Unveiling Machu Picchu

Unveiling Machu Picchu
Inayat Tal
Unveiling Machu Picchu © Copyright 2006 Inayat Tal 1

Introduction............................................................................................................................................... 3
The Call Of Machu Picchu............................................................................................................................ 8
Origins, Fate, and Future of the Inka.......................................................................................................... 13
Pachacuti: Andean Cycles Of Time.............................................................................................................. 18
We Are The Ones We Have Been Waiting For.............................................................................................. 22
Attuning Consciousness............................................................................................................................. 25
Lake Titicaca Attunement........................................................................................................................... 26
Stones Of Unknown Origins........................................................................................................................ 29
Consciousness And Intention...................................................................................................................... 36
Intentional Design In The Electromagnetic Spectrum.................................................................................... 38
Energy Key....................................................................................................................................... 41
The Twelve Energy Bands Of Machu Picchu................................................................................................. 47
Summary Of The Twelve Bands.......................................................................................................... 48
Band 1 – Black.................................................................................................................................. 49
The Faces On Wayna Picchu............................................................................................................... 54
Band 2 – Infrared.............................................................................................................................. 56
Band 3 – Red.................................................................................................................................... 59
Band 4 – Orange............................................................................................................................... 63
Band 5 – Yellow................................................................................................................................ 67
Band 6 – Green................................................................................................................................. 69
Band 7 – Blue................................................................................................................................... 71
Band 8 – Indigo................................................................................................................................ 74
Band 9 – Violet.................................................................................................................................. 77
Band 10 – Ultraviolet......................................................................................................................... 80
Band 11 – White............................................................................................................................... 86
The Sound Room............................................................................................................................... 88
The Garden Of The Gods................................................................................................................... 88
Band 12 – Negative Green................................................................................................................. 96
The Great Puma Carved In Stone............................................................................................................ 99
Light, Form, And Shadows........................................................................................................................ 102
The Temple Of The Moon........................................................................................................................ 118
The Chakana........................................................................................................................................... 120
The Symbolism Of Tumi........................................................................................................................... 129
Healing Through Resonance............................................................................................................. 131
Personal Symbols.................................................................................................................................... 133
Machu Picchu Global Transformation......................................................................................................... 134
Bibliography............................................................................................................................................ 137

Introduction
The unveiling of Machu Picchu began on July 24th 1911 through the efforts of a young explorer named Hiram
Bingham. Mr. Bingham was searching through remote parts of Peru for the legendary Inka stronghold of
Vilacomba. Under the thick vegetation was a cultural and spiritual timecapsule. Since 1911 Machu Picchu has
unfolded like a delicate flower as though guided by some unknown force. There is certainly an aire of romance
around this exotic desination. But what lies below the tourist trappings of Peru’s most famous archeological site
is more like a spiritual library.
Pachamama is the Quecha word for Mother Earth. Today on Pachamama we are struggling to find our true
identity. We are in a race to realize what it means to be human and to live sustainably before we pave the
planet under our feet. Into our groping for higher consciousness Machu Picchu beams the wisdom of a
forgotten people and almost forgotten planet.
As a technological civilization we have at our disposal numerous innovations and conveniences. The pace of our
inventions has gone from a crawl over hundreds of years to a very rapid rate since the early Twentieth Century.
We have the Internet and virtual worlds of facts and figures at our disposal. The one resource we are short of
is not to be found amoung the artificial electronic networks. We are tremendously short of spiritual wisdom.
If all the world is a stage then into our current drama appears a surprise player in the form of the ancient Inka
site of Machu Picchu. We have only begun to understand Machu Picchu from perspectives beyond the
conventional views of history and archeology. Every year we begin to understand a little bit more about this
special place. Each year brings not just scientific discoveries about ancient peoples but metaphysical realizations
as well. We are just beginning to learn about the true sophistication of the peoples who existed long before the
current Common Era.
Machu Picchu stands out like a dusty old book in a neglected corner of a large library. The code is written in the
text of sacred architectural and energetic languages that we have almost completely forgotten how to read. Yet
within Machu Picchu’s pages stands some of the greatest sacred science that has ever existed anywhere on the
planet.
As we cannot solve our existing problems with old solutions we cannot gain new insights into Machu Picchu
using conventional tools. This book presents you with keys that you can use to begin to unlock the spiritual
design and function of Machu Picchu. These same keys were used in the creation of Machu Picchu, Ancient
Egypt, and many sacred sites around the world. Some of these keys exist within the discipline of Sacred
Geometry. Still more of these keys are threads within the great mystic traditions including shamanism and
Sufism. What is presented for your use is a combination of keys assembled into a useful form to delve into why
Machu Picchu is designed the way it is.
Without the keys presented in this book it may have been possible to eventually reverse engineer the designs of
the Inka. But it is better for us and for the needs of our time to have these original keys and templates and
begin to recover the wisdom of the Inka here and now. We are perhaps the civilization most in need of the
sacred knowledge that Machu Picchu possesses. It seems Machu Picchu has decided that the messages it holds
now be read and passed along as spiritual food to the earth’s inhabitants and to our children. Our very survival
as an intelligent, viable, and free civilization may depend on it.
Through places like Machu Picchu we realize that Pachamama is telling us to learn the wisdom of living in
harmony. Machu Picchu conveys an immense vision of the workings of life, energy, form, light, and shadow.
The bulder’s of Machu Picchu knew how to build sacred architecture that harnessed divine spiritual energies and
to integrate these energies into spaces for ceremony and everday living. Machu Picchu also shows us evidence
of transdimensional architecture. Machu Picchu is a sacred Andean masterpiece.
Using the keys to Machu Picchu we can examine each detail of Machu Picchu realizing that this place is an

energetic hologram anchored in stone. It is within the sacred zone of information just beyond normal
perception that Machu Picchu requires we send our focus and intention. Walking down this sacred path a short
way we realize that this alchemical path that Machu Picchu is speaking to us about is the path of the heart.
Part of our attraction to Machu Picchu is the scope and immensity of the wisdom we sense it holds. Our
attraction to places like Machu Picchu is confirmation that there is something they have that we need. Machu
Picchu stands as a beacon of spiritual wisdom to a civilization in great need.
Ultimately this book will show you a new way to view Machu Picchu. Machu Picchu is an energetic Rosetta
stone showing us how to design sacred sites according to energetic design principles. The energy keys and
overall approach used in this book may be applicable to hundreds of other sacred sites. Only time and more
research will answer that question with certainty. There are many other sacred sites that show clear evidence
of engineering according to similar energetic principles.
My work within these pages builds upon years of cross-disciplinary study. For the past few decades I have
ventured into many areas of study such as native and mystic cultures and the use of energy in healing and
design. I can now view the twists and turns in my own spiritual journey as having been a journey through a
spiritual bazzar adding all the pieces into the story that can now be presented here. Machu Picchu represents a
marvelous starting point for my writing as it too embodies a unique combination of many of these disciplines I
have been studying into a compact and compelling story.
This current writing would not be possible if not for some groundbreaking work by the people of Peru. In the
past few years many groundbreaking writings have sought to understand the wisdom of native peoples beyond
the standard archaeological framework. Carlos Milla Villena in his book Genesis de la Cultura Andina opened up
a flood of deeper thought into the history of the Andean culture. Fernando Elorrieta Salazar and Edgar Elorrieta
Salazar in Cusco And The Sacred Valley pioneered an ability to read the landscape of the Inka Sacred Valley. As
you will see it is this book and it's ability to read the sacred landscape that seeded many of my own ideas. It
was the writing of the Salazar brothers that assisted me in questioning whether a rock is really just a rock. And
one of the big keys is that at Machu Picchu no rock is placed accidently.
The crystalization of the vision for this book occurred in December 2005 when I took a class on BioGeometryTM
taught by Dr. Robert Gilbert. In seven days Dr. Gilbert presented a wide range of topics from sacred geometry
and architecture through the French Radiethesiests to the current BioGeometryTM work of Dr. Ibrahim Karim of
Egypt. It was during a presentation from Dr. Gilber of energy keys and how the flow of energy changes by
passing through an object that I instantly understood the application of the energy key concept to the design of
Machu Picchu. It was in that class that I knew I had a key to decipher and understand how the sacred
architects of Machu Picchu designed every aspect of the city with its own specific function. It was sitting during
that class and looking at the drawing of the energy key that the fertilization for this book occurred.
Now I can say that I have measured the energies at Machu Picchu and found them matching the theoretical
correspondences of the French Radiesthesists and of a Russian Radiethesist named Enel. The ideas here will
challenge many of the assumptions made by researchers and writers from the West who are versed in the
traditional archeological and scientific methods. My conclusions refute the view that the Inka were by any
measure a primitive people. The energetic evidence makes it difficult, if not impossible, to believe that Machu
Picchu was just a retreat house for the Inka king.
It was during my return to Machu Picchu in 2006 that I spent five days onsite verifying my theories. I took
notes, energy readings, and over 1600 photographs in the visible and infrared light spectrums. On my return
from Peru there were hours of post-expedition photo viewing, especially of the infrared photographs and the
spectacular messages they hold. This was accompanied by countless hours writing and fermenting the vision of
this book.
After months of detailed research I have realized that the Inka have something unique to say to us within this
book about how to approach their wisdom. There could be a tendency to get stuck on the technical aspects of
the energy and layout of Machu Picchu and just view it as intelligent design. But I have come to understand
that the secrets of the Inka are not about ‘figuring out’ how the universe works. The way of the Inka is a way

of relationships. If we try to use only our rational minds to figure things out we will never be able to interact
with the deeper mysteries that the Inka voyaged. But if we use our hearts to enter deeply into relationships
with the Great Mystery of the universe then the secrets unfold before us and indeed within us.
This book is not just an energetic analysis of the layout of Machu Picchu. The presentation here is to explain
enough of the engineering involved to provide an intellectual context that supports the experiential part of this
exploration. My intention is to present the information in a way that supports you in your own orientation to the
ways of the Inka. If this book is successful you will not only see what the Inka were doing; you will experience
it.
The responsibility to the reader is to also seek first the human experience of Machu Picchu. If you take these
words as just information or some method then you will miss the majority of the message. But if you first try to
be in alignment, attunement, resonance, and harmony with the Inka through this information then you will see
something. Your heart will be active in your approach. This way of the heart is the way of the mystic. This is
the way of the Inka.
It is also important to realize that the information and exercises in this book can be of great value to you even if
you never visit Machu Picchu. The human heart is able to make connections to people, places, and things
regardless of our perceived distances of space or time. The domain of the heart allows us to make connections
that are as well, and sometimes more real, than physical locality. If you are willing to approach Machu Picchu
through this book with sincerity then you can receive many of the same energetic initiations as those who use
this as a guidebook during a visit to Machu Piccu.
This book is a testament to the wisdom of the Inka and a salute of great thanks to their descendants. May we
have the courage to join together to create a new world constructed of spiritual love and light. This time of
transition is the genesis and appearance of a new species called ‘Homo Luminous’1.
It was with these perspectives in mind and accompanied by a great sense of purpose that this book was
undertaken. I had taken my first trip to Peru and Machu Picchu with a group of energy healers in April 2005.
Machu Picchu had been a kind of personal obsession for over a decade. When I finally had a chance to go it
was a very simple decision. On this first trip we had two days at the site itself. Although to me this was a short
visit it was long enough for to realize that I was experiencing something that had a very profound meaning for
me. At this first visit to Machu Picchu half of my group of twelve made an early morning ascent to the top of
Wayna Picchu. A life dream had been accomplished. And the views from Wayna Picchu were truly spectacular.
During this same stay in Aguas Calientes, at the base of Machu Picchu, a local Andean priest, Adriel Garay
Dales, gave me a coca leaf reading. I remember in great detail how we sat together at a square table with a
green tablecloth in the mostly empty dining area of the hotel my group was staying at. Adriel had already
worked with Andean high priest Adolfo in leading us through a despatcho offering in Tipon and at Machu Picchu.
A despatcho is a beautiful offering to Pachamama (Mother Earth) and other Andean deities. A despatcho is also
a spiritual and practical execution of art, devotion, and meditation, which when completed is literally folded up
into a beautiful package and then usually burned as an offering.
1 Alberto Villoldo -

Illustration 1: The Despatcho Prepared By Adolfo And Adriel At Tipon In 2005
Sitting with Adriel within this unassuming hotel at the base of Machu Picchu in Aguas Calientes town he
proceeded to take a handful of carefully selected coca leaves. In the Andes coca leaves are amoung the most
sacred plants that exist. They have so many uses both spiritual and practical that it is suprising how some
countries outside the Andes view coca leafs through misinformed cultural glasses. Coca leaves are seen as gifts
from the Creator and Pachamama. They provide beneficial nutrients and support the physical energy needed to
live and work at the Andean high-altitudes.
Sitting at the table of my coca leaf reading Adriel said a few prayers and then asked me to blow on the coca
leaves. Then he proceeded through a series of rounds of gently tossing the coca leaves onto the table. After a
second he would speak about a certain area of my life and what to expect. The insights the coca leaves gave
Adriel into my life, and my future, were amazing. One of the things that Adriel said that caught my attention
was that the Andean gods wanted me to return to South America. He said that the message to me was that I
would be a famous author and would be sponsored by others to travel and teach the knowledge I would be
given. It was at this encounter that the seeds of this book were firmly planted in my being. I knew at that
moment that the two days at Machu Picchu in that trip would not be enough. I had to return prepared to write
the book. I was not really clear at that time what the content of my first book was to be. But this book you are
reading now is the result of a serious of fortutious events highlighted by the coca leaf reading of that day. That
trip in 2005, and especially that coca leaf reading, was my call to Machu Picchu.

Illustration 2: The Author And Adriel During A ‘Chance’ Encounter At Machu Picchu In May
2006

The Call Of Machu Picchu
Illustration 3: Machu Picchu
In what we call the ‘past’ hundreds, perhaps thousands, of Inka adepts created an energy field sustained by
consciousness existing beyond time. One of the most profound places that this encoding was placed it at a site
named Machu Picchu. Stepping out into the grounds of Machu Picchu is like awakening within a dream. The
stone structures are so foreign and yet so familiar.
Shrouded by clouds and great mystery Machu Picchu stands as a mystical enigma. Millions of people around the
planet are intrigued by the beauty and mystic aroma of this small set of buildings hidden away in the Andean
mountains of Peru. Each year thousands of people visit the ruins 2000 feet above the Urabamba River and
9000 feet above sea level. The views at Machu Picchu are more spectacular than can be conveyed in
photographs. No one who takes in the beauty and awe of this sanctuary leaves Machu Picchu disappointed.
For most people a trip to Machu Picchu is the trip of a lifetime.
The site of Machu Picchu recalls the romance and adventure of a civilization more closely aligned to cycles of the
Earth. The mountain ridge that Machu Picchu straddles is at once quaintly small and yet vast in its grandeur.
You could easily walk through the main areas of the compound in a few hours as most people do. But you
could also spend days communing with a resonance the Inka left behind. Truly when the cloud mists enshroud
Machu Picchu it is difficult to not drift with her away somewhere else in time and space.
Machu Picchu embodies elements of intrigue that peek out from the veneer of an exotic tourist destination. The
site is remote and surrounded by mountains on all sides. Winding far below Machu Picchu is the Urabamba river
who's roar can be heard at both the east and west edges of the site. The trip to Machu Picchu typically requires
a recipe of different types of transportation including train, bus, and foot. Spectacular views, rapidly changing
weather, ancient architecture, roaming llamas, and a sense of serenity provide a feast for the senses and the
mind at this magical place.

Illustration 4: Looking out of a window near the Intiwatana
Machu Picchu was kept hidden from the Spanish during their conquest of Peru and much of South America. The
religious zeal of the Conquistadors, supported by the Catholic Church, was to eradicate Inka sacred sites, places
of 'idolatry' and 'devil worship'. Inka temples were torn down to their foundations and rebuild as Cathedrals.
Today we have few examples of the grandeur of Inka spiritual architecture. Machu Picchu represents one of
those rare jewels. Machu Picchu's remote location helped to save it for our generation. The rediscovery of
Machu Picchu by Hiram Bingham in 1911 is like a sacred seed that lay buried for nearly 500 years that now
emerges brining the Inka energy back into the world.
There are a number of indigenous spiritual traditions that have survived from the time of the Inka Empire. The
tradition most written about today is that of the people named the Q'ero. The Q'ero live high in the Andes of
Peru at 14000 feet and escaped large-scale contact with the Conquistadors. The anthropologist Oscar Nunez
Del Prado made contact with some Q’ero during a festival in 1949.
The Q'ero held a prophecy of a 500-year period of darkness called a pachacuti. The Quecha word pachacuti
means ‘the world turned upside down’. Certainly to the people alive at the beginning of Pizzaro’s conquest in
1531 the world turned from light to darkness. Many tribes in the Americas foresaw the coming of the
Eurpopeans. Lakota shamans had seen the coming of the white people and uprooted their people from the
Great Lakes areas in North America to migrate and become one of the most adept horse cultures of the Great

Plains. It is very interesting that Hiram Bingham rediscovered Machu Picchu often called a ‘City of Light’ in 1911
as this Inka defined 500-year period of darkness was ending.
There is another aspect of intrigue that comes into play when viewing Hiram Bingham's rediscovery of Machu
Picchu within the wider scale of Native American cultures. According to the Mayan Calendar, the rediscovery of
Machu Picchu occurs approximately 100 years before the turning of a great cycle around the year 2012. From a
metaphysical viewpoint the wisdom and secrets of Machu Picchu have appeared at this time to assist humanity
with a great leap forward in consciousness. Machu Picchu is a mystical message in a bottle. The site has a
treasure trove of spiritual messages in a beautiful and complex container. Every inch and angle of the original
construction holds active sacred knowledge. As you will see Machu Picchu is a fully functional library actively
expressing knowledge and wisdom left by the builders for their people and ours. Machu Picchu is a container of
spiritual technologies and ‘machines’ that still function for us today if we know how to interact with them.
Most pre-Western cultures had people who operated as the experts in the spiritual realms. These learned men
and women were called amoung other names the shamans, healers, bards, sangomas, medicine men, or priest-
philosophers. The wise ones in the Inka culture were called the Amautas. The particular people involved in
building Machu Picchu would have been the high initiates of the Inka priesthood that would have included a
number of the Amautas.
High spiritual initiates constructed Machu Picchu to serve multiple purposes. First, Machu Picchu expresses the
spiritual wisdom accumulated by these learned people and their spiritual lineages. Second, Machu Picchu forms
a spiritual crucible for the personal spiritual training. When we travel to Machu Picchu today we often have
interesting mystical experiences because we are passing through this spiritual university. Third, Machu Picchu
anchors high dimensional harmonics into the earth as a kind of spiritual electrical substation. At Machu Picchu
and other sacred sites high spiritual energies are fed into the earth and broadcast out to all life on earth.
We are attracted to Machu Picchu because it is a functional site of conscious spiritual technology. Machu Picchu
clearly embodies characteristics that make it a machine for the transformation of consciousness. When we talk
about spiritual energies, indeed any energy, we are not talking about a dead abstract force. Spiritual energy like
all energy is consciousness. You cannot separate consciousness and energy. The electricity running through
your dwelling is not a highly organized form of consciousness but it is still a form of consciousness inherantly.
Machu Picchu was created by an advanced consciousness feeding a culture that processed knowledge of the
energies of existence. Machu Picchu shows the use of these energies for the healing and transformation of
consciousness. Individual features of Machu Picchu provide for personal experiential healing of individual
human beings. But as a whole Machu Picchu is as a functional beacon transmitting the energies of conscious
enlightenment to the world. Machu Picchu at scales both micro and macrocosmiscally is a reflection of our
higher selves expressed in organic spiritual architecture.
From the spiritual perspective in order to understand or interact with something you need to harmonize and
resonate with it. At a certain point in personal spiritual development you become aware of the rhythms of the
cosmos. Once you are aware of your own awarness of these cosmic energies then information about reality and
how to interact with it in sophisticated ways comes pouring into your consciousness.
Through other sites like Caral we know that Andean civilization was very organized even 5,000 years ago.
Western culture has been trying to reach a kind of ascendancy apart from and over the earth by literal brute
force. We have learned how to be very organized in the abstract and we have refined our capabilities of logic
and physical prowess. The real doors of perception and self-mastery using the sacred energies that empower
the cosmos can only occur when the human mind is aligned with the eternal rhythms within and around us.
The Andean peoples may have been on a fast track to civilization and spiritual understanding specifically by
avoiding the kind of superiority complex that is so much a part of Western individualism, dominance, and
culture. Indeed at Machu Picchu exist avenues for spiritual growth that are not at all part of modern culture. All
evidence indicates that various modes of direct experience are essential to realize the sacred. Direct experience
rooted in the warm humility of a thankful and loving heart is a foundation of the mystical experience. Western
society having materialized and externalized what we see through the cold filters of our mind leaves us feeling

cut off from reality.
The Inka culture demonstrates people in harmony with the many energies and sublime forces around them.
Indeed the Andean perspective is that we live on the skin of and feed from the breast of Pachamama. The Sun
Father watches overhead providing warmth and energy for everything we need to grow. The rain blesses us
with water for drinking, bathing, irrigation, and play. We look to the hummingbird as a sign of the joy of spirit.
This perspective is achieved when we first realize our place in this grand family of life. This is a vignette into the
earthy yet spiritual radience of the people of the Andes and indeed much of South America.
There are many similarities between the Inka and other solar cultures. Like Ancient Egypt the spiritual
harmonization of the Inka attunes itself both to terrestrial and solar consciousness. The Andean psyche
associates various animal archetypes with the internal progress on the spiritual path.
In Andean culture three animals typify the three worlds. The serpent represents the lower world. The puma
represents our middle world. The condor represents the upper world. These power animals also represent
mastery over that world. Any developing spiritual culture and individual persona must first deal with the
energies at the level of the serpent. The serpent’s expression of the divine is not as much limited as it is
foundational. In another deep Jungian aspect the serpent symbolizes our undulating DNA. Shamans who drink
the Amazonian Ayahuasca psychedelic tea report the serpent as a common motif in their experiences. The
Ayahuasca vine itself is shaped like a serpent.
The serpent has also been recognized by the Andean people to symbolize the untransformed ego. The serpent
is consciousness at the level that crawls upon the ground. Viewed from this aspect a serpentine conscousness is
reactive and has not achieved mastery over self. Once we learn both our strengths and shortcomings we
usually question our place in the world. This inner reorientation usually comes in the form of a mid-life crisis,
dark night of the soul, or other spiritual emergence. At this point we typically commit ourselves to the spiritual
path. A process of inner refinement is often accompanied metaphysically by activation of the kundalini life
energy that also follows the serpent metaphor. When our personal transformation has begun we learn how to
use the basic serpent level energies to empower our lifes path.
Often we find that when the spiritual life has begun in earnest then we immediately want to take up our wings
and fly like birds or angels. A sense of breaking free from the gravity of mundane life unlocks our imagination
and opens immense possibilities for personal growth. Our inner spirit often compels us to undertake spiritual
pilgrimage to the ocean or to the mountains. Our hearts long to more fully manifest a breaking free of the
constraints of life as we have known it and to seek reunification with the spiritual essence of all things. In the
Andean worldview this is the realm of the Condor. The Condor soars high above the earth communing with the
Creator Wiracocha. To the Maya and Aztecs this union of serpent wisdom and life force combined with the
wings of flight to become respective interpretations of the same spiritual forces of Kulkulcan and Quetzalcoatl.
Quetzalcoatl is the rainbow colored flying serpent. The spiritually refined personality finds the way to harness
the energies and experinces of living upon the earth in order to take flight to the higher spiritual domains.
Today we are witnesses to the return of Quetzalcoatl both individually and collectively. The sacred mythic tones
of the past are being sounded again in our time.
In the Inka spiritual domain it is the puma that resides in and represents this middle world that we live in.
Egyptian symbols like the Sphinx and Sekhmet convey the power of the divine feminine to empower human life.
The goal of the human spiritual life is not to escape from the earth. The goal of the human spiritual life is to be
a living and breathing human expression of the divine being. It is this transformed personality that the puma
represents. To become a puma you must observe the reactive ego and gain mastery over it. Reforming the
ego is an act of love, not just power. It takes the courage of the puma to see the shortcomings of self and
others and still walk with an open heart. In a certain sense the puma is another way to view Quetzalcoatl the
winged-serpent. The earth body joins with the winged inspiration of the heavens to form a divine being that
walks upon the earth. This refined puma person is called a ‘Puma Runa’. The repeated iconography of the
puma in Inka architecture emphasizes the importance of living as a divine lion-hearted human being. It is the
puma, which integrates the Mother Earth (Pacahamama), Sun Father (Inti-Taytay), and all things, into heart of
the truly divine human.

It is at this integrated stage in spiritual development that the puma person can stand as a divine solar initiate.
Just as the Sphinx that stands next to the pyramids in Egypt the puma person stands on the earth being
attunded daily to the presence of the divine solar being as their self. The Buddha and the Christ said to take the
middle way. The Inka say the same thing. To live as a divine puma person on the earth is to balance all the
energies of the universe while walking in the flesh. There is a divine mission to be accomplished by those who
walk in this manner. These beings are the puma people, the modern Inka within our midsts.
All spiritual lineages encode the subtle bodies of their initiates with specific information related to the function of
that group. The codes of light committed to the Inka lineage are expressed through Inka knowledge and sacred
sites like Machu Picchu. The same storehouses of Inka light, knowledge, and wisdom are sitting now right in
front us. Places like Machu Picchu resonate with Inka consciousness in sublime and active ways. The Inka sites
were designed, visited, and inhabited by great spiritual initiates. The built-in sacred geometry and architecture,
some of which is very concealed, formed a resonant container to hold cosmic energy and the spiritual energy of
the Inka. Places that have additionally been engineered as premier sacred living machines, like Machu Picchu,
possess the added benefit of having been formed as explicit conductors of the highest spiritual energies known
to the Inka. It is not an exaggeration to say that when walking through Machu Picchu you are walking in the
footsteps and within the community of the advanced spiritual beings who have lived there and continue to exist
at this site. Conscious awareness at Machu Picchu plugs you into the same divine informational matrix that
exists beyond time and space.
Machu Picchu is a sacred library that is supercharged through sacred geometry and architecture. If you walk
through Machu Picchu with awareness you can have a very deep experience at many levels. But you will get
more out of your experience if you use both your mind and your heart and tune into the information that is
there. It is one thing to undertake a trip to a sacred site as a tourist. It is a completely different experience if
you travel as a spiritual pilgrim expecting that your trip will have a significant outcome from the very beginning.
This amount of consciouss awareness and gentle expectation is one key to experiencing sacred sites to full
advantage.

Origins, Fate, and Future of the Inka
The origins of the Inka are shrouded in the mists of time and legend. The oldest and largest cultural centers in
the immediate region are those of Chavin de Huantar in Peru and Tiwanaku in Bolivia. At Chavin de Huantar,
250km north of Lima, the open courtyards present motifs of serpent figures. Grand plazas were built to
sensationalize sound and imagery following threatrical scale and effect. Chavin has underground passages and
a very interesting monolith called the Lanzon. It is likely that this culture, 1000-200 BCE, incorporated the
etheogen cactus San Pedro into their ceremonies.
Illustration 5: Lake Titicaca Legendary Origin Of the Inka People
But it is to the southeast of Cusco, at Tiwanaku, in Bolivia, that the genesis of the Inka seems to be rooted. The
culture and megalopolis of Tiwanaku, near La Paz, from before 200 BCE until 1000 CE teemed with an organized
population on and around the shores of the mystical Lake Titicaca. Within the Tiwakanu Cosmovision it is
Wiracocha, the weeping God holding staffs, which guided all aspects of daily life.
There are numerous similarities between Egyptian and Inka cosmologies and we will touch lightly on a few of
them. Taking Wiracocha, the weeping God, there is a similar myth from Egypt that states that human beings
have been created from the “tears of God.”

I
llustration 6: Weeping God From The Gateway To The Sun At Tiwakaku
The Tiwanaku society collapsed around 1000 CE and the entire area underwent a time of incubation as if waiting
the arrival of the Inka some two centuries later. Some theories suggest that the Inka, along with their empasis
on the sun, Inti, began as a small religious cult from the Island of the Sun in Lake Titicaca. Other authorities
believe that the people who became the Inka were the elite from the Tiwanaku civilization who fled
northeastward towards Cusco. Carlos Milla Villena points to evidence showing an orderly migration of the Inka
people from Tiwakanu through an almost exact northwest line to and beyond Cusco in a shape following a
pattern of the Andean Cross, the Chakana.
It is with Manco Capac, the first Inka Emperor, and his sister-wife Mama Ocllo that the stories that are truly Inka
unfold. Whether these two founders traveled alone or as a group of four brothers and their sister-wives is
uncertain. It is through a mythic pilgrimage that the Inka ancestors traveled northwest to found their new
home the city of Cusco. In one story it is a golden staff, given directly by Wiracocha, which sinks into the
ground and signals the finding of the Inka Promised Land. Students of mysticism and magic will recall that
staffs of specific lengths are tuned to specific functions. From the beginnings of the Inka we are shown signs
that the Inka appear with a deep knowledge reminiscent of other mystical and magical traditions. Starting from
the mythic Inka foundations it is the historical emperor Inka Pachacuti who forges the region into a functioning
empire. It is Inka Pachacuti who solidifies, organizes, and unifies the inhabitants of the Inka lands into a
cohesive nation state.
We may never know for certain how much of what represents the Inka culture was created directly by the Inka
and how much was inherited and later refined. The Inka strategically made alliances with the peoples they
annexed. The leadership of the conquered peoples were schooled at the capital in Cusco and shrewdly given
important offices within the empire. Inka pottery, weaving, waterworks, and stonework are famous and
distinctive in the intricacy, utility, and general design. It is likely that the Inka stonework is one of their unique

refined contributions among their many skills.
There are indeed stories that say some parts of Cusco such as the grand stone works above the city, called
Saxaywaman, were already in place when the Inka arrived. Perhaps even some of the main streets in Cusco
were already in place before the arrival of the Inka. These are details we may never know conclusively. But it
is clear that academic discussions cannot easily justify the use of ropes and pulleys to explain away the skill of
the Inka. Most of what the Inka were really doing is still hidden from conventional science. Like an unfolding
flower the spiritual mysteries are becoming more aware to us.
The fate of the Inka is a very sad story. Disease had crept inland ahead of Pizzaro's men. A civil war between
the royal princes Huascar and Atahualpa had torn the empire apart. It is within these conditions that a scruffy
band of 180 men, 1 cannon, and 27 horses, set the stage to overthrow an empire. Part of the Inka
vulnerability was in their legends of Wiracocha. Whether Wiracocha was an individual or a collective people is
uncertain. Wiracocha was thought to be fair skinned and sporting a beard. Something the Spaniards had in
common with the legend. The Inka also felt it incredulous that the Spanish would attempt to harm let alone
dethrone the Sapa Inka Emporer. But as most tragedies would have it bad went to worst and the Spanish
unleashed a conquest of destruction of sacred sites and sacred quipu knotted string records, rape, torture,
murder, and other behaviors at the forefront of the most brutal forms of colonialism. The invaders had brought
the ignorance of their own age of darkness with them. They destroyed a civilization whose greatness they could
not even begin to understand.
Illustration 7 Inka Quipu Knotted Record
It is a tribute to the current people of the Andes that their ancestors passed through this time of darkness, this
Pachacuti, awaiting the return of truth and light to their world. Even as the rubble was being cleared, bodies
buried, and flames extinguished, there remained a light in their ancestors’ hearts. There also remained a vast
number of things hidden away from the conquest. It is these living remnants, the Andean people and the
sacred sites, that are the beacons and keys of light for us today.
For the benefit of Western readers it is appropriate to dispel some myths that have been at the core of at least
the European academic mindset. This has to do with the stance that any civilization that did not have written
records was somehow more primitive that those that possessed writing. This matter of writing has historically
been used as proof of the superiority of the ‘discoverer’-invaders. It has also been used by over five hundred
years by European interests to attempt to justify both conquest and colonization.
Specifically regarding the Inka our science is at a loss to understand with certainty the function of the quipu
knotted records. In the original zeal of the conquistadors, under the direction, or at least complicity of the
Catholic Church, all things the Spaniards did not understand or could attribute to the ‘devil’ were destroyed.

Thousands of quipus across the Inka Empire were gathered and burned. Similar tactics were employed against
the Mayan and Aztec and today we have less than half a dozen Mayan and Aztec codices intact. Although the
Mayan culture appears to have had more extensive use of pictographs, a Mesoamerican version of hieroglyphs,
both Central and South American cultures employed visual symbolism. Alternative pioneering Egyptologists
such as R.A. Schwaller de Lubicz and John Anthony West have made it clear that stone structures are
engineered containers of sacred information. Parallels showing that Inka architecture also possesses sacred
information are just now being re-understood.
The actions of the conquistadors to destroy a civilization went beyond overthrowing the government and
installing their own. The invaders turned the Inka world upside down. Anything to do with the old ways was
gathered, burned, and pulverized. Along with the outward destruction is a long reverberation, a dark wave,
which lasts hundreds of years, in which the accumulated knowledge and wisdom of the Inka culture was also
reduced to the fragments we have today. When we speak of crimes against humanity we usually refer to
actions that have affected the victims and their immediate families. But how you can qualify, let alone justify,
crimes that reduce the knowledge, wisdom, and richness, of humanity for hundreds of years? It is only in the
past few decades that native peoples around the world have begun to get their voice back and been allowed to
practice the old ways that have been carried down person to person all these generations.
Let us return to the concept of writing, or the lack thereof in a civilization such as the Inka. For now assume
that the quipus were the accounting tools of the Empire. Let us also assume that much of the transfer of
knowledge was done verbally and through song. These patterns fit with what we can understand from other
societies that live closer to the earth than we do. Establishing these minimums of knowledge storage and
transfer is there anything else that can be forms of records of civilization beyond pottery fragments, jewelry,
weapons, and the kind of artifacts you see in museums? There are at least two areas and mechanisms the
Inka are likely to have employed.
William Burns Glynn has studied the designs on the textiles woven and worn by Inka nobility. Mr. Glynn
believes that the geometric patterns in Inka textiles represent a form of encoded geometric language. Mr.
Glynn’s 1990 book Legado de Los Amautas (Legacy of the Wise Men) discusses the system he has decoded. So
we have a strong possibility that the Inka had encoded information we would ascribe to writing in at least
another graphic form that was worn perhaps as a living testament to the message woven in the threads of their
garments. This view begins to open up the possibiltiies that the Inka encoded information in mechanisms that
are foreign to us but not inexistant.
Illustration 8 Inka Roca wearing textile patterns as drawn by chronicler Waman Puma

There is yet another realm of Inka knowledge that has been missed by both the conquistadors and by modern
science. That is the realm of metaphysical knowledge. Suppose a visitor to our civilization did not understand
radio waves. You could tell them that there are volumes of information in the air in front of them. Everything
from television broadcasts, conversations on cell phones, and reams of electronic information accessible on
wireless Internet connections. None of this information is written down. If your visitor only understood writing
and saw no writings they may assume that your civilization is very primitive.
There is a similar question that is used by thinkers in metaphysical circles that goes something like ‘What is the
sign of a greater civilization, one that possesses great starships able to travel the galaxy, or one which is able to
travel the galaxy without those ships?’ A civilization that must utilize matter and energy rather than
consciousness to achieve its goals is certainly less advanced and relatively more primitive. Our culture assumes
that the path to the stars lies through space ships. But beings able to travel without UFOs are move advanced
than anything that may have occurred at Roswell.
Assume for a moment that most of what the Inka civilization was about was unseen and recorded using
techniques science cannot currently measure. Our Western civilization has become so material that non-
physical recording would be incomprehensible. Popular culture has viewed other cultures with ‘only’ a spoken
tradition and no writing with disdain. But we don’t hold open the possibility that a specific cultures non-use of
writing, or other technologies such as the wheel, is an intentional act. I won’t go so far as to say that telepathy
was common for the Inka but anyone can understand that communication from mind-to-mind would have little
use for writing and somewhat less for talking. The lack of written communication for the Inka, rather than
proving their primitiveness, strongly implies that their world, their experience in life, did not require writing. As
we will see later the design of Machu Picchu convincingly says that the consciousness of the Inka, at least some
of them, extended into planes of existence well beyond what we would call the physical. Machu Picchu proves
that the Inka knew reams about energetic fields and solar and cosmic phenomena both in the physical and
metaphysical realms. We know from the descendants of the Q’ero people of Peru that they possess knowledge
of sophisticated interpersonal and transpersonal energetics. Machu Picchu encodes this type of energetic
information and more into actual physical structures
If, as is suggested, the Inka civilization utilized information beyond the physical and had a great deal of their
consciousness plugged into higher levels of information, then what would someone with no experience of these
higher levels of consciousness, such as a conquistador see and do? The invader would surely assume that
although seeing that the Inka had lived with order and dignity, they were surely an ignorant people. Being in
relative darkness of material consciousness themselves the invader would perceive nothing of the true spiritual
essence of the people they were invading. Any structures, artifacts, or phenomena of the people that the
invader witnessed being beyond their own understanding, would immediately be labeled as works of the devil,
and destroyed. In this manner you have the irony of the spiritual darkness of the European invader unable to
perceive the spiritual light of the Inka culture. The Conquistadors lust for gold, fame, fortune, zeal for
subjugation, worked hand in hand with the presumed ideology of divine commission. What you have playing
out are the materialist and religious memes of the West carried into South America, and indeed out from
Europe, like a virus. This was literally illustrated by smallpox and other diseases spreading energetically ahead
of both Cortez’s men in Mexico and Pizarro’s men in Peru. The spiritually dark memes brought from Europe in
1492 slowly and systematically spread by disease and conquest to almost fully quench the spiritual light in the
American civilizations.
During 1492-1532 CE the world turned upside down. A pachacuti of 500 years of darkness had begun.
Fortunately for everyone this pachacuti is ending in 1992-2012 CE. The rediscovery of Machu Picchu occurs just
as the pachacuti of darkeness is ending. The wisdom of the builders of Machu Picchu, of the great Inkas, now
begins to speak to us again. And the really interesting possibility is that the 500 years of the pachacuti saw not
the end but just the suspension of the Inka Empire.

Pachacuti: Andean Cycles Of Time
The Andean prophecies about the return of the age of light are tied to the concept of a ‘Pachacuti’. Pachacuti is
usually translated as the world turned upside down. Andean sources have pointed out that the arrival of the
Europeans to the Americas represented the beginning of a Pachacuti, a period of 500 years, of darkness. The
concept of Pachacuti points to the widely held aboriginal cultural concept of viewing time as a cycle. In the
West we generally view time as being linear, start, middle, and end. Most earth-consciousness cultures viewed
time, and most of the functioning of the universe, as being circular. The Pachacuti function as alternating time
periods of relative spiritual darkness and relative light. These Pachacuti depict the tendencies for spiritual light
to be more free, or more constrained, to influence mankind.
Even in our language we are challenged to describe the modulation that the Pachacuti provide. In the Hindu
religion the movements of the expansion and contraction of the universe are viewed as the inhalation and
exhalation of Brahama. Higher spirituality tends towards a unification that is beyond the dualities of light and
dark, good and evil. When discussing these periods it is important not to apply our cultural filters to these
periods. Instead of alternating periods of absolute light and darkness view these periods as phases of the
moon. These periods are the dance of revelation and integration, of expansion and concretation. In the periods
of ‘light’ there is new spiritual information that propels consciousness forward. In the periods of ‘darkness’ there
is a period of integration. This cyclic alternation mirrors the change of the four seasons. The light of springtime
brings growth that matures over the summer. From the growth of summer the seeds of autumn are sown
which rest below the soil during the winter.
In the West the challenge for us is that our culture has removed us from the normal relationships with the earth
that our passage through these time cycles produces unintended side effects. These side effects are most
evident in the integrative or ‘dark’ periods. During an integrative ‘dark’ cycle earth-based cultures are generally
venturing inward and concretizing the wisdom of the previous light cycle through art, music, and mythology.
Because our material civilization is not standing in a correct relationship with the earth there is a shadow aspect
of ourselves not properly aligned or expressed during the ‘dark’ phases. When our culture enters a dark period
of the time cycle we tend towards the lower drives of fear and warfare.
The isolation we find ourselves in comes from cutting off our recognition of or encounter with the irrational and
mysterious forces of nature. For instance how many adolescents today reaffirm their relationship to the earth
and the community by undergoing rites of passage? Increasingly in Western socities nineteen or twenty year
olds, especially young men, create their own psychic transitions that appear to be temporary psychosis. Who in
our culture can tell these young people that they are undergoing a psychic reorientation rather than just having
an acute chemical imbalance to be treated invasively with foreign chemicals? At a time these young people
most need ceremony and community support we drug them and temporarily commit them to mental wards.
The psychic and sacred do not exist easily within the clinical and larger scientific nomenclature.
Due to our fragmentation and separation from the sacred in Western society the least desirable behaviors tend
to be exhibited during the time cycle dark phases. In written history these recurring phases tend to be times of
profilic or global strife, warfare, and ignorance. But these side effects are not a function of the time cycles but
of our dis-integrated cultural psyche. So keep in mind as we talk about the time cycles that the dark periods are
not inherently bad. It is our culture that reacts badly within them.
In terms of the Native American cultures the year 1492 is often used as the start of a great and severe time
period of darkness. This would mean that the year 1992 was near the ending of the time of darkness and the
resumption of a cycle of light. To add precision to the beginning of the Pachacuti of darkness we are now
leaving we may want to adjust the current Pachacuti starting year. If you take 1492, the landing of Columbus,
and 1532, the Landing of Pizarro to conquer in the Inkas, you have a total of 40 years. The middle of this 40-
year period is 1512. And not coincidentally if you add 500 years to 1512 you obtain 2012. The year 2012 is a
pivotal year in the Mayan calendar as the beginning of a new time. From these set of markers 1492 was a
precursor to the Pachacuti. According to the Q’ero it was August 1st 1993 that marked the end of this previous
pachacuti cycle. To them this current time marks the entry into the next cycle of light called the taripay pacha.

This is the cycle of ‘returning to ourselves’. The Q’ero point out this is a time of opportunity not of guarantee of
spiritual development.
In the Andean view of time these periods of light and darkness follow one another. Even beyond the Andes
there are numerous time cycles with the Mayan Calendar having another potentially fractal view of time. The
magical thing is that the universe is so complex that multiple cycles can function all at the same time. There is
not a single canonical time cycle that represents the single version of the truth.
For the Andean time cycles we are examining we can assume a 500 year cycle which spans the time of the
European discovery of the Americas until just before 2012. The relationship of these periods of light and dark
should be natural and follow the example of the phases of the moon. So if we are leaving a 500-year phase of
relative darkness then this implies that the greater time cycle is one that is 1000 years long. A complete pairing
of a light and dark cycle, each 500 years long, comprises an entire light/dark cycle that lasts 1000 years before
the next 1000-year cycle begins. Within a single 1000-year cycle you have one turning of the world from dark
to light and another turning, or Pachachuti, of light to dark. Using 1512 and 2012 as nodal points in the
transition from one zone to another we can come up with a relative map of time according to the 1000-year
overall cycle.
Illustration 9 Hypothetical Mapping Of Years CE To The Andean Pachacuti Cyle Of Time
The direction of time flow in the Pachacuti time diagram is clockwise. At the 90 degree or 3:00 position you
have the years 512 and 1512. This position associates roughly to the season of autumn or evening twilight. At
the 180 degree or 6:00 position you have the years 762 and 1762. This season is winter and the time of day is
midnight. At the 270 degree or 9:00 position you have the years 12, 1012, and 2012. This is the spring season
and the time of day is sunrise. At the 360 degree or 12:00 position you have the years 262 and 1262. This
area represents summer and the time of day is noon.
There are a number of interesting correspondences to history that you can immediately see from this map of
time. The year 1512 marks the change in balance of light from predominance of light to one of an increase of

darkness. The year 1512 is exactly in the middle of the landings of Columbus and Pizzaro. In 1520 Cortes
begins the conquest of the Aztecs. By 1762, at the dark maximum of a long cycle of conquest and colonization,
European governments have firm footings in both of the American continents.
The first year listed in this Pachacuti diagram is the year 12 CE. This is a time of increasing light. Not
coincidentally this corresponds to the childhood and ministry of Jesus Christ. The entire period through and past
the top of the diagram in the year 262 CE mirrors a spreading of both Christian teachings and their general co-
existence with the ancient wisdom of the mystery schools. A general decline of spiritual light is already
apparent by 387 CE. Note that in 325 CE Constantine begins what Thedosius completes in making Christianity
the official religion of the Roman Empire. It is in this period of the late fourth century and early fifth century
that the ancient knowledge no longer finds a place in the new Christian governance and most of the ancient
knowledge present in Europe is being destroyed. By the year 512 CE the seeds of the Dark Ages have begun.
Following the Pachacuti map to the bottom at the year 762 CE there is an interesting development. Islam, with
its symbol of the crescent moon, is established. Islam presents a haven for mathematics and other sciences to
continue progressing while rational thought in Europe languishes.
The year 1012 CE on the left of the map represents a reemergence of another period of light. Mahmud of
Ghazhi has already begun a conquest bringing Islam into India. This fusion of cultures provides the creative
seedbeds for the great Sufi mystics of India. The Eastern Orthodox Churches break away from the Church of
Rome. Troubadours begin singing around Europe to help awaken the hearts of the people to the subtleties of
life and love.
One of the most interesting points on this Pachacuti circle of time is at the top near the year 1262 CE. The
theory behind this Pachacuti circle of time suggests that areas near the top of the circle should be dominated by
light and expansion of new growth. James J. Walsh noted the 13th century as the ‘Greatest of Centuries’. In
Western society this period marked a final forward movement out of the dark ages. Universities, cathedrals,
arts, and crafts helped lift Europe out of its doldrums. Philosophy and the sciences were once again stirring with
the inputs of Thomas Aquinas, Roger Bacon, and their contemporaries. City hospitals were opened to heal the
sick. Great libraries were established and books were put into circulation. Many old books were being
reprinted. At this time the Arthurian legends and the Holy Grail appear to inspire peoples imaginations.
Very notable on the way up to this apex is an event in 1215 CE. In the wake of the Norman Conquest the
monarchy of England had consolidated power to the ire of the local noblemen. In a preview of events to unfold
over 500 years later it was the issue of taxation imposed by King John that led the barons of England to revolt.
The result was a document widely regarded as one of the most significant first steps to individual rights; the
Magna Carta. This document, signed in 1215 CE, and reissued in 1216 CE after King John’s death, established a
basic set of rights and freedoms for citizens of England.
It is also during this time that the genesis of the Inka Empire occurs. Manco Capac, followed by Sinchi Roca,
establish the Empire centered in Cusco. The Inka build upon the foundations of the earlier cultures to solidify a
new dynastic society. What we consider as Inka is established and solidified as a culture and the beginnings of
Inka imperial expansion.
The thirteenth century is replete which historical events. Marco Polo reaches China. Various forms of Buddhism
spread across Asia with some forms supplanting others. Ghengis Khan establishes the second largest empire in
history. Islam also finds inroads within the Mongols.
It is during the 15th Century that the Inka leader named Pachacuti Inka Yupanqui makes the greatest strides and
expansion of the Inka domains. Pachacuti formalizes the governance of the region and rebuilds much of Cusco.
His son, Tupac Inka, leads the armies around 1463 and expands the Empire north into Ecuador. It is ironic that
from the ascent of Pachacuti Inka the glories of the Inka Empire have less than 100 years remaining before the
arrival of the conquistadors.
We now examine in greater detail the crossing from the area predominated by light to that of darkness that led
to the collapse of the great American civilizations around 1523 CE. Beyond the appearance of the great inventor

and artist Leonardo DaVinci much of this century is marked with unrest. Martin Luther launches the Protestant
Reformation. The Church of England breaks from the Catholic Church. Mary the 1st, ‘Bloody Mary’, of England
attempts to quash the Protestants. The Ottoman Empire expands through military force on numerous fronts
even sacking Rome and ending the Italian Renaissance. There are wars throughout Asia. In 1556 the world’s
deadliest recorded earthquake occurs in Shaaxi China. The Valladolid Debate of 1550-1551 CE attempts to argue
that AmerIndians did not possess souls. Overall the 16th Century is a period of increasing spiritual darkness and
extreme unrest.
Moving into the 17th century one of the darkest aspects was the emergence of a form of science which
discredited the existence of the spirit. The most famous examples are found in the theories of Rene Descartes.
He states ‘Matter and mind can possibly exist separately, therefore they must really be distinct’. This thought
becomes a seed into the inevitable distancing of science from the spiritual. Matter is seen as dead, as
desacralized, something to be divided down into its component parts to be understood and controlled with the
rational mind. The de-animation of nature justifies any treatment of the material world and inhabitants who do
not enter into the same type of intellectual banter.
The other great intellectual drift away from nature came in the form of the theories of ‘natural law’ of Jacques-
Beninge Bossuet and later Thomas Hobbes. Natural law says that because governments have been allowed to
rule by providence their acts are inherently just. Thus any action of governance justifies the means. Although
this view outwardly acknowledges the spirit it does so only to give authority to man-made institutions. Once the
institutions are sufficiently empowered they can tell the citizenry what to think and do. Then there is no longer
any need to seek a relationship with Spirit directly. Natural law becomes a way to further invest nation
governments with the same type of authority that the large religious institutions and monarchys already
possessed.
This takes us to the bottom of the Pachacuti circle around the year 1762 CE. Ironically this area of the time
cycle also corresponds to the ‘Enlightenment’. The Enlightenment is the flowering of the ideas set forth since
the downward turn around 1512 CE. These concepts of nature separate from God, blossom in the fields of
thought that had been razed since the previous cycle of time around the upper right quadrant in 387. The
ancient knowledge had been destroyed at that time and the West languished for nearly a thousand years in the
‘Dark Ages’. At the top of the next cycle in 1262 CE European culture had begun to blossom again. A delicate
harmony between rational thought and spiritual matters had been maintained during this period until the right
quadrant of the time cycle in the 16th century. It is at this time that the spirit is truncated and exorcised from
the rational flowering of the 13th century. The result is a materialistic civilization that is in full bloom in the
middle of the period at 1762 CE.
During this period numerous wars are occurring throughout the world. There is a glimmer of spiritual light
regarding the freedoms of people carried from the sparks of the Magna Carta from the top of the time cycle of
the 13th century. By the year 1776 CE the American documents of the Declaration of Independence, the Bill of
Rights, and the Constitution are created. Although the young country of the United States of America is born in
the lowest part of this cycle dominated by materialism there are many intellectual and spiritual fruits that are
also produced within its borders. An influx of emmigrants seeking religious freedom and opportunity seed the
new country. Eventually the ideas of freedom and human rights spread out from America’s shores.
The continuance of the time cycle that birthed the United States results in a great continental expansion. All
indigenous cultures suffer displacement or genocide as a result. Indeed, across all the Americas, local cultures
and ways of life are destroyed as the land is taken and reshaped in the name of ‘Manifest Destiny’ and
‘progress’. Through this period of the largest wars in history the native people have carried a spark of life and
wisdom. When a native tribe would migrate there would typically be a fire-carrier. This person carried the
embers from the old fire and fashioned a tube that would slow burn for hours. Upon reaching the new campsite
a new fire would be created from the embers of the old. At around the year 2012 CE the new fires of spiritual
light will be fully kindled. With deep gratitude we acknowledge that the emergence of the Pachacuti of light has
already begun.

We Are The Ones We Have Been Waiting For
“We are the ones we have been waiting for.” North American Hopi Elders.
“That the Eagle and the Condor will fly together.” Andean Prophecy
Something is up. All across the Americas there is a renewed sense of vitality among native peoples. Small
countries are standing up to the larger countries demanding fair treatment. The methods and ways of Western
civilization are under scrutiny and many old things that do not work are being set aside. Environmentalism, New
Age, Conscious Living, Alternative, TechoMaxi, and TechnoMini are all energized by what seems to be a world
that is speeding up. We are clearly, from all sides and indicators, in a time of great, if not immense change.
Accompanying this undercurrent is a great sense of uncertainty and often fear. We have been taught to look for
the solutions from somewhere, anywhere, outside of ourselves. If only the wise ones, the great leaders and
healers of old, were here to help us make it through.
The people who are going to make it through this transition are already here. Instead of looking outside for the
answers maybe we need to look inside. The allies we have in the trek of life and wisdom are known to us.
Trust in the beauty of the inner self. Trust in the loving arms of Pachamama. Trust in the earth, air, water, fire,
and sun. Our helpers are forces and angels of light and love. Yet, to really make this all happen, a transition to
a world of wisdom and beauty, it takes you and me.
Into this mix appear sacred sites all around the world like Machu Picchu. The ability, in our time, for someone
from Amsterdam or Denver or Tokyo, to be able to travel to a place like Machu Picchu is significant. You can
pay for special tours to receive some initiations. But walking around Machu Picchu is an initiation in it's own
right. Machu Picchu waits like a priestess to activate within you those gifts of love and light that we carry
already. Machu Picchu truly is a special place.
The consciousness of the Inka and Machu Picchu again awakens. You can associate this with the ending of the
Pachacuti of darkness in the period from 1992-2012 CE. There is harmonic convergence and harmonic
concordance. You have cosmic emissions from the center of the galaxy and magnetar gravity waves acting as
metaphysical sources of transformation inspiration. We are in a universe far stranger and more alive in ways
that science is only beginning to allow into their paradigms. At a deeper level what is really happening is a
process of self-reflexive unfolding as part of a universal consciousness.
I’m sure many of you have seen images of fingers or other body parts being pressed against large sheets of
mylar, latex, or other types of plastic. What you can see of the person poking through the other side of the
sheet is a very small representation of what that person really is. This subset of information appearing from the
other side is similar to the amount of understanding that science and culture can measure and has allowed as
‘fact’. What we have been conditioned to expect and perceive is a small subsection of what is really out there.
The wonderful thing about this situation is that something has happened which makes the old standards of
materialism and ideology no longer sufficient in the minds of growing numbers of people. It’s almost like large
populations are coming out of a stupor. And these awakening souls are discovering a universe far stranger,
more subtle, and more beautiful than ever conceived. We stand at the crest of a wave of change. This change
is peeling away the incomplete abstractions of the past in order that more honest and accurate understandings
can occur.
Some North American Indian prophesies pointed to the age and culture of the 1960’s. These predictions stated
that the children of the Europeans would seek an alternative to what their fathers told them and begin to seek
the wisdom of the aboriginal elders. Other prophecies speak of the children born in the American lands from
the dust of the bones of the ancestors. Some of the names for these children include the Rainbow Warriors or
Rainbow children. Still other messengers say that the souls Inkarnating now are from higher bands of
consciousness. You have indigo children, crystal children, dolphin children, all variations of beings and all types
of terms to attempt to describe how the children coming into the world are different than before.

What is clear is that the children of today will be faced with some difficult choices. Choices between rising
trends of so-called material wealth verses trends of declining planetary health. The children and young adults of
today are increasingly tuned into the words of Chief Seattle where he says ‘What we do to the earth we do to
ourselves’.
The real solutions to the challenges facing our children will come from sources on the other currently unseen
side of this plastic boundary. It is not primarily breakthroughs of science that will help save our species. It is
breakthroughs of consciousness that we most need. What is reassuring is that the advances in consciousness
are present in cultural resources such as aboriginal peoples and in the great spiritual and physical resources like
Machu Picchu.
Even more astounding is the energy and consciousness that produced the great spiritual civilizations of the
world is present to everyone. Almost beyond believability is that this great spiritual energy and consciousness is
the reality behind every single human heart and mind. Recall once again the image of the plastic boundary.
From our cultural conditioning we perceive to varying degrees that there is something more magical behind the
workings of the universe than our culture allows room for. The thickness of this boundary is only maintained by
the conventionality of the ways we try to explore reality. For people today who are opening to meditation,
yoga, energy work, channeling, divination, and all forms of non-scientific and immediate experience, the
boundary between conventional life and the spiritual path becomes more and more a permeable layer allowing
both information exchange and osmosis.
The children of today are those who are able to stand outside of the accepted conventions. Children today have
a strong sense of self and increasingly a sense of purpose. Society today is challenged by these new children
who look at the world differently, they learn differently, and will not accept things that people have just gone
along with for hundreds or thousands of years.
Ultimately the path of direct experience is a path to self-knowledge, gnosis, and even salvation. Within you,
right now, are all the keys that are needed for you to understand how the universe works. Seemingly on this
side of the boundary is a mundane and secular life. On the other side of the boundary are the angels and all joy
and all truth. What is the truth? The boundary that you think separates you from everything that is divine
exists only in your mind. There is no boundary. There is no separation between you, in this moment, and the
divine essence. It is not your heart, and breath, and all your organs that sustains you in each moment. In each
instant it is the divine essence you carry within you which energizes the holy mechanics of body and mind.
The realization of the immediacy of the divine in every moment is a hallmark of the mystical consciousness we
name as being Inka. In some sense every person on the earth at this moment made a choice to be part of this
experience. What we are seeing is the re-emergence of the sacred experience as a normal part of human life.
And there is every reason to believe that the unfolding experience of consciousness will be much more universal
across populations than has ever existed before.
Imagine that eight people from an advanced civilization begin a journey from a lake somewhere. This journey
takes some years. When this group finally reaches the site of their new outpost these people, because of their
relatively advanced state of consciousness, take the positionof leaders amoung the local people. Within a few
hundred years this society unifies vast areas under its governance. These same people create numerous
temples and structures that operate according to spiritual technologies. So from eight people you now have
many more people with some understanding of the spiritual principles. These others beyond the eight include
the initiates into the spiritual tradition. And in accordance with the divine principle of the seed being sown, that
great civilization comes to a seeming end. This is the story of the Inka.
The great spiritual knowledge of the Inka comes under the influence of greater cycles of time than can be
altered. The great Inka civilization, composed of people with great spiritual awareness, is sown into the bosom
of Pachamama. Here under the darkness of the rich loam of the earth for the period of 500 years all the
spiritual cultures of the Americas have laid in an extended germination.
Now we find another spiritual cycle taking over in the period from 1992-2012 CE. The age, the Pachacuti, has

changed into an age of light. And in following the example of what is written elsewhere in Middle Eastern
literature, the result of what is happening is the resurgence of spiritual knowledge some twenty fold, some forty
fold, some one hundred fold.
Consider this book as a message from Pachamama, the Apus (Andean mountain deities), Inti TayTay (Sun
Father), the plants and animals, and ancestors of South America. If you have the chance, please come to
Machu Picchu. Even if you don't have the chance, let the dreams of Machu Picchu come to you. Imagine the
beauty here as part of who you are, that is the truth. You are the beauty you have been waiting for.
Illustration 10: Machu Picchu As Seen From Wayna Picchu Mountain

Attuning Consciousness
When you arrive at a sacred area, especially those areas that are frequently described by myths or legends, it is
prudent to be self-aware. We always carry with us a consciousness that has with it a certain frame of reference.
This consciousness and vibration forms our current energy signature. When we walk into a sacred area our own
energy signature will be affected by the energy signature of the place where we are. This ability to become
aware of energetic changes and get glimpses of other dimensions is all supported by attuning consciousness.
The act of attuning is to impress upon yourself an openness to the existence, energy, and vibrations, of another
person, being, or place. When two musicians come together to play the first thing they will do is to tune their
instruments. Tuned instruments play in harmony with one another and actively support one another. If the
instruments were not tuned then the sounds they made would not be pleasant. In fact sounds that are
harmonously tuned together actively create a synergistic space between the notes that give music a spritual
quality. It is these harmonics, through attunement, that are vehicles to entering deeply into sacred
relationships.
Upon entering a sacred area you should attune yourself by first asking permission to enter. Asking permission
is a form of attuning. You are giving recognition to that which is around you and asking for a relationship to be
established. All forms of sacred interaction are based on relationship through attunement. If you walk through
a sacred site without having first tuned to it through permission then you will be lucky to experience anything of
the real essence of the site. You will be like any other tourist.
After asking for permission to enter a sacred site it is advisable to give an offering. The offering is a
manifestation of your request and acknowledgement the value you place on your visit. Your offering could be a
small flower or flower petal, some water poured on the ground, a strand of your hair, or a pinch of a sacred
herb like tobacco. Your offering does not need to be physical it could be a sacred phrase like Namaste or short
chant or prayer. If you are at a small sacred site, especially one with the importance of Machu Picchu, it is
better to not leave physical offerings and if you do it should be something that will decompose quickly and not
persist at the site. You should generally not leave offerings like crystals at mountains or other sacred sites.
There are often local caretakers around these sites who work with the energy all the time. Leaving a crystal at
a site or on a mountaintop can disrupt the energy flows making more work for the local caretaker. Remember
that your offering should convey the feelings in your heart for the beauty that you are being allowed to
experience.
During your stay at the sacred site you will be seeking to enter into deeper communication with the area. You
may have with you a list of features at the site that you want to make sure you don’t miss. You may be
following a guidebook. All of this is fine. But also allow yourself time to just follow your intuition. Allow
yourself to be guided to certain areas for no apparent reason. Once you feel you are in those areas allow
yourself the time, alone if necessary, to tune in a find out why you were guided to those areas. This concept of
‘spirit-walking’ is embodied in many aboriginal cultures. Most people would be familiar with the term ‘walk-
about’ from movies or video we have seen about Australia. This type of walking can and often does reach an
altered state of reverie. In fact much of the great tracking skills of the American Indians deals with both
fantastic observation and awareness skills couple with this type of consciousness. Some of the most significant
information in this book came about though just following guidance given to me on my visits to Machu Picchu
and surrounding areas.
Once you have completed your time at the sacred site it is important before leaving to give thanks. Again
thanks can be in the form of an offering. In some traditions it can be touching your forehead to a stone or
kneeling on the ground. It could be just standing facing the setting sun with the wind caressing your hair
holding gratitude in your heart. Often you feel yourself never wanting to leave. It is at this time that you can
say that you will always carry the memories of the place, even the place itself, within your heart.
The final activity you should consider either immediately after leaving the site or at your final return home is
some form of artistic expression. This can be in the form of writing and it can be art like drawing or painting. It

could also be braiding or other type of craft. The point is that there should be some reflection on your
experience. If you are traveling with a group then discussing your experience can really be insightful. But also
make sure you have personal time to go within and not be concerned about how your expression looks to
others. What matters is how it looks to you.
Lake Titicaca Attunement

Before we start unveiling the mysteries of Machu Picchu there is some attuning of our consciousness to do right
now. For this attuning we will travel in our minds backwards in the footsteps of the Inka. Traveling back
through the mists of time and legend we arrive at the legedanary point of emergence of the Inka at Lake
Titicaca. To the Inka Lake Titicaca and Tiwanaku is the pacarina; the place of emergence.
Lake Titicaca is the highest navigable lake in the world. Many of the islands of the lake are shaped like mytical
animals. It seems you could almost call this place Lake of Legends. There are numerous legends about the
lake and it’s origins. A number of these legends involve its formation as part of the flood of Noah or the demise
of Lemuria. Not far from Lake Titicaca is the famed ancient city of Tiwanaku which is thought to be the earliest
city complex in the Americas.
In high-energy areas like Lake Titicaca our energy, conscioussness, and hence our view of reality will be
affected. Often times people report seeing lights, angels, UFOs, or other phenemona in these areas. Partly
these things are seen because the normal rules that we place on what is real are reshaped by the energy of
sacred sites. It is as if doorways and windows that have been closed through lack of use are reopened by the
energy of the sacred site. It is at sites heavily associated with myth and legend like Lake Titicaca that you can
peer around the corners of your normally perceived reality into something different and often higher. Once
these doors of perception are coaxed open do not be surprised if you begin to perceive things in your mind and
to physically see things you would not normally expect. Lake Titicaca is a powerful location that, like Machu
Picchu, can reshape your view of reality. And to really understand what the ancient builders of the sacred sites
where doing it is crucial that we work on our concept of reality. If we can look at what we perceive of as reality,
and understand it enough to change our perceptions and awareness, we can then change our reality.
There is much symbology associated with Lake Titicaca that encodes deep aspects of understanding reality. In
the Andean Aymara origin myth the creator Wiracocha sends out the woman Ymay Mama Wiracocha and the
man Tocapa Wiracocha. Mama Wiracocha is told to go towards the mountains and create people. Tocapa
Wiracocha is told to go towards the plains and create people. Wiracocha travels in the middle with the act of
creation. In this myth we can see semblences to the concept of the Tao. The Tao is one representing
Wiracocha. But the Tao Wiracocha chooses to manifest into a seeming set of polarities in order to create. The
one becomes the two and the three. So the one Wiracocha shows us how the female and male polarities
support each other in the act of creation. And still with polarities the oneness of Wiracocha exists. This is
remeniscent of the words of the Buddha who encourages us to take the middle way in life.
Beyond the Wiracochas and Inka rulers arguably the most legendary person associated with both Lake Titicaca
and the Inka is someone named Amaru Muru. This person was undoubtedly an Amaru, a master teacher. In
Quecha the word Amaru means a serpent. The Amaru were considered to be a class of high spiritual masters.
The Aymara phrase Amauta is also used to describe these spiritual masters. Amaru is roughly equivelant to the
Mexican Nahuatl word Quetzlcoatl, the plumed serpent.
Amaru Muru is said to be a survivor from a previous civilization who brought with him a great golden disk. This
disk is a symbol of the sun and is a kind of sacred information-hologram that contains the secrets of the
universe. It is said that when the Inka civilization came to the region that Amaru Muru brought the golden disk
to Cuszo. In Cuszo the gold disk was hung in the center of the Coriconcha, the Temple of the Sun. Just before
the Spaniards came Amaru Muru took the golden disk from Cuszco and hid it within Lake Tititica. Then Amaru
Muru disappeared through doorway of stone named after him into another dimension.
We will examine this legend in more detail later. This story is yet another example of the mythic nature of Lake

Titicaca. Regarding the person of Amaru Muru there are some words I want to convey to you and it would be
appropriate to consider these as coming from someone like Amaru Muru because they really convey the energy
and mystery of Lake Titicaca and Amaru Muru.
What you perceive as reality is the intersection of a number of planes of existence that you have
become conditioned to expect to see. You understand that a point in space exists at the
intersection of length, height, and depth, or X,Y, and Z coordinates. Your reality is a product of
your perception and your perception is the result of an intersection of a set of planes presented to
the seer within your consciousness. Normally you are unable to see who you really are because
you believe this assembled compositite picture is something you exist within. The builders of
Machu Picchu are amoung those beings who have learned that there is more than what the picture
in the mind says. The builders use their wisdom to create ‘places’ for your mind to go to so that
your perception may be adjusted, healed, and that you would be empowered to see a clearer,
more sacred, version of reality.
Each person perceives and interprets reality differently. Quantum physics makes clear that the outcome of any
experiment depends on the observer and the expectations of the observer. What appears in your reality is the
outcome of your thoughts and beliefs. If you can modify the components that generate your reality you can
generate a different reality. We are not talking about self-help. We are talking about sacred technology. The
Amaru are those who can look behind the curtain and understand how the levers and gears work. In the past
and still today the Amarus, shamans, and other sacred persons know how to interact and influence, even
change, their reality. The first step to doing this is considering that it is possible. It is this mindset of possibility
that would benefit you most in your journeys.
Lake Titicaca and Machu Picchu represent some of the best places one can go to repattern our realities. Here
you can participate in the active architecture and divine engineering of the people who passed through this area
of South America. Your experience of these places can be heightened actively by attuning your consciousness.
Exercise your mind to see beyond what is just taken for granted as an archeological location or an old story.
Try to look deeper and see whether there are layers of meaning waiting for you. And trust that ultimately the
doorways of wisdom that open for you are supported by your experiences. The highest sacred wisdom that will
be opened to you comes from within.
Let us exercise our developing awareness of our Andean attunement to look more deeply at the story of Amaru
Muru. The legends of Amaru Muru always include three items or places. The first is Lake Titicaca. From the
Jungian perspective of symbolism water represents many things including the collective unconsciousness. There
is something very mysterious about such a large lake existing so high in the mountains. The second item
around Amaru Muru involves the golden disk. The golden disk is a complex metaphor representing a range of
things from the sun to divine wisdom. The third thing around Amaru Muru is the doorway through which Amaru
Muru is said to have traveled to other dimensions. Doorways are prominent symbols in Andean mysticism. The
Andean Cross is the Chanaka that means the doorway or portal. How can we orient this story of Amaru Muru
and put into it an attunement of spiritual metaphor relavant to today?
When looking at legends it is helpful to realize that these stories often encode information and are not just tall
tales. In Hamlets Mill Giorgio De Santillana and Hertha Von Dechend point out that many myths have encoded
within them descriptions of astronomical alignments that point to a specific time when the drama of the myth
occurred. William Sullivan in The Secret of the Incas: Myth, Astronomy, and the War Against Time describes
Inka myths and how these are encoded astronomical positions relating to specific dates. Astronomical encoding
is just one orientation that can be used in interpreting a myth.
Since other myths of the Andean people involve time or cycles of time then applying a concept of modified time
may yield some information about the legend of Amaru Muru. In the original myth if we take the major events
and summarize them around the Inka center we have the golden disk installed in the temple of the sun, the disk
taken and hidden in Lake Titicaca, and finally Amaru Muru disappearing through a doorway. The installation of
the golden disk in the temple of the sun is chosen as the center of this story because it represents a steady
state where an object associated with Amaru Muru is in the most fitting place. A disc of gold should be installed

in a temple covered with gold as the Coriconcha was in Inka times. As the cycles of time turn from light to
darkness they also turn from darkness to light. If you could not understand fully cycles of time you might think
that time reversed itself when after turning from light to dark the dark changed back to light. So what happens
if we reverse the story of Amaru Muru? This is similar to writing a message backwards as a form of hidden
code. This has been done with secret messages that were written so that they had to be held in a mirror to be
seen. Does such an interpretation of reversing the events around Amaru Muru provide us any insight or
attunement in the intelligence behind the Andean mysteries?
One of the first things to understand about Andean, and indeed any deep mysticism, is that time does not exist.
The only moment that exists is now. So it is equally valid to tell the Amaru Muru story in reverse as it is forward
because ultimately a layer of the myth is not about a history event. Sacred myths are also about internal
processes that occur first within individuals and then are echoed in extended groups of people. The child to be
born in Bethlehem is a personal event for everyone. So what about collective Amaru? What follows is one
possible interpretation of the story in reverse with its methophors implied in an interpersonal way.
You realize that within Andean cosmology exists a doorway. This doorway allows someone,
ultimately many people, to travel from the viewpoint of ordinary consciousness to insights and
understandings connected to higher dimensions. These Amarus travel to the shores of Lake
Titicaca. Lake Titicaca is that portion of all of us that has a hidden aspect that is not easy to see
but possess. This hidden aspect is the impulse to birth the sacred. Deep below our minds and
our culture the golden disk awaits like a pearl within an oyster. This golden disk represents a
future image of ourselves in harmony with the sacred. The Amarus stand on the shores of
humanity and beckon the sacred nature of humanity to come forth. At some point, first within
the individual, the golden disk rises from the depths. When the disk is seen and can be
examined and held it must be taken to Cuszo. Cuszo is the center of our being. And in the
center of our being is a temple of the Sun. When the golden disk is installed in the golden
temple of the sun then an attunement to the divine exists in every day reality.
The story of Amaru Muru can be looked at as a reverse-encoded allegory of the process of the sacred evolution
of the human family. The allegory of Amaru Maru is no less powerful that that of the child born in Bethlehem.
In fact these two stories are very similar. The aspirations of the human race appear repeatedly in these myths
and legends to remind us of where we are headed and what we should be focused on. These myths also help
to answer the deep questions of why are we here in the universe.

Stones Of Unknown Origins
There are no residents of Machu Picchu we can interview to learn about the site. The number of theories about
the building of Machu Picchu, its function, and the fate of its inhabitants are as varied as theories about ancient
Egypt or Atlantis. Machu Picchu has been thought to be any numbers of things from the Inka Emperors
vacation villa to a convent for the Virgins of the Sun, to a landing place for aliens from the stars. Ultimately we
can gain deeper insights into Machu Picchu by looking deeper with different approaches and. The signatures
and messages of the builders of Machu Picchu are all around if we know how to look. These messages exist in
many forms both visible and invisible. Some of the invisible signatures of the builders are measurable by
technologies of our civilization that are clearly 'low tech' compared to the builders of Machu Picchu's own
toolchest.
The standard academic view of the construction of Machu Picchu holds that the Inka Pachacuti in the 15th
century built Machu Picchu. The Conquistadors burned the Quipu records of the Inka Empire we will never
know for certain by whom, or when, Machu Picchu was constructed. However, if we know how and where to
look, we read and interpret the builders of Machu Picchu within and around the site. Some of these messages
are monumental both in scale and in meaning. Some of what is encoded at Machu Picchu stands on par with
the information left by the great Egyptian civilizations.
Just from a viewpoint of the stonework, Machu Picchu represents the efforts of at least three, and possibly four
civilizations or periods. The term 'organic architecture' 2 is a key in understanding the heart of Machu Picchu
architecture and technology. The most advanced technologies at the site are those that appear the most
organic and blended into their environment. Many of the advanced tools and message containers at Machu
Picchu appear to be ordinary rocks. One of the easier forms of organic stone machines to recognize, and the
one most central to the site is the Intiwatana.
2 'Organic Architecture' related to Peruvian buildings was coined extensively by James Arevalo Merejildo (aka
Mallku)

Illustration 11: The Intiwatana – A machine of spiritual and consciousness energies
From the native Quecha language Intiwatana is typically translated as 'hitching post of the sun'. As we shall see
this is an extremely veiled translation. Tour guides say that the Intiwatana is a sundial. This is partly true as
there are some directional and solar alignments on this form. But ultimately the Intiwatana is a machine of
spiritual and conscious energies. To the energetically sensitive standing near the Intiwatana is like standing in
front of an energy transmitter.
The Intiwatana appears to be, at least originally, a single piece of granite stone situated on one of the highest
points overlooking the main sections of Machu Picchu. This sculpture has many intricate and blended angles.
The primary alignments of the Intiwatana are:
−North and South: From Machu (Old) Picchu mountain to the south to Wayna (New) Picchu mountain to the
north.
−East and West: From Cierro San Miguel mountain to the west to Putucusi mountain to the east.
Author, and National Geographic Explorer In Residence, Johan Reinhard, in his excellent book Machu Picchu:
The Sacred Center, explains the alignments between the site of Machu Picchu proper and the corresponding
mountains. The layout of Machu Picchu reflects a harmonization with site design and with the surrounding
elements. This is clearly seen in the site selection of Machu Picchu that places it on a ridge surrounded on all
sides by significant mountains. On a deeper level the relationship of the human being in general, and
consciousness in particular, continually plays out in the design of Machu Picchu.
It is worth noting from the start of our detailed look at Machu Picchu that the effects and function of Machu
Picchu would not be possible without pre-existing positive natural effects. As we are learning from the history of
Feng Shui and other earth arts, the original location of any sacred site is of prime importance. There is much
you can do to improve an already energetically positive site. Sacred sites really do start with a naturally

occurring blend of harmonious supporting aspects. For Machu Picchu you have a balanced arrangement of
mountains, valleys, a large river, and a gently sloped main ridge upon which to build.
Returning to the Intiwatana it has many angles and some very interesting trapezoidal shapes. The first
trapezoid is at the very top of the Intiwatana and the second is the projection pointing north towards Wayna
Picchu.
Illustration 12: Trapezoidal Projection At The Top Of The Intiwatana Facing North Towards Wayna Picchu
From the study of sacred geometry and the general flow of energies through shapes we can associate the
function of a trapezod to that of a prism. A trapezoid is also said to possess the function of moving energy
across dimensions. By examining the shape and position of the top trapezoid of the Intiwatana we can see that
energy is being pulling down into the entire structure. Additionaly the diagonal of this same prism aligns
generally towards Wayna Picchu to the north. There is another trapezoidal projection on the north face of the
Intiwatana which also directs energy north towards Wayna Picchu.

Illustration 13: Side Projection On The Intiwatana Pointing North Towards Wayna Picchu
The typical translation of Intiwatana as 'hitching post of the sun' is inadequate as to the full function of this
object. The Inka were not attempting to stop the sun or tie the sun up. Even the solar alignments of the outer
form of the Intiwatana do not tell the entire story. Rather the term Intiwatana is better translated in our
consciousness as 'transducer of solar energy'. Later we will discuss how the Intiwatana is a grand prism
broadcasting solar and cosmic energies across the entire complex. This energetic broadcast reaches to the
surrounding mountains and to the entire planet.
Another example of the fine organic architecture at Machu Picchu is the stone on the ground at the Temple of
the Condor. This stone is variously described as appearing similar both to the continent of South America and
to the head of a condor in flight. In any event this stone represents beautiful form concealing a function that
standard science cannot yet detect. When we cover the energy bands the function of the Temple of the Condor
will become clear. These stones are sculpted with blended angles forming prisms and represent a pinnacle of
engineering at Machu Picchu.

Illustration 14: Organic Architecture Of The Stone At The Foot Of The Temple Of The
Condor
Beyond the organic stonework at Machu Picchu like the Intiwatana there exists another category within the site
of very fine ordered block work such as at the Sacred Plaza and the Temple of the Sun. This stone is typically
smooth faced and tightly joined. These smooth finish stones resemble the stonework at other sacred sites such
as the Great Pyramid in Egypt. These stones could be considered a separate category in both finish and period
of construction. The original stonework of Machu Picchu is the finest and smoothest stone and is followed later
by other sets of builders who no longer possess the original skillsets. Over time Machu Picchu has been added
to and individual features such as the Intiwatana, Temple of the Sun, and Temple of the Condor have been filled
in with other structures. The construction of Machu Picchu shows definite signs of period change. In some
cases this period change appears abruptly within a wall or towards the end of a structure. These examples
show one or more expansion phases beyond the original construction. The presence of both subtle and oblique
changes in the stone faces tells the tale.
There is also a very visible but hardly mentioned example where the stones change from tight fitting and
smooth faced to tight fitting and slightly rounded face. There is yet another type of stone at Machu Picchu
which although joins together nearly as tightly as the smooth stone is of a more curved face. You can see such
a transition on the back west wall of the Temple Of The Sun.

Illustration 15: Transition Of Stone Types On Back West Wall Of The Temple Of The Sun.
The Smooth Faces Stones Are On The Left. The Rounded Face Stones Begin In The Middle
Of The Picture And Continue To The Right.
The back West wall of the Temple of the Sun shows an abrupt change from smooth flat-faced stone to less fine
curved stone. This gives the impression that the temple of the Sun was expanded at some point by another set
of builders not possessing the same skills as the first builders. This is one example of a likely expansion of an
original structure. The builders during the expansion understood how to make and cut the stones but their
abilities to cut corners was not as precise as the original builders. This shows the knowledge and techologies
used during the expansion was missing something that the original stoneworkers had. Given the sacred
importance of such an area as the Temple of The Sun it would be incorrect for us to assume that the later
stonework was the consequence of some rush to finish the structure. The evidence shows us a different
product that must be the result of a different process.
There are other stones at Machu Picchu that are very rough, almost if they were not worked at all before
placement. You see this in a lot of the reconstructed areas of Machu Picchu. An example of simple stone
placement lacking precise fitting are the stones around the wings at the Temple of the Condor. These stones
just seem to be piled up without much planning. Many of these stones are late period construction or
restoration.

Illustration 16 Rough Stonework Around The Temple Of The Condor
There are many reasons to be aware of the types of stonework at Machu Picchu. The awareness required to
experience Machu Picchu is not the tourist mindset. If you want to enter into communication with Machu Picchu
you have to start with a level of awareness that expects to hear what Machu Picchu is saying. You have to be
looking outside and inside yourself for the messages. You need to become aware of every stone, every shadow,
and every angle.
Knowing the types of stonework in use at the location where you are standing helps you to realize when you are
in an important area. The smooth finely fitted stonework generally designates important ceremonial areas.
The organic stonework typically depicts a power spot or an area of energy transmission or reception. A simple
principle to remember is that each stone of the original building periods is shaped and placed intentionally and
not just to get it done. Each of those first period stones has a meaning and a purpose. None of those original
stones are accidents. The large stones, which look the most natural, are often the most significant portals to a
personal experience at Machu Picchu.

Consciousness And Intention
We are ready as a species to looker deeper than just the surface of matter. Indeed, peering deeply into and
beyond matter through quantum physics, we see that the hard stuff we perceive as matter does not exist.
Instead we are presented with a dance of energy that is beyond rational explanation. More fascinating is
research into how the brain assembles our world. Based on how the brain processes signals in the dream state
and waking consciousness we cannot conclusively prove that the world before us exists. It is self-evident that
awareness of consciousness exists. We can prove consciousness exists through the adage “I think. Therefore I
am.” Rather than attempting to understand outer mechanics through physics we should be launching
expeditions into the realms of consciousness. Instead of looking at sacred sites as merely empty shells of past
cultures we are now becoming ready to experience them as active expressions of an all-pervading
consciousness.
To the Inka of the past, and the indigenous peoples of today, the earth is a living being named Pachamama.
This is similar to the Greek term borrowed by the New Age ‘Gaia’. The intimacy of the native Andean peoples to
the earth expresses itself further into an animate and personal relationship with all things but especially with
mountains. To people living closely to the earth all things are seen as animate. To the Andean cultures the
presence of the longest mountain chain in the world looms large within their minds and spiritual practices. To
the Inka and their descendants the mountains are beings called the Apus. Though there are different views of
people’s relationships to the Apus in the various Andean spiritual threads, it is roughly accurate to associate the
Apus to Western spiritual concepts of angels. Pachamama (Mother Earth), along with Inti-TayTay (Father Sun),
the moon, and the Apus are the locus of Andean spiritual devotion. The Andean power animals representing the
three worlds of snake, puma, and condor round out the cosmovision. In Andean spirituality everything is alive.
Within an orientation that everything is alive the realization comes that you need to be in relationship with these
aspects of being. As an example it matters what I think as I step on this rock. When I look at this temple the
thoughts in my mind and my expectations will affect my experience. So your orientation at all levels,
psychically, mentally, and physically are all aspects of the keys that you need to read the secrets hidden away at
Machu Picchu and other sacred sites. And what is the real key? It’s you. It’s your heart. If you are tuned and
oriented, aware of the sacred relationships, the messages and insight you seek will dance in full awareness in
front of you and within you. It is this active acknowledgement of relationships and orientation that is the
essence of the living embodiment of consciousness. And the center of this activity is within your heart.
Machu Picchu represents a design we can call conscious architecture. It is not just design with intent. The Inka
were not simply being thoughtful in their engineering choices. The Inka saw the entire universe as being
animated with life and consciousness. Machu Picchu represents consciousness itself making design choices for
consciousness to interact with it. Machu Picchu is a structure extruded from advanced consciousness. In a
similar way that mythic and advanced consciousness is at the root of the appearance of the Inka people, so too
this same sacred impulse produced the many unique sacred sites such as Machu Picchu.

Illustration 17 New Light Of Consciousness Is Being Revealed At Machu Picchu
The design at Machu Picchu actively and repeatedly harmonizes with the surrounding elements. The
establishment of these qualities of harmony and reflection form a dynamic for spiritual communication. The
communication dynamic that exists at Machu Picchu facilitates the ability for you to enter into the conversation
of the sacred. The program playing every day at Machu Picchu is sacred resonance and communication.
Machu Picchu is a sanctuary designed to communicate and harmonize with creation and to support your entry
into that dialog. The site is engineered to manifest a complex series of relationships and correspondences. You
can access features of the site that open you up to inner communication with your personal microcosm. You
can also access features of Machu Picchu that connect you to transpersonal qualities of the macrocosm, the
universe. Ultimately Machu Picchu is a teacher, leading by example, that shows you how the inner microcosm
and the outer macrocosm are really the same. Machu Picchu holds up a mirror for you to gaze into and realize
that you are the singular universe of sacred light.
The site of Machu Picchu is itself a living being. It has all the nuances and delicate beauty of any creature alive.
Machu Picchu is a living being that has manifested itself to us now at our great hour of need for consciousness
expansion and transformation. The question is who is willing to step into the next level of divine consciousness?

Intentional Design In The Electromagnetic Spectrum
This book is the recognition of an ancient set of universal philosophical and energetic design principles. It has
been widely suspected that civilizations prior to our own that were more advanced then we are. Some of the
common historical components of civilizations include an advanced understanding of astronomy and energy.
Archeology has been able to peer into the cultures such as the Egyptian, Babylonian, Mayan, and Inka and find
evidence of advanced astronomical understanding. But our science has not had the tools to see the more subtle
use of energetics by these same civilizations. It is as if we have been peering around looking at large grained
concepts leading us to large grained conclusions. But the amount of information we can perceive from a
telescope on the earth is only a fraction of what we can see from something in orbit. What we need is to
understand a science of spiritual energy that will give us Hubble Telescope results of the metaphysical.
Our current science has peered into nature and seen clearly some aspects of the electromagnetic spectrum. We
have been able to exploit this knowledge in specific ways from radio, television, microwave ovens, cell phone,
radar, and a multitude of other applications.
Illustration 18: The Electromagnetic Spectrum (need new diagram)

Illustration 19: Radiethesiests Arrangement Of Energies Into A Wheel To
Show Their Relative Relationship To Each Other
In the years 1798-1801 Napoleon conducted a campaign of Imperial expansion in Egypt. Many relics were
taken from Egypt back to France. This archaeological infusion affected not only archaeological circles but also
the French society as a whole. Napoleon had opened the East to the West in a significant way. Both the
sciences and arts of France specifically and Europe in general danced with delight in the exoticism of things
Oriental. This sparked an interest for things Oriental in general and for things Egyptian specifically. Egypt was
viewed as very important and was considered the genesis of European thought, where towering figures such as
Pythagoras and Homer had studied. French society integrated a romanticism of Egyptian culture along with the
multitude of other intellectual and artistic streams seeded by their Imperial aspirations. The treasure trove of
artifacts taken back to France immediately provided a plethora of research material for French archaeologists.
French scientists of all disciplines began peering deeper into the mysteries of ancient Egypt.
This Egyptian influence was still manifesting itself in France at the beginning of the
twentieth century. As the mysteries of matter were being explored more deeply by
physicists such as Albert Einstein, a small group of French scientists were exploring
the forces of nature through different means. At the time the etheric fields were
still accepted by science and the field of study known as radiethesia was born. The
radiesthesists were physicists who understood the theories behind the electron but
decided to investigate the electromagnetic forces using different methods.
A small number of French physicists began to look closely at the Egyptian artifacts
in order to see whether the Egyptians themselves had achieved an understanding
of the electromagnetic theory. Two of the leading physicist radiesthesists were
Chaumery and De Belizal. They termed their specific field of study microvibrational
physics. Using Egyptian artifacts such as the Wadj pendant they discovered they
could measure subtle energetics unknown to conventional science. They soon
realized that energy waves of shape, or ‘physical radiesthesia’, were known to the
ancient Egyptians. This fact was clearly evidenced in Egyptians artifacts and
architecture. Illustration 20: Egyptian
Wadj Energy Pendulum.
Commonly Called A
Papyrus Scepter.

Chaumery and De Belizal realized that the shapes of Egyptian pendulums were tuned to measuring certain types
of energy. A pendulum is tuned to a particular energy was due to its shape. In large part it is the angle of the
pendulum width to its tip, which causes it to act as a transceiver for that particular set of energies. Chaumery
and De Belizal designed a single pendulum with a moveable disc to measure the various energy bands. They
called it the Cone Fictive (Virtual Cone) Pendulum. The Virtual Cone Pendulum is a rod of wood or acrylic
divided into the energy zones. Onto the Virtual Cone Pendulum is placed a movable disc. Depending on where
the disc is moved up and dow the rod the pendulum can measure the energy associated with that segment or
band of energy. The energy bands located on the Virtual Cone Pendulum as the same twelve energy bands
depicted on the energy wheel in Illustration 19. The Virtual Cone Pendulum is a tool used to measure specific
energy bands as they are formed by the features of Machu Picchu.
Illustration 21: Virtual Cone

Pendulum Used To Measure
Subtle Energies The movable disc
is currently set to the energy
associated with the color Blue.

Energy Key
Another important principle to understanding the energies at Machu Picchu relates to how energy and shapes
affect each other. Shapes affect the energy passing through them. One simple way of understanding energy
flow and how it is affected by passing through a shape is by using a simple energy key.
Imagine energy flowing in one direction. We can either identify or assign a primary direction of energy flow.
The energy flow passes through an object. After passing through the object some of the energy will spin
clockwise off the right of the object. Other energy will spin counterclockwise off the left of the object. The
clockwise energy spin off the right side of the object supports the processes involving biological life. The
counterclockwise energy spin off the left side of the object support processes involving the recycling of matter
and energy after life. The energy key is of primary importance because Machu Picchu was designed so that all
structures were on the right (East) side of the northward flow of energy from Machu Picchu to Wayna Picchu.
In this diagram the center of the object is the center for energy distribution from both sides of the object.
Illustration 22: Energy Key Showing Major Energy Flows Through

And Object

What is interesting about the energy flow off either side of the object is that is can be divided into the same
twelve energy bands as in the complete circle. Here is an illustration from the original radiesthesia work
showing the energy distribution. The same twelve energy bands from the distribution on the Virtual Cone
Pendulum and the energy circle are present but now eminating out from one side of a form across 180 degrees.
The importance of this specific distribution of the energies is a template for the energy eminations at Machu
Picchu with a specific structure at Machu Picchu as the center of the hemispherical point of origin.
Illustration 23: Illustration From The Original Works

Of Russian Radietheist Enel
The twelve energy bands are broken down across the 180-degree distribution into twelve bands of fifteen
degrees each:
Band French Name English Name Start Degrees End Degrees

1 Noir Black 0 15
2 Infrared Infrared 16 30
3 Red Red 31 45
4 Orange Orange 46 60
5 Juane Yellow 61 75
6 Vert Green 76 90
7 Bleu Blue 91 105
8 Indigo Indigo 106 120
9 Violet Violet 121 135
10 Ultra-violet Ultraviolet 136 150
11 Blanc White 151 165
12 Négatif Vert Negative Green 166 180
Illustration 24 The 12 bands of energy

When we apply the twelve energy bands to an energy key we arrive at a detailed diagram of energy
distribution. This energy distribution uses the primary energy flow and a point within the central object as the
point of origin for the energy distribution. The combined energy key and twelve band distribution becomes an
energy template. Note that although the energy is distributed in a similar way on each side of the energy key
we assume that any people familiar with these principles are primarily interested in energies supporting
biological life functions.
Illustration 25 Energy Key With Twelve Energy Bands Applied

To apply these energy theories at Machu Picchu we need to establish two primary inputs into our energy
template. First, what is the primary energy flow at Machu Picchu? The larger mountain Machu Picchu proper is
south of the Machu Picchu site. The smaller mountain Wayna Picchu is nearly due north of the site. Although
there are other alignments to nearby mountains because the site of Machu Picchu lies on a ridge running from
Machu Picchu to Wayna Picchu we will use a south to north energy flow as our primary energy input.
The second step to applying our energy template is the identification of some feature or structure within or near
Machu Picchu that will serve as the primary object within the energy key. If we assume that most of the
structures or rooms at the site were meant to be within the beneficial part of the energy template then this
feature or object should be located to the left or west of most elements at Machu Picchu. Because of the radial
nature of the resulting twelve energy bands we might also wish to look at a survey map of Machu Picchu and
see whether multiple walls point converge towards a central point within or near the site. To corroborate our
choice for candidate of the energy distribution center the feature or structure may exhibit certain features such
as unique shape or elevated position in relation to much of the site. It turns out that there is a single structure
at Machu Picchu that fulfills these criteria. This mysterious feature, elevated from most of the rooms at Machu
Picchu, is called the ‘Hitching Post of the Sun’, or the Intiwatana.
Illustration 26 The Intiwatana
If the Intiwatana is the center of the primary energetic template at Machu Picchu then there should be evidence
in the other structures on site that indicate a correspondence to the energy band where the structure is located.
If the Intiwatana is the center then there should be evidence of Red energy measured by the Virtual Cone
Pendulum within the Red band. Within each band there should also be evidence of structures design to support
whatever function each color energy band has in its specific role in supporting biological life.

Let’s review the application of the energy key and the twelve energy bands to Machu Picchu. Using the energy
key and the Intiwatana as the energy nexus of the site we would expect that the important buildings and facets
of the site would be situated to the east (right) of the Intiwatana. This is exactly what is present. Virtually no
structure or important area in the Machu Picchu site exists to the left or west of the Intiwatana. Once the main
north energy flow at Machu Picchu is recognized we can look in more detail at the twelve energy bands that are
created from the Intiwatana and understand the function of each. Then we can look for structures within each
band having functions related to that particular band.
Illustration 27: Machu Picchu Site With Energy Key Overlay. The Major Energy Flow Is The Bottom Line Which
Runs South (from the Right) Through The Intiwatana (Middle) And North Towards Wayna Picchu (Left)

The Twelve Energy Bands Of Machu Picchu
An investigation of the theory of the twelve energy bands was applied to the layout and structures of the
complex of Machu Picchu. The analysis of each of the twelve energy bands within Machu Picchu consisted of:
• Measuring for the presence of the primary energy of that band within the predicted energy range at the
site. For instance, in the Blue band the virtual cone pendulum was set to blue and the pendulum was
checked for the proper reaction indicating the positive presence of that energy band.
• In a number of bands energies that were not the primary one designated for that band were checked.
For instance, in the Green band a check was made for Red energy. In most cases energies other than
the one being measured were not found. In some cases there were special local designs or features in
a particular band that gave an energy reading other than the primary for a small area of the site. For
instance, the presence of vegetation in a band would result in reading Green on the virtual cone
pendulum even through you were in another band such as Ultraviolet.
• Examining structures within a band to understand how the structure as a whole fit into the energy band.
The Temple of the Condor appears in the Indigo energy band that deals with communication. How the
Temple of the Condor functioned to support communication was examined and is elucidated later in this
book.
• Important features of Machu Picchu within a particular band are hidden from the casual observer. After
some investigation a number of these features and their functions were found.
Illustration 28: The Author Measuring Energy In A Doorway

At Machu Picchu

Summary Of The Twelve Bands
Band Color Range Symbolism Body Area Artifact(s)

1 Black 0-15 The Void Below any form Llama head,
degrees faces on Wayna
Picchu
2 Infrared 16-30 Threshold of Below the feet Usno area
degrees Manifestation
3 Red 31-45 The Foundation Feet, legs, Animal Stones
degrees perineum, root
chakra
4 Orange 46-60 Sacred Sacred, second Healing Stone
degrees Movement chakra, lower
abdomen
5 Yellow 61-75 Transformation Solar plexus, Healing Stone
degrees of Energy third chakra
6 Green 76-90 Balance in Life Heart chakra Large Stone
degrees
7 Blue 91-105 Expressive Throat chakra Stone with
degrees Communication Seats
8 Indigo 106-120 Receptive Eyes, Ears, Temple of the
degrees Communication Third eye Condor
chakra
9 Violet 121-135 Connection to Top of head, Water

degrees the Divine crown chakra Fountains
10 Ultraviolet 136-150 Sun, angels, Above the head Temple of the
degrees Sacred heart Sun
Heart shaped
stone
11 White 151-165 Archangels Moving beyond Serpent Stone
degrees form
12 Negative 166-180 Return to the Beyond the Puma on Machu
Green degrees Source body Picchu

Band 1 – Black
Color Black
Range 0-15 degrees
Symbolis The Void
m
Body Area Below any form
The color black brings us to the beginning. In the beginning was black. Before any colors or forms there is only
deep black. Black draws our attention first inward. Black later becomes the backdrop for creation. Black is the
chalkboard upon which the sketches of the divine are drawn.
To begin to understand the Inka it is important to understand their cosmology and how they viewed the
universe around them. One of the intriguing aspects of both Central and South American astronomy was the
fascination with the dark aspects of the sky within the Milky Way. The Inka called the Milky Way ‘Mayu’. To the
Inka the dark areas within the Milky Way formed mythic animals from the origin of creation. These animals
included an adult llama and baby llama, a fox, a toad, a partridge, and a serpent.
The llama is one of the most important animals in the Andes being a primary source of clothing and food. In
the Inka Empire all llamas were considered property of the Inka Emperor. It is interesting to note that Hiram
Bingham, the explorer who found Machu Picchu, correlates the geographic extent of the Inka Empire with the
natural range of the llama. Llama sacrifices also played a large part in Inka ceremonies ensuring fertility of the
land in the coming year. Offerings of llama fetuses were frequently used because the llama was seen as a
messenger to carry prayers into the upper world and to the creator. In many aspects there is a deep and
profound link between the worlds of the Inka and the archetype of the llama.
It would be impossible to convey to the reader the intense and deep mythic nature of Inka life. The origin of
the Inka begins in myth. Details of daily life from clothing, song, ceremony, and architecture remind the Inka
about their mythic origins. Just seeing a llama would bring up deep connections to the Milky Way, the Mayu,
and to the Creator, Wiracocha. Seeing a coca leaf would remind them of both Mama Coca and Pachmama. For
us it would be like going to Italy and seeing the Roman gods imprinted on buildings, the currency, billboards,
and on television ads. The immersion in the mythic was that deep. In a sense you could say that Inka culture
was so steeped into this mythic view that their concepts of the distinction of the sacred and profane were much
weaker than ours. To the Inka nearly everything was sacred. Nearly everything was perceived as being alive.
At Machu Picchu the beginning of the black energy band emanating from the Intiwatana passes just to the left
and west of the Sacred Rock. The Sacred Rock is large stone at the end of the complex on the path to Wayna
Picchu. So we have the beginning of the black band encompassing the Sacred Rock. The Sacred Rock is a
marker for the start of the entire series of twelve energy bands.
Mallku in Machu Picchu Forever has pointed out that this rock resembles Machu Picchu, a kneeling puma, and a
Cuy, an Andean Guinea Pig, which is a staple of Peruvian cooking. Clearly any and all of these interpretations
are applicable to the foundations of Andean civilization. However none of the animals the Sacred Rock is said to
match any of those that are ascribed to the black zones seen within the Milky Way, the Mayu. Part of my
research was to try and read the landscape left by the Inka. I felt there must be a better correspondence
between features of the black band. Certainly the Sacred Rock is partly black as are many of the stones here.

The black band is one of the most mythic bands of the energy spectrum. There should be something that either
points to an animal in the black areas of Mayu or more directly to Wiracocha. After returning from Peru and
looking at the photographs of the Sacred Rock I realized that there seems to be information like a large mosaic
on the face of the Sacred Rock. You have to look at it almost in a trance state to see it. Although the Sacred
Rock does have information on it none of it stands out immediately.
It is very interesting to note that in the black band within the central plaza are a number of pyramidal stones
with acute and unmistakable angles. It appears the Inka were making prototypical references to the Spirit or to
the desire of Spirit to move upon and within matter through these pyramidal forms.
While walking from the Sacred Stone on the path back towards the Intiwatana I felt there was more information
here. With the view that all stones at Machu Picchu were significant the search was on for any stone out of
place and especially for a keystone. A keystone is a stone that juts away at an angle from another stone.
These exist at Machu Picchu in order to draw your attention to significant stones. It’s like leaving a marker
behind to say ‘look here.’ Using a keystone near the so-called ‘Rock Quarry’ brought a significant discovery,
which will be described later in this book.
A few meters along the path back towards the Intiwatana there was a stone offset in the yard. And it had a
keystone pointing to it. Since it had rained earlier that day it was easier to recognize the shape of the stone.
The rain had filled in the location of the eyeball. The stone was shaped like the head of a llama, one of the
animals found in the dark void of the Milky Way.

Illustration 29: Location Of Llama Head Stone In Black Zone
Of Machu Picchu. Note The Keystone In The Far Left Of The
Picture Next to The Llama Head. The IntiWatana Is At The
Top Of The Terraces In The Background.
Here was a clear message left by the Inka. The head of the mythic llama from a black area of the Milky Way is
a marker left within the black energy band. We have the first confirmation that we are reading Machu Picchu
using an energy key matching the site. If we find other similar markers or functional stones in other aress
within the twelve bands then we have shown something very significant. We can prove that the builders of
Machu Picchu were using this universal energy key. Using this energy key and the twelve bands we have found
a way to enter into communication with the builders of Machu Picchu.

Illustration 30: Rock In The Shape Of A Llama Head.
Keystones Next To The Path Are To The Left Of The Llama
Illustration 31: Head Of A Live Llama At Machu Picchu
For a moment we need to harvest more information about this llama that has meaning for reading the rest of
the clues left at Machu Picchu. There is something very significant about the llama we need to keep in mind. In
Quecha, the word for the indigineious healer, or shaman, is paqo. This is also the same word for a male llama.
In many cases in Andean mythology the concept of the person who is a paqo can replace the word llama for
deeper insight into that particular myth. These correspondances between the word for shaman being the same
word for male llama are not just fanciful. The Spanish chroniclers noted that the Inka themselves held this close
concept between the male llama and the paqo shaman. Both paqos eat primarily vegetables, live alone away
from most people, and the paqo shaman typically wears wool or other animal fibers including llama or alpaca.
Within this first energy band we are presented with a sublime and signifcant introduction to Machu Picchu. The
message is this. If you want to understand what Machu Picchu is about you need to cultivate the heart of the
llama, the paqo, the shaman. The message and essence of Machu Picchu can only be fully entered by someone
carrying the perspective of the shaman. What is that perspective? It is that Machu Picchu, like all of creation, is

not separate from you. You are the walking snapshot of the cosmos. It is within your skin and through your
breath that the universe clothes itself. The paqo sees Machu Picchu as a set of keys describing both the
Universe and the Self.
You are not a separate human being walking around on this planet. And you are clearly not just the body you
are in. The paqo sees his form as the divine spirit extruded into three-dimensional space. It is here, at the
beginning of our journey to understand Machu Picchu that we are helped to understand ourselves. It is also
here that we are greeted by the llama with a wink and a nod.
Suggested Meditation:
Like all meditations at the end of each section of the twelve bands it is best to use this meditation while you
are actually at Machu Picchu standing in the appropriate band. But if you are not at Machu Picchu then get a
map of Machu Picchu and find the band and put your finger or a ring or pendant that you wear on that section
of the energy band. This will help connect you energetically to that energy band at Machu Picchu while you do
the meditation.
In this section of Machu Picchu begin by finding a comfortable seat on the ground and closing your eyes.
Breath normally in and out at a relaxed pace. When you are ready use your imagination to connect to the
vastness of the Milky Way. Imagine what it was like before any stars appeared. Imagine a deep yet maternal
blackness. Stay with this image for a short while. Pay attention to any sensations in your body. Then gently
bring your focus back to your breath. When you are ready try to connect with the consciousness behind this
blackness. See if you can feel within the blackness a great sense of potential. As if the black void was pregnant
with life waiting to manifest. Stay with this senation for a few moments. When you are ready slowly come back
to the awareness of the Mother Earth supporting your body. When you feel ground open your eyes and thank
the Wisdom of th evoid.
Another variation on this meditation is after focusing on Mayu (Milky Way) to imagine you are seeing a llama.
First you see the two eyes of the llama. Then see the llama’s head. Then see as much of the llama as you
want. Keep returning to the llama that is looking at you peacefully with gentleness and wisdom in its eyes. For
some a baby llama is better. The key here is that there is some energy in the llama that you may want to
connect with.
After these meditation exercises you may find it useful to journal, take notes, sketch, or get out some colored
pencils or crayons. In these meditations you have connected to an aspect of the universe, which is really an
aspect of your higher self. In the moments of your meditations the scope of your awareness expands well
beyond normal for most people. It is in this expanded space that you have access to enormous amounts of rich
wisdom. In your meditation you are downloading large amounts of data you are not conscious of. The artwork
after the meditation helps you bring up to consciousness some important aspects that were waiting to be known
or seen. Any artwork after meditation or other deep spiritual experiences will help you ground your experience
in your everyday reality. Your artwork will serve as a bridge to help open you more to sacred experience.
In fact, just before starting to draw, you can say something like ‘I invite my higher self and my spiritual
guidance to bring to my mind those things which I need to become most aware of from my meditation’. In this
way you align your intention with the activity. This helps to focus more of your being and to make accessible
those qualities of yourself that will assist you in this process.

The Faces On Wayna Picchu
In some energy bands there are discoveries that were not expected as part of the research. These discoveries
are documented within the respective bands where they appear. The black band includes most of the South-
Eastern face of Wayna Picchu. There are some very interesting features on Wayna Picchu as you will see.
When I came to Machu Picchu to conduct the research for this book I was focused primarily on the relationships
of the energy bands to the entire site with the Intiwatana as the focal point. I had purchased a Nikon D50 6.0
megapixel digital SLR with a Nikkor 18-70mm lens to do most of the photography. As a backup I had brought a
Canon A520 4.0 megapixel camera. For the Canon A520 I also brought a Hoya R72 Infrared filter. I thought I
could get some nice dark sky photographs of Machu Picchu for a dramatic effect. The use of the Canon A520
was secondary to my research. That is until I looked at some of the infrared photographs I had taken on the 4th
of June 2006.
On June 4th my partner and I hiked up the Inka trail to the Intipunku, the Gateway of the Sun. I had brought a
small tripod in my pack and we stopped at a few places on the way up to test out my infrared filter with the
camera set to capture black and white images. I did not realize what was captured until looking at the images
on the small 2.0-inch camera LCD at the hotel later that night. What I was seeing there sent shock waves of
surprise, disbelief, and humility through me. Below is the first face that I saw in the image named
IMG_2666.jpg at 4.0 megapixels.
Illustration 32: Face On The Lower Left Of Wayna Picchu As Seen From the
Inka Trail Near The Gate Of The Sun
This face is clearly a right side profile of a face with eyes open, a clear nose line and an apparently open mouth.

As I continued zooming the image around I saw additional faces. At first a very alien face appeared. Then I
saw the head of an Inka with headdress as well. I had already come to believe that the abilities of the Inka to
work with stone were well advanced beyond the common theories of rolling stones on logs and using chipping
stones. But now I was literally faced with what were likely signatures of the builders of Machu Picchu all over
the side of Wayna Picchu. Whoever built Machu Picchu seemingly had the ability to sculpt across the entire
mountainside. The idea of the Inka as being in any way an ordinary tribe or people of the Andes quickly
vanished. And only later, from infrared photographs of my last days visit to Machu Picchu, would I understand
the scope and size of the stone carvings that were left around Machu Picchu.
Illustration 33: Portion Of Wayna Picchu Presenting An

Alien Looking Face

Band 2 – Infrared
Color Infrared
Range 16-30 degrees
Symbolis Threshold of Manifestation
m
Body Area Below The Feet
The infrared band, at just below normal human visual perception, represents those things that are on the
outskirts of physical manifestation. This band corresponds to energy sites and chakras at and below our feet. It
is within this band that we are to consider the primal forces of creation, which sustain our physical existence.
In contrast to the mythic aspects of the white band and the embryonic aspects of the black band, the infrared
band represents the beginning of organization within matter and spirit. You can think of this level as the
transformation or stabilization of energy into matter. This is very similar to the theories behind the first few
seconds of the big bang. Matter is attempting to organize itself into coherent structures. The process is so
primal that it may appear to be chaotic.
At Machu Picchu this band manifests across the plaza to the east of the Intiwatana in an area called the Usno3.
This area is formally through to be something the Inka just didn't get around to finishing. To the contrary, this
area represents the beginning of the formation of energy into organized forms of matter and structure.
Illustration 34: 'Unfinished' Area In The Infrared Band Across The Plaza From The
Intiwatana
It is a great challenge for most people in our culture to relate to the Infrared energy band. Here we are not
talking about an infrared remote control or your cars’ keyless remote entry. We are talking about interacting
with this band as an energetic aspect of consciousness. This band is about the gestational period of holding
your creative ideas before they manifest. Our culture is so intellectually mechanized and over-clocked that
anything shorter than instant results are satisfying. What is it like to spend nine months in the womb?
3 See Zereceda 1999, P. 35

We have great minds and wonderful imaginations. But we are not familiar with how to sow our dreams into the
black of night and nurture them in the predawn stillness. For your own preparation for working with this band it
may be helpful to study what women in various cultures around the world have done to prepare for conception
and childbirth. In some traditions the man and the woman who want to have a child will hear a song while
standing under a tree. It is thought that the song is being sung by the spirit of the child who wishes to come
into their lives. This is a wonderful example of working with the unmanifest energy and sowing ouor personal
dreams.
If you find yourself at some point in time faced with some major life decisions or directions you want to take
there is an easy way you can work with the earth to assist you. Take a piece of paper and write on it your goal
or your wish. Take this piece of paper and hold it in your hands for a few minutes visualizing the desired
outcome. Then take this piece of paper and bury into the earth. Ask the earth to receive your wish and ask for
its assistance in bringing your wish to reality. You wish has become a seed planted into the womb of creation,
the Earth. In this way you are working with infrared energy; the threshold of manifestation.
There are still other ways to bring your vision about. A more mythic approach is to imagine that you have the
ability to sing your wish into fulfillment. In many cultures the women or shamans sang songs that were used
when planting seeds to help the spirit of the plants to grown. Many cultures also believe that ceremony is more
powerful either at or just before the full moon or at the new moon.
Here is a ceremony you can do to help germinate your ideas. Find a private place preferably outside in nature
in the infrared zone. It should be a spot fairly secluded so you will not have much chance of being interrupted.
Make sure to ask permission of the earth and plants and animals around you to do your work here. Also ask for
their help. You can bring a photo of your wish or a piece of paper or something else that represents your wish.
What you want to do next is to spend a fair amount of time, say at least 30 minutes focused on your desire.
During this time you can begin humming and singing about your wish. You may want to bring an instrument
like a drum or flute to help you. Playing a drum or guitar are great for this because you can play them while
you are singing. Just imagine that with each vibration of your voice your wish collects more of the energy for
your vision. If you are fortunate to have a cave or hole in the ground or hollow tree stump to sing near or into
that may be even better. After you are finished singing spend some time in meditation and listening both
outside and inside. Leave some gift and a blessing of thanks. Because this ceremony may have the aspect of
sound involved you may want to perform this at home before your trip to Machu Picchu. If you decide to
perform this ceremony at a park or sacred site make sure your activity will not disturb others. Also keep in mind
that before just sunrise and just after sunset it is said that the energy is the calmest. Light at these times is just
on the edge of manifestation therefor tuning into the infrared at these times may be more effective.

In the infrared section of Machu Picchu find a quiet place and relax. Close your eyes and bring your awareness
to your breath. Try and notice the sensation of the air moving in and out of the tips of your nostrils. When you
are ready bring your awareness to the earth below you. Imagine that you are on the earth just as life is
preparing to appear. The earth is shrouded in clouds. The place you are is at the edge of a great shallow sea.
The only sounds are those of the waves breaking gently and lapping on the shore. If you can, imagine the
great expectancy within the earth. Everything has been prepared for life to spread on the planet. Bring this
feeling into your body. Without being specific about any goals in your life just bring in a great feeling of
expectation. Wonderful things are about to happen to you. Enjoy the anticipation. Feel how carefree this is.
Feel how relaxed you are. Stay with this feeling for a few moments. When you are satisfied you really have this
feeling deposited in your body then slowly come back to the awareness of Pachamama supporting your body.
When you feel grounded and embodied open your eyes and thank the threshold of manifestation.

Band 3 – Red
Color Red
Range 31-45 degrees
Symbolis The Foundation
m
Body Area Feet, legs, perineum, root chakra
It is at the red band that energy makes it full visible manifestation into physical form. To maintain physical life
we need basic life energy, strength, and vitality. The color of our blood helps us remember just how much red is
associated with life. In the red energy band, commonly associated to the root chakra, we have our connection,
our grounding, to Pachmama.
In order to have a healthy spiritual and physical life you need to be grounded to the earth. Many people are not
grounded. There are indeed spiritual forces that would have us strive to only be spiritual creatures. A large
part of our role as human beings is to integrate the heavenly and earthly forces into a dynamic harmony. The
earth provides our foundation for performing our role and walking forward in life. If we are not grounded we
can feel disconnected from everything. Lack of grounding can mean that we have ideas that change too often
or are not practical. Challenges with grounding can also occur from very early childhood traumas that we could
be too young to remember. Practicing touching the earth, carrying a small hematite stone, walking with bare
feet, taking sea salt baths, getting foot massages, and eating root plants are all common ways to increase our
connection and energy flow to the earth.
Not coincidentally, across the plaza from the Intiwatana, at the edge of the red band that the walls of Machu
Picchu begins. Having left the infrared band and the seemingly unstructured Usno field we now cross into the
red energy band and the beginnings of defined physical structure. There are a number of large stones within
the structures in this area of Machu Picchu. The stones here resemble mythic animals of the sea such as a
whale and a dinosaur or alligator head. Just as red light marks the boundary of visible light to us so to these
mythic figures represent the beginning of Spirit manifested into living beings.

Illustration 35: Stones In The Red Zone Across The Plaza From The Intiwatana
Illustration 36: Close-up Of 'Whale' Stone In The Red Zone

Within the Red energy band we see stones holding the expression of mythic or prehistoric animals. At this
energy band the mythic and cosmic aspirations have become visible upon the earth. Just like most large stones
in any band these stones are placed here intentionally for you to connect with the foundations of your own
existence. This energy band supports you in exploring how your own mythic aspirations have become your
reality. From this area you can also learn how to support the gestation of your current aspirations into future
realities.
In this same area of the energy band, very close to the whale stone is a small circular stone whose original
purpose is uncertain. This stone resembles two stones in the blue band that are called the ‘mortars’. The stone
looks like a large eye. The shape also resembles a seed or bacterial carrying an internal nucleus. The shape of
the circle represents the eternal Spirit. A circle carved into a stone represents the eternal reaching a physical
expression.
Illustration 37 Unique Stone In The Red Band
It is at this energy band, in the clear transition to the physical, that we can also ponder questions about created
life. In the Inka mind the distinction between the sacred and the secular was not the duality we hold today.
Part of the reason for this is that numerous aspects of Inka culture brought the mythic and the sacred into daily
life. But the Inka had also internalized a perspective that was the inner secret to their consciousness.
What is the difference between the un-manifest spiritual and the manifest physical? Or what would you say is
the difference between the sacred and the profane? The difference between these is exactly the same as that
between the eternal and the temporal. You can imagine all of these terms as being synonyms for two ends of a
continuum. At every moment you choose where to position your consciousness between these two poles. Most
people choose the temporal as their normal perspective. At some profound moments of realization your
awareness may shift slightly from the temporal to the eternal. Do you want to know a secret? The physical is
only a thin veil upon the spiritual. It is the eternal that hides under the sheers of the temporal. Quantum
physics tells us clearly that the hard concrete characterists that we attribute to matter are illusionary. The Inka
obtained a realization that all mystical traditions have achieved. They realized that the spiritual initiate is
someone who has seen the mystery of the sacred dance. And that within their selves the can find the signature
and dwelling of divinity.

Inka means children of the Sun. We know that the Inka had a solid astronomical understanding of the physical
sun that gives light and heat to the earth. But the Inka also had profound realizations about the metaphysical
and spiritual aspects of the sun as well. In the Inka mind the earth, the Pachamama, is she who gives of herself
so that we may be clothed in physical form. It is the sun, the Inti-taytay, as the spiritual father who infuses the
divine consciousness into us. Just as the wind inflates the sails of ships our spiritual consciousness is sustained
by the solar and spiritual emissions from the sun. We also receive spiritual emanations from the cosmos in
general, from the heart of the Milky Way, Mayu, in particular. The Inka knew all of this. An Inka is someone
who can enter into a realization of divine consciousness. If you can begin to enter into this realization then you
are on the threshold of the mind of the Inka.
The Inka use of gold was not for ornamentation in the material sense, as western culture understands it. The
Inka saw in gold great metaphysical properties that resonated with spiritual light and consciousness in general.
The Inka saw in gold the ability for the spiritual to have a strong manifestation in the physical planes.
It is the red energy zone that solidifys divine spiritual energy into physical form. From the structures within the
red zone at Machu Picchu we can learn that the Inka realized the cosmos through understanding relationships.
From the perspective of relationships we can tune into the same sacred dynamics that the builders of Machu
Picchu keep orienting us towards.
Find a quiet place and relax. Close your eyes and bring your awareness to your breath. Feel how your head is
balanced on your neck and shoulders. Tune into the area around your throat and see if you can feel your pulse
in your neek. Your physical body is kept alive by the flow of blood circulating from your heart. Feel how your
feet and perhaps your bottom are connected to the earth. Feel your weight resting on the earth. Now bring
your awareness to your perineum. Imagine that you can breath in and out through your perineum. On the in
breath imagine a column of light coming up through the base of your spine. This column of light goes all the
way up your back and neck and head. Imagine that you are carrying within you a column of light like a great
fluorescent light. Now imagine that this column of light can bring through to your physical body all of the
health and rejuvenation that you need. Just let healing light flow from this tube of light through to all parts of
your body. Stay with this feeling for a few moments. When you are satisfied you really have this feeling
rooted in your body then slowly come back. When you are ready slowly open your eyes. Feel your connection
to this energy zone and your thankfulness for it and for yourself.

Band 4 – Orange
Color Orange
Range 46-60 degrees
Symbolis Sacred movement
m
Body Area Sacrum, second chakra, lower
abdomen
The orange energy band represents a further expression of energy into material form. Energy now moves from
being grounded in physical existence to beginning to develop and expression in the physical plane. The orange
band relates to all forms of physical, creative, and sexual expression.
Every energy zone in our bodies can have a shadow side. Part of our exploration of Machu Picchu through our
own energetic zones is to learn more about ourselves in order to bring healing into our lives. Fear is the shadow
side of the Solar Plexus and guilt the shadow of the Sacral region. Many people find themselves challenged in
this lower abdominal area of their bodies. Western culture has not yet learned how to interact in a balanced
way with this very sacred area of the body and with sexuality in particular. We get mixed messages about the
beauty of the body and the shame associated with it. Some of us deal with guilt over things done to us as
children in this part of our bodies. But let us use this opportunity now to tune into Machu Picchu and our bodies
and see if we can move some energy in a positive way.
On your visit to Machu Picchu you will discover a special place to support your healing and transformation.
Because of the design of the orange zone and the comfort and serenity you can achieve at Machu Picchu you
may find this a wonderful place to embrace personal healing. A vibrant and healthy sacral chakra embraces the
beauty and function of everything in this band of the human body.
For women readers I can tell you a little secret. The womb is not just a place for growing babies. The sacred
matrix that you carry in your womb is an energetic incubator. There is nothing shameful about the female form
or any of its functions. Ladies, there is a power in your wombs. Your bellies, which expand so beautifully and
lovingly during nine months of pregnancy, are energetic temples of the sacred. But use the sacred power you
possess wisely. Any thought, conceived in love, can be placed in your womb. You can hold your hands in front
of you in prayer position. Then take your hopes and aspirations and image them moving into your womb as a
ball of light within your hands. Take that ball of light and slowly, lovingly, place that ball of light into your
womb. Bless your dreams and prayers in this way. Then tune into the power you have to do this sacred work.
The rest I leave to your intuition. This is not the only secret you are holding within your bodies.
For the men let me say this. Part of the secret that the women possess here is the power of emptiness. The
open round form of the womb is part of its power. Mystics like Ibrahim Karim say “The center is a
transcendental gateway beyond time and space”. Every organ which allows itself for be filled with fluid or tissue
has transcendental and transpersonal functions. For men the most obvious round area, but not the most
powerful, is the cranium. The brain is able to do what is does in part because it is enclosed in a round
structure. Put the brain in a square instead of a sphere and you will not have adequate function. Think of the
term ‘block-head’ as a contrast. For men and women a very important containing space to work with is the
heart that we will cover later.
Let’s return to the orange band at Machu Picchu. Across the plaza from the Intiwatana in the orange band there
is within a cluster of buildings a large set of stones. One set of stones forms a special area for meditation and
for working with the orange energy band. This area features a carved seat to sit upon and a reflector stone in
front of the carved seat. Interestingly this area also includes a direct view of the Intiwatana area from you
position in the carved seat.

Illustration 38: Meditation Area In The Orange Band Showing The Carved Seat Below The
Two Windows On The Left And The Reflector Stone In The Right Foreground.
When you visit Machu Picchu you can work with any of these stones. Once you find this area at Machu Picchu
find the seat and get comfortable. You can feel the curve in the stone that will support a good upright posture.
Now, beyond the seat in the stone, imagine why this rock is here and what is its function. Look all around at
the stones and get a sense of this place. This one area alone can show you how the Inka built very powerful
and purposeful technology in a specific place for a specific function and make it all look so blended and subtle.

Illustration 39: Proper Seating Posture In The Orange Band Carved Seat
While sitting on this stone look a few feet in front of you at the large stone lying horizontally. This stone is
shaped so that a flat surface of the stone is facing you. The function of this stone in front of you is to reflect
energy back towards you. This reflecting stone reaches above your head as you are seated. If you look
carefully beyond the stone you can look at the space between the two structures beyond it. If you look up
within this gap you will see a wall of stone that is directly in front of the Intiwatana. You can use the suggested
meditation for this section or another meditation of your choice. Examine the feelings in your body to try and
feel where you are sitting in relationship to the entire Machu Picchu complex. This type of orientation should be
a skill you focus on developing during your visit. You may not be able to automatically tell which band you are
in but you should be able to develop a general energetic orientation to the Intiwatana itself.
At this point it is important to talk about how much time all of this meditation and energetic work will take. If
you are going to Machu Picchu to connect with it for spiritual work then consider giving yourself at least two
days onsite. If you only have one day then think about the bands you are most drawn to and start there. It is
possible to cover all twelve bands during four hours if you only have one day. If you must do the short version
then pace yourself and try to bring a notebook and write down any thoughts or images that come to you in each
area. Physically make sure you have enough water to drink. Try not to eat a large meal before coming to
Machu Picchu. Following the advice of many spiritual schools and paths you may be more sensitive to the
energy if you have not had sex within the prior seven or more days. Most important you need to approach
Machu Picchu with respect and anticipate the sacred site is waiting for you to converse with it. If you only have
a day and you do lots of spiritual work in advance then you can have an experience that will be rich enough to
reflect on for months or years.

Illustration 40: View When Seating On The Curved Stone In The Orange Band. The Energy
Reflector Stone Is At The Bottom. The Intiwatana Is At The Top Between The Other Two
Buildings.
Close your eyes. Feel connected to the earth through your bottom. Allow your mind to settle and clear. When
you are ready bring your awareness to your breath. Feel your abdomen expand and contract with each inhale
and exhale. You may want try placing your hands in a mudra or prayer position or you could place your right
hand on your abdomen and your left hand on the ground. Pay attention to any peristalsis or other motion in
your belly. When you feel rooted you may want to pretend that you can breath in an out of the area below your
navel. Allow your breath to flow in and out of this area. Remember that you are safe. If any uncomfortable
feelings come you can feel free to release them into Pachamama on the out breath. On the in breath imagine
your belly filling with light. You can use white light or orange light. You can check your intuition for any other
hand positions or imagery that is appropriate for you to use. When you feel a sense of connection and then
completeness you can slowly come back. Allow more time for reflection and any note taking before getting up.
Give thanks and expect that something wonderful in you has shifted and cleared.

Band 5 – Yellow
Color Yellow
Range 61-75 degrees
Symbolis Transformation of Energy
m
Body Area Solar plexus, third chakra
In the yellow band energy is now formed into more complex information reaching into what we call emotions.
In the human body this is the area called the solar plexus. This solar plexus is also called the inner sun. There
is a great deal of mystical energetic processing that occurs in this area. Many esoteric schools consider the solar
plexus to be a part of the spiritual heart. This energy band represents the fire of vitality, which allows us to
manifest our own special gifts and powers to the world. When joined properly with the heart this area allows us
to act beyond fear and to be able to join courage and love together into a powerful and dynamic union.
Within Machu Picchu there is a special healing stone across the plaza from the Intiwatana, which though fully in
the yellow energy band can assist with healing and balancing in any of the lower energy centers. This stone is
one of the most powerful stones at Machu Picchu and yet it is one most people would just walk past. It is a
case where you have a room and the only thing in this room is a large stone that takes up pretty much the
entire space. HELLO!!! Why is this stone here? Remember, no stone in the original construction of Machu
Picchu exists without reason. Every single original stone has a purpose and a function. The challenge here
while walking the path of healing is to read the site using the energy keys and then look at the stone for clues
on how it is shaped to accomplish its purpose.
This stone has a very conspicuous projection that matches right up to your abdomen. When viewed from the
side the shape of the stone points forwards to this projection. Anytime you have a projection from an
intentional stone its purpose is the projection of energy. It is this contact with the stone at the abdomen height
projection that activates the stone for healing.
Illustration 41: Healing Stone In Yellow Band Across The Plaza From The Intiwatana

Illustration 42: The Healing Stone In Use. Note How The Body Fully Connects To The Stone
From Abdomen Through Chest, Head, And Hands.. Gloves Are Recommended With Many
Stones To Preserve Them For Future Generations.
If you are at Machu Picchu then use the aforementioned healing stone in the yellow band in this exercise. If
you are not at Machu Picchu either find a large stone you can stand against in a similar manner or find a stone
at least as large as your closed fist that you can hold next to your solar plexus. In any case you should get
permission from the stone first. Some stones may be more suited to certain functions or other body parts so
ask first to find out. The answer will come as something like a yes or no sensation. Your intuition and inner
voice will know which it is.
Look at the stone and speak to it. Speak your intention for healing and communication. Close your eyes and
see if you can feel the stone without touching it. After a minute or when you are ready go ahead and touch the
stone. Holding the stone now watch your breathing and see if it changes in any way. Next move so the stone
is pressed gently on your abdomen around the solar plexus or area at and just below the stomach. Imagine
that you can breath in and out of your body and into and out from the stone. If you have any specific emotional
healing bring that feeling to your solar plexus. If the healing is physical imagine a conduit of energy moving
from your solar plexus to the area in need of healing. Silently or quietly ask Pachamama and the stone to help
you with your healing. Continue breathing and visualize white or yellow light flowing between your abdomen
and the stone. Now be willing to let go of any thought, memory, emotion, or thing that is around this healing
opportunity. Take three deep and long inhales and exhales allowing whatever change in you that is to occur.
You may feel a mild contraction and release in your solar plexus. See if you can feel any energy movement
from your solar plexus down to the ground through your feet or to the stone through your hands. Just notice
and don’t try and force anything. Don’t doubt the potential for chenge even if you don’t feel anything.
Sometimes wonderful gifts are very small and sublte. Then spend a minute or however long is right for you to
just stay watching your breath and feeling the stone. Before breaking contact with the stone you may want to
look at it for a minute. Then when you are ready pull back from the stone. And give thanks.

Band 6 – Green
Color Green
Range 76-90 degrees
Symbolis Balance in life
m
Body Area Heart chakra
The green band is in the center of the energy spectrum at Machu Picchu. For us the green band is the heart
center. The heart is the central organ in the body. To many spiritual paths the heart functions in a sacred
alchemy in joining earth to heaven. The heart is the alchemists’ cauldron turning dross or lead into gold. The
heart, like many organs and areas of the body, which are spherical, is a portal beyond space and time. The
heart is the great container of compassion and love.
At Machu Picchu this band contains at least six significant stones in the structures across the plaza from the
Intiwatana. Practice using your intiution in this area to find the stone or stones that is right for you to work
with. Often you will sense a more relaxed or lighter energy within when you are in the right area. You can also
ask the stone whether it wants to work with you and listen inside for the feeling that arises.
Many of the stones here have carved seats upon them. One stone that is at the far end of the green band is
sculpted both with seats and the shape of a mountain for a little added power. There is even a small cave
below and in front of this particular stone. When seated upon such a stone find a comfortable position. Often
there are explicit places, like a saddle, to place your pelvis upon the stone. Maintain an erect posture and
become aware of everything around and within you.
When doing this type of stonework become very aware of your breathing. If you close your eyes you may see
colors. You may have sensations in your body like heat or cold. You may have emotional responses or
memories. Just watch what unfolds and then gently return to your breath.
The stone you are touching is working with the energy from the Intiwatana and your own essence to perform
the balancing and healing that you need. Don’t be concerned about having to feel a change. Even if you don’t
feel anything that is still fine. Often our most profound healing experiences occur after the 'official' healing
session.

Illustration 43: This Photo Is Taken Facing Putucusi To The East. Sitting On The Stone You
Face West Towards The Intiwatana And Ceirro San Miguel Mountain.
At Machu Picchu you can find any of the larger stones in the green band to sit on. At home you can find a
sacred space that has a large rock for this meditation. Once you are seated take some time to become aware of
what is around you. Listen to the sounds. When you are ready, close your eyes and tune into your breathing.
You may want to do some gentle arm stretching movements that will open your chest. If you are flexible
enough you can try to touch your hands behind your back. You can also touch your hands straight up over your
head. After you feel opened in your chest then place your right hand over your heart and your left hand over
your solar plexus. Imagine that you are completely safe and being held as a baby. Try breathing in an out the
front of your chest where your heart is. If this is uncomfortable then try breathing in and out the back of your
chest at the heart level.
When you are ready, imagine your heart filling with either green or pink light. Maybe you want to try both
colors one at a time for a few minutes. When you are ready imagine that your heart is connected to the center
of the sun. Imagine that the sun is a star of love shining infinite love into you. After some time imagine your
heart is connected to the center of the Milky Way. If you have anything you need to release from your heart
take a large inhale and a large exhale letting go of whatever it is. If you sense any space in your heart that has
opened up then breathe into that area the green or pink light. Imagine your heart as being confident, yet loving
and open. When you are ready slowy return. Spend a few more minutes with your eyes open or closed just
feeling what it is like to be alive. Look inside and find that kernel of gratitude waiting to be sent out from you to
the universe.

Band 7 – Blue
Color Blue
Range 91-105 degrees
Symbolis Expressive Communication
m
Body Area Throat chakra
Within the blue band the energy moves fully to communication. In our bodies this is the area around the throat.
This is where our emotions and our heart must be able to express what we are feeling. One of our greatest
needs is to be able to say what we feel. Often we don't say anything when we are faced with a unpleasant
situation. Whether the pattern we are following is Mr. Nice Guy or Miss Polite Lady if what is involved touches
our truth we should always find an honest and loving way of speaking up.
The throat is a place of integration for the trunk of the body and the head. If we think too much and don't use
our bodies enough in exercise then we can develop problems with our throats. In a similar way if we always
day dream about how much we just want to be spirit beings and shy away from fully being in our bodies then
the throat may not have enough energy circulating through it.
At Machu Picchu there are large stones and stoneworks for working with throat energy. Like most other bands
the majority of these stones are in the structures across the plaza from the Intiwatana. When working with
these stones in the blue band it can be very helpful to practice toning vowel sounds, humming, singing, or
chanting divine names. If you decide to exercise your voice just make sure to not be too loud. Sound carries a
long way in Machu Picchu. Be free in your healing but be considerate as well of others.
Illustration 44: Seated In One Of The Seats In The Blue Band Facing Southeast.

Illustration 45: Entrance To The IntiMachay In The Blue Energy Band
In the blue band is a special place that most visitors do not see. It is called the Intimachay (pronounced Inti Ma
Chai, like a Chai tea drink). Interestingly in Quecha the word machay means drinking, wisdom, or drinking
wisdom. It is within the blue band, and especially at the Intimachay, that you can drink in the solar healing of
the blue band broadcast from the sun and the Intiwatana. Visually the Intimachay has a rock in front of the
cave entrance. This reminds me of the Adam's apple in front of the human throat. If you are really curious
about the IntiMachay then take an early bus to Machu Picchu and be at the Intimachay for sunrise. Plan on
spending some time at the mouth of this cave and within the cave and watch how the light and energy changes
here. Also make sure to spend time in prayer and to watch how you are affected.
Also in the blue band is an interesting set of two shallow circular containers, which inevitably fill up with water.
These have been called the mortars. But here in one of the primary communication bands and located within
an area of very refined stonework are these “bowls” carved from one large stone. We have two similar circular
shaped stones each with a triangular based all carved from a single stone. One theory is that these were
reflecting pools used by Inka priest-astronomers to help tell time through the seasons. When viewed in light of
Inka mythology a pair of some round things in the sky must brings you to the eyes of the Llama. The llama is
the great animal of creation and sacrifice in Inka culture. In the Milky Way, or Mayu as the Inka called it, the
eyes of the Llama are the stars in the southern cross of Alpha and Beta Centauri. It is likely these two
depressions were used as reflecting pools to work with the stars in Mayu to receive information.

Illustration 46 Interesting Water Containers Named The Mortars. They Are Likely Receivers For Information
From The Milky Way.
Meditation:
Find an area within the blue band that you are drawn to. Find a seat in that area. Remembering that the large
stones are tools to assist you in your healing and transformation. Be seated and close your eyes. Follow the
sound of your breath. See if you can feel the stones in the area around where you are sitting. Imagine that
you can breathe in an out of the front of your throat. When you are ready reach out with your right hand and
touch a stone. Silently or quietly intone the phrase ‘hu’ for a few seconds. Then bring your right hand up to
your throat and again silently or quietly intone the phrase ‘hu’ for a few seconds. Try to feel the vibrations in
your throat as you make this sound. Try to change this sound so you can feel it in different parts of your throat.
After some experimenting with the sound sit quietly with your hands down and try to feel the resonance or
afterglow of the sound in your throat. Once you can feel this imagine what message you want to give to
Machu Picchu. With each exhalation imagine that message as a picture leaving your throat and being received
by the stones. Wait a few moments and see if you feel a response in your body and from the stones around
you. When you feel that something has shifted then gently blow air out of your mouth like you were trying to
whistle but with your lips further apart. Blowing slowly to make the sound of the air passing through your
mouth. Pretend that you make the sound of the wind and are empowering your hopes out into Machu Picchu
and the world. When you are ready return to your breathing again. Then you may open your eyes and reflect
on your experience. Send out your thanks and gratitude to the life around you.

Band 8 – Indigo
Color Indigo
Symbolis Receptive Communication
m
Body Area Eyes, Ears, Third eye chakra
At the indigo band the energy increases its vibration again. The communication abilities increase and move
from the throat to the level of the eyes and the pineal gland. In the chakra system it is the third eye that exists
at this frequency.
At Machu Picchu there is a very unique stone structure called the Temple of the Condor. The condor, similar to
the eagle, is associated with being closer to the creator in order to communicate with the heavenly realms. The
condor is also known for its ability to see far into the world. The Temple of the Condor again provides a very
strong correspondence between the function of the energy band and a structure at Machu Picchu.
There is much speculation about the Temple of the Condor. There was talk about a jail being around this area.
But such talk ignores the energetic qualities predominate in this band. This area is about seeing reality clearly
and communicating beyond time and space.
If you have some time it is best for you to see what areas around the condor wings you can get to and spend
some time there in silence. There is an easy path to walk below the wings on the left side of the Temple of the
Condor as viewed facing it from the front. If you look at this stone on that is the left wing of the condor it does
look like it has eye sockets, a nose, and a mouth line. Perhaps the stone forming the left wing of the condor is
a face. This interpretation would imply that the stone forming the right wing of the condor is actually a
communication device like a bullhorn. If you can then spend some time in meditation with your eyes closed.
This entire area is an Internet node of sorts if you can understand how to log on.

Illustration 47: The Temple Of The Condor
Illustration 48: Cave Entrance Under The Wing Of The Temple Condor

Find a spot to sit in the indigo band. First find a direction to look up into the sky that is not towards the sun.
You should be able to look at the sky or the clouds for a minute or two. You may want to leave your sunglasses
on for this part. But if for any reason you cannot look into the sky then do what you feel is right for you. Then
when you are ready close your eyes and become aware of your breath. When you are settled and calm begin
concentrating on the space between your eyebrows. Imagine that you are breathing in and out of the space
between your eyes. Take your right handle and take a finger and slowly and gently rub the spot between your
eyes seven times in a circle in one direction and then seven times in another direction. Repeat this motion so
that you have completed at least two sets of seven circles in each direction. Then placing your hands down
and again imagine once more that you are breathing in and out of the space between your eyes. Try to relax
and just allow your imagination to fuse into a reverie. You can’t try to force anything to appear but just wait for
any visual impressions you have. After a minute or two return to your breath and just relax. When you are
ready open your eyes and send out thanks and gratitude for your experience.
For this next part you either want to be seated or stand up. You want to find a direction where you can look at
one of the mountain peaks around Machu Picchu or whatever sacred site you are at. You want to look just
slightly above the crest of the mountain ridge. See if you can spot an area lighter in color just above the
mountain’s shape. Try to see the area that follows the mountain shape in light. Look for any vertical bands of
light along this same area. Sometimes you may want to try squinting to see if the effect changes. What you
are seeing is the aura or energy of the mountain. And if you are attuned well enough, over time, you will see
more than that.
After a few minutes of this exercise you should spend at least five minutes with a small notebook or sketchbook
and just let your imagination guide your hands to draw. It does not matter if you did not see anything
physically. There are messages waiting for you on the paper in front of you.

Band 9 – Violet
Color Violet
Symbolis Connection to the Divine
m
Body Area Top of head, crown chakra
In the violet band the energy increases and organizes further to anchor our connection with the divine. We find
this vibration in the area is at the top of the head also known as the crown chakra.
There are sixteen water fountains at Machu Picchu that flow through and past the Violet Energy Band. Fourteen
of these fountains can be followed starting from just below the Temple of the Sun. If you are fortunate to see
these with water running it them please spend extra time meditating on the sight and the sounds of the water.
The sound of moving water, from a waterfall to the smallest water drops, contains a very powerful healing
force. At Machu Picchu or at another location you should try and spend extended amounts of time listening to
the flow of water. There are many areas at Machu Picchu where you can connect to the Urabamba River that
flows around the site. You can also hike to the Temple of the Moon where you can clearly hear the river and
which is also a great places away from the crowds to meditate. If you tune in using a kind of day dreamy
consciousness you can begin to hear the water talking to you.
In many spiritual traditions there is the concept of annointing the head with water or oil during initiation or
baptism. The act of the blessing with the sacred fluid has multiple functions. One aspect of this blessing is to
cleanse the initiate both psychically and energetically. An additional aspect of this blessing is to activate sacred
centers and sacred functions in the person being initiated. But perhaps the most mysterious aspect of placing a
sacred fluid like water or oil on the person undergoing initiation is identified with or joined to the spiritual
archetype of the fluid being used. Both oil and water have been used to signify aspects of the Spirit.
At Machu Picchu there is both numeric and functional symbolism within the number of fountains and their
measurements. The water flowing through each of sixteen sacred fountains at Machu Picchu speaks volumes.
Part of their message is that Machu Picchu is a place that has been engineered to work with Spirit and matter to
channel divine energies from higher levels and dimension down to feed and nourish all who enter there and
beyond. The astute reader and student of sacred geometry will recognize the association between the number
sixteen and harmonic of the Golden Mean Φ value of 1.618.
At this point we should talk about water and other sites you can visit on your trip to Peru. If you have an
opportunity for an extended visit to the Cusco region then make sure that two sacred sites focusing on water
are on your list. The first site is Tambomachy and is very near to Cusco. You will find many tour operators
which stop at Tombomachy. If you are adventurous you can take a local bus to the site for less than a dollar.
If you are into hiking you can walk the road from Cuzco past Saxayahuaman to Tambomachy in less than 2
hours. The other water site is about 45 minutes drive to the south and is called Tipon. This is a very large site
that has many intricate fountains and large scale terracing. There is evidence of carefully designed stonework
and many ceremonial fountains. If you go to Tipon you many want to either hire a car or take a small tour of
say a dozen or fewer people. There are many tour operators in Cusco serving spiritual pilgrims including Angel
Tours. In fact if you can participate in a Inka water cleansing ceremony before you go up to Machu Picchu that
would really be a great way to prepare your sublte energy body to be purified.
Let us return to the violet band at Machu Picchu. The energy of the color violet itself is very high and definitely
manifests higher spiritual energy. Alchemically the violet ray is the seventh ray of perfection and an active ray
for purification and self-transformation. Like all the other energetic bands you can wear a crystal or mineral to
help you attune those energies. For the violet band the mineral is Amethyst. In the Inka culture purple corn,
Maize Morado, is thought to have special healing powers.
Many people have sensations at different parts of their bodies and their chakras. For most people the crown

chakra feels something between a tingling and running water. There are water meditations in many traditions
around the world where the meditator stands under a gentle waterfall. This is said to be a very powerful way to
tune into your energy field and the energy of water.
Although many people who sense the energy around the crown can feel energy flowing down their bodies in
reality there are multiple energy currents running through our bodies in more than one direction. There is one
energy current that flows down from the crown chakra to the feet. There is another energy current that is a
return flow from the feet up to the head. In Chinese Medicine the meridians are meticuously mapped according
to the main energy flows in the body.
Find a place to sit within the violet band. Take a few minutes to relax. Focus on your breath. To work with the
energy in this band pretend that you can breathe in and out the top of your head like a dolphin or whale. Take
each breath in and out through the top of your head. For some people it may help to move your right hand an
inch above your head. In a few seconds you should be able to feel the energy of your hand. If you still don't
feel anything then move your hand closer so that your palm lightly brushes your hair. If you still don't fell
anything, or don't have any hair, just rest in whatever experience you are having. Imagine breathing in violet
light in the top of your head. Pay attention to the sensations on the top of your head. You may feel a tingling
like rain drops or like wind. Bring your hands down to your sides and continue breathing focusing on the top of
your head. Once you have spent a few minutes with this focus then imagine being able to send violet light out
to your entire body. When you are ready slowly return to normal awareness. As you are coming back make
sure that you connect to the realization that at each moment the divine sustains you. The divine energy,
wisdom, knowledge, and love, is always available to you. Send out thanks and gratitude for your experience.

Illustration 49: One Of Sixteen Water Fountains Appearing Mostly In
The Violet Energy Band.

Band 10 – Ultraviolet
Color Ultraviolet
Symbolis Sun, angels, Sacred heart
m
Body Area Above the head
The tenth band corresponds to the energy of the Ultraviolet (UV). This energy has a very high vibration. It is
worth considering from the outset that much of the study of the sun is done within the ultraviolet spectrum.
The Sun looms large in the cosmology and exists at the core of what it means to be Inka. Everything in the
empire of the Inka always pointed back to the Sun.
From a spiritual perspective UV corresponds to your life purpose. This encompases both the direction you are
trying to go and the impressions and karma you have carried with you across any Inkarnations. In some
esoteric traditions it is within this area that the guardian angel overshadows each person. It is at the eighth
chakra, the tenth energy band, that we acquire the ability to both understand a spiritual existence but to also
live it beyond the physical.
It is important now to deeply examine the word Inka. Inka means the ‘son of the Sun’. It is at this level that
the ability to actively participate in a significant relationship with the Sun becomes crucial. Keep in mind that
the physical sun that we see, through whatever band of light we choose, is only an abstraction of a much more
significant and great spiritual being.
To the Inka the Sun in the first aspect is a grand spiritual being named Inti-TayTay, Sun Father. The Inka saw
not just the physical sun but they saw the sun as a great being, a great consciousness. Remember the earlier
example of body parts being pressed against the plastic barrier? What you end up seeing through the barrier is
a reduced abstract representation. Using the phraseology of Terence McKenna, the sun we see is a lower-
dimensional cross-section of a hyper-dimensional being. What we see when we look at the sun with our eyes is
a low fidelity approximation of the great spiritual being that exists at and beyond that location. The same
reduction functions are applied when you look at anything. The brain is said to process around 400 billion bits
of information each second but we are only aware of 2,000 bits. Your eyes are delivering to you an
approximation of the phenomena in front of your face. In other words anything you view as a physical object is
not concretely ‘there’. It is your mind and your brain that are constructing an image for you. More than 99% of
the energy and information about the object you are looking at is unknowable in most people’s experience.
Most every academic view trying to interpret what the Sun meant to the cultures that ‘worshipped’ it has gotten

the story wrong. From Egypt to the Maya to the Inka and many more the Sun was not just an external god
crossing the sky by day in the solar barque and going into the underworld by night. The Sun is first a grand
metaphor for concepts such as resurrection and mental concentration. Even more the Sun is an external
representation of the heart of those awakened upon the path of spiritual enlightenment. And if you can
advance far enough along the path then even the concept of externality falls away. Reaching an active point of
intimacy with the Sun enters the frontiers of the consciousness of the Inka.
Illustration 50: View Of The Temple Of The Sun From Above.
When you look at the Temple of the Sun at Machu Picchu you are given clues about how to approach your
interaction with the temple and with the sun. If you were able to walk up the stairs straight towards the large
horizontal stone inside the temple you would walk straight into the curved wall. The design of the Temple of
the Sun says that you have to use a path around or beyond the physical to interact with it.
The other striking thing about the shape of the Temple of the Sun is that the curving and sloping shapes on the
walls seems to imply capturing the solar energy and moving it around in a clock-wise vortex and then down
through the stone into the area named the ‘Royal Mausoleum' below. With the Intiwatana you have a diffuser
or broadcaster of energy. Here at the Temple of the Sun it appears more like a convex lens to capture and
channel energy downward in energetic spirals. The walls of the Temple of the Sun also speak about the sacred
nature of what is happening within this temple. The walls act like curtains from the surrounding area. Aside
from being inside the temple the only way to see its complete layout is to take a higher vantage point either
physically, as in most photographs, or spiritually. As the large stone within the center of the Temple of the Sun
has a sculpted surface it stands to reason that the stone is intentially encoded with shape information related to
it’s function and that it contains messages for us on it’s surface waiting to be decoded according to the rules of
sacred geometry. Encoding stones with information is a hallmark of Inka spiritual craftsmanship.
Other writers, most notably Mallku, have pointed out that there is a heart shaped stone near the so-called 'Royal
Mausoleum' below the Temple Of The Sun.

Illustration 51 Heat Shaped Stone Below The Temple Of The Sun
For a short time I was a bit concerned that there is such a clear symbol of the heart, from band 6, Green, sitting
in band 10, Ultraviolet. But my background in Sufism brings an analogy that explains one aspect of the
association.
In many mystical traditions there is a strong association between the sun and the heart. Some have theorized
that the actual energy, which powers the hearts pumping action, is intimated tied to solar energy. There is also
an image, which should be familiar to most people, which I present here for illustration.
Illustration 52 Sacred Heart

The image of the sacred heart is a mystical illustration of the solar initiate. Once someone delves deeply onto

the spiritual path they will begin the process of transformation. The sacred heart is an image that depicts the
heart of the initiate becoming transformed by light and into light. The pursuit of the alchemist is to turn lead or
dross into gold. We are all searching for a heart of gold.
If the Inka were aware of the principles of alchemy, which I believe they were, then they may have been
alluding to the association between the sun, the solar initiate, transformation, and the sacred heart. The
associations between gold and the sun are so strong within the Inka Empire that the appearance of the heart
stone under the Temple of the Sun may be one of the most subtle and poetic allegories at Machu Picchu.
Illustration 53 ‘Royal Mausoleum’ Below The Temple Of The Sun
Below the Temple of the Sun and the heart stone is a very interesting set of carved steps. It is actually two sets
of steps. One set of three and another set of five steps in the foreground. We know that the three levels
correspond to the three worlds in Andean cosmology. But what about the five steps in the foreground?
Illustration 54 Egyptian Ankh
One of the most sacred symbols in Egyptian culture is the Ankh. The history of the Ankh is steeped in mystery.
The academic source for the Ankh is most often related to knots of rope. In Egyptian mysticism the Ankh is a
symbol for life. The Ankh is a symbol for a soul that is in resonance with the divine. The Ankh does look like a
person with outstretched arms with good reason. The Ankh also shows us the center of five connecting streams
of energy. In the Ankh proper these five streams flow from the bottom, left, right, and two from the top. In
the human being these five streams are from the legs, arms, and head. So there is a deeper message here in

the Ankh showing us the spiritual currents that are constructed in the energy field of the initiate. The top arch
of the Ankh shows the energy fields of the head being carried in balance with the heart.
What the Ankh shows us is that the center of a person in balance is an integrated being with a fully functioning
heart. The heart functioning as the central alchemical sun, joining heaven and earth, is a primary goal of the
spiritual path. But in order to get there you have to climb the three steps of creation and the five steps of
ascension.
From our Inka training we recognize that the world exists in reality as three energetic worlds. In classic Andean
cosmology these are the lower world, the middle world that we live in, and the upper world. From the
perspective of modes of consciousness the three worlds are the lower reactive serpent consciousness, the
integrated puma consciousness, and the transcendental condor consciousness. Coincidentally, or not, these
three animals in the Andean cosmology have correspondences to our brain structures. At the bottom of our
cranial triad is the reptilian brain geared for survival. In the middle is the mammalian brain. At the pinnacle is
the frontal cortex where higher reasoning and speech is supported.
The Ankh and the five steps under the Temple of the Sun remind us that to get to the reality of what an Inka is
there is some process we need to go through. It is fairly well known in metaphysical circles that the spiritual
energy, the kundalini, must arise from the base of the spine and ascend up through to the crown chakra. The
rising of the kundalini to the crown chakra then results in a greater shower of divine energy within the persons’
energy field. This return loop of sacred life energy is what is reflected at the top of the Ankh.
What the Inka remind us is that in order to become the spiritual person we aspire to manifest we must have
taken the fifth step. And what is the fifth step? The fifth step is the step of the initiate. The fifth step is the
opening not just of the heart but also of the higher energy centers or charkas. The fifth chakra is in the throat.
The heart shaped stone could also represent not only the heart but also the front of the Adam’s apple in the
throat. As the body represents the earth and the middle world and the head represents heaven and the upper
world it is the throat that must also enter into the alchemy of spirit. It is the throat and third eye energy centers
that plug us into active and receptive modes of awareness of the spiritual domains. At the Temple of the
Condor, the throat, we begin to take up our wings and ascend into the upper world. When infused with the
divine our words take up wings and travel to sacred domains beyond imagination.
The initiate becomes the Ankh when the roundness of the sun and of heaven is coupled with the vertical and
horizontal aspirations of directions of terrestrial life. On finds many places at Machu Picchu with seven steps in
stone. Take the time to find these places and to stand on the fifth step. Remember that timing and alignment
are often superchargers to sacred experience.
The initiate, the Inka, is one who has taken the fifth step. He/she stands as one who integrates heaven and
earth. After taking the fifth and subsequent steps the Inka is able to open their energy field like a net and to
receive the energy from the sun and the cosmos and bring these energies into the heart. The Inka is then able
to broadcast, as appropriate, these integrated divine loving energies outward across the earth. The Inka also
sends love down into Pachamama and to all beings at all levels of existence.
Find a location to sit within the ultraviolet band. Spend a few moments listening to the sounds outside of you.
When you are ready close your eyes and bring your awareness to your breath. See if you can feel how far into
your lungs your feel air movement. When you feel settled bring your awareness about a hands width above
your head. Imagine that you are wearing a halo on top of your head. See if you can project your breath up to
the halo above your body. When you are ready imagine that there is a beam of divine light coming up through
your body. This light rises inside of you in front of your spine and goes up through the top of your head. This
light started at the center of the earth. See if you can feel down into the bountiful earth. This light extends all
the way out into space. See if you can feel that. Imagine that this beam of light is a conduit for divine earthly
and cosmic energies to come in and feed your being. When you are ready you may want to stop your
meditation or continue with the next meditation.

For this second meditation imagine that you are able to reach out and touch the sun. You won’t feel any pain or
that much heat because you are touching the sun from your spiritual essense to its spiritual essence. Imagine
that you can take handfuls of the sun and carry that light and place it within your own heart. Take several
handfuls of the sun and put it into your heart. Imagine what it feels like to have the sun within your heart.
Imagine the light of the inner sun shining on all parts of your being. Everything inside is free and healed.
Everything is bathed in light and supplied in each moment. Give thanks realizing that everything is enlightened,
enlivened, and peaceful. Stay with this feeling for a few moments before slowly returning.

Band 11 – White
Color White
Symbolis Archangels
m
Body Area Moving beyond form
In the white band energy steps up again. In the human body we are now above the eighth chakra. In the Inka
worlds we are fully in the upper world. Everything here is clothed in white. Everything at this level is purified
and in harmony.
As the ultraviolet band is the primary source for receiving solar energies the white band now interacts with
energy from the highest levels of what we can call manifest source. To progress higher in the energy spectrum
we would cross beyond what can become manifest in the created realms. Reaching the white band we cross
through the levels of solar energies into the most subtle and refined energies of the cosmos. This is the
threshold of manifestation and creation. Here exist all the mythic archetypes and archangels we can imagine.
At this level we are at the upper limits of expressing levels of light, love, and wisdom. Resonance turns out to
be a large portion of what the white band is about. One of the most significant areas within the white band at
Machu Picchu is the Sacred Plaza.
Illustration 55 Temple of the Three Windows In The Sacred Plaza
The most famous area at The Sacred Plaza is the Temple Of The Three Windows that looks out to the east from
Machu Picchu. Amoung the items you should pay attention to here are the well rounded corner stones at the
ends of the Temple of the Three Windows and at the other structures here. If you can arrive early in the day
near the Winter (June) Solstice then you can watch the play of light forming a Chakana from the stone in front
of the Temple Of The Three Windows.

Illustration 56 Stone In Front Of Temple Of The Three Windows Which Forms A Chakana With The Shadow
There are many individual elements here within the sacred plaza. You need to look around and see what you
can find. Be sure to look around corners and in places not directly in your line of sight. If you find a small cave
and can fit inside take a look.
Illustration 57 Small Intiwatana Stone At The Sacred Plaza

The Sound Room
At Machu Picchu the white band also finds expression as resonance in sound. Next to the Sacred Plaza on the
way to the Intiwatana is a very interesting room. It has trapezoid windows, which are blocked off. This room is
all about sound. We will cover this room in greater detail a little later.
Illustration 58 The Sound Room Between The Sacred Plaza And The Intiwatana.
The Garden Of The Gods
There is a unique area at Machu Picchu that straddles both the White and Negative Green energy bands. This
area has been called the Rock Quarry. This seeming jumble of rocks and stones is viewed as quarry and source
of unfinished stones for Machu Picchu. But according to our principle of intentional design for all of Machu
Picchu thus far this area is not what it seems. This is not a jumble of stones. Just like every other area in
Machu Picchu this rock outcropping is encoded with sacred information. To read this library the natural stone
shapes must be viewed very carefully. A careful reading of the stones in this area shows us that this place is a
detailed record of Inka cosmology. The so-called Rock Quarry is in reality the Inka Garden Of The Gods.
In Andean cosmology there exist at least three worlds. These worlds are metaphors for levels of consciousness
and for dimensions. The lowest level is Ukhupacha, the underworld, represented by the serpent. The middle
level is Kaypacha, our world, represented by the puma. The highest level is Hanakpacha, the upper world,
represented by the condor. At the apex of creation is the creator named Wirococha.
The White energy band corresponds to one or more energy centers above the crown chakra. This area
represents the full transition to the mythic world, the Hanakpacha. In this way the sense of self is merged into
the one great being. Being plugged into this transdimensional portal means that images of the mythic story of
creation come flooding into our consciousness. The stones in the area record this dynamic and living mythology
of the Inka.

Most good tour books on Machu Picchu record the location of the Serpent Rock that is in this area. This is a
long rock that is on a slight incline sticking up from the ground. Recalling that the serpent is the power animal
for the lower world it makes sense for us to keep an eye out for other stones that may represent other animals.
These other stones exist in plain sight. Just beyond Serpent Rock is a series of closely joined stones that depict
the wings, tail, and body of a bird. Given our understanding of Inka cosmology this ‘bird’ is a condor.
Illustration 59: Serpent Rock In Front Of Condor Rock

Illustration 60: Profile Of Condor Stone Next To Serpent Stone. Note the tail feathers rock to the left of the
main body rock. The right wing stone is in front of the body stone.

Illustration 61: Detail Of The Tail Of The Condor In The Garden Of The Gods. Rather Than
Being An Example Of Inka Quarry Methods These Markings Contain A Specific Message.
The Reader Will Note That According To Inka Prophecy We Are Crossing Into The Fifth Age
Or Sun.

Orientation is very important in order to see messages left for us. Without the proper orientation we will not
see the messages. In the case of the Garden of the Gods there is a conspicuous keystone left for us. Like the
keystone at the face of the llama in the Black Energy Band the keystone here in the White Energy Band calls out
to us. The message of this keystone is that we need to look in the direction that the keystone is pointing in
order to see the message left for us.
Illustration 62: Keystone On The Ground As A Viewing Reference Point To See The Figures
In The Garden Of The Gods. Many Such Keystones Cry Out To The Visitor To Take Note Of
Something In View.

We have already seen the Serpent Rock and the Condor Stone what more could we see by taking the
perspective offered by the keystone? How about an entire story of creation?
Illustration 63: The Garden Of The Gods. Stones From Left To Right: Serpent Rock, A
Condor, A Puma, And Wiracocha
Standing in the direction pointed to by the keystone we find starting from the left there are major figures from
Inka mythogody. These figure are beings, or archetypes, of the Andean energies representing worlds or levels
of consciousness. We can see the head of the Serpent Rock behind one rock on the left (which looks a little like
a turtle). Just past the Serpent Rock is the Condor Stone series. Remember that all the faces found in this
series are oriented in the same direction. This is to the right from the viewpoint of the keystone.
Past the Condor stones is a large stone that resembles a Puma. Regarding the Puma shaped stone specifically
this stone is itself a marker for something much larger also in the shape of a Puma that we will cover later.
Keep in mind that sacred messages are often coded by showing you a small representation of something when
the larger version is just beyond what your senses would normally perceive.
Arriving at the Puma we now have encountered the three power animals of the Inka worlds. The careful reader
will see that the order of these animals is different than usually encountered. Most often the progression is from
serpent to puma to condor. But here at Machu Picchu the emphasis is on the human being existing as the
fusion of heaven and earth to live as the Puma Runa, the Puma Person. We see this emphasis echoed in a
much larger puma we will see soon within this same band.
Returning to this mytical stone garden what is left in the Inka myths beyond the three power animals of the
Andean creation? Wiracocha, the Creator would be the next logical step in the progression. And what do we
find past the Puma stone? A very human looking stone with eye sockets and a very convincing profile.

Illustration 65: The Serpent Stone
Illustration 64: Close-up Of Puma At Center Left (facing Right) And Wiracocha at Center Right (also facing
Right) In The Garden Of The Gods
The Wiracocha Stone is very interesting because there are faces present from at least three angles. From our
view standing at the keystone we can see one representation as if we are looking from the right side of
Wiracocha’s face with a pair of bushy eyebrows near the top right of the stone. We can take a slightly different
view of the face by imaging we are seeing Wiracocha from his left side with a long nose ridge running down to
the left. But the most stunning and convincing view for this stone representating Wiracocha is seen only from
walking around to the other side of the stone.

Illustration 66: Head Of Wiracocha In Profile From The Far-Right Side Of The Stone.
The walk around the Wiracocha stone yields a rewarding view. Wiracocha in profile appears complete with a
very Inka looking headdress. Although there are many human looking faces around Machu Picchu this stone
face of Wiracocha is one of the most accessible up close.
What is presented here is only a small set of the stones within the Garden Of The Gods. The reader is
encouraged to spend time in the area and enter an expanded dream-like consciousness. First find the stones
listed here and then find others in this area that are shaped like animals and other mythic creatures.
Find a comfortable place to sit within the white band of Machu Picchu. There are so many stones in the Garden
Of The Gods to choose from. Once you are seated being focusing on your breath. Feel your chest and
abdomen expand with each breath. Become aware of the sounds and sensations around you. Feel your
connection down to the earth. Imagine your energy connecting up into the sky. When you feel settled focus
your intention on the stones around you. Imagine that these stones have messages recorded on them and
within them. Next begin to develop a feeling of expectation within you. You are here to receive whatever these
stones, Machu Picchu, your spiritual guidance, and your higher self have for you. Stay in this feeling for a little
while. After a few minutes slowly come back. Give thanks for your experience whatever it was. Feel yourself
connected to the earth. Listen to the sounds around you. When you are ready open your eyes. If you have
received any messages try to write them down. Bless the area where you were sitting and carry gratitude in
your heart.

Band 12 – Negative Green
Color Negative Green

Symbolis Return to the Source
m
Body Area Beyond the body
At the level of the twelfth energy band we now cross and energy threshold beyond the manifest creation. The
French Radiesthesists called this band ‘Negative Green’. This band is not negative or bad and it is not green. If
you refer back to the energy wheel this band appears on the exact opposite from the color green. The label
Negative Green was a simple way to denote this band relative to the Green band.
The Green Energy Band contains those energies that support creation and biological life. The Negative Green
Energy Band functions in a way that is beyond biological life and it’s function does not support life as we
understand it. The energies here are now directed back to the unmanifest, back beyond our concept of source.
We are beyond the mythic. We are now seemingly passing through darkness. This is the full return to the
unexplainable Tao. Yet at Machu Picchu the story of return is told with a visceral illustration of the destination.
We have discussed the Garden Of The Gods and it's wonderful and amazing sculptures. The Garden Of The
Gods is a record of Andean creation set in stone. Now in this area of Machu Picchu we turn our hearts and
minds back to the source of all existence.
Negative Green energy prepares us for our eventual return to source. The French Radiesthesists discovered
that Egyptian mummies emitted strong Negative Green energy. Structures and forms that channel uncorrected
Negative Green energy have been shown to dry food and mummify the bodies of animals and people. This
energy is the same energy that has been associated with some aspects of 'pyramid power'. In fact one of the
French Radiesthesists, Léon Chaumery, reportedly died due to an experiment he created which emitted
uncorrected Negative Green energy. Modern day Egyptian energy researchers have a protocol in which
everyone understands that you do not attempt to dowse the energy of a mummy due to the interaction with the
Negative Green energy. But don’t worry, in this area of Machu Picchu the Negative Green energy has been
adjusted so it is safe for you to spend time there.

Illustration 67: Terrace Of The Ceremonial Rock. ‘Cemetery’ Area Of Machu Picchu In The
Negative Green Energy Band. Note The Small Building At The Opposite End Of The
Courtyard.
So it is with little surprise that we understand that near the famous 'Guard House' above Machu Picchu proper is
where Bingham's expeditions thought the area to be a cemetery. Although archaeology work in 1974 concluded
that this area showed no signs of housing bodies. This later work found that many stones place in this courtyard
were evidently carried up from the river and placed here near the Ceremonial Rock. In either case this area
does carry the energetic signature of returning to the creator.
Looking once more at the Ceremonial Rock in its place within the Negative Green band we can say that the
ceremonies here involved some kind of return or connection to source. Despite the original reports from
Bingham’s team the bodies that were found at Machu Picchu were roughly half men and half women. None of
the bodies showed any signs of hard work let alone sacrifice.
At Ceremonial rock what you have is a place for a symbolic living sacrifice. If you look in Mallku 1997 (Inka
Initiation Path) you can see a picture of someone laying down on this rock. Standing poses are required during
certain sunrise alignments such as one at the Intiwatana. But the Ceremonial Rock suggests full surrender in a
laying down pose. In Yoga placing your body horizonally on the earth is called Savasana, or corpse pose. The
stories behind the initiations in the Great Pyramid of Egypt state that the initiate laid down for three days in the
stone sarcophagus while their soul traveled through the universe acquiring the knowledge of a master. It is
also well known in yogic circles that while in Savasana the yogi may experience the deepest meditation states
know as samadhi. Samadhi is an experience of deep union with the great being of existence. At Ceremonial
Rock the Inka initiates surrender all attention of their bodies and offer themselves up as representatives of the
great being. Rather than enduring physical death the initiate rises with renewed energy being more closely
united with source.

Find a comfortable place to sit within this twelth band, the Negative Green, at Machu Picchu. It may be helpful
to select a spot where you can either be alone or have a view of the Ceremonial Rock. Begin by focusing on
your breath. Pay attention to how your chest and abdomen are moving. If you have a view of Machu Picchu
city then take a few moments and look around. See if you have a different feeling in your body in this area than
at other spots at Machu Picchu. When you are ready close your eyes and refocus on your breathing and your
heart. Imagine that you have some gifts to give to the universe. These gifts could be your service, your love,
or your smile. Imagine that from where you are sitting there is a conduit of energy starting from under you that
moves through you and up through the sky. This beam of energy moves far out above the earth and returns to
the universe. Imagine now that any gifts that you want to send up to the universe can be carried up on this
energy beam. Spend a few moments in this give-away of the heart.
When you are ready see if you feel a return flow of blessings coming back from Pachamama and the universe
coming back to you. Take some time to feel that you are really empowered in your walk on the earth. When
you feel a sense of completeness slowly bring your senses back to your body and the immediate area where you
are seated. Take a few moments to tune into each sense. What can you hear? What can you smell? What do
you feel on your skin? And finally, open your eyes. What do you see? If you have some physical offering such
as a few coca leaves, tobacco, or some water, now is a good time to offer these in thanks either where you are
seated or somewhere close by that you are led to. Feel that you are totally empowered and blessed in this
sacred giving and working with the universe.

The Great Puma Carved In Stone
The Black Energy Band opened the energy spectrum at Machu Picchu. Within the Black Energy Band we have
seen one or more faces visible in infrared light that appear on the eastern side of Wayna Picchu. These faces
on Wayna Picchu are most easily visible from the Intipunku a short distance up the Inka Trail from Machu
Picchu.
It is fitting that at the completion of the twelve bands of energy around Machu Picchu there is another set of
indicators pointing to the ‘source’ of Andean cosmology also carved in stone. When you are standing at the
southern most point of the Machu Picchu complex, or from the Inka trail towards the Inti Punktu (Sun gate), a
clearly visible mythic figure can be seen carved into Machu Picchu Mountain itself. Machu Picchu Mountain has
been modified into the image of the head of a giant puma completed with a very well sculpted eyebrow and
eyeball.
Illustration 68: Infrafred photo of Puma Head With Round Eyeball On Machu Picchu Mountain To the South Of
the Complex.

Illustration 69 Puma Head On Machu Picchu Mountain Above Complex
Illustration 70: Detail Of The Eye Of The

Puma On Machu Picchu Mountain
In Egyptian cosmology the adept aspires to become an Osiris. The spirit of Osiris is also seen as a further

merging with the divine in the form of Horus. Rather than closing the energy bands with a condor, the
seemingly higher symbol for the divine, the builders of Machu Picchu lead us clearly to the image of the puma.
Why?
Andean cosmology points us to an immediate experience of the divine within the context of our current lifetime.
This immediacy of experience is in all aspects of both Amazonian and Andean spiritual views. The Andean
spiritual path is a path of munay or love expressed in right action in helping one another. It is also a path of
gnosis, immediate knowledge through experience. The Western mind has created layers of abstraction away
from direct experience. In the West we equate writing with cultural development but this bias makes it difficult
for us to read the rich nuances of an advanced culture based on experience that has no need of writing. The
Andean mind reads the text of nature in every moment. The Andean soul sees the greatest accomplishments in
this life as achieving the mastery of love and balance within this life. To the Inka it is not conquest or dominion
that are paramount achievements but harmony and love. The animal archetype and form for the Inka that
symbolizes mastery of life in this way is the puma. The builders of Machu Picchu are gently reminding us to be
fully present, and fully human, in this world. In Inka and other cosmologies to be fully human is to be a kind of
puma embodying mastery of courage, love, and balance.
The appearance of this puma on the side of Machu Picchu is compelling. There are a number of theories I can
think of as to how the faces on Wayna Picchu and on Machu Picchu got there. The first theory is that the Inka,
or whoever carved this puma face, noticed the existing shapes on these mountains and used some form of
technology to sculpt and refine existing lines and features. This theory follows the approach that an artist uses
approaching a piece of three-dimensional work. Today we see wood carvers and stone sculptures who work
with the existing lines and form of the piece they are shaping. The frequency of the puma motif in stone within
the Inka Empire and other Andean cultures is significant. The size and scale of the puma form placed upon
Machu Picchu is in intriguing. Constructing things in the large is a common aspect of very ancient cultures. One
of my theories is that some aspects of Machu Picchu, such as the Intiwatana, are much older than the rest of
the complex. It would not surprise me if the sculpting of the puma on Machu Picchu coincides with the
astrological age of Leo, approximately 12000 years ago.
Another theory about the faces on the mountains in this area is a bit more exotic. Using the first theory you
have beings like us using either brute force or advanced technology carving the sides of these mountains as
though they were Peruvian Mt. Rushmores. Under this second theory the forces forming the faces here are
spiritual in nature. It is clear that the Sacred Valley of the Inkas, including Machu Picchu, is a highly charged
spiritual center. Therefore it embodies a set of harmonics that enable it to come under the direct influence of
benevolent spiritual forces frequently, if not constantly. There are many stories in a variety of cosmologies
about spiritual beings having helped to form the earth. It is not unreasonable to assume that this area in Peru is
one place where these beings have left signatures and messages waiting for us to be able to read them. This
theory is not so far fetched. Rather than imaging that such messages are not possible we should keep in mind
how the current cultral mind is, noting it rarely notices the sacred which is all around us.

Light, Form, And Shadows
The origins of the Inka, the Children of the Sun, are mythic and grand in the imagination of man. The
association of the Inka culture with light, and with the Sun (Inti) in particular, stands as a key for deeper
investigation. There are numerous examples of Inka architecture throughout the empire, which use the
interplay of sun and shadow. From the layout of the city of Cusco to the Intiwatana at Machu Picchu the Inka
made structures, which aligned with light and shadow in a living replay of mythic stories and energies. In many
ways this active interplay of light, structure, and shadow places the Inka culture as equal to the Ancients
Egyptians in their fascination with light. No other culture so constructed their world around the mythic
attributes of light. What were the Inka doing and why?
Illustration 71 - My Friend Paul And I At The Gate Of The Sun In Tiwanaku, Bolivia in 2005.
This Is The Mythic Point Of Origin Of The Inka People.
Many of the structures in Machu Picchu are stones shaped in the form of mountains. From these totally organic
forms you cross into a hybrid of sculpted forms such as the Intiwatana. Finally you reach more abstracted
forms of windows or doorways all made of magnificent stone. You will find examples of the play of light and
shadows in all of these forms.

Illustration 72 Sunset At Machu Picchu
There are a variety of mystical keys available to understand the use of stonework at Machu Picchu. This is
especially true in the stones shaped in the form of mountains. If we can posit that the universe is constructed
of sound and light then two of the most important principles to understand are those of harmonics and the play
of light including reflection.
Inayat Khan stated
“The sun is reflected in all things, be they dull pebbles or sparking diamonds, and their radiance is according to
their capability of reflection.” 4
This implies that creating forms sharing similar characteristics increases their ability to interact with each other,
to reflect each other. Forms with similar shapes tend to form an energetic resonance with each other. By
creating a miniature mountain in stone within the site of Machu Picchu the builders are doing more than just
making an artistic statement. That miniature mountain is an active connection to interface to the real mountain.
There is an energetic communication established that anchors the energy of the real mountain into the site.
Additionally the flow of that energetic exchange also allows someone to project sacred intention toward the real
mountain resulting in a magnification of the through the mountain. What is established is a mystical
communication conduit. That is the function of many of these stones. Because of the energetic reflectivity
established by the miniature stone there is more spiritual light brought into Machu Picchu. The miniature stones
are both communication ports and areas of light emission.
4 The Mysticism Of Sound, Chapter V, Form

Illustration 59 Small Intiwatana Stone In The Sacred Plaza.
Besides miniature mountain stones there are many stones positioned to send spiritual light into the complex.
Some examples are conspicuous stones below the ‘Guard House’ at the southern end of Machu Picchu.
Illustration 60 Light Beaming Rock Below 'Guard House'.

Illustration 61 Angular Clues On The Beaming Rock
The Beaming rock has special cut angles on it which point to its specific function of redirecting energy. The
large faces on this rock point generally towards the Intiwatana. This rock is supplied with energy in part from
below it by energy coming up the side of the mountain through an open stairway. The Beaming rock is shaped
intentionally for this purpose of sending energy across the complex.

Illustration 62 Open Unused Staircase Acting As Energy Conduit For The Beaming Rock In The Foreground.

Illustration 63 The Reflecting Rock.
The Reflecting Rock is another of many examples of stone placement at Machu Picchu acting as spiritual light
reflectors. The 45-degree angle of the main face of the Reflecting Rock allows it to channel solar and celestial
energies towards the main complex and specifically towards the Intiwatana. The Intiwatana is thus fed by
dozens, perhaps hundreds, of angled rock faces in this manner across the complex. It is also likely that there
are rock faces in the surrounding mountains intentionally and specifically shaped for this same purpose. The
mountains also have more secrets to share about their sacred functions. Much of this energetic reflecting and
associating has to do with communication with the divine personality of the mountain, the Apu.
In Andean culture the mountains are viewed as physical manifestations of tutelary spirits called the Apus. The
Apus form the locus of many Andean spiritual paths including those of the Q’ero. It is easy to understand why
the spiritual beliefs of such a mountainous region would include respect and supplication towards the mountain
spirits. The Apus are more than an intriguing aspect of Andean spiritual imagery. If we accept that the Earth
is alive then everything upon the Earth is also alive. To intentionally shape stones into the image of mountains
is to create a resonance and connection to that mountain. Thus the shaping becomes a way to bring a
mountain of Great Power into a size more interactive to the human visual and energetic fields. To intentionally
place objects and forms in the boundaries of light and shadow from the mountains, or their representatives,
calls forth both mythic and transpersonal powers.
In one personal vision saw the Apu as a being of light standing at the peak of a mountain. The physical shape
of the mountain manifests under the energetic light beams of the Apu standing near the top. The mountain
sustains its physical shape due to the energy of the Apu overshadowing it in higher dimensions. If you believe
that the earth is a manifestation of a living being named Gaia, or Pachamama, don’t you think if that spiritual
being disappeared that the earth would disappear as well? If the Apu were to step away, even for a moment,
the mountain would disappear. We humans exist upon and within a constellation of spiritual beings who all
literally hold the world we know together in every instant.

Illustration 73 Apus Atop The Mountain Peaks
From my experiences in the North American Southwest deserts at sacred sites I can confirm that resonance’s of
specific personages associated with sacred sites can also be seen with careful looking at etheric flows along the
tops of ridgelines. When performing ceremony the North and South American medicine people that look
towards the mountains are not just using their imagination.
In Inka myths many persons make the transition from physical body into the form of mountains and back again.
There is a story that at one point during a battle an Inka King is assisted by a large stone, which turned into
warriors. In the Andean mind stones are certainly not inanimate objects of hard matter. They are animate and
full of power.
There are numerous Inka structures, which utilize the light of the rising sun. Some of the most important of
these structures play with light and shadows around the time of the equinoxes, the summer and especially the
winter solstices. It is during the winter solstice (June 21st) that the energies of the sun are reborn. The deity of
the Sun, and the other host of deities which interact with the earth, reestablish their relationships with the earth
at this time. It is within the boundary between light and shadow that this energetic transmission is most
powerfully manifested. The boundary between light and shadow becomes part of an active demonstration of
power. The Inka formed stones around this interplay to create profoundly meaningful visual statements. These
images in shadow and light served to further reinforce the mythic power of the events being reenacted,
remembered, and re-embodied.
Astronomy tells us that theoretically there are portals in the universe called wormholes. It is theoretically
possible to enter a wormhole and travel to another part of the galaxy bypassing the dimensionality usually
involved in getting there. In a similar way the boundary of a shadow is the energetic boundary or edge of some
kind of hyperdimensional portal or projection. A shadow is not just a missing piece of light ‘behind’ an object
opposite the light source.

Illustration 74 Energy Zones Appears Within And Around A Shadow
If you look carefully into these phenomena then you can realize that the Inka saw the shadow as not the
shadow of the form of stone but as a set of energies representing a hyperdimensional projection of the actual
spiritual being. The shadow of the spirit is the visible proof that this portal is aligned and active. The real being
behind the form is embodied in the projection of light and shadow is interacting with the earth in a specific
manner and for a specific purpose. Just like passing smoke in front of laser beams the shadow is the evidence
of the mythic figure become visible. The shadow is an energetic emination of the originating being containing
the resonance, properties, and powers of the source. Many Inka initiation rituals involve seeing and working
with this shadow or the boundary of light and shadow. Some of the initiations involve placing parts of your
body in the shadow or shadow boundary.
The Inka are not alone in this concept of a special spiritual zone within a shadow. To the ancient Egyptian the
Khaibit is the Shadow of the Soul. In the tomb of Seti I is a black painted human figure representing the
Khaibit. The Khaibit can be compared to the etheric body of the individual. In a similar way the shadows of
mountains and stones throughout the Inka Empire point to an understanding of the etheric connections
available through the shadow. The interplay of light and shadow upon the streets of the city of Cusco,
especially at June 21st solstice, is a well-documented case of shadow and light engineering. How much could we
transform our civilization by projecting sacred shape and forms in the areas where we work and live?
Let’s go back to the example of the Apus for clarification of this etheric energy dynamic. If you are standing in
the shadow or boundary of an Andean mountain peak, especially at sunrise, particurally at an equinox, and even
more so at the Winter solstice, the light passing from the sun through the mountain top is carrying an energetic
transmission of the Apu into your energy field. The light and shadow are not passive secondary aspects of
physics. The light and shadow are active transmitters of etheric spiritual information. By interacing with the
etheric information of a spiritual being you are receiving energy and information from that being. This is one of
the ways the Inka were able to reach so great an ascendancy into their understanding of solar culture and to
reflect what they understood back in their design of physical structures. The Inka society was a spiritual
community involved in sacred feedback loops of divine engineering. The Inka understood how to enter into
these etheric relational dynamics with stone, plants, Apus, and other beings to create a spiral of ascending
realizations for their community. The result was a culture that had exposure to deep understandings into
matters both spiritual and practical.

Illustration 75 Depiction Of Solar Transmission Through Form + Being
The use form, sunlight, and shadow form projectors from the mythic plane into our world. The Inka could
literally anchor everyday existence more firmly into the divine through transmitters such as Intiwatana stones
and other mytically shaped stones or strategically placed buildings. The numbers of these spiritual stone
engines escaping destruction by the Spanish remains into the hundreds. The remnants could easily be in the
thousands with more thorough investigation. How many existed during the reign of the Inka is something we
will never know.
Hopefully the reader will be impressed by the intentional design of the Inka awareness to discover and construct
these relationships of light, form, and shadow. This should also indicate the level of awareness you need to
understand what Machu Picchu and the Inka’s culture were all about. If you go to Machu Picchu, the Sacred
Valley, or even Cusco, with just a tourist mindset you will miss most of what your experience could be.
While at Machu Picchu, or any other sacred site, it would greatly benefit you to be at the site as the sun is
rising. There are specific places at Machu Picchu such as the Intiwatana, the IntiMachay, and the Intipunku
(notice the word Inti here), which are powerful theatres of the divine solar experience. Spend the time to find
out when sunrise is and make the effort to be there on time for the experience. You will be connecting with the
same divine knowledge that the Inka encountered.
Having experienced for myself sunrises at the Intiwatana and other sacred sites in Peru and around the world I
feel the need to clarify a few points. The world you perceive and live in is a reflection of your state of
consciousness. If you are focused on beauty and love that is what you will draw into your experience. Being
aware of what is happening around you opens many level of perception that you could otherwise miss. It is
through these deeper levels of awareness that you can perceive and recognize omens and increase the number
of synchronicities you experience. Standing at Machu Picchu and seeing the sunrise over the mountain ridge is
a profound experience. At the very least it is a wonderful vision. At deeper levels it is healing and therapeutic.
At still deeper levels the experience is initiatory. Watching a sunrise at Machu Picchu you witness the sacred
source of your physical energy rising before you. The sun, Inti, is also rising within your entire being. You are

experiencing a physical, mental, and spiritual awakening. Such as experience tends to reveal itself slowly over
time. You often do not realize the depth of this type of experience until many weeks afterwards.
It is clear that the Inka were ‘right there’ in understanding the effects and benefits of these experiences. Their
structural solar engineering attests to that awareness. The Inka’s ability to engineer these experiences points
also to a more active and more shamanic aspect of being than most archeologists are ready to accept.
One of the indicators of the spiritual path is the ability to be very aware of your environment. You will notice
more details of your world and tend to pick up on sounds, smells, and motion to a fuller extent. Your awareness
is becoming developed, more focused, more refined. Ultimately your sensitivity can extend into awareness of
things beyond the physical into the levels of intuition and the paranormal.
Another indicator of the spiritual path is being able to harmonize the environment and even gently guide your
sacred and ceremonial experience. There are many methods to support the consciousness into experienceing
the sacred. These include drumming, chanting, meditation, physical deprivation of food or sleep, the addition of
etheogens, and in this case spiritual engineering in stone. From looking at Machu Picchu we can see that the
Inka had explicit and detailed knowledge of both the natural solar cycles and structural stone engineering.
Whether this knowledge came with them from Tiwanaku or somewhere along their pilgrimage we cannot be
certain. But we know they have sculpted stone to create these experiences in concert with the natural cycles.
From the energetic evidence at Machu Picchu we now see the Inka as intentional engineers of the sacred.
Machu Picchu provides us living a physical body full duplex, bi-directional, communication between the spiritual,
mental, and physical worlds. It takes someone who has been initiated into these experiences to be able to
engineer them. The builders of Machu Picchu are virtuoso engineers of the sacred aspects of light, form, and
shadow. They were able to read the cycles and understand the impacts that energy have on all aspects of their
lives. At Machu Picchu we have a complete and supportive environment for experiencing the sacred. Machu
Picchu surrounds you with the beauty, harmony, and design that actively constitutes an enveloping sacred
environment. Machu Picchu contains the spiritual engineering to facilitate your contact with the sacred spirit
directly.
Machu Picchu is an example of how to engineer your surroundings to experience the sacred. How does our
engineering affect us? Living in mechanical cities, often far above Pachamama, living far from where we grow
our food, how many chances do we get to be caressed by the harmonies of life? What kind of human being was
produced from living in our environments? What do the shadows of cold steel rectangles project upon our
citizenry?
But the failures in the civil engineering of the West are already historical artifices. The spiritual age has
changed. What you see today in the megalopolis will quickly fade in the time frames of the earth. Let the true
sacred engineering now spread across the earth. Let the children of tomorrow learn in the schools of the
sacred. Machu Picchu is such a prototype of sacred living. Machu Picchu is as much a time capsule from the
future as from the past.

Sound
When you go to Machu Picchu you will hear a lot of sounds. Try to stay overnight at Machu Picchu so you can
be there after the crowds have left when you can really hear. Machu Picchu is a tightly designed complex so a
little sound carries a long way. Between 11:00 AM and 2:30 PM when the tourist trains arrive and depart you
will hear a constant low-level drone of peoples voices. Then there is the occasional person clapping trying out
the echo across the plaza. You may even hear a flute concert depending on who is brave enough to play.
Another common sound during busy time at Machu Picchu are the whistles of the guards who will let you know
if you are somewhere you should not be. In general please keep sounds to a minimum while at the site.
There are two really impressive uses of sound at Machu Picchu. One is in a room between the Sacred Plaza
and the Intiwatana. The other is at the Temple Of The Moon on the far side of Wayna Picchu. If you want to
study sound and are not athletic enough to make it to the Temple Of The Moon then the sound room at Machu
Picchu should be your focus. If you decide to take the trail from the summit of Wayna Picchu to the Temple Of
The Moon you should have on solid hiking boots, food, water, and do not go alone. The trail down from the
summit to the Temple Of The Moon is much more challenging than what you encounter on the path from Machu
Picchu to Wayna Picchu.
Illustration 76 North Wall Of The Sound Room Between The Intiwatana And The Sacred Plaza.
To work the sonic technology in the sound room to the west behind the Sacred Plaza it is better if you have a
partner. There are two walls on either end of this room that each have two sets of blocked windows. One of
you place your head inside one of the windows. Another person should place their head in the window exactly
opposite at the other end of the room. Now take turns chanting or toning. If you can make your voice into a
low drone like a didgeridoo then the sound is even better. The vibrational experience is amazing. Somehow the
builders have found a way for the sound to pass through the entire structure to the opposite side. It is possible
that the stone bench that runs the length of the room has an open channel that is connected through to the
windows. This room is worth at least five to ten solid minutes of exploration in sound. Then when you are not
chanting or toning just sit in silence and see what you encounter.

Illustration 77 Very Interesting Shapes, Almost Like Hand Holds, Adorn Many Of These Rocks
The other major sound center at Machu Picchu is within the Temple of the Moon. At that site there are a
number of similar trapezoidal shaped windows. One of them in particular has amazing resonance. The key to
getting a solid vibrating sound out of it is to get on your knees and put your head as far into the window as you
can. Try to tone the lower notes in your voice range. If you can make a droning noise while slowly varying the
shape of your mouth and the note you will likely come into a rich deep harmonic with the stones. It is an
amazing experience as the sound seems to acquire a richness beyond the physical space around you.

Illustration 78 Open Entrance Of The Temple Of The Moon

Unveiling Machu Picchu © Copyright 2006 Inayat TalIllustration 79 Vision Of 115
The Octave
Transducers Given
repeats in the next octave as the frequency doubles. Middle C is at 263 Hz. The next higher C note is at 526
Hz. This may be used individually or in combination to produce energetic effects. Robert Monroe discovered
that the separation between two tones causes the brain to produce a tone that equals the difference. A tone
generated at 263 Hz in the left ear and a tone generated at 270 Hz in the right ear will produce a tone of 7 Hz in
the brain.
Western science will soon discover that human voices, and all sounds made by us, are charged with the qualities
of our energy fields. Most people know this intuitively by listening to the great composers like Mozart or
Beethoven. Part of the spirit of the composer comes through in their music. In truth part of our essence comes
through in everything we do.
The architectural designs of the Inka made it possible to produce sounds that resonate with the structures they
left behind. This resonance helps to blur the boundaries between the energy fields of the stones and the human
body. If you tone or chant at a stone structure you are activating the energy field of that structure. The
activation of that structure will cause the energetic information that has been placed within that structure to
become available to you.
Imagine an Inka priestess who tones into a structure hundreds of years ago and uses her intention to hold a
vision of a certain piece of information. If the chant or tones the priestess is using are in harmony with the
stone then the stones quantum structure will record both the sound and the psychic information the priestess is
intending to transmit. The priestess has just created something like a stone CD of information. This information
can be read later by someone else using the same techniques. A combination of tone and intention along with a
free and open mind and a slight bit of imagination will create the conditions to read this information. I mention
the use of imagination as part of this technique because you need something that can lift the mind past the
limits of its mundane conditioning. Without opening to the possibility of some high information coming through
your mind will filter out the message.
It is likely that all of the great cultures that have built in stone realized the full utility of the medium. Using
stone you can build impressive structures that can last a long time. You can shape stone into interesting shapes.
Together the stones form lasting aesthetic forms. The stones can be shaped using sacred geometry energetics
to further enhance the structure. And you can program vast libraries of information into them. Each individual
stone can contain the equivalent of books worth of information. After all an image is worth thousands of words.

The Temple Of The Moon
On the far side of Wayna Picchu is a set of two very interesting structures. The trail from the summit of Wayna
Picchu down to this area is very challenging even the for the avid hiker. But if you pay attention there are many
sights on the way to reward your effort. One of these sights is a large rock in the middle of the path. It is an
example of Inka sculpture forming an unmistakable profile of a person with their eyes closed in meditation.
Illustration 82: Face On The Path To The Temple Of The Moon. Figure is facing to the right
in profile with eyes closed.
The two sites on the far side of Machu Picchu illicit some very important questions. Why would these two
significant sites not be at Machu Picchu? Why would these two sites be on the opposite side of Wayna Picchu
from Machu Picchu?
Archeologists have proposed that the positioning of these structures has to do with alignments to the
surrounding mountains. That makes sense as the main Machu Picchu location also follows important
alignments. But being aware of energy gives you some additional information on the placement of these sites.
With all of the energetics involved at Machu Picchu if you wanted to tune into another set of energies it might
be difficult to do so at Machu Picchu directly. You need some energetic insulation to form a buffer. Being on
the opposite side of Wayna Picchu uses the mountain itself as the buffer. Similar concepts are used when
scientists measuring the flow of cosmic particles place their instruments deep underground. This principle of
isolated unwanted signals or information is also used when astronomer picks a site higher in the atmosphere
and away from urban lighting to get the best views with less air turbulance and electromagnetic noise.
Energetically the Temple Of the Moon is on the other side of Wayna Picchu away from the main site of Machu
Picchu to measure very subtle energies. And it makes sense that some of the energies measured and
experienced here would be from the moon.

Illustration 83 Interior Of The Temple Of The Moon. Note The Rectangular Working Of the Large Stone On The
Lower Left.
There is a lot that you can experience on the far western side of Wayna Picchu. Take time to meander around
the sites here and to sit and look intently. You can assume that you are an explorer and that there are
messages here left for you. This type of attitude of expectancy will increase the probability that you will find
something meaningful to you. On the practical side make your hike early so you will have adequate time. Make
sure you have seen everything you are guided to before you head back.

The Chakana
The Chakana, or Andean Cross, is one of the most mystical symbols in existence. A simple explanation about
this form is that each side of the Chakana shows the three levels or worlds in the Andean cosmology. These
levels consist of the lower world, middle world, and upper world. These three levels are a very helpful way to
view reality across many mystical and shamanic cultures.
Illustration 84 The Chakana Or Andean Cross.
Three steps or three levels often appear in Inka architecture to infer the three worlds. The power animals of
snake, puma, and condor signify these worlds. They can be viewed as levels of consciousness. If you go
shopping in Cusco, Augas Calientes, or other major tourist areas in Peru you can find Chakana pendants, which
use more stylized designs. It is important to realize that the Chakana is not just a stylized piece of jewerly. The
Chakana is a mystical symbol and sacred technology. You could spend an entire lifetime studying this form and
not exhaust its meaning.

Illustration 85 Stylized Chakana Commonly Seen In Jewelry
The three steps seen in chakanas are used so frequently in Inka structure and decoration indicating clearly the
Inka communicating something of great importance. With some careful study we can glean some interesting
answers. We already are aware of the three levels that appear on all four sides of the Chakana. The four sides
also represent the four corners of the world. This is another theme very common in mystical and shamanic
cosmologies. To the North American natives the medicine wheel is a similar and also a powerful iconic locus for
finding the sacred center.
Illustration 86 A Medicine Wheel
The Chakana in many respects is a key to understanding the universe. The root Quecha word Chaka means
bridge. The Chanaka is a metaphysical bridge to many worlds and other dimensions. The Chakana can help us
relate to this world in terms of both orientation and composition. In the classical mystical traditions the
elements that make up the universe are earth, water, fire, air, and ether. In the Western Spiritual tradition
these elements are expressed in the form of the Pentagram.

Illustration 87 Pentagram With Elemental Associations
Not surprisingly the Chakana also represents these elements. From the writings of Sufi mystic Inayat Khan
comes these insights that can be directly applied to the Chakana.
• The horizontal direction shows the earth element

• The downward direction shows the water element
• The upward direction shows the fire element
• The zigzag direction shows the air element
• The form taken by ether is indistinct and misty

We can see that the Chakana embodies the mystical knowledge of how the universe is constructed. We know
that structures interact with energy. Wearing a Chakana will bring beneficial affects including the nourishment
and balancing of your energetic bodies.
If we turn a portion of the Chakana sideways we see something resembling the mountains, the Apu spirits.
Illustration 88 Part Of The Chakana Outline Turned Sideways
The zigzag section corresponds to the air element. The Apu spirits are very active in their function. Apus are
often equated with the Angels. In a certain type of ceremony when an Andean Priest invites the presence of the
Apus the sound of rushing wind similar or large wings flapping can be heard at their arrival and departure.
Besides the outer shape of the Chakana there is another very significant feature to look at. This feature is the
center of the Chakana, the circle. The Egyptian founder of BioGeometery TM, Dr. Ibrahim Karim, has a saying he
often uses to speak about the energy of an open center of a form. “The center is a transcendental gateway
beyond space and time.” In addition to the Chakana this makes me immediately think of the Gateway of the
Sun at Tiwanaku in Bolivia. Tiwanaku is the mythical point of origin of the Inka. Did the Inka physically
manifest on the earth through this portal? Or was there some ceremony conducted here which imparts higher
dimensional knowledge or anointing to them while standing within this portal? In my personal meditations on
the origins of the Inka the energies of Tiwanaku are always present.

Illustration 89 Gateway Of The Sun At Tiwanaku
There is another mystical portal near Tiwanaku on the shores of Lake Titicaca called the Muru Doorway. It is
reputed to be a trans-dimensional doorway through which one of the great Inka priests of the sun stepped
through and left this world around the time of the Spanish conquest of the Inka. The Muru Doorway also bears
mysterious encodings that await translation.

Illustration 90 The Muru Doorway In Peru Near Lake Titicaca.
Returning to the Chakana we see that there is a circle in the center of the figure. The form of the Chakana,
with its arms pointing to the four directions of creation along with the circle in the center implies numerous
functions. My first hint about the functions of the Chakana came in 2005. I was in Peru on a spiritual tour of
fellow energy healers and light workers. The leader of that tour was Mary Jo Bulbrook. Mary Jo picked up a
Chakana pendant and held it up to her eye and said “You can use this as a portal and look through it to see
other worlds.” I was not sure what to make of her statement back then. But since having learned more about
Egyptian and Inka use of sacred geometries I can say she was correct.
The Chakana is another wonderful Andean example of a spiritual energy receiver. The shape of the Chakana
allows it to function as an antenna for spiritual energies associated with higher states of consciousness. These
spiritual energies can be measured by using a Virtual Cone Pendulum. There are other aspects to the Chakana
here that I leave for the interested reader to discover on their own. My advice to the spiritual seeker is to wear
a Chakana and be open to new perspectives.
There is another approach to examining the Chakana and that is to view the visible Chakana as a lower-
dimensional cross section of a higher-dimensional figure. The Inka and Egyptians are expert at inferring a
complete figure by showing just a portion of it. One example is the three level stone in front of the Temple of
the Three Windows. At sunrise this three level stone when combined with its shadow produces a more or less
full shaped Chakana.

Illustration 91 Stone In Front Of The Temple Of The Three Windows Awhile After Sunrise Forming A Partial
Chakana.
The Chakana provides prime material for comparisons waiting to be made between the Inka and other spiritually
advanced cultures. And the Chakana is only one example of Inka symbolism that can be used. There is also a
direct association between the Chakana and Egypt.
Illustration 92 Winged Isis Kneeling with a 3-stepped headdress.
Isis is one of the central figures in Egyptian mysticism. The history of Isis is complex and many layered. For
our purposes we are concerned with Isis’ headgear. Isis normally either wears an orb with wave-like ‘horns’ on
her head or a three-stepped figured. This three stepped figure fits in directly to the Inka art and architecture
that depicts the three worlds. It is this depiction of the three worlds that forms the integral outline of the
Chakana.
One of the hallmarks of Egyptian magical art is partial symbolism. The Egyptians would use a simplified form to
represent a more complex form. The sun simplified becomes a circle. The horizon becomes a line. This
symbolic reductionism is also embodied in the earlier hieroglyphics. Many Egyptian structures and other art
forms are still hiding knowledge within this paradigm of reductionism. For our study the association between
the edges of the Chakana and the stepped form that Isis wears upon her head, is worthy of consideration. If
you take the form of Isis’ head and duplicate it three times and rotate those forms you create a Chakana.

You can also use the Chakana as a type of Yantra. In Hinduism it is understood that sacred energies can be
represented. One of the most complex, sacred, and powerful designs, or Yantras, is the great Sri Yantra.
Yantras are used in meditation as tools for self-exploration and for self-transformation. The Chakana and its
derivatives may also be used as Yantras.
Illustration 93 Sri Yantra
Returning to this principle of representing a complex or complete form using a simplified or incomplete shape I
considered whether the Chanaka is in itself a simplifed represetation of a more complete form. As an
experiment I drew a Chakana using software and experimented with various ways of configuring multiple
chakanas together. Here are some of the more interesting designs.

Illustration 94 Four Chakanas Overlaid To Form Multiple Vesica Pisces In The Center.
Illustration 95 - A Spiritual Chakana Machine?
Ultimately the Chakana is a symbol of the Hutan Runa or perfected (puma) human. If you can align all of the
aspects of your life according to your truth, your purpose, your spiritual signature, then you will reach out to the
ends of the cosmos. And the love, light, and wisdom of the cosmos will flood into you. This is because you can
reach the state where you have become the sacred center of the Chakana.

The Symbolism Of Tumi
The word Tumi originates with the pre-Inka Andean culture called the Moche. In Inka times Tumi came to
represent the patron diety of healing. Archeologists say that Tumi is merely a sacrificial or ceremonial knife.
But you should be wondering that if Tumi is related to healing and the Andeans understood energy so well how
is Tumi relegated to sacrifice, ceremony, or physical surgery. With all the symbolism and references to energy
that are richly abundant in Andean cosmology Tumi should represent something deeper. Is there something
about Tumi or the design of this artifact that are conveying some deeper meaning? Could Tumi be another form
of ancient mystical technology that we just don’t know how to interpret?
Illustration 96 Tumi
It is very difficult for us in the Western/Northern cultures to realize how deeply ingrained our baises towards
other cultures are. Our sciences provide for us a very detailed set of colored glass through the scientific method
which makes little accomodation for the sacred. But if we can examine Tumi from the science of form and
energetics then we might see something more.
Examining the most basic of shapes that Tumi embodies we find two hemispheres connected by a central
rectangular conduit. One hemisphere in Tumi’s form is the area of the head and crown. The other hemisphere
in Tumi’s form is at the bottom of the form that is commonly thought to be the ceremonial blade itself. Each
hemisphere is pointing to the center. If we were able to connect both hemispheres together they would form a
complete circle. So energetically the form of Tumi is presenting us a diagram for two areas entering into
communication or resonance. Think of the simple type of telephone that can be constructed of two food cans
with a string tied in between. Each hemisphere on each side of Tumi represents a place or condition that is in
relationship with the other place or condition. In a sense the torso of Tumi becomes the Axis Mundi, or world
tree, which joines the plane of the earth with the plane of the heavens.
The concepts of relationship and resonance are deeply engrained in Andean culture. Not only in sacred temple
design does resonance play a great deal. But also in the fundamental base of Andean society resides a
fundamental concept of relating called Ayni.

Illustration 97 Tumi With Forms Highlighted
On the surface Ayni can be thought of as reciprocity. You help me with my work and I help you with yours.
Ayni appears to be the epotimy of helping your neighboor, giving them your coat, or just helping them in any
way you can. But Ayni is more than just a social expression of family and neighbors helping each other. Anyi is
a fundamental mystical property that gives us insight into the sacred mechanics behind Andean mysticism.
Ayni is the Andean representation of a very deep mystical principle. It is by establishing an orientation of being
in relationship with something that allows us to enter deeply into communication with the object of our focus.
Ayni is the Andean form of the sacred science of harmonic attunement. Just as when striking a bell causes
other nearby bells to begin to enter into resonance so to attuning our inner being to some object of
concentration casuses us to begin to resonate with the qualities of that thing. Ayni harmonics cause the central
channel of communciation to become established between two or more hemispheres of being. We can use this
newly formed harmonic portal to interact with another being, place, or time. Ayni allows us to enter into deep
relationships that inform us. Ayni is the basic technology allowing us to enter into deep relationship, resonance,
and understanding with the universe. It is by using Ayni harmonics that Andean shamen, the paqos, are able to
communicate with the mountain spirits, the Apus.
Illustration 98 The Energetic Form For Relationship & Resonance
The establishment of resonance through relationship opens an energetic conduit that empowers the exchange of
energy and information between both sides of the portal. Theese energetics can be applied to the macrocosm
to attach you more deeply to the Milky Way. The same energetics can be invoked to connect you to inner
aspects of yourself for insight and healing.

Healing Through Resonance
The human body is designed as an energy system. Health means that energy is flowing properly in the body.
Any blockage of energy typically manifests as imbalance, disease, or physical blockage. When the energy is
flowing freely this is called radiant health. If we experience some emotional trauma that is unresolved the
energy around this trauma can be stored in the body as a denser form of energy. It is as if traumas are
‘banked’ in the body until we can reprocess the energy around the event and release the original energy back
into the energy flow.
Unfortunately for most people a large portion of available life energy is locked up as dense or heavy energy
from traumas. Whenever we feel that we have been hurt and do not appropriately express our feelings then we
risk stuffing an energetic deposit into our physical and energetic system. Andean paqos realize there is no bad
energy, just heavy, or densified, energy. The object of Andean mysticism is to support the release and
transformation of heavy forms of energy to lighter forms. Our bodies are not meant to carry around any type of
extra weight physical or energetic.
When we do not give wings to the expression of our trauma then the energy around the hurt condenses within
us. This stored energy is passively supporting the resonance from those emotions relating to hurt, anger, guilt,
disappointment and fear. When you put food in a refrigerator it requires energy to maintain it in the cold state.
It is no different for storing trauma in the human energy systems. Stored energetic trauma takes a portion of
your life energy to maintain itself within you. Any energy that you use to store energetic trauma takes away, or
constricts, the energy flow through you that should be manifesting as radiant health, relationships, and the full
spectrum of blessings we are meant to experience. If not released densified energy can manifest as mental,
spiritual, or physical disease.
Illustration 99 Constricted Energy Flow Hampering Harmony
We can look to the sacred harmonics of Tumi to understand how to unlock dense energies. What is takes to
untangle densified energy is space. Densified energy is like a ball of string that has been tightly wound. If you
have ever cut into a golf ball and seen the layers of rubber bands tightly packed together you have a very good
visual metaphor for dense energy. It may seem impossible to unravel energy that has been packed this way.
The method to apply is not by using force but by allowing the energy to unravel like a flower in bloom. The
dense energy does not want to stay in the dense form. All energy wants to flow. So the method of healing is to
use the light of your conscious awareness as one hemisphere in the Tumi transaction. The dense energy your
are looking at for healing is the other hemisphere. By placing your awareness within your body or back to a
certain event and just watching you are establishing a resonance and relationship to the dense energy. This is
like opening the doors to a cage. The energy will respond to every moment of awareness. Just watch without
judgement. Eventually more details or understanding around the original trauma may emerge. The energy ball
of twine begins to unravel and untie itself. This process may lead you to experience emotional release through
tears or reliving portions of the trauma in a safe way. After spending some time in such a process you may feel
lighter or have a sense of more peace or healing. These are all signs that an energetic shift has indeed occurred
within you.

By using the power of our awareness and establishing a relationship with aspects of our hurts and other
challenges we are enabling transformation and healing to occur. We may notice becoming less angy and more
open to joy. For some people disappointment in self and others is replaced by a growing sense of trust. People
who their entire lives have struggled with self-confidence may feel empowered to make courageous changes in
their lives.
Many opportunities for healing are greatly facilitated by using the leverage of forgiveness. The act of
forgiveness is one of the single most important tools in neutralizing blocks to energy release. Forgiveness
immediately reduces or cancels much of the energetic charge around hurt and pain. As you are going through
your healing process you may have many realizations about forgiveness. There may be other people who need
you to forgive them for things you have done. There are probably also people who you need to ask for
forgiveness. And as most people tend to be very self-critical everyone has plenty of opportunities to forgive
themselves.
Tumi, as the god of healing, shows us that the power of relationships, is a fundamental power that enables
healing to occur. By shining the light of our awareness upon some aspect of ourselves we establish a harmonic
resonance that allows energy and information to flow in both directions. In a wider metaphysical sense Tumi is
a symbol for the foundations of Andean sacred tradition. You can shine the light of your awareness on a flower,
a mountain, or a saint, and enter into sacred relationship in that moment. The Andean mystics are those who
stand within an animated world that responds every moment to the light of conscious communication.

Personal Symbols
As you journey to Machu Picchu you will encounter a variety of experiences. During my first trip in 2005 there
were a number of symbols that appeared in my mind. Make sure you take a small notebook to record any
impressions or symbols that you see. These symbols may not mean anything to you consciously at first. But
over time use them as personal mandalas. Take time to encorporate them into your own art whether that is in
doodling, painting, or computer graphics. These personal symbols, like crop circles, are messages from the
earth and the higer realms sent to help awaken you.
Here are two symbols that came to me during my first trip to Peru and Machu Picchu in 2005.
Illustration 100 Symbol From 2005 Machu Picchu Trip.
Illustration 101 Symbol From 2005 Machu Picchu Trip.

Machu Picchu Global Transformation
Illustration 102: The Eyes Of The Great Being Manifesting For Us At Machu Picchu.
Well into the twenty-first century Machu Picchu stands as a mystical enigma to the entire world. Reappearing in
1911, about 100 years before the great cycle of the Mayan Calendar in 2012, Machu Picchu has activated our
imaginations. Thousands of people who saw the photos of this exotic place have fulfilled a life dream by
traveling here. But Machu Picchu is not a casual tourist destination. Like everything else in life, you will get out
of Machu Picchu what you put into the experience. If you go with little preparation don’t expect to receive as
much as if treating your trip like a spiritual pilgrimage.
Machu Picchu is playing an active role to bring forth the next age of light. Machu Picchu is an energetic
transmitter and spiritual engine for broadcasting positive energies to the entire planet.
Historically spiritual realization manifested primarily in unique individuals who were given specific revelations for
a certain place, time, and spiritual condition of the people. Great spiritual figures of our past are proof that the
inclinations and movements of higher consciousness have been manifesting throughout history. Our names for
the higher realms of human consciousness that have manifested on the earth include the Buddhic, Krishna,
Mohammaden, or Christ conscousness. The true nature of what it means to be Inka is in this same sacred
stream of realization. The Inka rulers and perhaps many of their followers also embodied this consciousness.
Inka consciousness is divine consciousness.
Today we stand on the verge of something really amazing. Something wonderful that is spoken of with
anticipation in many of the holy writings is manifesting. A large group, perhaps a majority of people, will enter
into this ascended Inka-Divine consciousness very soon. Machu Picchu is a city of light. Machu Picchu is a city
of the Inka. Machu Picchu is a city of divine consciousness.
So what do we do with Machu Picchu? Machu Picchu is a metaphysical university. It is a place of initiation and

co-activation. As Peru and UNESCO endeavor to strike a balance between preservation and revenues let us
make the most of this site. When you visit please treat the site with respect. Set your intention to support
Machu Picchu in mediations and other spiritual endeavors. Consider is there something more we can do? For
most people the visit to Machu Picchu may only occur once in their lifetime. How can we best leverage the
abilities that Machu Picchu has to offer?
Start by taking the perspective that everything is part of the Great Being. Machu Picchu, like any place, has it’s
own personality. If you are planning a trip to Machu Picchu first ask permission of your own spiritual guidance
and of Machu Picchu for your safe passage. Begin preparing yourself by making sure you have done what you
can to understand the site and to be in good physical conditioning to make the trip. These steps provide you
with a good foundation so that when you return you have a clear connection to Machu Picchu. That relationship
becomes something lasting you can work with.
Once in Peru begin interacting with the land by looking at the mountains and connecting to them. Say hello and
ask for safe passage and for wisdom. On the train ride down from Cusco to Aguas Calientes connect with the
land. Notice as much as you can about the colors, the shapes, the light, and the sky. On the bus ride up to
Machu Picchu ask permission to enter this sacred city. Once inside the city gates state your intention for being
there and begin orienting yourself. Understand which way is north, south, east, and west. Recall from your
study the names of the mountains immediately surrounding the site and greet each one. If possible make this
part of a short meditation or even a brief ceremony. You could pour some water on the ground in thanks or just
raise your hands to the sky and then bring them to your heart. This signifies your embracing the land and sky
and site of Machu Picchu. And then become quiet and very aware. Try to talk as little as possible for at least
30-60 minutes of your visit.
Before leaving Machu Picchu state your intention again for being there and state your intention for what you
want to carry back home with you in spirit. While standing there at the site you can say “I use this moment to
create a firm connection to this place. When I return I will be able to connect to Machu Picchu in full way by
remembering myself standing in this place.” That is all you need to do to leave an anchoring point that you can
later access anytime you want.
Once you return home give thanks to Machu Picchu, your spiritual guidance, and the spiritual beings where you
live for the blessings. It is helpful to both journal and sketch some of your experiences while in Peru and right
after you get home. This will help you establish a dynamic where you are both in the energies of your normal
life and anchored to Machu Picchu.
For those who consider themselves light workers, or think they might be so spiritually inclined, there is much
more to help the planet and your brothers and sisters that you can do. You could connect to Machu Picchu on a
regular basis. Doing so creates more than just nice memories. Let me explain.
In the past few years most of us have seen the development of the Internet. From our early days of using a
web browser perhaps on a dial-up line, we now have all kinds of access from high speed and wireless to DSL
and many flavors in between. The youngest of us have grown up as the Internet has. All of this technical
interconnectivity is just a shadow of the spiritual inter-connectivity that has been going on. Since sometime in
the late 1980’s or 1990’s the earth has been creating spiritual connections at a growing rate of acceleration.
The inner spiritual activity is being echoed in the outer technical activity of our culture. So what is the earth
doing?
According to the descendants of the Inka the years 1992-2012 mark the end of the pachacuti 500-year period of
darkness that corresponded to events around the year 1492 CE. There are multiple long cycles at work here.
The current cycle is one of restoration and light whereas the previous cycle was about destruction and darkness.
If you can think about the role of the Llama in Inka culture there are many lessons for us. While in Peru keep
an eye out for women sitting down spinning Llama or Alpaca wool on a hand spindle. In a similar way
Pachamama is weaving a new fabric of life. There are many threads in this fabric. You and I are some of those
threads.

Just like on the Internet there are certain places in the Pachamama network of life, which have very important
functions. Machu Picchu is one of those important places. Take time to connect to Machu Picchu and other
sites that are sacred to you. Once you set your attention to such a site you have opened an active connection
on the network. Insight and positive energies will flow to you. And if you want to you may send positive
energy back to the node. That positive energy will then spread out from sites like Machu Picchu to other people
and places all across the earth. This is the kind of network we need to build and operate today. This network is
grounded at Machu Picchu in places like the Intiwatana, Temple of the Condor, Temple of the Sun, and so many
other intimate sites.
Ultimately sacred sites like Machu Picchu serve as sacred nodes in Pachamama’s great heart linking project. You
have undoubtly read science fiction where a race of extraterrestrials communicates telepathically, but what
about a race where everyone is linked through their hearts? Pachamama’s great project today is in establishing
sacred linkages of light and love through all her children. Machu Picchu is a golden router in this sacred
network design.
May Pachamama be filled with joy and peace.

May all beings live in happiness.
May the spirit of the Inka now return to Earth.

Bibliography
Bingham, Hiram
1948 Lost City Of The Inkas
Calleman, Carl Johan

2004 The Mayan Calendar and the Transformation of Consciousness ISBN 151943028-3
Chamalu, Luis Espinoza

1998 The Gate Of Paradise: Secrets Of Andean Shamanism. ISBN 1-85860-043-X
Enel
The Mystery Of Life And Death – According to the Temple Teaching in Ancient Egypt
Khan, Hazrat Inayat

1991 The Mysticism Of Sound And Music ISBN 1-57062-231-0
1999 The Heart Of Sufism ISBN 157062402X
Kolata, Alan
1993 The Tiwanaku: Portrait of an Andean Civilization ISBN 1557861838
1996 Valley Of The Spirits ISBN 0471575070
La Torre, Oscar Espinar

Inka Myths
Liprini, Dean
2005 Pathways Of The Sun ISBN 1571781935
Men, Hunbatz
1991 Mayan Vision Quest. ISBN 0-06-250527-0
Merejildo , James Arevalo (Malku)

1997 Inka Initiation Path: The Awakening Of The Puma. ISBN 9972-9384-2-5
1999 Machu Picchu Forever ISBN 9972-9384-1-7
Polich, Judith Bluestone

2001 Return Of The Children Of Light. ISBN 187918169X
Reinhard, Johan
1999 Machu Picchu The Sacred Center
Salazar, Fernando Elorrieta and Edgar Elorrieta

1996 Cusco And The Sacred Valley Of The Inkas
Trollinger, Dan
2002 Voices Of The Dawn 0-9719402-0-7
Villena, Carlos Milla

1992 Genesis de la Cultura Andina
Villodo, Alberto
2000 Shaman, Healer, Sage: How to Heal Yourself and Others with the Energy Medicine of the Americas
ISBN 0609605445

Von Hagen, Adriana
1998 The Cities Of The Ancient Andes ISBN 0-500-05086-4
Westerman, James
1998 The Meaning Of Machu Picchu ISBN 0966561805
Wilcox, Joan Parisi

1999,2001,2004 Masters Of The Living Energy ISBN 159477012-3
Wilkinson, Richard H.
1994 Symbol & Magic In Egyptian Art ISBN 0-500-28070-3
Wright, Ruth M.
2004 The Machu Picchu Guidebook: A Self-Guided Tour ISBN 1555663273
Zereceda, Oscar Chara

1999 Machupicchu An Inka University

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Illustration 3: Machu Picchu

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Illustration 5: Lake Titicaca Legendary Origin Of the Inka People

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llustration 6: Weeping God From The Gateway To The Sun At Tiwakaku

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Illustration 7 Inka Quipu Knotted Record

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Illustration 9 Hypothetical Mapping Of Years CE To The Andean Pachacuti Cyle Of Time

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Illustration 10: Machu Picchu As Seen From Wayna Picchu Mountain

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Lake Titicaca Attunement

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Illustration 18: The Electromagnetic Spectrum (need new diagram)

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Illustration 21: Virtual Cone

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Illustration 22: Energy Key Showing Major Energy Flows Through

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Illustration 23: Illustration From The Original Works

Band French Name English Name Start Degrees End Degrees

Illustration 24 The 12 bands of energy

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Illustration 25 Energy Key With Twelve Energy Bands Applied

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Illustration 26 The Intiwatana

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Illustration 28: The Author Measuring Energy In A Doorway

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