It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Some features of ATS will be disabled while you continue to use an ad-blocker.
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 center. The bowl had a diameter of one metre and a depth of 15 centimeters. A block of stone was maneuvered 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 six trumpets. (Ragdons).
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.
Originally posted by iamian
the Hindus outline their idea of the Nada or 'Unstruck Sound'. This unstruck sound is a fundamental layer of reality which underlies the physical plane which we perceive as matter or, as they call it, 'Struck Sound'. The recent scientific theory of superstrings appears to say the same thing.
Researchers have suggested that sound may even be integral to their design and purpose.
Sound is the source of all manifestation...the knower of the mystery of sound knows the mystery of the whole universe (Hazrat Inayat Khan)
just imagine our most amazing structures tuned in to the stars the moon and the sun its just incredible.
. SOHO has detected more than 10 million separate notes, each of which has a unique path through the sun.
could this of be a source of free energy? the possibilities are endless.
Originally posted by Clearskies
Look up Coral Castle.
Leedskalnin supposedly used sound levitation in building EVERY stone of it.
O.K., here's another one
Supposedly he magnetized the stones and then 'sang' to them.
At least two structures at the Mayan ruins of Chichen
Itza in Mexican display unusual and unexplained
The Great Ballcourt:
The Great Ballcourt is 545 feet long and 225 feet wide
overall. It has no vault, no dcontinuity between the
walls and is totally open to the sky.
Each end has a raised "temple" area. A whisper from
end can be heard clearly at the other end 500 feet away
and through the length and breath of the court. The
sould waves are unaffected by wind direction or time of
day/night. Archaeologists engaged in the reconstruction
noted that the sound transmission became stronger and clearer
as they proceeded. In 1931 Leopold Stokowski spent 4 days at
the site to determine the acoustic principals that could be
applied to an open-air concert theater he was designing.
Stokowski failed to learn the secret.
kuxaan sum : "road to the sky leading to the umbilical cord of the universe" the invisible galactic life threads or fibers which connect both the individual and the planet, through the sun, to the galactic core. kuxaan sum defines a resonant pathway providing a continuing channel of communication, a cosmic lifeline. the resonant pathway can be understood as a series of vibratory or resonant lenses. information passing through kuxaan sum is articulated and brings into focus different levels or stages of being. looking through this galactic telescope of vibratory lenses brings into focus a world of coherence and unity, a resonant matrix within which information transmission is virtually instantaneous via harmonic resonance. resonance is the quality of sounding again. to resonate is to reverberate. reverberation implies give and take communication which is always instantaneous and between at least two agents. any communication implies an exchange of information. from the perspective of resonant harmonics, information is the form-vehicle of qualities of energy passing between two agents. as a sounding again, resonance is information. the essence of information is not its content but its resonance. to sense the resonance of incoming information co-creates a resonant field.
This idea can be understood through the Mayan concept of Kuxan Suum, literally “the Road to the Sky Leading to the Umbilical Chord of the Universe.” This umbilical cord is a resonant pathway which connects you, the individual, through the center of the planet, through the heart of the sun, to the galactic core, and if we can imagine, to the Heart of All Beings.
As we move into the basics of Mayan time keeping, it will be helpful to remember that we’re talking about frequencies and harmonic resonance. Indeed, numbers within Mayan mathematics do not specifically relate to quantity, as is usually assumed; all numbers, including zero, represent different frequencies and tones.
Do the steps of the Kukulkan Pyramid have a 1500-year-old sound recording?
Yes, they do.
It is ironic that archeologists have thus far ignored sound in their investigation of ancient civilizations. And yet each time they walked down the steps of the pyramid, the ancient audio recording was there to be heard.
Theoretically there need to be at least two steps to produce a recognizable sound. The larger the number of steps, the greater the sound effect (a set of ten steps will produce a sound of one to two hundredths of a second in length.) If the space is enclosed the echo of other structures can cover the sound from the steps. Thus, in order to produce and maintain a sound, it is ideal to have a long row of steps and that it should be out in the open. The Maya clearly understood this.
The Kukulkan Pyramid has 91 wide stone steps on each side. Two of these stairways are completely restored and the bird-song effect can be clearly heard. The same sound but of a slightly lesser intensity can be heard on the two unrestored sides of the pyramid. And all of this is without the layer of fine plaster which originally existed on the surface of the steps.
Because of the length of the stairways, the echo lasts about 100 milliseconds (1/10 of a second). The sound of the quetzal lasts somewhat longer – about 200 milliseconds.
Due to the height of the pyramid there is yet another phenomenon. The sound drops in frequency as you descend from the top, lengthening the time it lasts. Nothing like this exists anywhere else in the world.
The explanation of this phenomenon is as follows: The echo first comes from the lower steps to the listener who is at the bottom of the stairway. The echo from the higher steps comes later. The time between the echoes increases as we go up the stairway. In this way 1) the impression is created that the bird-call is moving, 2) the length of the bird-call is increased, and 3) the frequency of the bird-call is decreased as we descend the stairway.
The Kukulkan Pyramid is a fantastic example of mathematical simulations interwoven into the building skills of the Maya.