i previously discovered that the huge tharsis-montes landmarks on Mars are perfectly aligned with Orion, as if made as a sign (see header image and below, it seemed no one else made the connection before), which also matches the 3 main pyramids of the Giza plateu in Egypt.
a friend of mine recently brought to my attention the LIDAR images of hidden ancient Mayan structures that mirror the same signs. Overlaying the constellation here, it matches. Credit to Andrew for spotting this, and Albert Lin & team for the LIDAR discoveries … not sure if this connection has been made before, so sharing it here:
my connection of Mars landmarks & Orion, and the signs of Sol, our Sun on June 1st 2010 solar maximum: remember, looking for patterns in radio noise is how SETI searches for extra terrestrial intelligence, these are prominent patterns, signs:
^ elevation map of Mars with Orion overlayed, along with NASA EVE/SDO images either side.
these are very prominent landmark signs. and they are the main feature of Mars which for some reason are not shown much in most media — they show the other side in most media, or a less prominent depth shading.
related: South Crypt mural, the so-called “dendera light” (A.Mariette: “Crypte 4”) in the same crypt as the only other depiction of the so-called “Menat Necklace”
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (Crypt East 1 A East Wall)
dendera HatHor crypt text:(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
in the chambers above the crypts of the temple of HatHor in dendera, there exists the only other mural of the so-called “menat necklace” device, also depicted in one Crypt (A.Mariette: “Crypte 4”). i was lucky to get photos of this, and i cannot find any other photos of it online.
compared to the one in the crypt, if we look closely, it has slight variations on the details. of particular interest it seems to show equidistantly-spaced cylinders around the cables, as opposed to a series of circles.
this arrangement matches the unlabeled artefacts i found in the Cairo museum: copper & iron rods with equidistantly-spaced cylinders around the rods, grouped with heads of HatHor “terminals” (see below — i am also awaiting a reply from the ministry of tourism & antiquities regarding any information on them)
the undocumented, rarely-seen section:
equidistantly-spaced cylinders around the cables (in contrast to a series of circles) the “terminals” are styled as heads of HatHor as usual, but the cables seem to terminate differently this variation too, a “flower” appears on the left bottom piece:
Unlabeled, rarely-seen museum artefacts match the device
LOOK AT THIS AMAZING NECKLACE!!! <3 (the unlabeled cabinet i discovered in the Cairo museum — cannot find a photo of this anywhere else or any information on it)
iron rod, copper rod, equidistantly-spaced cylinders around the copper rod, and terminal-like parts styled as the heads of HatHor
the different variety of the cylinders and heads may indicate different usage and functions. some have square holes, some have round holes, some are different materials/colours, some have bulges, etc., and we see one type of cylinder used repeatedly along the copper rod. they also may have been experimenting to find optimal materials.
the copper and iron rods exhibit high levels of rust/oxidation — the iron rod in particular — possibly from immersion or exposure to fluids, for example using an iron rod surrounded by copper, in a jar filled with electrolytic fluid (grape juice, etc) similar to the “baghdad(/parthian) batteries”.
there most likely are many more related artefacts in their collection
below is the mural variation from the crypt, the only other place it is depicted in the entire dendera complex, note here we do not see the equidistantly-spaced cylinders, nor the “flower” at the base of the left piece … possibly simplified elements … (the zig zag inside the circle is missing from A.Mariette’s 1870s drawing):
South Crypt mural, the so-called “menat necklace” (A.Mariette: “Crypte 4”)
Cases of Compartmentalised technology, secret inventions in Ancient temples such as in Alexandria, kept secret from lay worshippers, engineering the presence of gods
Statues in temples that would “cry blood”, there were thunder machines in temple roofs that would emulate the sound of thunder as a sign from the gods, altars for fire sacrifice that would cause a door to open when the fire was made — statues that animate — and even lesser known would be ritual objects and electrified statues that would either shock the common worshipper or cause a tingling sensation — and ones possibly with electrically-illuminated elements.
it is known that in various ancient temples including in Alexandria the initiates/elite priests of those temples sometimes exploited secret inventions & “magical” technology to create impressions on the lay people who came to worship, effectively engineering a sense that “the gods” were present, or that a prayer or sacrifice was answered, etc.
Much of this “temple technology” was kept compartmentalised & secret, it was for the initiates (maybe prescribing punishment of death for revealing secrets), and the common people were not taught these early “magical” technologies. The secrecy of the early esoteric temple technology was absolutely essential for the desired effect.
Consequences of this is that the technology is easily lost to the sands of time, after wars. in cases where we do find references, key pieces may be in a symbolic form which was only easily-understood by the initiates (i.e: Agastya Samhita listing “the neck of a peacock” ingredient, which was a symbolic reference to copper sulfate to make electrochemical jars, copper sulfate being the same colour as the neck of a peacock)
We have a few documented examples of related technology such as from Hero of Alexandria though there must have been much more, not least the public inventions lost to the destruction of the library of Alexandria, but also the secret temple technology which required strict secrecy of the inventions for them to be effective in maintaining the “presence of the gods” effect. It simply would not have the desired effect if people could see “the wizard pulling levers behind the curtain”
the Encrypted Ritual Objects of the HatHor temple Dendera were “Given Life” on Holy Days and Brought Up
In the case of the temple of HatHor at dendera, we know the crypts were for the initiates of the secrets, and the special “ritual objects” were kept down there, together with symbolic esoteric murals for the initiates:
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (Crypt East 1 A East Wall)
(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
Those “ritual objects” were brought up from the crypts only on specific festivals and holy days, and on those days it says they were “given life” in the crypt and brought up — the Ba/Ka (energies of life) were manifested in the idols on those special days, and the people rejoiced in reverence
Wolfgang Waitkus: “Die Texte in den Unteren Krypten des Hathortempels von Dendera” (with a dodgy google translate)
Given that we know Alexandria and other locations had “temple technology” to amaze the oblivious lay-people, it would make sense that the “Ritual Objects” that are “Given Life” from the crypts of the temple of HatHor most likely exhibited “magical” properties to engineer the sensation in the lay people that the gods were truly present on those special holy days, when they took the ritual objects to the roof and other places for a spectacle, a microcosmic ceremony where the images of the gods were “given life”, made themselves apparent, much more than just simply bringing up lifeless statues.
Huge key sections of the crypts have been hacked off, but even with what they left us we can see what appear to be symbolic references to technological devices, and possible archaeological evidence of electrical components for some of those devices in an unlabeled cabinet in the cairo museum (iron rod, copper rod, cylinders, HatHor head terminals).
The Agastya Samhita told us to use “the neck of a peacock” to make electricity, we now know it meant copper sulfate.
So what of harsomtus the serpent coming alive and being contained in the hn-container, supported by the anthropomorphised djed pillar, the “ba” and “ka” energy manifesting, etc.
One must strive to see these crypts through the eyes of the initiates of the secrets, not as a lay-person.
more to come, and will be updated with more sources, references, and connections…
a small selection of many photos i took of mostly South Crypt (A.Mariette: “Crypte 4”), where the so-called “dendera light” mural is located, the same Crypt with the so-called “menat necklace” with cables coming out of the head terminals. All the main murals of West Crypt (“Crypte 7”) have been mostly hacked off …
As much as i highly appreciate this great work, it must be known that Auguste Mariette’s drawings exhibit inaccuracies, missing symbolism, and missing details, when we compare them to the real thing.
it is important to note that these 1870s publications are the go-to source for most egyptologists and scholars studying the temple of HatHor at Dendera, for example his drawings are used in the wikipedia page of the “debunking” of the so-called “dendera light”: https://en.wikipedia.org/wiki/Dendera_light (i believe it’s something electrical, but not a light in that mural – a new post with new revelations coming soon on that)
Below are some photos i took on my visits to the temple, with a comparison to Auguste Mariette’s drawings. These are just a select few key pieces to demonstrate the type of inaccuracies and missing symbolism. There is obviously a lot more to be compared. Some may view these inaccuracies as insignificant, but for example the difference between a straight “tail” or serpent, and a wavy one, and whether something is pinning it down, may be the difference between “on” and “off”, so-to-speak. Accuracy is important, so are details.
“Crypte 4”:
however, it does contain drawings of some bits and pieces that are now missing, which were intact in his time (for example in “Crypte 4”, a few small pieces). That said, unfortunately “Crypte 7” is still missing the main sections in his drawings, “Crypte 7” and other parts were subject blatant destruction of many of the main sections, so the fact those missing sections are not in his drawings are a clear indication that “Crypte 7” had been hacked off before the 1870s.
SEE MY NEW VIDEO OF UNLABELED ARTEFACTS I FOUND IN THE EGYPTIAN MUSEUM IN CAIRO:
THESE HAVE NO DESCRIPTION AND THEY WERE PLACED AROUND ARTEFACTS OF THE HEAD OF HATHOR, AT THE TOP OF THIS MAIN CABINET THEY HAVE PLACED 2 EYES AROUND WHAT LOOKS LIKE A BLUE SCARAB, VERY SYMBOLIC:
::: NOTE: SINCE POSTING THIS IN HASTE I LEARNT MORE KEY PARTS, OBTAINED TRANSLATIONS, ETC. THERE ARE SOME INACCURACIES BELOW, AND ALSO THINGS I CAN EXPLAIN IN BETTER DETAIL WHEN I COME BACK TO FIX THIS, BUT THINGS FIT AS THEY SHOULD! :::
Crypt East 1 A East Wall:
“[Komme] in Frieden, In-Geheimes-Eingeweihter der heiligen Stätten, Jüngling […… Rest zerstört]”
(“[Come] in peace, In-Secret-Initiate of holy places, young man [……rest destroyed]”)
this is a BIG UPDATE to my previous post concerning depictions of what i believe to be the “baghdad batteries” (electrolytic cells) symbolically depicted in the crypts of the temple of HatHor, dendera.
i will make a comprehensive video soon, in the meantime please explore this post.
i recently travelled to Egypt in March to April to see the temple of HatHor and the crypts there in-person. i also visited many other temples and the museums, of importance here is Cairo museum in El-tahrir square. i discovered much more than i expected.
to start, please check out my new 13 minute raw video below i filmed down “Crypte 4″ (A.Mariette) in the temple of HatHor, dandera. i have video of the other crypt “Crypte 7” (A.Mariette) which has all the main pieces destroyed/hacked off, i will upload that soon.
bear in mind THESE ARE CRYPTS, NOT TOMBS. these crypts hold ENCRYPTED INFORMATION reserved for the elite priests/priestesses of the time, INITIATES OF SECRETS, only they would be allowed down here, and they once held important “ritual” objects/devices/technology which have since been looted/destroyed/kept in private collections.
important note: SOME OTHER CRYPTS IN THIS TEMPLE WITH THE SAME NARROW LAYOUT HAS THE MAIN SECTIONS HACKED OFF AND REMOVED, SOMEONE DOES NOT WANT US TO SEE WHAT WAS THERE. IMAGES & VIDEO SOON.
What i observe here i believe to be the following (i may be going along the sections in reverse, or maybe not, but the information i can derive this way, starting from the “baghdad batteries”):
1. the so-called (HUGE) “Menat necklace” is depicting 4 “baghdad batteries” (more accurately electrolytic cells: a clay/other jar with an iron rod inside, the rod surrounded by copper, and filled with electrolyte fluid such as grape juice to create a small amount of electrochemical energy).
2. from these jars we see the “beads” which are small circles, representative of small amounts of energy moving to merge into the bigger piece on the left into the platform, to create a larger sum of energy.
3. between the 2 jars on the right, we see a large circle of power, on a boat, with the symbol for water (zig-zag) inside it. Hence, it is telling us the energy is like a water current flowing, moving, as if on a boat. We use the same terminology in modern times (electrical currents), and it can also relate to the use of electrolytic fluid (“water”) inside the jars (“baghdad batteries”)
4. on the section to the left of this we see a boat with a lotus flower opening, and a live serpent emerges from the lotus flower. the lotus flower opening represents the un-insulated naked cable/resulting electrical discharge and the live serpent is live electricity or live wire — the boat in this section differs also in that it has a lotus flower as one of its sides.
5. the section opposite (i interpret as the big picture “corresponding” section) the boat with a papyrus flower(?) has a similar set of symbolism, this time it has a person holding the “lotus vine” (i believe to be the sheatehed/insulated part of the cable — safe to hold), with the dangerous part of the wire/discharge coming out of the sheath which is symbolised as the LIVE serpent emerging from the lotus flower. they cannot touch the live serpent because they will get “bitten” (shocked).
6. THE NEXT SECTION IS THE END OF THE LEFT SIDE OF THE CRYPT. THIS SECTION IS COMMONLY REFERRED TO AS THE “DENDERA LIGHTBULB” but it may be representing electrical generation and power in general, maybe a generator or other device harnessing the live serpent at both polarities.
7. OPPOSITE THIS SECTION (what i interpret as the “correspondence”), WE SEE SOMEONE IN A PROTECTIVE SUIT BEING GROUNDED/EARTHED, BEHIND THEM IS A PERSON WITH A STRAIGHT SERPENT STAFF PINNING THEIR “TAIL” TO THE GROUND FIRMLY. STRAIGHT SERPENT SYMBOLIC OF THE POWER BEING CONTROLLED AND NO LONGER “LIVE” THE PERSON IN THE SUIT HOLDS TWO KNIVES WHICH IF FOLLOWED VIA THE ARMS MOVING DOWNWARDS WOULD MAKE CONTACT WITH THE TWO TERMINALS (“HANDS”), THE HIEROGLYPHS NEXT TO THE PERSON IN THE SUIT INDICATE THAT THE KNIVES HAVE THE POWER TO CREATE LIFE OR DEATH (they can start the system to generate the electricity, but it’s so dangerous it could kill someone if they use it wrong, hence he must be grounded, and protected)
will update this very soon, publishing now to get out there
ASBOLUTELY:THE ROOT FUNDAMENTAL thing that CAN be KNOWN as we Can Comprehend, as i Can Comprehend:
ANY thing CAN NOT arise from ABSOLUTENOTHING.
Absolutely: thing ALWAYS REQUIRES thing
therefore Something ETERNALLY EXISTS
"time" has NO BEGINNING
ONLY FROM THIS ROOT OF KNOWING should we extrapolate ANY hypotheses
(NOTE: this is an eternal draft as this is an extrapolation of an eternal fractal with no beginning or end, and may be updated over time, or not.)
from here we may comprehend and extrapolate on the great fractal, or loop/non-linear aspect of “time”/everything with no beginning or end, an ever-oscillating fundamental, expansions and contractions
what Can be Known: we are in some sort of eternal fractal of reality with no beginning or end
within this we have observational consciousness such as ourselves with capability to begin to comprehend everything
This is our Absolute root which grows and extends down into the fractally infinite sphere, roots which came from a seed on the surface of the sphere, the seed came from the fruit of the previous tree of life, and that, from we know where
all life is a fractal of this fractal. cosmic, human, animal.
some can freely choose to deny absolute root eternity and claim absolute nothing as the root foundation of everything. but objectively it is a self-destroying claim, for a foundation of nothing will have nothing built upon it, nothing never existed, for it is nothing. the absolute absense of a thing is
For the Asbsolute Root, we Must Comprehend and consider Every Thing
ALL FUNDAMENTAL SCIENCE SHOULD BE DERIVED unconditionally from this Absolute Root Fundamental Thing that Can be Known
only after that pre-requisite can Any one derive an inherently Valid foundational root for extrapolation and development of any hypotheses
all else is inherently corruption, building on a foundation that may appear strong, but made partly of sand and mud, pieced together and patchworked as some may develop and extrapolate from the corrupt root.
ignore nothing
there is only everything
can safely ignore nothing
forget about nothing, it was never there
think about fractal eternity with no beginning come on kids…
All hypotheses Should be extrapolated from root fundamental or else it’s inherently a corrupt foundation
many souls in the same sphere we live, claim ultimate root descent from absolute fundamental nothingness, and forsee their self returning to nothingness we are all entities in this sphere, over time, we pass into an adjacent place over there, fractal to the side of us, entities
60 GHz & 118GHz are 100% peak O2 (Oxygen) absorption band. 60GHz for example has a wide bandwidth, so ranges around 50-70GHz will still interfere with O2, but less
H20 (water) PEAK INTERFERENCE CENTERED AROUND: 22GHz (~30% absorption/interference), narrow band 183GHz (100% absorption/interference), very wide band
THIS IS USED FOR MODELLING THE ATMOSPHERE, WEATHER, OTHER THINGS
60 GHz & 118GHz are 100% peak O2 (Oxygen) absorption band. 60 GHz has a wider band of interference
H20 (water) PEAK INTERFERENCE CENTERED AROUND: 22GHz (~30% absorption/interference), narrow band 183GHz (100% absorption/interference), very wide band
Water (H20) peak absorbtion ~183 GHz
TRIVIA: mmO2 PLC (now just O2, or O2 telefonica, the TELCO) was formed from BT CELLNET in 2001, as mmO2 PLC at the same time it was discovered that 60GHz has 100% interference with O2, oxygen. mmO2 = mmWave O2. it has been known since at least 2001 and used in wireless/microwave antennas for communication and other purposes.
learn more, download and read the PDF from above
this is dual/multi-use technology
you can have “fast downloads”, but it needs targeted beams (hence, beam-forming mmWave technology is the term used)
you can also model the weather/atmosphere/etc.
you can also target people and populations follow the science.
idea for “social media” me and a friend had many years ago where profiles can be properly customised, colour scheme, fonts, etc., like the golden age of the internet … remember myspace, faceparty, bebo, netlog, tumblr to some degrees, allowing more creativity and individualism which could be expressed when someone visited a profile
i remember having the “mind deprogramming video jukebox” embedded onto my myspace profile, purple background, impact font, with the music i made at the top, those were the days ahhh
but imagine also having widgets for things like favourite music, soundcloud/bandcamp/spotify/other embedded widgets on profile landing pages, people’s favourite art/music/games, etc
people can listen to the music when checking a profile
embedding widgets would offload processing and bandwidth burden to third party already-established platforms such as the above music ones
optional 3D spaces with the music playing automatically in the zones, artwork displayed on walls, games, etc
artists get royalties/plays/exposure/etc
no need for NFT etc but that can always be an option
profiles customisation is seen by the visitor not just the user of the profile
simple but classic touches like custom fonts in chats, on posts, change colour, bold, italic, what happened to all that?
i want to bring it back, but it’s a big endeavour, and centralised pissnet giants like fascesbook and twatter like to just envelop everything they can, once in a while adding whatever they think is “the new cool thing”, while their underlying platform is stale in many parts (especially fascesbook now).
i mean … can’t post with different fonts or colour or font sizes … not even a native bold/italics/underline? seriously? why? because they made it that way… there are reasons… they want total control and keeping people in the walled garden with less creativity, to say just the least.
“Operation Greenstar is a mind-control program in which the victim is given a screen memory to create the impression of being abducted by extraterrestrials.”
