Stone levitation as recorded in the monuments of mostly long past but also some recent origins is a process of using of acoustic resonance induced magnetic levitation
What to Achieve
- Generation of sound combination of particular properties
- Set up a partial and stabilized geomagnetic field “gap” by building a ferromagnetic fence.
- Get hold of some magnetic field.
Generation of Sound
You will polish about one square inch of a
sample from the stone of your choice, that is a piece of
the kind of stone you intend to work with. You will
sprinkle finely ground kitchen salt on that polished
patch of the stone. You will start playing or singing a
single low tune to the stone, slowly raising the tune and
watching what is happening with the salt. When the random
order of the sprinkled salt begins to organize into some
regular patterns (which will depend entirely on the kind
and quality of the stone), you will stick to that
particular sound and vary it only so slightly and
patiently and slowly, until you get the clearest possible
pattern. You will note the frequency of the sound (an
electronic acoustic frequency detector would be a very
handy instrument to have around) and record it. If you
have good musical ear, you can record the sound in your
brain databanks.
You have just caught one of the few major
resonant frequencies in your sample. That is the
frequency, which harmonically corresponds to a major
proportion of the same size and harmonic size and kind
and orientation within the stone. The stone itself is not
likely to sound itself, as you have only produced a low
harmonic of a much higher crystalline resonant frequency.
If you use a musical instrument, I would recommend to
also try other instruments at the same tune frequency.
Some instruments will work better than other instruments.
A tunable instrument whose oscillator is made from the
same stone like the sample stone should work the best,
but I have no idea how to make a musical instrument from
a stone, or with a stone as its resonator. You may.
Once you have one such frequency established and
recorded, you may have to go on with sound generation
again raising the sound ever so slowly and watching
freshly sprinkled salt on the piece, till you hit on to
another major frequency. You have to check that the
second frequency is not a harmonic of the first one. If
it is, it is useless to apply the lower of the two for
eventual levitation. If it is not, you have to test if
the two, will interfere or not. If they do, you use only
the one, which gave you a smaller and/or more pronounced
pattern of salt grains.
You will continue with this experimentation,
until you find all possible major frequencies of
different harmonic sets, which do not interfere. (There
is a good chance that you will hit upon a single
frequency harmonic only, which is worth your attention.)
The more of these tunes you sing or play to your stone
while getting it to levitate, the more efficient will be
your lift.
To make your job easier, you can pick a stone,
which is reasonably homogenous, lets say a metamorphic
limestone, or soapstone, or chalk, at least for the
starters. I would recommend stone, which has been proven
to work in the past, but please do not take apart the
Coral Castle or the pyramids. It is not necessary. Just
find out what kinds of stone was used in the Menhirs, the
Egyptian pyramid cladding, pyramid guts, Baalbeck terrace
and Easter Island statues. Pick the simplest stone to
start with. The composite stones like granite will be
much more complicated and therefore difficult to resonate
and levitate due to their greater mineral, chemical and
crystalline complexity. Do not attempt to use shale and
artificial ceramics. They have very complex chemistry and
polycrystallinity.
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