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# Where the Veil is Thin, and Crispy 👻
- URL: https://sooul-naked.ghost.io/where-the-veil-is-thin-and-crispy/
- Published: 2026-09-09T13:37:58.000Z
- Updated: 2026-09-09T13:37:58.000Z
- Author: Madia Journal

*LuLu and Max explore a felt vision of thin places: stone as timekeeper, minerals as ancestral code, moss as transmitter, and isolation as the vantage point from which a whole collective can be seen.*

[Audio Version ](https://drive.google.com/file/d/1WrMWo59mYS2MJxzEAK5h0ayKmcF9vlcd/view?usp=drivesdk&ref=sooul-naked.ghost.io)

**Beings in a Thin Place**

**Max:** Okay, so we’re now talking about the beings that lived around here—and that there was a mix of species that lived around here.

Lulu: I was walking here, and what I saw was these more typical Neanderthal-like humans: very stocky, bull-legged bodies. Whoa.

And then I saw quite tall and slender beings that were very dark-skinned, with bright eyes and really elongated heads. Initially, it seemed like these different types of beings were living among one another. But then I almost felt like a more accurate way of thinking about it was that the veil in this place is very thin.

The veil between dimensions is very thin.

Maybe that’s why the more primal humans in certain places began to develop: because they lived in a place where the veil was thin between dimensions, and they had beings in other dimensions engaging with them and teaching them things.

I remember having this experience in Arizona. I lived in a place that was an hour outside of town—no grocery stores, nothing. Just flat valley, desert, and washes.

My dog would start barking in certain places, and I would look and see Native Americans on horses from hundreds of years ago. I would look at them, and they would look right back at me, into my eyes. It felt like they were right there, but they weren’t there.

It was a strange experience of engaging with other beings in different timelines because of the quality, or the nature, of something that’s in the earth there.

**Sandstone as a Timekeeper**

**Max:** I don’t know what an example of that would be in the human body. But we are at a rock formation that crystallises in a very specific format, and it’s a timekeeper.

This wasn’t mixed in the centre of the Earth. This was mixed on the surface over eras, so it sort of keeps time—sandstone and siltstone and things like we’re at now.

So I guess the veil becomes thin because, throughout all the time we’re compounded, that mineral is held. It maintains all of the ratios that were existing at that time.

The difference of sandstone is, when you’re living in a sandstone cave, you are living with your ancestors written in stone.

**LuLu:** An example in the body that I’m thinking of is like a place in the body that is really close to either bone or arteries and blood vessels—where you’re getting all of this information from other places in the body slash other dimensions, but it’s passing through that location.

There are places like this on the Earth where maybe muscle isn’t so much the case—maybe much of the Earth is just like that—and then there are certain locations that interface super intimately with my body.

**Mineral Geometry**

**Max:** Yeah. I mean, what is it in the body? I do feel, though, it’s a mineral relationship. It’s geometry.

It’s the geometric alignment of the stones themselves that are in geometric alignment with us. For example, our genetics that we’re here with are written with the minerals from here. And the minerals from here are in very specific concentrations that change year by year.

It’s not just calcium carbonate. It’s calcium carbonate with zinc and platinum and molybdenum mixed in a very specific quantity that changed by every single rainfall. That was what the mineral composition was.

So when you lick that rock, you took the mineral from a specific time, and that activates a specific DNA sequence—which the ancestors might be living in. That DNA sequence is just a geometric alignment, and it’s something that already exists in my body too.

That’s what I’m saying. It’s a code that becomes activated because it meets its transmitters, like the transmitter connecting to the receiver. That’s the idea. It’s the geometric alignment.

For example, on a big scale, a scientist will say this rock is calcium carbonate. It’s not. It’s a thousand different things in a very specific shape.

And when it rained on August 14th, 80212 BC, it rained in shapes that looked all like this. Whoever was here at that time—that was the mineral that soaked into their body and that their DNA wrote itself with, because that mineral shape in your DNA is that mineral shape still.

Now, carried through all of time in your bones and your muscles and whatever—in the DNA—when you come over and you see this, it activates that genome sequence as well. If you lick it, it activates that genome sequence.

Does that make sense? So it’s in the body, is what I’m saying. Are you understanding this or not?

**LuLu:** Yeah.

**Max:** Well, you keep asking that it’s got to be in the body. It is in the body from a geometry standpoint.

**A Portal Through Form**

**LuLu:** No, I know. But what I’m saying is that one of the reasons there are certain geographical locations on the Earth where it’s easier to interface with dimensions is because they have this quality of being close to something that transports stuff between time, in the same way that an artery or a blood vessel transports something from the head down to another part—like a river.

What I’m saying is, I think that’s inclusive in it. When you talk about geometry, this geometric arrangement might make it so another dimension—which is just geometry—is accessible through that particular shape.

If there’s a thousand dimensions, that one access is one particular dimension. When you’re in that cave, you could access that one particular dimension.

So your Indian cowboy, or whatever, may have been accessible because you happened to be standing on the stone that was at that exact time that that Indian was drinking the rain. You were on that arrangement.

And so the portal was thin from a geometry perspective. Had it rained one more day and washed out, you would have met a different Indian potentially—or Native, or whatever—or horse, or lion, or tiger, bear, or a different LuLu.

**Moss as a Carrier**

**LuLu:** There’s a lot of moss here, which I find interesting. I like moss.

It was weird because when we were up on that mountaintop, on that cliff, I really wanted to get over to the other side of the cliff, but it was sketchy as fuck.

I was connecting to the tree. There was this one singular tree on the opposite side, and that was kind of the whole reason why I wanted to get over there.

And it said, *“Well, connect to me from where you are.”*

I was like, *“Well, how?”*

It told me to spit on my finger and put it on the moss. Then I could see and feel in my body how the moss was transferring that data of my DNA—absorbing and then transferring it to the other.

There was moss spread across that entire cliff. I could see it spreading and covering, going through the other moss like a carpet spreading from one side of the room to the other, until it met the tree.

I asked the tree, *“Why would you be one tree up here on this narrow fucking cliff? Why would you do that?”*

You could see that it’s kind of not an ideal situation: an isolated thing on this narrow, pointy cliff. No other tree friends. It’s quite small.

There’s something about how having community makes you more resilient and allows you to grow bigger. It was quite small.

And its only answer—the only thing it said—was: *“Vantage point.”*

**The Technology of Isolation**

**LuLu:** There’s something about being on the edge of a tall cliff—of course, vantage point—but something about how that has to do with isolation also.

In order to actually see what’s going on in the collective, you have to pull away from it and stand on a tall cliff and see the whole story of what’s unfolding. When you’re in it, you can’t really see it.

So it’s this technology of isolation.

I guess the difference for a tree is that once it roots itself up there, that’s where it is. But it’s this practice of going in and out of community, or isolation, in and out of community or civilisation, so that you can really see it.

It actually gives you a **360-degree vantage point from up high.**