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Among the many theories explaining the oddities of our recent past, one of the most persistent and widely circulated
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concerns the technical limitations of early photography. Skeptics and defenders of the official
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historical narrative invariably claim that the emptiness of giant 19th century metropolises is merely an optical
0:20
illusion caused by the long exposure times of early cameras. They argue that the equipment of that
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era required subjects to remain motionless for tens of minutes. So, the bustling city crowds simply didn't stay
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still long enough to be captured, turning into invisible ghosts. However, upon detailed analysis, this
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argument collapses like a house of cards the moment we compare facts with the timeline of technical progress.
0:49
By the 1880s, technology was already capable of capturing motion with sufficient clarity. Let's remember that
0:56
the first motion pictures were already being demonstrated around this time where people, carriages, and city bustle
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were perfectly visible. The claim that a highquality photo required one to freeze
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for half an hour had already lost its relevance by this period. Moreover, on
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the very photographs used as examples, one can often spot distinct figures of horses or solitary pedestrians.
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A logical paradox arises. How could a camera with a supposed hour-long
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exposure capture an animal that by definition cannot stand absolutely still
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for a long time, yet completely erase thousands of people who should have been filling the main avenues of the
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capitals? The selectivity of this technical error raises too many questions.
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If we discard the convenient exposure excuse, a picture opens up before us
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that causes deep cognitive dissonance. We see majestic cities with grand
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architecture, wide avenues, and complex infrastructure that look absolutely
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extinct. This isn't just a lack of pedestrians. It is an absence of life itself.
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On panoramic views of huge settlements, there are no signs of the daily activity typical of that era. Of the thousands of
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chimneys clearly visible on rooftops, not one is smoking, as if the heating in the entire city was turned off
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simultaneously. There are no street vendors, no stalls with goods, no laundry, which in those
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times was traditionally dried in courtyards and on streets. The cities look sterile like movie sets from which
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all the actors have just been removed. This emptiness resembles modern
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exclusion zones like Pryat where the architecture remains untouched but biological life has been evacuated.
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The buildings stand. They are magnificent and monumental but they are cold. Another disturbing detail is the
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vegetation. Against the backdrop of structures we are told are ancient. We see only thin young saplings no more
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than a few years old. Where are the centuries old trees that should be growing in these old cities? One gets
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the impression that all vegetation was destroyed and nature had only just begun to recover a new on the ruins of
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civilization. Our perception blocks the obvious
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because from an early age we have been trained to trust only authorities and official sources. The education system
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and scientific institutions are built so that any deviation from the approved chronology is perceived as absurdity.
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The presence of titles, medals, and awards among experts is considered a guarantee of truth. Although history
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knows many examples where generally accepted facts turned out to be delusions,
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it is easier for us to believe in the technical limitations of old cameras than to admit the thought that the
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photographs capture reality. empty cities left by an unknown civilization
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in which for some reason there were almost no people at that moment.
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Thus, the argument about long exposure serves merely as a screen hiding an uncomfortable truth. If these cities
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were not inhabited by the builders of these structures, then who built them? How could it be that the few people
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caught in the frame look like alien elements against the backdrop of cyclopian structures that clearly exceed
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their technical capabilities? The answers to these questions force us
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to reconsider not only the history of photography but the history of technological development as a whole.
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Because the discrepancy between the complexity of the architecture and the primitive tools available to our
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official ancestors becomes increasingly obvious.
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The silence enveloping the urban landscapes of the 19th century evokes not just bewilderment but an instinctive
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sense of anxiety similar to what visitors feel in modern exclusion zones.
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If one carefully analyzes the atmosphere of these places, it becomes obvious that we are observing not just a quiet
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weekend morning, but the aftermath of a total exodus or a global purge. This
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phenomenon can be called the Pryyat syndrome. The scenery of civilization remains untouched. The majestic stone
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boxes stand in their places, but the soul of the city, its biological content
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has vanished. The most screaming sign of this
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lifelessness is the chimneys. In an era when electric and gas heating did not
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yet exist in the form we know, the life of any large settlement depended directly on stoves and fireplaces.
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Hundreds, thousands of pipes on the roofs of dense developments should have been spewing clouds of smoke around the
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clock, especially in the cold season, to heat huge halls and living quarters. An
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industrial city of that time by definition could not be transparent. It
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should have been shrouded in smog and soot. Yet crystalclear horizons appear
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before us. The chimneys are cold and dormant, as if vast residential areas
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stand mothballled, disconnected from life support systems. This does not look
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like a temporary pause. It looks like a complete absence of inhabitants who required warmth.
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Descending from the roofs to the pavement level, we encounter another inexplicable sterility. Historical
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chronicles describe the cities of that time as antills full of chaos, noise, and filth. Trade was conducted
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everywhere from trays, carts, right on the ground. Narrow streets should be
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draped with drying laundry, an invariable attribute of life without dryers. Everywhere there should be
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traces of the activity of thousands of people and animals, trash, straw, goods,
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barrels. But there is none of this. The streets are swept to an unnatural shine
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or conversely covered in strange unclaimed mud, but devoid of signs of
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active immediate life. There are no merchants, no buyers, no bustle. The
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city looks as if it had been prepared for settlement, but the tenants themselves haven't arrived yet or they
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left in a hurry, taking with them everything that created a sense of living presence.
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Particular attention is drawn to the vegetation, or rather its strange disproportion to the architecture.
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Next to buildings that official history attributes to hundreds of years, we see only thin stunted saplings.
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The trees in the alleys and parks are at most a few years old. Their trunks are
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thin and their crowns are barely formed. If these cities had developed
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continuously over centuries, we would observe powerful ancient oaks and plain trees whose roots would go deep into
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history. The absence of old trees suggests that the soil layer was
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completely destroyed or renewed quite recently. The landscape seems to have
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been rebooted. The old flora disappeared along with the people and nature is only
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beginning to timidly reclaim its space against the backdrop of cyclopian ruins.
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Comparing these pictures with modern photographs of abandoned territories, it is impossible to shake the feeling of
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deja vu. Pryet today looks the same. empty eye sockets of windows, overgrown
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courtyards, and oppressive silence. The only difference is that tourists go
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to the exclusion zone to tickle their nerves with the sight of an abandoned world, while we are asked to believe
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that the empty cities of the 19th century are thriving centers of civilization.
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This substitution of concepts becomes obvious if you stop listening to interpretations and trust your own eyes.
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We see a world that has survived an event that stopped the usual course of things.
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However, the most striking thing in this picture is not even the emptiness, but the contrast between the scale of the
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structures and those rare figures that are still found on the streets. Solitary passers by and primitive carts drawn by
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horses look pathetic and out of place against the backdrop of grandiose cathedrals, palaces, and endless rows of
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buildings with antique geometry. These people seem not like creators, but like random passers by, ants crawling
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among the ruins of titans. And here arises the main question that destroys
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the familiar picture of the world. Could these creatures, armed only with shovels, pickaxes, and wooden carts,
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design and erect such perfect architectural complexes? The technical abyss between the complexity of the
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structures and the primitive means of production available to our official ancestors becomes insurmountable,
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forcing us to doubt the very possibility of such construction.
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The official history of technical progress represents a linear scale where humanity slowly step by step moved from
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primitive hand tools to steam engines and then to electricity and complex mechanics. We are told that the first
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handheld power tool was invented only at the very end of the 19th century and it
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became affordable and mass-roduced only in the midentth. This means that all the grandio
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structures dating back to the 18th and 19th centuries were allegedly built exclusively using muscle power, chisels,
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hammers, and the simplest lever mechanisms. However, when we compare these claims
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with actually existing objects, an insurmountable chasm arises between the official capabilities of our ancestors
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and their actual legacy. The brightest example of this technical
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inconsistency is the history of the construction of the Eerie Canal in North America. Official sources claim that
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this gigantic waterway, 585 km long, 12 m wide, and 4 m deep, was built in just
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8 years between 1817 and 1825.
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We are asked to believe that at a time when by the admission of historians themselves, there was not a single
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professional engineer in the US, a group of Irish immigrants performed an engineering miracle surpassing many
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modern projects. They had to not just dig soft soil, but cut through dense
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virgin forests, build complex lock systems and aqueducts, and most importantly, overcome the Niagara
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escarment consisting of the hardest limestone.
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Mathematical analysis of this construction leads to a dead end. To finish the project in such a time frame,
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the workers would have had to lay an average of 1 and 12 km of canal every 8
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days. working without weekends, sleep breaks or stops for winter cold. And
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this is provided that dynamite had not yet been invented and only capricious and inefficient black powder was used
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for blasting. Such a pace of work using only shovels and wheelbarrows is
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impossible even theoretically. This leads to the assumption that the so-called builders did not create the
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canal from scratch, but merely cleared and restored an already existing ancient transport artery left over from a more
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advanced civilization. Similar questions are raised by stone
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processing in the architecture of that period. All over the world, we see buildings clad in granite blocks
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weighing several tons with perfectly fitted joints into which it is impossible to insert a knife blade.
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Columns of solid stone have the perfect geometry of a body of revolution which is impossible to obtain by manual
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hewing. Creating such forms requires industrial scale lathes and carbide
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tools capable of cutting granite like butter. The official version insists that
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masters spent decades polishing stone with sand and water. But if you look at
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the number of such buildings in St. Petersburg or Paris alone, it becomes clear to build this by hand would
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require a population many times larger than the real one and time frames measured in centuries, not years.
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Even more mysterious are the so-called star forts scattered across all continents. Their complex geometric
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shape resembling snowflakes or crystals possesses perfect symmetry that can only
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be appreciated from a great height. We are told that these bastions were built for protection against cannon fire and
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the angles of the walls allegedly facilitated the ricochet of cannonballs.
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However, the complexity of their design is excessive for fortification. Building such sophisticated figures
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requiring incredible geodetic calculations just so they could be shot at is illogical. Furthermore, how could
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the architects of the past mark out these giant fractals on the terrain without the ability to look at them from
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the air? The precision of these objects suggests that their original purpose lay
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not in the military plane at all, but was perhaps related to energy or wave processes about which we know nothing
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today. All these facts, the eerie canal,
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impossible granite processing, the geometry of star fors indicate that we
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are suffering from collective amnesia. We attribute to ourselves achievements
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the creation technology of which we do not understand. The people of the 19th century captured
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in old photos on horseback look like inhabitants of a post-apocalypse who settled the ruins of a highly developed
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world, adapted palaces into stables and power stations into temples, and
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invented legends about how their greatgrandfathers built it all with a chisel and prayer.
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But if a civilization capable of such miracles existed, where did it disappear to? Why was its knowledge lost and the
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cities emptied? The answer to this question lies literally beneath our feet, hidden by
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layers of earth that we are accustomed to overlooking. Walking through the historic centers of
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old cities, whether in Europe, Russia, or America, an attentive observer
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inevitably encounters an architectural anomaly that official science calls by the harmless term cultural layer. We are
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explained that over centuries, the ground level rises due to the accumulation of dust, dirt, construction
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debris, and successive layers of asphalt. However, one only has to look closely at
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the ground floors of ancient buildings for this theory to begin contradicting common sense. We see full-sized windows
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half or completely submerged underground. They are not bricked up. They often have glass behind which
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basement walls are visible or they butt right up against the paving stones. A logical question arises, what architect
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in their right mind would design a window located below ground level?
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Window openings are created with a single purpose. To let in sunlight and fresh air, placing them in the ground
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only to then build special pits in front of them or bury them altogether is the height of engineering absurdity.
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Moreover, often found underground are not just windows, but full-sized
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doorways, grand entrances with arches and moldings that now lead nowhere,
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abuing a dense layer of soil. When asphalt is removed near the walls
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of such houses during modern repair work or utility laying, entire floors are
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revealed, the existence of which no one suspected. These are not basements or
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technical rooms. These are former first floors with high aesthetic execution
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which for some reason ended up buried to a depth of 2, three, and sometimes more
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meters. The official version of the gradual accumulation of the cultural layer does
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not hold water if we consider the speed of this process. To accumulate 3 m of
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soil naturally, millennia are required, not a couple of centuries.
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Furthermore, if the street level rose slowly, building owners would remodel entrances and windows, raising them
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higher rather than allowing dirt to block light sources. What we observe looks more like the
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consequences of an instant catastrophe associated with a colossal release of soil or a change in soil structure.
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Geologists and researchers point to the phenomenon of soil liquefaction which occurs during powerful earthquakes or
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planetary scale vibrational impacts. At such moments, solid ground
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temporarily acquires the properties of a liquid and heavy stone structures literally sink, drowning in it while
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maintaining their integrity but losing height. Similar processes have been observed in
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our time, for example, during earthquakes in Japan or New Zealand where buildings sank into the soil while
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remaining vertical. If we extrapolate this phenomenon to a global scale, the strange appearance of 19th century
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cities becomes understandable. In old engravings and photographs of that period, we often see not just dirty
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streets, but real mountains of earth piled up against the facades of palaces and cathedrals.
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People with shovels and wheelbarrows in these photos are busy not with construction, as is commonly believed,
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but with excavation. They are digging out structures that survived the cataclysm, trying to bring
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them back to life. That is why in many old images, entrances to grandiose
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buildings are accessed via temporary wooden walkways thrown over the mud or through secondstory windows that have
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become the first. The global nature of this phenomenon is
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staggering. Buried floors are found in Rome, London, Moscow, New York, and
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Melbourne. Everywhere is the same picture. Magnificent antique or colonial
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architecture, the lower part of which is hidden under a thickness of clay and sedimentary rocks. This testifies that
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the catastrophe, which alternative researchers often call the mud flood or the great burying, was not a local
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event. It was a disaster of planetary scale that changed the landscape of all
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continents. the level of the land ocean, so to speak, rose, hiding the true history of
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the previous era beneath it. Realizing the reality of this cataclysm
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leads to a frightening conclusion. If cities were buried several meters deep within a short period, then this event
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must inevitably have entailed colossal human casualties. The mud covering the first floors could not have left a
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chance for those who were below, and it destroyed the usual life support systems. The survivors would have faced
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hunger, cold, and the total collapse of infrastructure. And here the puzzle begins to fit
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together. The empty cities we discussed earlier are not a photographers's error, but the direct consequences of the
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catastrophe. The population was practically wiped out. But the cities did not remain empty forever. Soon after
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the event, new inhabitants appeared in them, whose origin raises even more questions than the buried windows. Who
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were these people who settled the ruins of a great civilization? And where did they come from in such numbers if the
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world lay in ruins? If we accept the hypothesis of a global
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cataclysm that buried cities and destroyed a significant part of the adult population, we are faced with a
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frightening demographic question. Who filled these empty metropolises just a few decades later? At the turn of the
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19th and 20th centuries, we observe an explosive population growth in major industrial centers. But the structure of
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this society looks extremely unnatural. This is not organic generational
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recovery, but rather an artificial repopulation resembling a special operation to inject a new workforce.
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The key to solving this mystery lies in one of the most common and simultaneously ignored themes of that
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time. The phenomenon of mass orphanhood.
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The cultural code of the 19th century is literally saturated with the image of a child left without parents. Classic
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literature which we are used to perceiving as fiction can actually serve as documentary evidence of the era.
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Oliver Twist, Jane Heir, characters of Hugo and Dostfki. They are all orphans.
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This is not just a popular plot trope designed to evoke pity from the reader. It is a reflection of a terrible reality
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that became the norm. The society of that time was overflowing with children
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who did not know their lineage, deprived of roots and family memory. It was this
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generation of Ivans remembering no kinship that became the foundation for building a new world on the ruins of the
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old. They were ideally suited for this role. They had no grandparents who could
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tell the truth about what happened to the world, who built the majestic buildings and how people lived before
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the catastrophe. Their history began with a clean slate in a state institution under government
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supervision. Statistical data from those years, if looked at from this angle, appears
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shocking. In London, Paris, Moscow, New York, and other major cities, giant
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founding hospitals and orphanages open, the scale of which resembles industrial factories.
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These were not cozy abodess of mercy, but real assembly lines for receiving and processing human material. In Moscow
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alone, the founding home accepted tens of thousands of infants annually. In New
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York and London, the figures were comparable. Where did such a colossal number of
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children come from? In cities that had recently looked extinct. The official
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version sites poverty, low morals, and high birth rates. But these factors cannot explain the appearance of
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hundreds of thousands of homeless infants almost simultaneously in all corners of the world. It looks like a
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centralized harvesting of a new human population.
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Moreover, the legislative framework of that time seemed to be specifically restructured to destroy the traditional
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family and alienate children. Harsh laws regarding the poor were introduced,
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making it impossible for a single mother or an impoverished family to support a child. Social norms stigmatized single
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mothers, forcing them to give up newborns to state institutions to avoid starvation and public centure. There was
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an entire industry of baby farming and secret births where children were seized
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immediately after entering the world. One gets the impression that the state machine intentionally severed ties
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between parents and children to gain full control over the upbringing of the new generation.
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Children became property of the system, a resource that could be moved, taught necessary skills, and used at will.
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These huge armies of orphans dressed in identical uniforms living in the barrack
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conditions of workhouses became the main driving force of industrialization.
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It was their small hands that operated the machines in factories. It was they who cleaned the very chimneys that
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suddenly began smoking again over the cities. And it was they who became the new residents of empty apartments with
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buried windows. But the scariest thing in this story is not even the conditions of their
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detention, but the logistics of their distribution. The concentration of children in
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metropolises was only the first stage. Soon a need arose to transport this
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living resource over vast distances to settle empty territories on other continents.
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The scale of this operation to move children is mind-boggling. It was not a chaotic movement of refugees. It was a
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clearly organized transport system operating with ruthless efficiency.
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We are approaching one of the darkest and least known pages in the history of the reset of humanity where the fates of
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hundreds of thousands of children were decided by the stroke of a pen on cargo manifests.
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They were loaded into wagons and sent into the unknown, forever erasing their past and giving them new names.
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Thus began the era of orphan trains and strange cultivation technologies that
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resembled laboratory experiments more than child care.
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The logistics of repopulating the empty world required not only the concentration of human resources in
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orphanages, but also their redistribution across vast empty territories.
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It is here that the history of the reset opens one of its darkest and most massive chapters, the era of the orphan
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trains. This phenomenon, which official historioggraphy tries to present as a
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noble act of charity, upon closer inspection, looks like a cold, calculated transport operation to
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deliver a workforce. Starting from the mid 19th century and up to the 1930s, railway trains packed
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to the brim with children regularly departed from the overcrowded east coast of the US deep into the continent to the
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Midwest. The process of distributing these children at stations resembled not
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adoption in the modern sense, but rather a cattle market or an auction. Children
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were lined up on platforms or in local meeting halls where farmers and locals inspected them, checking their teeth and
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muscles. Brothers and sisters were ruthlessly separated. Strong boys were taken for hard fieldwork, girls for
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domestic help. Those who looked weak or sick were sent further to the next station until someone was found who was
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willing to take them. It was a mass deportation of minors deprived of a past
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surnames and family ties. But this process was not limited to America. Similar programs operated in
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the British Empire where over a 100,000 children were forcibly transported to Canada, Australia, New Zealand, and
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South Africa. Huge territories where those same empty cities with antique
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architecture stood needed a population and the empire supplied them with its most disenfranchised subjects, children.
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However, if the origin of the children on the trains can still be attributed to the consequences of social upheavalss,
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the phenomenon of incubators in amusement parks causes genuine shock and baffles any researcher.
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At the beginning of the 20th century, when official medicine was allegedly only taking its first steps in
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neoatlogy, high-tech pavilions with live infants appeared at fairs and lunar parks. The most famous operator of these
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shows was Martin Cooney, a man with no confirmed medical degree who turned the nursing of premature babies into an
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attraction. People paid money, bought tickets to look at tiny infants lying in
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glass boxes like exotic animals in a zoo. Official statistics claim that about
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80,000 babies passed through Cooney's incubators. This figure staggers the
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imagination. Where at that time, with a much lower population density, did such
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a quantity of premature babies in need of artificial life support come from?
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And most importantly, where were their parents? We are told that desperate
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mothers brought children to the fairs themselves because hospitals refused to take them. But to believe that thousands
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of women were ready to give their newborns to a sideshow for the amusement of the public is extremely difficult.
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The terminology itself, incubator, is borrowed from poultry farming and implies artificial hatching. Combined
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with the huge number of children of unknown origin, this leads to a terrifying thought. Perhaps these
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institutions did not save foundlings, but were part of a technological process of their ripening or growing.
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It is no coincidence that these exhibitions often neighbored pavilions dedicated to eugenics, a popular
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teaching at the time about improving the human breed. At the same fairs, better
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baby contests were held where children were evaluated by anthropometric data like breeding animals. All this adds up
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to a single picture of a global project to create a new man. The old population
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which remembered the previous era disappeared or was destroyed by the cataclysm. It was replaced by a
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generation of incubators and orphan trains. People without roots, without ancestral memory, standardized and ready
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to accept any history written for them in textbooks.
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The connection between empty cities, buried ground floors, and the sudden appearance of huge masses of homeless
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children is obvious. These are links in one chain. Incubators and trains were
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logistical tools for populating a cleansed planet. We see not chaotic events, but a clearly planned coverup
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operation. New people were distributed across ready-made but empty sets, given
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new names, and taught to live in a world they did not build. And it was this
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generation of orphans that became our greatgrandfathers and greatg grandmothers, passing down to us the
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version of reality created for them by the curators of the great reset. Now
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that the mosaic has come together, we have one last step to take and realize exactly what kind of world we live in
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and why its true form and history are so carefully hidden.
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piecing together the scattered fragments of this mosaic. From the strange silence and old photos to the ground floors
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buried in clay and the appearance of millions of children out of nowhere, we arrive at a frightening but inevitable
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synthesis. We do not live in an era of sequential and continuous development as school
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textbooks instill in us, but in a post-apocalyptic world that has appropriated the legacy of a destroyed
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civilization. Modern humanity resembles a group of squatters who have moved into an
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abandoned luxury mansion, having not the slightest idea how its life support systems work, who erected these walls,
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and where the previous owners went. We have only learned to paint facades, lay
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wires over ancient moldings, and call other people's architectural masterpieces our achievements.
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The chain of events lines up in a logical sequence that is impossible to ignore. First, a global cataclysm
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occurred. An event accompanied by a massive release of soil, the flooding of cities with mud flows, and a change in
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the landscape. This event, which we call the flood or the great mud, wiped the
32:56
adult population possessing knowledge and technology off the face of the earth. Cities plunged into silence and
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desolation, their lower levels buried under meters of dense clay. Then, a
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short time later, new curators of reality took the stage. They organized the collection and redistribution of the
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surviving or artificially bred biological resource, children. Deprived
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of ancestral memory, raised in state houses and incubators, these new people became the ideal material for building a
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new society from a clean slate. They were given a fictional history, attributed the construction of antique
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palaces to people with hammers and chisels, and convinced that they were the pinnacle of evolution.
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But why is such a grandiose lie needed? Why do the authorities of all countries
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hide the fact of a catastrophe in the recent past with such persistence?
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The answer to this question takes us beyond history into the realm of the structure of the universe itself.
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If they lied to us about time, it means they lied to us about space.
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Hiding the true chronology is necessary so that we do not ask questions about the nature of our habitat. The previous
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civilization by all appearances understood perfectly well where it was.
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Their architecture oriented to the cardinal points, their star forts and cathedrals working as resonators speak
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of deep knowledge of physics and ether technologies that are impossible in the chaotic universe of an accidental
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explosion. Here we approach the main barrier of perception. Official science paints us a
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picture of an infinite cosmos where the earth is a tiny ball rushing through a vacuum at tremendous speed. This model
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of helioentrism is ideally suited to make a person feel like an insignificant speck of dust, an accident of evolution.
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But what if the catastrophe was not a natural accident but a systemic reboot of a closed system?
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If our world is not a spinning ball but a stationary plane under a protective dome, then everything changes.
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In such a world, history becomes a managed process and catastrophes become
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the pressing of a reset button by those who control this terrarium.
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The connection between distorted history and the shape of the earth is inseparable. To admit the existence of a
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highly developed civilization before us means to admit that they knew the truth about the firmament and the boundaries
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of our world. Those who rewrote books and created new science after the catastrophe did everything to lock our
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consciousness in the prison of infinite space. They gave us a globe so that we
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would stop looking for the edges. And they gave us the theory of evolution so that we would stop looking for creators.
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We live in an artificially constructed reality where the scenery is authentic but the script is a fake.
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Realizing this fact is painful. It destroys the foundation on which the personality of a modern person is built.
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It is hard to accept that your ancestors are not great conquerors and builders,
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but orphans brought on trains to settle other people's ruins. But it is this
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understanding that gives freedom. As soon as you see cracks in the official version of history, you begin to notice
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them in the physical picture of the world as well. The mud that buried the cities hid not
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only the first floors. It hid the truth that our world is an artificial construct. A complex mechanism that is
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periodically restarted. And we are just the next shift of inhabitants who have
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to either wake up and see the lattice of the dome overhead or continue sleeping believing in the fairy tales of
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textbooks until the time comes for the next purge.
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