2. What the F# Is Going On?
Susan Alexjander
If
you Google "F#" you come up with almost two million possible
references, mostly about MicroSoft software and music theory. If,
however, you Google "F# Great Pyramid Egypt," you get 380 picks. The
Great Pyramid?!
What began as a fun hobby for me in the l980s--collecting information
about specific pitches--has turned into a dedicated treasure hunt. As a
composer I love all tones including microtones, but there is something
special about F#. This pitch holds a fascination. It keeps coming up.
This article focuses on F/F#s that appear in the following places:
1. The Great Pyramid
2. DNA
3. Water
4. Schumann Resonances
5. Crop Circles
6. Vela X Pulsar
7. Further F# References.
Collecting the Data
"Frequency" encompasses more than audible sound. If we enlarge our
perspective to take in the fullest possible view of our vibrational
world, then frequency can be just about anything: an angle,
electromagnetic energy, thoughts and feelings, shapes, language. If we
have a number for the "frequency," such as an angle of 45 degrees, we
can start to build data.
This
is, admittedly, a strange country, difficult to define or explain until
our mindset adjusts to it. We have no overall template or blueprint to
refer to, but the work I and many others do reveals there are patterns
which speak to us through these numbers. Math is often "mythic," it
tells stories; shows how things communicate; lends meaning. Numbers can
show the hidden patterns of cosmic creation. Pattern/number fascination
is found today among artists, scientists, musicians, astronomers and,
of course, devotees of sacred geometry. I am indebted to them all.
Capturing F#
The most obvious source for gathering frequency data relative to F# is
to begin with that which we have agreed to call the pitch, or tone, of
F#. I use the tuning scale where C = 1 cycle per second, or 1 hertz.
The numbers on this scale are slightly flatter than the scale using C =
l.03 (A = 440). On the tuning chart where C = 1, all F#s fall in
octaves on the following hertz numbers (rounded off):
1.4, 2.8, 5.6, 11.25, 22.5, 45, 90, 180, 360, 720, 1440, etc.
An
octave is a frequency either doubled, or halved. So, finding an actual
tone in connection with sound on one of these octaves is the first and
most direct method of establishing frequency.
A second way to gather information about this "tone" involves a leap of
faith into a view of our universe as pure vibration. This "Nada Brahma"
("The World Is Sound") cosmology has long been celebrated by ancient
civilizations such as those of India, China, Greece, and many others.
This cosmology has resurfaced in our century as Total Holism--a
perspective of interconnection--with the enthusiastic backing of much
mainstream science. And, if one suspends the usual restrictions on what
we normally think of as "vibration," then any energetic event, whether
an audible tone, electromagnetic frequency (also measured in hertz),
time cycle, rhythm, etc., can be related to an actual sound as long as
we have a number.
For instance, 90 years can also be related
to a vibration of 90 which, if it were sound, would correlate to an F#
on our tuning chart. This is an abstract stretch, but an extremely
valid way to build patterns--i.e., collect all the 90s you can find and
see if they have commonalities. Do they have energies in common? Do
they relate to similar things? Can they begin to tell a story?
The
third method of understanding frequency--Gematria--is an ancient art of
profound integrity found in almost every established language in the
world. Gematria is a method of assigning numbers to letters of the
alphabet to measure energetic patterns. For instance, A = 1, B = 2,
etc. Languages such as Hebrew, Aramaic, Sanskrit, Arabic and even
English have slightly different ways of doing this. I have taken the
simplest method of going steadily through the alphabet from A = 1 to Z
= 26, but with an extra step: I add up the numbers of a word and call
that a hertz number, or frequency. For instance: thunder = 20 + 8 + 21
+ 14 + 4 + 5 + 18 = (you guessed it) 90. F#.
Taken together, these three methods form a data base for frequency
evaluation. Little bits here and there don’t mean much, but like
filings on a magnetic plate, they begin to collect and form a shape or,
in this author's vision, a tantalizing glimpse into that abstract realm
that informs the Whole--what renowned physicist David Bohm called the "Implicate Order."
1. THE GREAT PYRAMID
Many respected researchers now feel that the Great Pyramid may have
been deliberately "tuned" as a resonator. About six years ago, Tom
Danley, an acoustics engineer who used to work for NASA, was invited to
Egypt by the producer of the movie The Mystery of the Sphinx to measure sound in the King's Chamber. Using highly sophisticated equipment, Danley commented,
"I
found some very low frequency sound ... resonances which start at a few
Hz and go upward to 15-20 Hz or so. At least some of these were the
same LF resonances I excited with my sweep, but not all of them.
This sound
was present even if everything wasa silent. I crunched the results of the
measurements, and they were sent on to a musicologist that was part of
the staff [who] identified that there was a pattern of frequencies
which roughly form an F# chord. Not all the resonances fell in the
right place but many did, and some repeated the pattern for many
octaves. In other words, it was roughly tuned to F# over many octaves."
Danley
specifies, albeit generically, "some kind of an F# chord." He implies
that there can be many variations and that this "chord" does not have
to fall exactly on the correct numbers for F or F# on our tuning scale,
but only in the region of these tones: F/F#, A/A#, C/C# (a triad).
Also, the octave levels he measured would have been inaudible to a
human ear and rather felt as pulses. Danley goes on to wonder if these
infrasonic tones were used deliberately to alter brainwaves.
In The Giza Power Plant
(1998) Christopher Dunn proposed that the Great Pyramid was actually a
large acoustical device, analogous to a huge musical instrument.
Fascinatingly, according to mathematical calculations, this edifice is
an integer of the Earth's own dimensions. Dunn believes that the
Pyramid had a harmonic relationship to the Earth and was capable of
responding sympathetically with Earth's resonance. Evidence found
within the Grand Gallery supports his contention that resonators for
converting vibration to airborne sound were installed there. Dunn
offers many measurements which, if they were frequencies, would be F#s,
A#s, and C#s.
Similarly, in Pyramid Quest Dr. Robert Schoch of Boston University concluded after his on-site
study of the Great Pyramid that it was like a giant musical instrument.
Finally, it is well known that the sarcophagus in the King's Chamber is
tuned to A = 438. Musicians such as Paul Horn have recorded this
frequency and made music with it. If you would like to hear these
"pyramid chords," please see the end of this article.
[Author's note: I emailed Tom Danley but received no reply. Later, I was told he had signed a disclaimer
for the Egyptian government and was forbidden to speak further about
his findings. I have no way of verifying whether this is true.]
2. DNA
In an article previously reprinted in DNA Monthly
("Music to the Ears: The Infrared Frequencies of Infrared Bases"), I
related how in l989 I completed a translation of electromagnetic
frequencies gathered from the four DNA bases--cytosine, guanine,
adenine, and thymine--into a sonic medium. I was assisted by Dr. David
Deamer, noted cell biologist at the University of California Santa Cruz.
Briefly,
I found 60 "pitches" ranging over a two and one-half octave. Out of
these 60, 18 were Fs and F#s, 6 were C#s, and 3 were A/A#s ... a total
of 27 or almost half, corresponding neatly to the tunings of the Great
Pyramid. Most of these probably came from the water molecules in DNA:
hydrogen and oxygen. Please see DNA Monthly, Volume 1, Number 4, or visit my website (below) for the full article.
3. WATER
Molecular water frequencies also correspond to "some kind of an F# chord." Again, Dr. Deamer provided me with the wave numbers of water, which are as follows:
1600 converted to hertz = 698 F/F#
2100 converted to hertz = 918 A#
3500 converted to hertz = 134.58 C#
Wave
numbers are collected from a device called a spectrophotometer which
measures vibrational activity occurring in molecular activity (see my
previous article mentioned above).
The
significance of water to our planet is, of course, inestimable. Water
is that humblest yet most important of servants, going about its
business of life (even from the starry heavens) largely unnoticed
because it is so literally who we are. Water is the great connector,
creating our weather, balancing the temperatures of our planet,
bringing life and recycling. Water is found in sunspots, in stars (the
Orion Cloud Complex), at the center of the Earth in the form of
hydrated silicate--literally everywhere. It is in our bodies (roughly
70%) in the same proportion that it is found on the "body" of our
planet. For an astounding read on water, see West Marrin under
References. Marrin greatly expands our vision of water by examining
scientific theory, ancient insights and myths, and water as a universal
mediator.
4. SCHUMANN RESONANCES
Not only are we are about 70% water, we are also quite literally
swimming in Schumann Resonances. These electromagnetic frequencies,
mostly infrasonic and unheard, occur in the cavity between Earth's
crust and the ionosphere about 35 miles above Earth. Schumann
Resonances are activated by lightning storms and the sun. Their basic
frequency, 7.8 Hz, creates a standing wave that travels around the
planet 7.8 times/second. This figure fluctuates by plus or minus 0.5 Hz
daily, as the ionosphere fluctuates.
In
addition to this base frequency of 7.8 Hz, there are also
quasi-harmonics at (rounded off) 14, 19, 25, 30, 36, and 42 Hz,
corresponding to the following tones: B/C, A, D#, G/G#, B, D, and E/F.
So far no F#s. But a curious thing happens when these frequency numbers
are "octavised" up.
Instead
of the usual doubling to create the octave above (i.e., the octave
above 440 = 880)--the method used in linear harmonics and "standard"
physics--when working with the harmonics of a sphere, the rules are
different. Rather than reaching an exact doubling of the original
number, a slight collapse takes place and the upper number is less than
an octave. When you octavise the Schumann frequencies into our hearing
range, six of the seven tones are F#s, A#s, and C#s. The seventh is a
D#. As these ascend they become even more like the aforementioned
pyramid chords: F/F#, A/A#, C/C#. I honestly don't know what this
means, beyond imagining a theoretical "tuning" taking place on our
physical plane. There is a sense that something is trying to line up, or resonate synchronistically.
So far we have collected F# data from the traditional sciences of acoustics, spectrophotometry
(water and DNA), and physics. The fifth source for such data derives
from astronomy and has a fascinating story attached to it: the origin
of the Sumerian God known as EA.
5. VELA X PULSAR (PSR 0833-45)
The
Vela X pulsar was discovered in 1968, but was born when a supernova in
the Gum Nebula, constellation Vela in our Milky Way, blew up sometime
between 11,000 and 7000 B.C.E. (difficult for our scientists to measure
at this time). It would have been visible on Earth around 1300 light
years later, to the ancient Mesopotamians and/or Sumerians, shining for
months in the Southern sky. One scientist describes it this way: "It
would have hung low over the Mediterranean, shining as bright as the
moon, with an endlessly dancing, varying mass of fire, shooting spears
of intense color every way like a fountain ... flooding pulsing
illumination."
A
pulsar is what remains after a supernova has blown up and collapsed
into a dense star. These explosions occur when a star runs out of
hydrogen to burn and gravity takes over. It collapses and becomes
incredibly dense; a matchbox full would weigh a billion tons. A
pulsar's energy expands and lights up the nebula around it. It
possesses a powerful magnetic field that traps and accelerates charged
particles and shoots them through space as radio waves.
Pulsars'
rapid rotation makes them powerful electric generators, capable of
accelerating charged particles to energies of millions of volts--a
million times greater than those of lightning bolts. These voltages
create a blizzard of electrons and anti-matter electrons, or positrons,
equal to the force of thousands of suns! Vela X rotates these powerful
voltages like a lighthouse, at a frequency of 11.24 cycles per second:
F#. Vela X also travels in orbit as a binary system at 90km/sec:
another F# association. We know of more than 1000 pulsars, so what
makes this one special?
This
supernova flash might have altered the course of our planet's
development. There are references to it in Sumarian cuneiform, and on
the mural from Tell Ghassul is an eight-pointed star painted with
sophisticated compounds of 12 to 18 minerals. (Teleilat Ghassul, or
Tulaylât al-Ghassűl, is a large Late Neolithic and Chalcolithic
settlement in the lower Jordan Valley some 5-6 km northeast of the Dead
Sea.)
The supernova would have burned at least 50 times brighter than Venus. George Michanowsky’s wonderful book The Once and Future Star
relates the story of what this pulsar must have meant to the Sumerians
(or earlier cultures) and traces the origins of their highest god, EA
(Babylonian, formerly Enki), to Vela. A supernova event archetypically
symbolizes Death and Transfiguration, as the dying star explodes to
birth new elements essential for life. The explosions provide energy
for the birth of new stars and also accelerate high-energy cosmic rays
that cause many of the DNA mutations needed for the evolution of life.
Some scientists feel that the radiation from the Vela, particularly
neutrinos, could have changed rates of solar nuclear reactions and
increased the sun's luminosity. The Vela explosion might have begun the
sun's cycle of intensity and could even have been a powerful organizing
force for civilization.
Michanowsky writes, "The
psychological and possibly environmental impact of the Vela starburst
triggered a development in [Sumerian] culture that, in a short time
span, made them something entirely different from what they had been
before. For better or worse, humanity had thus quite suddenly bitten
into the fruit from the Tree of Knowledge."
The Vela and Crab pulsars are the only ones known to emit visible
light--another mystery. If you add the Pulsar Code theories of Jose
Arguelles to this mix, it begins to look as though pulsars have a
vital role to play in "stepping down" powerful frequencies emitted by
the Central Sun in the center of our Milky Way as these vibrations
travel to Earth. (Just recently, scientists detected pulses from our
galactic center and remain mystified by them).
Arguelles explains, "These
neutron stars are actually inter-dimensional intersections piercing the
veil of third-dimensional mind. There are many different kinds of these
intersections. Through each inter-dimensional intersection, g-force
bleeds through in a kind of beam. These galactic beams are
synchronously triggered. There are greater and lesser periods of
activation of these beams."
6. CROP CIRCLES
The
phenomenon of Crop Circles is gaining more respect as scientists
continue to legitimize their amazing properties. There are some
intriguing F# references made by Freddy Silva in his book Secrets in the Fields.
"When Jane Ross and I earlier had sat inside the 'Grid Square' (within
the Etchilhampton Flower Circle, 1997)," he writes, "we recorded an
oscillating, high-pitched tone. Its purpose was later made clear during
a channeling session ... The frequency of the note that they gave us is
important ... to be used in the 'opening' process. It's a frequency
that needs to be used to complete the opening for the individual."
Silva
continues that this note, F#, "creates an unusual oscillating effect
between the two cavities of the brain, especially when generated by the
tuned resonant cavity of a quartz crystal bowl. It has a frequency of
5.8 kHz (5800 Hz) and is traditionally associated with the tone of the
Earth." Silva goes on to point out that this frequency is relatively
close to the "other frequency associated with crop circles ... the
trilling noise ... and its frequency of 5.2 kHz."
"F# happens to be the resonant frequency inside the Grand Gallery of
the Great Pyramid at Gizeh, and the floor of the corbelled chamber is
inclined at an angle of 26.3027 degrees, making its vertical height
twenty-eight feet (F#) and the height perpendicular to the floor
twenty-five feet, which are the Grid Square hum and the trilling noise,
respectively," writes Silva. "The Circlemakers and the Pyramid
designers appear to share the same technology. Essentially, the Great
Pyramid contains the necessary ingredients that make it a kind of
transformational, possibly inter-dimensional temple ... its effects on
the molecules of steel, meat, and particularly water are already well
known.”
In addition, Silva points out that "F# is regarded with great respect
by the ancient Chinese as Hu, the tone of the Earth. (Hu is also
referenced by Hi Khan as the origin of sound.) Native American flute
makers to this day tune their instruments to serenade Mother Earth to
this note." In a 1997 radio interview, Silva also references
acoustician Tom Danley's work in measuring the resonant frequencies in
the Great Pyramid (cited above): "The notes form an F# chord which,
according to ancient Egyptian texts, was the harmonic of our planet.
Danley's tests show that these frequencies are present in the King's
Chamber even when no sounds are being produced."
7. FURTHER F# REFERENCES
A.
The number 360 is often referred to as "Spherical Consciousness," i.e.
expanded awareness, leading towards a holistic view that everything is
connected and part of everything else.
B. 11.11 = F/F#, an "opening gateway for mind expansion." Once again, this opens onto a more holistic reality.
C. Speed of light = 363.83 = an octave of F# (186,282.3959 Hz)
D. Gematria of "Consciousness" = 175 (F/F#)
E. Gematria of "Zero Point Field" = 174 (F/F#)
F. Gematrias of "Hate" + "Love" = 88, "Good" + "Evil" = 89, "Yin" + "Yang" = 88 ... all octaves of F/F#.
Conclusions
I vote for an intelligent web of connection--a template, a
grid, a Great Tone River as a carrier wave for frequency and
information. Were the Egyptians trying to anchor this grid? or trying
to act as a conduit between Heaven and Earth? So many questions arise.
But it seems reasonable to conclude that water is the glue, the
communicator, that holds everything together ... the huge entity, if
you will, that supports vibrational energies traveling between
dimensions.
I
believe that we are glimpsing a grand cosmology and that these
energetic connections are part of a web of vital sentience. My vision
is that we bring our different puzzle pieces together in a shared
design. What might we find? As
a composer I like making music with these tones "just to see/hear what
happens." Sonic relationships are exciting and great beauty can be
found there. But for certain I want to be on the train, in the middle,
and at the party if and when a huge transformation happens soon to this
planet. I'm betting it will happen, and that it will be the best game
in town.
[Author's Note:
I’m able to create microtones on my Yamaha DX7 and have come up with
seven possible chords using slightly different F#s (more correctly,
F/F#s) as the root of the chord. One is based on the sarcophagus
tuning, another uses octaves of 11.11, another uses the Sepher Yetzirah,
and so forth. I call them "Pyramid Chords." When two or three of
them are played simultaneously, they have a weird and haunting effect.
Please contact me if you would like further information or a sound
file. You can also hear them in the soundtrack of Zero Waiting, a video "short" by myself and Diana Hobson available from my website.]
References:
Alexjander, Susan, "Music to the Ears: The Infrared Frequencies of DNA Bases (DNA Monthly,
Volume 1, Number 4, September 2005). A version of this article entitled
"The Infrared Frequencies of DNA Bases: Science and Art" was first
printed in the IEEE Engineering in Medicine and Biology Journal, March-April 1999. This version is available at http://www.OurSoundUniverse.com.
Arguelles, Jose, "The Arcturus Probe: Tales and Reports of an Ongoing Investigation" (see Appendix: Pulsar Codes, Light Technology Publishing, 1996)
Bohm, David, Wholeness and the Implicate Order (Routledge, 2002)
Danley, Tom, "Early Reflections" (Live Sound Magazine, July-August 2000)
Dunn, Christopher, The Giza Power Plant (Bear & Company, l998)
First, David, "The Music of the Spheres" (Leonardo Journal, 2003)
Marrin, West, Universal Water: The Ancient Wisdom and Scientific Theory of Water (Inner Ocean Publishing, 2002)
Michanowsky, George, The Once and Future Star (Hawthorn Books, Inc., l977)
Schoch, Robert M., Pyramid Quest (Tarcher/Putnam, 2005)
Silva, Freddym, Secrets in the Fields (Hampton Roads, 2002)
Copyright (c) 2006 by Susan Alexjander. All Rights Reserved.
[Susan Alexjander holds an MA in Composition and Theory from San Jose State University.
She is currently an adjunct faculty member of Union Institute in
Sacramento and Cogswell College in Sunnyvale, California. Her
compositions have been performed throughout the United States,
including collaborations with dance companies. Sequencia is
internationally known and has appeared on CNN, BBC Radio, Wisconsin
Public Radio, and has also been featured at the Boston Museum of
Science, the San Francisco Museum of Modern Art, and the Art Museum of
Santa Barbara. In 1995 she received a Fellowship from the Alden B. Dow
Creativity Center in Midland, Michigan, to explore the geometry of the
mineral kingdom as musical data. She can be contacted by email at xjander@got.net. Visit her website at http://www.OurSoundUniverse.com.]
Did You Know ... Some
scholars such as William Henry contend that the famous quest for the
Holy Grail is actually a quest to attune our DNA so that it resonates
with Galactic Center's signature creational frequency? This divine tone
capable of generating a "love song in the blood," a San Graal
(Holy Blood) or "Song Grail," can in turn attune the core of our being,
our DNA, to the galactic Core's transformational vibration--in the
process, promoting a genetically driven metamorphosis of both
consciousness and physiology.
3. DNA Activation, Healing & Enlightenment
Sol Luckman
Today
a variety of techniques exist to facilitate adaptation to new forms of
thought and their corresponding biological structures or
"thought-forms." Over the centuries, many modalities have been
developed to assist in unfolding the spiritual human (the "Holy Grail")
that exists as a genetic potential in everyone. Alchemy is an excellent
example from antiquity.
Etymologically, alchemy derives from the Arabic
al (the) and khame
(blackness) and might be defined as the science of creating light out
of darkness. As students of this discipline eventually discover,
alchemy's real goal is not to turn lead to gold but to transform human
biology into a physiology of golden light. Stated a bit differently,
alchemy's primary objective is bio-spiritual enlightenment, or creation
of what has been called the lightbody.
Currently,
many more lightbody activation techniques are being made available. My
partner Leigh and I have been blessed in developing one such
technique. The Regenetics Method employs specific combinations of sound
and intention, which are differentiated aspects of the primary
creational ("torsion") energy of unconditional love, to stimulate the
latent potential in DNA designed to facilitate the evolution of human
beings into unity consciousness and its corresponding physiology of
light.
DNA, as Gregg Braden points out in The God Code,
is by its very sacredly encoded nature a unifying principle for
humanity--one capable of bringing peace and harmony to a planetary
population faced with a decision between succumbing to crisis or
embracing opportunity. That we can activate DNA to expand our worldview
and, in the process, evolve a biology based on unity consciousness is
truly a divine gift at this historical crossroads when, to quote
Barbara Marx Hubbard, we must "decide between conscious evolution, or
extinction through misuse of our powers."
The
Regenetics Method features three integrated DNA activations that
collectively establish the "ener-genetic" precondition for lightbody
unfoldment. The first of these, Potentiation, activates DNA to
repattern the body's electromagnetic fields, resetting the human
bioenergy blueprint to an "infinity circuit" based on the alchemically
transformative number 8. DNA has been compared to an antenna connecting
humanity to Source whose reception can be clouded by toxicity and
trauma. Potentiation activates DNA to begin removing this toxicity and
trauma, establishing a clearer connection through harmonic resonance
with the unconditional love frequency emanating as higher-dimensional
spiral standing waves of sound and intention (light) from the Healing
Sun at Galactic Center. In other words, Potentiation attunes DNA to the
primary torsion energy of Source.
Leigh
and I consider ourselves merely facilitators for the individual's own
bio-spiritual unfoldment. We actually heal (evolve) ourselves. This is
an important point that can hardly be overemphasized. As investigative
mythologist William Henry reminds us, the "Healing Sun rises from
within us when we place ourselves in balance with its energies … By
conceiving of these healing energies … we can tune into them. What we
can conceive we can achieve." I would add that we place ourselves in
balance with the Healing Sun not by merely looking inside ourselves but
first and foremost by adopting an internal attitude of unconditional
love.
My
illness, which inspired the Regenetics Method, had affinities to
chronic fatigue syndrome (CFIDS), multiple chemical sensitivity (MCS)
and fibromyalgia and was precipitated by toxicity and trauma from a
series of hepatitis and yellow fever vaccines I received in the spring
of 1995. After years of intense suffering and trying one expensive (and
mostly ineffective) therapy after another, my turning point came when I
realized that if I could somehow "reset" myself at the genetic level,
my thirty or so debilitating symptoms would eventually resolve
themselves.
I found myself on this path after reading a disturbing book by Leonard Horowitz called Emerging Viruses.
Basing his claims on meticulous research, Dr. Horowitz demonstrates
that vaccines are a principle cause of a variety of autoimmune
diseases, including AIDS. He further exposes what is in essence covert
biowarfare conducted by the medical establishment against a largely
unsuspecting population in Healing Codes for the Biological Apocalypse, where a main theme is the use of sound to heal the physical body by restoring it to genetic integrity.
The
specific sounds used to restore genetic integrity derive from the
ancient Solfeggio scale. This primordial six-note scale, which was
dubiously "lost" by the Roman church during the time of Pope Johannes
in the 17th Century, was recently rediscovered by Dr. Joseph Puleo as
described in Healing Codes.
Here it is simply necessary to point out that all three DNA activations
of the Regenetics Method employ the Solfeggio scale, which some
scholars believe to be the sacred set of six notes employed by the
Creator to fashion the world in as many days. Specifically,
Potentiation employs the note "Mi," a frequency (528 Hz) that has been
used by cutting-edge molecular biologists to repair genetic defects.
Having
discovered Horowitz and Puleo, I was then fortunate enough to stumble
on another book that greatly expanded my awareness of the immense scope
of human potential: The Cosmic Serpent: DNA and the Origins of Knowledge, by French anthropologist Jeremy Narby. The Cosmic Serpent
is an exploration of DNA from a shamanic perspective that describes how
sound can be used to stimulate a genetic self-repair mechanism.
Intrigued (and desperate) enough to delve into this subject, I learned
that the power of sound to activate DNA had recently been documented by
the Gariaev group in Russia. Dr. Peter Gariaev and his brilliant team
of geneticists and linguists proved that damaged DNA can be healed
without gene splicing or other physical manipulation by merely
immersing it in radio and light waves keyed to human language
frequencies.
According to Gariaev's research, DNA not only assembles proteins but also stores and communicates data in a decidedly linguistic fashion. His team found that the genetic code in "junk" or potential DNA
follows, for practical purposes, the same foundational rules as human
languages. In order to prove this, the syntax, semantics and grammar of
language and DNA were compared. It was discovered that potential DNA's
alkaline sequences closely mirror linguistic communication rules. This
strongly suggests that the many human languages did not appear
randomly, as is commonly believed, but reflect our essentially similar
genetics. Supported by Braden’s revolutionary discovery that the
ancient Hebrew name for God is code for DNA based on the latter's
chemical composition of hydrogen, nitrogen, oxygen and carbon,
Gariaev's findings offer scientific corroboration that in the beginning
was the Word!
Gariaev
and his colleagues also studied DNA's uncommon electromagnetic
behavior. They concluded that living chromosomes function exactly like
holographic biocomputers powered by DNA's own laser radiation. The
Gariaev team modulated certain linguistic frequencies onto a laser.
With this technology of language-modulated codes translated into radio
and light waves, they were not only able to heal damaged
chromosomes--they also regrew endocrine glands in animals, stimulated
regrowth of new adult teeth in humans, and even successfully altered
genetic expression. Amazingly, they obtained results similar to those
documented by Dr. Yu Dzang Kangeng, who was the first to employ torsion
energy to map DNA sequences between organisms. Using radio and light
waves keyed to human language frequencies to rewrite DNA, as opposed to
gene splicing, Gariaev’s team literally transformed frog embryos into healthy salamander embryos in the laboratory.
In
this manner metamorphosis was achieved without any of the side effects
encountered when manipulating isolated genes. The "random and risky
nature of gene splicing has been sadly hidden from the public," warns
Horowitz. "With gene therapy, researchers cannot definitively predict
where on a [chromosome] the modified gene might land, raising a
hazardous possibility of inadvertently disrupting other genetic
expressions and cellular functions." Compare this to the organic
alteration of genetic expression that can be achieved by simply
applying vibration and language (or sound and intention, or words)
to DNA. Gariaev's historical experiment in embryogenesis points to the
immense power of what many are calling "wave-genetics," an area which,
contrary to current molecular biology dogma and propaganda, has an
obviously more primary influence on the origin of species than
biochemistry.
Spiritual
masters worldwide have always insisted that our genetic code can be
"potentiated" through language--thus the healing effects of prayer,
hypnosis, affirmations, mantras, etc. Happily, Gariaev's research has
now scientifically substantiated such phenomena. The more developed the
individual healer's consciousness, the less need there is for a
mechanical crutch.
Human
consciousness, not technology, is the key to enlightenment. Reliance on
something outside ourselves to heal us, or make us "whole," is at best
giving away our power, at worst worshiping a false god. In an article
partly inspired by the Regenetics Method entitled "Finding the Holy
Grail," psychologists Barry and Janae Weinhold emphatically argue this
point, writing of what they call the Path of Technology (as opposed to
the Path of Nature), "We have nothing against technology per se, and
believe that some devices are helpful as 'boosters.' When created by
minds connected to heart and spirit, technology can become a useful,
but not essential, spiritual tool for enhancing genuinely spiritual
living. Technology lacking connection with heart and spirit becomes
just another box from which it is necessary, at some point, to break
free."
When technology transforms into a path, "it encourages
dependency because it implies that people need to rely on a technical
intermediary to help them open their own gates of perception. Rather
than using primordial tools grounded in nature to empower initiates on
their return to Source, the Path of Technology can end up disempowering
people and encouraging spiritual co-dependency."
Astonishingly,
Gariaev's research reveals even more far-reaching implications with
respect to the unlimited healing power of human genetic consciousness.
The Russian team found that wave-activated DNA can manipulate the space
matrix, producing small electromagnetic wormholes of a subquantum
nature. These DNA-activated wormholes, whose energy signatures are
similar to those of Einstein-Rosen bridges found near black holes, are
connections between different areas in the multiverse through which
data can be transmitted outside space-time.
Potential
DNA, which regulates transdimensional self-organization (epigenetic)
functions, magnetizes these nonlocal streams of information to itself
and then forwards them to our consciousness. Grazyna Fosar and Franz
Bludorf, authors of an excellent summary of Gariaev's findings entitled
Vernetzte Intelligenz ("Networked Intelligence"), refer to this data transfer process as hypercommunication, pointing out that it is often experienced as "intuition" or "inspiration."
When
hypercommunication occurs, according to Fosar and Bludorf, an
extraordinary phenomenon can be observed in DNA. They relate how
Gariaev irradiated a DNA sample with a laser until a typical wave
pattern formed on his monitor. When the DNA sample was extracted, its
electromagnetic pattern remained, perfectly intact. Many control
experiments established that the pattern still emanated from the absent
sample, whose energy field apparently remained undisturbed in the
holding chamber for up to thirty days, causing light to spiral all by
itself following the shape of the physically removed double helix.
This
nonlocal, light-bending torsion energy phenomenon has since become
famous as the "DNA phantom effect." It is theorized that torsion waves
from outside space and time continue to flow through the activated
wormholes even after the DNA is removed. DNA activation is thus
explained as an ener-genetic transfer of universal creative
consciousness manifesting as torsion waves that stimulate a molecular
rearrangement of transposons or "jumping DNA" in potential DNA. In
turn, potential DNA shifts the bioenergy fields, which then modify
metabolic and replication functions in cells, facilitating healing. This same process of DNA activation that encourages
healing, by inviting more torsion light into cells, by definition
promotes enlightenment.
"Most
people tend to think that the DNA created the [phantom] energy field,
and that the energy field is somehow just a 'shadow' of the DNA,"
writes author and scientific researcher David Wilcock, who proposes a
fascinating reinterpretation: "However, I believe that the wave
actually exists before the DNA … [The] only logical explanation is that
the phantom energy of DNA is actually the creator of DNA." Since this
etheric or torsion energy has been shown to pervade the galaxy,
wherever the "materials that create life exist, the subtle, spiraling
pressure currents of this energy will arrange the DNA molecule into
existence."
Combined
with much research of my own, my intuition led me to theorize that the
correct combination of sounds, intentionally geared to the body's
electromagnetics, could invite an influx of torsion energy capable, for
instance, of clearing vaccination toxicity and trauma at the genetic
level and upgrading the human bioenergy field to higher harmonic
functioning. I came to view the electromagnetic fields as an
individual's ener-genetic blueprint that not only can be reset like a
blown fuse but, in the process, transformed. Leigh and I named this
approach to DNA activation the Regenetics Method after Potentiation
Electromagnetic Repatterning resolved my chronic illness and we began
to develop other DNA activations. The "fringe benefit" of Potentiation
was that it also promoted enlightenment by initiating lightbody
activation.
Copyright (c) 2006 by Sol Luckman. All Rights Reserved.
[Sol Luckman is editor of DNA Monthly and cofounder of the Phoenix Center for Regenetics, offering cutting-edge educational
services and materials designed to activate unity consciousness and
actualize human potential. The Developers and all trained Facilitators
of the Regenetics Method offer DNA activation as
educators and ordained ministers, not medical doctors, and do not
purport to diagnose or treat illness. The preceding article is adapted
from the recently published Book One on the Regenetics Method, Conscious Healing. For information visit http://www.phoenixregenetics.org.]
Click here to preview Book One on the Regenetics Method, Conscious Healing.
Coming in our May issue ... "Three Levels of Mastery" & so much more!
***Unless otherwise indicated, all materials appearing in DNA Monthly are copyrighted (c) by Sol Luckman and may be reprinted without permission provided there are no content changes and the author's byline is included with the following: Sol Luckman is author of Conscious Healing: Book One on the Regenetics Method, editor of DNA Monthly,
and cofounder of the Phoenix Center for Regenetics, offering
cutting-edge educational services and materials designed to activate
unity consciousness and actualize human potential. For information
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