Welcome
The prophet Ezekiel had a vision of a valley of dry bones. Those bones came together and became first a skeleton and eventually a vast army. That vision is itself a parable of the recovery of something. Of what? We believe it was a vision of the recovery of the precise alphabet used to write sacred scripture. This website will eventually hold our proof for this belief.
Background
We are currently in a multi-year project to recover the letter-perfect inspired text of the Bible. Our hub website for this work is Paleo.In. There are many other related projects listed there, for those who may be interested in more.
This website handles just 1 part of the problem. Here you will eventually find the catalog of 3d printable exhibits that collectively prove the precise drawn letter forms of the inspired text of scripture.
These exhibits are ultimately the collection of items that filled in and decorated the Tent of Time. You might know this tent as Moses' Tabernacle. You might know this as the house at Capernaum. You might know it as the future recovery of David's Fallen Tent as mentioned in Acts 15 citing Amos 6. You might know this as the Megiddo Church, the floor of which was recently exhibited at the Museum of the Bible.
The First Problem
The very first question, posed at the start of Genesis, involves the question of what did God really say? Adam and Eve messed this up and were ejected from Eden over this very point.
Ever since, the human experience on earth is based on this question. How do we know what God really said?
Human experience on earth is also built on the related struggle between those who seek out and want to know what God really said, and those who seek to hide or obscure what God really said.
Answering the question of what did God really say is thus tied to those who write and rewrite history. For most of history, most people cannot actually find the words that God really said.
The Fix
It turns out the written text of inspired scripture was built on a written language system that itself was based on a letter perfect, letter based, manuscript audit system.
That audit system, when applied to scripture, is how we know for sure what God really said.
The Process
By using the audit system, with correctly drawn letter forms, from the correct ancient manuscripts, it is possible to check the authenticity of any passage scripture. This is ultimately how to prove divine authorship.
Regular people can use the same alphabet and language system for normal speech. But, humans cannot invent long strings of text which will also pass that audit.
So as along as inspired text has survived history, it remains possible to recover the letter-perfect inspired form of that text. So it remains possible to answer the question, what did God really say?
Villains
Unfortunately for us, the inspired text was captured by kings and edited anyway. To hide their crime they had to change the drawn forms of the letters. They also had to hide a family of specific exhibits that prove the correct letter forms themselves. Once that work was done, those villains could then edit inspired scriptures more or less at will.
God himself allowed this editing to happen. But, God enforced 1 constraint on their scripture editing work. That constraint is called the law of Babel. Once written, the cannon of scripture could not be reduced. Only additions were allowed.
This has implications from modern communications theory. The additions become something like static in a radio signal. With the correct tooling those additions can be found, and removed. The pure inspired word can be recovered.
The law of Babel gave kings, priests and other rulers the reasons they needed to carry the text across history. Across many centuries they could even use the force of arms to protect the inspired word of God. It would otherwise have been lost to history. So there was some use for letting the text be changed.
But, those same additions also distorted what God really said. The serpent from Eden could rule earth under this manuscript editing rule. Finding what God really said would remain essentially impossible to find.
Seasons Of Recovery
A very careful study of scripture reveals a few things about the handling of the inspired manuscripts. The first point is that it was carried down through history by a very small family of scribes. Enoch, Noah and Abraham are the well known early names in that family.
After Abraham, the family began to grow larger. Jacob's family went to Egypt as 70 people. It appears that while in Egypt, that family grew numerically, but lost access to the inspired text, such as it was, in their day.
The story of Moses and his building of the Tent of Time after the Exodus is ultimately a story of recovery, at least for a season in history. Moses' real work was to setup a public copy of the inspired text and the exhibit systems that prove the inspiration of that text.
Moses would also become another inspired writer in that same family line. A careful read of the stories from that era also indicate that soon after crossing into the promised land, the heirs of Jacob soon lost understanding of their heritage. By the time they ask Samuel for a king, all was lost. Solomon was the first editor, the first villain, who changed inspired text into a non-inspired canon. The broad public had gained a king but lost access to scripture.
For roughly 1000 years, from the Exodus to Ezra's day, only a small remnant, normally around a small community of the prophets, would actually know the inspired writing system. That same community of prophets were also the only group who knew the inspired canon of scripture.
After the close of the Old Testament, for roughly another 500 years, NOBODY had access to inspired scripture at all. The story of the New Testament is the story of a complete recovery of the inspired canon as well as the attendant exhibits that proved the writing system.
If you know what you are looking for, nearly all of the stories in the New Testament gospels are dealing with the language system related exhibits in one way or another.
In that same New Testament era, the canon of scripture was completed, taking on some remarkable internal structural forms. This recovered and completed canon was the basis for the New Testament evangelistic missions. Paul was preaching from the inspired canon. This is why he was so hated by the religious leaders of his day. Paul had been raised in the edited system, and he had broken free.
At the close of that era, sometime after Paul had arrived at Rome, even the New Testament was edited to hide the inspired story. The New Testament was edited in such a way as to connect the edited New Testament to the edited Old Testament that was already well known by the public.
The entire edited canon became the Bible of today. The inspired texts were again lost, similar to how they were lost in Ezra's day. By the time of Constantine, that entire edited text was now suitable for a new state religion, what we know of now as Catholic or Orthodox Christianity.
Kings could once again use the force of arms to protect the inspired text safely buried within a false manuscript shell. It appears that recovery began to become possible only after the growth of Protestant Christianity. Only within this general tradition was the public at large encouraged to study the text for themselves.
Contradictions
The human editors left behind subtle contradictions within their edited text. We are normally taught by Christian teachers that contractions are caused by reader misunderstanding. So in this world contradictions are a personal problem, not a textual problem. So the leaders in the faith community want these to go away. But instead, we need to know the text well enough to see as many contradictions as possible. Inspired text will have none, this is true. But the Bible is not inspired text.
Villains By Name
But if we study the text more closely we can find the inspired text identifying the editors. This basic list is easy to remember. Solomon, Ahab and Jezebel as a team, Nebuchadnezzar, Mordecai, Ezra and finally Ananias were those editors.
Those editors each cared about certain things. They created many contractions and various lines of thought that are false. Their work can be learned, their villainous purposes can be understood and explored. The text of the Bible can be marked up to show their work.
Using only contractions and villains by name it is possible to generally approximate the original canon of scripture. The BRB, short for Bible Research Bible, began as our stab at this mother of all Bible studies.
Recovery Process
But the letter level work comes from another point of reference. It began with a series of prophetic dreams in 2009.
The short answer to a long study is that the Phoenician alphabet was originally the inspired alphabet for scripture. Contrary to what we are told by academics, this was never an evolved form of Egyptian Hieroglyphics.
We have a name for our precise, recovered, definition of the Phoenician alphabet. We call it the Paleo alphabet. So the "old" alphabet.
What makes Paleo so special is that each 2 dimensional drawn letter form is a projection, so a shadow, of a 3 dimensional object. Any change in the drawn letter form, say by a sloppy scribe across history, can be found and corrected if the 3d shape is known. "Clay Birds" is an off-canon reference to these 3d objects from the New Testament era.
3d models of all of these objects are easy to create using modern 3d printers and a little bit of plastic. We no longer need to use clay.
But, how do we know the 3d models themselves are correct?
Each 3 dimensional object has 6 different 2 dimensional sides. All of the 2 dimensional sides are shared on other 3 dimensional objects. The complete set begins with a singular, infinitely repeating, 2 dimensional shape. The entire set ends with another set of 13 infinitely repeating 2 dimensional shapes. It is a closed system with a huge number of limits on possible degrees of freedom.
The system has limited degrees of freedom, which is a fancy and technical way of saying that the alphabet is a miracle.
But how do we know the set of shapes is the correct set? Isn't there another equivalent set that would still work?
Turns out those shapes form 4 larger families of 3d exhibits.
The gold set forms a model of a silo and/or a well.
The silver set forms a model of a sower and/or a reaper.
The copper set creates a set of 25 "tools" that provide the dictionary definition of the meaning of letters. These provide the start of the dictionary definition of inspired words.
The final bronze set of 3d models forms a family of trees that show the life cycle of a plant. This is like trees found along a river.
Applying these object families to our common experiences is a process known as a "design constraint." This family of 3d objects has an excessively large number of such constraints. This is why the system starts to take on miraculous meaning.
This is especially interesting because this alphabet has archaeological witness that is nearly 4000 years old.
Your Problem
Imagine you are a young man who followed Moses out of Egypt. Your job is to form a family that you can provide for and lead across the wilderness into the promised land.
Moses has setup a strange tent. It is full of language related exhibits. These exist so you can know the true and inspired set of writings from the God that has lead you thus far on the journey to the promised land.
These exhibits matter. Why? Because they form the basis of a set of promises being made by the same God who brought you out of Egypt. Those promises are the basis of a contract that forms the basis of prosperity and peace. You need to know the terms of the contract so you can keep your side, so God will keep his side and not get angry. You know what happens when he gets angry? The same plagues that happened to Pharaoh, in Egypt, where you were born, will happen again in your land.
What are you going to find in Moses' Tent Of Time?
What must you learn in order to survive and prosper under the care of the God that is leading your community?
Each exhibit has a different lesson or set of lessons. You need to learn all the lessons across all the exhibits found in that tent. If you apply them well you will know how to read scripture, the text of the contract. You will know how to apply them to the world.
Some exhibits are free standing. Some hang on the walls of the tent. Some are kept in chests and brought out for special lessons, while otherwise are always on display. A few are very special. These are displayed all the time, but are found in an inner or upper room. You don't go there until your teacher agrees and lets you in.
Most exhibits are related to the language system that is used in the contract. Some show how to apply that contract to the world around.
As the leader of a family, you need to know these lessons yourself. You will be responsible for teaching your family and future generations how they work as well. So you need to know those exhibits yourself in order to curry God's favor and be successful in life. If you don't know the exhibits, you or your heirs, will inevitably be returning to the equivalent of slavery in Egypt, which is where you started.
Some of the exhibits, the "upper room" exhibits, go well beyond the simple contract itself. Some of these work together to lay out the flow of all of human history. This includes a better understanding of Eden, where we all began, and where you hope to finish.
Divine Name
Perhaps the first lesson, before you can even enter the tent, is the name of the God who is leading the show. In the New Testament that divine name is normally rendered via a Greek intermediate language as Jesus. This is a hellenized form of a more common name, Joshua, as in Joshua son of Nun. Jesus' friends, family, disciples and apostles knew him as Joshua. We do the same around here, and use Joshua as the correct divine name.
In the Old Testament text, even on the commandments, the inspired divine name is also Joshua. The villainous editors changed the divine name from Joshua to Yahweh, amongst other choices. Pharaoh had the same problem. He did not know the divine name Joshua. Not knowing the correct divine name is a sign of living in Egypt.
When Moses renamed Hosea son of Nun to Joshua son of Nun, Moses was giving Hosea the same name as God. Why?
Hosea was to become a distant ancestor for Joshua God, when Joshua became a man in the New Testament.
Moses was providing cover for that future family. They could use the name Joshua and the neighbors would not complain. The neighbors did complain with John. Joshua was thus a known ancient a family name.
Nobody at Joshua's birth knew the actual divine name, so they did not make any obvious connections, at least not right away.
The family would not need to explain the supernatural events surrounding how they knew to use this name for their newborn.
You are free to use Joshua as the correct divine name. In our various manuscript related apps linked off of Paleo.In, you will find us using this name most of the time. The exception is when we are dealing with unfamiliar audiences or when we are dealing with an ancient text with some other name.
Even better, Joshua answers prayer when you call to him using his correct name.
Source Languages
There is great debate in church circles about what language was originally used to write the inspired text. Claimants on this important question differ between the Old and New Testaments.
The extant choices for the New Testament are Greek and Aramaic. The western or Roman churches claim Greek was the inspired language. Church groups that are parts of the "Church of the East" claim Aramaic is the inspired form. Their claim is known as Aramaic Primacy. There is plenty of manuscript evidence spread across the New Testament in support of Aramaic Primacy.
Our work can be used to show that the ancient Aramaic text, when converted to Paleo letter forms, can generally pass the audit process. So the strict answer is neither the Aramaic nor the Greek New Testament is inspired. But, Aramaic is very close to inspired Paleo.
Aramaic was the language used to preserve and transmit the inspired core of the original Paleo New Testament down across history. Aramaic also preserved the essential Paleo grammar.
The New Testament editor, so the 6th villain, did not know Paleo. He may or may not have been thinking in Greek. There is some evidence he was thinking and perhaps writing a New Testament draft in Hebrew. In any case, the Greek New Testament is a translation of the Aramaic. This is as "Aramaic Primacists" have long rightfully claimed.
The Old Testament has 3 extant choices for being the inspired text. History suggests the Old Testament could have been written in Hebrew, Aramaic or Greek.
Our audit work, especially of the commandments, shows the Aramaic spelling of the commandments to pass audit.
We believe the original Old Testament writing was done in Paleo letter forms using a grammar very similar to Aramaic. It was then converted to the Aramaic script and then also preserved across history. This is just like the New Testament.
The Old Testament editors were working and thinking in Hebrew. Those edits were translated to Aramaic and then forced back into the Aramaic texts. This was perhaps done with the threat of death to Aramaic scribes who did not go along. This was done in order to keep Aramaic manuscripts from showing the Hebrew manuscripts to be edited by men.
The Greek Old Testament, normally called the LXX, provides a set of ancient variant readings for many verses. It also provides some variant verse order.
These variants may be still be needed for complete letter level recovery of the Paleo Old Testament. This is especially so for the Book of Tobit.
Problems with Zionism
Christian Zionism, which pairs the Greek New Testament with the Hebrew Old Testament is false. It is pairing 2 different early manuscript translations into a strange hybrid form. Anyone deeply familiar with the Greek New Testament knows it quotes the Greek Old Testament, not the Hebrew Old Testament.
Not only does this Hebrew/Greek combination suffer from each part being a translation of a translation, it is compounded by the drift in Hebrew word meaning across the centuries. Jews are not manuscript purists like Christians. Christian Zionism also grants authority to Jewish scribes in ways the New Testament does not allow.
Jebusites
The Hebrew language tradition ultimately springs from Jebus. Read the last 3 chapters of Judges for the origin story of Jerusalem and ultimately the source of the Hebrew language.
Jerusalem was originally called Jebus, a tribe not descended from Abraham. The Jebusites were cousins to the Hivites. That Hivite name is lurking behind the story of the Serpent in the Garden of Eden.
Rediscovery of Aramaic
Western church traditions were generally unaware of the Assyrian language Church of the East. Nor were they aware of that church's Peshitta and Peshitto manuscripts. This changed when Protestant missionaries from the west reached Kurdish territories in what is now Iraq sometime in the early 1800s.
At that time, those missionaries had no expectation of finding an ancient Christian tradition in that region. These Assyrian Christians were ultimately heirs of Jonah's missionary work into that same region. Christianity in that part of the world has suffered under various genocides across the past 300 years. It is no longer as large as it once was.
The Assyrian Church of the East is also importantly the source of the first Christian missionaries who went down the silk road to China in the late 700s AD. Various artifacts of that time still remain in China. They were once a large church with far reaching foreign missions.
This Ezekiel's Bones Website
This website domain was first registered many years ago when we first started working on the exhibits. At the time we were mostly focused on building 3d models that are used to prove correct Paleo letter forms. So we were focused on what is now the gold, silver, copper and bronze 3d model sets.
These models were Ezekiel's original vision. He saw the dry bones, the lost letter forms, coming up from the dust and forming again into their natural, skeletal, human form. Specifically, that vision is of the silver set of 3d models that form the sower and reaper exhibits. These are models of humans skeletons riding on chariots.
In any case, when we first registered this domain, we did not know what we did not know. So we have kept this website idle for many years. This website remains the planned home for downloadable 3d model files for a very large set of exhibits, well beyond the basic bones.
Design Process
We (mostly Phil) are currently in an iterative 3d design process to work out reasonable 3d designs for each of the exhibits. This work began in earnest in 2023. By early 2026 this is still very much a work in process.
Some of those designs only exist as line items on a list. Others have been iterated several times. Once designs have been iterated 3 or more times, they seem to be approaching final forms. But, the need for new design iterations are often caused when other exhibits reaching their first 3d printed forms.
So we are not yet ready to release downloadable 3d printer ready files. When those files are ready, each exhibit will get pages here so they can be understood and downloaded for anyone to 3d print.