology is glitching. One of the aliens hits its orb and the message turns to one of hospitality. The Doctor and Rose don’t get any time to celebrate no longer being on the menu. The station’s human crew – surprised to see guests in their midst – arrives just in time for an emergency, and the travelers are escorted to a control center. The humans prepare the station for a series of impact tremors, still baffling the Doctor at every turn.

Oh, and the aliens? They’re called the Ood, and they are an empathic species who act as servants and laborers. They’re born and bred to be slaves.

After the tremors, introductions are made around the room before the Doctor and Rose are shown that the planet is in orbit of a black hole. That makes this location an impossible planet – ding, there’s the first title – since the laws of physics demand that they should all be dead. The black hole is K37 Gem 5, and the planet is known in scripture as Krop Tor. That same scripture references a demon in the depths of the planet, coincidentally located near a gravity funnel that’s keeping them all alive. The Doctor is stumped. Running some calculations – Time Lords invented black holes, after all – he determines that the gravity field would require a power source with an inverted self-extrapolating reflex of six to the power of six every six seconds.

Yes, you heard that right: Six, six, six.

Impossible and ominous.

And the humans are here to find it to help power their civilization.

Of course, the fact that the explorers were curious enough to plumb the planet’s depths really excites the Doctor. The feeling is short-lived when he finds out that the tremors collapsed several storage sections, sending them and the TARDIS into the depths of the planet.  The Doctor and Rose are trapped on the impossible planet, and the crew cannot spare the resources to rescue them.

The team goes back to work, but archaeologist Toby Zed begins to hear voices. The voices spread among the crew – “He is awake.” – and Rose hears some strange stuff from one of the Ood: The Beast will rise from the Pit to make war against God. Toby gets the worst of it as he is possessed by a mysterious presence that causes the old symbols to take up residence on his flesh.

As the power flickers, the crew and our traveling heroes watch as an entire solar system is consumed by the black hole. The crew moves about as Rose and the Doctor watch the maelstrom. Rose considers calling home, but her new superphone doesn’t get a signal here. The dynamic duo discusses their future without the TARDIS, and the Doctor reveals that he has failed Jackie by not being able to get Rose home.

Then the phone rings. A voice says, “He is awake.” Rose tosses the phone to the deck.

The Doctor and Rose rush to the Ood and ask Danny about their telepathic skills. While they are there, the Ood monitors go ballistic, and when Rose repeats the message – “He is awake.” – the Ood reply in harmony, “And you will worship him.”

Maintenance officer Scooti Manista visits Toby’s quarters to drop off a report, but she finds that the archaeologist has gone outside without a spacesuit. Moments later, Toby breaks the pressure glass and kills Scooti via explosive decompression. The breach rocks the base and the crew rushes to fight the casualty. More sections are lost but the base is saved. Scooti is found on the glass above the lounge, slowly drifting into the black, and a once-again normal Toby joins the remaining crew as the security chief Jefferson recites from Horatius by Thomas Babington Macaulay.

And how can man die better Than facing fearful odds For the ashes of his fathers, And the temples of his gods.

The drill stops, presumably having reached the planet’s core, and the crew prepares to investigate. The Doctor tags along, convincing Captain Zachary Flane that he needs every bit of help he can get. Danny orders the Ood to stay put as the Doctor and Ida Scott dive into the depths. They emerge into a massive cavern filled with ancient sculptures. The power source is guarded by a large circular disk in the floor of the cavern, which the Doctor believes to be a trap door or a seal.

Oh, and the Ood are experiencing another spike in mental activity, a level which should immediately kill them.

The Doctor and Ida cannot translate the words on the disk, but Toby can. In fact, it’s written all over his face as he rises against the surface team. Communications are disrupted as Toby taunts Jefferson before the presence is transferred to the Ood, now identifying as the Legion of the Beast. The Ood recite demonic verses as they advance on the crew, killing one of the guards in the process. The rest of the crew run as the circular door opens and the planet is pushed out of orbit.

From the depths of the pit, laughter echoes as whatever lies beneath is finally free.

Jefferson orders his team to open fire on the Ood. Rose tries to contact the Doctor as the rest of the crew fights for their lives. Jefferson recommends “Strategy 9” and Zach agrees. Rose finally reaches the Doctor and the Time Lord reports that everything is now eerily quiet in the cavern. Ida ignores the order of Strategy 9 – opening all of the airlocks and purging the base – and asks the Doctor what to do. He ponders the temptation but ultimately decides to withdraw. As the team heads back to the lift, Rose saves Toby from execution, but something prevents the lift from returning.

Zachary addresses the presence as a representative of the Torchwood Archive, opening a dialogue with the being. The Doctor interrogates it, and it claims to be the evil in every faith in every civilization in every time. The Disciples of Light defeated it and chained it in the pit for all eternity. It addresses the Doctor as the “killer of his own kind,” and predicts that Rose will soon die in battle.

As the beast signs off in a jump scare, initiating a panic in the crew, the Doctor calms everyone’s fears. His motivational speech is interrupted as the lift’s cable snaps, destroying the car and trapping the exploratory team in the deep with only an hour of air. With the power outage, Strategy 9 is no longer an option. As the Ood cut through the door, Rose rallies the troops. Zach bypasses the rocket to provide temporary power and Danny develops a plan to disrupt the Ood telepathic signals. The downside is that the telepathic flare has to be broadcast from the Ood habitation monitor.

Rose and her team navigate the maintenance shafts as Zach follows them with an oxygen bubble. The Ood pursue them in a claustrophobic action sequence during which Jefferson is left behind. The security chief is given a merciful death on his own terms. The surviving humans have little time to grieve as they are immediately pursued by more Ood, forcing them to go up, but not before Toby secretly reveals his possession to their pursuers. They end up in the Ood habitat and Danny initiates the telepathic flare. The Ood fall to the deck.

Ida gathers the fallen cable for a descent into the pit. The Doctor volunteers to go as Ida remains above to support the cable, and the Time Lord descends into literal wall-to-wall darkness. As he muses with Ida on belief and metaphysics, the cable runs out. The Doctor takes a leap of faith and detaches the cable, falling the rest of the way to the bottom with an unfinished final statement for Rose on his lips.

Rose and Zack restore communication with Ida, but there is no other way to reach her before abandoning the base. Danny, Toby, and Zach start preparations to leave, but Rose elects to stay behind. Zach decides for her by knocking her out and ordering the team to the rocket. The rocket lifts off as Rose wakes up. She threatens Zack with the bolt gun, but the threat is empty. The ship rockets toward safety on Earth.

The Doctor wakes up on the pit floor with a shattered helmet. The walls are decorated with pictographs depicting a battle against the Beast, and the Doctor finds two jars in front of the creature itself chained in a deeper pit. The Doctor pieces together that the Beast’s intelligence has been transferred to someone else, leaving this shell behind. The Doctor considers destroying the prison, but that act would disable the gravity field and plunge the rocket into the black hole. That’s the trap: Killing the beast kills Rose.

But the Doctor has none of it. He believes in his companion, and thus shatters the jars. As the planet and the rocket plummet toward the black hole, the Beast emerges in Toby one more time. Rose picks up the bolt gun, breaks the cockpit window, and releases Toby into the abyss. The humans and the Ood accept their fate, but the Doctor finds hope in a perfectly positioned big blue box.

The Doctor rescues Ida Scott and the rocket, but he regrets not being able to save the Ood as well. Time Lord and companion are reunited, and the humans are sent along their way to Earth. He also tells all of the humans that he doesn’t know what it was that he found in the pit, but they defeated it, and that’s what matters.

As the survivors of Sanctuary Base 6 file their final report, including the humans and Ood who were lost, the travelers – “The stuff of legend.” – fly on to the next adventure.

  When Doctor Who plays with mythology, it is always a bonus for me. But this story excels because of a pace that never relents. It is a horror story at its core, and the tension is palpable and almost smothering. Even the Doctor is off his game because he’s not the smartest guy in the room this time. In fact, our heroes very nearly get outsmarted by the enemy, and those kinds of stakes really make this story sing.

The big downside for me is the budding Rose/Doctor romance. I’m not adverse to the Doctor finding love, and the relationship with Rose has taken a very natural arc as they have grown closer and closer. But I feel that we have crossed a line at this point: Rose has lost the ability to function when the Doctor is not around or is in danger. She’s lost her independence and adaptability after leaving her relationship with Mickey, two key elements for a companion in the TARDIS, and it’s becoming annoying.

    Rating: 4/5 – “Would you care for a jelly baby?”

    UP NEXT – Doctor Who: Love & Monsters

  The Timestamps Project is an adventure through the televised universe of Doctor Who, story by story, from the beginning of the franchise. For more reviews like this one, please visit the project’s page at Creative Criticality.

[nofomoartworld]

Explore an Aquatic Alien World in This Magical Virtual Reality Game

Miami-based musician and multimedia artist Virgo evokes an ethereal, dreamlike quality in everything she touches. The recent launch of her virtual reality game Water Planet at the Institute of Contemporary Art (ICA) in Miami is no exception, as she transforms the second floor of the museum into a glowing extraterrestrial wonderland.

Virgo, a.k.a. Elizabeth Ann Clark, and her partner Albert Ovadia spent the past year developing the game, which features a soundtrack of songs from her most recent EP and original sonic compositions. Water Planet is a first person space exploration game, where you explore a previously inhabited planet as an interstellar traveler, with the help of a cybernetic jellyfish guide named Aqua.

Image Courtney Levine/Revera Corporation

"It evolved from creating visuals for my live performance, and then those early levels ended up being the framework for what is now the VR game," Virgo tells Creators, referring to the genesis of the project. The cinematic quality of the visuals and palpable synergy with the music are executed in a way that could only be achievable in virtual reality.

She explains, "VR has the ability to transport you, and even if the graphics are not hyperreal, the spatialization of sound and image in 3D space creates the illusion of reality before the eyes. I want to raise awareness for the medium itself and to hopefully encourage people to think for a moment about the future of Earth, especially the oceans."

Image courtesy of the Revera Corporation

After putting on a headset, the transportation to an alien world is almost instant. The viewer finds themselves suspended in front of a galactic membrane. They enter the first level, swimming, jumping, and gliding through landscapes, while enveloped in the danceable beats and soft ambient sounds characteristic of Virgo's music. Imagine free diving underwater without the burden of an oxygen tank, then subsequently exploring alien ruins and temples.

For the launch event at ICA, Virgo partnered with friend and visual artist Mark Terra to create a series of sculptural elements to install in the gallery spaces of the museum. The Styrofoam sculptures resemble the icebergs, glaciers, and mountains present in the game, making it feel like a fantastical planetary terrain. The largest sculpture takes up an entire room, illuminated with projected images of flowing water from the game, with ambient sounds filling the room.

Image Courtney Levine

The site itself is important to the experience, and appropriate in a city surrounded by water. "The future looms. We're at such a critical time in human existence, if we don't look to the future of technological and scientific advancement, we face extinction. Evolve or die. Virtual reality offers a whole new format to experience and learn from the world as well as granting access to higher learning in virtual space" explains Virgo.

Virgo's futuristic sensibilities are a suitable match for ICA's forward thinking programming. This institutional collaboration and the artistry of the game demonstrate the emerging implications of VR to the art world, with its ability to create multi-sensory experiences.

Image Courtney Levine

The meandering corridors of the museum floor are bathed in turquoise lights, encouraging attendees to explore through the rooms in a way that parallels the experience of moving through the levels of the game. One hallway has three VR stations for attendees to try out the game.

Virgo, dressed in her signature white, greets and assists a long line of eager participants like a mystical gaming spirit guide. In one of the rooms there is a projection with a looping series of vignettes from the game. In every nook, people are completely immersed in the environment of the exhibition. It is an escape to another world and a glimpse into the future.

Image Courtney Levine

The Water Planet game is available on Steam for desktop and VR and is compatible with Oculus and HTC Vive. Virgo's album is available on iTunes and Beatport, and is streaming on Tidal and Spotify. Virgo is currently planning a live performance in VR, and you can catch her in concert at III Points Festival in Miami this October. Water Planet was created using Unreal Engine in collaboration with the Revera Corporation.

Related:

Mystical Performance Art Opens an Interdimensional Portal in Miami

Play The Interactive Music Video Game For QVALIA's "Sound The Alarm"

A Hybrid Video Game/Music Video Dives Inside an Underwater Alien World

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