Courtesy of (1) Shutterstock/ArtNet News and (2 & 3) Odynovo Tours
In November 1995, I embarked on a two-week trip to Egypt, undertaking a cruise down the Nile River to visit and explore the major monuments of ancient Khmet — Egypt’s original civilization — spread across the Giza Plateau. Perhaps the most major highlight of the trip would be a visit inside the Great Pyramid of Giza, ostensibly built as a funerary memorial to the pharaoh Khufu (aka Cheops), the largest of the three famous pyramids that are arranged in the same two-dimensional geometric configuration on the earth as the stars of Orion’s Belt in the heavens above. The other two pyramids in this configuration are, likewise, supposedly funerary memorials to the pharaohs Khafre and Menkaure. That is the consensus opinion of professional traditional Egyptologists, both in Egypt and abroad. However, the evidence for that claim is superficial and mostly conjectural.
Starting in the 1990s, alternative Egyptology scholars, such as British author/journalist Graham Hancock, French-Algerian engineer Robert Bauval, and American researcher John Anthony West began to question the orthodox narratives concerning the age, provenance, and purposes of the Giza pyramids and related monuments. Relying variously on celestial alignments (“archaeo-astronomy”) over the ages, geological weathering of the surrounding terrain, the ancient Pyramid Texts, and the ancient Greek philosopher Plato writing in his books Timaeus and Critias, these men asserted that the true history of the Giza Plateau’s structures (including the Great Sphinx) and their construction antedated the known pharaonic dynasties by perhaps thousands of years. And too, that their construction was performed by something and/or someone other than hundreds of Egyptian slaves toiling under the hot desert sun in hard physical labor over many decades to quarry, transport, move, assemble, and precisely align hundreds of huge, heavy, square stone blocks and facing stones. Instead: Shades of a race remnant transplanted from the fabled lost continent of Atlantis after its destruction ca. 9,800 BCE, making use of very highly sophisticated but now lost-to-time building technologies of extraterrestrial origin? Who can say what, and on whatever basis?
Without tangible corroborating evidence, reliable answers to these questions will forever be elusive for objective, scientifically oriented minds grounded in 3-D reality. But what about psychic sensing, utilizing the right-brain senses and sensibilities of the phenomenological sphere of psi, that is, paranormal abilities that encompass telepathy, psychometry (perceiving information/emanations from physical objects), and remote viewing, among others? Seasoned practitioners of such “arts” often achieve amazing results on a wide range of “target” types, both organic and inanimate, and verified by subsequent comparisons with confirmatory, objectively veridical evidence.
In November 1995, I was neither a trained remote viewer nor a practiced psychometrist, but I had proven to myself via my direct personal experiences starting in 1986 the reality of real-time telepathy, after-death communication, and discarnate-entity channeling via trance. Those experiences helped validate to me the notion that true information can be gleaned from extrasensory perceptions received spontaneously into a clear and open mind, with a willingness to suspend disbelief and a simple readiness to try. And so when I was gifted with a nocturnal stay in the Kings Chamber of the Great Pyramid of Giza on that trip to explore ancient Egypt, I was unknowingly already primed to have another phenomenological — and phenomenal! — adventure.
A trip inside the Great Pyramid usually entails a visit to several internal enclosures, known from top to bottom as the Unfinished Chamber, the Grand Gallery, the Queens Chamber, and the Kings Chamber. As its name tells, the Unfinished Chamber is an unimproved enclosure that is rocky and unremarkable except for a visible, water-well-like opening in the floor that is surrounded by a modern, horizontally metal-barred fence. (That is in place to prevent visitors from dropping into its shallow, bottom-visible depth, supposedly to avert bad effects from happening to them later due to some unexplained curse. More I do not know about that chamber, its well-like opening, or the supposed curse that afflicts anyone entering it.
The Queens Chamber is a finished room with a recessed alcove about two-feet deep and six-feet high on the wall to the right of where one enters it from the common access tunnel; it is completely empty of any artifacts. Otherwise, there is nothing notable about the chamber. The Grand Gallery is a long, narrow, and high-ceilinged corbelled vault that angles up inside the pyramid at about a 45-degree incline. It makes for an angled walk up to a triple-arched tunnel that leads to the Kings Chamber, which is located in the same vertical plane.
The Grand Gallery, which can be ascended by walking on a flat wooden walkway (added in modernity) with shallow, spaced fiddles to aid purchase, is marked by flat, ramp-like surfaces that lie to each side of the walkway and run parallel to it (see the picture below). More intriguing still, at regular intervals there are spaced rectangular notches in the stone surface of the flats, which instantly struck me as utilitarian in some way as I ascended to the Kings Chamber at the top. These notches are positionally matched on the flat surfaces.
The Kings Chamber is similar to the Queens Chamber, except that is larger in size and with a higher ceiling. While it has no recessed alcove like that in the Queens Chamber, to the right upon entering it, there is a brownish granite yet quartzite, rectangular box about four-feet high and perhaps six-feet long — just long and wide enough to hold a small adult human body lying inside it. It is completely empty, found that way. At the left top corner, the granite stone is eroded or broken, giving the structure a less-than-pristine appearance. The four corners of the box’s bottom where its four walls meet the enclosure’s floor are all cleanly radiused, a feature that contemporary American civil engineer Christopher Dunn has characterized in his books Lost Technologies of Ancient Egypt and The Giza Power Plant: Technologies of Ancient Egypt as only achievable modernly by use of fine, three-axis finishing drills. Below is a picture of “the sarcophagus”, as it is usually called now, although any connection with any funerary purposes is purely speculative to date.
Mainstream Egyptologists assert that all three pyramids dedicated to Khufu (Greek: Cheops), Khafre (Greek: Chephren), and Menkaure (Greek: Mykerinos) on the Giza Plateau served funerary purposes of some kind, alone, even though none of these pharaohs has been claimed to have ever been interred in them and no mummies have been found. The evidence for this peremptory assertion appears to be merely conjectural, as no artifact, papyrus, or stone carving (as in hieroglyphs) has been uncovered or discovered that would substantiate it.
On my visit to the Great Pyramid in November 1995, I was part of a tour group that was able to spend several hours after nightfall in the Kings Chamber after we had toured the rest of the navigable interior of the structure. I was given to understand that such a long stay was not usually permitted at that time, but that our tour guide, an Egyptian American named Fadel Gad, had secured special permission from Zahi Hawass, the long-time Director-General of the Egyptian Antiquities Authority, whose scope of authority encompassed all of the ancient monuments on the Giza Plateau.
Each member of my tour group was able to sit or lie in the brownish granite “sarcophagus” if they wanted (and could fit inside it!), despite rumors that doing so could have some energetic effect (whether good or ill unknown) on them. I chose to do so, feeling nothing from the experience at that time. After a guided group meditation led by Gad, we all sat in the dark, meditating individually in whichever way each of us chose.
Shortly, I felt an impulse to stand up in the dark room and place both of my hand palms flat against the hard granite wall made of blocks across from the entrance to the chamber. I immediately began receiving mental images about the pyramid and its purpose: It was a device for receiving useable electrical energy projected to it from some invisible source in the skies overhead. This energy was focused or modulated in some way like a beam of light via an oval, beveled, crystalline lens-like disk that was mounted on a sliding, horizontal platform emplaced inside the Grand Gallery and orthogonal to its longitudinal axis. Instantly then, the rectangular notches regularly spaced on the stone ramps flanking the gallery’s wooden walkway — and along its entire length! — made sense: They were meant to interlock with rotating sprockets (or “cogwheels”) that were attached to the sides of the moving platform so that it could slide up and down the length of the gallery, along the track now occupied by the wooden walkway for tourists. How such a platform was powered was not shown me; I saw no motor or engine of any kind or any type of fixed mechanical apparatus like a rope and pulley or block and tackle.
In this psychical download, the purpose of any energy transfer performed was not instantly apparent, whether for storage, distribution, or consumption. My next image was of a man standing in the granite sarcophagus, suggesting some initiation rite or purification ritual being performed in coherence with the energy being transferred. How this was or could be accomplished was not shown; I was shown nothing more. Regardless, the objective was clearly transformational in some way, having nothing to do with any burial or commemorative purpose. Perhaps what I envisioned was a mechanism for initiating a priestly caste in Khmetian society?
Without more, the meaning of what I experienced can only be speculated about; there is simply no corroborative evidence of any contemporary nature available. That said, many years later I read a book titled 5/5/2000 ICE: The Ultimate Disaster (1997), by Richard W. Noone. In that book, the author reported that, in 1914, the consciousness researcher P.D. Ouspensky, author of A New Model of the Universe, visited the Giza plateau and described the Grand Gallery as follows:
This corridor is the key to the whole pyramid. What strikes you first is that everything in this corridor is of very exact and fine workmanship. The lines are straight, the angles are correct. At the same time there is no doubt that this corridor was not made for walking along. Then for what was it made? And suddenly it becomes clear to you that up and down this “corridor”, some kind of stone or metal plate must have moved, or “carriage”, must have moved, which possibly, in its own turn, served as a support for some measuring apparatus and could be fixed in any position.
What a big surprise! Were Ouspensky and I reading from the same akashic record or accessing the same nonlocal information in his imagining and my psychical download? But what kind of “carriage” might it have been? And what kind of “measuring apparatus” was he imagining? He does not elaborate further.
Noone, speaking for himself, further imagines that “midway between the floor and the roof, two stabilizing arms extending from the device into the two mysterious tracks running the length of the Grand Gallery. Two such stabilizing arms would support the upper half of the device.” (Noone, at p.167) Upon viewing photographs of the Grand Gallery, the “two mysterious tracks” referred to by Noone appear to exist.
Bestselling British author, journalist, and documentarian (Netflix’s Ancient Apocalypse) Graham Hancock wrote in his 1995 book Fingerprints of the Gods that when he was inside the Grand Gallery he felt as if he were inside an enormous instrument and the feeling was “of intense and overwhelming compression.” In The Orion Mystery (1993), maverick amateur Egyptologists Robert Bauval and Adrian Gilbert wrote:
There is a quasi-inhuman quality about the Grand Gallery that is hard to explain, as though it were not intended for people to walk up and down but to serve some other specialized or specific function. Many have remarked that the Grand Gallery looks like part of a machine whose function is beyond us.
In his book, Richard W. Noone concluded that “[t]he Grand Gallery is a part of a very ancient machine”, whose purpose had to do with facilitating the architectural design and construction of the pyramids with large stone blocks by using water conveyed to their construction sites by canals. My own viewpoint is radically different, involving directed energy transfers to persons and/or things, but is based solely on one instantaneous psychical “download” experience while spending a short time one night in the darkness of the Kings Chamber as I physically pressed my palms against one internal wall in that edifice. The full and correct answer to the question For What Purpose was the Great Pyramid Built? will have to await some future, truly pioneering, development in higher technology or spiritual awareness. Perhaps the quantum-leap advent of true, physical time travel or energetic teleportation by people yet to be born will “do the trick”. May we all soon get to see everything about it, beyond any dispute!