The Other 96% - 3: Drums, Drums in the Deep... The Effects of Sound and Consciousness on the Vibratory Nature of Matter

“…and at the sound of the trumpet, when the men gave a loud shout, the wall collapsed.” – Joshua, 6:20

The biblical story of Joshua’s triumph at Jericho is one shrouded in mystery. The account states that the Israelite army under Joshua marched around the walls of the city once a day for seven consecutive days baring the legendary Ark of the Covenant with them. The procession was headed by a group of priests blowing ram horn trumpets, and on the seventh day the procession marched around the city seven times, after which the trumpets were sounded and the soldiers ordered to shout. With this final deafening cacophony the walls of Jericho, which were the largest and strongest of the time, fell instantly allowing the invading army to enter the city and slaughter its inhabitants. A grim tale to be sure, but interesting; the suggestion that sound can be used to demolish stone structures seems far-fetched, and of course this account could simply be a fairy tale in a fictitious work, but this is not the only account of sound being used to alter physical reality. Another comes from a Swedish aircraft designer, and his account of a medical doctor in Tibet in the early 1900s.

Henry Kjellson told this entire story to a journalist who then published it in a German magazine in 1939; the information contained within became of great interest to the scientists of the Third Reich shortly afterwards and likely contributed greatly to their aerospace program. A detailed commentary of the the original article was written by New Zealand researcher, Bruce Cathie, who offered his findings to David Childress for his book Anti-Gravity and the World Grid. According to Kjellson, a close friend of his, whom he identified only as Dr Jarl, traveled to Tibet at the invitation of one of his former medical students who had recently become High Lama of a monastery. The Lama advised Dr Jarl that he had something amazing to show him and took him to a sloping valley at the base of high sheer cliffs. The account goes on to describe how a large stone block was levitated up onto a ledge in the cliff face some 250 meters in the air with the use of drums and trumpets, and documents in minute detail the measurements of each of the instruments, their positions and the relative distances between each of the component parts in this bizarre and intriguing piece of weird science: 

"A perfect quarter-circle arc (90 degrees) was set up with thirteen drums and six trumpets all aiming at the stone. All the drums were made of three-millimeter-thick sheet iron, and instead of  any type of animal skin for a head, there was metal on the end that the monks beat with leather clubs. The other end was left open. The six trumpets were all quite long—3.I2 meters to be exact—with 0.3-meter openings. The monks carefully measured the distance from the stone to this quarter-circle of instruments, and it came out to 63 meters. Eight of the thirteen drums were exactly the same size as the stone—a meter wide and a meter and a half long. Four of the drums were smaller in size, but were exactly one third the volume of the larger drum, at 0.7 meters wide and one meter long. One additional drum was the smallest, at 0.2 meters wide and 0.3 meters long—again in perfect harmonic proportion. You could fit 41 of the small drums into the medium drum, in volume, and 125 into the larger drum." - David Wilcock, The Hidden Science of Lost Civilisations.  

The key in the account, however, as is seen in the account of Joshua, is the direction of intention or conscious thought of a large group of people upon a single point.

Other than the array of strange instruments, there were also as many as 200 monks lined up in rows behind each of the drums and adding to the din by chanting and adding their meditative intention to the proceedings. Before proceeding further, it is appropriate to note the importance of "correspondence", a system within Magick which incorporates symbols, sounds, colours, scents, tastes and images which all relate to a specific idea or intention. A prime example of this, and possibly the most widely known system is the use of the colour red in relation to the alchemical element of fire, the symbols for the constellation of Aries, the plant Mars, the upward pointing triangle, the taste of spice, the smell of cinnamon and the image of the warrior to align the consciousness of the individual to the archetype of the Masculine, which leads to an increase in strength, aggression and outward sexual energy. This system operates under the auspice of the vibrations of each each correspondent; as I stated in my previous installment of this series, all things in the universe are differing frequencies of energetic vibration governed by a unifying consciousness.  For example the frequency of light which we perceive as red will be proportionate to the musical note C, or more accurately, it is the same note but many octaves higher on the vibratory scale. In the same way, the consciousness that moves through all of these corresponding  aspects has the same vibratory value as the colour red and the note of C, and the symbols associated with Mars and Aries are a means of focusing the mind and aligning it to that overarching consciousness.

This consciousness, which manifests most coherently in the mathematics of symmetry and proportion, dictates that a particular vibratory frequency within the audible range of the acoustic spectrum directly corresponds with a higher or lower vibration which would manifest to human perception either as light, magnetism, radio waves or maybe not at all; but through this symmetry of mathematical correlation is found the secret of acoustic levitation, for not only does the sound resonate at a frequency which unsettles the stone, but so too does the conscious intention directed towards it which has its own resonant frequency which, despite being impossible to measure, must align with the audible sound as well as the vibratory frequency of the atoms within the stone. Not only that, but also the position of each instrument and person affects the way in which the sound travels before acting upon the object, and therefore the position and spacing of each participant is in accordance with mathematical principles aligning to the numerical value of the frequencies involved. Therefore, by extension it can be supposed that the collective intent to levitate the stone creates a vibratory field which is amplified by the corresponding audible sound from the drums and trumpets, all of which destabilise the energetic bond between the atoms within the stone and cancel out the effect of gravity on the object resulting in levitation. Is it possible that the walls of Jericho were brought down using similar techniques? Could it be that ancient peoples had a practical understanding of the advanced mathematical principles encompassed in high sonic interference patterns? Whether or not our ancient ancestors possessed such knowledge or technology is a separate matter which I will discuss in another article entitled Smoke and Mirrors, The Evolution of Humanity and the Enemies of Truth.

The use of sonic fields to create levitation or suspended animation has been demonstrated under laboratory conditions, in which a small object is placed between a number of speakers which produce a high pitched sound which cause the object to move away from the source of the sound; however the placement of each of the speakers allows the sound to push the object from all sides with equal force into a point at the centre of the sonic field and keep it suspended in mid air by cancelling the effect of gravity upon the object on an atomic level. Please follow this link to see acoustic levitation on a small scale: https://www.youtube.com/watch?v=669AcEBpdsY

A similar effect can be seen on a cymatics table in which a musical note is created by rubbing the rim of the metal plate; the sound then reverberates through the metal plate causing sand, salt or any other particulated substance to move with the vibration and arrange itself into geometric patterns. This occurs because the musical note directly affects the vibratory nature of the atoms within the particles of sand, creating reverse gravitational fields causing the particles to group together like metal filings in a magnetic field, adhering to the shape of pattern of that field. Follow this link to see cymatics in action: https://www.youtube.com/watch?v=GtiSCBXbHAg

Furthermore, when cornstarch is mixed with water and subjected to concentrated sonic frequencies, the viscous substance begins to solidify, grow, writhe and dance as if animated by the sound. Here is a link to watch sound animating non-Newtonian fluid: https://www.youtube.com/watch?v=3zoTKXXNQIU

While this may only demonstrate the physical effect of audible sound on matter, the same principles can be applied on a higher "octave" to consciousness and its interaction with other energetic fields at the top end of the electromagnetic spectrum.

In a series of quantum tunneling experiments conducted by Princeton University, the power of human consciousness was observed when a group of RNGs (Random Number Generators) suddenly began to show a noticable degree of coherence in their data output during major national or global events. "When human consciousness becomes coherent, the behavior of random systems may change. Random number generators based on quantum tunneling produce completely unpredictable sequences of zeroes and ones. But when a great event synchronizes the feelings of millions of people, our network of RNGs becomes subtly structured. We calculate one in a trillion odds that the effect is due to chance. The evidence suggests an emerging noosphere or the unifying field of consciousness described by sages in all cultures" - Princeton University website, http://noosphere.princeton.edu. This implies that collective consciousness, when directed towards a common focus or goal can actually synchronise the quantum correlation between atoms, and influence the charge of Ions by converting sub-atomic particles from Protons to Electrons or vice versa. In this way the human consciousness is influencing physical reality in such a subtle way that we may never notice it, but the charge of atoms affects the way in which our energy is produced, the way our information is transmitted, the quality of our food and water, and even effects the electromagnetic charge of our atmosphere altering our moods and even our weather systems. Human beings are the musical instruments from which consciousness reverberates through the world altering everything it touches. Do not let this confuse you, however; human beings are not the source of consciousness, just as the instrument isn't the composer of the music that it produces, for the human brain is merely a receiver and amplifier of consciousness which is transmitted from outside of the individual, from a point at the centre of all things, all worlds, all existence. This consciousness, as I have speculated earlier, is what religious traditions refer to as God. Therefore, if God is the composer, then the primordial energetic emanations are the musicians, humanity is the instrument, and our thoughts, feelings and actions are the music which excites and shapes the physical universe in which we exist. We are all a part of the grand cosmic symphony of creation, and should thus pay close attention to the thoughts we put out into the world, for they still affect the world around us and may still cause harm to others if unchecked and left to fester. On that bombshell, I will bid you farewell for now until my next installment. Namaste.

Enki-Endymion. O(