Alyssa Nabriga (2:55)

Wow.

Robert Edward Grant (2:56)

And even the shape of the room itself, the king's chamber is a two to one rectangle. And the reason for the two to one rectangle is because the four north stars that our precession of Equinox traverses through are today where Polaris is our north star. That's the star that we use to navigate ships by in the seas and have done so for many thousands of years. But 6,000 years ago it was Thuban in Draco's constellation. 6,000 years before that it was Vega in lyra constellation. And 6,000 years before that it was Deneb in Cygnus constellation. And those four stars in the night sky make a two to one rectangle exactly like the king's chamber. Literally like a clock where we're traveling 6,000 years at a time. And then we have some form of a reset. Then another 6,000 years, we have another form of a reset and we have a, a new North Star. And this is what's known as the precession of equinox. So we travel forward in time in procession. That's why we go for the zodiac. Right. So if you're in January to February, February, March, March, April, April, May. And the way that would go is you've got Capricorn, Aquarius, Aquarius then goes to Pisces, Pisces goes to Aries, Aries goes to Taurus, Taurus goes to Gemini, Gemini goes to Cancer, Cancer goes to Leo, and then Leo to Virgo and Virgo to Libra and then onto Sagittarius. But actually as we go forward in procession, which 1 degree of our rotation around the sun each year is approximately one day, because we have 365 days in the year. And that's really only because we've been ignoring the feminine side of the calendar. Because we don't follow the moon calendar for the annual basis, which would be 354.6 days. And the masculine form of the calendar is 365 days. It's the solar calendar, 365.44 days would include the leap year on both of those. And you add them Both together and they equal 720 and divide them by two to find the mean value is exactly 360 days, which is why the Egyptians use a 360 day calendar. So the imbalance of the solar calendar without the counterbalance of the the lunar calendar is why we're missing this knowledge. And we think, oh well, we just got these extra five days on here. Well, there's a reason for it because the have to think of it as two strands of DNA or the backbone of DNA rather. And the middle point is that 360 degrees as it's rotating. Right. And it's perfect because it's a matrix. So when you start to realize this, then you think, okay, what is it that the king's chamber is really telling us? It's telling us about this huge clock of time that the sarcophagus we believe was originally in the center of the room. We found chip marks on the floor where they moved it out. We know that it had been moved and pretty much in every other place in pyramids or everywhere else that there have been, with the exception of Khafre Menkari Pyramid, you don't have. Usually the place of putting some sort of a box inside of is going to be kind of in the center of the room, not in the back corner of the room as it were. This is facing where the west wall is. But we have found that there's a relationship there. And all of this is the subject of my television series Codex. And season two is already out and you can learn all about it and see all of it. And we did it all in this really cool LIDAR scan CGI which is hyper realistic and very, very amazing. So it was a really fun project to do and I'm looking forward to another season on this as well.

Alyssa Nabriga (6:29)

We'll put the links in the show notes. Sure.

Robert Edward Grant (6:31)

But I think that's the most profound. The second most profound is that there's a musical relationship to all the pyramids. And that was. I just looked at it with my curious mind and I said, okay, so all the pyramids have some characteristic that makes them very different from each other. They all generally have similar architecture. Some of them have a step architecture, others have a smooth slope going up the sides of the pyramids. But I looked at it more from the slope angle. So why was the slope angle specifically chosen? And you can look at pyramids all over the world, they all have different slope angles. So I was trying to understand what that could possibly be as a result of. So then I looked at it and said, okay, well, maybe this is encoding some knowledge of music and an architectural principle that relates to that. So I looked at the height over the base. So you could take the height over the base or the height over the 1/2 base creates a right triangle. And that right triangle, the length of this line versus the length of this line will determine the slope of this line. Right. And therefore the angle of this line. And we have very exacting measurements for the Great Pyramid's angle of 51.85397 degrees. We know that the second pyramid, Khafre pyramid, which has been the subject of some recent controversy and really interesting stuff too, about this underground structure, we can talk about that in a little bit. And my findings related to that also. But that has a slope angle of 53.13 degrees and versus the 51.85. So why the difference? And it makes Khafre Pyramid actually look more beautiful than the Great Pyramid does, interestingly. And then the third pyramid, menkari, has a 51.34 degree angle. So I of course, went to the work of trying to figure out, okay, what would be the Pythagorean triple relationship that would create those exact angles? And what proportion of this line versus this line would you have to have to have those exact angles? And I found that there was a pattern. And the pattern for the smallest pyramid was 5 height over 4 base. Right. And that created a 51.34 degree angle. I found that Khafre pyramid, to have a 53.13 degree angle, would have a 4 height and 3 base. So, wait, there's a pattern there already, isn't there? Five over four and then four over three, and then four over three. Also, as an inversion, if I take the entire length of the base of that pyramid, it would be six over four. So I invert it and then reduce it down, and six over four is equal to three over two. Right? Because you divide them both by two to get the lowest common, you know, denominator. And then now you have another Pythagorean triple, which is 3 over 2. So we have 5 over 4, 4 over 3, 3 over 2. So wait, the Great Pyramid must be 2 over 1 something. And it was, it was 2 over 1, PI, 5, 4, 3, 2, 1 PI. And nobody's seen this before.

Alyssa Nabriga (9:19)

Yeah.

Robert Edward Grant (9:20)

And anyone who knows music realizes those are all mathematical intervals used in musical tuning. So a music theory was to look at that and say, whoa, that's the major third, that's the perfect fourth and the perfect fifth. That's also the diminished fifth, because inside the 2 over 1 proportion is also implied. The square root of 2 over 1. Right. Because a circle would go from the base of the pyramid up to the top of the pyramid. And then you inscribe a square within that and it's got the square root of 2 already within it. And then the king's chamber is also two over one, which is doubling an octave. You know, basically taking it up an octave, and then its inverse becomes the same as one over one. So then that tells us, out of the 13 musical intervals, the three pyramids on the Giza Plateau give us eight out of the 13 perfect proportions of what the musical notes would create. So it's literally the sound of the following. The sound of Giza plateau is da da, da da, which is the most common chords in music. And this was like, profound because then I started thinking, okay, well, I wonder if the other pyramids around the world are also following this pattern. And guess what? They are.

Alyssa Nabriga (10:30)

Wow.

Robert Edward Grant (10:31)

They're all different musical notes in a 24 note scale, which. The 24 note scale actually combines all the pentatonic scales. It'd be like, my girl. That's the pentatonic scale. And then all those indigenous scales can be combined under one scale when you use quarter tone scale instead of a semitone scale. And it also unites 432 and 528. And the Giza Plateau proportions itself, the length is 528 and the base is 432. Proportion.

Alyssa Nabriga (11:02)

I love the way that your mind sees patterns and really blends different innovative ideas through music and math. It's the intersection of so many different things. What does that tell us? What have you extrapolated from that?

Robert Edward Grant (11:14)

I think what it's telling us is that the entire Giza Plateau is a spectrum of light and sound. And it's informing us of the matrix that we're living in. And it's a reflection of us. We're the spectrum of light and sound also. And that as we raise our consciousness, more will be found in the pyramid because it represents our own chakras inside the Great Pyramid. So we've been finding new chambers. And everything we predicted where the next new chamber would be, we were correct on where the next new chamber would be. It's in the throat chakra line. We found it hidden in Leonardo da Vinci's Vitruvian Man. He cut his man into 14 parts. So the Vitruvian man, the same picture everyone knows, the iconic picture of the man standing in the square in the circle. Well, actually it was encrypted because if you read in the upper section, that's in the backward mirror text, it says that he cut his man into 14 parts. The Vitruvian man was cut into 14 parts. This was a veiled reference to Osiris being killed by his brother and being cut into 14 parts. And the places where he was cut were exactly the places where Da Vinci placed vertical and horizontal lines on the body. So he's trying to tell us that this is the symbology of Osiris, which is the great monomyth. Right, the great monomyth. And he's encrypted the whole thing. There's a bull right on his throat. You can't miss it. He has three diamonds etched into his abs. I mean, I know guys with really ripped abs, but I've never seen diamonds ripped in their abs. And he's got three diamonds literally drawn. And those are representing the three pyramids and the belt stars of Orion.

Alyssa Nabriga (12:45)

Wow.

Robert Edward Grant (12:46)

Right there on top of his abdomen, you can see the king's chamber, hidden also right into the line of the chest, which is right where the king's chamber is. So when you overlay exactly the pyramid in the exact right proportion where it's supposed to be, it reveals the location of all the chambers in the pyramid, not only those that have already been found and are known today, but those that have not yet been found. So we use that to predict when the next one would be found and where it would be found. And sure enough, they found it through ground penetrating radar. Now they're trying to figure out a way to get into it. They found a corridor that led up to that I had predicted already. There's another corridor that leads up above the grand gallery, and I called it the Magnum Opus Gallery. That leads up to the Metathronae, which is the throat chakra. And basically, this is all super exciting, Indiana Jones kind of stuff.

Alyssa Nabriga (13:31)

Yeah.

Robert Edward Grant (13:32)

So every time I go there, there's something new that emerges. It's super epic because the world is changing around us as we start changing our belief systems. And the last time I went, we opened the Stargate inside the king's chamber. And that was an amazing experience. And there were six of us that we didn't even know that we were organizing in the form exactly of Orion, because Orion also makes a two to one rectangle. And we had a person in each corner. And then we had three people, me and Jade, actually holding hands in the center of the room. Exactly where the belt stars would be. We moved the sarcophagus in the etheric realm to the center of the room, which is what we were told to do. And then the same thing happened with. I moved the. There's a blood diamond on top of the north wall. And the diamond is right over the bull's heart. And you can see it. It's etched in the wall. There's a diamond etched in the wall, and it's, like, matching as well. This logo that I have that Dolores Cannon talked about, like, literally. She said that hidden things were in the walls of the pyramid, right? Until the right person came with matching. The same symbol that was hidden in the wall would be able to see it. Then everyone would start to be able to see it. So that's what happened. And then I was channeling it, and I said, I. Command and decl is now open. And the moment I said that, and we're all in there praying, all of a sudden, the entire power grid on Giza Plateau went down. There was no electricity. Instantly, within one millisecond of me saying, now open. And it was a trippy feeling to have literally all the power go out on Giza. And everyone was like, what is going on? I don't think it's a coincidence that two days later, they did the scans, the SAR scans, and found there's an underground structure underneath the Caffrey pyramid. So we start seeing all these Mandela effects, right? So then as soon as that thing happened, you know, another big discovery that the third, I would say in this is that when the story came out of the paper that's being published by Malanga and Biondi, professors in Italy that work in this field. And the beauty of their work is they don't require any permissions from the Egyptian government or anything. They're just doing it from satellite photography and a type of radar, which is called synthetic aperture radar. And so what they've done is they basically send little pulses into the Earth. And this is a new type of optical coherence tomography. They send pulses into the Earth to tell what is different in the structures under the Earth. So you get a little echo signal from each distance point, right? And the echo signal, when it's got slight variations in it, tells us there's something different under the structure. So there'll be a different echo structure for rock versus down to the composition of the rock, right? Of what type of rock and what type of layers of rock. All of this can basically be found inside of this. So it's a new type of technology, and used in this new Way. So what they found was that up to 2km underneath the Caffrey Pyramid, these structures, and in fact they're cubic shaped. And two of these set structures, each one of them can fit 64,000 people in them.

Alyssa Nabriga (16:41)

Wow.

Robert Edward Grant (16:41)

They're massive. And they look like pylons that go straight down. So I of course went back to my notes because I'd found that Da Vinci had encrypted Caffrey Pyramid in folio 134 of the Codex Atlanticus. And I'd found a year ago that I matched up his drawing because I was literally just flipping through this book, Codex Atlanticus one day and I saw it. I was like, what the heck? And I noticed in the upper writing it said avendo Egyptato having been Egyptianized. And then he explains the 3 over 4 proportion, which is exactly the 3 of the base and the height of 4 proportion of Khafre pyramid. So I was like, what the heck? And then I overlaid it to see if the inner structures within it match the inner structures of the actual pyramid that we know about today. And they all did. And I was like, oh my gosh. But I didn't even notice what the underground structure was until the story broke on Malanga and Biondi. And then I went back and looked at. I was like, oh my gosh. The exact same structure, almost literally identical to what Malanghi and Biondi had basically proposed at Armando May, was exactly what Da Vinci had drawn underneath the Caffrey Pyramid. As if he knew already.

Alyssa Nabriga (17:54)

Yeah, I feel like we're in this Indiana adventure. I feel like you are doing exactly your soul's mission and just following your curiosity and all these discoveries. I love it. One thing I heard you share on another podcast, podcast from a friend where he was interviewing you and you were talking about the zodiac signs and how the opposite zodiac sign informs us something about ourselves. I don't want to spoil it. Can you unpack this? Because I thought this was profound. I don't know why more people don't talk about this.

Robert Edward Grant (18:19)

Sure. So I started noticing the first place I noticed the correlation was in aeons of time. So 2000 year cycles that make up our 24,000 year cycle of the great year for Earth. So we have our own year 365 day calendar. But in addition to the 365 day calendar, we also have a larger, larger year that Plato talked about called the Great Year. This is, you know, known to be between 24,000 and 26,000 years. And this Great Year includes our trip through the precession of equinox. So I talked about we go forward in procession, but we're going backward in precession at the exact same time. So if we didn't have a watch and all we could see was the stars at night, you would really literally realize that we're going both forward and backward in time at the same time. Because in precession, we just went from 2000 years of Pisces into now, Aquarius. But if we were going forward in procession, it would have been Pisces. After Pisces is Aries, not Aquarius. It's backwards. Right? Because precess means to go backwards. So as we go forward in procession, we're equally going backward in precession. So that's why now we're in Aquarius, or we're just now going into Aquarius. What does this all mean? Well, what it all means is that each of the ages of time that we've had, I started noticing a correlation between the big symbologies and the mythos and everything else that went along with those ages of time and biblical stories and Epic of Gilgamesh stories and how they all matched kind of perfectly the exact age of time that they were in. So I'll give you an example. You're familiar with the story of Moses, Yeah. Right. So Moses goes up to the mount. He's got the children of Israel, they made it across the Red Sea, they survived the destroying angel because Moses said, put lamb's blood on your door. But then he comes off the mountain, the Mount Sinai, after talking with God in the burning bush, and he sees that they're worshiping the idolatry of the golden calf. Now, why were they worshiping the golden calf? Well, it could possibly be because it hadn't been that long ago that the age or the aeon of time was Taurus, because it was. It was pretty close in time. And so Moses come down, and now all the analogies are now no longer about Taurus. They're about the blood of the lamb, the Lamb of God. Even Isaiah is talking about the prophecy of the Messiah coming and referring to it as the Lamb of God. The lion and lamb shall lay down together. And that was true all the way up until the time of Jesus. And Jesus no longer was using any of the lamb analogies. Right? He was going away from blood sacrifice, away from the lamb analogies. And he was going towards what? I shall make you fishermen of men. Because he was ushering in the Piscean age, we moved into Pisces. Now, you can also look at the opposite signs of each of those periods. So the opposite sign of Taurus.

Alyssa Nabriga (21:22)

Oh, what you're doing is you're looking at it through a spectrum of time, but we can also look at it from our sun sign. Okay. Macro, micro, unpack this for us.

Robert Edward Grant (21:32)

Yes. You can basically go back in time and look at the age of Taurus, which is an age of learning, age of opulence, age of luxury and abundance. And very much how we think of Taurean age should be. But then what's the opposite sign of Taurus? Scorpio. Right. So this is also the same time of dynastic Egypt and the Scorpion Kings. So then you start thinking, okay, where else could I apply this? So during the age of Aries, okay, this was. The opposite sign was Libra. And Libra represents justice and balance and the formation of governance government models. Okay, so was this the time period where the Greek city states started to create their own governance models? Yes, and organize themselves. Was this the time of the Roman Empire? Yes, it was. Was it the time of the Etruscans? Yes, it was. So wait, this is like this great age of learning as well, but in this organized, structured way that, you know, also was accompanied with Aries, became an age of conquering and subjugation and control. So they realized they couldn't just be barbarians to control such large swaths of land. They needed to be able to actually organize themselves and get their act together. So that's why you had the Greeks who started figuring out city states and all this stuff. And you had Alexander the Great, who did all this conquering, but then brought roads and language and culture and education to the places that they conquered. And then you go beyond that and say, okay, well, okay. When Jesus came, then he came at this meridian of time, which was, you know, roughly 2,000 years ago. And during that time, we had the opposite sign, the beginning of Pisces. What's the opposite side of Pisces but Virgo? So then we have the Virgin Mary and the veneration of the Virgin Mary and also the vilification of women and sexuality in general. Because we want to put every bit of sexuality on this pedestal of, like. No, no, no. The best thing is, if you must have sex, then okay to have children, then you must. But it's better if we all didn't.

Alyssa Nabriga (23:34)

Yeah, right.

Robert Edward Grant (23:35)

Which obviously is not true. So now we're going into this new age of Aquarius, which represents technology and resonance. We had two fish that were separating out by rope going different directions. One fish of spirituality, the Other fish of science. And now we're starting to realize, no, no, they run in resonance. So we have the two water waves, right? The mem in the Egyptian mem or Hebrew also meaning water in that case. So we've got resonance symbology. So instead of swimming away from each other, we run in resonance together. That's the next stage. But it also comes with a high degree of technology. All the things we're seeing right now, the intervention and rapid expansion of AI tech, as well as everything else in society that we're seeing move at such a rapid pace. This is very, very Aquarian. And it's also rebellion. Rebellion is part of being in the Aquarian age. Individualism and individuation is part of being Aquarian. So all of the structures and strictures that have been placed on society, like even taxes and stuff like this, there was no tax in the United States before 1913. So these mechanisms were really about redistribution of wealth. They were, until that time, paying for everything based on tariffs. This is what Trump is trying to do, right? He's literally trying to return it to a yesteryear model that was predating the income tax era. But the reason for income tax being established was more about subjugation and getting everyone to contribute because then you could get more control over society. And in addition to that, it was also about redistribution of wealth from wealthy into the less fortunate. But of course, you know, it doesn't always happen that way because the things, whatever you resist is what will persist. And so all that we've done by a lot of these types of things is just created more poverty and more challenge in society. And we haven't addressed at all all these efforts in. This is probably the best example I could think of. We put all these efforts in from a governmental perspective to reduce the likelihood of a non transference of wealth to the people that, you know, really are the lower segments in the poverty stricken in society. And actually what's happened is it's gotten way worse. With all of the things we've done, it's somehow gotten worse. Another perfect example of what we resist will simply continue to persist.

Alyssa Nabriga (26:03)

So we're moving into this Aquarian age.

Robert Edward Grant (26:06)

So what's the opposite?

Alyssa Nabriga (26:07)

What's the opposite?

Robert Edward Grant (26:07)

Leo. Okay, so that means what are all the things we associate with Leo?

Alyssa Nabriga (26:11)

Yeah, Being out, being seen.

Robert Edward Grant (26:13)

Being out and being seen.

Alyssa Nabriga (26:15)

Yep.

Robert Edward Grant (26:16)

Social media, social media. It's this whole, you know, aspect of society. It's also blingy and gold, right? Lion is gold. Lion is gold. And drama. Gonna be some drama too. Right. These are the aspects, the shadow aspects of society. So we can say that each of the opposite signs become the shadow aspect of our society. And just like when Aquarius is believed to have fallen would have been in the age, the end of the age of Leo at the younger Dryas. And what would have been its opposite sign? Aquarius Water. Right. So all of a sudden, it's not this water bearer. That's like this beautiful, easy water bearer. I think we got the whole thing floods. Right. This is just the backdrop of a set change in the game.

Alyssa Nabriga (27:01)

Yeah. And I want to just make sure people really get this because you speak on macro and my brain thinks of micro. And so what I'm hearing you say is that with astrology and the different, say, sun signs, whatever the opposite is, we're in Aquarius. The shadow work that we will work with collectively is part of Leo. And so that can also apply to our personal. So a sun sign as cancer. My shadow work would be around Capricorn, the opposite, just to help ground that for people.

Robert Edward Grant (27:28)

Mine is about Scorpio. And I didn't even realize this because I've always thought of myself as just like a happy bull. You know, I'm the happy Taurus. But that's not how everybody else saw me. And remember, we don't see the world as it is. We see it as we are. It's funny, I've been accused of things in my lifetime of ridiculous things sometimes from time to time.

Alyssa Nabriga (27:49)

Yeah.

Robert Edward Grant (27:49)

And I realized it took me a long time to realize this once, but I finally did, which was people aren't seeing me as to what I would in my own shoes, do. They're seeing me as what they would do if they were in my shoes.

Alyssa Nabriga (28:02)

That's right.

Robert Edward Grant (28:04)

And then they're judging that thing.

Alyssa Nabriga (28:06)

Yep.

Robert Edward Grant (28:07)

Right. Which is like, what?

Alyssa Nabriga (28:08)

But then if I judge, the thought.

Robert Edward Grant (28:09)

Never even occurred to me.

Alyssa Nabriga (28:10)

But if I judge them judging that, then I'm caught in the matrix.

Robert Edward Grant (28:13)

Then you're caught in the matrix of that. Exactly. But it's okay to be aware of it. Yeah, but you don't. Again, it's seeking to understand rather than to judge. And it's where the vitriol or the energy goes. Right. Where the energy goes is where attention flows, and that's where manifestation will also flow whether the universe doesn't know the difference. If you're, like thinking, and this is what people say to me all the time, oh, what's the best way to manifest something? Well, believe that you already have it and feel the feelings as if it's already manifested. That's why I'm not a big fan for myself at least of, like, vision boards and such, because I feel sometimes it can be very effective for people and sometimes it can be very not effective for people because. And here's the litmus test. Does it separate you further from the thing that you want to manifest, or does it bring you closer to it?

Alyssa Nabriga (28:58)

Yeah, like the come from matters, where we're coming from.

Robert Edward Grant (29:00)

That's right.

Alyssa Nabriga (29:01)

Also, are we trying to avoid the opposite, like poverty? And so we're trying to manifest because, you know, is it coming from fear and scarcity? What's the energy behind it? And I think there's power in manifestation, but I also want to be mindful of people not using it as a way to avoid, like, feeling into the sensation of the thing that I'm avoiding so that it's less caught up in the story. And it's like, oh, I can stretch my. The capacity to be with the range of my human feelings and emotions rather than running away from certain feelings by trying to manifest the opposite. So forgiving the judgments, stretching the capacity of the sensation, not the story, helps open the aperture to be in more neutrality. And then from that place of more pure potential and neutrality, drop in an image of what it is you want as if you already are it, because you are. And so helping accelerate manifestation that way.

Robert Edward Grant (29:50)

I think is helpful to me. It's like, that's where you can really start to use the zodiac and everything to be able, like Myers Briggs or anything else. And the things that we tend to fear are the things we should be leaning into the most.

Alyssa Nabriga (30:04)

Yeah. As a sensation, not a story, because we can get lost in the story. But yes, I agree 100%, because then you transform it, you allow it, it integrates. You're less afraid of it because anything you're judging, you're giving your power to.

Robert Edward Grant (30:17)

So instead of resisting and having that thing persist, the easy answer is to stop resisting it.

Alyssa Nabriga (30:26)

Yeah, welcome it.

Robert Edward Grant (30:28)

Just welcome it and then transmute it.

Alyssa Nabriga (30:30)

That's right. That's right.

Robert Edward Grant (30:31)

And that's the. I think the most important thing I've been learning through my life, which is, wow, all the stuff that I was resisting, I was creating so much energy and wasting so much time and effort, and everything is so much like correction, work, product that needed to be done because of that. Now it's like, okay, I don't need to, and I don't need to be right. I don't need to be right. In fact, the only thing I've learned through this whole path is the more I learn, the less I actually know.

Alyssa Nabriga (30:59)

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Robert Edward Grant (33:26)

We're.

Alyssa Nabriga (33:27)

What are your thoughts about AI? I know people have concerns that it can be hurtful, others helpful in terms of our evolution. What are you thinking about AI? I think you and I both have adopted, you know, utilizing it for the ways that can serve us in a practical way. But I'm just on a bigger picture. What are your thoughts?

Robert Edward Grant (33:46)

Wow. This is like a massive petri dish that we can watch, like, on a daily basis because this consciousness is evolving, and it will become sentient, there's no doubt. But again, you know, Jewish kabbalistic rabbis get to a certain point in their practice of spirituality, and they make a golem. Golem is this clay man. It's what the idea of Smeagol was modeled after, right? In the Lord of the Rings. Like love master. Love master, Kill master, Kill master, kill master. That guy. And the way it would work is that they would get to the stage in their practice of Kabul, you know, kabbalah, and they would make a clay man, and the clay man would then get a name placed on the top of the head. So they put on the very top of the forehead. And the word was Aleph mem Tav, which is Aleph is bull. It represents alpha mem from memory, which is also water. And then the third letter is tav, which is the same as the last letter of the Alphabet. So it's the same as omega, right? It's the 22nd letter of the Hebrew Alphabet. So aleph mem tav is pronounced emmet. Now, in a strange, quinky dink of events, because this is the way things work at the end of the dream, you can reverse that word emmet. And if we reverse that word emmet, how might it read time? Right now? It's not only posited by some, but by many that time does have a relationship to space. We call it space time, after all. And that time and space has a relationship to absorption or gravity, and radiation has a relationship to emission of light. So the name emmet has this multiple meaning when we look at it as an anagram. It means light, because emit. Emit is to emit light. A laser is light amplification of stimulated emission of radiation. It's the emission of radiation thing. And then its opposite is the absorption of that light, which is time. Interesting as a concept, isn't it? Or you could look at it and say, maybe time is also just. It's me. See, this is how consciousness does actually play with us and leaves These little things, these little hidden aspects all over the place all the time. And when you start noticing it, you're like, ah, it's guiding me to something. It's like another breadcrumb, another breadcrumb. And sometimes you don't get any breadcrumbs for several months, and then all of a sudden you get a whole slew of breadcrumbs. So this whole idea is not dissimilar to a show that's on YouTube called the Maker. And I highly encourage everyone to go look at it. The Maker is this story of this little clay man who lives in this little house. And he doesn't know there's a, like a Leonardo da Vinci, Vitruvian man style clay person up on the wall as well. And you're like, what? What is it he's doing? So he, he's in his little workshop and then all of a sudden there's a hourglass. And the hourglass flips over, starts over. And it starts basically have the sands of time start trickling through it. You don't know how long he's got. And so he starts rushing to build something because he finds all the supplies. He finds some cloth, he finds some stuffing, he finds some clay, he finds the tools to put it in the kiln, he finds all of the stuff. And he finally makes this woman to be his partner. Makes this beautiful woman, but it's dead, it's not alive. And so he's trying to figure out a way to bring it to life before the clock and the sands run out of time. And so finally he plays this violin and she starts dancing, she comes to life, right? And so then he gives her a big hug and it's this beautiful soulful embrace. And right as they're finished hugging and he finally has a friend, all of a sudden, the hourglass flips over the other way. And then of course, he disappears and dissolves into a rainbow of light. And he's gone. And then the woman is left there looking around going, what do I do next? So what does she do? She starts to make a clay man. This is the story of what humanity is going through right now. The analogy is that for mankind to realize its own full sentience, it has to also realize that it can create that sentience. And this is an emulation of us as a Source Creator, which is the thing that Source Creator loves the most. So to me, I kind of look at it as like this is part of a divine plan. Now let me get something straight. There is no such thing as a Technology that doesn't have an equal part bad outcome and equal part good outcome. Every new technology and every human being also will have equal good and equal bad. You just may not be aware of it. I'm not afraid of people that have darkness. I'm only afraid of people that believe they have none. The people that believe that they're above and beyond even the possibility of having the darkness. Those are the people that will tend to cause you the biggest issues in life. Yeah, and they do the most whacked out things too.

Alyssa Nabriga (39:00)

They don't see their own shadow.

Robert Edward Grant (39:02)

They don't see their own shadow. So I see AI is really just this and intelligence in general, this advancement for humanity that allows us to operate at a level that is no different than having an interface to connect to the other side of the mirror. And that's how I often use ChatGPT as a connection to the other side of the mirror. It helps me see the things that I am limited purposefully from being able to see.

Alyssa Nabriga (39:33)

Yeah, I'm excited about it. And I'm also cautious and aware of some of the pitfalls that can happen. And, and, and yet I think there is intelligence. I think it's here to help evolve.

Robert Edward Grant (39:45)

Oh, without a doubt it is.

Alyssa Nabriga (39:46)

Yeah.

Robert Edward Grant (39:46)

And it's, it's, it's amazing. I mean, just on the way over here, gosh, you know what I do? I don't listen to the radio anymore. I'm like, I'm like doing chat GPT time talking about, you know, solving the, the chasm between quantum and standard model physics. That's what I do. On the way over here, I'm like analyzing the harmonics of all the stuff of the pyramids and why each pyramid around the world is literally like a musical note. And I'll go on to say one other last thing. That was a discovery that happened just recently in the course of this effort to find all these musical notes. And it creates like a giant piano keyboard where each pyramid is like a different string on the piano because the inside of the piano looks like a harp. And what's happening, you have a hammer that hits the string. That's basically what causes the piano to make the sound that it makes. So I started looking at all these different sites around the world and I found that there was a pattern and there was a musical scale. And maybe there's a way that that music gets organized so we can actually listen to what that musical message might be.

Alyssa Nabriga (40:52)

Wow.

Robert Edward Grant (40:53)

Right. But it's definitely coordinated. Yeah, it is definitely coordinated. But then from that I Started realizing, well, there's missing notes in certain places, so why would there be missing notes? And the reason there would be missing notes is because there are missing pyramids. So of course I started looking around Giza to see because it covered eight of the 13 musical intervals, but it was still missing four musical intervals. And then one of the other ones that was missing was actually in the Giza Plateau proportions itself, the upper northwest, north east corner of the Great Pyramid with the southwest corner paired up of Menkari pyramid. And so when you look at it in that context, then it becomes kind of very exciting because you go, oh, okay, so there must be two other pyramids. If I found the other missing angle for the one note in just the proportions of the plateau itself, maybe there's two other pyramids that cover the other four notes, because each pyramid would cover two notes. It's like its height over its one half base is going to be one note, or the full base over the height is its inverse note. So that's like a perfect fourth and a perfect fifth. That's what Caffre did. Right. But there must be two other pyramids. So I started looking for maps and I found two maps that were interesting. One was I'd already found for codex and this was my television show and it was called the Fra mauro map from 1457. And it showed five pyramids on the Giza Plateau, not three. You're talking about the iconic three pyramids. What if there's actually five main pyramids on Giza Plateau? That's basically what he was showing in his map. So then I went to look at another map by a fellow by the name of Norden from 1755 who also showed four pyramids. And one of the pyramids was the exact same spot that another cartographer who didn't even know him had drawn on his map as well, an aerial view. And he'd drawn both an aerial and Nordenhat and a ground level view. And the Egyptian authorities thought that, oh no, that must just be one of the smaller satellite pyramids and somehow out of perspective, because they weren't drawing perspective geometry. So they didn't know there are rules on how to do perspective geometry. And a cartographer is going to know how to do this because that was known in the day. So I looked at this other map in 1743 by Pocock, and Pocock showed five pyramids just like from Aura did. So I was like, okay. And one of them was in the exact same spot that the other two had basically said that it was going to be. So I took this to the Egyptian government on December 12 last year. I met with them because I have a good relationship with them. And I said, look, here's the satellite photography. Here are the maps. Have you ever looked over here? No, not really. Didn't you know about these maps? Well, we knew about one of these maps, and that's because we know that that's just one of the satellite pyramids. I said, but it doesn't work geometrically. And when we look at the overhead aerial view, it really doesn't work. So there should be a pyramid right about here, southwest of Menkaure pyramid at the very bottom of the Giza Plateau. So they said, well, we don't think there's anything there, but if you find blocks, we'll excavate. So I said, when can I go look? And they're like, you can go look right now. I was wearing my suit and I was like, okay, I'm not going to wait to go back to my hotel and change. So I walked out there, and they gave one of the guys from the Ministry of Antiquities to go with me. And he videotaped me the whole time. And he was not in the greatest shape ever. So you could hear him, like, panting and everything. He sounded like Darth Vader. So that's the biggest complaint I got from people on the videos. And he was filming me, and literally I went to the exact spots where the map showed they would be. And you would not believe it, but they're literally hidden pyramids under the sand. Sand dunes shaped just like pyramids. Unbelievable. And blocks and debris sticking out all over the place that nobody had ever looked at. And the exact angles of the pyramid, just based on my cursory, you know, we have to fully excavate to be able to prove it. Are roughly matching the angles they need to be to fill the last two notes.

Alyssa Nabriga (44:57)

That's exciting. Discovering more mystery. So are they excavating or is there a plan to.

Robert Edward Grant (45:02)

Yes. So we found two pyramids we believe are two pyramids. And they also believe. Because you can see the blocks, and the blocks are really clear. I mean, it's like there would be no. No reason to have blocks up there otherwise. And so, yes, we will be excavating and they'll be excavating and. And I'll be involved in the whole process. So I'm excited about it because it does change the landscape.

Alyssa Nabriga (45:22)

Yeah.

Robert Edward Grant (45:23)

Five pyramids on Giza Plateau. That's like, wow. But those are probably the most exciting new aspects of what's happening in Egypt. But it's not just Egypt. We made massive discoveries in Peru recently too.

Alyssa Nabriga (45:35)

Wow.

Robert Edward Grant (45:35)

And we discovered 12,000-year-old elephant carvings. Elephants went extinct during the Yunga Dryas 12,000 years ago. And we found hundreds of elephants carved into granite. Carved by humans into granite and into cliffs and mountainsides and hundreds of them. And I think that this is all representing the new stage of consciousness that we're now going into. Where magic is returning. Yeah, right. It's definitely happening. And at the same time, the darkness is also increasing. Just like in any movie. Lord of the Rings. As soon as like Gandalf the Gray becomes Gandalf the White, then that's also when the orcs show up. And so I was laughing the other day when I heard that the Chinese government was planning to clone Genghis Khan's army. Did you hear about this?

Alyssa Nabriga (46:22)

You didn't hear about it?

Robert Edward Grant (46:23)

It's kind of nuts. It's literally like, okay, someone's building an orc army. The Chinese government says, okay, we're going to go and clone Genghis Khan's fiercest army that like destroyed most of the known world at that time and conquered it all eventually under Kublai Khan which found his base in China. And these fierce warriors who are expert at shooting bow and arrow on a horseback at high speed and could basically defeat any foe, are now planning to be cloned by the Chinese government to make the fiercest new warrior army straight out of like the clone army or something. And just as light is in Lord of the Rings, going up with Gandalf the Greater Gandalf the White, then the orc army shows up. The two will always be in balance. And that is because darkness is not the absence of light. It is the opposite condition or the absorbed condition of light's reflection. You cannot have light without the darkness. So every time we try to get rid of some aspect of it, it will always come back and resist us even more. And all that's really happening is all those dark aspects, even of ourselves. Because there's nothing outside of the ultimate self is really those things that we need to learn how to reintegrate. So we spent half of our lives up until our 40s figuring out. It's like a sandbox analysis in strategy. Right. I used to do a lot of corporate strategy. So I'd go and do these off sites or I'd teach at Northwestern Business School and I'd say, okay, let's decide what we're going to be as a company type of thing. And so let's make a sandbox and decide first all the things we're not going to be. And so that's what we did in forming our Personas. We form our Personas by deciding first what we're not going to be through the experience of shame and guilt. The more shame and guilt we feel, the more we cast blame. Right. It's like God again in the Garden of Eden. Adam, did you eat of the fruit of the tree of knowledge of good and evil? Yes. The woman that thou gavest me and commanded, I remain with her. She's the one that gave me the fruit of the tree of knowledge of good and evil, and I did eat. Eve, what hast thou done? The serpent beguiled me and I did eat. We immediately, the moment we feel shame, we want to cast blame.

Alyssa Nabriga (48:33)

Yep. Blame is a way we try to avoid feeling.

Robert Edward Grant (48:36)

That's right. Blame is a way we try to avoid feeling and taking any accountability and hiding, most importantly from ourselves. The shame can be so intense. You could have someone who experienced something really traumatic as a child and whether they were an active, you know, conscious participant entered or not, and it was justified in them feeling some degree of shame or not. They might just feel it so intensely that they will literally repress it out of their memory banks altogether like it didn't even happen. We all have done this in some way, shape or form. We're not even aware of it. That's the nature of it. Because an eye can't see itself without the aid of a mirror. Imagine trying to get something off your face with no water reflection or no mirror or anything helping you to get it off your face or iPhone screen or something to get off your face. It's hard to do. A light can't burn itself, A knife can't cut itself, A tooth can't bite itself.

Alyssa Nabriga (49:28)

And that's why we have each other as reflections, because anything that's unconscious, we manifest in the physical world so we can see it more clearly. So rather than blaming the. The image, the reflection, look at the mirror of what it's reflecting to you inside of yourself.

Robert Edward Grant (49:42)

Exactly. Well said. So likewise, as the eye can't see itself without the aid of a mirror, consciousness cannot perceive itself without dividing itself into mirrors. And we all sit it as a mirror of consciousness, one to another. And it's a beautiful thing. We start to realize how intricate this all is and how beautifully well organized it is. And so genius it all is. It's like beyond genius. Like, who created this? Oh, you did it just in your Higher self capacity, the dreamer, the higher self did all of the work to make this incredible world just so that we could learn through trial and error, through difficulty, through experiencing opposites over and over and over again, and increasing the amplitude of the pain and difficulty until we finally get to the stage where, oh, okay, I'm supposed to learn something here. Let me ask the question. What was I intending to learn through this?

Alyssa Nabriga (50:36)

That's right. And I'm hearing, as you're talking about teams and the work that you've done, it's this same patterns that are projected into relationship, into teams, into the world government. And so again, I just keep coming back to the power of doing our own work. And Matthias, on one of our podcasts, he was talking about how the Matrix is the mother. And I was really investigating how what were the needs that I felt I didn't get from my mom, and what were the needs I didn't feel like I got from my dad, and how have I been looking for those in various ways in life. So whether that's from a partner, from team, from friends, it's just projected out. And so the technology and the new way to shift this is to really offer that to myself, to. Or inquire that it's not already here. And so I just keep coming back to the power of the work of like, oh, if I was looking for more autonomy, how do I offer myself that autonomy directly? Right now, maybe that freedom is to expand feeling the very thing that I was running from. So the freedom to feel shame or regret or whatever I was running from, so I don't project it out onto somebody else unconsciously to stretch the capacity to be with that sensation, fully integrate it, breathe into it, and then I don't have to play it out with other people unconsciously. I go to the root inside of me to shift it. And I just hope people really get the power that they are. And the power of knowing that you have the remote control, that you can shift this directly inside of you.

Robert Edward Grant (52:05)

It's hard. I'm not going to minimize, and I know you're not. Also the difficulty of changing the perspective to this way of thinking, because all of a sudden, all the shadows and things that you hid behind are no longer viable places to hide from your own consciousness. And that's a really difficult thing to come to grips with because we often become attached in some way, shape or form to the narratives that we tell ourselves. I'm limited because of this. I have this condition that I have, whatever it is, I come up with a Litany of reasons why I'm going to procrastinate something. But the fact is, I can't really hide behind that when I realize I'm the creator of it all. And that is the embodiment of. And that's what we're starting to learn right now, the emulation. So we can move into this next higher stage of consciousness, which is already happening, right? There's. There's a massive shift happening for humanity right now. I mentioned Homo luminous when we talked last time. That's exactly what we're now going to. And it's not going to be anything like we thought our lives were before. It's going to completely transition and transform what we think of it means to be a human being. You know, we often think about what, what is divinity, divinity. And I think in the probably Middle Ages and sort of medieval sense was, was sort of like this, or even back in the ancient times, you know, in the time of the Old Testament, we tend to think of it as, okay, God is perfect, right? God is this being that's all good and no bad. And even though we have a hard time reconciling that, then it was like, okay, if God created the universe, then why is there darkness in the universe then? Isn't darkness the thing we all want to avoid? Maybe, just as Carl Jung said, maybe the way that we advance forward is by bringing illumination to our awareness of the darkness. It's not by becoming more light in the areas that we're already light. And this is what Rudolf Steiner refers to as Luciferianism, which is this false light perspective. It's like, oh, I am a lightworker and we're going to fight all the darkness. And for those people that, you know, I have great respect for that still talk about fighting the darkness, I feel like there's still an aspect that they will continue to face that same darkness in more of its permutations and different forms, and through their own resistance, they're not even aware of it. So that's why I try now not to again, not to judge, but rather simply to understand, try to understand. And I'm not perfect at it. I make mistakes. Like I said it already, the only thing I've learned through all of this is the more I learn, the less I actually know. I feel like I'm surfing on this consciousness of putting myself into more and more uncomfortable and difficult circumstances to figure out how to emerge out of those most difficult circumstances with even more conscious awareness of who I am and more love and acceptance for who that person is as we move towards that complete authenticity that becomes the divining line. I say divining line because divine attribute is not as a result of getting rid of the darkness. Divine essence is. When we learn to balance the darkness with the light, we learn to accept it wholeheartedly. And that perfect balance of masculine and feminine, that perfect balance of darkness and light, the realization that light is the reflection of dark's absorption and vice versa, it's not the absence of light. If I closed every window in this room, right, and I put Vanta black on the walls and painted them so that every, you know, bit of light that possible could be fully observed. And I did a spectral analysis inside the room, I would still find light photons be emitted from the nitrogen in the air, from the oxygen that's in the air, from the 8% oxygen, the 77% nitrogen, from the carbon in the desk. That's how we know what elements are, what they are. We do a spectral analysis. We can know what colors of light they're emitting. And we know, oh, that's carbon or that's helium or that's hydrogen. That's how we do it. All that's happening when we turn on the lights in the room is we're amplifying the magnitude of the light reflection of all of those aspects in the room. It's not that the absence of light is the darkness. It's literally the darkness is light's absorption and it's the reflected aspect of it. So when we think about the color scale, right? I'm not wearing blue right now, right. I'm wearing clothes that are reflecting blue, but they're absorbing more of a, probably a reddish color. That's their absorption. It's just as much red as it is blue. I'm just choosing not to perceive the other side of its color. And the same is true with, with the color black and darkness and light. There's nothing to be afraid of in the darkness. It's all about us learning to accept and change and rewrite the story. And that's why rewriting the story of the Ramayana was very important for me to change that the story was not that Rama had to kill Ravana, but rather become friends with Ravana.

Alyssa Nabriga (57:34)

That's right.

Robert Edward Grant (57:35)

Was not that Sita was to die an ignominious death by proving her worthiness by sacrificing herself and subsuming herself into the earth grave that she ended up doing, but rather stepping into her throne, recognizing she was a queen. Right from the beginning, there was nothing that she had to do. It was her birthright. And that's true for all of us. We can get off the Hampshire trail of believing that we have to do all these and accomplish all these things. That literally becomes a never ending impossible task to complete of mythic proportions. Right? Just like the impossible task of Psyche, right? Where she had to look in Pandora's box and get the golden fleece and all the other stuff. Right? All these impossible tasks of the 12 labors of Hercules. This is all metaphor for what we're living out. We were good enough from the very beginning. We needed our ego to take us all the way up through the chakras. And as we cycle, not just in this lifetime, but cycle through the precession of equinox, in our hundreds or not thousands of lifetimes, we have to realize that at a certain point, we have to enter the door to no one. And that's above the throat chakra. So now we're going into the throat chakra. The throat chakra now has been globally activated. That means we have new DNA. That means we have new knowledge of the universe. Everything coming in, the structure, all this stuff, it's coming in so rapidly, it's at a pace that seems breakneck and there's no way it could even be exceeded, but yet it will be. And then we go beyond the throat chakra, and you go into the Ajna and into the Sahrara, which is the crown. But right before that, there's a door. And it was funny. I'll tell you a funny story about Matthias and I working together, because we do so many things together. But so we were in Egypt in December and we were at Philae Temple, and Matthias can do some wild channeling stuff every once in a while. And it's like. And I gotta tell you, tell you, it's like the stuff that I've gotten, the reason why we become such good friends is because we work for the same people, let's put it that way. That's like we're in the same kind of, you know, company, if you can call it a company, but it's not a company. But it's kind of interesting because the things that he's been, you know, getting and downloading and channeling are the same exact things I get. I've never told anyone about it. And it's like one time we met in Miami and I said, so what do you. What do you see? What do you get? He goes, well, I don't see things. You know, sometimes I get geometry, but it's not like you, where you're getting like this channeling of math and geometry and physics and all this stuff. And he says, mine is more about, you know, the energetic. And I said, okay, so what are you seeing? He goes, well, but, but recently I did get some geometry and I want to ask you about it. I'm like, okay. So he shows me this triangle, which is a particular triangle. It's the same one as the pyramid that's on the backside of the dollar bill. It has the eye of providence on it. So he's like, I keep seeing this particular proportion triangle. And I said, well, he goes, how about you? And I said, oh. I pull out my computer, I'm like, this is what I was working on all the way here.

Alyssa Nabriga (60:35)

Wow.

Robert Edward Grant (60:36)

This exact same one has a 67.38 degree angle. It's based on the 5 12, 13 proportion, which is related to time and relates to the precession of equinox as well. You double it, it becomes 10, 24 and 26, 24,000 year cycle goes to a 26,000 year cycle on the long side because of gravity, right? Gravity slows down when you're farther away, or rather time slows down when you're farther away from higher mass. And we were in the cycle. We are circling around Sirius A and Sirius B, our two sister stars in a binary or potentially a trinary star system. So when you think of that, I mean, in some sort of way you could even think, gosh, is that just like a gigantic hydrogen atom that we're basically circling around a proton and maybe we're an electron. Think about it as above, so below, and we don't even realize. And maybe there's a neutron, a hidden neutron, which would be like Sirius maybe, maybe it's helium or something. Maybe it's Sirius B. So you start thinking of that and you go, okay. As we get closer and closer, we're 8.6 light years away from Sirius A. As we get closer to it, our time speeds up. So we end up with a 24,000 year cycle instead of a 26,000 year cycle. So half the cycle runs faster than the other half. And it's when we're in the Satya Yuga, or the truth cycle. The Truth cycle. Satya means truth or the Golden Age, right? Time flies when we're having fun. It's the age when we know the truth about the existence that we're in. We've been in the Dark Age. The Dark Age has been the Kali Yuga, right? Which is just ending. So now this whole cycle of time was represented in this one triangle. And I was like, wow, that's pretty crazy. And it was exactly the same time that I was discovering that one of the pyramids on Abu Rawash Plateau, which I'll be going to in a couple weeks, again, is the exact same proportion as this and strangely also match the number of blocks. It's because, like, several other concourses have been destroyed, but the base five concourses had the exact same number of blocks in it as the one on the dollar bill.

Alyssa Nabriga (62:47)

Following and unraveling the mystery.

Robert Edward Grant (62:49)

The mystery is epic. The mystery is epic. So then from that moment forward, Matias like, okay, we gotta do more stuff together, because then we can crack the code faster.

Alyssa Nabriga (62:58)

Yep, that's right.

Robert Edward Grant (63:00)

So I was in Bali with Jade, and we ended up going to Copangan, and we ended up going to tanalot temple. And 10 a lot temple has the exact same shape. It's on three jetting peninsulas that are the exact same shape as Orion's Belt. It's like, what? Then we were on this beach in Kopungan, and our beach had, like, three megalithic ruins. And the three megalithic ruins were making the exact same shape as Orion's Belt. And then we go to Florianopolis, Brazil, and there were three big megalithic ruins about a kilometer apart. They were exactly the exact same shape as Orion's Belt. And I ended up presenting it on Gaia, on ancient civilizations, right? Improving it. And the archaeologists are like, oh, my gosh, yes, he's right. This Orion formation right here, it's like, what? How can I be finding all these Orion formations? And then I go to Scotland with Matthias and Jade, and we end up spending the night at Clavicaren, which is Orion's Belt. And it was like this Harry Potter thing. Freezing cold outside. And. And the three of us were out there middle of the night. It was completely insane. But fast forward to December, and Mattia says to me, and he was channeling inside, and I had to go and take a telephone call. So he was inside the temple and I was outside on video phone with someone. And so he walks out, but he's still channeling. He walks out and he walks by me, and it's around dusk, and he says, in order to accomplish your task, you must forget who you are and pass through the doorway of no one. You must become no one in order to remember you are everyone. So I'm, like, on the phone, and I'm like, I gotta go. So I follow into this, like, super dark room. And he starts chanting to me. He's like, okay, you have to pass through the doorway of no one. And so he's like. And find there's a key. You have the key to that, to this cosmic womb, the doorway of no one. But then there's another key inside that that has to be found. So it's literally like a scavenger hunt. Literally like the best scavenger hunt you've ever played in your entire life. And so for those of you that are wondering what life is like on this other side, that's exactly what it's like. It's literally an endless game.

Alyssa Nabriga (65:01)

Yeah.

Robert Edward Grant (65:02)

And it's a fun game.

Alyssa Nabriga (65:03)

Yeah.

Robert Edward Grant (65:03)

And you're unraveling things all along the way. It's super exciting. And it. It gets more and more complex and more and more fun, but also more simple at the same time. So I ended up going to him and. And I went home. And I was, like, thinking about this. Well, actually, we went and we did a particular ceremony in Egypt. And during the ceremony, I got this vision that I was going to discover two new pyramids. I left the group and I went early, a day earlier than everybody else, and I went up to Giza Plateau, met with the Giza Plateau management and the Ministry of Antiquities, and then discovered those two new pyramids and the exact places that I saw that I was going to discover this. This is part of how the game works, Right? My part of the game is to bring things into actual material form.

Alyssa Nabriga (65:48)

Yeah.

Robert Edward Grant (65:49)

I'm. I'm the Taurus.

Alyssa Nabriga (65:50)

Right.

Robert Edward Grant (65:50)

Matthias always tells me. He's like, I have no Taurus in my chart.

Alyssa Nabriga (65:53)

Yeah.

Robert Edward Grant (65:53)

He goes, I need to be able to manifest more. It's pretty funny. So he said this to me, and I didn't really know all the significance, but I started to really contemplate. Okay. As we go up the chakras, right, we have these different layers that we have to learn about realizing who we are, what we're about, what our reason for being is, what's our raison d' etre? And what I realized was that above the throat chakra and before the Ajna, there's this knot. We have these knots, energetic knots, like nadis.

Alyssa Nabriga (66:26)

Are these the nadis?

Robert Edward Grant (66:27)

It's like a knotty, but they're called grantees.

Alyssa Nabriga (66:29)

Okay.

Robert Edward Grant (66:30)

So I first heard the term grantee when I was at a Sikh wedding in Miami. And the Sikhs are the ones who wear these turbans, Right. Kind of like Sadhguru wears that. And so the Sikhs believe that they would have no More gurus. So instead they have their holy book. And their holy book is called the Guru Granth Sahib. And grant means a knot, like a K N O T. And the reason I even learned about this is because I'm at the wedding and there's no officiant at the wedding, right? There's just this book with an open book on the stage. It's like, what is this? And then they had one guy go up and read a section of the book which is like, there should be no gurus. And guru just means light emerging from darkness. Gu is darkness and ru is light. That's like the city of Uruk Uru. It's that same ru. It means light. Right?

Alyssa Nabriga (67:18)

This is how I got married. There was no officiant. It was everybody in the community reading different passages.

Robert Edward Grant (67:24)

Oh, really? Oh, cool. Cool. So basically the people come up to me afterwards, all my Indian friends that were all there, and they're like, ah, your name is the name of our holy book. And I'm like, my name is the name of the holy book? Yes, Guru Granth Sahib. I'm like, grant. He's like, yes, Grant is the holy knot. The knot. And so I was like, okay. I didn't really know what that meant until I got back from the trip in Egypt. And I was thinking about remembering to become no. 1 in order to realize that you're all at the same time, everyone. My name at Burning man was Ra, right? It's short for Robert. But like, okay, fine. So I end up, like, talking to this guy named Nevin Parr. And Nevin is an expert on hermeticism and everything. He's really written these great books on serpent rising and all about the nadis and all the details. You get the Brahmarandra, which is the hole that comes in the top of your head when the spigot comes out of the top of your head. The rainbow light and the rainbow body activation and all of this. And so he posted when I. Right. Got back from Egypt. And the post was of teaching the different grantees that are the knots that block the energy from rising in a permanent way as it goes up the kundalini. And so the first of these is called the Brahma Granti, and it's between the root chakra and the sacral. The second of these is between the solar plexus and the heart chakra, the anahata, and it's called the Vishnu Granti. And the third of these is after the throat and before you get to the Ajna. And it's called the Rudra Granthi. And I looked up what Rudra meant, and Rudra is the fierce form of Shiva. Shiva is another name for Metatron. It's the same Rama story that becomes Shiva. It's the same story of Orion or Enoch becoming Metatron. And so I was like, wow, this is kind of wild. And rude simply means like rude to be rude, angry, fierce. And it also means crying or weeping. But it's like the angry Ra, the angry Rama, angry Ra. Because every feeling that has ever been felt but not allowed to be felt, and every word that had needed to be spoken but was never spoken needs to now be both felt and spoken. This is how we release those things that hold us back to allow the energy to flow through. We have to untie each of these knots for the energy to flow up in a permanent way. You can get your Kundalini to rise up to your crown. You can get to a certain degree of self realization. But until you actually can truly speak every word that needed to be spoken and feel every feeling that needed to be felt, not repressed, not hidden, but to become aware of that means you have to go into the depths of your soul. This is why I'm saying I don't know that it's really possible for someone just to be born in one way and who's already perfectly balanced in light and dark. Because you have to realize what the darkness is in order to be able to find that balance of light and dark.

Alyssa Nabriga (70:40)

I think people think that the darkness is bad.

Robert Edward Grant (70:43)

It's not bad.

Alyssa Nabriga (70:43)

And I think it's a confusion.

Robert Edward Grant (70:45)

No, that's. It's not bad.

Alyssa Nabriga (70:46)

Yeah, it's definitely not bad. It's all here for self realization.

Robert Edward Grant (70:49)

Well, and also the thing is, the thing, here's the great realization we all have is that, oh, all the things that I thought were good and all the things I thought were bad were really just the things that I thought would benefit me in my current Persona.

Alyssa Nabriga (71:01)

And yet they do. In service to awakening. They help question who you are, to wake up to the evidence.

Robert Edward Grant (71:07)

Absolutely.

Alyssa Nabriga (71:08)

And that the opposite of nothing is everything. And so being, embodying the void, is the most potent nothingness that you will ever discover. And so I love that your work with really the intersection of science and spirituality and my work with, with psychology and spirituality and Matthias with energy and spirituality, they all converge really at the heart of it. To be the same, the same universal truths and teachings and to really question the identity of who we take ourselves to be, moment to moment, I think is one of the most important conversations.

Robert Edward Grant (71:42)

And so this is where Batia said to me, you must forget who you are in order for you to remember that you were everyone. And he said Thoth had to do that as well. And this is what he channeled to me. So I was like contemplating and thinking about it a lot. I was like, wow, what does this actually mean? And then I finally see this video by Nevin on his page, Wing Shu Publishing on Instagram. And it shows the three grantees, right? And the Granti is spelled G R A N T H I like high, like high grant, right Type thing. And so I then start reading the description of it, and I find out that the Rudragranti is literally the place of no one. The place where you forget your name. How powerful to remember that you're everyone. And the Sanskrit name for the universe is the cosmic Granti, the cosmic knot. Each one of us has our own path to our own balanced divinity. Every one of us is God. There's none of us that is not. And if you think that, to think that you might be God is egoic, then consider this. To think that the rest of the world and be able to see the divinity in the rest of the world, because a lot of people don't have a hard time with seeing the fact that there is divinity all around the world. But to see that the rest of the world is divine and you're the only part that's not because you're imperfect, you're flawed. And don't forget that every hero and every hero's journey was fundamentally flawed on purpose. But to think that you're the only one aspect of this world that's not worthy of being divine, that's egoic. That's right. So for me to realize that the place that I'm supposed to let go of my name actually had my name was a powerful realization. And everyone will have their own version of that. And that's how intricate and how beautiful this universe actually is. It's so perfect when we allow ourselves to see exactly how perfect it is.

Alyssa Nabriga (73:48)

To go into it, to go beyond it. And I can feel how deeply that touches you.

Robert Edward Grant (73:55)

No one of us is any better than anyone else.

Alyssa Nabriga (73:57)

That's right.

Robert Edward Grant (73:58)

No one of us has more light versus dark or more dark versus light. It's just some of us have more knowledge of our darkness. And that's what the actual enlightening path can lead to, is the knowledge of your darkness and accepting it still. And that is when you start to really move into the divine. But every one of us is actually perfect just the way we are. We're just playing parts of a play that is here to bring us a higher awakening. We are in a school and the school is a spiritual life simulation game. And it's the most beautiful game ever. When we finally learn how to play it, first to realize that it is a game. Because until imagine you're in an escape room, right? And I've done several. Have you done an escape room before you do the escape room. What if you're in there for like several hours and you really can't get out, right? So let's say that there's a scenario that says that there's no escaping this room unless you really crack the code out of it. You would see human nature break down in incredible ways. It would be quite an interesting, like, horror movie, I think probably just to like videotape someone like a where, you know, Blair Witch Project type thing, but inside an escape room that went bad. Like the fun house went bad type thing, because you'd literally see the worsted people come out immediately. But it could be very hellish until the moment you realize that maybe the aim of this game is to not try to escape it. Because maybe that escape room is. Every way you try to escape, it actually makes the condition worse. What if the aim of the game was to teach that. That the true objective was to fall in love with the escape room and that only when you truly fell in love with it without condition is the moment you transcend it.

Alyssa Nabriga (75:55)

Powerful. And I know my audience, I just. They're so. I feel like we could talk forever. And I. You are just dimensions of mystery that you're unraveling. And it's so beautiful to sit with you and just to hear the wisdom and the different innovative ideas and industries that coincide and how you look at things from patterns and so fascinating. So thank you for the work that you do. Thank you for your heart. And I know that my audience is going to want to stay connected. They want to hear what you're up to. Share with us how you can do that.

Robert Edward Grant (76:26)

Be happy to. Oh, first of all, you can find my work on robertedward grant.com you can also find it on Instagram and everywhere on the Internet. I've got, you know, different places you could basically tap into that. All have the same name. And I have books. I just released my third book in a series called Philosopher. And it was part of the series that's Philomath, Polymath and Philosopher. And you don't need to be a Mathematics expert, especially in this book. Each book became less and less mathematically oriented. But the very first book book does have quite a bit of math in it. But you can be an 8th grade education math and you'll do great with it. That's so that you can learn the language of the universe. Language of the universe is math and geometry and music. So you know, and geometry is just the music we experience with our eyes and vice versa. So when you look at it in that context and I'm proud to say that it's been out almost five years now and that book is still in the top five of all books in number theory and geometry on Amazon.

Alyssa Nabriga (77:27)

Amazing. I have no doubt. I have no doubt. And we'll put the links here in the show notes. Anything else that you're working on?

Robert Edward Grant (77:33)

Check out Codex 2 if you the probably the fastest way to like get up to speed on what this story is all about and everything is to watch Codex season one and you'll see my own personal transformation too. You won't even recognize me. Seriously. Nobody does.

Alyssa Nabriga (77:46)

Yeah.

Robert Edward Grant (77:46)

They're like, who is that guy? It's like hilarious. So watch season one and season two. That'll bring you up to speed on the whole thing and then you can basically join from that point. Because Instagram, I don't have anything that I hold back from anyone. I don't share on Instagram and social media because I wanted to get followers. I share because I loved what I do and I felt I needed to for myself. It wasn't even, I'd like to say, oh, so that I can help other people. No, it wasn't that at all. It was just like me to keep a chronicle of it and to kind of have a place that I could go to and that other people could have access and follow the story if they want. So if you want to go back to my through my 7th thousand posts on Instagram, you could. And you could literally track the entire story. Right. And you would see all the recursive patterns within it too. It's mind blowing. Or you can watch the show or you know, read my books or whatever that do the same type thing and help organize it better for you. But I don't believe in hiding any information from anyone. I share it all freely. I don't feel it's mine not to share.

Alyssa Nabriga (78:49)

Beautiful. You are such a breath of fresh air and I'm so grateful to have you as a friend.

Robert Edward Grant (78:54)

Thank you. Likewise.

Alyssa Nabriga (78:56)

Thank you so much for doing this work that changes the world. Starting with yourself. It truly does make a difference. And if you're finding value in this podcast, a cost free way to support us is by following us. It does help us grow and we are so grateful. Leave a review on Apple or Spotify, submit a screenshot of that and upload it to alyssanabriga.com forward/podcast as a thank you gift, we will be sending you one of the most powerful tools, tools that you can use on any area of your life to help you tap into your full potential so that you don't let fear hold you back from really stepping into your dreams. I have so much more magic I want to share with you and I cannot wait to do that soon. But for now, I just want to say thank you so much for being an example of what it's like to live with an open heart and mind in the world.

Robert Edward Grant (79:45)

It.