Art as Architecture - The New Renaissance

In this episode, we discuss the frequency architecture behind art, expression, and the New Renaissance. We explore why some creations expand your soul while others subtly drain it, and how to discern the difference. You’ll learn how black hole loop art keeps us cycling in unprocessed emotion, while white hole transmission art opens the body, stabilizes truth, and anchors clarity into the field. I share a personal story of attending a private acoustic concert, the energetic contrast between trauma-based fame and true resonance, and how certain artists - like my favorite musician "Mike." - embody bridge-to-white-hole frequency in their work. We break down brainwave states (theta, alpha, beta), the role of the nervous system in creative channeling, and how to build a vessel that can hold the light you’re meant to transmit. This episode is a deep dive into Akashic syntax, legacy creation, and the vibrational infrastructure of the New Renaissance - where beauty isn’t just seen, it’s felt as a frequency of divine coherence.

[White Hole Embodiment Episode]

Episode Transcript

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Copyright: 2025 by Femme and Flow, LLC.

Episode Transcript

(00:00):
Hello, this is Kylee with Femme and Flow.
I hope everyone's having a great day.
I want to open today'sepisode with a question.
Have you ever consumed a piece ofart, music, a painting, a poem that
moved you so deeply that you feltyourself soften, remember, awaken?

(00:20):
And then have you ever consumed a pieceof art that looked beautiful or sounded
powerful, but left you feeling heavierafterward, subtly distorted, maybe even a
little numb or looping in past memories?
Today's episode is about the difference.
We are in a renaissance right now, butnot just a return to classical beauty.

(00:44):
Renaissance literally means "rebirth."The original Renaissance reignited
art, science, and philosophy.
But this one, it's a return to frequency- to truth encoded in the body, to
creativity born from clarity, not chaos.
This isn't about romanticizingpain, it's about transmuting it

(01:08):
into something liberating - a newkind of art, not just aesthetically
stunning, but spiritually sovereign.
So I wanna kick this episode off witha personal story, and this was part of
what ignited this idea for the episode.
I recently attended a private eventwhere the lead singer of a well-known

(01:30):
band performed a few acoustic songs.
It was a small, intimate gathering at afriend's house, and we had the chance to
chat before and after the performance.
I wasn't especially familiar withhis work, though I knew a couple of
his band's most favorite tracks, andthey were songs that had once topped

(01:50):
the charts and are pretty well known.
But what struck me wasn't the musicitself, it was the energy behind it.
It became clear through bothconversation with him and his
lyrics that his art was looping.
His frequency was not free.
He seemed weighed down by disownedpain, replaying stories that hadn't

(02:13):
been transmuted, only rehearsed.
He was still singing from the wound,still identifying with the version of
himself who was hurt, not the versionwho had alchemized the pain and risen.
This is what it looks like when someonegets initiated into the wrong architecture

(02:33):
- the false matrix version of success.
He got rewarded, validated for emotionalinstability, and because the system
applauded it, he never had to grow.
Fame doesn't equal embodiment,especially in the old grid.
The few hits I recognized wereundeniably catchy, but beneath the

(02:56):
surface, they carried distortion.
The lyrics were dark,hidden by a catchy melody.
The other songs he performed were evendarker, less polished, almost aimless.
And I found myself wondering howthis band ever became famous.
And then I remembered, hey, it's notabout skill, it's about resonance.

(03:19):
In the false matrix, the artistswho rise are often those willing
to carry a particular frequency,and usually unknowingly.
Those open to becoming vessels forunresolved trauma, repackaged as hooks.
Because if a mass audiencecan loop to it, it sells.

(03:41):
This is frequency manipulation, maskedas self-expression, and unless you've
stabilized in clarity, it's easy tomistake trauma recycling for authenticity.
But here's the difference.
In black hole frequency, expressionbecomes cathartic, chaotic, enclosed loop.

(04:02):
In white hole frequency, expression iscreative, connective, and clarifying.
Some art contracts thefield, some art expands it.
Some music is a trauma echo andsome music is a resonance key.
And it's not just about whatthey're singing, it's about

(04:22):
where they're singing from.
So let's break this down.
You could bucket art in the samethree paradigms I talk about often
- black hole, bridge, and white hole.
So let's talk about art whenit comes to black hole loops.
This is art made from unresolved trauma.

(04:44):
It feeds on emotion butdoesn't alchemize it.
It keeps both the creator and theaudience stuck, and it's often praised
as deep, but it doesn't transform.
Now, art in the bridge frequencyis art that meets people in the
density without glorifying it.

(05:05):
It carries resonance of hope,growth, or self-awareness.
It's often wrapped in familiaraesthetics, but opens a doorway.
And it feels accessible,but initiates movement.
And I talk about this later,but bridge art is sacred.
It's really important for where we're at.

(05:27):
And then art as white holetransmission - this is art born
from clarity and coherence.
It doesn't bypass the wound.
It transfigure it.
It resonates as truth in thebody, even when touching shadow.
And it reminds you of who you reallyare, not who they want you to be.

(05:49):
And we are entering the era of whitehole artists - the ones who create
from frequency, not from fame.
And this isn't just about music orpaintings, it's about the way you share
your voice, your story, your work.
It's about resonance because resonanceis what determines reality now.

(06:11):
So if you've ever felt the dissonance,if you've ever wondered why something
seemed powerful but left you drained,this is your reminder - power
is not the same as frequency.
And you're not crazy for being sensitive.
You're just finally attuned.
So after the private concert Iattended, I couldn't help myself

(06:33):
but to compare that experience withanother artist, my favorite artist
actually, and his name is Mike.
And it's just Mike, period.
He goes by just Mike now, but hewas formally known as Mike Stud.
I had listened to some Mike Studsongs in the past, but I would say

(06:56):
I truly discovered Mike right aroundthe time of my spiritual awakening.
And I genuinely feel like his musicbecame part of my own spiral up.
His songs, Days Go Bye, UpsideDown, and Rodman were the theme
songs of that season in my life.
The whole, The Highs album was on repeat,and honestly, it still is years later.

(07:22):
When I listen to Days Go Bye and UpsideDown now, I'm instantly transported
back to that version of me - confused,cracked open, not quite sure who I was
or why I was here, but starting to sensethat I was made for something more.
And that was my pivot point.

(07:43):
The break open before the rebuild.
And his music became a mirrorthat helped me stay soft and
open through that process.
And now when I hear those same songs, Idon't loop - I remember, I feel grateful
because I can see how far I've come.
And that's the difference betweentrauma echoes and resonance keys.

(08:07):
Mike's music has been a resonance key forme because when you listen to his lyrics
and really feel into the Akashic syntaxbehind them - his tone, his evolution,
his presence, you can tell he's doingexactly what his soul came here to do.
His story reflects that too.

(08:28):
He played baseball at Duke.
He was a pitcher, and then hesuffered a shoulder injury, and that
identity break led to a turning point.
He started making music for fun duringcollege, and it was raw, playful tracks
about partying and college life, andthey were authentic for that season.

(08:48):
That was his Mike Stud era.
And he gained popularity.
He was offered a record deal but declined.
He had his own spiritual awakening.
Eventually he got tired of LA,sold his house, and began creating
music more nomadically - travelingwith friends, tuning into different
landscapes, receiving inspirationdirectly from place and presence.

(09:13):
And he channels his songs, literally.
He talks about how he starts with abeat and lets whatever wants to come
through emerge, and it often starts asmumbles phrases and eventually lyrics.
It's unfiltered, aligned, and alive- and that's white hole creativity.

(09:34):
When I look at his catalog throughthe lens of black hole, bridge, and
white hole art, I'd say many of hissongs land in the bridge-to-white hole
territory - songs that meet you whereyou are, but nudge you to spiral up.
I've talked before about how some peopleare here as white hole stabilizers

(09:55):
and others as bridge workers.
And Mike, in my opinion, is theperfect example of a bridge worker.
He meets people in the density withoutglamorizing it, and his hip hop beats pull
you in, but his lyrics carry somethingdeeper - truth, clarity, remembrance.

(10:16):
He doesn't bypass the shadows,he spirals through them.
And you can feel that evolution inhis music - from earlier glimpses
of authenticity and doubt, to thefrequencies of freedom, devotion,
and coherence he channels now.
Mike's art is a portal becausehe lives it, his life mirrors the

(10:37):
spiral he sings into the world.
And that's why his music doesn'tjust sound good, it transmits.
When I talk about transmission,I'm talking about frequency
that carries truth.
A white hole transmission isn't aboutperformance, it's about presence.
It's about what thecreation is encoded with.

(11:00):
And like I mentioned already,Mike has said that when he
makes music, he's channeling.
He'll start with a beat and let whatwants to come through emerge - sometimes
starting with mumbles or sounds, lettingthe flow build until the lyrics clarify.
He doesn't force it, he follows it.

(11:20):
And that's transmission.
He's not creating from his logical mind.
He's letting somethingdeeper move through him.
And because he's coherent and becausehis field is clear, what comes
through carries that clarity too.
This is what makes the music feel alive.

(11:40):
It's not just catchy, it remembers you.
It bypasses the mind and speaksdirectly to the body field.
It activates.
It aligns.
It opens.
And this is where akashic syntax comes in.
Akashic syntax is the energeticarchitecture underneath the literal words.

(12:01):
It's the pauses, the tones, therhythm, the resonance, and the layers
of meaning that transcend logic.
It's how a lyric can say one thingon the surface, but unlocks something
entirely different in your soul.
It's the soul-level structureembedded in the delivery - what's
being said and how it's being said.

(12:24):
And when someone is channelingfrom a clear place, that syntax
becomes coded with coherence.
You can feel it land in yoursystem like a tuning fork.
Even when the lyrics seemssimple or the vibe feels casual,
something deeper is happening.
You are being repatterned, remembered,and that's the heart of transmission.

(12:47):
It doesn't push you, it pulls you home.
And sometimes I'll post Akashic syntaxbreakdowns of my favorite songs on
social media and surprise, surprise,but one of the songs I have on repeat
right now is called Reasons Why by Mike.
I recently posted a breakdownof the song if you want to see

(13:09):
an example of akashic syntax.
And then before I move on, I alsohave a fun story related to Mike.
My husband and I went to the Mikeconcert in Chicago last summer and we
had tickets up in the balcony VIP area.
I was so excited and we had attemptedto see Mike before - he was opening

(13:32):
the show at the Waste Management golftournament in Phoenix, and we had
tickets and we had planned to go.
My husband surprised me and said we shouldgo, but then we ended up being delayed
and we actually hit so much turbulenceon the flight there that I actually
got sick for the first time on a plane.
But my husband really wantedme to see it, so he dropped me

(13:56):
off while he went and parked.
And I rushed in and I got there rightas he was performing the last song.
So that was a little bit of a bummer,but I was so excited to go see his
actual tour and his full show in Chicago.
But anyways, so back tothe good part of the story.

(14:17):
Like I said, we saw Mike in Chicagoand in part of his shows, he pauses
and goes to the crowd and singssome songs from in the crowd.
So he started walking around andI did not think anything about it.
And then all of the suddenI looked behind me and his

(14:37):
bodyguards were right behind me.
So literally where my husband andI are standing, we part, and Mike
moves right where we were sitting andstanding to sing the song Blue Water.
So I was right by him andthat was just a really cool
moment and a really fun memory.

(14:57):
And honestly, I felt like it wasjust one of those signs or one
of those little winks from God.
So it's a special memory for me for sure.
Okay.
I have more to add here.
So I actually already totally recordedthis episode, but I wanna come back

(15:18):
in and add more to this whole storybecause I had a great weekend and it's
amazing how divine some of this allplays out, but it completely relates
to this episode and these downloads andinformation I've been getting recently.

(15:39):
But it's now Monday and I'mediting this episode to post
tomorrow on my usual Tuesday drop.
So last week my husband and I weretalking and we were thinking about
going on a trip this weekend.
And we were talking about goingto Colorado or maybe Florida,
and we were just throwingout a lot of different ideas.

(16:00):
And we are a golf family, so wehad been on some golf trips in
Michigan to Arcadia Bluffs and BayHarbor, and they were really, really
special and Michigan's really great.
I had never been before then.
So I threw out the idea, oh,we could go to Michigan and go
golfing or something like that.

(16:23):
We actually had a terrific trip where wewent to Bay Harbor, Michigan - golfed for
one or two days, and then we decided weneeded a little more, um, upbeat vibe.
So then we went to Chicago, which was sofun, and I love doing trips like that.
And my husband just took itupon himself and said, okay, I'm

(16:46):
going to look into some differentideas and I'll plan something.
So after that, I just chilledand left it up to him and knew
whatever we did would be fun.
And then, I don't know if it wasThursday or Friday, but he said,
Hey, let's go to Michigan andlet's go pop over to New York.

(17:07):
So in my head, I'm tracking itwith our previous Michigan golf
trip where we stopped in Chicago.
So that's what I was thinking.
I thought we'd go golf for a dayor two and then go to a city, have
a good dinner, do some shopping.
So I wasn't asking many questions untilI asked which hotel we're staying at.

(17:30):
I either asked what hotel we'restaying at or where we're going
exactly, and he was being kindof cryptic, but I just let it go.
I didn't think much of it.
I was thinking about how Ineeded a pack and all of that.
I was not thinking much about the details.
I just knew it would be fun.
My husband did say wear somethingcomfortable - that we might go

(17:55):
find music that night or something.
He was just being vague butwanted me to dress comfortably.
In comfortable shoes.
That's what he was specifying, I think.
So Then Friday comes.
We're all packed.
We're headed to Michigan.
So I did not think anything of ituntil I opened my Instagram and the

(18:16):
first thing that pops up was Mike, thesinger, his Instagram page, and it said
that night he was singing in Michigan.
Oh, I forgot to add, when my husbandwas being vague about where we were
going, he said, oh, just somewherearound where I was born, and he was
born in the Warren / Detroit area.

(18:41):
So when I saw the post fromMike's Instagram, it said
Sterling Heights, Michigan.
So I immediately look that up, andit was right by Warren and Detroit.
So then it hit me - this is a surprise,and we're going to the Mike concert.
And I didn't say it right away, buteventually I said, "Hey, I'm on to you.

(19:04):
Are we going to a concert tonight?"
So that was so exciting.
We go to Michigan, we go tothe concert and it is so fun.
It's amazing.
Literally, Mike is such a good performerand he stops and explains the songs
and it's so deep and meaningful.

(19:27):
It was just so special.
And then the next day we pop overto New York City for about 24 hours
and we go to the Metropolitan Museumof Art and do some other things.
But I just thought it was so funny how Iplanned none of this, and it completely
aligned with this episode I did on artas architecture and the renaissance.

(19:53):
At the Met, we wanted to specificallylook at the Egyptian art and
the Renaissance art, and we sawmedieval art while we were there.
So it's just funny how I plannone of this, and I don't tell my
husband what I'm podcasting about.
It just all divinely happened, I guess.
It all just aligned.

(20:14):
So I absolutely love that.
And actually that concert inspired me andI got some, I guess, insight or downloads
you could say, for the episode thatI'll probably be posting in two weeks.
Because I already have one for thenext week and I mention it at the end.

(20:35):
Actually, before we even did this, I wasjust thinking how I wanna travel more this
summer because when you create, even ifit's from a divine insight or a download,
you still need these inputs in life.
You need to have these experiences thatmake you think, that bring up these

(20:57):
different situations for you to observe.
And that is totally tiedto my human design as well.
And as a manifesting generator, my corestrategy is to wait to respond - not to
plan, force, or initiate from the mind.
And it doesn't mean waiting passively.

(21:19):
It means you let life come to youfirst and you listen for a visceral
yes or no from your sacral, and youmove only when your body lights up, not
because your mind thinks you should.
I am not meant to plan every detailin advance or make a five year plan
and stick to it, or initiate projectsfrom pressure, urgency, or fear.

(21:41):
I'm meant to followbreadcrumbs as they arise.
And build by spiraling into alignment,responding to real time cues.
I'm mainly explaining all of that, notto tell you about me, but to show how
some of these traits are so interestingbecause they are playing out in my life.
Like I did not plan all of that trip.

(22:05):
I just flowed with it andit all aligned so perfectly.
And I got all of this input and insightand downloads from this weekend trip
that I had no part of planning at all.
I just went with the flowand it all came to me.

(22:25):
And I think this is what happens whenyou start to just flow, align, be the
observer , live in these high vibrationemotions, because you become a magnet for
these experiences that align with you.
So yeah, like I said, I'm notsharing that so you learn what

(22:46):
a 1/3 manifesting generator is.
I'm saying that so you can see how itunfolds in my life, and then you could
look up your own human design and learnabout it, and see how that is mirrored
in your own life because I'm seeing itplay out for myself and I think it's
really cool, really fascinating, andgives me a lot of insights about myself.

(23:11):
Okay, so now that I've given somereal life examples of artists in
completely different paradigms, let'smove on and get into more detail.
So how do you feel the difference betweena loop, a bridge, and a transmission?
Let's break it down.
Let's start with black hole loop art.

(23:33):
And this art is madefrom unresolved trauma.
It's usually created froma heightened sympathetic
state - fight, flight, or freeze.
And that shows up in brainwavesas mostly high beta, which are
chaotic, fast, reactive frequencies.
But if we want more detail, it'sspecifically a brainwave pattern of

(23:55):
distorted theta plus high beta, and thatleads to overstimulated mental looping.
And sometimes it has a touch of deltaleakage, which leads to trauma bleeding
through from unconscious states.
So in this state, the creator maybe emotional, raw, or expressive,

(24:16):
but the emotion hasn't alchemized.
Emotionally raw, but not integrated,so the art stays energetically sticky.
It's full of intensity,but not resolution.
And you might feel temporarily moved oreven addicted to the feeling it gives you.
But afterwards you feeldrained or heavy or stuck.

(24:40):
Loop art keeps both the artistand the audience circling the
same pattern, disguised as depth.
So now let's talk about bridge art.
Bridge art is different.
Bridge art meets you in thedensity without glorifying it.
It's often created from a regulatednervous system where the artist

(25:01):
is moving out of beta into morealpha or theta states, even if
they're not fully stabilized yet.
And then if we're getting specific - it'salpha plus coherent theta, and maybe
with some soft beta for structure.
The beauty of bridge art is thatit's familiar enough to feel safe,

(25:22):
but encoded with subtle openings.
It can reach so many peopleand help them spiral up.
There's a current of hope,awareness, or upward movement.
You feel seen in your "now,"and invited towards your next.
This is often what resonates mostduring the early phases of awakening.

(25:43):
It helps you spiral up without making youfeel like you have to be above it all.
And bridge art is a sacredpart of the process.
And some artists like Mike master theart of bridging without bypassing.
They meet people in pain,but they don't sell pain.
They seed new frequencieswithin familiar frameworks.

(26:06):
It's accessible but subtly activating.
And it meets people inemotion, but opens a window.
And it can carry both swagger and soul.
And that's a great example of howI would explain Mike as an artist.
He has so much swagger and somuch soul, and it's a great mix.

(26:28):
Then there's white hole art,and that's transmission.
This is art that doesn'tjust express, it remembers.
It comes from a regulated, clear, coherentfield, and it's often created in alpha and
theta brainwaves - the states associatedwith flow, intuition, and channeling.

(26:49):
And if we're getting specific with thisone - it's refined theta plus alpha,
and sometimes even a touch of gamma,which is higher consciousness states.
Theta is especially powerful.
It's the same state accessedin meditation, dream
work, and deep creativity.

(27:09):
It's where the veil thins,where spirit meets structure.
But like I've talked about before, itneeds to be grounded, integrated theta,
and I'll talk more about this in a moment.
Transmission art isn't about evokingintensity, it's about restoring wholeness.
You don't walk away overwhelmed,you walk away more of you - more

(27:33):
grounded, more open, and more true.
Transmission opens thebody, not just the mind.
It attunes your system tothe frequency of clarity.
It doesn't hook you, it harmonizes you.
So now let's get into a littlemore detail about theta, because
theta is sacred, but misunderstood.

(27:56):
Theta brainwaves are a four to eighthertz frequency, and they are the
frequency of dreams, deep creativity,intuition, symbolism, and channeling.
They're naturally accessed in meditation,hypnosis, flow states, and the soft
liminal space between sleep and waking.
But here's something I've mentionedbefore and it's really important

(28:19):
to call out again - Theta alonedoesn't guarantee clarity.
It depends on the vessel holding it,because if you're in ungrounded theta,
that could lead to spiritual psychosis.
When theta is accessed from adysregulated nervous system - without
structure, without stability, withoutintegration - it becomes distortion.

(28:44):
And this is where blackhole loop art is born.
The artist may be channelingsomething real, but if the pain isn't
alchemized, it leaks through the field.
The song may sound poetic, thepainting may look powerful, but
it leaves you spinning - heavier,darker, subtly off center.

(29:06):
There's no coherence, justchaos cloaked in creativity.
This is what happens when the channelis open, but the vessel is unstable
and the frequency is unresolved.
That's ungrounded theta - spirituallyseductive, but energetically slippery.
And this is what also happensin some plant medicine journeys.

(29:29):
If the nervous system isn'tready, if there's no container
for integration, you access thecosmos, but return without clarity.
It becomes more fragmentation,more chaos, more stories.
It opens the channel, butleaves the vessel leaking.
And we always have to remember that yourbody is not separate from your awakening.

(29:54):
It's the vessel that receives,regulates, and integrates the higher
frequencies that you access on your path.
When you spiral up into higher light,you're not just expanding your mind,
you're expanding your field, andyour body has to be able to hold it.
If your nervous system is dysregulated,if your fascia is frozen, if your breath

(30:17):
is shallow, if your energy is bracing orfragmented, that light will short circuit.
And that's when theta turns chaotic.
That's when downloads become dizzying.
That's when you can'ttell what's true anymore.
And it's not because you're broken,it's because your vessel wasn't

(30:38):
prepared to hold the light that came in.
And this is why embodiment is not justaesthetic, it's energetic infrastructure.
The nervous system is the anchor, thebody is the bridge, and if you want
to hold divine frequency, you haveto build a body that can hold it.

(30:58):
So now let's talk about integratedtheta, which is white hole transmission.
When theta is held in a groundedvessel, when it's paired with alpha
waves, which are relaxed alertness,coherence, and structure, that's
when it becomes a transmission.
Alpha is the ground and theta isthe signal, and together they create

(31:23):
resonance that feels like calmbut alive, expansive yet clear,
and symbolic yet deeply embodied.
And this is what whitehole art feels like.
You don't just hear it, you receive itbecause it's coming through a nervous
system stable enough to carry truth.

(31:45):
So as you can see, we're working withthe same brainwave, which is theta,
but you get a different outcome.
And that's the difference between a blackhole loop and a white hole transmission.
The difference is structure,safety, and coherence.
An unstable artist is in ungroundedtheta, and that leads to black hole loops.

(32:08):
And then a stable artist is ingrounded theta plus alpha, and that
leads to white hole transmission.
And this is the creativearchitecture of the new Renaissance.
And here's where it all gets deeper.
Theta is the portal to the subconscious.

(32:28):
It bypasses critical thinking and goesstraight into the unconscious mind.
No resistance.
That's why it's so powerful and whyit's so dangerous when weaponized.
And surprise, surprise, butmass media and music know this.
Mainstream media, advertising, andpop music are designed to induce mild

(32:53):
theta through rhythm, repetition,and emotional hooks, and then slip
in a message, a belief, a product,a worldview, or a distortion.
And here are some examples - Catchylyrics that encode limiting beliefs.
Films that trigger grief,fear, or nostalgia, and then

(33:15):
anchor it to specific messages.
News cycles that hypnotize,desensitize, and install helplessness.
This is black hole theta.
And not because theta is bad,but because the intention is
manipulative, not liberating.
And the real danger iswhen you're relaxed.

(33:37):
The most vulnerable time for distortionis when you're open, and that includes
when you're scrolling social media atnight, watching TV just before sleep,
listening to melancholy songs on repeat.
These low, trancey theta statesare installation windows.

(33:58):
Whatever frequency you are exposedto while in theta gets embedded
in your subconscious field.
So here's the solution.
Discern the source - ask yourselfwhat field is this coming from.
And ground yourself first - enter thetathrough sovereignty, not passivity.

(34:20):
And anchor withalpha -. Stayrelaxed, but alert.
Let the channel open throughclarity, not collapse.
Theta is not the enemy.
It's a sacred gateway.
But only when it's guarded by coherence.
So now let's talk about how to entergrounded, integrated theta versus

(34:43):
spiritual bypass or distortion.
So number one, start in alpha.
And this is the grounding zone.
Before reaching for theta, stabilizedin alpha, which is 8 to 12 hertz
frequency, and it's the brainwave ofcalm, alertness, coherence, and presence.

(35:04):
So to access alpha, take threeto five slow nasal breaths,
exhaling longer than you inhale.
Bring gentle awareness to your body - yourfeet, your spine, your heart, and say,
internally, "I'm safe. I'm here. I'mopen." And anchor in your environment

(35:27):
- you can light a candle, soften your gaze,or feel the texture of something near you.
And this matters because alpha actsas a runway for safe theta entry.
Without it, theta canbecome floaty or fractured.
So number two, let theta risefrom safety, not seeking.

(35:49):
Let your theta four to eight hertzfrequency brainwaves arise naturally.
Don't push and don'tchase a channeling high.
Instead, allow soft internal imagesor symbols to appear, spontaneous
ideas, lyrics, visuals, or insightsto emerge, gentle emotional waves

(36:11):
to move through without attachment.
And check in with your body as you go.
Are you still breathing fully?
Are your shoulders relaxed?
If your body tenses or energy speedsup, pause and return to alpha grounding.
And then three, create fromintegration, not activation.

(36:33):
Grounded theta is less about a spiritualtrip and more about a spiral inward.
Ask yourself mid-process, "Is thisexpanding or draining me? Do I
feel more whole or more fragmented?Am I creating from remembrance or
reenacting from a wound?" And usecreativity as a mirror, not a bypass.

(36:58):
If something heavy arises,pause and witness it.
Don't channel from it.
Transmute through it.
And then number four, close thechannel with conscious reentry.
And this is one of themost overlooked steps.
When you're done channeling,meditating, or creating, take three

(37:18):
slow breaths and feel your body fully.
Rub your hands together orpress your feet into the floor.
You could say, "I call my energyback. I am whole and clear." Close
the loop, complete the circuit.
Ungrounded artists leave theta openlike a leaky portal, but grounded

(37:38):
creators close it like a sacred temple.
So I mentioned in a previous podcast thatI spend a lot of time in Alpha and Theta.
That's kind of how Ispend my life I'd say.
I'm alone during the day and Ispend a lot of time alone and I
walk in nature, work out, cook,you know, I'm in that good space.

(38:03):
I do think this could soundmaybe harder than it is.
It's actually reallyeasy to get in the state.
It's kind of that naturalflow state feeling.
So I'll talk about number five, bonusrituals for anchoring alpha and theta.
I think this will make it make more sense.

(38:25):
But yeah, you could try doingthe steps and then pair it with
what I'm about to talk about.
So if you want to consistently deepenyour ability to hold integrated theta,
incorporate these rhythms into your life.
So I'll talk about a practiceand then the benefit of it.

(38:46):
Okay.
The practice - gentle breath work.
This grounds alpha before entering theta.
And then meditation with body scan.
This builds stability and awareness.
And then slow creative play likejournaling, painting, music with no goal.

(39:07):
This softens beta and opens natural theta.
And then spend time in nature.
This resonates alphatheta bridge naturally.
And then warm baths or magnesium soaks.
This calms the nervous system into alpha.
And then somatic touch or fascia release.

(39:29):
And this opens your bodyto carry frequency safely.
Now I wanna talk about grounding thechannel through the chakra system.
This is really important and goes alongwith how to get into alpha and theta.
And this is really important becauseyou're not just a mind, you're a

(39:50):
field, and you're body is the vessel.
To carry theta codes withoutdistortion, your body must be
able to hold the frequency, andthis means your chakra system must
be flowing, your nervous systemregulated, and your vessel grounded.
Your body is the channel.

(40:11):
You're not just a receiver of frequency.
You are the translator.
And if your body, your vessel, isoverwhelmed, bracing or dysregulated,
it will scramble the signal.
Nervous system regulationis a non-negotiable here.
A dysregulated body can'thold divine frequency.

(40:34):
It turns sacred signal into static.
The nervous system is theconductor of your field.
If it's fried, fragmented, orflooded, your channel gets fuzzy no
matter how open your third eye is.
Somatic anchoring is requiredfor theta to become transmission.

(40:57):
Chakra coherence equals frequency clarity.
You can think of eachchakra as a tuning fork.
If one is off, the wholesymphony gets distorted.
So now I'll talk about the chakra and thenthe key function in creative channeling.
Your root chakra is all about safety.

(41:18):
It anchors theta into earth.
And then your sacral chakrais emotion and creation.
It must be fluid and flowing.
And then your solar plexus isyour will and your identity.
Ego must be in service to spirit.
And then your heart chakrais harmonic resonance.

(41:41):
It must be open to love and truth.
And then your throatchakra is your expression.
Blocks can cause distortionin what's shared.
And then your third eye chakra is vision.
Clarity without fantasy.
And then your crown chakrais source connection.

(42:02):
It needs grounding to avoid overload.
So when the nervous system is stableand the chakras are flowing, you become
a clear signal tower, able to receive,hold, and transmit resonance cleanly.
Another thing that is really importantis grounding into the earth field.

(42:24):
You're not meant to float.
You're meant to plug intosomething ancient, alive and
stabilizing, which is earth.
So here are some ways to ground.
Barefoot on grass, soil, or stone.
You can lay flat on the earth andsay, "I return to the field of the
earth. I neutralize all distortion. Ireceive coherence." You can visualize

(42:49):
roots from your spine sinking intothe earth's core, and then rising
with gold light into your body.
You can tend to yourspace - garden, cook, stretch.
Let your body remember it'spart of the physical plane.
The earth doesn't just stabilize you.
She clears interference.

(43:10):
And then another importantthing is your energetic consent.
And that is the gatekeeper of your field.
Your field runs on frequencyand permission - if you don't
claim what enters, anything can.
And that's how people get hijacked bydistorted theta without ever realizing it.

(43:31):
So set the tone with clear declarations- "I consent only to frequencies of
coherence, truth, and highest alignment.""I command safety and structure
through every chakra and every cell.
I choose clarity.
I choose grounded light." And say itbefore you write, say it before you
create, and say it before you share.

(43:54):
The universe always listensto your frequency first.
I've mentioned this in anotherepisode, but I shared my own
opening prayer in my Google Drive.
In my Femme and Flow podcastmaterials, Google Drive.
So you could check that out and see if youlike that format or you can make your own.

(44:19):
So just a little recap beforeI move on to the next section.
Grounded theta equalswhite hole transmission.
Ungrounded theta is a black hole loop.
And the difference isnervous system regulation.
Chakra flow, earth coherence, energeticconsent, and theta becomes distortion

(44:42):
when the body isn't ready to carry it.
But when you're ready, youbecome a vessel of liberation.
So now let's talk about the Renaissance.
Let's talk about theRenaissance then versus now.
So to do this, let'szoom out for a moment.

(45:04):
Because what we're experiencingnow isn't just a cultural shift,
it's a frequency renaissance.
But to understand the new,we need to revisit the old.
Let's talk about the Renaissanceas a battleground of frequency.
The Renaissance of the 14th through17th centuries is often remembered as

(45:25):
a golden age, a rebirth of art, beauty,humanism, and scientific exploration
after the so-called dark ages.
And in many ways it was a reawakening.
Architecture reached new heightsof symmetry and grander, sacred
geometry was rediscovered, the divinefeminine reemerged subtly through

(45:50):
art, consciousness began to expandbeyond strict religious doctrine.
But the deeper truth is more nuanced.
The Renaissance was ultimatelya human-centric movement.
It placed the human form, intellect,and individual expression at the
center of the creative universe.

(46:11):
In contrast to the medieval mindsetdominated by religious dogma, the
Renaissance celebrated human potential.
But this celebration of the humandidn't fully liberate the soul.
It glorified ego more than essence.
It reflected a world still bridging outof deep repression and into awakening.

(46:34):
That means it was a necessary spiral upfrom darkness, but not yet the light.
It was a bridge phase - a time whensome enlightenment broke through, but
still carried distortions of hierarchy,elitism, and institutional control.
Beneath the surface, a darkerundercurrent ran through the movement.

(46:58):
Organized religion, elite patrons, andchurch institutions used art to program
emotional and spiritual responses- especially guilt, fear, and martyrdom.
Art became a weaponized container- sometimes divine, sometimes distorted.
Many of the families who funded theRenaissance, the Medici, the Borja,

(47:23):
et cetera, were entangled withearly black hole power structures.
Many of the artworks encodedsacred knowledge, but also
served as frequency locks.
And I'll talk aboutfrequency locks in a minute.
And then many of the scientificbreakthroughs were channeled,
but later weaponized.

(47:45):
It reawakened human brilliance, butit didn't yet liberate the soul.
It was the beginning of aclimb out of suppression, but
not yet the return to source.
It was still distorted, but astep in the right direction.
Because to truly align with source,with God, you must first find yourself.

(48:07):
To reunite with the divine within, youhave to reconnect with your own truth.
The Renaissance was a necessary step inthe spiral up - a bridge phase where ego
met inspiration, where the seed of divineremembrance was planted inside human form.
Some light began to shine through, butit was filtered through distortion.

(48:31):
And remember, art was not neutral.
It never is.
It either opens you or encodes you.
Just a moment ago, I said many of theartworks encoded sacred knowledge,
but also served as frequency locks.
I wanna talk about whata frequency lock is.
A frequency lock is a piece of energeticarchitecture, like a symbol, story, song,

(48:57):
or image that encodes a specific rangeof vibration or emotional resonance.
It does one of two things.
One, restricts access to higherconsciousness by anchoring viewers into
a lower frequency like fear, guilt,shame, or worship through submission.

(49:19):
Or number two, it controls the perceptionof sacred truths by delivering them
only through filtered, distorted, orinstitutionally approved narratives.
In the Renaissance, many paintings,sculptures, and religious commissions
use sacred geometry or divinearchetypes, but place them in context

(49:42):
that reinforced church control,punishment, narratives, or martyrdom.
The results?
A subliminal energetic instruction- "this is beautiful, but this is the
only way to reach God." That lockkeeps the soul circling inside a
controlled frequency band - one that'sfamiliar, comforting even, but limited.

(50:08):
Even today, people can stand in awein front of a crucifixion painting and
feel what they believe is reverence,but they may not realize they're also
subtly reinforcing trauma, bondingwith God, fear of disobedience,
or the glorification of suffering.
Now let's talk about the patronageand the hacking of divine art.

(50:33):
While some artists were truly transmittingdivine frequency, others found themselves
tethered to the agenda of their patrons.
Art patronage, especially by the church,monarchies, and elite families became
a sophisticated method of control.
Commissions dictated the subjectmatter, tone, and spiritual symbolism.

(50:57):
Wealthy elites used their fundingto shape collective belief
systems and cultural narratives.
Divine inspiration was rerouted intoservice of institutional agendas,
often subtly embedding guilt, shame,or hierarchal submission into the art.

(51:17):
And this is a core mechanism of thefalse matrix - control through funding.
Whoever controls the pursestrings controls the narrative.
We totally see this when itcomes to mainstream music.
So we see that now in music, butin this next part, I'm still
talking about the Renaissance.

(51:39):
Even profoundly gifted artistscould be energetically hijacked
by the structures funding them.
Their genius was redirected into resonancetraps, their visions were filtered
through dogma, their transmissionwas compromised by agenda, and beauty
became a veil for indoctrination.

(51:59):
Genius was used as a frequency hook.
So, while the Renaissance lookedlike a golden age on the surface,
it was also a battleground offrequency behind the scenes.
Some art liberated the soul, some artentrained it into unconscious submission.
And nowhere is this moreapparent than in the Vatican.

(52:24):
Now let's talk about the Vatican archives- frequency control through curation.
The Vatican holds one of the largestand most curated collections of art
in the world - paintings, sculptures,manuscripts, and artifacts, many
of which the public will never see.
It's no coincidence that the most widelyknown and celebrated works from the

(52:48):
Renaissance are those that align withchurch doctrine and emotional control.
For example, Michelangelo'sThe Last Judgment.
It gives you guilt, damnation,salvation, hierarchy.
And then Leonardo's, The Last Supper.
It gives you betrayal, authority,exclusivity of the divine.

(53:14):
And then there's countless crucifixionand martyrdom scenes meant to
evoke submission and suffering.
By controlling which art is seenand which is suppressed, the church
shaped the collective emotional andspiritual narrative for centuries.
Now let's talk about thepsychological impact - symbolic

(53:35):
indoctrination through sacred art.
These images do more than decoratechurches, they encode the subconscious
- reinforcing guilt, shame, and fear ofdivine punishment, glorify suffering
as holy, programming people toassociate beauty with obedience.

(53:57):
This is how the false matrixsustains itself through repetition
of frequency, emotional entrainment,and symbolic indoctrination.
And there's an even deeper mechanism atplay - one that explains why this kind
of art has such enduring influence.
So now let's talk about temporallegitimacy and authority bias.

(54:22):
Humans are conditioned toassociate age with truth.
If something has lasted for centuries,been praised by institutions and
repeated across generations, itcreates a subconscious belief - "If
it's endured this long, it must betrue." This is compounded by authority
bias - the tendency to trust those seenas experts or cultural gatekeepers.

(54:47):
When the church or museums uphold theseimages as sacred or important, the
subconscious defers to their authority.
Now let's talk about culturalimprinting through aesthetic reverence.
Religious art doesn't just expressbelief, it installs it through emotional

(55:07):
charge, repetition, and early exposure.
People internalize associations like painequals holiness, beauty equals obedience,
institutions equals divine authority.
Even today, Renaissance crucifixionscenes or judgment day frescoes

(55:29):
evoke reverence, not necessarilyby choice, but by conditioning.
Now, let's talk abouttheta state vulnerability.
These artworks often activate thetabrainwaves - a relaxed, suggestible state
where critical thinking is bypassed.
That's why sacred imagery can encodebelief at a deep, unconscious level.

(55:52):
The result?
Generational programmingdisguised as heritage.
What looks like timeless artis often timeless control.
The new Renaissance won't justreclaim beauty, it will reclaim truth.
Let's talk about some of the mosthigh impact Renaissance artworks
that are religious and symbolic.

(56:16):
The first one I'll mention isMichelangelo's The Last Judgment.
That's at the Sistine Chapel atthe Vatican, and it's a massive
fresco portraying souls beingjudged and sent to heaven or hell.
It's saturated in fear, guilt,and hierarchal salvation codes.

(56:37):
And the encoded frequencyis eternal damnation,
unworthiness, divine punishment.
And the matrix mechanics - it'sused by the church to reinforce
the emotional gravity of salvation,anchoring spiritual authority and fear.

(56:57):
The second art I'll mention isLeonardo da Vinci's, The Last Supper.
And this is in Milan, and it depictsa moment of betrayal, but also sacred
communion - deeply coded with sacredgeometry and possible esoteric symbolism.

(57:18):
The encoded frequency is betrayal, unity,divine orchestration, mystery traditions.
And then the matrix mechanics - whilelayered with divine math, it was
used to visually reinforce thechurch's ownership of the narrative.
The third one I'll mention isMichelangelo's The Creation

(57:40):
of Adam, and it's also at theSistine Chapel at the Vatican.
And it's an iconic image ofGod reaching towards Adam.
Commonly used to depict the moment ofdivine spark, but also subtly encodes a
hierarchy between creator and creation.

(58:01):
And the encoded frequencyis divine separation, origin
myth, the spark of life.
And then the matrix mechanics - itreinforces the church's depiction of a man
as dependent on an external God figure.
Fourth one I'll mention isRafael's, The School of Athens,

(58:24):
and it's also at the Vatican.
It's a fresco honoring classicalknowledge and philosophers.
It presents an idealized visionof intellectual awakening.
It's encoded with frequencies of order,intellect, hierarchy of knowledge.
And the matrix mechanics - while it iscelebrating thought, it subtly centers

(58:50):
elite male scholars, excluding mysticism,feminine nosis, or embodied wisdom.
Now let's talk about thecultural legacy of these works.
So those were just a few examples.
There's certainly more I could talkabout, but this episode is already

(59:10):
getting long, so I'll move on.
But let's talk about thecultural legacy of these works.
These masterpieces shaped how westernculture thinks about God and judgment,
beauty and salvation, sin and shame,the masculine versus the feminine,
the body as divine or dangerous, andwho has the right to speak for God.

(59:35):
Some seeded divine remembrance andothers embedded emotional control.
And I saw one person on social media talkabout the Creation of Adam, and they talk
about how Adam's finger is kind of bentwhile God's finger is fully stretched.

(59:57):
So that could symbolize that Godis always right there and it's
just up to you to reach out.
So you could also get divineremembrance from some of these, but
that takes your level of consciousnessto decode that essentially.
So now let's talk about whatcame before the Renaissance.

(01:00:20):
And this was the so-calledDark Ages, approximately the
15th through the 13th century.
This was the time marked byspiritual suppression, intellectual
stagnation, and rigid dogma.
Mystical knowledge washidden or destroyed.
The divine feminine was demonized.

(01:00:41):
Art became flat, symbolic, and fear-based,designed to control, not inspire.
Life was ruled by hierarchyand fear of punishment.
The soul was severed from directcommunion with the divine.
It wasn't dark becausepeople were primitive.
It was dark because light was controlled.

(01:01:04):
The renaissance was humanity's first gaspof remembrance, a fragile reawakening of
soul through beauty, form, and inquiry.
So now let's talk about the spiral fromself to source - a map between the old
Renaissance and the new Renaissance.

(01:01:25):
To truly understand the new Renaissance,we have to zoom out and trace the
spiral of human awakening becausewe did not get here overnight.
We spiraled here step by step,age by age, and each phase of
history carried a frequency, eachera laid groundwork for the next.

(01:01:48):
So let's spiral from thelast Renaissance to this one.
So the first step here was thehuman-centric Renaissance, and that
was the 14th through 17th centuries.
It was a reawakening ofpotential rediscovery of self.
The human form was honoredand genius was rediscovered.

(01:02:11):
Sacred geometry and subtledivine codes reemerge.
It was still deeply tethered to hierarchy,elitism, and church control, but the
source within was still forgotten.
This was a necessary rebellion againstsuppression, but it was still ego led.
It was the beginning of a climb out ofdarkness, but not yet a return to light.

(01:02:38):
And this was an energetic identityshift from collective suppression to
individual potential, but ego still ruled.
So then you could view the second stepof the spiral is the enlightenment
and scientific revolution, whichwas the 17th through 18th centuries.

(01:02:59):
The mind took the throne.
Logic became the new God.
Religion lost some power.
Science gained dominance.
God was no longer the center,humans and their minds were.
Mystery was dissected inthe name of knowledge.
This era externalized truth, severingthe felt connection to source.

(01:03:23):
The third step in the spiralwas the industrial age.
This was the 18th through 19th centuries.
This was the mechanization of life.
This was mass production,efficiency, and material progress.
Creativity and intuition werereplaced by systems and outputs.

(01:03:43):
Bodies became machines,beauty became production, and
soul was reduced to output.
The spirit was buried under machinery.
The soul was replaced by productivity, andthe body became a worker, not a vessel.
Then the fourth step was the romanticand mystical response, and this was the

(01:04:07):
19th through the earliest 20th centuries.
And this was a deep emotional rebellion.
Poets, artists, mystics, achedfor beauty, truth, and the divine,
but without grounding, manyspiraled into chaos or escapism.
It was heartfelt, but unstable.

(01:04:28):
It was a preview of divinelonging, but without coherence.
Step number five in the spiralwas the postmodern fracture,
and this was the 20th century.
This was deconstruction of meaning.
Everything broke - truth,meaning, even form.

(01:04:49):
Trauma became a dominant muse.
Art questioned itselfand culture imploded.
It was a necessary clearing,but it left many distorted.
And this was the collapseof consensus reality.
It was a necessary clearing,but also disorienting.

(01:05:09):
The sixth step of the spiral wasthe awakening era, the late 20th
century to the early 21st century.
And this is where the remembering begins- the soul return to the conversation.
Quantum physics reintroducenon-duality and the observer effects.

(01:05:30):
Meditation, energy healing, andpsychedelics crack open new portals
and consciousness work rises.
The internet allows widespreadknowledge, but also noise.
But this era was and still is a bridge- beautiful, messy, and transitional.

(01:05:51):
Divine remembrance starts topierce through the density.
Then number seven is the newRenaissance, the white hole era.
And this is what's unfolding now.
And this is transmissionthrough coherence.
Art, energy, voice, and beautybecome infrastructure again.

(01:06:12):
Frequency matters more than form.
Source alignment, not ego leads.
Beauty returns - but not asa performance, as a portal.
We found the self.
Now we reunite with Godand the spiral home begins.

(01:06:32):
This is different.
This is white hole frequencyand this is coherence.
Now, art is not just aboutaesthetics, it's about architecture.
We're no longer performing beauty.
We're building resonance.
We're not painting to pleasethe church or the algorithm,
we're transmitting the divine.

(01:06:55):
The old Renaissance wasabout finding the self.
This one is about reuniting withsource, and that changes everything.
So let's talk more about the newRenaissance, a white hole rebirth.
So now we're in a differentkind of renaissance, not a

(01:07:17):
rebirth of the old world, but arecalibration to higher worlds.
This renaissance isn't aboutpainting idealized bodies
or discovering new planets.
It's about embodying truth,remembering frequency, and
anchoring coherence into form.
In this new era, artisn't meant to impress.

(01:07:41):
It's meant to unlock.
Knowledge isn't meant to be hoarded.
It's meant to be distributedthrough resonance.
So success isn't based onhierarchy, it's based on alignment.
Creativity isn't mined frompain, it flows from wholeness.
And this is white hole intelligence.

(01:08:03):
And it's not coming through theelite, it's coming through you.
The new Renaissance is decentralized,vibrational, and nonlinear.
It's not about revival,it's about remembrance.
It's not about pushing boundaries,it's about dissolving distortion.

(01:08:23):
And you'll feel it because unlikethe last one, the Renaissance doesn't
look like anything in particular.
It feels like clarity, like frequency,like creative truth finally made visible.
So just a little summary aboutthe contrast then versus now.

(01:08:45):
The original Renaissance was a bridge era.
It awakened inquiry, but upheld hierarchy.
It revered the human formwhile reinforcing elitism.
It unlocked beauty, but embedded control.
And then the new Renaissance,a white hole era.

(01:09:06):
It invites transmissioninstead of performance.
It values coherence over spectacle.
It liberates through frequency, not fame.
This time, the art doesn't justecho the soul, it builds energetic
infrastructure for the new Earth.
This time, the beauty isn't a mask.

(01:09:28):
It's a mirror of truth, offreedom, of remembrance.
The new Renaissance isn't just a rebirth,it's a return to source-centered creation.
Like I mentioned, the originalRenaissance was still human centric.
It glorified the human form,the intellect, the ego.

(01:09:51):
Even in its beauty, it oftencentered man above God.
But the new Renaissance is Source-centric.
It isn't about glorifying man.
It's about reweaving man with God.
It's not just art for expression.
It's art as frequency.
Technology as sacred infrastructure.

(01:10:13):
As remembrance.
This is what is different now.
The artist isn't thesource, they're the signal.
They don't create from theego's need to be seen, but from
the soul's readiness to serve.
Beauty isn't a performance,it's a transmission.

(01:10:33):
It doesn't try to impress,it restores resonance.
And the audience isn'tpassive, they're activated.
White hole art awakens something inthe listener, the viewer, the receiver
- it calls forth their divine memory.
White hole creation is non hierarchal.

(01:10:55):
Another important distinction - theold renaissance still upheld hierarchy
- patrons versus artists, critics versuscreators, high art versus folk expression.
The new renaissance dissolves that.
A barefoot woman painting in hergarden might be creating more true

(01:11:16):
art than the most celebrated gallery.
A voice note sung into a phone mighthold more resonance than an orchestra
playing for an elite audience.
A meme, a sketch, a dance onTikTok - these can all carry white
hole codes if the vessel is coherent.
The new Renaissancedemocratizes transmission.

(01:11:39):
It's not about status,it's about frequency.
The purpose is not fame,it's frequency stabilization.
The art you make now isn'tfor legacy in the old sense.
It's not to be remembered.
It's to be felt.
It's not to be praised.
It's to re-pattern the field.

(01:12:01):
Every post, lyric, visual, sound, outfit,and tone becomes part of the new grid.
The new Renaissance isn't just aboutmaking art, it's about becoming art,
becoming architecture, becoming afrequency mirror for divine reality.

(01:12:23):
In the old world, art wasowned, commissioned, judged.
In the new world, art islived, embodied, and released.
You don't need permission.
You don't need a patron.
If it comes from yourcoherence, it is contribution.
Is your art, legacy, or loop?

(01:12:46):
If you are a creator, a storyteller,a speaker, or even just someone
who shares words on the internet,this next part is for you.
Because we're all creating something.
The question is - whatfrequency is it carrying?
Is your art a transmissionanchored in clarity, felt in the

(01:13:07):
body, opening doors and others?
Or is it a loop recycling an oldwound, subtly keeping you and your
audience circling the same story?
So let's break it down.
First, let's talk about loop art,which is black hole frequency.

(01:13:27):
Loop art usually feels emotionallyintense, but lacks resolution.
Pulls from pain thathasn't yet been transmuted.
Uses the audience's attentionas an energetic crutch.
Creates identity around thewound instead of alchemizing it.
May be praised for its rawness orauthenticity, but leaves people

(01:13:51):
feeling stuck, heavy or drained.
It can sound poetic, it might evengo viral, but it doesn't liberate.
It contracts the field.
And this happens when the artist is usingcreation as catharsis without coherence.
The art becomes a form ofenergetic self-soothing, but

(01:14:14):
without true integration, itjust reopens the wound on repeat.
Now, let's talk about legacy art,which is white hole frequency.
Legacy art is different.
It comes from inner work,not just outer inspiration.
Integration, not just expression.

(01:14:35):
Devotion to truth, notjust desire for validation.
It might touch on pain, butit doesn't wallow there.
It transfigures it.
It expands the field.
It stirs clarity in the body.
It reminds people of who they are.
Legacy art leaves you lighter, notheavier, awake, not overstimulated.

(01:15:00):
It anchors the resonance of truth,even when it moves through shadow.
So ask yourself, am I creatingfrom a wound or from wisdom?
Is this expression asking forenergy or transmitting energy?
Do I feel expanded when I share it orsubtly exposed, seeking something back?

(01:15:25):
Does it make me feelcomplete or still incomplete?
You don't have to be fully healed tocreate, but you do have to be anchored.
This is what separates divine expressionfrom frequency and manipulation.
It's not just about the art,it's about the field you're

(01:15:45):
holding when you create it.
So now let's talk about legacyart as energetic infrastructure.
Legacy art isn't justmoving, it's structural.
It doesn't just inspire in the moment, itbuilds something that lasts - not because

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it clings to form, but because it'sembedded with frequency infrastructure.
It stabilizes truth in the grid.
Think of it this way - legacyart is a living field.
It keeps resonating longafter you create it.
When you create from white hole coherence,your work becomes a pillar in the

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collective field, an anchor, a key.
It holds open a frequency that otherscan remember through resonance.
Legacy art is not just content.
It's a code.
Every piece of legacy art isa transmission of order - not
rigidity, but harmonic structure.

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Truth, not opinion, but clear signal.
Love, not sentiment, butdivine coherence and memory.
Not nostalgia, but soul level remembrance.
And this kind of art keeps working.
Years later, someone might read yourwords, hear your music, watch your video,

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and something will click in their field.
A veil lifts.
A knot dissolves, a truth returns.
That's not just content, that'senergetic infrastructure.
You didn't just express something,you installed something.
And this is what the newRenaissance is made of.

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The old Renaissance gave us beauty,symbolism, and innovation, but it was
still bound by the paradigms of its time.
This renaissance is not justa rebirth of art, it's a
rebirth of frequency integrity.
It's not about the form, it'sabout what the form anchors.
It's not about being popular,it's about being precise.

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This is why so much of the old media, oldart, old music is collapsing - because
its scaffolding was built on distortion.
It can't hold in the new field.
The new Renaissance is being builtby artists of coherence, architects
of resonance, and if you'relistening to this podcast, there's

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a good chance you are one of them.
Everyone is an artist.
You don't have to paint or write or sing.
You don't have to have an Etsyshop, a gallery, or a brand.
Your art is your frequency.
It's how you speak to your child.
It's how you style your home.

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It's how you move through a grocery store.
Art is any act of creation infused withpresence, with resonance, with truth.
If your words rewire someone'sself-perception, if your energy
softens a room, if your beingness givespermission for others to feel safe being

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themselves - that's art, that's legacy.
The new Renaissance isn't askingyou to become someone else.
It's inviting you to become the clearestversion of who you already are, to
let your life become a portal, tolet your resonance become your role.

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I've shared before how important it isto align with your higher self and your
true tone by following your purposeand passions, because that is the path.
That's how the embodiment happens.
For me that includes things like fashion,interior design, beauty, aesthetics.
And lately I've been letting myself sharemore of that on my social media, not as a

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departure from the spiritual topics I talkabout, but as a deeper embodiment of them.
Because the new Renaissance isn't justabout topics you talk about, it's about
the tone you live in, the field youtransmit, the frequency you anchor.
Expression is integration and beauty,when it's true, is a divine signature.

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So if you see me posting aboutstyle or design, just know it's
not superficial, it's sacred.
That is my white hole essence showing up.
And in the white hole expression,beauty is a resonance field.
In the new Renaissance, youraesthetic isn't a mask, it's a mirror.

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It reflects the coherenceof your internal world.
The way you dress, design, create- it's not fluff, it's not extra.
It's architecture.
It shapes energy, it holdstone, it transmits alignment.
Your true style is a frequencyexpression of your true tone.

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It carries codes of remembrance.
Every time you share somethingbeautiful, something that's real
for you, you're participatingin the restructuring of reality.
You're reminding the field that coherencecan look like silk and limestone.
Let your life be a galleryof God's resonance and let

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beauty become your prayer.
You are not here to be consumed,you are here to transmit.
You are not here to loop in old pain,you are here to alchemize it into light.
You are not here to copy someoneelse's blueprint, you are here
to architect new energeticinfrastructure through your presence.

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Legacy is not built by going viral.
Legacy is built by vibrating truthinto form again and again, until the
world reorganizes around your clarity.
You are not behind.
You are right on time.
And the new Renaissance beginsevery time you choose resonance
over reaction, creation overcontrol, frequency over force.

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So go create, go stabilize, go transmit.
We're building the future in real timeand you are one of its architects.
In the next episode, we're going to expandon this even more, especially this concept
of cultural eras and bridge phases.

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We talked about how we moved from thedark ages to the Renaissance and now
into what I believe is a new renaissance.
And even though distortion has shown upin each of those phases, there's still
a deeper movement, a slow spiral upward.
So in the next episode, I'm going todive into what I'm currently calling

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the spiral of cultural evolution.
We will explore how to step out ofdualistic thinking, how to recognize and
avoid duality traps, and how to startseeing the larger energetic pattern
that's unfolding around us and within us.
I am also going to tie this intothe concept of the polarity shift

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because at first glance, these twoideas might feel like a contradiction.
On one hand, we have the idea of aslow spiral growth through eras where
each phase, even if distorted, addsenergy and helps evolve the collective.
On the other hand, the polarityshift isn't about gentle

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movement between opposites.
It's about polarity being stretched to anextreme in one direction so far that the
system collapses and shifts into whateverfrequency is available to hold it.
So at first these models seem like theyconflict - one is gradual and inclusive,
and the other is sudden and almost binary.

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But here's where the nuance comes in.
As I've said before, the way you winthis game is by exploiting the paradox.
These aren't contradictions,they're layered truths.
And when you stop trying to forcethings into clean binaries, you start
to see how the spiral actually works- how collapse and growth can coexist.

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I really think this upcomingconversation will help you step into
a new level of pattern recognition.
You'll begin to see the meta patternsthat shape culture, perception, and
even identity, so you're no longergetting caught in loops or needing to
tie your ego to a specific opinion.
I haven't fully written the episode yet.

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The concept is still weaving itself, butI already know it's going to be a powerful
continuation of what we've started here.
So definitely subscribe and belooking for that one next week.
If you wanna stick around a second, Iwanted to end with a guided frequency
check - is your art looping or legacy?

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So if you wanna do this guidedcheck with me, just stick around.
So let's pause and close your eyesunless you're driving, then don't.
Take a deep breath into your body.
Feel your feet, your hips, your spine.

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Feel the weight of your body being held.
Now, bring your mind to somethingyou've created recently.
A post, a song, a reel,a poem, a conversation.
It doesn't matter how big or small.
Just choose something you'veshared with the world.

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Now, ask your body, not your mind- "what was I transmitting through
that expression?" Was it comingfrom my truth or trying to prove it?
Born from clarity or coded with chaos?
Rooted in my healing or echoing my pain?

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Designed to liberate, orsubtly seeking validation?
Now feel into your chestand your solar plexus.
Feel the energy of thatpiece move through your body.
Does it spiral open ordoes it tighten and pull?

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Do you feel expansion or contraction?
No judgment.
Just noticing.
Looped art often feelsurgent charged or heavy.
Legacy art often feels calm,crystalline, or light, but precise.

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Now, breathe again.
Feel your body settle.
And stay out loud or in your heart - Ichoose to create from clarity.
I choose to express what liberates.
I choose to install truththrough my frequency.

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Feel that ripple.
That's a legacy tone and that'swhat we're here to build.
So that's all I have for today.
I hope you enjoyed this episode.
Please share with a friend or a loved onethat you think it would resonate with.
Let's build this new architecture.

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I love you all and have a great week.