ONE ARCHITECT WORLDWIDE. Why Do Building Facades Around the World Look Like ONE Studio?

Have you ever wondered why strolling through the center of Melbourne, you feel just like you do in St. Petersburg?

Why the old quarters of Buenosire are eerily similar to the streets of Vienna or Paris?

They've been lying to us our whole lives about cultural uniqueness and unique national schools of 19th century architecture.

Official history feeds us fairy tales about how scattered peoples separated by oceans and thousands of miles without the internet, instant communication, or

even proper roads suddenly decided at the same time to build absolutely identical buildings.

Open your eyes. Look at photographs of administrative buildings in South Africa, India, Siberia, and Canada, supposedly built in the mid or late 19th

century. This isn't just a similar

century. This isn't just a similar style. This is the same blueprint.

style. This is the same blueprint.

This is the hand of one architect or even more terrifying, a single global corporation that ruled the world long before they told us about the first

transnational companies.

Historians call this colonial style, classicism, empire, or eclecticism.

They've invented dozens of terms to confuse you and hide the obvious.

But let's turn on logic and set aside emotions.

Imagine the mid9th century is understood by official science.

This is the time of steam, mud, horsedrawn wagons, and manual labor.

We're told that in the United States of America at that time, they were settling the wild west. In the Russian Empire, they had just abolished surfom. And in

Australia, convicts were building the first settlements.

And under these conditions, amid dirt roads and lack of industrial base, gigantic ancient palaces with columns,

perfectly proportioned features, and the most complex engineering rise up. Take

for example the state capitals in North America. They show us one white house in

America. They show us one white house in Washington. But did you know that in

Washington. But did you know that in nearly every state, even those considered remote provinces 150 years ago, there stand their own mini copies

of the Roman pantheon.

Iowa State Capital, Wisconsin State Capital, Texas State Capital.

Look at them closely.

These are cyclopian structures of granite and marble crowned with enormous domes.

The official version claims they were built by local farmers and first settlers.

Do you seriously believe that people who arrived in covered wagons to break the virgin soil first built not barracks and warehouses but Roman temples as tall as

a 20story building.

Let's talk about the logistics that textbooks remain silent on. To build,

for example, the Parliament building in Budapest or the courthouse in Brussels, you don't just need stones.

You need industry.

You need quaries operating on an industrial scale. You need steel mills

industrial scale. You need steel mills to create frameworks and floors. You

need glass factories capable of producing thousands of square feet of perfect sheet glass. And most

importantly, you need a transportation network capable of hauling millions of tons of cargo.

Official history claims that all this was transported by horses and the first still primitive trains. But if we take a calculator and tally the weight of

materials needed to develop, say, the historic center of Odessa or Chicago, we'll get figures that don't match the amount of draft transport of that time.

To haul that volume of stone and brick would have required caravans of wagons stretching from Earth to the moon.

Where are those millions of horses?

Where are the mountains of manure that should have buried the cities? Where are

the graveyards of these animals?

They don't exist.

But the most suspicious thing is the standardization.

Why are the ceiling heights in tenement houses in Moscow, Berlin, and New York identical?

Why do the sizes of window openings, door arches, and staircases seem taken from the same catalog?

It feels like the world before the early 20th century was built to a single standard.

Who approved it? Who controlled

compliance with standards in Tokyo and London simultaneously?

Historians try to convince us that it was just fashion. They say architects traveled, looked at each other, and copied. But copying the external

copied. But copying the external appearance is one thing. Copying complex

engineering solutions, ventilation systems that work without electricity, unique theater and station acoustics, that's something else entirely.

That requires the transfer of technologies blueprints and calculations.

Let's take a look at brick. ordinary red

fired brick. Have you ever thought about the scale of brick production in the 19th century? Look at the old industrial

19th century? Look at the old industrial zones of Manchester or the red barracks in Poland. That's billions. I repeat,

in Poland. That's billions. I repeat,

billions of bricks. To produce them requires gigantic kils operating around the clock and an unimaginable amount of

fuel coal firewood gas.

If they really produced that volume of brick in the 19th century using artisal methods, as we're told, the forests of Europe and America would have been

clearcut 200 years ago. The smoke from the kils should have blotted out the sun. But in the paintings and

sun. But in the paintings and photographs of that time, we see clear skies. We don't see thousands of brick

skies. We don't see thousands of brick factories around the cities. We see

already finished buildings as if they had always stood there or were printed by a giant printer about which we know nothing. And another fact

that simply screams of forgery.

Construction timelines.

Open any historical reference on a major building, be it the Garnier Opera in Paris or the Library of Congress.

construction periods, three, four, five years. Without tower cranes, without

years. Without tower cranes, without power tools, without computer modeling.

Today, with all these technologies, we build longer. We're told that back then

build longer. We're told that back then the masters were more qualified.

But where did thousands of highly skilled masons and engineers come from in a world where according to official statistics 80% of the population were

illiterate peasants? Who trained them?

illiterate peasants? Who trained them?

Where were thesemies and vocational schools capable of producing an army of builders annually?

We're approaching a terrifying conclusion. Either the Earth's

conclusion. Either the Earth's population in the 19th century was 10 times larger and they're lying to us about demographics, or these cities weren't built by people

with picks and shovels. Or, and this is the most frightening, these cities weren't built in the 19th century at all. They were inherited by us from a

all. They were inherited by us from a civilization that was global, unified, and technologically advanced enough to standardize architecture across the

entire planet.

And those we call great architects of the past, Moal, Gaudi, Ephel, may have simply been restorers who claimed

authorship of what they merely excavated and put in order. Let's come down from the clouds to Earth. or rather

underground.

If building facades raise questions with their identicalness, then foundations and basement levels put official science in a dead end from which there's no escape.

Have you ever wondered what zero cycle construction meant in 19th century conditions? To build, say, a houseman

conditions? To build, say, a houseman quarter in Paris or Chicago center, you don't just need to bring bricks. You

need to excavate millions of cubic yards of soil without excavators with shovels.

Where did the soil go?

Mathematics is a stubborn thing. If you

take the building density of historic centers in Prague, Rome or Boston and calculate the volume of underground spaces, it turns out that artificial

mountains as tall as the Alps should have formed around these cities. But old

maps show us even landscapes.

Where did the earth disappear to? Did it

get eaten? Or perhaps these cities weren't built by digging into the ground, but they already stood there.

Only the ground level was completely different.

Pay attention to the so-called light wells and windows descending into the sidewalk.

Tour guides will tell you they built it that way for basement insulation.

Think about the absurdity of this statement. You were an architect of the

statement. You were an architect of the 19th century. You have no waterproofing,

19th century. You have no waterproofing, no pumps for pumping out water, no proper drainage. Would you design full

proper drainage. Would you design full windows with expensive glass at ground level where any puddle, any rain or

melting snow would inevitably flood the room? This is engineering suicide. No

room? This is engineering suicide. No

sane builder would bury the first floor underground and put windows there only to heroically build fences in front of them and dig pits afterward.

This makes sense only in one case. If it

wasn't a basement, if it was a full first floor that was subsequently buried and it was buried everywhere from London

to Kazan.

Now, let's look at metal. In the mid-9th century, the world is suddenly swept by a wave of cast iron and steel construction.

The Crystal Palace in London, built for the 1851 exhibition, we're told that this glass and metal marvel was erected in just a few months. Do you realize the

casting volume? That's thousands of tons

casting volume? That's thousands of tons of loadbearing structures. Official

metalology history states that at that time the Bessemer converter method for industrialcale steel production didn't exist yet, allowing the casting of parts

of that size and quality at such speed.

Look at the Soho district in New York.

There stand hundreds of buildings with facads entirely cast from cast iron.

This isn't stucco. It's metal. We're

told these were prefabricated kits ordered from cataloges.

Stop. Who was the manufacturer? Where

are those gigantic factories capable of stamping out entire houses like Lego bricks? To cast such a facade, you need

bricks? To cast such a facade, you need molds, workshops the size of airplane hangers, cranes capable of lifting multi-tonon spans.

And again, silence.

We see the result, but not the process.

Historical photos show us people in bowlers posing in front of already finished structures, but there are almost no shots of the casting process

or assembly of frameworks on that scale.

An even more intriguing question, glass.

Look at the display windows of old shops or palace windows. These are huge, perfectly flat sheets of glass.

The float glass production technology, pouring glass onto molten tin for perfect smoothness, was officially invented only in the midentth century in the 1950s.

Before that, glass was blown into cylinders, cut and flattened.

Such glass always has optical distortions, waves, and bubbles. But in

antique frames, we often find glass that matches modern quality. and in thickness and size surpasses the capabilities of artisal workshops.

Who and where produced polished sheet glass 6x 10 ft in 1860?

And why was this technology forgotten for half a century only to be reinvented later?

And now about heat. Step into any ancient cathedral or palace with ceilings 30 to 50 ft high. Look at the fireplaces.

They'll tell you these gigantic halls were heated with firewood.

That's physically impossible.

Warm air from the fireplace rises up. To

heat the Hermitage or Lou Hall in winter to a comfortable temperature, you'd need to burn a train car of firewood per hour. The draft would have to be so

hour. The draft would have to be so strong it would suck people into the chimney. But the main thing isn't even

chimney. But the main thing isn't even that. The main thing is soot. If you

that. The main thing is soot. If you

heat with firewood or coal, if you light the halls with thousands of candles or oil lamps, your ceilings, your priceless frescos and stucco will be covered with

a layer of greasy soot in one season.

Restoration would be needed every year.

But we see paintings supposedly 300 years old, and they shine with cleanliness.

In old buildings, we don't find powerful forced ventilation systems capable of removing combustion products on that scale. The conclusion is simple. These

scale. The conclusion is simple. These

buildings were not designed for stove heating or candle lighting. These

fireplaces are not hearths. They are

something else. possibly elements of a lost atmospheric electricity system or sonic vibration, the operating principle of which we can only guess at.

We're used to marveling at how ancient masters fitted granite blocks so tightly that a razor blade won't fit. They tell

us about chisels and hammers, but look closely at the stone texture on embankments or building bases. Often the

blocks are identical like twins. They

have the same inclusions, the same defects.

This is impossible when processing natural stone because every boulder is unique. But it's elementary if the stone

unique. But it's elementary if the stone is artificial, if it's poured into formwork.

This explains everything. The absence of mountains of stone chips, production waste, the incredible fitting precision,

liquid mass fills any volume, and the most complex polygonal masonry. Our

ancestors didn't chisel granite for years. They poured it. They mastered

years. They poured it. They mastered

materials chemistry at a level accessible to us only recently. Why then

did this technology disappear and we returned to primitive brick and lowquality concrete? Because the

lowquality concrete? Because the knowledge was confiscated.

Someone really wanted us to consider our ancestors dark and uneducated, capable only of slave labor. But architecture is evidence that can't be hidden. And it

testifies against the official version of history. Now, let's turn to what

of history. Now, let's turn to what scares even more than the architectural inconsistencies.

Let's look at those who supposedly built all this at people. If you carefully study the

at people. If you carefully study the first photographs of the mid 19th century, dgeray types of Paris s Petersburg, Moscow, Toronto or

Washington, you'll notice one eerie detail.

The cities are empty.

huge avenues, majestic squares, cyclopian cathedrals, and not a soul. Historians, of course, immediately pull out their favorite

excuse about long exposure.

They say people were moving, so they disappeared from the plate. But that's a lie aimed at those who don't know physics. Long exposure does indeed blur

physics. Long exposure does indeed blur moving objects, turning them into ghostly shadows or streams of mist, but it doesn't erase them without a trace.

On the streets of a bustling 19th century city, there shouldn't just be movement. There should be chaos.

movement. There should be chaos.

Hundreds of wagons, horses, vendors, pedestrians.

Even with a 10-minute exposure, the streets in photos should look like a solid gray blur. Instead, we see empty,

sterile cobblestones.

We see ghost cities, cities that look as if they were just excavated, washed, and prepared for settlement. And the rare human figures in these shots look

strange, as if they're posing, as if they were deliberately placed in the frame for scale.

Or even more terrifying, these are the first few survivors wandering among the ruins of former greatness, not understanding the true purpose of the giants surrounding them.

And now, let's talk about the mathematics of catastrophes.

In official history of the second half of the 19th century, there's a strange epidemic of great fires. Chicago,

Boston Seattle Vancouver Toronto the list is endless. The scenario is always the same. A cow kicks over a lamp or

the same. A cow kicks over a lamp or someone smokes carelessly and the entire city, which we're told consisted of wood, burns to the ground. But here's

what happens next. Two or three years pass and in place of the ashes rises a new city, but no longer wooden, but

stone, ancient style, with marble columns and granite embankments.

Take the great Chicago fire of 1871.

Official data states that the fire destroyed 17,000 buildings and already 2 years later, the city was restored.

Ponder these numbers.

17,000 buildings in 730 days. That means

they built 24 buildings per day. Every

day without weekends, holidays, in rain and snow. 24 capital stone buildings

and snow. 24 capital stone buildings from scratch. Turnkey.

from scratch. Turnkey.

This is impossible even with modern technologies, cranes and concrete plants. In the 19th century, this is

plants. In the 19th century, this is technical absurdity.

The only logical explanation, no restoration from scratch took place. The

fires were either a cover operation to clear the territory of old damaged elements or a way to legalize already existing but abandoned structures.

We built this in 2 years sounds better than we found this, cleaned the soot off it, and moved in.

This explains why in construction photographs, we often see scaffolding not around growing walls, but around already finished buildings where they're simply changing the roofing or inserting

windows.

This wasn't a building boom. This was a global euro renovation of ruins.

And here we come to the demographic explosion that defies any biological explanation.

Population growth charts at the end of the 19th century shoot upward like a vertical wall.

Where did these millions of people come from?

Europe is exhausted by wars and revolutions.

In America, according to legend, poppers arrive by ships.

But population growth in cities is measured in hundreds of percent per decade. Biology doesn't work that way.

decade. Biology doesn't work that way.

Women can't give birth to five children a year. Mortality, anti-sanitary

a year. Mortality, anti-sanitary conditions, lack of antibiotics, all this should have restrained growth.

But cities fill with people instantly.

It feels like this was artificial settlement, as if someone opened incubators.

Look at the number of gigantic orphanages and so-called foster homes built precisely in this period.

These are huge complexes resembling palaces or factories.

Who were they raising there on such industrial scales?

Where did so many orphans come from in peace time?

Maybe these were the new settlers, people without memory, without kin or tribe, who were given new surnames and a new history.

Pay attention to the strange fashion of that time. Building gigantic psychiatric

that time. Building gigantic psychiatric hospitals.

In the US, they're called Kirkbride Plan buildings. These are monumental castles

buildings. These are monumental castles in neo gothic style capable of housing thousands of patients.

Why does an agrarian society where people live by simple labor on the land need such colossal insane asylums?

Mental disorders on that scale are typical of residents of overcrowded mega cities who have experienced stress or

survived a catastrophe.

Perhaps these buildings were intended for those who remembered the old world, for those who needed to be isolated and reprogrammed.

or the population was so traumatized by some global event that psychiatric care was required on an industrial scale.

We behave like hermit crabs that found an empty shell and crawled into it, considering it their home. We walk on granite embankments that we can't repair

without them falling apart in a year.

We use brick sewer collectors that have stood for a century and a half and replace them with plastic that bursts in 10 years.

We are a civilization of downshifters living on the ruins of titans.

Look at old maps of Africa or Siberia where today there is tiger or desert. On

17th and 18th century maps dozens of cities are marked with names. Tartery,

Great Mongolia.

Where are these cities? They

disappeared. They were erased not only from the face of the earth, but also from textbooks.

We're told that ctographers simply fantasized.

Seriously, people who risked their lives in expeditions, spent huge money on paper and ink, just drew imaginary cities out of boredom.

No, they documented reality.

A reality that was destroyed.

Everything points to the fact that we live in a postapocalypse.

But this apocalypse didn't happen thousands of years ago like the fall of Atlantis. It happened quite recently,

Atlantis. It happened quite recently, literally yesterday by historical standards. And the traces of this

standards. And the traces of this catastrophe are not somewhere on the ocean floor, but right under your feet.

Those very basements buried in earth.

Those very doors that became windows.

This is not cultural layer. The cultural

layer grows at a rate of less than half an inch per century, not 10 ft in half a century. These are traces of how the

century. These are traces of how the world was buried in soil, how the landscape changed.

for themselves to justify borders. Drawn

for themselves to justify borders drawn across the living body of the planet.

We've come to the darkest chapter of this story.

If architecture is the evidence and demographics are the witness testimonies, then the events of the late 19th century are the crime itself.

We're told this was the era of the industrial revolution.

But if you look at the facts from another angle, you'll see not a revolution, but a largecale operation to dispose of and appropriate someone else's heritage.

This was not the evolution of technologies, but their degradation.

We didn't invent. We simply learned to use what survived while destroying what we couldn't understand.

Look at the so-called world's fairs.

London 1851, Philadelphia 1876, Paris, Chicago, St. Louis. Official

history claims that for these fairs, grandiose complexes in ancient style were built from temporary materials, plaster and wood.

We're told that these palaces, surpassing in size and beauty everything we build today, were erected in a couple of years just to show the public new cedars and steam engines and then

demolished.

Do you believe this economic nonsense?

Look at the photographs of the White City in Chicago, 1893.

This isn't plaster. This is full-fledged monumental architecture with the most complex hydraulics, electric lighting, and canals on which electric boats

floated. And all this splendor strangely

floated. And all this splendor strangely burns or goes under demolition immediately after the exhibition closes.

Why? Because these exhibitions were not a demonstration of achievements, but an inventory of trophies.

The new world masters needed to gather the surviving technologies, classify them, and what couldn't be hidden or used, destroy publicly, writing it off

as a fire. This was a ritual of erasing memory.

They showed people the remnants of the greatness of the past civilization, said, "Look, we built this, but it's temporary."

temporary." and then turned everything to dust so no one would ask questions about technologies we can't replicate even

now. Let's talk about energy. All old

now. Let's talk about energy. All old

architecture is permeated with metal domes, spires, metal frames in walls, strange vases on roofs that hold

nothing. We're told this is decor, but

nothing. We're told this is decor, but any radio technician will tell you this is a circuit. These are contours, cathedrals and temples with their dome

resonators located at geological fault lines or water veins. This is not places for prayer in our understanding.

These are technical structures for generating and transmitting energy. That

very etheric energy that Tesla spoke of and which was struck from Einstein's physics as heresy. Look at old photos of cities at night. They are flooded with

light without poles, without wires. The

illumination on buildings is such that we only do on New Year's with thousands of LEDs.

Where did electricity on such a scale come from in the era of gas mantles?

Why in interior photos do we not see soot on ceilings, but see chandeliers hanging on chains without cables?

This was wireless energy transmission.

atmospheric electricity free and available to all. And this was precisely the main goal of the Great Reset to switch humanity to paid controlled

resources, coal, oil, gas. Cut the wires to the sky and force us to dig the Earth. demolish

the spire receivers, declare the ether pseudocience, and put the world on the needle of hydrocarbons.

But the most terrible thing happened, not with houses, but with information.

At the end of the 19th century, compulsory Prussianstyle school education was introduced simultaneously in all countries of the world. It seems

like a good thing. No, this was a formatting tool.

Children were taken from families and loaded with a single approved version of history, physics, and geography.

It was then that identical textbooks appeared. It was then that they invented

appeared. It was then that they invented a chronology for us, stretching the Middle Ages over a thousand years to hide the development gap.

We laugh at the dark ages, but perhaps the dark ages are what we're living in now compared to the past. Think about

the phenomenon of the year without a summer 1816 officially the eruption of Mount Tambora. But the descriptions of

Tambora. But the descriptions of weather, sky color, and consequences are more like a nuclear winter or the

aftermath of climate weapon use. 3 years

of cold, crop failure, and famine. It

was precisely at this time, according to analysis of tree rings and ice cores, that a sharp change in the chemical composition of the atmosphere occurs.

This was the finale of a war or catastrophe.

And precisely after this begins the building boom of restoring cities on ruins.

Where did the millions of inhabitants of the old empire go?

The answer may be in the strange empty territories on maps. US national parks, protected zones of Siberia and Australia, huge territories where entry

is prohibited or strictly restricted.

We're told it's nature there. But on

satellite images, traces of gigantic quaries, geometrically precise clearings, and ruins of cyclopian structures are visible.

Perhaps these are exclusion zones, places where the war was especially fierce or where mechanisms of the old world still operate, which we are not allowed to see.

We were turned into consumers devoid of tribal memory. We were given primitive

tribal memory. We were given primitive fuel burning technologies and told its progress. We were fed democracy and

progress. We were fed democracy and elections, so we'd think we're in control, while real power is with those who conducted this inventory in the 19th

century.

We live in scenery built not by us. We

use sewers we don't know how to repair.

We can't even replicate the mortar composition that binds the bricks of the Kremlin or the Colosseum.

We are a cargo cult civilization.

We build airplanes out of straw, imitating gods who flew on real machines. We call power plants, temples,

machines. We call power plants, temples, and survival bunkers tombs.

Our entire history is a hastily sewn patchwork quilt meant to cover a hole that formed just 200 years ago. And the

seams on this quilt are starting to come apart.

We stand on the threshold of the main discovery that turns the entire world picture upside down. If you've carefully followed our logical chain, you understand that the unified

architectural style from Melbourne to St. Petersburg, technologies for

St. Petersburg, technologies for processing stone and metal impossible for the 19th century, strange demographic gaps and subsequent

explosions, as well as the global standardization of cities. This is not coincidences.

These are links in one chain. And the

name of this chain is the great reset.

Official history tries to convince us that human development is linear. From

cave to skyscraper, from club to smartphone.

But architecture testifies to the opposite. We see degradation.

opposite. We see degradation.

We see how on foundations of eternal polygonal stone they put brick walls that crumble in a hundred years and on top they slap gypsum board panels. This

is not progress.

This is survival on the ruins of a more advanced civilization.

That very single architect we talked about at the beginning is not a genius with a compass. It was a global planetary management system that existed

before the mid-9th century catastrophe.

The world was globalized long before the internet appeared. There existed a

internet appeared. There existed a single construction standard, a single system for extracting energy from the ether, a single transportation network using pneumatics and possibly levitation

technologies, traces of which we take for ordinary railroads.

Why was this civilization destroyed?

The answer is simple control.

That system was too free. While this

electricity can't be sold by the meter, quality products and life extending medicine are unprofitable for those who want to control short generation cycles.

Stone houses standing for a thousand years don't create mortgage slavery.

Therefore, the old world was sentenced.

A cleanup occurred.

We don't know exactly what it was. War

of the gods, plasma weapons, climate strike, or technogenic catastrophe causing changes in atmospheric pressure and composition. But we see the result.

and composition. But we see the result.

Cities buried in soil, population reduced to a minimum, technologies lost, and then new masters take the stage. The

parasitic system. Those who seized power at the end of the 19th century did not build these palaces and factories. They

captured them. They conducted an inventory of surviving property at the so-called World's Fairs. They rewrote

history, extending the chronology by a thousand years to distance us from those events and sever the generational connection.

They invented nations and borders to divide unified humanity and make us fight each other for resources that were once common and accessible.

Look at our cities today. We live in boxes of concrete and glass with a service life of 50 years. We are

surrounded by wires, pipes, meters. We

pay for heat, for light, for water, for land.

This is the goal of the reset to turn creators and builders into consumers and debtors.

We were given surrogate technologies, an internal combustion engine with the efficiency of a steam locomotive that pollutes the environment instead of clean ether energy. We were given

chemical pharmacology instead of wave genetics.

We were given the religion of consumption.

The building facads so similar in different corners of the world are silent witnesses to the time when humanity was a single organism. These

ancient columns, these domes, these arches. This is not just beauty. These

arches. This is not just beauty. These

are functional elements of the planet's technical system that was broken. Domes

no longer collect energy. Canals are

buried or turned into sewer ditches. And

in temples that were power stations for spirit and body, they now simply burn candles, not understanding the physics of the process.

We are the generation beginning to wake up. We look at old photographs and see

up. We look at old photographs and see not what they tell us in school, but what is actually there. We see empty cities. We see technologies we cannot

cities. We see technologies we cannot replicate.

We ask uncomfortable questions.

And this scares the system the most because if we understand who we really are, if we realize that we are descendants of titans, not apes, this

entire house of cards of lies will collapse.

Perhaps we are on the threshold of a new reset. Look around. Digitalization,

reset. Look around. Digitalization,

attempts to restrict movement, new medical experiments, talk of a new brave new world.

The scenario is repeating.

The same puppeteers who 150 years ago buried first floors and rewrote books are now trying to herd us into a digital metaverse to finally erase memory of the

real world. But we have an advantage. We

real world. But we have an advantage. We

have eyes and logic. We have the internet which for now still allows us to exchange these crumbs of truth.

Architecture is stone. And stone doesn't lie.

Every time you pass by an old building with windows descending into the asphalt, remember you are looking at evidence of a crime on a planetary scale.

Don't let yourself be deceived. Again,

study history not from textbooks, but from the facts surrounding you. Measure,

compare, juxtapose. Why is the step height in ancient temples calculated for 10-ft people? Why do old maps show

10-ft people? Why do old maps show Antarctica without ice? Why do all world capitals have identical obelisks?

The answers to these questions will lead you to understanding who really runs our world. Ponder why all modern

world. Ponder why all modern technologies are aimed at retreating into virtuality, not mastering real physical space. They offer us digital

physical space. They offer us digital worlds, metaverses, and virtual reality glasses. Why? Because the real world is

glasses. Why? Because the real world is evidence. The more we look at physical

evidence. The more we look at physical objects, polygonal masonry, granite embankments, the impeccable geometry of old avenues, the more obvious our

degradation becomes.

The system wants us to stop looking around. It wants us to bury our faces in

around. It wants us to bury our faces in screens where they'll draw us any history, any physics and any heroes.

Digitalization is the new clay, the new flow with which they flood us. Only now

it's informationational, not muddy.

Remember sound and vibration.

Old cathedrals and temples have acoustics impossible to reproduce in modern concert halls. This is not just good sound. This is resonance

good sound. This is resonance technology.

There's a theory that these buildings were used for healing, for structuring water, for altering states of consciousness with sound frequencies.

Bells, dome structures. These are tools for tuning the planetary symphony.

What did the new masters do? They

removed the functionality from temples, leaving only the ritual. They removed

the bells, melted them down into cannons, and declared unique organs, simply musical instruments.

They replaced healing vibrations with urban noise and industrial roar that suppresses the will and destroys the psyche.

We live in acoustic trash that doesn't let us hear the voice of our own intuition.

Who runs this world? It's not presidents or kings. It's those who know how

or kings. It's those who know how atmospheric condensers worked and who decided to disconnect humanity from the free source of life.

Their power rests solely on our ignorance.

As soon as a critical mass of people realizes that granite embankments could not have been built by peasants in bast shoes, as soon as we understand that

antiquity was not 2,000 years ago, but right nearby, their entire hierarchy will crumble to dust.