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

## Posts Tagged ‘pyramid’

### A Quantum Ellipse of the Old Kingdom

November 2, 2021### Pyramid Sonic Transceiver Technology – Part 5

October 29, 2021As 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, 2021Here 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.

**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

#### Make a one-time donation

#### Make a monthly donation

#### Make a yearly donation

Choose an amount

Or enter a custom amount

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly```
```

### The Pyramid Sonic Transceiver Technology – Part 2

October 1, 2021This 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.

#### If you would like to see many more future posts like these, a donation would help.

Make a one-time donation

#### Make a monthly donation

#### Make a yearly donation

Choose an amount

Or enter a custom amount

Your contribution is appreciated, thank you.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly### 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 -K***g/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

#### If you would like to help my efforts in my future posts, I would very much appreciate your donation.

#### Make a monthly donation

#### Make a yearly donation

Choose an amount

Or enter a custom amount

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly### The Great Pyramid – A Quantum Solution

December 21, 2012**Quantum Numbers for the Pyramid of Alnitak**

by Arto Juhani Heino (c) 2012

*I am One that transforms into Two*

*I am Two that transforms into Four*

*I am Four that transforms into Eight*

*After this I am One*

*(Coffin of Petamon, Cairo Museum no: 1160)*

Finally I have unearthed the Quantum Arithmetic set of numbers for the Great Pyramid. I have been working on this for a number of years(1988), only now have I discovered some of the methods of the underlying geometry to build such a complex structure from only two numbers. The deep understanding of geometry by the Ancient Khemitians(Egyptians) should make our current system of calculus of approximates seem poorly suited for simplification and shorthand. All the pyramids can be constructed from this understanding, and if these insights become common knowledge then we have entered a new paradigm of Art, Architecture and Science.

The first two numbers and a ratio translation number are all the information required to reconstruct the Great Pyramid’s elusive design. There has been many theories about what constituted the design and the actual numbers used to build the structure, each one has failed to show the true beginning of the numeric journey. I found many ideas quite amazing and interesting how they weave their numeric code into the design.

There are many amazing and promising designs I have encountered, great work using pure geometry to crunch those angles and make it fit, sadly there are many devices used that are artificial and eludes to squaring of the circle, a pursuit rooted in the misunderstanding between a curved line and a straight line, two different forms of measure. The constructs used are the same devices used by generations of geometers who construct perimeters of different types, rooted in Phi and Pi. Just remember PI and Phi are not quantum units they cannot be used without resorting to approximations, you cannot build wholeness from endless fractional decimals, this is a modern illusion. I have included the Phi relations in Diagram 1 so you can crunch your own numbers and design a Golden Pyramid, based of PHI. The short list is a PI Pyramid, a PHI Pyramid and the Quantum Pyramid, all three are valid and related to each other, only the Quantum Pyramid is exact solution the other two are approximations.

Here Listed here are some of the Pyramids investigators and a brief of their work.

Leon Cooper -The Architects Plan

Ole Jergen Bryn Apex – Retracing the Egyptian Pyramids

John Cadman- Engineering Science and the Great Pyramid

David Furlong-The Key to the Temple

Samuel Laboy -The Perfect Symbol

Tim G. Hunkler- Symbolism and Coincidences of the Great Pyramid

Christopher Dunn -Giza Power Plant

Graham Hancock-The Orion Mystery

Mark Lehner- The Complete Pyramids

I.E.S. Edwards -The Pyramids of Egypt

Now that you can see some of the Writers, Archaeologists, Engineers and Investigators that have have walked this well worn ground and have not found the first principals, the reasons of structural placement and the functional meaning matching the form. They are all right in their conclusions , as this Pyramid includes ALL of these views and ideas, only their conclusions are but a different view point on the same thing. The main problem is the teaching of maths and geometry in schools, treated like a adjunct to abstract notions in finance and computer modelling. Only very few investigators in pure mathematics bothers to find out why numbers works in nature this way and why some solutions have multiple equations and some need calculus to try and figure it all out.

The only problem with invented mathematics are the results are not an arrow to the question what the Pyramid originally imposed upon mankind, only some numeric abstraction that has no basis in the natural world or order of the universe. Empirical results cannot give mankind much headway in answering our future dilemma. only the enlightened human being who understands the inner needs on the living system can know the path we must make to change our current perceptions on the nature of our reality and survival.

One question is why does the circle have only one center and the triangle have more than 6000 and the list grows. These things seem trivial, remember it is not the answer that matters but the question that is important. from questions arise the underlying principles that makes these geometric constructs work.

Here Listed is the basic Quantum Arithmetic equations that you need to design the correct pyramid. I recommend all researches to use these numbers to correct their models, as this is the pure whole number set that you cannot fudge to fit, they are absolute and cannot be corrected by any small decimals using Phi, Pi or Log. They are a constant and the roots to these the higher dimensions can be translated to any unit of measure by using a conversion ratio. We are dealing with whole number solutions and the ratio Phi is only a derived number, in the natural system you can refer this to the root numbers in Fibonacci series, where the oscillation about the Phi point generate amazing geometry. Pi is also a ratio and cannot have an exact solution so we will not use it as the value 3.1415727…..but as a series of ratios like the Phi point. Here is a list between 1.25 and 1.75 that you should recognise as common usage by Engineers, Geometers and Mathematicians.

5/4 = 1.25000000000000000

9/7 = 1.28571428571428571

4/3 = 1.33333333333333333

3*HDp/WDp = 1.350272105524200

e/2 = 1.35914091422952261 = Natural logarithm/2

7/5 = 1.40000000000000000

SQR(2) = 1.41421356237309504

10/7 = 1.42857142857142857

3/2 = 1.50000000000000000

163/107 = 1.52336448598130841 = Alintak fraction 56+107 = 163

Fg/3 = 1.55640053636766355 = Feigenbaum constant /3

168/107 = 1.57009345794392523

PI/2 = 1.57079632679486619 = PI/2

Wp/Hp = 1.571031746031750 = Pyramid Width/Height

11/7 = 1.57142857142857142 = Refer Plato also 11! / 7! ^2

8/5 = 1.60000000000000000

PHI = 1.61803398874989484 = PHI

2*HFp/WFp = 1.6188431422076200 = Quantum Pyramid Face Height/Width

5/3 = 1.66666666666666666

12/7 = 1.71428571428571428

265/153 = 1.73202614379084967

SQR(3) = 1.73205080756887729

1/V = 1.73245471460063347= 1/ Euler-Mascheroni constant

100/Rad = 1.74532925199432957 = Radian

3/4 = 1.75000000000000000

Fg = 4.6692016091029906718532038204662 = Feigenbaum constant

e =2.7182818284590452353602874713526 = Natural logarithm

V =0.5772156649015328606065120900824 = Euler-Mascheroni constant

Rad = 57.295779513082320876798154814105 = Radian = 180/Pi

A series of Quantum versions, some are exact, most are approximates:

5/4 = 9/7, 35/28, 180/144, 6300/5040, 8201/6561

4/3 = 9/7, 37/28, 192/144, 6720/5040, 8748/6561

Sqr(2) = 10/7, 40/28, 204/144, 7128/5040, 9279/6561

3/2 = 11/7, 42/28, 216/144, 7560/5040, 9842/6561

Fg/3 = 11/7, 44/28, 224/144, 7844/5040, 10212/6561

PI/2 = 11/7, 44/28, 226/144, 7917/5040, 10306/6561

11!/(7!)^2 = 11/7, 44/28, 226/144. 7920/5040, 10310/6561

PHI = 11/7, 45/28, 233/144, 8155/5040, 10616/6561

5/3 = 11/7, 46/28, 240/144, 8400/5040, 10935/6561

Sqr(3) = 12/7, 48/28, 249/144, 8730/5040, 11364/6561

1/V = 12/7, 49/28, 249/144, 8732/5040, 11367/6561

100/Rad = 12/7, 49/28, 251/144, 8796/5040, 11451/6561

7/4 = 12/7, 49/28, 252/144, 8820/5040, 11482/6561

PHI = 1.6180339887498948482

PHI = 11/7 = 1.5714285714285714285 below

PHI = 45/28 = 1.6071428571428571428 below

PHI = 233/144 = 1.6180555555555555555 above

PHI = 8155/5040 = 1.6180555555555555555 above

PHI = 10616/6561 = 1.6180460295686633135 above

As you can see these ratios converge to the irrational value PHI, as a abstract. This cannot be used a a building block only the two convergent whole numbers are usable as true constructs of concrete reality.

PI = 3.1415926535897932384

PI = 22/7 = 3.1428571428571428571 above

PI = 88/28 = 3.1428571428571428571 above

PI = 453/144 = 3.1458333333333333333 above

PI = 15834/5040 = 3.1416666666666666666 above

PI = 20612/6561 = 3.1415942691662856271 above

As you can see these ratios converge to the value PI, again it is an irrational abstract. This cannot be used a a building block as the value is not a whole number, only the two convergent whole numbers are usable as true constructs. These lists are guide lines to investigators to look for whole number relations that can be used to create whole forms without PI/PHI, only this type of knowledge can help you realize the hidden potential of Quantum Arithmetic.

The diagram 2 illustrates the Pyramids design is based only on the properties of the Quantum Triangle Unit and the centers that are generated from such a triangle and the circular distances(radii) from points. There is no esoteric magical number or Pi / PHI related ratio grid and the use of any design constructs are removed and only the pure triangle geometry is allowed. This constraint is to eliminate the modern propensity to try and own and control the geometric space by artificial means, this allows the clean use of the quantum numbers that you have begun the construction with and not to wander into transcendental number schemes, this would only cloud the underlying integer structure and clear definitions that are created by staying to the whole number constraint.

The numbers contain the constants of the geometry of the triangle and all the units derived from these base units for the construction of circles squares and many other forms.

b e d a

70 37 107 144

B E D A

4900 1369 11449 20736

C F G L

7918 10080 12818 6651120

H I J K

17998 2162 7490 15408

W X Y Z

19367 3959 9287 16777

Some of these numbers you might recognize if you are a student of Geomatra and the hidden meaning behind numbers. I am sure the number 37, will ring a bell to those mathematicians who will also recognize 107 + 56 = 163, these numbers are called “Almost Integer”, these types of numbers are found in the Quantum Pyramid in abundance. Some of these number are 25, 37, 43, 58, 67, 74, 148 etc. Why are these numbers important as a large class of these irrational numbers can be found using the theory of modular functions, a few examples are given by Ramanujan (1913-14). Such approximations were also studied by Hermite (1859), Kronecker (1863), and Smith (1965). They can be generated using some properties of the j-function. How this relates to to the Quantum Pyramid is fascinating as the mathematicians where searching for an underlying structure to prime numbers and number theory in general, these crossings can only guide our understanding.

There are a minimum of three basic triangles in the pyramid and a minimum of one square :

1 BH Base width x Height

2 DH Base Diagonal x Height

3 BS Base Width x Face slope

Each Triangle has a minimum of three quantum parts

1 BHQ1 C+C,G,G

2 BHQ2 Q,G,D

3 BHQ3 G,D,M

Each Triangle Has a minimum of 5 Centers, depending on the type of triangle , some centers coincide.

1 CEcent Centroid

2 CEinct Incenter

3 CEcrct Circumcenter

4 CEorth Orthocenter

5 CE9pnt 9 Point Center

Each Triangle Center Has at least a Circle associated with it.

1 CRcent Centroid**

2 CRinct Incircle

3 CRcrct Circumcircle

4 CRorth Orthocenter**

5 CR9pnt 9 Point Circle

Each center and circle will have lines either connecting each other, tangent from centers to all circles, from each point in each triangle. from each point in each triangle and each circle center and from each point of each triangle to the tangent of each circle. Quite a lot of these values generated by the line point/tangent co-ordinates will have direct relationships to the quantum set.

BH

BHQ1

BHQ1CEcent

BHQ1CEinct

BHQ1CEcrct

BHQ1CEorth

BHQ1CE9pnt

BHQ2

BHQ2CEcent

BHQ2CEinct

BHG2CEcrct

BHQ2CEorth

BHQ2CE9pnt

BHQ3

BHQ3CEcent

BHQ3CEinct

BHQ3CEcrct

BHQ3CEorth

BHQ3CE9pnt

DH

DHQ1

DHQ1CEcent

DHQ1CEinct

DHQ1CEcrct

DHQ1CEorth

DHQ1CE9pnt

DHQ2

DHQ2CEcent

DHQ2CEinct

DHS2CEcrct

DHQ2CEorth

DHQ2CE9pnt

DHQ3

DHQ3CEcent

DHQ3CEinct

DHQ3CEcrct

DHQ3CEorth

DHQ3CE9pnt

BS

BSQ1

BSQ1CEcent

BSQ1CEinct

BSQ1CEcrct

BSQ1CEorth

BSQ1CE9pnt

BSQ2

BSQ2CEcent

BSQ2CEinct

BSQ2CEcrct

BSQ2CEorth

BSQ2CE9pnt

BSQ3

BSQ3CEcent

BSQ3CEinct

BSQ3CEcrct

BSQ3CEorth

BSQ3CE9pnt

The list above is only a short version of the centers and points that could be used to build these structures, these are only basic guides that will be in harmony with the quantum numbers that you started with. These guides are allocation design parameters and the purposes of the shafts and cavities that you build, each will reflect the meaning of the geometric center that is used and the numeric harmony it has with the quantum number set. As mankind has forgotten the inner meaning and names of these hidden geometries, we will give names to each as we find them, just as the ancients did.

This List is relative to the diagram 2 showing the pure geometric reasoning for placements of internal section of the design.

Circles

C1 Circumcircle

C2 Incircle

C3 Centroid Circle

C4 Nine Point Cicrle Ztr

C5 Incircle 2nd

C6 Incircle 3rd

C7 Tan L4/L2/ Diam H

C8 Apex circle

C9 Quantum Zline Circle

C10 Diam = H

C11 Incircle Ztr

C12 Incircle 2nd

Lines

L1 Central axis

L2 Triangle slope

L3 Triangle Base Line

L4 Triangle slope

L5 3 point Angle 1/2 division Main tr

L6 Angle 1/2 division Ztr

L7 Circumcircle center/L4/

L8 2 point Angle 1/2 division Main tr

L9 Point 21/Point 6/Point 11/Zline Circle/L1/L12

L10 Point 8/point 13

L11 Point 18/Point 17/ Point 20

L12 Point 10/ Incircle 2nd center/point 21

L13 Point 8/

L14 Quantum Zline

L15 Point 7/Point 13/Point 15/C7

Points

1 Cross L2/L4/L1 Apex

2 Cross L2/L3/L8 Main Tr corner

3 Cross L2/L3/L5 Main Tr corner

4 Tan C3/L2

5 Cross L5/L2 Circle center Diam=H

6 Cross L2/C9/L9

7 Cross L4/L8

8 Cross L4/L7/tan C7

9 Cross L3/L16/C9

10 Cross C5/tan L3/L12

11 Cross C9/L14/

12 Cross L1/L9

13 Cross L10/C7

14 Cross C5 center/L12/L8

15 Cross L1/Center C1

16 Cross L1/Center C2/C10/Centroid of Main Tr

17 Cross L6/L11

18 Edge Incircle C5/L11

19 CrossL1/L7

20 Center 9 Point circle C12/L11

21 Cross L12/L9/C9

22 Cross L14/C6/L7

The early Egyptian deities were all on a equal footing and each reflected a particular type of action and philosophy, this will have to be rediscovered again before we can realize the subtle reasoning that the ancients had with the structural form allocations. The clear truth starts to dawn that the Khemitians NEVER used the pyramids as a tomb for a Pharaoh, because at the time they were built there were no Pharaohs only an enlightened mankind that left a legacy to the future. The legacy of pure geometry and number that is immutable and is aligned with the actions and harmony of the universe.

The Khemitians left a structure that was filled by the early Egyptians and slowly converted in to the religious worship that was never part of the original designs of the Khemitians , they knew their legacy would be followed if they stuck strictly to geometric rules and numeric constraints, eventually the true knowledge would rise from the observations of the art and architecture, even if the the civilization that embraces them have lost the original meanings. An example is the sun sign on the heads of many deities, these are never shown as circular only as ellipses, and if observed without preconceived notions they would be understood as Quantum ellipses.

The diagram above is the BHQ3 = G,D,M

The diagram above is the BHQ1 = C+C,G,G

The Diagram above is the BHQ2 = Q,G,D

The Origins of Geomatra Numbers

As you are aware there has been a New Age numeric enlightenment towards ancient monuments and the associated location and the dimensions of them. These ideas are from numerous sources old and new and they place importance to different numbers and quantities, as you know if the values are PHI related then you can be sure they have a common background in Quantum Arithmetic. The list is very long and the variety of scared numbers is very long and grow longer with each generation, it looks like we should find the source to this attachment to these special numbers. Here is a short list and some of the background of its attachment.

7 = Days

8 = Eightfold Path

9 = Egyptian Gods

11 = Master numbers in modern occult numerology , it denotes hidden dangers and great trials and difficulties.

12 = 12 Links of Dependent Origination, 12 Powers of Buddha

13 = Natures number

32 = Parts of the Body. 32 Physical Marks, 32 Characteristics Which a Great Man can be Recognised found on Buddha.

37 = Factors of Enlightenment, 37 things that are conducive to awakening. Mark the perfect man, and behold the upright: for the end of that man is peace. That’s Psalms Chapter 37, Verse 37.

40 = days and nights of darkness,

52 = Mental Formations. These range from greed and hatred to discretion and balance of mind. Weeks in the year.

144 = Light

153 = Bible, miraculous catch of fishes

216 = 6 x 6 x 6

288 = Double light, the Kingdom of Heaven.

360 = Degrees of the circle

432 = Consecration (also the square root of the classical speed of light, 186624 miles per second). Luke 8:15, Revelation 2:17, etc.

396 = Classical earth radius (3960 miles).

576 = Prophecy and Gospel.

666 = Sign of the beast

864 = Time , the source of light and life, Most Holy. Diameter of the sun=864000 miles

888 = Jesus

1152 = Witness (576 x 2). Biblical references include Luke 14:26, Revelation 3:12, 12:11 and 19:9.

1296 = Circle of space (360 x 60 x 60). 1296 was also Plato’s favorite number.

1440 = minutes in 24hours. Light

1548 = Priest of God.

1728 = 12x12x12 , A-flat in music.

2160 = Diameter of the moon: 2160 miles

2304 = False Christ’s and False prophets (1 Cor. 14:22, Mark 13:12).

3168 = Lord Jesus Christ.

3888 = New Jerusalem (Rev. 21:2, 1 Cor. 12:27, Luke 8:21, etc.).

5040 = 7!

5184 = 72 x 72, Victory over the beast (Rev. 15:2).

25920 = The Great Year

There are many more than I could list, a common sequence is those numbers that divide by 3, and 7. The mental attachment to these and other numbers are a symptom of hundreds of years of subtle religious reinforcement, financial methodologies and forceful masonic application each using the influence as a form of magical control over the general public, if you are one of those who have this affliction then you are in good company.

The main source of the western Geomatra is the Hebrew alphabet and Greek alphabet, as the Hebrew has its origins in Egyptian hieroglyphs, I would say they are related by basic forms and meanings. Then as a consequence of the common heritage the lineage of Geomatra numbers go back to the Khemitians who wrote the first codes of understanding into the monuments and the writings on the early civilizations of that region. Other parts of the world used the same ideas and basic forms , not necessarily the exact same glyphs but similar enough to recognize the same origin, as the local culture was global NOT regional as the establishment want us to believe.

The first sign of enlightenment and awareness is to recognize these numbers, the second is to be see to who is wielding the influence, third is in the clear knowledge that these things can no longer control your actions. At the moment of this , we will have entered the new paradigm and have gone past the hierarchical control from the leaders who wield agendas of enslavement. This was the purpose behind the Egyptian Horus, the complete and enlightened human, a model for all to follow, NOT a God to worship.

Opening the door to this is accepting a new numeric organization, one that has not been taught since the Ancient Khemitians built their Pyramids. Only Pythagoras had tried to pass some of his methodologies and ideas that was taught to him from the Egyptians who kept the knowledge through the ages, only to be misunderstood by many. Archimedes and others who read the manuscripts from the Alexandrian library and passed some of his interpretations back to us.

At the entrance of the new awareness you will have to leave the coded tricks of invented mathematics and walk a narrow path that will lead you to answers that are simpler and full of meaning. It is only truly free men that are not trapped by a wall of numbers built by accountants, lawyers and politicians and the rest of the masonic orders that wield power and influence hidden to most of mankind. Are we ready for such a new journey or are you still comfortable in the entrapment of occultists numeric policies that run our system..

Remember all the valued listed are derived from the b and e roots by simple arithmetic. The first 4 terms are the Roots, the next 12 are derived from the the 4.

b = 70 = d – e

e = 37 = a – d

d = 107 = b + e

a = 144 = d + a

******************

B = 4900 = b x b

E = 1369 = e x e

D = 11449 = d x d

A = 20736 = a x a

C = 7918 = 2 x d x e

F = 10080 = d x d – e x e

G = 12818 = d x d + e x e

L = 6651120 = ( d x d x d x e – e x e x e x d ) / 6

H = 17998 = ( a x a + 2 x b x a – a x a ) / 2

I = 2162 = ( e x e + 2 x d x e ) – d x d

J = 7490 = d x d – d x e

K = 15408 = d x d + d x e

W = 19367 = d x e + d x a

X = 3959 = d x e

Y = 9287 = 2 x d x e + d x d

Z = 16777 = e x e + d x d + d x e

These two are non whole number terms that are used to help solve the Circular and Triangular Equations.

AP-Pi = 5.387334464 = ( 2 x d x e + d x d + e x e ) / 2 x ( ( b x e x d ) / a ) = Arto-Parker Pi Ratio for Quantum Triangles

ICR = 3849.027777 = 2 x ( ( b x e x d ) / a ) = Incircle Radius

Thank you very much for reading an excerpt , and I hope you will enjoy my book, “Talking to The Birds”, Regards Arto

### The Kings Chamber

December 14, 2012Here is the complete numeric code of the Kings Chamber(Resonant Cavity) from the interior of the Great Pyramid(Alnitak), the numbers cannot be fudged and are precise , no allusion to the value PI or the Phi. Using transcendental numbers only gives you approximations, not true values, only Quantum Arithmetic can reveal the underlying order behind these types of structures.

The original ideas were not coded from computers and approximated with calculus, these tools would not have been needed 10000 years ago. The dawning of a new paradigm in understanding of ancient monuments are written in the quantum code that underlies all of these stone artifacts, if they knew how and why, we can also know, this was their legacy to us. The path to the enlightenment of our ancestors does involves many sacrifices, many more than most modern people would want to endure.

The value to translate from Fingers(Digits) to millimeters is to divide by:

1 Finger = 18.6871428571429 mm

The value to translate from Quantum Units to feet is to divide by:

1 Foot = 39.378640776699 QU (Quantum Unit = 338)

By the research I have here it seems the Cubit(Royal) used for the Kings Chamber is:

1 Cubit (CR) = 523.24 mm = 20.6 inches

A quantum unit in not a empirical measure, it is an absolute value that can be derived from number law and prime numbers it does not have a distance measure like meters and feet. This is what the ancient Khemitians (Egyptians) express as divine , sometimes giving it names like Osiris, Horus, Thoth, Atum etc to explain the amazing qualities of pure numbers. I suspect the nine gods of the ennead are also known as the geometers Nine point circle and all the discipline and understanding that comes from its knowledge and deep connections with the absolute and pure numbers of the universe.

As you can see the use of cubits, hands and fingers are very easy to translate from quantum units, the people from Khemit knew that these measures would not be absolute, only as a translational device. This is the reasons our current society cannot pinpoint why cubits had so many variants, we think that our measures are correct and absolute and the ancients were vague and approximate, I agree this is the case, only if you look at it with a narrow idea of what absolute measure really is, meters or feet are just convenient rulers for our utilitarian needs, just as cubits and palms were to the ancients.

There is a another level of hidden measure here, as the Khemitians did not use decimal fractions like we do, we must look at another schema that does not rely on our modern approach. It looks like the unique quantum values have been used again, this time to create another cubit measure that can be used for the height and one of the diagonals(D3). This was has been called the standard cubit:

1 Standard Cubit (CS) = 17.7165385909599 inches

This length reduces the problem required by making the height now 13 CS and the diagonal D3 become double value of 26 CS. These numbers are the first 2 numbers of the Quantum set that I have shown. This alone will tell you the Khemits knew the Quantum code used and that the rediscovery of their methods is complete, no more esoteric geomatra that only confuses the numeric issues by introducing some strange masonic ritual into the understanding of numbers, not that this did not serve the purpose of showing these values as sacred to the hidden code and help perpetuate the use of them through history, thanks to the people who showed their continued reverence and usage in architecture, art and geometry. Here is some more figures that confirm this:

13 x 26 = 169 x 2 = 338

338 X 338 = 114244

A right angled triangle created from a base of 26 CS(D3) and a height of sqrt(33.8) has a hypotenuse that is equal to the floor diagonal(D4), this value is Sqrt(709.8)

7098 = 239912/338 = 1014 x 7 = 338 x 21 = 338 x 7 x 3 = 26 x 13 x 7 x 3 = 169 x 42 = 169 x 7 x 6 = 13 x 13 x 7 x 6

There seems to be some strange idea that the ancient builders used some sort of special ruler to measure and build the structures and maintain the PI/PHI properties, this is just fantasy as you do not need to use these numeric or ruler type devices to measure its proportions, they arrive out of using Quantum numbers as PI/PHI are built from Quantum proportions.

The D4 measure is most interesting it looks like the possibility to translate into whole number measure the Khemits may have used is 26 cubit CS and a didactic fraction 217/338 this is 0.00006015717542851 from being exact, in millimeters this equates to 0.000041959721260mm which is about the thickness of a human hair. This would seem be an acceptable clearance allowing for temperature differentials and seismic activity. As for that number 217, this is another interesting quantity as 216 is 6 cubed, further investigations would seem fruitful in this direction, even though we are only dealing with such a small fractional part, the Khemitians gave us the questions, so we are obliged to answer.

The QA numbers seem almost trivial compared to the modern edifice of mathematics, millions of volumes full of the most complex ideas of mankind, still it seems not to speak as simply and directly as Quantum Arithmetic. The Quantum number set used in the cavity is the part of a series of numbers that have particular properties, such as:

2 x 39 x 13 = 1014 = 39 x 39 – 39 x 13

the common divisor is 13

as 39 = 3 x 13, this only works by multiplying 2 prime numbers and having a common divisor(13).

2ax b = a^2 – ab if b/a is an integer and is a divisor of the other

what if the QA set was 26,12,38,50 then

2 x 38 x 13 = 912 and 38 x 38 – 38 x 12 = 988

38 does not divide by 12 without remainders, this cannot be used in this type of construction, but maybe in another shape or form these numbers are suitable as part of its required building blocks. This particular rectangular cube has harmonic properties just like the Quantum number set has.

My methods are original and the answers speak for themselves. if you doubt the veracity of my approach please by all means find fault with the numbers not me. I am not an Engineer, I am not a Mathematician, I do not hold a degree in any subject; BUT: I am an Artist and this is part of my art, something that I have worked a lifetime to accomplish, I hope what I reveal through my work, we can all gain a better understanding of the world around us.

If you find my work of value please donate via PayPal, as this will afford me to continue in this unique endeavor. Thank you Regards Arto. This and more will also be in my book “Talking to the Birds”.

### Saqqara Ostrakon

December 5, 2012**Saqqara Ostrakon a Different and Exact Solution
**

**by Arto Heino 2012**

Having solved many numeric puzzles using Quantum Arithmetic, I decided to attack this interesting artifact with relish. It seems everybody had a go at this including Graham Hancock. I am glad to express my delight in the solution that I have found, revealing the true principles of Ancient Khemitian(Egyptian) geometry and part of the foundation of building and pyramid design and the reason for their construction principles. As I will show on a another blog entry, I have found one of the the final keys to knowledge of the ancient Pyramidic geometric cipher, no weird magic number or symbol required, this is truly exciting and I will notify all interested parties when my blog is published.

The Saqqra OstraKon was found at the excavations in Saqqara in 1925, the writing reveals this object has a geometric value. The inscription is a form of shorthand to a larger idea.

3 Cubits, 3 Palms, 2 Fingers = 98 Fingers = 1837.5 mm

3 Cubits, 2 Palms, 3 Fingers = 95 Fingers = 1781.25 mm

3 Cubits, 0 Palms, 0 Fingers = 84 Fingers = 1575 mm

2 Cubits, 3 Palms, 0 Fingers = 68 Fingers = 1275 mm

1 Cubit , 3 Palms, 1 Finger = 41 Fingers = 768.5 mm

1 Cubit = 7 Palms = 28 Fingers = 525 mm (using this conversion size in millimeters)

1 Palm = 4 Fingers = 75 mm

I Finger = 18.75 mm

The small curved line and a few strokes and the numbers above is all that was needed. The 98 Fingers was the first clue, this would be the Perihelion or in QA the J factor. The plane number 98 didn’t fit with any Quantum Ellipse so a multiplication or conversion number must have been used, after a few attempts it looks like the prime number 5 was the cipher.

G _ H = 490 = 5 x 98

N _ W = 475 = 5 x 95

D _ Z = 420 = 5 x 84

R _ B1 = 340 = 5 x 68

T _ C1 = 205 = 5 x 41

Now that I know J= 98 then as in all QA you can work backwoods to find the roots of the ellipse. These are the original root numbers that I found:

b = 2 e = 3 d = 5 a = 8 , these will give you J = 10 and the eccentricity of 0.6

b = 14 e 21 d = 35 a = 56 , these will give you J = 490 and the eccentricity of 0.6

The prime factor underlying the x 7 is a way of finding the other derived numbers in a simple translation as J=98 is not a Quantum root size it is a derivation from a physical measuring system from a Quantum number set. This diagram should explain the geometry.

The reason I exclaimed the true solution is because of the following hidden variables. The redrawn diagram everybody followed by Battiscombe Gunn is incorrect, looks like his pet theory of 28 fingers between lines was wrong, as you can see by the original carving the lines are not evenly spaced, it was only a crude diagram drawn without a rule, you cannot base the intention of the geometer on a rough sketch, only on the description he gives and the approximate position of all the lines. All QA requires is some real numbers and an approximate shape to define the correct form.

These are exact values with no decimal fractions:

H _ W = sqrt( 23376 )

H _ Z = sqrt( 106624 )

H _ B1 = sqrt( 220800 )

H _ C1 = sqrt( 394896 )

H _ I = Sqrt( 614656 )

These are the values when J=490, they reveal the correctness of the QA precision You will never arrive at this sort of numeric clarity using any mathematical tricks, the Quantum Ellipse is a unperturbed form and non empirical. The values when J=98 re listed below:

H _ W = sqrt( 935.04 )

H _ Z = sqrt( 4264.96 )

H _ B1 = sqrt( 8832 )

H _ C1 = sqrt( 15795.84 )

H _ I = sqrt( 24586.24 )

What we are looking for is the gap sizes, here is J=490

H _ W = sqrt( 23376 )

W _ Z = sqrt( 106624 ) – sqrt( 23376 )

Z _ B1 = sqrt( 220800 ) – sqrt( 106624 )

B1_ C1 = sqrt( 394896 ) – sqrt( 220800 )

C1_ I = Sqrt( 614656 ) – sqrt( 394896 )

Here are the final values decoded and back to empirical finger and metric measure

H _ W = sqrt( 935.04 ) = 30.5784237 Fingers = 573.3454456 mm

W _ Z = sqrt( 4264.96 ) – sqrt( 935.04 ) = 34.7282374 Fingers = 651.1544523 mm

Z _ B1 = sqrt( 8832 ) – sqrt( 4264.96 ) = 28.6720597 Fingers = 537.6011207 mm

B1_ C1 = sqrt(15795.84 ) – sqrt( 8832 ) = 31.7027812 Fingers = 594.4271479 mm

C1_ I = Sqrt(24586.24 ) – sqrt(15795.84 ) = 31.1184877 Fingers = 583.4718333 mm

These sizes were not needed by the Khemitian geometer to their requirements only the right angle edge and the curve was needed, only modern calculus require these values as to plot X * Y curves. The Khemitians had no need of such crude mathematical devices such as calculus, they treated the curve as a different type of measure than the straight line. Now we can extrapolate the Cubit/Finger and metric size of the whole ellipse.

Length of the ellipse is = 2450 = 490 x 5 in Fingers = 490 = 17 Cubits 3 Palms 2 Fingers = 9.1875 mtrs

Width of the ellipse is = 1960 = 392 x 5 in Fingers = 392 = 14 Cubits = 7.35 Mtrs

The values are correct as no extra bit of a finger is required, this one of the reasons the Khemitians used these types of measure. The translation into quantum units were simple and there were no fudge factors that required PI, PHI or Log, no fractional decimals, only whole numbers So the final outcome underlies how truly powerful Quantum Arithmetic is when fully understood and utilized in the right hands, when looking for a accurate solution without errors from empirical measurements and data from approximation using calculus.

These and many more are from my up and coming book “Talking to the Birds”, regards Arto

References

An article by Battiscombe Gunn

Published in Annales du Service des Antiquites de L’Egypte,

Volume 26, 1926, pages 197 – 202

Printed by the Institute of France, Oriental Archaeology,

Le Caire, France

Diagram was created by Arto Heino using GeoGebra

*** New Addition *** 2021

I can see some are not convinced of my odd methodology, here is ample proof that simplicity was the key.

As the diagram illustrates:

IH = 784

HF = 1470

IF = 1666

Add together to create the perimeter of the triangle, thus:

784+1470+1666 = 3920

Now return back to Finger measure:

3920 / 5 = 784

Now return back to Royal Cubits:

784/28 = 28

Thus if you have a string 28 RC long and joint it to make a loop, then you make two pegs on the ground at the distance of:

1470/5 = 294 fingers = 10 RC + 14 F

You can now trace this ellipse with a marker at a third point when you stretch the string. Refer to the diagram below using the 3-4-5 triangle giving 12 as the perimeter.

I hope that simplifies my reasoning why I use QA to solve these ancient problems. Regards Arto

### Contra-Cyclic Harmonic Archimedean Geometry

October 5, 2012Here are some of the files I have released in the Energetic Forum recently. In them I am dealing with a geometry that has been used in many types of machines for thousands of years ranging from Archimedes all the way to Da Vinci, Huygens, Bessler, Keely, Russel, Constantinesco and to all the late 19th century mechanical inventions and now to the whole free energy fraternity that seem to think these things have not been discovered before or even understood by previous generations. I am a wittiness to a unique renaissance in this type of research as seen by a multitude of patents, designs and inventions in torque conversions and unique mechanical advantage systems.These reveal the simple but hidden aspects of geometry, as I have seen by perusing hundreds of patents and engineering catalogues, still I find nothing historically new but a creatively variant and diverse application of a multitude of designs, utilizing a hidden pallet that engineers need to know about and define as a branch of dynamic geometry.

Nicola Tesla hinted at the electrical version of this higher geometric typology, most of his inventions had this at its center, where logarithmic curves are not approximated and linearized. The etheric geometric relationships of these phenomena has been elucidated by Eric Dollard in his many publications, videos and writing, showing a precise 4 quadrant nature to electrical phenomena, no Einstein or Maxwell misunderstandings and disinformation required here . What is the core of this version of science, engineering and understanding?, it is ancient geometry of course, or as some call “Sacred Geometry”, the same as ALL the crop circles around the world. The geometry of Archimedes, toroids, pendulums, spherical geometry, Huygens Evolutes and Caustics, Bruce Cathie, versins, haversins, Quantum Arithmetic(as per Ben Iverson, Not Quantum Physics) and Great Pyramid geometry could all be involved. The new branch would be viewed as 3d dynamics that cover those geometries of spherically rotating pendulum, single, double and triple stages with optional locations of pivoting axis, that could be called an upside down rotating spherical pendulum.

The machine designed by Sixto Ramos reveals this type of geometry very clearly, it relates to the Archimedean twin circle(fibonacci/golden) geometry, as you can see toroidal geometry is also involved. Looking at the forms created in its action you can see a part of the conchoid of de Sluze family of curves.

As you can see I have added an extra pointer in the geometry that relates to the great pyramid. This I will carry through to the Ucros device.

George Constantinesco must be included in this array as his devices are the most elegantly designed and understandable from all the types of these torque converters you will ever see.

To conclude these machines , I have a design that uses the hyperbolic curve as the geometric element in the design, accomplishing the similar results as the Sixto design.

Here is a geometric diagram that includes the Archimedean twin circles and the basic geometry of the Ramos machine I hope this will help in understanding some of the ideas shown here.

I would love to include the section relating to Veljko Milkovic as his inventions has gravitation as the other inlaid geometry. Some of these diagrams and graphics here are included in one of my chapters in my book “Talking with the Birds” Vol I & II. **note** Volume I of my book is now available at Amazon.com, please check here.