Secrets Beneath the Pyramids: New Discoveries and Ancient Clues – An Interview with Robert Edward Grant

What if the study of mathematics could lead to a deeper understanding of consciousness and the universe? 

For Robert Edward Grant, math is not just a series of equations—it is a sacred language that connects the physical and spiritual realms. His journey of awakening began at a young age, with mysterious experiences in Rendlesham Forest and a deep spiritual inquiry sparked during his teenage years. These experiences led him to a path that intertwined spirituality, religion, and the study of sacred geometry. Over time, his profound connection to math revealed patterns of universal truths, which he now shares with others through his work on platforms like Gaia and his groundbreaking series CODE X.

Today, Robert discusses how his exploration of sacred geometry, ancient symbols, and spiritual awakenings has shaped his understanding of the cosmos. He unravels the connections between ancient wisdom, modern science, and how these discoveries can unlock a higher state of consciousness. Robert’s journey invites us to rethink the way we perceive the world and encourages us to see math and geometry as tools for spiritual enlightenment. Continue reading or listen in by subscribing for free on Spotify, Apple Podcasts, Amazon Music, or YouTube to discover how Robert’s insights can inspire you to explore the deeper layers of your own spiritual path.

Can you share the story of your spiritual awakening or journey into consciousness? Did you grow up in a spiritual home, or did that come later in life?

Robert Edward Grant: I’ve always felt a certain affinity—a sense that there was more to life than what I was experiencing, even as early as three or four years old. I had several pivotal spiritual moments throughout my life, though I didn’t understand their deeper significance until much later, when I could reflect and begin connecting the dots.

One such moment happened when I was eleven. My family was living in Rendlesham Forest in 1980, the site of a well-known UFO encounter. My father was stationed at the nearby Bentwaters Air Force Base. From that time on, I began having strange and unexplainable experiences that would continue throughout my life.

In high school, I met a girl who was Mormon—she was the homecoming queen—and I ended up joining the Mormon church. That decision led me to become a missionary in Seoul, Korea, where I served for two years. It was a powerful experience. Though I’m no longer in the church, I don’t regret that time. It deepened my connection to scripture, sparked a fascination with world religions, and gave me a foundation of spiritual discipline and inquiry.

My deeper awakening, though, began between 2008 and 2011. That’s when I started noticing that the events unfolding in my outer world were mirroring something happening within me. I saw patterns in my life that reflected my internal state—especially in the things I judged in others. They kept showing up until I asked myself a new question: Why did I choose this? That shift in perspective—from victimhood to conscious participation—was the spark that transformed everything.

I’ve heard you speak about math with such passion—as if it’s your favorite movie or a love story. When did numbers become more than just numbers for you? When did they start holding deeper meaning?

Robert Edward Grant: I think most people have had a rough introduction to math because it’s often taught without meaning. It becomes a dry subject—just numbers and equations—without any connection to something deeper or beautiful.

But when you begin to realize that math is a language—and not just any language, but a universal one—it becomes a gateway to higher consciousness. That’s when everything shifts.

Geometry, for example, is like music we perceive with our eyes. Our left temporal lobe processes mathematics (for right-handed people), while the right temporal lobe processes music. Geometry sits between them—an elegant bridge between form and sound. And when you follow that bridge, you realize that music is the foundation of chemistry, and everything begins to connect.

Applied mathematics becomes geometry. Applied geometry becomes physics. Applied physics becomes chemistry. Applied chemistry becomes biology. Biology becomes psychology, then sociology, then philosophy—and when philosophy is fully expressed, it circles back to mathematics.

It’s all one whole. But we’re taught these disciplines as if they’re separate. In truth, they’re all expressions of the same divine language: the language of Source, of creation. Once you see math this way, it becomes sacred communication.

So… math is cool. That’s what I’m hearing.

Robert Edward Grant: [laughs] Yes—math is definitely cool. And it’s everywhere. Just look around. In restaurants, in hotel lobbies—you’ll notice lighting fixtures shaped like Platonic solids: icosahedrons, dodecahedrons, and other sacred geometries. These forms are appearing more and more because our collective consciousness is rising, and it’s beginning to recognize these symbols. I find that incredibly beautiful.

You have an extraordinary ability to see connections that others don’t—and a lot of your work, including your series Code X on Gaia, brings those hidden patterns to light. I want to help our readers see through your eyes a little more. Let’s start with the Giza Plateau. You’ve visited Egypt many times. What do you feel when you’re there?

Robert Edward Grant: The first time I went was with my friend, physicist Nassim Haramein. I’d already been to over 130 countries by that point, but Egypt had always eluded me. I had planned to go in 2010, but that trip was canceled after a tragic attack by a group of tourists. So when I finally did make it, I knew I was arriving at the right moment—for me, spiritually and energetically.

For many people, there’s a sense of being called to Egypt. It activates something in your DNA. And once you go, you usually end up returning again and again. That’s been my experience.

When I finally stood before the Great Pyramid, I was in awe. I’d already done extensive research on it—its mathematical proportions, the embedded constants, the sacred geometry. My intellectual understanding was solid, but being there in person… that’s when it became real. It resonated at a level beyond thought.

There’s a story I haven’t shared publicly before. While we were visiting Saqqara—which houses 24 massive sarcophagi, each weighing 80 to 100 tons—we entered the Serapeum, a chamber with incredibly powerful energy. A woman approached me and said she followed my mathematical work. Then she told me, quite matter-of-factly, that she was a shapeshifter.

Now, I had expected the trip to be a little wild—after all, I was traveling with Nassim. But I wasn’t expecting that. The woman was tiny—about five feet tall—and she claimed she could extend her arms by eight inches. I watched, and sure enough, her arms stretched right in front of me. Her hand even morphed into a three-fingered shape. It felt like a scene out of an old sci-fi film.

A few moments later, the energy in the Serapeum overwhelmed me. I passed out—completely unconscious. When I came to, Nassim was pouring water on my face, someone had a fan, and the woman was straddling me, speaking light language. Another woman nearby was saying, Let go of his solar plexus! And I remember thinking: In the name of Jesus… what is happening right now?

It was surreal—but also transformative. That trip to Egypt changed me in ways I still can’t fully explain.

You’ve had some incredible experiences in Egypt. Can you share more about what unfolded after that first visit?

Robert Edward Grant: That first trip was just the beginning. Later that same week, after giving a lecture inside the Great Pyramid on mathematics as the language of the universe—a talk that was meant to be two hours but lasted four—something truly surprising happened. People were crying at the end, not from boredom, as I had feared, but from having a spiritual experience through learning math. That moment stunned me. It confirmed something I had felt for a long time: math isn’t just numbers—it’s a sacred language, a bridge to higher consciousness.

That night, a group of us—around 50 people—were lying on the rocks outside the Great Pyramid, looking up at the stars. It was quiet except for the OM chanting we could still hear from inside the pyramid, echoing like a great speaker across the 13-acre stone structure.

Then something remarkable happened. I looked up at the sky and realized we weren’t seeing stars. Above us were 75 ships, moving in geometric formations. And no—we weren’t on drugs. Well, maybe one or two people were, but I certainly wasn’t. That night, I had a direct experience with beings I’ve come to understand as Arcturians. That encounter opened a door, and everything changed after that.

A few months later, I returned to Egypt. I had a strong intuition that I would discover something important—and I did. I found the Alpha and Omega symbol etched into the rim of the sarcophagus inside the Great Pyramid. What’s wild is that I had been drawing that exact symbol in my notebooks all week before finding it. It was as if I remembered it being there—as if I had been there when it was first placed. I even saw a vision of a blue-green light melting the symbol into the stone.

When I checked the spot, there it was. This was powerful because, unlike many sacred sites, the Great Pyramid has almost no inscriptions. This discovery was deeply significant, both personally and historically.

There’s been a lot of buzz about new discoveries under the pyramids—specifically under the Pyramid of Khafre. Can you tell us about the new SAR scans and what they’ve revealed?

Robert Edward Grant: Yes—this is all very new and incredibly exciting. SAR stands for Synthetic Aperture Radar. It’s a ground-penetrating radar technology that uses satellite pulses to scan beneath the Earth’s surface by measuring echoes. I’ve worked with similar technologies in the medical field, especially in optical coherence tomography, which we use to scan the retina without physically entering the eye.

The SAR scans under the Pyramid of Khafre show something astonishing. The data suggests that beneath the pyramid are two kilometers of vertical pillars, possibly arranged in a spiral—almost like a giant spring structure. These findings come from extremely subtle differences in how the radar waves interact with various materials—bedrock, dirt, limestone, and granite. And that’s not all. At the base of this structure, the scans revealed two massive cube-shaped chambers, each large enough to hold up to 64,000 people.

That’s mind-blowing. And I understand you’ve connected these findings to a Da Vinci drawing?

Robert Edward Grant: Yes—and it’s one of the most incredible synchronicities I’ve encountered. A little over a year ago, I was flipping through Codex Atlanticus, which is a collection of Leonardo da Vinci’s drawings, and I came across Folio 134. The moment I saw it, I recognized something: the slope in his sketch matched the exact angle of the Khafre Pyramid—specifically, a 3:4 ratio. That’s half the base to the height, and it corresponds to a perfect fourth in music—C to F. It turns out all three pyramids on the Giza Plateau correspond to musical notes. The entire complex is like a scale you can see with your eyes.

Digging deeper, I realized Da Vinci’s sketch wasn’t just about the outer shape. He had also drawn inner chambers within the pyramid, matching both known and yet-to-be-confirmed structures. It was as though he had access to knowledge that we’re only just now rediscovering through modern technology.

But how would Da Vinci have known any of this? What’s the story behind his connection to Egypt?

Robert Edward Grant: There’s a period in Leonardo’s life—between late 1482 and late 1486—where he completely disappears from Italian historical records. He was famous even in his own lifetime, so this disappearance is quite unusual. But there’s a letter he wrote to the Lieutenant Devadar, the Sultan of Cairo, describing a trek to survey the “great Mount Taurus.” That phrase is key. “Mount Taurus” was the ancient name for the Great Pyramid, which was also known as Bull Mountain.

The Giza Plateau itself wasn’t always called Giza—it was called Rostau. In Egyptian, the language is read from right to left. If you rearrange “RosTau,” you get “TauRos,” or “Taurus.”

Leonardo’s encrypted letter, paired with this drawing, indicates that he was in Egypt—and that he surveyed the pyramid complex in extraordinary detail. His artwork from 1486 onward is filled with Egyptological symbols, mystical references, and Kabbalistic geometry. It’s as if Egypt became the key to his creative explosion.

And in that same drawing, you noticed something that aligns with the SAR findings?

Robert Edward Grant: Yes. A few months ago, after the SAR tomography scans were released, I revisited Da Vinci’s folio. Not only did his drawing match the proportions and internal structures of the pyramid—but beneath the pyramid, he had drawn a series of pylons descending vertically.

And it gets even deeper. The formation of those pylons matches the structure of the Tree of Life—the Sephirot in Kabbalistic mysticism. Three lines of energy, reaching downward in harmony with sacred geometry. And all of this is embedded in a sketch created over 500 years ago.

Da Vinci left us a breadcrumb trail. He encrypted his discoveries, perhaps because of the danger of revealing them openly in his time. But now, as consciousness rises, those secrets are beginning to unlock.

Let’s explore the deeper layers of what’s happening beneath the pyramids. Based on recent renderings and scans, what do you see that others might overlook?

Robert Edward Grant: I’ve spent over twenty nights inside the Great Pyramid—five of them alone. That kind of solitude within such a sacred space reveals things most people never see.

One of the most fascinating connections I’ve uncovered links directly to da Vinci’s The Last Supper and the Vitruvian Man. These pieces aren’t just artistic masterpieces—they’re blueprints. For example, when you overlay the proportions of the King’s Chamber onto The Last Supper, everything aligns. The room is a perfect 2:1 rectangle, and even the table, tapestries, and architectural lines in the painting match the layout and blocks of the chamber.

More than that, the upper windows in the painting form the name of God in Hebrew—Yod-Heh-Vav—when viewed in reverse. There’s also a conspicuous portal below Jesus’ feet that perfectly matches the sarcophagus’ dimensions in the King’s Chamber. These are not coincidences.

And on the back wall of the King’s Chamber, in the very same spot where da Vinci painted the pediment above Jesus, you can find a faint outline of the Eye of Ra—scrubbed off over time. When COVID hit, they were literally scrubbing the pyramid with harsh chemicals, not realizing they were erasing ancient knowledge etched into its surfaces.

We also found symbols of the bull and the calf on the right wall of the chamber—aligning with the astrological position of Taurus. The chamber itself is shaped to reflect the orientation of four North Star positions in the sky, forming a 2:1 rectangle—just like the chamber. Even Orion’s Belt fits within the same geometry.

Do you believe the King’s Chamber is more than just an architectural marvel?

Robert Edward Grant: Without a doubt. I believe it’s a spiritual ascension stargate.

Some say the Great Pyramid is a power plant, others think it’s a musical instrument, or a symbolic place of death and resurrection. All of those perspectives have merit. But what I don’t believe is that it was simply a burial chamber for pharaohs—no mummies have ever been found in it. In fact, the interior looks far more modern than something thousands of years old. It feels futuristic.

Everything about the pyramid suggests layered functionality—geometry, sound, resonance, and celestial alignment. It invites multiple interpretations because it is multifaceted. We’re just beginning to understand that what we’ve accepted as “fact” is often just a “facet”—a sliver of a larger truth.

That ties into something else you’ve mentioned—the idea of unified perception. How do you reconcile different belief systems or schools of thought that seem contradictory on the surface?

Robert Edward Grant: What we’re realizing is that seemingly contradictory perspectives are often just different expressions of the same truth. Take music for example—some people insist on tuning to 432 Hz, others say 528 Hz. But in reality, they’re both part of the same 24-note scale. That 24-note scale was used by the Egyptians, by the Arabs, and by the Indians.

The same goes for astrology. Vedic (sidereal) astrologers and Western (tropical) astrologers often argue about which system is “correct.” But once you understand your own energetic movement—especially through the North Node—you’ll see that both systems hold relevance. Sidereal transits describe your soul’s timing, while tropical tracks your personality’s rhythm.

This kind of integration is the next step in human consciousness. We’re realizing that all of these systems—astrology, music, geometry, mythology—are not separate disciplines, but different facets of one coherent field. And that unified awareness is what leads to true awakening.

Before we wrap, tell us—what’s next for your Gaia series CODE X?

Robert Edward Grant: We’re gearing up to begin Season 3 soon, which I’m incredibly excited about. I’m now serving on Gaia’s board of directors—the only on-screen talent to do so—and I’ll be working even more closely with the company moving forward.

But the real message, the deeper “aha” that ties all of this together, is this: the Great Pyramid isn’t just an ancient marvel or a geometric riddle—it’s also a cosmic clock.

It speaks to our 24,000-year cycle—what some might call the Great Year or precessional cycle—and it’s acting as an alarm clock for humanity. It’s telling us that the time for awakening is now. Not just individually, but collectively. This isn’t just about one person’s enlightenment journey. It’s about all of us, together, moving through a grand cycle of death, burial, and resurrection.

And at the center of this cycle is Orion—the archetype of the hero’s journey. As we move through the zodiac, we’re not just aging or progressing linearly. Time is actually moving forward and backward at once. It’s a spiral, a dance, a multidimensional rhythm. And we’re learning to move with it.

So what’s the deeper purpose behind it all—why are we here?

Robert Edward Grant: We’re here to feel. That’s it.

The only thing that’s truly real in this world is what we feel—our experiences of love, pain, joy, loss, awe, and connection. Everything else is just set design for the soul’s evolution. The purpose of life isn’t to figure everything out intellectually. It’s to learn how to love and how to be loved.

Even the hardships—the confusions, the detours—they’re not mistakes. They’re invitations. They’re the soul’s way of experiencing something it couldn’t from the safety of the stars.

The One—Source, Creator—divides itself into the Many simply for the joy of observing itself through our eyes, through your eyes. Your perception, your journey, your tears and triumphs—they’re not just valid, they’re sacred.

You’re not lost. You’re precisely where you’re meant to be.