Randall Carlson

And then looking across, you know, I saw this other set of bluffs on the other side, and I got this impression that the entrenchment of the modern Minnesota River and its banks on both sides, that this was, I was like looking at a much smaller version of this larger channel that you see right here. Well, that stuck in my craw and marinated for maybe six, seven, eight years.

And then looking across, you know, I saw this other set of bluffs on the other side, and I got this impression that the entrenchment of the modern Minnesota River and its banks on both sides, that this was, I was like looking at a much smaller version of this larger channel that you see right here. Well, that stuck in my craw and marinated for maybe six, seven, eight years.

And then looking across, you know, I saw this other set of bluffs on the other side, and I got this impression that the entrenchment of the modern Minnesota River and its banks on both sides, that this was, I was like looking at a much smaller version of this larger channel that you see right here. Well, that stuck in my craw and marinated for maybe six, seven, eight years.

And then I started reading books about, oh, you know, I think I read Emanuel Velikovsky. You know, his Earth and Upheaval was the one that made the biggest impression on me. that he had documented all of this evidence for great geological catastrophes and so on. I read several more by the late 70s. I had read, I don't know if you ever heard of Charles Hapgood, Path of the Pole.

And then I started reading books about, oh, you know, I think I read Emanuel Velikovsky. You know, his Earth and Upheaval was the one that made the biggest impression on me. that he had documented all of this evidence for great geological catastrophes and so on. I read several more by the late 70s. I had read, I don't know if you ever heard of Charles Hapgood, Path of the Pole.

And then I started reading books about, oh, you know, I think I read Emanuel Velikovsky. You know, his Earth and Upheaval was the one that made the biggest impression on me. that he had documented all of this evidence for great geological catastrophes and so on. I read several more by the late 70s. I had read, I don't know if you ever heard of Charles Hapgood, Path of the Pole.

I got a hold of his book in about 1978, and he had a big bibliography in the back, and I made it my goal to try to track down every reference that he had. By this time, I was... obsessively fascinated. And like, okay, so how come, you know, modern geology textbooks never talk about any of this, but it seemed like earth and upheaval and Charles Hapgood's work.

I got a hold of his book in about 1978, and he had a big bibliography in the back, and I made it my goal to try to track down every reference that he had. By this time, I was... obsessively fascinated. And like, okay, so how come, you know, modern geology textbooks never talk about any of this, but it seemed like earth and upheaval and Charles Hapgood's work.

I got a hold of his book in about 1978, and he had a big bibliography in the back, and I made it my goal to try to track down every reference that he had. By this time, I was... obsessively fascinated. And like, okay, so how come, you know, modern geology textbooks never talk about any of this, but it seemed like earth and upheaval and Charles Hapgood's work.

Well, it looks, I haven't seen any refutation of this, but that was about the time I really started looking into an alternate history of earth.

Well, it looks, I haven't seen any refutation of this, but that was about the time I really started looking into an alternate history of earth.

Well, it looks, I haven't seen any refutation of this, but that was about the time I really started looking into an alternate history of earth.

So, I was giving a lecture on sacred geometry actually to a group and I was talking about self-similarity in sacred architecture that one of the overriding themes that you see over and over again in sacred structures is this idea of this relationship between the part and the whole.

So, I was giving a lecture on sacred geometry actually to a group and I was talking about self-similarity in sacred architecture that one of the overriding themes that you see over and over again in sacred structures is this idea of this relationship between the part and the whole.

So, I was giving a lecture on sacred geometry actually to a group and I was talking about self-similarity in sacred architecture that one of the overriding themes that you see over and over again in sacred structures is this idea of this relationship between the part and the whole.

that if you have a geometry that governs the whole, you also use that same geometric scheme to divide up the space within so that the part reflects the proportions, the geometric proportions of the whole. And this was believed, and I think to be the case, is that this is what leads to harmony and resonance in a structure. And I cited how, you know, in the human body we find the same idea.

that if you have a geometry that governs the whole, you also use that same geometric scheme to divide up the space within so that the part reflects the proportions, the geometric proportions of the whole. And this was believed, and I think to be the case, is that this is what leads to harmony and resonance in a structure. And I cited how, you know, in the human body we find the same idea.

that if you have a geometry that governs the whole, you also use that same geometric scheme to divide up the space within so that the part reflects the proportions, the geometric proportions of the whole. And this was believed, and I think to be the case, is that this is what leads to harmony and resonance in a structure. And I cited how, you know, in the human body we find the same idea.

If we look at, for example, elbow to fingertip, and we were talking earlier before the recording about the golden section, sometimes called the divine proportion, and I said if you take a line, you divide it asymmetrically, there's one point that divides that line so that the ratio of the small to the large segment is exactly the same as the large segment to the whole or the sum of the two. Right.

If we look at, for example, elbow to fingertip, and we were talking earlier before the recording about the golden section, sometimes called the divine proportion, and I said if you take a line, you divide it asymmetrically, there's one point that divides that line so that the ratio of the small to the large segment is exactly the same as the large segment to the whole or the sum of the two. Right.