The Tibetan Levitation Event

Henry Kjellson was an experienced civil engineer who had rose to the position of head of the Swedish Airforce.  In those times, there were not many aeronautical engineers and the FVM J23 Swedish fighter was largely designed by Kjellson.  Later it failed in a structural area and was discontinued in testing but he remained a very respected citizen and engineer.

The medical doctor Dr. Jarl in the report who actually witnessed the Tibetan Levitation in 1939 had met a Tibetan student and became serious friends.  Dr Jarl had become well established in the Royal Society in Sciences in London and went to Egypt on official business when Egypt was still a protectorate of England.  India was also a protectorate of England and when the Tibetan student read that Dr. Jarl would be in Egypt, he contacted Dr. Jarl to try and get him to come on to Tibet to treat an ailing elderly but high ranking lama.  Once released by London, Dr. Jarl gained the hearts and minds of high level Tibetan lamas.  With his prolonged stay in Tibet, he was told many relationships and allowed to observe events which normally were off limits to outsiders. My experience with medical doctors in the engineering world is that they are very poor observers of non-medical details.  It seems likely that Dr. Jarl was given some sketches and written materials he gave to Kjellson when he found he was interested in the Tibetan experience.

Dr. Jarl came to know Henry Kjellson and made Kjellson aware of his Tibetan experience.  Another Swedish engineer, Olof Alexanderssen, much younger than Kjellson (born 1917) and well connected to Viktor Schauberger, a publisher and film maker in Austria looked at the Dr. Jarl material and wrote an article published in 1958 in the Schauberger magazine “Implosion” and labeled “Implosion No. 13”.  Schauberger died in September of 1958 and later Alexanderssen would write a book “Living Water” which was really a life story about Schauberger and is still available from Amazon today. Later when Kjellson was writing his book “The Lost Techniques” he would include this article in his book, written in Swedish yielding it a very limited circulation and exposure.

Later a New Zealander pilot would seek the Implosion No.13 article and have it translated into English which is the primary source of information on it on the internet today. The layout diagram indicates Henry Kjellson (H.K.a) was trying to cover up the sources of information when he used a fictitious name “Brant Lirgvagg ?” in the sketch used in the Implosion No.13 article. However, the key is that the large drums were abbreviated with an “s” from the Swedish word “stor” which means large in English.

A modern day researcher would want to chase down a copy of the Implosion No.13 article and have it re-translated into English to be certain of a good academic foundation.

 

The basic translation of the German magazine article is provided at https://rense.com//general8/stones.htm

I have purchased the book ‘Anti-gravity and the World Grid' edited by D.H.Childress, ch.8, Acoustic levitation of stones by Bruce Cathie, pp. 213-217. The reader is directed to those sources for more specific details and specific work of Cathie.

 

Before the reader casts this Tibetan story aside, please remember there are thousands of caves in the Himalayan Range and many have huge stones inside that did not originate from the wall type of material of the cave. Alternative methods to the scheme presented here of getting large stones up nearly unclimbable cliffs are not all that believable and fraught with practical problems.

 

The Supreme Importance of the Tibetan Event

 

According to the conclusions of this paper, the universes were not only orderly created, but were done so in a manner that the laws of creation could be self-deciphering.  There is no “who done it” but simply a Creative Force.  Below, substitute the words “Creative Force” for the “word” and see how it reads.

 

          In the beginning was the “word”, and the “word” was with God and God was the “word”

The Creative Force created all things we know and understand, including ourselves that exist seemingly in the physical body, but not really.  As humans cycled thru lives in physical bodies, finally a level of understanding evolved and at some time some of the souls or spirits no longer needed to sojourn thru physical bodies and became at such a high spiritual level that God came into existence and He became the knower and doer of all things spiritual and we became a part of His doings and became dependent upon Him for guidance and spiritual sustenance. However, none of this happened by accident or originally on earth.  Mankind has been evolving for trillions of years just as described in some ancient teachings, some from Tibet.

But as an engineer I am public duty bound to finding tangible evidence and practical guidance toward this self-deciphering set of laws. Certainly the reader needs to capture something fairly early in this paper if one is going to tough it out.  So here is the first step which is sort of summarized before delving into the details.

The Tibetan Monks were using a technique to “levitate large stones” 250 meters upwards and outwards to a cave entrance on the side of a nearly impenetrable cliff. The stones were modern refrigerator size being 1 meter in cross-section and 1.5 meter in length. Here is embedded the first law of creation dealing with the conversion from metric to English systems.  Below is the equation that makes up this first law.  The number 0.3048 is the final agreed upon conversion of meters to feet in 1959 set by committee.

          Cross-section area x height = volume

          (1 / 0.3048)^² x (1/0.3048) x 1.5 = 52.972000 cubic feet

This number is fairly familiar to those who study the physics of music.  Our entire musical system is now based upon increments of 2^^(1/12) which is the frequency change from a white key to a black key on a piano.  This standardization came about so that musicians from different countries could play together without retuning their instrument.

If we take the twelfth root of 2 and multiply it by 50, we get 52.9731547 and that is similar to the number above.  What is particularly interesting is that we could actually let the 0.3048 number be a variable and solve for the exact conversion.  The 0.3048 number was invented by a bunch of simpleton scientists in 1959.  The number when solved mathematically is 0.3047977854 and the old number in England before molestation by the committee was 0.304798966666.

Here the Creative Force has told us not only the conversion, but the relationship to acoustic frequencies.  Even in modern times we have moved away from defining standard length metal rods to the wavelengths of certain frequencies which is much cheaper than iridium rods and cannot be stolen or changed. To read the Creative Force’s message we must use the higher precision. Our systems of measurement units did not happen by accident.

It was noted that 250 meters x sq root of 2 =353.5533905 (hypotenuse of trajectory) and that is close to a factor of ten from the (1/0.3047977854)^3 = 35.31543663.  If we go backwards, the 250 meters becomes 249.7178473 which is only 28 centimeters from 250 meters or about 11 inches. The 250 meters is likely a “typical” number from the mathematical basis. This type of redundancy is typically found in Creative Force revelations.

The use of 250 meters is very likely a standard configuration because not all caves fit the 250 meters arrangement.  Someone gifted enough with the fundamental understanding could resize as necessary this configuration for a cave and meadow with different heights and radii. The astute reader might question how the vertical distance would be known and how do you measure out 250 meters from an inaccessible point 30 meters or more inside the cliff directly below the cave.

In modern times, we would simply position a laser survey instrument near the potential location of the reflector rock and a laser reflector calibrated for the instrument at the cave and the instrument would give us the 45 degree angle and the horizontal and height measurements. By trial and error, the exact location is found.  Likely the ancient monks didn’t have this type of instrument. J

But there are simple methods these distances can be found without even using trigonometry.  One simply buys some plywood from Home Depot, drives nails at a 45-45-90 triangle and another at a 3-4-5 triangle. Using a sighting tube one sights down to the reflector rock location and signals back and forth with mirrors. Similarly using the 3-4-5 triangle another mark is made toward the cave from the 45-45-90 mark. The altitude of the two marks can be checked for level with a hose-like device filled with water.  The distance between the marks is 62.5 meters and provides the scale for everything else.

This type of system could be modified for natural caves that didn’t have the 250 meter relationship. There is good reason to suggest that the Dr. Jarl didn’t really take the detailed measurements but was provided perhaps even a sketch by the high level lama that he provided medical assistance to with the promise from Dr. Jarl that he would never make the sketch public.

Another number used in a wide spread manner by the Creative Force is 1.718281828459 which is the smart part of the natural logarithm base of 2.718281828459 and is defined by the infinite sum of the factorial series 1/1 + ½! + 1/3! Etc to whatever precision one needs.  This number is not used in the Tibetan episode.

Since Kjellson was a Swede, he would likely use metric units and apparently didn’t bother to convert them into feet. There is a very good article in https://sv.wikipedia.org/wiki/Henry_Kjellson?br=ro& and can be translated into English with Google Translator.

The word levitation has sort of a bad history as it was often associated with occult and shamanic activities.  More or less it meant the lifting of objects by some unknown force, presumably supernatural. Even though Edward Leedskalnin of “Coral Castles” fame in south Florida wrote a book explaining he used “magnetic current” activated by his singing, nobody took him too seriously and figured he had a lifting device somewhere hidden. What the Tibetan Monks were doing was far superior to anything Leedskalnin did in Florida. It is one thing to simply lift a huge stone upon to a wagon or wall, and quite another to send the stone on a quarter circle arc some 250 meters in radius. Most readers are probably used to measurements in feet and that is precisely what the Creative Force uses much of the time.  The 250 meters becomes 820.2159343 feet and about a quarter mile from reflector stone to cave entrance.

The distance from the launching stone to the 90 degree arc of drums and horns is listed as 63 (close to 62.5 above) meters and becomes 206.6944 feet which is very close to the dimensionless ratio of muon/electron masses of 206.7682826.  Of course, the actual distance at the inclined angle of the drums and horns would be almost exactly the dimensionless mass ratio. If that ratio is substituted as fact and then converted to meters, the inclined distance is 63.022514 meters. Later this concept will be expanded.  For now we need to examine the image below and see what a sonic jungle must exist from the Monk music and how the sounds might induce something into the stones that takes all the magic out of the episode.

This appears to be a sketch made by Henry Kjellson (H.K.a using an alias Brant). To have all this detail from a medical doctor seems certain there was some sketch included from the high lama. Below is an ACAD sketch drawn with more precision from the data provided by Kjellson.

Kjellson reports that the little drum could be heard over all the big drums and chanting monks so it is likely it was the source of cadence and intensity.  He reports that occasionally the stone to be launched actually broke into pieces and had to be removed by yak oxen and a new stone brought onto the launching stone which here is called a reflector stone.  It had a concave polished surface and was a meter in diameter and 15 centimeters deep. The use of yaks suggests the monks did not have the ability to lift irregular stones via sonic inducement.

The speed of sound varies with atmospheric conditions, altitude and slight variances in the stone to be launched. It is likely that the cadence was purposefully started slower and with less intensity than thought required.  The cadence and intensity was gradually increased until the launching condition took place.  It is likely that the launching condition was just below the resonance frequency so if the launch condition was passed thru too quickly, the resonance broke the stone as an opera singer breaks a glass crystal. The launching could change enough crystals in the stone to make it humanly sensible in later time periods as was frequently reported.

The frequency we might anticipate from the drums would not be all that different than we experience in modern times from beating on an empty 50 gallon drum. I notice that my 500 gallon tank is not all that different from a 50 gallon drum. However, listening to modern day Tibetan trumpets some 12 feet in length indicates that dissonance may be more important than harmony as the collective sound was referred to as a “terrible din”. If the Tibetan trumpet of modern day is anything similar, the player could only make a short sound on cadence without running out of air from his lungs.

While modern Tibetan musicians have plenty of pleasing to the ear instruments, they still have those long horns for rituals. You can see a video at https://www.youtube.com/watch?v=8UAudR5O8Hk  They sound like a terrible din by themselves. 

These are like bugles in more modern times used in the military to send command orders over large distances to say a cavalry unit where there is a lot of external noise that would cover up simple voice commands. The various notes are made by the shape of the mouth, lip muscle tension and even teeth. There are no valves like on a tuba which is wrapped around to make it more comfortable to hold.

You can hear an hour and a half of Tibetan Spiritual Music at the search site below:

https://www.bing.com/videos/search?q=tibetan+horn+video&&view=detail&mid=752EFC80AF00E39C0103752EFC80AF00E39C0103&&FORM=VDRVRV

It is quite likely that this video contains at least intervals of the sounds made at the Tibetan Levitation Event.

In the magnified image below, the dimensionless ratio of the horn bell ends shows definite signs of dissonance and a link to the Universal Law described above. If the lower note is 27.5 and the upper note 1.284 times that, it becomes (1/.3047977854)^⁽³⁾ (= 35.3154) as used to determine the metric to English ratio of .3047977. It could be the drums are sized in a similar fashion.

There was a lot of time spent researching a man named John Worrell Keely who was a child prodigy on the violin and was raised by his grandfather who at one time was the conductor and composer for the Baden-Baden Orchestra in Germany. A website constructed by another mechanical engineer at http://u2.lege.net/John_Keely/keelytech.com/index.html

Hans provides a second opinion of Keely compared to the very one sided opinion on Wikipedia.  One of Keely’s laws states that matter vibrating in harmony attracts while matter vibrating in dissonance repels. While not conclusive, it just serves to provide another hint that sound can do strange things.

Keely also suggested the harmonic vibration in matter started at a frequency of 2^⁽²¹⁾ and went up to 2^⁽⁴²⁾.

          10/({[((2^(21) /A)^⁽²⁾*8)^⁽²⁾]/1e26}^⁽⁶⁾)*4=.304795032 where A=1.718281828

In Keely’s time the agreed to system of music being tuned to intervals of 2^^(1/12) had not happened yet.  One might wonder where he got the idea of using such a high power of 2 and it checks out so well with the Universal Law.

The image below is from a modern website that sells what it calls a sonic levitation machine for $149.  The three white dots on the left are light weight pith balls trapped in the resonance frequencies emitted from the bottom and reflected back by the top reflector.  You can go to the site and watch the video. A similar video is done using magnetic fields and metal balls.  Clearly there is nothing supernatural about these video images.

The typical reader likely has little experience with capabilities of sound.  It can be quite fearsome once you start digging into it.

Route step march

Since ancient times marching soldiers have been commanded to do “route step, march” while going over bridges because the cadence may find a resonant frequency in the bridge and it may collapse without even approaching design load from the weight of the soldiers. The rhythm from marching would be similar to drum beats as most people know if they have ever participated in a marching band.

Crystal cracking voice

For many centuries it has been known that an opera type voice can crack or shatter a wine crystal if exercised at the proper frequency.  There are good videos on YouTube, even some in slow motion where the resonance is shown before it breaks. https://www.youtube.com/watch?v=17tqXgvCN0E

Cavitation and Sonoluminescence

It has been a particular pain in the rear for designers of large ocean going ships to discover their propeller weighing upwards of a hundred tons are being damaged at certain conditions by cavitation.  The water flowing over certain areas of the propeller simply yanks chunks of metal out of the surface causing it to increase in drag and eventually destroy the propeller if not repaired. Cavitation can be induced in the laboratory easily with sonic devices and in particular with ultrasonic frequencies.

Check out Wikipedia on sonoluminescence for extreme cases of sound causing essentially cavitation via bubbles collapsing and creating little lightning bolts that not only reach extremely high localized temperatures but also give off visible light.  Bubble fusion, another topic, uses sonic induced sonoluminescence to experiment with low temperature fusion. The current discoveries for uses of sound are just beginning.

Sound Barrier

Another well-known sound event is the so-called sound barrier that high speed aircraft experience when going Mach 1 or higher. Aircraft not designed for these speeds suffer a loss of control and many have crashed in times past.  Once research developed far enough, it was not a problem to design around the difficulties.  However, just like cavitation, we learned to get around the problems but never learned the root parameters.

Lights Are Not Necessarily Lights

The tens of thousands of UFO lights are likely not really lights.  We use a “light bulb” to make light so we can see in the dark.  UFO light likely comes from sonoluminescence and is a byproduct of their propulsion system. The color changes depending on what is being done.  UFOs make the unearthly maneuvers at right angles and high acceleration because all the occupant molecules are being acted on individually and therefore the occupant does not feel the acceleration like we do when the fighter pilot seat is putting the only force on the pilot’s bottom.

The video below was taken by Nuno Ribeiro in what appears to be northern Portugal. It is clear from the video that this is typical terrain which could have been shot individually.  The UFO theoretically could have been superimposed on the rural setting. Look at it now.

https://www.youtube.com/watch?v=dnV4vfqNLh8

 

(See a more indepth discussion at www.ufo-in-portugal.blogspot.com ) The larger alien appears to notice Nuno and commands the smaller alien to hustle back inside the ship. The larger alien is aware that Nuno could call somebody and there would be military planes showing up within potentially minutes.  So he hustles back inside the ship and it takes off in a few seconds.  It is unfortunate that Nuno chose to play loud music so the any sound the ship makes is blocked out.

The propulsion system of the ship is like nothing ever visualized by earth humans. There is no thrust producing chemical combustion of rocket fuel.  By stepping thru the video in small portions of a second, one can see the propulsion system in operation for two seconds.  In the first 10 feet of lift there is no visible light under the ship. A fraction of a second later the light suddenly appears and the ship accelerates much faster than the Shuttle taking off.  If this is sonoluminescence there would be something like lightning and the sound would be startling like lightning at close range which is a large bang and not thunder.  On a USFS lookout this type of experience was witnessed many times.  It scares the crap out of you.  That is why Nuno dropped his camera and maybe fell down.  It is not impossible that a shock wave knocked him down. The ship is on the ground at 1:05 time, makes the blast at 1:06 and is out of sight at 1:07. The Shuttle blasts for several seconds before it clears the tower.

The video below is a Spider Man video which shows the much lower quality computer generated video of buildings, cars and events.  Clearly the quality is much lower than a typical camera would take.

https://www.youtube.com/watch?v=o9kr9ZhydK0

 

Piezoelectric Effect

From Explainthatstuff.com here is a good simple explanation of the electric fields that can be generated in crystals using mechanical stress.  Sound waves create mechanical stress in solid objects.  In the first hand held walky-talky radios, your voice was impressed onto a stressed crystal for longer range broadcasting in years past.

We know that sound input separately into the two separate human ears at slightly different frequencies create a “beating behavior amongst other brainwaves” which happens at a much lower frequency than we can hear individually. Ultrasound has many known ramifications but perhaps a lot more than are known.  The Tibetan Sound Effect discussed here could apply dozens if not hundreds of different impulses on the stone.  And the stone could be shaped to take advantage of some of those effects.

The observer said that sometimes the large stones were fractured and had to be taken away by yak oxen.  The fracturing, however, is a permanent impact on the stone and the magnetic and electrostatic effects on the stone by the Tibetan orchestra might be permanent too and also might be detectable by those taught to sense the changes. This means that if the stones are put into caves with this method, later monks passing thru might be able to sense some type of reflected vibration activated by their thoughts and then reflected from the stones that give them an impression of demons and gods, amongst other impressions as reported in numerous articles.

What Were the Tibetan Monks Up to?

Why would you want to send refrigerator size stones (some 8000 lbs) up to the mouth of a cave on the side of a rugged cliff?  The only access the monks had was by rope down from the top. What on earth were they going to put inside the cave? Were they trying to block off access to anybody who didn’t know how to move large stones? Whatever it was, it must have been important to them and maybe to the future of mankind on earth. Perhaps they felt it was the word of God?

Finally, the internet was used to view pictures of Tibetan caves and one example is below.  One can easily see that the large stones are of a different type of rock than the cave walls and were taken to the cave and not just carved from rock already inside the cave.

At the far right are what could be called steps but they are far too big to be comfortable for a human or for the figures displayed on top the main display to use. This picture sort of does away with the idea that the stones were used for protection.  It suggests that the stones have a one-to-one relationship with the seated figure and perhaps with the mental meditation that the builders had in mind.

The hundreds of pictures indicates this similar construction but with varying details.

Artillery vs Launch

Given the stone travel time was reported as 3 minutes from the time the stone started wiggling on the reflector stone until it arrived at the cave and the key element of velocity is the speed in the horizontal plane which appears to be about a normal walking speed at 4.5567 feet per second or 3.1 miles per hour. (artillery projectiles are fired at 2000+ feet per second) The stone would need to be at its peak of height and coming in very nearly horizontal and depended upon the cave entrance area to slow it down so it could be further manhandled. Anybody who can launch huge stones nearly a quarter mile would not likely have trouble repositioning them.

Most readers probably realize that an artillery system has a known amount of explosive powder and a known weight of the warhead.  To hit a target that is close but behind a small hill, the canon must be aimed nearly straight up so the shell comes down close because most of the velocity went into the upward direction and then it came back down on the target. Modern systems now use computers and gps data from satellites and can be shot from a moving base such as a tank.

In the case of the Tibetan monk episode, the initial upward trajectory is designed to be nearly straight up varying only by the slight angle created by the drums and horns being above ground and aiming at the base of the stone to be launched. With artillery, the only influence the operator has is at the canon at the moment of firing.  Clearly that type of launch for the monks would yield the stone traveling at a high velocity when it approaches the cave, ending in disaster.

The observation data indicates that the stone increases speed as it goes up suggesting that the influence on the stone continues after leaving the launch point. This indicates that a condition is induced into the stone which makes it have essentially a guidance system on board the stone. Simply decreasing the influence of gravity doesn’t achieve anything.  One would have to reverse gravity in order to have the stone increase in velocity while going upward away from the launch site.

It is far more likely that the intense mixture of sounds creates some type of magnetic field around and inside the stone whereby it is influenced by earth’s natural magnetic field and perhaps even an electrostatic field.  Just like the $149 device mentioned earlier, the stone might be reacting sonically with the Schuman Resonance in the atmosphere initiated by lightning. This would not require anything supernatural, but only knowledge of some phenomena we have yet to understand in modern times.

The image below shows how the sound from each instrument reaches to the reflector stone at the same time and place.  Given the slight slope of the instruments, this would cause a vortex sound wave inside the stone to both go upward at a high speed and another equal and opposite one to go down to the reflector rock. This opposing vortex might create equal charges on the launching stone and reflector stone such that there is a substantial force on the launching stone upward.  The angles of the instrument could trap the moving stone in opposing pressure waves such that the stone hits the cave entrance quite precisely.  It could be the first stone is a little off its mark and adjustments are made for the balance of the launches.

This complex concept does not necessarily mean that some advanced alien civilization provided the knowledge needed for this episode, but simply could evolve from a much closer relationship with the spiritual side of humanity. And there could be alternatives besides these simple-to-describe avenues.

The observer claimed that the stones could be launched at roughly 5 per hour.  Based on the size of the stones, it would not appear to take more than a day to build up quite an arrangement or whatever was intended. It doesn’t appear that dragging the stones up the 250 meter cliff face at a steep angle was an option, discussed below.

The observer believed that the monks chanting didn’t have a meaningful influence on the stone but having a couple hundred monks chanting doesn’t seem likely to happen if they were not needed. The observer apparently didn’t visit the cave area and was apparently not told if there were any acoustic adjustments made for the landing of the stone at the cave or any final approach adjustments.  Also, there is no comment as to how fast the effects of launching the stone bled off and whether the stone remained light enough to position before getting heavy again.

In the writings of Edgar Cayce in reading 5748-006, when asked how the pyramids were built, he provides the following:

 

(Q) How was this particular Great Pyramid of Gizeh built?

(A) By the use of those forces in nature as make for iron to swim, stones can be made to float in air.  This will be discovered in 1958. (Reading was in 1932)

 

It is interesting that the Cayce statement did not mention anything about magnetic fields in relation to iron.  The use of the verb “swim” is very suggestive of the movement of iron filings on a paper sheet when a magnetic field is below the sheet. Iron filings are very irregular and hang up on each other’s tentacles but yet “have determination” to spread out along the “lines of force” in a swimming motion as they work their way past each other until a fairly uniform distribution is achieved. (see www.mathematical-magnetism.blogspot.com )  While clearly a function of magnetic fields, this reaction is definitely separate from simple magnetic attraction and repulsion.

Before the reader dismisses all this as hyperventilation, keep in mind there are maybe thousands of caves and many are very inaccessible yet have huge stones inside that did not originate from the native rock of the cave.  How did they get there?

Winching large stones up the side of a cliff is not anywhere as easy as it might sound.  When rocks roll down a cliff, the large ones go out the furthest and are a major obstacle at the start.  A large stone being dragged up a rough cliff is going to catch on ledges, bushes and all kinds of things.  In the early days, only ropes existed and could easily be cut by the protrusions.  A rope a quarter mile in length is a bit testy to handle and how many people can even fit into the cave.  And how big of winch drum does it take to hold that much rope?  How many ropes would it take?

One can almost assume that there must have been an easy way to get the large stones up there, or they wouldn’t have done it.

Knowhow at3 ctcweb dot3 net

Jim Branson