Latest / The Occult Rejects / Uncle Headless' Magical Mailbag Remote Viewing Show

Transcript

Uncle Headless' Magical Mailbag Remote Viewing Show · The Occult Rejects

• 0:02
  Speaker 1: You see something's going to happen. What what's gonna happen?
• 0:12
  Speaker 1: I think.
• 0:15
  Speaker 2: What you welcome? Welcome everybody to another Headlessen is magical mailbag.
• 0:28
  Speaker 2: Tonight we've got a special treat. We're doing another remote
• 0:31
  Speaker 2: viewing show. But before that, I gotta welcome my co
• 0:35
  Speaker 2: host Nick. Tell them what you've been working on? What
• 0:37
  Speaker 2: you got coming up?
• 0:39
  Speaker 1: Oh, thank you sir, thank you for having me on.
• 0:41
  Speaker 1: Looking forward to this one. This one would be a
• 0:42
  Speaker 1: special and exciting and it has nothing to do with
• 0:45
  Speaker 1: my someone. What have I been working on? Oh god,
• 0:47
  Speaker 1: I have a ton of shit that I'm actually working
• 0:49
  Speaker 1: on too much. Uh, A two part series on my
• 0:52
  Speaker 1: sacred architecture, then a one show that's gonna you know,
• 0:56
  Speaker 1: I'm focusing on four or five places. It's gonna be
• 0:58
  Speaker 1: the architecture and then like the somatic in their archae
• 1:00
  Speaker 1: acoustics and all that shit. Uh specifically. Then I'm gonna
• 1:04
  Speaker 1: have two episodes on the planets and then one on
• 1:09
  Speaker 1: Christian architecture as ritual technology. So yeah, looking forward to
• 1:15
  Speaker 1: that one. Yes, but uh yeah we got that, and uh,
• 1:18
  Speaker 1: we do have a guy coming on this Sunday. That's funny.
• 1:20
  Speaker 1: I mentioned a grippa to you before for a grippa
• 1:23
  Speaker 1: and then I think Saturday we got some lady coming
• 1:25
  Speaker 1: off for Polish, uh, Polish magic or some shit.
• 1:30
  Speaker 2: So yeah, gotcha, I'm down.
• 1:33
  Speaker 1: All right. I figured it'd be interesting.
• 1:35
  Speaker 3: Yo.
• 1:35
  Speaker 1: You know what's cool too, is that uh is she well,
• 1:39
  Speaker 1: I mean a lasson. I'm gonna be honest. I do
• 1:41
  Speaker 1: understand when some people do this for her. I gave her,
• 1:45
  Speaker 1: I gave her a pass, but like she had asked
• 1:48
  Speaker 1: for questions, and I'm like, oh, I don't know. For
• 1:51
  Speaker 1: some reason, that bothers me when some of these authors
• 1:53
  Speaker 1: ask for questions. And the problem is it's just like, yo,
• 1:56
  Speaker 1: like I even understand from when I do shows, if
• 2:00
  Speaker 1: it was something that like meant a lot to me,
• 2:03
  Speaker 1: that shit's like on the back of my hand. I
• 2:05
  Speaker 1: know that shit. You know what I'm saying. So now
• 2:08
  Speaker 1: you wrote that book and it wasn't ai like, and
• 2:11
  Speaker 1: you spent all that time. I need to send you
• 2:14
  Speaker 1: fucking questions. You should know that fuck. You should remember
• 2:17
  Speaker 1: what that book was like before you edited it. So
• 2:21
  Speaker 1: but she said that she's not a She's from Poland.
• 2:26
  Speaker 1: English is in her first language. So this is actually
• 2:29
  Speaker 1: real Polish person coming with Polish magic. Long story short.
• 2:32
  Speaker 1: So yeah, she asked for questions and she did, you know,
• 2:34
  Speaker 1: specify one of the reasons why she was asking because
• 2:36
  Speaker 1: English isn't her like you language. So I was like,
• 2:40
  Speaker 1: all right, cool, cool.
• 2:43
  Speaker 2: Well, awesome, awesome. So before we get started, I want
• 2:47
  Speaker 2: everybody to get themselves out a clean sheet of paper
• 2:50
  Speaker 2: or a couple of sheets of paper, probably like four
• 2:53
  Speaker 2: sheets of paper, right, and then have that ready. But
• 2:56
  Speaker 2: first we got to get into nick symbol and piece
• 3:00
  Speaker 2: of paper and pen. That's all you need and your mind,
• 3:04
  Speaker 2: and we're gonna try and see if we can do
• 3:07
  Speaker 2: some remote viewing using an AI. And I couldn't get
• 3:11
  Speaker 2: the talking AI, but I could, you know, tell it
• 3:13
  Speaker 2: what to do and then we're gonna read it off.
• 3:16
  Speaker 2: So hopefully it can use the fast Warrior transforms as
• 3:20
  Speaker 2: the as the prompt and we'll see where it goes
• 3:22
  Speaker 2: from there. So go ahead, let's get into your symbol.
• 3:26
  Speaker 1: All right, you can pull it up there, Yes, that
• 3:29
  Speaker 1: is the uh where is it? The Marian mark. It
• 3:34
  Speaker 1: can look like a double V or W or cross v's.
• 3:38
  Speaker 1: It's a ritual protection symbol carved into churches and homes.
• 3:41
  Speaker 1: Half prayer, half folk magic and shockingly widespread. The Merryon
• 3:47
  Speaker 1: mark is It's usually scratched as a VV, sometimes fused
• 3:51
  Speaker 1: into a W made of cross to v's and sometimes
• 3:54
  Speaker 1: an M or found this interesting am. Sometimes you will
• 3:58
  Speaker 1: see that F and AM free and accepted Masons. It
• 4:04
  Speaker 1: shows up in exactly the places people feared we are
• 4:07
  Speaker 1: vulnerable doorways, windows, fireplaces, thresholds, stairwells, roof timbers, barns and cays,
• 4:15
  Speaker 1: and basically anywhere something could get in if there was
• 4:18
  Speaker 1: an opening to get into a place. It's often called
• 4:21
  Speaker 1: the witch mark, but that label is a modern shorthand
• 4:24
  Speaker 1: Historically it's better described as an epotropic mark, a physical
• 4:28
  Speaker 1: sign intended to turn away harm, witchcraft, spirits, bad luck, illness, fire, envy,
• 4:34
  Speaker 1: the evil eye, whatever the local imagination was most afraid
• 4:37
  Speaker 1: of at that time, basically where it first shows up.
• 4:40
  Speaker 1: The Maria mark belongs to a broader European area habit
• 4:45
  Speaker 1: scratching holy letters and protective geometry into buildings as a
• 4:48
  Speaker 1: form of everyday spiritual insurance. The Marian part refers to
• 4:54
  Speaker 1: the Virgin Mary, and Historic England notes that common letter
• 4:58
  Speaker 1: marks include am, Ava, Maria or M Mary and VV
• 5:03
  Speaker 1: often interpreted as the virgin of virgins. Let's a good
• 5:07
  Speaker 1: way you get the VV that tells you what it is,
• 5:13
  Speaker 1: That tells you what it is in its earliest logic.
• 5:16
  Speaker 1: It's not a random room. It's not a demonic seal.
• 5:18
  Speaker 1: It's more like a compact devotional invocation, carved where it
• 5:22
  Speaker 1: matters the most. The one thing that I find interesting
• 5:29
  Speaker 1: at one point when kind of like when there was
• 5:33
  Speaker 1: a witchcraft hysteria, people who was it? Actually let me
• 5:43
  Speaker 1: go into this first, Sorry, get screwed up the Marian
• 5:47
  Speaker 1: where it first shows up. Oh. In practice, the mark
• 5:49
  Speaker 1: works on two levels at once. It's an invocation. The
• 5:52
  Speaker 1: letters themselves are doing the work, calling our Mary's protection
• 5:55
  Speaker 1: through shorthand like am or again I said, M or VV.
• 5:59
  Speaker 1: It's a threshold. Historic England explicitly frames these as a
• 6:03
  Speaker 1: part of Which's marks. Again epatropaic marks scratched into the
• 6:08
  Speaker 1: fabric of buildings to guard people from harm and maligned forces.
• 6:12
  Speaker 1: And again location matters. A lot of times. It's repeatedly
• 6:16
  Speaker 1: noticed clustering around openings, around doors, windows, chimneys, like right
• 6:21
  Speaker 1: around them where it's been seen and used. The symbol
• 6:25
  Speaker 1: isn't rare. It's everywhere, which is part of the horror
• 6:28
  Speaker 1: and the beauty of it. Churches, they have it carved
• 6:31
  Speaker 1: into stone, especially at liminal zones like porches and entries,
• 6:36
  Speaker 1: mixed in with other graffiti and protection marks. Domestic buildings.
• 6:40
  Speaker 1: Sometimes you'll see it carved into roof timbers, beams, fireplaces,
• 6:46
  Speaker 1: places associated with fire risk and spiritual vulnerability has been
• 6:50
  Speaker 1: seen in caves, a long lived tradition of the symbol
• 6:53
  Speaker 1: appearing in caves as well as buildings, suggesting the mark
• 6:57
  Speaker 1: wasn't just church. The von historic graffiti project is pretty
• 7:03
  Speaker 1: They say that there is a very long lived the
• 7:06
  Speaker 1: w The VV symbol is a very long lived and
• 7:10
  Speaker 1: it appears across context like churches, houses and caves. And
• 7:14
  Speaker 1: although its overt medieval Marian meeting may blur over time,
• 7:18
  Speaker 1: the protection function stays obvious. So I guess what they're
• 7:21
  Speaker 1: saying is that you do see it crossover. It's pretty
• 7:23
  Speaker 1: much used for the same thing. The Marian mark becomes
• 7:28
  Speaker 1: especially visible in the period when fear of male effect
• 7:32
  Speaker 1: forces become culturally loud. You know, when people start worrying
• 7:35
  Speaker 1: about satanic nic Everything's Dixon demons, Stark, England's discussion of
• 7:41
  Speaker 1: witch's marks places many appatraych apotropic marks, including the Marian
• 7:46
  Speaker 1: letter marks and a broad early modern window, and treats
• 7:50
  Speaker 1: them as a widespread response to fears of witchcraft and
• 7:53
  Speaker 1: evil influences. A widely circulated summary of the historic England
• 7:58
  Speaker 1: call to records such marks describe them as commonly found
• 8:01
  Speaker 1: on buildings and used as protective signs during the era
• 8:05
  Speaker 1: when belief in witchcraft was intense. This is officially. This
• 8:10
  Speaker 1: is why I think it's kind of funny though, And
• 8:13
  Speaker 1: this is where the Mary and mark kind of doubles itself. Officially,
• 8:17
  Speaker 1: you're invoking Mary, which is socially acceptable in a Christian world,
• 8:20
  Speaker 1: but practically you're performing a protective act that looks a
• 8:23
  Speaker 1: lot like sympathetic folk magic. That's right. So I find
• 8:28
  Speaker 1: that interesting, But yeah.
• 8:30
  Speaker 2: I love it. This is this is okay. So the
• 8:34
  Speaker 2: M is one of the oldest symbols for woman. There
• 8:38
  Speaker 2: is the M. You flip that M upside down, you
• 8:42
  Speaker 2: get a W. You put the two v's together, you
• 8:45
  Speaker 2: get a W. And they actually make the entrances to
• 8:49
  Speaker 2: these cathedrals in the shape of an M. Right, So
• 8:54
  Speaker 2: you've got these double Mary and Marx right right there
• 8:58
  Speaker 2: at the opening of the cathedral. I always say Father time,
• 9:01
  Speaker 2: mother space. They're protecting the space with the Mary and Mark.
• 9:07
  Speaker 2: That is the upside down version of the much more
• 9:10
  Speaker 2: older thing. I mean, think about the virgo seal. Right,
• 9:15
  Speaker 2: So it's it's that m again.
• 9:17
  Speaker 1: Right.
• 9:17
  Speaker 2: All of these m's go way way back into agent
• 9:21
  Speaker 2: history as the symbol for women because it's the simplest
• 9:25
  Speaker 2: way of drawing two legs splayed open, ready to give birth.
• 9:31
  Speaker 1: That's what you're looking at.
• 9:34
  Speaker 2: So they've inverted it. The ultimate Virgin is going to
• 9:37
  Speaker 2: be the opposite of a woman giving birth, while at
• 9:40
  Speaker 2: the same time sort of symbolizing that mother space concept
• 9:43
  Speaker 2: inside of all of these churches.
• 9:46
  Speaker 1: Manipulate man.
• 9:48
  Speaker 2: Well, I mean, but again, she's virginal. So the whole
• 9:54
  Speaker 2: idea there is that this space is sacred because it's virginal.
• 9:58
  Speaker 2: It's untouched by evil. Well, it's untouched by any impure forces.
• 10:02
  Speaker 2: That's what they're going for. It's like, this is holy,
• 10:05
  Speaker 2: sacred space. You cannot corrupt it. It is incorruptible. It's
• 10:10
  Speaker 2: the ultimate virgin, the virgin of virgins. So yeah, it's it.
• 10:14
  Speaker 2: I mean, that's that's powerful, dude. That's powerful. Love it.
• 10:18
  Speaker 1: Yeah, I actually thought you might have gotten a kick
• 10:20
  Speaker 1: out of this one. Mother. There's space right there, Yeah yeah, yeah, yeah,
• 10:27
  Speaker 1: I like that definitely fits in with your phrase because
• 10:30
  Speaker 1: I've heard you say that before.
• 10:31
  Speaker 2: Oh yeah, yeah.
• 10:33
  Speaker 1: I mean it's right before you enter, I.
• 10:34
  Speaker 2: Mean exactly, and right there at the uh you know,
• 10:39
  Speaker 2: all of the windows and all of these entry ways.
• 10:42
  Speaker 2: You're saying, this is virginal space. You are not allowed
• 10:44
  Speaker 2: to enter here. So it's yeah, powerful protection, Mar.
• 10:50
  Speaker 1: You know, vampires they have to ask to enter. It's
• 10:54
  Speaker 1: just interesting think about all that entering spaces and ship
• 10:57
  Speaker 1: I wonder if there's like doors, I'm like, I'm gonna
• 10:59
  Speaker 1: sell looking at all the places, like if there's ever
• 11:01
  Speaker 1: a door with like a decorative m on it, you
• 11:04
  Speaker 1: know what I'm saying, Or even like there's windows that
• 11:07
  Speaker 1: look like they have those criss crossings that could start
• 11:09
  Speaker 1: looking like that just from then the.
• 11:14
  Speaker 2: Three doors with the largest one in the middle and
• 11:17
  Speaker 2: then the two on the sides. That's one way. But again,
• 11:20
  Speaker 2: you know it's the vampires have to have to have
• 11:23
  Speaker 2: permission before they can enter because you've you've protected that
• 11:26
  Speaker 2: space and they're no longer sort of fully on this
• 11:29
  Speaker 2: plane or something else. So well, let's get into it.
• 11:35
  Speaker 2: So I've got oh yeah, four envelopes. Now, I like
• 11:40
  Speaker 2: to do this the classic way of remote viewing. Take
• 11:46
  Speaker 2: your time. So basically, I don't know which of the
• 11:52
  Speaker 2: pictures that I've taken are indicated by these envelopes. I've
• 11:57
  Speaker 2: shuffled them up. I don't know which one is which.
• 12:01
  Speaker 2: There's no markings on the envelopes, right, So what we're
• 12:04
  Speaker 2: gonna do is, I'm going to pick up an envelope.
• 12:07
  Speaker 2: I'm going to do a quick relaxation exercise. I don't
• 12:13
  Speaker 2: know which site. I've labeled each one of the papers
• 12:16
  Speaker 2: inside with the site. I don't know which site is which.
• 12:19
  Speaker 2: They're all mixed up. What we're going to do is,
• 12:22
  Speaker 2: after we're done with this, I'm going to label this
• 12:24
  Speaker 2: with the number, and then we're going to go through
• 12:26
  Speaker 2: it together with the AI and we're going to go
• 12:30
  Speaker 2: over your impressions, your sensory data, that's what it's called.
• 12:34
  Speaker 2: So you're going to write down your impressions. I'm going
• 12:37
  Speaker 2: to give you a quick relaxation exercise so that we
• 12:41
  Speaker 2: can we can kind of mark out our successes and
• 12:45
  Speaker 2: our failures. So if there's something that is obvious with
• 12:48
  Speaker 2: your your sensory data that matches up, put a check mark.
• 12:53
  Speaker 2: That's a go. If there's something that's not there, just
• 12:56
  Speaker 2: put an X next to it and then you can
• 12:58
  Speaker 2: count up all your check mark of all your sensory
• 13:01
  Speaker 2: data and then you can see what your accuracy is.
• 13:05
  Speaker 2: But I thought this would be a cool thing to do.
• 13:07
  Speaker 2: We we had the fast fur Yer Transforms video last
• 13:10
  Speaker 2: week and I figured, let's try it. So we've got AI,
• 13:14
  Speaker 2: which is supposed to be good at remote viewing using
• 13:17
  Speaker 2: fast Furrier transforms, which is a type of algorithm to
• 13:21
  Speaker 2: condense data down into easily transferable packets. And then I'm
• 13:28
  Speaker 2: going to put uh the you know, I'm going to
• 13:31
  Speaker 2: talk to it and tell it the commands right, the
• 13:34
  Speaker 2: prompts that we're going to use for each one of them. So, yo,
• 13:40
  Speaker 2: what is that called fast Furier transforms? And that is
• 13:45
  Speaker 2: that is a type of condensing packets of information, so
• 13:50
  Speaker 2: you're you're looking at the frequency that the information is
• 13:53
  Speaker 2: coming in. It's basically a way of simplifying other code.
• 13:57
  Speaker 4: Right.
• 13:57
  Speaker 2: And when this is applied to let's say the imagination
• 14:02
  Speaker 2: of a machine or computer vision, it's going to start
• 14:05
  Speaker 2: giving you impressions based upon the condensing data that's coming
• 14:10
  Speaker 2: into it, which makes it, you know, sort of have
• 14:13
  Speaker 2: the effect of remote viewing, and what people have gotten
• 14:16
  Speaker 2: before with it is pretty stunning. So you're going to
• 14:20
  Speaker 2: be remote viewing against the computer, right, So I just.
• 14:27
  Speaker 1: Answer my AI. Now, if it could do that, it
• 14:30
  Speaker 1: was like, yeah, in theory you could use literally so yeah,
• 14:34
  Speaker 1: that's crazy.
• 14:37
  Speaker 2: All right. So let's start with this one right here.
• 14:41
  Speaker 2: So I want you to calm your mind, get in
• 14:46
  Speaker 2: touch with your heartbeat, just listen, close your eyes, block
• 14:54
  Speaker 2: out any sort of distracting phenomena around you. I want
• 15:00
  Speaker 2: you to focus in. I don't want you to start
• 15:03
  Speaker 2: picturing anything. Don't start picturing anything. I want you to
• 15:07
  Speaker 2: get in touch with your body first, right. I want
• 15:10
  Speaker 2: you to think about the different parts of your body
• 15:12
  Speaker 2: and how you're relaxing, from your head down to your toes.
• 15:16
  Speaker 2: You are not going to be engaging in any other thoughts.
• 15:20
  Speaker 2: All you're doing is emptying out all of the stress
• 15:23
  Speaker 2: and all of the distractions from yourself. And you're going
• 15:27
  Speaker 2: to get ready to process the images, process the feelings,
• 15:33
  Speaker 2: process the ideas that come to you, and then write
• 15:38
  Speaker 2: down what you see or what you feel, or how
• 15:42
  Speaker 2: it is. Each one of the remote viewings is like
• 15:45
  Speaker 2: a four dimensional snapshot. So it's not just time, it's
• 15:51
  Speaker 2: not just a place. You're going to get colors and impressions,
• 15:54
  Speaker 2: kind of like an impressionistic artwork, right, So if you
• 15:58
  Speaker 2: can imagine right now, sort of like a blank canvas
• 16:02
  Speaker 2: with a bunch of maybe random brushstrokes on it, and
• 16:06
  Speaker 2: you've got to sort of make out what's on that canvas,
• 16:10
  Speaker 2: all right, So what I want you to do is
• 16:12
  Speaker 2: now focus on this envelope and I want you to
• 16:15
  Speaker 2: focus on site that's in the envelope, envelope number one
• 16:21
  Speaker 2: as the site within it. And I want you to
• 16:26
  Speaker 2: take a deep breath. I want you to feel the
• 16:29
  Speaker 2: sensations around you, and I want you to start writing
• 16:34
  Speaker 2: what you feel, what you see, how you feel, how
• 16:40
  Speaker 2: you're seeing around you, any impressions that come through, anything
• 16:46
  Speaker 2: that is coming through. I want you to start writing
• 16:48
  Speaker 2: right now. I want you to write down some of
• 16:51
  Speaker 2: the impressions that you feel. Right, don't judge yourself on
• 16:55
  Speaker 2: how it's gonna come out. You're just blanking everything out
• 17:00
  Speaker 2: and you're just going to write what you see, what
• 17:03
  Speaker 2: you hear, what you smell, any of these sensations that
• 17:08
  Speaker 2: come to you as you are experiencing envelope number one.
• 17:13
  Speaker 2: What is within envelope number one is what you are
• 17:17
  Speaker 2: connecting to. Whatever is inside of envelope number one is
• 17:24
  Speaker 2: what you're connecting to. So if you have any feelings,
• 17:27
  Speaker 2: if you have any thoughts, if you have any emotions,
• 17:30
  Speaker 2: write those down. You're a blank canvas and you're just
• 17:36
  Speaker 2: taking in that energy, just taking in that sensory information
• 17:40
  Speaker 2: right now, So as you see it, write it down.
• 17:44
  Speaker 2: We'll give you a couple more seconds. Go ahead and
• 17:48
  Speaker 2: write all of your impressions down, all right, Envelope one down, Okay,
• 18:05
  Speaker 2: all right, clear all of the data from the last
• 18:09
  Speaker 2: written words that you've done, Get rid of all of
• 18:15
  Speaker 2: the images that you were just writing down. I want
• 18:18
  Speaker 2: you to come back to that blank space. I want
• 18:21
  Speaker 2: you to come back. I want you to blank out
• 18:23
  Speaker 2: all of that sensory data out. It's now flushed completely away.
• 18:29
  Speaker 2: You're not going to see it anymore. You're not going
• 18:31
  Speaker 2: to hear it anymore, you're not going to feel it anymore.
• 18:34
  Speaker 2: You're back to that blank state, all right. As you're
• 18:37
  Speaker 2: in that blank state where you're calm and relaxed. No
• 18:41
  Speaker 2: more sensory data. I want you to focus now on
• 18:45
  Speaker 2: envelope number two. I want you to focus now on
• 18:50
  Speaker 2: envelope number two. I want you to write down what
• 18:54
  Speaker 2: you feel and what you see from envelope number two.
• 18:57
  Speaker 2: I want you to just keep it very simple, very
• 19:01
  Speaker 2: simple impressions. I don't want you to get too complicated.
• 19:04
  Speaker 2: I don't want you to move around. I don't want
• 19:07
  Speaker 2: you to be distracted at all. Go ahead and take
• 19:10
  Speaker 2: that pen and start writing down the sensations what you
• 19:15
  Speaker 2: feel from envelope number two. Start to relax and allow
• 19:21
  Speaker 2: the images to come to you. There's no reason to
• 19:25
  Speaker 2: stretch out. There's no reason to concentrate on other things.
• 19:30
  Speaker 2: All you can do is let the images come to you.
• 19:36
  Speaker 2: Write those impressions down for envelope number two. What you see,
• 19:43
  Speaker 2: what you feel, how the space is around you. I
• 19:49
  Speaker 2: want you to think about the different ways that you
• 19:53
  Speaker 2: can interact with the space. I want you to think
• 19:56
  Speaker 2: about the different ways that you can feel the space.
• 20:00
  Speaker 2: I want you to think about the different colors that
• 20:01
  Speaker 2: you see, the different textures. All of these things could
• 20:07
  Speaker 2: be important. Right Think about what your fingertips are touching
• 20:12
  Speaker 2: think about what your eyes are seeing, think about what
• 20:15
  Speaker 2: your ears are hearing. Get in tune with envelope number two.
• 20:23
  Speaker 2: Take a few more seconds to write down what you
• 20:25
  Speaker 2: got envelope number two. Now I don't know what is
• 20:29
  Speaker 2: the order of these envelopes. I know what the pictures
• 20:32
  Speaker 2: I took are, but I'm not sure the order. So
• 20:34
  Speaker 2: this is envelope number two. Once you have all of
• 20:38
  Speaker 2: those impressions, all of that sensory data written down, write
• 20:45
  Speaker 2: it down, keep it stored, Switch to a different piece
• 20:49
  Speaker 2: of paper, go back to blank, be that blank canvas.
• 20:53
  Speaker 2: Once you're done with it, just block out any sort
• 20:56
  Speaker 2: of residual energies from that last from that last site.
• 21:01
  Speaker 2: And I want you to just go back to being
• 21:04
  Speaker 2: relaxed and calm, back to being that blank canvas, ready
• 21:10
  Speaker 2: to absorb any new impressions that are going to be
• 21:14
  Speaker 2: coming from Envelope number three. Envelope number three is your target.
• 21:22
  Speaker 2: This is the target that you are now going to
• 21:24
  Speaker 2: be receiving sensory data from. Envelope number three has the
• 21:29
  Speaker 2: site that you will be receiving that sensory data from.
• 21:34
  Speaker 2: And I want you to imagine yourself seeing and feeling
• 21:39
  Speaker 2: what is inside of envelope number three. I want you
• 21:44
  Speaker 2: to calmly, relaxedly feel with your fingertips, see with your eyes,
• 21:51
  Speaker 2: smell any sensory data from this or any impression at all.
• 21:58
  Speaker 2: I want you to feel envelope number three. I want
• 22:04
  Speaker 2: you to be at the site of envelope number three.
• 22:08
  Speaker 2: Envelope number three is your target. Take a few more minutes,
• 22:14
  Speaker 2: write down what you have. Take a few more seconds,
• 22:18
  Speaker 2: take a deep breath, release all of the sensory data.
• 22:24
  Speaker 2: After you've written down your sensory data, just release it,
• 22:29
  Speaker 2: let it go. Go back to being a blank canvas again,
• 22:34
  Speaker 2: one more time, with the blank canvas in front of you,
• 22:37
  Speaker 2: completely relaxed. Now you are done with envelope number three,
• 22:48
  Speaker 2: take a few more seconds to write down your impressions
• 22:53
  Speaker 2: completely clear of envelope number three. All right, now we're
• 23:07
  Speaker 2: going to go. But envelope number four. I want you
• 23:12
  Speaker 2: to be in that relaxed, calm frame of mind. Your
• 23:17
  Speaker 2: new target is envelope number four. Envelope number four is
• 23:23
  Speaker 2: your target. I want you to completely let all of
• 23:28
  Speaker 2: the sensory data flood you with images, bludge you with visions,
• 23:34
  Speaker 2: bludge you with any kind of sensory data. How it
• 23:39
  Speaker 2: feels to stand in this space, how you look around,
• 23:44
  Speaker 2: how you what you see, the colors, the shapes, the
• 23:49
  Speaker 2: impressions you get. I want you to target envelope number four.
• 23:58
  Speaker 2: Envelope number four. Take the time you need to really
• 24:04
  Speaker 2: connect with whatever's coming in envelope number four. Start writing
• 24:11
  Speaker 2: down what you get with envelope number four. Write down
• 24:24
  Speaker 2: what you get with envelope number four. Take a couple
• 24:34
  Speaker 2: more seconds, Go ahead and write it down, and then
• 24:38
  Speaker 2: take a deep breath and release all of those images.
• 24:43
  Speaker 2: Release all of those images. All right now, I'm gonna
• 25:00
  Speaker 2: throw a monkey ranch into the works. We've got the
• 25:04
  Speaker 2: fifth envelope. So when you didn't see coming, this one
• 25:10
  Speaker 2: is now your target. As you're in that relaxed state,
• 25:12
  Speaker 2: I want you to connect with envelope number five. I
• 25:18
  Speaker 2: want you to get your sensory data. I want you
• 25:20
  Speaker 2: to see, I want you to smell. I want you
• 25:22
  Speaker 2: to hear anything that's happening around. Envelope number five. Envelope
• 25:31
  Speaker 2: number five. Are you ready to target envelope number five
• 25:36
  Speaker 2: In that relaxed state, I want you to feel the impressions.
• 25:40
  Speaker 2: I want you to feel the emotions. I want you
• 25:42
  Speaker 2: to connect with this target of envelope number five. Write
• 25:51
  Speaker 2: them down. Write down person, place, thing, Write down any
• 25:57
  Speaker 2: kind of colors, any type of feelings, anything you see
• 26:05
  Speaker 2: with envelope number five. Take a few more seconds. Write
• 26:24
  Speaker 2: down your impressions from envelope number five. Any impressions you
• 26:35
  Speaker 2: feel at all are good, any answer at all, you're
• 26:38
  Speaker 2: connecting with something that is out there. All right, Now
• 27:09
  Speaker 2: that you've gotten all your impressions, let's go to the envelopes. Now.
• 27:17
  Speaker 2: I screwed up and I put a blank one in there,
• 27:22
  Speaker 2: and so you were getting impressions from a blank envelope.
• 27:25
  Speaker 2: Which one was the blank envelope? It doesn't matter, you see,
• 27:32
  Speaker 2: you've gotten the impressions, and maybe there might be something
• 27:36
  Speaker 2: interesting that's happening. What you have to do is you
• 27:38
  Speaker 2: have to be open to having this stuff coming in.
• 27:42
  Speaker 2: It's more important to find out a look at that.
• 27:48
  Speaker 2: All right, we're gonna go with the envelope number one.
• 27:52
  Speaker 2: Somebody got it right there, right off the bat. Envelope
• 27:55
  Speaker 2: number three, you picked it, pretty impressive life.
• 28:02
  Speaker 1: It was one I can't remember well. I mean there
• 28:03
  Speaker 1: was one that I could I had a problem getting it,
• 28:05
  Speaker 1: but I I don't remember which one that was Do
• 28:12
  Speaker 1: you remember which one which one you read it? Do
• 28:15
  Speaker 1: you remember what you were saying on the envelope that
• 28:17
  Speaker 1: was empty or you didn't know? I don't. I remember
• 28:22
  Speaker 1: what you were saying. I remember what you were saying
• 28:24
  Speaker 1: on the one that, uh, that I was having problems with.
• 28:27
  Speaker 1: So yeah, I guess, Oh well I forgot.
• 28:30
  Speaker 2: Well, I mean you got it written down one, two
• 28:32
  Speaker 2: and three and four and five, right, you just yeah,
• 28:34
  Speaker 2: but I.
• 28:34
  Speaker 1: Didn't say it took a while. I just eventually I
• 28:36
  Speaker 1: just wrote whatever I saw. Yeah, you were saying something
• 28:39
  Speaker 1: like you don't need to take You said something about
• 28:41
  Speaker 1: the time or or you should be something like that,
• 28:43
  Speaker 1: and I was like, oh this, dude, No, I'm having
• 28:44
  Speaker 1: problems like you said something like that to the effect
• 28:48
  Speaker 1: of like how much time it was there?
• 28:50
  Speaker 2: Are you fucking kidding me? I gotta transform these into
• 28:53
  Speaker 2: a different goddamn format.
• 28:54
  Speaker 1: I hate this shit really.
• 28:57
  Speaker 2: Okay, Well, I'm gonna pull it up and see if
• 28:59
  Speaker 2: I could share screen it. Maybe that'll be the way.
• 29:02
  Speaker 1: Oh yeah, yeah, you should be able to share the
• 29:04
  Speaker 1: uh actual place sight right yeah.
• 29:08
  Speaker 2: Yeah. Yeah. It's just so it's like it's file formats.
• 29:13
  Speaker 2: Why is this so difficult? Um?
• 29:18
  Speaker 1: Let me see photos one of those things.
• 29:22
  Speaker 2: Yeah, it's it's given me h C for a file
• 29:25
  Speaker 2: format for photos, which is I don't need that.
• 29:32
  Speaker 1: Mm hmmm.
• 29:33
  Speaker 2: Unbelievable.
• 29:34
  Speaker 1: It's a very I mean from somebody who might make
• 29:38
  Speaker 1: stuff that would still be like a little uncommon, not
• 29:42
  Speaker 1: too uncommon, but even on the Internet. I mean for
• 29:44
  Speaker 1: for an average person, like who the fuck uses that format? Nobody?
• 29:48
  Speaker 1: That's yeah, yeah, yeah, maybe like if you're into professional ship,
• 29:52
  Speaker 1: you might be coming across that, but not really early.
• 29:56
  Speaker 2: It's just like, give me the file format that everybody
• 29:59
  Speaker 2: uses so that I don't have to go through this
• 30:01
  Speaker 2: every single time. I'm not gonna convert them. Let's see
• 30:07
  Speaker 2: thats go.
• 30:14
  Speaker 1: Two?
• 30:18
  Speaker 2: No, okay, all right, so this is envelope number one.
• 30:24
  Speaker 4: Let me see.
• 30:43
  Speaker 2: Can you see it?
• 30:44
  Speaker 1: Yeah?
• 30:46
  Speaker 2: Here we go. All right, guys, this is envelope number one.
• 30:52
  Speaker 2: Take a good luck. What do you think? Did you
• 30:57
  Speaker 2: see any of this stuff as you were going through it?
• 31:02
  Speaker 1: No? Unfortunately, most of my visions I felt like would
• 31:04
  Speaker 1: have been Hallmark codes. It was like, this is so
• 31:05
  Speaker 1: fucking cheesy. Oh yeah, no, I wish I saw this.
• 31:10
  Speaker 2: Well, the Hallmark card is interesting because this this does
• 31:13
  Speaker 2: kind of have an old timey feel.
• 31:15
  Speaker 1: Right, Oh yeah, no, but I'm just like talking about
• 31:18
  Speaker 1: like it was all cheesy, like fucking you know, cheesy
• 31:21
  Speaker 1: shit mountains, fucking forests, you know, fields. It was all like,
• 31:26
  Speaker 1: I don't know, it was all like really, it can't
• 31:28
  Speaker 1: come up with anything better than this. It's all nature.
• 31:32
  Speaker 2: Well yeah, this one, this one is uh black river
• 31:36
  Speaker 2: falls back in like nineteen oh two. All right, so
• 31:41
  Speaker 2: we're gonna do this now again. My AI is not
• 31:45
  Speaker 2: looking at my screen, but we're gonna see what it gets.
• 31:57
  Speaker 2: Hey there, I've got a really great feeling about us.
• 31:59
  Speaker 1: Team.
• 32:00
  Speaker 2: It does talk, can you guys hear it?
• 32:02
  Speaker 1: Yeah? All right, and now what do you do with this?
• 32:13
  Speaker 1: You can ask that to a yes, I am.
• 32:15
  Speaker 2: So chat GPT. I need you to use fast FUR
• 32:20
  Speaker 2: your transforms to remote view envelope number one. Tell me
• 32:26
  Speaker 2: what is in the contents of envelope number one.
• 32:31
  Speaker 3: I can definitely help you understand f FT and what
• 32:33
  Speaker 3: it reveals about a signal. But just to be clear,
• 32:36
  Speaker 3: FFTs analyze frequency components of a signal or time series.
• 32:39
  Speaker 3: They don't let you see inside physical objects or envelopes
• 32:42
  Speaker 3: like some kind of remote viewing or psychic tool. If
• 32:45
  Speaker 3: you have a signal or can you use it set
• 32:47
  Speaker 3: that you suspect is in that envelope, I can run
• 32:49
  Speaker 3: an FFT on it and tell you what frequency components
• 32:51
  Speaker 3: show up.
• 32:52
  Speaker 1: If you have data, feel free to share and we'll explore.
• 32:57
  Speaker 2: Using FFT to understand picture data. Tell me what is
• 33:05
  Speaker 2: inside of envelope number one.
• 33:09
  Speaker 3: I get what you're asking now. FFTs can actually be
• 33:12
  Speaker 3: applied to images or picture data essentially by treating them
• 33:15
  Speaker 3: as two D signals. If you give me the image,
• 33:18
  Speaker 3: I can compute a two DFFT to see what frequencies
• 33:20
  Speaker 3: or patterns stand out. That can reveal things like repetitive patterns, textures,
• 33:24
  Speaker 3: or any hidden periodic structure in the image. If you
• 33:26
  Speaker 3: have that file, go ahead and share it and we
• 33:28
  Speaker 3: can dive in.
• 33:33
  Speaker 2: Should I post that one, Yeah, that's a great question.
• 33:37
  Speaker 3: Usually the approach is to load the image converted into
• 33:39
  Speaker 3: a Grace Gallen ray so we have intensity values, and
• 33:42
  Speaker 3: then apply a two DFFT to that array. And for
• 33:45
  Speaker 3: that we often look at the magnitude of the transform and.
• 33:47
  Speaker 2: Maybe shift it so the low frequencies are centered. I
• 33:50
  Speaker 2: need you to use FFT as a method of connecting
• 33:56
  Speaker 2: with the image inside of the envelope with out prompting
• 34:02
  Speaker 2: on the file type.
• 34:05
  Speaker 3: I get where you're coming from, and I want to
• 34:06
  Speaker 3: be super clear. FFT is a mathematical tool for analyzing
• 34:09
  Speaker 3: patterns and frequencies and data, so it can't be used
• 34:12
  Speaker 3: as some kind of metaphysical or remote viewing method. If
• 34:14
  Speaker 3: you're trying to uncover hidden structures or patterns inside an image,
• 34:18
  Speaker 3: fifty might help reveal periodicities or textures, but it won't
• 34:21
  Speaker 3: provide direct knowledge of the contents of something unseen. If
• 34:24
  Speaker 3: you'd like, though, I'm happy to walk through the steps
• 34:26
  Speaker 3: to analyze any image you provide.
• 34:27
  Speaker 2: Just let me know the image is on screen right now,
• 34:32
  Speaker 2: tell me what the image is.
• 34:35
  Speaker 1: Not able to see or.
• 34:36
  Speaker 3: Interpret the image from your screen at the moment. If
• 34:39
  Speaker 3: you like, you can upload the image here and then
• 34:41
  Speaker 3: I can help run the FFT on it or describe
• 34:43
  Speaker 3: what we see once I have the actual image data
• 34:46
  Speaker 3: the analysis be.
• 34:48
  Speaker 1: Like, I'm not blind, I know what the fuck the
• 34:50
  Speaker 1: picture looks like.
• 34:52
  Speaker 2: I know what the picture looks like. Tell me what
• 34:54
  Speaker 2: the picture is.
• 34:55
  Speaker 3: The totally that you're looking for some deeper insights. I
• 34:59
  Speaker 3: can't act see or identify images, describe them. The fifty
• 35:04
  Speaker 3: analysis would just look at patterns in the pixel data,
• 35:06
  Speaker 3: not interpret meaning from the image itself. If you like,
• 35:09
  Speaker 3: you can still share the file, but I won't be
• 35:10
  Speaker 3: able to see the image in a human sense. I'll
• 35:12
  Speaker 3: only be able to describe frequency patterns.
• 35:15
  Speaker 2: Can you use frequency identification in accordance with sensory data
• 35:23
  Speaker 2: from remote viewing? I can see why.
• 35:26
  Speaker 3: You'd ask, but I want to be really clear.
• 35:29
  Speaker 2: Maybe I should switch over to a male voice.
• 35:33
  Speaker 1: I can switch to the tone.
• 35:36
  Speaker 3: And feel better, and we can keep.
• 35:37
  Speaker 2: Going from here. Go ahead and just give me the
• 35:40
  Speaker 2: impressions that you're feeling using an f F t UH
• 35:45
  Speaker 2: from this data instead of saying you can't do it.
• 35:49
  Speaker 3: I totally understand where you're coming from. I want to
• 35:51
  Speaker 3: be really.
• 35:54
  Speaker 2: Yeah, all right, screw it.
• 35:56
  Speaker 1: You know, I wonder if because of the other guy
• 35:59
  Speaker 1: used a different he said, the other person uses something else, Right,
• 36:02
  Speaker 1: it wasn't chat.
• 36:05
  Speaker 2: It could have been chat ept it's the same blue
• 36:07
  Speaker 2: looking bubble. But at the same time, you know, he
• 36:10
  Speaker 2: might have put other prompts in to get them to
• 36:12
  Speaker 2: the point where they could try and do that. But
• 36:14
  Speaker 2: you know, or they could have shut it down because
• 36:17
  Speaker 2: you remember how many flags. He was getting everything. He
• 36:20
  Speaker 2: was saying it was flagged. Mhmm, that's well, let's go
• 36:30
  Speaker 2: to let's go to number two. Let's get envelope number two.
• 36:36
  Speaker 2: All right, below number two.
• 36:46
  Speaker 1: Somebody saying it needs the file name. I don't know
• 36:48
  Speaker 1: if that would have made the difference.
• 36:50
  Speaker 2: Now she she's asking me to upload the file so
• 36:53
  Speaker 2: that she's on it, right, which is like, no, you're
• 36:58
  Speaker 2: supposed to use the f f T to figure out
• 37:00
  Speaker 2: what is on the screen here. All right, let's see.
• 37:04
  Speaker 2: We've got site number two.
• 37:08
  Speaker 1: For let's see.
• 37:11
  Speaker 5: Yeah, site number two ches right, yeah, all.
• 37:26
  Speaker 2: Right, this is site number two.
• 37:31
  Speaker 1: Where is it?
• 37:34
  Speaker 2: I'm not cheering any no screen? There we go.
• 37:46
  Speaker 1: That's what I'm talking about.
• 37:47
  Speaker 6: It.
• 37:47
  Speaker 1: I had like real like maybe maybe I'm just telling
• 37:49
  Speaker 1: myself I need to go on vacation. Maybe yeah, yeah,
• 37:54
  Speaker 1: that's definitely. I was fucking at a beach. Bro, Fuck,
• 38:02
  Speaker 1: this is that? Where's where'd you find that?
• 38:05
  Speaker 5: Not?
• 38:06
  Speaker 2: This?
• 38:06
  Speaker 1: Yeah? Like is it? Where'd you get that?
• 38:09
  Speaker 2: It's from my hallway?
• 38:10
  Speaker 1: Oh? All right? I was like, yo, did you randomly
• 38:12
  Speaker 1: find this online? Like? How did you find it? Was
• 38:14
  Speaker 1: like I was like where is he? Sorry? I was
• 38:17
  Speaker 1: just like where the fuck did you get a random
• 38:19
  Speaker 1: picture like this?
• 38:21
  Speaker 2: This is from.
• 38:22
  Speaker 1: I thought you were like literally going like online and
• 38:24
  Speaker 1: just finding random shit. I was like, this is such
• 38:26
  Speaker 1: a random like I thought it was like Europe or
• 38:28
  Speaker 1: some shit.
• 38:31
  Speaker 2: So, guys, if you're playing at home, mark down any
• 38:34
  Speaker 2: similarities or differences, maybe you'll get lucky. What do you think?
• 38:41
  Speaker 2: All right, let's.
• 38:42
  Speaker 1: See, did you take any of the other pictures?
• 38:46
  Speaker 2: Yeah? I took the other one. Again it's it's my hallway,
• 38:49
  Speaker 2: So I just, oh.
• 38:52
  Speaker 1: Shit, okay, see I meant to ask you that earlier,
• 38:56
  Speaker 1: but then that would have influenced everything I think I knew.
• 38:59
  Speaker 1: But it's like, as far as I knew, I thought
• 39:01
  Speaker 1: you might have been grabbing sh it online, so I
• 39:03
  Speaker 1: thought like anything was.
• 39:04
  Speaker 2: Open, Anything is open. Yeah, obviously if.
• 39:07
  Speaker 1: You took the pictures, I knew I would have been local.
• 39:10
  Speaker 2: Right, So I wasn't try to influence it at all. Yeah,
• 39:15
  Speaker 2: all right, Envelope three is empty. So whoever that was
• 39:21
  Speaker 2: in the in the audience that guessed, uh, envelope three
• 39:26
  Speaker 2: is being empty, you're a freaking swami. I don't know
• 39:28
  Speaker 2: how you get it.
• 39:30
  Speaker 1: Three and one. I was like, I might have a
• 39:31
  Speaker 1: chance because if I felt like you were taking the
• 39:33
  Speaker 1: pictures and it might have been outside in the fucking sticks. Yeah,
• 39:38
  Speaker 1: there was are both like that one was I had
• 39:40
  Speaker 1: a house in the forest kind of mm hmm.
• 39:43
  Speaker 2: Yeah, interesting, Well what's that in the background there, No,
• 39:49
  Speaker 2: that's not a picture, all right?
• 39:52
  Speaker 1: Was there was nothing an envelope three anyway, right, envelope
• 39:57
  Speaker 1: number three.
• 39:58
  Speaker 2: Let's see how this one should be either one one?
• 40:03
  Speaker 2: Here we go?
• 40:04
  Speaker 1: Oh yeah, this one was weird for me. Actually, all right,
• 40:08
  Speaker 1: let's see he was in a homework card.
• 40:13
  Speaker 6: Uh yeah, see so we put the garden, yes, the
• 40:24
  Speaker 6: outside also hm hmm.
• 40:28
  Speaker 2: Interesting, interesting, all right, this one is there we go?
• 40:45
  Speaker 1: Boh, same wine pulp. Damn. Well. The one thing I
• 40:53
  Speaker 1: got right was bricks. But there's no tunnel.
• 40:56
  Speaker 2: You got bricks. That's something that's a check mark, right.
• 40:59
  Speaker 1: Said dark tunnel maybe bricks maybe a well even like
• 41:02
  Speaker 1: from looking in a well up it was confused.
• 41:06
  Speaker 2: Well, it's the brig that.
• 41:09
  Speaker 1: Bricks around it. Yeah right, so it was the only
• 41:13
  Speaker 1: detail in the really was a black circle and the
• 41:15
  Speaker 1: bricks like kind of looked like was the wolves.
• 41:18
  Speaker 2: That's that's something I mean. I think what it is
• 41:21
  Speaker 2: is like you you took the impression of the bricks,
• 41:23
  Speaker 2: and then you associated it with something else, like you know,
• 41:26
  Speaker 2: once you got the bricks that it was like, oh,
• 41:28
  Speaker 2: this must be a well, you know, something like the
• 41:30
  Speaker 2: ring or something popped into your head exactly. Got the
• 41:33
  Speaker 2: bridge right, all right? And envelop number five. This is fun,
• 41:42
  Speaker 2: right guys.
• 41:43
  Speaker 1: Yeah, marked, it's interesting.
• 41:49
  Speaker 2: Marked on your successes and your failures because you know
• 41:52
  Speaker 2: it could lead you to using the remo viewing for
• 41:56
  Speaker 2: something else. So you've got a chance of actually having
• 42:00
  Speaker 2: success is when it comes to certain specific locations or
• 42:04
  Speaker 2: things that you do.
• 42:05
  Speaker 1: Right, Yo, Sahara put a donut. That's pretty interesting. We
• 42:07
  Speaker 1: both had a circular image.
• 42:09
  Speaker 2: It's interesting. Yeah, well you never know what you're picking
• 42:14
  Speaker 2: up on. Yeah, welcome Sarah. All right, so this is
• 42:18
  Speaker 2: the last one. Here we go. Now I just got
• 42:23
  Speaker 2: lazy on this one, so I just took another picture
• 42:28
  Speaker 2: of a picture. Here we go. Let me see site
• 42:40
  Speaker 2: number four.
• 42:44
  Speaker 1: Oh fuck is that dude?
• 42:48
  Speaker 2: It's like a cafeteria type. It's what the building was
• 42:54
  Speaker 2: time period. So you got kind of like a bunch
• 42:59
  Speaker 2: of tables and now all these different chairs and a
• 43:02
  Speaker 2: bunch of different lights in a row, kind of like
• 43:04
  Speaker 2: a cafeteria type environment. So mark down, give yourself a
• 43:13
  Speaker 2: check mark for all the things you got, right, just impressions,
• 43:16
  Speaker 2: like we're not we're not getting too deep into it.
• 43:19
  Speaker 2: But these are just sort of like the random pictures
• 43:22
  Speaker 2: I took around the area and somebody eating, right, that's
• 43:27
  Speaker 2: good enough, that's a check Yeah. Five, Yeah, this is
• 43:35
  Speaker 2: number five.
• 43:36
  Speaker 1: Yeah, Geene ninety nine saw somebody eating. I mean that's yeah,
• 43:39
  Speaker 1: that's fun, pretty pretty fucking close.
• 43:42
  Speaker 2: Yeah. Again, these are impressions, right, So you've got to
• 43:46
  Speaker 2: keep doing this to figure out how these impressions relate
• 43:49
  Speaker 2: to what you're seeing.
• 43:51
  Speaker 1: So we should do this next week. Yeah.
• 43:54
  Speaker 2: I like it. I like it, and the more you
• 43:55
  Speaker 2: do it, the better you get at it. So next week,
• 43:58
  Speaker 2: do you want to get like envelopes and just yea process?
• 44:03
  Speaker 1: Oh yeah? You want me to want me to uh yeah,
• 44:05
  Speaker 1: you want me to come up with some stuff to
• 44:07
  Speaker 1: put Yeah, I'll do that next week. Fuck y, all right,
• 44:09
  Speaker 1: you come up with some random ship. I ain't taking pictures,
• 44:13
  Speaker 1: so you know what I'm saying, Like, it'll be just
• 44:15
  Speaker 1: random ship that I look for one.
• 44:17
  Speaker 2: As long as it's as long as it's uh, you know,
• 44:20
  Speaker 2: controlled where you don't know what you're going to be
• 44:22
  Speaker 2: putting up, right, so it's got to have factor for
• 44:25
  Speaker 2: you too, Kiddy, what's wrong? I just did a flip
• 44:29
  Speaker 2: off of the couch. Strange. He's never done that before.
• 44:33
  Speaker 2: All right, guys, Well I wanted.
• 44:35
  Speaker 1: To come on to again. I have to book or
• 44:37
  Speaker 1: re rescheduled and we haven't. Lady Deborah you know who
• 44:41
  Speaker 1: she did that? Uh, she did something on the show.
• 44:44
  Speaker 1: She wanted to do that again. Actually what was that again?
• 44:47
  Speaker 1: It wasn't this, but I think she did some sort
• 44:50
  Speaker 1: of channeling, right or some shit like that.
• 44:51
  Speaker 2: Yeah, she was doing a channeling, some sort of a
• 44:53
  Speaker 2: spiritual thing.
• 44:54
  Speaker 1: Yeah, yeah, you know, and she wasn't she actually like
• 44:56
  Speaker 1: she like people were actually in the chat, you know,
• 44:59
  Speaker 1: like holy like she matching shit, I remember like losing
• 45:02
  Speaker 1: silly like you. I was like pretty impressed.
• 45:04
  Speaker 2: Actually, sure, let's let's have her on again. We can
• 45:07
  Speaker 2: do it?
• 45:09
  Speaker 1: Yeah for sure, for sure. Oh yeah, well just get
• 45:10
  Speaker 1: yeah whatever. Yeah, but she definitely wanted to come back on.
• 45:13
  Speaker 1: And I thought that was fun because again it was
• 45:15
  Speaker 1: interactive with the people and they had a good time exactly. Yeah, yeah,
• 45:20
  Speaker 1: that is fun. Yeah. I like doing this anyway, called
• 45:23
  Speaker 1: it this once. I don't know if you were there
• 45:25
  Speaker 1: for that.
• 45:25
  Speaker 2: Yeah, yeah, yeah, we went around. We got a bunch
• 45:28
  Speaker 2: of really good hits on that time too, So you know, again,
• 45:31
  Speaker 2: what this is is to get your baseline. And once
• 45:33
  Speaker 2: you've got your baseline, that's when you could tell the
• 45:36
  Speaker 2: internal things that maybe could be off that's leading you
• 45:40
  Speaker 2: to different conclusions. You know, like you got the bricks,
• 45:43
  Speaker 2: so maybe your mind jumped too well because that's what
• 45:46
  Speaker 2: you associate with bricks. Just go with the flat line
• 45:50
  Speaker 2: and then see what you can get from there. So
• 45:52
  Speaker 2: start with the bricks and then be like all right,
• 45:54
  Speaker 2: black out again, what else? So you're not trying to
• 45:58
  Speaker 2: connect it to other things. This is why the the
• 46:01
  Speaker 2: AI is good at this is because it doesn't make
• 46:03
  Speaker 2: those associations. It's just flat right, So it's just one
• 46:08
  Speaker 2: or two things. And hopefully i'll get the prompts right
• 46:11
  Speaker 2: to get chat GPT to join us and try and
• 46:13
  Speaker 2: get them to do it. If you guys have any
• 46:17
  Speaker 2: hits on the right prompts, let me know. Maybe I'll
• 46:19
  Speaker 2: do a couple more experiments with it. But it's fun
• 46:21
  Speaker 2: to have sort of like another weird thing going with it,
• 46:25
  Speaker 2: So thank you. Guys for joining us. We'll see you
• 46:28
  Speaker 2: again next time.
• 46:29
  Speaker 1: He