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.

These vibrations may then be applied toward drilling, shaping, and levitating stones?

Sonic Drilling

You can’t drill and shape stones as you would metal or wood, especially hard stones like granite, because they are made of extremely hard mineral particles that overheat and wear down the tool bit.
Normally it takes a special diamond cutting wheel and a slowly turning drill bit, lots of cooling fluid, and very slow progress to drill through granite.

A better method is sonic drilling. Sound vibrations are sent through a drill bit or even a metal pipe, so that the end in contact with the stone surface acts as a high-frequency jack-hammer. The drill barely needs to turn, since it’s the vibrational impacts and shattering that do the job.
Compared to conventional drilling, this method is faster, puts less wear on the tool bit, and takes less energy.

So, conceivably one could turn the handle of a large tuning fork into a cutting rod, whether a drill tube or drill bit, and thereby have a sonic drill that can handle hard stones. Even a copper tube would cut into granite in that case. Or instead of a tube, the end could be flat like a chisel or spade to cut instead of drill.

To make a tuning fork sonic drill, the resonant frequency of the cutting rod must match the frequency of the fork it’s attached to.

The way it works is that transverse vibrations from the tines move the bottom of the U-shape up and down, which sends longitudinal vibrations down through the cutting rod.

At the rod’s resonant frequency, these vibrations create standing waves with maximum vibration at the beginning and end of the rod, and a point of no vibration at the middle where a perpendicular handle can be attached if needed.

This simple equation says how long to make the rod for any given tuning fork size (again, provided the fork has a square tine cross section and both fork and rod are made of the same material… if not, then this equation will be slightly more complicated, but all you do is set (1) and (2) equal and solve for [L] ).

So let’s plug in some numbers, to get an idea of how a sonic tuning fork drill would look. Tines 30 cm long and 3 cm thick makes for a resonant frequency of 1100 Hz and requires a rod 1.5 m long. Here is a picture drawn to scale

Notice how long the handle is, relative to the fork, and how this actually looks like a trident or harpoon, and can function as such if the tines are sharpened. This is reminiscent of Neptune, the god of Atlantis. This aquatic symbol shows up in the Egyptian myth of Horus (falcon god) striking his enemy with a harpoon, as well the Egyptians associating their antediluvian ancestors with the harpoon symbol.

The Celts likewise have their legends about arriving in Europe after fleeing a sinking island to the northwest (likely Greenland or Iceland).

In other words, an antediluvian ocean-faring civilization with advanced technology including harpoon-like tuning forks, may have split up after the cataclysm, some founding Egypt, others becoming ancestors of the Druids/Celts/Picts.

Here are some links on sonic drilling and tuning fork physics:

Tuning Forks For Vibrant Teaching

NASA research into ultrasonic drilling

Example: Technical info on sonic drills for mining applications
Sonic Drilling Principles

The axial oscillations that the sonic drill head produces induce a sinusoidal energy wave in the drill pipe (10). Maximum energy transfers from the drill head, through the drill pipe, and to the formation when the sinusoidal wave is in resonance with the drill string and a standing wave is created in the pipe (Figure 2-6). More than one frequency of axial oscillations can produce resonance and a standing wave.
The fundamental resonance frequency, Rf , relates to the length of the pipe by the equation:

Additional resonance frequencies are whole number multiples (overtones) of the fundamental resonance frequency. Higher resonance frequencies are used when greater energy is required to advance the drill string through more resistant formations or at greater depths.

The maximum sonic drilling depths depend on the host formation. For example, for unconsolidated sand (sediments most compatible with sonic drilling), the maximum drilling depth is approximately 200 meters (656 feet).

The drill pipe’s penetration rate can be optimized by controlling its frequency of oscillations between resonance overtones. As a result, the soil particles adjacent to the drill pipe cannot vibrate in unison with the drill pipe, and they begin to vibrate in random directions. This random movement fluidizes the soil within approximately 0.6 centimeters (1/4 inch) of the drill pipe, thereby reducing the friction on the drill pipe.

Stone Levitation

The Great Pyramid, ancient megaliths, Stonehenge, and Edward Leedskalnin’s “Coral Castle” in Florida are testaments to a forgotten technology.

Everything points to sound being the principal ingredient.

This is not the same as acoustic levitation demonstrated in physics labs nowadays, where little ping pong balls and similar light-weight objects are levitated by the air pressure impact of standing waves produced by really loud horns.

Rather, sound being the initiator of a process that ends up altering gravity directly.