Structures on the Moon: the photographs Lue Elizondo says may soon emerge, and the tower John Lear described twenty years ago
Lue Elizondo says unreleased photographs show large monolithic structures with right angle cuts on the lunar surface. More than twenty years earlier, John Lear described an immense tower in Sinus Medii during an Art Bell broadcast. These are not two accounts of the same photograph. Placed carefully beside one another, however, they raise a precise question: what exists in the material that has not yet been shown, and what could be tested if it is released?
Lue Elizondo in conversation with Yoshi Asakawa
This is the interview in which Elizondo describes unreleased photographs and large monolithic structures with right angle cuts on the lunar surface.
John Lear and the tower he described in Sinus Medii
The video presents Lear's description. The complete 2003 Art Bell broadcast and the programme's official briefing page are linked below.
Elizondo's statement is preserved in a filmed interview with Japanese investigator Yoshi Asakawa. Lear's description appears in the November 2, 2003 Coast to Coast AM recording and in the programme's official disclosure briefing page. In a March 2004 post Lear wrote that he had proposed the Sinus Medii tower might be a soul machine, and in a later interview he described Earth as a place for the development of the soul. A USGS map confirms Sinus Medii as a real geological region near the centre of the Moon's Earth facing hemisphere.
The photographs described by Elizondo are not public, so their original files, coordinates, sensor data and chain of custody cannot yet be examined. Lear did not present an authenticated photograph of the tower during the broadcast, and Elizondo did not say that his photographs show Sinus Medii or the structure described by Lear.
The sentence that put the Moon back at the centre
In an interview with Japanese UFO investigator Yoshi Asakawa, former intelligence officer Lue Elizondo said photographs exist that he does not believe have yet been made public. He described objects on the lunar surface that appear to be large monolithic structures with right angle cuts, and said he believed the images might be released soon. His wording is striking because he was not describing a blurred light or a single ambiguous shadow. He was describing geometry that, in his view, did not look naturally formed. Elizondo, who led the Pentagon's AATIP programme, connected the material with a longstanding non human intelligence interest in the Moon and with humanity's return to a sustained presence there.
What a monolithic structure means in lunar imagery
A monolith is a large object that appears to form a single unit. Add straight cuts and corners close to ninety degrees and the human eye immediately recognises design. On the Moon, however, appearance depends heavily on solar angle, camera altitude and resolution. A crater wall, fracture, impact block or hard shadow can create a persuasive shape in one frame. The real importance of Elizondo's statement therefore lies not only in the form he described, but in the quality of the material he says exists. A sequence from different angles, precise coordinates and sensor information could turn an intriguing appearance into something measurable.
On November 2, 2003, former pilot John Lear joined Art Bell and presented a disclosure scenario, an imagined briefing containing what he believed a government could tell the public. When he reached the Moon, Lear said the pictures he was discussing showed structures. He named Sinus Medii and described a tower there more than seven miles tall. He then referred to another object in Mare Crisium that he called the Colossus of Oguram, a machine he said was larger than Brooklyn. The complete programme runs for nearly three hours. The video on the Alien Avi channel brings the key passage to viewers in a direct, accessible format while the original broadcast remains linked in full.
In Lear's wider account, the tower was not built merely to watch Earth. He described it as part of a mechanism that handles the soul between incarnations. After a life ends, the soul reaches the machine, the information, experience and learning gathered on Earth are downloaded and retained, personal memory is reset, and the soul is returned to Earth for another life cycle. In this model the body is a temporary container and earthly life is one stage in a much longer process of spiritual development. In a 2006 interview Lear called Earth a soul farm and said the central purpose of existence here was the development of the soul. He described the Greys as monitors of physical containers who could move souls from body to body, but were not responsible for the soul itself. The clearest surviving statement that connects this model to the lunar tower is a forum reply Lear wrote in March 2004. He said the object he identified in Lunar Orbiter III frame 84M had faced Earth for a very long time and that, because he believed souls had been followed to the Moon, he proposed that the tower might be a soul machine. Lear called it conjecture and theory. The information download, reset and return process belongs to the fuller version of the soul catcher account circulated around his story, while his preserved post directly confirms the connection he made between the tower, the Moon and souls.
The Ra material, whose speaker identifies itself as a sixth density social memory complex, contains no lunar tower that captures souls. It does, however, contain a striking parallel to another part of Lear's account. Ra says that after death an entity enters metaphysical time and space, where a lifetime can be seen whole like a book. Its experiences are reviewed, healing takes place and the needs of a future incarnation are assessed. In this material the veil of forgetting operates during embodied life to create meaningful choice and development. It is not a memory wipe performed by a device after death. Ra also mentions bases on the Moon being reworked, but attributes them to human military complexes and never connects them with souls. Its harvest process is determined by the spiritual condition of each entity, with the higher self and assisting beings present. Ra therefore does not confirm Lear's soul machine. It offers a different model beside it, one in which the knowledge of a life is retained, examined and carried forward without a tower or technological mechanism.
Lear's idea did not appear in an empty landscape. In 1976 George Leonard published Somebody Else Is on the Moon after examining NASA imagery and arguing that it showed towers, pipes, tracks and immense machinery. He wrote about construction and activity, not the recycling of souls. Ingo Swann, a pioneer of remote viewing, carried out a Moon viewing exercise in 1974 while working at SRI and later described a hidden side base and its occupants in Penetration. He did not describe a tower that resets souls. Robert Monroe added a different line in Far Journeys with what he called Loosh, a substance or energy generated through the experiences and emotions of living beings and gathered by other intelligences. Monroe described the collection of a product of life, but not a lunar tower. An archival account by Rayelan Allan comes closest to Lear's formulation. She wrote that Lear asked whether she had heard of a lunar structure that served as a soul catcher, while Gunther Russbacher described a two way device that sent souls to Earth and caught them when their journey ended. Each source holds a different piece of the picture. Leonard and Swann place structures on the Moon, Monroe describes a system collecting something produced by life, Ra describes review and continuation between incarnations, and Lear is the figure who joins the lunar structure to the route of the soul.
Sinus Medii, the Bay of the Centre, is a small, densely cratered basaltic region very close to the centre of the lunar hemisphere visible from Earth. Its position gave it practical importance during the Lunar Orbiter era because it lies in a favourable region for direct mapping and communication. The United States Geological Survey map shows craters, ridges, plains and volcanic units in the area. It does not show or validate a tower. Its value here is different: it turns a mysterious name into a defined, mapped location and shows exactly where Lear placed his claim.
It is tempting to join Elizondo's new statement directly to Lear's old tower, but the connection must remain exact. Elizondo did not mention Sinus Medii, give a height or say he had seen the images discussed by Lear. Lear did not identify the provenance of his pictures in a way that now leads to a file with a documented chain of custody. Their similarity lies in the idea of artificial looking geometry on the Moon. Their differences lie in date, source and detail. This article therefore treats them as separate claims touching the same larger possibility, not as confirmation of one another.
Humanity is returning to the Moon with new cameras, more exact orbital coverage and plans for a presence that extends beyond a brief visit. Any anomalous site that can be located may eventually be examined by more than one nation and more than one sensor. Elizondo says the Moon has long held particular interest for non human intelligence and that renewed exploration may reveal artifacts or traces of habitation, much as future missions may find on Mars. That is a sweeping claim, but it can be broken into testable parts. If photographs exist, release the files. If a location exists, image it again. If a structure exists, measure its shadow, height, shape and material context.
In a response supplied to the New York Post after Elizondo's statement was reported, NASA said it had mapped and photographed the entire lunar surface at high resolution and was unaware of structures of the kind described. The image at the top of this article demonstrates the scale of the public record. NASA's Scientific Visualization Studio assembled it from 1,231 images taken by the narrow angle camera aboard the Lunar Reconnaissance Orbiter. It is not one of Elizondo's alleged photographs and is not presented as evidence for or against his claim. It shows that the Moon is no longer merely a distant disc, but a photographed world with immense public data available for comparison.
A meaningful release will require more than a compressed screenshot circulating online. Researchers will need the original file, mission and sensor name, acquisition time, coordinates, resolution and neighbouring frames from the same pass. Those details would allow the object to be compared with elevation maps, checked against other observations and tested to determine whether an apparent wall is a body or a shadow. If the images came from a classified platform, the history of their release and authentication will matter as much as their visual impact. Without that information the public receives a powerful image. With it, the public receives a finding that can be investigated.
The story does not end with choosing whether to believe Elizondo or Lear. It begins with the demand to see. More than twenty years ago Lear gave a name, location and dimensions to the scenario he presented. Elizondo now says a different layer of material exists, closer to publication, showing objects that do not look naturally occurring. If those photographs appear in a coming release of UFO files, the discussion could finally leave the studio and memory behind and be placed on a map of the Moon. Until then, the complete sources and both videos are presented here so every reader can hear what was said, by whom and in what context.