The second chapter looks at certain aspects that Airaudi has used to construct his image and inflate the extraordinary myths that surround him. The astuteness of Airaudi over the years has rested in his use of suggestion or half truths, so that others with their imagination and fantasy, will complete the story that he has cleverly begun. For example: who he was in his previous lives, (always important figures such as Ramses II or Cagliostro) or what he did and with whom and things of that kind. He clearly never says anything specific but just leads people to believe, by making allusions and creating expectations that others enrich with their imagination. He creates real myths from events that never happened or happened in a totally different way from how they are recounted.
Let’s look at some examples and it will become clearer.
One of the myths on which Damanhur is founded is time travel. According to the story told by Airaudi, 25 years ago he traveled in time to Atlantis but rather than take a camera with him to record the event, he took the famous painter Dovilio Brero (ed. now deceased) instead. Brero on his return painted a series of works representing Atlantean scenes from the time of their visit. What a shame that Airaudi and Brero never really went to Atlantis and that Dovilio Brero, by his own admission, had simply painted the paintings under commission for Airaudi. (Ed. Brero confirmed this to a group of ex-Damanhurians who spoke with him shortly before his death) Yes, sure, a journey was made but only a journey of the imagination!
The agreement between the two men was to produce a literary and artistic work in which Brero would provide the images, which he subsequently did and Airaudi the text. Airaudi however, never wrote the book, only a short introduction with some captions, most of which can be read today as the Damanhurian account of a real voyage to Atlantis (see below).
On this piece of deceit Airaudi has constructed, word by word, a fabric of lies, embroidered over the years with anecdotes and tales that have worked inside the minds of people to create the myth that Damanhurians believe to be true! Airaudi simply took advantage of the artistic talents of Dovilio Brero, an artist of international fame, in order to create one of his many false myths. A myth that has allowed him to have influence over others, increase his yearning for power and appear as a great magician in the eyes of Damanhurians, instead of a great …. which is what he really is.
With regard to the time travel voyages that were carried out after the first mythical journey to Atlantis, nothing is as it seems.
Airaudi has always told lies and practiced illusionist games. Being a well-trained hypnotist (something that one encounters often in Damanhur and also many qualified hypnotists would recognize), he has played with hypnotic and suggestive techniques to make people believe that what they experienced in a hypnotic state was in fact a real journey in time.
How were people chosen to travel in time?
Hypnosis tests were carried out on everyone who wanted to time travel and then subjects were chosen from among those who were not able to remember what happened during the test or to remember only what the hypnotist said.
According to Airaudi the hypnosis was necessary to insert complex codes, that were difficult to remember, into the memory of the time travelers, which would allow them to pass through time doors and undertake their mission in time. The best hypnotic subjects therefore became Damanhurian ‘Temponauts’ and we are looking at just a privileged few, all exceptionally faithful to Airaudi and therefore very easily manipulated.
Posted to the Damanhur forum of www.cesap.net 2008/02/20 00:29 under the title: The other face of Damanhur – Chapter 2 – Atlantis
The journey to Atlantis
An extract from the Atlantis pages of the old Damanhur web site www.damanhur.org (February1999) telling the story of a journey in time by Oberto Airaudi and Dovilio Brero to Atlantis. This story by Airaudi and its accompanying images by Brero subsequently gave rise to Damanhur’s lucrative seminars on Atlantis, the development of the time cabins and the myth of Airaudi’s ability to travel in time.
‘Dovilio could not believe it, although we had known each other for years. Many times in the past he had been present during my experiments: so, why should it be strange? Extraordinary, for sure. But not impossible: I had offered him a journey to Atlantis. Of course, I was not completely disinterested: I could have taken many other people, but my choice fell on him for a good reason: he is a painter.
In a journey of this kind, beyond time, the magician cannot take anything which is not alive; no cameras, no recorders or similar objects.
Only himself; and he who accompanies him. Ancient peoples represented this magic technique as a journey to the Underworld. Think of Aeneas, Dante and Virgil… and others who still had the chance of contacting other realities and ultimately the fortune of directly living them.
Well, in this century this fortune befell us: Dovilio and Oberto. A painter and a magician. To be true, this definition of myself is neither precise nor exact; though had I used the terms ‘parapsychologist’ or ‘medium’ I would also have been inaccurate. Let me explain: magic, meant as science and research, is what I do. The realities surrounding us, in our bodies, are infinite. Our normal human perception of what is all around us is infinitesimal.
In magic, time contracts. And in the ancient (to us) Atlantis, a few reputable magicians of great value know how many strange ideas, at times even crazy, people will have about their civilization; from Plato’s hints, up through the centuries, to us, and beyond.
I’m going to tell you how this adventure began. In my laboratory, one night, during an evocation experiment, a man appeared whose name I do not want to reveal in order to protect his evocation. He seemed to be thirty-five or forty years old. It was certainly not my first experiment of this kind; in my experience, even though this may seem unbelievable, things of this kind are fairly common.
The man said that he had been looking for that contact for quite a long ‘time’. He came from the land of Atlantis, from the time before what would be – for him – its probable disappearance, in one of the many possible futures. He gave me the contact formulas, – quite an extraordinary event – (a little bit as if they were the combination of a safe, containing an ancient treasure, unassailable otherwise), and all that was left for me to do were the calculations to determine the right place and the right moment to open a physical door in time-space. Just imagination? Wait before judging. These lines, these pages are the simple account of our experience.
Simply we will tell you and show you what we have seen and heard. Even now, as I write, at times I find myself shaking my head; ours had been such an extraordinary experience. And Dovilio will show you, with his painting ability, a few images that especially struck him.
We saw the pictures referring to ancient Atlantis in a special three-dimensional projection theatre (as if they were strips from old news-reels, re-edited in subsequent epochs by the people of Atlantis). All the other paintings refer to things we observed directly.
According to my calculations, the exact moment to start our journey would be on the Friday, twelve minutes after sunset, in a place where we could contact one of the great energy lines of the planet, those we define as ’synchronic.’
Well, one of these ‘lines’ surfaces in a particular point of the mountain at the side of the ‘Devil’s bridge’ located in the small town of Lanzo, north of Turin. In that exact moment, applying the formulas and the rites that had been revealed to me, the wall of a certain rock – tilting like the side of a pyramid – would become lukewarm, hot, then soft, fluid, and finally smoky and inconsistent. All of this duly happened.
We took off our clothes and entered the rock. Dovilio trembled, and not only because of the cold, but he trusted me enough to come with me. We had talked of this for days and days, and his enthusiasm and curiosity had grown so much, that he would phone me every day just to know how my calculations and preparations were going.
This is the account of that marvelous journey. Rather than writing a detailed report, I prefer to tell you of those things which have mostly stayed in our memory. We will therefore give you ‘glimpses’, with a commentary. Dovilio and I have often met since then, to define and remind ourselves of all the details, so that they can be brought vividly back to mind. I can affirm that the pictures reproduced here are exactly what we both remember. Ours was a slightly hasty work, for fear of losing the clarity of detail if we waited too long. Perhaps, in the months and the years to come, we will be able to remember other important things which are now buried beneath a pile of memories.
The journey lasted only three days, during which we hardly ever slept, and rested very little; yet more than that was not possible, as we would have run the risk of not being able to return.
The purpose of the journey was to be able to correct all those things that, till now, have been said about the land of Atlantis, its cities, its customs and history, its medicine, the social system, the economy…
We appeared on a stony lowland, bare, windy; no mountains on the horizon. The air was crisp and cool.
Stunned, I walked a few steps and I saw, on the ground, a curved line, in red: it was the external limit of the magic circle of correspondence through which we had been projected, beyond time-space. I invited my travel companion to follow me, and we walked across the magic sign.
A few footsteps further, beyond a very deep canyon, we are on the top of highland, or better on the truncated top of a very high mountain. We begin to feel cold. A buzzing sound starts, just perceptible enough to attract our attention. It seems to be arriving from every direction. Coming up from the bottom on our right a transparent box appears a sort of elevator along the vertical side of the highland. Our hosts have arrived and they hurry to bring us white mantles.
As we descend slowly along the wall of the mountain, the spectacle presented to our eyes is fantastic. In front of us, very distantly, we can distinguish three pointed mountains: it is the central chain of Atlantis from which, through the centuries, the symbol of this civilization was derived: the trident.
We are welcomed with an intense music, similar to the sound of Sitar Etabl. With a very delicate smile, showing more humor than teeth, a priest approaches us, or at least this is what we guess he is at our first impression. He speaks Italian and this shocks us even more (if such a thing was possible!).’
Photo: Courtesy of the Damanhur web site Atlantis pages which are now off line.