The subject of the ancient world and human historical timeline are contentious at best, with many vested interests and cultural cross-currents arguing over fundamentally different "Models" of human development.  In one model, which is the standard, orthodox view, humans have developed in a linear progression from primitive and savage beginnings to the modern day, which in this model, is the "smartest" and most technologically accomplished that people have ever been.

But this standard model of human development doesn't really jibe with what we can directly see in the ruins of the ancient world.  Massive and impressively precise monolithic structures and sculpture are everywhere, made of materials that are difficult or even impossible to work with even with the best of modern science.  The architecture demonstrates an extremely sophisticated mathematical knowledge, and we see evidence of a psychology that was inseparable from spirituality.  The closer you look at the ancient world through the traditional model, the more it presents a riddle.

In an attempt to address the riddle presented by the high science of the past, an alternative model of human history is gaining in popularity that asserts that humanity has existed for much longer than recorded history.  And that the ebb and flow of ages has seen incredible high water marks in technology and human intelligence in the distant past, punctuated by periods where natural disasters and dramatic changes in climate and other natural circumstances have caused interruptions in the timeline and periods of temporary return to a more primitive existence.  This alternate model of human history, besides being the one that actually "fits" what we see in the ancient world, also holds a huge promise for those of us in the modern day who see a sophisticated lost technology in the ancient world that can be recovered and applied to modern life.

The ancient world, seen from a certain vantage point, can remind one of a "crashed UFO" that begs to be reverse engineered in hopes of finding scientific advancement from the culture and the advanced science that produced it.

In the new Magical Egypt series, we continue the study of the mysteries of the past.  Our unique perspective comes from the study of ancient art and the message it transmits.  A message that draws our attention to a long-lost science of mind and consciousness.

Just as the engineering and stone work and metallurgy present a riddle to modern science, because of their anomalous or unexplainable sophistication, the artistic expressions seen throughout Ancient Egypt present as deep a mystery.  But more than a mystery, the study of the ancient art is the quickest, most direct way to study the central focus of ancient Egypt and much of the rest of the ancient world - the mystery of consciousness, both in standard and non-standard states.

A study of the ancient artistic cannons takes the appreciation of the role of art to a whole new level. Art in the ancient world was a powerful technology that had a direct effect on the consciousness of the observer through the use of "frequencies" of color and patterns of numerical and geometric repetition. 

Their art is the repository and "delivery system" of an ancient technology with the potential to cause huge shifts in human mental function and creative capacity.  It is the delivery system of an ancient science that is in a very real sense, an "upgrade to our operating system".

I would like to propose that it is time to take this line of inquiry, this forgotten field of science, out of the "new age" or "superstitious nonsense" file folder and put it instead in the "interesting new avenues of promising scientific inquiry" file.

Art has always had the unique ability to inspire us, and to raise us up to it.  Like the fabled Philosophers Stone, it perfects what it touches.

There is something about exposure to genius that lights a fire inside us.  And connects us with our own latent and unique genius.

Whether it is in the form of an artistic masterpiece or timeless sonata, or a piece of literature that has the power to restructure the way we think, exposure to genius acts as a kind of catalyst; a stimulator of genius, or of unexpected states of creativity, in us.

As a lifelong professional artist, graphic designer, animator and filmmaker, my first exposure to the aesthetic of Ancient Egypt was confronting to say the least. Eventually, it prompted a complete restructuring of the way I apply my craft, and more fundamentally, a complete restructuring of my understanding of consciousness and creativity itself. 

It has also greatly restructured my understanding of the role of art, or the original purpose of art, and the highest use to which art can be applied.

In Ancient Egypt, art was used to transmit a dense web of symbols that were in a very literal sense, schematics of consciousness,  and even roadmaps to higher planes or states of consciousness.

The focus of the ancient art was centred decisively on the study of consciousness and it's relationship to the cosmos.  So in a weird sense, the study of the art IS the study of the ancient model of consciousness AS IT INTERACTS with the universe.  Which, in the ancient model, is itself conscious.

In trying to understand the ancient art, we are taken on a voyage of discovery that leads through all the other sciences.  This is a by-product of the unusual way that this ancient culture was structured.  It was a fully, perfectly integrated culture.  Each of the sciences was integrated and interdependent with the other sciences, with the all-pervasive presence of consciousness as the central element that united them all in harmonious animated collaboration.

In the ancient world, all roads lead to the central mystery of the universe:  the mystery of consciousness.  Both in its off-the-rack state, and in the higher non-standard states of mind that are available to all of us, free for the taking, if we undertake to learn a bit about the timeless science of self-discovery that was brought to such a remarkably high state in ancient Egypt.

In this context, art expands beyond what we traditionally see it as - as a sort of interior decorating accessory, to become a type of functioning technology who's specific function is to facilitate higher states of mind, access to non-standard states of creativity and genius and generally act as a "tuning fork", to bring us into vibration, or sympathetic frequency, or connection to the muse that made the work possible. 

This can be thought of as resonating with the mind of the artist, or even coming into contact with the "voice" or "Muse" that was the original, nonmaterial creative impulse that inspired the artist.

You walk away from an encounter with transformative art, sort of vibrating at its level. The change is tangible. 

In the "tv head" model of consciousness, we walk away still tuned to that channel.  And for days, maybe weeks or months afterwards, we are hearing the voice of the muse that produced the work of genius.  And then the magic happens. 

That same voice, that same sensibility that we picked up through our exposure, begins to offer insight into whatever thing we are wrestling with at the moment.  We experience our own epiphany, and an ingenious new idea or solution is revealed to us.  Was it waiting there the whole time, waiting for us to be prompted to "think at the right frequency" to discover it?

Exposure to genius, to genuine beauty, to real creativity, alerts us to higher creative centers in our own mind.  The ancient world, especially Ancient Egypt, used the ingenious metaphor of the "Door" or "gateway" hidden away in a normally dormant part of the brain/mind.  To access this door, one must bring online certain mental centers. 

A study of symbolism, especially a comparison of the sacred symbolism across ancient cultures, shows that in spite of minor cultural differences, the "message" that emerges in symbolic form from the ancient world is unanimously expressing a seemingly long-lost branch of science that focused on the achievement of higher states of consciousness, creativity, genius, epiphany, intuition, and other unexpected senses normally thought of as "supernatural" and actively derided by mainstream science.

Which brings us to one of the central questions explored in the new Magical Egypt series:  Is it possible that this ancient culture could be nothing less than the repository of an ancient "owners manual for the human mind"? 

I've often heard it asked, it's a tired old question;  "Why would we be given the most complicated piece of technology in the universe and not have been given an owners manual?  Doesnt that seem like the basic obligation of a healthy society? 

Well, in my opinion, and in the opinion of some of the sharpest minds in this mindspace, we have been given one, and it's here, encoded in the symbolism that is carried by the sacred art, temple architecture and funerary technology.

In Magical Egypt series 2, we will be joined by some of the most controversial minds and brightest lights in what might be called "The New Counterculture" -  A growing branch of scientific inquiry into an alternative model of human past.  And of a fundamentally different understanding of our identity as a species.  Through a study of the artistic cannons and the sacred cosmology that the ancient art transmits, we will continue to explore the question of the practical applicability of the ancient models of consciousness to the modern study of consciousness. 

It is our belief that this promising new field of scientific inquiry can open important new doors in human intelligence, creativity and access to higher states of consciousness.  And perhaps even fundamentally shift the circumstances of life and level of technology for all mankind.

The Magical Egypt series has been a cult classic since it's original run of episodes in the late 90's.  It is programming for intelligent people, rather than for the lowest common denominator.  Add to this our willingness to tackle even the most contentious aspects of consciousness studies and you get a program that is DECISIVELY outside the mainstream media paradigm.

But being outside the mainstream is not necessarily a disadvantage.  Being an independent production allows us to produce the show without having to make the ideological concessions that are part and parcel of making programming for the mainstream.  And with the advent of new forms of crowd-funding, we are given an opportunity to bypass the mass media machine altogether and create programming for the online digital age that speaks directly to what interests you, regardless of cultural or religious taboos or other types of censorship that come with mass media.

Want to see more programming like this?  Then vote with your dollar.

Due to the massive public demand for more episodes of Magical Egypt, we are pleased to announce that we have launched a kick-starter campaign to fund more episodes.  If you want to play an important part in helping to "create the kind of programming you want to see", visit our kick-starter site at www.magicalegyptreturns.com to find out how you can play a part in the production of new episodes.

 

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