Transcription
What do you think you're seeing inside that laser? Or what are you seeing first of all? Like, what does it look like, and what do you think it is?
Okay, so first of all, you see kind of like, kind of like in the movie *The Matrix*, you see Japanese Katakana characters mixed up with some, uh, I guess what looks like Hebrew letters, with some with some regular numbers, Hebrew letters. It again, all of these are approximations; okay, they're not any of these things. The closest things it looks like, okay, I see is Japanese and Hebrew and and and and num—something similar to that. Yeah, I don't—are you familiar with the—I never know how to pronounce it—the Kret carrot report, C-A-T, I think it is?
No? So somebody put out—yeah, I'll just show you this. Oh yeah, you can pull it up, report I think, or a project. What is it? Go down, go down. No, no, no, no, no. Uh, uh, just do ask, ask, uh, do you have J Chad GPT here? Oh, he can pull it up. Yeah, we have it. Oh yeah, yeah, just asking Carrot report, Palo Alto, uh, Alien Drone. It should, it should tell you immediately what it is.
Okay, okay, okay, okay. Carrot ET report, report, Palo Alto, Palo Alto, Palo Alto, uh, Alien Drone, alien, Alien Drone. Yeah, so it's correct application research. Yeah, this is commercial applications research for extraterrestrial technology. Documents first released online in 2007 by an anonymous source known as Isaac, detailed alleged advanced alien technology, supposed to be studied at the Palo Alto laboratory called PACL in the 1980s. According to Isaac, the Carrot program focused on reverse engineering alien aircraft to develop civilian applications from alien technology. Provided technical illustrations, symbols, descriptions, and anti-gravity drones, quote, that claimed were based on extraterrestrial designs, with symbols allegedly functioning as a form of self-executing code embedded in the aircraft structure.
Right, there's been, um, there's been UFO, um, alleged UFO crashes and debris that have been found that do have inscriptions on them. Have you ever heard of the—um, there's been like UFO crashes, even Roswell was one of them, where they allegedly—they have, um, pieces of or debris of these crafts that they're finding that have inscriptions in them. I need to see it because I've—people tell me all kinds of things. And Steve, type in, uh, type in, uh, do another tab, type in Roswell crash, R-O-W-E-L-L crash. Yep, um, in, uh, what would you use? Symbols, symbols. Yeah, try that. Go to images, im images. Okay, uh, are these them? Roswell incident. This is not what I remember. Keep going, maybe—zo—oh yeah, so I've seen—yeah, see where that, uh, that piece of metal is right there at the bottom? Well, it is, it is like these. Okay, so this is similar to what you're seeing. No, it looks like in what you just saw in the Carrot report, very similar to that, if not the same. Trying to find that—if, if you look in the trailer in the beginning, there's a piece of paper. Do a freeze frame on the trailer. Yeah, you see the paper? Okay, wow. Is this—so this is what you're seeing? No, this is just the—M—keep going through, you'll see. So, uh, yeah, right there on the left, see on the left? I'll just show—let it play through. Gosh, that looks just like Stargate. Oh wow. Pause, uh, it as soon as it came into focus. Yeah, yeah, I'll just show you the image. He cut it; I have it there. Oh wow. Okay, so this is the image. Okay, text it to me, and I'll text it to Steve; he can put it on the screen. Cool. Oh, I see—is you got like a symbol on the left, but then you have like your interpretation here. I'll just—yeah, exactly. I'll just show you the—I'll just send it to Danny right now.
Uh, so the reason I mentioned this is because, to be clear, it was never substantiated if this report was real or fake, which, by the way, if it was fake, it's one of the greatest fakes of all time. Um, but go towards the end, Steve; there's more paper at the end. Pull it up right now. Almost. Yeah, so that thing on the left—oh, by the way, I have, uh, I'll also text you all the stuff from Carrot, cuz I have a bunch of the images. Okay, I'm just going to text you all of them so you can later look at them. Uh, oh, here it is. Okay, great. So we have everything here. We go. Are you going to send it on WhatsApp? Yeah, I think that's the fastest. So, um, it's okay, you can pull it up right now. This last night, after I, uh, after I basically came back into my body after like the most extreme part of that trip, I was kind of like more in reality; things were obviously like I was experiencing more of like a three-dimensional world; the edges were crazy, um, but I wasn't like hallucinating or anything; I wasn't like seeing things moving or whatever. And I, I went over there, and I looked into the laser, and I looked through the laser, and it's clear that you could see a pocket of space. So we shined on a door, a white door, and behind that door there was a, a very obvious pocket of space behind the laser. So I could see like a cavity behind the door, and what I saw was essentially—the best way I can describe it is like millions and millions of little gears, all connected and spinning. And they were, they were so tiny, they were like specs, like static. Mh, it was like, like a millions and millions and billions of these gears just turning. Yeah, and all connected to each other. Yeah.
Okay, so there's a—okay, so I, I do—okay, I'm—oh yeah, I, I have to go into this because because this is very important. Okay, so first of all, yeah, if you can, if you can text this to Steve, so we can actually talk about it in real time. Yeah, so there's two things here; let's just keep them in view. One is what we talk about, like what we're seeing inside and what I think it is, which is what I'm going to say now, and then I want to talk about the beginning of what you saw because it's important to mention all the other—to steal me and the other side of the argument, because physicists would tell you, well, listen, buddy, this is just the speckle effect, which is an effect that you can see, which is the same even without any DMT when you look the laser; it kind of looks like this glisteny thingy, MH, right? And you can totally imagine how with the very, the heaviest psychedelic known to men, it will come to life; it will be animated in some form. Okay, right. Great. So that's, that's a powerful argument. So first of all, this is what we see in the—according to what I'm saying this, or what everybody seeing that's saying pattern. Yeah, you kind of see these like, uh, like this mandalas, and then when you look closer, they're made out of these Japanese-looking things, which is actually—when you look at the Carrot report, uh, uh, images, it looks almost identical to that. I don't know if the report is real even, but whatever it is, the language looks very similar. And something in the report that was very interesting—the claim there, according to this anonymous person—the person basically claims that he, he worked in Palo Alto in this La lab on these recovered, uh, Alien Drone that had these symbols on them. Okay, and then he talks about the—so if you look at the map, you see these maps, uh, second from the left, yeah, right there. If you arrange them in the right map like this, for example, can you punch in on that? It will create some kind of a function. You see how it's fractal-like, and it goes into like these, all these functionalities. So if you know what to do, you know what they are, and you know what they represent, you literally can code a physical material to do something. So specifically, for example, you have a craft that can create anti-gravity—I'm just pulling it out of my ass right now, but let's say—can create anti-gravity with the right amount of magnetic field around it, let's say. Okay, it wouldn't be able to do it without the right arrangement of the symbols of the map like this on it. Only when you put this on it goes, ah, okay, now I, I'm doing this thing. M, you see what I mean? So the code is so sophisticated that when it's designed—when the environment that it's designed to operate in recognizes, recognizes, recognizes these symbols to be in it, it instantiates the function automatically without you needing to put it in some kind of a, the, the, the hierarchy of everything we do in computers. So like, right now, you would have to put something in the, on the screen; you code something in, it goes through all the levels through the compilers into the logic gates that executes a function, and then there's an output, and these outputs you receive back as either a calculation, an image, whatever it is, right? That's how computers work at the moment. So you don't have to do any of that. The proposition in this report, which I found very interesting and somewhat accurate to what I kind of already gather from the space, is that the code is so sophisticated that it can literally code for the functionality of itself without you needing to put it through this chain of commands. You literally—it just the environment knows that it needs to do that when this code is present. So you can write with a sharpie the right arrangement of these characters on a certain surface; that surface will now know it is functioning differently than what it does usually does. That make sense?
I mean, what you're saying makes sense. Yeah, I just don't—I don't—that's—that was—so I wanted to mention this, okay, because I found this very, uh, relevant to how the code can potentially be coding for everything, because what you see in the laser is very similar to this MH. So it would make sense that if the entirety of SpaceTime is this environment that is designed to receive this code, if you put this code in the right arrangement, you can do anything with space-time; you just need to understand what it is; you need to know the Rosetta Stone; you need to know how to code. Okay, does that make more sense?
Okay, so now all of that is like out there in the clouds—crazy propositions. Okay, now let's bring it back to the second question that, that—well, not question, but the thing you said—what you saw was these rotating little things. And like I said, it is absolutely a strong case to make, which is like, yeah, you have this like stochastic pattern, just repeating pattern, and it's somewhat glistening. So you already have some kind of an illusion of a movement, cuz when you move your head around the projection of a laser already looks kind of like something is moving, and now you're on this very powerful psychedelic, so of course it's going to look like it's doing something, right? The thing there is that, and this is hard to communicate unless you've seen it yourself, but it's the specificity coupled with its complexity. So you—it's highly specific, and everybody sees the same thing, and it's highly complex, and everybody sees the same thing. The coupling of these two qualities—so if you would just have, for example, something, um, highly specific, but that specific thing would not arrange itself into more complex patterns, for example, like if you would only like see like little things that kind of look like letters, but they kind of like shiver in one spot, you know, then I would say, yeah, like then that, that explanation that we just mentioned that it's just like a speckle effect that jitters, and then you a psychedelic substance, now it makes sense. But because it creates also extremely coherent structures that are much larger even without you moving your head or doing anything else, and everybody sees that exactly the same thing, now you have a slightly different relationship to it. Okay. Also, another thing to mention is that there is a quality to it, which—the first video I put out about it, I didn't really know what to call that quality, so I called it epistemologically sound, which—what I meant by that is that the way it appears communicates to you that it's real. Like there's a, there's a rigidity and insistence of itself to be itself, the same way that everything else in regular space operates. So like, would you postulate that this can possibly be hallucination? This mug right now? No. Why? Aside from the fact that you know that nothing happened, it should suggest that this should be hallucination, but but there are specific qualities of this—let's say we would have—well, technically it technically is a hallucination, right? Because our mind, our brains create this. There's like the—what Gallmore talked about was like the brain filter hypothesis—hypothesis is that our brains are filtering reality into a way for us to be able to survive and get through the day and to function as human beings, kind of like what we're talking about last night with evolution—how evolution's correct. In fact, his book, *Reality Switch Technologies*, is one that I always recommend all the time to people. I think it's right behind you, the blue one. Yeah, great book. It's a great entry point because it explains really well, even without anything that I'm saying, why specifically with DMT, which is what he's explaining in the book, it's very difficult to explain it away as a hallucination in terms of what we understand about neuroscience and how the brain works, which is exactly what you said. Yes, that, that the brain mostly ignores information; it doesn't project information. So it already has world models; it's a filter to help survive; it basically prevents information from coming in unless the information disagrees strongly with what the brain thinks is going on, then it goes, whoa, whoa, whoa, it's not what I thought it was, and then it goes like there's an error signal, and then it corrects; it goes, it searches for adjacent world models, or in, in the world model like adjacent structures, like, ah, okay, it moved to the left; no problem, so now it will correct. But the brain is not like—you're receiving information from the outside like a camera; it doesn't work like that. The brain projects a guesswork; it's almost like a model of the world, and as long as whatever is coming from the quote-unquote outside—we're not going to get into what that means at the moment, but whatever it is that is—we call physical M—as long as it agrees with what the brain thought it was, the brain just ignores that information. So everything you're seeing in the room, room, room right now—but this is important; I know you know this, but it's important that listeners understand this; this is a crucial point—that everything you see in front of you, if you're just staring at a static room, like if you—whatever, like this ruler over there, whatever that is—my brain has a whole set of neurons responsible for particular angles that are that exactly positioned this way, yeah, particular colors, particular, uh, textures, and it just projects all of that as a model, and everything that's coming to me right now from the room—you are—when you don't move too much, like just this way—literally everything, all the photons are coming, informing my brain about what's going on right now; my brain ignores because it's exactly what it thought it was. So it just projects from the inside the model, and that's all it has to do; it actually preserves energy this way. Yes. When something surprising happens, if all of a sudden a crow is going to fly into the room, the brain will go, who, I didn't expect that; there's going to be a neurological—there's going to be some reaction of my body, but also the brain will go, wow, I didn't expect that to happen; it will allow more of the information from the outside to inform what is going on because now it has to pay attention to what's going on, cuz it's new; it's not what I thought it's going to happen. But a brain has seen a crow before, so in that instance it'll be like, yeah, it will be surprising for an instance, but very quickly my brain will go, okay, I, I get it; like a crow flew, right? Okay. But if you have something that is so outside of the possibilities that the brain has seen before, like the DMT space, it's going to start struggling because it doesn't have world models for that; it's looking through all its documents and going, this is not—this is nowhere—we don't know what this is; we don't know what this is. So it goes into, into this like—and we didn't, we didn't sort of climb a ladder to—we didn't like—we didn't start from point A and like gradually go get ourselves to point X, right? We're just jumping from A to X, M. So we're not building that understanding or that, that scaffolding, if you will. That's a great point; that's exactly what it is. It's just kind of surprising, and it's an island of information versus, versus a map of information. Exactly. [Music]