How to build a working "chronovisor"


Time Travel Professor

Did Father Ernetti actual have a machine that could see back into the depths of time? (Copyright Lee Krystek, 2009)

The Missing Time Machine

An eccentric priest claimed he had a machine that could see into the past. Was his story folly or fancy?

In his little 12 by 12 foot monastic cell Father Pellegrino Ernetti greeted Father Francois Brune one afternoon in the early 1960's. The two men had just met for the first time the day before during a ferry ride across Venice's Grand Canal. During their short conversation, Father Ernetti had said something that stuck in Father Brune's mind. The two, who were both experts on ancient languages, were talking about scriptural interpretation when Father Ernetti remarked that there existed a machine that could easily answer all their questions.

Father Brune was puzzled about what kind of machine could do such a thing and resolved to bring it up again with Father Ernetti in that day's meeting. When asked about it, Father Ernetti described a device he called a "chronovisor" that looked a bit like a television. Instead of receiving broadcasts from local transmission stations, however, the chronovisor could tune into the past to allow the viewer to see and hear events that had occurred years or even centuries earlier. Father Ernetti told Brune that the machine worked by detecting all the sights and sounds that humanity had made that still floated through space. Father Brune wanted to know if Father Ernetti and his collaborators had been able to see the crucifixion of Christ. Ernetti replied, "We saw everything. The agony in the garden, the betrayal of Judas, the trial - Calvary."

Everyday Chronovisors

What Father Ernetti was describing to Brune, the chronovisor, was a type of time machine. It is unlike the fictional devices found in most popular books, TV shows and movies, however, that transport people into the future or past. This type of time machine would bring pictures and sounds from the past into the present. Time machines that transport people seem far beyond anything our technology can currently build, but what about a device that just deals with images and sounds? Could a machine like Father Ernetti described be built?


Telescopes, like this large one at the Lick Observatory, can see back in time millions and even billions of years (Copyright Lee Krystek, 2009).

We actually use crude versions of chronovisors every day. A security camera hooked to a video recorder will enable us to see into the past. Even something as a simple as mirror is really a type of chronovisor. We don't see ourselves in the mirror as we currently are, but as we were just a few millionths of a second before: the time it takes the light to travel from our face to the mirror, reflect off and return to our eyes.

Large telescopes also act as chronovisors. The distant galaxies we view through these devices do not actually look like they are today, but as they appeared when the light left them millions, or perhaps billions of years ago. If an alien scientist on a planet one-hundred light years away had a powerful enough telescope that he could view activities on Earth he wouldn't see recent events, but life as it was a century ago. He would see the Wright Brothers invention of the airplane, not the launch of a space shuttle.

If it is possible to see into the past of a distant galaxy using a telescope, why can't a device be built that would allow us to peer into history here back on Earth?

Undoubtedly such as device would be much more complicated than even the most advanced telescope. Telescopes can see back in time, but what part of history they view is entirely a function of how far away the object is. A star 500 light-years away can only be seen as it was five centuries ago, not as it was a hundred years later or earlier than that. And, of course, they can only view what is visible from earth. We cannot see what is on the far side of the Crab Nebula no matter how much we are interested in what it looks like. The device described by Father Ernetti, however, seemed to be able to tune into almost any era and any location.

The Secret Team of Scientists

How did the priest get a hold of such a fantastic machine? According to what he told Brune, he had been working with a Father Agostino Gemelli at the Catholic University of Milan trying to filter harmonics out of Georgoian chants when they heard the voice of Gemelli's late father speaking to them on the wire recorder they were using (Gemelli later confirmed this incident). This got the priest thinking about what happened to all the sights and sounds humans make. Did they disappear completely or do they continue to exist in some way? Ernetti approached some eminent scientists and assembled a team to work on the project. The group inclided Enrico Fermi (one of the designers of the first atomic bomb) and Wernher von Braun (the German rocket scientist).


The German rocket scientist Wernher von Braun was a part of the chronovisor team, Father Ernetti told Brune.

The team built the chronovisor so it could tune into any time or place. They observed not only the crucifixion of Christ, but French conqueror Napoleon, the Roman philosopher Cicero, and the play Thyestes by the Roman poet Quintus Ennius.

Brune was astonished that he had not heard of the invention of this device. "Why hide such a discovery?" he asked.

Father Ernetti replied that the team had decided to voluntarily dismantle the device. Since it could tune into any place at any time in the past it left no room for privacy. In the wrong hands, Ernetti said, it could create the "most fearsome dictatorship the world has ever seen."

Father Ernetti also spoke at some conferences on paranormal phenomena discussing his machine. While he never produced the device itself, he was eventually coaxed into displaying some forms of proof. The first was the text of the play Thyestes.

Father Ernetti's Proof

The play Thyestes was written by Quintus Ennius who was born 239 B.C. in what is now Calabria, Italy. Ennius is sometimes called the "Father of Latin Poetry" and over the course of his lifetime he wrote about 20 plays and an epic poem on the history of Rome called Annals. Only a few fragments of his work survive. His last play Thyestes was produced only shortly before his death in 169 B.C.. Scholars have wondered about this play for centuries. Though they know what the story was about based on the writings of the first century author Seneca, the actual text, except for a few lines, has been lost to history.

Sometime in the late 60's a Professor Giuseppe Marasca became interested in the stories he was reading about Father Ernetti and his machine. Marasca contacted Ernetti and eventually they became friends. Ernetti promised to show Marasca his machine, but never did. What he did present to the professor was a handwritten manuscript of what he indicated was the complete play, Thyestes, that he had supposedly copied down while watching the chronovisor. Marasca held onto the text for a number of years, refusing to show it to anybody. Eventually he passed copies to select individuals including Father Brune.


The photo Ernetti alleged was from the chronovisor. (Fair use)

A second piece of evidence that Father Ernetti released was a picture of Christ's face while he was on the cross, apparently photographed through the chronovisor. The photo shows the face of a bearded man with upturned eyes. It wasn't long, however, before someone noticed that the picture was identical (except being reversed left-to-right) to one sold at the Sanctuary of Merciful Love in Collevalenza, Italy. The photograph shows a wooden carving of Jesus in the sanctuary by the Spanish artist Cullot Valera.

After this revelation Father Ernetti said little more about the photograph and the chronovisor. He died in 1994.

As for the manuscript of Thyestes that he said he had transcribed from watching the play on the chronovisor, it seems too short - only 120 lines - for it to be the full play. Most plays of this type would have been ten times as long. Dr. Katherine Owen Eldred of Princeton University, an expert on the play who translated the manuscript for the American edition of the book Father Ernetti's Chronovisor, suspects that isn't authentic. Many of the words used in this manuscript didn't appear in the Latin language until over two centuries after the play was first performed. The type of words and the way they are repeated also suggest that the person who composed the manuscript had limited skills in Latin. As Ennius, the playwright, was using his native language this seems very strange. This makes one wonder if the author wasn't Ennius, but Father Ernetti himself.

The Enigma of Father Ernetti

What can we make of this strange story? It would be easy to dismiss Father Ernetti as a crackpot or compulsive liar. Outside of his entanglement with the chronovisor, however, Father Ernetti was an extremely respected, but quiet, intellectual whose specialty was archaic music. He spent most of his life doing research and teaching on this subject and was the author of such respected books as Words, Music, Rhythm and the multi-volume work General Treatise on Gregrian Chant. Why would such a respected clergyman, academic and author make up such a wild story?

After the Father's death the editors of Father Ernetti's Chronovisor received a document from someone claiming to be a relative of Ernetti but wishing to remain anonymous. The document tells of how this relative was called to Ernetti's deathbed and the priest confessed that he had made up the play and falsified the picture. However, Ernetti continued to insist that the chronovisor actually worked.

Since the document is anonymous it is hard to know how much faith to place in it. Father Brune, Ernetti's long time friend, believes that the chronovisor existed, but Ernetti came under pressure from his superiors in the last years of his life not to talk about it. Brune thinks the resemblance of the picture to the statue can be explained by the artist carving the work under the direction of a nun who had a vision. In the vision she saw Christ hanging on the cross and described it to the artist. The artist translated her vision exactly into the sculpture. The sculpture and the photo look alike because they both are true representations of Christ's face. One coming to us via the chronovisor, the other through the nun's vision, suggested Brune.

We may never be able to prove that the story of Ernetti's chronovisor was false, but with our technical capabilities expanding continually might it be possible to someday build such a device?


Trying to gather the remnants of electromagnetic waves left over in the environment and reassemble them into a coherent image seems an overwhelming task, even with the most advanced computers. Some scientists have speculated, however, that we may find past sounds preserved in the environment. They've even given this speculative branch of science a name: Paleoacoustics.

The idea is that sound waves might have been recorded and preserved by accident. One possible way this could happen would be during the creation of pottery. In theory, a clay vessel spun on a potter's wheel and given a spiral pattern with a stylus would act like a primitive phonograph. On early phonographs, sounds were preserved by using a tin (or later wax) cylinder spun with a needle, etching a spiral groove down the surface of the cylinder. The needle would pick up sounds waves and etch the vibrations into the grooves. When the needle traveled down the groove a second time, the effect would reverse itself and the needle would vibrate, playing back the recorded sound.

On the pottery wheel the soft clay of the pot would act as the recording medium and the stylus as the needle. In theory the sound vibrations could be etched into the clay. Given that this method of creating pottery has been around for thousands of years this technique seems to hold out the promise of bringing back sounds from the ancient past.

Though this idea for recovering ancient sounds has been around since it was proposed by Richard G. Woodbridge in a letter to Proceedings of the IEEE in 1969, nobody has yet been successful in recovering ancient sounds (a hoax in 2006 suggesting Belgian researchers had accomplished this with a 2,000 year old piece of pottery fooled a number of people as it made the rounds through various newspapers and across the internet). However, as our instruments become more sensitive and our computers more powerful we may yet see success with this type of investigation.

Still, if these techniques are successful they would still be a far cry from Ernetti's chronovisor which could tune into the past at any place or time. Will we ever be able to build a machine like he described? Only time will tell.


Time Travel Professor
The French priest François Brune became known in Europe during the late 1980s thanks to a book entitled The Dead Speak to Us. In that book he stated that, by means of elaborate technological processes, it was possible to communicate with the realm of the spirits. But Father Brune also knew about details relating to a certain machine that would photograph the past, designed in the 1950s by the Vatican. The Lady in Blue speaks extensively about this, but the following interview between Javier Sierra and Father Brune in Madrid reveals additional details on the subject.

The month of October 2003 was one of the rainiest that I can recall. Just four days before the feast of All Saints, I was thinking that the date chosen by Father François Brune for our interview couldn’t be more appropriate. A small hotel in the heart of Madrid, close to the Plaza de la Ópera, served as the scene of our conversation concerning the Chronovisor and the work of the Benedictine Pellegrino Ernetti. An expert in pre-polyphony who served as inspiration for the character Giusseppe Baldi in The Lady in Blue, Ernetti had died in 1994 without my having been able to gain access to his secrets. I thought that perhaps Brune, a personal friend of Ernetti for many years, would be able to help me to find out more about the Chronovisor.

Brune had first met the Benedictine Father Ernetti in 1964, almost eight years before the latter’s story would appear in various periodicals. He even devoted an entire chapter of his 1990 book
The Dead Speak to Us to Ernetti. In it he combines the scientific Vatican project for capturing images and sounds from the past with matters more related to parapsychology, such as “psychophonies,” the controversial recordings of supposed voices from the beyond. I needed to know more. Much more than he had related in that book or even what he had revealed months before our meeting in another book devoted to the Chronovisor, The New Vatican Mystery.

I wanted to know when in fact Brune had first heard of the Chronovisor project. What had been his impression of it.

At 4:30 sharp, we were seated in the hotel “HH” in Madrid. Father Brune was dressed as a clergyman, but sporting sneakers.

“You knew Father Ernetti well, didn’t you?”

My question surprised him. I had decided to get straight to the point, and Brune seemed willing enough to speak.

“Yes, of course,” he responded, smiling. “We saw each other many times in Venice, on the island of San Giorgio Maggiore.”

“How did you meet him?”

“I studied two years at the Biblical Institute in Rome. And one time, on my way there, I decided to hitchhike to Venice. On the ferry to the island of San Giorgio I met Father Ernetti, and we began talking about my studies. It was that simple.”

“And did he speak then about the Chronovisor project?”

“Not exactly. Although, of course, it should have been easier to speak with a priest than with someone outside the clergy, and above all with a foreign priest for whom it would be more difficult to understand the language. First we spoke about the interpretation of the New Testament and about how in our era many were attempting to strip biblical history of its marvelous components. The world is critical of miracles, healings, exorcisms... anything that seems supernatural. And from there we soon went on to the subject of communication with the beyond. Thus, little by little, Ernetti ended up by bringing up something that was of even greater interest to me.”

“The Chronovisor!”

Brune’s face lit up. “Exactly,” he replied.

“What year was that?”

“In 1964.”

“And what exactly became of the Chronovisor?”

“I saw Ernetti for the last time a few months before his death in 1994. He told me that they had just had a meeting in the Vatican with the last living scientists who had collaborated on its construction. There had been four cardinals and other scientists, and he told me that they had discussed all that they knew. The unfortunate thing was that Ernetti would only divulge the name of scientists once they were already dead.


“What do you mean that they told him everything? Wasn’t the Vatican already well informed about the Chronovisor?”

“You see, as far as I know, the Chronovisor had been dismantled. But Ernetti didn’t have much trust in the Vatican. Already some years before he had told me that he had deposited his plans with a notary in both Switzerland and Japan.”

“Let’s talk about something else, Father Brune,” I asked. “You might know that the first time the Chronovisor was referred to
in the press was in 1972. And that then, the first news about it was accompanied by a supposed photo of Jesus Christ obtained by this machine...”

“It was a fake photo, of course.”

“Please tell me about it.”

“It’s simple. Some people who worked on the Chronovisor said that the machine couldn’t take close-ups, only general ones. With nowhere near as much detail as in that photo. It wasn’t possible to obtain an image that was so precise.”

“But did they use the Chronovisor to see the Passion of Christ?”


“In what year did they do that?”

“I think it was before 1960.”

“And that close-up imageof Jesus?”

“It was taken from the most famous crucifix of Collevallenza. When it was published, they used it to attack Father Ernetti, accusing him of fraud. But Ernetti had already informed me that it wasn’t from the Chronovisor, just as he’d told a reporter from the magazine Más Allá a few years before...”

I found that funny. François Brune didn’t realize that the “reporter from the magazine Más Allá had been me. I had interviewed Pellegrino Ernetti one year before his death; and although he had not told me much, he had insisted that the alleged photo of Jesus had not been obtained from his equipment.

Domenica della Corriere (1972)

At last the moment of truth had arrived. The moment when I asked Brune if, in addition to his priest-to-priest conversations with Ernetti, he had been allowed to see films or photographs from the Chronovisor. Brune was categorical.

“No,” he asserted. “Ernetti told me that he hadn’t kept any of it. He was urged by his superiors not to speak a word about it. And he suffered a lot due to this, because he never had the occasion to explain his discoveries to Science.

“But when I interviewed Ernetti in 1993, he told me that it had been Pope Pius XII who had prohibited him from speaking about it.”

“Yes, that’s right.”

“Do you have any idea why he was prohibited from doing so?”

“Brune shrugged his shoulders at my naivete.

“Well...” he hesitated. “Ernetti showed his recordings to the Pope as well as the President of Italy, Mussolini. And also to other scientists and cardinals, and their unanimous conclusion was that it was dangerous for humanity. I know that there exists an American science fiction novel that imagines what would happen if they discovered such an apparatus, and what the consequences would be for humanity. Because there wouldn’t be any secrets, whether scientific, political, economic, or any private lives. Everything would be transparent.”

“But if the Vatican had this apparatus, wouldn’t they ever use it?”

“It’s possible. I’m sorry, but I can’t help you any further.”

“Please answer my last question, Father,” I persevered. “Have you taken any steps with the Vatican to see if material on the Chronovisor could one day be seen?”

“No, I haven’t done that would not be possible.”

“As a Catholic priest, you couldn’t...”

“I think it would be easier for you to find out than for me.” He smiled. There are some people in the Vatican who are interested in questions concerning the paranormal, and perhaps they could help you. I know an Italian priest who speaks German and who founded an institute of parapsychology in Innsbruck, Father Andrea Resch. I visited him two times. Perhaps he would know where to begin. He told me two or three years ago that he had been in Rome with a small group that studied paranormal phenomena, and that they were quite familiar with my books and presentations. But that was before the publication of my book about the Chronovisor.”

“And after all these years, what is your take on this subject?”

“That the Chronovisor existed,” he replied definitively. “Of that I have no doubt.”


Time Travel Professor

Notes Regarding Time, Time Travel, & The Viewing of Past and Future Events


  • The Chronovisor.pdf
    673.9 KB · Views: 108


Time Travel Professor
The Chronovisor

People have been obsessed with the idea of a time machine ever since H. G. Wells wrote his classic novel. Perhaps even longer than that: since the beginning of... well, machines.

But did you know there already is - or was - a supposedly functional time machine?
To be precise, a machine that allegedly shows and photographs the past.

Certainly its alleged inventor was a real person: Father
Pellegrino Ernetti* - a Catholic priest, no less.

Father Ernetti - who was an exorcist, among other things - may (or may not) have been a kook; but he was also a serious scientific researcher. He was a highly respected authority on archaic, pre-polyphonic music.

Ernetti was apparently also very interested in physics (some say he actually had a degree in quantum physics), and his curiosity knew no boundaries, especially after a curious incident that is said to have happened on September 15, 1952, in Milan.

Ernetti was trying to filter harmonics out of Gregorian chants, in the company of the renowned physician and psychologist, Father
Agostino Gemelli. (The famous teaching hospital in Rome is named after him.)

At one point during the work the two men apparently heard the voice of Gemelli's late father speaking to them on the wire recorder they were using. (Gemelli - a noted skeptic - later confirmed this incident).

This propelled Ernetti's research into the present timespace location of sounds and sights that seem "gone", a thing of the past, to us. His quest led him to speculation about the possibilities of constructing a machine that would capture the sights of the past: a chronovisor (literally, a "time-seer").

Later Ernetti claimed that in the 1950s he had contacted some of the most prominent physicists of the time - Enrico Fermi and Wernher von Braun, among others - and that they had actually produced such a machine.

But the story gets weirder.

Ernetti claimed that in January (12-14) of 1956 the team managed to produce "live" images of Christ's crucifixion, in 36 A.D. - and they had a photograph to prove it!

The photo in question was published on May 2nd, 1972, in the Italian weekly
La Domenica del Corriere.

Does it look unconvincing or just plain awkward to you?
I don't blame you.

To me, it looks like a painted statue - and not a terribly accomplished one, at that.

And that's exactly what it turned out to be: the copy of an image of a
sculpturekept in the sanctuary of Collevalenza, a 1931 work by the Spanish sculptor Cullot Valera.

(EDIT: There may be some confusion regarding the date of the sculpture. I haven't had the time to research it more in depth, so, for the time being, I will simply refer you to the comment below this entry.)

And this is precisely what makes this story so utterly strange.

Had Ernetti been an unsophisticated (and dishonest!) third-rate kook, nobody would even remember this story anymore.

But Ernetti was a highly educated man.

Furthermore, not one of the people who knew him ever doubted his personal integrity.

Why, then, did he allow such a preposterously obvious hoax to come out and smear his name?
Surely it would have been easy to make up a plausible excuse for not presenting any photographic "evidence". Of course most people would not have believed him - but at least it would save him from the ridicule that ensued.

Be that as it may, the Chronovisor is said to be kept in the vaults of the Vatican.

And, by the way, there is a book about it.

Father Ernetti's Chronovisor:

The Creation and Disappearance of the World's First Time Machine

(There should be a hyperlinked book cover visible above. If you cannot see it, try viewing the page in a different browser. And I am sorry for the inconvenience. Blogger has been having A LOT of issues lately, and I am this close to switching to a different blog publisher.)

I really wish I could recommend it, but I am not sure I can.
It is a translation - and, arguably, an adaptation - from the German original.
I haven't read the original, but I doubt it would make that much difference.

You see, the problem with this book is not (only) in the language, the unnecessary - typically journalistic - hyperboles and stereotypes ("There is no city in the world more beautiful than Venice, and no view in Venice is more beautiful than sunrise from the basilica and the Benedictine abbey on the island of San Giorgio Maggiore"... Oh really?), but in the organisation and treatment of the material itself. It goes in all directions, with digressions that have nothing whatsoever to do with the subject itself.

And there is more: the American translation has an "appendix" that does not contribute to the quality of the book. It seems the editors (of the American translation, interestingly - not of the German original) received a purported unsolicited "confession" by an unnamed distant relative of Father Ernetti's, who claims the priest confessed to him on his deathbed that he had made the whole thing up - but that "it is possible" for such a contraption to work.

Let me tell you: as a journalist and as a reader I do not approve of such appendices - especially since their authenticity is absolutely impossible to establish. It is neither ethical nor stylistically elegant.

But, sure enough, some webmasters and other online scribblers (yes, of course I am an online scribbler, too ;)) who lack a discerning mind are now quoting said "confession" as if it were the gospel truth.

It isn't.
For what it's worth, personally I do not really believe that the Chronovisor ever worked (although I wouldn't be too surprised if it turned out it did); and it is painfully obvious to anyone that the "Christ's photo" was nothing but an awkward fake. But that doesn't mean I am going to rely on other possible fakes to make up my mind.

And I do think such a thing as Ernetti's chronovisor could be possible.
What's more, there seems to be a
group of Russian scientists who are, if you'll forgive the pun, looking into it.

Whatever you think - and I hope you do think - never forget to be a healthy skeptic.

Which, contrary to popular opinion, means keeping an open mind at all times.
Last edited:


Time Travel Professor
Will try to post more information later.

Chronovisor is based on early Television Technical Systems with a CRT for viewing.


Time Travel Professor
From Wikipedia, the free encyclopedia

The chronovisor was allegedly a functional
time viewer described by Father François Brune in his 2002 book Le nouveau mystère du Vatican ("The Vatican’s New Mystery"). Brune is the author of several books on the paranormal and religion.

In the book, Brune relates that the chronovisor was built by
Pellegrino Ernetti (1925–1994), an Italian priest and scientist.[1] Although Father Ernetti was a real person, the existence or functionality of the chronovisor has never been confirmed; its alleged capabilities are strongly reminiscent of the fictional time viewer which features in T. L. Sherred's 1947 science fiction novella, E for Effort.[2]


In the early 1960s, Father Ernetti began to study the writings of François Brune, himself a
Roman Catholic priest and author. Ernetti allegedly ended up helping Father Brune construct the machine as members of a team which included twelve world-famous scientists. He identified two of them as Enrico Fermi and Wernher von Braun. The chronovisor was described as a large cabinet with a cathode ray tube for viewing the received events and a series of buttons, levers, and other controls for selecting the time and the location to be viewed. It could also locate and track specific individuals. According to its inventor, it worked by receiving, decoding and reproducing the electromagnetic radiation left behind from past events. It could also pick up the audio component or sound waves emitted by these same events.

Ernetti lacked hard evidence for these claims. He said that he had observed, among other historical events,
Christ's crucifixion and photographed it as well. A copy of this image, Ernetti said, appeared in the 2 May 1972 issue of La Domenica del Corriere, an Italian weekly news magazine. A near-identical (mirror-image) photograph, however, of a wood carving by the sculptor Cullot Valera turned up and succeeded in casting doubt upon Ernetti's statement.

Using the chronovisor, Ernetti said that he had witnessed, among other scenes, a performance in
Rome in 169 BC of the lost tragedy, Thyestes, by the father of Latin poetry, Quintus Ennius. Dr. Katherine Owen Eldred of Princeton University is the author of an English rendition of the text which is included as an appendix to the American printing of Peter Krassa's book on the Chronovisor (see below). Doctor Eldred believes that Father Ernetti actually wrote the supposedly ancient play himself. As provided by an anonymous relative of Father Ernetti, there was a deathbed confession, included in the American edition of the play, that Ernetti had written the text of the play himself and that the "photo" of Christ was indeed a "lie". According to the same "source", however, Ernetti also affirmed that the machine was genuinely functional.

Father Brune, however, does not believe Ernetti's "confession" and is convinced that the authorities had coerced Ernetti into making a
false confession.

The alleged existence of the chronovisor has fueled a whole series of
conspiracy theories,[who?] such as that the device was seized and is actually used by the Vatican or by those who secretly control governments and their economies all around the world.

  1. Jump up ^Brune, François (2002). Le nouveau mystère du Vatican. Albin Michel. ISBN978-2-226-13070-9.
  2. Jump up ^Krassa, Peter (2000). Father Ernetti's Chronovisor: The Creation and Disappearance of the World's First Time Machine. Pasadena, CA: New Paradigm Books. ISBN1-892138-02-6.

Aage Nost

New Member

Notes Regarding Time, Time Travel, & The Viewing of Past and Future Events
Glad to be back with you. I am writing a piece on the Chronovisor for a TV Documentary I will be in, and this is really interesting. I am one of your really ERLLY guests.


New Member
I know this thread is old, but there is an experiment that could give clues on to how to build a chronovisor. Scientists at Princeton University in the year 2000 passed a laser through cesium vapors. They found that the laser appeared out the other side before it entered. The cesium appeared to have amplified the speed of light 300 times. I haven't found any follow up debunking this experiment, but it is evidence that you can theoretically see into the future at least for a split second.
Where history is becoming an exp

My thoughts are that light is electromagnetic in nature.. So, if you can cause light to go faster then that opens up the door for devices using electromagnets. Perhaps special materials or special coil designs can amplify.. The caduceus coil or perhaps Tesla's bifilar coil might hold the secret in that case. Cesium's superconductor properties could also be a path to research. Faster than light waves is an important key.