Pyramid Acoustics

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PYRAMIDS AND

ACOUSTICS

R O M A R A M N A N I

ACOUSTICALEFFECTS INPYRAMIDS

MAYAN PYRAMIDS

EGYPTIAN PYRAMIDS

BRAGG

SCATTERING

EFFECT

PICKET FENCE

EFFECT

RESONANCE

MACROSONIC

SYNTHESIS

SYNTHETIC

AND NATURAL

RESONATOR

ACOUSTICAL EFFECTS IN

MAYAN PYRAMIDS

The Maya built monumental structures at least as far back as 600

B.C, but pyramid building reached its height in the classic maya

culture that flourished roughly from 100 to 900 A.D., Stretching

from modern-day Mexico to El Salvador to Honduras

They all produced chirping echoes. Lubman theorizes that the

ability of pyramids to recreate a sacred sound, the chirp of the

quetzal, led to them popping up all over, like franchises, in the

Maya world.

"You had to have one. People came to centers for a spiritual

experience in part," he says, comparing pyramid acoustics to

medieval cathedrals designed to resonate to chanted hymns, or

send glints of sunlight to worshipers through stained glass. Theecho is not believed to be an artifact of reconstruction or an

original design defect.

THE QUETZAL AS THE "SPIRIT OFTHE MAYA" AND THE SPIRIT OF

KUKULKAN

Sound is very important to forest peoples whose livelihood or very lives may depend on accurate listening. In the

cloud forest where their Mayan cultures were formed, one may hear over a much greater distance than one cansee.

The quetzal, is asserted to represent the "spirit of the Maya". It is shown that the Temple's very name isconnected with the quetzal . It seems appropriate that the Temple of Kukulkan should echo with the spirit voice of

the quetzal.

If one claps the hands in front of the Kukulcan pyramid at Chichen-Itza one receives an echo that sounds like the

quetzal (kuk in maya). The tall and narrow steps of Maya pyramids tune the noise returned through an effect

called Bragg scattering, each riser bouncing back small echoes that add together to create a distinctive chirp.


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THE CASTILLO

This structure is a temple that looks like a pyramid and is the one of the most popular sites of the Mexican Yucatan.

If you stand facing the foot of the temple and shout the echo comes back as a piercing shriek. Also, a person

standing on the top step can speak in a normal voice and be heard by those at ground level for some distance .

This quality is also shared by another Mayan pyramid at Tikal.

EL CASTILLO - TEMPLE OF KUKULKAN

People sitting on the bottom steps of the pyramid also hear raindrop sounds generated by people's

footsteps farther up the 100-foot-high temple pyramid.

Rain and the quetzal bird are both sacred and important to the Maya so now there is no need to search forthe one and only reason why pyramids were built.

It has been suggested that the stucco that once covered the pyramids amplified sounds since it eliminated

imperfections and gaps between stones.

The Quetzal bird echo also occurs at other Pre-Columbian sites and Ancient Mexican ruins.

PYRAMID AT TIKAL

LAMANAI,

BELIZE, IN

ORANGE

WALK

DISTRICT

BELIZE

A ceremonial site on the Guatemalan border, called Xunantunich.

The words of a tourist

When we had climbed the tall pyramid and looked down

into the courtyard where people assembled to be addressed, we noticed a

strange illusion. We could also observe that the people in the courtyard were

talking, apparently quite loudly, but that their voices sounded muted and

distant. Yet as we spoke to one another, our voices seemed amplified. A largerecess in the wall of the pyramid behind us functioned as a resonator, and

gave our sounds back to us with a bright, ringing quality. We could be heard

quite clearly in the courtyard below. Our host suggested that this enabled one to

sound larger than life and that such designs helped to maintain the mystique of the

Mayan class structure. He also pointed out that the stone used in building the

pyramid had resonant qualities, although the structures as we see them now arenot in their finished form -they are missing the polished stucco surfaces and wood

additions they were designed for.

The site's most famous building is the Pyramid of the Niches


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THE GREAT BALLCOURT

The Great Ballcourt is 545 feet long and 225 feet wide overall. It has no vault, no continuity between

the walls and is totally open to the sky.

Each end has a raised "temple" area. A whisper from one end can be heard clearly at the other

end 500 feet away and through the length and breath of the court. The sound waves are

unaffected by wind direction or time of day/night.

Archaeologists engaged in the reconstruction noted that the sound transmission became stronger

and clearer as they proceeded. The court has no vault. It is open to the sky and has no continuity

between the walls, the prescenium and the throne of the bearded man. If one stands in the center of

the court, near one of its walls and claps the hands, he will hear at least nine times the echo of the

clapping. Also if one yells. This phenomena seems to be unique.


NORTHERN GUATEMALA

Two pyramids stand face to face with a

football field sized court between them,and low steps and wall on either side .

One could easily hear a person

talking in a normal voice at the

opposite end of the grass covered

courtyard.

The stones of the pyramid are of

resonant stone when sitting on one a foot

square and tapping it produces a clear

short sustained sound.

A large part of the pyramid seems to be

made of this "limestone" as the locals call

it, and the result is that as a person

descends from the top of the pyramid,

on the slightly over-sized steps, drop

slightly , and thus create a huge

gonglike sound that resonates across

the courtyard and out into the

surrounding area .

The temple of the magician. If you stand at the base of this pyramid and

clap the small structure at the top makes a strange chirping sound using

the acoustic energy of the clapping sound

Edzna, I was standing at the top of one pyramid and my daughter on thetop of another and realized that we could carry on a conversation in a

perfectly normal tone of voice, not only with each other but with others

standing on the ground.

ANCIENT MEXICAN BUILDINGS

There was a circle of stone on the

ground in the middle of a long ball

court. When you stood on it the

person standing on a similar

circle at the head of the court (in

the king's "booth") you can

converse with that person as if

they were a few feet away. The

volume and clarity was startling

considering that the stones were

far apart (like 60+ meters).


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THE ACOUSTICS OF OUTDOOR

STAIRCASES Although staircases are surely a common

element in design, and can contribute odd

acoustical effects, the subject does not seem

to have received extensive treatment in the

scientific acoustical literature.

Spatial periodicities are the analogs of

"rhythm" in music. When periodic designelements are composed of sound reflective

materials (such as stone), and if certain other

conditions are met, odd echoes or other

strange acoustical effects may result.

Echoes are always considered undesirable

elements in a "built environment". The

Mayan echo, if it is indeed deliberate,

would be the only exception to this "rule".


ADDITIONAL BENEFIT OF ACOUSTICAL

HYPOTHESIS OF STAIRCASE DESIGN The German poet Goethe aptly described

architecture as "frozen music".

If the hypothesis of intentional design

has merit, we are led to two striking

conjectures. The Maya are the only

people known to have "coded" a sound

into stone. The chirped echo at this 1300-year-old pyramid may be the world's

oldest known sound recording!

It is fascinating to imagine the ancient Maya

as the true inventors of playful soundscape

ideas. Such ideas have only recently begun

to be used by modern urban artists. Modern

artists are creating such sonic architecture

as sound parks.

THE PICKET FENCE EFFECT Gestalt psychology says that several factors are governing the

perceptual organization no single rule will always work but all

rules together will give a correct interpretation. The factors are as

follows.

1. Similaritv: elements which are similar will be grouped together.

2. Good continuation: properties of a single source should change

smoothly.

3. Common fate: the different components of a single source"usually varies in a similar way."

4. Belongingness: "a single component in a sound can only be

assigned to one source at a time."

5. Closure: a sound obscured by a second will be perceived as

continuous even if turned off

6. during moments of obscure, and non-acoustic clues may be

used for the filling in.

7. Figure-ground phenomenon: sound can be separated in

attended and unattended streams

An example ofan unintended tonal echo is found in the ancient ampitheater at Epidauros in the Peloponnesus (now Turkey). The reflecting feature areconcrete seating banks that are periodically spaced about 1 meter apart. An impulsive sound made in the stage area gives rise to periodic reflections from the

seating banks that are heard in the "orchestra". The result is an odd but clearly heard low tone (about 340 Hz, according to my calculation). It is very brief,

lasting less than 50 milliseconds, (5 hundredths of a second).

Such unintended tonal echoes are not uncommon in open spaces in front of wide staircases, such as libraries and other public buildings. The phenomenon is

termed "picket-fence effect", a name evocative of the kind of spatially periodic feature that is responsible for the tonal echo.

At least two steps are needed to produce a perceptible tone. With more steps, say 5-10, the sensation of tone is stronger. With a short staircase of only 10

steps, a tone will persists for not more than one or two hundredths of a second. Unless the stimulating noise is very short, such as a single handclap, thepicket-fence tone may be imperceptible because it is "masked" by the long stimulus. Moreover, if the space is not open, echoes from other structures can

mask the tone. Ideally, an open space and a very long staircase is needed to perceive this effect.

The Temple of Kukulkan exhibits the most remarkable picket-fence echo. The Temple, situated in an open field and possessing wide, long staircases, seems

ideal for an exhibit of this phenomenon. Picket fence echoes are heard from each of the two restored, wide staircases of 92 steps each. Equally remarkable,

the tones are audible, if somewhat weaker, on the two unrestored sides.

Because the staircase is very long, the staircase echo is correspondingly longer, persisting for more than 100 milliseconds (1/10 second), more than

twice as long as the tonal echo in the theater at Epidauros. (The quetzal chirp is even longer, about 200 milliseconds long, or 1/5 second.) Because of

the Pyramid's high staircase, the echo exhibits an additional auditory feature. More than a tone, the echo possesses a birdlike "chirp" that moves downward in

frequency.


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PREDICTED FREQUENCIES

The average tread length T was measured as 26.2 cm

(10.3 inches) This gives a maximum chirp starting

frequency of about 1310 Hz

The average riser height was measured at 26.4 cm.

This gives a hypotenuse length of 37.3 cm (14.68

inches) and a minimum chirp ending frequency of 922Hz.

The actual frequency range also depends on one's

distance from the pyramid. The farther away one

stands, the smaller the frequency range.

The measured frequencies agree reasonably well with

these simple predictions.

STAIRCASE AS A DIFFRACTION GRATING

An explanation for the downward chirp is easily obtained by a simple extension of the picket fence effect. Thisessentially amounts to a diffraction grating, familiar to physicists.

Echoes arrive first from the lower stepfaces near the observer's head level. The time between succesive echoes is

proportional to the length of the step tread length, T, and the frequency is roughly f = c/T, where c = the speed of

sound, about 343 m/sec.

Later echoes arrive from the upper steps. The time between successive echoes gradually lengthens for the upper

steps because the ray path becomes nearly parallel to the angle of staircase's rise. In the limit the time between

successive echoes is proportional to the hypotenuse of the triangle consisting of the t read length and rise height.

Because the hypotenuse is longer than either side of a tr iangle, the period of the tone is greater and the frequency

is lower.

THEORETICAL DEVELOPMENT OF THE ECHO SIMULATION

The staircase is seen as a periodically corrugated ~infinite surface, being sawtooth shaped This is only true within

the interval of the physical staircase.

This infinite mathematical model is matched to reality by modeling a handclap not by a t ruly spherical wave, but by

a wave that only contains propagation directions from the emitter directly to the staircase within the angular interval

[a1 ,a2] that assures impingement on the staircase and within the interval [a3 ,a4] if, in addition, reflections on the

ground are considered as well. Hence, the handclap is only spherical if observed on the staircase.

Whatever sound patterns are emitted to areas outside of the considered intervals is unimportant for the present

study. The vectors d, h, D, and H are defined in Fig. 1. Forexand ezbeing unit vectors along thex, respectively, z

direction, straightforward geometrical considerations result in


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Normalized calculated direct echo

coming from a delta pulse


Normalized recorded signal produced

by a Quetzal bird in the forest. Normalized recorded signal of the echo

coming from the pyramid.

Calculated direct echo coming

from a handclap.

EXPLANATION OF THE RAINDROP EFFECT

If people are climbing the pyramid, their shoes produce sound

pulses containing all frequencies.

1st order reflected sound undergoes a transition from evanescentto bulk waves. That happens at a frequency fgiven by

The 1st order diffracted sound travels almost parallel to the pyramids surface.

Now, since that sound is bulk in nature (not evanescent) and since

it has a considerable amplitude it is actually hearable for the

observer seated on the lowest stair step.

The observed frequency range is limited since only a limited bunchof frequencies produce sound that can reach the observers ear,which is situated at small angles from the pyramids surface.

Frequencies between 920 and 1000 Hz indeed sound l ike the main

frequency that is present in the bunch of f requencies generated by a

raindrop falling in a bucket filled with water.

The zero order reflection coefficient (solid line) and the 1st order

reflection coefficient (dotted line) as a function of the frequency, for

normal incident sound on the pyramid.

The left side of the dashed line corresponds to evanescent 1st order

reflected waves, while the right side corresponds to bulk 1st order

reflected waves


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PHI RATIO, GEOMETRY AND RESONANT CAVITY

The phi ratio describes the relative proportions of the three frequencies that stimulate the nonlinear standing wave and is also apparent in the modeled distribution of acoustic

pressure along the resonant cavity which results. The coherent nonlinear structure was achieved through periodic stimulation of a medium of precise geometric boundaries

designed to induce the interaction of three different resonant modes in the ratio of phi.

This standing wave structure informs the phi geometry of the Orion pyramids, elucidated by the superimposition of the pattern onto a cross-section of the Great Pyramid

taken along the North-South axis. The high-amplitude transduction of the piezoelectric limestone of the pyramids creates an electromagnetic field around the structures,

the movement of electrons becoming toriodal or donut-shaped.

Bednarik describes RESONANT MACROSONICSYNTHESIS:

[T]he interactions of acoustic waves at some fixed

frequencies without the energy losses in the higher harmonics is of

considerable interest in acoustics. Such interaction creates the

possibility of direct transformation of coherent sound at the given

frequency by sound of another frequency without an electro-magnetic

energy source...

For a region of three modes with given angular frequencies, if the sum

of two of them is equal to the remaining one, the interactions of these

modes can be obtained from the nonhomogenous Burgers equation

for nonlinear standing waves.

Value of Phi: - The ratio of the apothem (face slant height) to half a base

side = Phi (1.618). Phi is another transcendental number like Pi which has

no exact value (approximate value = 1.6181818...). The unique properties of

Phi are that phi +1 = phi squared and also 1 + 1/phi = phi. The Phi ratio is

the basis for the Fibonacci sequence 1,1,2,3,5,8,13.,21,34... which was not

generally publicized until 1200 A.D.

There are several interesting anomalies:

Rose Granite which is used in the inner chambers of the

Pyramid is considered to be one of the most paramagnetic

substances measured.Somethingparamagneticis a body or substance that, placed in a

magnetic field, possesses magnetization in direct proportion to

the field strength; a substance in which the magnetic moments of

the atoms are not aligned.

Limestone which was used on the outer portion of the Pyramid

(including the polished tura li mestone casing stones) isconsidered to be diagmagnetic.

Something that is diamagnetichas the property of being repelled

by both poles of a magnet. Most substances commonly

considered to be nonmagnetic, such as water, are actually

diamagnetic.

Think of the Limestone as an insulator and the Rose granite as a

conductor. The word "Pyramid" translates to 'the fire in the

middle or inner fire'.

ACOUSTICAL EFFECTS IN EGYPTIAN PYRAMIDS

ACOUSTIC MATERIAL The limestone blocks of the Orion pyramids consist of mostly calcite mineral, whose structure

can be triangular and octahedral in various forms.

Each of the Giza pyramids is apparently designed as the top half of an octahedron,

monumental formations of calcite.

Research ofJ. Davidovits into ancient geopolymers has demonstrated through chemical

analysis that the casing stones of the Giza pyramids are synthetic , being of lower densitythan any quarried stone due to trapped air bubbles and consisting of 85-90% calcite with other

exotic mineral constituents like opal CT, hydroxy-apatite and silico-aluminates.

RESONANT CAVITY Driven by periodic oscillations a resonant cavity can be

stimulated to its fundamental resonant frequency producing both

harmonics and subharmonics.

When the standing wave is driven into high amplitude thenonlinear effects couple energy from low to high-frequency

modes. This increase in harmonics can create a shockwave,

diminishing the quality of the resonator dramatically.

Multifrequency driving of the resonant cavity has been used to

increase the energy storing. If the energy is coupled to lower

frequencies, or subharmonics, less acoustic dissipation is

observed allowing for a more efficient system.

CAT-scan work on the core stones

have recorded hairs deeply

embedded in the matrix of the stone,

another clue that the pyramid blocks

were cast using liquid stone,

though the likelihood of later facade

reconstruction is strong.

Note that the synthetic stones are ofhigh piezoelectric crystalline

content.
http://fusionanomaly.net/fibonacci.htmlhttp://www.geopolymer.org/library_papers/abstracts_archaeology_files.htmhttp://www.geopolymer.org/library_papers/abstracts_archaeology_files.htmhttp://www.geopolymer.org/library_papers/abstracts_archaeology_files.htmhttp://fusionanomaly.net/fibonacci.html


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EXPLANATION OF THE FIGURE

The base length of the Great Pyramid informs the fundamental resonant tonecreated by the structures.

Each base side of the pyramids has roughly been calculated at 760,

creating a fundamental frequency of about 1.5 hz when the pyramids are

stimulated into high amplitude.

The periodic pulsation of the pyramids operating at resonance creates a

Fibonacci standing waveset centered on the 760 wavelength bounded by thebase of the pyramid.

The angles of the standing waves exactly correspond to the slope of

the pyramids faces: in the phi angle of 51.85 degrees.

This baseline frequency of 1.5 hz has been described as the Tri-thalamic

entertainment frequency shown to synchronize the pulsation of the

hypothalamus, pineal and pituitary gland into a unified functioning.

This frequency is also the lowest frequency of Schumann Resonance, thus

the function of the pyramids may indeed be to shift the fundamental

frequency of the Earth down from its fluctuations near 7.3 hz to the tri-

thalamic frequency of 1.5 hz.

This resonance structure is recognized as a solid-state global oscillator

that functions in wavelengths of pure consciousness itself, entraining

the human mind through redistribution and focusing of the global mind.

THE PYRAMID OF GIZA PLACED AS PER THE RESONANT

MACROSONIC SYNTHESIS

Indigenous cultures across the globe recognize the Earth as a sentient being in itself, and as consciousness has a frequency that can be measured as the EEG, then the

frequencies of Schumann Resonance can be understood as the vital pulse of Earth. Ancient wisdom passed on through the traditions of the Yaqui and Toltec cultures of present-

day Mexico overtly describe the Earths emanations and the corresponding alignment of the emanations of humans, a notion desc ribed by modern science as the Frequency

Following Response. The pineal gland contains microcrystalline calcite biomineralizations (Bacconier, Lang et al) that transduce frequencies of consciousness.

The octagonal structure of Earths consciousness is quantified in this work; the very shape of the collective unconscious to whic h sentient beings attune themselves.

The Orion pyramids output likely induces a shift in the fundamental frequency of the Earth down to the lowest frequency of SR at 1.5 hz, allowing a parallel shift in the entrainedhuman consciousness.

Yaqui knowledge keepers precisely describe this shift in the al ignment of the perception of man as an awareness of previously inaudible frequencies of infrasound:

[T]he portion of the emanations inside mans cocoon is in there only for awareness, and that awareness is matching that portion of the emanations with the same

portion of emanations at large. They are called emanations at large because they are immense... inside mans cocoon the unknown is the emanations untouched by awareness. When theglow of awareness touches them, they become active and can be aligned with the corresponding emanations at large. Once that happens the unknown is perceived and becomes the

known. (Castenada, "The Fire From Within" p 207)

This process of alignment that allows a heightened perception of otherwise inaudible infrasound is clearly shown by indigenous teachings to be the key to understanding the

unknown; phenomena that remain for misaligned modern humanity as "paranormal."
http://homepages.tesco.net/~John.Dawes2/pineal.htmhttp://homepages.tesco.net/~John.Dawes2/pineal.htmhttp://homepages.tesco.net/~John.Dawes2/pineal.htmhttp://homepages.tesco.net/~John.Dawes2/pineal.htm


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As the effect is caused by the interactions

of the slightly offset resonant frequencies

of the upper chamber (121 hz) and the

granite box (117 hz), the dimensions ofboth have most likely been calibrated to

the heartbeat of a healthy newborn. The

low human voice creates a resonance in

the upper chamber that entrains a healthy

biorhythm in a newborn infant.

Rather than a tomb for the dead, it

appears the upper chamber and granite

box were designed and used as a nativity

center for stabilizing the biorhythms of the

mother and child during their separation at

birth.

A carved stone tool was found sealed in

one of the ascending shafts of the mid

chamber. The artifact is interpreted to be a

peshesh khaf, used in ancient times inchild birth.


Reids subsequent research into human

heartbeat rhythms revealed that the beatsrecorded in the granite box matched exactly

those of newborn infants. As the heart

rhythms of an individual change over the

course of its development, an adults

heartbeat may be entrained through the

acoustic beating of the granite box to imitate

the heart rate of an infant.

The HeartMath Institute has shown a

regulated heart rate to be crucial to the

formation of a coherent electromagnetic

field of the heart, and to allow intentional

relaxation of the DNA helix that is

associated with positive emotions.

The direct correlation between the stimulated

beat frequencies of the granite box and a

healthy infant heartbeat suggest thechambers design purpose.

The internal chambers of the Great Pyramid are constructed

of massive rose granite blocks cut with precise right

angles and perfectly planed faces.

The surface of the stone is covered in a thin glaze of quartz,

the main constituent of granite, which is typical of a

stonecutting technique now known as thermal disaggregation.

Rose granite was used in the construction of the internal

chambers because of its resonant properties.

The quartz matrix of the granite stones is like a hall of mirrors

with billions of parallel faces reflecting energy. The effect ofthis encasement in granite is that the airspaces can be given

harmonic dimensions to specify the wavelengths, which will

resonate through the formation of standing waves.

The dimensions of the upper chamber reflect a 1:2 ratio,

allowing standing waves of interger multiples to store acoustic

energy. Acoustical engineerJ. Reid carried out acoustic

experiments revealing the resonant frequency of the upper

chamber to be 121 hz.

Resonance in the upper chambers granite box (erroneously

dubbed the "sarcophagus") was found at 117 hz. The interaction of these slightly offset resonant

frequencies was most strongly felt while insidethe granite box, creating a resounding beat

frequency that closely matches the human

heartbeat.
http://www.heartmath.org/research/research-intuition/Modulation_of_DNA.pdfhttp://www.andrewcollins.com/page/conference/speakers/JR06.htmhttp://www.andrewcollins.com/page/conference/speakers/JR06.htmhttp://www.heartmath.org/research/research-intuition/Modulation_of_DNA.pdfhttp://www.heartmath.org/research/research-intuition/Modulation_of_DNA.pdfhttp://www.heartmath.org/research/research-intuition/Modulation_of_DNA.pdfhttp://www.heartmath.org/research/research-intuition/Modulation_of_DNA.pdf


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Known Ayurvedic techniques of augmenting the

energetic levels of water have been associated with

the vibrations of particular oils, yet the likelihood is

great that the granite box in the Great Pyramids upper

chamber may have been used to energize not only the

water within the body of the bather (during gestation orotherwise), but perhaps was employed as a system to

energize water that could be transported and

consumed elsewhere.

The most advanced energetic water technologies willbe fully addressed as unique discoveries have been

made in association with ancient artifacts that include

sacred Sanskrit symbolism, script and depictions of

the Great Pyramid at Giza thousands of miles away.

The ancient notion of making a temple of the bodymay in fact refer to the crystallization of the liquid body

for the benefit of human DNAR O M A R A M N A N I

The cranial volumes of the Pharoanic families were extraordinary, most notably that of Akhenaton, Nefertiti and

their children. Since the unusually elongated crania have been observed in statuary depictions of even the

youngest children, the assumption has been made that it was genetically related. Perhaps, in light of the new

acoustical data from the Great Pyramids chambers this assumption may be confirmed and understood to be a

result of the infrasonic stimulation, the advanced art of genetic enhancement. The elongated skulls of the ruling

families of ancient high civilizations may have been developed through gestational entrainment techniques

under the Great Pyramids magnetic umbrella.

CRANIAL VOLUME. Thevolume of a human brain, otherwise known

as cranial capacity, varies depending on several factors, such as age,

environment, and body size. The volume is usually measured in cubic

centimeters (cm3 or cc). Modern humans have cranial capacities from

950 cm3 to 1800 cm3, but the average volume of a modern human

brain is 1300 cm3 to 1500 cm3.

BIBLIOGRAPHY1. Posted by: Johan Normark | November 18, 2010

2. Rational spirit evidence not faith Ian Lawton

3. Orion infrasound pyramid at resonance

4. Acoustical society of America 136th meeting lay

language papers

5. Violin t imbre and the picket fence-Jansson, E. V

6. A theoretical study of special acoustic effects caused

by the staircase of the El Castillo pyramid at the maya

ruins of Chichen-Itza in Mexico

-Nico F. Declercqa) and Joris Degrieck

-Rudy Briers

-Oswald Leroy

7. Picket fence effect - wikipidea

BUST OF MERITATEN, DAUGHTER

OF AKHENATON, NEFERTITI

The ascending shafts are directly aligned to the

geographic North and South poles, having been

specifically designed as receivers of the lowest

frequencies of infrasound at 0.5 hz that align precisely to

the shaft openings.

The changes in angle of the oblong rectangular shafts

are subtle and intriguing, affecting the propagation of

sound in ways that are not yet understood.

The location of the natal tool in the ascending shaft

suggests a resonant function also related to the

biorhythmic entrainment of a newborn infant.

The dimensions of the 6 long horizontal portion of the

shafts are just large enough to accommodate a newborn

infant. It then seems likely that the shafts were designed

to focus 0.5 hz infrasound waves upon a newborn placed

in the shafts as they open into the upper chamber.

The cranial augmentation observed of ancient Egyptian

royalty may be a direct result of fetal gestation and natal

biorhythmic entrainment at the Great Pyramid. The

complete set of angles of the internal chambers and the

pyramid entrance are clearly aligned as receivers to the

Fibonacci network of standing waves (previous image).

A balanced, full-spectrum infrasound environment has

been shown to stimulate both emotional relaxation and

DNA helical structural relaxation, or "denaturation. As the

first months after birth are well known to bedevelopmentally influential, perhaps exposure during

and after birth to the full infrasonic range may increase

DNA development and a biorhythm of balanced

consciousness
http://www.humanresonance.org/mana.htmlhttp://www.humanresonance.org/water.htmlhttp://www.humanresonance.org/water.htmlhttp://www.humanresonance.org/mana.html

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Pyramid Acoustics