I've been a preacher for more than 30 years I've studied and taught through the Book of Genesis many many times in churches all around the world and I've trained Pastors in the skills of interpreting texts and it's very clear they're not stories about Gods they're stories about the powerful ones in the Bible and the sky people the anunaki in the Sumerian Tablets it's those who've come down from the skies who govern over Human Society for a long long time aons and aons and then there comes a point where they hand over to human Kings Gilgamesh
he's part Sky people part human well in 2003 we had the opportunity to test that scientifically because it appeared that we had Unearthed gilgamesh's tomb in taril ner we can see depictions of figures with space suits and helmets India known for its ancient narratives of flying vimanas holds a wealth of such images in the 1486 Italian artist Carlo crell produced his painting the enunciation you'll note that the way it depicts the supernatural conception of Jesus is quite different from the account carried in canonical texts if you enjoy our content here on fifth kind TV and
would like to support our work please would you consider subscribing to our new website fifth kind. TV here we will have our full catalog of material along with exclusive access to interviews and documentary content sign up today become part of the community become part of the conversation thank you so much for your support and I'll see you there Vladimir sherbak and Maxim aulov from the alfar rabi kazak National University in The fenov astrophysical Institute have devoted 13 years to the Human Genome Project in human DNA coding together they have concluded that human beings were intelligently
designed with what they describe as arithmetic patterns and symbolic language encoded into our DNA makula and sherbeck have identified nine multiples of 37 scattered through our genetic code speaking to New Scientist makula described the pattern as very hard to ascribe to natural processes in our genetic code there occur nine repetitions of multiples of 37 in our DNA and the researchers point out that the likelihood of that happening by chance are one in 10 trillion in a Mastery of understatement makula explained it was clear right away that the code has a nonrandom structure sooner or later
we have to accept the fact that all life on Earth carries the genetic code of of our extraterrestrial cousins and that evolution is not what we think it is the Russian physicist Yuri Ruma first identified one set of repetitions back in 1966 Francis Crick the co-discoverer of the double helix structure of DNA and Senior physicist Leslie Orel added their voice to support the theory that the origins of human DNA are extraterrestrial in the 21st century Maxim makula and Vladimir sherbak have added the weight of solid data and empirical support this is information we've only had
in the last decade so how did Carl Sean know this in 1985 it wouldn't be the first time that privileged information had been passed on to a movie maker or a script writer but on the other hand I happen to know that Carl Sean was a student of the world's ancient mythologies and in particular the Babylonian and Sumerian did he find something buried there that gave him this clue of what we were to find makula and sherback argue that those who intervened in human evolution very deliberately left their signature behind in our DNA coding for
us to find in fact modern film law is littered with narratives that suggest an ET intervention in the evolution of homo sapiens and one very interesting clue comes in the 20th century novels and movie franchise of Planet of the Apes because in that story a higher species in that case the humans genetically modify the Apes to become more useful as slaves in effect the Apes can do the hard yaka the heavy lifting kind of work if we can just modify them to be a little bit more intelligent and of course all kinds of trouble ensues
from that decision but that idea is not an original one it can be found in the Sumerian Narrative of Beginnings in their stories of Beginnings humanity is engineered by Sky people who come to planet Earth modify the beings that are here to do the hard yaka and heavy lifting for them in the Mayan tradition of the popol Vu it's very Frank about the engineering of humanity that narrative describes the arrival on planet Earth of those who engineer and it's the story of kukul Khan or quel qule and those entities have a conversation among themselves that
goes like this let us make avatars for ourselves to do the work and bring us our food it's the same story that emerges in the Planet of the Apes did Pierre bull create the story out of a knowledge of ancient smithies or is this another example of Storytelling accessing information from a wider field of Consciousness do these narratives keep emerging because in our storytelling we're actually remembering something from our prehistoric past in 1967 there was an episode of the first season of Star Trek called The Return of the archons it was written by Boris soeleman
and Jee rotenburo line there is a planet populated by human beings who are kept in order by a priesthood that acts as intermediaries between them and a kind of deity figure and as Captain Kirk and the crew explore what's going on they realize that the priesthood is really acting on behalf of a computer program there is no God there it's just them the computer program and the subjected pacified human population and it's a rather strange echo of what we see in the pages of the Hebrew scriptures the Old Testament because through the history of the
Old Testament we can find moments where we're looking at a society of human colonies each ruled over by another kind of entity called Elohim or a Ben Elohim and they're not human they are a higher species and it's as if Humanity has been carved up for management by the colonizers but it's not an easy relationship between these higher powers and the Ben Elohim often send the humans out to war against each other because the Elohim are in competition with one another for resources as we get further into the story of the Old Testament it becomes
unclear whether the powerful ones the Elohim are still there or if the prophets are still in place and the priesthoods are still in place and the totems are there for consultation but there are no other gods present in the picture even though the structure of priesthoods and Prophets is still present how did Boris soble man and Jee rodeny chance upon that story line again it could be because they were Scholars of the ancient mythologies which I believe they were but often in our storytelling we start telling the truth without fully realizing that's what we're doing
now you might say well that's a very interesting idea Paul but is there any way of testing that we had the opportunity in 2003 to test one of the oldest stories if not the oldest story of human civilization and it's the Epic of Gilgamesh a story that just might prove Humanity's ET Roots now Gilgamesh is a really interesting figure the Sumerian and Babylonian narratives speak about rulership over human beings or kingship as having come down from the skies it's those who've come down from the skies who govern over Human Society for a long long long
time aons and aons and then there comes a point where they hand over to human Kings and they somewhat recede into the background in that story there's a crossover King a hybrid person called Gilgamesh he's part Sky people part human now that's a motif that recurs in mythologies all around the world go to any country in the world and probe the local mythologies and there'll be a story of human God hybrids but is it just a story or is it the memory of something from our prehistoric past well in 2003 we had the opportunity to
test that scientifically because it appeared that we had Unearthed gilgamesh's tomb in April 2003 a German Le research team announced it had found King gilgamesh's tomb it was an incredible moment in the history of religion and archaeology not much more than a month after the first US invasion of Iraq under George HW Bush a research team led by yorg fasbinder of the Bavarian Department of historical monuments in Munich announced the incredible Discovery they had made with scarcely contained excitement fasbinder spoke to the BBC and said the most surprising thing was that we found structures already
described by the Epic of gilgames we covered more than 100 hectares we have found Garden structures and field structures just as described in the Epic by differences in magnetization in the soil you can look into the ground the difference between mud bricks and sediments in the Euphrates River gives a very detailed structure I don't want to say definitively that it was the grave of King gilgames but it looks very similar to that described in the Epic we found just outside the city in the middle of the former Euphrates River the remains of such a building
as could be interpreted as a burial place what an outstanding opportunity to test the relationship of those mythologies against scientific fact we could DNA test the remains of that person in the Tomb marked gilgames potentially it was one of the most significant archaeological finds in history once the find had been located and Ed off the first Iraq war ended within a matter of days what this gave us was the opportunity to understand the Sumerian Kings list is it a literal account of beings from another planet ruling over planet Earth and then handing over to humans
or is it something else should we read it differently here we had the opportunity to test it and it was a unique opportunity sadly the public investigation of the the site was quickly interrupted in 2005 fasbinder wrote mournfully in the scientific journal of dossier Archaeology is to translate it from the French text contrary to what some journalists have claimed it isn't at all proven that our fine corresponds with gilgamesh's under River tomb we are sorry not to be able to give a more precise idea of the results of our magnetic investigation but since 2003 all
the archaeological sites of Iraq have been under a serious and growing threat the lack of security in the country and the trafficking of Art and artifacts are causing the total and irreversible destruction of archaeological sites by looters all archaeological structures will be better preserved if we leave them under the ground untouched and buried and 16 years later it's still buried how can you bury an opportunity like that why would you not want to know if that account of human Origins is rooted in fact or is pure fiction it was important enough that during the Iraq
War protection was given so that fast binder could get in there with his team but not important enough to probe in the 16 years since this is a test that could answer one way or another was Humanity engineered by an ET species the sky people of the Sumerian narrative or was our Evolution pure chance in the Epic of Gilgamesh we read the story of the human being growing up Wild and living like an animal in harmony with the other animals and then being civilized by a female entity who introduces him to City living that's how
it goes in the Epic of gilgames but that story resurfaces in Taran again the female entity Jane finds the wild man living in harmony with the animals and then civilizes him and brings him to the city it's there in rajad Kipling's The Jungle Book in which mowle reaches the point where he's attracted to the human girl and wants to go to the human settlement to live as a human being the Zulu tell the story ofab Wan warisa the female entity who teaches them how to farm and how to make beer and how to live as
a human society why is that story so resonant why does it keep resurfacing now in those cases I don't believe it's to do with probing the stories of antiquity and recycling them I believe those are examples of how in storytelling our minds enter a place where we download information from a wider field of Consciousness and in our storytelling we start telling the truth without realizing that's what we're doing the narratives of contact Planet of the Apes and the Epic of Gilgamesh all point to an ET intervention in the evolution of homo sapiens in those mythologies
and stories are we remembering something from our prehistoric past are we simply retelling the same story over and over but it remains pure fiction in the Tomb of Gilgamesh we have the opportunity to answer that question definitively this is a test that could answer one way or another was Humanity engineered by an ET species the sky people of the Sumerian narrative or was our Evolution pure chance in 2014 archaeologist Jr barard brought to the world attention The Rock paintings of Chama chatis gag he argues that they depict a UFO along with a suited and helmeted
figure in these paintings we see a being with three fingers and a classic alien gray shaped head and eyes Jr bagat said the findings suggest that humans in prehistoric times may have seen or imagined beings from other planets which still create curiosity among people and res searches the fan-like antenna and the three legs of the vehicle's stand clearly show a similarity to a UFO type craft might our artists and the artists of History be the curators of information which has been ignored removed or as in the case of the bible translated out of our written
texts in 2009 Irving finle got his hands on an amazing piece of prehistory a unique piece of Babylonian literature inscribed on a 4,000-year-old uniform tablet it speaks to the intricate relationships among ancient texts Babylonian sumarian and biblical it also raises intriguing questions about what other mechanism might carry cultural memory through history Irving fle is one of the world's leading ass serologists a co-curator at the British museum before the 1800s little was known about the narrative sources of the Bible stories of beginnings and particular the flood anthropologists had long noted the presence of flood narratives in
cultures spanning the globe then in 1835 Henry rollinson of the East India Tea Company lowered a boy over a cliff in Western Iraq to uncover the behistun inscription the behistun inscription was a phenomenal find it was an inscription carved in the side of a cliff in three known scripts and it was the key to our translation in the texts of the C form tablets which we've been digging up since the 1500s all of a sudden we learned that the biblical flood narrative is actually the retelling of an even older story The Epic of Gilgamesh and
when we go to the Epic of Gilgamesh we find that it's actually the retelling of an even earlier narrative than that back in the 21st century as Irving finle studied the Simmons tablet he noted the extraordinary mathematical accuracy of the building instructions for the ark itself the length of rope prescribed did indeed produce a vessel of the exact volume enumerated in the text comparisons with the biblical account and with other Babylonian Kun forms threw up another curious detail in the story of utnapishtim the arc is a cube with a volume of 14,400 cubits in the
Simmons Arc tablet the ark is a round coracle but get this with a volume of 14,400 cubits in the Bible we have the instructions for Noah's Ark its volume 15,000 cubits that's a variance of only 4% across three different cultures from civilization to civilization text to text age to age go to almost any child's Bible and you'll find an arc that looks like this and yet the text of Genesis tells us in very great detail what Noah's Ark actually looked like a long rectangular barge this is not a rectangular barge this is the cross-section not
of a cuboid but of a round coracle the coracle of araris how can an artist have the biblical instructions for that in one hand and produce that image clearly what's in the artist's mind has come from somewhere else now don't tell me that the artists the illustrators knew what they were doing because no one had seen the round coracle of AR trares before 2014 when Irving finle reconstructed it no one had even heard of Archer hares before the 1800s so by what mechanism did the memory of that shape land in the minds of those artists
could it be that the World's art and artists are really the curators of cultural memory in a way we have yet to understand could it be that generations of artists and Painters and sculptors have been conveying to us information which has been either hidden or removed or as my book argues Mis translated out of our canonical texts in 2003 I took a trip to Lasco in Doon in France to visit what some believe to be the world's most ancient prehistoric cave paintings the caves were discovered accidentally in 1940 by four kids and a dog uncovering
the work of a culture dated to 17,000 years before present today visitors can visit an exact fact simile of those caves and paintings in order to preserve The Originals clearly this was the work of people who are just as conscious and intelligent and creative as us were its creators using art rather than writing to carry the memory M Mor of this time before the last ice age to preserve their cultural memory in tasil ner we can see depictions of figures with space suits and helmets an antenna and gloves along with what appear to be flying
sources to my mind that's the most obvious way of interpreting those figures and just look out for the UFO behind the figure India known for its ancient narratives of flying vimanas holds a wealth of such es in the Raja caves in the forest of Bari at B tessel in the ryzen district Dr Wasim Khan brings our attention to images that are 4,000 years old depicting what appears to be an alien and a wormhole and a UFO along with various other UFO craft in 1486 Italian artist Carlo Celli produced his painting the enunciation you'll note that
the way it depicts the supernatural conception of Jesus in the womb of Mary is quite different from the account carried in canonical texts the summer Triumph tapestry from buer in Belgium was produced in 1538 now look in the sky do you reckon those are flying Cardinals hats or are they something a little more familiar to the modern eye another moment in the story of Jesus Christ is depicted in this painting from 1710 painted by ER deelder the last pupil of rembrand and you're right the UFO if you look up in the picture or the UAP
isn't part of the canonical texts concerning the baptism of Jesus but here it is in the Canon of our historic art do we believe what we are seeing or do our official narratives and canonical texts in the west allow us to look at these pictures but feel the need to explain them away and not believe what we're seeing it isn't too hard to find examples from all around the world of art that when you look at it I believe with an open mind it's not difficult to see ET contact if you go to the national
museum of Guatemala it has a whole section devoted to figures wearing space helmets and Bluetooths now because ancient ET contact is not part of our official narratives I think there's an Impulse in a lot of us to look at that and simply not believe what we've seen we think we live in a visual culture where seeing is believing but I reckon that if something isn't part of the official narrative or the canonical text we actually don't believe what we're seeing and I wonder what would happen if we could flip that if we could follow the
Canon of our world art in the same way that we follow the cannon of our world's narratives and texts would we learn some secrets about ancient ET contact if we followed our artistic cannon with a more open eye hey
