? ?
Wow.
PAUL DEVEREUX: For 200 years archaeologists
have been looking at a silent movie,
but suddenly we've got a soundtrack.
We're trying to get the sensory information
that was there when these people built these places.
And we're picking up the 110 hertz,
and it's vibrating around this whole area.
-You can actually feel it in your body. -Yes.
That's quite amazing, actually.
-(horn blows) -GIORGIO TSOUKALOS: Many ancient cultures
around the world worshipped sound.
Is it possible that sound
has this incredible power
with which you could do certain things?
DAVID CHILDRESS: Is there some grand design
from extraterrestrials
that was harmonically tuning
all of these sites on Earth?
DAVID WILCOCK: Extraterrestrials are giving us clues
that frequency plays a much greater role
in understanding matter, energy, and consciousness
than we allow for in our current scientific paradigms.
? ?
NARRATOR: Baalbek, Lebanon.
The 9,000-year-old Temple of Jupiter
contains three of the largest
monolithic stones in the world,
weighing approximately 1,000 tons--
or two million pounds-- each.
Puma Punku, Bolivia.
Scattered across a high desert plateau
are precisely-cut 100-ton blocks,
believed to date back
at least 2,000 years, and perhaps much earlier.
The Giza Plateau, Egypt.
The Great Pyramid is built
from more than 2.3 million limestone bricks,
each weighing a staggering 5,000 pounds.
All around the world stand colossal monuments
to mankind's ancient past;
gigantic structures that have endured for thousands of years,
built with stone blocks so massive
that modern builders have not even attempted
to duplicate them.
STEPHEN VANDER HART: Our 988 Cat Loader
can probably lift a 22-ton boulder,
just for perspective.
And it can probably roll and drag along the ground,
uh, maybe a 40-ton boulder.
But when you're talking a 50-ton boulder,
then we would need to bring in cranes, hydraulic jacks,
steel beams, girders.
It's a whole nother set of tools,
even with modern-day technology.
I mean, I can only imagine
how they would move boulders that size.
It baffles my mind.
I have no idea.
It's crazy to think about.
TSOUKALOS: How is it possible that 10,000 years ago
our ancestors moved around the most massive of stones?
Well, the answer is either
another previous super civilization
existed here on Earth,
or extraterrestrials imparting technological knowledge to us.
NARRATOR: Ancient astronaut theorists suggest
such structures provide physical evidence
that extraterrestrial beings visited Earth
and assisted our ancestors in the distant past.
And each of these three megalithic sites,
as well as numerous others,
have very specific stories behind them
that say they were built, not by men,
but by the gods, using the power of levitation.
Some ancient mythologies speak of the fact
that some of these stones were put into place with sound;
that these things all of a sudden levitated into place.
What the local legend of Stonehenge talks about
is that those big stones
were transported by way of levitation.
NARRATOR: Similar to the mythical story of Stonehenge,
the ancient legends of Bolivia say that
the megalithic stones of Puma Punku were floated into place.
In the fifth century BC,
the Greek historian Herodotus wrote that
the Egyptians were given knowledge
from the guardians of the sky
on how to float the massive limestone blocks
with which they built the Great Pyramid.
WILCOCK: What we see is the very real possibility
that extraterrestrial civilizations visited Earth
all throughout the world.
And that each time they did, they felt it was very important
to impart this sacred knowledge
about the importance of acoustic frequencies
in the keys to unlocking the mysteries of the universe.
NARRATOR: The University of Bristol, England.
January 17, 2017.
Researchers unveil a prototype
for what they call a "portable tractor beam,"
a handheld device that can levitate small objects
using only sound waves.
JASON MARTELL: Recently the University of Bristol
came up with a handheld device with an array of speakers
that allows the holder of this to actually focus sound waves,
and sound waves alone,
and then levitate small pieces of light material.
So when we look at this portable tractor beam,
can we extrapolate the idea
that this is a technology in its infancy,
where in ancient times it was actually being used
to levitate large stones?
NARRATOR: At Johns Hopkins University,
biomedical engineers
have manipulated ultrasound frequencies
-(steady beeping) -to deliver specialized drugs
to specific parts in the brain with surgical precision.
And mathematicians at Cardiff University
have developed a method
to literally stop a tsunami in its tracks
using acoustic waves.
(waves crash, then stop)
But while physicists are excited
at the prospect of using sound frequencies
to levitate and manipulate matter,
they insist it is only the beginning
of a wave of cutting-edge acoustic technology.
Could these amazing new scientific breakthroughs
simply be the first steps in replicating
what our ancestors had been taught to harness
thousands of years ago?
WILCOCK: What if these scientific experiments
that we're looking at are leading us
to a much greater surprise,
which is that sound can be followed through
to much greater levels of efficiency
in its usefulness for all sorts of things
that seem to be impossible?
We may be just seeing now the very first steps in our society
of a robust technology
that extraterrestrial intelligent civilizations
have long since developed and perfected.
NARRATOR: Vancouver, Canada.
February 17, 2012.
At a symposium for
the American Association for the Advancement of Science,
researchers gather to unveil the latest discoveries
in the burgeoning field of archaeoacoustics.
LINDA ENEIX: Archaeoacoustics is a new field of study,
multi-disciplinary, and we are incorporating three facets:
one would be archaeology, anthropology,
a second would be sound and acoustics,
the third would be space and architecture.
And all three of those areas
are put together to try to explore
what was going on with sound in ancient places.
NARRATOR: Recent tests at Stonehenge
suggest that the megalithic stones
were positioned to cause sound wave interference patterns,
similar to noise-cancelling headphones,
creating spots of total silence
at various points around the circle.
Statues of divine beings
in the 3,000-year-old Chavín de Huántar
ceremonial center in Peru
project a feline-like roar
when ancient shell trumpets are played nearby.
(trumpeting)
And at the Pyramid of the Feathered Serpent
in Chichen Itza, Mexico,
sound echoes mimic the cry of the quetzal...
(clapping, bird chirp echoes)
(quetzal chirping)
...a bird the Mayans believed was a messenger
for their creator god Kukulkan.
ENEIX: People are coming forward now
with these ideas that maybe were considered pseudoscience
for a long time.
These days, it's beginning to be taken seriously
that sound belongs in the study of the ancient world.
TSOUKALOS: Many ancient cultures
around the world worshipped sound
because sound was deemed to be divine in origin.
(echoing trumpeting)
Is it possible that the reason why our ancestors
talked about divine sound is not necessarily because
they were referring to music...
(trumpeting)
...but that sound has this incredible power
with which you could do certain things...
(sound stops)
...but it's just that we've lost this knowledge
over the millennia?
NARRATOR: According to ancient astronaut theorists,
there is evidence that our ancestors
utilized the power of sound waves
to accomplish amazing feats that defied gravity.
But might they have learned of acoustic applications
far more profound than those involved
in moving giant boulders?
Perhaps further clues can be found
by examining some of ancient man's most important structures;
structures that weren't built with sound,
but built to make sound.
Coming up. NARRATOR: Paola, Malta.
Deep beneath this small town
in the middle of the Mediterranean Sea
rests one of the oldest subterranean structures
in the world.
ENEIX: On the islands of Malta, there are prehistoric remains
that are comprised of megalithic underground sites,
which were considered to be communal burial sites.
The most famous of these is the Hal-Saflieni Hypogeum.
Hal-Saflieni dates back to about 6,000 years ago.
ROBERT SCHOCH: It's multilayered,
three major levels,
and it's really just astounding
to have carved it into the limestone.
I'm a geologist. I know how difficult it is
to engineer something like that and carry it out.
To me, it shows incredible sophistication
on a technological basis.
I can't claim that I know exactly how they did it.
NARRATOR: When the Hal-Saflieni Hypogeum
was first discovered in 1902,
archaeologists were astounded to find buried within it
more than 7,000 skeletons.
In May 1920,
a National Geographic article reported
that many of the remains were those of humans
that were "long-skulled."
But during World War II,
the site was plundered by vandals,
and the skeletons mysteriously disappeared.
Luckily, 11 of the elongated skulls were salvaged,
and at least one of these displays a non-human feature--
it is missing the sagittal suture that connects
the parietal bones on all human skulls.
CHILDRESS: A bizarre report came
from a woman named Lois Jessop,
who had worked for the British Consulate in Malta.
She had been visiting the Hypogeum,
and had convinced one of the caretakers
to let her go into the lowest chamber.
She claimed that she came out
into a ledge in a great fissure
that was beneath Malta.
And on a ledge on the other side of the fissure,
she claimed she saw very tall men.
TSOUKALOS: According to her account,
she saw about 20 white-haired giants that looked up at her
and motioned her to come down.
One has to wonder if the Hypogeum has some sort of
an extraterrestrial presence.
NARRATOR: As incredible as Lois Jessop's story may be,
perhaps the most extraordinary discovery at the Hypogeum
has to do with sound.
In February of 2014,
archaeoacoustics researcher Linda Eneix
gathered an assemblage of audio, geology and archaeology experts
to test the acoustic properties of the most mysterious chamber
in this site, known as the Oracle Room.
After extensive testing,
Linda and her team reached
an incredible conclusion.
The entire Hypogeum resonates
at the specific frequency of 110 hertz.
ENEIX: You physically feel the vibration of that sound
-in your whole body. -(frequency humming)
It was, uh, mesmerizing.
The water in the body's tissue responds to that,
and your whole body tunes into this vibration
that's wrapping around you in the sound.
(gong resonates)
NARRATOR: Sound is created by the vibration of an object,
which causes the air surrounding it to vibrate and form a wave.
MICHAEL DENNIN: Depending on the frequency it oscillates with,
that will determine the note or the tone you hear.
Hertz is the unit we use to measure frequency.
It's basically the number of oscillations per second.
Resonance is basically whenever something is vibrating,
that frequency matches the natural frequency
or vibration of the object.
This is really important with sound applications.
If you take an enclosed space, the way you get a resonance
is to make the size of the room or space match the frequencies
and wavelength of the sound you're trying to achieve.
So that when it hits the ends of the walls,
it reflects just right.
These reflections build up the sound,
or magnitude, of that vibration.
CHILDRESS: What is going on here,
and why are they specifically using that frequency?
So, you have to wonder whether extraterrestrials weren't
involved in tuning the Hypogeum
to create this special frequency.
NARRATOR: Could the Hypogeum in Malta
have been built upon the instructions
of extraterrestrials
with a very specific acoustic purpose in mind?
If so, does the 110 hertz frequency that it is tuned to
hold some special power?
County Meath, Ireland.
DEVEREUX: This is the entrance.
TSOUKALOS: Wow.
NARRATOR: In January of 2017,
researcher and publisher Giorgio Tsoukalos
traveled to the Newgrange passage tomb
to meet with archaeoacoustics expert Paul Devereux.
Here in this 5,000-year-old tomb,
and at dozens of other ancient megalithic sites
across the world,
Paul has been studying the effects of sound resonance.
Wow.
NARRATOR: Today, he will be running a test
to discover whether or not
the Newgrange structure was built with an acoustic purpose
and made to resonate at a specific frequency.
(device beeps)
DEVEREUX: We sweep a sound wave
through the chamber
until we got the primary natural resonance of the chamber.
What it means is you've produced a standing wave
from the sound source to the wall of the chamber.
So the sound wave goes up, and then it reflects back exactly
along the same path.
(110 hertz tone resonating)
DEVEREUX: Okay, that's good, actually.
We're getting an antinode there.
If you put the microphone, yes, into there.
Can you bring it this way a little?
That's good. Okay, that's fine.
We're picking up the 110 hertz,
and it's vibrating around this whole area.
You can actually feel it...
-Feel it in your body. -TSOUKALOS: Yes.
DEVEREUX: It's a physical thing.
And people forget that, that sound is physical.
-Right. -You know?
-Can you feel that? -Yes.
TSOUKALOS: That's quite amazing, actually.
NARRATOR: When the frequency is set
to 110 hertz, Giorgio and Paul are able
to both hear and feel a change throughout the chamber.
Remarkably, this is the same exact resonance
that was discovered at the Hypogeum in Malta,
at Angkor Wat in Cambodia,
and at as numerous other ancient structures around the world.
Now, I think it's amazing, especially that you've
come across similar type frequencies in other places.
Oh, yes. They knew what they were doing, um,
but they did it in a different way to us.
They didn't have this, all this stuff-- they could feel it.
And the architecture would have been built
to structure that sound, to maximize it, to emphasize it.
Yes.
Now, we asked a neuro clinician,
Ian Cook, if there was anything neurological
about this vibration of 110hz.
And he didn't think so.
None of us did, really.
But he carried out an experiment a little bit later
with a group of volunteers who were exposed
to different audio frequencies.
That paper's been produced and shows that that sound can affect
-regional parts of the brain. -Wow.
NARRATOR: Is it possible that certain ancient sites
were designed to resonate
at a frequency which manipulates the way people think?
Perhaps the answer can be found by testing the effects
of this unique frequency...
on the human brain.
NARRATOR: Manhattan Beach, California.
March 25, 2017.
Neurophysiologist Dr. Michael Mark uses an encephalography,
or EEG machine, to determine the effects
of the 110 hertz frequency on a test subject.
Position this. Do you want to go ahead and help?
NARRATOR: The device records brain wave activity
256 times per second,
to provide a real-time look inside the subject's mind.
Okay, Brian, we're now gonna start with our first
frequency for three minutes-- Here we go.
(machine emitting low hum)
NARRATOR: While Brian relaxes in isolation,
Dr. Mark exposes him to a range of frequencies
between 90 hertz and 120 hertz in random order,
for a few minutes each.
Ok, Brian, here's our second frequency now.
(humming gets higher)
NARRATOR: This will allow Dr. Mark
to compare the results and analyze
whether 110 hertz has any measurable impact.
Ok, Brian, now our last frequency.
(higher-pitched humming)
We're done now. Can you please remove your mask?
Mm-hmm.
How was that experience for you?
DODGE: Very interesting.
I felt the most shift in the last frequency.
There was a similar drawing in of the second frequency,
but there was also this experience of uplifting,
or moving out and up,
um, sort of like a...
an out-of-body experience.
It felt like I was floating.
Okay.
NARRATOR: Dr. Mark compiled the results
of the entire EEG test
to see if the data indeed reflects a change
in Brian's brain at this frequency.
The first picture, as you can see,
the left side,
the area that was lit up
was the executive function role,
which is focus, concentration
and attention.
When we did the 110 hertz,
we see that the right side of the brain is lit up,
especially in the parietal area,
which is touch, visual, spatial, expression.
Which can show
how Brian felt his out-of-body experience.
NARRATOR: If the 110 hertz frequency
has the power to alter
the very functions of the brain
and even induce an out-of-body experience,
could sites like Newgrange
and the Hypogeum in Malta
have been engineered by extraterrestrials
to tap directly into our minds?
Ancient astronaut theorists say yes
and suggest that thousands of years ago,
our ancestors recognized
a connection between certain unique frequencies
and otherworldly beings.
Hampi, India.
Here lie the ancient ruins of Vijayanagara,
believed to have been constructed
between the 14th and 16th centuries AD.
At its center stands the Vittala temple complex,
a masterpiece of Indian architecture
and the largest and most revered temple in the city.
DEEPAK SHIMKHADA: Vittala Temple was built
with the mind of creating a celestial palace here on Earth.
With that in mind, the king assembled the great,
uh, the architects and great engineers
and then great craftsmen
to create this wonderful building that can also have
a wonderful sound that will please God.
LAYNE LITTLE: Attached directly to the temple
is what is called the ranga mandapa, or the stage pavilion.
Here there are many pillars,
some reaching to a height of nearly 12 feet.
There's a series of what are called compound pillars,
where you have a central pillar surrounded on all sides
with smaller colonnettes.
These colonnettes are famous because when they're struck
they emit beautiful and haunting sounds.
(melodic tapping)
NARRATOR: According to the local guides at the temple,
the 56 pillars are individually tuned
to one of the seven notes of the Saregama,
an ancient Sanskrit musical scale
dating back thousands of years
that is still predominant in Hindi music today.
Certain groups of these pillars have been crafted to represent
the tonal vibrations of the scale for different instruments.
Some being crafted to represent woodwinds...
(melodic tapping)
...some being crafted to represent
percussion instruments, etcetera.
(melodic tapping continues)
JONATHAN YOUNG: The British, when they were
in charge of India,
were mystified by this amazing quality
and actually cut one of the pillars to see how it was done.
But it was just granite,
and it was just very careful workmanship.
NARRATOR: While the stone pillars
themselves seem like simple technology,
recent analyses have revealed they may be comprised
of an advanced geo-polymer blend of granite
with silicate particles and metallic alloys.
But what continues to puzzle scientists
is that the first basic geo-polymers were invented
in the Soviet Union during the 1950s,
hundreds of years after these pillars were crafted.
SCHOCH: As a geologist, how this was done
is really baffling and amazing.
I've heard reports of people trying
to mimic it in modern times, to try to just do
a little section of it, even one pillar...
(melodic tapping)
...and people just haven't been successful.
So, what were they doing back then?
We just don't know.
According to Hindu priests, each of these pillars
was specifically tuned harmonically
in order to communicate with the gods.
So, you have to wonder, did extraterrestrial beings
come down and give instructions
on creating these specific frequencies?
? ?
NARRATOR: If the Vittala Temple
was designed to connect humans with an extraterrestrial realm,
could the performing of music have had an even more profound
significance than is traditionally believed?
Perhaps further evidence can be found by examining the work
of a mathematical genius from the sixth century BC
who envisioned that sound could provide a gateway
to mankind's exploration of the stars.
NARRATOR: The sixth century BC.
Pythagoras, the famous Greek mathematician and philosopher,
travels throughout Egypt over the course of ten years to study
the esoteric arts under various local priesthoods.
Pythagoras is certainly one of the most interesting characters
that we see in Greek history.
In 535 BC,
Pythagoras left his home in Samos, Greece, and traveled
to Egypt, where he was initiated by the Egyptian priesthood
in all of the different secret societies
and organizations that they had available.
And from this secret knowledge, Pythagoras obtained information
that seems very, very far ahead of his time.
(clanking)
YOUNG: Pythagoras, one day,
was walking past a blacksmith's shop
and heard a sound on the anvils
and got fascinated with sound
and thought it could be understood mathematically.
SABINA MAGLIOCCO: Pythagoras, in hearing these tones
made by the metal striking the metal,
intuited that there was a mathematical relationship
between the different notes in a scale.
That there was a proportional, a relationship of ratios
between these different notes in the scale.
(clanks)
(piano notes playing)
DENNIN: When you look at Western music,
it all has its root with Pythagoras,
and the great discovery he made is that the waves generated,
say, by strings or wind instruments,
could be converted into clear notes and scales
by using fractions and discreet ratios.
So we end up with thirds, fifths, fourths, octaves.
By simply taking the string and holding it
in these fractional ratios, you get sound in these ratios,
and it's very pleasing and works very well to the human ear.
So Pythagoras did this amazing job
of taking math and geometry and tying it to music,
which then led to the entire Western musical scale.
NARRATOR: Pythagoras' revelations
regarding sound and music led him to speculate
that the universe itself, and everything in it,
is in a constant state of vibration.
He theorized that there is a harmony throughout the cosmos,
and that even the planets emit their own unique sounds.
Pythagoras thought of the universe as operating
as a harmonious whole,
which he compared to a lyre,
an instrument that is a little bit like the modern harp
in that it has different strings.
Each string vibrates at a different frequency,
producing a different sound.
He thought that each planet in the solar system
vibrated at its own unique frequency,
and produced what he called the music of the spheres.
(harp notes resonate)
DENNIN: When you look at the individual planets,
in our solar system and around the universe,
the radiation that's emitted in each planet
will be in its own frequency range.
(electronic trilling)
We can convert that to an audible signal,
and think of each planet having its own signal
or tone or music that goes with it.
(electronic tones sounding)
WILCOCK: NASA has been able to record sounds
coming out of the planets,
thereby proving that Pythagoras's notion
of the music of the spheres is, in fact, correct.
When we look at these interesting discoveries
about planets giving off sound frequencies,
we become even closer to realizing the fullness
of Pythagoras's extraterrestrially derived idea
of the music of the spheres.
NARRATOR: In the second half of the 20th century,
quantum physicists developed a new model
for the atomic structure of the universe,
known as string theory.
This theory suggests that the universe is made up
of vibrating strings of energy,
a concept similar to the one Pythagoras suggested
thousands of years ago.
There are even those who believe that string theory
will provide unprecedented breakthroughs
in everything from space exploration to time travel
by allowing for the creation of wormholes
through which humans will be able to move
from one point in the universe to another.
But how could Pythagoras have possibly envisioned
the foundation of such an advanced scientific theory?
The mystery schools that Pythagoras attended in Egypt
are known as the school of the magi, the magicians.
But really, they're a lineage of otherworldly beings,
or humans that are in contact with otherworldly beings
that have knowledge of the stars,
have knowledge of the progression of humanity,
and act as benefactors, assisting humanity
in its movement forward and its evolution.
When we are looking at the Pythagorean knowledge base,
we are seeing something that is vastly more sophisticated
than what he could have come up with on his own,
and is, in fact, vastly more sophisticated
than our current level
of scientific knowledge allows for today.
NARRATOR: If the universe is connected
through vibration and frequencies,
is it possible that we could use this knowledge to connect
with other intelligent beings in the cosmos?
Ancient astronaut theorists say yes,
and suggest that there is one particular sound
that may provide an even more direct connection
to our extraterrestrial ancestors.
NARRATOR: Every year, millions of tourists travel
to Hampi, India to see the ruins of Vijayanagara
and witness the famous musical pillars.
-(melodic tapping) -But for Hindus,
an equally important link to their past
is the god for whom the principal temple complex
was constructed-- Vittala.
Vittala is an avatar of two of the most important gods
in Hinduism, Vishnu and Shiva.
CHILDRESS: Shiva is always holding the double-sided drum
known as the "damaru," and he is constantly beating the drum.
(rhythmic drumming)
And that drum is creating the vibration of the universe,
and that vibration is the unique sound of "Om."
The avatar Vishnu was holding a conch shell,
which he blows into...
(conch blowing)
...and this supposedly makes the exact same sound of "Om"
that Shiva makes with his double-sided drum.
TSOUKALOS: Om is a frequency
of all vowels combined into one.
A, E, I, O, U: Om.
And some have suggested that the Om essentially can be regarded
as the frequency of the universe.
SHIMKHADA: Hinduism, Buddhism, Jainism, Sikhism,
they all use the concept of Om
as an integral part of their religion,
of their understanding of their, you know, life.
Om is the sound of the universe, the basis of everything.
NARRATOR: Om is first mentioned in the ancient Sanskrit texts
called the Upanishads, written over 3,000 years ago,
which proposed that vibration, along with ritualistic chanting,
singing and prayer, can provide a direct connection
between humans and the gods themselves.
Around the world, there is acknowledgement
that things are created by sound,
and that sound is a kind of portal,
a connection point between the seen and the unseen,
the sacred and the ordinary.
The Igbo people of Nigeria in Africa
believe that music is actually the voices of their ancestors.
Yakut shamans throughout Central Asia use whistling
to summon their spirit helpers
when they're about to go into trance to help their people.
The Macau people of South Asia have a poem
that's linked to the idea that music
is a way to call upon our ancestors,
to sing them present with us.
CHILDRESS: This is the vibration
that is inherent in the universe,
and it's something that humans would be able to use it,
with our own technology,
to reconnect with the gods, with the extraterrestrials.
(chanting)
NARRATOR: Is it possible
that through ancient traditions of chanting and vocal prayer,
mankind is actually connecting to an extraterrestrial realm?
And if so, might the same be true for similar practices
performed by other major religions today?
We have this in the West.
Cathedrals are engineered to affect the visitor.
A seeker comes to a cathedral
and the acoustics of the room will resonate in the body.
It's about sound.
If you go to one of the great cathedrals of Europe
and hear a Gregorian chant or other musical performance,
it will alter your consciousness.
So, devoted to encouraging mystical experience,
connection with the unseen world,
will invent instruments, spaces,
so that the human body will resonate with certain sounds,
certain music, certain frequencies,
that will put them in touch with the unseen,
whether that is the gods or unseen wisdom.
It's a way for us to get in touch with the consciousness
and the intelligence of the extraterrestrial beings
that we believe were here in the past.
They're here in the present,
and they will ultimately lead us into our future.
NARRATOR: While it has often been envisioned
that mankind's first contact with extraterrestrials
would come in the form
of a spaceship touching down somewhere on Earth,
could it be that contact is already taking place,
and perhaps has been going on uninterrupted
for thousands of years?
Ancient astronaut theorists say yes,
and suggest the proof of extraterrestrial contact
may lie not somewhere on land,
but deep beneath the surface of the ocean.
NARRATOR: Mariana Trench, Pacific Ocean.
July 13, 2015.
Researchers from the Hatfield Marine Science Center
scan the deepest part of the world's oceans
with a hydrophone, listening for whale calls.
But suddenly, they pick up something unexpected:
eerie sounds booming from the depths.
These sounds are quite interesting.
They sound kind of like whale sounds,
but they can't be attached to any known species.
It's about eight miles down.
It seems very technological, but it's very mysterious.
If we analyze the signal
that's coming out of the depths of the Mariana Trench,
and realize that it's more technological in nature...
...could this be coming from some base
that could still be in use by some extraterrestrial race?
NARRATOR: If the strange sounds detected at the Mariana Trench
really are from an extraterrestrial source,
are they meant for us to hear?
As scientists continue to learn more
about the possibilities of acoustic technologies,
and also about the vibrational properties of the universe,
are we beginning to rediscover
how to detect otherworldly communications,
and possibly connect with alien beings?
When we look at all of the evidence,
we have reason to believe that extraterrestrials
are giving us clues that help us to realize
frequency plays a much greater role
in understanding matter, energy and consciousness
than we allow for in our current scientific paradigms.
TSOUKALOS: If you have megalithic sites
that feature these harmonics
and they happen to be on different continents,
then one has to wonder if, at some point,
this knowledge was given to our ancestors.
I think the time has come that we not only use our eyes
to look at these things,
but to also turn our ears towards these sites.
Because perhaps the frequencies of these places
may be the key to unlocking the secrets of our past.
NARRATOR: Is it possible that extraterrestrials
have used acoustics to secretly guide mankind for millennia?
Or could aliens have hidden clues all around the world
so that once discovered,
we might one day be able to initiate their return?
Perhaps the truth can only be found
once we use not our eyes, but our ears,
to find the extraterrestrial messages that surround us.
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