Project Camelot - Richard Hoagland - Awake & Aware 2013

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Nov. 2, 2025 - Project Camelot

02:28:37

Richard Hoagland - Awake & Aware 2013

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	I will say a few words about Richard Hovin.
	He actually went on coast to coast apparently last night to announce this conference.
	He's done a fair amount of announcing and trying to support the conference and get people out here in person and online to watch it.
	So some people online may be absolutely watching it.
	You may have some people in the audience who heard about it on Postal Code.
	I certainly hope so.
	You want to raise your hand if you heard about it?
	It's on coast to coast.
	Yeah.
	All right.
	So fair enough.
	That's excellent.
	And so we want to thank Richard for that.
	We're very happy to see Robin in a set of good health.
	Okay, and Robin is going to introduce Richard, so we're going to move aside and let her do that.
	Are you guys ready yet?
	Almost.
	Look, I didn't met him, but on the other hand, it's good technology.
	Anyway.
	There you have it.
	So, okay, well, let me say this.
	We're going to have a panel discussion at 8 o'clock.
	So the way this is going to work is Richard is going to stay within his two-hour timeframe and give him that video.
	He has actually started a bit late.
	We're going to give him that amount of time at the end of the, you know, so he has this good solid two hours because, you know, Richard likes to talk and has a lot to say.
	And most of it's valuable, no matter how long he takes to say it.
	But anyway, it's great to have Richard here.
	You know, actually, it was wonderful news for me to hear that Richard had been doing research on time travel because all the times that he's gone on coast and talked about various things, he never really referred to time travel.
	So when I organized the conference and I looked for a list of people to bring on board, he was not one of the first choices because I simply didn't know he did any research in the area.
	I mean, it makes flat little sense with hyperdimensional physics and Mars that he would have thought about these things, but he never overtly ever referred to the terminology.
	So I didn't, you know, it just didn't click me immediately.
	But when he sort of nudged me, actually, and said that he did have research, then, of course, I left up the chance to have him here and to bring him here this evening.
	So we're very pleased to have Richard C. Hovland with us.
	Please give them a warm welcome.
	Well, I have a stick.
	You want to see a presentation on the stick or something?
	How do you work?
	Is this one?
	Why can I do it?
	Let's go.
	Did it?
	Right.
	You may switch this to go like that.
	How many people does it take to plug an adapter into a Mac computer?
	How many scientists does it take?
	Just kidding.
	Depends whether they're formally trained, whether they're NASA, NSA, or I know we're going to get there.
	I really do.
	Aha!
	Perfect.
	Awesome.
	Okay, Robin, do you want to start her?
	Start the honors.
	Robin Calco.
	Everyone, please give her a warm welcome.
	Thank you, Kerry, and thank you for this incredible event and this opportunity to share such amazing new research.
	It seems everybody has Richard coming hold, and it was a surprise to hear that he has information in this area.
	There's a lot of feedback.
	Are you getting that?
	Okay.
	Anyhow, Richard has a lot of information in many areas.
	You'll be hard-pressed to find an area where he doesn't.
	So it gets very challenging to sort of put him in a little box somewhere.
	But for those of you who are not familiar with him, Richard C. Hoagland was the former science advisor to Walter Cronkite during the NASA Apollo missions.
	So he was there firsthand watching everything that happened, front row seats, I guess, before it went out.
	He saw it.
	And it was quite an amazing experience for some young guy in his early 20s to be part of that.
	And from there, Richard moved on and was at the Hayden Planetarium in New York City.
	He was in charge of special events.
	He did innovative things like using the QE2 to have people on a cruise back when cruises didn't have all the problems they have now.
	Back when it was a viable thing to consider, which I don't think I would again.
	But anyhow, from there, gosh, there's so many things.
	He was a special contractor for NASA doing special research.
	He is the science advisor for Coast to Coast AM.
	Richard is the author of Monuments of Mars, a city on the edge of forever.
	And he is also the author of Dark Mission, along with NASA, along with Mike Barra, rather.
	Dark Mission, The Secret History of NASA.
	Oh, okay.
	Anyhow, what you are in store for now is the first time anybody has seen this information.
	And Richard has pulled together his work in torsion field physics.
	Many of you know we've been all over the world for the past eight years working to get data that shows you a representation of these energy fields.
	And there is nothing else like it.
	And what you're going to see is how this affects concepts of time and ties right in with what this event's about.
	So here's Richard.
	Thank you all.
	She was speaking to the speech sheet on me.
	Oh, is that much?
	Yeah.
	So you just put this or you put that in.
	How's that?
	I'll let him do it.
	I'll just do this.
	We used to call this backstage radio, and there is an echo.
	You can turn it down just a little bit so that we don't have a lot of feedback.
	Of course, I can always blame it on the TARDIS that apparently I'm speaking from.
	I just happened to see when I sat down there.
	I realized that, can someone tell me who did this?
	This is really, really cute and clever, and I want to give them proper acknowledgement.
	Sean David Morton.
	Sean, fantastic.
	Oh, thank you.
	Thank you.
	Here's the big test.
	Very good.
	Very good.
	I collapsed last night after a long interview with Sean and did not make it up until noonish, and then I had some things to do with this, so you know, all of this we were cut from the tape.
	Right, right.
	So I'm very happy to see you all here.
	I'm very happy to be here.
	And as Robin said, yes, we have some things that I'm going to show you that we have not had the opportunity or were, in fact, prepared properly to show you before.
	There's someone, are you, are you hitting the metal maybe?
	No.
	Let's put it on.
	Okay.
	Test one, two, three.
	Better?
	Okay.
	It doesn't like my bolo.
	It's a hyperdimensional bolo, that's probably why.
	Anyway, yeah, it's so interesting because when I mentioned to Carrie that I was going to do something on time travel, she said, I didn't know you worked on time travel.
	And in fact, until I really, really thought about it, I hadn't realized that we did either.
	But of course.
	Well, no, seriously.
	The physics is that internucine that one doesn't automatically come to the appropriate conclusion.
	Someone doesn't want me talking about this.
	Isn't that what Kamala always says?
	Anyway, would this work?
	Would one of these work better?
	Or try it?
	Yeah.
	Because this would be totally annoying and not working at all.
	Does it need another battery, maybe?
	Okay.
	Test one, test two, test three.
	And can we mute this so that it only goes to the tape and hopefully it won't be on the tape?
	Yeah, the other one.
	The wireless is turned off right now, only the one that you're holding in your hand.
	Okay, so how are we getting this recorded on the video?
	It's getting recorded.
	Okay.
	Well, then, can I take this thing off?
	Yeah, I can.
	That's one here.
	Thank you.
	Okay.
	This is the old-fashioned way.
	Handheld mic and mic take me.
	What I'm going to be talking about this afternoon, in an abbreviated form, because we don't have a lot of time, and everybody I know is dined at dinner, is our place not only in the galaxy and space, but in time.
	And as I was saying a moment ago, I did not really realize until relatively recently that the measurements we've been doing, and I can still hear there's some weird effect in the sound system.
	The measurements we've got.
	We have another mic.
	See one here It says it's the ammo.
	All right.
	Say what, if we turn it down a little long, I'll just hold it closer so that we can all hear.
	And I'll try to modulate appropriately.
	Okay, that sounds fairly good.
	Anyway, what I want to talk about is the application of the physics we have been looking at, as Robin said for the last eight years, the hyperdimensional model, to the idea of travel in time or also the idea of alternate time, alternate time tracks.
	Because it turns out, and if I had been listening to Kozarev himself from the beginning, I would have figured this out a lot earlier, that this is all encompassing.
	This physics that we've been studying has implicit in it the idea of time alteration, time travel, time manipulation, and alternate time dimensions.
	And that's one heck of a mouthful to try to swallow, let alone say.
	So let me then further add that not only are we going to be presenting some evidence, but it turns out that in our culture, in our social media, and I include movies, film, television,
	the internet, and all of that now, we have been told about this as, I hope I can demonstrate, a reality for decade upon decade upon decade.
	In the secret backroom enclaves where the 1% draw their plans, speaking somewhat like H.G. Wells, they have known for a very long time that time apparently is manipulable.
	And in fact, there are some indications that someone is doing the manipulation in certain ways, either directly or perchance inadvertently, which of course is what that 1980s film was all about and what Al Bielik was talking to us for many, many, many years about in terms of the Eldridge and the experiment, etc., etc.
	So with that as prologue, let me swing into gear because we don't have a lot of time and I have a lot of stuff to go through.
	And let me make sure that I have a good time at.
	One hour 50.
	We are on a planet orbiting the galaxy as part of a solar system, moving around that galaxy in space.
	But obviously, as everyone knows from grade school on up, we're also moving in time.
	What we haven't known until very recently is that the same guy that wrote this sterling work, War of the Worlds, dealing with conflict between our planet and others, in particular Mars, also wrote a seminal work that had to do with the movement of people in time.
	And you remember the famous film that presented from this novel, which was written in the late 1800s.
	The guy who did this, by the way, is here.
	This is H.D. Wells himself, Herbert George Wells.
	Wells has a very interesting background.
	And I don't want to give away too much too soon, but it turns out that his writing of War of the Worlds and the Time Machine may in fact have been connected with a much larger political agenda by a certain group that we shall get to presently.
	So the Time Machine was written.
	It laid out in extraordinary terms for an 1800s audience the idea at that time phenomenal, mind-blowing, that you could actually travel through time like you could through space.
	And you could go forward or backward.
	You could see previous events.
	You could see future events.
	He didn't really deal much with the paradoxes of time travel, and I'm not going to dwell a lot on them here because they've been so evident for so many years that they kind of go without saying, you know, if you go back and kill your own grandpa, do you ever get born, that kind of thing.
	But in this film that was made by George Powell, which was an absolute classic, and I can still watch it and gain some new tidbits of interesting info.
	what george created was a visual representation of the classic time machine that wells depicted which had to do with a carriage a chariot that would carry you through time that also had i actually somewhere have uh where'd my where'd my briefcase go I have a laser pointer hiding in it.
	Does someone see my briefcase somewhere?
	Okay.
	If you can bring it up here or just bring the, it's on the left-hand side.
	You got it?
	It's the long one.
	That one, the black one.
	Yeah, the other one burns through the screen.
	no we don't want that okay so control panel beautiful victorian you know cushion seat This is the operative device.
	This is a very interesting facet of the time machine as Wells created it.
	And you can see it here in a little miniature that was made for the film.
	Stunning work that the Hollywood folks do.
	The whole point of this, of course, is that it operates according to the three laws of hyperdimensional physics.
	Because as you can see in this other version that was done for the more modern iteration of the film, The Time Machine, some years ago, which is exquisitely reproduced here in crystalline quartz, these things rotate.
	And the idea is that as you rotate them, you basically create a field in which the time traveler in a bubble is cascaded forward or backward in time.
	And that idea of a bubble was depicted in the more recent film like this.
	And what's really intriguing is that the actual shape of the field in the modern film very closely mimics the field projections of the people who've been doing work on hyperdimensional torsion field physics.
	Because torsion fields are not spherically symmetric close to the emission point.
	They actually have asymmetric axes.
	They have beams.
	And then they curve around and they distort space on a much larger area or volume.
	With that as prelude, this in fact is inherent in the Einstein-Cartan torsion field equations, which were penned almost 110, 115 years ago, and seem now to be applicable in terms of our own work and what we are measuring, i.e., changes in the temporal flow of time.
	George had a guest on the other night, Dolores Cannon, who said time doesn't exist.
	I wish I could actually have a conversation with her because I would very clearly dispute that.
	In three dimensions, time exists.
	The fact that we're not just limited to being three-dimensional beings means that if you exceed the 3D limitation, you then can transport things or yourself backward or forward in time, more appropriately probably between times, and we'll define that momentarily.
	But in three dimensions, events happen in a regular sequence.
	Energy flows downhill.
	Entropy exists, which is what causes in 3D the impression of the flow of time.
	Now, if you go beyond three dimensions, if you look at a hyperdimensional reality, that's where the idea of time travel and the physics we've been studying go hand in hand.
	Now, with that as prologue, I want to start talking a bit about media, film, television, books, and all that.
	Because it turns out that we have been very craftily and gently manipulated, maneuvered, edged on, pushed forward, whatever you want to call it, in terms of a general appreciation of these realities over and above the fact that in 3D, things seem to progress inexorably from past to future.
	That is not necessarily the case when you invoke this physics, as you will see.
	Now, one of the things that I wanted to talk about is the effect predominantly on our cultural consciousness of the media in which we are immersed, film, television, the internet, and their impact.
	Because many, many years ago, the guy who created this, this starship, the Enterprise, as he was talking to me one afternoon as I was showing him the Sidonia imagery for the first time and laying out the implications and the fact that I wanted his assistance to help me do with it whatever could be done,
	he sat behind his desk, steepled his fingers, and he said, but Dick, if this was real, it would be on television.
	And that is probably one of the most profound things that anyone has ever said to me in my entire life.
	Because if you generalize from Gene's appellation, if you generalize to the idea that we live in a cultural medium in which every image, every sound, every impression is somehow impacted by what we see not only on television,
	but in every other media, from what we read to what we hear to who we talk to, to the major films that we find classics, that that all goes to creating the gestalt of what it is that we believe.
	And the idea that he said to me, but Dick, if it was real, it would be on television, takes us to something that was on television.
	This was a show in the 1960s, very conveniently called the Time Tunnel on ABC.
	And the storyline, the story arc, basically was about scientists who had created a machine under the aegis of the Defense Department, of course, which could travel in time.
	And what they did was hurl themselves forward and backward through this warped field to where they could arrive at various events.
	Most of the shows were set in the past because their reson d'être seemed to be to try to manipulate or to change the future in some way.
	And the very first place they went in the very first show, I think the pilot, was the Titanic to try to save the ship.
	And through a series of erroneous concatenations, they wound up not being able to alter the events of the Titanic and her sinking.
	That, of course, was a kind of a telling message that, yes, you may view time.
	You may visit other times, but you can't interfere with time.
	And that held throughout many, many television shows that prescribed after the time tunnel.
	Now, here's a familiar face, and I'm standing in front of a TARDIS.
	Turns out that this guy was one of many, many, many Doctors Who.
	How many are watching the latest versions on the BBC?
	They have done a very good job.
	They've done the impossible, because when Gene told me that he was going to try to redo Star Trek with Next Generation, I looked at him and I said, I'm sorry, but I don't think it's going to work.
	And I was wrong.
	Next Generation has become a classic in its own right, fully as rich and as culturally interesting and as telling in terms of morals and all kinds of other precepts of how we should be living and living with each other as the original.
	Well, the Doctor Who that we now see on the BBC has equally fulfilled those expectations because it is as good, if not better, than the originals.
	And it in fact has carried through with many messages, some of which I'm going to touch on here.
	You obviously are familiar with what the central device is.
	It's a TARDIS, a time machine masquerading as an average British police box.
	Thank you, Sean.
	And it travels not only forward and backward in time, it travels in space, and the inevitable statement made when anybody goes inside is, oh, it's bigger on the inside.
	Because, of course, it's a dimensional device.
	You're actually seeing into another dimension as you open the doors.
	And the doctor uses it to travel to many places, both in space and time.
	And the thing that has intrigued me for many, many years is how these shows seem to carry, in their visuals or in their scripts or in some aspect of them, touchstones with the physics as we have now been learning it.
	For instance, here's a depiction of the TARDIS at the edge of a galaxy with huge spiraling beams coming out.
	Those are generated by torsion fields from a concentrated mass spinning in the center of the galaxy.
	They are vortices.
	They are very similar to the vortices that we are modeling that project energy and information from higher dimensions into this dimension.
	In other words, there's a visual metaphor saying that the physics underlying the TARDIS is very similar to the physics that we are examining right now.
	Here's another depiction.
	Notice the vortex in this, in the atmospheric phenomenon depicted behind the time machine in one of the more recent shows.
	This all comes to us with many other implications.
	For instance, if you look at this, this is a sequence of the number of doctors who have played the role from the beginning in 1963 to the present.
	There are 11 of them.
	Now, why is that number important?
	Well, if you go to our representation of the hyperdimensional torsion model, which is spinning energy systems in a rotating sphere with touch points at 19.47 to inscribed tetrahedra,
	as you work through the geometry of the relationships of the inscribed tetrahedra to these numbers, you in fact find that there is a coding.
	And if you want to, in a kind of a shorthand way, tell someone that you're really dealing with hyperdimensional physics, you don't have to show them this.
	You don't have to say 19.5.
	You can say some other things.
	For instance, you can square this, and then you get this.
	Or you can do this, which gets you 11111 or 1111.
	And then you see that 1111 added infinitely is a code for 19.5, which means that the number of doctors,
	11, in the series, which is supposed to end in 2012 and obviously has not, is a clue that the writers and the creators of Doctor Who, as far back as the early 1960s, actually knew the physics on which real time travel and temporal transitions has to be based if we're dealing with the science that we currently think that we understand.
	Now, why is this interesting?
	Because one of the early episodes, I think it was the second or third one.
	No, it was the ninth one.
	No, I'm sorry, it's not.
	It was one of the early episodes, I forget which number, in the Doctor Who series with Tom Baker in, what was it, season four, season five, had to do with the pyramids on Mars.
	And the fact that he was wrestling with a bunch of guys.
	Notice the shape behind him.
	The artists who are part of this motif, either consciously or unconsciously, always seem to add elements that will reinforce the central message, which is this is a reality.
	This is dealing with a physics that we're not going to talk to you about, but if you're smart enough to understand what we're saying, you can then go and look for additional information as to how we're saying it.
	Moving on.
	This is cute.
	Because another depiction in media, one of my favorites, is the three-part film Back to the Future, in which time travel plays a crucial role and in fact is part of the motif that you can change time.
	Of course, they never really dabble with the idea, is it time that was changed or was it an alternate time that was changed?
	That maybe is left to the fourth movie, and I don't know whether we're going to get it.
	The sequence of the films had three different versions where Marty went to different times to try to correct the timeline that he inadvertently made problems with.
	And the working out of this has actually been depicted in a chart, which if you want to spend a couple of days, which I've done, looking at all of this, you'll see that putting the timeline back into proper position is not easy.
	One of the key things to note, however, is that the DeLorean itself, the time machine, which is used to effectuate these changes, is the central part of the entire story.
	Because in the DeLorean, this is the device, the infamous flux capacitor, which of course carries out the manipulation of time.
	Here it is right here.
	Well, as you examine the flux capacitor a little further, you notice it has an interesting geometry.
	And the geometry is this.
	It's the hyperdimensional geometry in 2D of a circumscribed tetrahedron in flux.
	In other words, subtly behind the scenes, as part of the visual metaphors, whoever created Back to the Future was saying, yeah, if this works, this is how it works and what it is based on.
	We're not going to get into the details, but if you want to look into it, you'll find that, oh my gosh, it actually corresponds to a real science which is currently being pursued.
	Oh, and in the time machine, I'm sorry, in Back to the Future, there was this very famous scene where Marty has to retrieve a certain book that fell into the wrong hands, winding up with huge problems in the timeline, and it was a sports book which laid out all the scores for decades, which Biff was able to use to make a huge amount of money, but in the process screwing up everybody's life.
	And if you look very carefully, you'll notice it was from 1950 to 2000.
	Hmm, 1950.
	My, my, my.
	In other words, what I'm trying to say is that the medium, as McLuhan said, is the message.
	The mainstream in these shows, in these films, have been giving us clues, if you just know what questions to ask, that they are in fact basing their scripts, their universes, their story arcs, their models on this physics.
	And that's why it was so interesting when Kerry said, well, I guess maybe hyperdimensional physics is connected to time travel.
	Because, of course, it has to be.
	If time can be transformed, if time can be manipulated, if we can travel through time, if our consciousness is not limited to this 3D reality, then in terms of current science, meaning current knowledge, the only way it could function is somehow according to these rules.
	Which leads us, of course, back to this very complicated effort to reconstruct the timeline of Back to the Future.
	One of the ways you wind up looking at these things is, is the message reinforced?
	Is the message redundant?
	Because if they're really trying to tell you something, then they will try to tell it to you several different ways in the form of a standard method of communicating in a high-noise environment.
	Remember, signals add and noise is random.
	So if you want to communicate a message, a hidden message, a subtle secret message, then what you do is you encode it in a redundant form.
	So you're able to take a look at this.
	Notice in particular here, the timeline from 1955 to 85.
	Remember, Marty starts out in 85.
	He goes back in time.
	He goes forward in time.
	He then goes way back in time.
	But this is the important part because he goes forward and back 30 years in each direction, which gives us this for a total of 60 years.
	60, 60.
	Oh my gosh, that's the Babylonian-Sumerian Septuagesimal system, which gives us this, which gives us this.
	In other words, redundant coding.
	Back to the future is inexorably hyperdimensional physics.
	And on and on and on.
	You can see the physics works with the sun.
	These are sunspots, as imaged by the NASA TRACE satellite, which gives us false color high-energy impressions of the sunspot groupings at two latitudes on the sun at the peak of the sunspot cycle, which is 19.47 north and 19.47 south.
	And at the heart of the flux capacitor is something like this, a swirling vortex of energy in the ether, which basically transforms the molecules of the DeLorean and whoever is in it and transforms them in a bubble,
	moves them in a bubble through alternate time or the same time, forward or back, in a physical process that's very akin to what we see occurring in other planets in the solar system.
	Again, Dick, if this was real, it would be on television.
	And it is.
	Particularly in this episode.
	This is my favorite Star Trek.
	This is the episode for which Monuments ultimately was named.
	It was called The City on the Edge of Forever.
	It was written by Harlan Ellison.
	And Gene and Harlan had a disagreement, a dispute, because the script that Harlan wrote and wanted to use in the series was incredibly complex and incredibly expensive.
	And it would have blown NBC's entire budget for the year.
	So Gene rewrote it, eliminated huge portions.
	Harlan got mad.
	Gene won an Emmy for his version of Harlan's script.
	Harlan also won the Emmy because it was his original script.
	And the central part of it has to do with a planet that the enterprise finds, which is the center of temporal waves.
	It's called Gateway.
	You didn't know that, did you?
	The planet where the Guardian of Forever, who I'll get to in a minute, lives, is called Gateway.
	Gateway like a gateway into alternate times, alternate dimensions.
	Anyway, it's supposed to be a time nexus where there is some kind of device, a technology, which was created by this super race that have basically terraformed their entire planet so that it looks, even from orbit, man-made.
	Look at the geometry.
	You'll see another shot here in a minute.
	Well, the Enterprise in orbit is going through these temporal distortions, and it's causing problems with the inertial dampers, and there are jitters and motions and accelerations that can't be compensated for on the ship.
	And one of these, at an inopportune moment, happens so that McCoy injects himself with an overload of a drug which sends him into some kind of altered state where he is super paranoid, super afraid, thinks everybody is an enemy.
	Does this sound familiar?
	And he basically beams down.
	Now you can see the geometry, the gateway planet, to this ancient civilization which is no longer in existence, but in fact, and the crew have to follow him, has left a device called the Guardian of Forever, which again is a tunnel-shaped device.
	You step through it, and you can step into other times, either backwards or forwards.
	And McCoy goes through.
	Kirk and Spock are looking at it, and they are looking at depictions of time as a kind of a view screen, standing in front of this Guardian as time is flowing, and they look at various scenes.
	They look at this scene in particular, which is very telling.
	Pyramids in Egypt, we'll get to their relationship to time travel momentarily.
	They look at more recent imagery, and then they realize, as they're looking at it, that they are looking at a past that can be changed.
	And at that moment, McCoy, in his fever delirium, leaps through and something happens.
	And the Enterprise in orbit disappears.
	And they realize that somehow McCoy, in entering the past, has changed the future.
	And their federation, their Star Trek universe, no longer exists.
	So they have to follow.
	And they follow him through the portal.
	And these are parts of a comic book magazine which very elegantly describes some of the key plot points that if they don't follow him, they have to go back to change time and rescue him and restore things the way they were.
	So of course they leap through.
	This is the portrayal on the other side as they come through a wall and land in 1930s Depression era America where Kirk meets Edith Keillor.
	And the love interest of the film then takes off.
	And it's an extremely well-done script.
	It's emotional, it's human, it has, if I may use the pun, dimension.
	It has different settings.
	Spock is portrayed in a very human way.
	Ultimately, Kirk, talking with Edith, points up to the sky.
	And this is where the messaging comes in.
	And she is saying something like, the reason she's running a soup kitchen is because all she wants to do is help.
	And Kirk says, well, that's interesting.
	There's a novelist who lives on the third star on the left in the belt of Orion, who wrote a famous novel with the title, Let Me Help.
	Now, in the idiom and motif that we're dealing with definitely hidden levels of realities, is it coincidence that of all the places that Gene could have picked to put his third star on the left, he happened to pick the belt of Orion?
	And is it a coincidence that the reason was a novelist lived on a planet orbiting that star, which is named Alnatec, by the way?
	And the title of his seminal work is Let Me Help, which of course is, by extension, the idea that whoever is here is trying to help us here in various ways even now.
	For instance, Orion Osiris was the seminal constellation and god of resurrection to the ancient Egyptians, as many of you who have either read Monuments or Dark Mission or listened to me Interminably on Coast certainly know by now.
	Also, it turns out that the seminal logo of the entire Apollo program, going to the moon, for some reason was the constellation of Orion, Osiris.
	And even this stylized A turns out, as you will see a little later on, to have a much more interesting meaning, a much more relevant meaning in terms of what the Apollo program was designed to do.
	Oh, and then when NASA developed the new spacecraft called the Manned Crew Module, in fact, they gave it a name, which is Orion.
	And Orion, even now, under the Obama administration, is being quietly built at Cape Canaveral and will be launched in 2017.
	Why is that interesting?
	Well, 2017-17 turns out to be the seminal resurrection date of Osiris Orion and on and on and on.
	Well, this story arc, this fascinating tour de force between Harlan Ellison and Gene Roddenberry so intrigued me that when it became time for me to write my first book, actually it's my second book, but we won't talk about the others.
	And I was dealing with what we're looking at on the plains of Sidonia, it seemed obvious to me the only thing that was appropriate was to call it a city on the edge of forever, not realizing at the time how incredibly prescient that would turn out to be.
	This, by the way, is the fifth edition, so obviously somebody's been reading it.
	Because embedded in the geometry of Sidonia, here's a perspective view of the face on Mars, the city itself.
	There is, as I have enumerated many, many times, both in film and television and in the books, there is this stunning geometry which ultimately lays out the classic constants which formed the foundation of hyperdimensional torsion field physics.
	And when I titled the book after that episode, I did not know that's what we were going to find.
	Which of course then raises the interesting question, did some part of my subconscious know because some part of my subconscious has actually been able to travel to other times.
	And I'm not going to get into the details of that at all right now.
	The cornerstone of the geometry at Sidonia, again, is this hyperdimensional model, which can either be depicted as here or as two tetrahedra interlined, intertwining, making up a cube.
	When you see a cube, it in fact is another metaphor for the hyperdimensional model, because it is composed of two interlocking tetrahedra.
	And sometime when you have either a computer at hand or an actual cube, kind of rotate it around in your fingers and look at it and think about how inside there are these two seminal geometric forms which form the foundation of this entire planetary physics.
	The cube, in turn, is the basis of a classic hyperdimensional mathematical model called the 27 lines on the general cubic surface, which is the very esoteric mathematical derivation of the idea that there are in fact other dimensions.
	And if there are other dimensions and we can transfer information and energy between them, then by definition, that becomes a gateway to time travel, to time manipulation.
	Michiu Kaku wrote a very interesting book about all this.
	Notice what he chose for his cover, which is the implication, although he doesn't state it, that he also understands this involved and intertwined geometry.
	Otherwise, why would he have picked a cube?
	Which takes us back to our model that the entire solar system, if not the galaxy, if not the billions of galaxies we see, if not the universe we can see in three dimensions, is all part of this hyperdimensional system.
	And the 3D reality we are currently experiencing, like the visual part of the spectrum that we see from violet to red, is only a tiny subset of the ultimate realities that we not only experience, but are part of, inextrably a part of.
	And when we are born and when we die is just a momentary speed bump in this larger reality.
	In other words, it's not a matter of us going somewhere when we die.
	It's a matter of us returning somewhere to a higher state space of dimensions, which is where we actually live all the time.
	And this is only a vacation.
	Or not, depending upon your point of view.
	Now, the reason I've depicted this is because if energy flows into this dimension from higher dimensions, then as it interacts with this 3D reality, it has to cause ripples.
	It has to cause waves in the three-dimensional ether, or the torsion field.
	Here I've chosen three objects.
	Think of them as planets.
	They're spinning.
	Each of those spins creates disturbance in the torsion field.
	Think of a pond throwing rocks on a pond and ripples spreading out.
	Over time, these ripples will reach each other and cause an interference pattern.
	It's that pattern in the torsion field, the ripples in the stream, the disturbance in the ether in the plenum, or as Lucas called it, the tremors in the force that we are measuring with our accutron torsion field detection system.
	And I'll get into how that works in a minute, but it turns out this is a very elegant way to measure these tremors in the force because it's getting at the heart of what those tremors do.
	It's measuring the fundamental alteration of the one parameter which turns out to govern every other facet of this physics and how it functions in our lives, including how it can shift us, or more importantly, shift our consciousness in time or between times.
	It's like looking at the interacting ripples of a billion raindrops on an infinite stream or lake and how they all intertwine as they spread out and interact with one another.
	It creates what I call the hyperdimensional solar system.
	And we have been fortunate to actually be able to measure certain parameters of this solar system using the accutron technique, as Robin said, over the last eight or so years.
	And we've got extraordinary, stunning confirmations.
	I know everybody's been waiting for the paper that I've been writing on the eclipse that we measured last May, May 20th of 2012.
	Well, it's taken longer than I thought because in the process of making those measurements and then doing the analysis is when I really realized that what we seem to be seeing were changes in time.
	Not just energy, but in time.
	And the fact that they are inextricably connected.
	And that's what's taken so long because one of the things that I'd like to do when I publish is at least have some idea of what I'm publishing.
	And when I realized that what I was looking at was the potential foundation of time manipulation coming from the sun during a total eclipse and the attendant transit of Venus that followed a few days later,
	which showed similar effects, I realized that I had to be very careful to what I put out because it would become perhaps a template for a lot of other people in the field who tend to, we all follow each other, we all read each other's stuff and we take the best ideas and we try to incorporate them in our own work.
	And I did not want to put out wrong stuff, which is why it's taken a long time to put out the right stuff.
	Can't believe I just said that.
	Well, one guy that I really should credit with all this is here.
	His name is Nikolai Kozarev.
	He lived in the 1940s and 50s, 60s and 70s in the old Soviet Union.
	He died in, I think, 83.
	This is him in front of a place called the Pulkovo Observatory, which is in the Crimea, very famous International Astrophysics Center of the old Soviet Union.
	This is Kozarev here.
	This, I think, is the director of the observatory here.
	Kozarev did an awful lot of work on this using a different detector for the torsion field that we're using.
	He used what's called a torsion pendulum, which is why he termed the field he was measuring, among other things, a torsion field.
	Because torsion simply means rotation.
	Remember the first three laws, rotation, rotation, rotation?
	This is a device which is hung from a very thin fiber.
	It's got counterweights, so it has an offset center of gravity.
	You shine a beam of light on the mirror suspended over the center of gravity.
	And as this rotates like this, the beam of light will move like this back and forth.
	And what Kozarev was doing was measuring the influence of various objects and processes on the delicately balanced pendulum.
	When he would carry out a particular process, like let's say melting ice in a laboratory, he found that in the presence of melting ice, this pendulum would slowly deflect from a fixed position.
	When he made T, it would slowly deflect from a fixed position in another direction.
	When he sat quietly reading and got to a really exciting part of a book, the pendulum in the other side of the room would slowly deflect.
	And what he did is put this thing in a vacuum jar, pumped out the air so there were no air currents.
	He had it thermally stabilized so that it wasn't random thermal discontinuities between the fiber and the pendulum.
	In other words, he eliminated all possible physical sources of rotation.
	And he was left with the result that processes that transform matter in three-space from one form to another generate torsion waves.
	And he could pick them up with this very sensitive device.
	Now, obviously, something like this is not portable.
	It can't carry this into the field.
	So he did all his work at Pulcovo in a basically stabilized room, temperature control, and no air currents and stuff like that.
	He did this for decades.
	This is an older Kozarev, again photographed in front of the observatory domes.
	And he looked at astronomical objects.
	He actually used this at the focus of a telescope.
	He made other detectors that were a little more portable, like he found that torsion field changes can affect the electrical resistance in wires.
	So he made a device that actually measured, it's called a Wheatstone bridge, very sensitive changes to parts per million of the electrical resistance in nichrome or tungsten wires, put it in a black box, a sealed box so it could get no light, and he put that at the focus of a telescope.
	And then he pointed the telescope, it was a 50-inch reflector, which is a pretty big telescope, at various celestial objects.
	And you can see here the objects that showed with his torsion field system, no deflection, small deflections, significant deflections, bigger deflections, and variables.
	And you'll notice the moon is variable, but it doesn't seem to be correlated with the phase.
	That's an indication of something intriguing.
	Big deflection was alpha canis minor, which is procyan, which is really intriguing.
	Significant deflections, alpha canis major, that's Sirius.
	Alpha Leo, Regulus, New Cassiopeia, various white dwarfs, those you would expect because they're highly concentrated stars, very dense, spinning very, very, very rapidly.
	Cygnus X1, which was thought to be a black hole, one of the first ever detected.
	And the galactic center.
	This is important because the whole Mayan calendar thing, remember, hinged on our relationship in the processional cycle on December 21, 2012, to the galactic center, where Robin and I went on this rather delightful,
	interesting cruise to the Yucatan, to Chitsunica, and were able to actually measure within a few hours of the end point, December 21, the physics of Chitsunica, which we'll get to in a while.
	The point is, this is his work, and it was all encoded in a manuscript that he published finally in 1977, which I should have paid attention to beforehand, and I, you know, with great homage to Kozarev's genius, I didn't really figure it out until recently with our own observations, because he called it astronomical observations using the physical properties of time.
	In other words, Kozarev believed that these changes in his torsion pendulum were caused by fluctuations in the time field coming from these various objects.
	Now, what I've done, with a little help from my departed friend Bruce DePalma, is to digitize this system of recording torsion to where we have a device that looks something like this.
	We have a detector, which is an accutron watch, which has a little tuning fork inside, which vibrates at 360 cycles per second.
	We then read out that tuning fork vibration with an electrical pickup.
	We carry it to a box which has a quartz resonance system in it, a basically vibrating quartz crystal.
	You then compare the frequency of the tuning fork to the frequency of the quartz crystal.
	You port all that over into a laptop.
	You then put it on a screen and you read it out.
	So, and again, the basis of this is the tuning fork in the 1960s Bolova Accutron watch, which turns out to be an incredibly successful detector for some incredibly significant and totally mind-blowing observations of something as fundamental as changes in time occurring in 3D right in front of our eyes.
	So, ultimately what I created is a kind of a torsion field tricorder.
	And what I'm hoping someday to do is to put it all in one system that you can actually carry in one hand so that what happened to me at Chitsunica, which was I was arrested because I was taking these measurements, I was placed under house arrest.
	You go to Thomas and you look up the definition of house arrest.
	When guards show up and force you to march in a certain direction and stand in a certain place so you can't wander around by yourself, you are under arrest.
	And I had in mind, and this is all happening, what happened to the Marine who took the shotgun, you know, which was what, half an inch too long, and he wound up in a prison in Mexico for months and months and months.
	And not wanting to subject myself or Robin to that experience on this particular trip, I decided to quietly obey them.
	And fortunately, they didn't realize that the torsion field detection system is much, much more sensitive than just standing in front of the pyramid.
	So we got great readings that I'll be showing you in a few minutes.
	Okay.
	This is the heart of the detector.
	It's a commercial off-the-shelf Space View Model 214 Accutron.
	And the heart of it is this tuning fork and the two little coils, and it vibrates back and forth at 360 hertz, 360 cycles per second.
	Here's a view of the detector.
	This is actually the operating element.
	What we think is happening is that, and that almost agrees with mine, yes.
	What we think is happening is that the changes in the torsion field, which is intimately connected with gravity and inertia, these mysterious properties of three-dimensional space that we still don't understand.
	We think that what's happening is that the torsion field changes are modifying the inertia of the tuning fork, either making it higher or lower.
	And when the inertia is higher, as defined by classical mechanics, F equals MA, force equals mass times acceleration, the tuning fork will vibrate slower.
	When the inertia falls, when the field density of the ether around it is less, and I'm using imprecise terms, but they're easily pictured in your mind.
	When that field density is lower, the tuning fork for a given acceleration, a given kick by the coils, will vibrate faster.
	So the frequency readout of the accutron tuning fork goes higher.
	Lower inertia, higher frequency, higher inertia, lower frequency.
	So what we're really measuring in total confoundation that a word?
	Well, it is now.
	Of Einstein, who said that mass and inertia are equivalent.
	They are not.
	Gravitational mass is not equivalent to inertial mass.
	And this experiment proves this, as I said on NBC's sci-fi show on 2012 back in 2009.
	What it proves is that you actually can measure a variable inertia.
	Now think of the ultimate thought equation, as I said to George one night.
	Take a 70-ton locomotive.
	Somehow, with some technology and the application of this physics, reduce the inertia, the resistance to movement of that 70-ton locomotive to where it's lighter than a feather, lighter than a millionth of a feather.
	You could, with the flick of your finger, eject that locomotive into orbit.
	You could accelerate it to orbital velocity with almost no energy input and no force applied.
	That's the ultimate implication.
	So in addition to manipulating time, which is what Kozarev said we were actually looking at, changes in time, this physics allows you to manipulate mass.
	In other words, it gives you an anti-gravity, anti-inertial way of creating a true space drive.
	Goodbye to Newton and rockets, thank you.
	And ultimately, it gives you the conquest of space, the solar system, the galaxy, and it also you throw into the pot the ability to travel in time.
	Is this not the foundation of a type 2, type 3 civilization?
	Of course.
	So why aren't we there yet?
	Because it looks like somebody doesn't want us to get there.
	They are keeping us down on the farm.
	There are indications in all directions that our culture is being heavily interfered with to keep us essentially imprisoned on this planet.
	Now we could have a long discussion, which I guess we probably will in two hours, about who and why and all that.
	Carrie has some ideas.
	She has sources.
	I don't trust them, but she knows that.
	Seriously, no, I don't trust any source, particularly when they have no evidence and they're anonymous.
	What I trust are sources that confirm data we have independently observed ourselves and have measured.
	When those two things come together, then you've got real science.
	Then you've got real progress.
	A source by itself is somebody who could be just making up one hell of a story and writing better than Harlan Ellison, which is rare, very rare.
	So all this comes down to how do you measure this?
	Well, I've decided, because the timing was kind of right, back in 2004, that there was a transit of Venus that was going to take place, where Venus, literally a twin of the Earth, almost the same size as the Earth, slightly smaller, crosses in front of the Sun, which it does roughly once every 122 years when the geometry of the orbits align, producing what is called a transit.
	And that transit can be seen from any place on Earth, depending upon what side is facing the Sun and what side is not.
	Because of various reasons, I decided to use our system, the Accatron system, at a place south of Miami called Coral Castle, which was a stunning monument built by a guy named Ed Leedskalman, who was a refugee from Latvia back in the 1920s, came to the States.
	He was a mason.
	He was a stone mason.
	He actually worked in stone.
	I have a feeling he was the other kind of mason too, but I won't get into that right now.
	Anyway, he built in Florida this 1,100-ton monument, ostensibly to his long-lost love back in Latvia, who jilded him at the altar, Sweet 16, whatever her name was, Isabelle or whatever, which I think is a total cover story.
	Because I have been to Coral Castle many times.
	We've done measurements at Coral Castle.
	Coral Castle is nothing more and nothing less than an exquisitely built modern hyperdimensional torsion field amplifier.
	And Ed left clues all around the castle.
	He left seven of them, as a matter of fact.
	Now, why is seven important?
	Because if you take a tetrahedron, you can only spin it seven symmetrical ways.
	Give you one example, which actually Robin saw for the first time.
	I didn't see it, but she saw it, and then as soon as she pointed it out, I realized what I was trying to tell us.
	Ed lived at Coral Castle.
	He lived a very simple existence.
	He charged people 10 cents to come in and to see what he had built.
	And he was able to maintain an adequate living in Florida in the 1950s by doing that.
	He actually lived in this building in the upper floors.
	The lower floors was a workshop.
	He lived in one room, slept on a hammock, which was suspended so he wasn't touching any of the limestone, which was a very interesting clue, because we were able to measure the changes, the amplification, by putting our Accatron detector on the limestone.
	When I suspended it in mid-air, we didn't get the same readings.
	So physical contact, atom to atom to atom to atom, is a very important part of how you interpret and analyze this field.
	Anyway, on the far side of this castle, which actually kind of could be thought of, this is one big building, and there's, I don't have a slide available, but there's about 10 acres which has a wall around it, a limestone wall built out of the limestone, which is all under Florida.
	It's oolitic limestone, meaning it has little tiny holes in it, and it's very light.
	I mean, it's not that light.
	You can't pick these things up by hand.
	But it's lighter than it would be if the blocks were solid.
	On the back wall, he had a basin where he used to look in the morning when he shaved.
	He actually had a basin of water, and he would look down, and he would shave using the water as a mirror.
	Right above the basin on the limestone block that was part of that back wall, just down a few feet from this gate, this spinning gate, which was the archetype of the name of what he called the place.
	He called it Rock Gate, not Coral Castle.
	He called it Rock Gate.
	Gate like in Gateway, like in Gate to Other Dimensions.
	Right there on the wall was inscribed in the limestone, and Robin saw it first, a double tetrahedron right on the wall above the basin of water.
	Now, if you know anything about ancient mythologies and ancient texts and iconography and all that, water used to be the metaphor, still is, for the ether, for the torsion field.
	So what Ed had done is elegantly juxtapose the ancient idea of the ether with a modern representation of the double tetrahedron, which of course is our iconography that now shows us how this all works.
	And there are six other examples hidden, like Easter eggs, around this 10-acre complex where he reinforced the message, it's all about the tetrahedron, over and over and over again.
	So there's no doubt in my mind that Ed Leeds Gallon knew exactly what he was doing.
	He knew how it worked.
	Either he learned it himself or he was part of a team that learned it.
	And he was trying to tell the world, but in the same way that Emily Dickinson in her poetry said, tell all the truth, but tell it slant.
	Meaning, don't come out and tell them in plain language.
	Make them reach for it.
	Which is what all these films and television shows and books and novels and all the other media where this information shows up again and again and again is also doing.
	It's making us reach for the real message.
	There's something buried in there about consciousness and learning curves and Earth as a school and all that.
	I won't get into it right now because it's very frustrating to have to dig through a lot of dross, junk, noise, to get to the real signal.
	But in many cases, going through all that is worth the wait because the signal turns out to be extremely interesting and vitally important.
	So without his prologue, what we did is to put the accatron in the tower at the castle, ran a 150-foot line outside so we wouldn't screw up the laptop with the Akatron, and we recorded this.
	This is our measurement of Venus exiting the transit just after dawn on the morning of, do I have a date here?
	Yeah, June 8th, 2004.
	Notice what happened.
	All hell broke loose in successive ringing terms.
	This is a classic signature of what's called ringing, where you hit a bell, I don't have a bell handy, and it will ring and then it will echo and ring again and again and it will fade away in amplitude.
	Something about the interaction, just the optical projection of Venus, a planet rotating, against the Sun rotating on the exit of the Venus transit.
	Because going in, we saw nothing like this.
	And then it occurred to me why it was asymmetric.
	Because Venus, of all the planets in the solar system, rotates backwards.
	And it was the counter-rotating torsion fields that on the exit of Venus from the transit caused huge changes, comparatively speaking, in the inertia of space, modulating the inertia of the tuning fork that in turn gradually changed as Venus moved further and further away from the sun.
	This is the transit in 2012 where we had access to a much bigger amplifier, i.e., the Sandia Mountains, which are basically almost in our backyard in Albuquerque, which is a 12,000-foot range with 1,000-foot of limestone on top, 70-year-old Cretaceous limestone called the Pennsylvania limestone, named after the strata where it was first found in Pennsylvania.
	And at the beginning, middle, and end of the transit, we saw things that look like this.
	This is Venus just about kissing the edge of the Sun.
	This is now a satellite image in, I think, hydrogen light, and Venus, again, rotating backwards, Sun rotating forward, is just about to kiss the edge of the Sun, and the trace goes along, goes along, you get some noise, and finally, bingo, as Venus touches the Sun, you get this beautiful spike.
	Now, I got to tell you, on these graphs, down is up and up is down.
	For some reason, whoever wrote this software program put increasing frequencies down on the graph and decreasing frequencies up.
	Very maddening.
	So this means that suddenly you go to much higher torsion field frequencies, meaning the inertia of the tuning fork when Venus touched the edge of the Sun, the optical edge of the Sun, was lessened.
	And the tuning fork was able to vibrate faster.
	And then that spike, as it passed onto the disk, went back to background.
	So in this physics, edges and tangents and contacts are important.
	And that, of course, gets to the question: why do planets and stars like the Sun have edges?
	Why is there matter, matter, matter, matter, space?
	Well, it wouldn't be far afield to draw the conclusion that somehow the size and dimension of physical objects is determined by their torsion field creation.
	And what we're seeing here is the interaction of two torsion fields giving us these changes in inertia.
	There's a huge amount of science we have to do.
	Now, the next thing is, as we watch Venus cross the Sun, notice you've got some noise blips.
	You always get noise blips.
	Increasing frequency is down.
	It's basically, I've had to reduce the scale now so that the jitter that you saw here, which is the normal background that we call noise jitter, has been reduced to a straight line.
	The scale is now so small that you can't even see the jitter.
	It looks like just one line, which, by the way, it should only look like.
	All that I'm describing to you is impossible.
	You realize that, right?
	It can't happen.
	In all modern physics textbooks, relativity and dark matter and all that other stuff now included, nothing like this should be possible.
	Nothing.
	It's not there.
	The fact that it's measurable tells us we have been lied to.
	Systematically, carefully, religiously, I use that term very, very, very appropriately, we have been lied to for hundreds of years to keep us down on the farm.
	As Joseph Farrell and I have discussed many times, there are two physics.
	There's the real stuff that the black ops guys, the 1%, are using.
	And then there's the fake stuff that we're left with.
	And there is a slight crossover so that the gadgets we buy at Radio Shack or the iPhones or whatever, they work.
	We're not just told exactly how they work.
	And the fact that there's an overlap in the equations means that you can produce devices that will function, but they won't function to their ultimate capacity, and they certainly won't function at a level of HD torsion field changes, so they're safe and we're kept down on the farm.
	That is one hell of a conspiracy.
	In fact, I would say that is the biggest conspiracy of life on Earth of all time.
	Because understanding of the hyperdimensional torsion field reality of the real physics gives you not only the universe, it gives you access to all of time.
	And we must be pretty darn threatening to somebody if they don't want us to have that capability.
	Anyway, so what we've done now is we've reduced the scale to where as Venus crossed the mid-point of the Sun, this is the spin axis.
	Remember, the Sun is rotating once every 27 days in a forward direction.
	It's 25 days at the equator, 33 days at the pole, 25 days.
	And it has an axis.
	Just like the Earth has a North Pole and South Pole, the Sun has a North Pole and a South Pole and has an axis.
	As Venus crossed that axis, this incredible dramatic change in the frequency of the Accutron took place.
	In other words, the change in the inertia of the accutron tuning fork as it crossed the spin axis.
	Now think about what's going on.
	You've got a little body, little, you know, the size of the Earth, 7,000 miles, crossing a bigger body, optically, which is 850,000 miles, 64,000 miles across.
	And when the two axes coincide, you've got one side coming toward you, the other side going away.
	You've got the little guy with the one side coming toward you and this side going away.
	And when those two opposite directions meet, optically meet in the sky, you get this extraordinary dramatic change.
	And notice how asymmetrical it is.
	It goes along, goes along, goes along, goes along, suddenly, ping!
	And then it has a tail.
	It grades off to where the higher frequencies, and then it goes back to lower and lower and lower, and finally back to background as the center of Venus, its spin axis, crosses the center of the sun's spin axis.
	This is all incredibly cool astrophysics.
	And I will leave it, as I used to say in the old textbooks, for the student to pursue the further implications of what this graph really, really, really means.
	And at dinner tonight, or at the panel, when somebody comes up what the ultimate implication of this is, and they're right, we'll do something cool.
	I don't know what it will be.
	I'm just thinking of this on the spur of the moment, but I want you to think.
	I want you to realize that this is not a presentation.
	This is an interactive process.
	You are here to learn.
	So am I.
	So if you figure out what the implication of this elegantly simple measurement, which we conducted last June on the top of the Sandias as Venus crossed the Sun for the last time in 122 years, something nice will happen.
	So we'll either see you at dinner or we'll see you during the panel, and you can do that.
	So this is an optical photograph of the annular eclipse, which took place before the Venus transit.
	This is what happened when the moon interacted over here, moving across the Sun this way.
	Huge excursions, pinging up and down, up and down, up and down, rapidly establishing a new baseline, which then did more excursions, but this all took place before the moon actually reached the edge of the sun.
	And I finally figured out what it was.
	It was the moon interacting with the layer over the visible layer of the sun called the chromosphere, which is the base of the corona.
	One of the huge mysteries of solar physics is why the sun temperature, in total contradiction to the first, second, third, and fourth laws of thermodynamics, you start out with the sun millions of degrees in the core in the model, gets cooler and cooler and cooler until finally the surface, the optical surface called the photosphere that we can see is around 6,000 degrees.
	Then it jumps to around between 10 and 50,000, and then in the corona, it goes up to a couple of million degrees.
	And no astrophysicist currently understands why the outer atmosphere of the sun should be so incredibly hot when the energy that it's being heated by is coming from a layer that's, comparatively speaking, so incredibly cool.
	It's like it's violating the laws of thermodynamics.
	Well, the obvious answer is the laws are not complete.
	And what they don't take into account is the entire hyperdimensional torsion field model and what's happening with rotation of the sun and the differential rotation of various layers of the sun.
	And that's a whole long discussion.
	Someday I maybe we'll do a whole thing on that.
	Well, what it turns out that the moon eclipse did was to give us not only an insight into the contact of the sun and the moon, but it also then gave us a CAT scan of the interior layout of the sun and moon looking at the accutron vibrations.
	In other words, we have a totally new tool for astrophysics to use that can, and I'm getting close now to the implication of the previous Venus thingy, if we extend this logic and reasoning out into the galaxy, what could it tell us about other star systems?
	That's the only clue I'll give you right now.
	So here is a trace of the beginning of the eclipse.
	This is the photosphere.
	Then it goes to background, but notice there are various curved structures, arcs, and it's symmetric.
	Notice that these guys are mirror images of these guys, but they're strung out further in time.
	An indication that buried in this data are the secrets of temporal transitions.
	Time travel.
	Time manipulation.
	The alteration of time.
	Back to our detector.
	This is a very simple device.
	Anybody can build it.
	You can get the stuff off the shelf and put it together.
	And one of the things I have in mind is to actually make copies of this and give them to people, well, actually, we have to sell them because we can't give them away, for a reasonable price all over the world so people can do their own measurements.
	And then we'll have a central clearinghouse people can send by the internet the data from all over the world, all kinds of ancient sacred sites such as this.
	The one place that Robin and I really, really, really, really, really, really want to go, and we haven't been able to go yet because of money and more importantly, the politics, I don't really know how the Muslim Brotherhood is going to respond to all this.
	So we're treading very carefully, but we'll get there.
	And I thought our drop-dead date, probably a bad choice of words, was 2012.
	Turns out now we have more time.
	And I will explain at the end of this, provided I speed things up a bit, why we have more time.
	The point I'm making is all these ancient sacred sites that David Flynn, my dear departed friend David Flynn, oh, how I wish he was still with us.
	You know, David died a couple years ago of an inoperable brain tumor, suddenly, dramatically, horribly.
	Just he was here and then he was gone.
	Before he left, he left us some really important stuff.
	And the fact that he was an evangelical Christian had nothing to do with his science.
	He was able, as few people I have known, to elegantly meld his religious background and beliefs with elegant portrayal of data up to and including Sidonia.
	And so you ought to pick up a copy of David's book.
	Just Google David Flynn, and the book has the title Sidonia in it somewhere, I think, and you'll find it.
	Get it, read it.
	It's worthwhile.
	It's a different insight, different perspective.
	And I just, as an homage to David and his genius, I want to put that out there.
	David made a layout of all of the sacred sites he could find on a polar projection of the planet.
	And lo and behold, following the work of several others, like the Russians and Beckers, and I forget the other guys in Illinois, he found that they are on a grid.
	They are on a essentially a hyperdimensional grid.
	Notice the tetrahedra, etc., etc.
	And key parts of this grid lie at key latitudes and longitudes because that gets to the nature of what the grid is designed to do.
	The grid is designed, it seems, to manipulate something about the Earth.
	And using the Accatron system, we have been able, fortunate, to go around the world, sometimes courtesy of our friends at NBC and Sci-Fi, and actually measure some of these ancient sacred monuments on the grid.
	Like we went to Teotihuacan, this huge pyramid of the sun, which is baffling to mainstream archaeologists.
	They claim it has one date.
	I think it is much, much, much, much older and built by guys that knew much, much, much more than the Olmecs, the Mayans, etc.
	And with the help of a dear friend of ours from Mexico, Jaime Mousson, we were actually able to climb up to the top of this thing and at dawn, very important, at sunrise, measure the accutron response when the sun came up.
	And notice the extraordinary readings.
	Remember, the Accatron ticks along.
	The scale here is so that that little jitter that you'd see is absolutely straight.
	Suddenly, within a few moments of dawn, the Accatron spiked at over 450 Hertz before settling back down.
	Look at the time from 1925 to 1933.
	Very brief period of seconds.
	Then we got a second blip at 720, and then a little teeny third bit way down here, you know, 3 Hertz, nothing, at dawn on the top with all those people as sunrise rose over the valley of the sun.
	That is in perfect accordance with the idea that dawn in the physics is really important.
	This is why prisoners are shot or hung at dawn.
	And think about those implications.
	What are people trying to do by killing someone at dawn when the physics goes boing?
	Think about that.
	Anyway, all measured by the change of the frequency of a little tuning fork as its inertia increases or decreases in response to the surrounding field.
	Then we flew to a place called Tikal, which is an amazing place.
	Absolutely mystical, magical.
	I recommend strongly you go, you go.
	You know, I've got one heck of a bucket list.
	Robin and I are going to go and see a lot more of these places and measure them.
	And at some point there will be a kind of a gestalt and we'll figure out something that we don't know now connected to all of this.
	And I'll be back somewhere sometime to tell you what we find.
	When we got to Tikal we were able to measure this ceremonial complex which has these huge massive twin pyramids built around it and had the obligatory photograph of us taken in front of one of the big pyramids and I got up on top right here and I was able to measure and look at the extraordinary here the readings went to 949.586 hertz at one point.
	Up, down, up, down, as waves.
	You know, it's like the temporal waves the Enterprise measured orbiting the Guardian of Forever's planet called Gateway.
	You're literally measuring changes in the temporal field.
	And these pyramids, in our model, are acting as solid-state amplifiers.
	What the ancients did was to simply pile up enough stuff that was torsion active, limestone in particular, to where the sheer mass of the stuff would amplify not only on it, but in its vicinity the field to where it would have significant observable effects in our 3D reality.
	One of the effects that our guide, Francisco Florian, told us about was that the elders, the nobles, the 1%, the Mayan 1%, who lived right around this place, like in the apartment complexes here and over here, they lived to be like 100.
	The peasants, the 99%, the folks that fed them, that brought their seeds for an annual ceremony for a couple of weeks in this square between the pyramids, they died at 40.
	And that tells us something profound about what long-term exposure to heightened torsion fields can do.
	Again, all measured by the vibration of our little tuning fork.
	Which brings us to the Mayan Galactic Cruise of 2012.
	I won't get into all the soap opera that went on around it.
	You all know by now that we had some interesting times in Chitsunica.
	But what we were able to do is to measure not only around the pyramid of Chitsunica, but to measure all the way down and all the way back the measurements along the various latitudes between the Yucatan and Galveston.
	And I have not got that plot produced yet to where I can show you, but it shows some very interesting systematic regularities because the field is not the same at all latitudes.
	And that's a long story, and we'll get into that some other day.
	Here I am, the obligatory tourist photograph in front of the pyramid called Kukokan there at Chitsunica.
	This is the actual trace that we measured standing near it, moving away from it, and then standing interminably in front of the administration building where they thought they were going to prevent us from doing measurements, not realizing the field was much, much bigger than the entire complex.
	So it didn't really matter where I stood.
	What's crucial about this, it's the first measurement of spiritual effects on the field.
	Because Han Budsman, at the same time I was doing the measurements, was leading about 100 people in focused meditation not too far away.
	This is when his meditation, which I didn't catch because we had trouble getting to the right place in time.
	I wanted to do a before, during, and after.
	But I got a during and after.
	This is the measurement.
	Notice a higher frequency.
	And then when the group quit, it jumps down.
	Remember, down is up and up is down on the graph.
	Then it goes along.
	Then the group apparently was told they had the wrong permit by the authorities, the federales, and they were forced to move.
	This is the spike in negative frequencies, in higher density, in thickening ether that occurred just as they're all told they have to leave.
	And then it comes back, and then there are various excursions, and I'm going to go do a much more detailed analysis and present this at some point.
	But the fact is that what we're seeing here is an interaction of torsion physics with human torsion physics, consciousness, and the byplay between them as various events, as carefully documented by people like my friend Oram, are played out on the same stage.
	And we're getting low on time, so I've got to speed this up a little bit.
	This is the Yucatan.
	This is where we were located for the measurements of Titanica.
	We traveled from Galveston up here.
	The reason this is important is because it is located 120 degrees.
	Remember, one tetrahedral angle away from Giza.
	And that's important in the idea that there is a global system at play here.
	Now, why is the Yucatan important?
	Well, it's important because of this line.
	120 degrees that away is Giza.
	And what's here?
	Well, originally there was nothing here.
	Then the Maya and the Olmec, not in that succession, moved in and built all of these monuments.
	The night that we drove from the airport to Tikal, for some reason our producer insisted that we land at the airport in Guatemala City and then drive at breakneck speed down a two-lane road at 60 miles an hour, missing dogs and Indians and burrows and people hanging out because their houses are right by the road.
	At 60 miles an hour, you would go, oh!
	And we saw all of these shapes in the twilight that are undiscovered ancient Mayan pyramids.
	They look like hills.
	They're not.
	They're ancient structures that have been buried by time and detritus and trees, and there'd been no money to excavate them.
	All of the Yucatan has been basically terraformed by an incredibly advanced society which built artificial mountains, fields of these artificial mountains that all act as torsion amplifiers exactly 120 degrees from Giza.
	In other words, by our own measurements, this is the beginnings of a planetary-wide system.
	Now, something really amazing happened.
	When we docked at Progreso at dawn, at dawn, think of what happened at Teotihuacan.
	We docked at the end of this four-mile-long concrete pier, which has been built out into the Gulf of Mexico because the bottom is so shallow that the big cruise ships can't get to the shore.
	They have to land at this pier where it's deep enough so they won't basically run aground.
	Four miles long.
	This is satellite imagery.
	Here's a detailed shot of the pier at the end.
	They park one here, they park some here, they park some here.
	Four miles of a concrete trestle.
	And this is what it looks like.
	When we docked at dawn, not before, but when we physically touched the pier in our stateroom, the Accatron went nuts.
	Absolutely nuts.
	And keep in mind, the ship we were on was called the Triumph, the Carnival Triumph, which just days later broke down, stranding 4,000 people at sea without a bathroom.
	Do not think about that too long.
	I happen to have some friends on the ship, and they tell me it was hell.
	I do not think it was an accident because out of all the ships in all the years and all the times, the Triumph was the one ship that arrived just before the solstice in that critical galactic hyperdimensional window when this could take place.
	And I think it broke her.
	Because remember, every piece of rotating machinery in that ship was also doing this at the same time.
	And I don't think it's an accident that the Triumph had a problem as measured by this.
	Anyway, if you expand this out and you look at it really carefully, and I can't really read this, let me see if I can read this.
	This was supposed to be the first advance in timekeeping in 300 years.
	Well, eventually it was discarded by NASA because I think they found out that this device, which is what it looks like when you break it apart and you look at the various components, is in fact an exquisitely interesting detector of changes in time.
	I mean, look, it's a wristwatch.
	Come on.
	How more blatant can you get?
	And then here's the interesting thing.
	Did Bulova invent this just because it had nothing better to do?
	Or was it part of the message to democratize a technology around the sensors, around the filters, so everybody could ask, why is my watch supposed to be accurate to two seconds a day not keeping time?
	Answer, because we're all in a time continuum that's constantly changing as the field changes.
	Or as Cozy Rev said in his seminal paper, the possibilities of the experimental study of properties of time.
	And here's the paper.
	You can Google it on the internet and read.
	Have fun.
	It's an exquisitely interesting paper.
	Please download it and read it.
	And you'll see what I'm saying is correct.
	So these devices, these pyramids, are in fact time machines.
	They either by design or inadvertently alter time.
	And if they're connected through the field, so they all resonate together at key astronomical alignments, daw, like 2012, they will alter time of the planet.
	And that's what I think we were able to fortuitously measure at Chitzenitsa.
	And what in fact is connecting all of these guys together in the field.
	And why the measurements we did at Chitsunica were so seminally important because it then means if we can extrapolate from the changes of the mass consciousness, remember George and Art have been doing consciousness experiments for what, decades?
	I've used them.
	You know, George has done it.
	Art did it.
	You know, we asked everybody to pray and think carefully about Robin recently because we all collectively, this graph demonstrate, can change the temporal field.
	It's a science.
	Nothing more, nothing less.
	It's a science.
	We can demonstrate it.
	And we've been doing it for decades.
	With those seminal experiments that Art used to do and George has done, things change.
	How do they change?
	Because either, and this is interesting, we actually change the physics of this time stream or we all collectively go to another where things are different.
	And that opens up some really amazing possibilities.
	Again, all connected back to these examples.
	Teotihuacan, Tikal.
	This is a photograph taken by my friend in England who wants to remain nameless.
	But if you ask him really hard, he'll admit to taking the photograph.
	This shows Silbury Hill.
	Every one of these places has a different, this is Stonehenge.
	They wouldn't let me inside.
	They're real meanies, these guard guys.
	They wouldn't let me walk 10 feet over to measure in the center, but I didn't have to.
	Because sitting right here, I got stunning readings in the space of just a few minutes confirming that in fact Stonehenge is first and foremost a time machine.
	And someone actually carefully wrote it up on one of the sites I looked at.
	The ancient sacred sites of the world, Stonehenge, are points of global energy grids where many lines or ley lines cross and create massive vortex of energy.
	This is where the stone circles, pyramids, and the major Freemasonic temples are located.
	Energy equals power if you know how to use it, which is why they don't want us to know.
	Or at least some faction.
	Because if it was uniform, if it was monolithic, if everybody didn't want us to know, they wouldn't let us know.
	Right?
	Okay, this is a lat-long plot of the Earth done in the 1800s.
	Shows the major continents, Africa, South America, North America, etc.
	Notice where the Great Pyramid is located.
	Why is it located right there, which is, in terms of some measurements, the center of mass of the continents of the planet?
	Certainly on the top of the biggest continent, the biggest massive planet.
	Because it is located to where it can control the global grid.
	It's all about energy and motion and time.
	And mass is part of that equation.
	So you've got these amazing structures.
	I have for many, many years, and now based on these measurements, I can say unequivocally, without even being able to measure them yet, these are not tombs, these are not monuments, these are machines.
	Massive, hyperdimensional torsion machines built by the ancient Egyptians.
	These guys may have been built a lot earlier than the others, by the way.
	And their purpose was one of two things.
	Up and down, remember, there are hundreds up and down the Nile.
	Those that we found and those that haven't yet been found.
	Their purpose, I think, was to change the energy, the field, to raise the level of the field so the ancient Egyptians could live longer, healthier, happier lives.
	Just like the Mayans did.
	Just like the guys that built Stonehenge were doing.
	I mean, the archaeologists are scratching their head and they don't understand why this huge, massive effort, an effort which equals, if not exceeds, the creation of the Apollo project to go to the moon.
	I remember a stunning conversation I had with Walter.
	That's Walter Cronkite.
	When he was driving at 90 miles an hour in an open Cadillac, and I was terrified that I would never live to see the cape, let alone, you know, another couple days, because he was a terrible driver.
	And his gorgeous secretary was sitting in between us.
	Her name was Carolyn.
	She had long, flowing blonde hair in this gold, you know, convertible Cadillac as we're hurtling down the beeline highway.
	And I'm trying to keep my mind off my mortality by talking to Walter about Apollo and the pyramids.
	And it was he on that drive who said, Dickie said, the Apollo program is like the ancient Egyptians' pyramid program.
	And remember, this is back in the 60s.
	Little did either one of us know at that time how incredibly apt that metaphor would be.
	Because as I will say in some future presentation and document, the Apollo program itself was nothing less than an effort to go and retrieve technology which would allow us to change the future of all six billion people at that time on this planet, like the Pyramid Project did for the ancient Egyptians.
	Because it altered the properties of time.
	And isn't it interesting that H.G. Wells, on the initial cover of his book, depicted this guy?
	In other words, he connected again subliminally the Sphinx in Egypt and travel in time.
	Which brings us back to the film.
	Because you've got to ask yourself, who is burying all these coded messages and why are they doing it?
	Why don't they just tell us?
	Just, you know, take out an ad in the New York Times.
	Don't it cost $20,000 for a two-page ad?
	Just tell us, this is the way it works, and this is what we're going to do, and this is how you can benefit.
	Why do we have these opposing power groups, one of which is trying to suppress ruthlessly at times, if we can believe some of the stories about people being killed and disappeared and all that for tripping over parts of this?
	And then we have another group, a group that appears to want to try to enlighten, to infuse in the culture enough clues so that we all can read the clues and get it.
	Well, I got a good idea who they are, and it's going to surprise the hell out of you.
	Look carefully at the floor under the time machine.
	Look carefully here.
	You notice anything that resembles this?
	This is the floor of a Masonic lodge.
	And this is the Masonic House of the Temple, located in downtown Washington, D.C., located just a few blocks from this place.
	Here's the House of the Temple.
	Here's the White House.
	Is it coincidence that this juxtaposition right up 16th Avenue is in fact in place?
	And could it have anything to do with this?
	That in all of American history, up until the present, 2013, there have been only 14 acknowledged Masons who became president out of 44.
	Now, is that all there were?
	Is it bad record keeping?
	Were there more?
	We don't know about them.
	There are some that are kind of not on the list because it's very iffy.
	There's no documents.
	There are some, like Lyndon Johnson, that only proceeded up to a certain point, never actually became a Mason, but he was starting to, and then he quit, and all that.
	Or is it the fact that in the last 200 and some years of the country, the founding of the United States of America, which is exquisitely interconnected with ancient Egyptian mythology, as I have laid out in other presentations, and some of them are available on DVD, and you can certainly go and find them.
	Like the hyperdimensional election of Barack Obama, I would recommend that to you because it has a lot of this other research in it.
	Do we only have 14 officially listed because 14 happens to be the double symmetry spin set of a double tetrahedron, two times seven?
	Or it happens to be the number of pieces that ISIS had to go around and find to put Osiris back together after his brother Set had him murdered.
	Again, the more you look, the more you will find the fact that this is a reality.
	And even U.S. News and World Report had to come to the conclusion on their front page that these folks are meddling with the society, with the culture, with our civilization.
	That they are in fact basically moving us in some specific directions.
	And I think that is with everything else in life, you can divide it into a kind of a duality.
	You've got the bad guys who are trying to keep us down the farm, and then you've got the good guys who are trying to move us to another level to where we once again can take control.
	And the clues are everywhere.
	For instance, this is a scene in a very famous film.
	How many recognize what film this is from?
	Just call out.
	The day the earth stood still.
	In other words, the day time stopped for 30 minutes.
	And this was done by Robert Wise, who was the guy Gene Roddenberry picked to direct the first Star Trek film.
	And Gene knew so much more.
	This is the graphic I've created for something that NASA did called the Brookings Report.
	When it was first formed in 59 by Eisenhower, the first thing NASA did was turn to these guys, which was a major think tank in Washington, and put together this document, which has a very kind of innocuous sounding name: proposed studies on the implications of peaceful space activities for human affairs.
	I mean, who can get mad and upset at that?
	Right?
	Except when the New York Times read it, they came to the same conclusion that we did, that it actually was a layout that if NASA revealed the existence of extraterrestrial life and all the attendant things that go with that, up to including time travel, our civilization would die.
	And so they have been conducting, according to the mainstream perspective, for the last 30-some, 40-some, 50-some years, a rearguard action to keep us from finding out the worst possible thing we could find out, i.e., we're not alone, and we have incredible, extraordinary capabilities if someone would simply give us access once again to them.
	And in parts of this document, it says things like, while the face-to-face meetings with it, it being alien intelligence, will not occur within the next 20 years, how did they know in 1959 that it wouldn't occur in 20 years?
	How could they say that?
	What did they possibly build that specific date on?
	Was there a projected time frame from the creation of Brookings to when, quote, disclosure would occur?
	And are we now on the wrong timeline?
	Think about that.
	And it goes on about other civilizations that have disintegrated when they found stuff that they shouldn't, you know, realize that their way of life was not exactly like other folks.
	And then they would pay the price of changes in values and attitudes and behavior, which is code speak for their civilization will go to hell and it won't be recognizable any longer and something else will come out of it.
	And of course, all the guys with a best interest in the status quo of keeping things the same, they wouldn't want those changes.
	Remember, when you're on the top, when you're on the top of the pyramid looking at metaphors, what's the only possible way you can go?
	Down.
	And you don't want to go down.
	So if you can keep staying up by not letting everybody else get up, then you don't go down.
	That's one key reason, I think, why we're in stasis, which is about to change.
	At the end of this document, they talk about if the discovery was made, then major questions come up about should it be withheld from the public.
	Now, this is so antithetical to science.
	When I first read this, I could not believe it was an official government taxpayer-supported document that they would actually in print on the record consider withholding this from the public.
	This to me is the smoking gun.
	A lot of my critics say, oh, you're overreading it.
	There's no way to overread that.
	That line should not be in there, thinking about withholding ET information if NASA discovered it from the public.
	The fact that it was tells me that the good guys were able to get into the editing and insert that line so those of us that can read actually could understand what they were reading.
	Now, Brookings went on.
	It talked about further study to basically, you know, counteract the disintegration factor, the freakout factor, as what's her name, Margaret Mead used to say to me, be conducted.
	And it's talked about the complex relationship between events, media translation of them, media presentation of them, audience attention to them, and audience values, attitudes, and behavior as a result of exposure to media content were recommended.
	Translation, we needed to be educated en masse about extraterrestrials and all their incredible bag of magic tricks, including hyperdimensional physics and ultimately extending to time manipulation or alternate time track travel.
	And I'm not, I'm running out of time here, so I've got to go really quick now.
	So what do we do?
	It turns out we have a stunning series of movies and films and television shows and all that over the last 30-some years or more since Brookings, all devoted to the implications of extraterrestrial life, most of it in a very positive and enlightening manner.
	My favorite film, Bar Nun, 2001, did you know that the original monolith that Stanley and Arthur were talking about was supposed to look like this?
	This was the monolith.
	And Kubrick said, ah, pyramids are so cliche, let's do something different.
	Yeah, right, Stanley.
	He wanted to obscure it.
	So they turned it into a doorway, a doorway between dimensions, a doorway which has the properties of time manipulation because Bowman is transformed into the starchild in time and renews his life in his next phase and goes back to basically help the earth.
	Let me help, with Kirk pointing to the third star on the left in the belt of Orion.
	Long time ago, many years ago, I actually did an analysis of the tetrahedron and the sphere and the monolith.
	And this is a very lengthy discussion.
	Bottom line is the mathematics of circumscribing a tetrahedron in a sphere are the inverse mathematics, let me go back one, of creating a monolith which has the exact dimensions of the monolith in the film, one by four by nine.
	It's the squares of the circumscribed mathematics of the circumscribed tetrahedron.
	In other words, the monolith was another clue to hyperdimensional physics and temporal transportation.
	And of course, this is the famous Stargate scene at the very end with the geometry suspended above this mythical planet.
	And again, Arthur is no longer with us.
	I'm going to go quickly through these.
	We all remember this one.
	Remember the famous time travel scene where Superman rotates backwards, exceeding light speed, and literally reverses the time flow on Earth so that Lois no longer has died but is reborn.
	It's all the way it was.
	Time travel and alternate time tracks.
	Then, of course, we had Superman on television even before that with good old George Reeves.
	What really happened to George Reeves?
	Did he really murder himself or did he stumble on something as part of researching his character that somebody didn't want him to talk about?
	We may or may not know.
	Then we come to this, one of my favorites from the 50s, science fiction theater.
	One of the early episodes had to do with time travel.
	And remember, the whole story arc of this was not about science fiction.
	It was about science fiction based on fact.
	The meta-message in the 50s, that incredible, glorious dawning era when anything was possible had to do with changing time.
	Then, another incredible favorite.
	How many time travel stories did Rod Serling put out?
	This one is very interesting.
	There's a story where three spacemen crash and they're rescued in the desert.
	They're brought to a hospital and they're going through the various machinations of the plot.
	And then one morning they wake up and there's only two of them and nobody remembers there was a third.
	And then a few moments later in the show, the last one wakes up and he doesn't remember the other two and nobody remembers them either.
	In other words, the idea of alternate realities where even memory is abbreviated or withheld or expunged.
	Does that explain why we don't remember our past lives?
	Is it something inherent in the physics itself that we actually come into this new 3D reality because you can't transport that information with you?
	Just a thought.
	Then there was this one.
	You know, all of these shows, my feeling is, and this one actually had another meta-message, which was that they are controlling all that you see and hear.
	I mean, it was right out there.
	Duh!
	Then we have this.
	Remember how this one edged out Star Trek at CBS when Gene pitched Star Trek to them?
	They said, oh, we already have a space show?
	Thank God NBC was brighter.
	Okay?
	That's all I'll say.
	It did have some elements.
	Here we come to another favorite.
	I mean, come on.
	This in the 80s was laying out the secret history of the human race, and Chris Carter to this day, except on the Art Bell show.
	You've got to go back in the archive and listen to Chris on the Art Bell show honestly answer for the first time where he got his ideas.
	I won't spoil it for you.
	Go find it.
	Look it up.
	It's on YouTube.
	It's somewhere.
	There are people that have taped every single show of Coast.
	Go find the Art Bell show in 1998 when Chris actually came on.
	After years of turning art down, he came on the show.
	I'll give you one hint.
	It was right after, it was the night after a show that I did with art about X-Files.
	And its theme?
	Obviously.
	Obviously.
	Oh, and then this has got to be one of my modern favorites.
	Stargate has more amazing stuff starting with this, all the Egyptian stuff, and moving on to this.
	Notice the Stargate logo.
	Notice this logo.
	Notice both logos.
	What do you think this represents?
	Certainly not Apollo.
	Has nothing to do with Apollo and Stargate.
	What does it have to do?
	Well, it goes back to this guy, which you would think from the Stargate itself.
	Actually goes back to this because this is Osiris, the god of resurrection, who in the Egyptian is called Asar.
	The A stands for Asar, for Osiris.
	That's why Orion was depicted in the Apollo patch, which had nothing to do with A for Apollo.
	It had to do with A for Asar, as does the Stargate reference.
	Oh, and then, all right, this is really cool.
	They go motherships.
	Did you ever notice that they're big floating giant tetrahedrons?
	Oh, and I had a producer approach the Stargate people years ago to try to insert one of our ideas for a script.
	They almost physically threw him out of the office.
	They acted so weirdly that when he came to visit us in Albuquerque, and he was a Brit, he was a British producer, who had this bright, naive young idea that, oh, Dick, you know, you really should take your stuff to Stargate.
	They love it.
	Yeah, right.
	Okay?
	The fix is in.
	It cannot be done overtly.
	It must be done subtly.
	Tell all the truth, as Emily says, but tell it slant.
	So they've been telling us its slant for decade after decade after decade.
	And the slant story, the truth is, yes, they're alternate reality time tracks, and they look almost imperceptibly different.
	Notice the dog is the same.
	Dogs have presence.
	Okay, now we get to the goodie.
	How many clues can you see in this graphic?
	And I'll give you a hint.
	For this one, you've got to go read Stan Tennon.
	Okay?
	Write that down.
	Stan Tennon.
	Why is the apple and an exposed apple core critical to the central thesis of fringe?
	And I'm not going to spoil it for you.
	Go find out.
	It's your job not to sit there like a lump and listen to me spout truths, but to listen and say, let me see if I can corroborate this.
	Let me see if I can validate that, let me see if I can...
	You have the internet.
	Good God, people.
	Google is not only your friend, it's your best friend.
	You can find anything on this planet that someone else doesn't want you to find if you simply are patient and persistent and know how to cross-correlate and don't depend only on sources.
	The theme of fringe is exquisitely obvious.
	There are alternate universes, alternate time tracks.
	We have the capability of transiting, traveling between, even without technology.
	I mean, I could now tell you lots and lots of stories, barring the most infamous and famous and lovable mad professor ever depicted on television.
	I mean, this guy, he's really cool.
	Really cool.
	And this, of course, is Einstein's stuff relating to torsion and time travel.
	And this is one of the implications.
	Imagine if we hadn't changed timelines.
	Remember back when there was this unlimited horizon and future, and then it all seemed to kind of collapse in this horrible day when this amazing man who had the vision to send us here, why there?
	What possibly could have been relevant to planet Earth by spending the equivalent of $400 billion in today's dollars to go there?
	Well, when he announced it on the floor of the house, he announced it as a race and as a decision.
	And he compared it at Rice University a few days later with throwing your cap over the wall.
	Why do you do that?
	Because then you got to go over the wall to get the damn thing.
	The moon represented a hurdle, a challenge, an enterprise, he called it.
	Love that.
	Because it would change everything.
	And we write all this up in this little book, which you might want to read someday, including the untold story of how these two guys, if both had lived and carried out their plan that was finalized just weeks after this incredible speech by the President of the United States in the well of the United Nations,
	where he proposed that the U.S. and the Soviet Union form a joint expedition to the moon, and it would require a new approach to the Cold War, meaning it would end it.
	And it's my thesis in Monuments that in the face of that possibility, not only was Kennedy assassinated just a few days after he made the agreement with Khrushchev, as we have documented, but it would have totally changed the world that this distorted in ways that are still echoing down through time.
	This is the reality.
	They abandoned the idea.
	Johnson totally ignored it.
	Khrushchev had to abandon it.
	Eventually, within a year, Khrushchev was locked up by the KGB under house arrest.
	He was forced to resign from the chairmanship, the leadership of the Soviet Union, and he lived under house arrest for the rest of his life because he was doing something that the controllers did not want to allow.
	And the guy who validates all of this is this guy, who is Khrushchev's sole surviving son.
	He's a professor of Brown University.
	And he did this on the air in a PBS special a few years ago.
	Again, Google is your friend.
	Reinforced, echoed by this guy, who was the chief counselor and almost twin soul of John Kennedy, a guy named Ted Sorensen, who wrote a book a few years ago called Counselor, in which he documents the fact that from the day that Kennedy took office,
	the first afternoon he walked into the Oval Office after the inauguration, he began writing personal notes to Khrushchev, trying to convince him to go to the moon together.
	And what he would do is he would give the note one day, gave the note to Sorenson, because the regular guy was not available, and Sorensen walked downtown in D.C. with the note inside a folded-up copy of the Washington Post, went to a certain street corner, a KGB guy sidled up to him, took the paper, and walked away.
	And that's how Kennedy and Khrushchev secretly communicated without the CIA, without the Defense Department, without the State Department, one-on-one, and it took him three years and change to convince the Premier to go to the moon together.
	What would that have entailed?
	If they had consummated that agreement, where would we be tonight, as opposed to where we are now?
	Well, we have examples.
	We have this reality, a Tinker Toy space station versus the Von Braun and the easy up-and-down gliders that he envisioned.
	We have the space station in 2001, a huge, vast, rotating artificial gravity city in space where through the Pan Am shuttle, you and I and anybody else could freely visit.
	We would have had bases on the moon with men and women and children being, but we don't.
	They do, but we don't.
	They're not ours.
	They're controlled by somebody else, so we don't have bases on the moon.
	And we would have found this.
	I remember a night at the New York Academy of Sciences when one of the science astronauts came up to me, and this is literally within days of 2001 premiering in 1968.
	He came up to me and he said, because he was preparing one of the crews to go to the moon, he said, Dick, seriously, where would you look for the monolith?
	And I looked at it.
	I was stunned.
	Even in those days when I was very, very mainstream, I still felt that 2001 was kind of, you know, stretching it.
	It was a wonderful work of art by Arthur and Stanley, but it wasn't, no, it couldn't be real.
	And here was an astronaut working with a crew asking the likely place to look for the monolith.
	In fact, if Kennedy and Khrushchev had consummated what they had planned, this would have been obviously open.
	This is a view from Apollo 17 of one of the massifs surrounding the valley where they landed.
	Notice this thing.
	What is this perched against the side of the monolith, which is thousands of feet long and which has a manufactured tip and is obviously a construct, one of the beams that's fallen out of the ceiling of the domes above the Apollo 17 landing site.
	This came to me, I hate to say this from a source, but we validated it with real data on the NASA websites.
	This is another interesting picture.
	This isn't public domain.
	This is on the NASA websites.
	In the floor of Shorty Crater, there is this, okay, which comes here compared to the little rover sitting on the rim.
	And the size comparison is based on the fact that it, in fact, is the size of a human head, but appears to be some kind of robot.
	Shades of Battlestar Galactica.
	Which then leads us to this place.
	Where would we be tonight if Kennedy and Khrushchev had made public the real ancient solar system we inhabit, the real descendants we are from the incredible tour de force of what came before?
	How is it that Jack Kirby in 1958 was able to write this comic book and illustrate it?
	This was decades before 1976 when the photograph was taken by Viking.
	Decades before this image came back.
	How did Kirby know?
	Well, there's only two ways that I can think of.
	One is that he had documents.
	The other is he traveled in time.
	He had alternate dimensional experiences and he was able to bring them back.
	And he laid them out.
	There's a possible third possibility.
	He was part of a group designed to try to get us out of prison and to free us for the human future that we all deserve.
	Then, of course, there is these later images taken of the face on Mars showing at dawn, sunrise, the only photograph ever taken in the entire NASA program of the face at dawn.
	Why did they take one picture at dawn?
	Because dawn is when the physics, as you now have seen, peaks.
	And you see this incredible crystalline geometric eastern side.
	It's not a mesa.
	It's not a rock.
	It's made.
	So the future we could have had could have looked like this.
	Von Braun's depictions of an expedition to Mars assembled in Earth orbit.
	The expedition leaving.
	The expedition arriving over Mars.
	The expedition landing on Mars.
	The expedition setting up housekeeping, you know, cities and domes and facilities to explore.
	Finding the ruins.
	Oh, and then there was this.
	In mid-stride, and during the Viking program, Life magazine came out with this cover.
	Was this trying to tell us, those of us that can read, something profound?
	Leading, of course, to this.
	This is Curiosity, our current little nuclear-powered rover, which has landed near this extraordinary place that I have said from the beginning is the remains of an ancient Martian arcology built by the Type II civilization that lived in the solar system millions of years ago that we're never supposed to know about unless the good guys win.
	And in those first images, things have come back that are geometric and metallic and artificial and look for all the world like pumps with nozzles and shiny aluminum and all kinds of metallic shattered structures like this sphere which is half eaten by corrosion, which is showing us the guts inside that looks nothing like a rock.
	Or how about this little shoe, this little Nike sitting on the surface of Mars right in front of the rover, having been buried for millions of years under the sands?
	Or this panoply.
	Initially it looks like rocks.
	But if you go closer, you see all kinds of little evidences of things that don't make sense, that are part of a buried matrix, because Mars had been through hell.
	And you see folded, gently swooping curves and corrosion of other things that, again, do not look like any geology I've ever seen on Earth.
	Then there's this little guy eroding out of a rock two shiny, bright, metallic thingies that were totally ignored by NASA, except they put out the pictures.
	Why did they do that?
	Hmm.
	Then you have this set of structures, which look like layering, you know, shale-like layerings, until you go closer and you see features that look like metal plates standing upright with holes.
	Or scale is irrelevant.
	Totally irrelevant.
	Scale is a terrestrial perspective.
	Look for the geometry.
	It's geometry, geometry, geometry.
	There is a story out there now.
	I forget who has been talking.
	Oh, it's Stephen Greer, who says he's got a seven-inch alien.
	Now, everybody's laughing.
	Why are they laughing?
	Why can't you pack information density into a brain of a creature seven inches tall that's as smart as we are, if not smarter, depending upon the physics?
	The physics changes locally.
	The creatures change in size.
	Why do we no longer have dinosaurs on the planet?
	Because the physics was different 65 million years ago, before and after the war.
	Long story.
	Here we have a box, which looks like a little coffin, except it's more the size of a cigarette box with a lid badly corroded.
	And next to it, you can see a beautiful hyper spatial hypersonic shape next to another little box, etc., etc.
	Oh, and then there's this comparison.
	This is the Murray building in Oklahoma City.
	This is some of the structures on Mars.
	This is hugely bigger than these guys.
	But look at the geometry.
	Geology doesn't do this.
	It doesn't build regular supports.
	It doesn't create things that look like, you know, mechanical vents with little edge flanges, etc., etc.
	What this all does look like, here's an example of that, all right?
	Two side by side with incredible corrosion.
	Why corrosion?
	Because Mars underwent a catastrophe, a planet-shattering catastrophe.
	When you bury things under a lot of water for millions of years and they erode out, they do not look like the stuff you get at Kmart at all.
	In fact, here's a mechanism, or is it a rock?
	You decide.
	Anybody recognize what this is?
	Remember the name?
	It's called the Antikythera Mechanism.
	It is a at least 2,000-year-old timepiece.
	Here's some gears exposed.
	Now, if you were wandering around the desert and you weren't an expert and you stumbled across this, would you have any idea what it was?
	Would you even stop?
	Was there anything about it that would call your attention?
	This is really, really, really valuable.
	I must pick it up and take it to the nearest expert.
	Of course not.
	Here's the front side.
	This is a little more recognizable.
	This is geometry.
	And as you do things to it, like zoom in, you can see hints of more technology.
	This is an x-ray.
	They put this thing in an x-ray device and did CAT scans, layer, layer, layer, layer, going all the way through.
	Because it's basically a fossilized device that has been turned into rock.
	As anything on Mars that we're looking at that you see lying around the surface also is.
	It does not look like the stuff you can get on eBay.
	In fact, this is what it was.
	This is an incredible, painstaking reconstruction that's taken decades by experts using the best available technology to figure out what the antikythera mechanism actually used to be.
	This is the back.
	Remember what the back used to look like?
	That's what it looks like now.
	This is what it used to look like.
	NASA has been putting out image after image after image of technology because they know that 99.9% of the general public doesn't have a clue as to what they're looking at.
	But when discovery comes and I can hear the clock ticking even now, they will be able to say with these images, well, we told them the truth.
	We just told it slant.
	Oh, and then there's this.
	And no, they haven't found that yet.
	But I'll show you what they have found.
	They found an astonishing feature which they published the best damn images of just the other day just before Curiosity went into its month-long radio silence that I talked about with George last night, where they found this.
	Look at this.
	Look at the geometric detail.
	Look at the straight lines.
	Look at the crystalline shimmering images of glass.
	And as we pan along, you'll see more and more.
	It's not strata.
	It's not rock.
	It's nothing like we have seen.
	Notice again the regular hints of geometry, the vertical and the parallel and the glass-like shattered.
	This is the edge of some major structure.
	And finally, the far end.
	And this is the snapshot from the film Carter, the famous film about Mars by Edgar Rice Burroughs, which had the name Carter from Mars removed from the title.
	John Carter, just became John Carter.
	Is what you've just seen on Mars look something like this?
	And in four weeks, when curiosity returns to the air, I think the beginning of the countdown clock commences.
	And I all want you to very, very carefully stay tuned.

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