This Post is short, though I spend quite a lot of time working out this artefact. Please note the two triangles I have outlined in the diagram, one has an angle of 51.913 and the other 42.374, these are significant as they correlates closely to the Great Pyramid and the Senusret II Pyramid, these were the on the opposite sides of the pyramid field in my previous posts. Regards Arto
As we can see by the many pictorial representations of the Dynastic Egyptian ruling class of their jewellery and the articles they adorn, is represented as their innate culture. For example the Uraeus represents the conscious frontal lobe and its functions of awareness and decision, where the Eye of Horus is the centre of the physical brain and where the pituitary gland, hypothalamus and pineal gland reside, while the vulture represents the subconscious and its dark and powerful presence, where its physical appearance and its function are aligned. The trinary mind is easily understood when seen this way and shows that mankind has lost the connection to many of these symbols that the Ancient Egyptians took as a given and well known among its intellectuals, artisans and officials. The scarab represents the brain both as the physical understanding of the skull and as a symbol of good fortune. When the scarab unfolds its wing caps and prepares to fly, it creates a frequency of sound that becomes flight, just like our brain when we unfold ideas, buzzing and with lots of activity, beside these ideas, the sound it creates indicates an acoustic element ignored by archaeologists.
These symbolic functionaries were not just an understanding of our mind but a slightly degraded version of an earlier technological connections with how sound was a vital part of our physical and psychic health. The understanding of illness and disease was also a holistic concern for all the ruling class as that was part and parcel of the knowledge that was passed on by heritage and learning. The great artworks created by the ancient Egyptians also recorded the rituals, procedures and psychological adoptions of their mannerisms, habits, priories and also any profound knowledge they utilised in their civilisation. For instance the 42 commandments that they followed was a great model for pious, virtuous, a well balanced way of life and personal being. These were artefacts from a previous civilisation that predated Dynastic Egypt, the legacy to help continue a way of life that was productive, organised and high cultured Kemetian history, now forgotten but partially understood by the Dynastic Egyptians.
All these symbols, writing, art and even games help reinforce the spiritual and psyhic health, where psychopathic, parasitical and criminal behaviour were easily filtered out and dealt with. The Kemetians knew the pitfalls of mankind’s behaviour as the degradation of mans fall from the Golden age, to the Silver, Bronze and the lowest Iron age (500 AD). It followed the precession of the equinox, which is the great Year cycle (25000 yrs) and was encoded into most of the structures and mythology so the torch of understanding could be awaken in the new upward cycle.
So many layers of knowledge was re-wrapped into mystery as the Dynasties time line grew, where their consistency of natural order was kept alive by the priests, the knowledge bearers and the families of the Pharaohs and leaders of Egypt. They codified, kept records and repaired the legacies from the past, until they lost much of the skill sets required to build and maintain the great Pyramid machines.
With the advent of rediscovery of the those great monuments of the past in the 16th century and onward, the early archaeologists were at a loss to explain its history, meanings and building techniques. They created scenarios, dates and interpreted much as mere ritual, superstition, death cults and fanatic multi God worship. They were reading the remnants of the Kemetian super culture that was decimated by catastrophe and rehabilitated by the Dynastic Egyptians who only decorated the structures built by their ancestors. All of the pyramids were built prior to the many catastrophes that Ancient Egypt endured, a great flood being the most pronounced, while much evidence for plasma storms also exist.
I can see by the ritual outfits that their were many forms of technology attached to them, long misunderstood intentions that became mere decorations. Without specifics I must agree that some of the technology was still functioning in early Dynastic times, the false door, the acoustic crowns and the many hand held articles seem to have a function attached, not just pure symbolic.
The Dynastic Egyptians even stated that much of the older writing was called the Sacred text and much of it was only reinterpreted into other forms as they could not even read it. The Narmar Pallet has no hieroglyphs as we know them in the later Dynasties. The Archaeologist believe this was a more primitive time, before the proper formulation of writing, where as we can clearly see much of the older text was already carved deeply and permanently into many pillars and monuments that already existed in the Dynastic period. This is why they adopted painting and plaster over the blank walls that were left by the Kemetians. Any sacred text was merely copied and adopted to the whims of Pharaohs and officials.
The funerary texts were written as a half forgotten parable of the technology I have uncovered. The deep caverns of the underworld were the stratified layers of different rocks and the densities, giving transmission times and quality of reception as this dark misunderstood place. The few remaining sites that were still functioning became centres of worship and ritual. When the last of the pyramid machines stopped, all was now a worship of the dead as the rituals no longer bore fruit. The times of reception and the cannons of codes now were mere decorations and in reality the Egyptians lost connections to the past not long after, possibly around 1500 BC.
I needed to update the last post as a few errors crept in, here a diagram of the upper portion of the Pyramid field and also a few more ideas about the different functions of each pyramid. I see the whole as a set of communication exchanges, with generators, amplifiers and redirection of the sonic pulses, much like a Telephone System but with the bedrock as the wires and the false doors as booths and the multiple tombs as frequency shifters, multipliers, multiplexers encoders and decoders. An ancient audio sonic technology that we can easily rebuild as we already use these techniques in audio engineering, ground radar , speaker and microphone technology. No need for laying down pipes, cables or wires, an endurable system that can function without maintenance for centuries, as for mobile communications, many monuments have direct connections to the bedrock, so a stone pillar with a portable Ank, a Sistrum and a suitable Hat/Crown can be used to communicate.
I hope these pages will go beyond the Ancient Egyptian technology and you can find the similarities in the Vedic Indians, Mayans and Olmecs and their head gear and Pyramids. Sound is the key to a clean and sustainable future where music is part of what we know about the nature of Mankind inner soul, physical being and creativity. Regards Arto.
Here is the data for the Sonic Pyramid Field, the first graphic reveals the structure for the first section. The other table is the measure in Ancient Egyptian measure, note the Conversion to meters is 1 RC = 0.5232365464746810 Mtrs. These are my first data sets, excuse any errors, Regards Arto.
The Resonant Crowns of Khemet
Looking at the White Crown of Upper Egypt (Hedjet, hdt) indicates a technological reasoning behind it design, yes I do not think they just randomly invented it without simple reasoning and logical inclusion. As with the other crowns they all served a similar function, one of communication through logical utility and natural means. “Per Neter”, “House of Nature”, the nature of sound, light and vibrations of communion to each other and other living beings. This is understood as the longitudinal vibrations of sound and of light, each only being a multiple octave distant from each other, one medium is the Ether the other is Matter (Air, Water, Earth).
The messenger of our time who understood this “Neter” was Nikola Tesla, in the past Christiaan Huygens was a proponent of it in his time and Roger Boscovich in his time as well. Fortunately you cannot fudge the longitudinal “neter” of sound, it is all around us and our ears and voices are organs we are closely connected to. On the other hand the fake Scientism movement which began in the early part of the 20th Century, which hijacked the symbols and contorted the mathematics to be some surreal multidimensional occult scheme. We are lucky that we have had some great minds and logical thinkers who knew the false paradigm was being perpetrated onto our scientific community.
As a Musician, I could recognise the acoustic volumetric of the crown almost immediately, that being in a vocal range. After taking great care to find the measure of what constituted the Resonator, I quickly found the design concepts that was used by the Khemtians. The next step was to look if there were schematics in any wall art, as possible translations of vibrations of sound to electricity and back to sound was taking place.
The fundamental wave length came from a careful measure using Google Earth was to reveal the base wave frequency that I should look at. After reading many volumes of Geological data regarding the Density, Bulk Modulus and Sonic Velocity of rocks of different genre, local to Egypt and other ancient sites, I can estimate the bedrock sonic velocity is usually around 5979.85 m/s, the Density about 3000 kg/vol and the Modulus is 10.7 Gpa, when translated to the Ancient measures, we have a Velocity of 80000 P per sec, a Density of about 2 Q/vol and the Modulus of about 1500. The distance from Senusret II Pyramid to The Great Pyramid is exactly 160000 Royal Cubits, simple calculations reveal that 14 seconds will transpire before your signal will be received and 28 seconds for the return signal, this could be considered a Time standard.
The Resonant frequency of the source to and from the destination = 0.0714285714 Hz
The Vocal Chord Range
= 65.714 – 4600 hz Wide Band
= 131.43 – 2044.44 hz Medium Band
= 262.857 – 920 hz Narrow Band
Male Speaking Vocal Range = 85 – 155 hz
Female Speaking Vocal Range = 165 – 255 hz
Children’s Speaking Vocal Range = 180 – 360 hz
The Crowns and head gear Range = 36 – 440 hz
The Wave Lengths
WB = 343.841/65.714 = 5.232365 mtrs = 10 RC = 280 F
= 343.841/4600 = 0.074748 mtrs = 1 P = 4 F
MB = 343.841/131.43 = 2.616194 mtrs = 5 RC = 140 F
= 343.841/2044.44 = 0.168183 mtrs = 1 SH = 9 F
NB = 343.841/262.857 = 1.308091 mtrs = 5 LS = 70 F
= 343.841/920 = 0.373740 mtrs = 1 D = 16 F
The design of the Hedjet Crown was a well drawn out study, I referred to many icons that show clear pictures, the first being the Narma Palette and many beautiful sculptures and large statues. It seems to have a slightly different size depending on the region and the Dynasty that had created the artwork. So instead of slavishly copying something that we had no sample of, with only diagrams or sculptured versions, I went with the most direct method, think like an Ancient and design like an artist of the time and build like an engineer of Khemet. As the Royal Cubit was the fundamental rule that all these ancient wonders that were created, I used my perfected measure of 1 RC (523.2365mm) as the foundation of design and engineering, also being 28 fingers (18.687mm), where I could use the finger as the smallest measure.
The large curvature of the circle D3 of the Hedjet is 4 RC, I could have chose 3 RC but the cavity would have been too small and the curve too tight, also if it was 5 RC the crown would have been to tall, 4 RC was the best fit that also matched the edge of D4, which is 12 F or 1 Small Span. The A1 dimension of 2 F was not a hard choice, it lined up to most crowns and was easy to pick, whereas the body had to be dissected to cylinders to get an approximate volume, using a basic form of calculus and the Egyptian measure I achieved a simple design tool that could be used on many semi-organic designs. The inside of the Hedjet could be two chambers or more, in line with the design of the cochlea, when unwound has two basic chambers, this could indicate a slightly modified version of my interpretation, which I will express in another design.
My intuition told me that I would arrive at a tonal resonance around the vocal region, being 95 Hz it was just about right for the low end of a set of large male vocal chords. The measure was the key, whole numbers of Fingers is the how we can design natural machines, like a resonator. The DNA understands these forms, your ears and your vocal chords are the result of this understanding, how can we imagine these were randomly adapted, they were designed by a master architect of the universe, we can only imitate its great design.
Here is is short list of Gems used by the Ancient Egyptians (PZ is the preferred piezo ):
Tourmaline Blue PZ
Amethyst Purple PZ
Sapphire PZ
Emerald PZ
Ruby PZ
Diamond PZ
Garnet Red
Lapis Lazuli Blue
Obsidian grey
Carnelian Orange
Jasper Orange
Turquoise Blue
Carnelian
All the crowns have the basic form of an acoustic device of some sort, this was their unique mastery of this most ancient technology and science, Tourmaline was the first choice for the Piezo crystal, this was one of the regular stones used in Egyptian jewellery and art.
Sound Refraction
The focal length of a spherical lens (measured from the surface of the lens to the focal point) is given by focal length sphere where r is the radius of the sphere, m1 is index of refraction of the surrounding medium and m2 is the index of refraction of the lens material.
r = Radius of Sphere
m1 = Index of refraction of surrounding medium
m2 = Index of refraction of the lens material
v1 = Velocity of Sound of surrounding medium
v2 = Velocity of sound of the lens material
f = Focal length from the surface of sphere to the Focal point
f = r*(2-m2/m1)/2*(m2/m2-1)
f = r*(2-v1/v2)/2*(v1/v2-1)
If the lens material has a greater velocity then it becomes a convergent lens and if it is less that it is a divergent lens.
Zp = Acoustic Impedance Piezo Electric Material
Zl = Acoustic Impedance of Loading Material
Wm = Matching Material Layer Wavelength
Best impedance match:
Wm/4 = Zm
Impedance of matching layer material is:
Zm = (Zp x Zl)^(1/2)
Wide band acoustic impedance:
Zm = (Zp x Zl^2)^(1/3)
Improving acoustic matching:
Zm1 = (Zp^4 x Zl^3)^(1/3)
Zm2 = (Zp x Zl^6)*(1/7)
Mixing powdered piezo materials with hard resins and creating a polymer is one way of fabricating matching layers.
Hedjet Crown
This was the first I had seen that would work acoustically, using the Helmholtz resonator as the basic design to follow. The volumes are best approximated as the chambers are narrow band devices and not just singular tone, The narrow band fits the voice well, my criteria was to use it like a musical instrument, where pure tones resonate distinctly, a vibration from an external source being simple not highly modulated, one from the vibrations of a staff or device that has a limited tonal range. The connections to the circuit and ears are not included, these would be more decorative and need to be adjusted for the head of the user. The main chamber could be split in two, as per the uncoiled cochlea. I chose the size in accordance to the Royal Cubit as the standard, by it having direction relationship to the Longitudinal velocity of light. The original crown was worn by Narmer and he was a giant, so I figured this was the most suitable size, as I noticed the Hedjet sometimes seemed over size when the king was not as big in many wall carving. Later Hedjets could have been smaller, making the frequencies much higher than 95Hz.
Deshret Crown
This one was simple once I found the first crowns acoustic design logic. The spiral piece could be a hollow chamber as well, making it look like the cochlea, where adjustments to the tone and frequency could be made or even a direct contact to another acoustic vessel. The Green outlined section is the simplified version of the crown volumes that makes the mathematics much simpler. Tr1 is a golden triangle that was found after I had almost drawn the whole unit, it points to the heart, the size is 471/18 x 818/18 fingers = 488,977mm x 849.221mm. The Uraeus I put on the crown is mainly to show its location and design elements, the scale is not correct, it would be at least 1/2 to 3/4 of the size I have drawn.
Hathors Head Gear
This was a simple progression, now using the symbolic shapes of the sun disk and horns to create the necessary configurations. The C2 chamber in green is an approximation of the neck of the horn resonators. The P5, P6 and P7 are other positions the Piezo crystal could be placed and change how the horn chambers worked harmonically. The P6 is also connected to the main chamber, so a feedback will occur. The P7 connection is used when you use both horns, what you will get is one horn in compression while the other horn is in expansion, as opposite phases. P5 will drive the side horn but will also have a short wave of 1/7nth the of the wave length of the horn, thus giving you a complex sound wave. Tr2 is another golden triangle that I discovered after drawing most of the head gear, it points to the mouth, the size is 18.2 x 28 Fingers(1 RC).
Other Crowns and Head Gear
After intuitive generating these designs, I could see every crown and head gear designs were connected to the cochlea and other sound chambers. The feathered version of the Hedjet called the Atef Crown makes me consider that the internals as two chambers and the feathers as ticklers for a variety of harmonics. Amun crown has two distinct chambers, and it’s appearance is significantly like a straightened out cochlea. The Shuti Crown has spiral chambers(rams horns) which would be a shorter version than long straight chambers. The blue Khepresh Crown is much shorter and has a chamber as well, while the Cap crown has even a smaller chamber,
Each crown or head gear or combinations seems to indicate a narrow band of frequencies and could possibly be that each has a function of communication at those frequencies, where the deployment of signals were directed to those who wore a specific crowns or hats in a region. What I could gather by the wonderful hieroglyphs is that stock holdings were relayed among the Khemtian empire using false doors as exchanges with a schedule using specific times by officials with certain hats, which were regulated in a religious fashion to keep the communication channels linked up. The pyramids served to create, amplify and relay the complete network of acoustic signals around the empire.
The transmission of signals via a sonic device inside the sarcophagus like I have previously described would be linked to the regular acoustic carrier pyramid frequencies, with the use of a Sistrum as the calling ring when pressed against the walls in certain locations, like the false doors, when done at regular intervals to indicate a transmission signal.
The Uraeus is a 1 1/2 or 3/2 wave system, the locations of the Piezo crystal help with feedback tuning and aerial reception of Sonic frequencies, these would be coupled to the main acoustic chamber and also act like the diode mixer in radio when separating frequencies to be decoded. By the design it looks like a single balanced mixer, where the RF (Radio frequencies) is the Sonic wave and the LO (Low frequencies) is the voice and the IF (intermediate frequencies) are the carrier frequencies.
As this is still a working document, excuse any errors or omissions, but if you found this work of value please donate to keep this and other projects alive. regards Arto
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This blog will be short, I will upload this picture file only, the transcript will be in part 3.
Thank you for being patient and if you would like to help with all my research endeavours, please donate, regards Arto.
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DonateDonate monthlyDonate yearlyAncient Royal Cubit and How a Pyramid Works
(This is a draft of part of the Archaeology chapter, so please excuse incomplete data and any errors)
When studied and looked at from one view of the ancient Egyptian measure, it has so many variants, that it makes you wonder, what was reasoning behind the differences? The main stream Archaeologists never delved into any logic or reason and discounted it as just poor standards that had no relevance to an exact science, while only being a measure of ones arm, hand or finger.
After many years of thought I concluded, that the original pyramids and the many fine stone objects inside them were the remnants of the true science of the Kemetians but not fully understood by the Dynastic Egyptians, they seem to have forgotten some parts of the ancient technology, it became a ritual, the remaining shell of its true intentions, it was stylised. In my last volume I elucidated the Royal Cubit as the unit for the measure of the Longitudinal velocity of Light.
This was the start, as we now had a clean beginning with a absolute measure of 900000000 Royal Cubits. As you can see by the diagram, the number of waves are always the same, the type of medium is what causes the measure to change. This methodology can account for the variant sizes, the Illhan sarcophagus measure shows that Ozone was the medium inside the pyramid, as this is the dielectric that will give you the correct Royal Cubit measure for the internals.
The Pyramid complex is a machine that uses stone both as a dielectric in the higher frequencies and as an audio conduit in the mid frequencies through the stone with coupling with the lower Earth frequencies in the cavities filled with a gaseous or liquid medium. The contents of the sarcophagus should be filled with structures that emit frequencies that resonate with the structure , these are materials that could be radiation emitters. Most gem stones are emitters of radiation, with elements like cobalt, boron, uranium, potassium, much of these are in a natural state all around us, these appear as the offerings required to keep the machine running, it was ritualised over time. The atmosphere inside the sarcophagus and the tombs will become ionised, thus changing the permittivity of the gas, also allowing the conductivity to increase, this will drive a differential heat engine, that have audio and plasma acoustics to have two nodes, each will be charged with different polarities , hot = +, cold = -, as per an electrical generator. This now becomes a natural electrical charge accumulator, that drives a cavity shock wave generator that creates a current of electricity. The pyramids cavities reveal a Thermo-Acoustic plasma engine. The mud-brick layer on many Pyramids acted like an energy reservoir and a acoustic baffle, Pyramids acted like motors, generators and accumulators, where some were passive in their functions.
The addition of frequencies inside the sonic wave, due to each material being of different permittivity, permeability, EM refractive index and mass density, impedance to electricity and to the acoustic properties will give you the velocity of energy transfer in, on and through the material. This velocity can be used to dissipate the heat loss through the crystal lattice as you lower the frequency by the impedance, both electrically and with sonics. This will give you a differential of temperature at either extreme interface, thus the sonic created and maintained by heat, can be recoverable back to electricity by a engineered Peltier layer of materials or other means. No moving parts, the initial impulse is an amplified Earth sonic that is always present as 8 hz in the atmosphere and 12 hz in the Earth and its low sub harmonics.
A pyramid is the earth frequency reflector to a focal point, the many rooms and corridors are carefully designed, as a acoustic receiver, in the lower frequencies. The reason they are so big, is that the sound it captures is directed at the correct angle to the acoustic antenna system, where the acoustic channel drive a sound in high resonance and activates the differential heat engine.
The sarcophagus can now be the focal area of transmission or/and reception, as this diagram(next blog) shows the different sound modes inside the sarcophagus. You can articulate these by frequency adjustment by an acoustic lens and other means inside the box, which is inside the tomb and inside the pyramids sub structure. This type of pyramid is of interest as it is easier to understand, we must walk before we run. Pyramids as functioning machines, is not a common subject in any library, so we will start here.
The scheme of measure used by the engineers of Kemet was Royal Cubits, Standard Cubits, Hands. Palms and Fingers. The use of these divisions of metrology will be clear when you work out the sonic of materials and how they work together. The scheme of layout and cross sectional designs were purely a work of the ancient genius that understood vibrational technology and the natural environment. The machines were built from stone connected to the bedrock and only had the smallest components crafted from metals and dielectrics.
Let us look at a few simple but hidden knowledge of the the measures used by the Kemets.
Longitudinal Velocity of Light( light x pi/2) =9000000000 Royal Cubits per Second
470912789.827213 / 9000000000 = 0.523236546474681 meters
This will give you the Length of a Royal Cubit = 1 Royal Cubit
1 Palm = Royal Cubit / 7 = 4 F = 0.0747480780678116 mtrs
1 Hand = Royal Cubit / 5.6 = 5 F = 0.0934350975847645 mtrs
1 Finger = Royal Cubit / 28 = 0.0186870195169529 mtrs
__________________________________________________________
Using C = 299301329.866211 ms as Light Velocity(per Illhan)
The velocity of Sound in Air (344 m/s velocity at 22 deg C)
344.40553733326 / 0.0748707073333 =4600 Palms per second
___________________________________________________________
Using C = 299792458 ms as Light Velocity
The velocity of Sound in Air (343.843 m/s velocity at 21.075 deg C)
343.84342857142 / 0.0747485714285 =4600 Palms per second
The velocity of Sound in the Bedrock (5989.6586 m/s velocity)(Illhan)
5989.658666666 / 0.0748707073333 =80000 Palms per second
____________________________________________________________
The Wavelength of Hydrogen (EMF from the Universe= 1420405751.768 hz)
Meters = 0.211061140538923
Royal Cubit used = 0.527652851347307
Velocity profile of RC used = 297283280.062913 mtrs/sec
Royal Cubit/ 2.5 = 0.4 RC = 0.211061140538923 mtrs
2.8 Hands = 11.2 Fingers = 1 Elbow to Wrist (EW)
_____________________________________________________________
The Density of a Stone used in a design
2452.02927295 = Mass / Volume = Kilogram/Mtr3
1/1.715 CF = 0.58309038 = Volume of 1 Qedet in Cubic Fingers
1.715 Qedets = 1 Cubic Fingers x Density
1 / (1/1.715) = 1.715 = Density in Q/CF
49320584224.971 = Modulus Of the stone in SI units
______________________________________________________________
The Modulus in Qedets and Palms per second
600000 PS = 4484.8846840687 mtrs per sec Velocity of Stone
1.715 x 600000^2 = Density x Velocity^2 in Qedets and Palms per sec
6174000000 QPS2 = 6174000000 / 9000000 = 686 M *
So we have the velocity, density, mass, volume and modulus of the stone that we need to use to build or to transmit and receive vibrations. We can use geometry to adjust all the parameters to create acoustic lenses or direct the vibrations to a focus point for interpretation using some form of acoustic technology.
1 Palm = 0.074748078068 mtrs
1 Cubic Finger = 0.0000065255950149 cubic mtrs
1 Qedet = 0.00933 kg (Flinders Petrie)
Density = Mass / Volume
Mass = Density x Volume
Volume = Mass / Density
How I derived some of these values, it will be easier to understand as I show you the data I have accumulated by the study of all the pyramids.
So how do we start to form a communication channels and power generation from geometry, stone, acoustics, plasma and resonant heat channels. We must start with the geometric means, where the stone amplifiers with stone antennas must be built into the bedrock, where sonic vibrations can activate.
There are a few equations that will help in this design process, let us inspect the communication between two pyramids. I discovered the the distance between Senurset II (sewaset)and Giza to be is exactly 160000 royal cubits. This was one of the clues that has led me to this clear knowledge.
Distance = 160000 Royal Cubits = 1120000 Palms
Velocity of Sound in Bedrock = 80000 Palms per second
Time =D / v = 112000/80000 = 14 seconds
Frequency = 1/ time = F = 0.0714285714 hz = D (A= 438.36184192 hz)
Lowest Piano D = F *1024 = 73.142857138 Hz
The wave length inside the tomb = 4 Royal Cubits = 28 palms
So it looks like we could use octaves of “D” to make a communication channel between Senurset II and Giza.
Test case #1
Velocity profile of Limestone 0% porosity = 6813.236733 mtrs per sec
As Royal cubits = 13000 RC per sec
Velocity profile of Limestone 10% porosity = 5109.92755 mtrs per sec
As Royal cubits = 9750 RC per sec
Velocity profile of Limestone 20% porosity = 4087.94204 mtrs per sec
As Royal Cubits = 7800 RC per sec
Velocity profile of Limestone 30% porosity = 3406.61836 mtrs per sec
As Royal Cubits = 6500 RC per sec
In a Test Case above we have 4 different Velocity profiles, this seems innocuous, until you compare it to the 0% porosity, here are the figures:
13000/13000 = 1 = 0 % porosity
13000/9750 = 1 1/3 = 10 % porosity
13000/7800 = 1 2/3 = 20 % porosity
13000/6500 = 2 = 30 % porosity
These are musical and concordant frequencies. When the whole gamut of limestone, red granite and many other stones are put into the correct context, lined up with density, velocity, modulus, porosity, dielectric, permeability and impedance are factored and aligned to resonances with harmonic content, you will not see the true nature of the Pyramids.
This understanding is clear that their intentions was to resonate stone and air, creating communications and energy transfer, this is of a past technology that lay hidden in the Kemetian engineering. When you look at the all the concordant data you will see the science of ancient Egypt, they had a science not just a geomatra of holy numbers , worship of idols and Gods.
The Dynastic Egyptians had lost much of the ancient knowledge after the flood destroyed most of the Ancient world, many of the machines stopped functioning, maybe Giza was still running, it was after all the main trigger for all network of ground longitudinal waves, both electrical and acoustic between all the pyramids. The survivors may have had some technology left, but the link to the priests of that knowledge were gone, they developed a philosophy aligned to the downward spiral of mankind, just as the Yuga cycle was nearing it nadir, all the knowledge to read the language vanished. The Egyptians called it the underworld, the lost dark chasms of mankind, where memory of our past gets destroyed, misaligned and lost.
Measure and Metrology
We need to try and recover what was lost in the engineering of the pyramids, by means of the actual objects and structures left behind. Much of what I have looked at was already found by Petries and he did a wonderful job of recording his findings. I will list my own interpretations along side the what has been found and measured. I will start with the Royal Cubit, as the standard, it this seems to be the most scientifically defined unit that I have been able to decipher, in all of Egypt. Do not forget that this is the unperturbed unit, not the regular measure as noted by my earlier iterations regarding the dielectric as the change in length. So here are the first list to define the length to meters, so we can relate it to modern understanding.
* New Names and Lengths based on conjecture.
So the base length by historic discovery is the Finger, this makes the building of a Metrology system easier. Here are the divisions of lengths according to written and measured discovery, with a few added “ * ” to indicate new sizes. The requirements of building is the volume standard, then the mass and the density considerations. This list is based on 1 Cubic Finger as the smallest usable unit.
Now that we have established a system based of 16 different unit measures, we must now move to weights, mass and density to complete our approach to the transmission and building process.
These volumetrics are already useful in liquid measurement, such as the equivalent in litres or gallons. This will not enough to create a technology, the Density of the materials plays a major role, this can be done with a set of scales and a ruler.
The Qedet is a weight that was used in much of ancient Egypt, this was a found by Petrie to be about 9.33 grams, a size of it was also noted. I simplified the size and cubed the sides to arrive at 1.715 Qedets = 1 Cubic Finger with a Density of about 2452.03 which can be found by making a standard that it can be checked against. Other densities can be found by comparing volumes against the mass using a scale.
Now that we have some clue on how to proceed, I have found many interesting unit values that pop out when crossing over to the ancient units.
Here is a quad set of figures that show some very musical values, when you add a suitable length to create the required fundamental tone in the material.
In Ancient units:
Name – Material – Density – Velocity – Modulus
Set – Stone – Q/CF – P per sec -Den x Vel^2/9000000
Set A – Sand – 1 – 30000 -100
Set B – Granite -1 143/200 – 57000 – 686
Set C – Dolerite – 2 – 60000 – 722
Set D – Basalt – 2 34/343 – 80000 – 1492 244/343
_________________________________________________________
Now in SI units:
Name – Material – Density – Velocity – Modulus
Set – Stone -Kg/m3 – mtr per sec – Den x Vel^2
Set A – Sands -1429.754678 – 2242.442 – 7189589537.171
Set B – Granite – 2452.03 – 4484.884 – 49320584224.971
Set C – Dolomite – 2859.509 – 4260.64 – 51908836458.377
Set D – Basalt – 3001.2343 – 5979.846 – 107319820496.616
As you can see the ancient units are much more unified and much easier to remember and calculate with.
The rest of the unfinished chapter will include the acoustic map of all the pyramid sonic fields, with frequencies and the inclusion of some of the devices inside the sarcophagus and sonic translator devices. I had to reinvent all the parts from some of the artefacts I have seen in the museums. I will add some schematics of these machines in the next blog, if all goes well I will be able to test these in a small scale, if resources are available. Regards Arto
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DonateDonate monthlyDonate yearlyHi fellow researchers, this is just a small compilation of designs from my next volume about William F. Skinner and his Gravity assisted torque amplifier. I hope you find it illuminating, regards Arto.
Back in 2008 I was studying many types of ancient artefacts and the relevance to star charts that do not appear on the walls or objects from ancient Egypt and was intrigued to find very little to say the least. After much research I later wrote an article “The Hidden Star Charts of the Ancients”, where I found the Narmer palette and some Sumerian seals had hidden star maps within the graphic design, I included it in my last Volume but left out the other side of the Narmer palette.
Here is the file that I didn’t include, I have also included a simple composite of the first side as well, which I had elucidated with much more details in my first volume. The details included the pictorial relevance to actual stars, galaxies and nebulae as they visually appear by modern powerful telescopes, an amazing revelation of this work. Regards Arto.
Below is the original side I studied.
Below is the Other Side.
If you want to read my original documents from 2011, Scribed has a copy you can down load, I have updated in 2013, here is the earlier version here:
Hi Fellow researchers ,
Adam Bull has released a 4 Hr interview on Youtube, it is informal and free flowing, about my book “Talking to the Birds”.
Here is the Link-
Here is the Press Release:
After many years of research, personal discovery and seeing the world through the perception of an Artist, one who by his very nature must understand something very deeply before he renders its likeness, Arto Heino has released his first volume “Talking to the Birds”. The subjects covered in his book are as varied as his pallet, he shows a different perspective about each subject he studies. Volume I, A compilation of his best works, you will see the many different hats he wears as he sifts through a broad spectrum of knowledge with a profound insight into several pieces of hidden information ignored by most other researchers.
To understand the author of this work is to peer into layers of understanding that have not been lifted in most researchers lifetime. In the chapter on Archeo-Astronomy Arto looks at some of the basic assumptions about the nature of man’s history and came to some simple conclusions, the evidence he uses is not a rehash of another theory but new and startling revelations about the cyclic nature of our consciousness. The artist and writer Arto Heino shines the light where few others have on past ancient artifacts and current sciences that should give you a new way to see the past.
As a young child, Arto found meaning in natures chaos and his deep connection to some of its hidden attributes long before he articulated his understanding to others. Books gave him one of the tools to peer into history and find those who could help him guide his vision, great artists like Leonardo Da Vinci took him to a simpler way of personal scientific and artistic discovery. To show some of what he has learned from the master he gives a brief insight into one of Da Vinci’s more famous artworks.
The lure of electricity is never far from his thoughts, he has several chapters that deal with Electronics, Invention and Machines they cover some of the most important works of Nikola Tesla. Arto shows his own artistic method of understanding the circuits of Tesla and removes a lot of the mystery that surround his work. The circuit models by Arto are more like artworks that have a landscape of parameters and clues to other possibilities. He pries into some of the mystery that surrounds the work of Lester Hendershot, Don Smith and Henry Moray, giving new insights that could help to guide other researchers to new conclusions.
The nature of the geometric abstraction is not just pretty patterns like most modern conveyors, to Arto this is where you can find a deeper connection to the sciences. He sees a simple form such as a triangle as a new beginning to a new and non-complex form of mathematics, Quantum Arithmetic. As he implies he is only expanding on something that the geometers have tried to bury, Arto shows some of his studies in Quantum Arithmetic and the expansion of a new type of geometric discovery, where he applies it to the Giza pyramid, the Kings chamber and an Egyptian artifact that has alluded many archaeologists and geometers for the past 80 years.
The surprise in the book is not just his varied perspective of technology but in one chapter Arto lifts the surface off our modern paradigm, he includes some of his more popular cartoon images to highlight the high paced and disturbing reductions of our elite. Arto as an artist and a musician gives those inclined an interesting group of studies.
If you would like a copy of the book –
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The mistakes of understanding the resonant Tesla Transformer has led a lot of engineers into adopting the very equations that deny a workable transmission system. If you build a Tesla coil that creates big sparks, then have only understood a system for spark creation, if you have built it and there is no spark then you have either failed or succeeded in your attempt. This is the conundrum of a true Tesla system, the correctly sized top load will balance out the resonant system and the high voltage transform will not leak and become transformed back into high current by the balanced reactances. The act of the resonance will be dampen by the resistances in the system, only by adding a little more power per cycle you have a continuous resonant structure, which is the heart of a good Tesla Transformer system.
To create large sparks you must allow the streamers to escape, to do this it is essential to do two things first make a sharp breakout point, secondly you must lower the top load capacity gradually until your goal is achieved. However this is not the purpose of a Telsa Transmission system, it is the opposite of sparking, a good system will not have any breakout points, you must maintain a contained and smooth voltage gradient on the surface of your capacitor.
Power factor correction is the term used by all electrical engineers, to Nikola Tesla this was just a normal part of the his system to allow maximum power flow and not have a voltage and amperage out of phase condition, good power flow requires a 90 degree lag and lead situation. This was ok in the first part of a Tesla coil system, Mains step up transformer for the first 2 coils in the ratio of 1:50 = 240-12000, then the high voltage Tesla transformer coils in the ratio of 1:20 = 12000-240000, added magnifier coil 1:4 = 240000-960000 volts. If at each step you ensure a least resistance and the electrostaticaly contained condition is maintained you can guarantee good results. Some of the conditions that need to be met are as follows;
1. No sharp points to cause ionizing
2. Large curvature of surface conductors
3. No large objects nearby to cause inductive capacitive effects
4. Well insulated lead in conductors
5. Magnetically shielded switching system
6. Well sealed and mounted components
I have been working on a number of coil systems over the years, success is always proceeded by learning curves that are the essence of discovery. Much work can be saved by a small number of calculations, guess work is not a road for designers of electronics, this doesn’t mean you cannot experiment on unknown arrangements, its just that your components can only handle what their designed for or you will cook and blow a lot of your hard work away.
I am releasing my basic design of my Tesla Power Transceiver System. The energy that is being transmitted and received is not the of the Electromagnetic Transverse wave variety so a lot of Radio theory stuff is not needed, the Magneto-dielectric Longitudinal wave is what is utilized. I have tested smaller designs with success and have no problem with its conception, I was aware of this type of wave back in the early 70’s when I was building radio circuits and making my own antennas. When I rediscovered Tesla in the 1980’s and found the work of Eric Dollard, I was happy in my understanding of these Longitudinal waves. As I am a musician, I had no trouble in knowing about longitudinal wave harmonics and its analogue in sound waves.
I have Included the two types of Velocity in the design, for success in this process you must utilize the Tesla Velocity wave as the Velocity of light only relates to the Electromagnetic wave. As you can see in all the parameters only the Primary capacitor and the Toroids are of different value when you use the Tesla Velocity wave. All the pipe sizes are standard PVC drain pipe and should be available, remember this is only a preliminarily draft design, not all the parameters have been analyzed for optimal use. Build at your own risk, more info in my book “Talking To The Birds”, now available at Amazon.com, Good luck Regards Arto.
Complete Specifications of a Tesla Wireless Power Transceiver
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