Tibetan Flying Machines and Acoustic Levitation of Stones
Acoustic Levitation Of Stones
by Bruce Cathie
Monastery construction, Tibetan style according to Swedish Designer Henry Kjellson
The steep mountain side is on the right. In the centre is the stone block, and on the left are the priests and musicians. S=big drum, M=medium drum, T=trumpeter. Inset shows method of suspending drum, and gives an idea of its size. As shown here, Kjellson says, the 200 priests are waiting to take up their positions in straight lines of 8 or 10 behind the instruments, ‘like spokes in a wheel.’ Unlikely as it may seem, this operation has an intriguing precision, made slightly more so by Kjellson’s meticulously detailed description.
Tibetan Monks levitate stones by using an acoustic levitation technique with the aid of drams in this 1939 sketch by Swedish aircraft designer Henry Kjellson.
A New Zealand scientist recently gave me an intriguing extract from an article published in a German magazine, relating to a demonstration of levitation in Tibet. After obtaining a translation by a German journalist, in English, I was amazed at the information contained in the story, and was surprised that the article had slipped through the suppression net which tends to keep such knowledge from leaking out to the public.
All the similar types of stories that I had read up until now were generally devoid of specific information necessary to prove the veracity of the account. In this case a full set of geometric measurements were taken, and I discovered, to my great delight, that when they were converted into their equivalent geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works.
The following extracts are translations taken from the German article: ‘We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds… the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication. Implosion No. 13.
The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report:
A Swedish doctor, Dr Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama.
After Dr Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living.
Dr Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about, or observe.
One day his friend took him to a place in the neighborhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 meters was a big hole which looked like the entrance to a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes.
In the middle of the meadow, about 250 meters from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one meter and a depth of 15 centimeters. A block of stone was maneuvered into this cavity by Yak oxen. The block was one meter wide and one and one-half meters long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 meters from the stone slab. The radius of 63 meters was measured out accurately. The musical instruments consisted of 13 drums and six trumpets. (Ragdons).
Eight drums had a cross-section of one meter, and a length of one and one-half meters. Four drums were medium size with a cross-section of 0.7 meter and a length of one meter. The only small drum had a cross-section of 0.2 meters and a length of 0.3 meters. All the trumpets were the same size. They had a length of 3.12 meters and an opening of 0.3 meters. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone.
The big drums were made of 3mm thick sheet iron, and had a weight of 150 kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks. The situation is demonstrated in the following diagram:
When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 meters high. After three minutes of ascent it landed on the platform.
Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 meters long and 250 meters high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task.
Dr Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Hue had spoken about it, but they had never seen it. So Dr Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed.
The English Society for which Dr Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand. : End of trans.”
The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring. It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground.
The reaction was not initiated by the religious fervor of the group, but by the superior scientific knowledge held by the high priests. The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests, using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, 1 believe, would be of no consequence.