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 GregorArturo 11-09-2008 06:36 AM

Cracking the Code

So, I think I may of figured out the "ring bell twice" piece from Coral Castle with the notes C (256hz) and G (384hz). This is also based on C256/A432 tuning. This was part of the research I've been doing with earth's frequency and stuff that I was talking about earlier. It took 30 hours this week of spreadsheets and math, but I finally got it. Thanks to whomever posted the Coral Castle video. It gave me purpose and a half. Also, think of Ed's right angle in Coral Castle. Also, the numbers 1,2,4,8,7,5 represent the material world, while 3 & 6 represent the spiritual world. The background image in the diagram is taken from Walter Russell's periodic table. Also, technically the wave size should double each octave.

Here is a list of the entire harmonics broken down if you're interested. The number in italics is the quantum number or decimal parity derivative. And as you may see, quartz crystal's natural resonance is 32768hz, otherwise a harmonic of C.

Here is how you define the harmonic notes through math. Down is doubling by two, while to the right is doubling by three, which is an integral part to why G and C are important, and all relates to phi and vortex mathematics. Our current use of A440 tuning is arbitrary and erroneous and was put in place by the Nazis because they knew this information, and what better way to hide it then to *uck with the notes of nature (by 1940's A440 was internationally accepted). All our music is out of tune (It still makes harmonic patterns which is the most important part, but the natural notes are off)!

http://projectavalon.net/forum/pictu...pictureid=4506

 JesterTerrestrial 11-09-2008 06:44 AM

Re: Cracking the Code

this is some amazing work you are doing :thumb_yello:

 truth-freedom 11-09-2008 07:21 AM

Re: Cracking the Code

Hello GregorArturo,
Great to see someone else captivated by this subject of subjects. It is such a beautiful mystery. Mysteries, for me, seem to somehow always leads to Tibet. I thought you may enjoy this info as you are SOOOO on the right track!
(How Ed Leedskalnin gained this knowledge is another beautiful piece of this mysterious tapestry!)

Excerpt from 'Anti-gravity and the World Grid' edited by D.H.Childress, ch.8, Acoustic levitation of stones by Bruce Cathie, pp. 213-217

A New Zealand scientist recently gave me an intriguing extract from an article published in a German magazine, relating to a demonstration of levitation in Tibet. After obtaining a translation by a German journalist, in English, I was amazed at the information contained in the story, and was surprised that the article had slipped through the suppression net which tends to keep such knowledge from leaking out to the public.

All the similar types of stories that I had read up until now were generally devoid of specific information necessary to prove the veracity of the account. In this case a full set of geometric measurements were taken, and I discovered, to my great delight, that when they were converted to their equivalent geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works.

The following extracts are translations taken from the German article: 'We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds...the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13.

The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report.

A Swedish doctor, Dr. Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama.

After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living.

Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe.

One day his friend took him to a place in the neighbourhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to 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 lowered themselves down with the help of ropes.

In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimetres. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab.

The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and 6 trumpets.(Ragdons) Eight drums had a cross-section of one metre, and a length of one and one half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size.

They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 1mm thick sheet iron, and had a weight of 150kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks.

When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform.

Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task.

Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed.

The English Society for which Dr. Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand.: End of trans.'

The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring. It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground.

The reaction was not initiated by the religious fervour of the group, but by the superior scientific knowledge held by the high priests. The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, I believe, would be of no consequence.

The sound waves being generated by the combination were directed in such a way that an anti-gravitational effect was created at the centre of focus (position of the stones) and around the periphery, or the arc, of a third of a circle through which the stones moved.

If we analyse the diagram published with the original article, then compare it with the modified diagram, we become aware of the following coordinates, and the implications, when compared with my previously published works.

The distance between the stone block and the central pivot of the drum supports is shown as 63 metres. The large drums were said to be one and one half metres long, so the distance from the block to the rear face of each drum could be close to 63.75 metres considering that the pivot point would be near the centre of balance.

My theoretical analysis, by calculator, indicates that the exact distance would be 63.7079 metres for the optimum harmonic reaction. By mathematical conversion we find that this value is equal to 206.2648062 geodetic feet, which is harmonically equal to the length of the earths radius in seconds of arc (relative to the earths surface) 206264.8062. This also leads us to the following associations:

(206.2648062 x 2) = 412.5296124 This number squared = 170180.68 which is the theoretical harmonic of mass at the earths surface.

The four rows of monks standing behind the instruments in a quarter circle added to the production of sound by their loud chanting and must be taken in to account in regards to the geometric pattern. If we assume that they were standing approximately two feet apart, we can add a calculated value of 8.08865 geodetic feet to the radius of the complete group. This gives a maximum radius of: 214.3534583 geodetic feet.

The circumference of a complete circle with this radius would be: 1346.822499 geodetic feet.

Which is a half harmonic of 2693.645 (unified field)

The distance from the stone block to a calculated point within the cliff face and the height of the ledge on the cliff face from ground level is given as 250 metres. If we can now imagine that the raised stone blocks pass through a quarter arc of a circle during their flight from ground level to the hole in the cliff face, then the pivot point of the radius would be coincident with this position.

The theoretical radius was found to be: 249.8767262 metres which very closely approximates the estimate. This converts to 809.016999 geodetic feet. The diameter of the full circle would therefore be: 1618.034 geodetic feet.

A circle with this diameter has a circumference of 5083.203728 units, which can be divided into three even lengths of 1694.4 It therefore appears that the levitated blocks, once resonated to a certain frequency, would tend to carry out a flight path that is coincident to one third of a circle. The spacial distance being equivalent to the mass harmonic at the center of a light field, 1694443.

The instruments used by the group, in theory, would also have been tuned to produce harmonic wave forms associated with the unified fields. The given measurements are in rounded off parts of a metre but in practice some slight variations from these measurements would be expected in order to create the appropriate resonating cavities within the instruments

The geometric arrangement, and the number of instruments in the group would also be a most important factor.

If the given measurement for each type of drum is modified fractionally and converted to its geometric equivalent an interesting value for the cubic capacity is evident.

The large drums:

1.517201563 metres long, 1.000721361 metres wide = 58.94627524 geodetic inches long, 38.88 geodetic inches wide = 69984 cubic inches capacity = 40.5 cubic geodetic feet capacity.

Therefore the cubic capacity for eight drums = 324 cubic geodetic feet This harmonic value is built into the world grid and is equal to half the harmonic 648.

The medium size drums:

1.000721361 metres long, 0.695189635 metres wide = 38.88 geodetic inches long, 27.00948944 geodetic inches wide = 22276.59899 cubic geodetic inches capacity = 12.89155034 cubic geodetic feet capacity.

Therefore the cubic capacity for four drums: = 51.56620136 cubic geodetic feet

14.97414932 centimetres = 5.895334377 inches = 5.817764187 geodetic inches = 0.484813682 geodetic feet

As the dish-shape was focused upward towards the stone block to be levitated it would be expected that some type of reaction would take place which had an effect on the mass. The geometric shape of the cavity does seem to be engineered in such a way the projected frequency vortex causes a reciprocal reaction to the mass harmonic of each block. The reciprocal of 0.484813682 = 2.062648055 Twice this value: = 4.12529611 The square of this value: = 17.018068 (the harmonic of mass at the earth's surface.17018068

I believe that there is not much doubt that the Tibetans had possession of the secrets relating to the geometric structure of matter, and the methods of manipulating the harmonic values, but if we can grasp the mathematical theory behind the incident, and extend the application, then an even more fascinating idea presents itself.

 GregorArturo 11-09-2008 08:06 AM

Re: Cracking the Code

Thanks guys for the support! Anyways, here's a simplified view of how the wave would look (Wavelength of C is 1 unit essentially, while G is 1.5 units). Ain't it pretty!

 777 The Great Work 11-09-2008 09:06 AM

Re: Cracking the Code

This does something to you internally when you look at it for a while,it draws you in. We are beginning to remember.:wall: THANKS

 Trishsgate 11-09-2008 09:18 AM

Re: Cracking the Code

Very thorough research Greg thanks it is quite amazing. :thumb_yello:

777 yes it does something internally :trumpet:

Love & Peace
Trish

Re: Cracking the Code

Greg, I commend you on the work you are doing.
My brain just goes gooey when I try to take a lot of this stuff in and I am still working my way through all the info on this subject.

If this has already been discussed, I am sorry, but I could not help noticing the following:

1) what remains of the generator/ magnet wheel is incomplete.
2) the old photos of the complete setup show pulleys & chains AND an old bicycle.
3) a wire should run from the mechanism. What about the Bell?
4) the heavy gate no longer works because the bearing is worn (perhaps some of the load was somehow lightened, to ease operation or when opening. a sort of harmonic resonance key, as in lock & key)
5) the bell should be rung twice.
6) what sort of metal would a 10 cent piece (of the time) be made of.

So, what if, after the construction of coral castle was completed, the mechanism was altered to become the entry system ?

Ringing the bell twice would result in a resonance being sent, via wire, to the mechanism. This would activate the mechanism, which would in turn activate the chain & pulley system and open the heavy door to allow access.
This would show the potential of the system (used in a different way) without leaving everything set up as it was originally used, again, a clue as to it's true purpose.

If this sounds stupid or ill informed (bear in mind I am still reading & watching information about this) then I appologise for wasting everybodys time. But this thought would not go away when looking at all this info.
I think the bicycle is a part of this aswell ( more clues ) it was not just parked behind the mechanism, it looked like part of the setup.

Is the 10 cents relevant to the entry process? the metal of the coin completing a circuit?

One piece of info I read, said that the wheel,although heavy, was effortless to turn. Also the Leylines intensified energy ( lightening the weight of the door, or increasing the force of the energy applied to it.)

I would be interseted to hear your thoughts on this, even if it is to say that I am reading something into this that is not there, or irrelevant.

I hope these thoughts are useful to someone.

 GregorArturo 11-09-2008 03:21 PM

Re: Cracking the Code

Quote:
Leadman! Thank you. What an interestinng note about the dime piece. In all honesty, the last question I really had was the material of the pyramid involved in the system, and well the dime is "The composition (90 percent silver, 10 percent copper) and diameter (17.9 millimeters) of the Mercury dime was unchanged from the Barber dime." However, I am not positive if that is the answer. Anyways, the dime represented the messenger God Mercury. It's something else that I can go check out.

Anyways, great thinking. I do not think there was a completed castle in store as you propose. He had finished as far as I knew and lived out the rest of his days in the castle. The door use to spin perfectly for a long time, and then broke. It was just perfect engineering that we weren't able to replicate when we fixed it.

The crank was in my guess was to lift the pyramid off the device, which for likely I am assuming was limestone. Other hypotheses I have is that it was aluminum or gold plated iron. The bike was used I am also assuming to spin the device, but he also had two generators I believe on the site.

The very last section of David Wilcock's Divine Cosmos talks about an experiment with pyramids, magnets, and rotation which leads to an inversion of the space time continuum. It is directly related to Ed's work, and it is not as complex as people are thinking. The question is transferring that energy from the pyramid to the stone, for me at least.

 ABHA 11-09-2008 03:22 PM

Re: Cracking the Code

Quote:
http://www.code144.com/

http://www.leedskalnin.com/

hope these help:winksmiley02:

 herbivore 11-09-2008 03:26 PM

Re: Cracking the Code

this is effin great. i don't know what it means but it's great. tell me more about this.

 SoulSuspect 11-09-2008 03:27 PM

Re: Cracking the Code

Crazy, nicola tesla type stuff

 GregorArturo 11-09-2008 03:59 PM

Re: Cracking the Code

Yeah, I'm actively involved on the code144 forum. It's the only other forum I participate on at the moment. Essentially what these acoustics do, and especially after reading the Tibetan article, is that it creates a vortex of energy within a mechanical system, as sound is a mechanical energy. This along seems to be able to shield/negate gravity, however, with Ed's case and Coral Castle, the use of magnetic, electric, and torsion fields can in harmonic unity with the principles of the universe perform the same function.

Anyways, I want to start playing around with didgeridoos as you can get the notes absolutely perfect with them, and see what research info I can gain with it.

 RSF 11-09-2008 04:05 PM

Re: Cracking the Code

Quote:
 Originally Posted by SoulSuspect (Post 75567) Crazy, nicola tesla type stuff
---

Dunno.. but seems there's a dash of Einstein in there too.
RSF

 GregorArturo 11-09-2008 04:52 PM

Re: Cracking the Code

Here's a connection that just sparked off in my head that didn't occur to me initially in reference to the Mercury dime:

It represented the Roman messenger god Mercury on it, otherwise known as Hermes in Greek, or Hermes Trismegistus. This is the one and only Egyptian god Thoth who supposedly helped reestablish some Atlantean survivors as the Egyptian civilization while bringing along Atlantean technonlogy, and wrote the famous Emerald Tablet, the founding center piece for alchemy.

What we are essentially doing with these mathematics/physics is modern day alchemy.

 granny 11-09-2008 05:59 PM

Re: Cracking the Code

Quote:
 Originally Posted by GregorArturo (Post 75597) Yeah, I'm actively involved on the code144 forum. It's the only other forum I participate on at the moment. Essentially what these acoustics do, and especially after reading the Tibetan article, is that it creates a vortex of energy within a mechanical system, as sound is a mechanical energy. This along seems to be able to shield/negate gravity, however, with Ed's case and Coral Castle, the use of magnetic, electric, and torsion fields can in harmonic unity with the principles of the universe perform the same function. Anyways, I want to start playing around with didgeridoos as you can get the notes absolutely perfect with them, and see what research info I can gain with it.
Gregor ...

Just wondering if you are familiar with Rodin Math?

http://www.markorodin.com/

Scroll down to the moving hand ... look familiar?

I believe torsion (vortex) based math is important.
There is definitely a sound component.

I am a math moron and since sound and music is math, I am a sound moron, but I get the idea of it and it makes total sense.

Gran

 GregorArturo 11-09-2008 06:54 PM

Re: Cracking the Code

Quote:
 Originally Posted by granny (Post 75682) Gregor ... Just wondering if you are familiar with Rodin Math? http://www.markorodin.com/ Scroll down to the moving hand ... look familiar? I believe torsion (vortex) based math is important. There is definitely a sound component. I am a math moron and since sound and music is math, I am a sound moron, but I get the idea of it and it makes total sense. Gran
I am very familiar with his work, and I would not of been able to of discovered this without the aid his research and discoveries. Thank you Mark!

 eaglespirit 11-09-2008 07:42 PM

Re: Cracking the Code

Hey Gregor, How are You doin'?! Great Stuff!

I have the book:
The Unauthorized Guide To Edward Leedskalnin's Works!

Great read ...and I'm sure You would find it useful and interesting to go along with what you are doing right at the moment!

When we make a time and place to meet up I'll bring it along! : ) : ) : )

 Scooby 11-09-2008 08:25 PM

Re: Cracking the Code

I recieved an Email from Marko a couple months ago that stated someone had used his theory to crack Solomons seal. It was pretty cool. Good work Grego! I think after contemplating hard that everything cn be explained by his work. Wish I had the patence and due deligence to do what you have done.

 Scooby 11-09-2008 08:40 PM

Re: Cracking the Code

You should make some large poster boards so they can be easily seen and do a video explaining it in as simple a terms as possible and post it on you tube!! It would be fun to be invloved in an experiment to try and levitate some objects with sound :thumb_yello:

 GregorArturo 11-09-2008 08:43 PM

Re: Cracking the Code

Quote:
 Originally Posted by Scooby (Post 75822) I recieved an Email from Marko a couple months ago that stated someone had used his theory to crack Solomons seal. It was pretty cool. Good work Grego! I think after contemplating hard that everything cn be explained by his work. Wish I had the patence and due deligence to do what you have done.
A couple days ago I was showing my work to my cousin who is a geologist, but now works in business. Anyways, she was very intrigued and actually understood being she came from a very mathematically dynamic family. When I mentioned Marko Rodin to her, and showed her the mathematical fingerprint of god to elaborate on my theory, she put out that I needed to go to Hawaii to meet this man. She insisted, "I don't know how you're going to get there, but you need to go there."

And well, with your comment, I just sent Marko Rodin an e-mail with my recent findings. Maybe we can collaborate and bring beauty to this world :)

 Scooby 11-09-2008 08:55 PM

Re: Cracking the Code

Hey Gregor, send me a PM with your email and Ill send you a PDF of what Marko sent me about the seal of solomon and how it explains the great pyramid as well, if you are interested. Like I said, make a video for us dummys. It took me at least three viewings of Markos video to get it. I am not that math oriented but I know when something is important. I'm an intuit and while I can't always see the mechanics of math My mind grasps its importance. Can't explain it it just does. Thats why I labored at Rodins stuff to understand and would love to see yours in visual simple terms as well. God's Richest Blessings~

 pineal-pilot-in merkabah 11-09-2008 09:06 PM

Re: Cracking the Code

i was just looking inot this stuff now and had no idea where to begin or how.. i shall keep reading with interest.. i have the same 10 octave graph of the elements to.. i just didnt know what i was supposed to do with it.. i knwew it meant something.. great work

 AndyH 11-09-2008 09:17 PM

Re: Cracking the Code

I notice the mention of phi there. Interesting how it crops up in a lot of places.
I must admit I'm fascinated by it, ever since I was told about it in school (sheesh that was another lifetime lol).
Has anyone any extra info about phi?

This is a great site- http://goldennumber.net/
Lots of examples in biology,music and even poetry believe it or not :)

 Skylark 11-09-2008 09:20 PM

Re: Cracking the Code

Hi Gregor great work.
I'm getting into this area from Len Horowitz and Marko Rodin and am following with interest as time allows!
I think that after the doom and gloom peak people are now getting down to finding some solutions and as a previous poster said, remembering!
This is the direction to take. fascinating how that coral castle video shows the correlation between the maths of coral castle and the masonic symbolism. They have been keeping a very big secret and its time to get it out to everyone.

 Skylark 11-09-2008 09:20 PM

Re: Cracking the Code

hiya Andy!

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