By Nigel Ford
T
he megalithic structures built by ancient civilizations continue to baffle and confuse humanity to this very day. Despite our ‘superior modern technology,’ we still can’t figure out how the Great Pyramids, Angkor Wat, Stonehenge, or many of the other great architectural works were constructed. We are told that these monolithic marvels of architecture were built by slaves and primitives. Hundreds of temples - built with such intricacy that we cannot reproduce their detail, and with such structural integrity that they still stand intact thousands of years later - were supposedly crafted with copper tools and chisels. Many of us are now aware that the mainstream archaeological story is littered with gaping holes. Scientists, archaeologists, and anthropologists around the world are affirming that these megalithic structures were probably built by an ancient society possessing complex technology and deep understanding of architecture. The issue is no longer whether or not the ancient builders had access to advanced technology - it is a matter of what that technology was, and how it was utilized. Today, I am proposing that two of the technologies the Ancients had mastered were similar to two technologies that we are becoming familiar with in the modern day: levitation and acoustic engineering. There is plenty of evidence to support this.
The Ancients Understood Sound Before we jump in too deep, one thing must be made clear: the Ancients all across the globe had a fantastic and mind-boggling understanding of sound. The Musical Pillars of India are a fantastic example of this. The Pillars are a series of hollowed-out stone columns, built directly into the foundation of a temple. Each pillar is attuned to a musical note - despite the fact that each pillar is the same size and made of the same material. This makes no sense, given our current technological understanding of sound. Materials of the same shape and size should make the same noise. The material’s properties determine the frequency at which it vibrates when struck, which in turn creates the resulting sound. Somehow, the builders of this temple were able to adjust the properties of the stone itself so that it would produce a certain sound.
Cymatic Imprinting in Ancient Structures Cymatics is the study of vibration and wave frequency. Modern science recognizes that sound can be utilized to shape, form, destroy, and move materials. It would seem that the ancients were keenly aware of this. Cymatic patterns - complex, artistic and symmetrical patterns - emerge when sound is pumped at a certain frequency through a surface. Many of the patterns produced through modern cymatic experiments are strikingly similar to patterns found inscribed on the walls of many Indian temples. These inscriptions, referred to as cymagraphs, suggest some deep relationship that the architects of these temples shared with sound and vibration. The image below compares the inscription on a temple in Page 15
India to the cymagraph produced from the
the image into the stone, pulverizing the
Building the Megaliths
Magnetic Levitation & Acoustic Engineering stone in the shape of the image and creating what could be considered a hieroglyph. Again, it seems that the ancients were well-aware of this idea. There are many examples of what look like
vibration of the note C.
Egyptians Utilized Sound in Ritual and Construction It’s not just Indian architects that may have used acoustic engineering in their projects - the Egyptians may have utilized audio engineering not only to move the stones of the Pyramids but to inscribe many of the hieroglyphs that are still visible today. The Egyptians had a great fascination and respect for sound. Ancient literature from Egypt, including the Egyptian Book of the Dead, report that Egyptian rituals focused on using vocal projection and ambient amplification to enlist aid from the spiritual realm. The Great Pyramid was often utilized during these ceremonies because it was built to display baffling acoustic properties, allowing for powerful projection, amplification, and even manipulation of sound. John Stuart Reed conducted an experiment within the Great Pyramid itself. The writer and archaeologist recorded the cymatic shapes of sound produced within the pyramid’s sarcophagus, an acousticallycharged area. The resulting images, in some cases, were similar to some of the most easily recognized Egyptian hieroglyphs. A report from 1997, submitted by an anonymous user to KeelyNet, told of how their curious compadre had picked a lock in an Egyptian museum storeroom to see what was being withheld from the public eye. Inside, she was off-put by a discovery that made little sense. Instead of finding gold and treasures, she found “hundreds” of what she described as “tuning forks,” ranging from “approx. 8 inches… to 8-9 feet overall length.” She also reported “a taut wire stretched between the forks.” The author of the above report wondered “if these devices might have had hardened tool-bits attached,” and if “they were used for cutting or engraving stone.” It was not until recently that this peculiarity began to make sense. In the years since, we have learned you can take a metal rod with an image or shape fixed onto one end and etch images into solid stone by using sound. By pumping a certain frequency through the rod, one can effectively ‘project’
Magnetic Levitation & Acoustic Engineering tuning forks to be found in Egyptian hieroglyphs. The image below seems to picture two tuning forks connected by some sort of thread. The left one is connected at two nodes of vibration and the right at three, suggesting a 2:3 ratio of vibration - what we refer to today as a “perfect fifth” interval - a measurement only understood now that we have developed a significant understanding of musical and acoustic theory.
Acoustic and Magnetic Levitation Yoshili Hashimoto of Tokyo’s Kaijo Corporation proved that a machine producing sound frequencies at a rate of 20,000 oscillations per second (20,000 hz) could suspend a piece of silicon in the air. This means that an object can be acoustically charged in a way that allows it to defy our current understanding of gravity. This fact gives credence to the idea that the ancients used levitation - especially when the following evidence is taken into consideration. Beneath the tuning forks in the image above are two hieroglyphs, one that looks like a flower and below that, some sort of bowl or rounded hollow. Large, hollow bowls like this have been found throughout Egypt, particularly in the vicinity of the Great Pyramid, and in other areas where acoustic engineering is suspected to have taken place. These bowls are made primarily of quartz crystal, and possess piezoelectric properties: when pressure is applied, they can generate an electric charge. The bowls all have the same physical dimensions and properties, which suggests they were manufactured to fulfill a certain function. Now consider the following: Dr. Jacob Davidovits proved that the blocks used to build the Great Pyramid itself are not natural limestone. Instead, they are synthetic mixture of opal CT, hydroxy-apatite, and silico-aluminates - a casting which allows for the blocks to have an interesting property: they can effectively convert acoustic energy in the atmosphere into an electric current. This current is stored in the piezoelectric crystals of the Pyramid’s bricks.
The unique ability of the pyramids to concentrate and amplify acoustic waves is a process we now refer to as mechanical flexing. Mechanical flexing generates standing waves in the lattice of the crystals, generating a powerful EM field which is capable of levitating an object despite its mass. This field can still be measured around the pyramid itself. In short: The Great Pyramid possesses all of the same properties that modern science agrees could create levitation. And it wasn’t just the Egyptians who had this figured out. Large bowls or circular hollows have been involved in at least two other examples of incredible acoustic engineering. The Lost Technique, a book written by Swedish engineer Henry Kjellson, tells of his colleague Dr. Jarl’s experience in Tibet. In Tibet, Dr. Jarl witnessed a spectacle in which Buddhist monks gathered around a large boulder situated in a smooth stone bowl, about 1.5 meters in diameter. By directing the sound of large horns and drums at the boulder, as seen in Dr. Jarl’s sketch below, they were able to levitate the boulder and move it up a mountain. A third example comes from the mysterious construction of the Coral Castle, a structure shrouded in mystery. The Castle was built in Florida using 1,100 tonnes of rock that were moved single-handedly by Latvian-American Edward Leedskalnin. Large bowl-shaped stone recesses - these ones including magnetic spokes can be found around the site. The entire castle was constructed in silence and only during the night: neighbours reported that they never heard power tools nor saw any construction equipment involved in the Castle’s construction. The eccentric architect did not divulge his secrets, but he claimed that he had discovered knowledge which the Egyptians had used to construct the pyramids.
Is it possible that all these seemingly unconnected similarities are a coincidence? Or is it possible that the ancient builders possessed some fantastic knowledge regarding the use of sound and vibration? Whatever the case, it seems that many modern archaeological and scientific minds find it easier to cling to the established history than to acknowledge the possibility that our ancestors had knowledge that we’ve since forgotten. However, as the evidence amounts, it becomes harder and harder to deny that these ancient builders utilized some incredible technology. References: https://www.cymascope. com/cyma_research/egyptology.html Written by Nigel Ford, a research author and student of esoteric knowledge and life’s mysteries. He travels the world in search of answers that he’s certain he’ll never find.