Let's take a look at the accuracy of the Sundial at Konark Sun temple in India built in 1250 A.D. People still use it today to tell time. Let me show you a short clip of a tour guide figuring out the time and then I will explain how this sundial works.

As you can see, the sundial is pretty accurate and people are amazed by it. Let's take a closer look and see how it works. The sundial has 8 major spokes that divide 24 hours into 8 equal parts, which means that the time between two major spokes is 3 hours. There are 8 minor spokes as well. Each minor spoke runs exactly in the middle of 2 major spokes. This means that the minor spoke divides the 3 hours in half, so the time between a major spoke and a minor spoke is an hour and half or 90 minutes.

Now, at the edge of the wheel, you can see a lot of beads. If you observe carefully, you can see that there are 30 beads between a minor and a major spoke. So, the 90 minutes are further divided by 30 beads. This means that each bead carries a value of 3 minutes. The beads are large enough, so you can also see if the shadow falls in the center of the bead or on one of the ends of the bead. This way we can further calculate time accurately to the minute.

The sundial shows time in an anti-clockwise fashion. At the top, the major spoke stands for midnight and this spoke stands for 3 A.M and this one for 6 A.M and so on. When I place a finger or a pen at the tail of the animal in the axle, the shadow will fall on the edge of the wheel. Now, I simply note the bead where the shadow falls. Using the math we did before, I can easily tell the current time precisely down to the minute. Imagine how much time and coordination would have happened between the astronomers, engineers and sculptors to create something like this 750 years ago.

Now if you are observing closely, you would have 2 questions in your mind right now. The first question would be, what happens when the sun moves from east to west. Since the wheel is carved on a wall, the sun would not shine on this wheel at all. How can we tell time in the afternoons? Now, the Konark temple has another wheel or sundial, located on the west side of the temple as well. You can just use the other sundial that will work perfectly from afternoon, until sunset.

This is the second and the most interesting question. How do you tell time after sunset? There would be no sun, and hence no shadows from sunset till the next morning's sunrise. After all, we have 2 sundials in the temple which work only when the sun shines. To this question, I want to point out that the Konark temple does not have just 2 wheels like this. The temple has a total of 24 wheels, all accurately carved just like the sundials. Have you heard of the Moondial? Do you know that the moondials can work just like sun dials during night time? What if the other wheels in the temple could be used as moondials?

Many people think that the other 22 wheels were carved for decorative or religious purposes and do not have an actual use. This is what people thought about the 2 sundials as well. Believe it or not, people thought that all the 24 wheels were just carved for beauty and as Hindu symbols. About 100 years ago, it became known that this was a sundial when an old yogi was seen calculating time secretly. Apparently selected people were using these wheels for generations and for 650 years no one else knew about it. They say that when they asked him about the purpose of the other 22 wheels, the yogi refused to talk and simply walked away.

And our knowledge of just these 2 sundials themselves is actually very limited. You can see how there are multiple circles of beads. You can see carvings and markings all over these sundials, and we don't the meaning of most of them. For example, this carving on a major spoke has exactly 60 beads. Notice how in some carving you can see leaves and flowers which may mean Spring or Summer. Notice how in some carvings you can see lemurs mating, which only happens during winter. So, these sundials could have even been used as an almanac for a variety of different things. Now you can understand how limited our knowledge is about the rest of the 22 wheels.

Notice that there are clues on these wheels that people have overlooked for centuries. Notice how a woman wakes up and looks at a mirror in the morning. Notice how she is stretching, being tired and ready to go to sleep. And you can also see that she is engaging in sexual activity during night. For centuries, people have ignored these hints and thought that these were carvings of Hindu Goddesses.

song: Booyaka 619 - Rey Mysterio


LSD user looking for a witness for the snake in the sky
Strange Visitor @ 02:00AM: bitchute.com/video/AdsZPA8v0SP4/

Chicago USA, 2020

Darren Aronofsky's Hollywood door opener and initiation ticket.
ILLUMINATI TV: Pi - System im Chaos [1998] *deutsch/german: bitchute.com/video/S5UxDIhxXgHD/?list=FskROIC7ndpO&randomize=false
https://www.imdb.com/title/tt0138704/ https://en.wikipedia.org/wiki/Darren_Aronofsky
ILLUMINATI TV PLAYLIST: bitchute.com/playlist/FskROIC7ndpO/

https://de.wikipedia.org/wiki/Himmelfahrt_Mohammeds / https://en.wikipedia.org/wiki/Isra_and_Mi%27raj
https://de.wikipedia.org/wiki/Ayahuasca / https://en.wikipedia.org/wiki/Ayahuasca

Die Himmelfahrt Mohammeds, des Religionsstifters und im Islam als Prophet geltenden Arabers Abū l-Qāsim Muhammad ibn ʿAbdallāh ibn ʿAbd al-Muttalib ibn Hāschim ibn ʿAbd Manāf al-Quraschī (570/573–632), bezeichnet auch als Mohammeds Himmelfahrt und Himmelsreise Mohammeds, ist eine Legende, die auf der Sure 17,1 des Korans beruht, wo geschrieben steht „Preis sei dem, der seinen Knecht des Nachts von dem heiligen Gebetsplatz zu dem entfernten Gebetsplatz, den wir mit Segen umgeben haben, reisen ließ, um ihm etwas von unseren Wundern zu zeigen […]“. Die Legende wird im islamischen Schrifttum in drei inhaltlich zu unterscheidenden Varianten überliefert:

Die Himmelfahrt (Miʿrādsch) von einem Ort im Kaaba-Heiligtum in Mekka über eine Leiter in den Himmel; die nächtliche Reise (Isrāʾ) des Propheten von Mekka aus auf dem wundersamen Reittier Buraq zu einem im Koran als „ferne Kultstätte“ bezeichneten Ort mit seinem anschließenden Bericht darüber im Kreis der Quraisch nach der Rückkehr nach Mekka. Die ersten zwei Varianten gehen auf entsprechende Koranverse, die auch in der Historiographie als voneinander getrennte Ereignisse verstanden werden, zurück.
Die Kombination der – koranischen – Reise nach Jerusalem (bait al-maqdis), mit anschließender Himmelfahrt (miʿrādsch) von Jerusalem aus. Diese Version ist mit inhaltlichen Varianten im Hadith, der Koranexegese, der islamischen Geschichtsschreibung und in den islamischen Prophetenlegenden (Qiṣaṣ al-anbiyāʾ) dokumentiert.

https://en.wikipedia.org/wiki/Isra_and_Mi%27raj / https://de.wikipedia.org/wiki/Himmelfahrt_Mohammeds
https://en.wikipedia.org/wiki/Ayahuasca / https://de.wikipedia.org/wiki/Ayahuasca

The Israʾ and Miʿraj (Arabic: الإسراء والمعراج‎, al-’Isrā’ wal-Miʿrāj) are the two parts of a Night Journey that, according to Islam, the Islamic prophet Muhammad took during a single night around the year 621. Within Islam it signifies both a physical and spiritual journey. The Quran surah al-Isra contains an outline account, while greater detail is found in the hadith collections of the reports, teachings, deeds and sayings of Muhammad. In the accounts of the Israʾ, Muhammad is said to have traveled on the back of a winged baby horse like white beast, called Buraq, (Arabic: الْبُرَاق al-Burāq or /ælˈbʊrɑːk/ "lightning" or more generally "bright") to "the farthest mosque". By tradition this mosque, which came to represent the physical world, was identified as the Al-Aqsa Mosque in Jerusalem. At Masjid-e-Aqsa, Muhammad is said to have led the other prophets in prayer. His subsequent ascent into the heavens came to be known as the Miʿraj. Muhammad's journey and ascent is marked as one of the most celebrated dates in the Islamic calendar.

from: "Die Carolin Kebekus Show" 21. Mai 2020 / May 21.2020
[short_edit]: bitchute.com/video/2F2ZGgAdPfLs/

from: "Die Carolin Kebekus Show" 21. Mai 2020 / May 21.2020
[full_edit]: bitchute.com/video/Ph4yjDRONx3V/

MASONIC MANNEQUIN CHALLLENGE: bitchute.com/video/1BdCn6p8wB5l/

NICE DETAIL: https://uploads.disquscdn.com/images/2c54f56db0b685d0c0f0dc696a9f28a63ad292e2c812d78a5bb132b96290087d.jpg

Budo: The Art of Killing is a compilation of various gendai budō each demonstrated by famous Japanese martial artists from the late 1970s. The film treats its subject matter with deep respect and demonstrates a great reverence for both Budō and Japanese culture in general. The film begins with Kunishirō Hayashi, reenacting seppuku, the ritualistic form of suicide practiced by Japanese samurai during Feudal Japan. This is followed by a demonstration of yabusame and footage of a samurai cavalry battle. The narrator then explains the connection between Budō and its universal symbol—the nihonto. After a demonstration of the effectiveness of the Japanese sword, the audience is shown the techniques developed by Okinawan farmers to combat the sword. Karate-do master Teruo Hayashi then demonstrates Okinawan weapon techniques. The film moves along with further footage of karate-do including makiwara training by Fujimoto (including the infamous shot of him striking a locomotive and chopping a beer bottle) and a demonstration of the nunchaku by Satoru Suzuki, a weapon made famous by Bruce Lee. The film moves to footage of traditional Judo training such as mat rolls, pole-hopping, bunny-hops, and practice of hip throws using rubber bands tied around trees. The film moves on to discuss naginata-do, a budō popular with female martial art practitioners in Japan. Aikido is then demonstrated by Gozo Shioda, the founder of Yoshinkan aikido interspersed with shots of leaves falling into a brook. To emphasize the film's theme of "mind and body are one in Budo" the viewer is shown Shinto practitioners fire walking. The film then shows training in a sumo stable with rikishi Takamiyama, where the training shown is both tough and cruel. Scenes of young people practicing kobudo on the beach follow the sumo demonstration as the narrator discusses the succession of Budō to younger generations. The film explains the importance of kata with Teruo Hayashi demonstrating more karate-do kumite. The narrator explains, "... karate training can be both severe and cruel, yet a sword can take away a life with one swing." The film shifts its focus to sword arts with demonstrations of iaido, tameshigiri and kendo by Shuji Matsushita and Tomoo Koide as the narrator discusses the fear instilled by the Japanese sword. The "limitless" connection between Zen Buddhism and Budō is discussed with Shuji Matsushita on the receiving end of a strike from an abbot's kyosaku while in zazen. This is followed by a highlight of the film in which Taizaburo Nakamura demonstrating various sword cuts including a shot filmed in slo-motion showing the shocking speed in which a Japanese sword can behead a man (1/100 of a second). Continuing with a focus on the sword, the film shows the art of traditional nihonto forging by swordsmith Amada Akitsugu, considered a national living treasure in Japan. Budo: The Art of Killing concludes with scenes of Noh as the narrator explains, "As long as the universal truths of heaven, the earth and man remain, the spirit of Budo shall endure."

33 Thomas Street (formerly the AT&T Long Lines Building) is a 550-foot-tall (170 m) skyscraper in Civic Center, Lower Manhattan, New York City. It stands on the east side of Church Street, between Thomas Street and Worth Street. The building is an example of the Brutalist architectural style. It is a telephone exchange or wire center building which contained three major 4ESS switches used for interexchange (long distance) telephony, as well as a number of other switches used for competitive local exchange carrier services. However, it is not used for incumbent local exchange carrier services, and is not a central office. The CLLI code for this facility is NYCMNYBW. The building has also been described as the likely location of a National Security Agency (NSA) mass surveillance hub codenamed TITANPOINTE.
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...with Satan meaning "OPPOSITE/ADVERSARY/ENEMY"
Hebrew: שָּׂטָן‎‎ satan, meaning "enemy" or "adversary"
Arabic: شيطان‎‎ shaitan, meaning; "astray", "distant", or sometimes "devil"

You'll Never Get Out of the Cube 1969