Transcription
Yay! [Music] Well, thank you very much for that warm welcome, and thank you, Hugh and Andy, for inviting me to this wonderful conference. I've had an extremely enjoyable day listening to all the wonderful speakers, especially Hugh. You know, I mean, like, well, he said nice things about me; that's the least I can do. Okay, so, um, my research kind of took a a diversion after the Giza Power Plant was published. People would come to me and say, "When are you going to write another book?" And I would say, "Well, um, I'm not in the business of writing books, you know. And if I have something I uh found that I want to write about, I then I would write another book, but I'm not just going to, you know, write books. I've got a lot of work to do professionally."
Then, as luck would have it and Providence, uh, several trips back to Egypt, including a fateful trip in 2006, when I went on the John Anthony West tour in February. An unbelievable aspect of manufacturing precision that I hadn't thought was possible in ancient Egypt. I was—the artifacts that I had measured were generally uh not very sophisticated in modern terms, as far as geometries go. You had radii, you had flat surfaces, albeit very precise flat surfaces. I mean, the Smoking Gun at the Seraphim is one of the giant boxes with an extraordinary precision, and I deal with that in my second book, Lost Technologies.
Because following that trip in in February, I was looking at some of the photographs that I had, and I realized that I had to go back. And so I went back in in May of that year. Um, I upgraded my camera and also I got a high-quality tripod uh to be able to affix my camera and take some photographs that uh were hopefully in accordance with the axes of different axes on on the statues. And then at the end of that, I realized that, hey, I had enough material to to write another book. Um, I wrote The Lost Technologies of Ancient Egypt. And after writing the Giza Power Plant, I I realized that really I was I was not going to crack open any uh any fissures in the academic community. It seemed like a bridge too far to a lot of people, even some in our field. Uh, but I I just followed up with the Lost Technologies, which I considered to be the thin end of the wedge that would eventually open things up. As it turns out, it has become um a bit of a classic now in Egypt.
The other thing that had occurred to me was that if I was—if there was going to be a revolution in thought on Ancient Egypt and Egyptology, then that revolution had to come from within Egypt itself. And so I have attempted to engage with Egyptian engineers. I've succeeded, and my book is now in the the gift shop or a bookstore in Aswan. That's—that's particular photograph was taken in 2018, and he was still there last March when I was there. Also, I communicated with a Professor Galal Hassan from Cairo. He's a Cairo University professor, and he was writing articles on Ancient Technologies and the engineering of the ancient builders. And I was alerted to one article that he had written; it was a peer-reviewed article, and he had—he told me that—or in that article he had cited my work seven times. So I sent him an email; he responded, and we met in Luxor shortly afterwards. I presented him with Lost Technologies of Ancient Egypt. And so the buck is now in the hands of several Egyptian engineers.
Then, on that trip, I met a guy who was the legal overseer for the Scan Pyramids project. His name is Hamada Anwar, and he was a very charming guy, very pleased to receive my book. And I was very pleased to hear that while he was overseeing the mission, I was trying to shut it down, and uh and he essentially uh told us to off. [Applause] So he is not a part of the political chain; I think he is what you might call an oligarch. He um he doesn't, you know, he doesn't kowtow to the political class. Um, and then we come to the Giza Power Plant.
So it was during those trips, though, that I I began to formulate um a a different approach to what my my future days would be. Having reasonably been researching this since 1977, and the past few years going through several life-threatening illnesses, I began to think about, okay, if I was going to spend my last days on Earth, what is the main thing I need to do? Do I need to go down to Puma Punku again? No. Do I need to gather more information on uh ancient machining? No. The thing is, I'll tell you a little story. I did online discussions, you know, on bulletin boards, and it was after an article that I had published in Analog magazine, and it was called Advanced Machining in Ancient Egypt. And in this—on this discussion board, I was accused of being a lone voice shouting into the wilderness, and nobody was listening. And this was a basically uh an article that focused on some of the artifacts in the Petrie Museum, which you all know of down the road. And so that uh that has changed now. There are thousands of engineers going through Egypt. I have taken dozens of engineers myself. I've been around dozens of engineers in Egypt coming from all over the world, and they are definitely engaged. They see—they see these artifacts through the same eyesight I'm looking through, with the same background, and they are agreeing.
So when it comes to uh the concept of peer review, I'm very happy that uh my work has resonated with my peers, which are actually technologists—those who actually do the work. And if we were to—if we were to say, okay, let's build a pyramid power plant today, we probably won't be hiring any Egyptologists to help us. Yeah, I don't have anything against the Egyptologists, you know—well, not much. But so um I wrote—of course, you know, talking to engineers and being an engineer, and I've been an engineer both in the UK and also the states, and having worked in several places around the state, several companies. Wherever you go, you find a different culture, you know; their language is slightly different, the way they describe things is a little different, and there's no two engineers who will actually take a project and design it and execute it the same way. In fact, my experience has been that if I get a job and I design the processes and and do the work, and then I'm up doing something else, that job comes back and he goes to another engineer, they'll be—they'll be held back on finding another way to do it. That's just the nature of people; they want to put their own personal stamp on it. But the bottom line is is that while we all have different views and different interpretations, um the evidence that we—we are actually looking at doesn't change. It's uh it's there; it's there to be verified. And you know, if you want to come up with a different idea on how things are done, then you know, go see the evidence, do your own measurements. Uh, if you don't agree with my measurements, do your own; come up with your own interpretation. But at the end of the day, it all comes down to how do you do the work? What—what tools do you use? And uh and essentially you've got to prove your ideas. And that's the beauty of my—that's one thing I really enjoy about my uh my research and the path that I've taken is that it's—the evidence is unambiguous. You can go to the Giza plateau, you can look at the same artifacts I did, you can take your own measurements, you can observe and and come up with—pretty much you'll come up with the same thing because measurements are—modern instruments don't lie. And you know, it's uh people who actually use them, they may shade it a little bit, but you can't shade it enough or exaggerate it enough to actually dismiss the perfection and the accuracy and precision that you find in Egypt.
So when I proposed the theory of the Great Pyramid as a power plant, I said, "I'm not adamantly adhering to any one proposition; the possibilities may be numerous." All right, this is—this is my interpretation; this is how I think it worked; this is the evidence that I use to uh formulate that opinion. Uh, and if somebody has a different interpretation they want to present it, then they should. So essentially and fundamentally the uh the Earth is the driver of the uh the Giza Power Plant. It is a dynamic body and supports civilization's demand for fuel and has done it for centuries. The Great Pyramid responds to the Earth's energies, both mechanically and electrically. And the interesting thing is that my my initial observation was that because of the acoustic qualities of the Great Pyramid, its dimensions and its relationship as an integer to the Earth's dimensions—in that it's harmonically coupled mechanically—I I was focusing more on the mechanical energy. And when I made my interpretation, I uh I thought that if there was the electro—any electrical activity, then that would be related to the quartz in in the granite uh in the the king's chamber.
But why—why would somebody actually even think that a pile of rocks could be a power plant? Well, actually, gathering the the data, the measurements, and you know, William Flinders Petrie uh I did some—a decade—he did a couple of decades of work in Egypt, and his measurements are what I relied on to determine that over a scale of 13 acres, you have a building that if you scaled it down to the size of what we know as a machine—or is a machine on a daily basis—you would have a more precise machine than what we need to generate. We have a uh the shaft—the descending passage. If you go to—if you go and look—just hold your thumbnail; your thumbnail is about twenty thousandths of an inch thick, and that passageway is aligned within the thickness of a thumbnail, and that's over 150 feet. That makes engineers sit up and take notice. If you look at the joints in the Queen's Chamber and you see that there is—you can't even fit a piece of paper—cigarette paper—between them—between those joints. I mean, that is a precision that is extraordinary, particularly from a time where that they were supposed to be using copper chisels, stone balls, water mallets. But there's a lot of other features within the Great Pyramid. And essentially, I, as I describe in the the great uh the Giza Power Plant, uh the the source of the energy is the Earth. Now, the ascending passage is related to the movement of sound within the uh the Grand Gallery. But what happened was that they had a uh what they call—what I call—a resonant chamber—the king's chamber—that was forced to vibrate, and it vibrated at a high energy level. Hydrogen was created in the Queen's Chamber. I call that the reaction chamber, and there's evidence to support that particular theory in that there are residual substances that support that, and also just the function of of the entire system. So with hydrogen being generated in the Grand Gallery, what you have is a series of resonators that gather the Earth's energies coming through the pyramid, converts that energy to airborne sound, which is then focused into the king's chamber, causing the granite to move significantly.
So in the uh Queen's Chamber, they—the shafts terminated five inches before to the inside of the wall. So I proposed that there were two fluids, two chemicals, that came together in that chamber, and there was a reaction to boil up hydrogen. Now, the evidence to prove that or to support that is the uh essentially that five-inch left—or that piece that wasn't cut out. If you know the head pressure of a shaft containing a fluid, then you have a certain flow or percolation rate through the granite membrane. This is known science. And so if you have a shaft that's uh totally, you know, it's full—you've got on one side dilute hydrochloric acid and on the north side you have hydrated zinc—when they come together, then you have uh hydrogen. I kind of demonstrated that on Ancient Aliens; I don't know if anybody saw it, but so the Queen's Chamber shafts were closed on both ends. In 1990, two—Gantenbrink was cleaning out the the shafts of the king's chamber and uh and then he turned his attention to the Queen's Chamber shaft because nobody had found the at the exit point of the Queen's Chamber shaft. So he went up the southern shaft and he came to what everybody's called a door, which uh you know, credit to Mr. Gantenbrink, uh understanding that that shaft is only eight inches square—what kind of door would that be? For what he called it a USO—an unidentified stone object—smart guy. But what you find—the other evidence you find in there is that you have evidence of erosion, which uh one of the arguments—and believe it or not, I've received some criticism for that book—and and one of them was, "Well, you know, hydrochloric acid and limestone just wouldn't mix," and they slept—um, yeah, and they didn't—do you see the erosion on that—on that uh on the floor of that shaft? Uh, but also in the book I illustrated uh what was—what I predicted would be found behind this Gantenbrink's USO if they were ever able to uh get behind it. And uh and so there was a 3.64—illustrated—inches. It was just like uh okay, as an engineer, I'm looking at each eight-inch square and I want to put a couple of electrodes through that. You know, how thick would I need the door—oh, the USO, sorry. Uh, as it turns out, in 2002, they um they penetrated the door with a drill. I'm going to use door; you'll figure it out. Uh, and they used an ultrasonic thickness tester and they found that the thickness of the block was 3.25 inches—so fairly close.
What they found behind it—they did that with the Pyramid Rover; their equipment wasn't sophisticated enough to scan around behind the door, and so they just had a straight-on shot with an endoscope. So that kind of gave you like a fisheye lens view, which is distorted obviously, but uh I I proposed that there was a downward shaft and that a downward shaft would actually deliver the fluid to the uh to the back of the door, which would flow into the into the uh the southern shaft, because it was important that they knew that when the the fluid level was dropping, because if the fluid level was dropping, then the head pressure was dropping, and so they had to have some way uh where they—they would—they would receive a signal that the what the chemical level had fallen. I'm not sure about the veracity of this; I mean, it's—they uh it did appear that there was a rectangular feature at the back, and so I modified uh my uh drawing to include that. This was modified in in 2002. So they're also able to turn to the northern shaft. Gantenbrink had some problems with uh upper art because there was a a couple of rods stuck in the in the northern shaft on the bend. The shafts in the in the the Great Pyramid on the north side actually kink, so they have several bends, and they bend around the Grand Gallery, then they bend back and then out up to the outside. Now, the Pyramid Rover team uh were used a different kind of robot, and they uh they turned it 90 degrees and gripped the walls instead of the floor. And so using that method, they were able to ride over the obstructions and make their way to the northern block and uh and look—while we have that—oh, two electrodes—sorry, did I tell you I consider them electrodes? Uh, so two electrodes uh but with uh different features, and you have one of them that has a white substance attached to it. Um, it's similar to what you would have if you're electroplating it. And on—on the southern shaft, if you notice that they were heavily eroded, and one of the uh one of the pins—one of the electrodes—partly broken off—interesting.
So now we look for—on the outside—is there something that could indicate that these chemicals could be delivered from the outside into the key—into the Great Pyramid? And they have several deep shafts on the outside; this is on the east side. They've also got shafts on the south side. The Djedi robot—May 2010—they did some remarkable work. You know, you see that guy there? If I go back to the other photograph of the Pyramid Rover team, it's almost like it's the same guy. Anyway, maybe it's just me—probably not. That as an aside. Um, their—their cameras uh were—they had a snake; they were able to articulate behind the uh the block, and they were able to take images of the features of the pins um and also uh photograph the floor. Interestingly, when you look at the back of the the so-called door, uh the pins on the right uh seems to have some kind of a ferrule around it or some kind of a seal, and then on the left you have a corrosive buildup uh similar to what you would find on a battery. Now, on the floor behind there, they had these symbols and also a line. There was a lot of consternation and discussion about what they could mean, and they—they concluded that they were mason's marks, though I don't know if they knew what—what kind of other skills the masons had. Maybe they called electricians masons back then, but—well, I looked at that and I see a couple of connectors and uh and also a twisted pair. And then I went to work to actually fabricate a replica of the Gantenbrink door in order to uh test the theory and demonstrate how it works. That happened at Danville Metal Stamping, and it was uh very interesting. I actually made those—those copper pins a couple of times. Um, I got the hang of it and finally got them installed, but it was quite—quite a an interesting design because you have—you have a a design where the pins come through the hole and then they're bent down, and the back there is a loop and it locks into place in the back, which actually will prevent those pins from turning—pretty ingenious, eh? So yeah, that's the Gantenbrink door, and I wired up these connectors that the pins slide through, and so there was electrical contact to any leaves that would be attached to it. And again, on Ancient Aliens, I demonstrated that it worked without any problems whatsoever—well, except for the usual vagaries of dealing with producers and really nice people. Um, no—no, every trade has their personalities, and it was a very interesting experience that I had with them; that's for sure. So I I revised the drawing again. You know, this is—this is typical engineering; it's not like, oh, I've changed my mind. No, I—I mean, my mind was changed when more evidence came. And using the scientific method, if new evidence shows up, uh you have to adjust your theory a little bit, or you can adjust it—then the theory has to be thrown out. And so you know, I'm just saying, hey, I got to change my drawing, and uh and everything will work. So the uh so this is the new one where the chemicals are fed from the outside, and then they—they flow into the Queen's Chamber, and that's where they're mixed.
So this brings us to another interesting topic, and that is, you know, for any system—any power system or any engineering system—you have maintenance issues. And uh obviously, as we see by the dilapidated state of these electrodes, they would eventually have to be changed, and uh and so I obviously I'm thinking, okay, at some time they would have to be changed, and they would have to have access to do that—perhaps not on the the northern shaft, but at least on the southern shaft. And then we come to Jean-Pierre Houdin and his work, and he's describing pyramid internal ramp theory. And I'm not—I'm not opposed to that; I do think that there are more features to be found within the Great Pyramid, but not necessarily internal ramps for delivering stone, but to uh to build a pyramid, but for maintenance functions. Now I'm talking about evidence; this is all evidence, and it's kind of an update on the the Giza Power Plant, because Giza Power Plant was published in 1998, and all this information came after it, which, you know, obviously that book has to be updated. A sequel has to be written, and uh maybe one of my kids will write it. No, I'll do it; I think I've got a few years left.
The other piece of evidence in the Giza Power Plant—I proposed that the destruction of the uh of the uh the Great Pyramid—and he's also related to a lot of what was discussed earlier on as far as uh cosmic uh you know, impacts—media impacts and Earth changes—cataclysms—where because the Great Pyramid is so finely tuned to the energy of the Earth, and you know, as far as you know, any system, um if you want to maximize resonance, then you use all the the knowledge and tools that we have—your understanding harmonics—to achieve maximum transfer of energy. And so if they had done that, then they had a very finely tuned musical instrument that was drawing energy through it from the Earth. And then if—you have a comet impact, then you have an influx of energy, because before this event, the Earth was a closed system, and supposedly we know, you know, on average how much energy we can get out of it, and using this particular system and didn't allow for attenuation of a large input of energy such as that which a a comet would introduce into the Earth's plates. And so it became a runaway vibrator—in other words—and a runaway vibrator in science is something that if it cannot—at any rate—you cannot absorb or you cannot release the energy that it receives, then it will destroy itself. And vibration is everything; I mean, it's—it's used in all our mechanical systems for energy production and transfer, including lasers. You know, if you have a laser that you put too much—energy into it, and there's uh no—no release of that energy, then it will uh it will tear apart. I have personal experience with that. I ran a laser job shop in Indianapolis, Indiana, and one of the tubes—one of the cooling tubes—came—came off and was spewing cooling water all over the floor, and I had a resonator in the in the cabinet that was still firing away—or it was, you know, trying to get—trying to uh get rid of that heat, and there was no water coming through, and then everything shut down. Oh, that's a different subject; I'm not—I'm not touching that one. I've heard the rumors, though, but uh but anyway, but this is it. This was uh in the early days of uh you know, bringing lasers into into manufacturing, and um it was 1983 uh when that happened, and the laser was a—it was just a 400-watt YAG uh but uh wow, I I tell you—the light—the laser resonator apart, and there was a a broken—a broken YAG rod on the inside uh that needed to be replaced—for to the tune of eighteen hundred dollars in 1880—1983—so a lot of money.
So we go back to the Great Pyramid, and what kind of event uh caused the king's chamber walls to expand—caused a lot of vitrification inside the uh inside the king's chamber? And we look for evidence—found it in 2000—1999 actually—a notice—just a glimmer of it in the ceiling of the—the ceiling of the the Grand Gallery. But around that time, there was a uh a closing of the Great Pyramid. Uh, the internet went nuts because Zahi Hawass closed the pyramid for cleaning, and there was all kinds of rumors that he was actually digging a tunnel from his bathroom over to the Great Pyramid, and he was—he was hell-bent on getting behind Gantenbrink's door and removing any evidence of—any evidence that doesn't fit their narrative, I should imagine, anyway. Um, so the Grand Gallery ceiling was fairly dusty, and guess what? In 2001, I was with Zahi Hawass. I got permission to go inside the Great Pyramid; they cleaned it, and believe me, they cleaned it. I mean, that—yeah. But after they cleaned it, they left scorch marks on the ceiling of the Grand Gallery—yes. And no—scorch marks are directly above the slots where—what I proposed—but I propose the uh the resonator banks were held. So that was a very—very exciting discovery, but that was 2001. Um, and so yeah, it's another piece of evidence that needs to be incorporated, discussed, and uh and and then put into the the record. All kinds of damage. Now, when you—when I talk about the resonators, this—this is the uh the arrangement that I—I proposed that they were actually located in 27 pairs of slots that uh go up the ramps—the side ramps of the uh of the Grand Gallery. Um, and then they're pinned in a in a groove. But the interesting thing is that those scorch marks are directly above them slots. Something happened.
So now we come to the resonant tune cavity aspects for pumping hydrogen atoms to a higher energy level, and just how much energy can you expect um to need to do that. Um, recently—oh, let me back up a little bit—getting ahead of myself—or maybe not far enough—or uh for you—but I'll get—I'll get to it. Um, so yeah, as I was uh as I was pondering my future and and thinking about what I needed to—how I needed to uh improve uh the theory in the in the Giza Power Plant, one of the aspects that I—I landed on was that I needed to do a—to have a more detailed and professional acoustic analysis. Acoustics in the great—in the Great Pyramid have been noted for many years. It's—it's one of the features that people are constantly talking about when they go to Egypt and they go into the king's chamber. Um, they remark about it; it has uh tremendous—tremendous resonance and uh um now, as far as the features in the king's chamber to support the idea that uh hydrogen maser was active in that space is the a waveguide in the north wall, which is 8.4 inches wide, 4.8 inches high, and then a microwave antenna in the south wall. And you can see them both when you go to Egypt. If you go with Andy and his group or Hugh and his group, then you—oh, as far as the this uh microwave hole antenna, the—there is a a fan in there, and—or the Gantenbrink had installed it in the 90s, and uh oh, there it is. And then there's the uh the northern shaft. Now, one of the marvelous features of the uh of the king's chamber complex is that it is mechanically isolated from the surrounding bedrock. So there is a gap all the way around it. Danley, in 1995—1996, he was doing some sounding on the—in the—in the king's chamber, and he remarked that he thought that the the floor even was suspended on nodes—like a neck curtain or something like that—but that uh the the the vibration—or the—there was no damping. Uh, so the elimination of damping was was key uh in order for the power plant to work. So you have the uh a situation where sound energy uh comes through the king—the king's chamber vibrates, um the the granite uh the granite moves, and it releases a tremendous amount of electromagnetic energy. Um, there is a signal—a microwave signal—coming through the northern shaft, and and that actually stimulates emission in the uh the the hydrogen—the excited hydrogen—that uh then it flows through the southern shaft. That's just a simple overview. Um, and I wrote Blending Signs from Music. The ancient Egyptians had tuned their power plant to a natural harmonic of the Earth's vibration, which is predominantly a function of the tidal energy induced by the gravitational effects the moon has on the Earth, uh resonating with the life force of Mother Earth. The Great Pyramid of Giza quickened and focused this pulse and transduced it into clean, plentiful energy. So, in effect, the Great Pyramid was designed like a huge musical instrument and functioned very well until Mr. Media showed up. So this is—this is Robert Vort, my research partner; he's a sound engineer, and we got to talking in 2016, and we wanted…
To do a a Renaissance trip—I mean, a reconnaissance trip—to Egypt, to see the lay of the land and to find out if it would be possible to get official permission to do some uh, good uh, sound or acoustic tests inside the Great Pyramid with modern equipment. I mean, I mean, the technology has improved tremendously since 1996 when Downley was there. So they wanted—he—we were talking about actually doing further tests uh, so he uh, in he had this Tascam uh microphone, and he was actually found that there was a board at the bottom of the the grand gallery that if you stamped on it, it would resonate; it would—there'd be a huge boom throughout the Great Pyramid. And so he sampled that and brought it into his software at home. And what you find, which is interesting, and Andy has also written on this with her with a colleague about some acoustic sampling that they did and on one of their one of their tours, and and they seemed to—we seem to agree with each other—that there is a definitely some very sophisticated Acoustics going on in there. But the interesting thing to me was before the introduction of uh, of sound or before somebody actually made a noise, there was um, infrasonic vibration already existed; it was already being picked up by by the equipment. And you'll see that right before you see those yellow Dash yellow lines there, that very low frequency that Blue Wave before you get there, that is the uh, that is where when everything was quiet, and that's the sound of the pyramid without any other influence except the Earth.
Now those wavy lines that you see uh, over there, that's where his wife said, "Wow," and that's what I was picked up there. But as we look at the the Great Pyramid as a holistic uh, sophisticated, well-engineered, well-crafted, beautiful, beautiful space, the grand Gallery is amazing, and it was designed for sound, designed to work within a musical instrument. Then we look at some of the concert Halls—this is the full engine Great Hall credit center—and these are acoustically designed spaces, and you find similarity there. Okay.
Another update—it's kind of mission pyramid—oh, scan pyramid's mission—very interesting uh, story. I'll hopefully I'll stay under the hour and and get through this, but uh, I um, I I met uh, a Rolls-Royce engineer, and I know the English are very fondant of that company uh, Rolls-Royce, but you know we have one in Indianapolis—all of their one of their uh, divisions is in Indianapolis—and I actually used to do work for that company uh, when it was uh, Allison's and before Rolls-Royce bought it. But uh, Eric Wilson was a Rolls-Royce engineer; he's got a double Masters in mechanical electrical engineering—brilliant guy. He contacted me—not so brilliant move—but uh, anyway, he'd read my—if I read my book and was inspired by it, and uh, and so we got to talking, and you know I introduced him to Robert, and then he he got uh, really excited about this scam pyramid and what it revealed. He he—his excitement was not necessarily what it was revealing, but um, the partners and the stakeholders that were behind it. And you know you have French alternate energy, French computer science, Japan University uh, you have Japan high energy physics research, um, French Center for scientific research—all these stakeholders that want to find Khufu's burial chamber. You think I'm not as conspiracy theory? I'm a skeptic. Well, speaking of Skeptics, I'm a true skeptic, believe me. The the people who debunk on the internet, they're not real Skeptics, because a real scouting will be skeptical of his own ideas.
Yeah, so anyway, the uh, very high powered and uh, sophisticated partnership there uh, looking for—using different methods—looking for Khufu's mummy. I know it's like watching uh, C-SPAN in America; it's like, "Oh, this is unbelievable; I can't believe this." Um, and so what they found was the this uh, this extra space which was above the the grand gallery, and that uh, right after that that was found and I got a call from Eric, and "Hey, Chris," I said, "Yeah," but he said that uh, that new discovery by the scan pyramid Mission uh, "I know what that is," and I'm like, "You know what it is?" uh, "We don't even have really good data on it," you know, the the things horizontal—it's it's on an angle—the the resolution is very very low, you know, until we can get good hard physical measures, do we really know what we've got? And he goes, "No, no, here's a space," and uh, "it's it's really necessary for your power plant to work," and I'm like, "Okay, this is a Rolls-Royce engineer; he knows more than me about electrical stuff," so I'll say, "Okay, I'll buy it. What is it?" He said, "It's a preamp. In fact, if you didn't have it, then your your theory on the the Giza power plant probably wouldn't work," and for that to work, all you would need is for it to be filled with quartz sand, and if it was filled with coarse sand and if they were connectors to the the northern shaft, then you would have a preamp, a functional preamp, and uh, well, I'm not going to argue with him. Okay, that sounds very exciting; where do we go with it? And he says, "Well, we need to go to Egypt." I said, "Well, I happen to be going next March; you want to go?" "Yep, I want to go." So he went along with me in March on a techno tour and uh, had a great time. So there's Eric, I'm at Al Gandhi—we met director of the Great Pyramid—and there's uh, my good friend Hamada Anwar, legal counsel, and Eric is uh, having the time of his life.
Interesting story—where we're in uh, we're in Aswan, and they find out, "Oh, the Red Hot Chili Peppers are playing on the Giza plateau," and it's going to be Friday night, and we're we're not due to get get home until Saturday morning, and Eric said, "I want to go see them," and other couple said, "Yeah, I want to go see them," and so uh, they they left the tour and uh, bought tickets to fly home, but the uh, the tickets to see the show—Ahmed al-ghindi had uh, has given them a pass—so they were going to be his guests. Well, at the same time, LCC, the president, was at Aswan, and he was a in some kind of a conference a convention there, and security was extremely tight. So as it turns out—long story short—Eric and his group didn't get to the Giza plateau uh, until late and just in time to hear Red Hot Chili Peppers say, "Goodnight, Cairo." You're talking about one crestfall an engineer. So anyway, the interesting thing was uh, Hamed was uh, felt sorry for him, and he said, "Well, you know the scan pyramid team are going to be on the the plateau tomorrow uh, why don't you come up and join them?" And Eric says, "Oh, I'd love to." So he uh, went up to the Giza plateau and spent time with the scam pyramid team, and they were having trouble with their equipment—they there was some electrical issue they were having—Eric Doven helped them out and and made the repairs. Amazing—what an amazing experience, right? Uh, I tell you, I've said it often uh, you know, going to Egypt is like a uh, a pilgrimage for engineers; it's a an engineer's Paradise.
So then another guy who—as a result of my uh, friendship with Robert—showed up on the picture in the picture, and his name is Freedom and Freud uh, very credentialed nasty in your research, and that's the aims um, certainly uh, somebody who one would listen to. But since 1997 he had been doing research on earthquake lights, and it was his objective or hope or dream that instead of waiting for an earthquake to happen and then you know dealing with the aftermath, that there would be some way that they could actually predict but an earthquake was going to happen, and so he was collecting data. There's also—I mean, you know, when it comes to earthquake—the earthquake and a killer in Italy, it was uh, there was actually people that went to jail because they didn't follow due diligence so that the population wasn't wrong and Public Safety wasn't uh, taken care of. But uh, so he uh, been very well aware of that and I'm wanting to wanting to do something that would benefit Society. He thought that studying earthquake lights would give him information because one of his observations was through his access to satellite data was that right before an earthquake there seems to be a higher level of earthquake lights. And essentially his research has um, has revealed that if you have—so if you have—if you have the ground moving—not just—not just the the granite and granite certainly—but also even Limestone—that there are there are characteristics of the Limestone and the granite that when they uh, when they go crunch or when there's movement, then um, electrons are released and electromagnetic energy flows, and and the Earth um, these this this flow will uh, seek at the highest ground, so you will find it particularly on Higher Ground around the uh, around mountains, and uh, certainly in the case of Akira there is a mountain range on both sides—there's a in like a perfect spot—but those earthquake lights appeared before the earthquake, and they were in the Hills; they were not in the valley. And then the other research that came up was—study reveals Great Pyramid of Giza can focus electromatic magnetic energy—and I was like, "Aha!" And I was getting emails uh, from people, "Hey, Chris, you know it sounds—it looks like you're right—looks like you were right," and I was I I was uh, it's a piece of the puzzle; it's not everything, and you know in terms of um, proving the Giza power plant, there's a lot more to go through in order to really uh, nail that down completely. I already went through that one.
Anyway, besides obvious benefits from such a power source, we also should consider the benefits that could be gained by utilizing such a machine in geological and stable areas of the planet. California might eventually become the United States energy Mecca, where the Great Pyramid drawing of energy that is building up within the San Andreas fault—fanciful idea—perhaps not. So anyway, back to Eric—had been involved with—he's involved with Purdue University in Lafayette; it's uh, they have a power uh, a power generation uh, department, and there was a student there who was working on a an acoustic engine and uh, with working with her, and I asked him before I put this PowerPoint presentation together, "Can I share any of the information?" And right now it's proprietary, so I can't, but uh, anecdotally I can tell you that as he was working with her and the the design of the system that she had um, if you had taken all the elements of the Great Pyramid and arrange arrange them in a different way, you would find them in her machine, and even some of the ratios and proportions he advised around uh, it was actually inspired by the Great Pyramid. So he presented an article to the to American Institute of Aeronautics and astronautics; he presented that in August of this year, and in this article he presented a uh, a theory that you could actually build an acoustic engine inside a mounting uh, to draw off energy uh, he cited uh, Freedom of France work where Friedman had actually done the work and the the lab test to determine the electron flow through the Rock, and it also determined that The Rock would only have to move angstroms; it's not like it would you know I have to uh, have to be vibrating wildly in order for that that phenomenon to occur. Um, so he presented uh, Friedman's work, and then at the end he comes to designing or presenting the idea that you would have thermoacoustic engine, and that was basically the design. Oh, and one thing he told me that I found fascinating was when he was working with this graduate student at Purdue um, he asked about, "How do you start this thing? I mean, you know, what's your power input?" And oh, she says, "Well, I just wrapped the bottom with a hammer," so that and then it just functions. So all it takes is a is uh, one wrap of the hammer and the acoustic engine works. Sounds almost too good to be true, right? But then uh, coming to the acoustic coupling um, it has some very interesting things to say that would indicate that maybe it was paying attention when he had my book open. Um, "The power plant using proven subsystem technologies will benefit when placed in locations of natural lock Rock and structured with acoustic chambers of stone tightly fit without mortar." Sound familiar? All right, so that's the coupled oscillator and some of the latest research. I promise I will be more articulate when I write my book—promises sometimes are broken—but this time I think I can do it. Um, I'm coming up on an hour, so I'll be finishing up shortly, but just do a little preview—tomorrow we'll be going to the British Museum, and I thought I would show you um, one of the principal artifacts that I will be talking about when I go there. Carolyn Wise will you know be a lot more informative of everything else there, but I will be talking about Ramses and essentially the engineering, the Precision, the geometry, the Symmetry, and this is the uh, the British museum renzes, which is actually more precise than the one you you'll find Outside The Temple of Luxor. Uh, it's an amazing amazing piece of work, and a total surprise to me when you consider that if you take a photograph—and I took a photograph trying to get us a symmetrical a close-up as the to the central axis as possible—and then take that photograph, make a transparency, flip it uh, and then hold it over the original, and you'll see that the left side matches the right side, and even the dimensionally—and these are approximate Dimensions; they're not actual dimensions—but uh, you see that's within two decimal points on the the jawline; it's an amazing thing. But also features that people who have worked in manufacturing wouldn't find surprising, and those are mistakes uh, the the mistake on this Ramses statue is the the cutter that was cutting the lip and I dug into the face and it took too far in, and you can see the uh, the undercut in the corner. And so in order to accommodate that—compensate for it—they uh, they cut the lips further in so that they would cut most of the mistake out; otherwise if they'd have left the the those lips uh, the same at the same level as the uh, the Vermilion border, then uh, that undercoat would have been more pronounced. So that's what we'll see tomorrow. I thought I would show these for you tonight so that you can look for that tomorrow, and uh, you'll have you'll be armed with a little more information than what I could provide to you in the field. Uh, so with that, that is my presentation. Uh, thank you. You've been a wonderful audience; I appreciate it. It's wonderful to be back in my home country and sharing it with friends like you. [Applause] [Music] Thank you. [Music] [Music] [Music] [Music] [Music]