Archive for the ‘Science’ Category

Binary to Ternary Interface

February 18, 2023

To start the journey of discovery, we must have all the building blocks and tools ready to use as creativity requires a selective group of useful mechanisms to achieve a modicum of feed back to keep the momentum going forward towards interesting and useful discoveries. The Ternary building block are here, along with a Binary controller that you can use to design your Logic elements as needed. I have shown previous Unary gates and they are still usable in these designs. I decided to put 4 gates in one unit so wiring can be simplified when you create the 2/3/4 input gates. For a 2 input gate you need 3 gates for the columns and a summing gate and 3 gates for the rows a summing gate for the rows and the result. This makes it simpler, you will only need 2 unary boards for an 2 input gate, a base board was designed to make this easier, these can be stacked, as high as required.

Parts List for each Unary Gate V6

U1,U3,U4 _________G3VM-353A
U2,U5 ____________G3VM-61A1
U6,U8,U9 _________G3VM-353A
U7,U10 ___________G3VM-61A1
U11,U13,U14 ______G3VM-353A
U8,U15 ___________G3VM-61A1
U16,U18,U19 ______G3VM-353A
U17,U20 __________G3VM-61A1
LED1,2,3,4 ________3mm Blue
36 x ______________Male/Female headers
20 x ______________4 Pin sockets (if required)
1 x _______________Unary Board V6  

Parts List for Base Boards

4 x _______________24Pin Fmale Header
8 x _______________3 Pin

Parts List for Binary to Ternary Gate Selector Board

6 x _______________CD4555BE
9 x _______________ADG412BNZ
C1,C2,C3,C4,C5,C6 _100 nF Caps
D1-D12 ___________1N4007
D19,D20,D21,D22 __1N4007
1 x _______________LM7805
1 x _______________LM7905
C7,C10,C12,C22 ___47uF Electrolytic Caps
Led1 _____________Led
R1 _______________1K
3 x _______________6 Pin
3 x _______________5 Pin
15 x ______________8 Pin Dip
1 x _______________7 Pin Dip
1 x _______________74LS125

Parts for Ternary Switch Board

U1 – U9 ___________Mini Slide Switches SS-23E04G3
D1 – D9 ___________LED RGB 4 pin RCGB
R1 – R9 ___________Resistors 470 Ohms
P1 _______________Male Header 2.54 1×3 Power input
H1 _______________Male/Fmale Header 2.54 1×9 Data Lines
6 x _______________2mm Screws Board
18 x ______________2mm Screws Switches
1 x _______________PCB Board (Ternary Input Switches)

Parts List for Ternary RGB Display

1 x _______________LAA110LS
1 x _______________LBB110STR
3 x _______________220 Ohm
3 x _______________1xPin hdrs 2.54
1 x _______________4 pin hdr 1.27
1 x _______________RGB PCB board

Parts List for TMS9995 Board

1 x ________U8 ____74LS138
1 x ________U5 ____74LS32
1 x ________U6 ____MAX232CPE
1 x ________U7 ____TMS9902
1 x _____U11+U12__TMS9901 x2
1 x ________U1 ____TMS9995
1 x ________U4 ____74LS04
1 x ________U3 ____62256-07 SRAM
1 x ________U2 ____M27C256 EPROM + Binary Data Cortex + Terminal
1 x _______________DB9 RS232 RA port
1 x _______________Header 6 Pin
C1-C8 ____________100nF
C11,C12___________100nF
C16 -C20 __________1uF Electrolyticn
R1________________10K
R2 – R6____________1K
C13, C14 __________15pF
X1 _______________12 Mhz XTAL
1 x _______________LED21 LED indicator
1 x _______________SW4 Micro switch
C15 ______________10nF
4 x _______________10 pin RA Male Pin Headers
1 x ________U9 ____LM7805
C22, C23 __________47Uf
DC1 ______________9v input Jack
3 x________________40 Pin Dip
2 x _______________ 28 Pin Dip
2 x _______________ 14 Pin Dip
2 x _______________ 16 Pin Dip
1 x _______________ 18 Pin Dip
1 x _______________TMS9995 SBC PCB Board (Conner Stuarts Design)

Boards

Unary Gate Base Board V6
Unary Gate Base Board Singles V6
Binary to Ternary Gate Controller V1
Ternary Input Switches
Ternary Bit Display
TMS9995 SBC

Each Unary board consists of 4 separate Unary Gates they can be used as a set or individually, depending which base board you use.

The Unary Gate Base Board has been configured as a 2 input gate A, B and the result in C.

The Unary Gate Base Board Singles is configured to use as either a 2 input gate by wiring it as
required or as single chains or groups.

J1, J4, J7, J10 are your ternary inputs, while J2, J5, J8, J11 are your outputs to each gate.

K1, K2, K3 are configurable with J40, J39, J38 as a matrix to give you all 27 Unary configurations.
The interconnections are configurable with a small 6 pin cross connected board, or you can use jumper cables if you choose.

Controller Board

This has a 12vac input and 18+3 pin binary input and a 3 pin ternary output. It was designed to connect to a TMS9995 SBC with CRU outputs and have software to control the gate configuration in hardware.

With Five Boards there are 45 binary controls which will give you a Ternary Multiplexer made of five 2 input gates and 3 Unary gates. Once you have tested and configured your logic, then you can use the base board with plugin matrix connectors as your final gate design.

Setting Your Bits

H1, H2 and H3 are your binary control bits to select each gate type. You select 6 bits to as either decimal or Hex to each unary port. I added U28(74LS125) and U29 3 pin header which is used to switch each gate on, under software control as required.

Ternary Input Switches

This board has 9 ternary outputs and can be used to control the A+B inputs on the Unary boards.
There is 9 RGB indicators for the slide switches, Red = +5v , Green = 0v , Blue = -5v.

Ternary Bit Display

This small board gives you a visual indication of your output bits,
Red = +5v , Green = 0v , Blue = -5v

Listed below is the Program to control the Ternary Gate Selector. If you want to attach more Selector boards you will need to expand the CRU outputs. I have left the header J5 to allow CE for more TMS9901 to be added at some point. The next version will also have have mounting board for 4 more chips, giving a total of 96 outputs.


Where 21 are needed for each 2 input gate, this allows control of 4 2 input gates, 84 pins , leaving you 12 spare pins for other controls.

This is a Cortex Basic program to control one two input gate.

8 REM TERNARY GATE CONTROL
9 REM *** BY ARTO HEINO 2023 **
10 REM OUTPUT ON 9901 PORT BIT 0 to bit 20 (21 BITS)
11 REM TO CONTROL TERNARY 18 BIT GATES + 3 BIT CONTROL
12 REM
13 REM SETUP BASE ADDRESS OF 9901 to 64 decimal = >0040 HEX
14 BASE 64
15 DIM TR(27,6)
17 REM DISABLE EACH CD4555BE CHIP
18 CRB(16+18)=0
19 CRB(16+19)=0
20 CRB(16+20)=0
24 REM LOAD 27 TERNARY GATE BIT DATA
25 RESTORE
27 FOR Z=1 TO 27
28 FOR X = 1 TO 6
29 READ TR(Z,X)
30 NEXT X
31 NEXT Z
32 REM SELECT 3 GATES
33 FOR A=1 TO 3
36 PRINT “COLUMN “; A
38 PRINT “SELECT GATE 1 TO 27”
39 INPUT GT
40 IF GT<1 OR GT>27 THEN GOTO 38
42 FOR BT=1 T0 6
45 REM SET HIGH OR LOW
48 CRB(15+BT+(A*6-6)) =TR(GT,BT)
56 NEXT BT
57 NEXT A
60 REM ENABLE EACH CD4555BE CHIP
61 CRB(16+18)=1
62 CRB(16+19)=1
63 CRB(16+20)=1
64 END
65 REM DATA FOR GATES
66 REM H1 + H2 + H3
101 DATA 0,0,0,0,0,0
102 DATA 1,0,0,0,0,0
103 DATA 0,1,0,0,0,0
104 DATA 0,0,1,0,0,0
105 DATA 1,0,1,0,0,0
106 DATA 0,1,1,0,0,0
107 DATA 0,0,0,1,0,0
108 DATA 1,0,0,1,0,0
109 DATA 0,1,0,1,0,0
110 DATA 0,0,0,0,1,0
111 DATA 1,0,0,0,1,0
112 DATA 0,1,0,0,1,0
113 DATA 0,0,1,0,1,0
114 DATA 1,0,1,0,1,0
115 DATA 0,1,1,0,1,0
116 DATA 0,0,0,1,1,0
117 DATA 1,0,0,1,1,0
118 DATA 0,1,0,1,1,0
119 DATA 0,0,0,0,0,1
120 DATA 1,0,0,0,0,1
121 DATA 0,1,0,0,0,1
122 DATA 0,0,1,0,0,1
123 DATA 1,0,1,0,0,1
124 DATA 0,1,1,0,0,1
125 DATA 0,0,0,1,0,1
126 DATA 1,0,0,1,0,1
127 DATA 0,1,0,1,0,1

Here is the layout for the SBC and the Ternary Gates.

An alternative design without the SBC and just putting units together.

Here are a few pictures regarding some of the components.

This is the CODE for the 27 selections of Unary gates, H1,H2,H3 CRU outputs.

Here are the PCB’s for the Basic boards.


If you want to see more of this type of content, I would appreciate any donation to help pay for more original designs and parts. I hope you enjoy this work, regards Arto.

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Multiplexer Menagerie and the Ternary Photo-MOS

September 27, 2022

To be clear the multitude of Ternary 2 input gates is a gift to the creative mind, I have written a program that enumerates all 19683 and deemed all of them useful. An example of this is gate 2272 (TAB-index), which is “Tautology” or all “+1”, so any inputs at A and B results in +1 on the output. You might say what is the point of that? Only now it acts like a buffer or a line driver, so it serves a “function” in a ternary circuit or a re-encoder in a more complex circuit. After deciding what is needed to develop a Ternary computer, I first looked to the 27 Unary gates and the all gates that are commonly used in binary circuits, like AND, OR, NAND, NOR etc…which there are a total of 16 and which 6 are deemed the most useful.

Here is the complete set of Binary Relay Logic

Exploring the Trinary logic opens a whole new way of seeing and thinking about computer architecture. For example a multiplexer is a most versatile device when designing circuits so I chose to explore this device to see what can be learnt from applying ternary logic to its internals. In a previous post (https://artoheino.com/2021/05/04/the-2-to-9-decoder/..) I showed my crafted and workable TD2-9 (2 input to 9 output) decoder. this will be the starting point of some new discoveries.

First lets go back to the simplest version the TD1-3 decoder:

I chose this one mainly due to the fact it can be used to decode Ternary to Binary, so one input from a Trinary based system can produce 3 signals to control a Binary based chip. So a mixture of Binary and Trinary is not difficult to attain.

Here is an example of one of my Binary to Ternary Interfaces based on a Analog Devices chip.

I have used a spread sheet to design the small Unary modules and 2 input Ternary Gate modules to develop these designs, they were based on the Ternary Relay designs I have outlined in my previous work.

The spread sheet model has helped me in developing combinatoric circuits and ensure consistent logical flow, as this is a new technological playground and has some crude pointers and intellectual fences to overcome. As the diagram of the 2 circuits show, we can decode with positive or negative numbers without the binary load that is usually a constrictive affair and become overly complex.

After much mind bending Ternary Logic visual calculations and pattern recognition, here is the First Ternary Multiplexer, TM3-1 with a future TM9-2, TM27-3 and TM81-4 as simple extensions. Where as the Binary can only achieve 2-1, 4-2, 8-3 and 16-4, so imagine how versatile these gates can be.

With this TM3-1 you could create a Ternary to binary converter, by using two of these

A Binary to Ternary converter is also possible:

They can also be usable as a 2-2 Encoder in binary:

Also by cascading the TM3-1 you can create the TM9-2.

Choice of Unary Operators

Using the binary combination of AND plus OR gates, I first applied the binary equivalents of the Ternary gates to create the Multiplexer but found the Ternary logic would not cooperate as easily as binary. This is when I realised that the ternary system would have a simpler gate choice to achieve the same result. Instead of TAND I used SAND, which has a simpler matrix, while the DNOR is similar to the TNOR gate. This gave me the start, which later I found that VAND and LAND gates also work.

Ternary 2 input Gates

Ternary Converter

During these discoveries, I realised a ternary converter would be useful by itself. The numbering system describes the 3 gates and the 2 input equivalent.

Example:

TLC1-3-14.14.23-10148
TLC = Ternary Logic Converter
1-3 = 1 input 3 output
13.15.23 = Unary gates used 13, 15 and 23
10148 = The 2 input gate number equivalent 1 to 19686

Hardware Versions

After many attempts to make these circuits simple and easy to follow, I decided to concentrate on the relay versions but started using Photo-MOS Relays instead. This I found to be advantageous as the noise was eliminated and the current consumption decreased with the bonus of high speed. I would like to see a Photo-mos version of Programmable Logic, this would create a whole new industry, as the Photo-mos relays are already a mature technology today.

There are many manufacturers of Photo relays, lets look at the IXYS lettering, this will simplify your creative pallet. NO = Normally Open, NC = Normally Closed.

IXYS

LAA 2 in NO + NO 2 out 8 pin Dip

LBA 2 in NO + NC 2 out 8 Pin Dip

LBB 2 in NC + NC 2 out 8 Pin Dip

LCA 1 in NO 1 out 6 Pin Dip

LCB 1 in NC 1 out 6 Pin Dip

LCC 1 in NC + NO 2 out 8 Pin Dip

I opted to use the DIP 4 as well, as this would give me a more flexible layout and get different brand parts sourced and tested.

These designs cover the scope of mechanical relays, where you can configure SPST, SPDT, DTSP, DTDP different combinations, you can also have the current flow in either direction or as in neutral where there is no action to trigger the relayed combination.

The Spreadsheet Logic Code

This code is Located at E2

=IF(A1*10+A3=11,B1) + IF(A1*10+A3=10,C1) + IF(A1*10+A3=9,D1) +IF(A1*10+A3=1,B1) + IF(A1*10+A3=0,C1) + IF(A1*10+A3=-1,D1) + IF(A1*10+A3=-9,B1) + IF(A1*10+A3=-10,C1)+ IF(A1*10+A3=-11,D1)

Lets break this down:

The first part of the code
If(A1*10+A3=11,B1)

in long hand:
If A1 x 10 + A3 =11 then E2 Display Value = B1

Where you would normally write

If A1 = 1 and A3 = 1 then E2 Display Value = B1
By multiplying A1 by 10 then I can add the two the values without an a “AND” logical statement while keep track if it is true or not.

Example of A3 = 1
Say if A1 = 1 then A1 x 10 + A3 = 11
A1 = 0 = 1
A1 = -1 = -9

Also if A3 = 0
Say if A1 = 1 then A1 x 10 + A3 = 10
A1 = 0 = 0
A1 = -1 = -10

And finally if A3 = -1
Say if A1 = 1 then A1 x 10 + A3 = 9
A1 = 0 = -1
A1 = -1 = -11

So you can see that the “+” in the code means “OR” , so now you have a truth table with 9 unique values. -11 -10 -9 -1 0 1 9 10 11 .The pointers are the input at A1 and A3 which define the value at E3 , altogether these are the general Logic Inputs of A B result in C.

The code for the Unary input was much simpler.

= IF(A2=1,B1) + IF(A2=0,B2) + IF(A2=-1,B3)

As you can see it is vital that your two input gates are in the correct order where as the binary version does not have that problem. Your A and B inputs and the coding of your ternary signals have a specific order which is determined by the original Truth table orientation. The convention I call “Natural” (T1) is “+ 0 -” and the Truth table is “A” rows top to bottom and “B” columns is left to right. The other options, which I have found among other ternary researchers are listed here:

By this table you can see how this effects the look of the Truth Table. So as in human relations we also have different languages in communicating, translating will not be difficult as these ideas are universal. The Non-Balanced (0 1 2) might not be as easy, as these now become arbitrary according to the designer, they might consider the “switched P” (0 + -) used as “0 1 2”, where as the “Natural” being “+ 0 -” and the equivalent would be “1 0 2”, a very confusing translation would make it difficult. This ordering is related to the voltage levels from 0 volts to 1 volt to 2 volts, this would be articulated in hardware making it incomparable with the Natural order and only interfaced through a translator. The Natural system also easily accommodates the AC wave and can be used as a clock without much difficulty.

A Unary Gate Chip

The idea was to make a 12 pin bread board ready plug component that could be used to create gate combinations and test the results. Here is the UGC-V2 and a plug in header to change the Unary gate number as required. The plug-in header sits on top of the the J4 to J9 pins, it allows you to use all 27 gates. The unit is 20mm x 43mm and the plug is 20mm x 20mm.

Unary Gate Chip

I hope this spurs some interesting Ternary work and we might see a bright future in using “LIGHT” as the interface between the old Binary Paradigm to the new Trinary way of doing things. Regards Arto.

The Scientific Method

May 3, 2022

(except from my next volume)

I had spent most of my childhood making observations that I had to verify, by testing if it was reality or some sort of an illusion, where most children do not remember having to apply their mind to the task as this is a natural process in all human beings. Where as I remembered a simplified version of this methodology and applied it to numerous optical and scientific illusions intuitively before I could even codify the process in writing as an adult. Much of what I had learned about what the Scientific Method is, was gleaned from extensive reading of countless journals, books and encyclopedia as I was growing up in my childhood, I cannot quote a professor or institute, only Sir Francis Bacon and my own personal life experience.

Historically Sir Francis Bacon(1561-1626) was the man who had codified the Scientific Method which was known in his time as the Baconian Method. Briefly the Scientific Method are steps that help scientists conduct understanding and clarity in the use of dynamic technology and material sciences, which is made up of seven main steps:

1 – State the problem,
2 – Research the problem.
3 – State your hypothesis,
4 – Do an experiment,
5 – Analyze data,
6 – Conclude the results,
7 – Form a conclusion.

Bacon also had devised what he called the idols of the mind, that could be called delusions or as he describes as false images. These four obstructions must be overcome to have a clear path of correct scientific reasoning. I have added a fifth as my way of addressing the intellectual dishonesty that has been foisted on our education system by the use of symbols.

Idols of the Tribe (Idola tribus)
This is humans’ tendency to perceive more order and regularity in systems than truly exists, and is due to people following their preconceived ideas about things.

Idols of the Cave (Idola specus)
This is due to individuals’ personal weaknesses in reasoning due to particular personalities, likes and dislikes.

Idols of the Marketplace (Idola fori)
This is due to confusion in the use of language and taking some words in science to have a different meaning than their common usage.

Idols of the Theater (Idola theatri)
This is the following of uncorrected dogma and not asking questions about the world.

Idols of the Symbol (Idola signo)
This is the misunderstanding of visual mnemonics due to uncorrected use of symbols, conflating the symbol with a preconceived negative or positive outcome.

After a lot of thought of Bacon’s ideas, they revealed to me another view of our problematic interaction with our observations and rational framework. There is a way of seeing our limitations of reasoning and finding that they hold our life in a type of prison built from our needs or ideas within our existence.

Prisons of the Mind (Carcer Cogitatio)
The imagined truth being our only limitations in our mind.

Prisons of Ideas (Carcer Notio)
The ill defined and illogical ideas limiting our perceptions of reality.

Prisons of the Emotions (Carcer Motus)
The uncontrolled reflexes within our emotive being.

Prisons of Sustenance (Carcer Victus)
The essential and incessant need to maintain regulated nourishment.

Prisons of the Environment (Carcer Ambitu)
The real need to have levels of protection from all forms of physical damage.

These prisons I have listed are very real to most people, they are just not aware they are inside them, while we can all agree that Sustenance and Environment are two that we are very intimately connected with but the others are no so obvious. The Mind Prison is simple to understand if you believe the Earth is flat, a limitation that is built from a lack of understanding and verifiable information. The Ideas Prison, is more related to our notions of politics, philosophy and poetry, where ideas have consequences to the passage of life, like the 120 million crucified in the 20th century for the flawed Marxist doctrines. The Emotions Prison, is by no means an easy hurdle to leap over as each one of us has either unfulfilled, exasperated or subjugated emotional issues to some degree, these we will render a mental cage to keep those feelings from destroying our lives.

The following definitions of the Scientific Method can be compared to text book versions and should be much simpler and clearer than most.

I have separated it into nine distinct headings, each can be considered recursive until it satisfies its criteria of application. These are my own versions, in the nine steps of the artists natural scientific method go something like this:

1 Observation of Interest
Make an single observation or many observations.

2 Facets of Observation
Ask questions about the observations and gather information.

3 Hypothesis
Form a hypothesis, a tentative description of what has been observed, and formulate predictions based on that hypothesis.

4 Prediction
Build the hypothesis with the predictions into an experiment that can be reproduced. Building a theory.

5 Analysis
Analyse the data and draw conclusions; accept or reject the hypothesis or modify the hypothesis if necessary. Adjust theory to fit facts.

6 Experiment
Physically reproduce the experiment until there are no discrepancies between observations and theory. Design for Replication of methods and results.

7 Variables
Dependent and independent variables are brought to a reduced set and general formula are created. Simplification of formula and universality is the prime reasoning.

8 Conclusion
Does it conform to the real world? Does it operate in a different environment or frame of reference?

9 Reality
This is now a law of nature as described by man, simplified to its primal state and understood intrinsically by man in all frames of reference. The extended boundary of theory has been overcome, it is considered a fact.

This brings me the words and meanings of “Science”? Science is not a category of study, it is a process of inquiry with deductions. Science is a method not a vocation. When something is Scientific it means it can have the Scientific Method applied to it without difficulty and its conclusions adhere to its methodology.
A Scientist is someone who apples the Scientific Method to an observation. A Professor of Science is someone who can apply the Scientific Method with expertise.

The implications of a “Theory”, firstly it must have self consistency, agreement with observations and have universal usefulness, alas, as it is only a theory as it only conforms to the first four of the steps required in the Scientific Method. Much of modern science is now “Theoretical”, they are trapped in the fifth stage and are given special compensation for digging up new “Theories”, creating a branch called “Theoretical Physics”. These are now a protected class defined by Cultural Marxism, as the real scientists who follow the Scientific truth and its complete Scientific Method are under the mercy of authoritarian political correctness and a false religion of “Scientism”.

A Quantum Ellipse of the Old Kingdom

November 2, 2021

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

Pyramid Sonic Transceiver Technology – Part 5

October 29, 2021

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.

Pyramid Sonic Transceiver Technology – Part 4

October 16, 2021

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.

Pyramid Sonic Transceiver Technology – Part 3

October 15, 2021

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.

acousticrown3c.

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.

AcoustiCrownLN1b.

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).

AcoustiCrownLT1a.

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.

FalseDoor111a

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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The Pyramid Sonic Transceiver Technology – Part 2

October 1, 2021

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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The Pyramid Sonic Transceiver Technology

September 18, 2021

Ancient 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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William Skinner and his Gravity Device

June 15, 2021

Hi 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.

The last drawing before I stopped investigating.