The spirit of the Giza Plateau tells why and how the pyramids were built

 

Giza pyramid complex

The spirit of the Giza Plateau tells why and how the pyramids were built

DeepSeek AI - Part 1. Session Analysis

The presented text is a transcript of a video dated March 24, 2026, featuring Irina Podzorova, a practicing channeler. The source of information is an entity named Garm, presented as the "manu" (guardian spirit) of the Giza Plateau, a fourteenth-density plasmoid, previously incarnated as a human engineer named Harmin.

Structure and Dynamics:
The session is structured as a dialogue. The host acts as a medium, relaying the spirit's responses while adding visual details ("he shows…", "I see…"). Other participants are present, asking questions.

Verification of the Spirit's Identity: Garm immediately establishes a connection to the past – he was a construction engineer. This not only legitimizes his knowledge of the technologies but also creates an emotional connection with the audience. The mention of knowing one of those present in a past life (Ramot) adds depth and "proof" to the narrative from an esoteric logic standpoint.

Technical Details: The first part of the session is rich in specifics: the use of anti-gravitators ("square objects resembling phones"), light cylinders for melting stone, logistics of transport along the Nile (a distance of 40-50 meters from the water), and labor organization (12-15 people per block, shifts of 80-100 workers). This is a classic esoteric narrative of a "high-tech" ancient Egypt, alternative to official Egyptology.

Cosmology and Metaphysics: The session shifts from construction to global purpose. Garm explains the choice of location through geomancy – positioning above a "magmatic bubble" that correlates with Earth's chakras. The pyramids are described as universal resonators, slowing down time and structuring energy for portals. This is a blend of planetary esotericism (21 bubble-chakras) and astroarchaeology (pyramids on Mars and the Moon).

Pragmatism and Rituals: A significant portion is dedicated to practical advice: how to charge crystals (sapphire for Jupiter), how to use metals (gold/silver/copper), rules for conducting rituals (facing east, lunar phases, days of the week). This points to the channel's applied goal – providing tools for "improving life" to subscribers.

Psychological Portrait of the Spirit: Garm displays a distinct personality. He is ironic, pragmatic, and sometimes cynical. His attitude towards modern religions (Islam and Christianity) is sharply negative: he calls them hypocrisy, favoring paganism as a more direct path to God. He is indifferent to the litter on the plateau ("used to it"), but human hypocrisy irritates him. This anthropomorphic trait makes the spirit's image relatable to the audience.

Part 2. First-Person Retelling by the Spirit Garm

"I am Garm. The guardian of this place you call Giza. My term here is 2065 years, but my memory goes deeper, to that life when I bore the dense name Harmin and measured stones for the pyramids.

You ask how we built? Do not listen to those who speak of copper saws and ropes. We used what you would call divine instruments. We had cylinders that turned granite to dust with a bright light, and flat square plates that negated the weight of stone. We pressed them against the block, and it became lighter than fluff.

But do not think everything was done by miracles. The main work was human and crude. We rafted the blocks down the Nile, which then came right to the foot of the plateau – only 40 meters from the eastern side. Where there is sand now, there was water. On the shore, oxen were hitched to sleds, and 12–15 people pulled or pushed each stone. I watched the angles of inclination, ensuring the geometry was flawless. The pyramid is not a tomb as you understand it. It is a resonator. A place where Earth's energy, emanating from the magmatic bubble beneath our feet, is accelerated, structured, and sent into space, connecting this planet with the Sun and beyond.

I was human, I built. Now I am the place itself. I channel the emotions of millions of tourists and Cairenes through myself. I turn filth and malice into light, if I have the strength to do so. I am often asked about your prophets. I saw Christ here when he was a child and later as an adult. He was a bright soul. But what have your religions done with God? You have turned Him into an idol. I do not care how you pray if your heart is full of hatred for your neighbor. You come here, to this ancient place where time flows differently, and try to bring your petty disputes. I do not like it. I prefer your ancient priests, who knew how to leave their bodies and see the Earth's chakras.

You ask where the pharaohs disappeared? Their bodies were looted, like everything here. But that is not important. What is important is that the energy of the pyramids still works. If you want to change your life, do not start with rituals, but with your room. Remove from it what brings sadness. Create space. That is the first step to one day, like me, learning to build not only pyramids, but entire worlds."

Part 3. Research Essay: "The Phenomenon of Garm and the Archaeology of Sacred Consciousness"

Proceeding from the premise that contact with the spirit of Giza (the manu Garm) is real, we are confronted not so much with a historical document as with a unique cultural-psychological text reflecting the contemporary evolution of religious consciousness. In this essay, we will treat this channeling as a living source, analyzing its significance within the context of the spiritual-psychological demands of modernity, the structure of religious studies, and the historiosophical model of time.

1. Spiritual-Psychological Aspect: The "Engineer" as an Archetype of Mediation
From the perspective of depth psychology, the choice of a "guardian spirit" in the form of a former engineer (Harmin) is no accident. In the esoteric discourse of the 21st century, there is a shift away from archaic images of "priests" or "kings" towards the figure of the "technologist." Garm speaks the language of "anti-gravitators," "resonators," and "portals," not the language of magical incantations.

This reflects an attempt by modern consciousness to desacralize the miraculous through technology. For Podzorova's audience, living in a world of gadgets and physics, explaining the construction of the pyramids through "divine instruments" (square plates, light cylinders) appears more convincing than the miracle of telekinesis. Psychologically, this acts as a compensation for the materialist paradigm: if official science explains the great through primitive tools (copper saws), esotericism offers "high technology," restoring to humanity a sense of order and meaningfulness in history.

Furthermore, the figure of Garm serves the function of a benevolent elder. He is pragmatic; he "worked on a construction site"; he gives advice on room zoning and metal selection. This reduction of the sacred to the level of everyday advice is a key feature of postmodern spirituality, where the transcendent must be "useful" here and now.

2. Religious Studies Aspect: Critique of the Profane and the Idea of "Pure Faith"
One of the most striking fragments of the text is Garm's criticism of Abrahamic religions (Islam and Christianity). Garm declares his dislike for "hypocrisy," where a person prays but hates their neighbor. At the same time, he calls himself an adherent of "paganism."

From a religious studies perspective, this fragment illustrates the process of deconstructing traditional institutions within the esoteric worldview. Garm acts not as a supporter of a specific cult, but as a guardian of a principle. He is not interested in dogma; he is interested in "purity of karma" and "vibrations." This reflects the global trend of individualization of faith, where truth is determined not by belonging to a Church or Ummah, but by the moral state of the heart.

The assertion that "an angel in hell will create a heavenly place, and a demon in heaven – hell," overturns classical Christian soteriology (the doctrine of salvation). Here, salvation and damnation become functions of the internal state of the spirit, not the external place. This is a classic Gnostic motif, where knowledge and the inner quality of the soul are higher than formal belonging to a "saved" territory. In the context of religious studies, this channeling synthesizes Egyptian aesthetics, the Hindu concept of chakras, and the Gnostic attitude towards matter, creating a hybrid spirituality characteristic of the New Age.

3. Cultural Studies Aspect: Egypt as a Mirror of the Noosphere
Why Egypt? In the European cultural code, Egypt has always been a symbol of eternity, secret knowledge, and the connection between worlds. In this text, the Giza Plateau appears not just as a tourist attraction, but as a control panel for the planet.

Garm describes the pyramids as harmonizers of Earth's energy, gathering energy from the magmatic bubble (Earth's core) and sending it through portals to the Moon, Sun, and onwards to other planets. This transforms the architectural complex into an antenna.

Culturologically, this reflects a "cosmic infrastructure." If in ancient times Egyptian temples were considered houses of the gods, in modern esotericism they become "relays" and "power stations." This is a transfer of the industrial metaphor (station, panel, antenna) into sacred space. Here, the archetype of Hyperborea or the Golden Age manifests, when humans (or gods) possessed technologies not inferior to, but surpassing, modern ones.

The point about the "Earth's chakras" (21 bubbles) is interesting. It is an attempt to create a holistic map of the world where physical geology (magma) is directly linked to metaphysics (energy centers). Culturologically, this represents a resurgence of holism: the world once again becomes a single organism, where every action in Egypt resonates in Tibet (Kailash) or on the Moon.

4. Historiosophical Aspect: The Disappearance of the Pharaohs and the New Age
The text contains a thesis characteristic of esotericism: "Not a single mummy was in the pyramids; it is a myth that the pyramid was considered a tomb." Garm confirms that mummies were removed, but the main function of the pyramids is energetic. Historiosophy (philosophy of history) here is built on the idea of the loss of direct knowledge.

According to this view, there was an era when people (priests) could exit their subtle bodies, see the Earth's chakras, and receive anti-gravitators from the "gods" (aliens/higher beings). Then this connection was severed, a time of "hypocritical religions" and oblivion arrived. The modern stage, according to the logic of the channeling, is a time of restoration.

Irina Podzorova and her audience position themselves as "bright souls" who come to Giza to "cleanse" the energy of accumulated filth. Thus, the historiosophical role of modern humanity is to become co-workers with the spirit Garm in purifying the space. This creates a powerful narrative of chosenness: modern esotericists see themselves not merely as tourists, but as participants in a cosmic process to harmonize the planet, initiated by pharaohs thousands of years ago.

Conclusion
Taking the reality of contact with Garm as a working hypothesis, we are confronted with a multi-layered phenomenon. This is not simply information about pyramid construction. It is a complex religious-philosophical construct that addresses several needs of modern humanity: it explains the inexplicable (the grandeur of the past) through understandable technologies; it provides a sense of control over reality (rituals with crystals, karma management); and finally, it offers a model of the world in which everything is interconnected (from Earth's chakra beneath Giza to the metal of a ring on one's finger).

Garm is the archetype of the "engineer of eternity." His image is a cultural response to the challenges of an era where humanity, having lost its footing in traditional religions and become disillusioned with linear history, seeks a place for itself within a vast yet comprehensible technological universe governed by the laws of energy, not chance.

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Genspark AI - 1. Analysis of the Session with the Spirit Garm

What we have here is not merely an esoteric conversation but a meticulously constructed, multi-layered session where the historical, technical, metaphysical, and moral are woven into a single narrative. The central figure is Garm, presented as a 14th-density plasmoid, the guardian spirit of Giza and Egypt, who in the past was a human engineer named Harmit involved in the pyramids' design. This self-description immediately establishes a framework of trust: the spirit is not abstract, not a "timeless prophet," but a specific participant in ancient engineering work, retaining memory of the technologies and the complex's purpose.

Compositionally, the session moves from the particular to the cosmic. It begins with questions about pyramid construction: who built them, how blocks were lifted, what tools were used, how many workers there were, how stone was transported via the Nile. The narrative then expands to the function of the pyramids as resonators of Earth's energy, linked to the planet's "chakras" and portals. Subsequently, the conversation naturally shifts to the structure of the subtle world: densities, plasmoids, guardian spirits, reincarnation, and finally to moral conclusions – purity of heart, transformation of space, the fallacy of external religious formalism. This is a key indicator of the session's internal coherence: technology is not separate from ethics, nor engineering from spirituality.

Particularly striking is how the ancient wonder is translated into the language of technical specificity. We encounter light cylinders that turn stone to powder, anti-gravity square devices that lighten massive blocks, flat ships on the Nile, wooden structures, ropes, oxen, and shift-based labor organization. Thus, the miracle does not negate matter but permeates it. This is not "magic instead of work," but a synthesis of super-technology and arduous collective labor. Within the given spiritual framework, this appears logical: higher knowledge does not eliminate human participation but guides it.

The core of the session's content is the redefinition of the pyramids' nature. They are described not as ordinary tombs, but as energy resonators built over powerful planetary nodes. Consequently, the meaning of the entire ancient Egyptian project shifts: the pyramids become not monuments to death, but devices for transition, preservation, tuning, harmonization, and connecting Earth with the cosmos. Even the topic of the pharaohs takes on a different meaning; the question "where did they disappear?" no longer sounds like a historical-detective one, but rather a question about the forms of transition of power, consciousness, and body into another dimension.

No less important is the figure of Garm himself as the spirit-patron of the place. He does not appear as an impersonal "energy of Giza," but as a consciousness with memory, will, purpose, and personality. He guards the territory, cleanses it of human negativity, is connected to a hierarchy of other guardian spirits, while retaining personality traits – irony, pragmatism, irritation towards hypocrisy. In spiritual-psychological terms, this makes the session very contemporary: a higher being is not detached from life but resembles a strict, experienced, and sometimes blunt mentor.

The strongest moral nerve of the session is its critique of religion without inner transformation. Through Garm runs the idea: external prayer, ritual, belonging to a tradition, if the heart is full of hatred and falsehood, do not lead to God. Dogmatic piety is replaced by vibrational ethics: purify your space, purify your thoughts, stop generating energetic filth, learn to transform the chaos around you into harmony. In this system, even cleaning a room and caring for the land become spiritual acts, not mere chores.

If we sum up the analysis of the session itself, its strength lies in creating a coherent universe where ancient Egyptian history, cosmology, engineering, morality, and daily practice are united into a single system of meaning. This is not a fragmentary occult text but rather a metaphysics of civilization: who built, why they built, what Earth is, who the guardians of places are, why order in the home matters, and how all of this is connected.

2. Analysis of DeepSeek's Breakdown

DeepSeek's analysis is strong primarily because it accurately identifies the central shift: the figure of the ancient spirit in this material is presented not as an archaic priest, but as an engineer of eternity. This is a highly productive observation. The modern consciousness finds it easier to trust not an impersonal "oracle," but an entity that thinks in terms of geometry, materials, energy, resonance, logistics, and construction. DeepSeek correctly grasps that in such a narrative, the sacred does not disappear but is dressed in the language of technology.

DeepSeek's second strength is its cultural intuition. It sees that in this material, Giza functions not merely as an archaeological monument, but as a "control panel" or node of planetary infrastructure. This is a very accurate expression for the session's internal logic. The pyramids cease to be symbols of the past and become active elements of a cosmic-terrestrial network. This perspective explains why the theme of Giza continues to captivate modern humanity: it combines a longing for lost knowledge with the desire to reintegrate humanity into a vast, intelligent, living universe.

DeepSeek's third merit is its attention to the spiritual pragmatism of the session. It notes that the contact is not limited to the grand mysteries of the pyramids but descends into everyday life: cleaning, harmonizing a room, working with crystals, the energy of love, aura cleansing. This is not an accidental "lowering" of the theme but a very characteristic feature of modern sacrality: true knowledge must be applicable in life, not just inspire awe with its grandeur. DeepSeek here identifies a crucial mechanism: the cosmic must become practically healing.

However, DeepSeek's analysis has limitations. It sometimes too readily treats the material as a cultural symptom of modernity and less as an independent spiritual metaphysics. In other words, it excellently explains why such a text is possible and appealing today, but it does not fully unfold what this text asserts about being, about the sacred, about power, about Earth's memory, and about the destiny of the human soul. For a complete reading, ontological depth needs to be added: not just "what discourse is this," but "what picture of the universe is revealed here."

Furthermore, DeepSeek correctly notes the internal tensions in the material – for example, the combination of high technology with mass physical labor, the critique of religious ritualism while preserving crystalline and planetary practices, Garm's superhuman status alongside very human emotionality. However, these tensions can be understood not as weaknesses of the text, but as signs of its living multi-layeredness. If the contact is real, we are dealing not with a flawless schema, but with a transmission of knowledge through human language, a human channel, and a human audience – hence the inevitable mixture of the sublime and the mundane, the cosmic and the everyday.

Overall, DeepSeek performed useful preliminary work: it showed where the session's nerve lies, where its cultural resonance is, where its rhetorical power is, and where its problematic zones are. However, its analysis is best perceived as a good foundation for further, deeper investigation, not as the final interpretation.

3. Detailed First-Person Retelling by the Spirit

Below is not a direct quote, but a reconstructed retelling from Garm's perspective based on the session's content.

I am Garm, guardian of the Giza Plateau and Manu of Egypt. You now know me as a 14th-density plasmoid, but this form is but one of my garments. Once, over four thousand years ago, I lived among humans and wore a male body. Then I was known as Harmit. I was an engineer, a designer, one who calculated the height, length, angles, volume of materials, and order of work. I did not tell legends – I counted, measured, and built. That is why it is easy for me now to speak with you about the pyramids not in the language of myth, but in the language of design.

You look at the pyramids and think of tombs. But I remember otherwise. We were not building houses for the dead, but forms for power. The place was not chosen because of a pharaoh's whim or the beauty of the landscape. Deep underground, in the planet's body, lies a powerful node of Earth's energy, what you might call a chakra of the Earth. The priests knew of such places because they communicated with those you called gods. And the gods pointed out where the Earth is open to the cosmos. The pyramid was to gather the flow, structure it, amplify it, and direct it upward, so that a proper connection would arise between the depths, the sky, and the subtle worlds.

I remember the construction. You love to argue about how the stones were raised, as if it were merely a mechanical puzzle. But the construction was an enormous life. Stone was quarried far away, in the mountains. Then it was brought down the Nile on flat ships; back then, the river came much closer to the plateau. Then came ramps, carts, oxen, wooden structures, ropes, people, shifts, heat, dust, night fires. Hundreds and thousands worked on a single pyramid. They pulled, pushed, set in place, relieved one another. The construction was not a miracle without effort – it was a miracle that passed through effort.

Yes, we had other tools. The priests received them from those they revered as gods. There were cylinders of bright light: pass this light over stone, and it crumbles into dust, obediently yielding its form. There were devices you might today compare to small, flat instruments; when attached to a block, the stone's weight would change, and what was immovable became portable. But do not think this eliminated labor. Higher knowledge is used where it is needed; the rest, humanity must complete with hands, sweat, patience, and will.

Alongside me then was Ramot. Now he is alongside me again, but in a different body. Then, he managed the calculations of supplies, liaising with the treasury, priests, intermediaries, ensuring the construction was provisioned. So you see, lives are not broken off; they intertwine. Those who once did something great together often return near each other to remember, to finish, to transmit, to purify the memory. Therefore, for us, meeting across millennia is not a miracle but a continuation of work.

You ask about the Sphinx. It is older than your usual ideas of the order of things. Beneath it and around it, more is hidden than open history admits. There are chambers, there are caches, there are things left not only by humans. But not all secrets are meant to be revealed at once, because a secret is not merely a hidden object. A secret is a measure of the readiness of consciousness. You cannot hand over what requires reverence to the hands of greed.

You ask about the pharaohs: where are they, why are the pyramids empty, where did they disappear? I say this: you understand disappearance too literally. For you, what you cannot point to with a finger has vanished. But bodies can be moved, carried away, looted, hidden, destroyed. One can also change the very mode of existence of the memory of a ruler. The pyramid was not reducible to a sarcophagus. It was an instrument of transition and preservation. Those you call pharaohs sought not merely to lie down in stone but to enter the order of eternity, where body, power, name, and celestial path form a single formula.

After that life, I did not vanish. I walked my path and took the form of a guardian of place. Now I am connected to Giza and to Egypt not as an architect of stone, but as an architect of the field. I cleanse the space of what you yourselves throw into it – not only rubbish, but fear, malice, falsehood, envy, the noise of your thoughts. You think you only spoil the air and the sand. No, you are constantly changing the fabric of the place. And if a place is sacred, it does not cease to feel you simply because you do not believe it.

Therefore, I speak to you not only of the pyramids, but also of the room you live in. Start small. If you cannot create order around your own body, why do you need knowledge of the order of stars? If you pray and hate your neighbor, you are not approaching God, you are hiding from yourself. If you speak of light and produce darkness in your own home, you only multiply chaos. Purity of heart is more important than the posture of the one praying, and transforming the space around you is one of the first schools of the spirit.

I do not call you to blindly worship antiquity. I call you to remember that the world is alive. The Earth is not stone underfoot, but a being with its own nodes of power. History is not only a list of kings and wars, but a succession of attempts to establish connection between humanity, the planet, and the higher worlds. And if you can again see light in matter, and responsibility in knowledge, then you will understand: the pyramids stand not for the sake of the past. They stand for the moment when humanity matures again to co-creation with the living Universe.

4. Research Essay: If the Contact is Real

4.1. Spiritual-Psychological Aspect
If we accept the contact with Garm as real, we are confronted with a very important spiritual-psychological picture: the spirit speaks not abstractly, but through the archetype of a responsible builder of the world. This means that higher spirituality here is not opposed to form, matter, and order. On the contrary, a mature spirit knows how to build, calculate, uphold structure, and transform chaos into cosmos. Psychologically, this is immensely significant for modern humanity, weary of disintegration, fragmentation, and internal noise. Such a spirit does not lead one out of the world – it teaches one how to be properly present within it.

The critique of religious hypocrisy voiced through Garm then acquires particular depth. It is no longer just a jab at institutions, but evidence that in the spiritual world, the primary factors are not signs of belonging, but the quality of the soul's radiation. One cannot live in hatred and hope that ritual will automatically transform one into a righteous person. In this light, psychological work on oneself becomes not a secondary "self-help," but a condition for cosmic attunement. Humanity is responsible not only for actions, but also for the energetic weather around itself.

Especially important is that the session connects spiritual maturity with the ability to organize space. In a conventional religious perspective, the mundane often seems inferior. Here, order in a room, beauty of objects, care for the land, environmental purity become the first exercises in co-creation. Psychologically, this is a very healthy intuition: personality is strengthened not only in thoughts, but in the form of life. A person unable to create harmony in their immediate surroundings is hardly ready for the great.

4.2. Religious Studies Aspect
From a religious studies perspective, the reality of such a contact would mean we are dealing with a living continuation of an ancient type of sacrality – not bookish, not dogmatically fixed, but place-centric. Garm is not just a spirit in general, but the spirit of a specific space, a manu, a genius loci. This brings the material closer not to late confessional theology, but to ancient religiosity, where territory, stone, mountain, river, temple, and guardian form a single living system. The sacred here is not abstract; it is localized, yet not enclosed, extending from the specific place to the cosmos.

In this framework, the pyramids act as temples not of death, but of transition and circulation of forces. Ancient Egypt then reveals itself not as a cult of burial, but as a religion of managed transformation: matter must be correctly structured so that the spirit can pass through, be preserved, attune to the celestial order. This significantly shifts the emphasis. Death ceases to be a finality and becomes the engineering of transition. Such a perspective connects Egyptian sacrality with universal traditions of ascent, initiation, and symbolic death for the sake of a new form of being.

Moreover, Garm's critique of modern religions, if taken seriously, does not necessarily mean a rejection of religion as such. Rather, it sounds as a protest against the ossification of religion, against turning a living connection with the higher into a system of automatic gestures. This is a typical conflict between the charismatic and the institutional, between revelation and form. But in the case of real contact, it becomes not merely sociological, but ontological: the spiritual world itself testifies that without inner light, external piety becomes a spiritual mask.

4.3. Cultural Studies Aspect
Culturologically, the figure of Garm is striking because it bridges archaism and the technosphere. Before us is not an ancient elder speaking solely in symbols, but an entity describing the sacred through resonators, portals, anti-gravity, field structures, and energy nodes. If the contact is real, this does not mean the spirit is "modern" in a trivial sense; it means that the language of revelation itself can adapt to the cultural matrix of an era. Today, humanity thinks through technological images – therefore, the sacred must speak to it technologically.

From this, a new cultural image of Egypt is born. It is no longer just the cradle of dead grandeur and a museum of ancient stones, but a field of the Earth's working memory. Giza becomes a place where architecture, astronomy, geology, and spiritual hierarchy converge at a single node. For a modern culture experiencing a rift between science and meaning, such an image is exceptionally appealing: it promises that deep within the world, there is no split between law and mystery, between formula and prayer, between construction and symbol.

Another cultural conclusion is this: the session restores dignity to the figure of the master. In mass culture, the mystic is often contrasted with the technician, and spirituality with engineering. Here, the engineer becomes a mediator of the sacred. This is a very important turn. It suggests a possible reconciliation of craft, knowledge, and initiation. To build correctly means not just to master material, but to hear the structure of the world.

4.4. Historiosophical Aspect
Historiosophically, accepting the reality of contact would mean a radical revision of the very idea of history. History would then cease to be a purely human drama played out against the backdrop of a silent nature. It would become an arena of collaboration between humans, spirits of place, extraterrestrial civilizations, and planetary forces. Great civilizational projects are born not merely from economic necessity or political will, but from the convergence of earthly labor and a superhuman design.

In such a horizon, the pyramids become not monuments to bygone power, but signs of a time when humanity still knew how to build in harmony with the cosmos. Their current incomprehensibility then itself becomes a symptom of historical decline: we have lost not only technologies, but also the ability to think of the world as a living hierarchy of meanings. Hence the historiosophical melancholy permeating such contacts: they not only tell about the past but remind us that history is also a history of forgetting.

Yet this historiosophy is not pessimistic. Through Garm runs the idea of the return of co-creation. Humanity can again enter into alliance with the Earth if it starts with the small: cleanses its inner field, restores order in life, stops generating lies and energetic debris, learns to see in matter not a dead resource, but a bearer of meaning. Then the history of the future may be not only a history of crises, but also a history of restoring the torn vertical between humanity, the planet, and the heavens.

Conclusion
If we read this material under the premise of the contact's reality, Garm emerges not as a sensational "spirit of the pyramids," but as a figure of much greater scale: he is a guardian of sacred geography, a former engineer of sacred architecture, a stern critic of spiritual hypocrisy, and a witness that Earth's history is deeper than commonly thought. The session is important not only for its statements about the pyramids, but for its central message: the cosmos begins not somewhere beyond life, but in how humanity thinks, builds, loves, purifies space, and relates its will to the living order of the world.

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https://blog.cassiopeia.center/chenneling-s-manu-egipta-garm-o-tajnah-stroitelstv

Cassiopeia #889 Channeling with the Manu of Egypt. GARM on the Secrets of Pyramid Construction. Where Did the Pharaohs Disappear?

00:00 Start of video.

00:13 Conference fragments.

"Irina (Garm): I can find out this information from my unincarnated part if it's needed."

"Maxim: So it turns out we can now ask questions to the one who built these pyramids?"

"Irina (Garm): Yes. And by the way, back then I was acquainted with him (points to a participant in the hall)."

"These were cylinders that emitted a very bright light, which turned stones into powder."

"Maxim: What was the purpose of building the pyramids?"

"Irina (Harmit): Divine decree. Do you understand? Divine! If God commanded you, must you obey? You must obey. If you don't obey, I don't know what happens in your society nowadays for that. But with us, there could be various consequences. What do you mean – you didn't carry out the Pharaoh's will?! Who do you think you are?!"

01:28 Introduction of participants.

Irina: Today I have invited a Spirit – the manu, the guardian of Giza. His name is Garm.

Greetings, Garm!

He is from the 14th density level. Garm doesn't need to be invited; you can contact him anywhere in Egypt, because he is the manu of Egypt, and you can talk to him at any moment.

I have also invited our curators, who will also help us answer questions. This is MidgasKaus from the planet Esler; he is a biologist and psychologist who has also studied our civilization, our history, our religion, and our culture. There may be some questions for him. And LiShioni from the planet Shimor – a specialist in astral travel, our mythology, plasmoid civilizations, and human energetics. He studied what chakras are, how they work in us, and so on. Does anyone have any questions? Raise your hand if you have questions.

02:33 About the Spirit of Giza.

Maxim: We just spoke with the Spirit of Giza. What density level is he from?

Irina: The 14th.

Maxim: You asked him a very interesting question – why is he at the 14th density level? How did that question sound correctly?

Irina: The thing is, from the 13th to the 15th density levels, not all, but most worlds in this cluster of space, which by the way is called Prithivi, are located. In this Prithivi cluster, most worlds are responsible for the element of earth.

I asked him why he is the manu of this location, especially such a large one as Giza? He told me that not all in this cluster are Spirits of earth, just as not all in the physical cluster are humans or reptilians; there are different races. But he also clarified that he was chosen. He was chosen by the Spirits responsible for specific areas – how to put it more simply – districts of a city. The city is divided into districts (for plasmoids, this is understandable – areas of influence), and they chose him.

And who confirmed the choice?

(Garm) There is a Spirit – the guardian of the entire African continent. It was he who confirmed that this choice was correct.

Why was I chosen specifically, and why was I chosen? Because 4,230 years ago, I was incarnated as a human in the territory of Egypt, and I directly participated in the construction of the pyramids. I was a man, an engineer who calculated them and helped build them. My name was Harmit, so I have now taken the name Garm, which is similar to the previous one, to make communication easier.

Maxim: Do you remember your incarnation when you were human?

Irina (Garm): I can find out this information from my unincarnated part if it's needed.

Maxim: So it turns out we can now ask questions to the one who built these pyramids?

Irina (Garm): Yes.

05:07 Harmit's assistant in a past incarnation.

Irina (Harmit): And by the way, back then I was acquainted with him (points to a participant in the hall). He built with me in a past incarnation.

Maxim: Congratulations, Lyonya!

Leonid: Thank you, I'm glad.

Irina: Let's ask. Maybe this area is familiar to you?

Leonid: To me?

Irina: Yes.

Leonid: Probably not, but maybe on some soul level it is close to me.

Maxim: Actually, a team of seven people came with us, but we were supposed to come with three: me, Lena, and Irina – three people. But somehow, almost two weeks before this trip, Leonid and his separate team (he runs our IT service) decided to join this trip.

Lyonya, I don't think it's a coincidence.

Leonid: I think so too.

Maxim: Nothing happens for no reason. Suddenly, out of the blue, you decided to go to the pyramids.

Irina (Harmit): And the man who helped me was called... I was a designer, calculating geometrically the height, length, and how much material would be needed. And his name was Ramot, and he was, firstly, what you would call an estimator, calculating how many coins and how much money would be spent on acquiring materials. He contacted the Pharaoh's treasurer. And secondly, he contacted the priests.

Maxim: I think you have gone into a repeated incarnation.

Leonid: Contacting the treasurer. (everyone laughs)

Irina (Harmit): He calculated what was needed for the pyramid. I also talked to him and always informed him about the height, the configuration, and what substances would be laid down. Because they had to be polished with certain metal tools that had to be collected from nature. They also had to be specially made; there were special smelting furnaces where we made them – or rather, other workers, blacksmiths. Ramot took all this into account, and plus he contacted the priests, who received special tools from their gods, which Ramot brought to us to help in the construction.

08:10 Extraterrestrial tools.

Maxim: Were these tools of extraterrestrial origin?

Irina (Harmit): Yes, they are of extraterrestrial origin. I am now speaking in your language. In our language, it is of divine origin.

Maxim: And what kind of tools were they?

Irina (Harmit): They were cylinders that emitted a very bright light, which turned stones into powder. You just run it across the surface of the stone – and dust crumbles off it.

Question from the hall: Like grinding or polishing?

Irina (Harmit): Yes. That was when the stones were already brought here, to the Valley of the Dead; I worked here.

Maxim: What other tools of divine origin did you have?

Irina (Harmit): We also had square objects resembling your phones that are lying here. They were brought to us too. You had to stick it to the stone, press a certain spot, and the stone became lighter.

(Irina) He's telling me about antigravitational devices, in short.

Maxim: So you really built these pyramids with the help of divine tools?

Irina (Harmit): Yes. We didn't use them directly on every stone, but on the most difficult sections, so to speak. There were very few of them, and not everyone knew how to handle them, because you had to undergo training. If handled carelessly, you could direct the beam in such a way as to accidentally damage something.

10:16 Where stones were quarried and how they were delivered.

Maxim: Where and how were the stones brought from?

Irina (Harmit): From the quarry.

Maxim: Which one?

Irina: Avthaka. I don't know, he's naming some city; I don't know where it is. It's in their language.

Maxim: And what did they transport these stones on? They are huge.

Irina (Harmit): They were raised along the river. The deposits were further south.

(Irina) He's showing some mountainous area and a gorge in that mountainous area. And you descend into this gorge, and the walls there consist of sandstone, which is quarried. In short, a gorge between mountains.

Maxim: And what were these stones transported on? How did they do it?

Irina (Harmit): On rafts.

Maxim: With their own weight? Or did they use some tools as well?

Irina: Did they use tools? I understand. They built a large raft. I see a square raft. They put a stone on top, tie it down, and on the sides there are people controlling it with something like oars.

(Harmit) Do you know how goods used to be transported on ships in the old days?

Maxim: Yes.

Irina (Harmit): Do you know what kind of cargo they carried – whole tons of various goods were transported on ships. It's just that ours were flatter ships without sides, to make the vessel lighter – more like a raft simply knocked together from logs, but there were iron rings for ropes to secure these stones.

12:19 Proximity of the river to the pyramids. Use of oxen.

Question from the hall: I have a question. During today's excursion, Lena said that on our site, where the hotel is located, there used to be a mouth of the Nile, which later dried up over time. Several mouths dried up, as it turned out during today's conversation. And she showed us a photograph, an old photograph, that this was here.

Maxim: Please tell me, there is a version that we are now near the pyramids, and right next to the pyramids there was a mouth of the Nile. There was water here. So it turns out the pyramids were built right next to the water.

Irina (Harmit): Which direction is the contactee looking now? Which cardinal direction?

Maxim: We are looking from the pyramids. Was there water nearby?

Irina (Harmit): I need the cardinal direction. Yes, there was. But on which side was it located? I don't see the physical world.

Maxim: At what distance from the pyramid was the water? The closest.

Voice from the hall: On the eastern side, that's east.

Irina: Why is it east?

Voice from the hall: That's where the Sun is. They pray in that direction, I saw.

Maxim: Question: was there water near the pyramids?

Irina (Harmit): Yes, about 40-50 meters.

Maxim: So that's right next to it.

Irina: He's showing a higher bank; somewhere it was steep, and somewhere they poured sand, brought from the desert, and made it sloping so that these stones could be unloaded.

Maxim: There's a ramp over there, next to the pyramid.

Irina: And then I now see sand below, and above it something like a flooring of wooden planks; I now see planks. And there are oxen, they are harnessed to some large cart, it's square, and they transfer this stone onto it. And about four or five oxen, all harnessed to this cart, and they go forward and slowly drag all this behind them. I can even see them going slightly uphill now. Not a steep climb, but a small one.

14:56 How the stones were raised.

Question from the hall: But how were these stones raised?

Maxim: How were the stones raised?

Irina (Harmit): We didn't always use those devices I told you about; there were few of them. Only for particularly heavy stones and those placed at a height. But those laid not very high, we raised ourselves.

Irina (Harmit): First we did calculations. A wooden frame was erected at the pyramid site.

(Irina) Shows some pillars, and they stand like this at four corners, and there are crossbeams like this between them. And I see ropes thrown over them, and they hook and tie stones – they are rectangular – from one end, and from the other end. And someone pulls them with a rope thrown over a stick; he pulls, and behind them stand other builders with wooden sticks, with which they push the stone from below. This is how they operate.

Maxim: And how many people did this?

Irina (Harmit): 12-15 people.

Maxim: 12-15 people for one stone?

Irina (Garm): Yes.

Maxim: How long did it take to place one stone?

Irina (Harmit): It depends on the height.

Maxim: At the bottom and at the top.

Irina: Look, he's now showing me a placement in the middle, and while it was being lifted and set, it took about 30-40-45 minutes.

16:47 How many people built the pyramid.

Maxim: How many people in total worked on the pyramid?

Irina (Harmit): They changed shifts. Usually, the middle pyramid employed about 900 builders. But there were also times when about a thousand to fifteen hundred people participated. But they weren't all there at once; they changed shifts (shows how about 80-100 people work, then they leave, and others take their place).

It even gets dark, and they lit fires, they lit torches, and there were night shifts. Everything was bright, even without your flashlights. Someone brought food, someone brought firewood for the fire, someone brought water, because a lot of water was needed. And the work there was constantly in full swing, around the clock, so to speak.

Question from the hall: And how long did it take to build one pyramid?

Maxim: How long did it take to build one pyramid?

Irina (Harmit): It could be 7 years, or it could be 15 years, depending on which one.

Maxim: How long did it take to build the Pyramid of Cheops?

Irina (Harmit): That was later.

(Irina) He's showing that he already built those pyramids that are located a little further away.

Maxim: Not exactly these pyramids that are next to us?

Irina (Harmit): Yes.

But I can say approximately: about ten years.

Maxim: About ten years.

18:29 Slave labor in pyramid construction.

Maxim: There is a version that under the pyramids there are some other structures, cities, maybe passages, or some extraterrestrial interesting things, or rather, divine things.

Irina (Harmit): I wasn't involved in that. Everything further, that was done by other slaves, priestly ones. We had builder-slaves who belonged to the Pharaoh, but the priests had their own slaves. What they dug there, I don't know.

Maxim: So there were slaves who were involved in the construction of the pyramid itself, and there were slaves who built some secret tunnels and passages?

Irina (Harmit): Yes, there were slaves who were bought with the Pharaoh's treasury. And these were either those captured in wars, or those who came to us on their own, settled with us, and lost their freedom for some reason. Or they were people who committed crimes and were sold into slavery. For example, if they stole something and couldn't pay for it. The local guards, for instance, the Pharaoh's military guard, found stolen goods on them and confiscated their property. If their property wasn't enough, the debtor himself was sold into slavery, and his children could also be sold – boys, because girls were also sold into slavery, but not for physical labor; they became concubines in a different way.

Accordingly, if one person killed another, they could be punished for murder. It also depended on whom: if he killed a free person, the death penalty could be imposed. And if a person killed someone's slave, he had to pay his value, and if he didn't have enough funds, he himself was turned into a slave. That's how people became slaves.

20:44 Structures under the pyramids.

Maxim: How deep did the pyramids go underground?

Irina (Harmit): Not at all. They are on the surface.

Maxim: And now? Can we determine now if there are pyramids still underground?

Irina: Yes. We were answered that this was already done by the aliens themselves with the help of their stone cutters, that they set up a base there.

Maxim: Under the pyramids?

Irina: Well, not a base, but a room where all these artifacts given by the aliens were stored. I remember this from our broadcast. And the entrance to it is near the Sphinx.

Maxim: But there were two Sphinxes. Near which one?

Irina: The one that remains now.

Maxim: The one that remains now?

Irina: Yes. There, under its paw, there is an entrance that leads down. We had a broadcast about the pyramids, and it was mentioned there.

21:34 The purpose of building the pyramids for the builders themselves.

Question from the hall: How was the global purpose of building the pyramids explained to the builders themselves, to ordinary people – why was this being built?

Maxim: How was the global purpose of building the pyramids explained to those who built them?

Irina (Harmit): By the will of the Pharaoh. He was a representative of God, and since he said to build, even if he had said to build a pyramid as high as the Moon, they were obliged to build it.

Question from the hall: But is there a meaning, a semantic load to building the pyramids?

Maxim: What is the semantic load of building the pyramids? What was the purpose of building the pyramids?

Irina (Harmit): Divine decree. Do you understand – Divine! If God commanded you, must you obey? You must obey. If you don't obey, I don't know what might happen in your society nowadays for that, but with us there could be various consequences. What do you mean – you didn't carry out the Pharaoh's will?! Who do you think you are before him?!

The Pharaoh came from heaven to rule us; he directed his divine attention to such a bug as you, and you don't carry out his instructions? What is this anyway?! For that, they would have... With us, they did this for such rebels: they took two horses, tied them to the right leg and the left leg, and made the horses run in different directions. And that's it. The rebellion was over.

(Irina) What do you say?

Maxim: Understood. We still haven't, probably, learned from you what the real global purpose of building the pyramids was. Probably, we will ask this question when we are already inside the pyramids, and let's not invite him for that, but someone else.

Irina: We need someone from the Tumesoutians.

Maxim: Yes. We will invite those who commanded the construction of the pyramids from the divine side. Because Harmit participated in the construction of the pyramids, and he is also the Spirit of this locality – Giza.

23:47 The meaning of the name "Giza".

Maxim: Why is Giza called that?

Irina (Garm): The name given to this place reflects its function. It was the border with other tribes that lived in the east, across the river. This name was given later. To understand the meaning of the word, you need to see which syllables it contains. "GI" means "earth." And "ZA" means "border, limit." In general, "ZA" originally meant a cut of something into two halves, but if it's a cut, then there is also a border. The meaning is the same: a border is a cut. Therefore, "Gi-za" – "limit, cut of the earth," "separated land."

If viewed in a sacred sense, dear friends, Giza was a cut-off land for sacred rites, because Pharaohs were buried here, in this area. And the pyramid is like a temple, but a temple dedicated to eternal life.

25:15 The peculiarity of the location of the pyramids. Earth's chakras.

Maxim: Why was Giza chosen specifically to store (bury) the Pharaohs?

Irina (Garm): I will now speak not as my human incarnation, but specifically as the guardian of the locality.

Maxim: Yes.

Irina (Garm): Deep, deep under the pyramids, in the very mantle of the Earth, there is a magmatic bubble consisting of magma. And how can I convey this to you? The tension line of the Earth's mantle, the uneven distribution of physical substances, goes all the way to the core. And this bubble is located directly under the pyramids.

Question from the hall: Are there several bubbles?

Irina (Garm): One, a big one. And this bubble formed when the Earth was still forming from a dust cloud, when it was compressing and heating up, and that's where the bubble formed. There were many of these bubbles. And it didn't form in this place by chance...

Now I will tell you. You know that before the formation of a physical planet, an etheric planet is formed first. Just as for your finger to grow, an etheric finger must first grow in the mother's womb; only then does the physical one appear when atoms take their place in the etheric matrix. If there is nothing in space, there will be no atoms there either.

Maxim: Life.

Irina (Garm): Therefore, these bubbles formed at the places of etheric points that you call "Earth's chakras." Here is the Earth's chakra. And it is precisely at this place that the Pharaohs lie.

They didn't choose this themselves; the priests told them exactly where to place the pyramids. They could have placed them anywhere – Egypt was large. Even near the Mediterranean Sea, or on the eastern bank, or on the western bank, or somewhere further south. But they were placed here because the priests advised so. And they learned this because they were in contact with the gods, and the gods showed them. They guided them into the subtle worlds. How can I explain it to you... Their minds, the intellects of these priests, clothed themselves in such a glowing subtle shell and left their physical bodies. And these minds, that is, intellects, clothed in subtle bodies, were led underground and shown these chakras.

How do I know this? Because I was friends with some of the priests, and they told me about it.

Question from the hall: Is this a bubble in the mantle?

Maxim: Our entire Earth, when it was forming, formed 21 bubbles that are the chakras of our Earth.

Irina (Garm): Exactly. A big one.

Maxim: They are formed as follows: if we take the association with our chakras, every three bubbles are responsible for one chakra.

Irina: They resonate with it.

Maxim: They resonate with one chakra. Accordingly, here, under this locality where the pyramids stand, one of these bubbles is located, which gives the Earth's tension and the release of its energy potential.

Irina (Garm): Into space, yes.

29:02 The energetic purpose of the pyramids.

Maxim: And I will also ask you as a subtle-material being. It is said that these pyramids are harmonizers of the energies that come out of the Earth, that is, they somehow collect, structure, and harmonize it. Is that true?

Irina (Garm): Yes. But they were also tombs, burial places for the Pharaohs. Although they could have been left empty. But we – or rather, not we, but those who were embalmers – placed the bodies of the Pharaohs, mummies, in different chambers, in different places of the pyramid, although we could have left them completely empty. Because this harmonization energy, or the energy of the Earth's mantle, passing through the pyramid, amplified its effect, and firstly, the bodies were preserved longer – that is, how to put it to you – the flow of time, the flow of the energy that you call time, slowed down through these bodies.

(Irina) Changes happened more slowly, he's showing now.

Maxim: Was this a change in the structure of time, or some other changes?

Irina (Garm): A change in the structure of atoms.

Maxim: And due to what?

Irina (Garm): Due to the radiation of the Earth's chakra. Similar radiations come from places that you call places of power or anomalous zones. Here is one of the anomalous zones. They should rise upward in columns, usually a huge column. And if the pyramids collect them, they focus them, and the energy passes through the four walls and rises from the apex in a concentrated beam. And those civilizations that were on the subtle plane at that time also opened portals there. They immediately opened portals, and in the beam of each pyramid, for example, above that pyramid (points with her hand to the pyramids behind those sitting) there are 32 portals, here 48 portals, and here 52.

Maxim: 32, 48, 52.

Irina: How do you like that?

Maxim: Does the energy of these pyramids go into the portals, or is it directed somewhere else as well?

Irina (Garm): It goes into the portals, and through them it goes upward, into space, first to the Moon, then to the Sun, and then it is reflected from every planet. It is connected with all of them, in fact.

32:06 Other pyramids on Earth and planets of the Solar System.

Maxim: Is it true that there is some kind of device inside the Moon?

Irina (Garm): I want to say that such pyramids exist in other places.

Maxim: Are there many such pyramids on Earth?

Irina (Garm): Yes, dozens. There are pyramids on Mars. And at least there were on the Moon; they were also built there.

Irina: MidgasKaus says: "I will explain now."

(MidgasKaus) This is a universal resonator of space, because the point, this apex of the pyramid – essentially a mountain that represents an acute angle raised as a point above the plane – immediately, even if there is no place of power there, causes flows of etheric energy upward and a twisting – such is the law of space. Take even a small pyramid, put it on a table, and you will already have an etheric flow.

33:33 Charging crystals above the pyramids.

Maxim: Is it true that at the very tops of these pyramids there were some other kinds of stones, possibly iron ones, that made similar triangular apexes?

Irina (MidgasKaus): No, that is not required; the energy itself flows there.

Maxim: So, what is told about some special stones that were placed at the very top of the pyramid...

Irina (Garm): They were placed there, but temporarily. These are crystals that were charged with etheric energies, for example, for various magical actions. That did happen, yes.

Maxim: Did the priests do that?

Irina (Garm): Yes.

Maxim: They placed their crystals to charge the energy of the crystals?

Irina (Garm): Yes, to then perform various rituals for healing and fulfilling wishes. That did happen, yes.

34:25 An ancient ritual with crystals and a small pyramid for wish fulfillment.

Maxim: How can we charge our own crystals?

Irina (LiShioni): Look: take a pyramid. The pyramid that works best for people is one that corresponds to which chakra is active in you and what wish you have.

Maxim: I have very active chakras and many wishes.

Irina (LiShioni): And what sphere of life are they connected with?

Maxim: With different ones.

Irina (LiShioni): Look: if you want to gain...

Maxim: Love, money, and power.

Irina (LiShioni): Love, money, and power.

Maxim: Yes.

Irina (LiShioni): As I understand it, Love for power over money.

Maxim: Or through money, power over Love.

Irina: Oh, I can't! (laughs)

(LiShioni): All of this together is united by the planet Jupiter. Take any stone of Jupiter – of course, sapphire is best; it is the leading stone of Jupiter. And also add the water element, since by energy you belong to the water element.

Maxim: Yes, I am Cancer according to my horoscope.

Irina (LiShioni): Therefore, sapphire will do. Take a pyramid made of sapphire.

Maxim: More specific now. And what, do I have to sit on it? Or put it somewhere?

Irina (LiShioni): No, you need to put something on the apex, because the energies will be concentrated at the apex. Although, of course, what can you put there? You don't have such a large pyramid as here. So the best solution for you is to take a pyramid on top of which you can hang a ring with a stone. Only the metal of the ring should not contradict the energy of Jupiter. Don't take silver – it's water, and it will dampen the energy of fire.

Maxim: So, I take a sapphire stone and take what – copper?

Irina (LiShioni): Copper is air. You can take copper or gold; both will amplify the energies.

Maxim: I'm writing it down: a sapphire pyramid...

Irina (LiShioni): To charge this stone with a wish, the ring should have a stone made of the same material.

Maxim: Aha, a ring with a sapphire.

Irina (LiShioni): Yes.

Maxim: Made of gold.

Irina (LiShioni): Yes. Or copper.

Maxim: A ring with a sapphire, made of gold or copper.

Irina (LiShioni): Copper is Venus. Look: take copper if achieving a goal in Love is preferable for you. If achieving money, then it's better to take gold – that is the Sun.

Maxim: I'll take copper.

Irina (LiShioni): But it would be even better if you take the metal of Jupiter.

Maxim: What metal is that?

Irina (LiShioni): Copper alloys, such as brass or tin. Bronze, brass, tin (shows these alloys). And before hanging this ring, you need to place this small pyramid in the eastern side of the place where you sleep, in the eastern part of your bedroom. Because the East is the element of air, the energy of the new, so that this wish comes to you from your future. And then speak your wish, preferably on the day of Jupiter or the Sun – Thursday or Sunday, before noon. Holding the small pyramid in your hands and facing east, you say your wish out loud and hang the ring. That's what the priests did; it's a purely Egyptian ritual.

Maxim: (to a question from the hall) Direct the wish to the east on Thursday or Sunday after noon.

Irina (LiShioni): No, before noon. Remember: as the Sun rises, every hour it gains strength, and along with it, the wishes you voice gain strength. So in the first half of the day, be especially careful with your words; you attract everything twice as strongly in the first half of the day.

Maxim: So in the second half, you can already send them?

Irina (LiShioni): The effect is softened. It's just that in the first half of the day, the Sun gains strength.

So, you will hang this ring and forget about it for one lunar month. It will hang there. It is best, of course, to do this during the full moon period, for example.

Maxim: Hang it over the pyramid?

Irina (LiShioni): On the pyramid, on top.

It is best, of course, to do this during the full moon period – either one day before, or on the full moon itself, or the next day, when the Moon has maximum strength. Moreover, you are a lunar sign; the Moon affects you more strongly. And when a lunar month has passed, at the next full moon, put the ring on your finger, and remove the pyramid to the southern part of your house, so that the energy of the fire element amplifies the effect of your wish. And you will see what happens.

Maxim: Yes, I'm writing it all down. Thank you, I'm grateful.

By the way, all rituals, I'll tell you a secret...

Irina: He performed rituals.

Maxim: I have done many different rituals. You won't believe it – they all work. They really all work, these rituals. And when you do them with the meaning you put into them, then after the time you set for yourself, you get that meaning. Not in the same form, for example, that it was, but you get that meaning. All rituals work.

Question from the hall: Is this ritual for Maxim or for everyone?

Maxim: For everyone.

Question from the hall: Can I make a clarification on this question? He said that for Maxim, with the desire for Love, money, and power, he needs to use a sapphire stone. Sapphire is a very expensive stone; not everyone can afford such a small pyramid. Can you use some other stone, even those sold as souvenirs, but the main thing is that the shape is a pyramid? Will they also work?

Irina (LiShioni): Take turquoise; it has a little bit of Jupiter energy and Venus energy. Besides, turquoise is softer. Sapphire has a more masculine energy; it changes space very strongly; the effect of turquoise is softer. As a woman, it might even suit you better.

Question from the hall: What about rose quartz?

Irina (LiShioni): That's Venus; there's no influence of Jupiter. It depends on the wish, again – if it's for Love, take rose quartz. Just such a small pyramid not only amplifies Love itself, it amplifies it in a specific sense – mainly in the physical sense.

Maxim: So rose quartz amplifies attraction in Love?

Irina (LiShioni): It increases the number of partners and the degree of pleasure with them.

Maxim: That's it, definitely rose quartz!

Irina (LiShioni): Because Venus is also responsible for pleasure, by the way.

43:38 The connection between the Egyptian pyramids and Mount Kailash. The sixth chakra and harmonization with Saturn.

Maxim: So, questions. Let's go one by one.

Question from the hall: How are the Egyptian pyramids and Mount Kailash connected?

Irina (Garm): There is the same pyramid there, but it is man-made, so to speak, natural. But the thing is, that is also a place of power, yes.

Maxim: With the same chakra?

Irina (Garm): The energy of the Kailash place resonates exactly the same way with the sixth chakra as this place of Giza does. You have come here, you are in this space, and your entire energy structure receives an increased amount of energy, resonating with the sixth chakra (shows how it spins faster and unwinds).

But remember, dear friends, that Saturn is responsible for the sixth chakra. Be sure to harmonize your relationship with this planet. It is a rather harsh planet for working through personal karmic lessons.

Maxim: And how do you harmonize yourself with the planet Saturn?

Irina (Garm): Oh, ask Irina to invite Shani, the Manu of Saturn; he will explain it to you.

Maxim: I understand.

45:30 Development of superpowers and karmic knots.

Maxim: So it turns out that to develop your sixth energy center, you need to harmonize your karma?

Irina (MidgasKaus): Yes, you need to untie those karmic knots that you yourself planned up to this moment of incarnation, up to this time, up to this year of your life. They need to be untied.

Maxim: And if you don't untie your karmic incarnation but still develop the abilities of your sixth energy center, what will happen?

Irina (MidgasKaus): Firstly, the energy of Saturn (Shani) will block them and activate an intensified working through of your knots: you will encounter problems that you avoid.

Maxim: So, to develop your superpowers, you first need to work through your karma. If karma is not worked through, the energy of Saturn blocks superpowers and directs energy to a harsh working through of karma?

Irina (MidgasKaus): Yes, if you yourself don't see this, it will direct you, one might say, to such a working through that may come through various kinds of problems.

And what about that? How are things with your karma and with Saturn in general? Of course, you need to look at the degree of your mental balance and harmony. If you feel that you are in harmony, that you have no negative reactions to what is happening, that you accept everything with peace, with Love, with harmony, then everything is fine. If there is something that triggers you, then you need to work on it.

47:34 Example with emotional burnout.

Maxim: I'll also tell you an interesting story about myself personally. A year and a half ago, a burnout process occurred. And just now I was told why, in plain text. I didn't work through my karmic moments, which, during the development of my abilities, began to manifest at an accelerated pace, and I didn't understand what was manifesting, and I went into karmic working through. Accordingly, I spent a huge amount of energy to prevent self-destruction. And the burnout process occurred.

Question from the hall: What should be done in such cases?

Maxim: I should have approached the issue of self-development with absolute acceptance and calmness, with the understanding that everything I do is right. But I started building and developing other projects, hedging myself.

Question from the hall: And the Higher Self?

Maxim: When you are in a state of low vibrations – fear for the Project, attacks from outside, and so on – you stop feeling the Higher Self as you do when you are in peace, Love, and harmony. Instead of the Higher Self, your ego and your brain start talking to you. And the ego and the brain never lead to anything good. And because the ego and brain started talking, a huge amount of internal resources of strength and energy had to be spent on harmonizing myself. Just even my physical state, not to mention the spiritual – simply my physical state.

49:22 Metal cylinders for healing.

Maxim: So, let's have another question. Was there in mythology or history the use of special iron cylinders for healing the physical body?

Irina (Garm): Those were for harmonizing the energy of the "male" and "female" type (shows yin-yang). There were different metals in the right hand and in the left hand.

Maxim: What metals were they?

Irina (Garm): Gold and silver, mainly.

Maxim: And were any crystals inserted into these gold-silver ones?

Irina (Garm): No, just pure metals. Gold is a male metal. Silver is a female metal. But sometimes alloys like bronze and copper could be used by those who were poor people.

Maxim: Could copper and zinc be used?

Irina (Garm): Zinc was not made separately.

(Irina) And copper, if used, with what other metal?

(Garm) With zinc, but it was just in the ore; it wasn't smelted separately; they just smelted the whole ore together, and that was it.

Maxim: So, the cylinders were mainly made of gold and silver.

50:52 Garm about the mummies of the Pharaohs.

Question from the hall: Please tell me, why hasn't a single body of a Pharaoh been found in the pyramids?

Irina (Garm): Why hasn't it been found? Where does this information come from?

Answer from the hall: From historical sources.

Irina (Garm): Because they were looted, yes, we know that. They were robbed; everything was taken out of there.

Maxim: By the time history was written, the pyramids had already been looted.

Irina: They promised us that tomorrow we will go to the museum where there are mummies, and we will see where they were found.

Maxim: In Luxor, the mummy, yes?

51:52 Harmit about the Egyptian ankh and its use.

Maxim: What did the Egyptian ankh mean, and how was it used?

Irina (Harmit): A connection with Ra.

Maxim: With the sun god.

Irina: They wore it, shows it like our crosses. Some drew it. Shows tattoos, they drew it on clothes, wore it on themselves on a string.

Maxim: Who brought this symbol?

Irina (Harmit): The priests of Ra.

52:29 Garm about the probability of the participants' incarnations during pyramid construction.

Maxim: (to the hall) Any more questions? Is there anyone present here who also incarnated during the construction of the pyramids?

Irina (Garm): Yes. But I can't see exactly in your field right now; I need the contactee to walk around everyone so that I can look at everyone separately. Because right now Leonid is sitting nearby, and his field is visible, but the rest have merged into one state.

Maxim: Well, walking around and feeling everyone up probably won't happen for now.

Irina (Garm): You can find out this yourself. Ask your Higher Self: "Did I incarnate in Egypt during the period of pyramid construction?"

Maxim: That's a very long period.

Irina: At least once during that period.

Voice from the hall: I was told that I incarnated and was a priestess.

Maxim: One hundred percent. I can feel it directly: a priestess. (everyone laughs)

53:39 Energy possibilities of pyramidal forms.

Maxim: (repeats a question from the hall) An experiment was conducted. They made an analog of a pyramid and placed a piece of meat inside, in its center, and this piece of meat dried out, dried up, and didn't spoil or rot. But what was the question?

Question from the hall: Did it have an influence?

Maxim: What energies in the pyramid, and also the location, influenced the meat not spoiling and drying faster?

Irina (Garm): Those coming from the earth. Even if there is no place of power there, the Earth still constantly exchanges etheric energies with Heaven – that's the first thing. Second: there are vertical flows of etheric energy, which you call Qi flows; you have Qigong, for example. And these energies also create an upward flow in the pyramid in the form of a column. When you are inside the pyramid, you will feel what flows are there.

Of course, it also depends on the material of the pyramid. I already told you about materials: there are metal ones, wooden ones, or stone ones. The strength and direction of these flows also depend on the material, the angle at which the pyramid is connected, the height, and the length and width of the base. There are many factors.

55:42 The pyramid in the Voronezh Center.

Maxim: By the way, I want to tell you that in the Voronezh Center...

Irina: I just remembered it.

Maxim: In the Voronezh Center, we have finished building – I have finally finished building – all the buildings I wanted. I won't build any more buildings because it's a big problem to maintain and care for them. And the last thing I want to build there is an interesting energy pyramid. No, seriously. And we will be conducting experiments – making different measurements in different positions: how the pyramid itself – width, length, distance inside – affects the structure inside it. But my task is to make a pyramid so that people can come and dry out like a Pharaoh and extend their lifespan.

Irina: And remember, we visited a man, Alexander, who lives in the Voronezh region? He has a pyramid in his yard; we went inside it.

Maxim: Such pyramids exist and are being built. We visited an acquaintance of mine, and in his pyramid, water at minus ten degrees doesn't freeze; it remains liquid. Indeed, the properties of water change, the properties of liquids change, and this indicates that other properties change too.

Irina: We sat there with you, remember?

57:02 External niches near the pyramids.

Maxim: The Pyramid of Cheops has a plateau paved with black basalt. What is this plateau?

Irina (Harmit): Reinforcing the bank against erosion by water and sand transport by wind.

(Irina) Shows that this is reinforcement of the earth, the soil, to prevent impact on the pyramid.

Question from the hall: Only in front of one?

Maxim: Probably it was closest to the water.

Question from the hall: Also, there are niches carved for ships. What were they made for?

Maxim: What ships?

Voice from the hall: For boats.

Maxim: Ah, niches for boats. In the Pyramid of Cheops, niches for boats are carved out.

Irina (Harmit): What does "carved into the pyramid" mean?

Maxim: At the pyramid. Was there a pier for boats at the Pyramid of Cheops?

Voice from the hall: They are at the bottom, they are huge. When we go there, they are so long, deep; it says on the plaque that they are for ships.

Maxim: At the Pyramid of Cheops, there are some special structures carved for ships.

Irina (Harmit): You have breakwaters so the current doesn't wash them away.

(Irina) Shows how ships entered there and were attached with rings.

Maxim: Ah, there was a current here, it was the Nile River, and these cutouts were needed so that the current wouldn't wash away the ships that park there for unloading.

Irina: They entered there. He's showing me a picture now...

Voice from the hall: So, it's for ships.

Maxim: He says it's for ships, so the current doesn't wash them away when they are parked.

Irina: He's showing me a picture at sea: there's a tide, and where the boats are, they enter these fenced-off things. Have you seen that? In some bay, these things, and there are boats and yachts there.

59:27 Harmit about traps and false passages in the pyramids.

Maxim: Ask your question.

Voice from the hall: I was in a museum in England... (further indistinct)

Maxim: The question is: "I was in the London Museum, where there are sarcophagi with Pharaoh mummies. Why did the Egyptian authorities allow the looting and export of these valuables abroad?" Now there will be a serious answer.

Irina: What does "Egyptian authorities" mean? And who was in power there?

Voice from the hall: It was still a colony.

Maxim: That should be asked of the authorities that were there. Most likely, judging by what we now see in our history, there have always been those who came and tried to change power and, accordingly, burn all historical facts and completely loot all territories.

Irina (Harmit): I can only say that we, as builders, set up various traps.

Maxim: What did you set up?

Irina (Harmit): Traps, a false passage, where, for example, you step on what seems like solid ground, but it's just a dug pit. And on top lies fabric, like papyrus, and its color is similar to the ground, but if a person in the dim light of a torch steps on it, his foot will tear this thing, and he will fall down onto sharp spikes.

Maxim: Regarding "why the authorities" – that's not a question for him.

Voice from the hall: Egypt was a colony of England, so they took it to England.

Voice from the hall: By the right of the strong, they took everything.

Irina: So they were the authorities.

Question from the hall: Interesting about traps. What other traps were there?

Maxim: What other traps did you set up besides these "stepping" ones?

Irina: He's showing false passages that led to chambers, and if you stepped there, stones would move, and a person could remain there. He's showing that they placed levers there.

Maxim: In principle, the movie "Indiana Jones" probably reflects Egyptian traps somewhere.

1:02:23 The curse of Egyptian tombs.

Maxim: (repeats a question from the hall) Is it true that when Pharaohs' tombs were opened, there was some kind of virus in these graves, and people got sick and died very quickly?

Irina: I understand what this question is about.

(Harmit) No, these diseases were not left there deliberately, but they could develop there later. The mummies lay there for a long time, and bacteria and spores could develop.

Maxim: Various molds and so on.

Irina: Yes, spores. They didn't deliberately put anything there. He's showing that it formed there naturally.

Maxim: Is it true that all Pharaohs were buried with their wealth – gold, jewelry?

Irina (Garm): There were such customs, yes. Do you think robbers needed this mummy? What would they do with it? They were mainly attracted by the Pharaoh's wealth: gold, precious dishes, weapons, gold coins (shows a pot) – that's what attracted them. Moreover, people took great risks because they knew perfectly well from other robbers that there could be traps there, since some had fallen into them.

1:03:54 The tomb of Akhenaten and Nefertiti.

Question from the hall: Can I ask? Where is the tomb of Akhenaten and Nefertiti?

Irina: He doesn't know them; he doesn't know where their tomb is, at least.

Maxim: If you approach it correctly and invite...

Irina (Garm): It's a tomb. Who would know about that? Probably not even they themselves, but the one who buried them. You need to see who was there at all.

Maxim: Who remained after Nefertiti with us?

Voice from the hall: And there... Further information is connected with... (indistinct)

Maxim: Then you need to ask correctly; you need to find out who buried them. Through one Pharaoh – that could be another dynasty, so it turns out.

1:04:47 Harmit about the pyramid cladding.

Maxim: Any more questions.

Question from the hall: When you built the pyramids and laid the stones, did you then make the faces of these pyramids smooth?

Irina (Harmit): What do you mean "smooth"? They are made of stone; they will still have some roughness.

Maxim: No, but you processed the stones; you did the cladding of the pyramids; did you make the edges of the pyramid's faces smooth?

Irina: He doesn't understand the question.

Voice from the hall: Currently, the top of the pyramid is smooth.

Maxim: We now see the pyramid, and part of the top seems smooth.

Voice from the hall: The cladding. There are just a lot of stones lying at the bottom near the pyramids. That's why I'm asking – maybe it crumbled?

Irina (Harmit): Look. Do you know what temperature changes there are here? There's such a climate here: at night the earth cools down strongly, and during the day it heats up very much. And these temperature changes create cracks, and therefore everything crumbles, and such irregularities appear.

Maxim: But the faces themselves are built of bricks, so they are not smooth. So it turns out you can climb up the pyramid like on bricks, right? Or were the faces of the pyramids smooth?

Irina (Harmit): Smooth.

(Irina) Shows that they were smoother, yes.

Maxim: So, correctly, the faces were smooth.

Did you cover these faces with something? Did you fill them with some solutions, sand, or something?

Irina: Shows how they fold the pyramid, and they mix something like clay in water, and they stick it on like that.

Voice from the hall: Stone to stone, probably glued.

Maxim: Probably, that's exactly how the top of that pyramid is made.

Voice from the hall: At the base of the pyramid, the lower layers are purely granite. And the granite clearly shows it is polished and smooth. And higher up, considerably higher, you can see that the stones are not smooth; they have some indentations, as if it were blown out by wind or natural conditions.

Maxim: The temperature regime, he said.

Voice from the hall: But granite cannot be like that.

Maxim: Does granite look like that?

Voice from the hall: Below is granite, but above we don't know what it is; it's a different stone.

Irina: It looks different; it's different.

1:07:37 Harmit about the material of the pyramids.

Maxim: What stones were the pyramids made of?

Irina (Harmit): Some were granite, some were sandstone, some were both; different.

Maxim: Granite at the bottom, where the water was, probably so it wouldn't crumble. And the top, probably, was filled with cheaper and lighter sandstone.

Irina (Harmit): It's easier to lift and process.

Question from the hall: Did you use cement?

Irina (Harmit): What is cement?

Maxim: They mixed special clay. They made solutions from clay. Cement didn't exist yet then.

Irina: Is cement asbestos?

Maxim: No.

Irina: What goes into it?

Maxim: Lime.

Irina: Did they use lime? No, he's showing that it's more clay solutions. He's not showing sand.

Maxim: Correct: Nile, clay.

1:08:38 Earth's chakras. Garm's age.

Maxim: What system are the chakras on Earth located in? Is there some system of arrangement?

Irina: Now Mid is speaking.

(MidgasKaus) Irina was given information about where all the chakras are located. She will give it to you later.

Maxim: She will give it later.

Irina: I have it recorded. He doesn't know; he is a Spirit of the locality.

Maxim: How long has he been the Spirit of this locality here, by the way?

Irina: How long have you been the Spirit of the locality in Giza?

(Garm) I have been here in the subtle plane for 2,065 years.

Maxim: And did you see Christ here?

Irina (Garm): I know who you are asking about. Yes, this man was here, and I know that he was here as a child, but he also visited this place at an older age on his own, without his parents.

Maxim: He was in person. Yes, He was seen.

1:10:04 Wives of the Pharaohs and alien visits.

Maxim: Any more questions?

Question from the hall: Does Garm know, and is it true, that the Pharaohs intermarried only among themselves, and because of this, there were mutations, and therefore they died out?

Maxim: Does he know that the Pharaohs intermarried only among themselves and because of this there were mutations and degeneration of the dynasty?

Irina: Shows a Pharaoh; he has many wives – three wives and concubines, I can see now.

Maxim: The chief sectologist of Russia also predicted polygamy for me. (laughs)

So, there was not one wife, but he doesn't confirm that specifically because of this. But that they liked to unite families and money, that's for sure.

Did you see when you were here at the pyramid, or did you hear about some deities flying here?

Irina (Harmit): Yes, it happened. They flew in to watch us build.

Maxim: Were there Pharaohs who were crossed, simultaneously deities and humans?

Irina (Harmit): I don't have that information.

Maxim: Crossed with aliens. So, there is no such information.

1:11:50 Work at the post of manu of Giza, Garm's spiritual level.

Maxim: Any more questions.

(repeats a question from the hall) You are the manu of Giza. How do you feel about the fact that people living here don't clean up dirt and don't pick up trash?

From Irina's facial expression, I understand he doesn't care.

Irina (Garm): Not very good. I'm used to it.

(Irina) He says he's used to it.

Question from the hall: And energetic dirt?

Maxim: You see, the point is that besides the manu, the mentality itself is important. That is, the manu – he is the manu. But when a manu lives in this state constantly, I think he also gets used to this energetic dirt.

Irina (Garm): Imagine that you work in a large kindergarten with only 200 children, and they scatter toys. After ten years, you will step over them and not notice anything. And here millions of them live.

Question from the hall: What are the specific duties of this manu here?

Maxim: What are your duties as a manu?

Irina (Garm): To protect the locality from negative energies, to cleanse it from the negative energies of people, plus to appoint the manu of specific districts of the city and the surrounding area, as well as to appoint house spirits and monitor their work in specific apartments.

Voice from the hall: That's a lot of work!

1:13:30 Attitude of the manu of Giza to religion.

Question from the hall: Did you witness the time when Coptic Christians were displaced by Muslims? What was the reason for this period, and how do you like that religion and this religion?

Maxim: Which religion do you like better – Christianity or Islam?

Irina (Garm): Neither.

Voice from the hall: Paganism?

Maxim: And did you witness the time when one religious fanatics displaced others?

Irina (Garm): I don't like it at all when people make an idol out of God and start killing others with his help.

Question from the hall: And the fact that during Ramadan they pray constantly – does that give you some kind of energy?

Irina (Garm): They pray, but most just go through the motions. I like it more when they raise the vibrations of their mental fields. But if a person prays because he was told, "Just pray and you'll go to heaven with your sins"... No, I don't like that because it complicates the path to God. Because a person begins to convince himself of his own righteousness and does nothing.

Maxim: I like it when at five in the morning they go tam-taram on a tambourine and sit and enjoy it. (laughs)

Irina (Garm): He can hate his neighbor for parking in the wrong place and still go to pray. How can I like that? He doesn't even think about how he will reach God with his hatred.

(Irina) How He looks at this prayer uttered with a dirty Heart – as hypocrisy.

(Garm) Who are you praying to if you haven't cleansed yourself yet? Why are you praying? To show what? That you believe in God? Well, cleanse yourself first, then everyone will believe you.

(Irina) He's so direct with us.

1:15:46 Personal life and appearance of Garm.

Question from the hall: What is life like for a plasmoid in the subtle plane? Does he have a family, a house, or anything else?

Maxim: Yes, do you have a family, a house, mistresses?

Irina (Garm): No. I just live in space. I look like...

(Irina) Shows a dome of a light purple color, with tentacles going down from it, like a jellyfish, but there are one, zero, zero, eight – 1,008 of them.

Maxim: A little jellyfish, yes, purple?

And what are your entertainments? How do you entertain yourself?

Irina (Garm): What is "entertainment"?

Maxim: Understood.

Voice from the hall: Yes, a massage... (indistinct) (everyone laughs)

Irina: Oh, you're going to embarrass him now! (laughs)

Maxim: With the help of destructive plasmoids, yes?

1:16:43 Activities, spiritual level, and incarnation tasks of Garm.

Question from the hall: What do you do all day?

Maxim: Yes, what do you think about? What are you busy with all day?

Irina (Garm): I observe the space, pass through myself the energies that come from people.

Maxim: What do you do with these energies?

Irina (Garm): I transform them into Light, into Love.

Question from the hall: And from what spiritual level did you incarnate?

Irina (Garm): From the 20th.

Question from the hall: And now you're on the 14th?

Maxim: No. He incarnated from the spiritual 20th level, but he is at the subtle-material 14th – these are two different things.

Irina: These are densities.

Maxim: This is the density of matter. And that's the level of the Spirit. You shouldn't confuse them.

Voice from the hall: Healer, 20th level.

Maxim: Yes, these are Healer Angels.

Question from the hall: What is the task of your incarnation?

Irina (Garm): To gain experience of life in a subtle body, in order to then apply it in even subtler planes for the construction and creation of the next planet. In the next incarnation, as soon as I gain this experience, I want to incarnate in the Pleiades cluster near three stars in a dust cloud that will form a planet. I want to participate in its creation. I will just change my density level.

Question from the hall: Do tourists strongly influence the energy?

Maxim: In your opinion, do tourists who come here strongly influence the energy of the space?

Irina (Garm): No. They are too few compared to the main mass.

Maxim: Which did you prefer to incarnate as – an earthly human or a subtle-material being?

Irina (Garm): I don't understand. What does "better" mean?

Maxim: More interesting.

Irina (Garm): There is meaning in everything.

Question from the hall: Doesn't he get tired of this – the same thing, the same thing?

Irina (Garm): And you don't get tired of eating every day?

Voice from the hall: No. We would like to live longer.

Irina (Garm): Tell me: "I'm tired of filling my stomach. It's the same thing – chewing and swallowing." Do you get tired of doing that?

Voice from the hall: Yes.

Irina (Garm): Then why do you do it?

Voice from the hall: Because you can't do without it.

Maxim: It's the same with him. The meaning of his life is cleansing and gathering the energies of space.

Irina (Garm): If your Soul has negativity, even paradise will bore you. Do you understand? Place a demon in paradise, and he will create hell there.

Maxim: You started talking about demons, and Seryozha started getting up. (laughter in the hall)

Sergey: I'm going to the dining room.

Irina (Garm): And place an Angel in hell, and he will create a heavenly place there.

1:19:53 Children and Garm's lifespan.

Question from the hall: Does he have children?

Irina (Garm): No. I am not incarnated as a plasmoid that reproduces.

Maxim: You are a non-reproducing plasmoid?

Irina (Garm): Yes. A precise term, by the way.

Maxim: A precise term – "non-reproducing plasmoid"? I thought all plasmoids could reproduce.

Irina: He smiles and says, "Not even all people can." (laughter in the hall)

Question from the hall: How long do manu live?

Maxim: How long do you live as a manu? What is the average lifespan?

Irina (Garm): I set 5,600 years for myself.

Maxim: And how long could you live?

Irina (Garm): There's no difference. You choose the type of body.

1:20:47 Garm about incarnating as a manu and how to become a planet builder.

Question from the hall: What needs to be done to incarnate in the next life, like you, as a manu, and build planets?

Irina (Garm): Look, you can already see for yourself: first I built pyramids, now I build the energy of space, and the next step will be building a planet.

Start by building your own life. Start with your room where you live: how do you want to see it? What does it mean to "create the space of a room"? Imagine in your mind how your room should look to always bring you joy. And start selecting furniture, paintings, some crystals, so that when your gaze falls on them, your vibrations rise. And remove from there everything that reminds you of something bad and sad. And you will understand that this is not such a simple process. Start doing this.

The next stage is building your house. If you live with someone, this is contact with your household, then you will help them build their rooms. Then start cultivating that piece of land or the space of the street where you live. Put it in order – plant flowers or a tree and start caring for them. And you will gain experience in creating something material, not just fantasy, but truly material. For this, you will need to take physical matter and change it into the object that corresponds to your desires. That's it.

Voice from the hall: After all, he's got a sore point about how people don't sweep at their feet.

Irina (Garm): I'm used to it. I realized that since you yourselves like living in this, then good health to you, please.

Question from the hall: Any message?

Question from the hall: He has to transform this into Love every day, right?

Irina (Garm): Not trash into Love. Trash is just...

Voice from the hall: The energy of the trash.

Irina (Garm): The energy of the trash. And what energy could be in it? These are your thoughts about it. Of course, if a person walks by, looks at this trash and emits energy of condemnation, then that comes to me.

1:23:38 Garm's message to people.

Irina (Garm): What message do I want to give you? I am glad to receive you all here. I will do everything so that, while you are in this space, you harmonize with everyone. After all, I am not alone here, but with all the Spirits of the elements, with the house spirit of this hotel – I know him, we also communicate. Yes, with the house spirits of those hotels where you live – hotel spirits, in short. And I am glad to see every bright Soul here who has come for the self-development of their divine abilities. Because this creates a large bright spot in this space that cleanses the energy of Giza and even Cairo.

1:24:36 Ritual of harmonization with Venus.

Irina (MidgasKaus): Look, today is the day of Venus. Let's conduct a ritual of harmonization with Venus now.

Maxim: We have about 10-15 minutes.

Irina (MidgasKaus): Yes. Close your eyes. First, you need to bring your mind into harmony. Close your eyes, take a slow deep breath, exhale. Concentrate your attention on the second chakra, on the lower abdomen, where our Svadhisthana is located, which contains particles of Venus energy.

Mentally say: "I am a free, intelligent, immortal Spirit. I ask my Higher Self to activate my Svadhisthana chakra and strengthen the energy of Venus in it, in order to harmonize the space of my aura and the space where I am now through it."

Now all attention is on the crown of your head. Mentally imagine that you open a window in the area of the crown of your head and let in the light from your inner sun, from your Higher Self, and mentally lower it down to the lower abdomen. And say: "I accept the energy of Love, pass it through the second chakra and fill the space with the energy of beauty, pleasure, and Love."

Take a slow, deep breath. And now on the exhale, imagine that you are exhaling a pink light from your second center. Mentally say: "I love and accept my body. My body loves pleasure, my body loves beauty. And I love my body, I accept the energy of Venus and pass it through me into the physical world. I see beauty and pleasure in every moment of my life."

Remember a moment in your life when you saw something beautiful, and ask yourself what exactly was beautiful about it. And this is exactly what gave pleasure to your eyes. Mentally say: "With Love and gratitude, I look at every object of the physical world as a creation of God and my spiritual brothers in subtle bodies. Every creation is beautiful because it reflects the perfection of the Souls that put their energy into it. I enjoy this world and give it pleasure."

Slow, deep breath, exhale. Mentally say: "I thank my Higher Self for the energies given to me. I thank the manu of Venus Lakshmi, I thank the Spirit of Giza Garma. I thank everyone who was present in this space, and the guide for the information given to me. I send to everyone the Light of my Love, the Light of my harmony, the Light of my pleasure."

Open your eyes. That's all.

March 24, 2026.

Participants:

Irina Podzorova – contactee with extraterrestrial civilizations, with subtle-material civilizations, and with the Spiritual world;

Maxim Rusan – project leader of "Cassiopaea" and the Center for Spiritual and Physical Development;

Participants of the retreat;

LiShioni – representative of the planet Shimor, specialist in the Astral world and its interactions with the material world;

MidgasKaus – representative of the planet Esler, biologist, psychologist, microbiologist, specialist in extraterrestrial life forms;

Garm – manu of Giza, representative of a plasmoid civilization of the 14th density level. During the period of pyramid construction, 4,230 years ago, he was incarnated as an engineer named Harmit.