INCA ENIGMA
Hello everyone!
Which will propel the question well beyond simple wonder and disbelief: we're getting into the heavy stuff with these extraordinary sites.
You don't have the time, I'm sure, reading is a pain, but please make the effort, it's a good complement to the video and the stakes are high... so to speak.
SACSAYHUAMAN AND ITS DOZENS OF TONS OF LIMESTONE BLOCKS WITH VERY COMPLEX SHAPES.
BECAUSE THERE'S WHAT YOU SEE... AND WHAT YOU DON'T SEE
OLLANTAYTAMBO AND ITS TENS OF TONS OF ANDESITE BLOCKS
HOISTED TO THE VERY TOP OF THE SITE AND ASSEMBLED WITH EXTRAORDINARY PRECISION,
AS YOU CAN SEE FROM THE PHOTO BELOW:
It's no longer the time for strolling around in wonder at the size of blocks! In June, we left for Peru accompanied by 3 stonemasons, one of whom specialized in digital surveys, and who also did some photogrammetry... very instructive.
What began as a small series has become a (very) big project.
Because what we have discovered will render obsolete everything that has gone before: we never make empty promises, any more than we make claims that are not based on solid, concrete facts.
Stonemasons are much more talkative than we'd imagined when faced with such complex assemblies... it wasn't the first time we'd visited this site, but what can we say, by dint of devoting our days to thinking about the subject, we end up seeing things a little differently. Thanks to this on-site mission in the company of stone-cutting professionals, we saw these assemblies as never before. Hence the tone of the presentation film, and above all, its promise.
Let's keep it simple:
we launch a FIRST RANGE at 30,000 euros
Knowing that to complete this series of 5 episodes of at least 45 minutes, at the height of its ambition, shooting to the maximum, we'll need around €100,000. It should cost at least triple that, but since we know how to manage, we're able to release the series at that price... it's less comfortable, but we're used to it 😊
Hence the “together we go further”: not political party-speak, but a very concrete reality. Because without your interest in our research and without your financial support, we don't see how we could produce this kind of film, which doesn't arouse any particular emotion in the media and doesn't make enough money to attract investors, especially when our aim is to make them accessible to as many people as possible on YouTube.
If you're interested in the project, want to see the series soon (around May 2025) and are willing to participate, then we'll propose a second and then a third level, because we finance everything ourselves: it's the price of our independence and the reason why you don't see this kind of film on TV. We've filmed all the Peru part, but now we need to do some more interviews and experimentation, and then make the series, which is roughly equivalent to a film lasting between 3h30 and 5H!
That's a lot of work, especially given the high standards and quality we work to.
Now, for those who don't know us (yet), we're the authors of BAM:
of BACK 2 BAM :
and of BARABAR:
'ONE SCIENCE WILL RECOGNIZE ANOTHER SCIENCE' is our credo, and the further we advance, the more high-performance equipment we employ, the more we see the outlines of this science taking shape. Many of you are gradually overcoming the hurdle of incredulity by understanding that the questions we ask - in place of sci-fi assertions or reductivist trivialization, both of which are unproven - enable us to put the enigma back at the center of our thinking.
AN ENIGMA THAT MAKES REALITY FAR GREATER THAN THE FICTION OF OUR PAST.
Because “we” usually think, “yes, it's true, it's amazing, but back then, they had time... they were clever... they only had time to do that... there were millions of them... we've lost the techniques...”.
Of course From the chambers of BARABAR to the Great Pyramid of GIZEH, not to mention these extraordinary sites in Peru, the work is TOTALLY minimized.
If it were so easy to move such heavy blocks to such locations with rudimentary techniques and tools, then we wouldn't be employing colossal and very expensive means to do so today.
In keeping with our approach, this is what we'll be showing you, by giving the floor to those whose job it is, because “little drawings” and pompous 3D animations can say whatever you want them to say, and are in no way proof.
A BEAUTIFUL “SACRED” SHELTER AGAINST THE RAIN
Let's take a brief look at India.
In BARABAR, did you pay attention to this remark about the volumes of the rooms being coordinated with each other? As a reminder: when the volume of the Vadathika chamber is 7, that of Vapiyaka is 8:
Where Karan Chopar 's is 2, Gopika 's is 3:
And when the one in Sudama 's great hall is 12, the one in the dome is 5:
“OK, OK, so what? ‘ you might ask, ’why are we dwelling on this?”
Professional theorists will probably quibble over the percentages of symmetries, the micro deviations from the absolute precision of 99.8% to 99.9%, or the roughness meter readings (available free of charge on our site), but engineers and technicians don't need to think for 4 hours to realize that this is totally out of the ordinary... today. Especially for shelters against the p, pardon me, “sacred shelters”, against the rain for people who lived naked... like those who carved them?
We would remind you that these chambers were scanned in their original state (dust, subsequent damage, limestone concretions, etc.) and that, from the outset, we have believed that these symmetrical chambers were made by hand, but with modern industrial precision, and this is perhaps what makes the question even more enigmatic: how? And above all: WHY?
Can you see this “other” thinking taking shape? You can't solve a problem with thinking that doesn't even allow you to see it.
The reality is that with Barabar, we're dealing with something exceptional, and that's why we've subtitled this film "the archaeological site of the future ”: it's an image, it doesn't mean it's from the future, it just means that if we don't change the way we look at history, these rooms are simply impossible.
BUT THEY ARE THERE, THEY EXIST AND THEIR PRECISION CAN BE MEASURED.
Because these coordinated volumes of the Barabar chambers, composed of walls inclined at different angles between the large and small ones, and of portions of several ellipsoids (Vadathika and Gopika), cylinders (Vapiyaka, Karan Chopar and Sudama) and ogives (Gopika) imply, quite simply, that they had a method of calculation enabling them, for a given volume, to determine each of the dimensions that make up the shapes of the chambers: height, width, length, angles of inclination, portions of curves, ellipsoids... you don't transfer dimensions taken from a wooden or clay model with bits of string and end up achieving such results in granite!
Are there any mathematicians among you who can enlighten us on the level required?
And once such a precise design has been carried out - mix in 3D ellipsoids and you'll understand - it then has to be realized with the level of precision noted both by the scans and by Journeyman stonemason Éric Bernard, who like all stonemasons, sees with his hands:
Add to this an extremely important fact, not lost on acousticians:
3 of them, despite their very different sizes and shapes, have a common resonance frequency of 34.4 Hz.
But if the majority of us could realize before we die that we've probably cleared a HUGE hurdle, we'd all save time!
As long as we're alive and kicking, you won't hear the last of this, until the general public realizes just how difficult it is... which is bound to serve a purpose. For if we overstate the case, what history tells us is quite simply that our ancestors, who obviously worked half-naked, were, through credulity and submission, capable of accomplishing technical feats that served no other purpose than to shelter themselves from the rain, please the gods or glorify despotic monarchs... which smacks of the fantasies of power-hungry elites, the very ones who have spent at least the last two millennia rewriting history: How many Julius Caesars trampled on the memory and prestige of their vanquished?
OUR HARD-WORKING, CREDULOUS ELDERS IN THEIR WORK CLOTHES
Barabar is obviously not in Peru, but the precision of the Peruvian assemblages raises considerable questions, as the shapes of the blocks are far more complex than is generally thought: if the researchers who preceded us had been aware of this, the work we have undertaken would necessarily have been carried out much earlier. In fact, in a way, these assemblages are exactly the opposite of Barabar, wherea shape is carved into the rock, in negative, with no room for error, whereas in Peru…
The blocks are positive, with no room for error either, as their assembly precision is below the millimetre, with some exceeding 50 tonnes.
OUR HARD-WORKING, CREDULOUS ELDERS IN THEIR WORK CLOTHES
As we have already briefly shown in BAM, but verified with the right tools and skills, the inner faces of the blocks are better worked than the visible faces, which deeply impressed the cutters, first on the blocks of theInca Roccaenclosure (Hatun Rumyoc street famous for “its 12-cornered stone”), then at Machu Picchu and above all, which left them speechless, at Sacsayhuaman where the blocks weigh from 10 to nearly 200 tons!
We thought these inner faces were perpendicular to their front faces, but it turns out they're not. That would be too simple. Open and closed angles, warped surfaces...
If you're wondering what we're talking about, well, that's precisely why we make films, so that anyone can understand. And we haven't even touched on the transport and installation of the blocks, to create, as at Sacsayhuman, a 400-metre-long wall on three levels... that's all there is to it!
SACSAYHUAMAN, LIKE MACHU PICCHU, QORIKANCHA AND INCA ROCCA
WOULD HAVE BEEN COMMISSIONED FROM 1450 ONWARDS BY EMPEROR PACHACUTEC...
We're not going to make the film before the film, as all this still requires research and production work, experimentation, new interviews, discussions and the gathering of a large team, as we do every time, around our small team. We have to finance the writing, the 3D and the editing, a lot of editing (at least 45 minutes per episode, after all), the music, the graphics, the sound, the color grading and the translations... so that the series can be seen by as many people as possible!
And all this comes at a price: a series costs much more than a top-of-the-range Porsche.
On the one hand, we haven't yet found a way to turn lead into gold, and on the other hand, no matter how passionate we are and how many hours we put in, all the people who are passionate about real estate, cameras, growing vegetables, catering, medicine, beard and hair trimming, electricity and gas production, means of transport, editing, music, etc. also need to make a living from their work, just like you and us!
We're counting on you to deliver a series that lives up to its ambitions.
We're fully committed to this project. Help us make it a series we'll be happy to watch, that will make us think about another vision of our ancestors and another past of our Humanity (and therefore another future), and that we'll share with pride 😊
Alone we go faster, but together we go further... and we'll go far, we guarantee it.
Thank you for your support.