Gravity

A New Zealand scientist recently gave me an interesting excerpt from an article published in a German magazine, relating to a levitation demonstration in Tibet. After obtaining an English translation from a German journalist, I was astonished by the information contained in the story and surprised that the article had escaped the web of suppression that tends to prevent such information from leaking to the public.

All the similar stories I had read so far generally lacked the specific information necessary to prove the truth of the account. In this case, a whole set of geometric measurements was taken, and I discovered, to my great delight, that when converted into their equivalent geodetic measurements, related to the harmonics of the grid, the values ​​gave a direct association with those of the unified harmonic equations published in my previous works. The following excerpts are translations taken from the German article: 'We know from the priests of the Far East that they were able to lift heavy rocks up high mountains with the help of groups of various sounds... knowledge of the various vibrations in the audio range demonstrates to a physics scientist that a condensed, vibrating sound field can nullify the power of gravitation.

They went to a place near the monastery and showed him an inclined meadow that was surrounded northwest by high cliffs. On one of the rock walls, at a height of about 250 meters, there was a large hole that looked like the entrance of a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks descended with the help of strings. In the middle of the meadow, about 250 meters from the cliff, there was a polished rock slab with a bowl -shaped cavity in the center. The bowl had a diameter of one meter and a depth of 15 centimeters. A stone block was introduced in this cavity by Yaks oxen. The block was a meter wide and a meter and a half long. Then 19 musical instruments were placed in a 90 degree arch at a distance of 63 meters from the stone slab. The 63 meter radius was measured precisely. Musical instruments consisted of 13 drums and six Rāgdung trumpets (a type of ceremonial Tibetan musical instrument). Eight drums had a cross section of one meter and a length of a meter and a half. Four drums were medium -sized with a cross section of 0.7 meters and a length of one meter. The only small drum had a cross section of 0.2 meters and a length of 0.3 meters. All trumpets were the same size. They had a length of 3.12 meters and an opening of 0.3 meters. The big drums and all the trumpets were fixed on supports that could be adjusted with rods in the direction of the stone slab. The big drums were made of 3 mm thick iron sheet and had a weight of 150 kg. They were built in five sections. All drums were open at one end, while the other end had a metal background, on which the monks hit with large leather maces. Behind each instrument there was a row of monks. When the stone was in place, the monk behind the small drum gave the signal to start the concert. The little drum had a very sharp sound, and could even be heard when the other instruments made a terrible rumble. All monks sang and sang a prayer, slowly increasing the rhythm of this incredible noise. During the first four minutes nothing happened, then, as the speed of the drum and the noise increased, the large stone block began to balance and stagger, and suddenly took off in the air with an increasing speed in the direction of the platform that had in front of the cave hole at 250 meters high. After three minutes of ascent, he landed on the platform. They continuously brought new blocks to the Prado and the monks, using this method, they transported 5 to 6 blocks per hour on a parabolic flight track of approximately 500 meters long and 250 meters high. From time to time, a stone was split and the monks removed it. An incredible task. Dr. Jarl knew the launch of stones. Tibetan experts such as Linaver, Spalding and Hue had talked about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this extraordinary show. As at first he thought he was a victim of a collective psychosis, he made two films of the incident. The films showed exactly the same as he had witnessed. The English society for which Dr. Jarl worked confiscated the two films and declared them secret. They will not spread until 1990. This action is quite difficult to explain or understand. The fact that the films were classified immediately is not very difficult to understand once the measures given are transposed to their geometric equivalents.

Then it is evident that Tibet monks are perfectly familiar with the laws that govern the structure of matter, that scientists in the modern western world are frantically exploring. From the calculations it follows that the sentences that the monks sang had no direct relationship with the fact that the stones were levitated from the ground. The reaction was not caused by the religious fervor of the group, but by the superior scientific knowledge of the high priests. The secret is in the geometric placement of musical instruments in relation to the stones that are going to be levitated and in the harmonic tuning of the drums and trumpets. The combined strong song of the priests, using their voices in a specific tone and rhythm, probably contributes to the combined effect, but the subject of song, I think, would not matter. The sound waves generated by the combination were directed in such a way that an antigravitational effect was created in the center of the focus (position of the stones) and around the periphery, or the arch, of one third of circle through which the stones were moved.