Back by popular demand: the underground classic documentary series "Magical Egypt" returns after 15 years for a long-awaited new run of episodes.  The iconic host and writing team behind the original series are back, joined by a new generation of researchers, scientists and thinkers that represent "The New Counterculture".  


What is the New Counterculture?    A small but ever growing group are challenging the traditional "model", or the basic set of assumptions, that inform our picture of the ancient world.  The new model they are asserting has some radical implications that could dramatically shift our understanding of human past.  And as a result, our understanding of our present, our future, and, even our identity as humans.
The Magical Egypt series focuses on the explosively controversial work of vanguards like John Anthony West, Graham Hancock, Robert Bauval, Rupert Sheldrake and others who are causing a shift to newer models of human consciousness, human history, a new appreciation for the science of the ancient world, and a bold new picture of the vast untapped potential of human intelligence.
A changing of the guard.
The current "orthodox" model of history pre-supposes a linear progression from the relatively primitive bronze and copper age civilisations to the silicon age techno/industrial/military complex civilisation of today.  But as most of the readers of this publication will already know, the orthodox model of history doesn't account for many of the most intriguing riddles that the ancient world presents.  The primary riddle being how a culture like ancient Egypt and many others that we regard as having existed at the very beginning of recorded history, could express such marvels of engineering, and such a highly developed, integrated scientific know-how, at a time when only copper tools were supposed to be available.
And all this at a time when, presumably, there was no body of accumulated knowledge in the fields of architecture or engineering, or megalithic stonework, or for that matter, higher math, geometry, psychology, or physics.
The glaring discrepancy between what we were told about our history by the orthodox model, and the obvious contradiction to that model that we see in the actual remains of ancient Egypt, and most of the rest of the ancient megalithic world, has been observed by keen minds throughout history, but the mainstream position has remained largely unchanged.
Due to a bit of ideological gatekeeping, the conversation about ancient Egypt was restricted to a fairly narrow band of "acceptable" discourse and inquiry for much of recent modern history.  All within the framework of the "pronouncements" of Egyptologists and academics.  But that is giving way to a new paradigm - a new relationship between the public and the "authorities" that dispense the information we use to form our beliefs and value structures.
"Cutting out the middle man"
In the last couple decades, individual access to the web, and the direct connection to the world of information there, has sparked an interesting shift - people are shifting from a passive participation, one of viewership and of "passive consumerism of a unidirectional broadcast of culture", to a more active roll, where the gatekeepers and old-school authorities are bypassed, and people are doing their own research.  Exploring unique avenues of their own personal fascination.  Designing and conducting their own scientific experiments.  Often raising and answering questions that the traditional authorities hadn't even considered.   
As a result of the more direct experience that the internet brings, fewer people are "taking it on faith", that the old school model is gospel.  More and more people are forming their own opinions, and more and more are seeking out the voices and the lines of inquiry represented by what we're calling the "New Counterculture".  The "other" model of human history.
How does the new model differ from the old? Some of the differences are subtle, some quite dramatic.  Some of the basic assumptions of the new model of human development are completely the opposite of the traditional understanding.  Most centrally, the biggest difference between old and new models is that, rather than linear progress from a primitive past to the high-tech present, all the data actually points to a much longer period of human development, perhaps vastly longer.  These long periods of development were punctuated by natural disasters and interruptions of civilisation that acted as fractures of the timeline, interruptions of progress, and served to create a sort of "ebb and flow", a rise and fall of the expression of science and technology over long periods of time.
This model accounts for the amazing heights to which humanity has risen in the past, as well as the embarrassing depths to which we fall when we lose connection with our identity as an intelligent, creative, even ingenious race.  One that in times past have laid bare the scientific machine code of the universe, and solved the central mystery of the universe - the mystery of the nature and function of consciousness.  One of the last remaining unsolved mysteries to modern science.
In the new series:
We begin with a simple, but surprisingly confrontational idea:  "There is a door in your head that no one told you about".  
As a filmmaker and a career visual artist, something I keep noticing about the artwork and the architecture and most of the rest of the culture, is that it radiates a message, but the message is ingeniously encoded.  You see it every time you look at it, but like those classic victorian illustrations of optical illusions.  First, you see one thing, a beautiful woman say, until your brain "flips" and you see the other - a hideous crone occupying the same space.  
If you are in possession of the keys, the right decoder ring, the architecture starts "talking" to you in a surprising and unexpected way.  And not just talking, drawing your attention to something.  And so does the rest of the art, the jewellery, and the elaborate funerary technology.  
In the new series, the art and the aesthetic of ancient Egypt is used as a door through which we "enter the inner temple", to access the storehouse of accumulated knowledge from these lost chapters of human history - and to study not just the art and aesthetic cannons that deliver the ancient message, but to shine a light on the ancient message itself.  
It was a message that was of central importance to the ancient intellect.  A message that was the primary reason the temples were erected, and perhaps the reason that this ancient civilisation continues to be of great interest to such a large segment of the population.
The ubiquitous message transmitted by the ancient world, especially ancient Egypt, draws one's attention to the mystery of consciousness, and to a forgotten science that "schematised" or "diagrammed" the interaction between brain, mind and higher states consciousness.  The message then proceeds to diagram the role of consciousness in the universe.  And it does so with a commanding authority.
Magical Egypt series 2 begins with a look at the substantial new developments that have taken place since the last run.  Revelatory discoveries like Gobleki Tepi have pushed back even the orthodox estimation of earliest civilisation to before 10,000 BC.  It might very well be final nail in the coffin of the orthodox model of human history.  Many other recent discoveries are opening new doors onto whole new areas of research.  Noteably, Laird Scranton's discovery of a scientific language embedded in certain classes of hieroglyphs, and the sophisticated scientific models the language transmits.  And of course, Rupert Sheldrake's landmark work suggesting that consciousness and mind operate as fields, returning the modern scientific model of consciousness to one eerily similar to that of the ancients.
These discoveries have come along slowly, but have accumulated in a way that has changed the landscape of what we believe about the ancient world.  Cumulatively, they invite a new look at what other "recoverable science" is waiting patiently to be rediscovered.
Being a rabid fan of this topic myself, I am very aware that long periods can pass without any real progress or meaningful developments, and the subject can become stagnant.  But then, as science marches inexorably on, and as basic human curiosity keeps combining with better access to information, discoveries are made that revolutionise and revivify the whole conversation.  
The other development that has somewhat changed the landscape since our last run of episodes is the emergence of "Ancient Aliens" themed programming.  While being duly fascinated with the subject of ancient alien intervention, and aliens in general, I saw something a little troubling about the recent series.  It turned a very complicated, multifaceted and very important avenue of scientific inquiry into a dynamic more reminiscent of sitting around a camp fire, where everyone is encouraged to contribute their opinions, whether or not they are based in reality, and the more dramatic, the better.  While that certainly has a track record of pulling in an audience, it ultimately becomes a type of "informational junk food", because many of the conclusions reached by the show are based on poorly researched or just plain incorrect facts.  It may have ultimately served to push the subject even farther outside of the bounds of credibility or consideration as a legitimate topic of scientific inquiry.
We will be exploring the Alien Intervention question, because it FITS so well with the puzzle of the anomalous technology.  But we will explore it with eyes wide open to the possibility that the fit might be a false positive.  We will also explore the contentious subject of the Annunnaki, as introduced by Zecharia Sitchin's popular "12th Planet" books.  What are other experts saying about Sitchin's translations?  Does this popular new mythos actually stand up to scientific scrutiny?
Rather than sinking to sensationalism and speculation, there is another track to take when studying such an important question, which is to rely on scientific methods of rational inquiry.  Sticking to the science is what has given West, Hancock, Bauval, Sheldrake et al, the staying power and social relevance that they have achieved.  Rather than the "junk food media" preference for simply recycling popular memes, the scientific approach looks at the data, at the evidence, and the clues available to us, and then constructs a model that fits the direct observation.  
The show will also explore other ancient riddles, and other examples that point to a high science in the ancient world.  In each case, we look at the ancient world with the goal of "retrieving and reverse-engineering" technology and "recovering lost science" that is of direct application to the modern world and the modern mind.
You can help direct the course of the show!
The entertainment and media landscape has also evolved considerably since our last production.  One bold new development that has changed the face of producing independent content - content outside the mainstream paradigm - is the emergence of crowd funding and kick-starter programs.  These avenues of crowd-funding allow large groups of people with a common interest or passion to "vote with their dollars" and play an active part is helping to make the kind of programming they want to see.  
After 15 years, worldwide DVD sales, and tens of millions of views on Youtube, we are constantly contacted and asked when we will produce more episodes.  We see the crowd funding option as a viable way to pull together the budget to produce more episodes without having to submit to the compromises that come bundled with traditional broadcast programming.  We would like to do more field and location filming in Egypt, England and other ancient sites, as well as interviewing our guests and participants in their "natural habitat".  If you would like to play a part in participating and making possible the production of new episodes of Magical Egypt, please check out our Kickstarter program to find out how you can help!

 

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