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[Alexandr Korol]

the three vertices of the tetrahedron. It ends up being a sphere within a sphere, and it’s this volumetric Flower of Life. And I have to sculpt it, assemble it, and that will be the completion. That’s what I’m working on now. So yes, in music — it’s clear that once I fully decipher this code mentally and physically, once I show it through the matrix and encoding — then you can represent this matrix anywhere. It already exists; the world is built on it. It’s not new. It’s just hidden from people. And of course, once this code is revealed, you can do anything with it — music, scents. But even within the music or the scent, the code behind it is still mathematical, still geometric. That’s the trick.

Question: In the second volume of “Alternative History,” you write, “God, through Jesus, gave people this key — to cross themselves, to distort dimensions in order to protect themselves from evil spirits, from low frequencies.” Can you explain how this crossing technically works?

Initially, the first time I encountered how this crossing works was probably back in 2011–2012, when I would take a glass of some drink, like Coca-Cola, and bring my palm toward it, imagining that all the energy from above and from my body flows into this palm and from the palm into the glass — entering the glass. I’d do that for about a minute, and then when I drank the Coke, it tasted different. Later I explained to people that this idea — that energy goes from my whole body to my palm and into the glass, or that the energy first goes to my head, then to my hand, then to the glass — is all a psychological illusion that simply gives me a sense of belief, helping me to focus energy there. But in essence, what I imagine doesn’t really exist. It’s just an illusion that helps me believe in myself and in what I’m doing. Later I showed my friends that I could just look at a glass and imagine the energy entering it, and if my faith was strong and I imagined it well, they would really try the Coke and find it no longer sweet or fizzy. And I wouldn’t even have to hold my palm over it — just looking at it was enough. But then it got even more interesting. I began imagining that, for example, there were the Egyptian pyramids or the Louvre, or the Egyptian hall in the Hermitage in St. Petersburg. I imagined that all the energy from there was flowing into the glass I was looking at — and it really did seem to go straight in. And when someone tasted it, they were shocked — their mouth would pucker up.