Transcribed by Nan
1800
Carolyn 0:00
"THE CHAPTER OF MAKING THE SAHU TO ENTER THE TUAT ON THE DAY OF THE FUNERAL, WHEN THE FOLLOWING WORDS ARE TO BE SAID: Homage to thee, O thou who dwellest in the Holy Hill" (Carolyn: And I'm not going to say these names they're too ridiculous.) "who dwellest in the Holy Hill (Set-Tchesert) of Amentet! the Osiris, the royal scibe, Nekhtu-Amen, whose word is true, knoweth thee, he knoweth thy name. Deliver thou him from the worms which are in Ra-stau, which live upon the bodies of men and women, and feed upon their blood, for Osiris, the favoured servant of the god of his city, the royal scribe Nekhtu-Amen, knoweth you, and he knoweth your names." Okay. This worms makes me think, iON, that they're, they're pulling people out of the grave and resurrecting them. Is that a possibility?
iON 1:09
Yeah. That's exactly right. And this is how - the whole point of this doing is what this doing is a boot.
Carolyn 1:15
Yeah. Yes. Okay, good.
iON 1:18
But, now you got to wait a second. Hold on just a minute. Now there's a little -
1900
iON 0:00
- more than just digging up the dead folks. You know, no more sittin' up with the dead because the dead keeps sittin' up. You have to realize when the original beginning starts they lay it very clearly: different perspective. I'm in this world looking that way. And then they say - the other ones - I'm in this world and I'm the king of this realm and I'm looking that way. So, you got folks from the dead side looking into the live, and you got folks from the live side looking into the dead. And, apparently, this script says that those sometimes are not so seamlessly divided. Notice, he even lays it out as the scribe. The scribe. What is the scribe? The conscience that sets what's done and not done. To bring back to say: if you're gonna be brought back from the dead, you need your court reporter back. You need your soul back.
Carolyn 0:56
Right.
iON 0:57
Because when your dead, you don't need a soul. And so, that brings that, the stenographer reference. So, that's perspective that'll help take some of this glib glabber out of these words. We say just take all those stupid words out because it just distracts. Because you're trying to apply it to something which it doesn't necessarily - we could say spookers and they'd mean the same thing. But, we don't want to undo the ridiculousness that they're trying to portray.
Carolyn 1:25
Right. Very good. Continuing: "Let the order for his protection be the first command of Osiris, the Lord (Carolyn: capital L) to the Uttermost Limit, (Carolyn: capital "U," capital "L") who keepeth his body hidden." So, what's he trying to hide from?
iON 1:49
Oh, he's tryin' - it's not a - the hidden is a protection. He gets tangled up into it. For example, if you get tired of your dead Bob show and you start goin' to the graveyard, to pulling them out to work on those as well; the Lazarus project, you know, we've already done, of course. But, if you pick that up and go a little faster, you'd need to protect yourself because there's nothing that would stop you from gettin' drug into that world. The way they're giving it.
Carolyn 2:17
Yeah, yeah, yeah.
iON 2:18
And, you notice how it's the Uttermost Limit. See, that the Limit means that if you're going to, if you want to, if you're not careful, you're gonna be invited to rule both worlds. And you can't. That's the rub. Here's the example. You can't be a little man and a god. Now, that's both ramifications in this realm. But, let's say you're dead, and you have to make the same decision. Okay, that's the reverse. Remember, way back in the days of tale of tea, and all the burning in the belly? The details of the inner, outer, and middle kingdoms? Those kingdoms have a - they coalesce back and forth, in and out of each other. And that's the set stage of where you are in reference to where you are - and we said could be, but we didn't want to confuse. The point, those details, now apply like this, because now this becomes the capitulating, or the fulcrum point between the separation between those gleaned worlds. That's what we're talkin' about. Now, up till now, y'all couldn't handle all this bullshit because some of you jackrabbits would go jump right into it and get yourself messed up; and then call 911, and Bob's all stirred up, we gotta go get somebody, and then they have to ask for a tithe from somebody or something ridiculous in the past. But then what happens, it gets real simple, now, because now you're maturing. Remember, Jesus supposed to come back for a mature bride? Church, as it were. So, now, apparently, y'all are maturing. You know, you can even say the vulgar words and understand the difference and how to use your Sunday school words. Isn't that cool? So, it's a maturing process that lets us go into this aspect. We won't beat it to death, but we're trying to lay a little background so it doesn't get confusing because they go from here's a little tit tat, here's a little this and that, and then the next thing you know you're jumping right into it and you're in the graveyard. This one's dead, they're coming forth, you got to be here, you got to be protected, this is bad because they're gonna - so, it gets, it gets too much. So, we're trying to set a little bit of groundwork so you don't get lost. There is a quiz, so you better pay attention.
Carolyn 4:36
Yeah, and that's, that's good. That helps because like I said earlier, it's just, it just seems so crazy. All these words, but I get it. I get it.
iON 4:46
Good.
Carolyn 4:46
Continuing: "May he - (Bob in background) Shut up, Bob! Shut up!
iON 4:58
(laughing)
Bob 4:58
I'm unmuting myself. Okay. Are you getting that the words are important and you're not going to leave any out?
Carolyn 5:04
No.
Bob 5:05
Oh. What did you get, though?
Carolyn 5:07
What I got.
iON 5:09
She gets the application now that the storyline as being prescribed has to be divisible by something. So, the ridiculous words are the markers that divide it from this one to that one. They're not important, but it's what the words are necessary for, so you could be able to tell the difference. That's all.
Carolyn 5:27
Continuing: "May he give him release from the Terrible One" Capital "T," capital "O," which is probably the Dark Soul, is it iON?
iON 5:37
Dark Soul. It's real close to it, darlin. You won't tell the difference. Ha ha ha.
Carolyn 5:43
I know, I was afraid of that.
iON 5:44
As he squeals. As he squeals.
Carolyn 5:48
Continuing. Oh, well: "May he give him release from the Terrible One who dwelleth at the bend of the River of Amentet," Now, are we saying the River Amentet is the River Styx?
iON 6:03
No, we're not. That's the reference - the capital River. It would be the same way to prescribe it like the River Jordan, the separating point. It doesn't matter what 'cuz it doesn't really say what it's dividing from. It just says it's a river. But we look at the Jordan River divides the Canaan, the promised land, heaven, into wherever you are. You know, Brooklyn.
Carolyn 6:30
Yeah, yeah. All right. So it's almost like it's dividing death and life in this instance.
iON 6:39
Ah, we want to say absolutely, but wait a minute. It's not - there's no difference. There's really no difference. See, you're either in your meatsack body or you're not, but you're still alive. You're still eternal. So, see, there's, there's the tear. But your words are solemn, your words are solemn to give the deference to be the difference. But there's no difference, you see. Dave Worcester is Dave Worcester. Whether he's here or whether he's not, he's still Dave Worcester.
Carolyn 7:08
Right.
iON 7:09
And he can't rub the red crystal no more.
Carolyn 7:12
Oh, no. Continuing: "and may he decree the acts that will make him to rise up. Let him pass on to him whose throne (Carolyn: small "t") is placed within the darkness, who giveth light in Ra-stau. (Carolyn: s-t-a-u. stau. Next sentence.) O thou Lord (Carolyn: capital "L") of Light, (Carolyn: capital "L") come thou and swallow up the worms which are in Amentet. Let the Great God (Carolyn: capital "G," "G") who dwelleth in Tetu, and who is himself unseen, hear his prayers, and let those who cause afflictions hold him in fear as he cometh forth with the sentence of their doom to the Divine Block." Capital "D," capital "B." I guess there I just want to know what the Divine Block is, iON.
iON 8:15
White stone.
Carolyn 8:17
Oh my gosh. Awesome. White stone, the iBlock. Whoo hoo. Continuing: "I the Osiris, the royal scribe, Nekhtu-Amen, come bearing the decree of Neb-er-tcher,
iON 8:42
tcher. You're doing great. Neb-er-tcher. Neb-er-tcher.
Carolyn 8:48
"and I am the Horus" So, we - here it's saying that Osiris and Horus are the same?
iON 8:59
They interchange. The in and out. See, that's the way they have to - that's why they have to make the deference so you can keep track of it. Because, otherwise, you don't know if you're the in-out, or the out-in. So, that's the point of all the crazy words.
Carolyn 9:15
Right. So, in the interchange, is one of them in the dead zone and one of them in the live zone? Is that the -
iON 9:24
You can't - is it live or is it Memorex? That's the rub. You can't tell.
Carolyn 9:28
I know, you already said. I know -
iON 9:30
That's the point. See, that, that's the point. And so, you got to have some marker to get you from there to there. It's sort of the rub. Now, our words are failing. They're not appropriate because they're not enough. Because this is huge. Once you learn how to navigate this, you're gonna, you're gonna see death in a totally different way. Totally different way. It's gonna mean something different. Now, we take great light of it, ourselves. It's not a crying time for us. It's you know, with, with, with wreaths of death on your door post, it's not necessary. The whole point becomes an easy run to see the difference of your conditioned response. Now, how we've always made reference to it is from when you were a crawler till you became a walker. And that stage, we don't talk about that as a difference. No one is known as, "Oh, well, he was a crawler, now he's a walker." But they do talk about, "Oh, he's a, oh, no, he's dead, now." He was alive when he was a crawler. That he was alive, and now he's dead. They leave off the crawler part. He most certainly was a crawler, too. You see?
Carolyn 10:37
Yeah.
iON 10:38
So, that's the difference. So, you don't - it depends on from which side of the River Styx, if that's what you want to call it, you're standing on is how close proximity you are to yourself in that land. Let me say it like this. You're a little man, and you're becoming a god. Okay, stop. In this realm, you're a little man and you become a god, you're a god. Okay? And then once you go to the underworld, the nether region, you can go there as a god, of course. That's what they're making reference here. When you go as god there, you're still god. You don't come back a little man. Okay? Now, the reference that you're trying to - they're trying to infer is that you can come back and get your body as a god in that other realm. That's what the whole scriptures is tryin' to point to, in what they call the resurrection. You know, like the last great erection of Bob Neveritt, the erection comes along. That's the point: the resurrection. That's what they're making reference to, to come back and, "I'm dead. They put me in the crypt. Okay, I'm gonna go back and I'm gonna get my meatsack body because I'm gonna live eternally because I am eternal." That's the point of the other side of that, looking this way. Doesn't exactly apply, but it's how they make the difference. And we're going to develop that hard later because we're going to give you the spells to calculate and drive these forces from each side. 'Cuz, see, what's bound on earth is bound in heaven. So, therefore, what's bound in the supernatural is also bound on earth.
Carolyn 12:24
Mmmm. Yeah.
iON 12:28
You have to be careful. Now, we've made - the only rule so far, well, no, there's two rules. The first rule is there's no rules, but that's a rule so that's one. Number two is do not(!) - y'all know what we're going to say. Do not engage the angels if you're angry. Didn't say mad, we said angry. Because mad as a hatter, if you don't have leave of your senses, I guess you can do whatever you want to do because it's over pretty much for you anyhow at that point in a never mind, state of mind. So, that being the case, that applies to here, because you don't know what you're pitching at. You see? You don't know. Okay, we'd say where are you, and you would give definition of where you are based only on the bias that you prescribed. Well, I'm in my house. Well, I'm close to Bob. Well, I'm next to my desk. Well, I'm over here. Well, I'm going to the kitchen. Where's the popcorn? Why isn't the popcorn ready yet? Oh, wait, no, sorry, that's later. Let's back up, back up, back up. So then your proximity of where you are and where you are is only based on where your knowing is. And then you look up and you go: "My God. I'm in the car. How'd did I get here? Well, I must have left. Well, okay, yeah, okay. Yeah, I was going to Costco, I'm goin', no, no. Well, no, wait. I don't know." You see, that happens sometimes. And you use the excuse to remember or to justify where you are. But, we are telling you, you have no knowing, actual knowing, of that preciseness or the detailed proclivity of where you actually are. That's why people says: "Well, I had a dream and I was floating in a space and I was bla bla bla bla bla bla bla." And we say, okay, you wan't scars? We can take you scars from where you been if that's what you want to do. Because your mind has a way of negating what you know as reality. That's what this work is supposed to clean up, so that you now have the ability or the grimoire - terrible word, we don't even like the word but we're gonna use it - to give you the details or the bill of particulars that allow you, number one, to know the difference if you don't want to use it. Okay. That's if you don't want to use it. Or, the power to consume it and know how to do it safely. Yeah, we're fix to turn out -
Bob 15:09
You said "this work." You mean the Egyptian Book of the Dead, not, not this show.
iON 15:13
Yeah.
Bob 15:14
This work is the Egyptian Book of the Dead. Just defined it.
iON 15:17
Oh no, not this - not this show. Not this show. Yeah, that's right. What we're supposed - what it's supposed to be for.
Bob 15:23
Okay, listen to this, Carolyn. Remember when iON said way back 10 years ago that for cavemen, they couldn't tell that they died because there was hardly any difference? So, in the ascended continent, there was no death. So, if you start inventing death as you start to fall, it'd be a slight shift. And you'd come back, you know: "Look, I'm going into this cold water. Look at this." Then slip back in the eternal, ascended continent zone.
iON 15:53
Mm hmm. No, Egypt consumed him. The ocean has consumed him and he's gone forever. We'll see him in the sweet bye and bye.
Bob 16:00
Right. There'll be accidents and people wouldn't come back, but we're talking about the Egyptian culture. Is that what we imagine is caveman sensibility, or was cavemen something way before there were no -
iON 16:14
Imagine. Imagine is the word we ask you to define. You're right, but now tell us, tell us, tell us what you mean when you say that they imagined something. What does that mean? We just don't know what it means.
Bob 16:29
That you created it. They created it.
iON 16:31
Ah, but wait, you can imagine something not created.
Bob 16:34
Thinking, thinking.
iON 16:35
Now wait now.
Bob 16:35
Accidentally. Ah, remembering! They were remembering their fallen state which happened before they were ascended! Heh Heh Heh.
iON 16:44
Okay, now, perfect. Now if you're gonna say it that way, good. That's the reason why we wanted you to get some words. If you're gonna speak on this show, you're gonna have to start being responsible for your wordy words, sir.
Bob 16:55
Right. Okay, but I was wondering when you were talking about caveman sensibility, there were no phenomena named caveman, or, but the fact that we thought them up, they must have happened at some point even though there's no evolution? Were there caveman as we make -
iON 17:13
There are cavemen now. They're living - there're cavemen now. They - you have people listening to this show that live under viaducts in California. They're cavemen, right.
Bob 17:22
Okay, so the, the point is the transparency in the Egyptian culture was just that close, the ascended continent, and the Book is describing the shifting and then maybe the densification of matter as people agreed to fall further. And this Book reminds them of what they used to notice.
iON 17:42
And that, and that, in that in the sentence, that in the sentence it applies to what you just said is: Oh, thou Lord of Light - remember you're supposed to be salt and light - come thou and swallow up the worms which are in Amentet. Let the Great God, capital, who dwelleth in Tetu, and who is himself unseen, hear Bob's prayers, and let those who cause afflictions hold him in fear(!) as he cometh forth with the sentence of their doom to the Divine Block. See how this works?
Bob 18:23
Yeah. What do you think of that, Carolyn?
iON 18:25
So, see the inside out? It becomes the standard. That's what it is. That's the reason the drops have been the, the, the money. It's the currency because it's what it's judged by. This world and the others. Well, see.
Bob 18:45
That's a little too much for little Carolyn?
Carolyn 18:48
Little Carolyn.
Bob 18:49
Ha ha ha. Okay, so let little Carolyn read.
iON 18:52
The world's tallest midget. The world's tallest midget. But, now you're laying off something. At this point you're laying off something. You laid something by. If the farmers listening know what "to lay something by" means, where you bust the minerals and you start putting the dirt back on the roots, that the water, the rain, has washed away from the roots, you lay it by. Put the dirt back on it so the grass don't take over the field. Now what's happening is you're startin' to make the deference and the difference to make a crop. See, this is about the harvest and bringing into a position that allows a place or ability to first, note the difference as huge; and second, to have the ability to make it navigable(?) Let's call it navigatel.
Carolyn 19:51
Wow. Yep. As Bert would say, I have to go back and listen to all that. I was having -
iON 19:59
Yeah, yeah. We said - we did - we said there was a quiz. Yeah, we did say there was a quiz. So yeah, that's right. But, basically, the, the grits and gravy of that is that it lays out what's possible, and now the dimensions of how you apply it. If it does nothing but show you how to get your ass back home, great. That's a good place. But, if it gets you to show you how to move home to you, that's even better. We're gonna show you how to navigate the world of the dead.
Carolyn 20:02
Yeah, but I'm not dead. No dying.
iON 20:34
No, no, but you - but yet you host the dead Bob show every Monday night! So, hey, okay. Ha ha ha. You're working in it. What we're saying is, is you're working in it. See, that's the point. You say, "I'm alive. I'm a god. I'm ascended." But, you deal with every devil in hell most every day. You deal with everything trying to trip you up, mess you up, screw you up, and you have to be so careful. You take - the bigger the deal is now, if you take one wrong step, it's the end of time, or the end of eternity, or it's over, or bla bla bla bla bla bla bla. See? It's just not really the case, but you gotta learn how to navigate. Then you learn how to navigate deals, then you learn how to navigate bargains, and you know navigate your resources, then you realize where your exposure is, then your risk-gain conundrum. Remember the formula: means times faith equals motivation? Now you can see why, what, when someone's willing to do for a handful of dollars. That gives you a great insight to read between the lions. L-I-O-N-S. Read between the lions, 'cuz they're comin'.
Carolyn 21:54
Okay. Whew.
iON 21:55
(whispering) That part (indistinct). Whew.
Carolyn 21:59
The line before and continuing: you have no knowing of where you actually are! Oh my goodness.
iON 22:06
Da dada-da.
Carolyn 22:07
"who taketh possession of his throne from him. (Carolyn: small "t") His father, the lord (Carolyn: no capitals) of all those who are in the Boat (Carolyn: capital "B") of his Father Horus, hath ascribed praise unto him. He cometh bearing tidings.......let him see the town of Anu."
iON 22:31
(laughing) He must have sent a tithe, Carolyn!
Carolyn 22:37
Tidings! Tidings! Not tithe!
iON 22:45
(laughing) Sorry, sorry, sorry we digress. That was inside. That doesn't apply to anything.
Carolyn 22:49
Yeah. Yeah.
iON 22:49
But it's great fun, though. It's great fun. We should write a book about that. That'd be good. We can allow something, then, can't we?
Carolyn 22:57
No, you get a, you get a fake writer. What do you call them?
iON 23:01
Oh yeah, yeah. Ghost writer. A ghost writer.
Carolyn 23:04
"He cometh bearing -
iON 23:05
Or, we can just get it from Esther Hicks. Just get it from Esther Hicks. She got it from Jerry, so, that's good. Just as easy.
Carolyn 23:11
Right. "He cometh bearing tidings.......let him see the town of Anu."
iON 23:19
Anu.
Carolyn 23:20
Anu. "Their chief shall stand on the earth before him, the scribes shall magnify him at the doors of their assemblies, and thy shall swathe im" I think him. It says "im" but I think that should be him.
iON 23:34
No, no, its "i - m."
Carolyn 23:37
Swathe im? Hmm. Who is im, iON? Who is im?
iON 23:42
You'll see. You'll see.
Carolyn 23:46
"swathe im with swathings in Anu. He hath led heaven captive, and he hath seized the earth in his grasp. Neither the heavens -
iON 23:58
Oh oh. Wait, wait, wait,. Before you - wait. Hold one second. Here's one thing -
Carolyn 24:03
Sounds like the devil. Go ahead.
iON 24:04
Well, no, no, no. Maybe. Okay, you can call - the best - that see, that prescription's exactly what we're talkin' about. It's like, oh, it sounds like this. Okay? But actually all it's really saying is that the difference between this one and that one, you can conquer both. So, you could conquer both. Does that make you the devil? Well, sometimes. No, it's not the devil, but you're acting like the devil! Bob, you're acting like the devil! Quit acting like the devil. See? See how that goes in and out? So, you're right from the way it's pronounced, but it's not necessarily the death angel that you're trying to prescribe. What it actually is, is that where you are in a juxtaposable position. See, the capital Boat of his Father Horus? It's not that River Styx ride. That's not that. This is where everybody's held. It's where everybody's held.
Carolyn 24:58
Ahhh.
iON 24:07
You see? So, you're on - get on the Boat,. You know, it's like cowboy foreplay: get in the truck. Once you're in the truck, you're in. So now, once you figure this out, you got Their chief, capital "T," shall stand on the earth before him. Okay? That's where we would, let's just say, that's where the little man lives. The scribes, the people who write shit, they will magnify him at the doors of the, of Akasha(!), and whatever glib, cliche archetype you want to say. And ______in front of the crowds. And they shall swathe im in swathings in Anu. He had led heaven captive; meaning, held it in a bucket, put it in a bottle, put it in a container. Okay? Locked it up, locked it down. Now you're talking about controlling heaven. That's where the god lives. He's in heaven, remember? And now you have seized the earth as well. As what's bound on one is in the other as we said. And then thou: neither of the heavens nor the earth can be taken away from him. See? For behold, he is Ra, the firstborn of the gods. Even the little man can't be taken by both. Even the little god can't be taken by both. We're sorry, we're ahead of ourselves. We're head of your pictionary stuff.
Carolyn 25:26
Ha ha ha. No, you're doing good. Okay, continuing: "His mother shall nurse him, and shall give him her breast on the horizon." That didn't make sense.
iON 26:54
That's that line. Yeah, it does. It's the line, it's the line -
Carolyn 26:59
Demarcation.
iON 26:59
- it's that line between this - and this is where, okay, sustenance comes from the mother. Okay? The mother's milk sustains that person. Doesn't say if the mother's alive or dead. Dead mothers rarely nourish their children. Right? But this doesn't say any difference. This says no difference. The metaphorical inference is that that's where the connection comes from. Now, genealogy would say that that's where it is. So, now, now here's what science - well, we don't want to say - yeah, this is that fucked up science part. We're gonna straighten - Carolyn, we're gonna get you to straighten out some of this bullshit because some of it is just absolutely Newtonianless in any place of origination because they've got it so wrong. So, now what they say: because of this line in the Egyptian Book of the Dead, you got your mama and popper's genes and you are serviced and you're doomed to suffer from whatever the fuck they died of is what you got to die of, and worse and quicker. You see? That's the rub because they're saying that imprint is stuck on you. No question. Well, you say - well, that's just not necessarily the case. I guess, you know, you can die of lead poisoning by shootin' yourself in the face if you wan't to. You know, you sure can. But you don't have to! Well, papa shot mama with a double barrel butcher knife. I guess I got to shoot you, too. It's really nobody's meme, but that's the reference, you see.
Carolyn 29:57
Ha ha. It's in my genes.
iON 30:17
Sugar! You got sugar!
Carolyn 31:18
It's in my genes.
iON 28:49
You got myelitis. You got all this stuff. That's what this is saying. But this is actually giving a break to that chain of bindingness. Now, we're gonna come back to Papa Justify, y'all already know we are. But, this is the condition of you gotta have mama's milk until you come into your own power. You gotta have something from this line to sustain you. Now, it will sustain you. Now, some people borrow us. It's okay. We don't mind that, we'll do that. And we're crass sometimes, we're shocked sometimes, and just like Donald Duck sometimes we're like Bob: we don't give a fuck sometimes. It happens, it just happens; only because the driver has to be - bring you into your place of power. If that's what's happenin', come on, baby, let's go. If that's not what's happening, get on with it. We're good, we're through, it's fun. Is it fun? Are you havin' fun? Okay, good, let's go. But past that, nothing significant is going on here. You see the difference? That's why it's important to be able to stage this and be able to note what's going on. Because we rarely ever, if never, are terse, but we ain't puttin' up with no bullshit. You know, come on. If you get it, get it. If you ain't, it don't matter. You see, it's gonna be done soon anyway. No reason to have travail. So, we just - we're not taking any prisoners, basically. If that helps you, great. You can borrow our power to get your own. But the point of borrowing our power is it's not yours, it's our power. Doesn't matter that you gave it to us. See? See, nows the rub? See how crazy that is? You gave me your money; that's my money; I'm not giving you - I may give you some money; I'll loan you some money, but that's now my money, not your money. Wait, that was my money. I paid that bill with this money right here in my hand. Wait, no, that doesn't work. There's the rub, you see. The conditional repose. We use money to -because that's what everybody's grasping for, you know, fighting to get your hands on a little dab of. You know the story, the ridiculous parts of it. But, that's another thing. We could have just easily said a piece of bread. We could have just said a dose of drops, We could just as easily said a glass of Bob's bread of living water. Same kind of thing. So, it's gonna simplify this, hopefully, but it gets more complex. So, that's reason we say we want to lay this out a little bit. So you can go: "Oh, yeah, okay." Because now that anytime they get the simplest little thing, which we just done, and then you got to have a fucking rubric to figure it out, something is sad wrong. So, here we go.
Carolyn 31:40
What does the rubric - I mean, I'll look up the definition of rubric, but, who put in rubric? Who knew that word back then?
iON 31:47
It's a model. Nobody. This is your ridiculous writers who added this crap. This is their position. This isn't the Book of the Dead. This version is their version of the version.
Carolyn 31:58
It's a heading on a document. A statement of purpose or function. So, -
iON 32:03
Potentially, but this doesn't quite do that.
Carolyn 32:07
Well, if it gives you overview, words -
iON 32:11
No, it's telling you how to do it. This is supposed to tell - a rubric is supposed to tell you how to do it. Okay, we told you somebody's dead, we told you what's going on; now, here's the rubric. The rubric or by rote says: "You wave your magic wand, you can't - put your head between your knees and you kiss your ass good bye. Click." And this is the rubric that tells you how to do it. Now this is what that's gonna tell you what they did that you do.
Carolyn 32:38
But you just said this doesn't do that.
iON 32:42
I know, but that's what this is telling you. This is - they're making this be the point of that story. So, it's okay.
Carolyn 32:49
And the words of the rubric are: RUBRIC: The words of this Chapter shall be said after {the deceased} is laid to rest in Amentet; by means of them the region Tenn-t shall be contented with her lord." Small "L." They - Look! That's the first time I've seen "her" anywhere.
iON 33:15
Yeah, except for the mama. Except for the mama.
Carolyn 33:19
Except for the mama. "And the Osiris the royal scribe, Nekhtu-Amen, whose word is truth, shall come forth, and he shall embark in the Boat of Ra, and {his} body upon its bier shall be counted up, and he shall be established in the Tuat." So, just describing - yep.
iON 33:47
You see, it's telling you that all this is this and this is what you do, this is how you do it, but there was none of that. It wasn't that. It wasn't the point. The reference in those original hieroglyphs had nothing to do with telling somebody to do something. Okay? It wasn't like: "Okay, we've had a resurrection. Now this is - now, what happened? Type, type, type, type, type, type. This is what we saw, this is what we did it. So, we laid it this way, we did that. And this is what happened with it." No, see, it ain't at all like that. It's like, it's in reverse. You might want to say that that rubric was true, then those words are inappropriate. If you did that that way, it's the, it's the, the, the crime scene report came before the crime.
Carolyn 34:37
When you say it's in reverse, you're saying what really happened is the opposite of what the rubric says.
iON 34:44
Correct.
Carolyn 34:48
Bob, do you want -
iON 34:49
But it's okay. But it's okay. It's okay because it does not move the words. It adds a context that's inappropriate, but it kind of tells you as it goes, how you would apply it. Now, the other rubrics are going to say different things that say: "Okay, if you want to do this, do this." That's a little bit different because you're going to be deep enough into it at that point to know the difference. Right now, you think you're gonna raise people from the dead. Well, just don't do it. This more puts people in the - this puts people in the ground more than it rasises them from the dead.
Carolyn 35:29
Yeah. I have a weirdly weird nasal irritation right now. I don't know how much longer I can continue, Bob. I am - I might have to turn it over to Bob.
iON 35:41
Okay, we're close to a little section.
Carolyn 35:43
Ha ha. Bob says: "You're just weak." I'm here dying. Bob! I'm dying! Call the hospital. Bob, get the ambulance.
iON 35:54
(laughing) Well, the words of this Chapter shall be said, the words of this Chapter shall be said after the deceased is laid to rest in Amentet. Ha ha ha.
Carolyn 36:02
I'm dying. Bob, I'm dying.
iON 36:07
Once you get into Amentet, then we go to Tenn-t. Then, Tenn-t and you got to be contented with her lord, so she, Carolyn, will work it out. And the Osiris, the royal scribe, whose word is truth shall come forth, and she, he, shall embark in the Boat of Ra. Sun Ra. Mm hmm. So, that's good. Yeah. Good.
Carolyn 36:33
So the next chapter: "THE CHAPTER OF GIVING A MOUTH TO THE OSIRIS ANI, THE SCRIBE, AND TELLER OF THE OFFERINGS WHICH ARE MADE TO ALL THE GODS, WHOSE WORD IS TRUE, WHO SAITH:- I rise up out of the Egg (Carolyn: capital "E") in the Hidden Land. (Carolyn: capital "H," capital "L") May my mouth be given unto me that I may speak therewith in the presence of the Great God, (Carolyn: two "G" capitals) the Lord (Carolyn: capital "L") of the Tuat. Let not my hand and my arm be repulsed in the presence of the Chiefs (Tchatchau)" Capital "C. I'm not going to pronounce that name.
iON 37:25
Tchatchau. That's okay.
Carolyn 37:27
"in the presence of the Chiefs (Tchatchau) of any god, I am Osiris, the Lord of Ra-stau.. May I, the Osiris, the scribe Ani, whose word is true, have my portion with him who is on the top of the Steps (Osiris)." And they bracket Osiris. Steps is capitalized, so does that implies we're going somewhere, iON?
iON 37:53
Ascension. Ascension. Ascension. The angel rings and the angel diagram, those different steps, that don't mean they're just a division point. Okay? They're division points, but those rings apply and once they're aligned, it's what allows the lotus flower to open. Well, these are the steps of ascension if that's what you want to call it. And now wait, now don't, don't go there. No, no, no, wait a minute, wait a minute. Ascension doesn't mean - that's not what this is trying to do. This is tryin' to say that once you've got the ascension part right, then you can navigate this work.
Carolyn 38:37
Yeah. Got it.
iON 38:39
That's the point.
Carolyn 38:40
Wow.
iON 38:41
See, what it's sayin': have my portion with him who is on the top(!) of the Steps. According to the desire of my heart. I come from an island. Nesersert. Neveritt.
Carolyn 38:56
Neveritt, Bob.
iON 38:57
Yeah. And I have extinguished the fire. We wish you could say that for California, huh?
Carolyn 39:05
And then we have another Appendix and then another chapter. "THE CHAPTER OF GIVING A MOUTH TO THE OSIRIS, THE SRIBE ANI, WHO SAITH:- Homage to thee, O thou lord of brightness, Governor (Carolyn: capital "G") of the Temple, (Carolyn: capital "T," capital Prince) Prince of the night and of the thick darkness. I have come unto thee. I am shining, I am pure. My hands are about thee, thou hast thy lot with thy ancestors. Give thou unto me my mouth that I may speak with it. I guide my heart as its season of flame and of night." Taking your power, I guess.
iON 39:58
Well, well, that way, you, well, you don't know you have a power, see? This is the, this is the sate recession. This is a sate recession which means it's another aspect of: "Oh, okay. Oh, okay, here we go. I didn't know that this is what I do when I need to say something and I can't and I run out." That's what you're supposed to go to, to get this lined up to make something, figure it out so you can speak.
Carolyn 40:26
So, you're working up for your first presidential debate.
iON 40:31
Basically, unless you're Beto, then you're done.
Carolyn 40:36
Yeah, he's done. "RUBRIC:
iON 40:37
Bless his little heart.
Carolyn 40:40
"If this Chapter be known by the Osiris the scribe Ani, upon earth, {or if it be done} in writing upon {his} coffin, he shall come forth by day in every form which he pleaseth, and he shall enter into {his} abode, and shall not be repulsed. And cakes, and ale, and joints of meat {from those which are on} the altar of Osiris shall be given unto him; and he shall enter in peace into Sekhet-Aaru, conformably to the decree of the Dweller (Carolyn: capital "D") in Busiris."
iON 41:24
Busiris.
Carolyn 41:24
"Wheat and barley (Carolyn: barley, which is RNA reset drops) shall be given unto him therein,
iON 41:30
Dhura. Which is known as dhura. Known as dhura. That's right. That's the same prescription that is the shew-bread. Same. Dhura. That's right, same conversation.
Carolyn 41:44
"and he shall flourish there just as he did upon earth;" So, they're, they're saying that you're, you're just eatin' and drinkin' the same over there as on earth. "and he shall do whatsoever it pleaseth him to do, even as do the Company (Carolyn: capital "C") of the Gods (Carolyn: capital "G") who are in the Tuat, regularly and continually, for millions of times." Oh no. They brought time into it, iON.
iON 42:18
No, no, it's okay. No, no, no, no, no, no, no, it's not time. It's millions of times. Not time. I'm gonna, I'm gonna have an orgasm. Okay, I'm gonna have another orgasm. It doesn't say when. Then you say you're gonna have millions of orgasm.
Carolyn 42:33
Ahhh. Timing.
iON 42:34
Then. Yes, not, no, they know better because they really aren't judged by time. Time is a straight up fictitious. You see?
Carolyn 42:43
Right.
iON 42:43
Because you can't even mark - because you gotta realize that originally when they got started this before the Gutenberg fucked-up Galaxy, what happened was, they weren't doing time. They were doing cycles. Remember the Mayan shit and all those different things? They weren't tryin' to say this is tick tock. They're trying to say, here's the revolution on this one. Here's the revolution on this one. Here's the revolution. And it's like Bob's Groundhog Day. So, the same number of minutes are in every Groundhog Day? Bob says no, they change. A bit more or less, and oh, remember. It's like tonight, you're gonna lose time. Where y'all don't - say, here you go. Bob's not! Bob's not gonna lose any time. But, Carolyn, you'll have to relive your world because of daylight savings time. Because now you interact with so much on the mainland, you have to move your schedule to match their position. But, Bob, no, he's like, fuck you. If you can't figure it out, I'm on my day. Y'all gonna fit with me or I ain't goin'. But, you, on the other hand, have to move your world. Oh, all right, right, right. I'll see you at two. You got to change your whole timing for everything, which is ridiculous. That's the point.
Carolyn 43:55
That is the point. Okay, Bob? Will we continue?
Bob 44:00
Yes.
Carolyn 44:02
So, the next section is: "THE CHAPTER OF COMING FORTH BY DAY AND OF OPENING UP A WAY THROUGH THE AMEHET:" Amehet. What - I forget, what's the Amehet, iON?
iON 44:17
The other versions is the direction. Directions Amentet and Amehet is the both sides. This makes me - well, let's call it the desert or let's call it the mountain. It's the navigating.
Carolyn 44:34
Cool.
iON 44:34
Yeah, the scenery is a different reference, see? That's the whole point of the other corner. You'll see in just a minute.
Carolyn 44:42
"Behold, the scribe Nebseni whose word is truth, saith:- Homage to you, O ye Lords of Kau, (Carolyn: capital "L") ye who are without sin, and who live for the endless and infinite aeons of time which make up eternity."
Bob 45:03
Yeah, let me ask something. Is a scribe a little man, iON?
iON 45:11
Ehhh, depends, but mostly.
Carolyn 45:13
It's the soul, Bob.
Bob 45:13
Oh, it's the soul.
iON 45:15
Mostly, mostly it is.
Bob 45:17
Is it any soul?
iON 45:20
God doesn't have a soul.
Bob 45:22
Gods don't have a soul. So, this is a soul of the little man, Carolyn.
Carolyn 45:27
That's right, Bob.
Bob 45:27
(overtalk, indistinct)
iON 45:28
(overtalk) Yeah, but then we stop. But then we stop because we don't see you all as little men. We see you only as god, because you are god. See?
Bob 45:40
So, you don't see the soul?
iON 45:43
Well, we don't see the little man. The soul is just keeping track of how you've been doing so you will remember. We know how you were doing. Now, we don't have to remember.
Bob 45:53
When you were the guf, the unrealized creations of the soul, gathered, were put into your environment, into you, the guf, and you would see those.
iON 46:01
Into our, into our, into our chicken soup. Yes.
Bob 46:05
Right. You would see those, but you don't see the little man.
iON 46:10
Correct. We don't see you as a little man. Never. No.
Bob 46:14
As a little man, do you see us when we are a little men?
iON 46:18
Yes, we do.
Bob 46:21
Okay.
Carolyn 46:21
But (overtalk) judge.
iON 46:22
But, we know what you're gonna do. We know - well, yeah, we - yes, now wait now. Yeah, we do, We judge. We sure do. We judge. No, no, we judge you - no, here's the thing. You can judge. You're just gonna be judged by the same measure. See? That's the rub. That's when you want to smote somebody. You want to smote somebody. We say, okay, we'll take care that. No problem, we'll do it. You need somebody blow-the-fuck-up? Okay, we got you, We got you. Your power is going to do it. But then you're going to be judged by the same measure. That's why we say never do it harshly or in anger. It's well thought out and contrived. Don't worry. Typically, they've wrapped enough rope around their neck; they'll stumble and fall and strangle themselves, more typically. You see? And Bob, that's why Carolyn is very precise with those that strike up against her. She's, normally, just very calm and nonchalant, and what is it president Kennedy said? "For always, always, always forgive your enemies, but never forget their name."
Bob 47:29
So you're saying Carolyn is very precise in what?
iON 47:34
In watching and noting the riles of when things come along. She's very aware of that to the point that she can navigate it very easily, but she never had someone - a hit put on somebody because she didn't want a hit put onto her. See? She lets them work themselves into the mess. And they grind themselves into a fine, powdery pulp, and then she says: "Aww, poor, poor talcum. Let me see 'em."
Bob 48:02
Right. Did, did - is that karma what you just described?
iON 48:06
No, it's not karma. No, that is not karma. That is, that is - it's called retribution. It has to be set off into a notion. You can use judgment; you can judge, you're just gonna be judged by the same measure. If someone wrongs you or get you sideways, or gets you messed up, or blah, blah, blah, blah, blah. You know, so, Sache Spencer thing, same kind of thing. Get rid of Spencer because he's a gambler, he's a this, he's a that, and you walk the earth for the rest of your life miserable. But you can't - or like getting rid of your wife because she takes a drink and then you go marry a drunk. You get back what you put out. Not from a karmic standpoint, because you've now set the measure of that's what you'll hold. You see?
Bob 48:56
That's called retribution.
iON 48:59
Yeah, you can't tell which side of the River Styx you're standing on when you're making all these prescriptions. So, therefore, there's the rub. If you don't know, then better hold that back until you do because you're gonna get it just like that. How do you want it? Just like that. No problem as long as you know that.
Bob 49:21
Is that because you're the only reality, and so what you create and think you project on someone else will come back to you because you're the only thing there? Is it something like that?
iON 49:32
Depends on, depends on who the fiend is.
Bob 49:37
There are fiends who are not you.
iON 49:41
Correct. You'll see, it's coming.
Bob 49:44
Okay. So just a minute ago, you were saying we this, we that. Who is "we" when you say we?
iON 49:51
The collective "we."
Bob 49:53
What is the collective of what?
iON 49:56
Oh, of all the humans who aren't in - well, if you call it a placeholder for all the power that god has, that little man won't accept back, "we" would be that.
Bob 50:09
Right. That's why you're this sum of power in this realm. You're just holding our little people's power.
iON 50:19
Well, we were doing real good till your fucked-up Tiny Note parsed everything out into the hexadic. And now we have to share with your Tech Body because you killed the Chip Body because of fucking Kroker. So, thanks boss, you really straighten that out for us all. So, we'll navigate that little ditty. But then again, that'll be in the song of sixpence as well, won't it?
Bob 50:43
Yes, and so I go over to the chat line to see if any reasonably conscious person is responding to how amazing what we're hearing just now in the last hour or so, -
iON 50:54
(laughing)
Bob 50:53
- and all I get somebody called horse happy, going: "Hi, iON, Bob Carolyn and other selves." Come on, horse happy.
iON 50:54
(laughing)
Bob 51:05
Yeah, it's like Frank - Frank Zappa's doing an amazing guitar solo in the great high school gym, and the janitor walks by and kind of just waves at Frank and carries on to this room where his broom is. You know, he ignors what Frank's doing.
Carolyn 51:20
But, Skip says: "Good job, Carolyn." Good job.
Bob 51:23
I don't see Skip yet. Where's? -
Carolyn 51:25
Way down.
Bob 51:26
Oh, right, you're going -
Carolyn 51:27
Cheri's putting all the transcripts on -
Bob 51:31
Oh, look, Clinton's in our midst. Clinton goes: "Fucky." He's fucking Kroker. Jesus, you homosexual jerk. He's fucking Kroker.
iON 51:41
We said, we said, we were referring to fucking Kroker that you messed up in your chart. And so -
Bob 51:46
I know, I know, I 'm switching it. Because Clinton, when Clinton shows up, war breaks out. So, we have to have him sit back and be amazed at what he's hearing. His puny, little accusations aren't going to swallow what we've been witnessing, Bert. Right, Bert? Alissa? And anybody else who's got a reasonable brain here?
iON 52:09
Bob, Bob. You didn't say you swallow. No, that's a different thing. We may have to move him into a different category if he'll swallow. Now, that's a little different. I don't know, that may be better. May be better.
Bob 52:19
Who? Kroker or Clinton? Kroker or Clinton?
iON 52:21
Yeah, whoever is swallowin', Bob. Whoever is swallowin. That's the one to be sure to see about.
Bob 52:27
Look at that. Clinton: "I dig the Egypt scene." He has no clue it's about today. Jesus Christ, Clinton.
Carolyn 52:34
Look it. Edwin Star sang, maybe wrote the song, "War." War. War broke out.
Bob 52:43
Ha ha ha. I think Eric Burdon did that.
iON 52:45
Tell him, tell him it was about 2000 years before Egypt, though. That's the problem, but that's another -
Bob 52:52
Augmentor says, augmentor gets my point: "You don't get this good lemonade every century. Good job Mr Dobbs, squeezer extraordinare." Even though Carolyn's doing all the work, I still get the credit because Carolyn learned at my feet.
Carolyn 53:06
True.
iON 53:06
Awww. Lord have mercy.
Bob 53:07
True? Gee, cute.
Carolyn 53:09
I don't like squeezing.
Bob 53:11
All right, but you're doing fine here.
Carolyn 53:13
Right.
Bob 53:14
So, we were talking about what - Kroker. Okay, he blamed everything on me. What was this condition just before that before? Oh, the "we." So, are you the "we"of the collectivity of fallen, of little man, where they need to be supported by each other? The - what you call the nonphysical. That's the support structure?
iON 53:34
Horse happy, horse happy, who is paying attention, answered the question for you. The answer is the magic mirror. It all went to the Tech Body's application. Now they're paying attention, now, Bob.
Bob 53:49
Yeah, but wait a minute. I'm talking about what the definition of "we" is. Then you said that "we" are the -
iON 53:54
The magic mirror. We are what goes in the magic mirror. We are the collector of that power that the little man will not take.
Bob 54:05
Oh, the mirror collects things. The mirror gathers the images.
iON 54:10
What does it - what does the mirror do, if not that?
Bob 54:14
All right, so, you gather it and it's our - you didn't say what you gather. You gather the collectivity of us. What are we? There were little men, so you gather all the unrealized creations.
iON 54:32
Ha ha. We're a dithyrambic spectator. We're a dithyrambic spectator, according to Wyndham Lewis. According to Clinton. Ha ha ha.
Bob 54:39
Look. Kroker's here. Kroker's here. Kroker woke up. We raised Kroker from the dead.
iON 54:42
(laughing) Arthur Kroker. Arthur, Arthur. Arthur Fucking Kroker. Arthur F. Kroker. Arthur Fucking Kroker.
Bob 54:53
(laughing) Wouldn't it be great if Kroker_(indistinct) Thompson_ heard this stuff, Carolyn.
iON 54:53
Oh, and look. Look. Kroker, Kroker swearing, that's what's so fun. That's what's fun.
Bob 55:04
Ha ha ha. He spells gorilla wrong. Yeah, this is a great Kroker. Kroker would never spell a word wrong.
iON 55:09
And you, and you little bitch with a question mark. It's like, "you little bitch?" Like you're not sure? Okay.
Bob 55:17
Are you a little bitch? Yes. But, back to the "we." So, you're our collective "we," and gods don't have a collectivity; so, it's little man's collectivity. And it's all their unrealized creations that attempts to connect with someone else either to stand above them, or stand below them in relation to someone else is how they're judging themselves. That's, well, that's a mirror action, eh? Trying to see yourself in someone else. You are the collective mirror.
iON 55:44
Well, we don't like it. Yeah, we don't like that. Yes, but we don't like that because what happens with that is you can get sideways. But, now, wait. There are some people where it's only the - what is the statement? It's: only the good die young. Ha ha ha. Remember? So, where would you put a statement like that in what you just said? Well, it's like, oh well they get the - the bad live long because they got to figure out how to navigate this position that allows them to peacefully allow people to be and do whatever they're gonna be and do. Okay. Basically, you get so busy being god and running your world, you're not really noticing everybody else's, basically.
Bob 55:48
Yeah.
iON 55:50
Because people gonna do what they're gonna do.
Carolyn 56:35
Hey, Bob. Yeah, yeah yeah yeah yeah, yeah. iON, this is important. Let me interject. This Dr. Arthur Kroker quote is just straight from the internet. Some Navy SEAL; copy, paste, the lyrics. Goes on and on and on. You know, another cut and paste.
Bob 56:54
It's a Navy SEAL said this?
Carolyn 56:57
Who knows?
Bob 56:58
Yeah, I see. Yes. So, he's just bragging, this Navy SEAL. Right. So, it's probably Sara. Little Sara probably did this.
iON 57:06
Aww.
Carolyn 57:07
Okay. Shall we go on, or have we totally ruined the mood?
Bob 57:11
No, no. Go on. Let's go on. It's not much more, we just go down to the - see the next big section. Carolyn? "TEXTS RELATING TO THE WEIGHING OF THE HEART OF ANI." We can stop there.
Carolyn 57:22
Okay. Continuing: "I have opened up a way for myself to you. I have become -
iON 57:28
Hold on! Wait, wait, wait, wait, wait. Whoa, whoa, whoa. There's always a link. There's always a link. Regardless of where you find yourself. There's always an opened way for myself to you. And the question Bob would ask, and rightly so, was: "who is myself and you?" Because it's almost in the past pluperfect condition of: I'm speaking from me to me. Or: I am me to myself to you. But not really. But that's the way it's portrayed. You're gonna catch this in a second, but we had to stop that. Sorry, we digress. Go ahead.
Carolyn 58:11
Thank you. "I have become a spirit in my forms,
iON 58:19
Right.
Carolyn 58:20
Yeah. "I have gotten the mastery over my words of magical power,
iON 58:26
Rhyee!
Carolyn 58:26
"and I am adjudged a spirit;" So, that is what you were saying about the live dead, live dead, live dead, live dead.
iON 58:38
Right. Right.
Carolyn 58:37
"therefore deliver ye me from the Crocodile (Carolyn: capital "C") {which liveth in} this Country of Truth." Capital "C" and "T." Now, reference your crocodiles, is that an Egyptian - whatever - icon?
iON 59:01
No.
Carolyn 59:03
What's that doing there?
iON 59:06
Oh, it's like, not an alligator.
Carolyn 59:09
Yeah, okay. Heh heh heh. "Grant ye to me my mouth that I may speak therewith, and cause ye that sepulchral offerings shall be made unto me in your presence, for I know you, and I know your names, and I know also the -
iON 59:32
AHH! They've been - so, that's where Kennedy got that from. Sum bitch. Okay, do it.
Carolyn 59:42
That's where Kennedy got what from iON?
iON 59:46
Forgive your enemies but never forget their name.
Carolyn 59:48
Oh, okay: "for I know you, and I know your names, and I know also the name of the mighty god (Carolyn: small "g") -
2000
Carolyn 0:00
"...before whose face ye set your celestial food. His name is "Tekem."
iON 0:05
Tekem. Mm hmm.
Carolyn 0:08
Brackets. "{When} he openeth up his path on the eastern horizon of heaven, {when} he alighteth towards the western horizon of heaven," So, there's a demarcation again. "may he carry me along with him, and may I be safe and sound. Let not the Mesqet make an end of me, let not the Fiend (Sebau) gain the mastery over me," Is the fiend the Dark Soul?
iON 0:44
No, the Fiend is the decision the - the regret inside you. Where you question your worthiness. where you're saying you're not, you're less than, you're not enough, it's not appropriate or, you know, I don't qualify, it doesn't work, it's probably end bad for me. You know, basically "e, or" syndrome as they call it. Like that.
Carolyn 1:05
Yeah, Got it. Good. Continuing: "let me not be driven away from the doors of the Other World, (Carolyn: capital "O," capital "W") let not (Carolyn: your) you doors be shut in my face, for my cakes are in the city of Pe, and my ale is in the city of Tep. And there, in the celestial mansions of heaven which my divine father Tem hath stablished, let my hands lay hold upon the wheat and the barley, which shall be given unto me therein in abundant measure, and may the son of my own body make ready for me my food therein. And grant ye unto me when I am there sepulchral meals, and incense, and unguents, and all the pure and beautiful things whereon the god liveth, in every deed for ever, in all the transformations which it pleaseth me {to perform}, and grant unto me the power to float down and to sail up the stream in the Field of Reeds (Sekhet-Aaru), {and may I reach Sekhet-hetepet (the Field of Offerings)}. I am the twin Lion-gods (Shu and Tefnut)." Now, look, it's so pedestrian. They just want to be god so they can keep eating and drinking. What is the big deal?
iON 2:43
Right. It's, they got to keep it between the lions. That's why we were all about, remember?
Carolyn 2:50
Oh, no.
iON 2:52
Remember? Between the lions.
Carolyn 2:54
Yeah, right.
iON 2:57
But that navigation is you're going to eat - no, but no, wait. Now, you're going to eat either way and you're going to consume either way. That's not the point. The point is, is that how you navigate this position and not trying to ascend just so you can have bread of life and living water.
Carolyn 3:12
I know!
iON 3:11
And you're not just trying to get bread of water and living life to ascend. That's just what you do once you are, but you're gonna do it in either state. It will just mean different - it will be meant differently once you arrive. They're just noting the condition of the difference of the, the twin Lion-gods. Between the lions.
Carolyn 3:35
Okay, so let's, let's go into, "I am the twin Lion-gods." Why are they throwing lion into the works there? I mean it - is that one lion alive and one dead? Is that still continuing that metaphor?
iON 3:53
No, no, it's hendiadys. The twin Lion-gods. So, you have two of each. You got one in each. You got the one alive and one dead in one, and one alive and one dead in the other.
Carolyn 4:06
Yeah.
iON 4:07
That's the rub: in between the two. 'cause see, when you start applying - that's why the OA movements are so important. Because you don't know which side you're on, and you don't know which one you are! We have much more trouble out of the dead ones among you than we do the live ones. Recently departed, we call them.
Carolyn 4:32
Right. Okay, Bob, I'm wrapping up. Can you finish -
iON 4:38
You did. That was good. No, that was perfect.
Carolyn 4:42
Yeah, I just want to see Bob has any questions, but he has to wash his filthy hands. Ah ha.
iON 4:47
Wash them nasty hands. God almighty knows. Don't touch that. Don't touch that. Don't touch that.
Carolyn 4:56
Is it gonna get less pedestrian as we go along, iON?
iON 5:01
It depends on which section, see? Others would say: "Let's don't make that word even the condition. Let's make it be applicable." What that means is: "Tell me how to smote somebody! Tell me how to save somebody. Tell me how to get milk. Tell me how to, tell me how to consume spoiled milk and make it good."
Carolyn 5:22
Hmm. Mm hmm.
iON 5:24
You know. That kind of stuff. You'll see.
Carolyn 5:26
Okay, good. Very good. Thanks, Bob.
Bob 5:29
Okay, thanks, Carolyn. Very well done. So, I will play a song -
iON 5:33
As always. Good.
Bob 5:34
Play it, as always. I'll play a song and then people can bring their questions. People have been telling me they have questions. They want to be part of this. They want to be part of the Egyptian unfoldment. So, we'll get the questions. But, let's have a musical interlude. Let's play something we're not used to. There's something new. Something like this.
Music 6:17
(starts with James Brown, Prisoner of Love)
Bob 10:06
Okay, that was Duke Ellington. And the song was Stormy Weather. Oh, Cheri identified that. Thank you, Lee. And you're right, Lee, this is the best advanced learning ever. Not just for today, but for all, all timings. So, we'll get to that in a minute, happy horse. So, I'm going to open the phone line so people can ask questions. I think little Sara had questions, but I don't know if she's there. So, I'll just open unmute and see who -
Announcer 10:48
All participants are now unmuted.
Bob 10:51
There. I've opened it up. Brent, you got questions, Brent?
Brent 10:56
None right now, Bob.
Bob 10:59
Okay, Leon? You got questions about the Book of the Dead? Nope? Greg or Ginney, you have questions? (pause) They're not saying anything. Is this Roy? Roy, do you have questions? (pause)
iON 11:26
You actually have to unmute everybody, Bob.
Bob 11:28
I did. Everybody's unmuted. Maybe I'll refresh my board. Maybe that's - nope. So, Scott, do you have any questions? (pause) Nothing there.
Carolyn 11:36
So, when's Bob gonna blow up, iON?
Bob 11:51
What do you mean?
iON 11:52
About two seconds. 2.3 seconds will about do it.
Bob 11:57
Yeah, I'm gonna blow up?
Carolyn 11:58
Yeah, you've asked six people now. No one, no one has a question. Well, it was Alissa that said she would have questions.
Bob 12:07
Yes, and Sara. Let's see if Sara's explaining anything about her absence. Nope. Thank you. Oph. Well, happy horse asked a question: "How does one enjoyably drink teas with tough tannins?" Can we fit that into the Egyptian Book of the Dead, iON?
iON 12:29
Gotta have the rules of engagement. Tannins don't affect dead people. So, you have to engage. You have to engage from a standpoint of where you are in proximity of the thing that's causing your distain. The tannins in the tea affect the human. So, that condition then actually has the other effect on the opposite side. So, you would crave tannins to stop the condition on the other side. So, you have to juxtapose - just like everything else, you have to juxtapose that position. And the Egyptian Book of the Dead will tell you how to drive those monikers so that those tannins don't have to have any effect on you. And it won't have a negative effect on your meatsack body. We'll show you, honey.
Bob 13:23
Okay, so nobody seems to want to ask about the Egyptian Book of the Dead. Nobody here. So maybe, -
Clinton 13:33
So, this is the -
Bob 13:35
What? You have something to ask, Clinton?
Clinton 13:38
I'm just researching the translator of the version that you're reading here. This is the probably the original English translation by E.A. Wallis Budge who was born in 1857. This is probably like the first English version.
Bob 13:54
Right. iON has talked a bit about that. iON has sort of dismissed Budge. What would you say about his translation, iON?
iON 14:03
Crappy.
Bob 14:06
So, you're, so you're taking the words that are there and adding stuff that Budge doesn't know about, and -
iON 14:13
No, we're trying to clean up, we're trying to clean up his bullshit 'cuz he adds his own sepulchral to the grave.
Bob 14:22
Right.
iON 14:23
These positions that are added to, that, those hieroglyphs don't have any of that crap. He's laying out this picture and he's taking this picture and, and he's telling them a bedtime story, sometimes, to go along with it which utterly confuses and moves the whole essence of the running by day of night, and up of under, and out of in, and outy houty ah ooh. Ridiculous. All that should have been washed out. If you fuck with us, we'll rewrite the whole damn thing except, some people can look at that and go: "Okay, okay, okay." It gives them a reason for the season. And, so, then we quit and say, okay, fine, do what you want to do. Because at the end of the day, it don't really matter anyway. But, if you don't figure out what we're going to tell you about it, it's not going to do you a lick bit of good, you'll see.
Bob 14:23
Right. So, what you're saying, what you're seeing in the words, is - has never been publicly said before. By anybody all through the -
iON 15:23
Well, till just now. We did it just then, what was public, it would be.
Bob 15:26
Right.
iON 15:27
Tech Body, Tech Body's got it. Now you'll find it in the Wikipedia probably by morning.
Bob 15:32
Okay, so the scribes that wrote the Egyptian Book of the Dead, that environment way back there, did they, could they have explained what they're writing the way you just explained the content?
iON 15:45
They didn't write in words. It was all in pictorials. There were no damn words, only pictures.
Bob 15:54
And what did the pict - what the pictures showed, is that what you're telling us? What the pictures showed?
iON 16:00
Well, ahhhh, pictures don't show: pictures are. So, it's where you see: where are you in the proximity of the sightedness? See, we told you how to ascend and for years: (mockingly) "You didn't tell us how to ascend. You'd never tell us that. You don't know what you're doing. You're not going to make it either. We just come here to say words." You know, that kind of thing. So, it's in your perspective. It's your perspective of where you are in that picture. Ginney would be right when she went into Revelation. She pointed back to say: "Can you see yourself as a god? If you can't, then you got a little more to do." That's what she would say, and rightly so. She would be correct with it. Like, do you, can you see yourself fulfilling the thing; coming back into your place of power that's yours. Everybody accepts that. And if they don't accept that, they see it work. They see you, Bob, go from a pauper into a prince right here in front of their very fuckin' lyin' eyes.
Bob 17:02
So, James Joyce was trying to put pictures in the words that he wrote in Finnegans Wake.
iON 17:13
Tryin' to turn it into a Dictograph.
Bob 17:17
Is that something acoustic?
iON 17:20
Yes, it would be a graph of dictation, so it would be a Dictograph.
Bob 17:25
Right. So, Joyce was not happy with whatever translation he was looking at for the Egyptian Book of the Dead. He knew there was something more? Was that what he was trying to show?
iON 17:39
Of course, that and absinth didn't help any either.
Bob 17:43
Right. So, he was attempting to see deeper and he didn't get too far. He didn't get where you're explaining it. I mean, just the idea that people are able to see the dead zone. Would we have called that the guf back then? People could see the dead. They could see -
iON 18:05
Well, they don't see the dead! They don't see the dead. They don't see the zone. They're still trying to have funerals and wakes and layin' wreaths of death on their doors, and doing all these kind of foolishness. It's the craziest thing ever, ever ever. They have no clue or idea. Then they get over there in the Dead Space tryin' to scream and holler and yell at the rafters and open the doors and boo! Boo! Boo! Fucked with Kanye. They got Kanye ready to jump off the building every day. And we fuck with Kanye, but damn! Gettin' so tangled up over that you can't see straight for up, yeah. It's (indistinct) easily.
Bob 18:43
Okay but, you were describing how the book would teach you to be able to see the dead, I guess. And then also that you are on the dead side and can see the physical, the living.
iON 18:53
No, not see the dead, see the condition. See the condition. It's the condition.
Bob 19:02
Within the physical?
iON 19:04
And the other way!
Bob 19:07
But what is the condition as opposed to seeing something?
iON 19:10
Bob, you've got just - you got twin lions: two here and two there. Alive and a dead one, and alive and a dead one, and we already said in the beginning was between the lions. And then they start figuring out that it is between these two lions. Okay, so you have as much dead in you as you have live in you right now. Which one's winning?
Bob 19:32
Yeah. And when did the lions come in? I heard you talking about it earlier. Are they positioned there? Did you read about the lions, Carolyn?
Carolyn 19:41
(in background) Mm hmm.
Bob 19:41
Okay, so they were described. And what do they represent?
iON 19:46
The distance between you and you.
Bob 19:49
Okay, so what you just described, the twin lands, describes writing out the picture.
iON 20:00
Lions.
Bob 20:00
The original - Huh? The original people writing out the pictures of the manuscript. They didn't know what they referred to?
iON 20:12
They weren't sure.
Bob 20:14
They weren't sure. Who was sure in those eras? Who was sure when -
iON 20:21
Ani.
Bob 20:22
Ani. All right. And was, ah - this is before Moses lived there?
iON 20:30
Yeah, this was a little before, a little before Moses.
Bob 20:33
But I would have been there. Ophenel would have been around.
iON 20:36
Oh, hell, yes. Tearin' up shit. Yeah, that's right.
Bob 20:40
Was I exploiting things there? Or, was it just me taking my power?
iON 20:47
Oh, well, computer says yes.
Bob 20:52
To which one? Exploiting or taking my power?
iON 20:56
There's no difference, really.
Bob 21:03
Ah, ha ha ha. Yes. All right. Were the pyramids built at this time when this manuscript was put together?
iON 21:09
Amentet was, the Step Pyramid was, but not Giza.
Bob 21:14
Right. So, they lead people instructing little men how to see the twin lands, and the scribes are lurking and writing it down trying to interpret what they think the teacher is telling the little people. Right?
iON 21:34
Beautiful words, what does it mean?
Bob 21:37
It means there was this oral tradition. And these pictures are attempting to describe the oral tradition of Ani -
iON 21:44
No, we knew you were going to - no - we knew you were going to take that bait. Nope, nope, nope. Stop. You have pyramids, which are supposed to be for the pharaohs that are dead. They're going to build these pyramids and the reason they're markin' them pyramids, is so they can mark in this world the mirror to that world. Giza. Remember the Orion's belt?
Bob 22:09
Yeah.
iON 22:09
How many fucking times have we talked about Orion's Belt? It lines up exactly with Giza.
Bob 22:16
Yes.
iON 22:17
The mirror between the two. They point. Now, we're gonna put them capstones back and it's gonna open some stuff up, but that's this point. That it's the mirrored side from here to there. You don't know which side your on. Sometimes.
Bob 22:17
So, when you used to talk about we go into the washroom at the Hermitage in LA and you talked about the mirror what was going on -
iON 22:43
L' Ermitage.
Bob 22:44
L'Ermitage.
iON 22:44
L'Ermitage, same thing.
Bob 22:46
Was that mirror applied? You talked about it within the context of watching people come back and forth. But, it applies to what the Egyptian Book of the Dead is saying. It's the same phenomenon. The word mirror applies there and here. Okay.
iON 23:02
Same difference.
Bob 23:04
All right. So then the scribes, are they lurking and hearing the teaching? Or, are they - and are they putting this stuff on the pyramid walls? Where was this? Was this in clay form? Manuscript? Papyrus?
iON 23:20
Pyramid walls.
Bob 23:22
Pyramid walls.
iON 23:23
Rock. Rock.
Clinton 23:25
I've posted the original facsimile on the chat that that Budge was translating, though the Egyptian Book of the Dead was a book that was written for a person and put in with them as a guide to help them through the afterlife. So, this particular Book of the Dead was written for a scribe named Ani. And so this is what was put into his, you know, tomb to help him - like his lions - to get through the afterlife. And it would have been personalized just for him.
Bob 24:00
Okay, let me ask you a question, Clinton. So, these books were copied from the walls of the pyramids?
Clinton 24:08
Well, it seems as perhaps that's where the, where the original was, but, but the Book of the Dead was a book for the dead, like, to read and to help them get through the future challenges on whatever, wherever they go when they die. Right. So, -
Bob 24:23
Right. So, is - okay, that's a statement - that's the Wikipedia telling us. So, iON, do you agree that that's what happened to -
iON 24:33
Hell, no. Hell no. Ridiculous, Not a -
Clinton 24:36
(overtalk) Well, it was discovered ______.
Bob 24:39
No, just listen for a while. Don't interrupt yet.
Clinton 24:41
All right.
Bob 24:42
What are you saying, Carolyn - iON? Hell, no, then what did you say?
iON 24:47
It's not for Ani. It's not a prescription of how dead people supposed to navigate. It's to have how live people supposed to engage exactly opposite. Exactly the other side. You're not trying to see that Giza has pyramids, you're trying to see, oh, that the Orion's belt is the antiphonal side of that conversation. That's the point.
Bob 25:07
Right. So the, so, did Ani teach this stuff to little man?
iON 25:13
Hell, no! No, according to him, he's dead! It was put in his tomb. Ha ha. What do you think?
Bob 25:21
Ha, ha, not that. Not Clinton's. But look, if the, if the information was on the walls of the pyramid, is that where classes were conducted? In the pyramid?
iON 25:32
No. No (indistinct) room.
Bob 25:33
No. So what's - okay. What's the setting of the presentation of the information verbally?
iON 25:41
Nothing. Nothing. There was never verbal done. It was not verbal.
Bob 25:47
It was only done on the walls of the pyramids.
iON 25:50
Correct. For now.
Bob 25:52
Who would get to see them?
iON 25:55
You are, now.
Bob 25:57
Oh, this was all done for us, today. Not dead pharaohs.
iON 26:01
Didn't make, didn't make one licks' bit a difference to them. Didn't help them. Didn't bring anybody back. You bumped into a pharaoh lately? Excuse me, sir, I'm a pharaoh. Will you please get the fuck out of my seat? You know, you see? It didn't help them navigate too damn much. And where's fucking Ani? Why are you reading your shit yourself if it helps you through the dead? Or, are you stuck over there somewhere? Go, yeah. Let me get a book which sticks me somewhere where I'm messed up for eternity. Oh, that's good, y'all hook me up. Boy, this must be a New York Times best seller! This gonna be easy, yeah. Better get two of them. That's good. We'll get Harper Lee. She can straighten this one out with a prequel.
Bob 26:46
"To Kill a Mockingbird." Okay so the -
iON 26:50
"Go Set A Watchman."
Bob 26:50
Okay, so they were put on the pyramids. Not for Egyptians, not for pharaohs, but for Bob. It was all put there for me and this show.
iON 27:01
Which is why your container - which is why your container's under the left paw of the Sphinx. With all the treasures of Dobbstown.
Bob 27:13
Heh heh heh. Okay. So, also, Clinton, we learned the book of Revelation was for Bob and now. So, you had 2000 years of Christian bull babble, and you have all whatever was written on the commentary of the Egyptian Book of the Dead was babble for this moment. As preposterous as it sounds, Clinton, events are pointing to the accuracy of that interpretation. Events with me, right now.
iON 27:38
See, here's the fun of this is. The fun of it is nobody cares and it doesn't matter -
Clinton 27:41
Anyone else (overtalk with iON)
Bob 27:43
Shut up Clinton. Shut up. Just a minute. Save your - I want to hear what iON - when iON speaks, I mute you. Okay, go ahead, iON. You were saying?
iON 27:54
The point of this coming, the point of this coming together is so that you have the opportunity that can sobole point of condition that allows you to have a bit of knowing that you can now readjust your individual people, insert their name in that sentence, of where you want to be, what you want to do, how you want to have. Whether you know it or not, like it or not, want it or not, it really doesn't make any difference. But, if it works, better get after it. If it doesn't, it ain't gonna matter anyway. So, tear it up.
Bob 28:27
So that's, that's why it is normal and obviously would be describing the Tech Body because that's our time and that's when the Tech Body showed up. And it's a guidance to the Tech Body. All right, so let me just see what Clinton was tryin' to say -
iON 28:42
It even says, it even says Tech Body a little further; that you have to watch out for the perils of the Technische.
Bob 28:49
Okay, let's just see - I muted Clinton but now you've stopped talking. Clinton, what were you saying a minute ago, about Bob or something?
Clinton 29:00
I'm sure that history continues to be updated, so -
Bob 29:07
(Bob and iON overtalk and both laugh)
Clinton 29:15
So, there's that whole thing about the present constantly adjusting or changing the past. I guess that's T.S. Eliot conceit, right? That's our -
iON 29:25
Well, we love "The Hollow Men." We like Eliot. Better than, better than Lewis Carroll for sure. Or Wyndham Lewis for that matter, too, but that's another conversation.
Clinton 29:38
I'm pretty sure McLuhan calls Lewis Carroll a Kitty_____ or something in the "Mechanical Bride."
iON 29:44
We say, we call him, we call him other things, too, so, it's all good.
Bob 29:50
So, what's your point Clinton? Okay, so you're seeing that we're updating the historical earlier versions of the book.
Clinton 29:59
Yeah, yeah. It's, it's Interesting that the Papyrus of Ani, which is this papyrus, this manuscript, that was stolen by Budge out of Egypt, the word term "stolen" is used by Wikipedia as I seem to imply, -
Bob 30:14
Yeah.
Clinton 30:15
- colonialist you know, what, what, what, whatever. Anyway, no, it's just fascinating to - if you're -
Bob 30:26
Okay, so, Clinton, do you understand what iON's saying?
Clinton 30:27
- if you're finding resonances in here with the Tech Body and it's useful now that, as you say, Kroker killed the Chip Body. So, how did Kroker kill the Chip Body? That's the question for you, iON.
Bob 30:39
Well I did, and Kroker was -
iON 30:41
We didn't care. Bob.
Bob 30:41
Yeah, I did it. And Kroker was the best describer of the Chip Body so I - I don't say Kroker killed it. iON says, I killed it. But you heard it as Kroker, so I would include Kroker in the murder. He, he named it. He described it very well in his bodies. In his books.
iON 30:43
In the hexadic. He set it up in the hexadic.
Clinton 31:04
Yeah,
Bob 31:04
Well, I did. He didn't get to the hexadic. Kroker died in the hexadic.
iON 31:08
We understand. We're talking about you. We're talkin' about you. We're not talkin' about Kroker.
Bob 31:11
Okay, good. I know. Okay. Okay, so, so, Clinton, or I'll say to iON; the manuscript, the Papyrus that Budge took, has nothing to do with what was on the walls and the purpose of what was on the walls of the pyramids which was for us, right? You agree with that, iON?
iON 31:34
We did, yeah, whatever.
Bob 31:35
Yeah, okay that's good. All right we came - Clinton got an insight. Let's leave it that for the moment. Now is this you Sara? Are you the anonymous?
iON 31:43
Hurry up before he undoes it.
Bob 31:46
Yes. Sara, did you want to ask a -
Alissa 31:49
This is Alissa.
Bob 31:51
Oh, Alissa, you coming. He could be on two lines.
iON 31:56
Well, you wouldn't answer the first one so he did the other one.
Alissa 31:59
He he. Sometimes I can't get the Skype call. Yeah.
Bob 32:02
Right. Okay, I got you. So, I'll just mute everybody so you get silence. And go ahead. You have some questions you told me before about the Book of the Dead. Did you hear what we did today? Or were you at work?
Alissa 32:15
Oh, yeah, I didn't get to hear it.
Bob 32:17
Okay, it doesn't matter.
Alissa 32:18
iON, the - where - so, you're talking - the last week you talked about the sort of geographical positions that are like different portals or different realms, and they, they are naming those. Is that correct? (pause) Hymn of Praise to Ra When He Riseth in the Eastern Part of Heaven.
iON 32:54
(pause) There you go. Now he decides, now he decides to unmute us, too. So, I guess _(indistinct)_phone in - straighten our ass up. It's your show, honey, you run it anyway you want to. You got this, so, we already answered that question, so we'll just move on -
Bob 33:09
No, no, no. Ask, ask the question again, Alissa. iON has to answer in the confusion.
Alissa 33:15
Okay, so last week, there was mention of the different, quote, geographical positions that are being mentioned. Last week was The Hymn of Praise to Ra When He Riseth in the Eastern Part of Heaven, correct?
iON 33:34
The eastern side. Yes.
Alissa 33:37
Yeah. So, my question is with that bit of context, my question is, where, according to the Egyptian Book of the Dead, where did I come back from last time I did the OA movement?
iON 33:55
No, that doesn't tell that. See?
Alissa 33:58
Okay.
iON 33:58
You see that - wait, now listen now. That's exactly what we said. You don't know.
Alissa 34:06
Right. Okay. So now -
iON 34:11
Well, now you're asking - ah ah - stop! You're asking the question: "When I did the OA movements, where did I line up to?" And that's exactly what the Book of the Dead was trying to say is, you don't know. So are you alive or dead, you don't know.
Alissa 34:23
Not where did I line up to. Where did I come back from? Not where did I come back to.
iON 34:32
You don't. You didn't. You didn't. If that's the case, you're still there. If you don't know, you're still there.
Alissa 34:45
If I don't know where I came back from, I'm -
iON 34:48
You're not lined up to.
Alissa 34:54
So they, did the Egyptians -
iON 34:58
You're asking questions. You're asking questions and you don't have the answer yet for the first one. There's a point. The point of the OA movements is to do what? To get you back home. Okay?
Alissa 35:11
Yeah. To get back home.
iON 35:12
So, now you're asking, now you're asking: "Where did I get to the last time I did the OA movements?" Home. And so that's what you're trying to say.
Alissa 35:21
Right. No, I'm not asking where I get to.
iON 35:23
We know!
Alissa 35:24
That's not what I'm asking -
iON 35:24
Stop! Listen to what we're saying! You're trying to say: "Okay, I was lost and now I'm found. Now, where was I?" Well, you're now - you were lost, and now you're found. Okay.
Alissa 35:29
Yeah.
iON 35:35
Now, what the Book of the Dead says, is it because of this condition that you proscribed on yourself as a little man, you need help to get you back to here and now. What's even then you're not sure of. So, to ask us the question where'd you come from leads the witness to say, well then, you don't know where you are now, so how would you believe if we showed you where you come from? You see? It twisty.
Alissa 36:14
Ah -
iON 36:15
We're gonna set that aside. We're gonna set that aside to say, no. What are you lining up to?
Alissa 36:22
Right.
iON 36:22
Well enough not to - you learned well enough to know not to war words with us, for God's sake. You know better than that. The point is just go with it. The point is, just go with it till you figure out what the point is because the only misunderstanding is what you try to get underneath and stand up and bump your head. Then you're mad 'cause you got a sore noggin.
Alissa 36:45
Uh huh. So -
iON 36:46
Okay, the line - stop, we're not through. So, the line up to becomes, becomes, okay, if I could juxtapose the position of when I did the OA movements of arriving back home, I would be very engaged to know, feel, think, have, the condition that where I was what made me leave where was I going? Who, what when, where how why bla bla bla bla bla, all those kind of things and we go, Ah, okay. Okay, we can go with that. That's fine if it gets you somewhere. So, what they did in the Egyptian Book of the Dead is they note that Orion's Belt lined up or was gonna line up with these three pyramids that marked up and lined up with Giza, the pyramids. So, where was I when I was there? Where was I? You were lined up with the Orion's belt. Okay, that's enough of an anchor for that question. But that's not even your damn question. That's what's hysterical. You have two lions on each side. Okay? So, you have both, you have, you're trying to feed. And that's why it gets confusing. Because you don't know which side you are on on. Are on on in the past pluperfect tense. You see? Had had?
Alissa 38:12
Okay.
iON 38:13
Had had you been dead longer you might of remember being alive. Right?
Alissa 38:20
Okay, thank you. Had had I been dead longer -
iON 38:25
You might remember that you were once alive.
Alissa 38:28
Ha ha. Okay.
iON 38:31
Now, we're not being cheeky. We're not being cheeky. We're saying you're still as eternal as you ever were.
Alissa 38:38
Mm hmm. Mm hmm.
iON 38:40
So, the issue between you and you still hasn't been settled. We're not warring this -
Alissa 38:45
Right.
iON 38:45
- that point. We're saying you're asking, obviously, from the wrong aspect. And so -
Alissa 38:52
Okay, I hear - I hear you. Thank you.
iON 38:52
- it's not pointing to that. It's not pointing to that at all. Gettin' you back home is not the roadmap to tell you where you were. You're driving along in the car and you get lost. You come up to the last station you can say: "Excuse me, sir, can you tell me where I came from?" Right? That's what you're saying.
Alissa 39:14
Yeah. Yeah.
iON 39:15
What's you're saying is, can you please tell me where I came from? No, you stupid bitch. No, I can't tell you where you came from. I have no idea where you came from. Honey, you're right here, right now. Where is that in proximity of -
Alissa 39:15
Yeah.
iON 39:22
- where you're trying to get to? Now, see, when we say it like that, you go: "Oh, oh, oh, oh, oh, okay." So we wanted to clean that up on the big picture, because that'll come up again if we don't clean it up, hard. You know.
Alissa 39:39
I, I hear. Thank you. I hear that. I hear that. Yeah. So, where, where were the Egyptians going? Where did they want to go to?
iON 39:52
Nowhere.
Alissa 39:55
Yeah. So, the Eastern Gate portal. That is about -
iON 40:03
Didn't say - hold on. Hold on now, girl. I don't know what you on this night, but slow down just a minute. Where did it say it was a portal?
Alissa 40:13
So, it's a gate, which is a very, very large portal.
iON 40:16
Correct. That's right, there's a difference. And then this says the gate from that position. It doesn't even necessarily say it's a gate, really, really. But it is, it is, it is, it is. We'll give you that just 'cuz you - problem is you know too, you know too, you know too much.
Alissa 40:35
It says Eastern sky. And, so, is the Eastern sky the Eastern Gate?
iON 40:40
Yeah, what Vestal said. Yeah. But that's -
Alissa 40:45
Yeah, so -
iON 40:45
- what we're saying; you know too much. Normal - stupid people wouldn't know that at all. See? So, you're good. You want to mean - we give you credit for that aspect, so, you're fine. Ain't no trouble.
Alissa 40:54
So, the Mississippi River is the representation of the transfer through the Eastern Gate of the old Egyptian -
iON 41:13
Nope, nope, nope, nope nope nope. Nope. You'd be closer to talk about the cotton in Giza then you were there.
Alissa 41:25
So, okay, let me pull up my notes on this -
iON 41:29
Oh shit, oh shit. She's going lateral. She's going lateral. Oh, she's going back to the Tech Body. Oh god, she's goin' to trust the Tech Body to get her out of this bullllshit. Oh, Lord, Jesa. Run. Mama, get the kids, there's a wild man in the yard.
Alissa 41:50
Okay, this says we talked about the Nile River and the Mississippi. So, you -
iON 42:00
They mirror.
Alissa 41:59
- we were talking about the dispatch. A mirror. Right.
iON 42:02
They mirror. No, "they" mirror, yes.
Alissa 42:08
Okay. So, first, we touched on the discharge of silt and the whole ass, which is the mouth of the Mississippi is representational of the large and small intestine. And that's where the silt - yeah, the discharge of the silt -
iON 42:27
And now, and now you've learned, and now you learned that that anus is where you put your coffee and your tequila. See? You learned something tonight. How about that?
Alissa 42:40
So, you - we talked about take the globe, take the Mississippi -
iON 42:51
Ha ha ha. You walked into that. You walked right into that one, darlin'. You know you did.
Alissa 42:56
Send me a fax, iON, send me a fax. God damn fax.
iON 43:00
Coffee, don't, coffee don't fax worth a damn.
Alissa 43:03
Ha ha. Okay, take the globe. Take the Mississippi on one side and the Nile on the other. Take a cross section and see where it goes. It's just East of Eden. And you repeated that three times.
iON 43:18
Yeah. It still is. Eastern Gate east of Eden. Eastern side, the same reest that's referenced in the Book of the Dead. Good. And we weren't talking about that, then. Or that tho. What about that tho?
Alissa 43:35
You weren't. You weren't talking about the Egyptian of the Book of the Dead when you were talking about the - it's just East of Eden?
iON 43:41
Nile. Right. That's correct. -
Alissa 43:45
Yeah, the Nile.
iON 43:45
- It keeps bumping up again. That's right. Buddha got fucked up by that in the Shambala stuff, too.
Alissa 43:54
Who did? Buddha?
iON 43:56
Buddha. Yeah. Got to get you a nice Buddha___
Alissa 44:03
Okay, so the rivers and the ley lines there. They - I don't know what verb tense to use - are changing, had had changed?
iON 44:14
Yeah, had had changed. Had had changed.
Alissa 44:17
Yeah.
iON 44:17
Exactly right. Good for you. Damn. See? This is - it's much better. You's fucked up before, honey, but you're doing a lot better now.
Alissa 44:25
Ha ha. Okay, thank you. So, describe the exact - it describes the exact difference in the shifts of the paradigm worlds and the parallel ley lines that lay, or fell, that set the notion of how the world is to be, not was.
iON 44:43
Mm hmm. Basically.
Alissa 44:46
And, and the new focus scope is what Egypt would appear to be. You were talking about: "We destroyed all of Egypt to rebuild it again." So, I'm asking is -
iON 44:59
Right. Time and time and time again. Yeah.
Alissa 44:59
- I'm asking is Dobbstown Bobville the mirror side, the Mississippi representation of the America side, the rebuilding of Egypt? (pause) Is Dobbstown the rebuilding of - no, you're right, the grammar's not right.
Bob 45:03
Yeah, no, we're not rebuilding. We're not rebuilding something -
Alissa 45:43
Right, right.
Bob 45:44
- we're making something that hasn't happened.
Alissa 45:49
Right. All Egypt was rebuilt again -
iON 45:49
And they're re-, they are re-, they are, yeah. See, and they are repairing a condition.
Bob 45:53
Yeah, we're repairing a condition.
Alissa 46:00
Who's "they"?
Bob 46:03
Me. The collective Bob. The Church of the Subgenius.
Alissa 46:09
As it relates - (giggles)
Bob 46:15
Reverend Stang. -
Alissa 46:16
Take your cover. Choose your cover.
Bob 46:16
- Reverend Stang is my Aaron. I am Moses, Stang is Aaron. I went up to, you know, guide Carolyn in her career, and Stang made a golden calf like Aaron did. That's basically what happened.
iON 46:32
Yeah. Yeah.
Bob 46:37
Yeah. I never heard iON have that tone before. That's a partisan iON. Yeah, yeah we did that. Ha ha ha.
iON 46:44
Yeah, yeah. Yeah.
Bob 46:49
He becomes a "yes man" around the bossman. Okay, I didn't get - do you want to state your question again, Alissa? What is the question right now?
Alissa 46:59
Trying to get the grammar right. So, Egypt was destroyed - had had been destroyed, and, and Dobbstown retrieved Egypt, but it's, it's something new. Is that correct? Does Dobbstown retrive Egypt?
Bob 47:18
We repair it.
iON 47:19
Yeah.
Bob 47:19
Not retrive, we repair.
Alissa 47:22
Repair.
iON 47:23
Otherwise, it's a piece of shift. Otherwise, it's a piece of shift.
Bob 47:28
Yeah, not worth retrieving Egypt.
Alissa 47:32
Piece of shift.
iON 47:32
Piece of shift.
Alissa 47:33
Well, yeah, piece of shift. Well, if you've got something underneath the Giza paw and - oh, which lion does Bob have something under? Which, which side?
iON 47:47
No that's not, that's not that lions. Between the lions has nothing to do with the Sphinx.
Bob 47:54
It's the left paw of the Sphinx.
Alissa 47:56
Oh, what do lions - what are the lions, iON?
Bob 48:00
You missed that.
iON 48:01
Between the lions. It a refence. Do you remember the, do you remember the reference when everybody is going into paradise? There's these two, huge, winged lions that are guarding the Gate to get you to paradise? The left and right flank are those two lions with two faces.
Alissa 48:21
Okay, okay. Um, okay, yeah, so the Giza the Sphinx, Bob, that's something different. And you're saying it's the left paw?
Bob 48:33
Yeah, the Sphinx is the statue there. You know what we're talking about?
Alissa 48:37
Yeah. Yeah.
iON 48:39
The face with Bob's, with Bob's face and they shot - and he had J.R. Bob Dobbs' face on it. And they shot it off. And it had a pipe, and they shot the pipe out of his mouth. They'd take, and they put they put ammonia cyanide crystals in the little pipe, and it would smoke on humid days, and it would be like the Sphinx was smoking the J.R. Bob Dobbs pipe. But, they got mad and they had a little difference of opinion so they shot Bob's nose off. And they'd shoot at Bob all the time but the Sphinx couldn't take it. Bob can.
Alissa 48:39
Too many memes. Too many memes, too many gifts. They had a shot - they had to shoot it off.
Bob 49:17
Yeah, but you heard the point before, Alissa. There's a box under the left paw. And when the Egyptologist or whoever discover it, they'll pull it out and it'll say Dobbstown on the box.
Alissa 49:34
Mm hmm. Mm hmm.
Bob 49:36
In Egyptian, iON? In hieroglyph or in Russian?
iON 49:40
No. In English. English.
Alissa 49:41
In English. Yes.
Bob 49:41
(laughing) There's an unlikely scenari that not one person in the room, here, believes! Not one person! Only me. Only I, because I know. Nobody else believes it. Not even Carolyn.
iON 49:58
Oh, but isn't it interesting that all of a sudden, now, the excavation has begun. And they're lettin' them dig around the Sphinx and figure out all the details, and remapping all the lines and where it was, and how much it filled, and what was really supposed to be, and bla bla bla bla.
Bob 50:15
They see me. They see me coming over the horizon tryin' to look busy. Look'a busy. Scott asks: "Are the lions the brain hemispheres: left and right?
iON 50:27
No. no. No brains involved in this.
Bob 50:30
Now did you say the lions were - beg your pardon?
iON 50:34
No brains involved in this.
Bob 50:37
Right. Are the lions in the book of Revelation? Did you just say that two minutes ago?
iON 50:43
Yeah, well, no, it's not the reference of Revelation. It's the reference of every book or movie you've ever seen when you're walking along and you're going into this dark-like, dark space. And they have these two, huge lions sitting on the left and right flank, like a gate that protect the afterlife or the other world or the some-um, some-um. Nether region. They make reference to it everywhere and you see 'em hugely.
Bob 51:08
Who built them?
iON 51:08
Sometimes they're winged. Sometimes they're winged.
Bob 51:13
Right. Were they built in other cultures or only in Egypt?
iON 51:19
They're everywhere. They're - the Chinese have it like foo dogs. They're like, same thing. Same thing, you know.
Bob 51:27
So, who built the Egyptian ones? Was there a particular dynasty or pharaoh it happened under?
iON 51:34
Well, they say, they say that the Egyptians, I mean, that the Hebrew children built it. So, we go with it. The damn - they had too many damn juice.
Bob 51:47
Yeah, ha ha. Is that Moses did it or that's before Moses?
iON 51:50
Yes. It was started before Moses, started before Moses, but some of that was finished up then.
Alissa 51:57
So, the Book of the Dead -
Bob 51:57
Okay.
iON 51:58
That was the fun. Okay. Setepenamun. Tutankhaman Setepenamun.
Alissa 52:08
- but the moon?
Bob 52:08
What? The sun and the moon?
iON 52:11
We told which pharaoh. Setepenamun.
Bob 52:15
Setepenamun is a pharaoh.
iON 52:17
Yeah. The one after Tutankhaman, Setepenamun.
Alissa 52:23
Were they -
Bob 52:25
Right after Tutankhaman.
Alissa 52:29
The Book of the Dead is for us to know a little bit more of how to move with the cloud? Or, you said something like the Book of the Dead is helping us know a little bit more how to do something with the Keys and the Aethyrs. So, -
iON 52:53
Yes.
Alissa 52:54
- ah, so, how do I - I know that you're laying it out now -
iON 53:05
A needle, a needle pulling thread.
Bob 53:08
Yeah, when you say "so."
Alissa 53:09
Yeah.
Bob 53:09
So Alissa, what did you just say? What were you just talking about that iON said something to? What did you just say? In the paragraph.
Alissa 53:17
Yeah. In your recent - yeah. In your recent private session, iON mentions how they're going through the Book of the Dead. And they're laying it out quite basic in the, in the beginning, but then they're going to go back over it, and that the intention -
Bob 53:31
And relate it to the Keys.
Alissa 53:31
- yeah, relate it to the Keys so we can know how to - I don't know what we're going to know how to do, but it has to do with the Keys and the Aethyrs. iON, are we going to learn how to - eh - what are we learning how to do with the Keys and Aethyrs?
Bob 53:51
There's no point. Don't project ahead. You're not gonna understand the answer until we get there. And then we'll learn. Don't ask about that. Ask about somethin' that you know already.
Alissa 54:05
Ah, the carbon, the new carbon that's touched on in the, in the beginning. Let's see. The carbon judges the Tech Body. That is - where is that? (pause)
Bob 54:30
Okay, while you're looking I'll ask iON. Here's a question. Clinton says: "Are these lions flanking the chariot in the Major Arcana, iON?"
iON 54:40
Maybe.
Bob 54:42
That depends on juxtapositional positions, juxtapositional positions?
iON 54:47
Right. And knowing what the hell he's talking about in the first place, so yeah. That'd have a lot to do with it, too.
Bob 54:53
So, the words are correct. But what he's projecting in the words, what he thinks they mean, may not apply.
iON 54:59
Not. Not in the, not in the same - we're playing football in the baseball stadium, Bob.
Bob 55:07
Yeah. Ha ha. Clinton's playin' baseball at the football stadium. Okay, back to you -
iON 55:12
So, the next question, so, the next question would be: "Okay, iON, how close to home plate is the goalpost?
Alissa 55:20
Heh, heh.
Bob 55:20
Ha ha. So, happy horse. They're jumping in. I don't know if we tolerate this too much, but: "Lionsgate movie intro." Is there a movie called Lionsgate, or is that one company?
iON 55:40
That's a production company, Lionsgate.
Bob 55:42
Yeah. Weinstein. So, is - forget that then. Okay. "The 42 Book of Dead mirror chapter 42 Book of Job?" Mirror chapter 42.
iON 55:46
There are 42 chapters in Job, the Book of Job.
Bob 55:59
Right So, the Book of Job has something to do with the Book of the Dead?
iON 56:03
No. Remember, that's where Job got fucked off and God bless the devil, burn him up and mess him up and kill his family and give him the plague. And, you know, basically they're like everybody who comes into your world Bob, you know? They get all their shit back in the end. You know how it is.
Bob 56:22
Ha ha ha. Okay, "Is there a tarot factor in this Egyptian Book of the Dead?" Or reference to the -
iON 56:31
No, well. No no, no we'd say what is tarot? What do you think tarot is? 'cuz everybody we asked said somethin' stupid, so we don't know what you think tarot is. So, we're not gonna say" "Oh, yes, it is." And then they're gonna - and then Green Bra will run around and say: "See? I told you, I told it was. I knew, I knew, I knew. Tarot told me. Tarot told me. Tarot told me that that was what you were gonna tell me. When tarot told me that that's what you were gonna tell me, then I was thoroughly told that the tarot knew to tell me what the tarot told." Oh wait. Now wait now. Tarot told her that tarot was telling told me to tell her that it was tarot. Yeah. Wait, no. I'm confused again. Wait. We got this. We got this. If tarot told her to tell me that they was, why couldn't tarot just tell them and then they would know and I wouldn't have to tell her that tarot - no, now wait. That doesn't work either. Okay. So, now, if tarot - wait wait wait wait. We've got this. We got this. If ta - wait wait, see? Okay. First of all, well, no, we - Bob, we don't know, we don't, we don't know what tarot is. So, whatever tarot says don't really matter. Tell us who tarot, tell us who tarot is and we'll tell you what tarot told you.
Bob 58:00
(laughing) And Clinton goes: "Oh brother." He goes: "In particular the tarot interpretation by Paul Foster Case derived from the Golden Dawn."
iON 58:08
(laughing) So, in that case, if that's your answer, no. It has nothing to do with tarot. That's right.
Bob 58:23
And, Green Bra, you should come back. You should stop exploiting whatever you vetted with the iON when we met you in Atlanta and get back here and start learnin' again. Not just listening. You claim you're listening, but you start talkin' to iON about the tarot. Okay, back to you - ah - who are - the roll call, oh yeah, this is Alissa.
iON 58:47
Bert's havin', Bert's havin' a gizgasm.
Bob 58:49
Ha ha ha. Yeah, Bert is enjoying himself completely. But, yeah. Go into - where were you leading there, Alissa? You were looking up stuff.
Alissa 59:04
Yeah, that's the thing. I'm gonna ask a question about the carbon. So, in last week it's the -
Bob 59:10
No, wait wait wait. This is - okay, now, you're leaving the Book of the Dead?
Alissa 59:15
No, no. Last week, so, I don't want know what you did today, but last time it says under Hymn of Praise to Ra When He Rises in the Eastern Part of Heaven, there's a quote in the middle of the beginning paragraph: "Thine enemy the Serpent, (capital "S") hath been given over to the fire." And the fire - is the fire carbon?
iON 59:43
Ah, no. Fire is what carbon makes. Fire makes -
Alissa 59:50
Okay, the fire represents carbon.
iON 59:53
No, no, no. Come on, now. You -
2100
iON 0:00
- you've been drinkin' again? What are you sayin? Fire's not carbon, though excess of fire makes carbon. It changes -
Alissa 0:09
Therefore, it is linked -
iON 0:10
- protein into carbon.
Alissa 0:12
Okay.
iON 0:12
Therefore, it is linked. But fire - the toast is not the toaster.
Alissa 0:19
Okay. Yes, fire makes carbon. And fire is mentioned in the Egyptian Book of the Dead, and it is there mentioned, therefore -
iON 0:33
314 times
Alissa 0:36
Wow. Is every - does every reference of fire in the Egyptian Book of the Dead have to do with the making of carbon?
iON 0:46
No.
Alissa 0:48
Okay, but the one here does, correct? This one is talking about: "Thine enemy the Serpent (Tech Body) hath -
iON 0:55
Ehhhhhh. Yes, Yes. We'll, we'll give it to you when you got it, darlin'. We won't beat you to death. We'll give it to you when you got it.
Alissa 1:03
Heh heh. Okay. Yeah. Wow. "Thine enemy the Serpent (Tech Body) hath been given over to the fire" which is indirectly, but directly, linking to the carbon. So, is that linking to the new carbon?
iON 1:27
Your up -
Alissa 1:27
Your carbon?
iON 1:28
Your up-talk. Your up-talk is - yeah, it would be our carbon, but that's not really the best point. But yeah, it is our carbon, but it could be your carbon, too.
Alissa 1:40
Yeah. Yeah. So there's something about - there's a differentiation between quote, unquote, old carbon and new carbon. What is the differentiation between the two?
iON 1:54
One's new and one's old.
Alissa 1:56
Heh heh. Okay. I have more on that in my notes. So, that's, that's okay. Yeah, I was gonna ask about the carbon, terra firma. That all, the end all, of be all, is fire - of fire. The end all, be all, of fire is going to save the day for the ascended. That's the caveat and the rub. Okay.
iON 2:26
Good. Yeah. That sounds like - we liked them words. Who said that?
Alissa 2:31
That would be you. You said that.
iON 2:33
Ha ha. We like that. We like it when we say good -
Alissa 2:37
I don't need to go - I don't need to go into the carbon stuff. I know that, that Bert's engagements have shed a lot of details on that. So, it's your, it's the new carbon that the fire is linking to, and it says that the Tech Body hath been given over to the new carbon. So, the, the Serpent, the Tech Body will - how will the Serpent be given over to the new carbon?
iON 3:11
Ask Bob.
Bob 3:16
I think I missed that.
Alissa 3:16
Bob, how will the Tech Body - how will the Tech Body aka Serpent in the Egyptian Book of the Dead, be given over to the new carbon, which they say fire in the Egyptian Book of the Dead?
Bob 3:28
That will be based on my moves with my colleagues. Because remember, you don't need elevenths of the Tech Body is iONdom, or maybe just iON, but I'm in touch with iON, so I'm on that team. And the three elevenths at the present aren't easily controlled. So, we will learn the jujutsu of controlling the Tech Body's battle with the angels (indistinct) little man.
iON 3:54
Well, hold on, hold on just a second. You don't exactly have a real good control of the eight elevenths, either. You're doing better than most.
Bob 4:03
Yes. So, I would just say Alissa, he's passed you onto me because I'm your only hope. Unfortunately.
Alissa 4:13
Yeah. Unfortunately. Ha ha
Bob 4:14
Pretty bad situation. As iON says, what? The people are gonna say: "Bob? That idiot, he's the one we're relying on?" Ha ha. That's gonna be funny.
iON 4:31
Yeah. And then they laugh and they say: "May ye all rest in peace till Bob gets there."
Bob 4:38
So, I'm workin' out - I wouldn't be able to spell that out if I knew.
Alissa 4:46
Yeah.
Bob 4:46
I'd have to keep it a secret. So, I assume I know. It'll be made. I always have the tools ready when the task shows up. All right? I don't know what the task is gonna be, but I will have the tools ready.
iON 5:00
Ha ha ha. If there was a ditch that had to be dug, I would have a shovel that I wouldn't use to dig the ditch that wasn't gonna to be dug on my watch. And then I would say: "Carolyn, do we dig ditches?" And she'd say: "Yes, Bob." And your like: "Okay, get somebody to do that." And so they'd write to Jimmy: "Go get a ditch digger."
Bob 5:22
There's a little bait, Alissa. You won't be able to stay around to hear my private session I'm playing today, but you're gonna find out the role of Marge Stewart in the history of humanity. It's pretty interesting. Marge Stewart, McLuhan's secretary.
iON 5:37
Wow. We won't even spoil it.
Alissa 5:39
McLuhan's secretary.
iON 5:40
We won't even, we won't even, we won't even, we won't even spoil it.
Bob 5:44
No.
iON 5:44
Talkin' about the par and the golf course were we Bob?
Bob 5:47
Ha ha. Yeah, there's the pun on Par. Note that Alissa. And Clinton, have you told Andrew McLuhan what we're doing? Should be on the ball there, Clinton. You're our go-between.
iON 5:57
Who?
Bob 5:58
Yeah. It's a who until he knows, Clinton, so you're keepin' him in a nobody state if you don't tell him what we're doing with his father's, grandfather's work. And father, I guess. Mostly his grandfather's work. We're doing a lot with it. Nobody else is doin' it. Right up-to-date. Alissa knows that just by hanging out here. Let's - have you ever read McLuhan stuff, Alissa?
iON 6:23
Who? I'm sorry, who?
Alissa 6:25
Yeah, I read "Through the Vanishing - I read - heh heh.
Bob 6:30
What did iON say? What made you laugh? What made you laugh? What did iON say?
Alissa 6:34
"Who? I'm sorry, who?"
Bob 6:37
Oh, yeah, right. You read "Through the Vanishing Point." Yeah, good book.
Alissa 6:41
And I'm, I'm reading "Understanding Media," now.
Bob 6:45
How was that for you?
Alissa 6:48
It's surprisingly like, I thought it'd be really hefty-like; but, in the beginning, so far, it's very, it's very smooth reading. I think I'm -
Bob 7:02
Yeah, straight forward.
Alissa 7:04
Yeah, I think it's just because I've been studying this stuff and talking to you for so long that it's very -
Bob 7:10
Yeah.
Alissa 7:11
It's not as challenging as I thought it would be -
Bob 7:13
Good.
Alissa 7:14
- but it is the exercise of, you know, the reading experience of it that kind of helps establish kind of a different repose of it. I'm enjoying that.
Bob 7:30
Yeah. Have you read Kroger, yet?
Alissa 7:32
No, not yet.
Bob 7:34
Okay, that will be next. Okay, back - do you have more questions or are you finished -
Alissa 7:40
Well -
Bob 7:41
- on the Egyptian Book of the Dead?
Alissa 7:42
- there's more on the - yeah, there's more on this Eastern Gate. iON's right. I'm a bit - I'm not as together as I normally am, which is fine, but there's one -
Bob 7:55
Is the Eastern Gate a part of the Egyptian Book of the Dead?
Alissa 8:00
Yeah, because the eastern - because the eastern sky is the Eastern Gate, they said today.
Bob 8:08
Is that the gate that iON's saying is a big portal?
Alissa 8:13
Yeah.
Bob 8:15
Okay. You ask iON about - what, you got questions about the Eastern Gate. It's in the Egyptian Book of the Dead. Ask the questions.
Alissa 8:27
I don't have the questions like, on -
Bob 8:31
Just make up ones now. What's the question that comes to you now?
Alissa 8:40
iON, the new focus scope is what Egypt would appear to be. What would Egypt appear to be if that's the new focus scope? What is it that Egypt would appear to be?
Bob 9:06
(pause) Sounds like the question didn't know what it was meaning. Try it again.
iON 9:10
Ha ha ha. That's what wrong. Your question didn't know- your question didn't know what it was meaning. There you go.
Alissa 9:21
Heh heh. What does Egypt appear to be in the new focus scope of Bobville?
iON 9:28
East of Eden.
Alissa 9:31
Okay.
Bob 9:33
That's the James Dean movie, 1955 or so. East of Eden.
Alissa 9:40
So, where is east of Eden?
iON 9:46
Hmm, just south of the Ottoman Empire. Byzantine era.
Alissa 9:55
Is, when -
iON 9:57
No.
Alissa 9:57
- Vestal sings about, "It's just inside Eastern Gate." So, east of Eden is, is eastern - east of Eden inside the Eastern Gate?
iON 10:07
Well, if you're in the Eastern Gate and you're east of it, you'd be inside it, would you?
Alissa 10:15
Heh heh heh. Yeah.
iON 10:18
Okay, let me, let us ask you a question, darlin', let us ask you a question. If you're standing in Maui. Picture it. And you're looking south, okay, and there's a wind blowing at you in your face, which direction is the wind coming from?
Alissa 10:36
South.
iON 10:38
All right, which way is the wind blowing?
Alissa 10:41
North.
iON 10:43
Okay. If you're north of where the wind's blowing, are you north of the South Gate?
Alissa 10:59
Is the Gate where the wind is coming from?
iON 11:03
There's the question. That's exactly right. That's exactly right. So, to ask your question, you have to know that answer to that question. So, east of the Eastern Gate would put you in out of this realm. It had to be just west if it were the Eastern Gate.
Alissa 11:23
Mm hmm. Okay. So, east of Eden. Okay, let's go back to what you're doing with the directions. So, I'm looking south and there's wind coming from the south. I'm asking is the wind coming from a gate in the south?
iON 11:48
No.
Alissa 11:52
And if I'm looking south, then the Eastern Gate is to my left.
iON 12:01
Good. Very good.
Alissa 12:04
And, so then if I move east, as I'm looking south, I moved to the east.
iON 12:15
Then you'd have to - no, you'd have to move, you'd have to move southwest.
Alissa 12:24
Okay, so I'm moving southwest, you'd be looking -
iON 12:31
And then you look at it trying to go east.
Alissa 12:34
Ha ha ha, yes. Okay, so, I'm looking east -
iON 12:36
So, if you're east of it, you can't look east if you're already east of it. You see? So, you gotta be looking, gotta be going west looking east. There you go.
Alissa 12:45
Okay. Yeah, okay, I'm here heading -
iON 12:47
The (indistinct) damn wind. We're finally gonna explain after all these years, we're gonna explain to you how the wind works. It's gonna be great.
Bob 12:47
All right.
Alissa 12:55
Okay, so I'm looking south, the wind is blowing in my face. It's coming from the south. It's going north behind me and Eastern, the Eastern Gate is to my left as I'm looking south. So, if I take a step south, and I turned to the west, going southwest, I'm now looking west, but then as I'm looking west -
iON 13:23
No. No, no. You're looking east. You're looking east.
Alissa 13:26
I'm - okay. I'm looking east, okay. Okay. Okay. Yes. I understand. I overlay. Heh heh. Okay.
iON 13:37
Yeah.
Alissa 13:37
So, how - let's connect this to the Eastern Gate and the eastern sky, so -
iON 13:38
_(indistinct)_
Alissa 13:38
So, as one looks - as one moves southwest, one look east. One is looking east. Is that right?
iON 14:05
Okay.
Alissa 14:05
As one moves southwest. What - does one look east?
iON 14:10
Yeah.
Alissa 14:12
Yeah. So, the Eastern Gate. One has to move southwest and turn westward in order to see the Eastern Gate.
iON 14:29
No, you'd turn eastward by going southwest but you'd turn around and look eastward to the Eastern Gate.
Alissa 14:35
Right, right, right.
iON 14:36
Come on now. Come on now. Come on now.
Alissa 14:37
I hear ya. Okay. Yeah, yeah. So, I'm going south, I'm turned southward. Yeah, my body is facing the south. And I'm gonna - the east is to my left. But, I'm going to turn right, looking eastward because, as I, as I, my view is quote - typically my - people would think that I'm looking west, but I'm looking eastward. This is confusing, but I see, I see where this is connect - I see how this is connecting.
Bob 14:37
Why are you looking east? Because you go to the southwest, why are you looking east?
Alissa 15:30
So, iON is saying you have to be west - you have to be east of Eden, because it's, because it's circular. If you're east of Eden, you are west.
iON 15:43
Good.
Alissa 15:45
So, if you are, if you're looking off the coast of California, you are looking east. You're looking eastward. If you are looking off the coast of California -
iON 16:02
If you're in California, if you're on the coast of California and you're looking back makes it you're looking eastward, what does that have to do where you are, and what does that have to do with the direction that you're looking?
Alissa 16:14
Just I was just using that to help orientate Bob why he was asking -
Bob 16:19
Oh, don't, don't try that. I have no clue what you're talking about. I'm not gonna learn nothin' here, so, leave me out of it.
Alissa 16:25
Okay, okay.
iON 16:26
But your words, your words actually confused Bob more because you're now saying that if I'm in, if I'm in Sacramento, then I'm gonna be looking to the east. Well, what if you're looking at Russia? You'd be looking to the west.
Alissa 16:46
Okay, let's do it. Let's, let's do it again.
Bob 16:49
Let me - hey, let me pick this up, Alissa. I got a question. I have an interesting idea. So, iON, when - the whoever removed the Twin Towers to the parallel world, did they remove them through the Eastern Gate?
iON 17:06
Yes.
Bob 17:07
Look at that. Alissa. Think of that. You have a new way to imagine. We knew the towers were removed. But the Eastern Gate is like Atlanta or Fort Worth Dallas airport. It's a huge operation going on through the Eastern Gate. I mean, all kinds of activities come through the Eastern Gate. I remember Jean, Jean Dixon in her book predicted the, I think, the Antichrist would come from the East. That would be through the Eastern Gate, iON? (pause) Too hot to say?
iON 17:48
Almost.
Bob 17:50
Almost, but that's pretty neat. We have a way to visualize -
Alissa 17:54
Yeah.
Bob 17:54
- Battery Park in New York City. Now -
iON 17:58
Well, they took it to the east. They did take it to the east.
Bob 18:01
Yeah.
Alissa 18:02
Right. Yeah, they took the steel -
Bob 18:04
To China.
Alissa 18:06
China.
Bob 18:08
Then Trump did that. Trump's been on the inside. He and Giuliani have been on the inside in a lot of ways. Is Roy Cohn still alive, iON?
iON 18:25
Who?
Bob 18:25
Ha ha. Roy Cohen, senator MacArthur's assistant during the McCarthy hearings and mentor to Don Trump. Cohn. C-o-h-n. Reportedly died of AIDS in 86. Did he really die? (pause) What's the matter?
iON 18:53
What's the question?
Bob 18:55
Did he die?
iON 18:56
Who?
Bob 18:57
Nobody dies. Roy Cohn. R-o-y, C-o-h-n.
iON 19:03
You spelled it too fast. No, he's not dead.
Alissa 19:10
(giggles)
Bob 19:10
Ha ha ha. So, yeah, Trump is rumored to have said: "Where's Roy Cohn when I need him now?" He has access to him, doesn't he?
iON 19:17
He does.
Bob 19:18
Ah ha. There's the secret to some part of Trump's power, Alissa. Roy Cohn. He was the guy that kept the secrets -
iON 19:26
(starts singing the Bonanza theme song)
Bob 19:28
Boy, that really brings in, that really crystallizes the LaRouche and Mae Brussell quadrants.
iON 19:33
How many, how many. Yeah. How many seasons did Barbara Stanwyck play in the Big Valley?
Bob 19:35
Ha ha. Didn't you know that show, Alissa? You don't know that show, right?
Alissa 19:47
No, no.
Bob 19:49
Want me to look it up? I'll look it up. Barbara Stanwyck. That's around the time -
iON 19:56
She can get it.
Bob 19:58
- this is around the time Roy, Roy was in his prime.
iON 20:03
Kitty Carlisle.
Bob 20:04
And Kitty Carlisle. So, the Big Valley it's called? Big Valley. (mimics Bonanza theme) Ding ding a ding a Ling Ling Ling Ding, ding, ding ding. Ha ha. The Big Valley. Now, look at this. Episodes. Four seasons, 1965 to 69. So, I assume Barbara was in all four seasons. So, four seasons. There's your answer and that's not during the 50s. It's actually - in '65, '69 is when the anti-Roy forces were in the - had the reins. Tim Leary, Marshall McLuhan, Frank Zappa, Bob Dylan, the anti-war movement; that's when Roy Cohn was laying low.
iON 21:05
True.
Alissa 21:08
IMDb says Barbara Stanwyck played by Victoria Barkley? Or is Barbara Stanwyck the actress?
Bob 21:15
No, no, Barbara is the actress. Yeah, she played Barkley.
Alissa 21:19
Okay. Okay. For 112 episodes. Yeah, all the episodes from 1965 to 1969.
Bob 21:28
Okay look, the character of Heath Barkley is introduced in Episode One as the illegitimate son of Tom Barkley. His presence and claim to the Barkley name is a focus of much of their dramatic plots in Season One. While the successful and rich are often portrayed in present day as the unscrupulous villains, the Barkley family portrays the upstanding citizens of Stockton, modeling justice, fairness and oftentimes going against popular sentiment to uphold the underdog's rights. I think this show is Roy Cohn and Donald Trump aren't who they appear to be the sons of. At least Trump isn't. Is that what you're saying, iON?
iON 22:07
Correct.
Bob 22:08
You get that guys? Trump ain't who he says he is.
Alissa 22:10
Oo la la.
Bob 22:11
Oo la la. Ha ha. And this is about that. The character of Heath Barkley introduces the illegitimate son of Tom Barkley. So, I'll leave you office interns to do the details. I'll move on to the next breakthrough.
Alissa 22:29
(giggles) In between bites of the tickle.
Bob 22:36
Yeah, The Big Valley. The Big Valley is the stone canyons of New York City of Manhattan. It's an acoustic space there. It's not an American city. It's not visually laid out. So, I'm just looking at the term, The Big Valley. They pretend it's the wild west, but it's New York City.
Alissa 23:01
The Big Apple. The Big Valley.
Bob 23:06
Okay, let's not get bogged down. What are you working on?
iON 23:12
Intimating.
Bob 23:14
Yeah, what are you intimating?
Alissa 23:15
Ha ha What am I emanating? What am I Intimating? I'm, I'm trying to, to hold, hold down the - well, the winds are blowin' and I'm, and I'm interested in this whole east of Eden thing. So, so, Eden is in - is Eden in the east, iON? (pause) Should I drop this topic, iON?
Bob 23:51
I think you're supposed to use your ESP to get that answer.
Alissa 23:55
Okay.
iON 23:57
Ahh.
Bob 24:00
iON's exercising your ESP here.
Alissa 24:04
Yeah, from the very beginning of this engagement, it happened. Big time.
Bob 24:09
He's been doing it to several people the last few weeks.
Alissa 24:17
Okay, so, describe the exact - it describes the exact difference in the shifts of the paradigm world and the parallel lines that lay or fell that set the notion of how the world is to be, and not was. So, that's the shifting of - is that the shifting of the ley lines that rewrites the history for Dobbstown? (pause)
Bob 24:48
What's your ESP picking up?
Alissa 24:52
My ESP is picking up that, then - that ley lines are geographical things and rewriting history is a more of a - it's not geographic, but it is in in a socio - what's the word? Socioperceptive?
Bob 25:11
Yes. Socioperception. Yeah.
Alissa 25:14
Yeah. So, so my - so, in socioperception, the ley lines are shifting as one juxtaposes where they are, according to the new history written for Dobbstown. And the chart is a function of that as well. And the parallel lines that lay or felt that set the notion of how the world is to be, that applies to both the proprioceptive ley lines that one juxtaposes location to, as well as geographic ones, because the terra firma and the yarmulka continent and all these things are shifting geographically as well. Yeah, that's what my EPS says. Heh heh.
Bob 26:05
Heh heh. How is she doing iON? (pause) Well, what are you here for, iON, if you are not gonna speak? ESP is not working.
Alissa 26:30
The questions I had on the Egyptian Book of the Dead were the carbon ones, and then the, the location ones that I -
Bob 26:39
Maybe iON, maybe iON got disconnected. Let's see if he came back. Is that you iON? Is that you iON?Nope. Doesn't seem to be any there. Maybe my recent revelations in the last five minutes have forced iON to go a little undercover for a minute.
Alissa 27:08
And some Tech Body issues to deal with.
Bob 27:11
Yes. So, iON (indistinct) when you attempt your ESP experiments on naives like Alissa.
Alissa 27:23
Yeah. I don't know which way the wind is blowin'.
Bob 27:28
No, it's not that easy. Okay, I'm gonna play some music and we'll see if iON comes back. What is your limit?
Alissa 27:35
Okay.
Bob 27:36
You can stay here how long?
Alissa 27:39
Um, what time is it now? I have another two hours.
Bob 27:44
Oh, okay, you're okay. So, you've asked good questions, so far. Okay, so we're bringing Bert in. So, come on in Bert and I'll play something. You got any requests, Alissa?
Alissa 28:04
Um, you can play the, "I'm Just A Drifter."
Bob 28:13
Oh, you like that? Yes, that's a good one. You like that, eh?
Alissa 28:19
I like that - the vibe. Yeah, like the vibe melody. The vibraphone.
Bob 28:27
Unfortunately, it's not taking me there. Maybe get it click on somethin'. Usually, it takes me right there. Maybe it has to be capitalized. Nothing's working. Tech Body's interfered here. (pause) Oh! Started to work. (pause) Well, it won't work.
iON 29:18
Damn.
Bob 29:18
Madeline, Madeline wants it. Madeline gets me accusing you of being naive. She took our history, she spells it correctly. Ahh! It worked. I just had to put the word "the" in front of Drifter. Remember that in future times. So, here we go.
Music 29:50
"The Drifter" by Ray Pollard
Bob 32:43
Wasn't that good, Alissa? It was very good. Tasty.
Alissa 32:47
Yes. (sings a few notes)
Bob 32:53
Yeah, you got a musical ear. You can repeat what you heard. It's commendable. I'm thinking that maybe you ran out of gas in your questions and iON is not gonna respond to winging it. So, let's see if they respond to Bert. If they respond to Bert, then we know you ran out and iON's not going to tolerate puffery. You know, playing overtime. Okay, so maybe we'll come back to you if we run out of inspiration. Thank you. That's the end of the Egyptian Book of the Dead for today unless Bert has something to say about it. Okay. Thank you, Alissa. Do you have any questions about the Egyptian Book of the Dead series, Bert?
Bert 33:44
Yes, Bob. I have one from something I heard from last week and then something I heard just tonight. So, I do have some -
Bob 33:51
Okay, so let's salute iON and see if he responds. Say, hi salon. Hi iON.
Bert 33:58
Hey, iON. Hello.
iON 34:01
Hey.
Bob 34:02
Ha ha, my theory's right. Alissa had run out of gas. Okay, go ahead, Bert.
Bert 34:08
Thank you, Bob. iON, -
iON 34:11
You see, that's another example of how your controls are in the divisive position of where you are in the juxtaposed position. You run out of gas, stop the car. Don't try to run all over in idle when you ain't got no gas to run the car. Go get some gas.
Bob 34:30
Ha ha. You should have known that, Alissa. I don't know why Alissa didn't know that. Ha ha. Okay Bert, go.
Bert 34:38
Hey, hey iON, listening to the last week's discussion of the Book of the Dead, I heard some references you and Bob were talking about; the autonomic system. So, is - is which you're covering with the Egyptian Book of the Dead now, is that opening up new points of awareness of the autonomic system? (pause) I'll try it again. Are there new points of awareness that you're bringing up with discussing the Egyptian Book of the Dead?
iON 35:13
No, they're old points.
Bert 35:16
Old points. Yeah, that's - it's really heavy to listen to the Book of the Dead because there's a lot of key points to your embedding in that. That's something that you have to go over maybe a few times because there's really trick points, especially with discussing the - this involves the Tech Body and actually interacting with the dead, which was with tonight, something I have to go back and listen to. Okay, -
Bob 35:43
Bert, isn't it astounding? Isn't it astounding what we're learning from the Egyptian Book of the Dead in this series?
Bert 35:48
Yeah. Yes. Yeah. It's the next level of discovering more about iON, because I mean, that whole - when I listened to that part, I gotta go back and listen to about Orion's Belt. I've heard that Orion's Belt is alined with Giza, but iON had some things about a mirror place and that's something to go back and listen to. That's, that's, that's heavy. So, going back to my question I heard this evening, tonight; iON, those two lions that you brought up tonight, are there also representations in the, the Chinese Imperial Guard guardian lions that they have on the Imperial - the palaces they have in China? Those two lions?
iON 36:34
Yes. Yes -
Bert 36:35
Wow.
iON 36:36
- on this realm. That's on this realm. There's two on the other side.
Bert 36:41
Ahh, wow. Yeah, Bob, did you - are you aware that? On the palaces in China, they have two lions and one's holding a box and one's holding a ball.
iON 36:54
Orb.
Bob 36:54
I hadn't thought of it, but I've seen pictures now you bring it up.
Bert 36:58
Yes. Wow. So, that was a reference, also, iON, when you said that there were two - one - okay. But, you said one is alive and one is dead. Is that also representation those two lions: one is live and one is dead in this realm and the same in the other?
iON 37:14
Mm hmm. Both. Yeah, they're "both, and," see?
Bert 37:20
Both. Okay.
iON 37:21
That's why you have - because you got one of each here, and you got one of each there. So now, which one's which? Well, it depends on the antiphonal side of the conversation. You see?
Bert 37:33
Wow, yeah.
iON 37:37
That's why you're OA movements mean something. That's why you're doing good. Because you're not caring where you're coming from, you're just tryin' to get back.
Bert 37:48
Yeah, that's, that's a - quite interesting what you're -
Bob 37:53
Say, Bert?
Bert 37:53
Yeah, Bob.
Bob 37:54
Ah, "both, and" for me - I think Barrington Nevitt was the first to point this out. "Both, and" is tactility. So, pre-visual space way before writing and all this stuff, these ancient cultures, they're closer to source. Tactile understandings are relevant to all the concepts and images.
Bert 38:18
Mm hmm.
Bob 38:19
"Both, and." You're gonna see that applies to everything that iON's pointing out.
Bert 38:25
Yes.
Bob 38:26
So, we're -
Bert 38:26
Yes.
Bob 38:26
- we're back to the tactile cultures. And we've retrieved that, the simulation, by the electronic and android meme cultures, but the Tech Body might be an anti environment to tactility.
Bert 38:43
Hmm.
Bob 38:44
It's tactile, but something extra going on.
iON 38:48
Ehh, okay. It's tactile, but is it visceral? There's the rub. If it isn't visceral, you may not even notice.
Bob 38:55
Right.
Bert 38:56
Oh. Wow.
Bob 38:58
Visceral is more proprioceptive, Bert, not tactile. But it's very (indistinct) -
iON 39:04
Unless - well, unless it - unless you're kicking in the handiady's aspect where they are inclusive, But, if they're inclusive, your, your perception has to be gauged by something.
Bob 39:17
No, that's true.
iON 39:18
It doesn't have to be socio - it doesn't have to be socioperception, but it has to be perception.
Bob 39:23
Yeah, the opening statements iON made years ago: "What you see is not real -
iON 39:29
Waaay back yonder, way back yonder, back in the (indistinct) days.
Bob 39:32
- and yeah, "and what they can't see is real." That's a simple way, early McLuhanism, to point out tactility; tactile cultures. And the, the, in a tactile culture like in Thailand, their sense of mastery was: "I know it like a snake swimming in water." Now, look at this whole serpent thing. Serpent in water. I know it like a snake swimming in water. Remember, when you watch a snake, its sides are going both ways - both directions at the same time. But, it's going forwards. So, this serpent is a good representation of tactile culture.
Bert 40:17
Also, we had serpent -
Bob 40:20
Then we have the mystery landscape aspects of the serpent which becomes a Tech Body. So, this is why an understanding McLuhan, which most people need that basic training in perception to get out of their visual bias to get some understanding of the "both and" of tactility, is a good background. It's not enough, but it's, it's probably a necessary background to get to what iON's referring to.
Bert 40:46
Yes. I also discovered this week from just listening to the Revelations and to other things that iON is -listening to iON helps you develop an overlay. Not an understanding, because when you understand you think you understand it and you know it. Whereas, an overlay, it can change. Like you just said, the "both and," it can change at a moment's notice of what you're looking at and what you're dealing with. So, iON's and what you're bringing forth building up from what McLuhan is, is that it's an overlay. So, you really have to be flexible. Like you said, proprioceptive of adapting to whatever situation you're in.
iON 41:27
If you got to, you got to understand, you're most likely going to underwhelm.
Bob 41:33
Right. Understanding is visual and conceptual. Overlaying is tactility.
Bert 41:39
Yeah. And it's very fluid. It's very fluid to get used to that, but it's quite interesting, engaging -
Bob 41:50
The OA movements are proprioceptive. There's where it's close to tactility.
iON 41:56
Well, empirically, they are. Empirically, they are, but you can, you can dice that. Because, what if you don't do the OA movements well?
Bob 42:05
Yeah.
Bert 42:06
Oh.
Bob 42:08
It still would work.
iON 42:10
Wellll, okay, till it doesn't.
Bob 42:14
Yes, you'd get rudimentary whatever results by -
iON 42:18
Well, you'd get halfway home. You might get halfway home. Ha ha ha. See? That's the rub. So, all right - okay. Throw something up in the air, catch your breath and come back down and ask some question.
Bert 42:33
All right. I'm ready. iON, two weeks ago, we were speaking and I brought up the vestie, one of your creations. And you stated that - and I'm, what I was - you stated that it activates chromosome 17 which makes proteins. Did I hear that correctly or I confuse some things, because I went back and listened and you brought it up; chromosome - the vestie activates chromosome 17. Is that correct? Did I hear it correctly or had it crossed up?
iON 43:10
Ehhhh, tell us what chromosome 9 does.
Bob 43:17
Okay, Bert, are you moved out of the Egyptian Book of the Dead? Has this started -
Bert 43:21
Yes, I did.
Bob 43:20
- to be a private session?
Bert 43:23
Yeah.
Bob 43:23
No more Book of the Dead questions.
Bert 43:25
Not at this point, Bob. No.
Bob 43:28
All right, so I'll mark that -
iON 43:29
We beat that, we beat that to death because they're gettin', startin' to get twirled up in it. It's kind of like spaghetti when you got a fork, eatin' spaghetti and you're twirling the noodles; you got so much pasta on the fork, you can't even turn it anymore.
Bob 43:46
Yeah, so, so the tactility is a good point on the -
iON 43:50
Some bad bolognese. Bad, bad bolognese.
Bob 43:54
Bad who? Milanese? Spaghetti company?
iON 43:57
Bolo, bolognese. Bolognese.
Bob 44:01
What's that?
iON 44:01
Tomato, tomato basil sauce. Lots of sauce.
Bob 44:06
That's right. So, the understanding tactile cultures, Eric McLuhan had a thesis: when you looked at the profiles of the hieroglyphs and they'd show Isis, Horus and people, you'd see the side of them. You were to imagine you see the side of them because they were in motion like cartoons. Eric thought they were cartoons and that's why they were drawn the way they were; to show cartoon movement. Any practicality in that, iON? Of course, no, that's ridiculous, right, iON?
iON 44:41
Don't say don't say cartoon, say caricature.
Bob 44:46
Okay, so they're caricatures. Are they moving like cartoons? This is what Eric said they were.
iON 44:51
Ahh, ask Greg duffle bag.
Bob 44:56
Ha ha ha. A good point. Yes, yes, he's the expert. That's right. But, whether they're moving or not is not the point of their communication.
iON 45:08
Whether they're moving or not doesn't matter. They are definitely in motion.
Bob 45:14
Oh, they are in motion. You're just saying that.
iON 45:18
But they may not be moving.
Bob 45:21
Okay, because there, there's the - they represent the Other World? The twin land, that's where motion comes in?
iON 45:30
Ehhhhhhhhhhh, yes, you just, you would fuck up a wet dream. We just get something laid out pretty good and you start undoing it, undoing it, undoing it. To the point at the end of the day, you can't know nothin', you can't say nothin', you can't tell what's going on. You ask all these questions, you get these answers, you don't know. He still ain't told us how to ascend, you don't know what the other land's like. I'm tryin' to go to heaven, I don't know where heaven is. I'm the only hell my mama ever raised, and I don't know how this is gonna go from here. So, we don't quite know, so once again, Dark Soul, you've proven, you've proven your point of ascensionless reality.
Bob 46:18
Hey, Bert, I did have a major statement to make. Are you listening, Carolyn? I think she's hearing this.
iON 46:22
She is.
Bob 46:22
I think on my walk today I figured it out. You know, people ask how do I ascend? The whole point of ascension is to realize how the mind gets in the way of ascension. So, having a technique ain't gonna work.
iON 46:38
Right.
Bob 46:39
And, so, getting close to understand the reality, that there's no answer to how to ascend and that's how you ascend when you really understand that answer; that there is no answer because the answer, it gets in the way of ascension. That's why iON doesn't give us a "how to."
iON 46:54
But, yet, now. But, yet; but, yet, lately. But, yet; but, yet, lately, we've done everything down to even tellin' how to introduce the RNA into the meatsack body to change or activate your chromosome 14.
Bob 47:12
Which gets into his question about chromosome 9. So, we walked right back - the Dark Soul gets us right back on point again.
iON 47:21
Yep.
Bob 47:24
Heh heh. Astounding. It's astounding. But, you get that point, Bert?
Bert 47:26
Thanks, Bob. Yes, yes.
Bob 47:28
You can't - to understand why iON can't tell you "how to," that includes the fact you're already ascended. So, you don't need a "how to" anything. But, most people do not understand that. Their minds will not believe that. They think they got to do something, go somewheres.
Bert 47:44
But that's why - you give the programming language to do that by studying your quadrants and reading Kroker, McLuhan, just to give your mind something to do because it's got - you got to deal with it, teach you. You learn how to use your mind. So, then you get out that -
Bob 48:00
Well, you learn how to get close to seeing tactility because LaRouche, McLuhan, Thompson, Kroker, all the guys in my chart are tactile performers. They perform tactility. That's why they're outsiders. They're not part of the university visual culture; or the business, oral, auditory, corporate culture; or kinetic culture. Zappa's the ultimate tactile musician.
Bert 48:26
Yes.
Bob 48:29
So, tactility, as it is extended, it leads to the Tech Body; which is a very, I don't know probably can't put it into a sensory level because it interacts with the nonphysical. Tactility is the ultimate expression in physical - the physical, sensory, and remember, it's a peak because it's not a sense. So, it's right there in between, but it is not nonphysical.
Bert 48:56
Hmm.
Bob 48:58
Tactility is not nonphysical. So, the Tech Body's something more than the ultimate tactile extensions we've made. Which, you can look at Clinton's - Clinton's video series try to show the history of the building of the tactile technologies. Okay -
Bert 49:21
iON - okay, thank you, Bob. iON, so -
Bob 49:24
So start - do that question again that you did a minute ago. Yeah, we're in the new - you're in the Bertland, now.
Bert 49:32
I'm in the Bertland. So, iON, the chromosome 17 activation, is that a sign of the activation of chromosome 14? Because I remember you saying that when chromosome 14 is activated, it starts to overflow into the other chromosomes. So that, was that what you were referencing when you said chromosome 14, I mean, chromosome 17 is activated? (pause) All right, I'll try it again. Is chromosome 17 activated through chromosome 14? You told me to go to chromosome 9.
iON 50:14
Did you, did you ask - we asked you what chromosome 9 was responsible for and you never answered it.
Bert 50:20
Okay, well, that's where I'm - I need to bring that up. iON, I've been reading all week, as you know, on chromosomes and genes and proteins. And the site that I'm working with, from the Tech Body from NIH, the only thing that they tell you about the chromosomes are illnesses-related. It's an illness-based website that I mean, I don't, I cannot tell you from the Tech Body reference of what chromosome 9 references. All they give is a list of illnesses for each chromosome. So, I cannot answer that. I'll have to go back. I have to come back later to give you that. I can't answer that, because all they give is - could I use some of the illnesses to give you what it works with? Because it doesn't give you, it just gives health conditions related to chromosome changes. It does not cover what each chromosome covers, other than the number of DNA, DNA building blocks and what representation of the percentage of the DNA cells. But, I cannot answer that question. Should I take it another angle or go to my next question? (pause) Okay, I'll try chromosome 9. They have a health condition. Here's bladder cancer. So, does chromosome 9 deal with the kidneys?
iON 52:00
Mmmm. No, no wait. Now don't - we weren't trying to confuse you. We're tryin' to get you into plasma protein and how the renal function applies. So, what does 17 do? 17 has to do with protein. Yes?
Bert 52:15
Yes.
iON 52:17
How you process protein. Right?
Bert 52:22
Right, which is really a big point in the whole amino acid and protein development within all of the cells; the protein development. So, chromosome 17 is kicking into 8 in the creation of protein in the cells in the body. (pause) Correct?
iON 52:53
Close.
Bert 52:57
Close. Yeah, I mean, but it's really quite a complex subject. I learned a lot of-
iON 53:05
No, it's not. No, it's not. It's simple. You got - you're making it hard. You're trying to add something to the conversation when there's nothing there. It's quite, we would say, mostly just quite literal.
Bert 53:20
Okay. I see that point, also, because it's not proteins. The genes are made of proteins, and they create the special functions within the body based on how the protein is sequenced. So, I'll go to my next question. I heard you on this last week's What Youth. You said that CRISPR doesn't mean anything, but the sequence means everything. Were you referring to the amino acid sequencing? Did you mentioned that?
iON 53:55
Yes. Yes.
Bert 54:00
So, I also noticed that the sequencing of amino acids, it's like a unique three dimensional structure which develops the specific functions. So, is that what is changing? Within chromosome 17? The sequence? The - let me just shut up because I don't know what I'm talking about. But, I'm - you have words to relate to it. So, I'll do it again, iON, hold on. So, the amino acid sequencing is changing. Yes or no?
iON 54:33
Sure, when you add three new amino acids, of course, it's changing.
Bert 54:39
Yes! And I have something, also, that's easy that's gonna go right to all of my questions without not really directly answering. You've - on the record, we have on the record that you said there are going to be 63 amino acids. So, hearing that number 63 already, I'm aware that you just brought up just recently that there are three amino acids that we haven't had. But, so, that means at this point, there are 60 amino acids. Now, my question is -
iON 55:11
Known.
Bert 55:11
Known. So, there's more than 63 then, is what you're saying, known.
iON 55:17
There are. Yeah, there are.
Bert 55:21
Wow, that's heavy. Because when you look at how dependent not dependent, but how the whole cell structure works on proteins and amino acids, that's, that's big. So, my question, iON, will the number of proteinogenic amino acids increase? Because right now there are 22 that the science, the current science recognizes. (pause) Did I mess it up by bringing up the current science? Let me go back. Okay. Will, the number of proteinogenic amino classes increase?
iON 56:01
The class will, yeah.
Bert 56:05
The class will. Okay, I gotta go back and look at the class because I didn't -
iON 56:09
Each one's listed in sets and classes. And so you have to have this. That's how the body - they say that's how the body separates the information. I got information. I'm trying to change something. So, I gave you new RNA and it makes you grow an extra brain. Well, that'd be a different class, so, wouldn't it?
Bert 56:28
Yes.
iON 56:30
Okay, good.
Bert 56:31
Well, this, this is a deep subject that fits -
Bob 56:34
Well, does it prompt Carolyn to say anything? Can you help Burt, Carolyn? (pause) Carolyn says no, it's not (indistinct) -
iON 56:40
He just got the - he just got the answer. So, yeah, he's doing good.
Bert 56:49
Oh, okay, iON, this, this goes into, like I said, I base it on what I've learned and read, not read, and what I've heard you reference. So, I'm going to use your reference and what you said and I'm reading things and then it pops up questions. So, this is something that I heard when I first started listening in the archive days when I was lurking. I wasn't able to engage you, but I heard it in Cash Flow and it stuck with me and I have - found the note last night. You stated that a new level of contrast will help activate the survi. Let me go back. A new level of contrast will help activate the survival code in the _(junction 8??)_ for humans to continue. And that stuck out because that was really something that was profound to hear. And, I got to looking at this junk DNA. Like only 1% of the DNA is made up protein coding genes, and the other 99% is noncoding, which is what they call junk DNA. But, I remember hearing you but I didn't have the notes of what you said: it's not junk. So, my question is -
iON 58:02
It's incomplete. The junk is incomplete, incomplete.
Bert 58:08
Incomplete.
iON 58:10
Mm hmm.
Bert 58:10
So, the question - so my question is, is the increase of Bob's bacteria going to activate the noncoding DNA to make more proteins?
iON 58:21
Yeah. No, you don't make more proteins, you, you engage more proteins. You're not -
Bert 58:28
Engage.
iON 58:28
- trying to make more proteins, you're tryin' to turn 'em on.
Bert 58:32
So, what they say that those - because one thing that stuck out when I was reading about the noncoding DNA, they say that they do not provide instructions to make proteins, but -
iON 58:44
Correct. That's why you gotta have 17.
Bert 58:48
Wow. So, chromosome 17 activates the junk DNA. Is that what you're saying?
iON 58:56
No. Chromosome 17. It's what - the one that you have to give information to to feed or know the new proteins and how the proteins affect the body. Turn on, as it were.
Bert 59:11
Wow.
iON 59:14
Now, there's nothing really that wrong with your words except they're wrong.
Bert 59:19
Ha ha. Okay. Well, you've answered my question although my words are wrong, but my words are based on my ignorance and the ignorance of the references that I read.
iON 59:31
Oh, you have no ignorance. You just sometimes suffer from delayed intelligence.
Ha ha. That's another way to look at ignorance. Yes. So, okay, go back to that though. So, if you're saying Bob's bacteria, though, Bob's bacteria is activating these noncoding DNA -
Mm hmm.
Bert 59:50
- you said yesterday.
iON 59:52
Yep.
Bert 59:53
Wow. That's - yeah, cuz I mean, cuz then echo that answers -
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