June, 2006


Mythic Prelude:


Houses of Nature


It's the top of June, 2006. Indonesia has just been rocked by a tremendous earthquake, the world's deadliest natural disaster since the Aceh Tsunami of December, 2004. War and genocide, rage and resistance go on, threatening to escalate as the summer arrives, and along with it the likelihood that human beings will flame out and do the right thing at the wrong temperature. Corporatists and death merchants brood on oil prices, bouncing currencies and the spectre of an attack on Iran behind expressions so opaque that poker faces now look raucously expressive. Astrologers predict that in July the American president could face impeachment, or worse; and the angriest of his countrymen now bark in all seriousness about militarizing their southern border, and building a wall to keep out a flood of Mexicans who are not armed, even irate, just very hungry. Farmers and industrial workers in Europe scream about keeping jobs in, foreigners out, and can't even cool and console themselves any more with plates of cold roast chicken. So our focus in this Mythic Prelude is, naturally, the Great "Pyramid" of Giza, Egypt.

Is this choice an esoteric luxury? Hardly. It could not be more appropriate, as the technology of sacred sound used in both the building and the routine operation of this very ancient monument are of huge importance to us now at a time when human beings need attunement with one another, their planet and their universal soul purpose more emphatically than we have ever needed it before. This is why we have global sound meditations and ceremonies almost every month now, and sound physicians lead groups of chanters, players and holistic health practitioners in opening and reactivating planetary power vortices and sacred sites.

Like the two preceding UFC preludes, this one is a digest of one of the lectures Abd'el Hakim Awyan gave in Baltimore in June, 2006 on the spiritual history, art and culture of Khemt -- not "Egypt." We will use here terms from the Khemitian suf language. To review basic vocabulary, see the April UFC.

While this Prelude will introduce basics about the per-ba, or houses of spirit -- not "temples" -- and the Nile energy system running from the first cataract of the river through Apdu (Abydos) to Giza, our aim is to look at what Khemitians never called "pyramids."

They called these structures per-neters, using these glyphs for house and for the divine energies -- not "gods" and "goddesses" -- manifesting in the physical world of nature, our word derived from Khemitian neter.

Everyone "knows" how the Great Per-Neter was built, according to the tale that Khemitian priests told to the Greek historian -- to Hakim, the "journalist" -- Herodotus (484 - 425 BC). This diagram, from the website of egyptologist Mark Lehner, shows the usual story.

We easily imagine how these grave teachers enjoy watching their visitor's eyes bulge, his jaw drop as he hears how 100,000 men built the "pyramid" in 20 years, bringing millions of stone blocks down the river by boat, then hauling them on wooden sledges up ramps and into place. It is all so exciting. Herodotus scribbles his taus and iotas so fast that he does not wonder how the ancients could have cut the big granite blocks using only copper tools, or fit them so perfectly without block-and-tackle gear even of bronze, much less of iron.

Finally, with majestic bows and a last few rotund vowels, the priests finish their account. The eager listener, so dazed into absentmindedness that he almost rolls up his papyrus writing-side-out, shakes his head in such wonderment that he can hardly keep his balance as he walks away. The priests watch him go, and when he is beyond earshot -- they double up with laughter. They have not only kept their secret, but have hidden it now under a whopper so wild that the Greeks, always mad for a myth and hungry for novelty, are sure to love it.

Is it likely that the Khemitians would have kept the truth concealed under a fake cover story? Extremely. Especially from the Greeks. Plato commented that "Egyptians" were very wary about communicating their knowledge to foreigners. Pythagoras was here for 20 years, and may have spent much more time getting the Khemitians to open up to him and trust him than he did actually receiving their teaching. It is hard for most of us, products of much younger cultures, to grasp without effort that by the time Herodotus came looking for his story, the Khemitians had been dealing for 1500 years with Minoan Greeks, who may have been the mysterious "sea peoples" who invaded Khemt; with Pelopponesian Greeks like Menelaus of Sparta, who was said to have sailed his fleet up the Nile, and likely not just for a social call, on his way back from Troy; and, most hectic of all, with Athenian Greeks who seemed bent on bringing all trade in the eastern Mediterranean, including Nile delta trade, into their Delian League. Long before Alexander arrived, Khemitians had come to think of the Greeks as an aggressive, grasping people. Were Khemitians likely to impart their secrets, especially their most potent and precious technologies, to Herodotus? About as likely as Microsoft is to transfer its software secrets cheerfully to China, or the United States is to do a joint weapons development project with Iran.

Herodotus' story may be history's prime example of why we have in our usage the expression "consider the source." The Egyptian priests who spoke to him were, as politicians say today, disingenuous. Yet their fable, no matter how spectacularly impossible, is the conventional view, so much so that one can easily wonder if egyptologists who are still delivering this absolute nonsense today as though it were dogma have been comfortable with dogma for a very long time because they are, in fact, the reincarnations of Khemitian priests who were selling the same story with a straight face thousands of years ago. It's fitting that Napoleon, who had his own encounter with the Great Per-Neter, should have remarked that history is a fable agreed upon -- though even he might have been surprised to see that a story so bizarrely wild could have been accepted so unquestioned as "scientific truth" for so long.

Apart from the other preposterous features of the story, another glance at the picture above shows why those who insist on Herodotus' account most vehemently are in fact the least qualified to advance an opinion. The ramps in the picture are so steeply graded that hauling heavy stone blocks up them, with no matter how much human muscle, would have been impossible. The ramps, absurdly, are only about as long as the sides of the structure itself. To be workable at all, they would have had to be much, much longer, as William R. Fix explains in the best and most succinct summary ever written of why the rope-and-ramp story, with all due respect to the Father of History, may be the tallest tale ever bought by a gullible reporter.

"In 20 years there are 7305 days," Fix explains. "There are about 2,300,000 blocks of stone in the Pyramid, averaging 2.5 tons each. The current academic theory requires at least 315 2.5 ton blocks to be placed in the Pyramid every day. But with each and every course of masonry completed, it would have been necessary to heighten and lengthen the entire ramp in order to service the next layer. To carry an inclined plane to the top of the Pyramid at a grade of one in ten requires starting the ramp 6000 feet (1828 meters) away in the Nile Valley. The volume of such a ramp would have been 75,000,000 cubic feet, or nearly the volume of the Pyramid itself -- some 88,000,000 cubic feet. Since the Pyramid would have been built more carefully than the ramp, it may be supposed that only one third of the total time was spent in building the ramp. If we proportionally decrease the number of working days allotted to the Pyramid by one third, only 4870 days remain, and this implies that 472 blocks (averaging 2.5 tons each) were placed in the structure each day when work was not taking place on the ramp. Assuming they worked 12 hours a day, this means that between 39 and 40 blocks were positioned each hour, a rate of one block every 91.5 seconds!" (Pyramid Odysssey, pp. 40 - 42)

Impossible, Captain -- as Mr. Spock once advised. So -- if the story Herodotus bought is not the truth, what is? Who built the Great Per-Neter? When? And how?

Khemitians built it some time between 20,000 and 15,000 BC. They did the job more easily than we imagine, with devices like this one, which for Hakim, may be the most crucially important artifact in the Egyptian Museum. This wheel, 60 cm. in diameter, was found in the Step Per-Neter at Saqqara. It's made of schist, a stone that is rarely used for sculpture because it's so hard that it can be cut only with a diamond.

The Museum, with the impracticality that seems standard issue for egyptologists, misidentifies it as a bowl for holding lotus flowers, though the water to keep the flowers fresh would have run out the three semicircular holes at the disk's rim. No matter -- egyptology is not required to make sense, only to keep repeating itself, just as Hollywood movies resemble other movies more closely than they resemble life.

There is no point in making a merely decorative household item from schist when ceramics and softer stones -- and later, glass -- are available. This item was clearly made with high precision to extremely fine tolerances, to withstand rugged use, as we make steel machine tools today. It was designed to be mounted on a gear mechanism and turned at high speed to produce a specific frequency of sound. When used in combination with a matching rectangular schist plate, it created an anti-gravity field.

The legends you've run across now and then about how ancient peoples built their great monuments with "levitation" -- Hawaiians, halfway across the planet from Khemt, also have these stories -- are true. With their anti-gravity machine, the Khemitians could make blocks of stone, no matter how heavy, completely weightless. A pigeon could have lifted them. That is how the great precision per-neters of Giza were built. Sound and light were in fact the two essential, unifying principles in all Khemitian technology. How so?

We can see in a few more pictures. As the map of the main per-neter field from Dashour up to Giza shows, the Nile once ran west of its present course, much nearer than it is today to some of these monuments, and right under the others. The aim of the whole energy system -- Christopher Dunn's The Giza Power Plant is the essential resource on this -- is to run the river's water under and near the per-neters at very high
pressure, stepping up its natural force in two ways. One was by directing it through specially-constructed underground zigzag conduits that look much like the suf symbol for water.
The other was by adding -- light. The area from Dashour to Giza is filled with mysterious vertical shafts like this one at Saqqara. They don't lead down to any subterranean rooms, nor were they ever used as well shafts for bringing water up. They were used to bring something in the opposite direction: to get light down into the river water, and increase its energy to the highest possible level before bringing it to the terminal of the power complex at the Great Per-Neter.
Then power was fed upward through the two lower rooms shown here, and into the top room. The incorrectly-named "King's Chamber," like the "Queen's Chamber" below it, was never used as a burial space. There is no evidence that the Great Per-Neter or any per-neter was ever used as a tomb. This is likely another fabrication by priests who knew their visitors would be only too ready to believe that the "pharaohs," like other vainglorious kings
such as the celebrated Mausolus, had built these huge structures only as resting places and memorials to themselves. The last thing those who had the knowledge wanted to reveal was that the two lower rooms were designed to feed power through the "Grand Gallery," where it was converted to sound energy that was then modified in the "voice box" of the topmost room and broadcast out of the building not only through the four "air shafts" leading from the top and center chambers, but through the very powerful frequencies of vibration created and held by the structure as a whole.
Much of this per-neter's structure, many of its mysterious features, begin to make perfect sense when we perceive it as a kind of spirit radio station for broadcasting sound. Take the Grand Gallery, shown here. There have been as many guesses about its purpose as there have been about the Great Per-Neter as a whole, and as many versions of the same commonsense question: if this structure is indeed a tomb, meant only to be sealed up and admired, why in the world would anyone make the enormous effort of building inside it, where it will never be seen or used for any purpose, the immense corbeled masterpiece of the Grand Gallery? This space clearly had a function. And all those niches -- 26 on each side, for an intriguing total of 52 -- were not placed there merely for decoration. Something was meant to go in them. But what?

If the Great Per-Neter were an initiation building, then Zechariah Sitchin's proposal would be as plausible as any: that the niches held large crystal installations that would purify and energize the candidates walking between them up to the topmost chamber. As Hakim correctly notes, however, the niches actually held stout wooden beams that he saw when he was a young man, and that were not finally removed until the mid-20th century. Why install anything of wood in this great stone pile? Because wood has flexibility for the adjustment of tuning pegs, as in a guitar or other stringed instrument. What spanned the Gallery between each pair of niche beams were, in fact, metal strings of different thicknesses, producing different pitches. The Grand Gallery was a huge harp for creating a gigantic chord of harmonious sound.

Before it went on the air over KHMT Radio, the sound was modified in one more way, in the empty spaces above the top room that have long been called "relief chambers," from an early egyptologist's less-than-expert guess that they, and the great peaked stones above them, were designed to distribute the load above the top room, so that it and the rooms below it would not collapse from the weight of all that masonry. Competent architects do not support this idea, any more than competent engineers endorse the rope-and-ramp theory.
Many who've looked directly at these spaces above the top room, or seen pictures of them, have asked themselves the same natural question: why, when every one of the millions of other stones in this structure were so perfectly dressed and joined, are these stones the lone exceptions?
Why are these giant horizontal stones so perfectly flat on the bottom, but irregular on the top? And why, for that matter, does "Nelson's Chamber," as shown in this detail photo, bear so little resemblance to "relief chamber" diagrams like the one above? The Nelson's Chamber stones appear to have been carved in long grooves, rather than just left undressed at all. Have the egyptologists actually measured these spaces? Or, as seems to be their usual custom, are they only passing off the guesses of earlier explorers as long-proven facts?
Hakim's view is that these spaces above the top room were carved as they were, and each has a unique configuration, because they were in fact meant as sound resonators. The first researcher who suspected this in modern times was the 18th-century British consul Nathaniel Davison, who noticed then when he orated in the top room, his voice came back to him not from the walls of the room itself, but from above.
His curiosity led him to see what was up there, and that is how he found the spaces above the top room and named them for himself and other prominent Englishmen. Countless visitors to the top room have noticed the same very unusual acoustic effect, as I have many times: when you sing powerfully in here, the sound not only resonates above your head, but seems to keep echoing upward, as though the architect meant the sound to move vertically.
Pictures of these "relief" chambers above the top room, each one showing that the bottom stones are curiously shaped and beveled in a different pattern, do seem to support Hakim's view that these spaces were designed as sonic resonators. Even if they do not mirror the exact wave pattern of a single sound frequency, or of the complex sound wave shown here, the premise that they were meant to shape or help project sound is well worth mapping and testing. Ideally, this might be done as part of a comprehensive study to examine Hakim's view that the purpose of the Great Per-Neter was to generate and broadcast sound for the peace and the health of the people, and this is why the Khemitian civilization and spiritual practice lasted for as long as they did.
What finally happened to KHMT Radio, keeping you alive from the Great Per-Neter? Is it true that the energetics of the Great Per-Neter were irreparably damaged at the time of the universal cataclysm in about 10,500 BC, which many cultures have memorialized in myth as a Great Flood? Is it true that at some time there was an earthquake and/or fire inside the building, and this is why blackened areas can be seen on the ceilings and upper walls of the Grand Gallery? Or -- in the context of what some human beings are doing to other human beings now, is there another explanation that is shocking, but then not really, as it makes such perfect sense?

Yes, there is. In Hakim's teaching, the sonic broadcasting system was not destroyed by a fire, earthquake or other natural disaster. It was deliberately dismantled by the hanuti priesthood -- more about them another time -- who realized, just as controlling authorities do today, that human beings are much easier to control when they are sick and in fear, and that a healthy, happy population can be very bad for business.

Now, as the true intent and sound properties of these ancient spaces are being rediscovered, we can begin to attune them again with vocal sound, and the authentic Khemitian words and melodies, in order to contribute what we can to the re-emergence of the ancient sounds of peace and health at a time when Mother Earth much needs them. In time, singers from all over our planet will join us in the sonic space that we share as actors in the transformation that is not just coming, but is ours to sing and bring.

Keep Holding That Frequency.

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Copyright 2006 Dan Furst. All Rights Reserved.