OK. A few years ago, I received a very, very curious phone call from my mother.
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Now, my mother was in her early 90s at the time, and she was walking home with my aunt to the village that I was brought up on the Wirral, called Bromberpool. And her message was quite curious because she said, something very, very strange happened last night. I was walking onto the village with your aunt. They were both widows and everything, so they'd become friendly in their old age.
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And she said, we saw something very, very curious. She said, your aunt had stopped to tie her shoelace. And as she'd done so, I looked over her head and I looked towards the old site of an old factory called Prices. And she said, I saw above the factory a swirling disk of cloud.
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And she described it as almost being a dark cloud. And it was going round in circles. And then she said, suddenly, it went down to a small point, and then shot off towards North Wales. OK. Now, the thing that was interesting about this was that somebody subsequently contacted me to say they saw that object.
So there was corroboration from somebody else who had seen that object.
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So whatever my mother saw, it was there out in three-dimensional space. Now, she then says to me, what did I see? And I said, mum, I really don't know. It could have been anything. Now, it's very important to realise at that stage, my mother had lost one eye with malignant melanoma, and her other eye was developing cataracts. So she was partially sighted.
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This is quite important. So then she phones me up again, two weeks later, in a state of hysterics one morning. And she said, I woke up in the middle of the night, last night. And I looked towards the door. And you know, I live on my own. And I always close my bedroom door.
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My bedroom door was open. And she said, not only that, but I couldn't move. Now, I immediately realised she was in a state of sleep paralysis. You know, it's a well-known phenomenon. It's to stop with a body when you wake up and you're in a hypnagogic state in the middle of the night.
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Sorry, hypnopompic. Your body protects you from damaging yourself from moving around and enacting your dreams by physically moving your body. So it stops you damaging your body. But when you sometimes come conscious in these circumstances, you cannot move. Okay. But when you're in this state, it's a liminal state between waking consciousness and hypnagogia or hypnopompia, which is got a kind of liminal state, where I argue, what I would say is the doors of perception are slightly more open, where you can access information, an information field, a visual field, and a sensory field, which is broader than the normal waking consciousness.
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She said she looked towards the door. And as she looked towards the door, she saw what she described as a small being with huge black eyes, two holes for a nose and a slit for a mouth.
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It looked around the door and it blinked at her and dodged back. It realized it shouldn't have been seen and realized it. It reacted to my mother. She then was terrified and she eventually managed to go to sleep. And she wakes up in the morning. She phones me up and she asks and says, Tony, what did I see? And I said, Mom, I'm really not sure.
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Now, my mother is not somebody that was interested in extraordinary phenomenon at all. It's just something that didn't interest her at all. I mean, she was very much a very good historian and everything else, but she was not interested in the kind of nonsense I was interested in, she used to call it. So I didn't worry her. But to me, I was intrigued because clearly what the creature she had seen is a classic grey, an absolute classic trope of what we have in terms of alien encounters.
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Now, the image that she was describing comes particularly from a book cover from a book called Communion that was written by an American writer called Whitley Scriber. Now, I've interviewed Whitley on quite a few occasions about his experiences. And if we get on to that, we'll come back to this. And I've been on Whitley's show a couple of times.
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But I found this very intriguing. So I started to ask her more questions about her circumstances. And one day I'm talking to her and she goes, the little children, they've stopped singing to me. And I looked and I said, what do you mean? And she said, the children, they have very high pitched voices. They're not really children, they're just small creatures that are always around me when I'm shopping, when I'm walking.
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And they look at me and they chatter between each other. And they have very high pitched voices. And I said, right. And she said, but they're not that friendly. And they're not as friendly as the old man in the bathroom, in the kitchen. And I said, right. She said, yeah, there's an elderly gentleman I see regularly in my kitchen. And he nods at me and he smiles at me and he's very friendly.
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Now, I realized very quickly what was happening here. I knew from my own research, there is something called Charles Bonnet syndrome. And Charles Bonnet syndrome is something that affects people who are partially sighted. It's supposedly the brain's accommodating of the fact that somebody can't see things properly. So it starts to confabulate imagery in external reality.
It was first put together by, ironically enough, a guy called Charles Bonnet, who was a Swiss doctor way back in the late 18th century.
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And he noticed that his uncle, a guy called Lullen, was seeing things. And he started to research this. And this is now a known phenomenon.
Now, I got my mother the diagnosis of this because it's also a precursor of something called Alzheimer's disease. Now, this intrigued me because I was thinking, what is happening here with my mother? Why is she seeing these things suddenly? So because I've been researching a lot of these subjects over decades now, nearly 50 years, so there were a lot of bits I could join together here.
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Now, this is a symbol of sleep paralysis because when people have sleep paralysis, it usually affects children and sometimes young adults. And again, as I explained, it's the feeling that you're paralysed. But when you do this, there are entities in the room. People see things. They see something called the hag, which is usually a person in profile with a cowled figure that will be sitting in the corner.
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Or there's an entity sitting on the bed. Many of you may have known the famous painting by the Swiss-British painter Fuseli, which is called The Nightmare. And if you look at it, you have a lady lying in bed and there's an entity sitting on her chest because this is this. There's pressure on the chest when people have this experience. But there's more to this experience than meets the eye because children report Charles Bonnet syndrome quite regularly, but it's not diagnosed as Charles Bonnet syndrome.
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And in my book, I say this is a wrong diagnosis. Charles Bonnet syndrome can affect young children and can affect elderly people as well.
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And I argue this is because the neurological correlates of the brain are repeating each other.
I argue that as you get older, you regress back to being a child. It's something called neonatalism.
There was a guy called Barry Reisberg who first came up with the idea that as we get older and we get down to Alzheimer's, we start to mirror the development of the fetus.
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And in fact, I tested this with my mother because my mother then came down with Alzheimer's and she went into a state of complete comatose. She didn't communicate.
And she then started to move like a fetus. She actually started to curl over like a baby in the womb.
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And one of the things I was aware of was something called a Babinski reflex, which is if you stroke a newly born baby's foot underneath, and I can never remember whether the toes curl inwards or outwards, but when you do it and they curl in a particular direction, the Babinski reflex is there. Now as the child grows older, they lose the Babinski reflex. It disappears.
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It's also in children in the womb. But I've discovered that elderly people in the final stages of Alzheimer's also have Babinski reflex, as if they are becoming a baby again or a fetus.
And I tested this with my mother. And indeed, I got the Babinski reaction in exactly the same way I expected it to be, which is intriguing. But this is another area we can discuss later.
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But suffice to say, young children see little people. Now again, there was a guy called Michael Halliwell who wrote a book a few years ago called InvisiKids. And in the book, Halliwell argues that young children see these entities all the time. But what he doesn't do is the neurology and the physiology of it, which I do.
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And I argue it is to do with the way in which the neurons of the brain of young children are not myelinated. So they're not insulated. So the neurons of the brain are open to much more influence than ordinarily when we're locked in within our normal neurons.
Also, the corpus callosum, which is the thick-bodied body that holds the two hemispheres of the brain together, also isn't fully developed.
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And many of you will know of the work of people like Julian Jaynes and his bicameral mind theory. This is very much what I apply to this. So the idea is that young children, their brains aren't fully developed. And then when you get to the end of life, the amyloid plaques, which are the things that destroy the neurons within the brain when somebody has Alzheimer's disease, is doing the same thing.
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It's destroying the brain's ability to be an attenuator. Its ability to block out the wider information field. Now these are a couple of pictures that children have drawn of entities that they see. Now look at this. These are consistent with what my mother saw. So you know, this is an archetype. This is something that is greater than any individual.
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The question is, is it independent of us? And when we turn around and say it's an hallucination, what do we mean by hallucination? Oliver Sacks, the great British American psychiatrist, in his last book, Hallucinations, argued about this. And we don't know what hallucinations are. All we know is hallucinations are something that is not shared by somebody else.
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That's all. It doesn't mean they're no more real, because in my books I go into the quantum physics of how external reality is no more real than internal reality. And in fact we are continually collapsing the wave function of the reality we live around that has been around us. You know, this is from pure quantum physics.
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But that's for another talk. So I started to research this a little bit more. And I came across some extraordinary things. In 2018 there was a cave discovered in northern India, in Chandili. It had not been opened for 8,000 years. And when they broke in, these were the paintings on the walls. Now look at these entities. Large heads and black eyes.
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So clearly, 8,000 years ago in India, people were describing on the walls exactly the entities that I describe. Now it is of great importance that they were done in caves. And if I get onto that later on, I'll explain why I think it's caves that these things are painted on. It's to do with melatonin releasing the brain.
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So we then move on to these. The one on the left hand side is in the Junction Shelter, which is in the Drakensberg mountains in South Africa. Now Graham Hancock, the writer, spent some time there. And it was Graham Hancock that first noticed this creature here. This being here with the shape of its face. Now clearly these individuals are moving towards it or they're reacting towards it.
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Now this is another painting from Pêche-Merle in the south of France. It's called The Dying Man. Again we have exactly the same shaped face. Exactly the same.
Now people have argued and said well these are idealised human figures because our ancient ancestors were not very good at painting. Really? Look at the depictions of bison in Lascaux. They knew exactly what they were painting.
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They were painting from life. So when they painted this they were being quite precise as to what they were painting. This was something they had seen.
So we'll move on from here. Engazil in Jordan. 7000 BCE. These entities. Nobody's fully understood what these beings are. And again at that time they were able to depict human beings quite effectively.
These are not human.
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Whatever they are, they are not human. And then we have within the traditions of the world's oldest culture, the indigenous population of Australia. They have these ideas of the Irontania and the Orentia which are creatures from dream time. And in the paintings of these creatures, and here is one of them, we have yet again the same physiology, the same large eyes. So what is linking it here? An elderly woman on the Wirral on Merseyside. People in northern India. People in South Africa. And people in Australia. All depicting exactly the same entities.
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Exactly the same entities that have been reported for the last 20 or 30 years, maybe more, in UFO encounters. In abduction cases and everything else as well. But clearly whatever is happening here, it is deeper and much more ingrained in the human psyche than simply UFOs and aliens. These things go back centuries. They have been with us for centuries. So the question I ask in my book, The Hidden Universe, is what exactly are they? Now, if you go back into Biblical writings, you will probably know that the ancient writings of the Hebrew people, not all of the books became canon.
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Not all of the books became part of the Bible, both the Jewish Bible and the Christian Bible. There were certain books that were considered to be so weird that they weren't included. Not because there was anything particularly wrong with them, but because it was so odd that they couldn't include them. And one of them was the Book of Enoch. The only groups of people that have them in their canon ideas are the Ethiopian Copts and the people from Eritrea. And they have a language called Gazal. I think it's Gazal. And the original Book of Enoch is written in that language.
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Now when you read the Book of Enoch, you realize why it's not in our regular Bible. Because it is so bizarre. It tells of creatures that came down on Mount Hermon in the borders of the modern Lebanon into Israel. And these entities came down from the heavens and they procreated with human women. They taught human beings how to do many things, lots of medicine and everything else as well.
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So whatever these entities were, they were not human. But there was something special about them. Now the Book of Enoch was such a peculiar book that in the late 16th century, it became of great interest to an English magician called Dr. John Dee and his assistant Edward Kelly. And again, I discuss this in great detail in the book, as to what Dee and Kelly were trying to do in their experiments in Mortlake in the late Elizabethan period.
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And what they were trying to do was raise entities. They were trying to create thought forms, which they called egregores. Now again, egregores comes from the Book of Enoch. Egregore comes from the Greek egregoros, which means watcher. It's the idea that we have been watched by entities that are non-human since the beginning of time. And these entities can come through into this reality using certain techniques.
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Now I argue that this is exactly what Dee and Kelly were trying to do. And they argued in their books, they said they created entities and they created an Enochian language that they believed was the language of magic that you could create these entities. Again, it's a fascinating read if you read exactly what Dee and Kelly were up to.
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It was very intriguing. So Dee and Kelly were doing this, but they didn't end there. Because right up until the early 20th century, there were people trying to create these entities. And of course, the most famous one was Aleister Crowley. And of course, he was at the edges of Loch Ness in the early 20th century. And he bought this place in great... because it was isolated.
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And he could do some Abrahamic and some Enochian magic there to bring forth entities from somewhere else. And he created entities. He argued he created these entities.
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And one of them was called Lam. And this is Lam here. And again, if you look at Lam, with the exception of the eyes, we have exactly the same synonymy. We have exactly the same entity.
Now again, you can see on the right... on your... on the right hand side of the picture, you can also see the Whitley Strieber image from what Whitley Strieber encountered.
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The entities Whitley Strieber encountered, I think, in the early 1980s in upstate New York. Now these creatures are, again, identical.
So what do we have here? We have a theme. We have an archetype that goes back in the past.
Now, but this goes back even to different traditions. One of the most amazing writers, and I quote him a lot in my work, is Henri Corbin, who was a French Sufi writer.
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And the Sufis are the mystic tradition of Islam. And they believe that there are two worlds. There's the world of the imaginal, which is mind created, but is independent of us, if that makes sense. It is something that we can create by our thought forms. And we can draw this... these into our world. And we create them by our anticipations of them.
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And indeed, this is one of the things within Islamic tradition, is something called the jinn. Now in the Quran, it says that when God created man, he made man out of clay, he made the angels out of light, and he made the jinn out of smokeless fire. Now this is important. What he meant, the writer of the Quran, meant by smokeless fire.
What exactly is smokeless fire? And why are these entities described in such a way?
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I'll return to that later, because I think I know what smokeless fire is.
We then have the writings of the amazing Walter Evans Vance, who in the late 19th century, and the early 20th century, I think it was in the early 19, 19, 1920, he did a survey of the again, we were talking earlier about me being scouse or from Liverpool, I can only say furry, I can never say furry, that's always furry.
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So I'm not going to change that now. And the furry faith in Celtic countries is the whole idea of the Celtic fringe. So you'll get Ireland and Wales, and the western coast of Scotland, where it seems that the barrier between this world and the other world is thinner for some reason. And again, I'm talking with anthropologists about this at the moment as to why this may be, and what are the antecedents of the Celtic people that make this so open.
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Now, as a personal admission, I'm possibly fairly unusual in the sense I'm literally a full blooded Celt. I am I am Welsh, Irish, Scottish, by origin, and I'm literally I've recently had my DNA done, and I'm literally on the Isle of Man. I have no other taints, I am a total Celt. And I'm also not precognitive, and I don't see fairies or anything.
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So whatever, genetically has not come out in me, but it's one of these things, it means probably my interests are in it.
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But Evans Vance, some of the things he found and discovered there was extraordinary. And again, I write about some of the things he described in his books. Now, Evans Vance is a fascinating man, because he had earlier translated the Tibetan Book of the Dead for the Western world, because the Tibetan Book of the Dead is also something that is really quite fascinating, which we'll come back to.
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But I'm intrigued by, again, the linkage between the fairy folk and the entities, the fae, and underground, the Cuthlonic creatures. The Tuatha de Danann in Ireland, for instance, they are entities that used to rule the world, but then went underground, they left us and went underground. The same tradition is in Scotland. You know, you have the writings of the writer whose name escapes me at the moment, who wrote a book called The Secret Commonwealth in Western Scotland in the late 17th century.
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And again, some of the... and he was a Church of Scotland vicar, as far as I can remember. So very, very intriguing stuff. So who are these creatures, and why are they linked to darkness and underground? Oh, here is the Robert Kirk, who wrote the book The Secret Commonwealth. And interestingly enough, Robert Kirk was found dead on a furry mound at the end of his life, you know, which is very, very curious.
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And his work is fascinating. Again, get the opportunity to read this. Read it with an open mind. Read it with a anthropologist, looking at the belief systems of an older society, without doing the argument that it's a primitive society. Don't make assumptions that these people were primitive. They were reacting to the things they saw in their environment around them. These were very real.
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And the question is, why were they so real to them, and not so real to us? And this is where I go with the book. Then we move on to modern-day abductions and UFO abductions.
I find it intriguing that, again, these entities look like owls. And it seems to be that sometimes, particularly with young children, they tend to cloak themselves in kind of quasi-dream sequences, whereby they look like owls.
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The other tropes that you tend to find in abduction sequences with young children is that the entities describe themselves as being rabbits. The rabbit tropes happen all the time. And again, of course, the greatest rabbit trope, and going underground, is somebody I've written about extensively. And I'm working with a couple of research friends of mine on a book on him.
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It's Lewis Carroll, Reverend Dodgson. Because, of course, at the start of Alice in Wonderland, what happens? She sees a rabbit, and she gets taken underground by the rabbit and falls down a hole in the ground. Now, one of the people I write about consistently is an American temporal lobe epileptic artist called Myron Dial. And Dial consistently has hallucinations where he sees rabbits and he sees entities that take him somewhere else.
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And again, in the book, I discuss in great detail about the experiences of Myron Dial. So again, we have this similar trope. Now, remember, these are going back years. The children here would not know about the junction shelter in South Africa. Why would they? These are the things they're reporting as seeing.
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So what is going on here? Have we got some kind of information as to what might be happening? Now, I believe these entities are created by us and become independent of us.
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And I'll give an example of just how powerful the human mind can be. In the early 1970s, there were a group of researchers in Canada and Toronto. And they were paranormal researchers, but they were playing with paranormal research rather like the SPR and like you guys do, whereby they wanted to understand it. So they started playing around with Ouija boards and everything else as well.
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And they were intrigued, as most of us are when we first use Ouija, is how does the glass move? Is it an intention of the people around the table? Are we doing it subliminally, but we don't know we're doing it? And what they did was they thought, well, maybe that is the case. So how can we prove it? So what they decided to do was to create a ghost.
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And they went away and one of them was a creative writer. And she wrote a backstory of a guy called Philip Aylesford. And they said that Philip Aylesford was an Englishman living in the 1670s, 1680s after the English Civil War in the English Midlands in Warwickshire. And they based his life on a known castle in Warwickshire. They made him an outsider.
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They made him a Catholic nobleman who was in a loveless marriage. And one day he's out walking in the grounds and he meets a gypsy girl and he falls in love with her. His wife subsequently finds out and he kills himself by throwing himself off the battlements of the castle. So that was the backstory. Then the group get together and they try to create him.
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They talk about him all the time and they laugh and joke. Now what is intriguing here is what they were creating is what I would call an egregore. Now an egregore is as we said with egregorous which means watcher. But I use the term egregore in its more general term. An egregore is any kind of something that's created collectively by people. So for instance socialism is an egregore.
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The Coca-Cola logo is an egregore. These are all things that are created by human beings that seem to become bigger than us. And there's a guy called Mark Stavish who's an American occult writer and he's written this most extraordinary book on egregores. And again if you want to read the background to some of my ideas check out the Stavish work.
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It's very very good. And again if anybody's interested in my own podcasts I've interviewed Mark Stavish and a lot of the people I talk about in my lectures I've interviewed in my own podcasts for background material here.
So they then start creating this character and they discovered, and this is quite intriguing, they found that they would get manifestations.
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They would get raps and they would get knocks when they brought Philip through. And they would get messages from him. You know like the old one rap for no, two raps for yes or whatever. They were getting messages. But what was extraordinary they found that they could only create Philip effectively when they acted like children. They cracked jokes and they were silly and flippant.
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Now I'd argue this is because it's the ego state. When you get into a child ego state and the group you're in a child ego state it's it's going back to the old transactional analysis idea of ego states, child, adult and parent. And if you enter the child state your mind goes into a slightly different worldview. And I think this again can reproduce in people being a child again.
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And of course we know with children they have, as we said with the Halliwell book, they seem to be able to create entities. They seem to collectively cause themselves to go into Charles Bonnet syndrome. The interesting thing was that over a period of time they had phenomenal effects. You know they had the rapping, they had the messages, but they had table levitation.
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The table would levitate. Now this is extraordinary because in 1973, I think it was, they appeared on national television in Canada and it was a live television show and the table levitated inside the TV studio. So clearly they were creating something incredibly powerful. And I argue this is an egregore. We create these egregores by anticipating them.
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Again I'm working with a couple of researchers at the moment where we're planning to reproduce the Philip experiment. We've spoken to a lot of top researchers around the world as Stephen Browday, people like that are all getting involved in helping us to try and recreate this.
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So it's going to be an interesting exercise that we're planning to do in the future.
But we then move on and you guys will know well about this, about the Skoll experiment in Norfolk. Now the Skoll experiment is quite interesting and it has parallels. Again you guys that are probably heavily into spiritualism and the history of spiritualism will know about the case of something in Rector. It was Stanton Moses who did a series of experiments I think in the 1890s where they were being communicated by entities from somewhere else. Now in the 1890s they of course consider them to be the dead because that's what they would do.
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You know it's the idea the dead are trying to communicate with us. Imperator and Rector was the case in question. And again what was interesting was that the Skoll experiment very much paralleled this and they were getting messages through in Skoll where there were a group of people from quote the other side who were trying to facilitate communication with us, this side.
And of course you had exactly the same phenomenon that they recreated with the Philip experiment.
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You had tables moving, you had lights moving around, you had imagery coming through. Now the imagery that particularly interested me was this which was called blue, which is this entity here that supposedly came through I think on one of the cameras. Look at it. That's not a ghost. That's a grey.
Isn't it? It's not a ghost.
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So we were interpreting and they were interpreting it as being a group of people trying to communicate with them. It's far more sinister than that. It's a group of entities that are being created by our expectations that we are giving independence to.
That then want to accommodate us to be what we want them to be. This is why these entities culturally track.
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This is why the UFO phenomenon, you know, in the early the UFO phenomenon in America in the 1890s you had the airships. People were seeing airships in the air. And when the people who were the supposed crew of the airship came down and communicated with people they usually spoke. They were human beings.
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They were normal human beings who normally spoke with a German accent because they were foreign. But they were literally manipulating the reality to present themselves as the way we want them to be. They then morphed and after the Second World War we got into after the Arnold sightings in 1947 we got into classical UFOs and they started looking like Nordics. Remember they were tall blonde creatures.
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Then we went through a phase of monsters and then we got to the greys. It's cultural tracking. It's responding to our anticipations of what they're going to be like. This is why the communications and the spirit communications in the 19th century were very much like what they expected it to be. And it's because of this that skeptics have turned around and said well the phenomenon is nonsense.
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Let's be a bit more sophisticated about this. This phenomenon is not nonsense. This phenomenon is playing with us.
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Now again some of you may have come across the the writings of a guy called Fisher. And he wrote a book called The Hungry Ghosts. Again I think it was probably in the early 1990s. And again he was fooled by entities that he thought were people that he'd lived with in a past life.
And these entities would come through in circumstances and seances and talk to him.
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But he decided to check them out and one of the entities claimed it was from Greece in the 18th century and it named the village it came from and the part of Greece it came from. It was on the Turkish border near Thessaloniki. And he went over there to find that the village didn't exist and he'd been conned.
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And he ended up committing suicide or supposedly committed suicide because he was so depressed by finding that whatever the entities were they were playing with him. They were playing with his anticipations or they wanted to come across to him in certain ways. This is what these things do. They play with us. Now this comes back to the concept of tulpas.
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Now Alexandra David-Neel was a Belgian lady who had married somebody quite wealthy and spent most of her time traveling the world. And she spent a great deal of time in Tibet in the 1920s. And there she learned the techniques, the Tibetan techniques, of creating thought forms, tulpas. And she describes in one of her books they created a tulpa.
Her and her little group of friends created a tulpa while they were in Tibet. They created a little monk who was a smiley round friendly monk and it started following them.
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And it was following their party. But then it started to become independent of them and became malevolent. And suddenly it changed from being a round little friendly little creature to this more monstrous being that was actually being nasty towards them. So they had to literally decreate it. They had to unthink it out of existence. Because as Alexandra-Neel said, this being may not have existed initially.
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But as soon as we started to think about it and created it, it then became something.
It drew itself in from somewhere else by using us to allow it to manifest within this reality.
Now, Brayam Murray is somebody who I came in contact with around about eight or nine years ago.
Brayam was one of the top theatre producers in this country.
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And he was the guy that set up the Royal Exchange Theatre in Manchester. And Brayam and I met because Brayam had read one of my books and he thought it was really interesting and wonderful. And we were working on getting together to develop a new play by J. B. Priestley. We have discovered a brand new play by J. B. Priestley, by the way, that nobody knows about.
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Literally Brayam and I knew about it and Priestley's son. And that's it. I've now put the book out to a few more people. Priestley's great-grandson has now read it and things. But it's an intriguing new time play that Brayam and I were going to try and get on. But sadly, Brayam died three years ago of a sudden heart attack, which is very, very sad.
(0:41:00)
But suffice to say, Brayam, in his biography, What Can Go Wrong Will Go Wrong, I think it was called, something like that. He described and he told me this story. So I heard this story from him directly, although it's in his book. He one day had to meet up with a very famous, basically a cult magician called Honegstad, who was a Danish aristocrat.
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And they spent an evening together and they got discussing about the concept of egregores and the egregore and the beast in The Beauty and the Beast. And Honegstad turned around to Brayam and said, he said, of course, Nazism, these are all egregores, but the beast is inside all of them. And he said, I'll prove it to you. And Brayam told me and it made shivers go down my spine.
(0:41:47)
He said, we were sitting there and there was a chair opposite us. And he said, suddenly, this entity appeared in the chair.
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And he said, it was monstrous. It was like your idea of a demon. And he said, it looked directly at me and scowled and then evaporated away. And Honegstad had created this thought form, had put it into his mind. But as Brayam said to me, it was extraordinary because it was really there.
And as I pointed out to Brayam, there were two hallucinations going on here.
(0:42:19)
There was hallucination of the creature he saw, but there was also the hallucination of exclusion, because it meant that the back of the chair that was occluded by the entity was also taken out of his vision field. Now, this is something that various writers have discussed in the past about hallucinations, how they seem to manipulate the reality outside of us in some way.
(0:42:43)
They're in our visual field, but they're outside of us in some way. So that really intrigued me as to what was going on here. And then I was approached by an American researcher called Paul Eno. Paul Eno is an ex-Catholic priest who, because he was running around New England doing ghost hunts and things, he decided he didn't want to be a priest anymore and wanted to be a researcher.
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Now the thing is with Eno, Eno has some fascinating... by the way, Paul Eno is, if anybody recognises the name Eno, he's the cousin of Brian Eno, who used to be the guy in Roxy Music, so if you're interested in terms of that. He's very much from old English aristocracy.
His family originally came from Devon, a place called Sanford Courtney. But suffice to say, Paul has been doing a lot of research into entities and he's fascinated by entities.
(0:43:38)
And again, if anybody's interested, I've interviewed him a couple of times on my podcast. He believes, now get this, he believes that entities, these entities, are created out of plasma.
They use our anticipations to create plasma fields. And the plasma fields then, they can then become in focus within this reality.
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And he gives examples in his books of how you can see these entities kind of coming into form. Now plasma, I'm doing research at the moment with one of America's top astrophysicists, a guy called Professor Bob Davis. And Bob Davis and I both agree about plasma. And he, when I spoke to Bob Davis a couple of weeks ago, he was saying, he said, no, you're quite right.
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He said plasma is such a curious substance, because plasma is another form of matter that is so unusual. And he argues the same thing. He said, what these entities are doing are creating plasma, and they're using plasma. This is why you get electromagnetic fields around them. This is why they are able to manipulate our thought patterns, because they're playing around with our brain, using electromagnetic energy to actually make the neurons fire in different ways, and open up the doors of perception in certain ways.
(0:44:56)
So his stuff is really, really intriguing as to the true nature of what reality really is. Now that's a very, very quick run through of the myriad of things I discuss in my 11th book, which is The Hidden Universe. But this is part of a much broader model I have. And if any of you have read my work, you'll know that my model is much broader than this. And on each book, I focus in on one particular area.
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But at the moment, my fascination is, what is this reality? Is it a simulation? Is it a computer simulation? Is it a mind created collective hallucination that we all share? And in my forthcoming book, I'll be doing the science of this. I've been talking with some of the world's leading quantum physicists, and particularly individuals who are doing research into virtual reality, and how virtual reality works within the brain, and how we facsimilize virtual reality. There's a guy I'm working with at the moment, who is a Cambridge-educated doctor in neurology, who's over in Japan, called Dr. Andrew Gallimore. And Gallimore calls this reality an instantation, rather than a simulation.
(0:46:17)
And again, we do the science of this. We can do, and I do, the science of how this simulation works. So I'm not just somebody that's turning around and saying, oh, I think it's a simulation because it looks like one. I do the science. I do the science down to black holes, how black holes, it's to do with information, it's to do with the way in which black holes work, it's to do with the latest, the last work of Stephen Hawking, it's to do with Hawking radiation, and it's to do with something called the holographic principle.
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We know that from quantum physics, that this world is collapsed. The wave function of this perceptual world is collapsed from a statistical wave that has no physical presence at all. It is literally a statistical wave. So everything that we perceive is collapsed in that way. And modern quantum physics has known this since at least 1924, 25, when they sorted out and did the Schrodinger calculation and the Schrodinger wave function.
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And of course, then Max Born came along later on and said that the wave function, in fact, is simply a statistical wave function like a crime wave.
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So we're talking about non-physical things here. Now, it's interesting to note here, and I'm delighted to see that Nick Kyle is in the audience because, of course, Nick was one of the guys who witnessed a lot of the phenomenon that took place in Skoll. And I know that Nick has shared information with me about the things he saw there.
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So these things are very physical. They impinge themselves upon our sensual apparatus. But effectively, what are they and what is really happening here? And this is the center of my research at the moment. And we've got some great people involved in my work. And if any of you guys are interested in getting involved or knowing about it, please just stay in contact.
(0:47:59)
Right. I think I'm probably finished now in terms of time. Did I do okay on time there,