Was it a failure?

Or did it enter the realm of Black Projects.

This has been #CloudSeeding101
Part 1 & 2

Class

Dismissed

Thank you to all Wizards 🧙‍♂️ Domestic and Foreign who’ve contributed to #CloudSeeding101

Part 1
https://t.me/AzazelNews/140857

Part 2
https://t.me/AzazelNews/140868

Kate Bush
- Cloudbusting

If 2 more of you build Oscillators when doing the #Learningtowalk Homework 📚

We will move forward into #Djinn101 as one of the 9 Societies of Sentient life on Earth 🌎

In the ancient world, this is how vibration and abrasives were used to cut and melt stone. 🧙‍♂️

Any of you can replicate this technology. 🔨

Correct!!!!! This channel is living proof

Everything we taught you in #Learningtowalk

Tunning Forks as oscillators
On the above image, you can see a tuning fork and hammer. If both are drawn to scale, then the tuning fork is quite large.

A hammer could be needed to strike so large a fork. This fork was likely made of bronze, just as bells are made of bronze, due to the ideal stiffness and resilience of the material allowing for prolonged vibrations. Also, the Pict/Celt civilization traces back to Bronze Age.

To the right of the fork is what looks like an anvil, ax-head, or horn.

Horns have acoustic applications, as explained on Wikipedia:

A horn loudspeaker is a complete loudspeaker or loudspeaker element which uses a horn to increase the overall efficiency of the driving element, typically a diaphragm driven by an electromagnet. The horn itself is a passive component and does not amplify the sound from the driving element as such, but rather improves the coupling efficiency between the speaker driver and the air.

The horn can be thought of as an “acoustic transformer” that provides impedance matching between the relatively dense diaphragm material and the air of low density. The result is greater acoustic output from a given driver.

It’s also worth mentioning that this stone is positioned right in front of a round stone tower.

If you read the works of Phil Callahan you’ll know these towers, made of highly diamagnetic stone, served exotic/occult functions. Their inner floor is made of dirt and raised off the ground at varying levels, which Callahan theorizes was to allow fine tuning of the resonant frequency inside the tower by varying the height of the inner space.

Underneath is a tulip growing from a rounded surface with swirl patterns reminiscent of cymatic patterns in liquids.

For comparison, here is an image of liquid being subjected to vibrations (from Hans Jenny’s book “Cymatics, Volume 1”, page 58):
In the above picture, vibrations form standing waves in the liquid, which impart vortical currents in the water that form swirl patterns in dye or oil. These vibrationally induced patterns are virtually identical to design elements found on Pictish and Celtic artifacts.

Consider these symbols on an Egyptian statue of Isis and Anubis

There you see two tuning forks joined to each other by strings.

The left fork is joined at two vibrational nodes, the right at three, possibly implying a 2:3 frequency ratio between the two forks which is the musical interval known as a “perfect fifth” (aka the power chord for you metalheads). Beneath them is a four-shaped leaf pattern reminiscent once again of a flower. Then a dish or convex lens. And further down on the left, that same anvil or bullhorn flare shape.

Only the Pictish stone shows a hammer, and only the Egyptian carving shows an extra fork connected by strings. These differences merely suggest different ways of setting the fork into vibration.

Strings strung this way can be tightened to the exact same pitch as the tuning fork, and thus by bowing or plucking them, the fork can be set to vibrate without need for a hammer blow.

The largest forks were 8-9 feet long indicate very low pitches and powerful/prolonged sounds needed.