Milo Giacomo Rambaldi b. 1444 - d. 1496
Prophet and Seer...Psychic and Alchemist

I believe Rambaldi, whose works are a main theme of the TV series Alias, was convinced that there were people with powerful telepathic abilities among the human population. I have used a series of his own drawings to show this.



This telepathic ability can be done over extremely long distances, as would logically necessitate some sort of transmission assistance device, although none was in evidence. The above drawing shows a model of how such a device might work mechanically and electromagnetically.



There being no transmission assistance, this implies that humans themselves are the transmission media and that for the phenomena to exist over long distances a significant percentage of the population must be part of this transmission process.



Rambaldi sought to create a device that would allow eavesdropping by a non-telepathic individual of the transmitted telepathic conversations.



Rambaldi believed the process took place as an audio phenomena, and strived to develop a comprehensive mechanical model of the inner ear.



Similar to the number of musical notes in an octave, Rambaldi designed a mechanical device with eight gears so that it would be able to duplicate the full range of sounds audible by the human ear.



Each gear was at a different pitch, or angle of inclination, in order to generate the desired affect ~ presumably a duplication of the human voice.



The assembled device would allow a non-telepathic individual to literally hear the telepathic conversations by causing the excitement by the transmitted "psychic" energy of the small bones of the inner ear.

Evidently the Church thought there was something to this device and Rambaldi's effort to design it, because they persecuted him and tried to destroy every vestige of his designs and his workshops. (See the biography of Rambaldi at the bottom of this page.) These few parchment fragments are all that remain, but fortunately they are enough to outline Rambaldi's thoughts and intentions. The big question is, are there really telepathic individuals? Evidently the Church believed so.

In the modern day, it is clear that the Jews are "the matrix" and that they got this psychic ability by coitus with Leviathan, the extra-terrestrial creature of the Book of Job in the Bible. (Later, the "golden calf" they absconded with during the Exodus.) The Church sought to excise these individuals from the gene pool (Jesus, the Disciples, and all the original Christians were Jews) by imposing celebacy upon priests. On the other hand, the Jews sought to enhance their abilities, by forming a closed society prohibiting any intermarriage with "gentiles." This reached the final phase with the Holocaust which, I believe, was orchestrated by radical fundamentalist Jews who followed the teachings of Rabbi Kotzker upon reformist Jews who followed the Baal Shem Tov, with the help of fundamentalists in America. These Americans were centered on George Walker Bush, Sr. the grandfather of President Bush, who was the senior partner at a major Wall Street firm that funneled billions of dollars to the Nazis during the 1930's - money which put the Nazis in power, and kept them in power.

Apparently another Leviathan was gotten into captivity following the UFO crash at Roswell in 1947. It took a couple of decades before the Americans figured out how to create alien-human hybrids, and another generation to realize they had psychic abilities. Eventually they figured out what the Jews were up to, and together they made 9/11 happen (the Israelis facilitating the attacks by the fundamentalist Arabs by disabling the aircraft black boxes and homing beacons, short circuiting security, etc.. and the American Nazis based at the University of Texas at Austin doing the structural analysis of the Twin Towers to show where the aircraft needed to impact for a perfect implosion), after which time they operate as one under the auspices of the American Gestapo, The Department of Homeland Security.



This short biography is from the TV show Alias' official website. (One theme of the show is a search for Rambaldi's lost works.)

Born in Parma in 1444, Rambaldi was educated by monks of the Vespertine order, and until the age of 12, was self-employed as a painter, sculptor and student of the arts. Introduced to Cardinal Alexander of the Roman Catholic church, during his travels to Rome at the age of 18, he was retained privately as architect, consultant and prophet, when Alexander became Pope in 1492.

Despite this benefactor's wishes to see Rambaldi prosper, during his lifetime Rambaldi and his works receded from visibility by commandment of Archdeacon Claudio Vespertini, who feared the revolutionary implications of technologies defined in Rambaldi's belief system, and sought to have Rambaldi's works contained and eventually eliminated. He conflicted with Alexander VI on this one matter; a moot point at the time of the Pope's passing in 1503.

Vespertini commanded that the name Rambaldi be "washed" from all monuments and edifices throughout the period of 1470 to 1496, at which time he ordered that the Pope's engineer be excommunicated for heresy, his workshop in Rome be destroyed, and that he be sentenced to death by flame, upon Rambaldi's declaration that science would someday allow us to know God.

Milo Rambaldi died a lonely man, in the Winter of 1496. He had no surviving spouse or heir. Shortly after Rambaldi's demise, a second, "secret workshop" was discovered, in San Lazzaro, and was systematically torn apart by agents of the Vatican. In a movement to discredit his work and influence, plans and sketches were sold and traded for next to nothing by mandate during a private auction. Since the 15th century, traces of Rambaldi's enigmatic work have turned up in various places around Italy, France, parts of Eastern Europe and the former Soviet Union, and even a museum warehouse in Waterbury, Connecticut in 1921. The design directive for many of these drawings remains unclear to this day, and has even inspired some impressive forgeries.

Rambaldi is said to have preceded the digital information age by implication of an illustrated "machine code" language as early as 1489, through the introduction of cryptic algorithms (eg, compression) around his use of pre-binary 1's and 0's. Many of his drawings and documentation are written in multiple languages ranging from Italian and Demotic hybrids, to elusive mixtures of symbols (pre-masonic cipher encryptions).

Rambaldi created the earliest known watermark on all of his papers, known as the "eye" of Rambaldi, and which show up to the naked eye only when held to black light. His waterpapers were all hand-made and of a unique polymer fiber (similar to onion skin), and possessing a consistency that has lived and aged well-beyond its era, and in under (oftentimes) adverse storage conditions. His watermark (the eye "") is so far the only test of accuracy against the slew of falsifications and forgeries, which have also arisen in a revisionist era, culminating with several prime examples of digital piracy. So far there have been 102 known forgeries in balance to the total of 22 known and documented sketches.

Documents interpreting Rambaldi's designs and teachings were highly sought-after during the Third Reich, during Adolf Hitler's paranoid scavenger hunt for occult and theoretical knowledge. During this period, the epithet "Nostravinci" became part of the fuhrer's private lexicon -- a personalized short-hand for the name Rambaldi, in auctioneering circles where the desire for the seer's work still proved competitive.

Rambaldi's works are still, to this day, formally unpublished, due to a consistent international ban on the name Rambaldi, its fascistic legacy, and especially its lack of visibility; it has been alleged that a conspiracy of containment precedes many of these twentieth-century discoveries, even that the knowledge contained under private sanctioning of his documents remains under the firm "hand" of the Trilateral Commission.

In 1988, a rudimentary schematic unearthed in one private collector's home in Brazil, indicated on the back, a diagramme for a transportable vocal communicator revealed the design and workings of contemporary cellular phone technologies.

Since March of 2001, (KDir Classifications Director) Olgi C. Krystovnich (b. 1964, Russian historian and cryptologist) happened upon one of Rambaldi's earliest designs, ca. 1460, located and released from a personal collection in Madrid. In this drawing, she identified a prototype that reflected the properties and composition of a 20th century transistor design.

The remainder of Rambaldi's oeuvre remains forgotten, and much of it has been destroyed, with much uncertainty remaining as to how many notebooks he might have filled during the fifty-four years of his life.

© 2003 bill h. clark ii
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