Juan Ayala & Homie Romie | Harmonichitechure, Pythagorean Palaces, & Resonance Technology Temples
Juan Ayala and Homie Romie team up to present their research into the fractal resonance of temple tech. We discuss arithmetic archetypes, symbolism in stone, the mystery of the cube, planetary algorithms, hidden hyperspace kingdoms, the astral meta-verse, and the tomb of Christian Rosenkreutz.
In the oversized Plus+ Extension, we review the allegorical Pythagoras, the temple as body, LSPR and ancient nanotech, musical architecture, the mundus imaginalis, structures for scrying, the apotheosis of George Washington, and much more!
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In this episode
Core themes
Architecture as Frozen Music
Chance Garton frames the whole episode around the idea that architecture is frozen music, and his guests Juan Ayala and Homie Romie run with it. Juan cites John Dee's insistence that an architect had to master every science of the Trivium and Quadrivium, because these buildings are, in his phrase, algorithms incarnated. Antoni Gaudi's unfinished Sagrada Familia becomes the showpiece, its interior looking like three dimensional sound waves. Behind it sits Pythagoras and the claim that all is number, plus Kepler and the music of the spheres rendered permanently in stone.
The Cube and the Pythagorean Palace
Juan Ayala traces his research back to a rare book on Pythagorean palaces that he had to buy in print, annotated by whoever owned it before him. His argument starts with the platonic solids and the ancient obsession with the cube, which Renaissance writers called God in cubic solidity, the procreator of number. Cesariano's cut up cube, the six faces and eight vertices and twelve edges read as geometric harmony, and Marsilio Ficino's idea that numbers procreate with one another all feed the same claim. For the Pythagoreans numbers were living entities, not quantities.
Buildings That Change Who You Are
The practical core of the conversation is that a building alters consciousness. Juan Ayala points out that you already behave differently the moment you walk into a church, and asks what that effect looked like when it was turned up to ten. Fulcanelli called the cathedrals alchemical picture books for the peasants. Chance Garton adds a tuning fork model, arguing that a body meets coherent vibration and auto tunes itself, the way separate metronomes and women's cycles sync up. Gaudi's sainthood case is the extreme version, with miracles attributed to the building itself rather than the man.
Language, Number and the Real Matrix
Chance Garton makes the case that language, not nature, is the actual matrix. He reads Baudrillard's hyper reality as the story we build in words until lived experience stops matching it, and Juan Ayala illustrates it with the Disney princess who is a copy of a copy. Chance then argues that a seafaring priesthood carried a numerical trade code that let words function like sheet music across dialects, which is why myths worldwide look syncretic enough to share one source. Simulation, he notes, originally meant hypocrisy and feigning a character you are not.
Scrying, Plasma and the Original Metaverse
The strangest thread is that these structures were talismans for contacting something. Juan Ayala brings in John Dee and Enochian magic, Vincent Bridges and Dan Winter on plasma as conscious angelic beings, and the truncated pyramids used as physical vessels for entities. He calls the space between imaginary and real the Mundus Imaginalis, reached by scrying. Chance Garton counters that the astral realm may be the original metaverse, an artificial overlay built by language and mythology, and tells the story of a man who met someone on LSD and later met him physically.
Quotes
“he said that any architect needed to be skilled in all the sciences and the Trivium or Quadrivium, whatever it was, they needed to understand it because it is the most sacred art that there is. It's these buildings are algorithms incarnated.”
“these mythologies that are all so syncretizable and so similar that it appears as if they came from a single civilization, they did this originally, I think as seafarers who were traveling from place to place, holding onto secrets of not just architecture, not just the occult, but also of shipbuilding, of course, too.”
“And for me, the example would be since practicing tuning, I can detect the edge of somebody's auric field without necessarily seeing it with my eyes. But like I get a reaction in my body when I cross the threshold of their bubble space, if I choose to be looking for it and other things, too, like that.”
“And that is half of the battle because we are building on top of the planet. We are in absolute cohesion with the planet. We are completely symbiotically intertwined into the body of the atmosphere. So we need its permission.”
“But I once met a guy who said that while he was on LSD, he met somebody in the astral realm and had sat down in a conversation with them psychically. And determined that they were going to meet somewhere in the physical world.”
“I think that Indian architecture is more sacred than the Western architecture, and especially the Renaissance architecture. I think that the true magic has always been known in the Far East or in the East in general, especially in the Vedas.”
“I believe that these cookie cutter communities, which I live in one, are just that they are literally just printing these houses one by one by one. And the magic has been lost. And our own homes are sucking us dry of our energy sometimes.”
“Breathe so hard that your consciousness shifts and adrift into a new millennia. OK, time travel and split the physics in its downspun. Get your caduceus going, baby. Double kundalini all the way up. We all deserve protruding pineal glands to see through the voids. And the only way to do that is by connecting with our breath.”
Juan Ayala hosts "The Juan On Juan Podcast," covering conspiratorial and occult topics, and appeared on InnerVerse discussing Gnostic archons/overlords and the alchemical mystery of the homunculus.
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