16 days ago

732

4 Oct 2025
Over 2,500 years ago, the prophet Ezekiel recorded a vision during the Babylonian exile that continues to raise questions. He described fire folding in on itself, thunder like rushing waters, and beings with four faces—human, lion, ox, and eagle—moving alongside wheels within wheels that traveled in any direction without turning. These wheels had rims full of eyes and showed synchronized, intelligent movement. Above them was a platform, and seated on it, a figure with the appearance of a human. Traditionally seen as a vision of God’s glory, the description maintains a consistent mechanical structure, suggesting the possibility of a technological event rather than a spiritual metaphor.

The original Hebrew language points to elements like glowing metal, structured movement, and engineered complexity. The “wheel within a wheel” and “eyes all around” suggest rotating, multi-axis devices and sensor-like surfaces. The connection between the beings and wheels is described as ruach—translated as spirit—but here possibly acting as an animating or coordinating force. The prophet’s experience—falling on his face, being lifted by a lock of hair, and carried between precise locations—indicates a physical and controlled process.

This sequence—call, seizure, lift, observation, message, return—repeats throughout the Book of Ezekiel, with consistent terminology and visual structure. The beings and wheels appear again in later chapters, behaving as part of a system. The vision’s geometry, motion, and sound are recorded not poetically but procedurally, as though Ezekiel were documenting what he saw with the vocabulary he had available. Even the throne and firmament appear as structured tiers, indicating hierarchy and design.

Over time, religious traditions reinterpreted the vision through allegory and mysticism, eventually connecting the four faces to the four evangelists and converting detailed descriptions into moral or symbolic meaning. But the original record preserves repeated structural and mechanical precision. The question arises: if this was symbolic, why maintain such exact details?

Babylonian astronomy and engineering provide a cultural background. The idea of “eyes” may relate to stars, and the four faces to constellations. Yet the mechanics described—non-turning motion, symmetrical coordination, noise like an army—go beyond astronomy and align more with modern concepts of advanced machinery.

Some theories suggest Ezekiel was not only inspired but abducted—lifted, transported, and returned by intelligent beings operating a technological system. These beings, identified as Elohim in the biblical text, may align with the Anunnaki of Mesopotamian mythology. The idea that Ezekiel recorded a contact event with a machine-like structure, commanded from a mobile throne, is supported by the vision’s internal consistency, operational logic, and physical detail.

Ezekiel’s vision resists reduction to mere allegory. It reads like a technical report from an ancient eyewitness. Repeated phrases—“wheel within a wheel,” “they moved straight forward,” “eyes all around,” “lifted by the hair”—indicate specific behavior. Each phase of movement matches a functional pattern. Light, sound, and motion are described not as abstractions, but as experienced forces.

The vision reflects either divine presence expressed through mechanical terms, or an ancient record of contact with a system beyond known human capability. The structure behaves like engineered technology: synchronized mobility, gyroscopic wheels, directional lift, and control architecture. The prophet is caught up, moved, shown visions, then returned, consistent with structured transportation.

The traditional reading of the merkabah as a chariot of God remains, but another possibility remains visible beneath centuries of interpretation. Ezekiel may have witnessed an advanced machine—the throne-chariot of the biblical Elohim, operated by the beings later known as the Anunnaki. The account preserves the mechanics. The structure operates. And the system moves with intelligence.

Script: Lucas Martins Kern
Editing: Rogerio Henrique Gonçalves

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