December 7, 2006 at 9:26 am #19781
Is Levitation a mark of Enlightenment? (Science Article + video)
From: Michael Winn
Date/Time 2006-12-07 08:17:05
Remote IP: 188.8.131.52
Note: Christian mystics have long been famous for flying uncontrollably about their prayer chamber.
My brother, a Transcendental meditator, has been “flying” (or hopping) for years – a technique taught to thousands, based on chanting a certain sanskrit sutra in the heart and waiting for blastoff. Recently, levitation was claimed by posters on this forum to be the “test” used to measure progress from training with certain supernaturally gifted qigong teachers. I have read accounts of Tibetan monks chanting to levitate a stone up a steep cliff in order to build a monastery in an inaccessible place.
I myself have long known – based on a flashback experience I had in Egypt – that the Great Pyramid was built using sound technology by a few adepts who vibrated the two million two-ton blocks into place in a short time. It is one of many reasons I make inner sound technology a fundamental part of the internal alchemy training. But I am not concerned with levitation, although that can be a side effect. Why?
The following article and video will give all pause to consider whether levitation is a mark of enlightenment or merely a physical byproduct of stimulating certain sound frequencies. It raises the issue of whether it is valuable to make a distinction between the effect that is achieved using ultrasound to easily raise physical objects, vs. the spiritual vibration that can be heard in the energy body and spirit body as the “music of the spheres”.
Are the insects and small animals levitated here enlightened? If they flew by themselves – without the support of ultrasonic fields – would they be enlightened? Are all birds enlightened, proof given by their ability to fly? Amuse yourself with this video and such questions….
SCIENTISTS LEVITATE SMALL ANIMALS
By Charles Q. Choi
November 29, 2006
Scientists have now levitated small live animals using sounds that are,
In the past, researchers at Northwestern Polytechnical University in Xi’an,
China, used ultrasound fields to successfully levitate globs of the heaviest
solid and liquid — iridium and mercury, respectively. The aim of their work
is to learn how to manufacture everything from pharmaceuticals to alloys
without the aid of containers. At times compounds are too corrosive for
containers to hold, or they react with containers in other undesirable ways.
“An interesting question is, ‘What will happen if a living animal is put
into the acoustic field?’ Will it also be stably levitated?” researcher
Wenjun Xie, a materials physicist at Northwestern Polytechnical University,
Xie and his colleagues employed an ultrasound emitter and reflector that
generated a sound pressure field between them. The emitter produced roughly
20-millimeter-wavelength sounds, meaning it could in theory levitate objects
half that wavelength or less.
After the investigators got the ultrasound field going, they used tweezers
to carefully place animals between the emitter and reflector. The scientists
found they could float ants, beetles, spiders, ladybugs, bees, tadpoles and
fish up to a little more than a third of an inch long in midair. When they
levitated the fish and tadpole, the researchers added water to the
ultrasound field every minute via syringe.
The levitated ant tried crawling in the air and struggled to escape by
rapidly flexing its legs, although it generally failed because its feet find
little purchase in the air. The ladybug tried flying away but also failed
when the field was too strong to break away from.
“We must control the levitation force carefully, because they try to fly
away,” Xie said. “An interesting moment was when my colleagues and I had to
catch escaping ladybugs.”
The ant and ladybug appeared fine after 30 minutes of levitation, although
the fish did not fare as well, due to the inadequate water supply, the
“Our results may provide some methods or ideas for biology research,” Xie
said. “We have tried to hatch eggs of fish [during] acoustic levitation.”
The research team reported their findings online Nov. 20 in the journal
Applied Physics Letters.
Editor’s Note: Acoustic levitation has been used for many years. Click here
(SEE LINK BELOW) to see a video of a micro-gravity experiment for a NASA-related project done in
1987 by David Deak.December 7, 2006 at 10:50 am #19782
It’s interesting you mention the pyramids. I new study came out Dec 1st that says there is a chemical and density difference between the tops and bottoms of the pyramids. The study suggest that the tops of the pyramids were poured. This idea first appeared in the 1970’s, but now they have a better physical arguement. Many still reject the idea.December 7, 2006 at 12:51 pm #19784
hi, where can i find the description of M.Winn’s experience in the Great Pyramid?
I am also interested in Pyramids.
And about the powers, i can remember Magus of Java, as an example. There are many that say he is the real thing, because he can show power, not just talk about it. I do not agree with that, but still, it is frustrating…
Little1December 7, 2006 at 4:13 pm #19786
In Jane Roberts’ material that’s exactly how building of the pyramids is said to have occured (as you say, using vibration).
This might belong more to the philosophy section, but what you’re saying about enlightenment and special abilities like levitation makes me think of reading The Book of Five Rings (by the 16th century samurai, Miyamoto Musashi) as a teenager, which was a time when I was very avidly practicing both martial arts and developing meditation, which to a certain extent of course gave me advantages over others who didn’t practice like that.
Reading The Book of Five Rings set up a kind of ‘cognitive dissonance’ in me. Here was a man who was clearly profoundly skilled, who was talking frankly about the development of ‘jedi-like’ powers, including ‘using the void’ to strike down one’s opponent, an artist, a consummate tactician… Yet, was that ‘enlightenment’? Sorry to sound like Andrew Cohen here. : )
Quite honestly though, this became an ongoing, kind of subconsious concern for me.
Clearly ‘being able to rest in the void’ and to ‘use it’ to make one’s actions miraculously appropriate or accurate, was something that could be used simply to be a great warrior, or, probably, a black magician, or just to be a magician period, good, bad, or fuzzy. And special meditative abilities involving concentration and use of energy–same thing. So personal ambition and ‘using the void’ could intersect without the former vanishing into smiling, buddhistic sainthood.
Seen pragmatically or in a goal-oriented way it seems to be like that; that we can use the innate capacities through skillful development to achieve certain ends which stem from our human condition, or cultural systems of values, and the personal desires that grow in that soil. In that sphere the saying applies: There’s always going to be someone with bigger muscles… And people may be really good at one or some things and piss-poor at others, or not even know certain abilities are possible, etc.
I began to see that kind of development of meditative skills as different than ALSO having a meditation that was just a listening to, a getting in tune with the deep mind, or dao, or buddha nature, source, god etc; a trusting that there is some kind of innate dynamic intelligence at the root of reality and thus of experience that can be listened to, where such listening may lead to refraining from some things, and taking leaps into others one wouldn’t otherwise take, and to looking at uncomfortable truths, one’s own and others’ hypocrisies etc, but in a non-fixed, dynamic, never ending story kind of a way–in other words, because there ARE guidelines, standards, or there IS an intelligence, a high ground, that assesses things as more or less good or bad or ‘appropriate’, which can be personally experienced/accessed by anyone regardless of what condition they’re in.
Well, it’s a work in progress…
SimonDecember 12, 2006 at 4:48 pm #19788
More fuel for the fire. This is an interesting piece by a sound engineer who studied the Great Pyramid.
thanks to Chris Dewreede.
The Great Pyramid: Early Reflections & Ancient Echoes
TestTones, Indiana Jones and the Lost Knowledge of Yore
By Tom Danley
Editors Note: Sometimes a story comes out in a way that rolls the whole. What follows encapsulates audio, acoustics, truth, fiction, legend, innuendo, road rage, taboo, and prognostication. We hope you find it fine reading for an unspoiled moment.
For some twenty years I worked for Intersonics Inc., a company which developed experimental space flight hardware for sounding rockets and the space shuttle and also did contract R&D.
It was while there, the Boss let me launch the Servodrive part of the company. The caveat was as long as all it costs was space and lights. So we were off in our spare time to create some perfect bass.
With so much of the companys NASA work having to do with acoustics and having good measurements, we were also one of the early companies to get a TEF machine. Being the main acoustics guy, I used the TEF to measure vibration resonances in space flight payloads and locate flaws in concrete blocks (looking for echoes).
Another task set was to measure/develop new transducers for acoustic levitation, another for producing a sonic boom. I even used TEF for measuring resonant modes on pecan shells. Lets just say it got seriously multi-tasked.
While at Intersonics, a movie company asked to film the acoustic levitation process used by our space flight hardware.
Photo #1: The Great Pyramid I ended up demonstrating it and being in the movie (Mystery of the Sphinx with Charlton Heston).
During filming I had made a wisecrack to the producer about going to Egypt and measuring the Pyramids.
Several years later, the same producer calls up out of the blue and asks if I was interested in finding out why the inside of the Great Pyramid sounded so weird. This would be for another movie all expenses paid and a decent nut to boot.
Some quick research on the Pyramid revealed it was a lot bigger than I imagined. It had a number of chambers and levels above the Kings Chamber opening the possibility that it was not a simpleacoustic system. A rough (and I mean rough) estimation of the resonance of the granite ceiling beams in the Kings chamber put them at about 300Hz. A somewhat less rough helmholtz resonator and transmission line model suggested resonances starting at 2.5Hz or so.
OFF WE GO INTO THE WILD BLUE YONDER
My long, fairly comfortable flight on Egypt Air from New York City landed in Cairo where my Egyptian adventure got off to a bad start.
Not being sure what to expect, or if my modeling meant anything in the real world, Id packed two speaker systems for producing test tones, one for above 100Hz and a second much larger unit for below. Both were shipped in sealed boxes containing a power amp, my trusty TEF 12, a B&K microphone and an accelerometer (and a brace of cables).
Unfortunately, my power amplifier got lost, when we arrived at the Cairo airport. I suppose they thought the elaborate tour they took me on, through the dank, dark caverns under the airport looking for it, would offset the loss. Maybe they hoped this search party experience would combine with relentless jet lag to dissuade my pursuit.
Come to think of it, they never did pay up on the insurance claim (grumble, grumble). I was immediately on the phone to the Crown dealer in Helliopolis to arrange for indigenous amp rental. Thankfully several days of free time were scheduled before I was on camera.
My 01:30 trip from the Cairo airport to Giza, where the Pyramids are, documented the chaos of local Egyptian road rules.
Carhorns are the linga franca for inter-driver communication. Headlights are almost never used at night on highways, but are frequently flashed in a fashion similar to horn honking.
Also curious, a marked three-lane road can often have five lanes of door-to-door, bumper-to-bumper traffic, consisting of a zillion wannabe Formula 1 drivers in beat up cars. This routine requires constant lane changing, horn honking and jockeying for the pole position all at 15-30 mph.
During a return to Cairo proper, I discovered that even the traffic lights are different. Like everywhere else, green means GO, but yellow also means GO and red means GO if nobody is coming. A cop standing directly in front of your car means stop, but if you are in the car next to the one with the cop, you can go regardless of his hand motions or how hard he blows his whistle.
DON’T WORRY, GO WITH THE FLOW
I settled in at the Movenpic hotel near the Pyramids. Several days of pre-film preparation remained. It was immediately clear that many production details remained undefined.
When I asked whether or not we had any sort of production schedule, outline or anything, the answer was it isnt ready yet dont worry. I thought that maybe thats the way Hollywood is real casual. So I made my best attempt to go with the flow.
The first day we went to look around the Great Pyramid (see Photo #1) and the area where we needed to get to inside. The thing is huge! Its 500ft(152m) across and 480ft(146m) high, and made of about 2.5 million
3-4sqft(1sqm) blocks of limestone with interior constructed of Red Granite.
Photo #2: Our Crew at Idle To enter the Great Pyramid, one must first enter the cave El-Mamun. A would-be robber bored into the limestone here in around 600AD. This tunnel goes in approximately 50ft(15.2m) to a point they were supposedly about to give up, but heard a noise inside and re-directed the tunnel to the left.
There they hit the Red Granite casing on one of the interior passages and by following it (the tools they had couldnt cut granite), they eventually located the Great Pyramids interior. From the end of this tunnel, one climbs about 120ft(36.6m) stooped over in a space barely one yard/meter high.
This section is fairly steep with an approximate 30-degree incline. Without the wooden boards fastened to the stone for footing, it would be almost impossible to make this climb while carrying gear. For me, this path created a whole new meaning to the term walk like an Egyptian.
WALKING WITH THE KING
Next you enter the Grand Hall. Its also inclined but now about 40ft(12.2m) tall with a corbled (stepped) ceiling. After trudging up another 120ft(36.6m) up the grand hall one finally reaches the entry to the Kings Chamber, which is another tunnel. This time, however, its level and about 10sq.ft(1sq.m) and perhaps 20ft(6.1m) long.
The Kings Chamber is about 40ft(12.2m) long, 20ft(6.1m) wide and 20ft(6.1m) high. The walls, floor and ceiling are all made of Red Granite. The granite blocks that make up the walls are huge. The one over the door is nearly 8ft(2.4m) high 14ft(4.3m) long and 5ft(1.5m) thick, yet all the blocks fit so tightly you cant get a business card between them. They are polished to a surprisingly smooth finish.
However, it was kind of a pain just to get this far (and this was the easy part). When I expressed concern about getting the gear up to the Kings Chamber, I was encouraged to hear the Producers plan to hire some locals to haul our gear in and out. He acknowledged the degree of difficulty, and he was right. The Producer was also right about the acoustics in the Kings Chamber. It sounded very weird inside there. Think of the livest room youve ever experienced, and then double that. It was acoustically solid as a rock. Given a minimum of 200ft(61m) of stone in all directions, it should be.
ON THE SKIDS
Our crew had a heavy heap of equipment (larger than my gear pile). So, our fearless leader decided we would go to a wood shop and have a skid made that could be dragged up the incline. After measuring the passages, we were off the next day to find a wood shop known to the staffs hired Egyptian cab driver.
When we arrived at the shop, I was underwhelmed to say the least. Our wooden skid was promised to be ready in a few days. The crew (see Photo #2) were already scheduled to explore/plan for other parts of the film, so I tagged along.
During these few days it became obvious that the producer and his financial backers were following two somewhat different game plans.
Photo #3: The Sphinx from the Front Paw View Plan A included the production goals that included me. Specifically, we sought to access the cavity they had found with sonar and ground penetrating radar under the paw of the Sphinx. Psychic/cult hero Edgar Cayce predicted this cavity to be there in the 1930s.
Plan B was to produce a TV documentary, which overlapped Plan A as much as possible. We had permits that essentially gave us free access to everything, so we spent a couple days filming at the Sphinx compound. (see Photo #3) Note: I ate lunch one day sitting between its paws.
The radar also suggested there was an underground tunnel leading from the cavity, under the sphinx and continuing on.
At the rear of the Sphinx, the sound guy and myself saw an opening at the bottom of its rear and after seeing no one was around, both of us went in. (see Photo #4) This cave has two forks. One fork goes down about 12ft(3.6m) and sounds hollow if you stomp on the floor. The other fork goes up into the body and stops.
There were no other ways of reaching the cavity and by this time the permit to drill a hole for a fiber optic camera had mysteriously been yanked by the antiquities department. Being problem solvers, the bosses decided to look for another way to reach the Sphinx cavity.
OPTIONAL METHODS (PLANS C, D & E ???)
The producer lived in Egypt part-time and had heard about a waterwell on the causeway. The causeway, by the way, is the big stone ramp used to haul the stones up from the Nile for the Pyramid. One enters from the side through a short tunnel into the side of the actual roadway. From here, you carefully climb over an iron gate and try NOT to fall into the 30ft(9.1m) deep hole immediately on the other side. Then you carefully descend a decrepit iron ladder down into the dark.
Photo #4: The Sphinx Rear Entry Point The bottom opens in to a room about 20x20ft(6.1×6.1m). At the far side is a down shaft about 6x6ft(1.8×1.8m) or so. You carefully get on another iron ladder (looks to be like 3/8in round rusty steel bar) and climb down into the blackness about 60ft(18.3m). This was spooky. All we had for light was a helmet mounted flashlight. (see Photo #5)
This climb ends by opening into a tomb with three sarcophagi. They are set into deep niches in the walls. One is very large, made of smooth black stone, apparently precision made, with sharp corners even on the inside edges.
How did they do that? The other two made of limestone much smaller and in poor shape. All had been robbed.
GOOD TO GO
After the lighting gear made it down and was set up, I immediately noticed the room was rectangular with square corners and had about eight foot ceilings. At one edge was yet another downshaft. This one was smaller (maybe 4x4ft (1.2×1.2m) and went down quite a long way.
After climbing down an even worse ladder with ropes for safety, one encounters two pillars which would have held up the ceiling of the next space that once seemed to have been a two story room. The remains of the substantial rubble pile disguises that this room was ever man made. This level was a fairly creepy place with ample broken pottery shards and many human bones in the rubble.
The back walls are squared off. Theres a 7ft(2.1m) deep trench- like affair (full of water) around the back and two sides. It was like we were standing on top of the rubble pile created when the second story collapsed on the first. Anyway, they dug away a little at the center mound and about 10in(25cm) below the surface was a large granite slab. Radar detected a cavity below this slab about 6ft(1.8m) tall, and it seemed to lead off towards the Sphinx.
At this point more permits were needed so this discovery and all further work was snatched up by the head of the antiquities department.
For semi-related fun I strongly suggest a visit to:
We had gone as far as we could in the waterwell. The wooden skid was now done, and it was time for my part of the show. We had the Great Pyramid to ourselves every night after about 20:00 when the last of the sightseers depart and only the Bedouin guards remain.
As to not look the wimp, I grabbed a decent sized handful of cables and trudged up the slanting tunnel. When you get to the Kings Chamber, most people will have worked up a sweat. I am no marathon runner, and I had to stop at the top and catch my breath for a bit. These skinny kids come staggering up to the top with the gear and turn around go back down and get more.
The same guy carried my TEF 12 (which isnt light), my main woofer (which was 80lbs), and three trips of lighting batteries (each is a big car battery in a plastic cooler). I was impressed. And I realized that I was a wimp and there was no way around it. From then on when the crew hired locals to carry everything I knew they were earning a good wage by local standards.
The lighting guy tapped into the AC mains (240V 50Hz) and set up his transformer, and we were ready. I picked a spot on the wall in the Kings Chamber to set up my stuff. I placed the source at one wall and the microphone at the opposite wall and was ready to go.
I had figured the use of a known sealed box woofer (whose roll-off slope would roughly compliment room gain slope) that would allow useful measurements to extremely low frequencies (LF). The producer wanted to get the sound on film clearly. He asked that I test it at as loud a level as practical.
Photo #5: Arches in the Waterwell, Author in Frame I applied the first loud slow sweep starting at 200Hz to 10Hz a comfortable level. Around 90Hz I observed a strong room mode and sweeping at 1.1Hz/sec some real energy was transferred.
What really made everyone get up and run to the exit was the resonance near 30Hz. At that moment I aborted that test. This was a good resonance, it got nice and strong and scared the wits out of a several crew members.
Frankly, I was a little concerned myself. High-Q resonances at low frequencies can be very exciting!
The chances of something bad happening are small, but the consequences are large. Not wanting to be known as the first person in modern times to be buried in the Pyramid, I moved the TEF and myself to the tunnel entry way instead of inside the Kings Chamber.
I spent several nights taking measurements there and was filmed without incident. I observed a good distribution of room modes and curiously, the Red Granite Sarcophagus displayed several resonant modes, which directly corresponded to these room modes.
WHAT THE WITNESS HEARD
Lying in the sarcophagus, one finds its nearly impossible to hum any note other than ones related to the main resonances. In that position when you do hum at the right frequency, its easy to make it seem very loud. But for someone standing next to you, its not loud at all. Also lying in it, the outside sounds that get coupled throughout, colors other peoples voices for a very Darth Vador effect.
My general observation is that the Pyramids dimensions, the Pyramids construction materials, and the box inside the Kings Chamber were designed to passively (as in zero electricity) enhance whatever sounds were present inside the Kings Chamber.
It also appears that any wind pressure across the Pyramids internal air shafts, especially when the Pyramid was new and smooth, was like blowing across the neck of a coke bottle. This wind pressure created an infrasound harmonic vibration in the chamber at precisely 16Hz.
Being a musician myself, I was especially interested to discover a patterned musical signature to those resonances that formed an F-sharp chord. Ancient Egyptian texts indicate that this F-sharp was the resonant harmonic center of Planet Earth. F-sharp is (coincidentally?) the tuning reference for the sacred flutes of many Native American shamans.
Bottom line: We have 2.5 million blocks piled up in Egypt. Halfway around the world you have a guy whittling a tree into a musical instrument with exactly the same F-sharp resonance.
HOW DID THEY DO THAT?
The producer and crew were hot to film me placing an accelerometer on the big Red Granite beams which make up the roof of the Kings Chamber. Each of these beams weighs up to 90tons(91.444kg), and they were quarried at Aswan some 600mi(966km) away. They are also about 150ft(46m) high inside the Pyramid. Another how did they do that question.
Photo #6: Chichen Itza, the Tourist View To reach the upper levels above the Kings Chamber, one re-enters the grand hallway, then climbs 40ft(1.2m) up an old extension ladder to a hole in the wall. A small bundle of knotted cords comes out of the hole, which is also the entrance to a small tunnel.
Once in the small tunnel, you make a right turn and crawl a little more to an enlarged area carved out around a red Granite wall with a hole in it.
Climbing through that opening, you come into the chamber directly above the Kings Chamber. This room is only about 4ft(12.1m) tall but is the same length and width as the Kings Chamber. The ceiling is flat and is covered with some very old graffiti.
The floor consists of big rounded bulges, which are the center beams that run the width of the room. It took some time to haul all the camera and lighting stuff up, set up, then blow all the dust out of the sensitive gear before preparing to roll.
LET ME TAKE YOU HIGHER
After filming at that level and climbing up through a tunnel, we got to the next level up to do the same filming bit. It was in this room that we found a huge pile of burlap sacks filled with the chips the diggers had removed from the level below. This room also featured a large trash pile and hundreds of water bottles from the diggers. Its clear they were at work for some time.
Our passage to the rest of the upper levels was a real pain. Whoever did this part of the work used explosives. Essentially, this turns the experience into rock climbing. I got as far as I was able to go without help.
Fortunately, the camera and lighting guys were climbers and helped me up the last step. The top level has a peaked ceiling. There I had some time to look into any and all cracks I could find with my headlamp.
I found a place which looked like it opened up into a room as I could not see anything past the edge I was peering in.
On the next trip up, the camera guy put a 40ft(12.1m) fiberoptic bundle into the crack to see what it was. It turned out to be a very long (couldnt see the end) row of blocks all aligned (instead of the normal stager pattern) together all with big parts of the lower corner broken off.
While the accelerometer footage was good for the movie, the measurements were not informative. The signal was totally swamped by 50Hz and other electrical noise. I had a DAT recorder on hand, recording the test and mic signal for later analysis.
After being home for a few months and trying to see what else might be revealed on the Dat tape using Hyperception software, I found several things I couldnt have seen with the TEF. The TEF showed a large number of room modes some going below 20Hz.
HOW LOUD DOES IT GET?
While doing an FFT on the between-sweep time or quiet parts of the recording I found some very LF sound resonances which start at a few Hz and go upward to 15-20Hz or so. At least some of these were the same LF resonances I excited with my sweep, but not all of them. This sound was present even if everyone is silent.
I crunched the results of the measurements, and they were sent on to a musicologist that was part of the staff. As mentioned, he identified that there was a pattern of frequencies, which roughly form an F-sharp chord.
Not all the resonances fell in the right place but many did and some repeated the pattern for many octaves. In other words, it was roughly tuned to F sharp over many octaves.
It has been suggested (by others) that the Great Pyramid is NOT a tomb at all but actually a Temple of sorts and that these resonant frequencies were designed into the structure.
While many exotic and often far-fetched properties have been ascribed to the power of the pyramid, I see a possible argument that some of the phenomena people experience in it may be caused by the acoustical properties that were measured.
The effects of LF sound were extensively studied by various government agencies to determine the effects on humans, partly for the space program. One of the things that was discovered is that infrasound (very LF) can effect ones brain wave activity (Alpha rhythms, etc.) and other biological functions.
If, as some suggest, these Pyramids were constructed as a temple or for an initiation ritual rather than a tomb, then the LF sounds may be deliberate and have served a scared purpose with the sound triggering and even forcing changes in brain wave state (i.e. ones level of consciousness).
BRAIN WAVES, SOUND WAVES
One of the latest rages in controlling ones brain wave state are the light/sound machines which use black glasses and headphones with flashing lights in the glasses and LF pulsing sound in the headphones to literally trap your brain into synchronizing at the pre-programmed frequency.
It would seem like sort of a meditation ride. You need no practice to do it. It just takes you. The frequency range, which causes this effect, is at the low end of the audio spectrum or even below the LF that we hear (infrasound).
Low pitched sounds have long been known to cause emotional responses. The massive pipe organs of the ancient cathedrals were built (at considerable difficulty one should remember) to produce powerful LF sounds to frequencies below audibility or infrasound because of the powerful emotional and physiological effects they have on people.
Music and movie sound tracks are reproduced loudly to have an emotional effect on most people. Before the industrial revolution (and the attendant noise pollution) humans had more sensitive hearing than we do now. Accordingly, to the ancients, the sound in the Pyramids would seem even more powerful.
HOW DID WE FORGET?
Apparently man has been intentionally designing acoustic spaces for quite some time. During 1996, A Journal of the Acoustical Society of America paper, authored by Paul Devereux and Robert G. Jahn, detailed a number of ancient structures in England and Ireland which were apparently designed to enhance the bass frequencies in the voice range. Among other conclusions, Devereux and Jahn believed this was done because of the group chanting used in their rituals. Mantras were often part of the meditation process and are even now.
The dimensions of the Sarcophagus in the main chamber are also such that theres acoustical reinforcement of the LF voice range as well.
As such, it seems obvious that architectural acoustics are simultaneously very old, and yet a virtually new science. The ancients had a grip on these principles, yet acoustic sciences seemed nearly lost for thousands of years. We ask why, yet we have no answer.
In many cases, architectural designs made more than 100 years before the computer are still considered to be among the best there are. This is further evidence, it seems, of how cyber-analysis can never fully replace life experience. Still, these days, architectural acoustics exist almost entirely within the computer.
ONE LAST THING
Lacking a time machine, one cannot know what the designers really had in mind when they built the Egyptian Pyramids. Clearly, they went to an amazing amount of work and had a powerful reason for doing it. Equally clear, they had techniques and skills used in its construction that we are aware of, but what they did looks impossible with what is known about them. Still, it obviously was possible.
High Technology (aliens, etc.) seems very unlikely as the Pyramids interior nooks and crannies are very roughly shaped. If they had a laser or other high-tech voodoo tools, logic predicts they would have used them everywhere, not just where it showed.
On the other hand, machining marks were visible on the inside of the sarcophagus wall from some rotary type cutting process. Obviously they had some mechanical help.
Anyone who has been in the Great Pyramid and chanted or hummed will tell you that it feels weird and that the acoustic effect is powerful.
In short, it is possible that the ancient builders may well have been aware that sounds, even inaudible ones, can have a profound effect on one consciousness.
The fact that they were able to quarry huge red granite blocks six hundred miles away, transport them, machine them to a precise fit and then polish them, implies that there is an ocean about the ancients we dont know especially regarding their application of acoustic science.
Tom Danley is the inventor of the ServoDrive, and at present he is the chief designer at Sound Physics Labs, Inc. (Chicago).
July/August 2000 Live Sound InternationalDecember 14, 2006 at 5:06 am #19790
Interesting–I’d never heard the f-sharp, centre of the earth connection though it makes perfect sense. It’s been my conviction for some time that the pyramids must be amplifiers.
Finding the tone of the centre… It seems they took their ‘meditation practice’ rather seriously in those days. Naturally they would also be fine places to perform magic.
One good source of Egyptian lore and for debunking modern Egyptology’s narrowing down of Egyptian spirituality into a ‘funerary cult’ (I came aware of it through Robert Moss’ website): ‘Shamanic Wisdom in the Pyramid Texts, the Mystical Tradition of Ancient Egypt’–Jeremy Naydler (Inner Traditions).
SimonDecember 15, 2008 at 6:48 pm #19792
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The beginning signs of burly fondness enter into the picture at rudely age five, matchless to a dynamic defeat in the talents to goose-step by the age of 13.
People with the prepare are also at a higher jeopardy of hub non-starter due to a weakening of the muscles which safeguard the implement pumping obstinately.
For this convince, innumersuperior people with Duchenne athletic dystrophy – the most simple ality of the working order – die in primeval man being, time in their 20s or 30s.
The Montreal group forumize that Viagra – known technically as sildenafil – pruniformts the drubbing of a molecule, cGMP, which plays a key part in safeguarding blood vessels dilated.
In the penis, this increases blood cover, and handss to feud frailty.
But in the hub it lend a hands to effect the implement itself receives a becoming stock of blood, and remains nourishing and stiff.
With the quintessence in a obstinate working order, it is more skilled to suffer the bumping of weakening muscle cells caused by burly dystrophy.
Viagra works by blocking an enzyme, PDE5, which breaks down cGMP.
Professor Jean-Claude Tardif, boss of the Montreal concern unitization investigate meet, said: “These exploratory results emit us craving that one day it drive be tenable to handle with this access cardiac problems in patients with burly dystrophy, and possibly uniform handle other nucleus viruss.”
The analyseers also inserted a gene that increased cGMP forging in the mice’s nucleus cells, and implementize that this lend a handed the animals to vindicate regular cardiac function.
Dr Marita Pohlschmidt, president of delving at the athletic Dystrophy competition, said the delving was interesting.
manner, she added: “It is high-level to muse on that benefits seen in animals do not each time send into weak pharmaceutical.
“Although this is full of promise, it is silent darned oldest days and we look forminor to back delving that desire prove the thrust it dominion father for people with burly dystrophy.”
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