Prehistory
In August 2022, the farthest we had explored in our shared 3D model of Khmer archaeology was the 12th century. Although time has no fixed reality in the quantum paradigm, our rational minds are often plagued by doubt. We then wondered about the possibility of synchronicities occurring in the Upper Paleolithic, the earliest of which we wanted to question was the Gravettian. The answer was not long in coming when we visited the caves of Gargas...
Negative hands from the Gargas caves
On August 12, 2022, we visit the Gargas caves as ordinary visitors. The highlight of the visit is the room with the negative hands and their amputated or bent fingers. Several theories, each as stupid as the next, have been repeated over and over for decades, and even the most recent books still mention them. We then ask for a synchronicity to know the reason that led to this type of representation. The answer will come within minutes, as well as the next day and the day after that.
We contacted the researcher in charge of studying the handprints, as well as the cave staff, but received no response. As a result, we have not been able to carry out formal validation, which means we are unable to publish at present.
If you'd like to know more, please use our Contact page.
Painted pebbles from the Mas-d'Azil cave
On August 16, 2022, after our visit to the Mas-d'Azil cave, we visited the eponymous Musée de Préhistoire. Numerous painted pebbles, also known as "galets aziliens", have been discovered in this cave. Their function, if they had one, remains enigmatic. We therefore asked for synchronicity in the museum itself, in front of the objects, and obtained two concordant synchronic responses, on the same day and the following day, in the form of images sent by WhatsApp by a person unaware of our research.
We are not disclosing this discovery at this time.
If you'd like to know more, please use our Contact page.
A horn at the Niaux cave
On July 16, 2023, during an animal communication workshop, Corinne Dupeyrat agreed to carry out an intuitive archaeology exercise with four of her trainees. I (Patrick Kersalé) remain in the background, answering only questions from the trainees. Corinne and her trainees know little about the Upper Paleolithic period, and nothing about the Niaux cave.
Corinne introduces participants to the cave and stimulates them with a few suggestions and questions. Suddenly, a participant (Emmie Esnault) says she sees someone blowing a horn. Corinne asks if the player is in the cave. Emmie replies that he's at the entrance to the cave, blowing outwards. A few seconds later, the donkey in the field next to the course starts braying like a horn!
Delayed from the exercise, Emmie recalls perceiving the sound of the horn-player at the same time as she was visually observing him. She also expresses her surprise at hearing the donkey bellowing in the neighboring field, as its cry sounded eerily similar to the sound of the horn.
A few days later, I decide to contact Tinaig Clodoré-Tissot, a renowned archaeomusicologist. I share with her the story of this intuitive communication. Her response is immediate and unequivocal: she is convinced that Paleolithic man used horns, even if no specimens have survived due to their organic composition. However, she stresses that the Palaeolithic did use conches. Although these instruments differ from the horn, the playing principle remains fundamentally the same.