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# THE WALLS OF ROME
- URL: https://sooul-naked.ghost.io/the-walls-of-rome/
- Published: 2026-08-25T03:53:19.000Z
- Updated: 2026-08-25T03:53:19.000Z
- Author: Madia Journal

**Permanence, Electricity & Biological Time**

*Recorded dialogue between the Masculine and Feminine*

  
**CHAPTER I — THE WALL AS A FILTER**

**What are we actually keeping out?**

**Masculine:** *And we’re live.*

So, I want to talk about the walls in Rome. They’re made of different bricks and stones.

Lulu, **why are they made of different ones?**

**Feminine:**I think—I guess they wanted to keep certain things in and keep certain things out.

And walls are kind of like **a filter**. The type of material that they’re made of filters in certain types of vibrations.

The walls that were made with granite basically kept everything out. It was like a really tightly knit barrier—like an ultimate layer of separation.

Versus a mud hut: it doesn’t really separate you that much from the outside world.

A tent, or a canvas tent, doesn’t really separate you that much from the world.

Brick separates you, but **not as much as granite**.

And you can feel the difference when you’re in, like, a granite building versus a log cabin, for example.

  
**CHAPTER II — POROSITY**

**How much of the world gets through?**

**Masculine:**It’s true.

And, like, you can see—heat and electricity and water doesn’t go through marble or granite.

But when you’re in a mud hut, when it’s hot outside, **it’s hot inside**.

When it’s wet outside, **it’s wet inside**.

Bugs outside? **There’s bugs inside.**

**Feminine:**It’s weird. I’ve never actually really thought about this—how different even being in, like, a stone or brick building is.

It’s still porous enough, and you still feel certain waves passing through.

I have no other way of talking about it, but it’s like **I can feel certain things coming through.**

And then when I’m in, like, a marble or granite building, it’s like its own reality entirely.

*The only thing that exists is what’s inside that box.*

**Masculine:**Yeah.

I mean, it’s just an echo.

**It’s an echo chamber.**

You only get yourself and your own energy bouncing back.

The sun doesn’t come in.Light doesn’t come in.Heat doesn’t come in.

  
**CHAPTER III — BUILDING SOMETHING THAT DOESN’T DIE**

**The architecture of permanence**

**Masculine:**And I think what’s interesting is that people use these technologies because **they wanted things to last forever**.

You make a statue out of marble and it lasts for 2,000 years at the bottom of the ocean like it was fucking yesterday that it got put there, you know?

You make it out of brick, it’s gonna be gone in 100 years.

So it’s like this thing—when they got disconnected from time—to make it feel like **they were lasting forever**.

So there must have been something before marble and before granite that people switched from that started insulating them.

I’m gonna guess it’s concrete.

Someone figured out how to make concrete, which just—nothing goes through.

Water actually does. Just not well-known. Water goes through concrete, but yeah.

  
**CHAPTER IV — ELECTRICITY WANTS LEGACY**

**The temporary trying to become permanent**

**Feminine:**We talked about this over the phone when I was in Verona and you were still up north.

We talked about how, because of the **impermanent, temporary nature of the electrical**, it tries to bring to itself permanence and legacy.

It finds outside means to try and do that.

Versus chemical, which is like **body and blood**, which is continued through DNA.

You know?

*Like, it is eternal.*

**Masculine:**It’s the vibration of time, yeah.

Like biologic time.

Like the natural time, maybe you can call it.

**Cosmic time. The cosmic vibration.**

Or when you create a vibration isolation, like a granite place…

  
**CHAPTER V — THE BODY ALREADY KNOWS ETERNITY**

**Nothing physical actually disappears**

**Feminine:**It’s interesting because the way body becomes eternal is, like, through procreation.

Or really, when you think about it, it’s just like—the minerals that are in your body will always exist somewhere.

Like, my DNA and my codes after I die will exist somewhere.

Even if it breaks down into the earth, it’ll just go back to the earth and become part of something new, right?

So in that way, **I’m eternal no matter how you think about it**, even just from a physical perspective.

My bones will become dust and then become, like, part of a new animal or something.

**Masculine:** *And not in a granite sarcophagus.*

**Feminine:**Right.

Unless I’m placed in a granite sarcophagus.

**Masculine:** *Time stops.*

Like what’s in the King’s Chamber.

  
**CHAPTER VI — TO LIVE IN THE MINDS OF OTHERS**

**The electrical version of immortality**

**Feminine:**But, like, for electricity—for thoughts and ideas—**it only survives if it lives in the minds of other people.**

That’s what electricity is.

It can only survive if it’s, like, in the minds of other people.

So people want to create images and statues and legacy and leave behind books so that they can live in the minds of people that come after them.

So that **electrical longevity is when people think about you**.

Like, that’s what legacy is.

It’s like you leave your name behind when you die.

And like—

*“Oh, this is the business that I built.”*

Like a fucking railroad company or something, and you put your name on it.

Like, in fucking Kentucky there’s this fucking family who built—I don’t know—it’s like every fucking business is owned by them.

And their name is on, like, **half the buildings in the area.**

  
**The wall preserves the structure.**

**The body returns to the earth.**

**The idea survives by entering another mind.**

**THE WALLS OF ROME — PART II**

**The Material of the Box**

*Continued dialogue between the Masculine and Feminine*

  
**CHAPTER VII — THE MINERALS OF A CITY**

**What the walls are made of enters the body**

**Masculine:**

So, one thing about these walls is that they’re made of **different minerals**.

And the minerals they’re made of impacts the entire city, because the minerals get leached from rain and they get caught in the air, and the minerals go in the body.

The body absorbs them.

And **they change the psychology of the body.**

So, if you’re working with volcanic rock, you get lots of iron and rare-earth minerals from deep in the earth.

Whereas if you’re working with limestone, you get a lot of calcium.

Or if you’re working with marble and granite, you get marble and granite dust—which I can’t remember if that’s inert or if that’s actually a severe toxin. I don’t remember.

So what we’re talking about, essentially, is how the **material of the box that we are sitting in shifts our consciousness** and shifts the medium through which we are perceiving life around us.

**Feminine:**

Well, because we all are in a box, but we want to say we aren’t.

We are **living in a box, driving in a box, eating in a box, getting our food in a box.**

Like, all our info comes from boxes.

And what those boxes are made from determine what is possible.

**Masculine:**

Well, they determine what’s possible because they’re determining **the state of our experience.**

**Feminine:**

Correct.

  
**CHAPTER VIII — THE BOX IS AN INGREDIENT**

**Nothing around us is neutral**

**Feminine:**

Which, with electronics, is weird.

But when you’re talking about stone, for example, if you’re living in a brick building versus a wood building, you’re having a very different experience inside that building.

And specifically, part of the reason why that is is because different fragments of the outside world are being filtered out or being leaked in.

And those things that are coming in and out, plus **the residue of the material of the box itself**, is imposing itself upon the body and changing the consciousness.

*It’s an ingredient in your experience.*

**Masculine:**

Yeah. I mean, fundamentally, that’s the whole thing.

If you work at Subway or you work at McDonald’s, you’re going to have a very different state of health.

The ingredients of the box that you’re in are going to influence your life.

Even if you’re not eating Subway or McDonald’s—the people in there that eat it, that are around you, the dust in the air being all around you, the stuff being on your hands, all of it, the communication, the energy it makes—

**influences you.**

  
**CHAPTER IX — LIMESTONE IN THE BODY**

**Architecture becomes chemistry**

**Masculine:**

I’m talking about it a little bit more metaphysically, but on a physical level, for example, if you have a house made of limestone and you’re breathing in limestone dust all the time, limestone is calcium carbonate.

You’re going to have a lot of calcium and a lot of carbonate in your body.

That’s going to fundamentally change the structure of your body.

Like, calcium is going to make your nerves fire a lot more. You’re going to probably end up with a magnesium deficiency, for example.

**Feminine:**

I mean, yeah.

In that same metaphysical sense, it’s like this kind of cheapy hotel room that we’re in right now.

The frame of the mirror is that fake, plastic, gold-painted leaf that’s meant to look like something from the Victorian age—but it’s not.

And the walls are plaster and painted with probably, like, a toxic chemical-based paint.

**Masculine:**

Sure.

  
**CHAPTER X — LIGHT BOUNCES BACK**

**The room participates in perception**

**Masculine:**

And the walls—the paint reflects light off of them.

**It filters the light into a specific wavelength.**

We call it tan, but it limits green. It limits blue.

So what our eyes are getting for feedback is different.

The way our body—when our body emits light and it bounces back—it’s different to our body.

Our body is now getting **a confusing signal.**

The sound vibrations do it too. The cement blocks are going to be different—the way our sound bounces off of it.

And all of these things become part of the influencers of our body, and therefore **the state of our consciousness.**

And so when we’re receiving and transmitting information, these things become part of the filter of what we’re receiving and what we’re transmitting.

**Feminine:**

Correct.

**Masculine:**

In the end, it impacts the body.

*It impacts the body.*

This is what people talk about: *“Oh, it’s super different.”*

But **how does it impact the body?**

Well, when you have a different light coming back, your body’s reading that light all the time, and as a result, it changes what it produces.

So my body is changing the way it produces. It’s changing my genome, it’s changing my sight, my eyes, the apertures, my ears, how they’re processing sound.

It’s all changing depending on the color of this paint and the chemical makeup of it.

  
**CHAPTER XI — THE MILLION-DOLLAR PLASTIC BOX**

**Luxury does not necessarily mean aliveness**

**Feminine:**

Right.

And the fact that the headboard is made out of this, like, plastic-leather situation versus real leather.

And it’s interesting to me because, in the world of design and modernism and aesthetics, everything is about taste and harmony in terms of **beauty and aesthetics**—

but not necessarily in terms of *what the material of the thing actually is.*

Sometimes, yeah—is it true that people have a really high level of appreciation for something that’s made out of a particular stone or particular wood because of the way they feel with it?

Like, yes.

But it’s interesting to think that somebody could be living in a **multi-million-dollar apartment**, but it’s still mostly made of synthetics, essentially, or materials that are blocking the feedback to the rest of the world.

And they’re having the same experience as someone in a really shitty, tacky plastic box.

  
**CHAPTER XII — THE MUD HUT**

**Receiving data from the living world**

**Feminine:**

And both of those experiences are the same versus somebody who’s, like, in a mud hut receiving **so much data from the world around them.**

And the environment that they’re in is actually upgrading their consciousness and making their experience of the world more hyper-vivid and complex and layered.

**Masculine:**

Sure.

So it’s not even about negating your experience, or having something neutral.

It’s actually **adding to it.**

**Feminine:**

Well, because something is always adding to it.

We don’t really live in—

Unless you’re in a vacuum…

  
**CHAPTER XIII — DEAD WALLS, LIVING WALLS**

**What answers when you speak?**

**Masculine:**

The difference is, if you live in a mud hut and you speak, your voice resounds off of an animal and bacteria and worms living in the walls.

And that is going to give **a life-affirming vibration back.**

Whereas when I vibrate off these walls, it gives a life-unaffirming—

*“I am dead.”*

**This is a dead space.**

And so I actually lose vitality.

I lose aliveness.

Like, **the multiplication effect of life dies.**

Does that make sense?

Whereas when I speak to my mud hut, I’m speaking to the bacteria there, and it’s coding them.

It actually adds into life.

*It’s webbed into the network of reality.*

**Feminine:**

Yeah.

**And they’re coding you right back.**

**Masculine:**

Yeah.

  
**The building is not merely where the experience happens.**

**The building is one of the ingredients of the experience.**

**THE WALLS OF ROME — PART III**

**The Ingredients of Consciousness**

*Continued dialogue between the Masculine and Feminine*

  
**CHAPTER XIV — THE ECHO OF THE MAKER**

**What survives inside a handmade thing**

**Feminine:**

Things that are made by hand have within them, like, **the echo of the soul of the person who made it.**

And right now, every single piece of furniture that is in this room is factory-made.

*Soulless.*

Every single one.

And intelligence is diversity.

And so it’s like, when we sit in a room where, you know, something that’s in the corner was made by someone’s grandmother a hundred years ago—and her tears and her sweat and her stories have been data-transferred into that thing—that becomes part of the information that’s informing our experience.

People call these things *spirits* and *souls* or whatever.

But they’re like **strands of data that are mixing themselves into the fabric of our experience.**

It’s creating a complex ecosystem and a complex diversity through which we are building our perception of the world.

And it’s becoming part of what we’re talking about, and becoming part of what we’re thinking about, and part of what we understand to be true.

**Masculine:**

Yeah.

I mean, it’s the ingredients thing.

**It’s about ingredients.**

And it’s very impactful.

  
**CHAPTER XV — TWO TAPS, TWO WATERS**

**The container changes what passes through it**

**Masculine:**

I think about the water, for example.

I’m gonna go into the water for a minute.

We got water out of one tap, and we got water out of another tap here in Rome.

And they were **very different experiences.**

Potentially the same water system, the same water source—but put through two different pipes gave two different experiences.

One was really negative and not nourishing.

Its energy just consumed energy.

It was a metal pipe, an iron pipe, and it came out really fast—which was convenient. So we tried that one.

And one comes out much slower, and comes out of a brass pipe.

And that one’s tasty and delicious.

A man put his little plant shop on that one. And the plants are all green and luscious and—

He said that plant shop’s been there **26 years.**

And we felt alive.

So it’s this funny situation.

Again:

**The ingredients in the container that you’re in make a difference.**

The pipe that’s used.

The pan that you cook in changes the food.

The fuel source you use is very different.

You cook over an open fire versus over a propane stove, and it gives a totally different food.

  
**CHAPTER XVI — THE BODY AS TECHNOLOGY**

**What are you plugged into?**

**Feminine:**

It’s like if we think about our bodies, again, as **a technology**—

It’s the hubs that we are plugged into.

The data sources that we’re plugged into.

And then what that technology is able to do, how it’s able to function, and **what it spits out.**

And when we’re talking about the water having a negative experience, what does that really mean?

It means it probably separates us from truth.

It causes our ability to perceive our reality to be more muddled and less crisp.

*Less complex.*

  
**CHAPTER XVII — THE COST OF CONVERSION**

**When the body must spend itself transforming what it receives**

**Masculine:**

And what does that look like from a science perspective?

It looks like that water comes in, maybe as H₂O or hydrogen chloride a lot mixed, and it enters into the stomach.

And in the stomach, in order for it to be absorbed properly into the blood, it has to first be turned into **EZ water**, which is a specific state of water—a specific geometric version of water.

In which case, it requires the body to put a lot of energy, a lot of ATP, physical energy, into converting that water geometrically.

It has to break it apart, add it to other minerals, yada yada.

When that happens, **it takes energy from the brain.**

And so you actually think slower.

And you think less profoundly.

And it takes it away from the organs.

So your emotions aren’t as powerful, and they don’t get digested as well.

So when you drink that water, you’re actually losing **emotional vitality**, and you’re losing **mental vitality.**

  
**CHAPTER XVIII — DIMENSIONALITY**

**The difference between dullness and conversation with life**

**Feminine:**

And you’re losing dimensionality to your world.

The change is so, so profound.

It’s like after three days of drinking shit water and eating shit food, **everything in my experience feels more dull.**

Like, when I spent a week more in the countryside and eating really vibrant, high-prana food and really charged water—just laying on the ground—

my body feels like it’s in bliss.

I can feel every cell in my body jumping around and perceiving reality around it and communicating with life around it.

Picking up data.

Communicating with everything around it.

Having a conversation with life at **many, many, many layers.**

And that conversation is without disturbance.

*Without static.*

And it feels good to the body.

Versus, like, right now, I can feel myself kind of struggling for words and struggling to make connections.

  
**CHAPTER XIX — LIFE IS MADE OF STUFF**

**The forgotten materiality of consciousness**

**Masculine:**

**Life is made of stuff.**

I think this is something that’s been forgotten in the modern era, in the last hundred years—

*things are made of things.*

If you want to have profound speech, you have to put profound food in.

That’s the situation.

If you want simple speech, put simple food in.

A lot of people are very desiring of complex speech that’s very articulate and academic and such.

Then you have to put foods in there that are like that.

**That’s the situation.**

And you see that the result is that what people eat makes the thing that they have.

For example, if you go to academia, people drink coffee.

It’s a caffeinated world.

**Caffeine creates articulation.**

And it creates analytical thought.

That’s what it does.

You know?

  
**CHAPTER XX — CLOSING THE LOOP**

**Masculine:**

Do you have anything further to share, Lulu?

**Feminine:**

*No.*

**Masculine:**

Love you.

  
**Life is made of stuff.**

**The pipe matters. The wall matters. The water matters. The food matters.**

**The ingredients become the experience.**