terça-feira, 13 de outubro de 2026


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In Hopi, there is no time as we know it.
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There's only now. What Warf found was that in the Hopy language, they see everything is alive. Everything is
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connected. Everything is present. And now for the Hopy, it's impossible to see
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one wave in the moment in time and call it a wave because it is happening now.
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The word is waving. He said the way that we speak influences what [music] we think. That our thoughts, what we are
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capable of thinking are actually linked [music] to the way our neurons are being
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wired. Right now, there are 23 examples of ancient texts, ancient languages
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[music] that were given to the people of the earth that to this day cannot be translated. We don't know what they say.
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When we create, here's what's happening on a biological level. And this is going to be a direct segue [music] into the power of language in our lives.
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The act, the act of you creating, the act of you reaching deep inside of
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your being, reaching deep to bring something new forward, the act of you striving to create and become something
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more in the next minute than you were one minute ago. That act is the biological trigger.
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That is the impetus for your neurons to begin to wire in [music] a way that will
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support what it is that you've chosen to create. So, let me just give you an example of this. I'm a musician. I'm a guitar player. I have been all my life
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since I was uh 8 years old is is when I [music] began. When I want to learn how to play like another guitar player, one
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of the most influential guitar players in my life was a man named Michael Hedges. Michael Hedges passed uh a few years ago. He was a Windham Hill artist
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and I saw him live. I saw him play live and I went up to the stage and he took the time to talk to me. He was very kind to me. Had a very very powerful impact
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on my life. And Michael Hedges when I saw him play, he blew all of the constructs, all the rules of the way
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I've been taught classically to play guitar. He blew those rules right out of the water. He gave me the freedom of expression and I respect him and I loved
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him so much. I was so sorry when he he left [music] this world. So when I want to play like Michael Hedges and I listen to his songs again and again at first
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it's very mechanical but there's a point and maybe you've had this experience if you're trying to learn a language French or Spanish or you're trying to solve
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mathematic problem. You're going through the motions and all of a sudden one morning you wake up and you're speaking French, you're speaking Spanish, you're
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thinking the language of the mathematicians, you're thinking the language of Michael Hedges and all of a sudden you know where those chord progressions work. When that happens,
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here's what you've done. What you've done is the act of you striving to achieve that expression is what triggers
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the neurons in your body [music] to actually find other neurons to grow and it find other neurons. The image
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you're seeing on your screen right now is a single isolated neuron looking for another neuron that it can hook up with.
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They're very social. They want to hook up these neurons. And what you're seeing on your screen is what happens to many neurons when you are doing this. It is
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the act of you striving to create that triggers the neurons to fire the way they fire. This has a direct impact and
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a direct consequence when it comes to language and the words that we use to express ourselves in our lives. So, one
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of the first scientific links to what I'm talking about here, the link between the language that we use and our
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biology, the way that our neurons fire, was made early in the 20th century by a linguist, his name was Benjamin Lee
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Warf. And the ideas that Benjamin Warf shared in the world of linguistics, in the world of science, they were radical for his time. What he said is this.
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Number one, he said that the way that we speak actually influences [music] the way that we think. But perhaps even more
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importantly, number two, he said the way that we speak [music] influences what we think. That our thoughts, what we are
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capable of thinking are actually linked [music] to the way our neurons are being wired. One of the reasons that Wararf
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came to this conclusion was because of the work that he was doing with an indigenous people in North America, northern Arizona, the Hopi. And what he
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found was that the language of the Hopi, when that language was translated into English, what he found is that the Hopi
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have a very very different way of thinking about us, about nature, about our relationship to the world, [music]
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and specifically about time. So here we are back at time. Time is the program
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[music]
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that allows us to live our lives as we do within the operating system of the divine matrix.
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What warf found was that in the hopey language they see everything is [music] alive. Everything is connected.
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Everything is present. And now from the hopey perspective there are
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only two realms of possibility. One is the realm of things that are manifesting in the present and one is the realm of
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things that are already manifest. The hopy do not think about time the way that we think about time
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from their perspective. The manifest is everything that has already happened.
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It's everything that we can sense, everything that we can experience. It's what's already occurred in the world.
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From this perspective, the manifesting
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[music]
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is what is unfolding in this moment and is actually called in the language the spirit of the breath and includes
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whatever is unfolding in the moment now as well as what's possible [music] in the future. Now, these may seem like insignificant
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changes that I'm talking about between the way that the hopy think and the way we think, but they have very powerful implications.
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Let me talk to you about the concept of time in the Hopi language. In Hopi, there is no time as we know it. There's
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only now. And what Warf found when he was exploring the language is that there were no nouns in the Hopi language to
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specifically refer to the past or the future. Everything is present.
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Everything is happening right now. So for example, the idea of a wave. We look at a wave in an ocean. We say look at
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that wave. For the hopy, it's impossible to see one wave in a moment in time and call it a wave [music]
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because it is happening now. The word is waving. When they are looking at the wave, we say look at the wave, but we know there are other waves out there.
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The hopes say that the ocean is waving.
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They actually have a [music] word. They say w la meaning the plural waving is occurring the plural waving. [music]
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So in a very real sense their language is more accurate than ours describing what the waves are doing. Although it feels awkward to us because the way we're wired to think.
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So the hopy are using the same words to describe what is [music] or what has already happened. and they're describing
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a quantum possibility that has already become manifest while leaving the future open for other manifestations and other possibilities.
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Well, when we look at the movie The Arrival [music] from this perspective, it opens up a whole new realm of possibilities because this is the
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central theme to the movie. In the movie, humankind through the language of separation [music] was on the brink of
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war, on the brink of destruction in the modern world because of the weapons we have and the kind of war that was possible. [music] And it's precisely at
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this moment in time when a new language is introduced [music] to the world. Now in the movie, it
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happened to come from another world and that was the ET perspective.
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But there is a growing body of scientific evidence that suggests something very similar to what happened in the arrival has already happened here
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on Earth that didn't necessarily come from another world in our time. It may have been left to us in the past. Right
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now, there are 23 examples of ancient texts, ancient languages [music] that
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were given to the people of the earth that to this day cannot be translated.
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We don't know what they say. And the reason I'm sharing this [music] is because just like the indigenous language of the Hopi is a language of
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connection. And when the hopes speak in the language of connection, it wires
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their brain to see the world from a place of connectivity, of unity, of aliveness, of [music] cooperation.
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It's very possible that at least one, if not many, of the languages that have been left in the past provide precisely
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the same idea with an alphabet that helps us to find [music] this place of unity. And we go back and we think about
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this growing body of evidence that suggests that consciousness informs itself through its creations. The movie
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Arrival is perhaps mirroring to us what has already happened in our past [music] or the potential of what we can embrace
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in the future simply by recognizing the power of our language to change our biology. Such a different way of
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thinking. The power of the words we use [music] again and again to trigger the neurons in our brain and in our heart
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[music] to find other neurons to wire together so that we become networks of peace, networks of cooperation, networks
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of unity rather than the networks of separation, competition, and conflict that we've achieved in the past through
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the use of the language that was given to us a very long time ago.
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So maybe it's no accident that the movie Arrival has arrived in our world precisely when it has arrived in our
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world. Step back and look at the big picture. We're living a time of extremes. We're living in a time unlike any time in 5,000 years of recorded
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human history [music] when huge natural cycles that include the cycles of climate, the cycles of economy, the
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cycles of human conflict, each of them are converging [music] at the same time into an experience that
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we've never seen before. And at the same time that has happened, the people of the world are being pushed together
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across the boundaries that we've known in the past of oceans, of [music] mountains, the borders between countries. People of the world are
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coming together and we're learning what it means to live amidst different cultures, different religions, different ways of thinking, different ways [music]
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of treating men, different ways of treating women. All of this is happening within the context of the big picture of these converging cycles. At the very
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time when [music] our differences have led to the brink of war in the world today, at the very
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instant, maybe it's no accident, the movie Arrival arrived to remind us of the power of the
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language to change the way we think about ourselves and our relationship to one another. And we think about it from that perspective. In addition to being
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an awesome movie and one of my favorites, the question that it begs for me and I'm going to invite you to think [music] of the same question. If our
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words are a reflection of what's happening in the world and our words are directing our biology and the way our
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neurons fire, what words are you feeding into the field? What words are you feeding into the matrix? What words are
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you using to direct your biology? And when you become conscious of the language that you're using from this perspective, it opens up a whole new
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realm of possibilities. And that is the power of the divine matrix [music] and the power of understanding our language
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and the role of our language to direct the possibilities within that matrix.
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Through the wisdom preserved in some of our most ancient and cherished indigenous and spiritual traditions, [music] we can now think of language as
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the user interface for the operating system of our lives, the divine matrix. Thanks for watching all the way through.
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