Magical Egypt, the popular series of DVD documentaries that debuted in 2001, featured interviews with maverick Egyptologist John Anthony West, Walter Cruttenden, Baird Spaulding, and other alternative archaeology stars familiar to Atlantis Rising readers. The series of eight DVDs was a big hit, earning, by most reckoning, the cherished status of ‘underground classic.’ (You can still order it directly from Atlantis Rising.) In the fifteen years following, the big question was: when will there be more? To the great delight of the program’s many fans, early in 2015, producers Chance Gardner and Vanese McNeil announced that they were undertaking a crowd-funded project (through GoFundMe.com) to resume and expand development of the original concepts. The new series is to be called Magical Egypt 2. Featured guests are scheduled to include Graham Hancock, Robert Bauval, Lon Milo DuQuette, Laird Scranton, Neil Kramer, Max Igan, host John Anthony West and many more.
Late in 2015, word came that the first of the DVDs in the new series should be ready soon for viewing (possibly by the time you read this). You are invited to sign up, and even to participate personally in a unique set of online discussions that are being used as the basis for the new series (at MagicalEgypt.com).
This time around, the advanced understanding of art and related geometries found in ancient cultures will be the primary focus. Indeed, as an unexpected bonus, a number of significant and original discoveries have already been made. The following exclusive article by Magical Egypt writer/producer/director Chance Gardner reports on news-making insights into ancient wisdom that have already emerged. —ED
CAPTIONS: Fig 1. Classical Egyptian pylon correlation with frontal brain view. (Illustrations by Chance Gardner, courtesy of Magical Egypt.)
Fig. 2. “Eye of Horus” correlation with human limbic system.
Fig. 3. Ram head sphinx compared to human brain system.
Ancient Egypt is like a magic book—it speaks to you in your native tongue. To the stoneworker, Egypt speaks in the massive size of the stones and structures; to an engineer, it speaks through the mathematical precision and the perfect alignments; to the astronomer, it speaks in a precise language of celestial mechanics. To artists, it speaks in aesthetics. Through its art and architecture, it demonstrates the same inexplicable genius that it does in its other cultural expressions.
Recently a research team was gathered with a couple of unusual things in common among the participants. Each was a career artist, in addition to whatever other skills and specialties they brought to the table. And each had a deep fascination for researching the unsolved mysteries of ancient Egypt.
What resulted was not only unexpected, but could well become a paradigm shifter on a number of fronts.
Why artists? Because many of the most tantalizing avenues of research in ancient Egypt lead directly into places where orthodox Western science refuses to tread; into places where religion forbids us to look. But at the threshold that science and religion refuse to cross, the artist is free and, indeed, is uniquely equipped to take over as tour guide.
Expressions of art were expressions of Egypt’s cultural focus—its cultural identity. The more one understands the uniquely holistic and integrated nature of the culture, the more one can see that the arts and sciences were interwoven and interdependent, so that a study of one could yield a surprising amount of illumination about others.
An organized study of ancient art, was a virtual back door to the inner temple.
From an organized study of the ancient art, there is ample evidence to demonstrate the existence of a previously unrecognized science in place in the ancient world, but one with a very different focus. The ancient science related to the vast inner universe of consciousness. It may even be a science whose dominion extends past the threshold that we think of as death.
The art of the ancient world tends to blur modern boundaries between art and technology. In the ancient world, art was used in a more active sense—a midwife between psyche and psychonaut, a tool that facilitated the accessing of states of consciousness outside of normal operating frequencies.
As the team started comparing findings, a larger discovery emerged. A hidden language was discovered that spoke through an ingenious use of geometric correspondence. Beneath the complex web of hieroglyphs, the temples and artwork are speaking on an even more fundamental level, in the universal language of geometry—in full view of all, but meaningful only to those with eyes to see.
The series of discoveries that ensued demonstrate a totally anomalous level of development and sophistication in a very specific type of science, one focused on the biological systems that play a part in the experience of consciousness, beginning with an ingenious method of “schematizing” important components of brain, nervous system and endocrine systems, and their interaction with each other to create the “emergent property” that we think of as consciousness.
But it wasn’t just biology. The message that the hidden language conveys, when understood in its totality, acts very much as a sort of “owners manual” for the human physical, psycho-spiritual experience.
It demonstrates once again why the teachings of the mystery schools of ancient Egypt were so sought after, and why they produced thinkers of such high calibre. It also draws attention to the importance that aesthetics played in transmitting ancient science.
The study of ancient aesthetics draws attention to the mysterious role of geometry in forming the physical universe, our perception of physical beauty, and even in the formation of mind and consciousness itself.
In geometry lies the key to understanding and applying the most powerful and causal laws of nature. It serves as the bridge between the inner world of mind and the outer world of form.
The teachings of the mystery traditions based an entire philosophy on the role of geometry as the secret governor, or organizer of the universe—both the outer universe of matter and the inner universe of mind. This may well be a secret meaning behind the enigmatic G in the famous logo of freemasonry, an acknowledgment of geometry as the hidden governor of inner and outer worlds.
A Hidden Language
The first discovery the project documents involves the classic Egyptian temple pylon facade. Geometrically, it is two symmetrical, mirrored shapes, connected by bridging architecture. The discovery of a hidden language of geometric correspondence shows an embedded message, and a new revelation is brought to light (Fig. 1).
The pylon doubles as a detailed and instructive schematic that not only shows the structure of the human brain but teaches important information about its “optimal configuration.” The architectural connection between the hemispheres serves as the “door” into the temple. And at the exact place that corresponds to the traditional “third eye,” a special emphasis is placed—the winged disk.
The iconic winged disk is itself a schematic of sorts, describing an emergent property that occurs through a union of the polarities of consciousness. The inner top corners of the temple correspond exactly with the major brain fissures on either side of the motor cortex. The architecture perfectly frames other important brain systems; notice how the vertical door blocks perfectly frame the olfactory nerves.
Research is ongoing, and it is yet to be determined how detailed and how far the schematizing goes. But it is clear that this represents an important new branch of research and, more to the point, presents the ability to reverse engineer some of the scientific insight hinted at here.
Another important discovery involves an unsuspected schematic hidden in one of the most famous icons from ancient Egypt, the Eye of Horus, not just a beautiful piece of jewelry; for those with the keys to understanding it, it reveals itself to be another ingenious schematic of a very important nexus between biology and consciousness (Fig. 2).
The corpus callosum, seen from the side, is perfectly schematized, with special emphasis placed on the brain centers that make up the third eye—the pineal, thalamus, and pituitary complex. This important discovery was brought to light by author, researcher, artist, and research team member Gary Osborn.
A third discovery is of historic and paradigm-busting significance. Research team member and career illustrator Brad Klausen discovered an example of correspondence that reveals another hidden schematic, one that has been in full view of all, but has resisted discovery for all these millennia (Fig. 3).
This schematic is embedded in the morphology of the ram sphinxes that line the entrance to Karnak temple. The unusual placement of the pharaoh beneath the chin of the ram, coupled with the prominent lines of the ram’s nose, caused an inductive leap for Klausen, and in a flash of insight he made two discoveries for the price of one. One discovery was big. The other bigger.
The graceful lines and defining geometry of the Ram Sphinx statuary was an exact correspondence with the human brain stem, including the infundibulum and mammilliary bodies. The placement of the pharaoh was precisely in position to demonstrate an amazing number of articulations and points of correspondence between the statue and its biological counterpart.
Klausen’s revelations didn’t stop there. The discovery of the practice of embedding schematics into art led to a bigger discovery that might affect every art history book. An entire genre of humanity’s oldest works of art, including the Venus of Willendorf, which is estimated to originate from circa 28,000 BCE and the venus of Hohle Fels, which is over 35,000 years old, reveal themselves to be accurate representations of specific articulations in the brain stem. Included in this genre of “schematic statuary” are many other historical icons of early art, including the venus of Lespugue, and some of the Kostenki venuses. The horizontal lines on the “stomach” of Hohle Fels correspond to the lines we see on the pons, and they are key to showing the link between the venus figurines and the brain stem. But it is just one of many correspondences.
The entire practice of terminal design in architecture, which has extended into the modern day, appears to also be following suit. The same correspondence to the brain stem and its relevant articulations is present and appear to be a continuation of the tradition demonstrated by the ancient venus figurines.
The statuette of Artemis is another example. The location of the hands corresponds exactly to the location and shape of the trigeminal nerves at the brain stem; the row of multiple “breasts” correspond to the pons; the features running down the front of the unified legs, the medula oblongata. The headdress corresponds spatially and morphologically to the cerebral crus.
Once we become aware of this practice of embedding aspects of the ancient science into art, through the use of symbolism and geometry and other secret languages, a huge amount of ancient, medieval, and renaissance art is “outed” as participating in the ageless tradition—not to mention all Eastern art.
The more one understands about the biology and function of the individual hemispheres, the more the symbolism bears out. One can see the schematic contained in their dynamic relationship as eternally paired enemies, with seemingly inverse objectives. This powerful image also conveys the importance of occupying a powerful stance of control between the two inverse “forces” we all have in our heads.
The art combines with mythology to create an insightful schematic. One that not only imparts understanding of one component of consciousness, as embodied in an individual god, but also shows the role it plays in the overall operations of consciousness. In other words, first it shows you what it is (form); then it tells you what it does (function).
Seen in this sense, Horus and Set act as an accurate model to schematize one of the biggest structural and functional features in human consciousness: the division of a single brain into two separate hemispheres.
This physical scission is mirrored in the operation of the brain and affects our consciousness in such a fundamental way that it very much defines who we are. The two hemispheres are not only structurally different, but they operate very differently.
The left hemisphere is best suited to a micro-focus, operates in language, is literal and linear, list oriented, and is hierarchical. It deals with issues of past and present. It craves rules and operates best when a predetermined sequence of responses is required. It often attempts to usurp the decision-making role of the right brain and often lies to itself.
The right brain is literally the opposite. It is nonlinear, uses webs of association, and speaks in symbols and geometric relationships, rather than linear language. It is responsible for the recognition of beauty and meaningfulness, and appreciation of the “big picture.” It is the center that produces ideas or images from nothing, the creative spark. The right brain is a notorious disregarder of rules. It has no regard for time, and its awareness is only of the eternal NOW.
While the left hemisphere is concerned with accumulating facts and sorting them in hierarchical order, the right brain is the domain of associations and context—of meaningfulness. This makes it the polarity of understanding—of perceiving the underlaying meaning behind and between things. This ability to create geometric thought structures means literally the difference between opinion and fact, between guessing and knowing. Between a random cloud of opinions and a rational, well constructed “thought form.”
From the schematic presented by Horus and Set, we also learn the optimal configuration of this relationship—Horus, the rightful ruler, the ever-vigilant guardian against the encroachment of evil, physicality, our animal nature—avenger of the killing of his father Osiris. When Horus is triumphant, the emergent property is enabled.
It is not a coincidence that the ancient cultures who expressed such aesthetic and scientific prowess were cultures that venerated, spoke from, and presumably operated from, a more right-brained polarity of consciousness. Hieroglyphs are a decidedly right-hemisphere language. It might even be said that symbolism and hieroglyphs ARE the language of the right brain.
So, one of the first things that comes from our reverse engineering of the ancient culture through its art, and is an important insight: There seems to have been a significant migration over the ages from a very high-functioning state of consciousness and intellect to the decidedly sub-genius state that we find ourselves in these days.
It’s an important distinction to make that the ancients weren’t “smarter” than modern humanity, per se. The drift is not a fall in intelligence but a migration from one hemisphere or “polarity” of consciousness to its opposite—from aesthetic/intuitive right hemisphere to the literal/hierarchical polarity of the left hemisphere.
When looking at the marvels we see in the ancient art, it is apparent that the right hemispheric dominance of the culture played a great part in the heights it reached. This is an optimistic distinction, because it bestows the promise that modern man can apply the ancient technology of optimizing and amplifying consciousness for themselves and achieve similarly powerful expressions of art, intelligence, and life.
In the ancient world, we see an important example of how powerfully transformative art can be when used in its proper context—in what might very well be the original use of art—the immortalizing of timeless truths about the central mystery of the universe: consciousness.
The series of findings are documented in the new series. As the series progresses, these initial discoveries lead to stranger and even more significant discoveries.
The author is the writer/producer of the new video DVD series Magical Egypt 2. To learn more, visit his website at www.magicalegypt.com.