Forwarded from Aries
Frequency and living matter, cancer cure?
https://www.youtube.com/watch?v=05Io6lop3mk#t=413
https://www.youtube.com/watch?v=05Io6lop3mk#t=413
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Forwarded from Aries
The speed of sound is greater in stone than in the air. Resonance accumulates in stone which increases speed/energy.
Knowing the resonance of stone, you can influence it
Knowing the resonance of stone, you can influence it
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Forwarded from Aries
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Forwarded from Aries
3.1 Sympathy is Love
Sympathy is Love or that which connects (entangles) all things to all else.
When the frequency of vibrations are one there is unison and sympathetic resonance
.For instance between two tuned tuning forks exists this state of sympathy, sympathetic vibration or sympathetic association. The sympathetic vibrations and oscillations originating from each fork and active between them creating this shared state, can be modified to increase or decrease the state of sympathy existing between them. The fact that they are sympathetic and co-vibrate together is called resonance which only occurs within this state or condition of sympathetic association via sympathetic
vibrations and oscillations.
Sympathy is Love or that which connects (entangles) all things to all else.
When the frequency of vibrations are one there is unison and sympathetic resonance
.For instance between two tuned tuning forks exists this state of sympathy, sympathetic vibration or sympathetic association. The sympathetic vibrations and oscillations originating from each fork and active between them creating this shared state, can be modified to increase or decrease the state of sympathy existing between them. The fact that they are sympathetic and co-vibrate together is called resonance which only occurs within this state or condition of sympathetic association via sympathetic
vibrations and oscillations.
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Forwarded from Aries
Law of Transmissive Vibraic Energy
“All oscillating and vibrating coherent aggregates create, in the media in which they are immersed, outwardly propagated concentric waves of alternate condensation and rarefaction, having a period-frequency identical with
the pitch of the aggregate.”
Scholium: “All forms of transmissive energy can be focussed, reflected, refracted, diffracted, transformed, and diminished in intensity inversely as the
square of the distance from the originating source.”
“All oscillating and vibrating coherent aggregates create, in the media in which they are immersed, outwardly propagated concentric waves of alternate condensation and rarefaction, having a period-frequency identical with
the pitch of the aggregate.”
Scholium: “All forms of transmissive energy can be focussed, reflected, refracted, diffracted, transformed, and diminished in intensity inversely as the
square of the distance from the originating source.”
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Forwarded from Aries
Inside of the great pyramid was actually an ancient powerplant so to speak... It used the natural frequency of the earth (schumann resonance) and amplified it using granite cylinders, and something that acted as a tuning fork... It would pick up on the schumann resonance and amplify it, and then they filled the chamber with some kind of gas which reacted to the frequency (chlorine or hydrogen, can't remember right now).
Obviously the Earth's frequency does change over time, sometimes drastically and suddenly, and this would in turn lead to explosions within the gas chamber. That's why there are blast marks on the inside of the chamber...
Obviously the Earth's frequency does change over time, sometimes drastically and suddenly, and this would in turn lead to explosions within the gas chamber. That's why there are blast marks on the inside of the chamber...
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Forwarded from Aries
YouTube
Demonstrate Resonance & Beats! | Sympathetic Tuning Fork Set | Arbor Scientific
Watch as Physics Teacher Robert Douglas discusses resonate frequencies, demonstrating the sympathetic tuning forks. This set includes two C Note 256 Hz tuning forks, one fixed and one adjustable, each mounted on a wooden resonance box and a mallet. Match…
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Forwarded from Aries
YouTube
Piezoelectricity - why hitting crystals makes electricity
CuriosityStream: Get 30 days free by following this link and using promo code stevemould:
https://curiositystream.com/stevemould
The Quartz Watch video is here: https://youtu.be/_2By2ane2I4
Certain crystals, like quartz will produce a voltage when hit.…
https://curiositystream.com/stevemould
The Quartz Watch video is here: https://youtu.be/_2By2ane2I4
Certain crystals, like quartz will produce a voltage when hit.…
Forwarded from Aries
The tuning fork vibration is created by a piezoelectric drive (crystal) that brings the tuning fork to a vibration frequency. When the tuning fork is immersed in a liquid or solid, the frequency changes due to the density of the surrounding medium. The electronics system in the level switch monitors the resonant frequency and indicates whether the fork is vibrating in air or being covered by liquid. A signal is output via the PNP, NPN or relay output.
Forwarded from Aries
So how does sound do its thing in a stone?
Well, when a stone vibrates at its resonant frequency, a standing wave of compression/expansion sets up within it. What makes stones unique is that they are piezo-electric, meaning they convert pressure into electricity.
Therefore, applying sound to a stone converts that sound into electromagnetic or electrogravitational energy.
Imagine that - you hit a large tuning fork with a hammer, apply the bottom of its handle to the side of a stone, the stone vibrates in sympathy, standing waves arise within the stone, and those standing waves turn into electromagnetic or gravitational waves.
Well, when a stone vibrates at its resonant frequency, a standing wave of compression/expansion sets up within it. What makes stones unique is that they are piezo-electric, meaning they convert pressure into electricity.
Therefore, applying sound to a stone converts that sound into electromagnetic or electrogravitational energy.
Imagine that - you hit a large tuning fork with a hammer, apply the bottom of its handle to the side of a stone, the stone vibrates in sympathy, standing waves arise within the stone, and those standing waves turn into electromagnetic or gravitational waves.
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Forwarded from Aries
⬆️⬆️⬆️
Learn how to walk 🗿 before running 🛸
It’s all Applied Science and Forbidden 🚫 Knowledge hidden in plain sight. #learningtowalk
Learn how to walk 🗿 before running 🛸
It’s all Applied Science and Forbidden 🚫 Knowledge hidden in plain sight. #learningtowalk
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Forwarded from Azazel News (Aries)
Let’s do part 3
Before you learn to run, 🛸
you need to learn how to walk. 🗿
Learn to use applied science in combination with forbidden knowledge.
It's all hidden in plain sight. #learningtowalk
Before you learn to run, 🛸
you need to learn how to walk. 🗿
Learn to use applied science in combination with forbidden knowledge.
It's all hidden in plain sight. #learningtowalk
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Forwarded from Azazel News (Aries)
Forwarded from Azazel News (Aries)
Megaliths
For a while I had a hunch that overtone singing was used to resonate certain stones in order to levitate them. To recap, Overtone Singing is a vocal technique that isolates certain frequencies of the human voice, allowing one
to make a pure sine wave tone much like a tuning fork.
So the question is, do the frequencies produced by overtone singing match the resonant frequencies of stone? Indeed.
The speed of sound through limestone is around 6000 meters per second. This means a 1 meter long block of limestone will have a resonant frequency of 6000 cycles per second, which is pretty high. Using a spectrum analyzer, I recorded the lowest and highest overtone notes I could clearly produce through Overtone Singing.
The lowest was 600 Hz, the highest was 2700 Hz.
This allows me to calculate the size range of stone blocks I could resonate. Answer: anything from 2 meters to 10 meters long. Compare this size range to the height of
Stonehenge blocks -- the main support columns are about 9.5 meters high (including the part below ground), giving an approximate resonant frequency of 650 Hz, well within the overtone voice range. Paradoxically, the larger the block, the easier it is to levitate because the
frequency is lower and thus more within voice range. Smaller blocks require either a less dense material or higher frequencies. The inner stones at Stonehenge, which are smaller, happen to be made of a less dense material than those comprising the larger outer ones.
Also, evidently the Egyptians knew of sound levitation techniques and used various types of tuning forks toward that end because tuning forks have high frequencies...when working with granite, for example, smaller blocks require ultrasonic frequencies. The only way to make ultrasonic frequencies is by
using quartz tuning forks, perhaps ones that have multiple tines. Both the Dolores Cannon and Cassiopaean material describe just such a device.
For a while I had a hunch that overtone singing was used to resonate certain stones in order to levitate them. To recap, Overtone Singing is a vocal technique that isolates certain frequencies of the human voice, allowing one
to make a pure sine wave tone much like a tuning fork.
So the question is, do the frequencies produced by overtone singing match the resonant frequencies of stone? Indeed.
The speed of sound through limestone is around 6000 meters per second. This means a 1 meter long block of limestone will have a resonant frequency of 6000 cycles per second, which is pretty high. Using a spectrum analyzer, I recorded the lowest and highest overtone notes I could clearly produce through Overtone Singing.
The lowest was 600 Hz, the highest was 2700 Hz.
This allows me to calculate the size range of stone blocks I could resonate. Answer: anything from 2 meters to 10 meters long. Compare this size range to the height of
Stonehenge blocks -- the main support columns are about 9.5 meters high (including the part below ground), giving an approximate resonant frequency of 650 Hz, well within the overtone voice range. Paradoxically, the larger the block, the easier it is to levitate because the
frequency is lower and thus more within voice range. Smaller blocks require either a less dense material or higher frequencies. The inner stones at Stonehenge, which are smaller, happen to be made of a less dense material than those comprising the larger outer ones.
Also, evidently the Egyptians knew of sound levitation techniques and used various types of tuning forks toward that end because tuning forks have high frequencies...when working with granite, for example, smaller blocks require ultrasonic frequencies. The only way to make ultrasonic frequencies is by
using quartz tuning forks, perhaps ones that have multiple tines. Both the Dolores Cannon and Cassiopaean material describe just such a device.
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