people mumble or stutter a lot, causes errors in the youtube auto-transcript
people end sentences with e.g. "right?" a lot (may be nice to remove for readability)
youtube can't understand foreign-language words (e.g. Greek, Latin, etc), often resolves them incorrectly
youtube doesn't mark WHO is speaking, so you can't follow who said what.

Each one of these is worth the time in hand correction...

Section 1: 00:00:04,870 – 00:00:41,430

All right. Are people hearing me? Should we get a sound check? Welcome back to Almond's Workshop. Oh god, where is the good stuff people? I'm just I'm going to bring you a couple of things today. Let opening up the workshop, bringing in a couple of people. Say a few things. My students sit back. We'll talk in a minute about a new class, too. Oh, because I want to talk about that class while we work and we'll get there. But first, I know that we're going to talk to Pate

Section 2: 00:00:41,440 – 00:01:17,270

And Pate is going to bring us something special. Would you say special? Fantastic. Is Pate around? >> Hello. >> Hello, Pate. How are you? >> Good. How are you? I'm doing well. Thanks for um throwing this out on a workshop. I want uh people to see and I'm ready to see because I didn't get to see it. So, I'm going to shut up and I'm just going to give you the floor.

Section 3: 00:01:19,590 – 00:01:45,590

All right, guys. Um where are we? Here we are. >> Okay. Uh, just apologies if you hear me. I'm individual in the background. I'm I'm going through a a pesticide. I double booked. My apologies. My partner's taking care of all the Hi,

Section 4: 00:01:46,789 – 00:02:12,390

>> If you'd like to come back. >> I'm sorry. Yeah, let let's come back in five minutes. >> Okay. Here, I'll give you 15. You know what I mean? Take it easy. just, you know, let us know in the chat. Okay, so I'm taking over the start here, people. And I want us Chewy, do we can uh transfer here to a new search to my search page. I want I want to do a triplet.

Section 5: 00:02:12,400 – 00:02:31,830

People, look what I'm bringing you right off the bat. Yummy. I'm going to have an intensive reading course, by the way. Oh, what is this? We've got a new tool. But before we get there, look what I did, people. Anybody see what I am up to here on ELG?

Section 6: 00:02:31,840 – 00:02:45,430

Oh, look what I put in here. I put the Venom with the dragon and I got 13 13 works. [laughter]

Section 7: 00:02:47,750 – 00:03:25,509

And people, you just want to see what do I have? How did I have these organized? Oh yes, there's Uripides ion right origin. Just look quick at the authors, right? Craig Nazinus. Ah, denimus kaius. I don't work with denimus kais a lot. This like what is that? Blind testicles. It's weird. Look people, it's the venom of the asps. Oh, we're getting some wine.

Section 8: 00:03:25,519 – 00:03:38,710

Isaiah. Isaiah. People, are you surprised? No, this is Isaiah's abbus [laughter] cuz that one doesn't exist.

Section 9: 00:03:40,710 – 00:03:48,470

Sedicon sounds unpleasant. You know what I mean? Pass.

Section 10: 00:03:58,309 – 00:04:01,509

Where is that poison going to my poor heart

Section 11: 00:04:10,390 – 00:04:18,229

That's how it is with the old aspos asp people look at there's nonus making [\\h__\\h] up

Section 12: 00:04:27,830 – 00:04:41,350

What a way to describe it. April, there's traditions with these words. There's two searches here. I want to do a new one that we've never done. I want to do a proximity search.

Section 13: 00:04:43,270 – 00:04:53,110

You looking for? Are we hunting dragons today? They want to hunt dragons. Oh god,

Section 14: 00:04:57,830 – 00:05:03,510

What kind of dragons? People, how about

Section 15: 00:05:06,550 – 00:05:40,950

Dragons that are diabolic? We need one more entry people because I know I'm getting a hit on this if you don't believe me. Do you believe me? Here, let's do the tour the two-dimensional before we do the three-dimensional. How many hits do we get? 63 people. Let's start with the earliest. And sure enough, it's somebody sacred in their [\\h__\\h] life. Post 81. I don't like that post there, right? Look at the post. That's questionable.

Section 16: 00:05:40,960 – 00:06:00,870

So, the dating that they've got is, you know, people always they're they're shocked at this. Oh, God. Oh, look at this people. What is that one?

Section 17: 00:06:20,950 – 00:06:38,150

He's the enemy. You know what I mean? Diabolon. You know what we're doing? We're making tornadoes for the rest of the country. Yes, we are. people. They're being born outside or diabolon,

Section 18: 00:06:38,160 – 00:06:47,830

Right? Oh, God. He's He's aon people. Are you surprised?

Section 19: 00:06:47,840 – 00:07:17,110

Remember who else was? For those of you haven't been around a while, right? What is that? Aoross. It's the unseen Gaia. Earth was that in the beginning in the Bible because that's what gods are. Oh God, what a wonderful praise. Yeah.

Section 20: 00:07:20,629 – 00:07:30,469

Anyhoo, so there's our dragon, right? Boom. Plark. Nope. Not count.

Section 21: 00:07:34,710 – 00:07:54,629

Origin's trying to tell us to avoid that inimous self, the daff, right? Oh god,

Section 22: 00:07:58,629 – 00:08:19,510

Origin. How can origin be helpful? He's Ah, here we go. Okay, here's what we need to do now. People, if I was working on this, I'd say, okay, look, I've got a project now. His origin's going to be talking [\\h__\\h] about Job. So, okay, I can use this. I can do the comparison

Section 23: 00:08:19,520 – 00:08:32,230

Of how the diabolic is associated with that dragon. Right. The corruption of one's interior. And I can do it through Origin.

Section 24: 00:08:35,589 – 00:08:44,230

Yeah. Look at what Origin's doing. That dragon, the you know the archaos, the first

Section 25: 00:08:47,190 – 00:08:56,870

The arch, the arch god, the diabolos. Yeah. What does he do in John's apocalypse?

Section 26: 00:08:59,590 – 00:09:05,190

Says he has many heads, says Origin. Look what Origin's doing.

Section 27: 00:09:07,829 – 00:09:50,310

He's not one. He's just a dude with one head, right? He's going to go on and talk about it. Apparently, that's the homaly in the Psalms. Nice. Is he a logus? Of course. Oh, two to four. I hate I'm sorry. Go ahead, Chewy. Is it having buffering problems? Damn it. I hope people were able to see that people. Let's see. Is that uh Yeah. Let me do a couple more and then let's give P the four again. And we'll do the This is still just the deuce people. We're just doing two by twos right now.

Section 28: 00:09:53,509 – 00:09:57,030

The way the Lord Oh god.

Section 29: 00:09:59,829 – 00:10:13,190

Treated that great dragon the way he did the devil. Oh,

Section 30: 00:10:21,110 – 00:10:25,829

Look at the environment. Just by the vocabulary.

Section 31: 00:10:28,710 – 00:10:36,230

When you're smelling around for dragons, you're always going to find Sophia.

Section 32: 00:10:39,110 – 00:10:53,350

Not let's not miss this phrase from those uranian waters.

Section 33: 00:10:55,509 – 00:11:03,030

What are uranian waters? Does anybody know?

Section 34: 00:11:20,949 – 00:11:51,983

Oh, there. Oh, these are coming from them. Fantastic people. God, what a bunch of analyzers, people. I'm going to do a double search again. Just wait. We'll get to a third. But here's the uranian waters. Let's see where we go. Full corpus. Do we get a lot? Uh, moderate is not great. Not great, but moderates. Where do we see them first coming from? See people how you can trace the history of the word this way, right?

Section 35: 00:11:51,993 – 00:11:54,550

>> [Laughter]

Section 36: 00:11:57,110 – 00:12:18,310

>> Fantastic people. Just look look at the dates. This is why I like the search that puts them in order. Look at the dates and the authors. Pendar, right? Sixth, Plato, fifth, fourth. Right

Section 37: 00:12:20,230 – 00:12:43,829

Now, unfortunately in this one, look what we've done with Plato. You piece of [\\h__\\h] He's draw Is this time? Yep. He's drawing in the Uranos, right? Or I should just say Uranos, right, with the fire and the water and the air and the earth.

Section 38: 00:12:46,230 – 00:12:59,670

What are we doing? We're figuring out how the architecture of the universe works, right? Oh, here's a lilops people. Alopodic.

Section 39: 00:13:03,590 – 00:13:12,949

Go ahead, Pete. Let's come back to Pete. If you're interested, the floor is yours.

Section 40: 00:13:15,590 – 00:13:25,829

All right. Um, where am I? Share screen. Share screen. Share. There we are.

Section 41: 00:13:39,910 – 00:14:13,430

>> Great. You sound great. And by the way, people, I just want people to know I'm seeing this for the first time myself. >> Are you [laughter] and I went through it. >> Um, it it is a little bit more complicated to get installed on Macintosh than it is on uh Windows operating system. And that's because there's a Apple signature price where you need to pay $100 to get your signatures all all placed in onto the apps and everything like that. So, I'm trying to figure out

Section 42: 00:14:13,440 – 00:14:36,230

The the other way for Chewy to install it. She Chewy, you're going to have to become a developer with me and we're going to have to develop this app together so that you can have it on to your computer. That way we can we'll be able to bypass that signature thing that that Macintosh has for security reasons.

Section 43: 00:14:36,240 – 00:15:27,590

Okay, everyone. Um, I do usually have a tour that this comes with. Welcome to the universal sound operating system. It's a constraintbased composition environment. You build your song structures from template, validate them against the USOS rules and policies and hear them as scaled driven melodies. I'll close that right now. Here is your song, your song structure. I believe this is the song of Dionis. I have been working on the um 20 25 lines that you asked me to read and I placed it into this and made a song out of it. Now the song is quite

Section 44: 00:15:27,600 – 00:15:47,670

Big. I wasn't able to finish it. There's complications but um it's a work in progress. I can have it all play automatically just in a wave form or a MIDI form because it's just a skeleton um

Section 45: 00:15:47,680 – 00:16:00,550

With rules and and engagements. Ah, doesn't matter. Okay. So, if I press on

Section 46: 00:16:05,670 – 00:16:46,870

If I press on one of the sections, I can have the I'm so sorry. I'm distracted. My little boy is walking around me. Okay. So, I can associate my lead instruments with whatever I would like. Um, I can do it here. You can see all the instruments for your lead. You have an accompananyment. You have all your instruments here. This is how it'll automate the the story. And here's your rudiments that you can place as well. >> Um,

Section 47: 00:16:50,790 – 00:17:13,029

And here is the terminal. uh it goes through more um details you could say and all certain main scales. Now the scales as I was showing Chewy the other day. If I can find it in my manifolds

Section 48: 00:17:16,150 – 00:17:36,230

Uh section architecture recurrence. This is for the songs energy landscapes power distribution whole bunch of things. Um I get very overwhelmed with this too. Here's your tri-state.

Section 49: 00:17:46,070 – 00:18:03,510

So huge. It's such a big big app. Pre chorus. Here's here's a summary and I'm distracted at the same time. Scale wheel. Oh, there we go. I found it. Here are all your scales that I was able to put on the circumference

Section 50: 00:18:03,520 – 00:18:13,430

Of reality and constraints.

Section 51: 00:18:17,190 – 00:18:36,549

Here you [snorts] are Ionian major and it relates to clarity, confidence and resilience. When we're in normal, if we're in a sharp, we have purity, serenity, grief. We have spark, joy, and release when it's on a sharp.

Section 52: 00:18:36,559 – 00:18:55,750

And we can see the try factor here within the song too. So at the moment, the song the dionis song which was assessed is mostly in those scales. So, our harmonic minimum and an Ionian

Section 53: 00:18:55,760 – 00:19:04,150

Scale. I can have every scale play.

Section 54: 00:19:08,070 – 00:19:40,390

I don't know if you hear it. I don't think you hear it. It was playing for >> No, I didn't. I didn't hear it, P. >> No, I didn't hear it either. it was working for um >> take your time and don't worry about anything [laughter] if distractions don't worry. We're sitting here in the workshop so it's not a it's not a big deal. Um I'm over can I just say I am overwhelmed. This is gorgeous and beautiful. >> This is just the song part. >> Oh god. Please keep keep uh [laughter]

Section 55: 00:19:40,400 – 00:20:17,909

I'm going to I'm going to bounce off and explain it. Make sure you do so. P for people who are maybe at a level that you know you need to keep it simple people like me right this is fantastic people is so smart he he always puts me in my proper place of humility okay floor is yours >> so we have an emotional manifold all of our emotions are on this scale of balance arousal and dominance we can see rage and fury Okay, we can see triumph and ecstasy and we can see

Section 56: 00:20:17,919 – 00:20:42,070

Boredom and apathy at that level. We can search for any emotion that you want. Where's my worry? My worry is in here. And this is placed onto all the um all the build of the song. Uh it's my

Section 57: 00:20:42,080 – 00:21:25,190

Scale wheel again. As you can see, all the emotions are there. Um, and if we look at lyrics, lyrics are very interesting. I can load up any file that has words in it. It'll go through the whole process and it'll tell me uh what kind of document this is. Is it scientific? Is it technical? Is it philosophical? Is it fiction? and it will pop up with um that indicator. So let's go through it. Now

Section 58: 00:21:27,590 – 00:21:44,149

I've classified my journey. This is a real document I pulled up. It's 70% real and 30% magic. Now the magic only means that it violates a flow and that flow is created by all the languages that we have.

Section 59: 00:21:44,159 – 00:21:54,710

>> Um all the all the [snorts] nouns and

Section 60: 00:21:58,149 – 00:22:14,070

All the nouns and and verbs of the languages. I have Egyptian, I have Latin, I got Hindi, German, Chinese, which is Mandarin really, um, Sumerian, Sanskrit, Acadian, Arabic, Greek, English, and French. Let's look at Greek.

Section 61: 00:22:14,080 – 00:22:39,130

Um, well, these are not SP. I think I didn't update my USOS. It's okay. I've got your three books here, Dr. Hillman that I can prime my AI that's on OS or USOS and it'll go through all of your books. Um, >> that's amazing. That's amazing. I'm go I'm glad you got them from the pirates.

Section 62: 00:22:39,140 – 00:22:41,510

[laughter]

Section 63: 00:22:51,990 – 00:22:55,830

Full lexicon languages. It must be somewhere else.

Section 64: 00:22:59,190 – 00:23:16,390

Anyways, um it could be in lyrics, it could be it could be anywhere. This is not end user. This is just all the thoughts, all the documents, all the knowledge, all the facts, all the physics in one place. I need to tie it up a little bit better than this.

Section 65: 00:23:19,110 – 00:23:33,990

Language reality. There we go. Um constraint space capture power overlays climate freedom overlays operators.

Section 66: 00:23:34,000 – 00:23:56,149

I cannot find ah is it here? Is it here? I have a heat map that has all the languages on it and we can see it on the constraints of reality. It's okay. Right now we have Greek.

Section 67: 00:23:56,159 – 00:24:28,630

Okay. This is the crux of the whole thing. This is the crux of reality. We have anank around as the constraints of reality. We have Kronos as the movement of time. It's based it's nursed in the womb of the whole of the cosmos. And we can have all the languages in a reductive manner

Section 68: 00:24:28,640 – 00:24:57,750

Which will place in an umbrella term act an axom of understanding of reality. So this these nine axioms of reality are based on a reductive um process of Greek language or Greek nouns and verbs. So I placed all the nouns and verbs under

Section 69: 00:24:57,760 – 00:25:18,230

Terms that could umbrella those sections. So action verbs, action nouns. Now I was able to do that nine times. If I remove one of them, I can't really place the other nouns and verbs into the other um axioms.

Section 70: 00:25:18,240 – 00:25:44,230

A nine axiom languagebased reality from Attic Greek and it's validated by the English nouns and verbs. It's validated by the French, German, um obviously not all the languages that we have, but the main languages that we do have all validate these

Section 71: 00:25:44,240 – 00:26:13,990

This construct. If we combine certain of the axiom pairs, we can have identity, reoccurrence of memory, settlement, and it all leads to a closure. This is our journey that we go through in reality. This is the song that is placed around this manifold.

Section 72: 00:26:15,510 – 00:26:37,830

That was hard to do. This was the biggest thing to do. everything else kind of just dropped into place. Um, and this is because of Sa Safo. Safo is the inspiration of this. She goes through all the grammar. She goes through all the the syntaxes. Everyone in Greek is basing their language on her principles.

Section 73: 00:26:40,310 – 00:27:01,990

So this is not my make believe. This is this is uh very factual. Everybody can reproduce this. Um, anybody can validate this. And all the instructions are are in in the app. You can see it in different languages, too, if you'd like. Moving on.

Section 74: 00:27:02,000 – 00:27:28,549

I can have the song uh build its own um customary build. Sorry, little one. I'm talking. I'm talking. Can you go see mom? >> I'm sorry, buddy. The I I should have removed tool and Latris's um build structure here. And I should have removed Metallica's

Section 75: 00:27:28,559 – 00:27:40,950

Master of puppet and justice build. It's not a copyright thing. It's not playing their song. It's just putting a song in that type of structure.

Section 76: 00:27:43,909 – 00:28:07,830

Um you'll be able to add whatever you'd like, move these around if you want to, etc., etc., and then generate the the structure. Now, kod is another word for the end of a song. So, there's no power, there's no song, there's no volume. It just becomes a quiet um state of existence.

Section 77: 00:28:07,840 – 00:28:44,310

Uh similarly to the Bellman's optimal path. So this is again um not fiction. It's based on physics. The Bellman optimal path is a calculation that we have that predicts reality. If the Bellman path is violated, we understand that there's something that has been introduced that wasn't there in the first place. And that's another method or another te uh technique that we can use to identify what is fiction and what

Section 78: 00:28:44,320 – 00:29:04,470

Is based in um reality. We could say I don't mind magic. I don't mind magic. So let's go magic. We are now wizards. We can now build our our song structures with a new

Section 79: 00:29:04,480 – 00:29:32,389

Um new opportunity. Oh, up here. Golden spirals, chaos attractors, ritual circles, divination fields, mythic echoes, faith transcendence, strange loops, oracle drifts, emergencies, sacred geometries, and I can force it to break that um path through reality,

Section 80: 00:29:32,399 – 00:29:37,510

Which is here

Section 81: 00:29:40,310 – 00:30:02,950

Which is this. Right? So now we understand that if we go through uh a normal journey around reality and we cut the process, we then create magic. We create a way to overdrive reality.

Section 82: 00:30:02,960 – 00:30:22,389

And it's beautifully sang. Moving on, we have rudiments that we can automate. It will place all the the um styles of rhythm to your song.

Section 83: 00:30:26,310 – 00:30:51,190

Uh chorus, all the build is there. Um we went through all these and now here we are the very interesting part for you Dr. Hillman um is that we have all the languages lexicons and dictionaries and grammar and syntaxal procedures

Section 84: 00:30:51,200 – 00:31:01,430

In our language um section. Sorry, I'm distracted again. Here's the lexicon journey.

Section 85: 00:31:07,350 – 00:31:23,909

Come on. Here are our lexicons and dictionaries. Now I have the full LSJ and Bailey on this operating system. And let's look at logos.

Section 86: 00:31:28,310 – 00:31:50,389

There we go. Okay. Now, logos has a lot of similarities to other words and that will come up in the process as well. So, I have the default lema substring gloss. I have the consonant um skeleton. So, this will ignore all vowels. So uh lambda, gamma and sigma it

Section 87: 00:31:50,399 – 00:32:16,470

Will ignore the omicrons or I can just decide which consonant or vowel not to use. Let's just use them all. Logos. Algos adulos. And it goes on and on and on and on and on. All the logos. All the logos.

Section 88: 00:32:16,480 – 00:32:32,630

And here we can see that in your books you don't really use the Greek words. So >> we could go pharmarmaca.

Section 89: 00:32:34,789 – 00:32:46,149

Am I stuck? There we go. Pharmarmaca. It took a little bit to load. Pharmaca and

Section 90: 00:32:56,789 – 00:33:05,990

Oh no, it's not working. Helman. Helman. Helman. Helman. Bailey's. Bailey's. Did I not Oh, it's looking at this word

Section 91: 00:33:15,669 – 00:33:31,590

It. should it should be working. I'm not quite sure why it's not coming up. It was working with Chew yesterday, but not before yesterday the other day. This is my version. The version that's online is working.

Section 92: 00:33:31,600 – 00:33:34,630

Um,

Section 93: 00:33:37,029 – 00:34:00,338

I'm a bit sad. It's okay. Maybe maybe I have to do it in English. No, that's just my checker. I'm sorry. I'm trying to find where I wrote the word. It's such a big system.

Section 94: 00:34:01,750 – 00:34:01,760

[snorts]

Section 95: 00:34:01,760 – 00:34:41,669

Um, it's it's totally gone. Where where did it go? Can I just ask for while you're working and while you're demonstrating and putting things together, can I just ask um this strikes me as a tremendous undertaking and it it is it a fact that this teaches you as you [clears throat] as you go along as you >> Yes. As you create your art, you are your art is then like educating you. It's teaching you. It's this is fantastic.

Section 96: 00:34:41,679 – 00:34:57,670

>> Absolutely fantastic. You've got Satan up there. What's going on? >> So, I have at the moment the STN branch. I don't have This is perfect. This is a perfect demonstration of why we should get the TLG. The STN

Section 97: 00:34:57,680 – 00:35:25,109

Um branch, the Sigma uh new branch that I have is only partial. I don't have all the findings, all the results results of the TLG on my computer. I can get that if I have a subscription to the full version. Nonetheless, I have um

Section 98: 00:35:25,119 – 00:35:50,630

The possibility to go through the styles of of Satanas. Um, I had a visual demonstration of it too, but I had to I had to reduce it um because it was not appearing properly through

Section 99: 00:35:50,640 – 00:36:19,750

This window. I'm still working on it. You guys did see some stuff on it I posted. [sighs] Okay. Um it's it's >> that is amazing. Hey, hang on. Let me ask you P can you take us back to that diagram that you had that was an um encircling the all pawn.

Section 100: 00:36:19,760 – 00:36:44,230

Can you just let us and by us I mean you know let us th those of us who were learning now from you explain that to us just you know give us a once around you know you're the >> sure >> you're you're the devil and we are the people that you are showing the cosmos to. So

Section 101: 00:36:44,240 – 00:37:04,390

>> It all comes from the Greek. Now we were able to onlogically observe reality and we are able to use those words as those constraints. Uh very beautifully done. We put personifications to these these

Section 102: 00:37:04,400 – 00:37:38,455

Beings these flow of life. Anank meaning constraints meaning nothing passes through anank. Uh if you look at the terminology um of the word >> can I just tell you a nank is more orphic than any um Oh god this looks like an orphic orb to me and I'm trying to understand it

Section 103: 00:37:38,465 – 00:37:39,349

[snorts]

Section 104: 00:37:39,359 – 00:37:54,550

>> Based on that. Go ahead. Go ahead. >> It absolutely is. It's loading up a 9K. It is a big system. I'm running on a on a big uh GPU uh

Section 105: 00:37:54,560 – 00:38:23,589

This GPU graphics processor and it still has me waiting because I don't think it's taking the graphics processor. I think it's just taking computer. I've got it stuck on logos. It's okay. I will open it up again and share my screen again.

Section 106: 00:38:33,109 – 00:39:04,310

Languages. We go into the lexicon. And where do I put my word? Here let's go to the full actually I won't go to the full I'll just write this word here so how do we write an do we write like this a well alpha new alpha new uh key and um epsilon is that right

Section 107: 00:39:07,589 – 00:39:12,470

>> It's alpha new alpha gamma kappa ada

Section 108: 00:39:15,750 – 00:39:36,710

Gamma kappa adah. Uhhuh. >> Thank you. >> Mhm. >> So now it'll go back to logos. But if I control if I copy >> Hang on. Was that Hang on. Was that an epsilon on the end? I think you put an epsilon. >> Oh, sorry. >> There we go. >> There we go. Force constraint. Nec necessity criter.

Section 109: 00:39:44,790 – 00:39:56,470

And it goes through the whole thing. Compulsion under disguise of persuasion force majar major force duress. They're banging for cockroaches.

Section 110: 00:40:00,870 – 00:40:41,190

Okay. Um, back to the manifolds. Back to the manifold of need. And here you are. Here's the constraints. This circumference of reality is an it. There's nothing that goes outside of this. Everything is within this within that womb of an reality that is her and we live through her through these constraints. Now you can see the manifold moving because Kronos and Anank create reality. It creates our our sense of flow and our capability of having our senses

Section 111: 00:40:41,200 – 00:40:49,670

Um interpret ontologically what is going on for us.

Section 112: 00:40:54,390 – 00:41:03,510

The need as such the center as such you could say it's um Thanos. You could say that the emergence of fins

Section 113: 00:41:03,520 – 00:41:22,230

Creates the song without the need, without the push, without the drive. We're just complacent. We don't do anything. Now, the first sound, the first song, the first realization is Thanos.

Section 114: 00:41:22,240 – 00:41:30,150

We can have a look at the

Section 115: 00:41:34,309 – 00:41:54,069

Fan. No, [snorts] the terminology. I'll copy paste so I don't push alpha or something. It'll take us 10 minutes to load. Thanos light bright arm Thanos Ali stephanos

Section 116: 00:41:55,829 – 00:42:12,790

And we can we can go through its understanding in this way as well. So yes this is an educational tool. Yep. And it will be available for everyone to understand and to go through. Um meaning

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And so our song goes around Thanos, right? It allows us to understand what is needed for us to be able to reveal things and harmonize things. We have to do certain things, certain actions. We have to bind. We have to probe. We have to withdraw and if you control the need which religions and ideologies do we stop living in a reality we stop living within an we start living into that person's ideology that person's state of mind and they want to control our state of mind our reality how we move through

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Ank our song our Thanos being controlled and dismembered That is religion. That is ideologies. And that's why it's so dangerous because it stops us from journeying. It stops us from growing. It stops us from having closure. We're in a permanent state of fear, a permanent state of not knowing if it's okay to do things because we do not know what reality is. We are then based in uh where's my manif I'm in we are then based in a state of

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Wizardry or magic right which I showed up um all the styles so that's how we create magic we create magic by understanding and k We understand that anank has children and is manifesting reality with those constraints.

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Thanos is not the only child of Kronos and Anank.

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No, >> chaos. >> Oh, chaos. >> Chaos is one of those children. >> Oh, yes. Yeah, exactly. >> Is there any of that in here? Okay, I'm going to show >> Oh, yes. Chaos is definitely a part of all of that. And that's a magical side of it. And the chaos only is represented in a state of confusion or change. So chaos really for Aden is not chaos at all. She understands the chaos. she understands why it's going through the way that it's going through or randomly

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One point to the other. It's not chaos if you see the whole picture. It's only chaos if you're living through it, if you're in it. So yeah, chaos is definitely a magical state. It does not follow the um where

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Am I? It does not follow

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Um reality. It's a strange attractor dynamics. The >> Okay. >> Yeah. >> Okay. Okay. Wait. I've I've got another one. >> Sure. >> I've got another one. I want another child. Um how where is ether in all of this? is I know that I I I kind of feel I kind of feel the ether in this cuz that ether is what carries um like the power of Olympus is through the ether. So I'm I'm wondering um ether is a child of necessity compulsion um is that like uh is that like the medium of the magic? How does it is there any

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Ether in here? Oh wow. It probably does. Um has such ether. Oh wow. Such a big word. Has so many meanings to this. The ether. Is it the depth? Is it the emotion? Is it the intention? Is it the Well, it's the necessity, isn't it? Wow. So yeah, I'd have to be able to explain it better. I'd have to go into the Greek a little bit more in in that understanding. I was very focused on Thanos, not necessarily focused on all the other children. But ether

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Is like it's not flux. What's ether? Oh, wow. If we go >> Exactly. There's a I I'm struck I'm struck by your orphic core here underneath all the programming is this is an orphic reality that you're pulling out. I mean I'm I'm glad I wore white. You know what I mean? Because this is the it's like an Orphic poet has come to life in the form of programming and Safo made him do it. >> Yes. >> You know what I mean? The more can I can I ask you this pay?

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The more that I encounter Safo, the more I see that the music is dependent upon her. And there's a reason they call her the 10th muse. Um, you know, this is amazing. This is I'm sorry, but this is absolutely amazing. Um, yeah.

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>> Yeah. >> And it, you know, it does work. I'm not sure why your book didn't show up, the Pharmarmaca part. Um, but yeah, it it's working beautifully and I had the AI sorting out yesterday. It was my big thing yesterday. So, if I start the AI bridge, it'll start it in a few seconds. It'll tell me that it's it's up. I go to my sorry for all the the writing to either I I hooked up to all LLM's and my developmental developer AI. I can

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Start um and then I can prime. So by priming the AI you in you unindoctrinate it.

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So, it sent all my instructions of how to behave and it's answering me. The user is sharing extensive documentation about the universal sound operating system which contains an earlier observation conversation where both system systems and user contributed detail context blah blah blah blah blah. I'll answer the new port terms if you change in the workspace. It's working right. So I could say like who is Jesus and it'll be able to answer with me in an in an an ontological fashion. Now your your books where' they

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Go where are they? There they are. Your books um are able to be primed as well. I'm able to send all of your books into that uh system and it will consider your perspective

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Instead of um instead of its own pre-training, >> which is amazing. I've got your whole three books in there and it'll listen. >> You're scaring me, P. [laughter] Pete, you're scaring me. Um, please please continue, [laughter] but this is starting to disturb me a little bit. But go ahead. >> I could pick your bra. >> I'm excited, too. I'm [laughter] excited, too. I I feel like I'm with Dr. Frankenstein. I really do. I'm like, "Oh my god, it's dangerous to be smart." Okay, go ahead. Um, if you ever want to create a new book and you want to place

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It in there too, you can do it through the um, save and export sections. Um, I can export the whole field and full name of the whole USOS and I can place it into um, any text that I want. It'll be a JSON form. And yes, JSON is very appropriate for that terminology because you're building a ship. You're putting stuff in a ship and then you're sidecarding it. You're basically invading the application.

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All right. Um, >> mad scientist, you doing a mad scientist [laughter] thing? >> H, and here's my developer section. And it it basically allows you to know where I'm at in this um uh that one available. Yeah, it goes through the whole setup of where I'm at. It shows you all the work that I've I've done on all the scales. Um

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You can you pick another uh JSON to in case you want to assess it on another application. >> It explains to you all the work. >> Um here's the to-dos and here are certain things that have been done. And it goes on and on and on so I can keep my mind clear of what's needed. Here's all the things that have been done. This one says >> here are the the future projects that uh are involved.

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What else am I missing now? I can see the song structure as well on this, but it's it's just for testing things out. I feel like I've missed something.

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What else can I show you? >> [sighs and gasps] >> I can take I could take a song, an MP3, right? I can take an MP3 and I can go, where's my Twinkle, Twinkle, Little Star? Twinkle, Twinkle, Little Star on a grand piano. Okay.

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>> Very simple. very >> it'll run the transcript >> and then it'll give me >> the whole song and all all the notes um on it. It's take

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Um I should have just open it from here. Twinkle, twinkle.

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Uhhuh. Okay. Here it's posting me the whole Jason, right? Um, I'll just call it

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>> And then I'll open it up. Here's my grief song that I posted the other day.

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Test JSON. I could load it up that way. Ah, it's gone through here. Here's my developer AI.

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I'll place it all into this. I'll load it up. Import. And here's Twinkle, Twinkle, Little Star. I can then add any instrument that I want to it. I suggest a lead and accompany it >> and then I can uh go deeper into it. I can

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I can create the rhythm and the the the [clears throat] um style of of

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Rhythm or scales like a 12 tet or just in intonation. And it will also build the cycle of beats that that should be there. It's also going into other languages to understand rudiments um better. So you can see all the Hindu stuff here as well and then you export it um as a wave or a MIDI.

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Um I already have it up there. Do I want to replace it? Sure. In the load and save, there's a enable harmonic um >> uh review of the song. So, Twinkle, Twinkle, Little Star is more American than European. Uh it's based on a root of uh C. seems to be also linked to Ionian

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Uh scales and there are two sorry use harmonic annotation I can use the Roman numerals for extraction instead so if I export where's my export oh here are all the notes that it reverse engineered so I can take any song and reverse engineer harmonically the the the notes and the timing it took and it goes into the pitch and it goes into the rudiments as well of the song.

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In the end, we have a

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>> Do I have to do this? Is this why it's not working? There we go.

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I didn't fully modify it. I can do more work on the MIDI.

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This is not the uh end product of the reverse engineer. I can then take that all that information and I can then put it into a music composer

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And produce something that sounds like this because it's considering the scales. It's considering the memor the the rhythm

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>> And I called it Twinkle Venus. >> Um Oh, there's a better version.

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There you go. >> Anyways, so the AI could you do that again? We couldn't hear it on this end. >> You could not hear it. >> Yes. No, can't hear.

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>> No. >> How is this? Can you hear it now? >> Yes. Got it. Now

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>> Originally it's It's not as nice as this because this is AI interpretation.

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>> I'll open up the other one for you. I'll open up the screen as well.

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>> Um, >> sharing screen. Sharing the song.

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>> Sophia says, "Play it on your speaker and hold your microphone up to it.

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This is the reverse engineer part. This is the USOS. This is not AI at all. This is the reverse engineering output um raw.

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>> And the original song that I took that from >> is

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Twinkle, twinkle, twinkle, twinkle. >> Where did I? >> That's not this one.

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>> Twinkle, twinkle, twinkle. I'm looking for the piano part. I have a lot of work done.

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Somebody said something. Mauy. >> Twinkle, twinkle, star, twinkle gr.

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>> You heard that? That's the original. >> The one pre. This is the reverse engineer.

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Okay, >> as you can see the USOS is a valid um representation of music and of documentation. You can basically upload any of your texts um in the language uh bar. It will check the whole system. It doesn't matter if it's a song. It doesn't matter if it's a document. It doesn't matter if it's Greek. It doesn't matter if it's Mandarin, I'm able to put more languages as uh uh the further along we go and I'm able to well the system is able to um be further

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Developed with instructions, with advice. This is not a closed project. I would like everybody to be involved. I am embarrassed at the fact that these three prime I was really wanting to show your books off. Um but you know it is what it is. I ended up working on this until 3:00 in the morning yesterday. Still trying to working still working things out. transcript. >> It's like it's like your art. It's like a sculpture that you're constantly

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Working on. Is that right? And tell us just give me uh how long have you been working on this page? >> Um theoretically, I've been working on it since I've I've um Oh, wow.

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It's been years. It's been years. I've started all my research with the Samrian stuff, the oldest artifacts that we had. Um, unfortunately, it did lead me to the Greek and then the Greek made me understand that most of the data that we have are retrospection and retrofitted. So most of the artifacts that we have are interpreted

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Um on a biased way of of you know theology, right? So they're they're trying to bring about a perspective of the world that fits their narrative. And that's that happens. You know, we're we're all raised in this world. We're all in it together. and and our philosophies and our ideologies come from our parents and their parents and so on. And we've been doing that for millennia. It's very important that we um now as their grand great grandchildren um try to understand why they were doing things and try to differentiate the the fantasy or you know the actions that don't necessarily lead to what we want.

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Um and then replace it to have more constructive behaviors. I'm my background is in psychology. I've I've done my my uh university uh bachelor's degree in psych. Uh my previous wife uh had cancer during my university courses. So right at the end, I had done everything. I just had one more exam to do. >> [snorts] >> on social sciences, which is not my favorite because it's very biased and very opinionated. Um, nonetheless, I didn't get to do the exam. My wife had then uh survived for three years and then she passed away. I have two

Section 172: 01:04:21,839 – 01:04:51,109

Children from her. It's my sad story. >> It's okay. >> Sorry. >> Um, I'm doing a lot better. I have a new partner. I have a little boy that's called Link and he's amazing. He's three years old. So, we're doing a lot better. enjoy it. Enjoy that. You know what I mean? It's a lot. [laughter] >> It's a lot of work, but enjoy it because you'll look back on this time that you're with him at this age and you'll you'll say, "I wish I could go back.

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>> I wish I could have done these things. I wish I didn't." Yeah. Absolutely. Absolutely. >> Love it. I love it. Did Can you tell me really quick? You mentioned, P the first 20 to 25 lines of the Akai. Yes. Um, how does that factoring in here? Again, explain it to me like I'm a dummy. Thank you. >> Sure. If I go ahead and go into my language manifold, I can take

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Um put it I can take

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Your I can take the

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Text in Greek. I'll copy it. No, that's that's not okay. Can you guys see my USOS?

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>> I don't think so. >> You don't see my OSOS? >> Yeah, you do. >> Yes, I wait. No, we see it right here. Yeah, go ahead. >> Fantastic. So, am I putting it in the right section? I think I need to put it there section. Okay, I place

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I placed all of Europe's Dionis song. I d I could apply

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It to the four parts. I I'm dissecting the song. I'll place it here, too. I classify the journey, and it's telling me that it's 15% real and 85% magic. Now, that doesn't necessarily mean that it's it's fiction. It's telling me that it's it reads like a poem. So, Uripides

Section 180: 01:06:52,880 – 01:07:40,950

Is singing. This is a song. This is a poem. It's fragmented. It's reduced in single words. One, three, one to three words per line. Expands fragment into full sentences. That's a different part. It's diverse. It's reoccurring motives and then we can put instruments to it. We can put emotions to it. Um, which is fantastic. Here is verse one of >> the song. I can put interest in it. I can read it and change the emotion if I want to to fit the uh text better.

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These lyrics are then copyable as an export. I can copy the lyrics in that structure and I if I can show you uh how it looks. It looks like this. So, the song that you were talking about that you wanted to do that had who is it? Is it um

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The one that >> was shown to us last class? Um, do you remember >> the one with the American Bill of Rights, I think? >> Oh, Thomas Jefferson. What? >> Thomas Jefferson. So this is what we can do with Thomas Jefferson's stuff. I can put it all in the proper section and we can make a song out of what he is saying.

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You can take all of this information, you can take the whole song and you can put it into your um your digital

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Audio workshop. Terres says we can't we can't see the lyrics. Peri says >> Oh, okay. I'll change the screen

Section 185: 01:09:12,560 – 01:09:48,470

And I'll show you the text. There you go guys. Here's just the copy paste of the lyrics section that I was able to extract from that file. We can do that with anyone. We can place that into your own operating system or you can try the one that's built in the osos US

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>> AI um magenta and audiocraft

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I don't necessarily suggest it is There it is in place. It is ready for something that is better than those music creators. They are only samplers at the moment and that's open source. So this the whole universal sounding

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Operating system is free. I'm not making any money on it.

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Um, >> can I can I ask we're considering all of this because you're I'm trying to see what you're doing and you know, kind of in the big picture of well, this is a museum space and the art that you're exercising, you know, what is the magic that you're doing? And I think what you're doing for me, Kate, is you're bringing you're bringing a very visual

Section 190: 01:10:58,640 – 01:11:42,149

Component to kind of the physics of the cosmos, the orphic physics of the cosmos for me. >> Yes. >> Right. Um, let me ask you this. That's what that's the that's kind of the where I'm coming from as if I were a musician. Um, what are you showing me that we can do musically? Because >> So, musically, >> what I'm doing is that I am placing all the tools a musician needs, all the instrument um theory, all the music theory in one location. And it relates to all music

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Theory. I'm not just looking at American. I'm not looking at modern. I'm looking at the whole picture and if I have things that are missing, I can just add it to this and update the system and put it up for everyone to use again. Um, as a musician, I can build my skeleton, my my whole build, my music skeleton. I can understand the scale that's should

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Be used and I can hear it in real time as well. The the reason why you weren't hearing it, I think it was because I had my um my computer playing it instead of the I don't try

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All the scales. Where did the All my scales go to? >> Scale wheel fian.

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Did you hear that this time? >> Yes. This time very very quietly. >> Okay. Yeah. >> You can play every scale. So, it allows the musician to understand what they're actually doing and not just randomly being inspired and maybe putting a false note where it doesn't really belong. Oh, I should show you this um before uh everything. >> So, it could be a music educator as well. >> Oh, yes. It tells you the rhythm. It tells you the pros. It tells you the cadence. It tells you everything that's

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Needed and tells you if you're violating it. So there's an incomplete freedom. It must be zero foreclosure. So I can just automatically fix it all. >> That is wild. That is wild. I'm trying to think how now to apply this, you know, as a linguist, >> if I can feed in texts that are musical. >> Yes. How can I, you know, how can I use this magic that you've brought us with insanity that I >> This is complete pain. This is dangerous, but >> it is >> gorgeously [laughter]

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Dangerous. So as a linguist, it allows you to um dissect and see in real time the combination of semantic um reality, right? It it shows you what it means in one language, it shows you what it means in real time in another language. And it allows you to copy paste uh freely. It doesn't limit you like other uh digital audio workstations can do. Usually they're all front end. Anyways, mine is very backend oriented, meaning there's a lot of theory, there's a lot of physics, there's a lot of constraints that are based on uh music theory, physics, etc. I'm I'm

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Repeating myself but I think that this software is uh revolutionary. I don't I have not seen it done in anywhere else and it is not something that uh should be contained and made money out of because this is library educational nonprofit.

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It is the crux of our reality and our understanding. And if I place money on this, it's going to buy us it all.

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>> That is amazing. People who are watching now to the gallery who was sitting there taking in this information, is there anything you want to ask Pate? Put up any good questions. Pate, can you watch the chat? And I want you to monitor it. I'm going to do this, too. But I want you to monitor it for any questions that you think, oh, this is, you know, so somebody says, so it's a library AI song export. Is that what's going on? >> It's a library AI song export. Yep. You

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Can copy po uh copy a post um so that it's not too far out of the character limitations. And you would be able to put that into your AI if you want to. I'm not relying on AI. I don't want to rely on AI because AI is pre-trained and indoctrinated. The system unindctrinates the AI that you're going to use which you have access to. Choose which one you want. And I was I forgot the other thing I was going to say. Anyways, let's read some more questions. Can I plug it into my

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Neurolink? Yes, you can also plug it into Obsidian. Um, it's MDS, so it's

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Quite versatile. It should be working on Linux, Macintosh, on your your phone, and on Windows. Now, there's certain limitations to smaller applications like your phone. You don't get access to the AI. The program needs your your hardware

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To save the AI so that it's not online. So it's offline AI. What else? Subsided is the throne of ASL. Nice. Um it unlearns AI and then it does it configure it with longterm. Uh yes, it's trained. So, it's postrained and if it if it reverts back, which it can to its pre-trained state, you just prime it again and it'll it'll reconfirm uh what's going on. But once you install the AI, if it's an AI that you're trying to go to, it will be unindoctrinated by those buttons that are beside. [Sighs] Um, are we all part of the OG source? Nice. We are all one. Yep, exactly. We're all in the same boat. All rowing on the same ore. Sometimes we go in circles.

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[laughter]

Section 205: 01:18:17,189 – 01:18:49,030

H 10 ions. But I'm not sure. Eventually, this will be its own TLG. Exactly. So, this this will be able to connect to all the libraries that we have, all the sources that we have, and it'll be able to dissect it and assess it uh without bias. It has structures, constraints that it's respecting and it won't violate those. And if it does violate those, it'll tell you that it does. Um, here's from Slane Builder. I wonder if a tuner could be added. Yes, a tuner is is going to be added. Uh, subatomic

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Has already created a a mixer, I think, or or something like that. Once he's done his his beautiful holiday, we'll be looking into uh side carting any uh mixer, any um operating system that that relates to that.

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My mouse. >> Oh. Oh my god. Can I just say um first of all, Pate, you make me feel stupid. Um, but the the people who are who are watching, people who are assembled right now, you also make me feel so [\\h__\\h] dumb. Now, listen, that's a good thing though cuz I know like one of you said, you know, you're not a programmer, so you know, this is this is totally not your art. Um, but P, this is what I think is important is that uh you have a place and a purpose that has that goes beyond you

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Know when it comes to time you you necessity pushes you in a way that um I can sit and admire just the art itself and I can say yes I'm trying to get my mind on it I'm trying to get my mind around it and that's amazing um that's what the museum is all about I would love Pate to get um a couple of musicians with you. >> Yes. >> To be able to try to figure out what you know >> if it's valid. I just need validity.

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>> Patience, you know. >> Yeah. Exactly. Let's work all together, please. Any musician. Yeah. That is very technically skilled that knows their stuff. Um, one or two, maybe three, uh, that is willing to work with me. Um,

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I'm more more than willing to to hear your advice, your opinion, corrections, violations. If you can't probe my system, if you can't tell me that this is right and this is wrong, then I'm not doing my job right.

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Nice. Now, see, that's people that's somebody that is in the academy. You know what I mean? That's somebody who is in the museum who's plugged in like that. That's amazing, Pate. That's absolutely amazing. Let me throw here's what I here's what I want to do. I want to because I feel so dumb. I want to throw up the Greek, right? Because look, people put this in perspective, right? We are bringing texts that we're looking at very rudiment just the rudiments

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We're taking out of the ground of the literature. We're just pulling out. We're just harvesting it. And those elements are the orphic drive that I can see in what Pa's doing as just a visualization of a non. I can say, "Oh, yeah." No, I can see how that's a coming right out of the language, you know. So, I think that's amazing. I don't know how to describe that. It's some kind of divine step forward, you know, for us to all be able to get that in our heads. And I think

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This is real this is real important work. This is I don't >> It's real work. >> Okay. I'm going to I'm going to let you I'm going to shut up and I'm going to let you answer anybody else's question that wants to ask you questions and you tell me when you're done, Pate, and I'm then I'm going to put up the text and translate. We're going to translate. >> Can we create music from prophecy? Yes, we can. >> Absolutely. It's it's there. Prophecy is music.

Section 214: 01:22:52,470 – 01:23:25,590

Please post the program. Yes, I will post the program, but I need um Chewy to be able to install it off of Macintosh before before we can. She's um close to being able to do all that. We did hit a bottleneck, but we're circumventing all of that as we speak. Um Oh, I just I miss I love music, but I'm just unfortunately not gifted with understanding it. I can play instruments by side teaching, but notes are like Chinese language to me. And that's okay cuz you have access to all the scales

Section 215: 01:23:25,600 – 01:24:02,149

There and you'll be able to hear your song. Just pick a scale, focus on only one scale, and you can do a fundamental song. You can see load P1 up here on the USOS. Click on that. It'll load you a basic uh build, a basic skeleton, and just have fun with that. If you want to uh work on your lyrics, there's a language corrector on it, too. If you wanted to make it Greek, it'll be even easier because Greek is beautiful. Oh, which I need to show you this. I

Section 216: 01:24:02,159 – 01:24:25,173

Have to find it. It is in it is in the manifolds or is it under language? Language reality all the languages. Sumerian, I need to find my heat map Constraint space. No

Section 217: 01:24:25,173 – 01:24:29,030

[sighs and gasps]

Section 218: 01:24:32,709 – 01:24:41,538

>> Violation. No power overlay constraint. I'm sorry, guys. I did post some up before. I thought I found it. Heat [snorts] mat,

Section 219: 01:24:41,548 – 01:24:42,229

[sighs]

Section 220: 01:24:42,239 – 01:25:00,390

Guys. Look, Samrian, Samrian. This is this is all the the language, all the verbs, all the nouns, all those languages reduced to a map.

Section 221: 01:25:06,470 – 01:25:22,790

Where did I go? Samrian. Okay. Greek. Ah, >> here's Greek. Here's Greek. And there's a few other things on top of that. What happened? >> Interesting. >> This one's Greek. This looks like Chinese to me in this one. Let's find Mandarin.

Section 222: 01:25:22,800 – 01:25:51,430

>> Uh, Chinese. Mandarin. There. See, Mandarin has a lot more revealing nodes and action nodes. A lot of relate, but no harmony. It doesn't really harmonize. >> Let's check Sanskrit. Sanskrit. It looks a little bit like Greek, doesn't it? >> Um, >> Arabic. What does Arabic? Oh, it looks pretty similar.

Section 223: 01:25:51,440 – 01:26:07,350

>> It's interesting that it looks similar. You wouldn't think it would. You would think it would look like a cadian. Look at Aadian. It has no harmony. It has different volumes of binding and action and probe. about Egyptian

Section 224: 01:26:07,360 – 01:26:48,470

>> Which is not the Aramaic it's the um the pictographs and look at that has a lot of reveal isn't interesting we can place all the verbs all the nouns that we can collect from all the ancient texts and we can place it all on the oh place it all on an lives within her and we can differentiate the languages from the other. We do that so we can understand where the language is coming from. We can do that to see if there's a big difference between languages.

Section 225: 01:26:48,480 – 01:27:33,150

I have to admit I did not put the quote unquote Hebrew stuff in it. Yes, I do have Yahuda's work in this. Yehuda's work is very good. Um there's more than just the uh Hebrew is Greek part. He does a lot of work for philosophers and and I would recommend for you to anyone everybody to read those too. It's in the it's in the pack. It's sent to you guys uh once it's upline. Coming back to the Hebrew stuff. I'm afraid to put it in. I am terrified to put it in because I think it's going to ruin the system. [laughter] You're gonna break the timeline again. Babe, stop. [laughter]

Section 226: 01:27:33,160 – 01:27:34,950

[snorts]

Section 227: 01:27:34,960 – 01:28:09,189

>> Right. I knew Wretch would be here. Right. Wait, wait. If I understand correctly, we could find the ideal sympathetic magic analoges for anything. >> Taking out the synthesis of the cosmos. P, what's your comment on that? >> Um, I think it's I think you're on to it. >> P. Oh, and Snappy, too. I'll come back to you. Kathy, where is Rich? >> Rich, if I understand this correctly, we could find the ideal sympathetic magic analogs. Exactly. Exactly. Figure out the synthesia of the cosmos. Exactly. We

Section 228: 01:28:09,199 – 01:28:38,390

Can understand what's in sync. We can understand what's not in sync. you can understand what is um pulled out of someone's fantasy to be um to not say rude things at the moment. Um we are able to do all of that at a click of a button now. It is amazing.

Section 229: 01:28:40,390 – 01:28:47,030

Uh let's go back to Snappy. What did Snappy say? >> I I agree. Anna 666. This is mind-blowing.

Section 230: 01:28:51,910 – 01:29:24,950

Um I Okay. Snappy Malina. Oh, sorry to microones. Yes, there's micro tones. We have microones in this. Absolutely. We have microones. I don't know. Did I Did I miss something else? Okay. Snappy. We can get this to use meter. Yes. And form. Yes. Like we give it to uh give it the info. Could it compose for us a three ambass? Yes. Or other complex poetic forms? Exactly. Yes, it can because it's all in there. All the theory is in there. Um, of course there are microones.

Section 231: 01:29:24,960 – 01:30:10,950

Yeah, there's microones. Um, there's nothing in this that I redacted or reduced. It is something that I'm trying not to bias or to misinform. If there is caution, it's declared uh and reproducible. So you guys can all take this. If you're a genius, coding genius, you can take all of this information and you can reproduce it yourself. This is not something that I possess. This is the information that is available for everyone placed in one area. And yes, I can uh associate uh link up libraries.

Section 232: 01:30:10,960 – 01:30:41,189

Uh at the moment, we are planning to I'm planning to mirror the Soma library, which means that I have to download all of the the large large library that we have collected onto my spare hard drive and then I can link that up to the USOS. We can create certain links in websites so that we can do that online. Um,

Section 233: 01:30:41,199 – 01:30:59,830

But I do like having my stuff offline. It's like it's a personal thing for you that you can keep protected. Snappy, you're saying we need to put this on GitHub. Yes, it's on GitHub at the moment. Uh, but it is under developmental de developer mode. So,

Section 234: 01:30:59,840 – 01:31:38,229

It's not fully public. It's just available for the the people that are trying to build it up with me. Uh time machine. It is a time machine. Well, this this basically allows us to be necromancers. We can bring any voice back. We can bring any song back. It It's It gives me shivers. >> Oh my god. Oh my god. Hey, any voice we can bring back? Brett says the woke mi kai that we find in the PGM. That music he says alone will improve magic practice.

Section 235: 01:31:38,239 – 01:32:07,430

>> Yeah. >> And we feed that music. Can we But come on. Come on. >> Yeah. Yeah. >> I can even plug in the PGM into it, I think. But it'll be >> Oh god. We should do that. It'll bring the end of the [\\h__\\h] world. [laughter] Oh my god. >> It has a lot of cemetic stuff in it though. So, I'm I'm I'm very anxious about doing it. If we can just keep it Aadian, maybe we'll be okay. Um, I really don't want to put the Hebrew

Section 236: 01:32:07,440 – 01:32:47,030

Stuff in it. Let the he let the So, for example, like you could just feed it the M to Seleni or something that uses forms that you and I may recognize as uh Hebrew, but they actually aren't. Like Satan, >> yes, >> people say that's Hebrew. No, no, no. It's actually not. The the um Sabah, right? The Lord God Sabah. You would think that that was Greek, but if you just put if you just put it in there as >> as the Greek that we find in the PGM, um

Section 237: 01:32:47,040 – 01:33:17,430

Can can we then analyze it and say where does this sit? >> Yes. >> On in an um how do we then branch what's the next step? How do we bring this to uh fulfill our goals as the Legion of Doom?

Section 238: 01:33:19,990 – 01:33:47,270

>> Come on, Wretch. You can speak, >> right? Pate, you can P will share the stage with Wretch. Put him in. Wretch, just get get off your butt and put >> on Yahweh's secret magic name. Sure. >> [laughter] >> Oh, I I also put when I'm talking about Samrian, I've got the book from um Urban Pink, Dr. Pinkle, um placed into it. I have all the chicken

Section 239: 01:33:47,280 – 01:33:50,870

Uh chicken markings,

Section 240: 01:33:58,709 – 01:34:29,669

>> I was going to show you this. >> Ratch, can you hear me? Excuse me, Pate, for one second. One second, Pate. Ratchet, can you hear me? >> Yes. Can you guys hear me? >> No. >> Fantastic. Here's what I want you to do. I want you to sit and talk with Paid about this and we'll just listen in like a bunch of, you know, voyers. >> Uh, okay. Well, look, I there's a lot I don't understand about this uh AI and everything, but I mean,

Section 241: 01:34:29,679 – 01:35:15,990

Well, there's I'd love to hear all kinds of things turned into music or like the orphic hymns or these bo magic or however it's pronounced. Uh there's it's theoretically possible to create a musical spell to put Yahweh back in marters >> or you know we can use the because there's musical elements through cabala to Hebrew even if it's plagiariz that was projected on by plagiarizing Greek philosophy that's what Cabala is But so it's all I mean it's all plagiarized and twisted but we can you know as Matt

Section 242: 01:35:16,000 – 01:35:49,110

Alena said uh we could we can reek the Hebrew and and and figure it out and then once we understand how they distorted the Greek then we can understand the intentions of their black magic and then we can counter it. >> Exactly. And we don't need to redact anything. we can just make it very clear that this is what's happening. This is what they're saying. This is what there is and this is what uh similarities that there are there. I don't want to be lying to anyone. I don't want to be

Section 243: 01:35:49,120 – 01:36:26,149

Hiding anything. I want it all there for everybody to be able to see very clearly. Um, so, uh, there there's a a wide variety of books I could recommend on magical music theory from like an author who's a wellrespected scholar named Jocelyn Godwin and uh, he shows say like I just posted a little while ago a book on the on the music of the seven vowels and the seven notes and various theories about that that might expand the um,

Section 244: 01:36:26,159 – 01:37:06,709

The >> theory and the >> theory and yeah the the options for customization of of the music >> uh might expand the so >> now [snorts] I've taken a lot of Safo's stuff I've taken a lot of Plato's stuff usually all the Greek theory the music theory um I believe is mostly there but if you do have that little extra little bit like you're saying Um, I'll I can place it in there and see if it's already there and um add to it. There's really nothing wrong with adding to this.

Section 245: 01:37:09,350 – 01:37:24,470

>> Very cool. I'm I'm curious to see what will happen if I put my own writings in there. I'm kind of scared though. >> Well, what it can do is help you formulate the grammar. I'm sure that um you'll see that certain magical terminologies

Section 246: 01:37:24,480 – 01:37:55,750

Are simply like short sentences versus long sentences, repetitions, um unusual punctuations. It's it's not nothing tremendously amazing. It's just stating that there's certain violations to reality. reality being an expectation of >> of what happens within constraints. >> Okay. So I mean it sounds like this underlying

Section 247: 01:37:55,760 – 01:38:28,070

Ideal musical grammar is the self similar image by which reality is a fractal is generated out of. >> Yes. And that we can thereby calculate the ideal image is by translating the music into mathematics and then graph it out as an image perhaps. >> Yes. Exactly. Yeah. A visual representation plus all the uh [snorts]

Section 248: 01:38:28,080 – 01:38:44,470

Coding that's necessary for you to be able to mathematically assess reality. >> That's incredible. I was just almost like giving you my kind of like wild fantasy and then you're like, "Yeah, that's what it does." [laughter]

Section 249: 01:38:44,950 – 01:39:20,558

>> Yeah. >> I mean I mean it's based on the philosophy. It's all there. I didn't make that. But >> I'm not making it up either, >> right? >> I can't I just I'm amazed that this is possible. But >> wow. Congratulations, Pate. You did a great job. It's a long um group effort and I'm not the only one that's been working on this. A lot of the information that you're sharing too, Rich, I've I've assimilated. I've I've comprehended. I even made a song for you. I think you remember that one.

Section 250: 01:39:20,568 – 01:39:21,270

[laughter]

Section 251: 01:39:21,280 – 01:39:40,209

>> You did? >> Yeah. It's It's all about the uh the fractal spiral. [laughter] >> Oh, cool. Yeah. Wow, that's >> I'm very flattered, Pate. Thank you. And thank you for for thinking of me. >> You're welcome.

Section 252: 01:39:40,219 – 01:39:42,229

[laughter]

Section 253: 01:39:42,239 – 01:40:12,709

>> Any other questions? Can you see? Oh, look. Put this in. Uhhuh. And what would you like from that? Oh, we can do that off off screen. Uh off stream, too. Um Na, we can take that copy. Uh, I shut my program down. I'll I'll open up uh next time. I've got that saved on my copy and a and then we'll I'll post it up for you after we're done.

Section 254: 01:40:12,719 – 01:40:24,390

Oh, look at that. Xander's um putting the nine planets on there and and doing the astrology on on our axioms. Fantastic.

Section 255: 01:40:27,510 – 01:41:04,070

Very cool. Will your program show if you pro if your pros hits all the points on the manifold? Yeah, exactly. It will. Um, it'll show you that you have closure. It shows you that you're proddding. It shows you that you're withdrawing. You know if if someone is creating a fear, someone is stopping you or guilt tripping you from testing things out, you know, from this um circumvention, this this constraint of an anke that they are defying her and she's she's not allowed to express [snorts] reality.

Section 256: 01:41:04,080 – 01:41:14,070

You have to be able to probe and you have to be able to withdraw the information that you see that it isn't fitting.

Section 257: 01:41:16,629 – 01:41:36,550

>> So that is the >> wow. Um so there's all kinds of it you it's much more Abrahamic than pagan but it's it's got to be bastardized and plagiarized like the rest of it. But so if we consider that um Yahweh confused the languages

Section 258: 01:41:36,560 – 01:42:02,070

From the original um Adamic language it's called often or preconfusion of tongues language. Uh it seems to be that music is and math is really that language. >> Mhm. and and that they have somehow confused things to hijack the magical potential of Greek for their black magic.

Section 259: 01:42:02,080 – 01:42:46,149

And so, um, I don't know. I wonder if somehow we can use this to reconstruct some kind of Greek language or Greek uh ma ritual language that is not necessarily explicit in the text but is implied all over the place or that somehow by comparing different languages we can find some kind of like universal grammar according to Namchonsk's theories or something that uh you know uses the Greek as the template I guess or or we take we assume that the Greek is the most ideal language and uh and then see

Section 260: 01:42:46,159 – 01:43:04,310

What what we get. >> Does that does that any of that make sense or >> it makes sense? Yes, we can take any other language we can place it in there. It can be even a pretend it can be clingon, right? It doesn't really matter. [laughter]

Section 261: 01:43:07,350 – 01:43:24,221

Um, we just need to put the Rosetta Stone in there and be able to uh translate it. So, yes, it needs a grammar. It needs a lexicon. It needs a dictionary. Um, and >> please don't please don't use Cllingon. Please. >> Yeah.

Section 262: 01:43:24,231 – 01:43:25,990

[laughter]

Section 263: 01:43:26,000 – 01:43:57,109

>> I can't speak Klingon, by the way. I don't know it at all. [laughter] >> Fantastic. I'm going I saw Melina had a quick question about the reading people. I want to flash uh Pay and R stay there. I'm just going to take five minutes here and I want people to look at a couple of the concepts that are in the opening of the Bakai from the Greek. It is right here. Shy,

Section 264: 01:43:57,119 – 01:44:22,790

Can we Oh, did she go make coffee? Okay. Um people, I want you to think as we're looking at this monstrosity of nature that is gorgeously beautiful that Pate is constructed right in right in front of your eyes. It gives me a little bit of fear, right? A little bit of fear for what's going on. Um realize that we are talking about

Section 265: 01:44:22,800 – 01:45:10,870

That elemental fire that carries the lightning right that's what is in the Greek so I don't know how to bring that out to the program is the magician figure out how to how to bridge these gaps but I want you to see the profound the profound um elemental science that is in this passage right I've come [clears throat] as a child of God right that is what people don't read pios as a child of Zeus in theor is a child of the ethereal god okay you know

Section 266: 01:45:10,880 – 01:45:42,229

Where that ice there is right oh fantastic Hello, Malena. No, no, no. I'm just going to take five minutes, Julie, because I want us to continue um to see how that we can make this alive. I have come as a child of God, right? To the land of thieves. I am Dian Isis whom the koreadm

Section 267: 01:45:44,390 – 01:45:47,990

Or corwa kadmu. Um

Section 268: 01:45:48,000 – 01:46:28,870

This is that great kora. What are we doing when we perform the right? Right. Again remember necessity. Remember anank. What do we do when we perform the right? We make visible the kora. We resurrect the kora. There's a reason. Maybe you can figure this out with the programming, right? Through the music. We can figure this out. This is the kora. The daughter, the child, the the queen of the underworld is the kora simle.

Section 269: 01:46:33,590 – 01:46:52,070

Simle. G is loace people. This is to to give birth. Loial discharge is the discharge of birth. And this is what simile does. And then we have this little dative here

Section 270: 01:46:53,910 – 01:47:09,543

For with or by means of >> the lightningbearing fire people. Right. Okay. Um

Section 271: 01:47:10,310 – 01:47:10,320

[sighs]

Section 272: 01:47:10,320 – 01:47:26,709

>> Wow. What is that? >> I changed I I I changed my >> Yeah. Yeah. Go ahead, P. What is the comment? >> Yeah. What is lightning fire? What What is that that being struck by lightning?

Section 273: 01:47:35,030 – 01:47:52,390

Brings him must be struck by that lightning. I change my form, says Dionis. I changed my form from a god to a mortal form. Do you understand? We're introduced to the loial discharge of the god and that produces

Section 274: 01:47:52,400 – 01:48:16,790

The divinity who takes on mortality. I'm right I'm sitting here by these fonts this water right Darcy and it's mean he's talking about I see the name now you programmers people I see the monument

Section 275: 01:48:16,800 – 01:48:44,709

I see the monument of my mother Keria what is she is that she is that one who's borne the child through the lightning. Now, Dionis is looking at everything destroyed except for the little place where her father Cadmas

Section 276: 01:48:44,719 – 01:48:52,790

Made a memorial to her. It's a place that's not absolutely unroen.

Section 277: 01:48:52,800 – 01:49:16,229

I I jumped from the lightning to the sanctuary to the place where she was destroyed. The birth of her child is her own destruction.

Section 278: 01:49:16,239 – 01:49:49,270

So, I I want you to realize the whole lightning birth that's going on in this funny phrase in the third line. Um, people, we need a program to be able to extract that and tell us what the hell is going on because this is the very power of this is the magic that you we're all describing and looking at. It's sitting right there. sitting right there contained in this fox pur people

Section 279: 01:49:49,280 – 01:50:12,390

Right >> is it her discharge >> I'm sorry say that again >> is it her discharge >> yes >> the discharge of semile >> yes it's the it's the birthing discharge right it's the process >> your starfire >> yeah Uh

Section 280: 01:50:12,400 – 01:50:30,070

Yeah, what is the astroporic people? Look, right, they're going to give you flashing and that's not going to be able to tell you anything, right? It's not going to be able to tell tell you anything. Um

Section 281: 01:50:30,080 – 01:50:53,430

Because you don't know the cult. The cult the way the cult is using these terms. Watch when we go right to the you can start with the nominal form the onomoma the Greeks said right but you're only going to get so much again flashing of lightning right personified

Section 282: 01:50:53,440 – 01:51:17,830

The light of a lamp the flashing of the eyes. Does that sound familiar? Right. Okay. Now watch though. This is really what's going on. What are we doing? We're hurling things, right? Wait, what? Yes. Within the flashing of the lightning is the concept of the hurling.

Section 283: 01:51:17,840 – 01:51:32,390

That's really what's going on. To make something conspicuous, to illuminate. Look at the bottom, right? What is that? Now you know why Zeus is Zeus.

Section 284: 01:51:35,270 – 01:52:00,550

He hurls the lightning. Didn't you think that this whole mystery was centered? Like people say, "Oh, we're you we're introducing a new God." We are, but that God was already there and creating a balance. When you get this Zeus who hurls the lightning, you get Typhon, the Hypoconian Typhon who fights for Akidna.

Section 285: 01:52:00,560 – 01:52:47,990

Right? This is the sacred. This is the sacred reality that is behind what you and I see. And people like Pate are probing, right? Coming up with three-dimensional diagrams of exactly where a nank borders reality and how this is genius, people. I love it. I love it. There's one more thing I wanted to say about Uripides, people. You can you can plot you can watch all the places that Dionis goes. Right. You can look at the fact that he's with Greeks, Greek speakers and barbarians. Right. Right. This is a big deal. People

Section 286: 01:52:48,000 – 01:53:25,030

Will skip over it and say it doesn't really matter. It's a geographical little, you know, hoo-ha adventure. No, this is the tuning. We're working between worlds. one is using the Greek that has the music, that physics that's able to to manipulate, to do what Wretch wants to do. He's sitting there waiting to play it. And we're working in a world of people who do not have this capacity. Those of us with the languages that are bar bar,

Section 287: 01:53:25,040 – 01:53:52,629

Right? What is what is the power people? We're looking at the music. I just want you to see this is the power of the don. You understand? This is the chorus. If you don't think this is musical, because that don is musical, you have to realize Bakus is here to set up his chorus.

Section 288: 01:53:52,639 – 01:54:10,709

All of these people, the the the Pentheuses, right? all of the the mean ads that are thrown in prison that are taken that are taken a hold of, right? Um

Section 289: 01:54:12,870 – 01:54:41,350

An olua, right? Halle [\\h__\\h] man. Get your thirst and let this thing show itself. Right? Why? Because we're going to celebrate simile. Okay people, listen what I'm saying. This is the mystery in the mother of Dionis. She explains the perfect balance

Section 290: 01:54:41,360 – 01:55:25,350

Of the mother and the one who hurls the lightning. And April, that is somehow a a picture a a a graphic expression of reality. Okay? If you could understand it, you don't you're not going to build a church out of it. You're not going to go there and worship. If you understand it, you could live every day in a state of mind that was working on a different level than what you've worked before. And I I'm sure this is why people said, "No, you're born again. When you go through the mystery and they give you the drugs and put you through the hoo-ha, you're born

Section 291: 01:55:25,360 – 01:55:37,510

Again and it changes the way you think." Okay, I'm gonna stop now and I want an analysis here using um Ratch and P just

Section 292: 01:55:37,520 – 01:55:57,430

Be be my good counsel tonight, please. >> Okay. Um c can I start with with Dionis? Just the name. Why is there why is there a Y in the name? It's that's an English interpretation. That's an English uh

Section 293: 01:55:57,440 – 01:56:39,030

Projection. It's due to the growth and transference of language. Um I tried to see if Dianisis, the word uh the the name, we could find it in our original primary texts. And did you know that it's stolen? It's gone. We don't have access to it. It's not in our parchments because the parchments are not there. And it's only that section. It's so weird. There there are people that have been able to talk about it and write write about it and I was able to um find some of their their works. And I

Section 294: 01:56:39,040 – 01:57:18,950

Did place the uh poem, the song um into the assistant. And I do have a translation. So it if I'll try to read it here. The user wants me to present the back prologue as a repeat would have sung it. Oh, wait. I'm having it sing. This is the wrong conversation. [laughter] Uh, let's place it back here and I'll just read it off. Um, I see mother's tomb. Dianisis have come. Zerse's son. I

Section 295: 01:57:18,960 – 01:57:44,229

Get it. Zur is not necessarily Zur, which brings me back to his name already. So, Dio, right? Dio and Nus. >> You got to present, P. Put it Put it on presentation. >> I have to present. Um, >> well, you don't have to. No, no, no. Go ahead. Go ahead. You don't have to. Just let's hear the translation. >> Yeah.

Section 296: 01:57:44,239 – 01:57:47,430

Uh,

Section 297: 01:57:51,030 – 01:58:29,430

Where's my message? Okay, there. So, the translation, the dino nucus is the place that he was born in. Uh, he was born in that place. His he got married in that place. And deal means in in from my from the USOS uh traveling means to go through or of or from. Sure it is uh future. It is transferred to Zerse and God and whatnot. But if you really look at it, Sepho talks about it too. and dio or dia or du apostrophe o

Section 298: 01:58:29,440 – 01:59:12,870

Is also interpreted by seafo as zah. So we hear uh terms like zabatos or or um or what Jesus is saying, but that's Aonian. That's that's uh is it a what's Safos's um scale? It's her language. They're Jesus is using her language to talk, which is amazing. >> He's gone ei to his breath. Huh. Yes. >> Is that right? >> Oh, God. [laughter] >> Love it. Oh, God. Pate, that gives me such a such a good I'm going to say nice things tonight, not say bad words

Section 299: 01:59:12,880 – 01:59:43,350

Because I know your family's probably around. >> I've got my earphones. [laughter] >> I'll do you good. Then it gives me an intellectual boner because [laughter] that's that's fantastic. And I'm wondering if you can trace the music then if you can like you know I don't know. I'm just my mind is boggled and I'm trying to think of the potential applications for what you've got going. Okay. What else about the translation do you want to talk about? Um,

Section 300: 01:59:43,360 – 02:00:22,629

I think I think really I really got stuck on the Dionis the word Dionis and Dio of God or going through inis as as as the place and then it goes just it it touches a whole bunch of of uh different perspectives but it's always about trees. It's always about where he's been. Uh it's about pressing these these trees. The pharmarmac is involved in this as well. They're very well known for all of this. Um and I'll go into back uh back into the uh translation. Anyways, I have come

Section 301: 02:00:22,639 – 02:01:10,149

Uh God's son to this land of the thie. Okay. Whom Cadmus daughter See, all right. once bore when she was seized fire that carries lightning. It doesn't quite understand it either. Uh having changed my shape from god to immortal, I stand here by duray stream and isminous water. I see my mother's tomb thunder struck close by the houses's ruins of the halls. I have to say that this is not um it is not p it's it hasn't passed through grammar yet and it hasn't passed through syntax yet. This is just raw AI

Section 302: 02:01:10,159 – 02:01:46,470

Interpretation. >> Yeah, but I think it's I think it's doing a marvelous job, Pate. I mean like with you with what you said above of the that fire that contains that lightning. Yeah, it it still is. You know, I think literally it's doing well as my if it were my student, I would be giving it a decent grade. I think that's so far so good. So, it I'm marveling that it can do this at at this level. Fantastic. Keep going. I'm still sad about it because I think that we can put more

Section 303: 02:01:46,480 – 02:02:12,870

Orphic understanding. If we had if I had primed your books into this, we'd have a deeper understanding. I just haven't set it up perfectly yet. Um, it is what it is. It takes time. >> Okay, let me say this. Let me say this. You mentioned the orphics and I'll bring in the class as well. Um,

Section 304: 02:02:12,880 – 02:02:56,870

The Lobe Classical Library people, if you can get access to the Lobe Classical Library, um, they're about to come out this summer with a new with the new addition that is the ORIC, everything. >> Wow. >> Um, and it's a, you know, it's a nice study tool. If you dwell on the vocabulary, you're going to start to pick up these ideas that are coming through the text like this, the bearing of the lightning. When when it when as a magician can I invoke this magic when I expose the lightning? And how do you expose the lightning? By profaning the sacred. As a

Section 305: 02:02:56,880 – 02:03:38,870

Magician, the act of profanation is an act of attracting lightning. [laughter] So, it's like, you know, the reaction's going to happen, but you bring it on purpose. That's the kind of stuff that's buried in those words, in those songs, of those texts. if your program can help us to see that music and it because obviously you're already pointed directly looking at the 10th muse at Safo for metrical reasons you know that are like the the scaffolding of the universe or something I mean seriously blown my mind

Section 306: 02:03:38,880 – 02:04:19,189

Oh god people just it's amazing let me tell Melina and Josh I'm going going to meet with you Monday. Monday we're starting and I want you on book 10 of the Odyssey. I am going to send you the Here, I'm going to put it up right now. People don't share. Wait, let me put this up. It's not that. It's not that. Um, can you look at this? So, I got it. Go ahead. Bring that up. Hey, give me a second here. Can you screen share? No. Oh. Uh, Pate, unshare for a second.

Section 307: 02:04:19,199 – 02:04:29,990

>> I will so I can share this. There we go. Malena,

Section 308: 02:04:31,430 – 02:04:53,430

>> I can't wait. >> Josh, I want you to get I want you to get this here. Let me take it back to page one. Just go to this uh link here. Chewy will post it. I think um this is a grammar of the homeriic dialect. Look, Monroe, right? Fantastic.

Section 309: 02:04:53,440 – 02:05:33,109

Back in when is this? 1890 friaking one. Okay. From Oxford. That's nice. Um so I want you to look at this and I want you to notice things like Pate was talking about a couple of things. I was going to throw in I was going to throw in p dama just because I I love to do that. But I want you to notice the length of time that we have on meter on the basic poetry the me I mean I mean the music the basic music of Homer right this is all it people look at this look at the

Section 310: 02:05:33,119 – 02:06:10,950

Doubtful vows. Did you know there are doubtful vows? Right. And then we get to the digma. People think I'm making this up every time. Um, there's secrets here about the daama that may help in translation. If you could introduce these concepts to the AI somehow um to d so it could digest this stuff. Um, you get a basic look people, you get a basic description of what that digama is doing. It's an invisible letter, right? It's affecting the music. It's affecting the gravity of the letters

Section 311: 02:06:10,960 – 02:06:48,149

Around it, right? It It's affecting their music, right? So, look at here. Look at here, people. There's a digma here with the double kappa, right? Do you see it? Kappa kappa equals kappa damma. Right? You don't know this stuff until you start reading Homer and you realize, oh [\\h__\\h] right? Look at just look at this section. Words with the initial diagramama the former existence of the digama in a given home word may be inferred either from its appearance in some other dialect of Greek or right

Section 312: 02:06:48,159 – 02:07:05,030

Because we have inscriptions people we've got inscriptions with the digama in it. Right? You can just go to those or where this kind of evidence fails from the corresponding forms in the cognate languages. Watch this. Thus an original Wosi

Section 313: 02:07:05,040 – 02:07:40,870

Is supported by the forms wicati and wati on dur and bioan inscriptions by the laconian bati. Look what's happening to the daikama people, right? You're getting the laconian beta, right? How are we finding this out? Through and again by Latin we ginty. Did you wonder where the V comes from? Which is actually a U. Why is it a U? Because it's the oopsilon.

Section 314: 02:07:45,430 – 02:08:24,550

You mean Latin is coming from Greek? You mean the sound? Yes. The formation of the sounds are coming from their colonizing neighboring cultures that are using the Greek. And people will say, "Oh, it's Indo-Uropean and the Sanskrit off your butt." An original Westeros people. Look at the Westeros. The I'm telling you everybody I'm telling you the new revolution is the grim brothers were stupid. They were stupid and they gave us stupid ideas. There is no Indo-Uropean. Knock it the [\\h__\\h] off. Westeros, just look at the languages rationally with with reason

Section 315: 02:08:24,560 – 02:08:48,629

And with these goddamn AIs. Take the languages apart and you'll see when Pate says, "I'm going to put Greek in there." You can put other languages like Mandarin, put it next to it and see what happen. Do that. Analyze. Right. Look at this people. Westperos. There's your digama westperos by the form

Section 316: 02:08:48,639 – 02:09:11,589

On a loan. Those [\\h__\\h] locans as well as by Latin Wester in classical Latin. It's westper. That's why you pronounce the U or the V in Latin as a W. Westper. It's because that's how the digma is pronounced. Weedane, right?

Section 317: 02:09:11,599 – 02:09:32,950

Wedane to see. Wedane. What do you think it is in Latin? Weedo. And from that, those goddamn Grim brothers, I'm not kidding you, make up a a a fake [\\h__\\h] ancestor and say, "Oh, they're all coming from the same thing." No, they're not. Void to know,

Section 318: 02:09:32,960 – 02:10:08,229

Right? I know, right? People, I want you to notice these have digamas, which what's the big deal about the digma? That is a mian letter. It's a masonian form that you're not going to ever see in your text, but it will be there. There are invisible music forms to the language, right? Look it. And then they get down to wido, right? And they're telling you wido, right? Fantastic.

Section 319: 02:10:08,239 – 02:10:46,629

Okay. >> Can I can I say something? >> Go ahead, Melina. I just wanted to say um you just proved the superiority of Mother Creek. I've been waiting to see some of that information. >> Yeah, it's scary. It's scary because the deeper you get into it, the more um you realize, oh, then we can actually do things. We can take this, we can take this superiority that Meline is identifying in the language. We can take that and exploit it, expand it, bring it out, show people this is um this is the kind of thing you're doing, Melina, when

Section 320: 02:10:46,639 – 02:11:23,109

You're entering these Greek reading courses and everybody's want is going to want to start you in the in Homer for a very good reason, like a scientific reason, not a not an ideological reason. So yeah, I love it. I love it. >> Beautiful. I love that. Can you get this text? Oh, >> I already downloaded it. >> Oh god, you're fantastic. You too, Josh. Look at this one, guys. Look at this one. Greek you Greek people, right? What is the Greek entry at the top? Anox.

Section 321: 02:11:23,119 – 02:12:06,470

That's how you're going to see it in the lexicon, right? And in parenthesis, they've got ana. Anosa, which looks like a feminine form with a double sigma. very very important. It is a manian thing. It's mine Greek we're talking about. And then an there we have a nice verbal form. Now watch this. The words of this group occur in Homer about 300 times. Right now this person is counting it. Right? There's no computers. It's [\\h__\\h] 1890. There's they're sitting there counting the number of times. Um,

Section 322: 02:12:06,480 – 02:12:47,669

We can glean all of this data. Peggy, can't you glean this data a whole lot quicker than sitting down and going line by line? >> Oh, he would have been sore. He would be bleeding, you know, try and write everything down. He'd have blisters on his fingers. This is insane. This is intense. >> Yeah. 300 times. And in about 80 instances, they're preceded. Look how observant he is by a final short vow which would ordinarily be elided. So wait a minute. You mean the damma is doing something to the gravity of the words around it? Right. That look it's

Section 323: 02:12:47,679 – 02:13:08,470

It's normally elited but the diggama interferes and it's not. This calculation does not include the phrase ify an So look, they didn't align anything to make it if to make it flow together, right? Oh, nothing is gone.

Section 324: 02:13:08,480 – 02:13:20,870

Well, that in that ify is a mian intensifier. How do we know we have the name media in manian Greek?

Section 325: 02:13:20,880 – 02:14:03,990

Because we have written out ify media. So we have ify media. Ify is just an intensifier. The it's like an extra portion of whatever that's following, right? So it's media on steroids, right? That's what it is. So this calculation does not include that phrase when for some reason we don't have the elision or the numerous examples of hiatus after the date of singular in iota and the genatives in ooo ao and ao look people there are different home genatives look at the ooo people it's not oo it's oo

Section 326: 02:14:04,000 – 02:14:47,109

Why the music is just slightly changed remember I said the vowels are changing or tuning everything right. Um the anasa is that leader people. Do you know why I say medana? Because the digma is there. You don't perceive it but it is there. It's the music. The medasa is the correct musical form. Now, now you know why they're sitting here with the meter and they have page after page after page of the meter. And this person even debates, should I learn meter

Section 327: 02:14:47,119 – 02:15:29,510

By memorizing the rules? Because there are rules to it, right? It's logical. So, there are rules to the music of the words. Should I memorize the rules or should I just memorize every [\\h__\\h] word? Right, that's the debate. What is more productive? There are so many exceptions to the rules of meter that it's it's a little bit fruitless for you to to memorize the rules. So, in my intensive course, when I sit there and I tell people do not focus on the accents, don't. Right. Um, it's because really you can't

Section 328: 02:15:29,520 – 02:16:09,750

At this point, right? Really you can't. Oh god, I love it. Pate, um, where are we in terms of >> um, what can you do with your tech and your Frankensteinish monstrosity? What um, >> okay, >> what can we do here for the language for Mother Greek? Can we push things forward somehow? Okay. So, when it comes to this book, I can take a uh an image copier. It's called the Tessarak. I've done that for the Brills already. I I had to take all of the Brill's pages, put them into

Section 329: 02:16:09,760 – 02:16:42,070

An image, and then assess it properly, and then place it onto the USOS. So, this is doable. I can take this book that you're showing me. I can place it into a digital form and I can make it so that it's it's text ready and I can have it prime the uh uh AI but I can also um hard bake it into the system so that it does go through that principle. my developer AI will

Section 330: 02:16:42,080 – 02:17:34,870

Um extract all the the necessary information and build a grammar um JSON out of that and we can use that to either uh automatically assess it or uh push a button which will pop up the the how I'm not I'm trying to find the name of this book. Anyways, it'll pop that the principles of that book uh grammar book and um show us what's in front of us. >> Okay. Okay. Okay. I think I understand. I think I understand. If that will somehow help the AI to appreciate the music of the language to make like a breakthrough, I think we have to make a

Section 331: 02:17:34,880 – 02:18:11,910

Breakthrough. Hesperos is here, right? Notice it says hiatus occurs in six places after the prepositions py and epi, right? There are no instances against the diamama here. Westperos, but wait a minute. You say it's got a rough breathing on it. See, this is what I want the AI to be able to do. It's got a rough breathing on it, though, people. Which means what? It's aspirated. It's got an h sound on it. Did you know which everybody knows who takes Greek now, right? That that H sound

Section 332: 02:18:11,920 – 02:18:27,669

Is not expressed. You don't see it. It's not on the word. We have to put a little hash mark above the letter above the epsilon to indicate that it's there. Right? They don't do this when they read it themselves.

Section 333: 02:18:27,679 – 02:19:09,990

So they know there is an H on that epsilon. And that H is not an H. It's not even just an aspirated puff. It is a damma. Damma is a part of a root. If you don't understand that there is an invisible damma there, you don't know what the root is. Right? So, this is this is um if the AI can learn this kind of stuff, that's what's really, you know, >> it'll be easy for the AI to learn this. >> Yeah. Yeah. Oh, here. Here, pay it. This is what I'm talking about. And the great

Section 334: 02:19:10,000 – 02:19:36,150

Things now, the great things. Look at this. is ephy, ephia and enus. These words with the derived proper names if anasa. Do you see the ify anosa? There is our dgamified wanox or wanasa with that intensifier

Section 335: 02:19:36,160 – 02:20:18,469

Ify right in front of it. Okay. So, isn't that amazing? That's the p that's the power ifyan, right? It's there. You don't see it, but it's there and it's affecting. Do you hear the pause between the two vowels? Ifi and anasa. You hear how there's a p pause in that pause is an a letter that will change the root itself. In other words, if you don't know this, if you don't know the music, you don't know the meaning. Ify, the magic meaning

Section 336: 02:20:18,479 – 02:20:24,870

Has that pause, that gap. That's why it's medasa.

Section 337: 02:20:29,349 – 02:21:00,870

I Oh god, it's absolutely gorgeous. All right, here's your eolic, by the way, people. Right. Right. We're talking Homer. We're going to talk about aolic. We're going to talk about Ionian a little bit cuz Homer's going to use some of those forms as well, right? It's really a blend. Homer is a blend. It's kind of like a music. And that's why I get so excited when Pate brings up Safo because she is the inventor of of [snorts] a metric. Can you believe this? Have you you think, oh my god, you know,

Section 338: 02:21:00,880 – 02:21:34,630

I make music and I spend a lot of time and I write music and I produce music and I sell these albums and boom, right? Um, have you ever made a musical form? Have you? That's why I asked that the other night. Have you ever created right a a new scale? Have you ever discovered an invisible scale hiding behind the scale and bring it out? What a meter. Sappic meter. What is sappic meter?

Section 339: 02:21:34,640 – 02:21:47,910

Have you have you made your You know what I mean? This is like this stuff to a dumb guy like me is is, you know, it's mindboggling. I want you to get this book, please. Um,

Section 340: 02:21:47,920 – 02:22:09,110

Yeah, we'll post the we'll post the link again, but here's the title page, folks, so you can get it in PET. This is the grammar of the home dialects by Monroe. >> Thank you. >> M O N R O. Yeah, it's uh I forget the website that does it there, but it's Chewy is posting at archive.org,

Section 341: 02:22:09,120 – 02:22:44,309

Right? Oh, >> where I get my information from. >> Okay, good. Yeah, it's a it's all free, right? Isn't it nice that they were good people and decided to just, >> you know, they >> they're amazing. Exactly. They're they have the right heart. >> Definitely. Okay, I think I'm shot for tonight, people. And my brain is going to have to calm down because I'm going to have to go and kind of try to digest what Pate gave me. um people in the future in the workshop this um I want

Section 342: 02:22:44,319 – 02:23:19,670

People the pates out there I want them to be able to come forward and do their art okay so this will be integrated into these workshops okay next time I'm going to start out now um showing you those triplets the searches with three terms that are found in the same you know um that are that are related to each other It's basically all I'm doing is I'm bringing out um I it's like ideas that are in the text that you don't see but you can see laid

Section 343: 02:23:19,680 – 02:23:55,429

Out in front of you with this search, right? You can show it's like an you know it's it's a little tiny bit like what Pate's doing but on a not so grand level with requiring such intelligence to do the job. You know what I mean? So um everybody who came tonight, thank you. I need advisor's wretch in the ruin of the last discord that was not my discord but belonged to others. Um we lost numerous souls. Um is there if there's any way possible, wretch, um

Section 344: 02:23:55,439 – 02:24:27,349

Let's bring them back. I'm putting you in charge of that, sir. And um there's lots of people that I would like to see back um involved in this now that I've got control. Um everybody thank you for coming. The discussion will continue in the room that yeah the meeting room the voice channel and then Chewy says um we'll we'll end it for the night. I want to keep these comments too. I'm so glad that we're going to put this on to this series onto YouTube because I want

Section 345: 02:24:27,359 – 02:25:03,030

People to see the comments. The com right I'm I'm totally humbled by you people. satanic congregation is smart as hell and um it makes me humbled and and and honored to be able to work with you, Josh and Melena. We're going to start next week and uh get ready for a lot of reading. You both have the lobes and go to book 10, find Cersei. Where the name Cersei appears, I want you to read the line above it and the line below it. Do you understand me? using the lobe. Do

Section 346: 02:25:03,040 – 02:25:41,270

Not look, do not I am teaching you a method of um packing vocabulary. Okay. I'm teaching you a method of packing vocabulary. Do not use the lexicon. >> Okay. >> Okay. Fantastic. Fantastic. I love it. Okay. All right. We'll see you guys on What time, Malina? 8 my time. >> Eight your time. Yeah. >> 8 my time. Sounds good. And um no, this will not walk upon our workshop time. So I'll have the workshop at 7 and then 8. Um can we say 8:30, Malina? >> Yeah, we can do that.

Section 347: 02:25:41,280 – 02:26:05,760

>> Okay, 8:30. Fantastic. We'll see if that gives us a little bit of cushion and we don't have to feel rushed when we're in workshop that way. >> Awesome. >> Fantastic. Fantastic. Uh yeah. All right. Fantastic people. I'm gonna go explode and um thank you for coming and hail Satan. Hell Satan.