American Cosmic

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American Cosmic Page 6

by D W Pasulka


  his experiments on days that were ritual y significant to him,

  such as Halloween, and his prelaunch rituals paid homage

  to the intelligences with whom he believed himself to be in

  contact. His life ended tragical y. He was thirty- seven when

  one of his rockets exploded as he was experimenting in his

  garage, and he perished with it. A few months after his death,

  there was a very public sighting of UFOs over the White

  House. Parsons’s widow and friends attributed this sighting

  to his death.4

  In keeping with the code of silence that permeates

  the industry, most of the astronauts and NASA employees

  I interviewed didn’t know about this history, or if they did,

  they didn’t want to talk about it. The mere mention of it

  embarrassed them. When I asked Tyler what he thought of

  Jack Parsons and Tsiolkovsky, he expressed admiration for

  their genius but was genuinely shocked and surprised when

  I described what they believed and their rituals. I had begun

  to understand Tyler as being part of a lineage of people like

  Tsiolkovsky and Parsons— people who believed that they

  were in contact with nonhuman intelligences and believed

  that those intelligences were directing their paths and

  seeding them with information that directly led to the cre-

  ation of innovative technologies. Whereas the former men

  focused on aeronautics, Tyler had a dual focus— aeronautics

  and biotechnologies. I also began to understand Tyler as a

  contemporary version of the famed Colonel Philip Corso.

  Colonel Corso was a military man who claimed to be an

  agent whose task was to seed private industry with crashed

  extraterrestrial craft under the guise of Russian or Chinese

  technology. The hope was that private industry would

  reverse- engineer the technology and provide Americans

  3 8 | A M E R IC A N C O SM IC

  with an edge in the global marketplace. His book, The Day

  After Roswel (1997), appeared on the New York Times best-

  seller list. The book fueled a modern version of the myth

  of Prometheus—

  the notion that nonhuman, advanced

  intelligences (gods, even) provided humans with advanced

  technology. But it also fueled a conspiracy theory that si-

  multaneously explained the origins of modern technology

  and accused the government of covering up the secret of

  extraterrestrial life.

  Significantly, technology has often been described using

  the language of the supernatural. Computer programmers are

  “wizards,” and “devils” in computers assist users with techno-

  logical tasks. Social media can and will “read your mind.”5

  A much- quoted statement by Arthur C. Clarke, that “any

  sufficiently advanced technology is indistinguishable from

  magic,” solidifies a division between technology and magic

  while also establishing their connection.6 The assumption is

  that if we were sufficiently advanced, we would understand

  that something that appears magical, such as an advanced

  propulsion spacecraft, is not magical at all but technological.

  But something far stranger and more complex was at work

  here, as reflected in the lives of the founders of the space

  programs and in the work of the new, contemporary version

  of Colonel Corso, Tyler D. It was a fusion of magic, or the

  supernatural, and the technological. And somehow silence

  was the key to understanding this connection. Whereas

  the original Colonel Corso functioned as a contemporary

  Prometheus and was punished in the public court of ridicule,

  the contemporary Corso, Tyler D., worked silently, invisibly.

  His invisibility ensured his success and was somehow a key

  to it.7

  T H E I N V I S I B L E T Y L E R D . | 3 9

  M E E T I N G T Y L E R : I N P E R S O N

  At this point, my expectations of Tyler were running very

  high, and he did not disappoint me. We arranged to meet

  in Atlanta at the annual conference for my discipline, the

  American Academy of Religion. Even though I was sold on

  Tyler’s legitimate place in the space program, I was still sus-

  picious of him, mostly because I knew he would be outfitted

  with cameras, but also because I was still unsure exactly

  what he did and why he was interested in meeting me. I con-

  vinced one of my colleagues, Jeff Kripal, to accompany me

  to the meeting. Jeff’s work on religion had helped me un-

  derstand the research direction upon which I had embarked,

  and I hoped to rely on his input and assessment of Tyler and

  his occupations. I had primed Jeff for the meeting, telling

  him of my concerns. I also knew an experiencer who knew

  Tyler. His interpretation of Tyler was informed by his belief

  in extraterrestrials and his Christian beliefs, so I wasn’t that

  surprised when he told me that Tyler was probably an angel,

  which to him meant that he was a person who is part human

  and part extraterrestrial.

  “You are just about to meet someone who is not human,”

  he said. “He is older than both of us, but he looks twenty

  years younger. I don’t know what he is.”

  We were to meet at a restaurant near the conference,

  but it was jam- packed with scholars of religion. The wait for

  a table was over an hour. Jeff and I decided to wait at the

  bar for Tyler. I was nervous, and Jeff picked up on my un-

  ease. We laughed. Soon a tal , thin man with thick brown

  hair appeared at the restaurant window and peered in. It was

  Tyler. The window was mirrored glass on the outside, and

  4 0 | A M E R IC A N C O SM IC

  as I turned I looked directly into his eyes as he combed his

  hair and checked his appearance. He couldn’t see me. He

  then walked in and recognized us immediately. I noticed

  the details of his clothes. He was extremely well dressed in a

  classic suit and a dress shirt with cuff links. Gucci. His attire

  and demeanor distinguished him from the scholars of reli-

  gion, who were mostly disheveled and were milling about

  and eating lunch. He introduced himself, and we shook

  hands. I couldn’t tell how old he was, maybe in his late forties

  or early fifties, but he did look extremely fit and youthful, just

  as the experiencer had said. Upon learning about the wait for

  lunch, he immediately called his hotel, the Ritz, and secured

  a table for us there.

  Tyler turned out to be very charismatic in person, just as

  he was virtual y. He laughed easily and was as comfortable

  talking about his family as he was talking about science. His

  natural charm impressed Jeff, who invited him to his house

  in Houston for dinner to meet his wife and family. I had

  hoped Jeff would be a little reserved and keep Tyler at arm’s

  distance, but Tyler’s charisma proved too powerful and was

  no match for my suggestion that perhaps Tyler was using it

  for a purpose. None of my warnings were heeded. This would

  be just the first case where Tyler’s charm and social abilities

  were in evidence. Every pers
on or group of people to whom

  I introduced him was taken by his demeanor. He was some

  kind of rock star, and that just added to my suspicion of him.

  T Y L E R’ S P R O TO C O L

  At lunch Tyler explained that he had a specific protocol for

  connecting with off- planet intelligence. It was a physical and

  T H E I N V I S I B L E T Y L E R D . | 4 1

  mental protocol, and as Tyler explained the details of it, Jeff

  and I nodded in recognition. Many religious traditions advo-

  cate a physical protocol, like yoga, meditation, or contempla-

  tion, that involves the body and the mind. These traditions, it

  is believed, help practitioners connect with the sacred. Tyler’s

  description of his own protocol reminded us of religious

  practitioners and these traditions.

  “I basically believe, and there is evidence for this, that

  our DNA is a receptor and transmitter. It works at a cer-

  tain frequency— the same frequency, in fact, that we use

  to communicate with our satellites in deep space. Humans

  are a type of satellite, in fact. So, in order to receive the sig-

  nals and to transmit the signals, we have to tune our phys-

  ical bodies and DNA. Because of this, I make sure I sleep

  really well. I use the eight plus one rule. That is, I sleep for

  eight hours, wake up, and then make myself go back to

  bed for an hour. That one hour, the top- off, really makes or

  breaks my day. I barely drink alcohol, as it interferes with

  sleep, and I never drink coffee. Coffee really messes up the

  signal.”

  I listened to Tyler as I sipped from my coffee cup, trying

  to fight the exhaustion that comes from cramming too many

  activities into a three- day conference. Jeff and I took turns

  asking Tyler more questions about his protocol and his

  connection to the off- planet intelligence.

  “How does this help with your connection, and what

  does that connection feel like?” I asked.

  “I also have to be in the sun. So I wake up, and the

  previous night I will have gone to bed a little dehydrated.

  Then, I get my extra hour of sleep and go out into the sun.

  While I bask in the light of vitamin D, I drink a tall glass of

  water, which flushes my cel s and rehydrates them. This is

  4 2 | A M E R IC A N C O SM IC

  better than coffee. It is at this point that I can usual y feel

  the connection. I know I’ve established connection when

  the thoughts that show up in my mind don’t seem like my

  own. They are unfamiliar. With practice you can feel the

  difference.”

  “So, you recognize these thoughts as different from your

  own?” Jeff asked.

  “Yes, but you also have to understand that the environ-

  ment also ‘wakes up’ and validates that they are speaking

  to you. See? I can explain it this way. I get a thought, and it

  comes out of nowhere. It comes with a certain feeling, like a

  hit. Then, usual y within a few hours, something will happen

  that will validate that it was them, and that I should act on it.

  Here’s an example.

  “A key event of my life happened because of an errant

  email. I was sending a note to a friend and accidently sent it

  to the wrong ‘John,’ who was a former neighbor from years

  ago. The wrong John read my email thinking I was asking

  him to work with me to fly an experiment on the NASA KC-

  135 vomit comet about capacitors, so he developed a one-

  page concept and sent it back to me. I was like, who is this and

  why is he sending this to me? I didn’t know anything about

  pacemakers or capacitors, nor did I email him my thoughts,

  which I had had earlier that day. Wel , long story short, he

  emailed me back and said it must have been an errant email

  from me and from there we kicked off a new project and flew

  it, and he used that data and knowledge at his company to

  develop a longer- lasting capacitor for pacemakers! What’s

  more, what I learned from him about pacemaker capacitors

  in that process helped me understand and connect some dots

  on how some OP [Off Planet] craft operate, given they use

  T H E I N V I S I B L E T Y L E R D . | 4 3

  a highly charged capacitor of sorts in their electrogravitic

  machine.”

  “So you’re talking about synchronicities or coincidences?”

  I asked.

  “Maybe. In order to make the right cal , you have to be in

  tune with your environment, and tune your DNA to receive

  the signal, and then pay attention. Be on the lookout for the

  confirmations, and then act on it.”

  The “accidental” aspect of Tyler’s protocol brought to

  my mind the biochemist Kary Mullis, who had discovered

  the highly influential polymerase chain reaction and won

  the Nobel Prize for the discovery in 1993. He also had an

  anomalous experience that he referred to as a UFO en-

  counter, although he was very careful not to “conclude”

  that was what it was. I was struck by Mullis’s description

  of his own process of creativity and its similarity to what

  Tyler was telling us:

  Creativity is when you are trying to figure something out and

  something else keeps intruding. You final y give in to it, and it

  turns out to be the answer you were looking for. Perhaps some-

  thing is lost and instead of looking for it, you let your hands

  lead you to it with your eyes closed. You might be looking

  something up and find the wrong subject and it turns out not

  only to be related, but to be exactly what you were after. It’s not

  an accident. It was inevitable and it all makes perfect sense after

  the moment, but it’s unexpected. That’s how creativity happens.

  The focused beam of your consciousness is very narrow, but

  you have a creepy sense of what is right behind you.8

  Tyler’s protocol was similar to what I knew from several

  researchers within the UFO community. Within many of

  4 4 | A M E R IC A N C O SM IC

  these communities, the name for this contact is the “down-

  load.” It describes the process of connection with off- planet

  entities. Researcher Grant Cameron writes about the down-

  load experience and suggests that creativity does not nec-

  essarily stem from a high IQ or special talent, but instead

  comes from the ability to tap into “nonlocal intelligence.” He

  said that he original y intended to write a book about what

  he called “the disclosure by an alien force that humans are

  not alone,” but instead the focus of the book turned to the

  process of “the download”:

  Many modern musicians are very interested in UFOs and ex-

  traterrestrial life. . . . As that book neared a final first draft,

  the whole focus changed. It became apparent that it was more

  important to talk about downloads and inspirations. What was

  happening to musicians became only a small part of the story.

  Following a lecture on the alien- music connection in Boulder,

  Colorado, some in the audience maintained that it was the

  devil and evil forces that were influ
encing modern music.

  Somewhat taken aback by this criticism, and the old idea of

  a battle for men’s minds by forces of good and evil, I had to

  sit back and re- examine my world view. I grew up in a home

  where my mother was a church organist for four decades. That

  inspired me to see if the composers of the church hymns ex-

  perienced the same downloads and inspirations as modern

  musicians. It turned out that they had. That meant that if the

  devil was behind downloads and inspirations in rock and rol ,

  it appeared that he had also composed all the church music

  as wel .9

  Like Tyler, Cameron believes that the intelligence behind

  the download is nonhuman. He also utilizes the language of

  quantum mechanics; the theme of nonlocality permeates

  T H E I N V I S I B L E T Y L E R D . | 4 5

  many discussions of the download and processes of extreme

  creativity. Heather Berlin, a neurologist at the Icahn School

  of Medicine at Mount Sinai, offers an analysis of the creative

  mind that supports the idea that creative individuals expe-

  rience their innovative ideas as external to themselves, or as

  supplied by external agents:

  So I think that a lot of what’s happening in the brain is

  happening outside awareness and we— when we have our

  sort of conscious brain highly active— it’s kind, it’s kind

  of suppressing a lot of what’s going on outside of oneself.

  Sometimes when people are being creative they say it almost

  feels like things are coming from outside of them when they

  are in this sort of flow state. We’re starting to understand a

  little bit more about that state and it seems to be that when

  people are being creative in the moment that the part of their

  brain that has to do with their sense of self, self- awareness,

  self- consciousness is turned down. It’s called the dorso-

  lateral prefrontal cortex. . . . If you think about it a similar

  pattern of brain activation happens during dreams or during

  daydreaming or some types of meditation or hypnosis where

  you lose your sense of self and time and place. It allows the

  filter to come off so that novel associations are okay, you

  know. Dreams don’t all make sense. That’s where the crea-

  tivity comes in.10

  Significantly, Berlin’s research might suggest that crea-

  tivity does not originate from an external source, although

 

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