STONE LEVITATION

STONE LEVITATION

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HOW?

Stone levitation as recorded in the monuments of mostly long past but also some recent origins is a process of using of acoustic resonance induced magnetic levitation. I seem to have nailed down so far all those used by the late Edward Leadskalnin, the builder of the Coral Castle in Miami, Florida around the time of WW2. Some of these are common with some methods used in ancient and not so ancient Egypt, and in a fairly recent levitation document from Tibet.

The prerequisites for stone levitation by Mr. Leedskalnin’s method in gross qualitative terms are as follows:

What to avoid

• You have to avoid miscellaneous background sounds as much as possible. Background sounds are a chaotic cacophony of vibration and interfere with resonance of the polycrystalline structure of stones like lime stone, granite etc. Not a must, but a great help. Any background noises carry a risk of the work to suddenly drop from levitation due to breakdown of the established crystalline resonance in the stone, which will come about as suddenly as suddenly comes the break down of superconductivity with magnetic tunneling or temperature rise.

• You have to avoid as best you can electromagnetic radiation from all kinds of sources like radio stations, cell phone towers, power transmission lines etc. by creating a fairly radiation free area for your work. Not a must, but a great help. Again, the EM radiation may cause a sudden break down of crystalline vibration pattern in the work piece.

• You better avoid fluctuations of geomagnetic field around your work. This one is the least “must not”, but it is very helpful. On the other hand, the geomagnetic, if properly handled, can be used for stone manipulation once the stone achieved levitation.

All these can be avoided to a reasonable degree and I have spelled out how below.

What to achieve

Generation of sound combination of particular properties, which are peculiar to the particular stone kind you intend to levitate. It depends on the chemical composition, structure of crystals and the classes of mass groups of the crystals. You have to refer to my Sound in order to understand what this phenomenon means in qualitative physical terms, if you are after the understanding of the following procedure and its underlying causality (strongly recommended). If you are after the procedure itself only, you can skip it. What has to be achieved first is a synchronized and homogenous resonance of a sufficient proportion of crystals in the work piece. Work piece means a megalith, or a stone, or a block of stone, whatever. I will further address it simply as stone. There are three ways to find out the resonant frequency of the stone material.

• First method is The Scientific Method and I shall skip that one for lack of relevant in depth information in the contemporary science (as far as I know), the lack of scientific resources to get to it (as far as I know) and the lack of guts of professional physicists in general to touch this phenomenon.

• Second method is unscientific trust in the abilities of others. You can research all kinds of weird and/or scientific sites, you can make your own stew of a theory from the information and you will most likely spend the rest of your life testing all kinds of variations of your stew by experiment.

• Third method is again unscientific, but relatively simple and fast as opposed to the first two. You assume that who ever you have not caught lying tells the truth as he/she sees it and you reinterpret such truth in the light of other such truths and you deduce what ever can be gotten from this stew. One of such truths is the work of Mr. Edward Leedskalnin. Although he has never revealed it directly, only in his interpretation and hints and slips and most of all in his experimental results and the tools he used and the work he left behind.

You will polish about one square inch of a sample from the stone of your choice, that is a piece of the kind of stone you intend to work with. You will sprinkle finely ground kitchen salt on that polished patch of the stone. You will start playing or singing a single low tune to the stone, slowly raising the tune and watching what is happening with the salt. When the random order of the sprinkled salt begins to organize into some regular patterns (which will depend entirely on the kind and quality of the stone), you will stick to that particular sound and vary it only so slightly and patiently and slowly, until you get the clearest possible pattern. You will note the frequency of the sound (an electronic acoustic frequency detector would be a very handy instrument to have around) and record it. If you have good musical ear, you can record the sound in your brain databanks.

You have just caught one of the few major resonant frequencies in your sample. That is the frequency, which harmonically corresponds to a major proportion of the same size and harmonic size and kind and orientation within the stone. The stone itself is not likely to sound itself, as you have only produced a low harmonic of a much higher crystalline resonant frequency. If you use a musical instrument, I would recommend to also try other instruments at the same tune frequency. Some instruments will work better than other instruments. A tunable instrument whose oscillator is made from the same stone like the sample stone should work the best, but I have no idea how to make a musical instrument from a stone, or with a stone as its resonator. You may.

Once you have one such frequency established and recorded, you may have to go on with sound generation again raising the sound ever so slowly and watching freshly sprinkled salt on the piece, till you hit on to another major frequency. You have to check that the second frequency is not a harmonic of the first one. If it is, it is useless to apply the lower of the two for eventual levitation. If it is not, you have to test if the two, will interfere or not. If they do, you use only the one, which gave you a smaller and/or more pronounced pattern of salt grains.

You will continue with this experimentation, until you find all possible major frequencies of different harmonic sets, which do not interfere. (There is a good chance that you will hit upon a single frequency harmonic only, which is worth your attention.) The more of these tunes you sing or play to your stone while getting it to levitate, the more efficient will be your lift.

To make your job easier, you can pick a stone, which is reasonably homogenous, lets say a metamorphic limestone, or soapstone, or chalk, at least for the starters. I would recommend stone, which has been proven to work in the past, but please do not take apart the Coral Castle or the pyramids. It is not necessary. Just find out what kinds of stone was used in the Menhirs, the Egyptian pyramid cladding, pyramid guts, Baalbeck terrace and Easter Island statues. Pick the simplest stone to start with. The composite stones like granite will be much more complicated and therefore difficult to resonate and levitate due to their greater mineral, chemical and crystalline complexity. Do not attempt to use shale and artificial ceramics. They have very complex chemistry and polycrystallinity.

There is actually a simpler way to indicate the harmonic frequency. You can place a small magnet on top of your stone and see when it begins to levitate. No polishing of the stone. But it might not be sufficient in finding out the best tunes and timber of the sound to use.

Set up a partial and stabilized geomagnetic field “gap” by building a ferromagnetic fence. It is not entirely necessary, but it will make the job easier and safer. This can be achieved by sticking two rows of mild steel poles into the ground. The higher they may be, the better. The poles must be closer to each other in each row, than across the isle, which will be your workplace. You should also hose the ground in the isle with water, or work on wet ground to start with, or at least ground the poles by a grounded wire. This will alleviate the problem with radio transmissions and other EM interferences creating a partial Faraday cage around your work. If you join the poles with a steel wire, you will have a better cage, but you will prevent yourself from being able to use the geomagnetic field for stone manipulation, i.e. pushing it wherever you want with magnetic field rather than your bare hands. Do not set your fence directly across geomagnetic meaning East-West. Set it approximately NS to start with your experimentation and find out how much you can deviate from it by experiment. Once your stone has levitated, it can be manipulated outside the fenced isle, but only so long as its resonance lasts in its synchronized mode. I am not certain if you can regenerate the sound and refresh the levitation without accidentally breaking the levitation down by poorly timed and synchronized acoustic wave. That has to be tried.

Get hold of some magnetic field. This one is somewhat tricky.

• Magnetic fields are generated in a few ways, of which the finest way is magic. (Yes, I said magic and I mean magic.) I will skip this one not only because I do not understand its technicalities even approximately well yet, but mostly because it will not work for anyone who does not have faith in such human (and life in general) capacity in any case.

• The first brutal option is leading the geomagnetic field across the ferromagnetic fence isle with mild steel sheet or stick by sticking the steel under the work piece, after your resonance in the monolith has been established by sound. Keep in mind that your monolith will lean against your steel piece as hard as it would lean against ground even though it will lean on the magnetic field connected to that steel piece. Watch your fingers. But you will be lifting the stone with it, rather than having the stone levitating seemingly on its own.

• The second brutal way is establishing of magnetic field around the piece at ground level with a loop of wire under electric current. AC DC makes no difference. The wire will be hard pressed into the ground though, so it better be supported on something hard. The degree of levitation of your stone will correspond to the strength of the field you have created in your wire.

• The third brutal way is the use of permanent magnets around the work piece at ground level, moved into the proximity of the work piece, but you will be again lifting the stone with it, rather than having the stone levitating seemingly on its own.

There is a way to avoid the problems with the leaning of the piece against your magnetic field generators, whether passive or active. If you work on top of a stone substrate identical to the stone you are levitating, the same limestone or whatever, you will establish the same resonant properties in that substrate by your sound. This can be the quary bedrock and this can be a pathway paved by the same stone as is your levitating stone. Then the magnetic field, which you have either generated or otherwise sneaked more or less between your stone and the substrate will be squeezed between the stone and the substrate and you will be able to manipulate the work piece with a more or less free hand, manipulating the magnets or iron bars or steel sheet metal sawn onto your boots and gloves, whatever you may choose to use, because the “generator’ will tend to levitate away from the substrate while the stone will levitate away from the “generator”. When I say generator, I may mean the steel pieces, with which you will cross your fence and lead geomagnetic across the fenced isle.

Please, keep in mind that the stone will not loose either gravity, or inertia and that you better start with easily handlable and I mean manually handlable stones, in order to get hang of the technology. You have to learn to operate this invisible machinery, otherwise you will expose yourself to a serious injury. The work piece will slip off your magnetic field easier than a wet soup bar will slip out of your hands. When I said loop of wire with electric current in it, I have suggested at the same time a magnetic field with a hollow in it, a donut field. That is the shape to go with. I again strongly recommend to all who are interested in attempting to perform this miracle, to read what I have to say in Sound. It will help you to understand that any size of the same kind of stone in the earshot of your sound will be prone to magnetic levitation, or better said repulsion as long as it is immersed in any magnetic field, including the geomagnetic field of earth. If you keep your work place full of chips or big stones, they will all tend to levitate against the substrate and most of all within the geomagnetic field, when the resonant frequencies of your sound generator hit them.

The intensity and frequency clarity of the sound composition decide how much of electromagnetic shielding and how much of “generated” magnetic field is necessary for levitation. The better the quality of your sound composition (can be in a simultaneous chord as well as in a repeated pattern of the component tunes), with which you hit your stone, the less problems will you have with interferences of background sounds and radiated EM background. This means that your chips and stones lying on the same stone substrate will levitate and ride the fluctuating geomagnetic field even past your fence. They will move up and down and sideways, depending on the shifts of the geomagnetic field as soon as you manage to put out a really good sound combination.

If you build something by levitation, you have to protect the build up structure against accidental levitation. This can be achieved by generating of mild AC currents in a wire netting spread over your build up parts, except those parts, which you have to build up further. Scattering sound barrier over the built up parts would also help. Build models and learn, otherwise you will expose yourself to injury etc.

Now why?

The effect is almost identical to magnetic levitation of superconductors. Superconductor in super-conductive state has one, or a few homogenous frequencies of inter-crystalline valence bonds and therefore crystalline latice. That depends on its material composition (metals as opposed to ceramics). This portion of the material valence bond structure in this state is a “Meisner” magnetic field in its own right. It is a saturated and single frequency field, which is not capable of processing any other frequencies of magnetic paths of communication, or filaments of the field, or whatever whoever wants to call the fine structure of magnetic fields. Once the external field becomes too strong for the particular super-conductive material, it breaks down the superconductor homogeneity of oscillations into cacophony of frequencies and breaks down its homogenous magnetic oscillation state back into thermal state oscillations. A super-conductor does not loose its weight or mass or inertia, it floats within and sort of on top of a deformed magnetic field generated below it. This field is supported by the material object, which “generates” it (a magnet or a coil). Its magnetic field is a part of that object and this object presses down onto its substrate with the combined weight of the levitated superconductor and its own weight due to gravity.

The same kind of state can be achieved in a stone by sound vibration. You can cause a lot of the stone crystals to vibrate in exactly the same pattern and frequency and amplitude and in step by combination of sounds. Once you manage to achieve that, you can reintroduce magnetic field close to the piece and at least partly bellow it, even have it there to start with if it is just passive geomagnetic manipulator in the form of a piece of mild steel. Then the stone will levitate within that field even in relatively poor state of resonance, meaning that only a small proportion of its crystals are actually in harmonic vibration. The same state of a material should be achievable with magnetic resonance, but it would be rather trickier, because the generating magnetic field itself is not homogenous and will function as a countermeasure to achieving the super-conductive state of a stone.

Not all stones are suitable to this magnetic levitation and the levitation itself does not mean that the stone became super-conductive to electric current. Some may, some may not. That will depend on its structure, whether it allows for propagation of linear electric current or only for circular electric currents, eddies of regular magnets.

When the tuning of the stones is brought to the state of art (which was not case with Mr. Leedskalnin), the stones will produce their own Meisner magnetic fields and repulse from both, identical and resonant substrate a lot, from other substrates quite a bit and quite a bit from layered materials, like “combed” straw or reed bundles. You may refer to my Diamagnetism and Magnetic Drag. One might assume that the layered materials are not what a magnetic field would not eventually permeate, but one has to understand that the normal and Meisner field are different and that Meisner will refuse to penetrate normal matter to a great degree.

SDK, September 2, 2001

Resources:

The most important records and references come from Edward Leadskalnin, with his Coral Castle and his essays on magnetism and what had been left as his “estate” (see KeelyNet).

Norman Wootan with his magnetic resonance understanding and experimentation (see KeelyNet), which helped me tremendously to “crack” the beast called sound.

Tibetian levitation report and report from middle east (see Fields 6 for the reference link).

A whole slew of miscellaneous orthodox as well as unorthodox knowledge and notions from way too many sources to be named, all of them reinterpreted in the view of my Tour the Force (TTF) and later also some parts of TTF2.

There is a mountain of people who gave me both, excellent as well as totally wrong but relevant ideas, people who gave me lots of miscellaneous chips of information, but who helped me all, right or wrong. No names, just memories.

The next significant contribution came from orthodox physical science, right or wrong, the most significant for me being the research of Prof. Hans Dehmelt on single emitted electron and positron behavior in a vacuum tube called a Penning Trap.

The next significant contribution came from KeelyNet as such and its present owner and operator Jerry Decker in the form of his readily accessible archives and his postings of information normally omitted by what is called mainstream, from archeology, physics, “weird” phenomena, old newspaper articles etc. etc., right or wrong.

Notes:

Monolith levitation is not a true antigravity. It does not cancel or reverse gravity. It opposes gravity like a chair you are sitting on opposes gravity. It is magnetic levitation of a material in a super-conductive like state of oscillation.

Superconductivity means in orthodox understanding a linear ressistance less conductivity of a material to electric current. But there is also the internal electric conductivity, which travels in circles along relatively short quark paths of valence bonds as well as nucleons. I have skipped the molecular and nuclear portion of the sound resonance levitation for the sake of simplicity and for the sake of staying with the main theme as much as possible without wandering into seemingly unrelated issues.

There are links in my Link part of the site to KeelyNet as well as to a special site called Alchemical Octaves. The Alchemical Octaves may and may not be useful. I have no idea how good the information is, but it looks quite sensible to me.