Journal of Borderland Research - Vol XLV, No 1, January-February 1989

7/22/2019 Journal of Borderland Research - Vol XLV, No 1, January-February 1989

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VORTEX NOTES1986 Patrick and Gael Crystal FlanaganRemember when you were a chi ld howyou marveled a t the way water made a

vortex when i t went down the drain? TheVortex i s a bas ic law of the universe .We s h a l l see tha t the vortex i s presentfrom the i n t e r s t e l l a r nebulae to the

t ~ m i t s e l f . The energy of the vor texmolds the Universe from the microcosm tothe macrocosm. t i s the f o r m a t i v eenergy of creat ion.Every organ in every l i v ing th ing i s apar t of a frozen vortex . All organs arel i t e r a l l y vor tex formed. Or. TheodoreSchwenk of Weleda L a b o ra to r i e s haspublished an excel lent book ent i t l ed theS e n s i t i v e Chaos in which he g ivese xa m pfe a f t e r - e xa m ple of the vor t ex ia lfo rm a t iv e process i n na tu re . Thepr imordia l force involved in vor texformation is tuned to the woof and warpof the Universal matrix.

All f lowing f l u i d s a l t houghappearing to be uniform in s t ruc ture arediv ided in to ex tens ive inne r su r faces .When any d i scon t inu i ty appears in thef luid such as an obst ruc t ion the innersu r faces f low a t d i f f e r en t ra te s andform themselves into a sp i ra l or vortex.When a vor tex is formed it appears tohave a body of i t s own. I t sepa ra t e sfrom the r e s t of the f lu id and behavesas i f it were a so l id mass. I t i s se l fcontained yet bound up with the whole.We f ind t ha t the vor tex has a rhythm ofi t s own. I t shr inks in diameter andincreases in l ength a t one moment a tthe next it expands in diamete r andshr inks in length. I t cont inues th i sos c i l l a t i on in a per iodic manner j u s tl i ke a pendulum or the mainspr ing of awatch.We can eas i ly view the par t s of a vor texby adding a l i t t l e glycerin to water. Wethen put the water in a c lea r cy l i nde rwith a hole in the bottom. The water i ss t i r r e d so t h a t a vor t ex funne l i sformed. We then add a few drops of foodcolor ing to the water.

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The e n t i r e vortex comes a l ive Wecan see the layers of format ive sur facesas well as the rhythmic pulsat ion of thewhole . The inne r sur faces sp in morerapid ly than the external ones and formcork screw l ike pat terns tha t remind usof fancy sea she l l s

I f we look a t the vor tex from abovewe see a ho le which i s the s u c t i o nc e n t e r We drop a smal l p iece of woodin to the water and f ind t ha t the woodc i r c l e s around the vortex h o l ~ f i r s tmoving s lowly and then more r ap i d l y ast approaches the c e n te r I t then c i r -c les around the vortex t h roa t in aneccent r ic manner and is projected to theo u t s id e l a y e r s aga i n The wood i s

actual ly descr ib ing an e l l ipse in whichthe focus of the e l l i p s e i s the cen t e rof the vortex th roat On examination wediscover t ha t the water c i r c u l a t i n garound the vortex fol lows the exact lawsof planetary motion. In fac t the planetsof our so la r system fo l low the exactsame c ircula t ion in the i r orbi t s aroundthe sun. The sun i s the focus of thee l l i p t i c a l planetary orbi t s This law ofp l a n e t a r y mot ion was d i s c o v e r e d byJohannes Kepler hundreds of years agoThe vortex in i t s laws of movement i s aminiature copy of the so la r system. On al a r g e r sca le t i s a found in the grea ts t e l l a r nublae.Our smal l piece of wood eventual lyge t s caught in the c e n te r of the vortexand i s drawn to the bo t tom of thecyl inder

According the Dr. Schwenk the vortex haso the r prope r t i e s t ha t sugges t t ha t tmay have cosmic connections: I f a smal lf 1 o a t i ng o b j e c t wi t h a f i xed p o i n t e r islowered in to a v o r t x ~ i t wi l l c i r c l earound and around with the p o i n t e ralways po in t ing in the d i rec t ion inwhich t was o r ig in a l l y aimed. I t ac tsj u s t l i ke a compass needle I t wi l lalways be direc ted toward some point ini n f i n i t e space. According to Schwenkt h i s shows t h a t a v o r t e x i s a lwaysor i en t ed as i f t were held in place byinv is ib le cosmic threads.

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The vortex is a minia ture model ofthe ent i re universe . I t s or ien ta t ion inspace corresponds to the f ixed s t a r s ,i t s l ayered c i r c u l a t i o n corresponds toplanetary motion and the suct ion centercorresponds to the sun.

The ve l oc i t y of f lu id a t any po in tin a v o r t e x i s equa l to a p h y s i c a lc ~ n s t n t divided by the radius from thes u c t i o n c e n t e r . That i s to say t h a tv e l o c i t y inc reases as the rad ius ge t ssmal le r . In a per fec t vor tex , as ther a d i u s a p p ro a c h e s ze ro ts f l u i dve l oc i t y wi l l approach i n f i n i t y . Asi n f i n i t e ve l oc i t y is imposs ib le in thephys ica l un ive rse , something has togive. In the case of water the moleculesbegin to d i s s o c i a t e i n to a vapor. Thisd i s s o c i a t i o n i s accompan ied by thegenerat ion of high vol tage e lec t r i c i ty .\ J e h a v e me a s u red c h a r g e s as h i g h as12 000 vol t s in the exac t c e n te r of al i q u i d v o r t e x The p r e s s u r e in thecen t e r of a vor tex i s t h e o re t i c a l l yi n f in i t e ly negative. In t h i s condi t ionspace would be turned ins ide out.

The exact shape of a vor tex i s ahyperbolo id or hyperbola of r o t a t i o n .From elementary geometry we may reca l lthe formula of a hyperbola.We f ind t ha t the curve of a vor tex i s as p e c i a l hyperbola which i s known as asquare hyperbola. In the l iqu id vor texi f the Vertex i s 1 the Focus i s equalthe the square roo t of 2.

In the diagram a square hyperbolai s r e p re s e n t e d . The shaded p o r t i o nrepresents the cross sec t ional form of al i qu i d vortex . The mir ror image abovethe shaded por t i on i s the imaginaryh y p e r b o l i c f o r c e f i e l d above t hephys ica l vor tex below. The V in thediagram is the peak of the curve and isce l l ed the ver t ex . As with othe r conicsec t i ons such as the parabola and thee l l i p s e the hyperbola also has focalpoints which are represented by F.



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V ik to r Schaube rge r , the GermanFores tmeis te r observed the l iquid vortexin nature. He spent a l i f e t ime observingthe f low of mounta in s t reams in thev i rg in fo r e s t s of Bavaria and Aus t r i a .The world i s in g r e a t debt to t h i spionee r . He observed many phenomenaassocia ted with the l iqu id vortex. Thesephenomena inc lude : energy dischargessu-ch as h a 1 o s , and b a 11 type 1 i g h t n i ng;l e v i t a t i o n - in which heavy egg shapeds tones f loa t on the top of a vortex; thep r o d u c t i o n of v i r g i n w ate r or ede lwasser l iv ing water J the pur i f i ca t ionof pol luted water; and the production off ree energy.Schauberger and his son Walter who i sa l s o a p i o n e e r in t h i s a r e a o fi n v e s t i g a t i o n developed egg shapedvortex react ion chambers. These chambersare ca l led implosion chambers as theenergy developed i s c e n t r i p e t a l r a t he rthan c e n t r i f uga l . He mainta ined t ha tcen t r ipe ta l energy is the basis of l i f ewhereas cent r i fuga l energy is the bas isof decay and destruct ion.

In the same way t ha t a hyperbola i sa conic sec t ion , Schauberger reasonedt ha t the per fec t shape for a vor t exchamber was an egg shape which i s ac r o s s se tion c u t t h r o u g h t h ehyperbolo id form of r o t a t i on developedfrom the square hyperbola . In otherwords, a cross sec t iona l cut through thevor t ex th roa t .The evolut ion of the Schauberger egg i sshown in the next diagram.

The vortex sp i ra l when viewed from aboveis a harmonic sp i ra l f i r s t discovered byKepler . This s p i r a l i s shown in thediagram. As it approaches the cen te rfrom the outs ide , d t decreases in s i zewith each turn from unity on the outsideto 1 / 2 , 1 / 3 , 1 / 4 , 1 /5 , e tc .


NAIUII IUN l J ~ > ~ 14 1 Vtiii-A >)UNu I.Jt.) U N I V I ; I < ) U I ~ JDI V . ~ .I:INIIOI.LENOI '"SYSTEM DAS .2EN1RirETALE" S Y S T t : ~ - t .

r T ~ ~ ~ ~ ~ ~ A

I ) ~ ~ )f rAIAf ktp ler I V1 : c ~ r 1 1 N r

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In our r e s e a r c h we have beenlooking a t ano ther pos s i b i l i t y fo r thepe r fec t vortex r eac t i on chamber. I f welook a t the formulas for the hyperbolaand the e l l i p s e we f ind t ha t they areexac t ly the same except for the s ign inbetween the x and y por t ions .In the case of the hyperbola, the f igurei s open and the ends of the l i ne s nevertouch each othe r . In the case of thee l l i p s e we have a closed curve whichwhen ro ta ted about the axis wil l yield ae l l ipso ida l conta iner .

We reasoned that the bes t containerfor a vortex would be the mathemat ica lcom p 1 i me n t or i n v e r s e to the hype rb o 1a.A type of e l l ipsoid.The ques t ion became one of discover ingthe exact mathemat ica l inve rse to thethe hyperbola ' . However, as the watervortex curve i s a square hyperbola , thef i r s t thought i s t ha t the inve rse i s ac i r c l e which i s the c ross sec t i on of asphere . This shape tu rned out to be avery poor conta ine r for a vor tex as am a t t e r o f f a c t t was t h e w o r s tc o n t a i n e r fo r g e n e r a t i n g a p e r f e c tvortex.

We went back to the drawing boardand f i na l l y derived the exac t inve rseform. This form i s an e l l i p s e t ha t haspo in t s t ha t are exac t ly t angen t to thes igni f icant poi n t s on the hype rb o 1a. Aswe can see in the next diagram, we havean e l l i p s e shape which i s super imposedon the square hyperbola . The ou t l ine ofthe e l l i p s e is shaded so t ha t t can beeas i ly seen.This e l l i p s e i s i ndeed the exac tcompliment to the square hyperbola. Thever tex of the hyperbola i s the focus oft he e l l i p s e and the focus of t hehyperbola is the ver t ex of the e l l i p s e .The vertexes of the diagonal hyperbolasare j u s t touching the narrow s ides ofthe e l l i p s e . The l ength to width r a t i oof t h i s e l l i p s e i s one to the squareroot of two. We can c a l l t h i s e l l i p s e aroot two e l l ipse .

OJ1r -. f:. I

~ . . . .r; . fiti :i.:.y,. : 11ll .n ly.c. A.'{i:(-'f}

V u ~ Q 1 E t l p ~ e .l 'tF tiiC Co

V t t ~ l l h If:

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An easy t e s t to see which con t a i ne ris indeed the per fec t conta iner for av o r t e x i s to c o n s t r u c t v a r i o u scon t a i ne r s of equal volume and thendr i l l small holes in the bottoms.The holes are plugged and the containersare f i l l e d with water . The water i sgiven a rota t ional momentum by s t i r r i ngwith a spoon. The hole is then unpluggedand the fo rma t ion o f a vor t ex i so b s e r v e d . t w i l l be found t h a td i f f e r e n t shaped con ta ine rs r equ i red i f f e r e n t s i z e d holes to s u s t a i n avortex flow discharge by gravi ty alone.When the hole i s too smal l the water

l o ~ s momentum and simply flows from thecon t a i ne r in a so l id s t ream which i sdevoid of vortex f low. When the hole isenlarged a point wil l be found a t whichthe increased ra te of flow wil l provideenough gravi ta t iona l energy to susta in avortex.The c l o s e r the con t a i ne r i s to theper fec t curve for sus t a i n i ng a vor texthe s m a l l e r the r e q u i r e d hole andt h e r e f o r e the s m a l l e r the r e q u i r e denergy for s u s t a i n i n g a vor tex . Thep e r f e c t c o n t a i n e r w i l l be one t h a tdevelops a resonance with the hyperbolicvor t ex d i s c h a rg e . At r e sonance t hevortex shaped flow wi l l be s us t a ine dwith minimal f low ra te and t he re fo reminimal energy.

Our ongoing research indicates tha tthe root two e l l i p s e i s indeed thepe r fec t shape for a vortex implosionc hamb er .ARCHETYPAL VORTEX

In the beginning of th i s paper weindicated that the vortex is a universallaw o f the U n i v e r s e it i s t h es u s t a i n i n g form of p r a c t i c a l l y a l lphys ica l phenomena. The anc ien t vedict ex t s of India i nd i ca t e t ha t the shapeof the Universe is e l l ipso ida l . Perhapstha t i s why our ga laxies have vortexforms.

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s i d e view

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Or. T.J.J. See, was Professor ofMathemat ics , former ly in charge of thethe 2G inch Equator ial Telescope of theU S N v a 1 Ob s e r v a tory W s h ng to n 0. C In 1943 he published a monumental ser i esof 10 v o 1 ume s e n t i t 1e d : T h eo r yDiscovery of the Cause of Grav i t a t i on .His books cons i s ted of thousands ofpages and were based on the mathematicald1scovery of the bas i s of Magnetism,Elec t rodynamics and other forces ofnature obeying the geomet r ica l law ofthe i n v e r s e s q u a r e s : w i th compl e t emathematical and physical analysis basedon Fourier s Wave Theorem of 1802.

Dr. See shows t ha t the e n t i r ephys ica l universe revolves around ther e c t a n g u 1 a r squa re ) hype rb o 1 a . _ Thehyperbola referred to i t s asymptotes asin our vor tex diagrams i s the bas iccurve of mul t i p l e phenomena inc ludingt h e i n ve r s e s q u a r e 1 a w o felectromagnetics, the laws of magnetism,the t empera tu re of the sun a t any givenp o i n t f rom i t s c e n t e r outward , thesu r face to volume re la t ionsh ips of a l lmat te r , the s t ruc tu r ing forces bindingal l matter, the laws of gravi ty, and thelaws of planetary motion.

For the moment, we have a l l we cando in our re sea rch of the l iqu id vortexand i t s po ten t ia l uses in a i r and waterpur i f ica t ion .We cu r ren t ly use the energy phenomenaassoc ia ted with the l iqu id vortex aspa r t of a sys tem fo r making h igh lycharged co l lo ids . This charge which i sknown as the zeta potent ia l is extremelyimpor tant in c o l l o id a l behav io r i n s i deand outside of the l iving system.Using the square hyperbolic curve we canshow t ha t as co l lo ida l pa r t i c l e s aremade smal ler and smal ler , the surface tovolume r a t io goes up a t a spec tacu la rra te .

5 s t ream v o r t exs ide view



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When these t i ny p ieces of m a t t e r arecharged to high pot e nt ia l at a molecularl e v e l t he s u r f a c e energy o f t h e s ecol lo ids act to ca ta lyze a large numberof phys ica l processes which cannot bedemonstra t ed without these high surfaceenergy condit ions.We hope t h i s b r i e f desc r i p t i on of thevor t ex wi l l help to launch our reade rsin to ne w f ront ie rs of t he i r own.

PUBLICATIONS RELATED TO WATER VORTEX RESEARCHIMPLOSION - VIKTOR SCHAUBERGER Til PATii OF NATURAL ENERGY An intra to the work of'Water Wizard' Viktar Schauberger. Contents: Sct.auberger His Discoveries; The Natural Solution to the E n e r g ~ Problera ThroughDiamagnetisra Etheric Farces; Centripetal Forces O v e r c o ~ e Gravity; Haw To Generate Diamagnetic Forces; Oiaraagnetisa Breath;All Pervading Aether; Trees, Spring Water Diamagnetism; Levitation of Charged Water; Quant itative Qualitative Charged Water;Regeneration of Diseased Water; Water - Blood of Earth; Implosion Motor, Suction Turbine, Home Power Plant Flying Discs;Problems of Nuclear P0111er; Non-polluting Implosion Motor is a Living O r g a n i s r ~ ; Universal Source of Energy; One Million WattsWith ATornado Machine; Nature Was My Teacher by V Schaubergerj Neutralizing Gravity With Lenticular Flow; Integration of theLifeblood of the Earth; Viktor Schauberger's Flying Saucer Research. S8. 00MORE IMPLOSION THAN EXPLOSION Contents: Living Water - Viktor Schauberger the Secrets ilf Natural Energy,

r e v i ~ by Alison Davidson; Viktor Schauberger - Horoscope Data analysis; Implosion, New Success in Bioturbine Construction;Billions for Nuclear, No Money for Biotechnology; The Status of Bioturbine Developaent. Suggestions for Further Research anImplosion Apparatus for Po er Generation and Water Purification. S3. 00ELIXIR OF nm: AGELESS by Patrick and Gael Crystal Flanagan. Contents: Search for the Secret at the Fountain ofYouth; Water is a Liquid Crystal ~ i t h an Electric Charge; Navalis Fragmente - The Sensitive Chaos; Magnetic Psychic Treatmentof Water; Crystal Treated Water; We Test Hunza Water; The Alchettical Oreal - Hunza Water is Duplicated; The Importance ofColloids in the Living System Electricity in the Blood; The Colloidal Computer; Diet Colloids; Liquid Crystal Colloids areMade; How We Enhance our Zeta Potential; Surface Tension Colloids; Inner Energy Colloids; Water Facts. Illustrations: WaterMolecules; Four Types of Colloids; Colloidal Particle Double Layer; Electrophoresis Cell for Measuring Zeta Potential; Effect ofColloids an Blood Cells. Revised Edition, paperback. S9. 95TOWARD A PHENOMENOLOGY OF n i ETHERIC WORLD by Jochen Bockemuehl. This is a collection ofinsightful essays by Scientists engaged in phenomenological research into the ethers in various fields of discipline. Thereader is s ~ s t e m a t i c a l l y acquainted with the foraative movements of the etheric ~ o r l d and provided with new modes of perceivingthe living Etheric energies around us. Provides an introduction to the foraative 110Ve1ents and forces that are the very'Substances of Life'. The seven essays encompass biology, physics, philosophy, etc. in a clear living 1anner. Contents:Elements Ethers: Modes of Observing the Worldi Light he Pictorial Appearance of the World; Streaming - A Picture of theEtheric ( 111portant to w ter researchers); Life Organization Thought Organizationr Concerning the Dual Nature of the HumanEtheric Body; The Concept Action of the Etheric Body C o a ~ p i l e d paperback. S16. 95SENSITIVE CHAOS: The C r e a t i o n o f Flowing Forms In Water Air by Theodar Sch111enk . Usingthe Theories and Discoveries of Rudolf Steiner, the author examines the Nature of Water Air, the Fluid and Streaiing Elements .He fallows the Magical Natural Patterns at Water and Isolates its Archetypal Hovement. Out of its Archetypal Farms--such as theTendencies to Roll in Circles, to Make Vortices, to in Streams Alongside Other Strea&S or Wthin Bodies of Water--he Tracesthe Development of Substance. The Importance of the Study at Water, its Nature Spirit, l ies in the Fact that E v e r ~ LivingCreature, in the Act of Bringing Forth its Visible Fora Out of its Archetypal Idea, Passes Through a Liquid Stage. Schwenk nextturns to the related Element of Air and uncovers its Archetypal Form and Movement He shows clearly that out of this Movement,too, has come forth visible parts of Nature , especially those having to do witt. Sound, such as the Twistings wit hin tt,e Ear,since Air is the Carrier of Sound. In addition to the many descriptive d r a ~ i n g s that help us follow these Movements, this bookcontains 88 full page photographs of these Moving Elements to Delight the Eye. Preface by Jacques Cousteau, paperbk S20. 00

Add S2 . 25 f i r s t book S 6 0 / a d d i t i o n a l C a l i f o r n i a n s add 6 s a l e s t a xFor e ign : S4/ f i r s t book S1 a d d i t i o n a l / s u r f a c e ; d o u b l e / a i r m a i l .

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WEA HER EN INEERIN O Hc HI9H PLAINSy

~ i c h a e l h e ~ o u ~

t may come as no s u r p r i s e t h a t t h i s w i l l not be a ~ w-toarticle e x p l a i n i n g all o f the t a c t i c s invo lved in modi f y i ng t h ewea the r . Also , you w o n ' t see numerous c h a r t s and graphs r e v e a l i n gt h e s u c c e s s of t h e o p e r a t o r i n h i s a t t e mp t to p lay God bym a n i p u l a t i n g t h e pr imary l i f e - e n e r g y o f our p l a ne t . Althoughs u c c e s s was ach ieved on s e v e r a l o c c a s i o n s , t h e r e were n e a r l y asmany f a i l u r e s due to i n s u f f i c i e n t knowledge o f n a t u r e ' s l aws .The ans wer s lie in u n d e r s t a n d i n g t h rough o b s e r v a t i o n and e x p e r i e n c e .P r e s e n t e d h e r e i s a n o t h e r B o r d e r l a n d e r ' s i n v e s t i g a t i o n i n t o thel i v i n g ene r gy a r ound us .

There a r e two ba s i c p r i n c i p l e s u n d e r l y i n g all wea the r modi f i c a t i o n . F i r s t , and mos t i mp o r t a n t , i s the a c q u i r e d knowledge o fhow the wea the r f u n c t i o n s , and its pr ope r usage . The s econd p r i n c i p l e i s t h e c o r r e c t c o n s t r u c t i o n and ope r a t i on of t h e a p p a r a t u sused to e n g i n e e r t h e w e a t h e r .

In t h e c o u r s e o f s t u d y , the works of Reich , S t e i n e r , Lehr s ,Howard C o n s t a b l e , and many o t h e r s were c o n s u l t e d . Reader s of t h eJ o u r n a l shou ld be w e l l aware o f Rudol f S t e i n e r ' s concep t o f thef ou r E t h e r s . The c h e m i c a l , t o n e , or number e t h e r i s t h e p r i mo r d i a ll i v i n g ene r gy s u r r o u n d i n g t h e p l a n e t , and t h e u n d e r s t a n d i n g o f itsf lows i s o f g r e a t i m p o r t to the wea the r e n g i n e e r . Orgone ene r gy ,d i s c o v e r e d by Wilhelm Reich , can be c o n s i d e r e d t h e equa l o f t h i schemica l e t h e r . R e i c h ' s p i o n e e r i n g work in wea the r m o d i f i c a t i o n hasleft us many i n v e n t i o n s s uch as the c l o u d b u s t e r and t h e or gonea c c u m u l a t o r which a r e t h e s t a p l e s of pr i mar y ene r gy e n g i n e e r i n gt o d a y . Fol l owi ng t h e s e l e a d s , we come a c r o s s the work o f TrevorJames C o n s t a b l e . As w e l l as r e i n v e n t i n g the c l o u d b u s t e r a p p a r a t u s ,he has combined the i d e a s of Reich and S t e i n e r i n t o a workab le ,v i a b l e s c i e n c e .

A f t e r c o n s i d e r a b l e s t u d y and r e s e a r c h i n t o t h e f o u n d a t i o n s o fpr imary ene rgy m o d i f i c a t i o n , one may f e e l it n e c e s s a r y to c o n s t r u c tthe a ppa r a tu s , bu t let us first ask t h e ques t i on ; W hy t amper wi thN a t u r e ' s l i v i n g ene r gy? Ther e a r e too many 'wou ld be ' wea the r gu rusou t t he r e a l r e a d y and many a r e probab ly no t accompl i shed enough tot a c k l e the r e s p o n s i b i l i t i e s of c o n t r o l l i n g t h e w e a t h e r . F u r t h e r more it shou ld be r e c o g n i z e d t h a t t h e d i s r u p t i o n of t h e wea the rin one l o c a l i z e d a r e a w i l l in t u r n a f f e c t o t h e r r e g i o n s d i s t a n t tothe o p e r a t i o n , and i n c o r r e c t use of the a p p a r a t u s may b r i n g abou td i s a s t r o u s r e s u l t s .

The d e v i c e s used in wea the r c o n t r o l d i f f e r wide ly in t h e i rc o n s t r u c t i o n r ang ing f rom a s e r i e s of long , ho l low, me ta l tubesgrounded to wate r ( t h e c l o u d b u s t e r ) to r e s o n a n t PVC s e c t i o n s coup ledwi th orgone a c c u m u l a t o r s . ( T r e v o r C o n s t a b l e ' s wea the r guns )The a p p a r a t u s used on t h e p l a ~ n s o f Nor th Dakota and n o r t h e r nMi nnes o t a was s i m i l a r in des ign to T r e v o r ' s wea the r guns wi th a



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few minor d i f f e r e n c e s . The i d e a of c o n s t r u c t i o n i s grounded i n thetheo ry t h a t the golden mean is a ba s i c mathema t ica l p r o p e r t y of thechemica l e t h e r . The chemica l e t h e r t r a v e l s around the p l a n e t i n theform o f a s p i n n i n g wave, p u l s a t i n g as it r o t a t e s . The r e s o n a n t s e c t i o n of the wea the r gun a c t s a s a f o c u s i n g p o i n t fo r t h i s ene rgydue to the golden s e c t i o n geomet ry o f its c o n s t r u c t i o n and theaccumula to r enhances its o p e r a t i o n . Thi s can be r e a d i l y obse rvedth r ough the example o f l o g - p e r i o d i c an tenna t he o r y . The a c t i v ed i p o l e s of a l o g - p e r i o d i c an tenna a r e spaced in accordance wi thl o g r i t h m i c mathema t ica l fo rmul rebased on t h e t h e o r y of an i n i ~ l es p i r a l . Radio waves , propaga t ing th r ough t h e medium of the chemica le t h e r and its c h a r a c t e r i s t i c s p i n n i n g wave, a r e more e f f i c i e n t l yr e c e i v e d by t h i s t ype o f a n t e n n a .

Anotherexample o f an ene rgy f o c u s i n g s t r u c t u r e i s t he pyramid .ts a n g u l a r r e l a t i o n s h i p s a r e a l s o der ived from go lden r a t i o

mathema t ic s . A c r o s s - s e c t i o n a l t r i a n g l e f rom the pyramid i n c o r por a t i ng the v a l u e s o f t he base , s l a n t - h e i g h t , and o v e r a l lhe i gh t , a r e in a p e r f e c t p r o p o r t i o n o f l : { p h i : p h i . Much has beenw r i t t e n abou t t h e e n e r g e t i c p r o c e s s e s of t he pyr ami d , and theon ly two v a r i a b l e s c o n s i d e r e d i n its pr ope r funct ioning a r e then o r t h / s o u t h o r i e n t a t i o n and t he c o r r e c t geometry . With the n o r t h /sou th o r i e n t a t i o n , we must i nc lude the s i m u l t a n e o u s o r i e n t a t i o nt o the wes t and e a s t . Thus , t he e t h e r i c f lows w i l l impinge upont h e p y r a mi d s s i d e s a t r i g h t a n g l e s . The r i g h t ang le i s Very im -p o r t a n t in the phys ics of s econda r y e n e r g i e s , of which the f i n e s texample i s the r o t a t i n g magne t i c f i e l d . The four q u a d r a t u r ephenomenon of t h i s r o t a t i n g f i e l d i s in d i r e c t compar i s on to thei n t e r a c t i o n of the n o r t h / s o u t h and e a s t / w e s t e t h e r i c f lows , demon-s t r a t i n g the phase o p p o s i t i o n c h a r a c t e r i s t i c s of R e i c h s cosmics u p e r i mp o s i t i o n t he o r y . Also , we shou ld examine the f a c t t h a tt h e s e e t h e r i c f o r c e s a r e f o r m a t i v e e n e r g i e s o r i g i n a t i n g f rom thep e r i p h e r y of s p a c e , and a r e drawn toward n a t u r e s r e c e p t i v e c e n t e r sof l i v i n g form. Hence, if a s t r u c t u r e s geomet ry i s in acco r dancewi th the des igns of n a t u r e , ( t h e go lden mean it too w i l l becomea r e c e p t i v e c e n t e r fo r t h i s c o u n t e r s p a t i a l ene r gy .

Thi s now b r i n g s us to the e l e c t r i c a l na tu r e o f the wea the r inc o n j u n c t i o n wi th the or gone accumula to r . The wea the r can be seento pr oduce statical e l e c t r i c i t y on its own due to the merg ing of the l i g h t and chemica l e t h e r s . The orgone a c c u m u l a t o r , wi th itsl a y e r s of o r g a n i c / d i e l e c t r i c and m e t a l l ic / r e f l e c t i n g m a t e r i a l ,pe r fo rms somewhat l i k e a c a p a c i t o r by bu i ld ing up and s t o r i n gene r gy . Thi s ene rgy can be measured wi th a dev ice c a l l e d ano r g o n o t e s t e r o r by a s imp le a tmosphe r i c cha r ge i n d i c a t o r . W i t ht h i s in mind, one cou ld qu i t e pos s ib ly c o n s t r u c t a v a r i a b l e a c c u mula to r to a d j u s t fo r c e r t a i n a tmosphe r ic c o n d i t i o n s .Orgone ene r gy , as de te r mined by Reich , i s b lue in appea r anceand t h f s can ~ w i t n e s s e d in all v i s i b l e OR ene rgy f unc t i ons ,such as the sky , pr o top la sm, a u r o r a s , s uns po t s , and l u mi n a t i o n invacuum t ube s . S i m i l a r l y , statical o r d i e l e c t r i c i t y p o s e s s e s thesame c h a r a c t e r i s t i c c o l o r as can be seen in v a r i o u s e l e c t r i c a ld i s c h a r g e s . In l i g h t of all t h i s , we can t h e o r e t i c a l l y assumet h a t d i e l e c t r i c i t y and t he chemica l e t he r a r e i n s e p e r a b l y r e l a t e d , if no t the same t h i ng .

The o p e r a t i o n s c a r r i e d ou t in M i nnes o t a and Nor th Dakota t h i s



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summer were p r i m a r i l y e x p e r i me n t a l in n a t u r e and due to the s e v e r ed r o u g h t , t hey were c o n s i d e r e d a n e c e s s a r y cour se o f a c t i o n . Thep r o j e c t e n t a i l e d the use o f a s t a t i o n a r y b a t t e r y o f wea the r gunsi n j e c t e d i n t o the v a r i o u s s t r e a m s of e t h e r i c f low. The wes t toe a s t f low i s a yea r - r ound f low and i s gover ned by l u n a r i n f l u e n c e .In the s p r i n g and summer t h e r e e x i s t s a sou th to n o r t h f low andc o n v e r s e l y t h e au tumn/win te r f low i s f rom n o r t h to s o u t h . Ot herf a c t o r s o f i m p o r t a n c e i n c l u d e s o l a r i n f l u e n c e , p l a n e t a r y a l i g n ments and l u n a r c yc l e s . These s u b t l e e n e r g i e s canno t be o ~ r -l ooked as t hey d i r e c t l y and i n d i r e c t l y a f f e c t the w e a t h e r . ~ h ns o l a r a c t i v i t y i s h igh one can expec t the wea the r to becomed i s t u r b e d on o r s h o r t l y a f t e r the occu r ence . The p l a n e t a r y geomag-n e t i c i n d i c e s a r e an i mp o r t a n t f a c t o r as we l l . Not on ly t h e sunbu t t h e r e l a t i v e p o s i t i o n s o f the p l a n e t s r e v o l v i n g a r ound t h esun p lay an i m p o r t a n t p a r t in t h e a c t i v i t y o f t h e i o n o s p h e r e whichi n t u r n can be d i r e c t l y t r a n s l a t e d to the wea the r below. Thel u n a r i n f l u e n c e upon the wes t to e a s t f low can be obse rved by abu i ldup o f t h e f low up to and on the f u l l moon and by a breakdowno f the f low soon a f t e r t h e f u l l moon, c l o s e l y f o l l o w i n g t h em o o n s waxing and waning c y c l e s . All o f t h i s isn t n e c e s s a r i l yh e l p f u l in a c c u r a t e l y p r e d i c t i n g the wea the r , but it i s e s s e n t i a lin de te r min ing the most s t a b l e c o n d i t i o n s fo r m o d i f i c a t i o n . Wemust a l s o c o n s i d e r the l o c a t i o n in which t h e p r o j ~ t i s pe r fo rmed .In the f l a t l a n d s and m a r i t i m e r e g ions , t h e a tmosphe r ic ene rgyis us ua l l y even ly d i s t r i b u t e d wi th little v a r i a t i o n in p o t e n t i a l ,but i n h e a v i l y f o r e s t e d a r e a s o r mount a i nous r e g i o n s , t h e r e canbe g r e a t d i f f e r e n c e s in the c o n c e n t r a t i o n o f e t h e r i c ene rgy duet o t e m p e r a t u r e m o d u l a t io n s and the a c c u m u l a t i n g q u a l i t i e s ofp l a n t life.L e t s examine a f ou r day o p e r a t i o n per f o r med in e a r l y tomi d- J une in Nor the rn M inneso ta . I n p r e p a r a t i o n , s o l a r and geomagne t i c a c t i v i t y was moni to red on s h o r t wave r a d i o s t a t i o n WWVand a c t i v i t y was found to be low. The moon was in its waningc yc l e ; in g e n e r a l c o n d i t i o n s were o p t i ma l . b a t t e r y o f s i xwea the r guns , in mat ch i ng p a i r s o f t h r e e d i f f e r e n t t ype s , wasp o i n t e d d i r e c t l y i n t o the oncoming wes t to e a s t f low on day one .Th i s a c t i o n produced a vo i d in the f low and a l lowed t h e summers o u t h t o n o r t h f low t o pas s d i r e c t l y o v e r h e a d , e n s u r i n g l o c a le v a p o r a t i o n . Wind d i r e c t i o n soon changed f rom a s u b t l e n o r t h w e s tb r eeze to a m o d e r a t e l y s t r o n g s o u t h e a s t g a l e . The f o l l o w i n g day ,r e c o r d h igh t e mp e r a t u r e s were r eco r ded th r oughou t the l o c a l a r e a .

Near i ng t h e end o f day two, the wea the r guns were aimed i n t othe s o u t h / n o r t h f low to s o a k up its h igh a c t i v i t y . The f o l l o w i n gmorning t he guns were a g a i n r e p o s i t i o n e d toward t h e e a s t r e s u l t i n gin the development of dens e c louds in the wes t . Thi s p r o c e s s ofn u b i f i c a t i o n was a l lowed to c o n t i n u e u n t i l the d e s i r e d amount o facc rued mass p r e s e n t e d itself in t h e form o f a l a r g e wal l a c r o s st h e w e s t e r n h o r i z o n .

Day f ou r h e r a l d e d t h e a n t i c i p a t e d p r e c i p i t a t i o n wi th the move-ment o f the guns to t h e n o r t h . T h i s a c t i o n d e t e r r e d t h e s o u t h f lowf rom i n t e r f e r i n g and p e r mi t t e d t he bu i ldup in the wes t to un loadas it passed over t h e a r e a . The c i r cumambula t ion of the a p p a r a t u sto t h e fou r winds pr oved to be the on l y e f f e c t i v e method of o p e r a t i o n fo r s t a t i o n a r y employment . Note t h a t in s p r i n g and summer

JANUARY-FEBRUARY 1989 JBR, Page 11


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t h i s i s a counterc lockwise r o t a t i o n changing to c lockwise inthe f a l l and winter with the d i rec t ion of commencement dic t a t edby the loca t ion of the opera t ion .

There are many methods other than s ta ted here by which r e su l t smay be obta ined and there are many more to be discovered. Inthe process of wri t ing t h i s much pe r t inen t in fo rma t ion has probably been l e f t out as there i s not near ly enough room here toexpound on the i n t r i c a t e processes of natu re . Although therecould have been many diagrams accompanying t h i s work, none w r ~ inc luded in l i g h t of t h i s quote by Luke Howard in his Essay on -the Modificatio118 of Clouds, . . the r ea l s tuden t wi l l acquire hisknowledge in a more so l id manner, by the observa t ion of natu rewithout the a id of drawings, and t h a t the more super f i c i a l arel i a b l e to be led i n to e r ro r by them.The enginneer ing projec t t h i s summer could not be consideredsuccess fu l in defea t ing the preva i l ing drought cond i t ions dueto lack of t ime and i n su f f i c i e n t funds, but t was a grea tl earn ing exper ience conf irming many ideas about the primaryl i f e -ene rgy around us.

THE SOURCES

M N OR MATTER by Ernst Lehrs. Rudolf Steiner Press, London.PRIMARY ENERGY WEATHER ENGINEERING ON THE HIGH SEAS by Trevor James Constable.VHS Video, Borderland Sciences.OPERATION PINCER I I by Trevor James Constable. January/February Journal ofBorderland Research, vol. XLIII, No. 1, 1987.ESSAY ON THE MODIFICATIONS OF CLOUDS by Luke Howard. St. George Publications,Spring Valley, NY.CORE COSMIC ORGONE ENGINEERING) by Wilhelm Reich. op?COSMIC SUPERIMPOSITION by Wilhelm Reich. op?THE GOLDEN SECTION by C. Fredrick Rosenblum. Journal of Orgonomy,8,No. 2.UNDERSTANDING THE ROTATING MAGNETIC FIELD by Eric Dollard. JBR, Mar./Apr. 1986,Vol. XLII, No. 2.THE TRANSMISSION OF ELECTRICITY, PARTS I & I I by Eric Dollard. JBR, Sept./Oct.-1987, May/June 1988.

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T H E G R E T E S TH O X E V E R S O L DBy T.B. Pawels

In 1924, Dr. Bie fe ld , aStanford professor of phys icsnot iced t ha t a charged p la temoved in the d i r ec t i o n of thep o s i t i v e pole . He ass ignedh is unaccred i ted lab a s s i s t an t , Thomas Townsend-Brown,to study the phenomenon, nowca l l ed The Biefeld-BrownEffec t ; rank has p r i o r i t y . By1927, T.T.-Brown publ i shed apaper on hi s f ind ings , i n c l u d ing hi s design of an a i rc r a f tto implement the Biefeld-BrownEffec t a t opt imal e f f i c i en cy .I t had every fea tu re descr ibedby Fl igh t Capta in Edwards whenhe repor ted the f i r s t moderns ight ing of Fly ing Saucersover Mount Rain ie r , exac t ly 20years l a t e r . One of my readers wrote me tha t he saw amovie of Townsend-Brown s f l y ing d iscs , a c tu a l l y in f l i gh t ;the f i lm c i r cu l a t ed aroundCal i fo rn ia high schools pr io rto H i t le r s war, u n t i l sc i ent i f i c research was censored byWashington. Thomas TownsendBrown r e t i r e d to h is sec ludedhome on Cata l ina I s l and , wherehe devoted the r e s t of h islong l i f e to developing h isf ly ing d iscs , and secured manypa ten t s . My l a s t word fromTownsend-Brown, s h o r t l y b efo rehi s recen t dea th , says tha t heso ld out to a sec re t R D consor t ium.

According to the records ,T.T.-Brown concluded a f t e r afew exper iments t ha t theBiefeld-Brown Effec t was anin te rac t ion between the e l ec t romagnet ic f i e l d and the

g r a v i t i c f i e 1 d . I ran t hi sthrough my synapses to see howT.T.-Brown would have t r i e dt h i s deduct ion. I f he p resu p posed t ha t the Effec t wase lec t romagnet ic , as t appeared to be, he would haveproven t with a Faraday Cageand other e l ec t ro mag n e t i c d e vice s . Negat ive da ta wouldn a tu r a l l y seem i nd ica t ee l ec t r o g r av i t y ; T.T.-Brown spa tents a re based on tha t a s sumption. I t would not occurto a t a l en ted but o therwiseunt ra ined a s s i s t a n t in aphysics lab t ha t an e l e c t ro s t a t i c f i e l d could producechemical ions , and to t e s t thep o s s i b i l i t y by performing exper iments in an evacuatedchamber. Nevertheless , whenT.T.-Brown opt imized h i s engine, hi s discs are p a t en t l yaerodynamical ly e f f i c i e n t andnot a t a l l e lec t rodynamic .Did T.T.-Brown d e l i b e ra t e l yf a l s i f y hi s documents to mi s lead compet i t ion , as Tes la i ssa id to have done, or did hemanage to make a Saucer f l ydesp i t e mistaken reasoning?I t i s notewor thy t ha t O t to sexp lana t ion for the opera t ionof hi s carbure to r is e n t i r e l ymistaken; neve r the le s s , thein te rna l combustion engineworked success fu l ly fo r qui t eother reasons . The absence oft echn ica l c r i t i c i sm of T.T. Brown s exper iments , in thel i t e r a t u r e , i nd ica t e s someth ing between a hor i zon ta lbias and a 900 bl ind spot inthe publ ishing indus t ry .

Now look a t the Per iod icTable of Elements ; oxygen andni t rogen a re pos i t ive atoms - -they seek e lec t rons . Drya i r is no to r ious ly p o s i t i v e .A pos i t ive charge on the uppersur face of a d i s c wi 11 repe lthe a i r to f low in laminae -to

JanuaryFebruary 1989 JBR, Page 13


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the n eg a t i v e po le on the unders ide , producing a pre ssu red i f f e r e n t i a l s u f f i c i e n t toli t and propel the c r a f t a t aspeed no l e s s than twice sound- - - s i l e n t l y . Pi l o t i n g i s implemented by the same s k i l l sneeded to keep a he l i cop te runder con t ro l . In shops Ihave worked, I saw t h a t ittook 30,000 v o l t s to i on izea i r a t near vacuum pres su re jt he re fo re the Biefe ld-BrownEf f ee t becomes pra c t i c a l on lya t megavol ts . The physics i sse l f - e v i d e n t .

In 1972, the French magaz ine , SCIENCE ET AVENIR publ i shed an a r t i c l e on FrancoAmerican r e s ea rch i n to iond r i v e s . A few years l a t e r , anAmerican t ab lo id r ep o r t ed thesuccessfu l t e s t f l i gh t s of theFranco-Amer ican ion d r i v e . Aphotograph of a model of theae rospacec ra f t i s inc luded jthe model i s a d isc , 3.5 t imeswider than t h i ck . I t i s r e por ted to f l y superson ica l l ywithout making a sound, glowing as a r ea l Saucer should .I t f 1 i e s s i l e n t l y because theatmospher ic ions f low in l ami nae without r a i s i n g a shockwave, and it glows wi th thel i g h t of the ions exc i t ed byi t s e l e c t r i c a l charge.

Now, segue to 1930. NikolaTes l a i s the re ign ing e l e c t r i ca l genius in in t e rna l e x i l e .Natura l ly , he reads every th ingpr in t ed about e l e c t r i c a l d i s cove r i e s . He to f indT.T. -Brown s pa ten t s dur ingh is own pa ten t searches .Tes la had to r e a l i z e thet r u t h j the Biefe ld-Brown e f f e c t was not e lec t romagne t ic .At t h i s t ime, Tesla had a l ready demonstra ted the su r f aced i r e c t i o n of high vo l t age , sohe had to r e a l i z e t ha t a nega-

Page 14, January-February 1989 JBR

t i ve charge would do to photons what a pos i t ive chargedoes to a i r ; you can see itfor your se l f without a b i t ofgen ius , in an ordinary vacuumtube. The nex t th ing we readabout Tes l a , he announces h i sla se r and h i s a n t i g r a v i t i csh i e ld - - - which i s the essent i a l mat/demat Fly ing Saucerby d i f f e r e n t names.

One of my cor responden ts ,an aerospace eng ineer i nLockheed coun t ry cla ims he sawac tua l s e c r e t l o f t i n g s of aFly ing Saucer j seemingly mysusp ic ion expressed in OW TOBUILD A FLYING SAUCER i st rue , and Ryan Aeronaut i c s i sbu i ld ing them.

The Ryan Corpora t ion becamefamous fo r bu i ld ing l i gh t r ac ing a i r c r a f t dur n the b a rn s torming e ra and f l e e t torpedoboats and f l i g h t t r a i ne r s dur ing I I .

Major Alexander P. deSeversky i s the crea to r themost powerful warplane ofI I , the Republ ic P-47THUNDERBOLT; it was the f i r s tsuperson ic f i g h t e r in operat ion , a l though it wasn t in tended to break the son ic b a r r i e r . Note well tha t h i spa ten t d i sc losu re a t t e s t s tothe success fu l cons t ruc t ionand t e s t f l i gh t s of model iondr ives . Major de Seversky i sno f r eak , but the very h i g h e s tav ion ic au tho r i ty in America;he was the a rc h i t e c t ofAmerican m i l i t a r y s t r a t e g ydur ing the Roosevel tAdmin is t ra t ion , which he ex-1. OW TO BUILD A FLYINGSAUCER And Other Proposa l s inSpecula t ive Engineer ing , byT.B. Pawl ick i , P r e n t i c e - H a l l ,Inc, Englwood C l i f f s , N.J .


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pla inedbook,POWERmovie.

to theVICTORY

publ ic inTIIROUGH

hi sAIRtha t Disney made in to a

Saucers have been l e s tf lown in fu l l view of the pub-l i c fo r 40 y ea r s , with thet r u th obscured by a bl i zza rdof ex t r aTe r r e s t r i a l f an tas iesu n t i l no one bel i eves thet r u th . Anyone who sugges t s amundane exp lana t ion i s re garded as c raz i e r than theh y s t e r i c a l abduclees se l l i n gbooks by the mi 11 ions . Threeed i to r s were forced to r e s i g nt h e i r o f f i c e because they in s i s ted on pub 1 i shing my na ivee lec t romechan ica l co n t rap t ions , twenty years ago. WhenHOW TO BUILD A FLYING SAUCERf i na l ly got p r i n t e d , it waspreceded by an e d i t o r i a l d i s cla imer of r e s p o n s ib i l i t y i fmy ideas happen to be t rueIn o th e r words, the UFO pub-l i sh ing i n d u s t ry wi l l onlyp u b l i sh obvious fa l sehoods .My i n i t i a l a r t i c l e got pub-l i shed only a f t e r it becameapparent t ha t i l wasn l t rue ;it i s a landmark in UFO pub-l i sh ing only because of i t saudaci ty in suggest ing t h a tFly ing Saucers a re noth ingmore e x t r a t e r r e s t r i a l than s e c r e t aerospace eng ineer ing inCal i fo rn ia .

After fo r ty years of organized amateur , profe ss iona l ,and government inves t i gal ionof the UFO phenomenon, you areobl iged to cons ider whetherevery one of the thousands ofexceedingly p e r t i n ac i o u s andheav i ly funded researchersca r e f u l l y avoided search ingthe obvious place , the U.S.Pa ten t Off ice , r whether ev-e ry r e sea rch e r who did f indthe p a t en t s got the deep s ix .

Well , I can t e l l you froms ix fee t under . Beginningwith the publ i shers who ac cepted my f ind ings for y ea r s ,every ed i to r I approached witha dozen of the paten t s re fusedto even look a t the o f f i c i a ldocuments from Washington.One put me out , say ing , " I fyour p a t en t s a r e au then t i c ,then every th ing I b e l i ev e inhas be t rayed me. ~ e r e f o r eyour documents must be f a l s e . "Well , every th ing he b e l i ev esin did bet ray him and now heis b e t ray in g every th ing he bel i eves in .

Like rea l ghos t s , rea lFly ing Saucers are taboo.Fan c i fu l accounts a re ra i sedto repress fear of the rea lth ing , and the t r u th only p ro vokes den ia l , with the wildrage of escaped t e r ro r . UFOsa re the v i s i b l e mani fes ta t ionof the u l t i ma t e fu t u re shockt ha t is a f f l i c t i n g our e n t i r esoc ie ty with a c l a s s i c neuros i s . As a r e s u l t , only f r eak sand littl ch i ld ren can t e l lthe t r u th in pub i c , and theSaucers are f l i gh t t e s t ed l i k eThe Emperor s New Clothes infu l l view of the world wi thoutanyone bel i ev ing mi l l ions ofeye witnesses r photographs.The Pur lo ined Le t t e r and t heHolocaus t were nothidden. so we 11

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SPECTRO-VIBRATORYIMAGINGDonald R. Beans ,B.S.N. ,R.N. ,C.A. , I .D.482 Elec t r i c Ave.

Bigfork , MT 59911

A new form of r ad io n ic sparadigm of l i g h t , co lorc ry s t a l e n e rg e t i c s .in aand

The Sp ec t ra -V ib ra to ry Imaging Ins t rument i s a c r y s t a lbased device used t o focus ,s t o r e and ampl i fy sub t l ev i b r a t i o n a l energy fo r thepurpose of i n t u i t i v e i n v e s t i g a t io n and manipu la t ion by ahuman opera to r . I t was in vented in October 1986 by theau th o r . Technolog ica l knowledge drawn from modern e l e c t r o n i c s , e s o t e r i c empi r ic i smand sac red sc ience p r i n c i p l e shave been combined to producea device which i s so l i d l ybased on the t en e t s of r ad io n i c s .

Sp ec t ra -V ib ra to ry Imaging


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spec t ra l co lo r s as opposed todowsed ra t e s or geometr ic p a t t e rn s p a r t i c u l a r l y when thesubstance c rea t e s i t s own v i b ra t o ry s p a t i a l impr in t in theh igher harmonics which i s ca r r i ed in to the v i s i b l e rea lmsby co l o r .

The S-V. I . I . i s not l im i t edto the use of t hese s l i d e s asi t s on ly form of wi tness inpu ti n t o t he c i r c u i t . The i n s t r u ment was inven ted as a v eh i c l efo r t h i s concept . Al l t heo th e r forms of r ad io n ic i n f o r mat ion input a re a l s o p o s s i b l e . At t h i s t ime exper iment a t i o n i s being ca r r i ed outus ing a computer screen to in put in format ion i n t o the sv. I . I . This method i s provingvery s a t i s f a c t o r y when ex t r emely compl ica ted w r i t t e nremedies or sys tems of an a ly s i s a re d es i r ed .

OPERATION OF Til INSTRUMENTThe v i b ra t i o n a l f r equency

of the s l i d e i s focused by a q u ar t zc ry s t a l pyramid through apr ism and onto a s p e c i a l l yadapted p h o t o ce l l . The photoe l e c t r i c e f f e c t i s u t i l i z e d tot ransduce the f low of photonsto the movement of e lec t ronsi s a wire . At t h i s poin t thee l e c t ro -v i b r a t o ry f r equency i seas i l y manipula ted .

There a re two co n t ro l s ont he ins t rument . One i s fo rthe tun ing of the v i b ra t i o n a lf requency to the c i r c u i t theo th e r i s fo r s e t t i n g the amp l i t u d e or potency o f the v i bra t ion . Afte r the wi tness i sin p lace harmonic c o r r e spon dence must be es tab 1 i shed between the wi tness and t he tuning c i r c u i t . This i s accomp l i sh ed by s lowly tu rn ing thetun ing d i a l whi le l i g h t l ys t ro k in g the Harmonic

Resonance F r i c t i o n P l a t e on the face of the in s t rument . When harmonic r e s o nance i s achieved a s l i g h ts t i c k i s e 1 t by the in g e r -t i p s ag a i n s t the p l a t e . Apendulum may be s u b s t i t u t e dfo r the HRFP , i f t h i s i s pre -fe r red. The potency se 1ec t iond ia l i s p r e c a l i b r a t e d . Simplyse t the d ia l to the 3 d i g i tcode which cor respond to thed es i red potency . The f r e quency and potency a re thenampl i f i ed and c l a r i f i e d by awire wrapped c l ea r q u ar t zc r y s t a l . A copper cy 1 i nde r inthe inst rument ac t s as an a c cumula tor . Th is a l lows t hev i b ra t i o n to be concen t ra tedin a s p e c i f i c area .

A hold ing subs tance Ci .e .wate r s ac - l ac t a b l e t s a l c o h o l e t c .> may be placed inthe cy l in d e r ~ n sub jec ted tot h i s concen t ra ted f i e l d fo r ashor t per iod of t ime u s u a l l ytwo minutes a re s u f f i c i e n t .The hold ing subs tance may beused to o r a l l y admin is te r thev i b ra t i o n a l p a t t e rn .

The au thor has a l s o ex p e r i mented with br oa dc a s t i ng v a r i ous energ ies for the purposeof a h ea l in g in f lu en ce on thee t h e r i c and phys ica l body.One such method has been tou t i l i z e the acupuncture poin tnames, wri t t en in Chinesech a rac t e r s as the remedy.Each of the acupunc ture p o in t shas a s p e c i f i c en e rg e t i c in f luence . The i n d i ca t i o n oft h i s en e rg e t i c p a t t e rn washidden in the ch a rac t e r s ofthe names of the p o in t s by thean c ien t masters and o r i g i n a t o r s of acupunc ture t he rapy .By u t i l i z i n g the w r i t t e n ch a r a c t e r s as a witness t h i s v i bra t iona l energy can be tunedto the r ad io n ic i ns t rument .This energy i s now ava i l ab lefo r b roadcas t or fo r i n s t i l l a t i o n in to a c a r r i e r subs tance

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fo r o ra l ad mi n i s t r a t i o n or aq u ar t z c r y s t a l to be c a r r i e din the c l i e n t s energy f i e ld .

ANALYSISSp ec t ra -V ib ra to ry Imagingmay a l so be used fo r an in depth an a l y s i s of the en e r ge t i c makeup of an i nd iv idua l .By us ing a formal ized and rit-u a l i zed method such as r ad io n i c s , an ext remely accu ra t ep i c t u r e of the en e rg e t i c s ofthe v ar io u s organ sys tems,chakras and acupunc ture merid-

i ans may be formula ted. Theonly l i m i t a t i o n s in t h i smethod of an a l y s i s a r e in themind of the examiner . The in s t rument func t ions in a f u l lspec truro of energ ies . By u s ing t he human nervous sys temas a de tec to r of the en e rg i e sas ampl i f ied by the i n s t r u ment a l l realms a re d i s c e rn ab l e .

Radionics i s a l s o i n d i s pensab le in determining whattype of i n t e rven t ion , v ib r a t i o n a l or otherwise , may beused to co r rec t the revea ledimbalances . These imbalancesmay be d e tec t ed in t he humananimal , plan t , soi 1 e t c . Byu t i l i z i n g t h i s asp ec t of r a d i o n i c s , i n format ion no t n o r mally ava i l ab le may be d i sco v ered by the i n t u i t i v e i n d i v i d ua l . The S - V . I . I . i s used toampl i fy the v i b ra t i o n of thesample or wi lness of t he subj e c t under s tudy .

Two methods a re a v a i l a b l eto compare t h i s f r equency wi tht ha t of var ious anatomical oren e rg e t i c areas or remedies .F i r s t , a fan or a r ray ch a r tmay be placed in the ex tens ionp la t e provided with the in s t rument . The HRFP or a pen-dulum may be used to de tec tharmonic correspondence between the ampl i f i ed v i b ra t i o nPage 18 January-Februa ry 1989 JBR

of the witness and t he s e l ec t i o n s on the cha r t . Second abook of l i s t s may be used witha cursor to poin t to each i temon the list The HRFP or pen-dulum i s again used to checkfo r matching of t he f requenc i e s . P r ac t i t i o n e r s may des ign t h e i r own se t of cha r t sor l i s t s very eas i l y fo r usewith the S - V . I . I .

CONCLUSIONThe purpose of the use ofr ad io n ic i n s t ru men ta t io n i s

t he enhancement of the i n tu i t i v e process and the deve lopment of se l f - aw aren es s . Att h i s poin t in l ime a l l ra d io n ic devices a re i ncapab leof d i r e c t ac l i o n wi thout hu-man in f luence . Therefore , a l ldevices requ i re some form ofin te rconnec t ion ~ l w e e n theins t rument and the human n e r vous sys tem fo r the purpose ofd e t ec t i n g the minute v i b ra t i o n s which a re u t i l i z e d inthese methods. There i s ag rea t opporluni ly whi le us ingr ad io n ic i n s t ru men ta t io n toexpand o n e s awareness to p r e v ious ly unknown a rea s .S e n s i t i v i t y may be he igh tenedto the p o in t where dev ices a renot necessary fo r amp l i f i ca t i o n and c l a r i t y .

Although rad ion ics i s ani n f an t sac red sc i en ce , it i s ,a t t h i s p o i n t , one of thef i n e s t methods fo r workingwith s u b t l e en e rg i e s in a coh e ren t , organized and focusedmanna r I t i s hoped t ha t thep res en t a t i o n of these i deas onl i g h t , co lor and the use ofc r y s t a l s in r ad io n ic i n s t ru menta t ion can s t i mu l a t e fu r t h e r i n v e s t i g a t i o n along thesel i n e s .

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RECONNECTING WITH THE COSMIC BEARINGS OF LIFE THROUGH THE RIGHT USE OF SOUNDInterview with Michael Heleus, Astrosonics P i o n e e r - - - - -By Joe Landwehr, Reprinted from Whole Network JournalPO Box 2511, Santa Fe N 87504, ~ u m m e r 1988I f i r s t met Michael Heleus at a talk he gave ten years ago in Florida. I rememberbeing impressed then by the depth of his knowledge, and the careful thought he hadgiven to questions of a cosmic nature. After working intensively with my personalastrosonics for a good s ix months, I was even more impressed with what he hadrediscovered. I have taken great joy in reconnecting with him here in NM and amdelighted to be able to share him with you now in this interview.

Joe: Let s star t with something basic, l ike what is astrosonics?Michael: Astrosonics i s the study of vibrat ion and i t s relat ion to consciousness,speaking in the broadest possible terms. More specif ical ly, in terms of what I haverediscovered and developed, astrosonics i s the study of the relat ionship betweenplanetary and other cosmic bodies motion to the earth rendered as sound vibrat ion.Planetary cycles are measured in cycles per year, but we hear in cycles per second, soyou have to scale up the planetary frequencies a number of octaves to bring them withinthe audible range. I f you imagine that the planetary orbi t i s a long s t r ing t ha t sgetting plucked, each time you halve the length of the str ing, you double thefrequency, and raise the vibrat ion one octave. If you do th is th i r ty some odd t imes,the planet s orbi tal frequency has become audible. When you do th is accurately, thesound you produce will invoke the actual characterist ics of the planet s nature,astrologically. This i s the basis of Hermetic tuning. also the basis ofastrosonics. In other words, I ve found a way of making astrology experiential .J : How did you get involved with th is work?M: As a child, I fe l t a desire to close the circle of the sciences that begins withmathematics, and then moves through physics, chemistry, and biology, into psychology.I wanted to find a more direct bridge between psychology and mathematics, and betweenthe hard and measurable and the soft and unmeasurable. That s actually quite a leapthat we re talking about here, but one that I fe l t challenged by. I f i r s t becameinterested in astrology and alchemy because they were valid circular philosophies thatlooked l ike they might be useful tools in dealing with th is problem. They had somegrounding in science, yet they also moved into the realm of spir i tual meaning. So Iimmersed myself in the study of these ancient disciplines. In the 1960 s, I beganthinking about what I could do to render the astrology that I was learning and applyingin some pract ical , experiential form. Since the universe i s composed of vibrations ona l l of i t s manifest levels , i t suggested i t se l f to me to make a vibrational model ofastrology. In doing th is , I expected to be able to experience the essence ofastrological theory direct ly . My expectation proved to be just if ied. By 1983, I hadfound a way to get astrologically specific effects for a scale modeling of planetaryaspects. Since then I have found that astrosonics enables one to get in touch withone s l i fe purpose, and to gain a strong spir i tua l focus that allows the t r iv ia l tofa l l away.J : How does astrosonics help one to get in touch with one s l i fe purpose?M: Well, basical ly each of us i s born with a strong sense of th is purpose. Because ofthe subtlety of our connection to th is purpose, and because we are forced to deal withthe grossness of ordinary physical l i fe , and the conditioning of society and the envi-ronment, we tend to lose track of our inner focus when we re in our childhood years.What I m doing with astrosonics i s attempting to remind people of what they alreadyhave within themselves, but have forgotten because of th is conditioning process.

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J: Would you say that to render a person sbasically recreating the vibrational conditionsperson s birth?astrologicalthat existed birth chart in sound isa t the time of that

M: Essentially yes. e seem to have a stamp or an imprint which stays in our variousbodies throughout this l ifetime, and i s modified according to what our actual l i feexperience i s . I t seems to have to do with the structuring of the crystals in thefontanel of the pineal gland. I t has to do with the structuring of water in the body.I t has to do with the RNA and the DNA and the i r capacity to act as antennae foretheric resonances. Through these properties of RNA and DNA and water, the planetaryvibrations are assimilated into our physiological make-up. Apparently what sounds doi s to clear the way for action and change in your l i fe , and they also r e s t ~ u ~ u r e thewater in your body. The re-s tructuring of water seems to be one of the main mechanismsthrough which subtle environmental influences have effects on consciousness.J : Can you ta lk a l i t t l e more about that . How do sound vibrations res tructure water inthe body?M: Well, the sound vibration actually entrains the motion of the molecules. That s howt happens. One co-worker played each of basic planetary notes into a separatecontainer of water and froze them. Each of the samples froze in a differentcharacter is t ic pattern that was repeatable each time the experiment was performed witha part icular planetary note. Now our bodies, composed mostly of water, are jus t assubject to the influences of sound, l ight , magnetism, and other subtle factors as rawwater in the open. In fact , even more so, because the cells of our body have colloidalsuspensions in them that col lect ively remember these vibrations.Other experiments have been done in which water was shaken up under certainplanetary patterns and fed to plants. Where the prevailing aspects were favorable tothe growth of plants, the plants would grow more rapidly, whereas control plantsdidn t . Where there were difficul t aspects for plant growth, this would tend to stuntthe plants. This demonstrated that water actually took up in some way the structuringeffects of the planetary energies.J : How does your work with astrosonics re la te to other work that has been done in thegeneral f ie ld of psychoacoustics?M: A real good question. By and large, the f ie ld of psychoacoustics has had apragmatic basis. That is to say, i t has explored the relationship between music theoryand physiology to see what psychological correlations could be made Certainly thereare things that can be discovered from that , l ike what is the meaning of a relat iveinterval within an octave. But i t s incomplete. I t hs no grounding in astronomy orsacred geometry, no cosmic orienta t ion or understanding. I t only gives us an egocentr ic , or socio-centric basis for looking a t things, and to my way of thinking, s incethe Middle Ages, mankind has gotten too much in to this kind of mindset. I t s time torediscover the spir i tua l underpinnings of human psychology, to get our cosmic bearingsback again. This is basically what I am attempting to do with astrosonics.J: So sound rendered astrosonically i s a way to make a bridge between the world ofmundane reali ty and the cosmos.M: That s r ight . e are looking a t the relationship between the grounding of earthbound rea l i ty on one hand, and the sacredness of cosmic space on the other. This isthe vert ical axis of psychology we are talking about, while the behaviorists and otherexperimentalis ts have been working largely on the horizontal and socio-centric axis.J: How would you say astrosonics have helped you personally? What long term benefitshave you noticed?Page 20, JANUARY-FEBRUARY 1989 JBR

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M: I have noticed a number of changes. While I had a good memory to begin with, i t gotbetter af ter using astrosonics.My intui t ion seemed to improve. I was able to think more clear ly, to generate morecreative technical ideas as a resul t of working with my own sounds, and my pianoplaying has vastly improved since beginning th is work. One of the things I did when Istar ted learning the piano as a child was to mark on the piano which note combinations

I l iked the best. Well, years la te r , af ter having developed astrosonics theory, Irealized these notes on the piano I had marked were actually some of the mainastrosonics from my chart. The astrosonics have helped me go through about fiveresistance levels in the study of improvised music, and I gradually came to the pointwhere I could put out improvised pieces which sounded as good as i f they d been writ tendown and studied la ter . Then I found that i f I did my musical improvisation in keysthat were astrosonically attuned to my own chart , I got even more fluent and creative.Aside from these more obvious development of ta lents and mental facul t ies , I havenoticed that my synchronicity rating has vastly improved with the use of these sounds.J : What do you mean synchronicity rating?M: Well, i t seems that unexplainable coincidences occur with greater frequency when Iam working most intensively with my sounds. Other people that I ve worked with havealso commented on this . There was one lady las t year who had contacts a l l over theworld, but who had more or less fal len into a pi t of i solat ion af ter relocating toAlbuquerque, and was bemoaning that fact . So she star ted working with her astrosonics.After two or three months, she went through a seemingly coincidental chain ofcircumstances to a press conference which was covering the Miss USA pageant. Pressfrom a l l over the world came to cover the event, and she was astqnished to find peopleshe hadn t seen for th i r ty five years among them. Many of her old friends from a l l overthe world suddenly appeared before her. And she couldn t attr ibute this to anythingelse she had done.J : You have had some pret ty spectacular results with people you have worked with overthe years. I wonder i f you have any favorite s tories you would l ike to te l l?M: Well there was one woman I remember early on in the work who had a mediocre singingvoice, but wanted to become a star on Broadway. I gave her a tape of a Venus-Neptunet r ine in her chart, and she worked with t on a prolonged ~ x p o s u r basis while trainingher voice in singing. As she did that , she found rapid improvement in her voicequality, and her abi l i ty as a singer flowered. And sure enough, she f inal ly did getthe part of Maria in West Side Story on Broadway. Then there are other people whofound themselves dropping into past l i fe experiences and bringing out past l i feabi l i t ies . I don t know how personal you want to get, but I remember you had one ofthose experiences, Joe, ten years ago, when you found you had abi l i t ies as a Jazzsaxophonist from a past l i fe , as a resul t of working with your Sun-Neptune sexti le .J : Yeah, I remember tuning into a number of different threads from different l ifetimesthat seemed to be related to specific sounds. Is that actually a common occurrence?Is there something about working with these sounds that tr iggers these memories of pastlives? Have you noticed this with other people?M: Yes, I h a v ~ I would say that probably memory i s coded according to frequency.Most of the time we are not clear enough, l iving in a jumble of noise and frequenciesto be aware of this . Let me give you another case in point that was real ly specif ic .A couple of years ago I was working with a lady in California, who had a permanentlyspasmed eye muscle. One eye would not track nor move paral le l with the other eye.Well, I noticed she had Mars, planet of vision, sexti le to Neptune, planet of focus.In addition, there were seven or eight other planetary pairs that were cross resonantwith this part icular aspect, in other words, that belonged to the same family of



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octaval frequencies. She found in working with these sounds that she was spontaneouslytuning into other l ives. I t soon became apparent that a common pattern ran throughthese other l ives , in which she would blind herself physically in order to gainspir i tua l insight , or clairvoyance. This ins ight came to her as a great revelation,going through the aspects that were cross resonant, one af ter the other. And as shecame to this real izat ion, she also found that the eye muscle which had been spasmed outof position, was tracking better than i t had been, for in recognizing her pattern, i thad already begun to change.J: Have you noticed any adverse side effects with people working with these sounds? Oranother way of asking that i s have you noticed that certain kinds of people do not dowell with th is technique, or should not work with sounds?M: Well, l e t me comment on that . There are certain pre-requisites for progress withth is work. You must have some dedication to your inner development, before you l l finda technique as subtle as astrosonics of value. I f you are going into i t from asuperf icial standpoint , you l l probably find i t only a tool for relaxation and possiblysome minor clar if ication of your problems. Assuming that you do have the necessarydedication, on the other hand, t does become possible to O with this technique. Whenthat happens, you may find yourself res t less , sleepless, or easily i r r i ta ted. If thereare parts of you you haven't accepted or don't l ike , i t s going to feel uncomfortable.I f you find yourself being put through some past trauma, you need to have agreedbeforehand to work with i t , and go through the discomfort of healing and l iberat ion ofenergy on the other side. I f you don't do that , you ' l l just bounce off and think, Oh,the sounds are making me sick.J : Yeah, that seems to be a common occurrence in many types of healfng work, where youwill go through a healing -cris is , and experience your symptoms in exaggeration as theymove through your body.M: This is also true with astrosonics, especially i f you are using i t in boosted formalong with toning, where you sing up the notes on the tape, or you use charged watertha t s been treated with the tape. In that case, you can get physical cleansings fromthese el ix i rs . I f the cleansing system appears to be happening too fast for yoursystem to assimilate the necessary changes, you may need to back off and slow down al i t t l e . The basic thing to remember is that you need this agreement before hand towork on yourself . Otherwise the chances of bouncing off in to denial are great.Another potentia l problem is that in ' th is culture we are programed to working withmelodic music where there i s a lo t of harmonic change. This kind of music may bepleasant to l i s ten to, but i t doesn't focus the at tent ion too well beyond a certainsuperf icial level . In astrosonics, we use long drawn out drones, and with these i t ispossible to get into a much deeper level of concentration than i t is with music. Towork with astrosonics you need to take a more oriental approach to music, and focuslong enough to get in to an extended interval or a long chord.J: I found that in working with my sounds that some of the more dissonant intervalswere actually more powerful, in terms of affecting change.M: This i s to be expected.potential to effect change.powerful and longer lastingastrosonics.

Normally what 's most easi ly assimilated has the leas tThings that are harder to work with, generally have moreresults . This i s true with any technique, not jus t

J: Another thing I noticed with these sounds i s that they seem to be direct ly relatedto certain energy centers in the body. In fact we did some experiments where with asweep of sounds, my kundalini was activated


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M: Yes. What we did in the experiment you refer to was to turn the usual processaround. We star ted with a sweep of raw sound that had no astrological or astronomicalimplications. As you l is tened to i t , we stopped at certain points where you hadsignif icant experiences. We noted what those frequencies were to see what relationshipthey had to either the solar system and i t s resonances or to your own chart and i t sinternal resonances. We found in doing that , that there was quite an ident i f iablecorrelation of astrological ideas.J: So, through doing an experiment l ike this a person could determine whichastrological aspects were re la ted to a part icular chakra in the body.M: Right. The idea had f i r s t come up when I worked with Laurel Keyes toning. Intoning, i f we came to a blocked area that turned on something uncomfortable in thebody, we then looked at what that frequency was. Usually, we found i t related tosomething in the chart, and more often than not one of the so-called difficul t aspects.And as we worked with the appropriated Bounds, we also worked on whatever the relatedaspect meant in our l ives .Astrosonics also le t s you tune in specif ical ly on different chakras. Each planethas a main area of focus, and when you hear the note that i s associated with thatpart icular planet, your at tent ion is automatically drawn there.J : So you could use these planetary notes as an aid to meditation another work withchakras?M: Definitely, i t pulls your at tent ion off your outer l i fe and puts i t on somethinginside tha t s in t r ins ic to you. I t s good preparation for l istening to one s own innersound, the Word, the Shabd, whatever you want to cal l i t . In the west there i s quite abi t of l i te ra ture available on yogas that work by transmuting the energy of the lowerchakras and rechanneling that energy upwards, usually while keeping some kind of focusat the brow center for the sake of stabi l i ty . Basically what this does is set up anenergy flow from the lower to the higher that ci rculates around in the physical body.In fact , some of the Egyptian renditions of the flow show i t coming up the spine overthe top of the head and back down again.J : Yeah, Mantak Chia i s also involved in this work, which he calls microcosmic orbit .M: I t i sn t generally too well known in the west that there are two different systemsfor working with the kundalini. The one that is commonly known in the west, which Ihave jus t described i s called SIFLIS (not to be confused with the disease). The ULVIpath, which is relat ively unknown in the west, has you go in direct ly at the browcenter, which i s actually the vestibule of the crown in th is approach, and work on up' from there. This is a different form of kundalini that correlates with differentharmonic frequencies. In the l as t few years I have found a way to represent both thesedifferent kundalini circuits astrosonically.J: Would you say that work with the lower kundalini is pre-requisite to work with .thehigher kundalini?M: No, i t i sn t . That s been one of the things I wanted to make plain. I f you workwith the upper, the lower automatically gets worked on. The big danger of course occurswhen there i s an imbalance in one of the lower centers. I t requires very firm at tention at the higher levels to keep things from blowing out, i f your following the ULVIsystem. That s why i t s recommended that in that system, that you work closely with anadept or master, whereas in the SIFLIS system, the dangers may be more easi ly handled.J: You say you have developed sounds for these kundalini energies. Can you speak moreabout this?

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M: Yes. Earl ier in the astrosonic work, from about 1982 to 1985, I was using a tonequali ty that involved the lower Kundalini ci rcui t , but af ter doing many experiments,and finding out how to harmonically stimulate the other one, I ve switched to the ULVIcircui t and now I use that in the regular astrosonics work. There are some people whowant to work with both, and so I ve worked out a wave that works with both of themtogether.J : The work you did with the Platonic sol ids and exploring the dimensions of the GreatPyramid a t Giza from an astrosonic perspective seem to imply the existence of a lostscience that could serve as the basis for the construction of modern day healingtemples. Can you comment on the relationship between sound and sacred geometry and howth is might be explored in more depth?M: I think there i s an increasing interest in th is aspect of the cosmic resonancestudies over the past few years, and I m quite convinced af ter having done extensivestudies of the dimensions of ancient structures that the ancient societ ies-a good manyof them anyway-did know what planetary resonant wavelengths were for differentconditions. In fact , the builders of the Great Pyramid seemed to know what theseresonant wavelengths were both in sound, and in electromagnetic energy. I f you takethe megalithic uni ts that were buil t into the base length of the Great Pyramid, andlook a t the corresponding wavelengths, you find that these units are often tuned sothat they work out to an even number of gigahertz cycles per second, or bi l l ions ofcycles per second. Because i t works out so evenly, to three or four decimal places,th is suggests to me that these builders knew something about those resonances andattuned the structure to pick up those part icular vibrat ional frequencies.J : So what th is implies i s that i f we wanted to construct a space t ~ t had a part icularpsychological or healing effect that we could use dimensions that were related toaspects that had those effects .M: I think t ha t s true. The main key in relat ing sacred geometry to astrosonics or anyother sound work i s the fact that a given length is equivalent to a defini tewavelength, and every wavelength has i t s correlated frequency and idea(s) . That i sthe basic key.Architects of the future wil l be able to look at a person s horoscope, figure outwhat their most harmonious dimensions and proportions would be, and build themdwellings accordingly. I know that the Masonic and Sufi guilds were both part ies tothe Hermetic t radi t ion, which stemmed from ancient Egypt and Atlantis, whose in i t ia tesdefini te ly did understand the astrosonic resonance theory. They had similar insightsto what I have discovered and updated some now. And I have found as recently as theMiddle ages, that structures were being buil t according to astrosonic principles. Forexample, the Cathedral a t Chartres has dimensions in i t s transept which relatedirect ly with the motions of Jupiter , Saturn, and the Sun as seen from the earth. Thisconvinces me that th is knowledge has been extant and in use up unt i l recent t imes, atleast up unt i l the l a te Middle Ages. I think th is i s something we could well go backto , and use more extensively now and I ve been in touch with some groups in differentparts of the world who are interested in building healing temples in accordance withthe laws of cosmic resonance.J : Can you talk a l i t t l e bi t about the Platonic sol ids rendered as sound ann whateffects they have on consciousness?M: Basically, in this part icular cosmos, we have cer tain ways of evenly and regularlystructuring space and time. These ways have been encoded in the Platonic sol ids,although I prefer to cal l them systems, because they re actual ly modes of relat ing inspace. Buckminster Fuller t r ied to correct our thinking about this . I found instudying these geometric forms, that they conveyed the essence of basic cosmic t ruth ,



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and reasoned that i f I could render them in sound,of these t ruths. In 1985, I found a way to do i tone in five people who hear the chords representingin inner space with their eyes closed. Generallythen an element of the surface. Usually the solidat tent ion, i t slows . down and stops. With my secondtends to see a nested group of whatever solid isthen be counted.

I would have a sonic representationsuch that using a blind t es t maybethese sounds can actually see thema fuzzy patch of l ight appears, andis spinning, but as you focus moreversion of these s t ructures , onebeing represented. The facets can

According to the Genesa system of Derald Langham these Platonic solids actuallycorrelate with the basic structure of the f ive inner bodies or KOSHAS as they arecal led in the Vedic l i terature. So, in working with them harmonically, you areactually working on the alignment of the inner bodies. I think ~ t s why ESPfacul t ies get more f inely tuned as you work with these for awhile. When I f i r s tstarted working with these sounds, I was astonished at my abil i ty to estimate to thepenny the cost of unknown objects af ter only a few hours of concentrated l is tening.The effect wasn t consistent, but there s been some overal l improvement in my abi l i t iessince then. Combined with other new work that I ve done, th is work with the Platonicsol ids also enabled me to get a much more integrated dream s ta te . While working withthese sounds, my dreams were much more colorful , much easier to remember and thesymbolic theme material was much bet ter integrated.J: In the l as t few years, i t seems you ve been working more with generic sounds basedon mathematical constants M: Well, I haven t to ta l ly shif ted my focus and abandoned my personal work, because Ifeel that while the generic sounds fac i l i ta te powerful changes on the higher levels,the personal sounds seem to e l ic i t a more personal connection to the work. Because thegeneric sounds are more impersonal and universal, they can at times be harder to re la teto. I t i s possible and often valuable to combine these approaches. One can hear aPlatonic sol id, for example, that has been tuned to one s own astrological aspects.This can be a useful approach to bridging levels .J : What are some of these generic sounds you ve been working with, and what do they do?M: One of the f i r s t I worked with i s cal led the Chakra balance chord. I had noticedthat a combination of Jupiter-Saturn, simple Venus, Mercury-Sun, and Moon-Mars a l l hadderivative frequency notes that were jus t about octaves of each other. I wondered whatwould happen i f I played a l l these together, knowing that together these soundsreferred to the seven basic Chakras. The f i r s t thing that I noticed when I l istened tothese sounds together i s that I wanted to s i t or stand straighter than I had been. AsI got more deeply in to i t I found I was processing some of my basic problems withanger, releasing the energy I had invested in th is anger, and returning to my center.I remember one part icular fellow who real ly had quite an experience a t a seminar. Hegot into a lo t of basic anger, and in passing that off , his a t tent ion f inally focusedat the brow area, and he inwardly went into and experience of clear white l ight . Thatwas a resul t of gett ing himself inwardly aligned with th is sound. This why I ve cometo cal l that par t icular chord the Chakra balance chord.Another early generic sound was the solar phi chord. This one creates anattunement to the motion of the earth around the sun and activates the crown Chakra.When I buttressed the in i t i a l sound with a couple of other notes that related to thef i r s t one by golden section functions, I found that I had discovered a chord that wouldhelp people coordinate the hemispheres of the brain. This sound also seemed to clar ifythe flow of energy in the nadis, the channels on ei ther side of the spinal column, andclear out any sinus congestion.There are many other generic sounds I developed along the way but some of themost powerful and potential ly useful are what I cal l Toward the Tao Progressions. Iwas challenged by severe circumstances in my own l i fe over the past year and a half to

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find new sounds that would help me shake loose of some deeply ingrained a t t i tudes . Iwanted something with a l i t t l e more movement than the dronechords could provide. Ireasoned that by using the principle of ancient psychology which recognizes the basicpolar i ty of l ight/dark, male/female, yin/yang, introversion/extroversion, I couldcreate a basis for a progression of sound that led one toward a balancing andin tegra t ion of these polar opposites, and a real izat ion of the middle path, or TAO.What I came up with i s a progression that gives a reference note, then goes to the partof the octave with respect to that reference note that would take you up and outsideyourself, or toward the yang end of the spectrum, and then down inside yourself towardthe yin, then in to a point of balance between the two. These progressions can helpcorrect serious energy imbalances, and are proving to be powerful agents of change.The Moon Toward the Tao progression, for example, works on issues of emotionaf upport,subconscious habit formation, compulsive behavior, and chemical dependency problems.J: Considering the possibi l i ty that ordinary sounds we hear in our environment haveastrosonic and cross resonant effects, some of which are l ikely to be detrimental, howcan we protect ourselves from sound pollution?M: The greatest protection against sound pollution as with any other problem you canname i s with a focused consciousness, and that takes years to develop. I t i s generallya l ifetime process. In the meantime, whenever possible, i t will help to remove fromour environment those sounds that are detrimental or that we do not yet know how toconfront. I remember one lady who complained to me that she fe l t cold a l l the time.She was up in Michigan, in the middle of winter. She had just had her furnace workedon, and i t was putting out a weird noise. She was wondering, What's this doing to meastrosonically? I tested i t and found out i t was putting out an infta-sound below thehearing threshold that was in exact resonance to a Saturn-Pluto opposition in her natalchart. I can ' t think of a more cryogenic pair of planets than Saturn and Pluto. Soeven though the furnace was on and making her physically warmer, the dif f icul t aspectwhich she was being reminded of was putting her in to a very cold psychological mode Isuggested that she work on that aspect of her personal psychology, but she didn ' t getvery far with that idea. she t r ied muffling the furnace, but that didn' t work ei ther.Finally she moved away from the problem.Every sound has i t s astrosonic meaning, i f you care to find the frequency of i t ,and learn i t s harmonics. Then through astrosonic theory, the psychologicalcorrelations can be developed. But what we have to do is work on ourselvespsychologically and spir i tua l ly so our reactive patterns no longer get tr iggered bysounds in our environment.J: Do you find that people that have been working with their sounds astrosonicallybecome more sensi t ive to environmental noise?M: They become more consciously sensi t ive. They have more abil i ty to direct at tent ionto what's going on in the environment and what i t means for them. On the other hand,they're more desensitized to a l l the reactive patterns they had before that were justwaiting for some environmental impact to t r igger them. So they have gained in theabi l i ty to stay centered in the face of negativity in the environment. People haveasked me what other people's sounds do to me as I work with them. The answer i s thatearly on in the work when I s t i l l had a lo t of uncleared s tuf f , I was pulled a l l overthe place. I could see the changes in my handwriting. I had to f inish by l i s tening tomy own sounds. Later on as I became clearer , those things didn ' t effect me in that wayany more. I could simply tune them out.J: Did you find also that your own sounds became more accessible inwardly as anantidote to any possible environmental st ress?



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M: Yeah, I did. I t was easier to become focused inwardly, and I became much more awareof the real influence the environment was having on me. I could go back to theastrosonic theory and apply i t , figure out what sounds help me, and apply them as acounterbalance to environmental s t ress . The generic tapes can have considerablepositive influence in the environment. The Sun-Venus-Jupiter chord, ref lect ing thevibrational climate a t the signing of the Declaration of Independence, for example,wil l help draw people out of poverty consciousness and into greater affluence, out ofviolence and into something more peaceful , out of injust ice and in to something moretolerant .J : Can you give a real l i fe example of how this works, or r ~ you speakingtheoretically?M: No, th is stuff actually works. Some people in Brooklyn ordered a tape because theywere having a problem with tenants in a condo next door. In fact , the w ~ o l e tenementwas getting rather rowdy. So they got a Sun-Venus-Jupiter endless loop tape, and puti t in their closet . In two weeks the environment had quieted down a lo t . The noisiesteither moved away or became more quiet . That's not a soli tary example. There areothers I could s i te of a s imilar nature.J: What about the use of astrosonics in relationships, to help two people come into agreater level of harmony and balance with each other?M: That's one of the most wonderful applications of this whole technique. People inrelationships who have resonant harmonic l inks between their charts are often workingon the same issues togeth

Documents

Journal of Borderland Research - Vol XLV, No 1, January-February 1989