by Starman » Mon Jun 13, 2005 3:07 am
Geez, talk about synchronicity ...<br>I recall seeing an info reference to the building of Coral Castles on some other website or discussion forum in the last coupla days, but not knowing the significance didn't follow-up onnit -- definitely high-weird fascinating. While looking for more info on anti-gravity I came across the following details of the supposed use of acoustic-levitation technology in ancient and early 20th century buildings, including an engineer's evaluation that Leedskalnin's feat might have involved molecular harmonic resonance, related to the acoustic techniques described. Elsewhere, I've found tentative suggestions that gravitation and electromagnetism share the unique property of harmonic correspondence as evident in musical, scientific and mathematical patterns.<br>Starman<br>***<br><!--EZCODE AUTOLINK START--><a href="http://ourworld.compuserve.com/homepages/dp5/gravity2.htm">ourworld.compuserve.com/h...avity2.htm</a><!--EZCODE AUTOLINK END--><br><br>Levitation and Technology: Myths and megaliths <br> The megalithic structures found at many sites around the world have generated endless controversy as to how they were built. Conventional archaeologists, who dismiss the possibility of highly advanced civilizations in the remote past, insist that they were built solely with the use of primitive tools and brute force. Some of the structures, or parts of them, could have been built in this way. However, a number of engineers have stated that some features would be difficult if not impossible to duplicate today, even using the most advanced technology. The sheer weight and size of some of the stone blocks have prompted several researchers to wonder whether the ancient builders had mastered some form of levitation technology.* <br><br>*The acoustic and magnetic levitation techniques currently under development by mainstream scientists create a physical lifting force stronger than the force of gravity and do not modify gravity or generate an antigravitational force. <br><br> The pre-Incan fortresses at Ollantaytambo and Sacsayhuaman in the Peruvian Andes consist of cyclopean walls constructed from tight-fitting polygonal stone blocks, some weighing 120 tonnes or more. The blocks used at Ollantaytambo were somehow transported from a quarry located on another mountaintop 11 km away, the descent from which was impeded by a river canyon with 305-metre vertical rock walls. The ruins of Tiahuanaco (Tiwanaku) near Lake Titicaca in Bolivia include blocks weighing around 100 tonnes, which were transported from quarries 50 km away.1 According to the local Aymara Indians, the complex was built at the ‘beginning of time’ by the founder-god Viracocha and his followers, who caused the stones to be ‘carried through the air to the sound of a trumpet’. An alternative theme is that they created a ‘heavenly fire’ that consumed the stones and enabled large blocks to be lifted by hand ‘as if they were cork’. According to a Mayan legend, the temple complex of Uxmal in the Yucatan Peninsula was built by a race of dwarfs who were able to move heavy rocks into place by whistling.2<br><br> Legends of occult power being employed to lift and transport stone blocks are in fact universal. For example, according to tradition the megalithic city of Nan Madol on the Micronesian island of Pohnpei was built by the god-kings Olosopa and Olosipa, who used magic spells to make the huge stones ‘fly through the air like birds’.3 Legends about the huge stone statues or moai on Easter Island, many of which are as high as a three-storey building, tell how magicians or priests used mana, or mind power, to make them ‘walk’, or float through the air.4 <br><br> According to early Greek historians, the walls of the ancient city of Thebes were built by Amphion, a son of Jupiter, who moved the large stones ‘to the music of his harp’ while his ‘songs drew even stones and beasts after him’. Another version claims that when he played ‘loud and clear on his golden lyre, rock twice as large followed in his footsteps’. The 10th-century Arab historian Mas’di wrote that, to build the pyramids, the ancient Egyptians inserted papyri inscribed with certain characters beneath the stone blocks; they were then struck by an instrument, producing a sound which caused them to rise into the air and travel for a distance of over 86 metres.5 <br><br> The achievements of the ancient Egyptian builders have caused even some fairly orthodox investigators to wonder whether levitation might have been employed.6 For instance the roof of the King’s Chamber in the Great Pyramid, 200 feet up, consists of huge granite beams weighing up to 70 tonnes. What’s more, the major temples on the Giza plateau – the two next to the Sphinx and those besides the Second and Third Pyramids – contain colossal limestone blocks weighing between 50 and 200 tonnes and placed on top of one another. The largest are 9 metres long, 3.6 metres wide and 3.6 metres high. It is interesting to note that there are only a few cranes in the world today capable of lifting objects weighing 200 tonnes or more.7 <br><br> The largest blocks used in any known man-made structure are found in the ancient platform beneath the Roman Temple of Jupiter at Baalbek in Lebanon.8 The foundation platform is enclosed by a cyclopean retaining wall; in the western side, on the fifth level, at a height of 10 metres, there are three colossal stones known as the Trilithon, each measuring about 19.5 metres long, 4.5 metres high and 3.5 metres deep, and weighing a staggering 1000 tonnes. The stones fit together perfectly and not even a knife blade can be pushed between them. At the quarry, half a kilometre away, there remains a fourth, even larger block, weighing as much as 1200 tonnes, the lower part of its base still attached to the bedrock. The course beneath the Trilithon contains seven mammoth stones weighing about 450 tonnes each. <br><br> There are no traces of a roadbed leading from the quarry and no traces of any ramp. Nor are there any written records as to how the platform was built. According to local Arab legend, Baalbek’s first citadel was built before the Flood, and rebuilt afterwards by a race of giants. The Phoenician historian Sanchoniatho stated that Lebanon’s first city was Byblos, founded by the god Ouranus, who designed cyclopean structures and was able to make stones move as if they had a life of their own. <br>(Fig. 5.3 The ‘Stone of the South’ still in the quarry at Baalbek.)<br><br>Among the Tibetans <br> Evidence that worldwide legends of acoustic levitation might have a basis in fact, was provided by the Swedish engineer Henry Kjellson, who in the 1950s recorded the experiences of two separate western travellers who had allegedly witnessed demonstrations of sonic technology in Tibet.1 Since neither of the following accounts can be verified, sceptics assume that Kjellson probably made them up himself. <br><br> During a visit to a Tibetan monastery situated southwest of the capital Lhasa, the Swede Dr Jarl was taken to a meadow where there was a high cliff to the northwest. About 250 metres up the face of the cliff was an entrance to a cave, in front of which was a wide ledge where monks were building a stone wall. Embedded in the ground 250 metres from the foot of the cliff, was a large rock slab with a bowl-shaped depression in it. A block of stone, 1.5 metres long, 1 metre wide, and 1 metre high, was manhandled into the depression. Monks with 19 musical instruments, consisting of 13 drums and 6 very long trumpets, were arranged in an arc of about 90 degrees, 63 metres from the bowl-stone. The drums, open at one end, were aimed at the stone block. Behind each instrument was a line of monks eight to ten deep. A monk in the middle of the arc started chanting and beating out a rhythm on a small drum, and then the other instruments joined in. After four minutes, the large stone block began to wobble and floated into the air rocking from side to side. All the instruments were trained constantly on the stone as it rose upwards at an accelerating rate and finally crashed onto the ledge. The monks continued to perform this feat at the rate of 5 or 6 stones per hour. The role of the 200 or so monks behind the instruments was unclear: one suggestion is that they used some form of coordinated psychokinesis to aid the flight of the stone. <br>(Fig. 5.4 Dr Jarl’s sketch showing how Tibetan monks were able to raise stone blocks into the air using the power of sound.)<br><br> The second case involved an Austrian named Linauer, who stated that while at a remote monastery in northern Tibet during the 1930s, he had witnessed the demonstration of two curious sound instruments which could induce weightlessness in stone blocks. The first was an extremely large gong, 3.5 metres in diameter, composed of a central circular area of very soft gold, followed by a ring of pure iron, and finally a ring of extremely hard brass. When struck, it produced an extremely low dumph which ceased almost immediately. <br><br>The second instrument was also composed of three different metals; it had a half-oval shape like a mussel shell, and measured 2 metres long and 1 metre wide, with strings stretched longitudinally over its hollow surface. Linauer was told that it emitted an inaudible resonance wave when the gong was struck. The two devices were used in conjunction with a pair of large screens, positioned so as to form a triangular configuration with them. When the gong was struck with a large club to produce a series of brief, low-frequency sounds, a monk was able to lift a heavy stone block with just one hand. Linauer was informed that this was how their ancestors had built protective walls around Tibet, and that such devices could also disintegrate physical matter. <br><br>Keely and Leedskalnin <br> A man who appears to have gone a long way to unlocking the secrets of sound was John Ernst Worrell Keely of Philadelphia (1827-189<!--EZCODE EMOTICON START 8) --><img src=http://www.ezboard.com/images/emoticons/glasses.gif ALT="8)"><!--EZCODE EMOTICON END--> . He spent 50 years developing and refining a wide variety of devices that used ‘sympathetic vibratory force’ or ‘etheric force’ to levitate objects, spin large wheels, power engines, and disintegrate rock. He performed many convincing demonstrations in his laboratory for scientists and other interested observers. He attempted to put his apparatus into commercial production, but this was hampered by the fact that it had to be tuned to the bodily vibrations of the operator and also to the surroundings.1 <br><br> Keely built several devices to manipulate gravity.12 One of them was the ‘sympathetic transmitter’, a copper globe about one foot (30 cm) in diameter, containing a Chladni plate and various metal tubes, whose position could be adjusted by means of a knob. The globe was held by a metal stand, around the base of which projected small metal rods a few inches long, of different sizes and lengths, which vibrated like tuning forks when twanged by the fingers. In one experiment, the transmitter was connected by a wire made of gold, platinum, and silver to the top of a water-filled glass jar. When the right chord was sounded on the strings of a zither, metal balls, weighing 2 pounds (0.9 kg), rose from the bottom of the jar until they hit the metal cap, and remained there until a different note was played which caused them to sink again. Witnesses relate how, after further experimentation, Keely was able to make heavy steel balls move in the air by simply playing on a kind of mouth organ. Using the same combination of transmitter, connecting cord, and musical instrument, he was able to make a 3.6-kg model of an airship rise into the air, descend, or hover with a motion ‘as gentle as that of thistledown’. He was also able to lift extremely heavy weights by connecting them to vibratory appliances worn on his person; several people witnessed him levitate and move a 3-tonne cast-iron sphere in this way, and also make it heavier so that it sank into the ground as if into mud. <br><br> Keely was able to catalyze the vibratory force necessary to make objects move using a variety of musical instruments, including trumpets, horns, harmonicas, fiddles, and zithers, and could even operate the equipment just by whistling. One sceptic, however, claimed that Keely did not play on an instrument to set up sympathetic vibration but to signal to a confederate in another part of the building when to turn on or off the compressed air that supposedly powered his ‘fraudulent’ devices! <br><br>... From the remaining contents of Leedskalnin’s workshop and photographic evidence, engineer Chris Dunn suggests that he generated a radio signal that caused the coral to vibrate at its resonant frequency, and then used an electromagnetic field to flip the magnetic poles of the atoms so that they were repulsed by the earth’s magnetic field. <br><br>(Site features another view of the nine-ton gate at Coral Castle, as well as numerous photos/illustrations of sites featuring apparant gravity-defying techniques employing acoustic resonance.)<br> <p></p><i></i>
