Latest / The Occult Rejects / Occult Hand Symbolism

Transcript

Occult Hand Symbolism · The Occult Rejects

• 0:02
  Speaker 1: You see, something's going to happen.
• 0:06
  Speaker 2: What's going to happen?
• 0:15
  Speaker 1: What help? Welcome to the Occult Rejects this episode. You
• 0:28
  Speaker 1: got a bunch of us back again. Third show for
• 0:30
  Speaker 1: the day, Can't Stop, Won't Stop, something like that, And
• 0:33
  Speaker 1: today I got a bunch of rejects with us and
• 0:36
  Speaker 1: we're going to be talking about occult and symbolism. That
• 0:40
  Speaker 1: topic was brought to you by the Headless Giant, and
• 0:44
  Speaker 1: thank you very much. Hells. I thought it was a
• 0:45
  Speaker 1: great topic. But before we let Headless take this over,
• 0:49
  Speaker 1: we will have the other rejects introduce themselves. And I
• 0:52
  Speaker 1: got with me the occult reject mad scientist Lisa herself.
• 0:56
  Speaker 1: What is going on?
• 0:58
  Speaker 3: Three for three? We've done three episodes today. Yes, we
• 1:02
  Speaker 3: have doing well and I'm very excited to be doing
• 1:07
  Speaker 3: something with just the rejects kind of partial to that
• 1:11
  Speaker 3: and just kind of thrown around, you know, our noggins
• 1:15
  Speaker 3: on the hand symbolism. So thank you for inviting me on,
• 1:18
  Speaker 3: Thank you, fellow rejects, and apologies for me interrupting you
• 1:23
  Speaker 3: here in the future of this episode. And the only
• 1:26
  Speaker 3: thing I'd like to plug is a cult Research Institute
• 1:28
  Speaker 3: dot org and you can find me on Twitter on
• 1:30
  Speaker 3: so lease Lisa.
• 1:32
  Speaker 1: Awesome, thank you very much. Hey, we got my man
• 1:35
  Speaker 1: jin Freda, Ninja Ninja whatever, friud of something else. I
• 1:41
  Speaker 1: don't know, good subing.
• 1:45
  Speaker 2: What's up? Nick, thank you so much for having me on.
• 1:47
  Speaker 2: I just want to echo what Lisa said. The Rejects
• 1:50
  Speaker 2: episodes are my personal favorite as well, not that I
• 1:52
  Speaker 2: don't obviously love a guest.
• 1:54
  Speaker 1: I do.
• 1:55
  Speaker 2: That's My show is a lot about guests. So but
• 1:58
  Speaker 2: I come on here really just talk to you guys.
• 2:00
  Speaker 2: So for me, that's for me. So I just want
• 2:03
  Speaker 2: to say so, I just released an episode with Toby
• 2:08
  Speaker 2: Choppel Strange Angles, episode seventy two, so it's kind of
• 2:13
  Speaker 2: an axel. We'll call it an episode for me, so
• 2:16
  Speaker 2: a big deal. And obviously Nick made the connect for me,
• 2:19
  Speaker 2: so thank you so much.
• 2:20
  Speaker 1: Nick.
• 2:21
  Speaker 2: Obviously owe that to you, mister ninety three. And yeah,
• 2:25
  Speaker 2: so and then obviously we Nick and I and Matt
• 2:28
  Speaker 2: Mara from The Gray Lodge came on and we did
• 2:31
  Speaker 2: a Kabala episode just the other day on Binna and Dath,
• 2:35
  Speaker 2: which was really cool and really good. I listened to
• 2:37
  Speaker 2: it back and a lot of people really liked it,
• 2:39
  Speaker 2: so it's a great job on that and and Solar
• 2:42
  Speaker 2: co hosted. I should have said sorry Solar Exile, who
• 2:45
  Speaker 2: was on this show to doctor with doctor Stephen Flowers.
• 2:48
  Speaker 2: He co hosted the episode with Toby Chappel with me,
• 2:51
  Speaker 2: So shout out to him one hundred percent because it's
• 2:54
  Speaker 2: obviously he's co hosting with me on the episode. So yeah,
• 2:58
  Speaker 2: if people want to follow me and check out those
• 3:00
  Speaker 2: episodes Threshold Saints, at Threshold Saints IG and twitter x
• 3:05
  Speaker 2: and then at will cong Reborn, w UK and g Reborn.
• 3:08
  Speaker 2: That's my personal account and there's a lintry and Nicholas
• 3:12
  Speaker 2: throws it in the show notes, so just check that out.
• 3:14
  Speaker 2: And uh, Threshold Saints wherever you get your podcasts, Apple,
• 3:17
  Speaker 2: Spotify and Speaker all that.
• 3:19
  Speaker 1: So thank you guys, awesome, thank you. Eh we got tyrone.
• 3:23
  Speaker 1: What is going on?
• 3:24
  Speaker 2: Sir?
• 3:26
  Speaker 4: All right?
• 3:26
  Speaker 5: What's going on?
• 3:26
  Speaker 2: Everybody?
• 3:27
  Speaker 1: Hi?
• 3:28
  Speaker 5: Everything that you can find on me is on my website,
• 3:30
  Speaker 5: Rebirth at the word dot com. I'm glad to be
• 3:32
  Speaker 5: able to participate in this discussion. And if you are
• 3:36
  Speaker 5: interested in reading my book, Journey through the Origins of History,
• 3:39
  Speaker 5: it was a bestseller on Amazon.
• 3:40
  Speaker 1: Appreciating it of course, thank you, appreciate you, sir. Yeah,
• 3:44
  Speaker 1: we got Tim Constantine joining us. What is going on, sir?
• 3:48
  Speaker 2: Hey good? How are you good?
• 3:49
  Speaker 1: Good one?
• 3:51
  Speaker 6: Yeah, I've got a Sunday show over at Cult of Conspiracy.
• 3:55
  Speaker 6: That show is called Conspiracy Garden and my main show.
• 3:59
  Speaker 6: The best place to find me is excuse me sixth
• 4:02
  Speaker 6: Sensory podcast on all the major platforms.
• 4:05
  Speaker 2: Thanks for having me.
• 4:06
  Speaker 1: Again, of course, no, thank you. And we got my man,
• 4:09
  Speaker 1: the Headless Giant. Thank you very much.
• 4:10
  Speaker 7: Man.
• 4:11
  Speaker 1: I appreciate this topic and everything. So let everybody know
• 4:14
  Speaker 1: who you are and take it away.
• 4:17
  Speaker 4: All right. You can find me on exit on YouTube
• 4:20
  Speaker 4: at the Headless Giant. I can be reached by email
• 4:23
  Speaker 4: for my Thursday night show. About your emails for our
• 4:31
  Speaker 4: listening pleasure, So you can email me at the Headless
• 4:34
  Speaker 4: Giant podcast at gmail dot com. And this Thursday we're
• 4:39
  Speaker 4: going to be doing it again, so I hope to
• 4:40
  Speaker 4: see your email there and we'll get on with that.
• 4:44
  Speaker 4: Also tomorrow I've got the Trialogues with my boy Ethan
• 4:47
  Speaker 4: and with Ricardo, so that's going to be an awesome time.
• 4:50
  Speaker 4: We usually just come together and throw together a show
• 4:52
  Speaker 4: and it seems to work a lot of people like it,
• 4:55
  Speaker 4: so check it out. And today I wanted to get
• 4:58
  Speaker 4: into hand symbol. So if you've been watching The Rejects
• 5:02
  Speaker 4: for a while, you know that we try to do
• 5:04
  Speaker 4: some sort of anchoring where we're taking meaning from the
• 5:07
  Speaker 4: body and looking at the occult symbols that all match
• 5:11
  Speaker 4: up here. And to me, the hand is like one
• 5:15
  Speaker 4: of these ultimate symbols of magic and power and humanness really,
• 5:20
  Speaker 4: you know, because our hands look way different from most
• 5:23
  Speaker 4: of the stuff that we're surrounded by, even by monkey pause.
• 5:26
  Speaker 4: I mean, these are very uniquely human in terms of
• 5:30
  Speaker 4: our own way of perceiving it. So to start off with,
• 5:34
  Speaker 4: I think that it's important to know that there's a
• 5:37
  Speaker 4: fractaline level to the geometry in the hand. Right, So
• 5:42
  Speaker 4: you've got five fingers, right, the pentagram is five points,
• 5:47
  Speaker 4: and the pentagram can be infinitely scaled up or down
• 5:50
  Speaker 4: based off of the golden ratio, and just so happens,
• 5:53
  Speaker 4: you can find a lot of golden ratio in the
• 5:55
  Speaker 4: joints around your hand. So this thing is like our
• 6:00
  Speaker 4: connection to that greater spiral fractality that we see happening
• 6:05
  Speaker 4: with a lot of these geometric shapes. So it's hands
• 6:09
  Speaker 4: creating hands. Really, that's what humans are doing. This is
• 6:12
  Speaker 4: how we interact with our environment. This is the idea
• 6:14
  Speaker 4: of us being able to change our situation, us being
• 6:17
  Speaker 4: able to build in a situation. These are all very
• 6:20
  Speaker 4: important when it comes to magic. And so one of
• 6:23
  Speaker 4: the hands that I like to think about a lot
• 6:27
  Speaker 4: is the hand of Sebasios. This thing has got so
• 6:32
  Speaker 4: many symbols packed into it, just absolutely amazing. You've got
• 6:38
  Speaker 4: the cave where Zeus was nursed back to health. Down
• 6:45
  Speaker 4: on the wrist, You've got it looks like a pan
• 6:49
  Speaker 4: right there in the middle where the palm is. You've
• 6:52
  Speaker 4: got a pine cone on the thumb. You've got a
• 6:55
  Speaker 4: snake that wraps around the whole thing and then comes
• 6:58
  Speaker 4: up between the two fingers. And you could tell the
• 7:00
  Speaker 4: pose that it is in is in all the pictures
• 7:04
  Speaker 4: of Jesus Christ as well as the saints, you know,
• 7:06
  Speaker 4: pointing up towards Heaven, pointing down towards Hell. This mysterious
• 7:11
  Speaker 4: figurine was most likely put on top of a pole
• 7:14
  Speaker 4: so that everybody could see it. Right. This is like
• 7:18
  Speaker 4: the idol's idol. It's got all of these different mythologies,
• 7:22
  Speaker 4: it's all pressed together into one single figure, and this
• 7:27
  Speaker 4: was the hand of Sebazios. Now Sebazios is an interesting
• 7:31
  Speaker 4: god because it comes through this Thracian line. Sabazios was
• 7:35
  Speaker 4: always depicted as a young sort of strapping man on
• 7:39
  Speaker 4: a horse with a spear, and he was the son
• 7:42
  Speaker 4: of either Zeus in Persephone, which was sort of a
• 7:46
  Speaker 4: later interpretation, or Kyberlei through herself. Right, So Kyberlee is
• 7:53
  Speaker 4: kind of like this virgin priestess, so he was either
• 7:57
  Speaker 4: self born through Kyberlei, or he was kind of born
• 8:02
  Speaker 4: through Zeus and Persephone, the god goddess of the underworld.
• 8:06
  Speaker 4: And that union of Zeus and Persephone is pretty interesting too,
• 8:09
  Speaker 4: because this really goes into Dionysus, right. So Dionysus's original
• 8:14
  Speaker 4: form is this character called Zagrias, and Zagrius is a
• 8:22
  Speaker 4: god that was supposed to be formed between either Zeus
• 8:26
  Speaker 4: and Persephone or Hades in Persephony. And there's kind of
• 8:30
  Speaker 4: a disagreement there. Some people say that he's from Olympus,
• 8:34
  Speaker 4: some people say that he was born in the underworld.
• 8:36
  Speaker 4: But this Zagrias character would then be ripped apart by
• 8:42
  Speaker 4: the Titans, and this is one of the first retellings
• 8:45
  Speaker 4: of how mankind came into existence, because what we're said
• 8:49
  Speaker 4: to be is we're said to be gross material or
• 8:52
  Speaker 4: Titan flesh with divine spark within us. So as the
• 8:57
  Speaker 4: Titans consumed the body and bloe blood of this character Zagrias,
• 9:03
  Speaker 4: it put the spirit into mankind, into this gross material
• 9:07
  Speaker 4: flesh that's so familiar. Well, this idea of Zagrias moves on.
• 9:14
  Speaker 4: After he's shoot up. His heart is then placed into
• 9:18
  Speaker 4: the thigh of Zeus, and Zeus then bursts out with
• 9:22
  Speaker 4: this new character called Dionysus. And this is the Dionysian cycle,
• 9:28
  Speaker 4: in the first part of Dionysus' existence, and it said
• 9:32
  Speaker 4: that this Dionysian character is like the son of God
• 9:36
  Speaker 4: and the ultimate truth or the ultimate God of this world.
• 9:40
  Speaker 4: And so there's a lot of crossover between these Thracian
• 9:44
  Speaker 4: mysteries and Dionysus and Jesus for that matter. So as
• 9:52
  Speaker 4: you see on that thumb, you can see the pine cone. Well,
• 9:55
  Speaker 4: Dionysus carried a pine cone on his walking stick, and
• 9:59
  Speaker 4: this is out in front of the Vatican today. You've
• 10:02
  Speaker 4: got that massive pine cone still in existence, still sort
• 10:06
  Speaker 4: of keeping that dian Ician feel to the Vatican, which
• 10:11
  Speaker 4: is almost like a continuation of these Thracian mysteries through
• 10:15
  Speaker 4: Kaibali and all the rest of it. They kind of
• 10:17
  Speaker 4: kept this character, they kind of kept it alive. So
• 10:21
  Speaker 4: this all comes through the hand symbol. Now, one of
• 10:25
  Speaker 4: the things that I found interesting about this hand symbol
• 10:28
  Speaker 4: as well is the idea in dactyls, and the idea
• 10:33
  Speaker 4: in Dactyls were like these gods of sport, right, the
• 10:38
  Speaker 4: Dactyls of Mount Ida in crete. Mount Ida is one
• 10:41
  Speaker 4: of the holiest mountains for all of Greece, invented the
• 10:46
  Speaker 4: art of working metals into usable shapes with fire. So
• 10:49
  Speaker 4: this is one of the gods. This would be the
• 10:53
  Speaker 4: let me see here, what's his name? It's not letting
• 10:58
  Speaker 4: me screw it anyways. So Hiphestus is one of these
• 11:02
  Speaker 4: idea in dactyls, right, and then the cory Bante's are
• 11:08
  Speaker 4: also integrated with that too, and the Dactyli are like
• 11:13
  Speaker 4: the five fingers of the gods. Heracles is also one
• 11:19
  Speaker 4: of these five fingers and instigated the Olympic Games. So,
• 11:24
  Speaker 4: as you know, in ancient Greece they love to have
• 11:28
  Speaker 4: these naked Olympic sports, and all of that was actually
• 11:32
  Speaker 4: in service to these id in dactyls. Right, these are
• 11:36
  Speaker 4: like the highest competitive characters within their pantheon. So anytime
• 11:41
  Speaker 4: they would win a battle, they'd be like, all right,
• 11:43
  Speaker 4: everybody strip naked, we're having the Olympics, we're having games, right,
• 11:47
  Speaker 4: Because this was sort of in service to their gods.
• 11:50
  Speaker 4: As they were expending their energy and showing who is
• 11:53
  Speaker 4: the best out of everybody gathered, they were also establishing
• 11:57
  Speaker 4: a pecking order that was sort of a grand to
• 12:00
  Speaker 4: them by the gods. So their hyper competitiveness on the
• 12:04
  Speaker 4: sport field also translated into hyper competitiveness on the battlefield.
• 12:09
  Speaker 4: So all of these sports have to do with the
• 12:12
  Speaker 4: will of the gods as it's coming through them, and
• 12:14
  Speaker 4: you can see over and over again these sports sort
• 12:17
  Speaker 4: of take the attention of the population almost as if
• 12:20
  Speaker 4: it's a religious ritual, and you find all the religious
• 12:24
  Speaker 4: symbolism within sport all having to do with, you know,
• 12:28
  Speaker 4: who wins and who loses in these symbolic fights, you know,
• 12:32
  Speaker 4: proving who's the top of the heap. And if you
• 12:35
  Speaker 4: think about the hands and what they're capable of producing
• 12:38
  Speaker 4: and how related it is to God in this sense,
• 12:42
  Speaker 4: you can kind of see why there's kind of a
• 12:45
  Speaker 4: reverence paid at these different sporting events. How there's kind
• 12:50
  Speaker 4: of an alternate identity created, and the entertainment of it
• 12:55
  Speaker 4: almost brands different areas or parts of the country and
• 12:59
  Speaker 4: sort of gives them a new meaning as well. I mean,
• 13:01
  Speaker 4: look at the mascots of these different sporting teams. You know,
• 13:06
  Speaker 4: it changes the colors of different regions, and these colors
• 13:09
  Speaker 4: have a huge impact on the psychology of the people
• 13:12
  Speaker 4: experience in that kind of situation. So you can almost
• 13:16
  Speaker 4: use these as a magico religious symbol to influence the
• 13:22
  Speaker 4: population through sport. And that's my presentation on the hand symbolism,
• 13:28
  Speaker 4: at least coming through Greece.
• 13:31
  Speaker 2: I love the.
• 13:33
  Speaker 6: Pine combe element to this, and I might be jumping
• 13:36
  Speaker 6: ahead here, but I'm always down and learn more about
• 13:40
  Speaker 6: why the ancients were depicted holding the pine cone. But
• 13:43
  Speaker 6: I'll say this that you brought up Persephone, it does
• 13:46
  Speaker 6: remind me of her in the sense that she was
• 13:48
  Speaker 6: often depicted holding a pomegranate, which is like a symbol
• 13:54
  Speaker 6: for life, death, rebirth, and divinity.
• 14:01
  Speaker 1: I wrote a book using the pomegranates in the name,
• 14:05
  Speaker 1: so yeah, it is used for like a cult.
• 14:07
  Speaker 2: Yeah, the orchard of pomegranates.
• 14:08
  Speaker 6: Sorry, and the whole then I'll cap it off with this.
• 14:13
  Speaker 6: The whole rebirth divinity thing I find super interesting because
• 14:18
  Speaker 6: I think a lot of these kings, these old ancient
• 14:20
  Speaker 6: kings like Oshrabono Paul or Nebu Kenezer even were trying
• 14:26
  Speaker 6: to i'l chemically transmute and achieve some sort of a
• 14:31
  Speaker 6: rebirth that would give way to divinity. They were trying
• 14:35
  Speaker 6: to deify, it seems.
• 14:37
  Speaker 2: But it all goes back to symbolism.
• 14:40
  Speaker 4: Tim. Think about where all the apostle Paul set his
• 14:43
  Speaker 4: letters up in Turkey, right, Those are all the Thracian homelands, right,
• 14:49
  Speaker 4: So those are the same kinds of crossover there with
• 14:52
  Speaker 4: his dying and resurrecting Savior, and that's where he's sending
• 14:55
  Speaker 4: his letters to.
• 14:59
  Speaker 3: Yeah, if I could kind of expand upon the thumb.
• 15:06
  Speaker 1: I was going to ask you a specifically.
• 15:09
  Speaker 3: Yeah, Nick and I have had this discussion which is
• 15:12
  Speaker 3: interesting because you've said something about, you know, your rituals
• 15:16
  Speaker 3: as well, not yours specifically, but the rituals that you've participated.
• 15:20
  Speaker 3: So there is engin please this kind of I know
• 15:24
  Speaker 3: you have a little bit of knowledge on this too,
• 15:26
  Speaker 3: in terms of like I believe the body lay lines
• 15:30
  Speaker 3: or reflexology. They believe that the thumb is connected to
• 15:35
  Speaker 3: the pineal gland. Well, okay, so the concept is that
• 15:39
  Speaker 3: there are specific points on the hands and feet the
• 15:42
  Speaker 3: corresponds with the organs of the body. And the way
• 15:45
  Speaker 3: that it was told to me whenever I was doing
• 15:47
  Speaker 3: acupuncture was that when you were developing in the fetus,
• 15:50
  Speaker 3: you're developing in a fetal position. So the cells that
• 15:54
  Speaker 3: are used to form the hands or the back of
• 15:58
  Speaker 3: the hand or whatever is closely related to like your
• 16:01
  Speaker 3: chest area, right, because you kind of develop like this,
• 16:04
  Speaker 3: so it's almost aligned or they can feel each other
• 16:09
  Speaker 3: because they almost come from the same area of whenever
• 16:12
  Speaker 3: during fetal development. Please gen correct me if I'm wrong.
• 16:15
  Speaker 3: But so with that being and with that in mind,
• 16:21
  Speaker 3: I believe there is I think it's reflexology, and I
• 16:25
  Speaker 3: want to say that it's acupunctured too. But they believe
• 16:28
  Speaker 3: that there is points on the tip of the thumb
• 16:33
  Speaker 3: that correspond to the pineal gland, and that if you
• 16:37
  Speaker 3: massage the tip of the thumb, it's believed to stimulate
• 16:42
  Speaker 3: the pineal gland not only in you know, awakening or awareness,
• 16:46
  Speaker 3: but also encourage melatonin production. So I think when you
• 16:50
  Speaker 3: go like to these alternative medicine type institutions, that they
• 16:56
  Speaker 3: do that in order to help like with improving sleep
• 16:58
  Speaker 3: or promote relaxation and stuff like that. So I do
• 17:02
  Speaker 3: know that there is that.
• 17:05
  Speaker 2: No, that was great, Lisa. I. So I'll answer in
• 17:08
  Speaker 2: two ways. One is a ton tric way, but it
• 17:10
  Speaker 2: ties in with the yoga way. So the later Yogi's
• 17:13
  Speaker 2: weren't contric but they kind of had an idea of
• 17:16
  Speaker 2: what that was, like magic really, and so they were
• 17:19
  Speaker 2: writing there like knees on half of the yoga their sutras,
• 17:23
  Speaker 2: and so they kind of reformulated because they didn't have
• 17:27
  Speaker 2: all the clues or the keys maybe you could say,
• 17:30
  Speaker 2: so they had to sort of reformulate their broken knowledge
• 17:34
  Speaker 2: of the ton tric ideas. So there's different ways that
• 17:37
  Speaker 2: you can actually assign in TNTRA. For each finger is
• 17:41
  Speaker 2: actually related to an element, and there are obviously five
• 17:44
  Speaker 2: elements in TNTRA. The thumb is often associated with akasha
• 17:49
  Speaker 2: or the mind, but it can also be like the
• 17:51
  Speaker 2: akashak records obviously, so something like what you're saying, stimulating
• 17:55
  Speaker 2: the memory, simulating the mind, simulating the cameo viae have
• 18:01
  Speaker 2: like spiritual experiences. So what mudras really are, like this
• 18:04
  Speaker 2: is really great Headless, thank you for bringing that up.
• 18:07
  Speaker 2: Is that mudras really are about the connections between the fingers.
• 18:12
  Speaker 2: You're actually doing a very subtle tontric with this called
• 18:15
  Speaker 2: tontric dancing actually, and you're subtly touching the fingers to
• 18:21
  Speaker 2: each other in the specific movements. But what you're actually
• 18:24
  Speaker 2: doing is you're doing elemental invocations like very yadhe vavee. Actually,
• 18:28
  Speaker 2: So yeah, that's basically what it is. And that's even
• 18:32
  Speaker 2: how you would do a ritual sodna, is that you
• 18:34
  Speaker 2: would change your mudras depending on the specific timing or
• 18:39
  Speaker 2: grammar within that specific sodna. So you would be activating
• 18:43
  Speaker 2: the different elemental configurations you could even say, and you'd
• 18:48
  Speaker 2: always do air last. So that's interesting because sometimes earth
• 18:53
  Speaker 2: is given to the pinky and sometimes air is given
• 18:55
  Speaker 2: to the pinky. But it does actually matter. So what
• 18:58
  Speaker 2: I'm saying is the way you formulate it actually changes.
• 19:03
  Speaker 2: So if someone does it one way, it's not going
• 19:06
  Speaker 2: to work for someone else who thinks of it in
• 19:08
  Speaker 2: a totally different way in another way, because it really
• 19:12
  Speaker 2: matters your.
• 19:12
  Speaker 4: Starting point, Jane, I got one for you. So you
• 19:16
  Speaker 4: know who else was a Thracian? You got it Pythagoras
• 19:27
  Speaker 4: because you keep all the numbers you need right here.
• 19:30
  Speaker 1: Oh you can use your feet. Yeah, he what are
• 19:32
  Speaker 1: you saying? For sure?
• 19:33
  Speaker 4: Pathagoras was so huge on that. I mean, you've got
• 19:36
  Speaker 4: the idea of number all embodied inside of these hands,
• 19:40
  Speaker 4: you know, as as your very first starting point within
• 19:43
  Speaker 4: the whole world of numbers. And you've got the perfect
• 19:45
  Speaker 4: symbol for base ten, you know, right there both sides
• 19:49
  Speaker 4: of your body.
• 19:50
  Speaker 5: Ten and Mason re means perfection, or at least one
• 19:53
  Speaker 5: of them. One of the theories or ideas for number ten.
• 19:58
  Speaker 2: I think is Zero's a very profound concept. I'm sure
• 20:02
  Speaker 2: Lisa has lots of thoughts on this, but I find
• 20:04
  Speaker 2: I find zero to be a very profound concept, and
• 20:06
  Speaker 2: I actually think it was a very innovative, magical idea.
• 20:09
  Speaker 2: I know a lot of people like, yeah, I just
• 20:11
  Speaker 2: did an episode on the value of number nine with
• 20:14
  Speaker 2: someone who's like, you know, in the order of chrap,
• 20:16
  Speaker 2: so it's but for me, I'm just saying, for me,
• 20:19
  Speaker 2: I prefer a base ten. I think that there's something
• 20:22
  Speaker 2: more interesting and like more. It seems to be it
• 20:26
  Speaker 2: seems to be more progressive. I'm not using that word politically,
• 20:30
  Speaker 2: but I'm just saying it's like forward thinking magic. It's
• 20:33
  Speaker 2: not backwards looking. This is my perception. But maybe that's wrong.
• 20:37
  Speaker 4: But well, it could have to do with how they're associated, right,
• 20:42
  Speaker 4: So the base sixes and all the rest of these
• 20:45
  Speaker 4: other systems might have other focuses that they put into
• 20:48
  Speaker 4: their numbering system as part of a body heuristic. You know, yes,
• 20:54
  Speaker 4: that's a possibility.
• 20:55
  Speaker 6: Speaking about the numbers here, you know, the bottom of
• 20:59
  Speaker 6: a pine, at least some of the ones I've seen,
• 21:02
  Speaker 6: has a Fibonacci sequence. So if you think about it,
• 21:07
  Speaker 6: if it also represents represents the third eye or the
• 21:10
  Speaker 6: pineal gland, you've got the third ie wrapped up in that.
• 21:13
  Speaker 6: I would, you know, wager. But it's like the third
• 21:17
  Speaker 6: eye meets the Fibonacci sequence, which is like the golden
• 21:20
  Speaker 6: ratio with the numbers, like higher math, higher science. So
• 21:24
  Speaker 6: it's almost like if you see somebody holding that and
• 21:27
  Speaker 6: you're mixing these two concepts of like third eye and
• 21:32
  Speaker 6: higher math found in nature, it's almost symbolic of the
• 21:36
  Speaker 6: human being, like receiving nosis or receiving knowledge, like with
• 21:42
  Speaker 6: this picture you had of there's a pine cone at
• 21:45
  Speaker 6: the person's fingertips. It to me this is symbolic of
• 21:52
  Speaker 6: I don't know, receiving higher knowledge.
• 21:53
  Speaker 2: Perhaps I just wanted to respond really quick, Tim. So
• 21:58
  Speaker 2: I think that's super profound what you said. And I
• 22:01
  Speaker 2: actually think this goes back to the episode I jested
• 22:03
  Speaker 2: with Nick and Matt which we were talking about Benna Binna.
• 22:07
  Speaker 2: Is that higher math, that kind of higher intellectual thinking
• 22:10
  Speaker 2: exactly what you're talking about. And that perceptual element, that
• 22:14
  Speaker 2: element that's in perception of that higher knowledge is has said.
• 22:19
  Speaker 2: So it's that Saturn Jupiter connection. That's kind of what
• 22:23
  Speaker 2: makes the world real. It's like we see it, we
• 22:26
  Speaker 2: know it exactly what you said, higher knowledge, and we
• 22:29
  Speaker 2: understand it. All those three things at the same time. Sorry,
• 22:35
  Speaker 2: I had to do kamala and I I apologize.
• 22:36
  Speaker 3: No, I want to build upon what Jin said because
• 22:40
  Speaker 3: of the kabal and then it maybe think of numbers.
• 22:43
  Speaker 3: One of the things with the thumb still staying around
• 22:45
  Speaker 3: the thumb is that the thumb itself is controlled by
• 22:50
  Speaker 3: nine muscles. Well, let me let me rephrase that. So
• 22:54
  Speaker 3: there are no country property believe there are no muscles
• 22:58
  Speaker 3: in your fingers there. It's only tendons and ligaments, right,
• 23:03
  Speaker 3: and they're connected to muscles, and that's kind of how
• 23:06
  Speaker 3: it works. And it works like in a rope pulley
• 23:08
  Speaker 3: type system. But with the thumb there are it. The
• 23:14
  Speaker 3: thumb itself is controlled by nine muscles and it has
• 23:20
  Speaker 3: three major nerves. So you have the number ninety three
• 23:26
  Speaker 3: and then there are I believe six potential directions or
• 23:32
  Speaker 3: movements that the thumb can make at the base joint.
• 23:36
  Speaker 3: So going back to what you were talking about, Jen,
• 23:39
  Speaker 3: you have this three six nine vortex math, you have
• 23:45
  Speaker 3: any kind of it's called the golden ratio, and not
• 23:49
  Speaker 3: three six nine is the golden ratio, but you have
• 23:51
  Speaker 3: all of these types of what we've heard these these
• 23:55
  Speaker 3: things over and over in secret societies or occult practices.
• 23:59
  Speaker 3: These numbers are these orientations happening all again within the thumb.
• 24:04
  Speaker 3: So that I throw that in there as well.
• 24:07
  Speaker 2: That's really great, Lisa, Like three six nine, like just
• 24:09
  Speaker 2: think about in Kabola. It's a they'nah different and your
• 24:13
  Speaker 2: sod and like good. I always he's nick about this
• 24:16
  Speaker 2: because he always says that he used to listening to
• 24:18
  Speaker 2: David I back in the day, and David Ice talks
• 24:21
  Speaker 2: about the Saturn moon matrix, right, well, that is I
• 24:24
  Speaker 2: mean that he's talking about something fundamentally real in Kabbala,
• 24:29
  Speaker 2: like that is an important kabalistic lesson is that everything
• 24:33
  Speaker 2: is formed in your mind. So when he's saying it's
• 24:36
  Speaker 2: like a matrix that you're trapped in it, he's not
• 24:38
  Speaker 2: actually talking about like the drix. He's talking about like
• 24:41
  Speaker 2: your kind of consciousness matrix. Like you're saying you're trapped
• 24:47
  Speaker 2: And that's what and that's exactly what those numbers are
• 24:49
  Speaker 2: because six is really the higher apotheosis of all of
• 24:52
  Speaker 2: those things in synthesis. So and very profound thank you.
• 24:57
  Speaker 3: No no, no, thank you, Jen. And then if we
• 25:00
  Speaker 3: ever get to do the gnostic mass to that one
• 25:06
  Speaker 3: of the things with the pennel and Jen, you kind
• 25:09
  Speaker 3: of drop my memory on this. With the pineal, you
• 25:13
  Speaker 3: can charge your pineal by I think it's a full
• 25:17
  Speaker 3: moon facing north Yeah, so again going back.
• 25:23
  Speaker 4: To the whole facing the north pole on a full
• 25:29
  Speaker 4: moon charges your pineal glad because that totally makes sense.
• 25:33
  Speaker 3: So that's that's one of the I guess series out
• 25:38
  Speaker 3: there that potentially you could charge your pineal uh during
• 25:44
  Speaker 3: a full moon facing north. That's I don't know when,
• 25:47
  Speaker 3: I don't know what point. That's all I just remember
• 25:50
  Speaker 3: from reading. But yeah, So going back to the whole
• 25:53
  Speaker 3: lunar thing of what Jen was.
• 25:55
  Speaker 1: Saying with, Yeah, I think Crowley actually suggested that look
• 25:59
  Speaker 1: at the moon its full.
• 26:01
  Speaker 3: I'm not sure where I got it from. You told
• 26:04
  Speaker 3: me that.
• 26:05
  Speaker 1: Yeah, one thing that told me.
• 26:06
  Speaker 3: You told me that you face north at midnight, and
• 26:11
  Speaker 3: I was like, well, that's interesting because I do know
• 26:13
  Speaker 3: that the pineal is receptive to moon light frequency electromagnetic
• 26:18
  Speaker 3: frequency from the moon, and you can potentially charge it
• 26:24
  Speaker 3: because it can sense it at midnight from a full
• 26:29
  Speaker 3: moon facing north.
• 26:30
  Speaker 1: Yeah, that goes. Sorry, I just want to yeah, you go,
• 26:33
  Speaker 1: because I'm gonna have a bunch of I want to say.
• 26:35
  Speaker 2: Okay, I'm just gonna be really quick. I just want
• 26:37
  Speaker 2: to say to jump off. Lisa's point is that that's
• 26:39
  Speaker 2: a really interesting thing that you said about the apex
• 26:43
  Speaker 2: of the moon at midnight, because that is actually in
• 26:46
  Speaker 2: contric astrology, that is what is considered as apex. The
• 26:50
  Speaker 2: true north at midnight is the moon, whereas at noon
• 26:54
  Speaker 2: in tontric astrology, I'm not saying this is real, but
• 26:56
  Speaker 2: I'm just saying in Tontric astrology it's venus, so very
• 26:59
  Speaker 2: interest are staying kind of feminine. Both have feminine, specifically
• 27:03
  Speaker 2: feminine qualities.
• 27:05
  Speaker 1: See even at even at noon when you're doing going
• 27:09
  Speaker 1: back to rush, that is something I do want to
• 27:11
  Speaker 1: think eventually cover. And I think from what Lisa is
• 27:14
  Speaker 1: saying and the other stuff, the other prayers, I do
• 27:17
  Speaker 1: think it's to charge up Neil Glenn for sure. But
• 27:20
  Speaker 1: even when you face at noon, when you're facing and
• 27:24
  Speaker 1: you're doing the prayer, you're still even actually including a
• 27:28
  Speaker 1: chick at that time. You're praying to Hathlor. Now I
• 27:32
  Speaker 1: know that's like to me. I used to sometimes use
• 27:34
  Speaker 1: Hathlor for netsuck anyway, even though I don't know, but
• 27:39
  Speaker 1: I found that interesting how you said a female or
• 27:41
  Speaker 1: whatever venus. And again it's associated you know, this prayer
• 27:47
  Speaker 1: is associated with the female during the day. So if
• 27:51
  Speaker 1: you're into.
• 27:51
  Speaker 3: Something that's you do charge it at mid day two sorry,
• 27:58
  Speaker 3: tim at mid day at noon you do charge your
• 28:01
  Speaker 3: pennial as well, because at noon, depending where you are
• 28:05
  Speaker 3: on the surface of the earth, you were receiving all
• 28:09
  Speaker 3: of the light in its appropriate ratios of the electromagnetic spectrum.
• 28:14
  Speaker 6: So yeah, yeah, you've got twelve o'clock noon, and then
• 28:17
  Speaker 6: you've got the twelve phases of the moon. I'm just
• 28:21
  Speaker 6: thinking about the numbers here, and the golden ratio is
• 28:24
  Speaker 6: like one point six something, So there's a six in
• 28:27
  Speaker 6: there if you're thinking about like that.
• 28:30
  Speaker 1: Yeah.
• 28:30
  Speaker 6: Yeah, and if you add the one in the eight,
• 28:32
  Speaker 6: you get the nine, so technically it has a six.
• 28:35
  Speaker 6: I'm in there, But I was going to ask, what's
• 28:39
  Speaker 6: this association with Venus because that's was there association with
• 28:42
  Speaker 6: Venus that was mentioned?
• 28:44
  Speaker 1: Oh no, maybe maybe Jin said something about something about
• 28:47
  Speaker 1: feminine and that reminded me of the prayer at twelve
• 28:49
  Speaker 1: o'clock was also a feminine deity that you pray to.
• 28:52
  Speaker 1: Maybe you didn't say Venus and I fucked that up there.
• 28:54
  Speaker 2: Well, no, no, I did say Venus. Sorry, Venus. Is
• 28:57
  Speaker 2: that the apex of the north? It's true north at noon,
• 29:03
  Speaker 2: just at that point in the sky.
• 29:06
  Speaker 3: This is the one idea and it was and it
• 29:09
  Speaker 3: was the first star that you can see in the morning, right.
• 29:12
  Speaker 2: Yeah, the morning star. It can be the rising and
• 29:16
  Speaker 2: falling star. This is really interesting in contrac nostrology. Actually
• 29:20
  Speaker 2: is that both Mars and Venus can be the rising
• 29:23
  Speaker 2: and falling star, depending or the morning and evening star
• 29:26
  Speaker 2: they switch.
• 29:28
  Speaker 3: Okay, and those two points in the earth, I mean
• 29:33
  Speaker 3: on the earth is what is is the the switch
• 29:38
  Speaker 3: like literally like light switch to turn on and off
• 29:43
  Speaker 3: your pineal gland is is the crepuscular times or the
• 29:48
  Speaker 3: dawn dusk whatever.
• 29:51
  Speaker 6: So yeah, I see this as being saturated with divine
• 29:57
  Speaker 6: feminine if we're talking about hath Or and we're talking
• 30:00
  Speaker 6: about Venus, and you know, even even the Bible mentions
• 30:05
  Speaker 6: the morning star in association with Venus, and if you
• 30:09
  Speaker 6: go further into that, I would I would suggest that
• 30:12
  Speaker 6: it's probably associated with an honor, a start day ishtar.
• 30:19
  Speaker 4: And also Jesus was called some of the morning. Jesus
• 30:24
  Speaker 4: was called some of the morning as well.
• 30:25
  Speaker 2: Jesus was the child of the north star.
• 30:27
  Speaker 1: Though really depending on what the translation you want to use,
• 30:30
  Speaker 1: the call in the morning.
• 30:31
  Speaker 4: Store Yeah, right, And I think it has to do
• 30:35
  Speaker 4: with different parts of the year. And you know, we
• 30:37
  Speaker 4: see that again with Venus, which the morning star part
• 30:40
  Speaker 4: of the year is the spring and then for the
• 30:43
  Speaker 4: summer it goes away and then like fall, winter it's
• 30:46
  Speaker 4: in the evening part of the sky, So there is
• 30:48
  Speaker 4: this dichotomy between when it shows up during the year.
• 30:51
  Speaker 4: So I think a lot of that has to do
• 30:53
  Speaker 4: with the calendar.
• 30:56
  Speaker 1: One thing I did want to mention too, This was
• 30:59
  Speaker 1: why I said I was gonna talk for a little bit,
• 31:01
  Speaker 1: is because the OTOO fuck it when I do my
• 31:05
  Speaker 1: second degree initiation. Uh, you guys got me thinking of
• 31:09
  Speaker 1: that whole thumb thing. Let me just go back a
• 31:13
  Speaker 1: little bit. There has been times during the initiations where like,
• 31:17
  Speaker 1: I'll just use this same example, I'm already saying stuff,
• 31:19
  Speaker 1: I'm not SUPs. So they'll they'll take a sort and
• 31:23
  Speaker 1: not hit you hard, but they'll tap your waist and
• 31:26
  Speaker 1: they tell you. At some point after you do the initiation,
• 31:29
  Speaker 1: sometimes like a few weeks maybe a month later, they'll
• 31:31
  Speaker 1: have a class and anybody who's ever done that degree
• 31:33
  Speaker 1: can come in and take the class and they'll kind
• 31:35
  Speaker 1: of go over it a little bit. And normally they'll
• 31:37
  Speaker 1: have like people that just did that initiation kind of
• 31:39
  Speaker 1: come in and say some stuff, and they had said
• 31:42
  Speaker 1: that when they do that sort thing, it was to
• 31:44
  Speaker 1: activate that chakra down there. Now during the second degree,
• 31:49
  Speaker 1: there's at one point, they give you this stick piece
• 31:52
  Speaker 1: of wood that has a screw on the top of it,
• 31:54
  Speaker 1: and they specifically tell you to put it on your
• 31:56
  Speaker 1: thumb and screw it down until you can't you know,
• 31:59
  Speaker 1: until you can whatever, until I guess you can bear
• 32:01
  Speaker 1: it anymore. I mean, I already from reading stuff I
• 32:05
  Speaker 1: wasn't supposed to read. I already knew what was going
• 32:06
  Speaker 1: to happen. So I mean, I just did it a
• 32:07
  Speaker 1: little bit and I said, Okay, that's it, you know whatever.
• 32:10
  Speaker 1: But I am like, you're starting to wonder now when
• 32:12
  Speaker 1: they said that they specifically will tap you places and
• 32:14
  Speaker 1: do things to activate chakras. Was that whole thing to
• 32:17
  Speaker 1: do with the whole thumbshit? Were they putting the screwed?
• 32:20
  Speaker 1: Were you screwing that shit down yourself? I don't know.
• 32:23
  Speaker 1: It just it made me think about that when you
• 32:24
  Speaker 1: were talking about the thumb and the panel, Glen in
• 32:26
  Speaker 1: the connection.
• 32:27
  Speaker 4: Have you ever have you ever heard of the torture
• 32:29
  Speaker 4: technique the thumb screws, right, So it was like a
• 32:33
  Speaker 4: torture technique. They would put you in the thumb screws,
• 32:35
  Speaker 4: which was like this thing that they would put down
• 32:37
  Speaker 4: on top of the cuticle and as they're cranking it down,
• 32:41
  Speaker 4: they want you to confess to certain crimes or whatever.
• 32:43
  Speaker 4: But if they've got you doing that during an initiation,
• 32:46
  Speaker 4: you're putting the thumb screws to yourself.
• 32:49
  Speaker 1: Yeah, then you know what they this is like shit
• 32:52
  Speaker 1: that they did that they say this is And this
• 32:53
  Speaker 1: was one of the reasons why I was like, what's
• 32:55
  Speaker 1: going on in this place? They lift it up, they
• 32:58
  Speaker 1: show you that it's like a stick and it has
• 32:59
  Speaker 1: the screw at the top. Then when they show you
• 33:01
  Speaker 1: the bottom of it, it was like hollowed out, and
• 33:03
  Speaker 1: they're like, now, if you maybe noticed everything. Basically, what
• 33:06
  Speaker 1: they're getting at is that not everything may be as
• 33:09
  Speaker 1: it seems. That was the whole lesson to learn from that,
• 33:11
  Speaker 1: because if I would have looked around and sold everything,
• 33:13
  Speaker 1: I would have realized I could have just stuck the
• 33:15
  Speaker 1: whole fucking thing on my thumb and wouldn't have had
• 33:17
  Speaker 1: to turn the screw, you know, some shit like that.
• 33:20
  Speaker 1: You know, so like it was even like it was
• 33:22
  Speaker 1: even weird like that lesson because right before that, I
• 33:25
  Speaker 1: had people push me into a pool and they're telling me,
• 33:27
  Speaker 1: you don't trust my brothers and sisters and siblings, and
• 33:30
  Speaker 1: now you tell me not everything seems to be. Not
• 33:32
  Speaker 1: everything is as it seems? What fuck you telling me?
• 33:35
  Speaker 1: Now you know what's going on here?
• 33:40
  Speaker 4: It's like they're planting paranoia.
• 33:42
  Speaker 1: No, it's like, well, technically, if it's the second degree,
• 33:44
  Speaker 1: that's my third time, and the other two initiations before
• 33:48
  Speaker 1: that they both told me you can't trust anybody in
• 33:51
  Speaker 1: their own way. So I'm like, is this the three
• 33:53
  Speaker 1: times you told me?
• 33:54
  Speaker 2: Three times?
• 33:55
  Speaker 1: After this is you're a fucking idiot? Could be something
• 34:01
  Speaker 1: like that. I don't get it, but uh yeah, I
• 34:03
  Speaker 1: just wanted to twist that in there. About that the
• 34:05
  Speaker 1: pine cone on there again, you know, and I said
• 34:07
  Speaker 1: it two or three times light But it's just weird
• 34:09
  Speaker 1: to me thinking about, you know, with that pine cone
• 34:11
  Speaker 1: there and possibly connected to your paneal glend there's a
• 34:14
  Speaker 1: lot of stuff I think Croley does that shows penal glenduff.
• 34:18
  Speaker 4: Well, if you think about it from the Greek perspective,
• 34:20
  Speaker 4: you know, you've got the idea of Prometheus and this
• 34:23
  Speaker 4: thing that made us uniquely human, and so the thumb
• 34:27
  Speaker 4: is one of these things that make us uniquely human
• 34:29
  Speaker 4: as opposed to one of the other animals. It sticks out.
• 34:32
  Speaker 4: It does a lot of stuff that we tell it
• 34:33
  Speaker 4: to all these other paws and stuff. They can't, you know,
• 34:36
  Speaker 4: really operate the thumb, so it you know, it's one
• 34:38
  Speaker 4: of these uniquely human traits in the hand that I
• 34:41
  Speaker 4: think they were trying to glorify. It's like, this is
• 34:43
  Speaker 4: the thing that gets us close to God is because
• 34:46
  Speaker 4: this makes us different from everything else.
• 34:51
  Speaker 3: To build upon that, I will say, the opposable thumbs.
• 34:54
  Speaker 3: I wish raccoons didn't have them, but that's neither here
• 34:57
  Speaker 3: or squirrels, neither here nor there. But one of the
• 35:01
  Speaker 3: unique things with thumbs is that only humans and primates
• 35:04
  Speaker 3: can touch the thumb to the other fingers. So that's
• 35:09
  Speaker 3: that's definitely a unique characteristic within the hand thumb finger
• 35:18
  Speaker 3: I guess situation. But the one of the things that
• 35:21
  Speaker 3: I kind of wanted to insert, just kind of tangent
• 35:26
  Speaker 3: the amount of population that's left handed versus right handed.
• 35:31
  Speaker 3: I always found that to be really odd that it's
• 35:34
  Speaker 3: like it's like ten percent of the population the entire
• 35:39
  Speaker 3: population is left handed. Well, you're told kind of or
• 35:42
  Speaker 3: guided to be right handed in elementary I remember that,
• 35:46
  Speaker 3: But for the part I believe it's only a ten
• 35:49
  Speaker 3: percent percentage of the human population that is left handed,
• 35:53
  Speaker 3: and then like even less than that, like it's one percent.
• 35:56
  Speaker 3: That's ambidexterrous. I thought that was that was something like
• 36:00
  Speaker 3: you have it in multiples of ten.
• 36:02
  Speaker 2: So well, sort of a riff off your point, Lisa,
• 36:07
  Speaker 2: since Nick brought up the sorry headless, I'm just gonna
• 36:09
  Speaker 2: go really quick. This is sink foil. So I thought
• 36:12
  Speaker 2: you would like this, Lisa, simply because this is the
• 36:14
  Speaker 2: one thing I actually contributed to the Call Research Instry
• 36:18
  Speaker 2: in written form is the herb Correspondences. So this is
• 36:22
  Speaker 2: a really important magical herb in both Europe and North America,
• 36:28
  Speaker 2: for both indigenous people and Europeans. And so its name
• 36:32
  Speaker 2: in French actually means the five fingered hand, sink oil,
• 36:36
  Speaker 2: sink foi, so it represents the hand of Mary. So
• 36:40
  Speaker 2: actually it's there's also an idea in spiritism which I
• 36:44
  Speaker 2: believe also comes from this, and it's the hand of
• 36:47
  Speaker 2: the saints. And you'll see this a lot of Puerto
• 36:49
  Speaker 2: Rican kind of like sance. There's a hand and it
• 36:52
  Speaker 2: will have the five Arisia or the five saints. But
• 36:55
  Speaker 2: sometimes it's different. It's not always. You know, sometimes people
• 36:58
  Speaker 2: pray like use that can or whatever, and they're not.
• 37:01
  Speaker 2: It's not a risha, it's saints. But some people that, yeah,
• 37:04
  Speaker 2: that is so. But basically it's that there are five
• 37:08
  Speaker 2: roads for every person when they're born, and so it's
• 37:13
  Speaker 2: the they say, you can't open all five roads in
• 37:15
  Speaker 2: one lifetime. That's something I've heard people say. But this
• 37:19
  Speaker 2: plant is the divine kind of savior, s hand of
• 37:22
  Speaker 2: merry plant, so it opens all five roads for you.
• 37:26
  Speaker 2: So and that's exactly what it's used for. It's used
• 37:28
  Speaker 2: for luck, love, job, money, and success, just general success.
• 37:36
  Speaker 2: So it's a it's a really great thing. And you'll
• 37:39
  Speaker 2: see in a lot of older recipes for van Van oil.
• 37:43
  Speaker 1: You know.
• 37:43
  Speaker 3: And it reminds me of the five pedaled flower that
• 37:47
  Speaker 3: was found imprinted on lavito in Mexico, and it's very
• 37:53
  Speaker 3: symbolic to the michigas Aztec people as well. So it's
• 37:57
  Speaker 3: interesting that you bring that up because it's a five
• 38:00
  Speaker 3: all over again.
• 38:02
  Speaker 2: Yes, this is a rose too, it's a it's a
• 38:05
  Speaker 2: lesser rose. It's a potent tell us, so it means
• 38:08
  Speaker 2: even the name means potency or potential.
• 38:12
  Speaker 4: Mm.
• 38:13
  Speaker 3: Yeah, that's very interesting.
• 38:15
  Speaker 1: Wow, all right, thank you.
• 38:20
  Speaker 6: Yeah, I think about like sacred geometry as well, with
• 38:25
  Speaker 6: some of the stuff we've talked about today, like which
• 38:27
  Speaker 6: was big in Egypt. And I only mention that because
• 38:30
  Speaker 6: Osyrus was often depicted holding a staff with the pine
• 38:34
  Speaker 6: cone on it. So I wonder if all this is
• 38:38
  Speaker 6: symbolic of maybe an early form of masonry and building
• 38:42
  Speaker 6: pyramids and building temples in Egypt. So it'd be like
• 38:45
  Speaker 6: sacred geometry in conjunction with g nosis and basically a
• 38:49
  Speaker 6: way of putting the knowledge to use, and I I wouldn't.
• 38:54
  Speaker 6: I don't know that masonry goes back to ancient Egypt,
• 38:57
  Speaker 6: but some form of it might.
• 39:00
  Speaker 5: It doesn't, and you're right, I think I think a
• 39:04
  Speaker 5: lot of it goes back to masonry. Like I said,
• 39:07
  Speaker 5: I just finished up my Ananaki presentation. For part of
• 39:10
  Speaker 5: my PowerPoint presentation, a lot of people know who the
• 39:13
  Speaker 5: Samerians are, and uh, when I was doing my research
• 39:17
  Speaker 5: on them, a lot of people will say that they're
• 39:18
  Speaker 5: known as the black headed people, right where they're known
• 39:21
  Speaker 5: as mankind or human or you know something that identifies
• 39:27
  Speaker 5: you know us as you know a species. But then
• 39:30
  Speaker 5: I read from somebody who is a thirty third degree Mason,
• 39:34
  Speaker 5: and I can't remember exactly which book it is. I
• 39:37
  Speaker 5: have to go look and see which which one it is.
• 39:39
  Speaker 5: I know which value, I know what authors from. I
• 39:43
  Speaker 5: just don't know which book it is actually from. And uh,
• 39:46
  Speaker 5: he was saying that they're also known as brothers. Well,
• 39:50
  Speaker 5: you know, Masons identify each other as brothers, or at
• 39:53
  Speaker 5: least every time I've come in contact with them, they
• 39:55
  Speaker 5: always that word always seems to pop up.
• 39:58
  Speaker 4: But they were known as brothers.
• 40:00
  Speaker 5: Another good example of that is a lot of people
• 40:03
  Speaker 5: know that Inky and En they that they were brothers, right,
• 40:07
  Speaker 5: but there are texts out there which I actually have
• 40:10
  Speaker 5: in my presentation that one could be the father and
• 40:17
  Speaker 5: one could be the son. Sometimes it flip flops which
• 40:20
  Speaker 5: one was the father and son. So the brother's part
• 40:24
  Speaker 5: stuck out on them, stuck out to me because that's
• 40:27
  Speaker 5: a group of and those were a group of individuals
• 40:29
  Speaker 5: that was in the elite, right, they were higher class
• 40:32
  Speaker 5: than everybody else, and at a time that's what Mason's
• 40:37
  Speaker 5: and some of them probably still think as themselves as today.
• 40:40
  Speaker 5: So it's just amazing that you know the symbolism and
• 40:44
  Speaker 5: it doesn't just go back to the ancient Egyptians a
• 40:47
  Speaker 5: lot of the symbolism you can find in a dog
• 40:49
  Speaker 5: On tribe. And I actually had a podcast discussion with
• 40:52
  Speaker 5: one of the authors, Laris Gratton, on his book about it,
• 40:57
  Speaker 5: and he talks about symbolism. So yeah, it's definitely something
• 41:00
  Speaker 5: in there. You know, each o there, Mesutami and all
• 41:02
  Speaker 5: that they have a link between each other. Even Messo
• 41:04
  Speaker 5: America has a link.
• 41:07
  Speaker 4: Hey what about the Masonic handshakes? Yeah, I mean it's
• 41:11
  Speaker 4: a symbolism s Morgesborg. You know they've got all these
• 41:15
  Speaker 4: different parts of the hand that they're touching for different
• 41:17
  Speaker 4: types of Masonic handshakes. That's very mystical.
• 41:23
  Speaker 7: Yes, yeah, but you know when I when I read
• 41:26
  Speaker 7: about them, it's more like, uh, you can't go to
• 41:33
  Speaker 7: the next degree without perfecting the degree that you're in now.
• 41:37
  Speaker 1: So how can you move?
• 41:38
  Speaker 7: How can you get promoted?
• 41:39
  Speaker 5: If you're not good at your job that you're at
• 41:41
  Speaker 5: right now, right, why would you expect the promotion? And
• 41:44
  Speaker 5: they stick very strong to those rules, or at least
• 41:46
  Speaker 5: from what I've read.
• 41:48
  Speaker 4: I had books from.
• 41:49
  Speaker 5: Godfrey Higgins and you know Albert Pike and then Godfrey
• 41:53
  Speaker 5: Higgins is actually my favorite historian and slash author. And
• 41:57
  Speaker 5: then you have Albert church church Ward I think that's
• 42:00
  Speaker 5: how you say his last name. You know, he talks
• 42:03
  Speaker 5: about the symbolism. So there is definitely something. You know,
• 42:08
  Speaker 5: when you see symbolism, you can see that there's a
• 42:10
  Speaker 5: certain language and meaning towards behind it, that that symbol
• 42:14
  Speaker 5: that's that you have right now means only one thing
• 42:17
  Speaker 5: to a certain group of individuals, and everybody sees that
• 42:20
  Speaker 5: will understand that. It's the same thing like when I
• 42:22
  Speaker 5: say with emojis and stuff like that, with pictographic scripts
• 42:25
  Speaker 5: of today, you know, you have a whole sentence on
• 42:30
  Speaker 5: just a pictographic script. It's just the people that the
• 42:34
  Speaker 5: people that are having that conversation, they need to have
• 42:36
  Speaker 5: enough knowledge on there or on what each pictograph means.
• 42:40
  Speaker 5: And hand symbolism is the same thing with like I
• 42:44
  Speaker 5: don't know if if before we started record going live
• 42:48
  Speaker 5: or after while we was live, but somebody was mentioning about,
• 42:52
  Speaker 5: you know, some of the gangs and stuff like that
• 42:54
  Speaker 5: they can have a whole discussion with just with their hands.
• 42:58
  Speaker 5: You know, a whole with this guys, and you know
• 43:00
  Speaker 5: exactly what to do, and so you know, it's it's
• 43:04
  Speaker 5: a very easy way to communicate. I think when we
• 43:09
  Speaker 5: started using words, everybody try to use use their words
• 43:12
  Speaker 5: to mean whatever narrative they're trying to share.
• 43:14
  Speaker 1: Later on, I can.
• 43:21
  Speaker 6: Go ahead, just really quick.
• 43:24
  Speaker 3: I'm gonna I'm gonna take one stab again at the
• 43:26
  Speaker 3: dead horse on the pine cone. The pine cone. The
• 43:30
  Speaker 3: ones that we do see are the ones that are
• 43:32
  Speaker 3: more prominent, are the female, because pine trees produce female
• 43:37
  Speaker 3: and male pine cones. The male ones you rarely do see.
• 43:42
  Speaker 3: They're not showy. They mainly produce paullin jin. Please step
• 43:46
  Speaker 3: in if I'm wrong. But the bigger one are the
• 43:49
  Speaker 3: ones that you see on the on the floor, whatever,
• 43:51
  Speaker 3: the ones that people hold up. That's the female one.
• 43:54
  Speaker 2: But that's it.
• 43:56
  Speaker 6: Oh well, that's perfect because you reminded me of something
• 43:59
  Speaker 6: that I meant say earlier. The Romans associated the pine
• 44:04
  Speaker 6: cone with Venus, and so with the goddess Venus. So
• 44:09
  Speaker 6: it makes me wonder when you see that big bronze
• 44:12
  Speaker 6: or whatever it is, that big pine cone at the Vatican,
• 44:15
  Speaker 6: if that was them sort of quietly inducting goddess worship
• 44:20
  Speaker 6: into the facility in the grounds of the Vatican itself.
• 44:24
  Speaker 6: And if you look back at like the Etruscans. Because
• 44:27
  Speaker 6: the Etruscans built Rome, they actually had a goddess name Vatica.
• 44:33
  Speaker 2: Okay, so go ahead. J sorry tim no no no,
• 44:38
  Speaker 2: I apologize. I was a little I shouldn't have jumped in,
• 44:41
  Speaker 2: but you know you were saying something. I got excited.
• 44:44
  Speaker 2: So I just want to change the angle for you.
• 44:46
  Speaker 2: I want to say. You could say I accept that
• 44:49
  Speaker 2: I accept that it could be a divine, feminine like encapsulation,
• 44:54
  Speaker 2: like a crystalline matrix. You could say that's very feminine,
• 44:57
  Speaker 2: divine force. But I also think that it could just
• 44:59
  Speaker 2: be adopting, like something that's quote unquote I'm not a perennialist,
• 45:04
  Speaker 2: but I'm gonna use the word perennially true. So it
• 45:07
  Speaker 2: could be just something that appears magical experience. And obviously
• 45:10
  Speaker 2: there are people who attribute both masculine and feminine qualities
• 45:14
  Speaker 2: to often the same things. So when you're looking at
• 45:17
  Speaker 2: comparative mythology, especially from like east to West, as something
• 45:20
  Speaker 2: that I often do, you see that there is like
• 45:24
  Speaker 2: there are different, very different ideas of the same thing,
• 45:28
  Speaker 2: but then there is a kind of underlying truth to
• 45:31
  Speaker 2: both of them. They can reason through. But it might
• 45:34
  Speaker 2: be like a very different at face value understanding of it.
• 45:38
  Speaker 2: So I'm not saying you're wrong. I agree, I totally
• 45:41
  Speaker 2: accept that.
• 45:42
  Speaker 6: Well, I'll say I'll say this because I might be wrong.
• 45:47
  Speaker 6: I was just throwing it out there as a possibility
• 45:50
  Speaker 6: because of the just because of some of the connections
• 45:53
  Speaker 6: that I'm looking at here with Like again, I'm just
• 45:56
  Speaker 6: saying this might be the case. I'm not saying it
• 45:58
  Speaker 6: is the case. But like when I see that the
• 46:02
  Speaker 6: Roman Empire seemed to kind of dissolve or morph into
• 46:08
  Speaker 6: the Vatican, and there's you know, I'm assuming that maybe
• 46:14
  Speaker 6: some of that goddess worship was still there and maybe
• 46:17
  Speaker 6: it got turned into something else and or masquerades to
• 46:21
  Speaker 6: something else. But again I'm not sure. But I do
• 46:24
  Speaker 6: think that it's interesting that the trust Caans have the
• 46:27
  Speaker 6: Goddess Vatica.
• 46:29
  Speaker 2: Absolutely, yeah. I think the closest link between like the
• 46:33
  Speaker 2: Roman religion and the Vatican is the pantheon of Saints
• 46:37
  Speaker 2: like they have in France, like the Penteon they have.
• 46:41
  Speaker 2: It's like people who were like born in like nineteen
• 46:43
  Speaker 2: oh five. They have like enshrine there that they pray to.
• 46:46
  Speaker 2: They have like actually official national prayers. So I think
• 46:50
  Speaker 2: that that is very much like an encapsulation of that
• 46:53
  Speaker 2: kind of like Lay Empire Roman religion, which people often
• 46:56
  Speaker 2: mistake for being very polytheistic, it was actually very much
• 47:00
  Speaker 2: about the imperial cult of ancestors. So I think that's
• 47:05
  Speaker 2: very interesting. Of course, every there are different goddesses and
• 47:09
  Speaker 2: god names and people, you know, encoding things in those
• 47:14
  Speaker 2: within those names and those like kinds of images. This
• 47:17
  Speaker 2: is a great one. This is Shiva on top of
• 47:19
  Speaker 2: the mountain, on top of the world mountain. You could say, yeah, exactly,
• 47:23
  Speaker 2: like when Nicks showed he's doing the abayah mudra. So
• 47:27
  Speaker 2: this is the gesture of fearlessness. So you're gonna ask,
• 47:30
  Speaker 2: why is this calm, chill, dope smoking guy, Why is
• 47:35
  Speaker 2: he offering you the gesture of fearlessness? Because once you
• 47:42
  Speaker 2: wake him up, he becomes bi rava, he becomes very ferocious,
• 47:46
  Speaker 2: and he turns almost black blue black, and he has
• 47:49
  Speaker 2: like fangs, and the carnal ground arises above him. So
• 47:52
  Speaker 2: you have to. But that's also your own consciousness, your
• 47:54
  Speaker 2: own mind. So when your mind wakes up, so you
• 47:59
  Speaker 2: have to. That's what he offers, the gesture of fearlessness.
• 48:03
  Speaker 2: So you can first enter the garden or the mountain
• 48:06
  Speaker 2: or the carnal ground or wherever he is, and you
• 48:08
  Speaker 2: can bypass him and you can see him as just
• 48:12
  Speaker 2: his placid face is not a mask, but it's it's
• 48:15
  Speaker 2: just one of many. That's one way to think of it.
• 48:19
  Speaker 8: You know what, I really love that go ahead, I
• 48:22
  Speaker 8: was gonna, I was gonna say that the skins kind
• 48:25
  Speaker 8: of almost represent a fearlessness to both Dionysus and Pan,
• 48:31
  Speaker 8: Like Pan has these fur patterns in his legs that
• 48:35
  Speaker 8: are kind of like the stars, and so that's one
• 48:38
  Speaker 8: of the.
• 48:38
  Speaker 4: Reasons why he was referred to as sort of like
• 48:40
  Speaker 4: this cosmic deity is because he had all of the
• 48:43
  Speaker 4: stars in his pelt, and so that kind of goes
• 48:47
  Speaker 4: into this Dionician character that you know, you also have
• 48:50
  Speaker 4: the pine cone associated with Shiva, So there's there's a
• 48:54
  Speaker 4: real crossover between Dionysus Shiva, and you know, all these
• 48:58
  Speaker 4: different versions that they had. Like addis worship going on
• 49:03
  Speaker 4: in that Thracian region of Anatolia.
• 49:09
  Speaker 2: There there's a clear link between elements of what you're
• 49:12
  Speaker 2: saying Solar and like the alcon Huns and their journey
• 49:15
  Speaker 2: from more of that southern Turkey into into a northern
• 49:23
  Speaker 2: into the Himalayas. Excuse me, I couldn't think of it
• 49:25
  Speaker 2: right away, But they went into the Himalayas, and that's
• 49:27
  Speaker 2: really where tontras started. That Birava tantras were the first.
• 49:30
  Speaker 2: But it's really important to note that this image of
• 49:32
  Speaker 2: Shiva is in no way tontric. He's not suggesting anything tontric.
• 49:36
  Speaker 2: There's nothing tontric associated with his worship in general, and
• 49:43
  Speaker 2: most Indians would not understand this image in an even
• 49:45
  Speaker 2: remotely tonic way. I obviously gave it a little flavor,
• 49:49
  Speaker 2: but in most this is a very normy, normative, very
• 49:53
  Speaker 2: orthodox kind of image. So he's at sleeping consciousness. That's
• 49:57
  Speaker 2: how a normative quote unquote hind would understand this. He's
• 50:01
  Speaker 2: at sleeping consciousness and the water is flowing down, but
• 50:06
  Speaker 2: this the water from heaven. So he's really the god
• 50:08
  Speaker 2: of secret knowledge if you want to like the secret
• 50:11
  Speaker 2: not the secret idea of Shiva. He's the god of
• 50:14
  Speaker 2: secret knowledge. So even the moon he wears, it's not
• 50:17
  Speaker 2: really a moon. Most normative Hindus would understand this to
• 50:20
  Speaker 2: be a moon. It's actually the eclipse. And depending on
• 50:25
  Speaker 2: what side it even is on his hair it actually is.
• 50:29
  Speaker 2: You can astro theologically sort of align it to the
• 50:33
  Speaker 2: nichest cycle, which is like a sixteen sort of I
• 50:37
  Speaker 2: think night moon cycle. There's different numbers for different systems,
• 50:40
  Speaker 2: but it's a very interesting thing, like you can really change,
• 50:43
  Speaker 2: like what Tim was saying, you can encode a lot
• 50:46
  Speaker 2: of things into iconography, signs and meanings into answer something
• 50:50
  Speaker 2: that you said, solar and then I'll shut up, I promise.
• 50:52
  Speaker 2: But the animal skins have a really interesting meaning. So
• 50:55
  Speaker 2: the leopard skin means he's overcome the sort of demon
• 51:00
  Speaker 2: you could say, of bliss consciousness, so he doesn't need
• 51:04
  Speaker 2: to always be pleasured to be chill. And if he
• 51:09
  Speaker 2: is sitting on the tiger skin, he's overcome all fear.
• 51:12
  Speaker 2: So he's offering the gesture of fearlessness, but he's also
• 51:15
  Speaker 2: overcome it himself. Sorry, I'm gonna go on for that long.
• 51:18
  Speaker 1: No thanks, I just want to let you know you're
• 51:20
  Speaker 1: not doing space is solar? Isn't here? That was headless
• 51:23
  Speaker 1: with Tim that you're talking to.
• 51:27
  Speaker 2: Did I say solar twice?
• 51:29
  Speaker 1: Maybe the first time?
• 51:30
  Speaker 2: I apologize. I apologize guy, it was like late, I'm
• 51:36
  Speaker 2: sorry again, apologize.
• 51:37
  Speaker 1: It's all right, it's all right. Oh, it was something
• 51:40
  Speaker 1: I wanted to say about this, but I needed Lisa
• 51:42
  Speaker 1: his so I guess maybe I'll have to pass for now.
• 51:47
  Speaker 1: I do uh. One thing I do find interesting with this.
• 51:52
  Speaker 1: It does almost remind me of the the Hermit card
• 51:56
  Speaker 1: because of the snake in the hand open again, oh,
• 52:00
  Speaker 1: you know, because that is I also think that, I
• 52:03
  Speaker 1: mean the snake. I think is can be used for
• 52:05
  Speaker 1: multiple reasons. Obviously. I do think it can also sometimes
• 52:10
  Speaker 1: uh show like something to do with the pineal gland
• 52:14
  Speaker 1: or your eyeball. I do think sometimes the snake. When
• 52:17
  Speaker 1: I think with the Hermit card, it's more of showing
• 52:19
  Speaker 1: possibly the this, you know, the twisting of the pupil closing,
• 52:23
  Speaker 1: smiling closed, And I have said that it does happen
• 52:28
  Speaker 1: like when that when I have them. This could just
• 52:30
  Speaker 1: really all could be a grasp me looking at the
• 52:32
  Speaker 1: snake on the right side. But I've even said that's
• 52:36
  Speaker 1: the pupil that of mind that spins closed like it's
• 52:39
  Speaker 1: you know, pinned, And I do see the snakes on
• 52:41
  Speaker 1: the right side of well yeah, yeah, technically.
• 52:46
  Speaker 2: No, you're you're totally right neck. It's so in in Tantra,
• 52:49
  Speaker 2: there's he has actually secret channels inside his body. There's
• 52:52
  Speaker 2: like a trident, like there's three channels that rise up.
• 52:56
  Speaker 2: One is behind the eye that you're talking about, and
• 52:59
  Speaker 2: so you'll see in Tantra iconography they'll do one eye
• 53:02
  Speaker 2: the pupils a sun and the other eye of the
• 53:04
  Speaker 2: pupil is a crescent moon like an eclipse. So that's
• 53:07
  Speaker 2: even how it's described. And the dragon of the eclipse
• 53:11
  Speaker 2: again to reference the serpent. Right, so it all makes
• 53:16
  Speaker 2: sense to what you're saying. There's this is absolutely not
• 53:18
  Speaker 2: wrong at.
• 53:18
  Speaker 4: All, Jin, I got one for you, John three fourteen.
• 53:24
  Speaker 4: Just as Moses lifted up the snake in the wilderness,
• 53:27
  Speaker 4: so the son of man must be lifted up.
• 53:33
  Speaker 6: Yeah, I would say that that's I'll keep this quick,
• 53:36
  Speaker 6: jin no, no, no, please please, Well that seems to
• 53:40
  Speaker 6: be conducious symbolism to me, just say it.
• 53:45
  Speaker 4: I think that, like on the the hand of Sebazios,
• 53:49
  Speaker 4: you've got this snake figure that's always sort of present
• 53:52
  Speaker 4: in with this sort of dian Ician type idea. So
• 53:56
  Speaker 4: you've got so many different snakes that apply into that symbol.
• 53:59
  Speaker 4: They were talking specifically about the one at Delphi, but
• 54:03
  Speaker 4: the idea of the snake being wisdom and treachery. These
• 54:07
  Speaker 4: kind of dualistic kind of symbols are associated with the
• 54:11
  Speaker 4: Bible all over the place.
• 54:13
  Speaker 5: You know, Yeah, being being knowledgeable. That's why I eve
• 54:16
  Speaker 5: ate the fruit. Yeah, that's why I say that too.
• 54:19
  Speaker 5: Like a lot of people say, you know, they correlate,
• 54:22
  Speaker 5: you know, the serpents, say in Lucifer the devil or
• 54:25
  Speaker 5: whatever the case. Man, I mean, they throw it all
• 54:27
  Speaker 5: in one one category. We know that between us, at
• 54:30
  Speaker 5: least we know the difference between them. But when it
• 54:32
  Speaker 5: comes up to the snake, the snake is always known
• 54:35
  Speaker 5: as someone that's given knowledge to somebody else, and it
• 54:38
  Speaker 5: seems like that and what we do with that knowledge
• 54:41
  Speaker 5: determines whether it was for good or evil. But the
• 54:45
  Speaker 5: point is is when you see the snake, the snake
• 54:47
  Speaker 5: was always seen as you know, as something you know, trying.
• 54:50
  Speaker 2: To give somebody knowledge.
• 54:52
  Speaker 5: I mean, most people are scared of snakes when they
• 54:54
  Speaker 5: see them, but you.
• 54:56
  Speaker 4: Know, they have that the believer that the believers of
• 54:59
  Speaker 4: the Testament, the believers in the New Testament are said
• 55:02
  Speaker 4: that they can now tread upon snakes and scorpions. I
• 55:07
  Speaker 4: think there's a little bit of astro theology in that too.
• 55:09
  Speaker 4: You've got the symbol of scorpio in there as well.
• 55:15
  Speaker 2: That was great Tyrone and Hadless I have to say,
• 55:17
  Speaker 2: we don't know's agree, but honestly, really great points. And
• 55:21
  Speaker 2: what Tyrone said I think is really really profound, because
• 55:25
  Speaker 2: that is exactly what it is. Like Shivas swallowed the poison,
• 55:28
  Speaker 2: the haula Halla poison that arose from the turning of
• 55:31
  Speaker 2: the second turning of the supernoal waters, and so he
• 55:35
  Speaker 2: swallowed that and he keeps it in his lower body,
• 55:39
  Speaker 2: his stomach. He has to totally focus all his like
• 55:42
  Speaker 2: a third eye power you could say, like Naruto kind of,
• 55:46
  Speaker 2: so it swirls around in his stomach, and so he
• 55:49
  Speaker 2: keeps that so like his own son figure can emerge.
• 55:55
  Speaker 2: So that's even an idea, so really interesting, Thank you, Tyrone.
• 56:01
  Speaker 1: Another thing I wanted to mention with this is just
• 56:06
  Speaker 1: to go back to I've even wondered if this is
• 56:09
  Speaker 1: even sometimes why it's even shown on like the hermaphrodite
• 56:12
  Speaker 1: or you know those whatever, those al chemical man and
• 56:17
  Speaker 1: woman the nipple showing. Just to go back to the
• 56:21
  Speaker 1: n ox formula and something that Crowley came up with,
• 56:26
  Speaker 1: you will at one point act like your isis breastfeeding
• 56:30
  Speaker 1: horse holding horse, and you'll be pinching your nipple and
• 56:35
  Speaker 1: I'm wondering if the nipple is showing because that does
• 56:37
  Speaker 1: connect to the pineal gland as well on a female.
• 56:41
  Speaker 1: So I just wondered about that.
• 56:43
  Speaker 6: But why is the skin blue or bluish?
• 56:50
  Speaker 2: Okay, you see how his lingam is brown, that brown
• 56:54
  Speaker 2: pineal gland. I know that's what a headless. I'm sorry.
• 56:56
  Speaker 2: I didn't mean to call you solar before I apologize
• 56:58
  Speaker 2: for that. His brown lingam, So there's covered in milk
• 57:04
  Speaker 2: is the idea. So, but it's really supposed to be
• 57:06
  Speaker 2: a black chloroalite stone. So when you pour the white
• 57:10
  Speaker 2: milk over the black stone, it looks sort of blue.
• 57:14
  Speaker 2: So this is like a clear like very night sky
• 57:17
  Speaker 2: or very day sky, excuse me, so like turquoise. It
• 57:20
  Speaker 2: kind of appears turquoise. So he's like turquoise like the
• 57:23
  Speaker 2: day sky because he's sleeping.
• 57:26
  Speaker 1: Okay, you're drinking that colonial silver shit.
• 57:32
  Speaker 4: You never know, right, very lunar, very lunar coded. You
• 57:36
  Speaker 4: get into that lunar mind set, you gotta drink the
• 57:39
  Speaker 4: coloidal silver.
• 57:43
  Speaker 6: Makes sense right on one other question I had that
• 57:47
  Speaker 6: go for it last picture.
• 57:51
  Speaker 1: There we go, there you.
• 57:54
  Speaker 2: Go, that's the same god. So that's the same uh
• 57:56
  Speaker 2: you know, that's Siva. And then that's his wife and
• 58:00
  Speaker 2: she's nursing him. This is right after, in fact, that
• 58:02
  Speaker 2: he drinks the poison. It's only her breast milk can
• 58:07
  Speaker 2: save him, can repair the world.
• 58:09
  Speaker 1: That's how it's described, like even on the list one too.
• 58:12
  Speaker 1: I mean maybe they do it en maybe I'm wrong,
• 58:14
  Speaker 1: maybe they do it on all of them, but like
• 58:15
  Speaker 1: they active, they have marchs where their panel Gleann would be.
• 58:18
  Speaker 1: Do they always do that or.
• 58:21
  Speaker 2: It's special for Tara because she is the third Eye.
• 58:24
  Speaker 2: So the original story is the goddess, the original goddess
• 58:28
  Speaker 2: of having got cut up into fifty one pieces, so
• 58:30
  Speaker 2: obviously magic number. And then so each part of her
• 58:35
  Speaker 2: falls on a specific place and then a new goddess
• 58:38
  Speaker 2: sort of herself arises, and so Tara arises as part
• 58:42
  Speaker 2: of the third Eye. So when Tara and Tara is
• 58:46
  Speaker 2: also associated with that hassetic idea of perception, it's very
• 58:49
  Speaker 2: much her idea. She is the flame of the of perception,
• 58:53
  Speaker 2: that's even how it's described. But she's also the waters
• 58:56
  Speaker 2: of superno mercy, so she's Actually it's interesting because it's
• 59:00
  Speaker 2: actually both cover outic kind aesthetic at the same time.
• 59:02
  Speaker 1: Well, the last two images, I don't know if it's
• 59:04
  Speaker 1: common or not. The bo had that nipple showing and
• 59:07
  Speaker 1: they had the pineal gland drawn on their forehead, and Lisa,
• 59:10
  Speaker 1: since your back, could you please explain the connection between
• 59:14
  Speaker 1: the paneal gland and the nipple.
• 59:18
  Speaker 3: Yeah, I don't know the exact mechanism off the top
• 59:21
  Speaker 3: of my head, but yes, the pineal gland influences the
• 59:28
  Speaker 3: pituitary for milk let down, which is prolactin, and then
• 59:33
  Speaker 3: that's and then the feedback of oxytocin from the bonding
• 59:40
  Speaker 3: that occurs between the mother and the So I'm sorry,
• 59:43
  Speaker 3: Oxytocin helps with the release of prolactin. Prolactin causes milk
• 59:48
  Speaker 3: let down, and then the reinforced positive feedback with the
• 59:53
  Speaker 3: child latching onto the nipple, and then the oxytosine oxytoscin
• 59:57
  Speaker 3: bonding and all that other stuff. With all that that
• 1:00:00
  Speaker 3: being said, during milk let down, the milk itself is
• 1:00:04
  Speaker 3: carries vital information that is received in like packages of
• 1:00:10
  Speaker 3: photons or photons or packages of information that tell the
• 1:00:14
  Speaker 3: child or tell the infant where it is, what time
• 1:00:18
  Speaker 3: it is, daylight, moonlight, nighttime, what have you. It starts
• 1:00:23
  Speaker 3: to program the circadian rim of the child itself, if
• 1:00:28
  Speaker 3: it was not already starting to be programmed within utero
• 1:00:32
  Speaker 3: because the child had yet to see light sunlight. Also,
• 1:00:38
  Speaker 3: reinforcing of the circadian rhythm comes from the from the
• 1:00:42
  Speaker 3: mother's pineal and basically tells the child or conveys the
• 1:00:46
  Speaker 3: information to the child where the child is, what sees,
• 1:00:50
  Speaker 3: and so forth. So yeah, the pineal does feed into
• 1:00:54
  Speaker 3: breastfeeding very much so. And one other thing, sorry this
• 1:01:01
  Speaker 3: kind of tangent, but like in the event that a
• 1:01:04
  Speaker 3: child undergoes or a child unfortunately goes through some sort
• 1:01:09
  Speaker 3: of like head trauma, the child will release certain enzymes
• 1:01:14
  Speaker 3: or chemical messages messages in mouth and it's saliva that
• 1:01:19
  Speaker 3: will feed into the nipple and the memory tissue, and
• 1:01:23
  Speaker 3: then we'll feed back up into the brain and then
• 1:01:26
  Speaker 3: the brain itself mainly the pituitary haypithylamic pituitary access will
• 1:01:31
  Speaker 3: then release certain peptides I think, and will deliver healing
• 1:01:38
  Speaker 3: peptides to potentially heal the brain injury or the head injury.
• 1:01:43
  Speaker 3: So there is that too, And that's actually that whole
• 1:01:46
  Speaker 3: mechanism is being looked at for athletes that undergo like
• 1:01:52
  Speaker 3: head trauma and stuff like that.
• 1:01:54
  Speaker 1: So damn, thank you. Yeah. I was talking about how,
• 1:01:59
  Speaker 1: you know, earlier they showed a guy with his nipple
• 1:02:01
  Speaker 1: showing and then this, you know, then I had mentioned
• 1:02:03
  Speaker 1: Curly's ono x formula, which I have gone over with you,
• 1:02:06
  Speaker 1: where he grabs the nipple because the baby's supposed to
• 1:02:08
  Speaker 1: be feeding. And it is my opinion, my opinion that
• 1:02:12
  Speaker 1: it may not just we'll be Dixon demons, and he
• 1:02:15
  Speaker 1: could have been talking about the manula. It may not
• 1:02:17
  Speaker 1: it'll be just titties and cakes and lake. It might
• 1:02:20
  Speaker 1: actually be some science in this ship. But I don't know.
• 1:02:22
  Speaker 1: That's my opinion. Uh too, Huh.
• 1:02:27
  Speaker 4: It's closing the loop. It's closing the loop because you're
• 1:02:29
  Speaker 4: putting the tip of your thumb on your nipple. The
• 1:02:31
  Speaker 4: two symbols coming together, Okay, that's interesting.
• 1:02:39
  Speaker 6: And if their skin is turquoise and not blue, then
• 1:02:44
  Speaker 6: turquoise is very symbolic, especially in Egypt and across other
• 1:02:48
  Speaker 6: cultures too. But in Egypt it's like protection and good fortune.
• 1:02:54
  Speaker 6: And even if I told you, sorry, Tom, that was it.
• 1:02:57
  Speaker 2: You're good. Sorry, what if I told you turquoise was
• 1:03:01
  Speaker 2: actually the most magic color I could see that? Yeah,
• 1:03:06
  Speaker 2: because it's like the diamond thunder color. It's like the
• 1:03:09
  Speaker 2: it's like you got it the highest quality color. So
• 1:03:11
  Speaker 2: to see like this turquoise idea, especially in the Piranhas,
• 1:03:16
  Speaker 2: they're very obsessed with color, and people often attribute it
• 1:03:19
  Speaker 2: to race or case. It's actually none of those things.
• 1:03:21
  Speaker 2: It's actually talking about layers of spiritual clurification, all chemical
• 1:03:25
  Speaker 2: you could even say. So the turquoise color is actually
• 1:03:29
  Speaker 2: equivalent to both lapis and clear, both quartz and like
• 1:03:35
  Speaker 2: dark dark blue. So it's really interesting what you're saying.
• 1:03:39
  Speaker 6: No, And it's one of my favorite colors too. I mean,
• 1:03:41
  Speaker 6: I really love that color. And you know, I don't
• 1:03:44
  Speaker 6: wear it a lot because it's like it's become like
• 1:03:47
  Speaker 6: a hipster thing to wear a bunch of turquoise around town.
• 1:03:51
  Speaker 6: Like I see these guys, like, you know, like kipsters
• 1:03:54
  Speaker 6: wearing turquoise and really in here, yes, here, in my
• 1:03:59
  Speaker 6: in my uh, I mean I live in a in
• 1:04:02
  Speaker 6: a very hipster neighborhood of East Nashville, and these turquoise
• 1:04:06
  Speaker 6: like is hitting strides right now on the streets.
• 1:04:10
  Speaker 4: But never went out of st Turquoise never went out
• 1:04:15
  Speaker 4: of style.
• 1:04:17
  Speaker 6: Right, yeah, and that's what yeah, just the other Native
• 1:04:26
  Speaker 6: Americans for sure.
• 1:04:29
  Speaker 3: Going off what Jin said. I mean, it's the color
• 1:04:31
  Speaker 3: of the ketzel bird, and it gets a quattal right,
• 1:04:36
  Speaker 3: gets a quad That's where we come with the whole
• 1:04:38
  Speaker 3: feather serpent. And then also the ketzel bird whenever it
• 1:04:42
  Speaker 3: sits a certain area of the base of one of
• 1:04:47
  Speaker 3: the I think it's Jualula of the pyramids in Mexico,
• 1:04:51
  Speaker 3: you can hear it like it gives off a certain
• 1:04:55
  Speaker 3: echo reverberation. But yeah, the cat the turquoise, sorry, kettl.
• 1:05:02
  Speaker 3: The ketzel bird has that turquoise color and it's very
• 1:05:05
  Speaker 3: very important, very symbolic at least to the Michigan the
• 1:05:08
  Speaker 3: Aztec people, and the Miami people as well. And when
• 1:05:12
  Speaker 3: the whole Virgin Mary thing came about, a lot of
• 1:05:15
  Speaker 3: people think that she was robed in blue, but that
• 1:05:18
  Speaker 3: was more of a European I guess misrepresentation. She was
• 1:05:22
  Speaker 3: actually robed in turquoise because she was trying to give
• 1:05:26
  Speaker 3: symbology to the Machika people, which they consider turquoise to
• 1:05:30
  Speaker 3: be the highest level of spirituality link. John said, thank you.
• 1:05:35
  Speaker 1: I appreciate that we got. Here is the hand of providence.
• 1:05:41
  Speaker 1: It it goes back some of these, whichever one I'm
• 1:05:44
  Speaker 1: not exactly sure it is. Now you can go back
• 1:05:46
  Speaker 1: all the way back to two hundred and forty four
• 1:05:48
  Speaker 1: CE that they start seeing it, and then they see
• 1:05:50
  Speaker 1: it again in sixth century hearing one of them is
• 1:05:54
  Speaker 1: Moses in the burning bush and there's a hand coming
• 1:05:56
  Speaker 1: down from the top. Here is just an isolated one,
• 1:06:00
  Speaker 1: you sound that they found in Fresco in Spain. You
• 1:06:05
  Speaker 1: see this one in the hand of God as it
• 1:06:07
  Speaker 1: is intervenes at the sacrifice of Isaac, and that's from
• 1:06:11
  Speaker 1: tenth century. We got another one here with the clothed
• 1:06:16
  Speaker 1: hand clutching a wreath, and that's in Rome. It was
• 1:06:19
  Speaker 1: between eleven and forty and eleven forty three. We got
• 1:06:24
  Speaker 1: another one here the Visigothic capital with the sacrifice of Isaac.
• 1:06:28
  Speaker 1: Again you seeing a little hand popping out of the corner.
• 1:06:34
  Speaker 1: We got the Ascension of Christ and then no Lea
• 1:06:37
  Speaker 1: remember that's around four hundred at the hand coming out again.
• 1:06:43
  Speaker 1: I find it interesting with the baby child like or
• 1:06:47
  Speaker 1: like a younger pressing, because like don't they say that
• 1:06:49
  Speaker 1: like when you're younger, you might actually be more like
• 1:06:51
  Speaker 1: predisposed to like that's the the world, the higher realms.
• 1:06:57
  Speaker 1: So you got another one up there. I really couldn't
• 1:07:01
  Speaker 1: see it that well in this picture, but there is
• 1:07:03
  Speaker 1: another one up there that's from the sixth century, a
• 1:07:07
  Speaker 1: semi dome. What do we got here? You got another
• 1:07:12
  Speaker 1: one from eleven hundred to the Baptism of Jesus from
• 1:07:16
  Speaker 1: Daphney whatever that is. And I know we talked about
• 1:07:20
  Speaker 1: this a bunch of times, but we do have the
• 1:07:22
  Speaker 1: hams as well that I just wanted to show that
• 1:07:26
  Speaker 1: that you do have an eye sometimes attached to that
• 1:07:29
  Speaker 1: as well. And it's the hand sticking up and then
• 1:07:33
  Speaker 1: we do have this one that can be used to
• 1:07:35
  Speaker 1: go against it. The more hand symbolism. Something I do
• 1:07:39
  Speaker 1: wanted to I did want to mention is with this
• 1:07:42
  Speaker 1: hand symbolism where you see like them sticking the thumb
• 1:07:44
  Speaker 1: out people and myself And now I'm wondering I was
• 1:07:49
  Speaker 1: even gonna mention this earlier, but I figured I'd go
• 1:07:51
  Speaker 1: again with the pineal gland on your thumb. A lot
• 1:07:53
  Speaker 1: of people sometimes when they do their rituals, they will
• 1:07:56
  Speaker 1: draw it like that, they'll draw it with their thumb
• 1:07:58
  Speaker 1: sticking out. Never understood why. I don't think anybody I
• 1:08:02
  Speaker 1: actually knew that didn't even knew why. They just kind
• 1:08:04
  Speaker 1: of saw it done or whatever they're repeating it. For me,
• 1:08:08
  Speaker 1: I just felt more comfortable, felt like I was actually
• 1:08:09
  Speaker 1: drawing something. I don't know, fucking cares, who knows, you know,
• 1:08:13
  Speaker 1: I just mind fucked myself into some reason believing to
• 1:08:16
  Speaker 1: use that that gesture. So I didn't want to mention
• 1:08:19
  Speaker 1: that one uh that we already have this head list
• 1:08:23
  Speaker 1: did go over this before we got the hand of glory.
• 1:08:29
  Speaker 1: We have that from fifteen sixty five. Another thing that
• 1:08:33
  Speaker 1: you see pop up. You have the hand of glory
• 1:08:35
  Speaker 1: holding a candle from the eighteenth century Grimore, the Petit Albert.
• 1:08:39
  Speaker 1: I think that was something that immediate Lisa had even
• 1:08:41
  Speaker 1: covered in older uh in older uh grimoires and the
• 1:08:45
  Speaker 1: hand of Glory again, the seventeen twenty two Petit Albert
• 1:08:48
  Speaker 1: describes in detail how to make a hand of glory
• 1:08:51
  Speaker 1: as sighted from Emil Jews Grillow whatever, and it says
• 1:08:56
  Speaker 1: you take the right you take the right or left
• 1:08:58
  Speaker 1: hand of a felon who is hanging from a gibbet
• 1:09:00
  Speaker 1: beside a highway, wrap it in part of a funeral
• 1:09:04
  Speaker 1: pall and so wrapped, squeeze it well. Then put it
• 1:09:08
  Speaker 1: into an earthenware vessel with zimat nitrate, salt and long peppers.
• 1:09:15
  Speaker 1: The hole well powdered. Leave it in this vessel for
• 1:09:19
  Speaker 1: a fortnight. Then take it out and expose it to
• 1:09:21
  Speaker 1: a full sunlight during the dog days until it becomes
• 1:09:25
  Speaker 1: quite Try if the sun is not strong enough, put
• 1:09:28
  Speaker 1: it in an oven with fern and verveine. Next, make
• 1:09:34
  Speaker 1: a kind of candle from the fat of a gibbage, felon,
• 1:09:39
  Speaker 1: virgin wax, sesame and pony exactly sure where that is.
• 1:09:44
  Speaker 1: And use the hand of glory as a candlestick to
• 1:09:46
  Speaker 1: hold this candle when lightened. And then those in every
• 1:09:50
  Speaker 1: place into which you go with this beautiful instrument cell
• 1:09:53
  Speaker 1: remain motionless. Oh you got the philosopher's hand. There's even
• 1:10:02
  Speaker 1: another one. Uh really, the crown on the thumb and
• 1:10:06
  Speaker 1: the eclipse kind of well, that'd be a not necessary eclipse,
• 1:10:10
  Speaker 1: but you know what I mean, the crescent moon cress.
• 1:10:15
  Speaker 1: I don't know if anybody got an idea about what
• 1:10:16
  Speaker 1: the thumb the thumb and the crowd could be I don't.
• 1:10:19
  Speaker 4: But it's the crown of your head.
• 1:10:22
  Speaker 1: Yeah yeah, oh yeah, yeah right, they go back to
• 1:10:24
  Speaker 1: your pineal gland again. Yeah yep, Kyle, wellk yeah close.
• 1:10:28
  Speaker 1: I mean you're ganging up there, yeah.
• 1:10:31
  Speaker 5: Yeah, because like the crown symbolizes uh, you know, the
• 1:10:35
  Speaker 5: top part of the head, and then Christen is uh
• 1:10:39
  Speaker 5: could be considered king God or whatever.
• 1:10:44
  Speaker 1: Then we got the benediction sign. I just wanted to
• 1:10:46
  Speaker 1: throw that in there. That's been linked to uh. I mean,
• 1:10:49
  Speaker 1: I know, Leasta, you probably explained it better, the whole benediction. No,
• 1:10:54
  Speaker 1: you don't understand that actually, the whole thing with the
• 1:10:56
  Speaker 1: benediction symbol and the problems with like the muscles and
• 1:10:58
  Speaker 1: the fingers and stuff.
• 1:11:02
  Speaker 3: No, I don't. I don't know why, but don't And
• 1:11:05
  Speaker 3: I'm like, no, I don't.
• 1:11:06
  Speaker 1: Yeah, they said something about having own a neuropathy, and
• 1:11:10
  Speaker 1: they're like they actually had, like, but I don't know
• 1:11:12
  Speaker 1: if I want to buy that. That's why they're making
• 1:11:15
  Speaker 1: this is because their hands are actually fucked up. I mean,
• 1:11:18
  Speaker 1: I know David Eis is that about his hands? Which
• 1:11:20
  Speaker 1: that might be true. I mean we started doing art
• 1:11:24
  Speaker 1: because they're hands like that I don't know.
• 1:11:28
  Speaker 4: The hands.
• 1:11:31
  Speaker 1: Oh yeah, yeah, with the two fingers.
• 1:11:33
  Speaker 4: Uh ship, that's where it comes from.
• 1:11:36
  Speaker 1: M hmm, yeah, yeah, it's the last two events. Yep.
• 1:11:51
  Speaker 7: Uh.
• 1:11:51
  Speaker 1: One other thing. Oh, you know, it's interesting somebody had
• 1:11:53
  Speaker 1: mentioned before earlier too. Oh we're getting into hand symbals.
• 1:11:57
  Speaker 1: I can't forget this, but somebody had mentioned it earlier.
• 1:11:59
  Speaker 1: I guess what's a face throwing up that that handsign
• 1:12:02
  Speaker 1: like this? I have suggested that I also sometimes do think.
• 1:12:06
  Speaker 1: I mean, it could just be easy enough. That's the
• 1:12:07
  Speaker 1: symbol of fire. But then uh oh there's also the
• 1:12:12
  Speaker 1: oh god, at list again, what part of the brain
• 1:12:15
  Speaker 1: is it where it's it turns into triangular.
• 1:12:21
  Speaker 3: Paramoidal cells, and that's usually around the cerebral and amygdala
• 1:12:27
  Speaker 3: prefrontal cortex. Sorry, yeah, so this is the whole perception
• 1:12:34
  Speaker 3: that you have that that almost triangular shape of cells
• 1:12:39
  Speaker 3: or concentration of them.
• 1:12:41
  Speaker 1: Is that also the part that I think might be
• 1:12:42
  Speaker 1: considered Amon's horn as well?
• 1:12:45
  Speaker 3: Oh oh you're okay, sorry, yeah, that is going to
• 1:12:49
  Speaker 3: be that not the CEREBELM goodness, I'm so sorry. Yeah,
• 1:12:53
  Speaker 3: that is what houses sit. It sits on top of
• 1:12:57
  Speaker 3: the pineal and that is that is for a memory
• 1:13:03
  Speaker 3: as well as cognition and like perception of like where
• 1:13:08
  Speaker 3: you are, how you are, all that other stuff which
• 1:13:10
  Speaker 3: basically feeds from the pineal as well, like orientation.
• 1:13:15
  Speaker 1: Yeah, that part of that part of the brain isn't
• 1:13:17
  Speaker 1: like the rest of the body's basically done in hexagonal, right,
• 1:13:19
  Speaker 1: and that one's done in like in the pyramid years.
• 1:13:21
  Speaker 1: So I had wondered, I mean, maybe that's a stretch,
• 1:13:23
  Speaker 1: but I have wondered if maybe that's why some people
• 1:13:26
  Speaker 1: might put it up in that area. And then that
• 1:13:30
  Speaker 1: reminded me. I know some people take this as six
• 1:13:32
  Speaker 1: sixty six. I mean, my whole idea is sixty sixty
• 1:13:34
  Speaker 1: six is a little bit different. But that made me
• 1:13:37
  Speaker 1: think of six sixty six. And I have to say,
• 1:13:38
  Speaker 1: for the YouTube listeners or the people viewing YouTube today,
• 1:13:42
  Speaker 1: is our six hundred and sixty sixth video right now
• 1:13:45
  Speaker 1: that you're watching. So patch yourself on the back. But
• 1:13:52
  Speaker 1: uh uh and then uh tell, oh you know another
• 1:13:58
  Speaker 1: thing too that's using uh ritual magic too, I mean
• 1:14:01
  Speaker 1: the sign of silence. I mean, I don't know if
• 1:14:02
  Speaker 1: that's going back, if that is using your hand. I
• 1:14:05
  Speaker 1: didn't want to bring that up. I mean that'll be
• 1:14:07
  Speaker 1: brought up to you. Uh. In ritualistic work. From my experience,
• 1:14:12
  Speaker 1: sometimes when you're done doing whatever you're doing at that
• 1:14:15
  Speaker 1: that direction, what you've done, like whatever, bring your you
• 1:14:19
  Speaker 1: bring your hand up, or you do it like that
• 1:14:20
  Speaker 1: basically saying like I'm done. Or in the star Ruby,
• 1:14:24
  Speaker 1: you will start off like that, standing in the middle
• 1:14:28
  Speaker 1: before you do anything with your hand making the sign
• 1:14:30
  Speaker 1: of silence and then swooping it down, you know, up
• 1:14:33
  Speaker 1: up a Ponto's caka dominos. He's you know, sitting there
• 1:14:36
  Speaker 1: and started off the ritual. But you actually start that
• 1:14:38
  Speaker 1: ritual off with the sign of silence and like undoing
• 1:14:40
  Speaker 1: it or something. I don't know, but interesting. Uh. I
• 1:14:45
  Speaker 1: did want to bring that.
• 1:14:46
  Speaker 3: Up, and then I wanted to I wanted to interject
• 1:14:49
  Speaker 3: it's the hip of campus. Sorry for the people that
• 1:14:51
  Speaker 3: are like relases has it completely wrong. It's the hippo
• 1:14:54
  Speaker 3: campus and that is responsible for memory as well as learning.
• 1:15:00
  Speaker 3: This is the part where you have spatial memory that
• 1:15:02
  Speaker 3: we were talking about. This is where you merge short
• 1:15:05
  Speaker 3: where you take short term memory into long term memory.
• 1:15:08
  Speaker 3: So obviously learning and all that other stuff. It's the
• 1:15:10
  Speaker 3: sea horse of the of the brain.
• 1:15:13
  Speaker 4: Yep.
• 1:15:14
  Speaker 1: I actually think in in Game of Thrones, whatever that
• 1:15:18
  Speaker 1: next sequel was, I forgot the name of it, the
• 1:15:21
  Speaker 1: House of Dragons or whatever. I think the first one
• 1:15:24
  Speaker 1: was very heavily based on eyeball and brain shit. But
• 1:15:27
  Speaker 1: in the second one, like they have like the Sea Horse,
• 1:15:30
  Speaker 1: there's there's actually like a family that's related to the
• 1:15:32
  Speaker 1: dragon people with the sea horse, And I'm like, I'm
• 1:15:34
  Speaker 1: fucking telling you that's brain shit. Yeah, it's just too coincidental.
• 1:15:45
  Speaker 4: This one. You know what this is. It's called the
• 1:15:47
  Speaker 4: fig It's a mildly obscene gesture that uses the thumb
• 1:15:51
  Speaker 4: wedge between two fingers to ward off the evil eye,
• 1:15:55
  Speaker 4: insult someone, deny, or request. It has been used at
• 1:15:58
  Speaker 4: least since the Roman agents other in Europe and parts
• 1:16:01
  Speaker 4: of the Mediterranean.
• 1:16:02
  Speaker 1: Yeah, I think I think then you could use this
• 1:16:04
  Speaker 1: as the same thing. I think he was saying too
• 1:16:05
  Speaker 1: against the evil eye. Yeah yeah, all right, cool, all right,
• 1:16:09
  Speaker 1: thank you? Uh all right? What else were you go here?
• 1:16:13
  Speaker 1: What were you saying? Tim? You asked something?
• 1:16:15
  Speaker 6: Right, I was just going to point out that from
• 1:16:18
  Speaker 6: this angle, maybe it's just the angle of the camera,
• 1:16:21
  Speaker 6: but this looks like a giant eyeball.
• 1:16:23
  Speaker 1: Oh, yeah, there was in our Eyeball series, there was
• 1:16:25
  Speaker 1: toms of domes that we showed on the churches and
• 1:16:28
  Speaker 1: I'm like, yeah, I'm sorry, those things look like fucking eyeballs.
• 1:16:33
  Speaker 1: There's even like some of the domes where it's almost
• 1:16:35
  Speaker 1: like you even see them with the design is almost
• 1:16:38
  Speaker 1: even like the layers that you'll see of what the
• 1:16:42
  Speaker 1: corneers even like looks like it's like, what the fuck
• 1:16:45
  Speaker 1: did you actually know that?
• 1:16:48
  Speaker 3: The one in the eyeball thing that we did nick
• 1:16:52
  Speaker 3: with Teresa the oculus and is it the pantheon? Please
• 1:16:59
  Speaker 3: somebody correct me if I'm wrong, But the oculus is like,
• 1:17:03
  Speaker 3: you know, we thought about, oh, it could be like
• 1:17:05
  Speaker 3: the pupil. But then also when you showed the whole
• 1:17:09
  Speaker 3: thumb with the crown where the crown goes when the
• 1:17:12
  Speaker 3: baby is born, that area of where the crown is
• 1:17:14
  Speaker 3: is super soft Umbertresa was talking about that and how
• 1:17:18
  Speaker 3: like it's almost like the oculus of some of these
• 1:17:21
  Speaker 3: Greek areas where Greek temples where it's open to that
• 1:17:26
  Speaker 3: area which it's opened down into sorry, the hippocampus and
• 1:17:30
  Speaker 3: into the final area.
• 1:17:33
  Speaker 4: And Lisa, you bring up a very interesting point about
• 1:17:35
  Speaker 4: that light. So if you look back at other animals
• 1:17:38
  Speaker 4: that have evolved with the pineal gland, it's almost like
• 1:17:41
  Speaker 4: a third eye that sticks up on top of their
• 1:17:44
  Speaker 4: brains because it's taking in sunlight. And then as the
• 1:17:47
  Speaker 4: brain is built on top of that base lizard level layer,
• 1:17:52
  Speaker 4: that's when you have these other parts of the head
• 1:17:54
  Speaker 4: coming in and that's the whole thing, you know, So
• 1:17:57
  Speaker 4: the middle of the head really would be taking in
• 1:18:00
  Speaker 4: a light, especially during the part of the you know
• 1:18:03
  Speaker 4: time that the baby is, you know, youngest, because it's
• 1:18:06
  Speaker 4: already a soft spot.
• 1:18:09
  Speaker 1: That even makes uh doesn't it make almost like a
• 1:18:11
  Speaker 1: y symbol too, the way it goes on top of
• 1:18:15
  Speaker 1: the kid's head.
• 1:18:17
  Speaker 4: I believe it does the way that it's fish together.
• 1:18:21
  Speaker 3: Because essentially neonates are not blind, but they're there their
• 1:18:26
  Speaker 3: retina issue is not fully formed, so yeah, they would
• 1:18:31
  Speaker 3: need some sort of.
• 1:18:34
  Speaker 4: Yeah, Okay, they're called sagital sutures, and the sagital sutures
• 1:18:38
  Speaker 4: on the the elongated skulls are different than on other humans.
• 1:18:43
  Speaker 4: That's one of the indicators that they might not be
• 1:18:45
  Speaker 4: the same species.
• 1:18:51
  Speaker 2: I find this to be an incredible image neck just
• 1:18:54
  Speaker 2: because it just reminds me so much of sons hicinography
• 1:18:58
  Speaker 2: and really of course the eye. But you can see
• 1:19:01
  Speaker 2: so much in it like that. You can see they
• 1:19:04
  Speaker 2: put some good cabbala. They they they everything is has
• 1:19:08
  Speaker 2: a meaning, every number, all the numbers of things, like
• 1:19:11
  Speaker 2: the trees, like to have eight of them, that's very interesting.
• 1:19:15
  Speaker 2: To have the lambs twelve of them, plus Jesus is thirteen.
• 1:19:18
  Speaker 2: That's very interesting. To have the blue and the gold
• 1:19:21
  Speaker 2: and the red and the green. It's all very interesting.
• 1:19:25
  Speaker 2: Like it's like a it's a very They were obviously
• 1:19:27
  Speaker 2: doing something very cool in the sixth century to have
• 1:19:31
  Speaker 2: come up with this, because this is a very interesting
• 1:19:33
  Speaker 2: image that obviously the later Church kind of forgot for
• 1:19:36
  Speaker 2: a while.
• 1:19:38
  Speaker 1: In my opinion, o, the art is actually rather interesting,
• 1:19:42
  Speaker 1: especially inside. Yeah. I just I was kind of really
• 1:19:50
  Speaker 1: stuck on that head in Providence thing. I really don't
• 1:19:52
  Speaker 1: know much about it. I mean, I was even telling
• 1:19:54
  Speaker 1: Hellas about that shit last week. I just yeah, because
• 1:20:00
  Speaker 1: go for it, please.
• 1:20:02
  Speaker 4: In the Old Testament, it was said that God came
• 1:20:05
  Speaker 4: down from heaven and wrote mysterious writings on the walls
• 1:20:08
  Speaker 4: of Babylon. It was like that hand of Providence motif
• 1:20:13
  Speaker 4: perfectly illustrated as this. You know, God character made his
• 1:20:17
  Speaker 4: hand visible so he could write with his finger on
• 1:20:19
  Speaker 4: the wall in uh one of these courts. So it
• 1:20:22
  Speaker 4: was like the invisible God made visible is in the
• 1:20:26
  Speaker 4: shape of that hand.
• 1:20:33
  Speaker 1: Mhm uh yeah, fucking hand. Oh yeah, I mean that much.
• 1:20:44
  Speaker 1: I just wanted to get that out of the way.
• 1:20:45
  Speaker 1: There's definitely something up with that ship. Uh, I don't know.
• 1:20:50
  Speaker 6: I mean that's with the hand coming out of the sky.
• 1:20:53
  Speaker 4: Right.
• 1:20:53
  Speaker 6: Yeah, you showed like and I don't know, this is
• 1:20:57
  Speaker 6: kind of Matt, you speak kind of dumb, but like
• 1:20:59
  Speaker 6: there's a ninety Snails album cover from the album is
• 1:21:04
  Speaker 6: called Year zero and it's got that it's got a
• 1:21:07
  Speaker 6: hand coming out of the sky. I always wondered why
• 1:21:10
  Speaker 6: he used that, but maybe it was like maybe it.
• 1:21:15
  Speaker 2: Was like a not to some of this stuff.
• 1:21:17
  Speaker 1: Yeah.
• 1:21:17
  Speaker 4: Right, that's a perfect example, right there, go for it.
• 1:21:27
  Speaker 2: Well, just be really quick. I just wanted to tie
• 1:21:29
  Speaker 2: in the version of Guadaloupe with the hand symbolism because
• 1:21:33
  Speaker 2: it is the Holy Family with the Virgin of Guadalupe,
• 1:21:37
  Speaker 2: the Holy Child, Saint Joseph, Saint Anne, and Saint Joaquin.
• 1:21:42
  Speaker 2: So you have the five most powerful sort of like
• 1:21:47
  Speaker 2: you could say, like the biblical lineage, all in your
• 1:21:51
  Speaker 2: the palm of your hand, and so the wound there. Yes,
• 1:21:54
  Speaker 2: it's also a stigmata, but it also has a very
• 1:21:57
  Speaker 2: interesting significance when you study Saint Hey y I used
• 1:22:01
  Speaker 2: to be very obsessed with this as a little kid, saying,
• 1:22:03
  Speaker 2: heygar fees. So the idea is that blood is related
• 1:22:07
  Speaker 2: to fire in the humor system. So as fire is
• 1:22:11
  Speaker 2: the element of watching, it can also be depicted as
• 1:22:15
  Speaker 2: an eye. So Nick was even saying in our in
• 1:22:17
  Speaker 2: our group chat, he was like, well, I won't say exactly,
• 1:22:21
  Speaker 2: but he said, there's a gash in the sky. And
• 1:22:22
  Speaker 2: then I said, well, it could be a yoni, But
• 1:22:25
  Speaker 2: what if it's also like this? What if it's also
• 1:22:28
  Speaker 2: like a you know, the hand could also be the
• 1:22:32
  Speaker 2: same thing. You can see it if just it depends
• 1:22:34
  Speaker 2: on the shape like a vesca pisces kind of is
• 1:22:37
  Speaker 2: it an eye or is it a hole?
• 1:22:39
  Speaker 1: What is it.
• 1:22:42
  Speaker 4: On the hand of Sabazios It has pisces directly in
• 1:22:45
  Speaker 4: the middle of the palm, You know what I meant to?
• 1:22:52
  Speaker 1: Oh, fuck, I really wish I would remember this shit.
• 1:22:56
  Speaker 1: They'll remember because they were here except for Tim well
• 1:22:58
  Speaker 1: you weren't either, and we had Ashton on. He did
• 1:23:01
  Speaker 1: show like remember he showed like a vesca pisces at
• 1:23:04
  Speaker 1: one point. The reason I mentioned in the chat earlier
• 1:23:08
  Speaker 1: is that that gash in the sky is because that's
• 1:23:10
  Speaker 1: actually one of the lines that was in liber three
• 1:23:13
  Speaker 1: seventy And I just found it really weird that like
• 1:23:16
  Speaker 1: he ends up like showing like even if you watch
• 1:23:18
  Speaker 1: the video, it looks like the plane fulls flies into
• 1:23:21
  Speaker 1: like what a gash or fucking bring a rip into
• 1:23:23
  Speaker 1: fucking fabric? And I just found that really weird when
• 1:23:27
  Speaker 1: gash and then I'm looking at the fucking yoni or whatever.
• 1:23:31
  Speaker 1: I was like, I don't know, but I wish I
• 1:23:34
  Speaker 1: would have remember that then I would have brought that up.
• 1:23:37
  Speaker 5: And you know what, I wanted to ask him, and
• 1:23:40
  Speaker 5: I forgot to ask him, has he ever seen that
• 1:23:42
  Speaker 5: show Manifest? Because that show Manifest reminds me a lot
• 1:23:45
  Speaker 5: about that.
• 1:23:47
  Speaker 1: I haven't seen that, so I wouldn't even know.
• 1:23:51
  Speaker 4: I just had an interesting thought, what's up? If you
• 1:23:55
  Speaker 4: look at the edges of the painting, it kind of
• 1:23:57
  Speaker 4: looks like there's a yoni shape to the central figure.
• 1:24:02
  Speaker 4: So is this depicting sort of like the birth of
• 1:24:05
  Speaker 4: a child or reaching in to get a child out.
• 1:24:08
  Speaker 4: And plus look at the place where Jesus is again,
• 1:24:11
  Speaker 4: he's got the symbol of that pine cone right in
• 1:24:14
  Speaker 4: the middle of your forehead. He's the child of the thumb.
• 1:24:17
  Speaker 4: That's the pineal glamor.
• 1:24:22
  Speaker 1: That's interesting.
• 1:24:26
  Speaker 2: I do think the fish symbolism is really interesting in
• 1:24:29
  Speaker 2: comparison because I think it actually does mean the same
• 1:24:31
  Speaker 2: thing headless. I think that was a good inclination. I
• 1:24:34
  Speaker 2: think it's about like the I think you can understand
• 1:24:36
  Speaker 2: in two layers, probably more, but the way I understand
• 1:24:39
  Speaker 2: it is in two. So it's like the transmutation of fish,
• 1:24:42
  Speaker 2: the very magical, very out chemical act, the provision for thyself,
• 1:24:48
  Speaker 2: and then also the trans sort of the transmutation into
• 1:24:52
  Speaker 2: the Kingdom of the Sun, which is not necessarily the church.
• 1:24:57
  Speaker 2: But it's also like in the morel resocrution sort of Yeah,
• 1:25:00
  Speaker 2: it's not gnaustic, but people might understand it as such.
• 1:25:03
  Speaker 2: It's more the kingdom is in your heart, so you know,
• 1:25:08
  Speaker 2: however you understand that. But I think it can be
• 1:25:11
  Speaker 2: both things.
• 1:25:14
  Speaker 4: Well, I mean there's the crossover there too, with the
• 1:25:16
  Speaker 4: center of the palm and sort of like Mary touching
• 1:25:19
  Speaker 4: her heart, you know, that whole sort of bleeding heart
• 1:25:22
  Speaker 4: motifs and how to play into that palm center of
• 1:25:25
  Speaker 4: the hand as well.
• 1:25:29
  Speaker 2: Our Lady of Guadeloupe is pregnant as well, as Lisa
• 1:25:33
  Speaker 2: has said, so she's not quite a mother yet. She's preconceptual,
• 1:25:39
  Speaker 2: not preconceptual, but pre partum, so she's still generative and
• 1:25:44
  Speaker 2: able to sort of like contain the heart of mercy.
• 1:25:48
  Speaker 2: That would be maybe a very Catholic Rosicutian kind of
• 1:25:50
  Speaker 2: way to think of it.
• 1:25:53
  Speaker 4: And they call it the crown because of crowning, Yeah, yeah,
• 1:26:00
  Speaker 4: coming out through the.
• 1:26:02
  Speaker 3: I don't know if y'all mention this, but y'all talk
• 1:26:04
  Speaker 3: about the stigmata.
• 1:26:08
  Speaker 4: I don't think so.
• 1:26:10
  Speaker 3: One of the things that I thought was very interesting,
• 1:26:12
  Speaker 3: at least with some of these certain what I call
• 1:26:17
  Speaker 3: them hall of famers in Catholicism, and they don't have
• 1:26:21
  Speaker 3: to be Catholic. There has been some stigmatas that are
• 1:26:24
  Speaker 3: not religious or that you know, have I guess a
• 1:26:29
  Speaker 3: leaning towards but we only I've only heard of the
• 1:26:32
  Speaker 3: ones that are. But basically it's the bleeding. It's a
• 1:26:36
  Speaker 3: routine bleed or continuous bleeding from the palm of the
• 1:26:40
  Speaker 3: hand to indicate the wounds of Christ sustained during crucifixion,
• 1:26:47
  Speaker 3: which is oddly because you know, they said that there's
• 1:26:49
  Speaker 3: no way that he could have been cruised through the
• 1:26:51
  Speaker 3: hand because it would have just slipped through that. It
• 1:26:53
  Speaker 3: probably was more through the wrist. But with these stigmatas,
• 1:26:57
  Speaker 3: I know pad Bio suffered from that and it was
• 1:27:01
  Speaker 3: a continuous bleeding from the hand and he would be
• 1:27:04
  Speaker 3: giving mass, and there were people that would claim that
• 1:27:07
  Speaker 3: they would see him bleeding from his poems. There were
• 1:27:09
  Speaker 3: times that he bled so much that he had to
• 1:27:12
  Speaker 3: take solace because how much blood he lost. But there
• 1:27:16
  Speaker 3: is that, and it's supposed to indicate to be touched
• 1:27:19
  Speaker 3: by the divine. And then the other thing is that
• 1:27:23
  Speaker 3: whenever they do house relics or saint relics, a lot
• 1:27:28
  Speaker 3: of one of the famous ones is the hand. So yeah,
• 1:27:34
  Speaker 3: it reminded me that the image reminded me because that's
• 1:27:36
  Speaker 3: what the that center bleeding thing is.
• 1:27:44
  Speaker 4: I think that's a very good point. I think trances
• 1:27:47
  Speaker 4: can program the body as well as the mind, and
• 1:27:49
  Speaker 4: so having that state of mind can really produce things
• 1:27:53
  Speaker 4: like this in the body as well as you know,
• 1:27:55
  Speaker 4: spiritual influences, and that's that's a big part of it too.
• 1:28:00
  Speaker 1: Something I actually wanted to ask you headless because I
• 1:28:04
  Speaker 1: wasn't sure if you were going to actually covered it
• 1:28:06
  Speaker 1: or not, because I think this might have been what
• 1:28:08
  Speaker 1: spurred your idea of the hand symbolism one of them. Uh,
• 1:28:12
  Speaker 1: wasn't it like I was gonna bring it up, but
• 1:28:14
  Speaker 1: I thought maybe you knew more about it, like in
• 1:28:16
  Speaker 1: medieval times, didn't They used to kind of make like
• 1:28:18
  Speaker 1: a hand, like almost like something you could wear actually,
• 1:28:23
  Speaker 1: but it would be like remember you showed it. I
• 1:28:25
  Speaker 1: think it was like almost like some made out of metal,
• 1:28:27
  Speaker 1: like they were making like hands. So some guy made
• 1:28:29
  Speaker 1: like his own hand, and then I think that you're
• 1:28:32
  Speaker 1: going on something about like that whole thing. Do you know?
• 1:28:35
  Speaker 4: That was a really interesting guy, right. This was the
• 1:28:39
  Speaker 4: a mercenary German from from this part of Germany who
• 1:28:46
  Speaker 4: who had the famous line, you know, like Misha Marsh
• 1:28:51
  Speaker 4: and so Beethoven. It was either Beethoven or Bach who
• 1:28:54
  Speaker 4: wrote a entire like symphony around this phrase, which means,
• 1:28:59
  Speaker 4: you know, kiss my ass. And so he's he's famous
• 1:29:02
  Speaker 4: for this and he also got his arm blown off
• 1:29:07
  Speaker 4: by a cannon, and so he built himself a fully
• 1:29:10
  Speaker 4: articulated metal arm that he could hold a sword with
• 1:29:14
  Speaker 4: and it was magnetic in the palm and he was
• 1:29:17
  Speaker 4: able to raise this thing and sort of command his troops.
• 1:29:20
  Speaker 4: And he actually lived to a much older age than
• 1:29:23
  Speaker 4: most mercenaries did back then, and you know, he died
• 1:29:26
  Speaker 4: in his like seventies, which is kind of incredible for
• 1:29:29
  Speaker 4: a guy who lived as rough as he did. And
• 1:29:31
  Speaker 4: so later on the Nazis adopted this guy's name for
• 1:29:35
  Speaker 4: their battalion, the uh I think it was the Waffing
• 1:29:39
  Speaker 4: Grenaders or something like that. But the whole idea was,
• 1:29:42
  Speaker 4: you know, he was this folk symbol from back then.
• 1:29:45
  Speaker 4: And then if you look at this one manga called Berserk,
• 1:29:51
  Speaker 4: you've got a German mercenary with a fully articulated metal
• 1:29:55
  Speaker 4: arm that carries a massive sword around and cuts people
• 1:29:59
  Speaker 4: in half of stuff.
• 1:30:00
  Speaker 6: Right.
• 1:30:01
  Speaker 4: And so somehow before the Internet, this guy's writing this
• 1:30:05
  Speaker 4: manga about sort of like this German mercenary that was
• 1:30:08
  Speaker 4: already idealized by the by the Nazi Party and sort
• 1:30:11
  Speaker 4: of became this folk symbol, you know. So it's it's
• 1:30:15
  Speaker 4: a really funny connection because the guy had no connection
• 1:30:18
  Speaker 4: to you know, this culture knew anything about it when
• 1:30:21
  Speaker 4: he started making his character Guts, And the guy's name
• 1:30:25
  Speaker 4: is God's von Berlichingen and Guts his name is Guts
• 1:30:30
  Speaker 4: in the comic book series. So there's just all sorts
• 1:30:33
  Speaker 4: of crossover and no real explanation for it.
• 1:30:39
  Speaker 1: But like even back in medieval times too, I think
• 1:30:41
  Speaker 1: they used to even used to like make like hand
• 1:30:43
  Speaker 1: decoration things too, like that guy had as well. Yeah,
• 1:30:48
  Speaker 1: fucking that story.
• 1:30:51
  Speaker 6: I found a chart online. There's several of these charts
• 1:30:55
  Speaker 6: and their Masonic hand gestures. It's very interesting. It's almost
• 1:31:01
  Speaker 6: as if they could essentially carry out a conversation just
• 1:31:05
  Speaker 6: using their hands, if any of this is correct. Becaus
• 1:31:09
  Speaker 6: I was thinking about Nick earlier. You did something like
• 1:31:11
  Speaker 6: this right like, you showed this appointing finger. I think,
• 1:31:18
  Speaker 6: I don't know, maybe you were talking about something else,
• 1:31:20
  Speaker 6: but you know this right here, right like. I look
• 1:31:24
  Speaker 6: that up and it's like a G in sign language.
• 1:31:30
  Speaker 6: So now I thought about the G and like the Masons,
• 1:31:34
  Speaker 6: so I went and looked at the Mason handshart and
• 1:31:37
  Speaker 6: this same hand gesture for the Masons means caution. It says,
• 1:31:42
  Speaker 6: it means a indexing or caution. But then I found
• 1:31:53
  Speaker 6: all these other interesting things that the Masons have, so
• 1:31:57
  Speaker 6: it's almost like they have their own little type of sign.
• 1:32:00
  Speaker 2: Language going on. Just don't what's this. Uh, let me
• 1:32:07
  Speaker 2: see see if there's one for that.
• 1:32:12
  Speaker 4: One of the most common. It's Mason in distress.
• 1:32:15
  Speaker 6: Oh yeah, so I see that.
• 1:32:16
  Speaker 2: It says.
• 1:32:18
  Speaker 1: That is this right?
• 1:32:20
  Speaker 4: Wait, no, no, Mason, it's like this, you're doing the
• 1:32:23
  Speaker 4: chi ball. That's Mason in distress.
• 1:32:26
  Speaker 6: Well, so, I don't know what this is, but one
• 1:32:29
  Speaker 6: of somebody's got that listed as as Buddha Patra Mundra
• 1:32:34
  Speaker 6: Buddha Patra Mundra madra.
• 1:32:37
  Speaker 4: That hands.
• 1:32:40
  Speaker 6: So I don't know what that means, but.
• 1:32:45
  Speaker 1: Do it again.
• 1:32:47
  Speaker 2: Sorry about that.
• 1:32:51
  Speaker 4: I think it has something to do with the chia ball, right,
• 1:32:53
  Speaker 4: because as you're creating the energy that's used a lot
• 1:32:57
  Speaker 4: in Tai Chi and other you know, Uasai Buddhist uh,
• 1:33:02
  Speaker 4: you know, influenced stuff. So I don't know. I'm not
• 1:33:06
  Speaker 4: at the expert in netfield.
• 1:33:08
  Speaker 2: This is an ethan question, but Taoism and Buddhism can
• 1:33:12
  Speaker 2: be conceptually treated as the same in my opinion. So
• 1:33:15
  Speaker 2: someone gives you shit about it, just like Jen told me,
• 1:33:17
  Speaker 2: install you Okay, so.
• 1:33:21
  Speaker 4: I was looking forward to eat it because he knows
• 1:33:23
  Speaker 4: all these mudras, you know, hands little. I know a
• 1:33:27
  Speaker 4: little bit about the nijitsu hand signs, right. So they
• 1:33:30
  Speaker 4: had their own system of mudras that they were supposed
• 1:33:34
  Speaker 4: to use to get into calm states of mind. And
• 1:33:37
  Speaker 4: so you have all these different mudras that these ninjas
• 1:33:41
  Speaker 4: would use before going into battle as sort of like
• 1:33:45
  Speaker 4: a I guess ch magic, right. And so they've got
• 1:33:49
  Speaker 4: these different ones that kind of look like this, and
• 1:33:53
  Speaker 4: other ones that kind of look like a dragon. Right.
• 1:33:59
  Speaker 4: So the these different moodras are supposed to channel energy
• 1:34:02
  Speaker 4: in different ways.
• 1:34:04
  Speaker 2: The animal hand signals. If you watch Naruto, it explains
• 1:34:08
  Speaker 2: this entire concept, like really, well, each hand sign is
• 1:34:13
  Speaker 2: related to constellation. Also an animal with the zodiac, Yeah,
• 1:34:18
  Speaker 2: exactly what Hella said. It unlocks that gate of energy
• 1:34:22
  Speaker 2: chi you could say. And it also invokes the divine
• 1:34:26
  Speaker 2: lightning strike from the goddess marshy ten. There's not always
• 1:34:30
  Speaker 2: a goddess. Sometimes she's a god is she's kind of
• 1:34:32
  Speaker 2: mythraic in that way, can be a god and sometimes
• 1:34:35
  Speaker 2: a goddess not hermaphrodite. Just different people have different underset
• 1:34:41
  Speaker 2: ways of looking at her. But in Buddhism we say
• 1:34:44
  Speaker 2: it's a girl.
• 1:34:47
  Speaker 4: I think it's just a really interesting way of casting spells.
• 1:34:49
  Speaker 6: You know.
• 1:34:49
  Speaker 4: I'm sure that they had stuff like that in other places.
• 1:34:52
  Speaker 4: And also we didn't even get into palmistry. I mean
• 1:34:55
  Speaker 4: didn't Palmistry used to be the biggest form of divination forever.
• 1:34:58
  Speaker 3: You know.
• 1:34:58
  Speaker 4: That's that's very mystic, that was huge for.
• 1:35:00
  Speaker 1: A long time. Yeah, that's a good point too.
• 1:35:06
  Speaker 4: I mean, your whole life mapped out on the palm
• 1:35:09
  Speaker 4: of your hand, That's that's pretty important, I think.
• 1:35:12
  Speaker 1: Yeah, yeah, a lot of people, like I mean, they
• 1:35:16
  Speaker 1: pretty much you know, adhered to that to un extend,
• 1:35:20
  Speaker 1: you know what I'm saying, kind of like how people
• 1:35:23
  Speaker 1: are with astrology. They'll actually be like, oh, you know,
• 1:35:26
  Speaker 1: mercury is in retrograde grade retrogrades, no matter what, my
• 1:35:29
  Speaker 1: life's fucked up, you know what I'm saying, Like you
• 1:35:31
  Speaker 1: just you automatically already put you you know, into a structure.
• 1:35:36
  Speaker 6: Yeah.
• 1:35:36
  Speaker 4: Right, but like any system, I think you can you
• 1:35:40
  Speaker 4: can maximize its you know, effectiveness, just by looking for
• 1:35:43
  Speaker 4: the positive things and how to use those signals.
• 1:35:46
  Speaker 1: Right. Uh, there was something else too, with another hand symbol.
• 1:35:53
  Speaker 1: Is there any other hand signs? For some reason, I
• 1:35:55
  Speaker 1: was thinking of one and escaped me. Now I can't
• 1:35:57
  Speaker 1: remember that thousands yeah, I know, for some reason, I
• 1:36:00
  Speaker 1: can't think of any right now.
• 1:36:02
  Speaker 4: Jesus, what about that one? When did that one get popular?
• 1:36:05
  Speaker 6: Right?
• 1:36:06
  Speaker 4: I mean that's that's pretty powerful, you know. I mean,
• 1:36:08
  Speaker 4: if you're thinking about so this this represented erect fallus
• 1:36:13
  Speaker 4: to the Greeks, right. The alternative was the fig, which
• 1:36:18
  Speaker 4: represented the glitters. So yeah, the fig, Yeah, the erect
• 1:36:23
  Speaker 4: Pallas and so these these ideas too. You've got sun
• 1:36:26
  Speaker 4: and mood, male and female. All this duality is contained
• 1:36:31
  Speaker 4: within the hands sign language. Do we even mention sign language?
• 1:36:35
  Speaker 3: No?
• 1:36:36
  Speaker 1: No, I wondered about that, but I was just like,
• 1:36:38
  Speaker 1: I didn't know if that would like take us.
• 1:36:41
  Speaker 4: I don't know, I want to see a mute person
• 1:36:45
  Speaker 4: cast spells.
• 1:36:47
  Speaker 1: Oh fuck.
• 1:36:50
  Speaker 2: Yeah.
• 1:36:50
  Speaker 6: That's kind of why I looked up the sun language chart,
• 1:36:53
  Speaker 6: because I was wondering if there were any kind of
• 1:36:54
  Speaker 6: connections between what we saw today and sign language.
• 1:36:59
  Speaker 2: I didn't see many. They might be there, though, Did
• 1:37:02
  Speaker 2: they even use.
• 1:37:03
  Speaker 4: Sign it said? It was said that all the Native
• 1:37:07
  Speaker 4: Americans had a type of sign language that went between
• 1:37:10
  Speaker 4: all the different tribes, so they had their own languages,
• 1:37:12
  Speaker 4: but they spoke at a common sign language between all
• 1:37:14
  Speaker 4: the tribes.
• 1:37:18
  Speaker 2: Yeah, there you go. It only works. It really only
• 1:37:21
  Speaker 2: works between related ethno linguistic groups. So like if you're
• 1:37:25
  Speaker 2: going from like Cree to Ojibway, which are related, or
• 1:37:30
  Speaker 2: even like Ojibway to Abenaki or Menominee or all those
• 1:37:36
  Speaker 2: ones on the East coast, you can do it because
• 1:37:38
  Speaker 2: you have enough consonant value to ascribe like the symbols,
• 1:37:43
  Speaker 2: like the right meaning to the right symbol. But when
• 1:37:46
  Speaker 2: you're going away from like those dialoctical groups, your your
• 1:37:50
  Speaker 2: language is too decoherent from each other, so it's not
• 1:37:52
  Speaker 2: going to really make sense. But yeah, no, you're totally right, Headless.
• 1:37:56
  Speaker 2: They did use a trading sign language, and it's actually
• 1:38:01
  Speaker 2: it's not I wouldn't say it's hugely significant, but it's
• 1:38:03
  Speaker 2: it's it's just something interesting is that they've as what
• 1:38:07
  Speaker 2: Nick was saying, they didn't really have sign language because
• 1:38:09
  Speaker 2: they've constantly reformed what sign language is like even until now.
• 1:38:14
  Speaker 2: They keep updating it, changing words, adding words, just like
• 1:38:17
  Speaker 2: we do in English, but it's more formal, so it's
• 1:38:21
  Speaker 2: kind of like a language that's constantly never quite the same,
• 1:38:25
  Speaker 2: like in it one generation, ten years, you could say
• 1:38:28
  Speaker 2: it changes significantly.
• 1:38:35
  Speaker 4: Well, I just think about the rivers and how they
• 1:38:37
  Speaker 4: would speak to each other, you know, going up and
• 1:38:40
  Speaker 4: down all these open waters, and to me, it's it
• 1:38:44
  Speaker 4: says a lot about the different communities and how they
• 1:38:46
  Speaker 4: related to each other. You know, there's there was some
• 1:38:48
  Speaker 4: kind of a familial bond that you know, occurred back
• 1:38:51
  Speaker 4: when they both spoke the same language and then diverted
• 1:38:54
  Speaker 4: off from each other. I mean, there's just so many
• 1:38:56
  Speaker 4: like images that you get from the different stories from
• 1:38:59
  Speaker 4: the name of Americans that really ties into the ground
• 1:39:02
  Speaker 4: that we're on that nobody really thinks about.
• 1:39:07
  Speaker 6: Yeah, there's a notion too that some of the rock
• 1:39:12
  Speaker 6: art is related in some type of way to assign
• 1:39:17
  Speaker 6: sign language. And you know, I'm not an expert on that,
• 1:39:22
  Speaker 6: but I do you find that that connection is very interesting.
• 1:39:25
  Speaker 6: Like it's like coded, you know what I mean, It's
• 1:39:28
  Speaker 6: like it's like double coded. At that point, you've got
• 1:39:31
  Speaker 6: art based on sign language that's very cryptic, and.
• 1:39:36
  Speaker 4: The ochre that they were using to put this stuff
• 1:39:38
  Speaker 4: up has it faded in hundreds and hundreds of years.
• 1:39:41
  Speaker 4: I mean that ochre doesn't usually last that long, so
• 1:39:43
  Speaker 4: there was some other process for them to get it
• 1:39:45
  Speaker 4: to stick like that.
• 1:39:47
  Speaker 6: Well, that's that's the thing. They had, these methods.
• 1:39:50
  Speaker 2: They were able to.
• 1:39:52
  Speaker 6: Harden copper. They could they could take copper, which is
• 1:39:57
  Speaker 6: you know, Malleable's part of its values that you can
• 1:40:01
  Speaker 6: you can mold it to a shape. But then they
• 1:40:04
  Speaker 6: were able to put it through some sort of process
• 1:40:06
  Speaker 6: where they could take they could make this, they could
• 1:40:08
  Speaker 6: make copper and the shape of tools and then harden
• 1:40:11
  Speaker 6: the copper so the tools wouldn't break. So there was
• 1:40:16
  Speaker 6: all kinds of alchemy going on copper, right.
• 1:40:26
  Speaker 4: Hi Festus was this guy to blacksmith, and he was
• 1:40:29
  Speaker 4: also part of these idea in Dactyls coming from you know,
• 1:40:32
  Speaker 4: Mount Olympus. So it's like any tradesman, anybody who worked
• 1:40:35
  Speaker 4: with their hands were sort of pushed into that same
• 1:40:38
  Speaker 4: role of having this elevated status of being able to be,
• 1:40:42
  Speaker 4: you know, among the people playing the games. So it
• 1:40:45
  Speaker 4: was all part of their the religious culture.
• 1:40:51
  Speaker 6: Yeah, the one that interests me and this is something
• 1:40:54
  Speaker 6: I'd love to know more about. But the thought or
• 1:40:58
  Speaker 6: the theory that they were putting copper on top of
• 1:41:01
  Speaker 6: the mounds or some of their even even pyramids, because
• 1:41:05
  Speaker 6: at one time Kahukia said to have at least one
• 1:41:08
  Speaker 6: hundred pyramids up there right outside of Saint Louis. And
• 1:41:12
  Speaker 6: you know, I've seen the idea thrown around by researchers
• 1:41:15
  Speaker 6: that they were putting copper on top for some reason.
• 1:41:19
  Speaker 6: So maybe there's some sort of a conductive element there
• 1:41:22
  Speaker 6: that they were utilizing receive the lightning strike.
• 1:41:27
  Speaker 2: It's a very literal but also very metaphysical way to
• 1:41:32
  Speaker 2: describe like the same thing. Like what however you understand it? Yeah,
• 1:41:35
  Speaker 2: I think you're totally right t him. I think they
• 1:41:37
  Speaker 2: would have put it like all the implements, you know,
• 1:41:40
  Speaker 2: like the city in Florida's described as like having like
• 1:41:44
  Speaker 2: the rods of gold and you know, nuts of pearls
• 1:41:48
  Speaker 2: and like very it can be both metaphysical and material
• 1:41:52
  Speaker 2: because it means something in both kinds of languages. So
• 1:41:55
  Speaker 2: I think your inclination is totally right. Like every magician
• 1:41:58
  Speaker 2: wants to ease and self into the well, pource himself
• 1:42:02
  Speaker 2: into the experience with all the you know, shiny tools.
• 1:42:06
  Speaker 6: Yeah, and you know there's there was an obelisk at
• 1:42:11
  Speaker 6: Serpent Mound and they said that they removed it because
• 1:42:15
  Speaker 6: it was getting struck by lightning constantly. And I'm wondering,
• 1:42:19
  Speaker 6: if you know, was there something metaphysical to that, and
• 1:42:23
  Speaker 6: you know, to the reason why, was it like charging
• 1:42:26
  Speaker 6: the whole area or something.
• 1:42:30
  Speaker 1: Just curious?
• 1:42:30
  Speaker 4: Well, the IDs i ods created after a lightning striker
• 1:42:36
  Speaker 4: hugely beneficial to the soil, so there is a fertility
• 1:42:39
  Speaker 4: aspect of that.
• 1:42:42
  Speaker 2: Well, it relates also to your idea of turquoise, Tim,
• 1:42:47
  Speaker 2: is that the lightning can also be described as turquoise
• 1:42:50
  Speaker 2: in quality, turquoise in color. It's because it's really clear,
• 1:42:53
  Speaker 2: but it might appear to us as blue. The contours
• 1:42:56
  Speaker 2: appear to us as blue, but it's really crystaline in
• 1:42:58
  Speaker 2: its core, So it's like a diamond thunder matrix.
• 1:43:01
  Speaker 1: You could say.
• 1:43:02
  Speaker 2: So it's but that is can also be described as turquoise.
• 1:43:07
  Speaker 2: It just depends on, you know, your cultural context. But
• 1:43:10
  Speaker 2: most people would understand that, like a serious metaphysician would say, oh, yeah,
• 1:43:13
  Speaker 2: there's a similarity there. There's something that aligns with like
• 1:43:17
  Speaker 2: lightning specifically and the color turquoise.
• 1:43:23
  Speaker 6: Yeah, it reminds me of what was it I saw
• 1:43:26
  Speaker 6: that there was some magicians were using I think it
• 1:43:31
  Speaker 6: was wood from a tree that had been struck by lightning,
• 1:43:36
  Speaker 6: and they were taking the wood and turning it into
• 1:43:39
  Speaker 6: a wand and I guess the thought process there is
• 1:43:44
  Speaker 6: that once the wood is struck by.
• 1:43:45
  Speaker 2: Lightning, it's charged. It's charged. So this is a cemetery practice.
• 1:43:53
  Speaker 2: I didn't know if I was going to bring this up,
• 1:43:54
  Speaker 2: but it is really interesting since you did say it.
• 1:43:57
  Speaker 2: So to get lightning struck like this is pretty universal
• 1:44:02
  Speaker 2: as far as I understand, Like you see it in
• 1:44:03
  Speaker 2: a lot of different systems of magic, and so lightning
• 1:44:07
  Speaker 2: struck wood is the is like the lignum vita, right,
• 1:44:10
  Speaker 2: especially if it's from specific, very specific kinds of wood.
• 1:44:14
  Speaker 2: And it's interesting because the kinds of wood seem to
• 1:44:16
  Speaker 2: be relatively universal, like everybody has their outlier. In tropical
• 1:44:20
  Speaker 2: countries kind of do their own thing, but the more
• 1:44:22
  Speaker 2: temperate countries they prefer elder. Even in China, like a
• 1:44:26
  Speaker 2: Taoist to forge a Daoist like a magic sword to
• 1:44:30
  Speaker 2: expel ghosts, you have to get a lightning struck elder
• 1:44:33
  Speaker 2: from the cemetery on a specific kind of moon alignment.
• 1:44:37
  Speaker 2: It's like so specific. Yeah, and especially if the if
• 1:44:41
  Speaker 2: someone is buried under it. It should be a first son.
• 1:44:44
  Speaker 2: There's all these prescriptions, so it's like almost impossible to
• 1:44:47
  Speaker 2: do it.
• 1:44:47
  Speaker 1: It's worst than getting like where they say you can
• 1:44:51
  Speaker 1: get like a wand from a holly tree on a Wednesday.
• 1:44:56
  Speaker 1: You got it off with one swoop.
• 1:45:01
  Speaker 4: What are the odds that they might be using al
• 1:45:03
  Speaker 4: chemical symbolism, so all of these things could relate to
• 1:45:07
  Speaker 4: other things within like tcmors stuff like that.
• 1:45:12
  Speaker 2: I mean, you're definitely onto something headless like this is
• 1:45:16
  Speaker 2: very doctrine of signatures. Even in Native American medicine will
• 1:45:21
  Speaker 2: call it broadly. Look at Dan Mormon's book. He has
• 1:45:24
  Speaker 2: a whole section on what he calls lightning medicine. Lightning
• 1:45:28
  Speaker 2: medicine directly corresponds to what is also called horse medicine
• 1:45:32
  Speaker 2: and what is also called wolf medicine. Those three things
• 1:45:34
  Speaker 2: aren't necessarily the same diagnosis, but they're all interrelated. So
• 1:45:40
  Speaker 2: they would treat like edema is a really like lightning signature,
• 1:45:45
  Speaker 2: we would call it, so that is treated by the
• 1:45:48
  Speaker 2: external application of elder bark onto the swollen elephant titus
• 1:45:54
  Speaker 2: joints basically, and it would help drain out. It's a
• 1:45:57
  Speaker 2: harsh purgative. You're when you're talking about the inner core
• 1:46:02
  Speaker 2: of the wood. Now you know the berries and the flowers.
• 1:46:05
  Speaker 2: That's totally fine, but it's a very strong purgative, so
• 1:46:08
  Speaker 2: it really drains the water downwards. That's how it's considered.
• 1:46:13
  Speaker 3: Anything to do with Native America. No, sorry, the Americas.
• 1:46:19
  Speaker 3: That what you just said about the horse and the wolf.
• 1:46:25
  Speaker 2: Absolutely so the horse medicine is agrimony, So it's for
• 1:46:31
  Speaker 2: both external injuries like stress, muscle stress especially, and then
• 1:46:37
  Speaker 2: wolf medicine would be for if you have very leaky gut,
• 1:46:41
  Speaker 2: like if you have a camp fever malaria, which also
• 1:46:45
  Speaker 2: can interestingly be treated with agrimony, which in kudo and
• 1:46:49
  Speaker 2: also Native American sort of medicine systems is used to
• 1:46:53
  Speaker 2: repel lightning. So again the Culpepper was right. The you know,
• 1:47:00
  Speaker 2: the medicine and the poison there, you know, they're interrelated things.
• 1:47:06
  Speaker 3: And the reason I ask is because I remember how,
• 1:47:08
  Speaker 3: like we had discussed previously, how the oldest I believe
• 1:47:13
  Speaker 3: in fossils, the oldest fossil remnants that you that we have,
• 1:47:19
  Speaker 3: you know, at least on document comes from the Americas.
• 1:47:23
  Speaker 3: So they believe that the point of origin for the
• 1:47:25
  Speaker 3: equus species and for the canids originate in North America.
• 1:47:31
  Speaker 3: In the Americas. Sorry, And so when you said Horace
• 1:47:35
  Speaker 3: and Wolf, that immediately reminded me of that. And that's,
• 1:47:38
  Speaker 3: you know, a little bit of a basis of my
• 1:47:40
  Speaker 3: theory where I think that the point of origin for
• 1:47:44
  Speaker 3: Homo sapiens maybe came from the Americas and we migrated westward,
• 1:47:50
  Speaker 3: so because we followed them, because that's what the fossil
• 1:47:53
  Speaker 3: record shows, is that the equus and the canine species
• 1:47:58
  Speaker 3: moved westward rust that way.
• 1:48:03
  Speaker 2: I mean that that I've been telling people this for years,
• 1:48:05
  Speaker 2: is like I totally agree with you, Lisa, Like one
• 1:48:07
  Speaker 2: hundred we'll say one hundred and ten percent, use a
• 1:48:09
  Speaker 2: magic number, but yeah, I totally agree with you. Is
• 1:48:12
  Speaker 2: that you know, like there are so people don't know this,
• 1:48:17
  Speaker 2: but we have cactuses here not where necessarily where I live,
• 1:48:20
  Speaker 2: but in the northern prairies. So the older name for
• 1:48:24
  Speaker 2: them is actually horse cactus. A newer name for them
• 1:48:28
  Speaker 2: is actually wolf cactus. So it's interesting because how are
• 1:48:32
  Speaker 2: they named. Well, they're named for the shadow they cast
• 1:48:36
  Speaker 2: in reflection to the light. So and you can see
• 1:48:39
  Speaker 2: it like if you hold up like a torch or
• 1:48:41
  Speaker 2: a flashlight. Even at night, they actually kind of look
• 1:48:45
  Speaker 2: like a horse's shadow or a dog shadow. So I
• 1:48:47
  Speaker 2: always realize this as a kid, and I was like, yeah,
• 1:48:50
  Speaker 2: it doesn't really make sense, this introduction of horses, because
• 1:48:52
  Speaker 2: how would they the planes were only settled in the
• 1:48:55
  Speaker 2: seventeen hundred, it wouldn't even make sense. So yeah, I
• 1:48:59
  Speaker 2: totally with you. And even in Creed the word for
• 1:49:02
  Speaker 2: a horse is big dog or big wolf sometimes, so
• 1:49:06
  Speaker 2: there's an interrelationship between those things and how they're understood
• 1:49:11
  Speaker 2: to like appear in the world. And maybe it you know,
• 1:49:14
  Speaker 2: the dog and the wolf. Yes, different obviously, especially in
• 1:49:17
  Speaker 2: topic iconography, but there's an inter relationship. And you can
• 1:49:20
  Speaker 2: say always associated with lightning, horses always always associated with
• 1:49:24
  Speaker 2: at least the sound of lightning or that nay. Sometimes
• 1:49:27
  Speaker 2: in tounch we'll say that horse's nae is right. So yeah,
• 1:49:31
  Speaker 2: they're all interrelated things. And I agree with you that
• 1:49:34
  Speaker 2: we I don't think we quite understand our origin. I
• 1:49:37
  Speaker 2: didn't mean to go on a New World tangent, but yeah,
• 1:49:39
  Speaker 2: I'm very pro New World.
• 1:49:42
  Speaker 3: Yeah, absolutely. One thing I wanted to interject it is
• 1:49:45
  Speaker 3: about the hand, but it's not related to occultism is
• 1:49:49
  Speaker 3: that fingerprints on the hand they are unique to each
• 1:49:56
  Speaker 3: individual person. And one of the things that I wanted
• 1:49:59
  Speaker 3: to mention bes I don't know if a lot of
• 1:50:00
  Speaker 3: people know this is with identical twins. No, two identical
• 1:50:05
  Speaker 3: twins have the exact same fingerprint, even though they have
• 1:50:09
  Speaker 3: the same DNA relatively. Yeah, So designed to insert that there, No.
• 1:50:17
  Speaker 4: I think you're on to something. I mean, think about
• 1:50:19
  Speaker 4: why palmistry makes sense is because you've got something individual
• 1:50:22
  Speaker 4: to you on each one of your fingers, So why
• 1:50:25
  Speaker 4: wouldn't you have more about your life going on in
• 1:50:28
  Speaker 4: the rest of your hands. And so I also wanted
• 1:50:32
  Speaker 4: to bring up the Mississippian hand eye symbol. Right, So
• 1:50:36
  Speaker 4: if you follow doctor Greg Little on Twitter, you're always
• 1:50:39
  Speaker 4: seeing these cut out of bronze down in the Mississippian culture.
• 1:50:44
  Speaker 4: So these were in the mounds, as this hand eye
• 1:50:47
  Speaker 4: symbol is basically ubiquitous all over the Mississippian culture. So
• 1:50:53
  Speaker 4: I thought that was important too, because there you go,
• 1:50:55
  Speaker 4: that's that hand symbolism popping up again.
• 1:50:58
  Speaker 6: Hey Jesus know what mound or what area that one
• 1:51:02
  Speaker 6: was was found. I'm just curious. That's pretty well well Mississippians.
• 1:51:07
  Speaker 6: We're central to around Saint Louis, Right, they had a
• 1:51:11
  Speaker 6: bunch of mound sites around there and big old platforms
• 1:51:14
  Speaker 6: that were eventually bulldozed and used for other things. But
• 1:51:18
  Speaker 6: I think there are still a couple of mounds.
• 1:51:20
  Speaker 4: But that's the Mississippians were way pre Columbus, so they
• 1:51:25
  Speaker 4: didn't ever have any interactions with the Europeans later on,
• 1:51:28
  Speaker 4: but who knows if there was influences before them.
• 1:51:32
  Speaker 6: Yeah, so that was Do you think that that symbol
• 1:51:35
  Speaker 6: was found at you know, Kahokia, perhaps Monks Mound or
• 1:51:39
  Speaker 6: Coke Mound.
• 1:51:42
  Speaker 4: I think they were related. I'd have to look out
• 1:51:44
  Speaker 4: the exact dates.
• 1:51:46
  Speaker 2: Now either way.
• 1:51:47
  Speaker 6: That's super interesting And like I like doctor greg Little's
• 1:51:51
  Speaker 6: work a lot, and I've been wanting to know more
• 1:51:54
  Speaker 6: about that because I've seen that, right, I've seen those
• 1:51:56
  Speaker 6: images with the hand with the eye in it. I
• 1:51:59
  Speaker 6: just I really want to look more into where those
• 1:52:02
  Speaker 6: were found.
• 1:52:03
  Speaker 2: That's awesome.
• 1:52:06
  Speaker 4: Just follow his account. He's always posting that stuff and
• 1:52:08
  Speaker 4: where it can be found and all the rest of it.
• 1:52:11
  Speaker 2: There's a great book that I've referenced before, but it's
• 1:52:15
  Speaker 2: Jason Berry. He wrote a book on Blackhawk who's a
• 1:52:17
  Speaker 2: spiritualist saint from Wisconsin. He talks about the Mississippian snake cult,
• 1:52:23
  Speaker 2: how there was parts of African, European indigenous and so,
• 1:52:28
  Speaker 2: and probably a lot of the Christian snake handling actually
• 1:52:32
  Speaker 2: comes from more like that than it does from a
• 1:52:37
  Speaker 2: biblical source. I'm not saying they never did it in like,
• 1:52:41
  Speaker 2: you know, the Middle East, but I think that, yeah,
• 1:52:43
  Speaker 2: it probably has more Americanized roots than maybe people are
• 1:52:48
  Speaker 2: comfortable with.
• 1:52:51
  Speaker 4: This is what I keep talking about about meditating on
• 1:52:53
  Speaker 4: this hand to Sabazios because you know, again it's snake
• 1:52:56
  Speaker 4: handling right there, and snake handling. There's something about these
• 1:53:01
  Speaker 4: two symbols. They go together. And you see it in Ophiucas, right,
• 1:53:06
  Speaker 4: he's the snake handler, He's got these other things. There's
• 1:53:08
  Speaker 4: something about hand symbolism and snakes that kind of go
• 1:53:11
  Speaker 4: along together.
• 1:53:15
  Speaker 6: There's there's a hand signal with the eye on it
• 1:53:21
  Speaker 6: that is Hebrew in origin. It's called Hamza. And I
• 1:53:26
  Speaker 6: think maybe the air the air version is the hand
• 1:53:28
  Speaker 6: of Fatima.
• 1:53:29
  Speaker 1: Yeah, yeah, I think I had the I just didn't
• 1:53:32
  Speaker 1: really say much about it. I'll bring it up for you.
• 1:53:34
  Speaker 4: Go for it.
• 1:53:35
  Speaker 1: Yeah, do you got it. Oh, no, not much.
• 1:53:38
  Speaker 6: It's just that I'm I looked it up to Sakonda
• 1:53:41
  Speaker 6: refresh from my memory on it, and it's saying that
• 1:53:44
  Speaker 6: it was a palm shaped ambulant that was used in
• 1:53:47
  Speaker 6: North Africa even and of course in the Middle East.
• 1:53:51
  Speaker 6: So and some of the people were using it as
• 1:53:53
  Speaker 6: a guard against the evil eye. Let's see what did
• 1:53:58
  Speaker 6: they actually say here, hams has been traditionally believed to
• 1:54:01
  Speaker 6: provide defense against the evil eye.
• 1:54:04
  Speaker 1: Yeah, I think the change it depending on which way
• 1:54:06
  Speaker 1: it is. It also makes differences to I've heard that
• 1:54:11
  Speaker 1: the fingers a down.
• 1:54:12
  Speaker 6: Yeah, there's an inverted version.
• 1:54:15
  Speaker 2: Yeah Turkish, no exactly what, but it is called actual
• 1:54:26
  Speaker 2: gem and uh okay.
• 1:54:28
  Speaker 6: So early use of this can be traced back to
• 1:54:35
  Speaker 6: ambulance associated with the goddess in an ari ishtar. That's
• 1:54:39
  Speaker 6: very interesting.
• 1:54:42
  Speaker 2: It always goes back to the star goddess. I mean,
• 1:54:47
  Speaker 2: that's the Himalayan story. Tara is the star, that's what
• 1:54:49
  Speaker 2: her name means. So I totally agree with you, tim
• 1:54:53
  Speaker 2: A start a far. I'm not saying they're all the same,
• 1:54:57
  Speaker 2: but they're they're all interrelated.
• 1:54:59
  Speaker 4: Yeah.
• 1:55:00
  Speaker 6: Or Aphrodite is another name here, it's used it seems
• 1:55:04
  Speaker 6: like it's like, oh, the same symbol if you look
• 1:55:07
  Speaker 6: at but in different cultures it's the it's a different
• 1:55:10
  Speaker 6: name for a similar goddess.
• 1:55:13
  Speaker 4: This one's wrist has been punched This one's wrist has
• 1:55:16
  Speaker 4: been punched out. But normally there's supposed to be a
• 1:55:19
  Speaker 4: woman nursing a baby inside of the wrist part right
• 1:55:22
  Speaker 4: there on that hand to Sabazios. Yeah, right there in
• 1:55:27
  Speaker 4: the cave, she's supposed to be nursing the young god
• 1:55:30
  Speaker 4: Sabazios before he can rise up to his higher form.
• 1:55:38
  Speaker 4: It's all in there, dude. It's so crazy.
• 1:55:40
  Speaker 6: Yeah, you know that this in particular could just well,
• 1:55:46
  Speaker 6: what if here this is just a big one. If
• 1:55:49
  Speaker 6: this this hand the eye in the hand symbol going
• 1:55:52
  Speaker 6: back to these Mediterranean roots and Hebrew even it's like
• 1:55:58
  Speaker 6: that could have something to do with this theory that
• 1:56:02
  Speaker 6: there were Hebrew people over here before.
• 1:56:03
  Speaker 2: Columbus, well before Columbus.
• 1:56:07
  Speaker 1: You know.
• 1:56:07
  Speaker 6: I'm looking at a location in Tennessee right now that
• 1:56:10
  Speaker 6: I'm researching where there is a wall. It's one of
• 1:56:14
  Speaker 6: these rock walls that's underground, similar to the one out
• 1:56:18
  Speaker 6: in Texas, but people have dug it up. I found
• 1:56:21
  Speaker 6: a couple of people who have dug it up. They
• 1:56:24
  Speaker 6: claimed that there were Hebrew symbols on the wall, and
• 1:56:28
  Speaker 6: then there's other Hebrew artifacts. If you look at the
• 1:56:30
  Speaker 6: Back creekstone that was found here in Tennessee, it was
• 1:56:34
  Speaker 6: found really close to an old Cherokee city, but it
• 1:56:37
  Speaker 6: had Hebrew on it, Paleo Hebrew.
• 1:56:40
  Speaker 4: So, Paleo Hebrew. That's that's the key right there. Pale
• 1:56:44
  Speaker 4: so that's Phoenician. Paleo Hebrew is Phoenician.
• 1:56:49
  Speaker 6: Right, So this kind of looks like it might be
• 1:56:55
  Speaker 6: a part of that whole Phoenician thing. The Phoenicians in
• 1:56:57
  Speaker 6: North America potentially.
• 1:57:00
  Speaker 4: Yes, are all over it.
• 1:57:04
  Speaker 6: Yeah, and what if those were the people who had
• 1:57:07
  Speaker 6: what if they were the ones who built the.
• 1:57:08
  Speaker 4: Mounds or you know, probably had some sort of inspiration. Again,
• 1:57:14
  Speaker 4: it's like this cultural diffusion idea. You know, they're taking
• 1:57:17
  Speaker 4: these ideas and they're using it the way that their
• 1:57:20
  Speaker 4: values and everything else works. So you see a lot
• 1:57:23
  Speaker 4: of inspiration, but they make it their.
• 1:57:24
  Speaker 2: Own well, to bring it back maybe to the primordial
• 1:57:32
  Speaker 2: to the hand symbolism, like maybe in its primordial nature,
• 1:57:36
  Speaker 2: this is white Tara, so she's associated with the North
• 1:57:39
  Speaker 2: Star or North and she has the eye on exactly
• 1:57:43
  Speaker 2: on her palm, and she's actually dispensing the gesture of
• 1:57:48
  Speaker 2: boon giving so very interesting, meaning that she can grant
• 1:57:53
  Speaker 2: anything within the three worlds. That's what they say. So
• 1:57:59
  Speaker 2: it's very had a chance. But it's up to you.
• 1:58:03
  Speaker 2: That's the difference with Buddhism. It's it's up to you.
• 1:58:05
  Speaker 2: You have to you have to decide you're going to
• 1:58:08
  Speaker 2: do it or not. You have to get up there yourself.
• 1:58:14
  Speaker 3: Talking about doing it yourself and free will reminds me.
• 1:58:19
  Speaker 3: And then we're talking about the hand, reminds me of
• 1:58:23
  Speaker 3: the painting by Michelangelo Creation of Adam where God has
• 1:58:28
  Speaker 3: his finger fully outstretched and Adam's finger is not and
• 1:58:33
  Speaker 3: there is a gap between the two fingers. A lot
• 1:58:37
  Speaker 3: of people have and Michaelangel goes on to say that
• 1:58:41
  Speaker 3: it was to indicate the moment in Genesis when God
• 1:58:46
  Speaker 3: gives the spark of life to man or Adam rather.
• 1:58:52
  Speaker 3: But what's interesting is that you would think that he
• 1:58:56
  Speaker 3: because Michael Angel was so precise and so detail oriented,
• 1:59:00
  Speaker 3: and he was a practiced anatomous, He was a closeted anatomius.
• 1:59:04
  Speaker 3: He would go and dig up bodies and do autopsies
• 1:59:07
  Speaker 3: and what have you. So he knew the human body
• 1:59:10
  Speaker 3: very very I mean he goes on to create the
• 1:59:13
  Speaker 3: David and he even molds you know that muscle within
• 1:59:17
  Speaker 3: the forearm when you know you're lifting a specific finger.
• 1:59:20
  Speaker 3: So he knew specifically everything about the hand. And yet
• 1:59:25
  Speaker 3: he paints a painting with Adam having a non outstretched finger,
• 1:59:30
  Speaker 3: and so to me and a lot of scholarship indicated
• 1:59:33
  Speaker 3: that Michael Langego Michelangelo was indicating that the non outstretched
• 1:59:40
  Speaker 3: finger of Adam is indicating free will, is indicating it's
• 1:59:44
  Speaker 3: there if you want it, you just have to reach
• 1:59:46
  Speaker 3: for it. You'd have to strive for it, and indicated
• 1:59:49
  Speaker 3: by the gap. So to build upon what Jen was saying,
• 1:59:52
  Speaker 3: and then the hand.
• 1:59:55
  Speaker 2: Absolutely agree.
• 1:59:58
  Speaker 1: Yeah yeah, well see even like stuff I've said that
• 2:00:01
  Speaker 1: I know in some ways, I guess like getting like religious.
• 2:00:05
  Speaker 1: But you know, God, let's say I have to go
• 2:00:08
  Speaker 1: back towards it. It's not coming towards me. So I
• 2:00:13
  Speaker 1: can see that I have to make the decision. I
• 2:00:16
  Speaker 1: have that experience. I have to actually make you do
• 2:00:18
  Speaker 1: the work to make that happen.
• 2:00:23
  Speaker 6: Like that.
• 2:00:24
  Speaker 1: Uh, what else about this Jid is that is that
• 2:00:27
  Speaker 1: a nipple showing that.
• 2:00:29
  Speaker 2: Is then I didn't mean to choose it for that,
• 2:00:31
  Speaker 2: but then as soon as you pulled it up, I
• 2:00:33
  Speaker 2: was like, I'm the next gonna love this.
• 2:00:34
  Speaker 6: So but.
• 2:00:36
  Speaker 2: You know what it's it's just extremely important. I think
• 2:00:39
  Speaker 2: it's uh, it's it's so outer. Contra would say it's
• 2:00:43
  Speaker 2: a symbol of her infinite mercy that she can produce
• 2:00:46
  Speaker 2: the milk, but it's really a metaphor for like the
• 2:00:49
  Speaker 2: nourishing of mankind, like Lisa was saying, like there's a
• 2:00:52
  Speaker 2: wisdom process, a dialectical process with yes, you can describe
• 2:00:56
  Speaker 2: it in like the biochemical mechanisms in the body. That's
• 2:01:00
  Speaker 2: totally legitimate and that happens. But then there's also like
• 2:01:03
  Speaker 2: maybe like what you talk about, Nick, there's like these
• 2:01:07
  Speaker 2: while that's happening, so at the same time, there's like
• 2:01:10
  Speaker 2: other layers happening in your consciousness. So maybe they work together.
• 2:01:15
  Speaker 2: Maybe that's like the secret sauce that like people have
• 2:01:18
  Speaker 2: a hard time putting you know, all together at one time.
• 2:01:22
  Speaker 2: Is like to get to that a special state like
• 2:01:25
  Speaker 2: you know easily or they're like readily. So I think
• 2:01:29
  Speaker 2: that what I like about this image in particular, for
• 2:01:32
  Speaker 2: our Obviously, Headless is great topic on hand symbolism. I
• 2:01:37
  Speaker 2: like it because it's exactly what you said, Nick Nless.
• 2:01:41
  Speaker 2: It's about free will. It's ultimately like up to people
• 2:01:44
  Speaker 2: how they want to perceive reality. And that's also what
• 2:01:47
  Speaker 2: as I said, what Tara means. She's very associated with
• 2:01:49
  Speaker 2: this idea of loving kindness or Bodi cheetah, and so
• 2:01:53
  Speaker 2: I think, like, how do you want to be in
• 2:01:56
  Speaker 2: the world. That's what it kind of says to me.
• 2:01:58
  Speaker 2: It's like, do you want to focus on the primordial
• 2:02:01
  Speaker 2: truth or do you want to you know, play in
• 2:02:04
  Speaker 2: the great carnal ground.
• 2:02:07
  Speaker 4: That actually brings up the monkeys paw. It's the paw
• 2:02:11
  Speaker 4: that grants you wishes, right, And so there's there's some
• 2:02:15
  Speaker 4: kind of an aspect of that too. It's like, this
• 2:02:17
  Speaker 4: is the free will that you have. You can grant
• 2:02:20
  Speaker 4: these you can get these wishes, but it may come
• 2:02:22
  Speaker 4: back and bite you in the ass. You know, the
• 2:02:24
  Speaker 4: things that you think you want might not be that
• 2:02:27
  Speaker 4: at all.
• 2:02:29
  Speaker 1: Tarn that thank you, Oh Jim, Do you have anything
• 2:02:36
  Speaker 1: else on this one?
• 2:02:39
  Speaker 3: Uh?
• 2:02:39
  Speaker 2: No, But I do like that she has her third eye.
• 2:02:41
  Speaker 2: I think that ties in to everything that we like
• 2:02:45
  Speaker 2: everyone said tonight, And I think it is about perception.
• 2:02:49
  Speaker 2: It's like, that's really what matters. That's what I've really
• 2:02:51
  Speaker 2: learned in the last couple of months, like podcasting with
• 2:02:54
  Speaker 2: you guys, and you know, on my own show as well.
• 2:02:57
  Speaker 2: But obviously in synthesis we do such interesting work, I think,
• 2:03:02
  Speaker 2: but I've really learned that perception really matters, and it
• 2:03:04
  Speaker 2: really matters like the story you tell and how you
• 2:03:07
  Speaker 2: tell it.
• 2:03:10
  Speaker 1: Well very well said. Did anybody else have anything that
• 2:03:16
  Speaker 1: they wanted to add?
• 2:03:19
  Speaker 4: I learned a lot from you guys about this stuff.
• 2:03:23
  Speaker 5: I took a lot of notes, you know, I always say,
• 2:03:26
  Speaker 5: you know, similism plays a major part in our communication,
• 2:03:30
  Speaker 5: and when you stick to the origins of the simbolism,
• 2:03:34
  Speaker 5: you don't have all these different narratives that people are
• 2:03:36
  Speaker 5: trying to create.
• 2:03:41
  Speaker 1: Oh you know another thing too, I thought of with
• 2:03:43
  Speaker 1: the whole. I mean, I don't think it's why people
• 2:03:47
  Speaker 1: do this, but that is a thing that you will
• 2:03:49
  Speaker 1: do in the Maybe this is ruby I'm getting confused,
• 2:03:56
  Speaker 1: but I think you actually, oh no, maybe, yeah, Like
• 2:04:00
  Speaker 1: people normally go like that and then we like when
• 2:04:02
  Speaker 1: they charge the corners, they make that handsomeone kind of
• 2:04:05
  Speaker 1: projected out jay Z does that? Oh yeah, yeah, yeah, yeah,
• 2:04:11
  Speaker 1: that's true.
• 2:04:14
  Speaker 3: That was also the one of the movements for the
• 2:04:19
  Speaker 3: series The OA.
• 2:04:23
  Speaker 1: Yo, there was movements in the OA that I actually
• 2:04:25
  Speaker 1: thought leg it was from the Exagrammars Ritual. It was like,
• 2:04:29
  Speaker 1: looks like that added with a whole bunch of other
• 2:04:31
  Speaker 1: ship that's a.
• 2:04:32
  Speaker 4: Little weirdy did the side of silence?
• 2:04:35
  Speaker 1: Yeah, yo, yo, you remember, Yo? You covered that on
• 2:04:37
  Speaker 1: the fuck You Cover that shiit a long time ago?
• 2:04:40
  Speaker 1: Holy shit, Yo. That was fun too because I had
• 2:04:43
  Speaker 1: just recently watched it. Yeah, and you told me you
• 2:04:46
  Speaker 1: want to talk about the OA, and I was like, oh,
• 2:04:48
  Speaker 1: fuck yeah, just watched that ship. That ship was wild.
• 2:04:50
  Speaker 1: You know that she would be interesting to cover. That
• 2:04:52
  Speaker 1: ship is so deep that show.
• 2:04:55
  Speaker 4: There is so much in there. It's just it's crazy,
• 2:04:58
  Speaker 4: layer upon layer of stuff that you can pull out
• 2:05:00
  Speaker 4: of it.
• 2:05:01
  Speaker 2: Hell yeah, there's actually a no no you go, uh no,
• 2:05:07
  Speaker 2: there's a There's another great show called The Magicians.
• 2:05:10
  Speaker 5: Now.
• 2:05:10
  Speaker 2: It is very hipster, millennial and a little annoying sometimes,
• 2:05:13
  Speaker 2: but their magic system uses hand sigils. It's predicated on
• 2:05:19
  Speaker 2: that kind of the Eastern ideas of mudras and like
• 2:05:24
  Speaker 2: pathworking through the hands, but there's also other processes, so
• 2:05:27
  Speaker 2: it's kind of they use a very syncretic way that
• 2:05:30
  Speaker 2: they kind of imagine magic for the camera. So from
• 2:05:34
  Speaker 2: a magician's perspective, it's actually a really cool series. Like, yes,
• 2:05:37
  Speaker 2: annoying characters aside, they you know, they they play with time,
• 2:05:42
  Speaker 2: they play with space, they play with spirits, but they're
• 2:05:45
  Speaker 2: not really religious, they're just magicians. So it's it's a
• 2:05:48
  Speaker 2: very interesting series and it's also a book if people
• 2:05:51
  Speaker 2: are interested. I'm not plugging it because I'm friends of them.
• 2:05:54
  Speaker 2: I just think it's good.
• 2:05:56
  Speaker 4: I think it's got a lot of high camp factors
• 2:05:58
  Speaker 4: and there's so many different reference is in there that
• 2:06:01
  Speaker 4: make it kind of funny if you know what you're
• 2:06:02
  Speaker 4: looking at, because again they do reference a whole lot
• 2:06:05
  Speaker 4: of different systems and magic outside of that.
• 2:06:10
  Speaker 2: Yeah, see, this is the thing we can totally agree
• 2:06:12
  Speaker 2: on this Headlics is that that is a great series
• 2:06:15
  Speaker 2: and it's very millennial, very of that time. But it's
• 2:06:19
  Speaker 2: a perfect encapsulation of like I think, interesting in modern
• 2:06:23
  Speaker 2: ideas about magic, and it's not so contained in like
• 2:06:26
  Speaker 2: crazy ritual performance. It's it's like, yeah, there's a chaos
• 2:06:30
  Speaker 2: magic kind of maybe flavor to the whole thing. It's like,
• 2:06:33
  Speaker 2: how can we problem solve?
• 2:06:36
  Speaker 4: Well, I mean that whole series on that mythical island
• 2:06:41
  Speaker 4: that they went to inside of the C. S. Lewis novel,
• 2:06:44
  Speaker 4: that was just yeah, I mean that was so on
• 2:06:46
  Speaker 4: the nose. They had so many different references from my
• 2:06:49
  Speaker 4: childhood right there, and all these lion, the witch and
• 2:06:52
  Speaker 4: the wardrobe type references.
• 2:06:54
  Speaker 2: It's the inversion of the C. S. Lewis story in
• 2:06:57
  Speaker 2: a funny way, right like, because it's a it's camp,
• 2:07:01
  Speaker 2: but it's violent when they go to the C. S.
• 2:07:03
  Speaker 2: Lewis world. Those people aren't nice. It's not like little gnomes.
• 2:07:06
  Speaker 2: It's like the gnomes will eat your face, so you know,
• 2:07:09
  Speaker 2: and I mean that's what I mean. It happens so
• 2:07:12
  Speaker 2: many characters die and die in horrific ways, so it's
• 2:07:16
  Speaker 2: a it's a very interesting show just from that perspective.
• 2:07:19
  Speaker 2: And then sometimes they even get resurrected.
• 2:07:22
  Speaker 1: Right face right off. Can't trust the motherfuckers.
• 2:07:28
  Speaker 3: Just real quick. Sorry. The two things, there are certain
• 2:07:33
  Speaker 3: primates that cannot fully extend their index finger. So that
• 2:07:37
  Speaker 3: made me also think about like maybe week oh that
• 2:07:42
  Speaker 3: was their thing so if you read the Book of Genesis,
• 2:07:44
  Speaker 3: it mentions that God created trees to eat from or
• 2:07:49
  Speaker 3: fruit that would bear fruit to eat from. And when
• 2:07:53
  Speaker 3: you look at primate diet, primates are predominantly frugivores, predominantly
• 2:07:58
  Speaker 3: frugi wars. And so then you have the talk of
• 2:08:02
  Speaker 3: fall of man. And then when you look at I
• 2:08:07
  Speaker 3: guess the fossil record the moment that man started consuming
• 2:08:10
  Speaker 3: animal flesh, you have the growth of the prefrontal cortex
• 2:08:14
  Speaker 3: and all that other stuff. And then you have this
• 2:08:17
  Speaker 3: painting where maybe you have an index finger that is
• 2:08:23
  Speaker 3: unable to be stretched out because of anatomical differences, you know,
• 2:08:29
  Speaker 3: within the primate taxa. But then you have a movement
• 2:08:34
  Speaker 3: of progression in the Homo sapien line that you were
• 2:08:39
  Speaker 3: able to stretch out that finger and touch the finger
• 2:08:43
  Speaker 3: of God because you've now moved into that evolutionary state
• 2:08:48
  Speaker 3: of consciousness. Because remember God's encapsulated in the brain.
• 2:08:52
  Speaker 5: So what's that famous art piece that's in the ceiling
• 2:08:55
  Speaker 5: that has the touching guys.
• 2:08:57
  Speaker 3: It's called Creation of Atom by Michael Angelo.
• 2:09:03
  Speaker 1: Yeah, when I was at it, I have mentioned this before.
• 2:09:07
  Speaker 1: When I was at the Vatican, they said that they
• 2:09:08
  Speaker 1: actually to acknowledge that that's the brain. I was like, oh,
• 2:09:16
  Speaker 1: all right, okay, I mean you know I thought that anyway,
• 2:09:19
  Speaker 1: but I was like, all right, right. It was a
• 2:09:22
  Speaker 1: little bit surprised actually to hear that. Yeah, they're even
• 2:09:26
  Speaker 1: like go ahead, sorry, go ahead, no, I talk for sure.
• 2:09:30
  Speaker 4: I find more tracing boards with that hand of Providence
• 2:09:33
  Speaker 4: in it, but I can't really find them anymore in
• 2:09:35
  Speaker 4: my mind. That's a strong association, you know, Yeah, yeah,
• 2:09:40
  Speaker 4: you see those things like every once in a while,
• 2:09:41
  Speaker 4: and know I'll notice them like on like a video
• 2:09:44
  Speaker 4: like I'm watching, like on something that's not even on
• 2:09:45
  Speaker 4: that topic.
• 2:09:46
  Speaker 1: I'll just see the fucking hand like in the painting
• 2:09:48
  Speaker 1: that they're showing, and I'm like, oh, there's that fucking
• 2:09:51
  Speaker 1: hand again, Like what was what's up with that motherfucker?
• 2:09:56
  Speaker 1: But uh, it's like the hand from a oh god,
• 2:10:01
  Speaker 1: I can't remember. I was a scream or whatever with
• 2:10:03
  Speaker 1: Chris Elliotts sticking his hand in the fucking mashed potatoes,
• 2:10:06
  Speaker 1: just got that fucked up all. He'd be like one
• 2:10:10
  Speaker 1: of those coming down from this. I don't know if
• 2:10:13
  Speaker 1: I even want to fucking reach out for that one.
• 2:10:17
  Speaker 4: I was thinking Operation Blue beard a giant.
• 2:10:28
  Speaker 1: Look at that.
• 2:10:28
  Speaker 6: You gotta check out that nine inch Nails album cover. Man,
• 2:10:31
  Speaker 6: I'm telling you because they were even saying that whenever
• 2:10:34
  Speaker 6: Resner put that album out that he was somehow alluding
• 2:10:39
  Speaker 6: to the coming disclosure UFO disclosure movement. But that's the
• 2:10:45
  Speaker 6: that's the album cover. It's like it looks like a
• 2:10:47
  Speaker 6: real giant hand of God coming out of the sky.
• 2:10:50
  Speaker 2: It's crazy, all right.
• 2:10:54
  Speaker 1: I guess, uh, I guess we'll wrap it up the uh.
• 2:10:57
  Speaker 1: There's a whole lot of ship right there, a lot
• 2:10:59
  Speaker 1: of I plug themselves again on the shows or whoever
• 2:11:02
  Speaker 1: they want to promote. We'll start it off with you,
• 2:11:05
  Speaker 1: Lisa again. They called reject mad scientist what is going only?
• 2:11:07
  Speaker 1: So thank you very much for joining us tonight show.
• 2:11:11
  Speaker 3: Thank you had for bringing up the amazing topic to
• 2:11:14
  Speaker 3: bring us all together in this wonderful panel where we
• 2:11:18
  Speaker 3: just converse and commune among ourselves with the topic. Thank
• 2:11:25
  Speaker 3: you fellow rejects for allowing me to interject my weird stuff.
• 2:11:29
  Speaker 3: But thank you Neix for inviting me to plug is
• 2:11:36
  Speaker 3: only a cult research Institute dot org And if you'd
• 2:11:39
  Speaker 3: like to find me, it's so lease.
• 2:11:42
  Speaker 4: Lisa.
• 2:11:42
  Speaker 1: Thank you awesome. Thank you very much. Appreciate you enjoying
• 2:11:45
  Speaker 1: us and we got you the ninja.
• 2:11:49
  Speaker 2: Thank you boss for tolerating meat tonight. And I know
• 2:11:51
  Speaker 2: it was quite a talkative, but I made up for
• 2:11:54
  Speaker 2: all those times where I was quiet.
• 2:11:55
  Speaker 1: Were third eyes and nipples I can't combine.
• 2:11:58
  Speaker 2: Okay, well that's guy. You liked it, so thank you
• 2:12:02
  Speaker 2: so much, Lisa. I don't think it's weird. I think
• 2:12:04
  Speaker 2: it's super interesting. I love that we can talk about
• 2:12:06
  Speaker 2: plants and biology, Tyrone. I'm always in all of how
• 2:12:10
  Speaker 2: much you know ag on fire tonight for real and Tim. Honestly,
• 2:12:14
  Speaker 2: I love that we have that kind of dynamic that
• 2:12:17
  Speaker 2: we I tease you a little and you kind of
• 2:12:20
  Speaker 2: push back. It's really great. Honestly, I think it's interesting.
• 2:12:23
  Speaker 2: So thank you so much. It's a true honor to
• 2:12:26
  Speaker 2: be with the panel. And if you want to check
• 2:12:28
  Speaker 2: me out Threshold Saints and the Great Lodge. And we
• 2:12:31
  Speaker 2: do have a YouTube channel now run by.
• 2:12:33
  Speaker 1: Mister Okay, that all right? Nice? You can have to
• 2:12:39
  Speaker 1: give me the link for that, I'll include it. Do
• 2:12:41
  Speaker 1: you have it on you have a link tree? Yeah?
• 2:12:45
  Speaker 2: I have a link tree is yeah?
• 2:12:47
  Speaker 1: Is it on there?
• 2:12:48
  Speaker 2: Yeah? I have to put it on. I've been really
• 2:12:49
  Speaker 2: bad about updating it. Will I promise, I will, I promise,
• 2:12:53
  Speaker 2: I will.
• 2:12:54
  Speaker 1: Yeah, I appreciate it, of course. And then we uh,
• 2:12:58
  Speaker 1: we got iron what's going on?
• 2:13:01
  Speaker 2: I think, thank you.
• 2:13:02
  Speaker 5: I appreciated Agent for those kind words.
• 2:13:05
  Speaker 3: Man.
• 2:13:05
  Speaker 1: I appreciate that.
• 2:13:06
  Speaker 2: This is a good discussion.
• 2:13:07
  Speaker 5: I learned a lot, took some notes down. It's always
• 2:13:10
  Speaker 5: a good day when you learn something. You know, that
• 2:13:12
  Speaker 5: was saying you learned something new every single day. So
• 2:13:15
  Speaker 5: this was the day that I definitely learned a lot
• 2:13:17
  Speaker 5: because of these three discussions that we had today. So
• 2:13:19
  Speaker 5: my mind is kind of bloomed, but I enjoyed every
• 2:13:22
  Speaker 5: moment of that. I love talking to you guys. I
• 2:13:25
  Speaker 5: enjoyed this a lot. This is a passion of mine
• 2:13:27
  Speaker 5: of learning as much as I can about everything. And
• 2:13:30
  Speaker 5: of course, everything that you can find on me is
• 2:13:32
  Speaker 5: on my website, Rebirth of theWord dot com. I have
• 2:13:35
  Speaker 5: you know, YouTube, Twitter and all that other stuff, but
• 2:13:37
  Speaker 5: that's all through my website. You can go in there
• 2:13:40
  Speaker 5: and find that. I also have a best selling book,
• 2:13:42
  Speaker 5: Journey through the Origins of History, and I appreciate everybody
• 2:13:45
  Speaker 5: that put their knowledge out there.
• 2:13:46
  Speaker 2: So I can gain it from them.
• 2:13:47
  Speaker 1: Thank you, of course, thank you, sir. Appreciate it and
• 2:13:52
  Speaker 1: we gotta have actually do Tim Constantine, please, sir, everybody
• 2:13:56
  Speaker 1: know what's uping?
• 2:13:57
  Speaker 6: Hey, yeah, very enlightening, happy to be here, happy to
• 2:14:02
  Speaker 6: learn some stuff today. Sixth Censory Podcast is my main gig.
• 2:14:07
  Speaker 6: Six spell it out among all the major platforms. And yeah,
• 2:14:11
  Speaker 6: appreciate the invite.
• 2:14:12
  Speaker 1: Oh of course, thank you, sir. I appreciate it. And
• 2:14:15
  Speaker 1: hell is John. Thank you very much for the topic.
• 2:14:17
  Speaker 1: It was a fun one. It was very interesting. I mean, honestly,
• 2:14:20
  Speaker 1: there's like so many different places we can still go
• 2:14:22
  Speaker 1: with that. Honestly, with that topic, so many different things.
• 2:14:26
  Speaker 1: But thank you again, and please let everybody know where
• 2:14:28
  Speaker 1: they can find your amazing show and where to send
• 2:14:30
  Speaker 1: those weird dreams.
• 2:14:34
  Speaker 4: Thank you, Nick. This is a great topic. I love
• 2:14:36
  Speaker 4: going into all these different things and having all these
• 2:14:38
  Speaker 4: different sources of knowledge that I'll weave back together again,
• 2:14:41
  Speaker 4: which is one of the major things that I want
• 2:14:43
  Speaker 4: to get across about hand symbolism. It's fractal, it's gonna
• 2:14:47
  Speaker 4: spread out, and it's everywhere. So this is partially why
• 2:14:51
  Speaker 4: it's so important in the sensory homunculous. Right, if you
• 2:14:56
  Speaker 4: think about what it looks like inside of your brain.
• 2:14:59
  Speaker 4: You've got the huge face, you've got these giant hands, right.
• 2:15:03
  Speaker 4: The hands are almost bigger than the brain area, right,
• 2:15:06
  Speaker 4: Because the whole idea is you've got to experience the
• 2:15:09
  Speaker 4: world in a tactile way. And that's what really gets
• 2:15:12
  Speaker 4: the hands as this powerful symbol because it's like this
• 2:15:15
  Speaker 4: other sense, the more we get online and stuff like that,
• 2:15:18
  Speaker 4: the less we're using our hands, and the less we
• 2:15:20
  Speaker 4: think with our hands. And that's sort of like, I guess,
• 2:15:24
  Speaker 4: a lack in that balance. You know, you've got to
• 2:15:26
  Speaker 4: get back into nature. You got to use your hands.
• 2:15:28
  Speaker 4: You got to be like hy Festus, you know, make something,
• 2:15:31
  Speaker 4: play sports, do something with your hands. That's part of
• 2:15:34
  Speaker 4: your brain, that's part of your mental health, you know.
• 2:15:36
  Speaker 4: So hand symbolism is important for that very reason. It
• 2:15:39
  Speaker 4: goes into all those aspects of our lives. So you
• 2:15:42
  Speaker 4: can find me at Headless Giant Podcast at gmail dot
• 2:15:46
  Speaker 4: com if you want to get those stories into me
• 2:15:48
  Speaker 4: for Thursdays when I read your emails. And also you've
• 2:15:52
  Speaker 4: got the Trialogues which is tomorrow with Ethan and Ricardo.
• 2:15:55
  Speaker 4: So thank you very much for having me. Thank you
• 2:15:57
  Speaker 4: for this panel. I think a lot of people had
• 2:16:00
  Speaker 4: good time. And man I look forward tomorrow.
• 2:16:03
  Speaker 1: Hell yeah, no, thank you very much, and uh yeah,
• 2:16:06
  Speaker 1: thank you everybody in the chat. That's what's Up. There
• 2:16:08
  Speaker 1: was a lot of people here and uh, you know,
• 2:16:10
  Speaker 1: you made a good point. I can't believe we forgot
• 2:16:11
  Speaker 1: the fucking homoculous with its big hands. Oh man, see
• 2:16:15
  Speaker 1: that's it again. That's another whole thing to talk about. Uh.
• 2:16:18
  Speaker 1: When you said that, I was like, fuck nice. Uh
• 2:16:22
  Speaker 1: yeah again, thank you everybody in the chat. That's what's Up.
• 2:16:26
  Speaker 1: Had a good show, and thank you everybody that was
• 2:16:27
  Speaker 1: there from the beginning to the end pretty much. You know,
• 2:16:29
  Speaker 1: everybody's still there. That's what's up. And thank you Wolf
• 2:16:32
  Speaker 1: for spending the time to come on tonight, and everybody
• 2:16:36
  Speaker 1: was here all day. I appreciate that. That's what's up.
• 2:16:38
  Speaker 1: And until the next one, everybody be well later.