The "Philadelphia Experiment" lore mentions a UFO book marked up by three different black-ops insiders with secret data. Now you can read it all online!
NOT THE FIRST TIME I'VE WRITTEN ABOUT THIS...
In the early days of my website everyone always raved about Shift of the Ages as the best thing I'd ever written. It was more accessible and less of a 'hard science' read than The Science of Oneness and particularly Divine Cosmos, which was the most complex and detailed of the three. They're all still here now but our current site design has buried it, and at this moment I still need to re-format them to modern Web paragraph spacing.
For new readers I recommend starting with "David's Blog", since that's the latest, greatest material I've written here.
THE TRUTH COMES OUT
Ever since I did the research to write "Shift of the Ages " in the late 1990s (found in the Read Free Books Here section), I've wished I could see the original copy of Morris K. Jessup's "The Case for the UFO," complete with the alleged margin notes from three different high-ranking black-ops guys who had direct knowledge of the Philadelphia Experiment.
In case you don't know, as we said in Part I, the Philadelphia Experiment was an alleged case involving teleportation of a US Navy ship from the Norfolk Naval Shipyard, up to a harbor in Philadelphia, PA and then back to the Norfolk port once again.
The effect it reportedly had on the sailors was devastating. Some of them allegedly got stuck in the hull of the ship. Some simply died. Others were left 'gibbering, running mad'. Some would become invisible at certain times, apparently associated with strong emotional agitation -- as in a documented case of two sailors getting into a fight in a bar in Norfolk, and one of them disappearing during the fight. Apparently they were given some kind of 'hip packs' that would keep them from losing phase with our matter and energy system.
Others were apparently processing time at a much slower rate than a normal human being. If their skin was rubbed frequently they could be brought out of this unfortunate state, but you had to be patient and continue for some time. Two hours of rubbing might only seem like a few seconds based on their frame of reference for time. For one of us to look at them, they would appear catatonic. However, it was possible to re-orient them to our own time with enough attention.
A MAJOR BREAK IN THE STORY
A major break in this story came on the fifty-year anniversary of the Roswell crash in 1997 with the publication of Col. Philip Corso's "The Day After Roswell. " Corso revealed that it was NOT the USS Eldridge that made the trip through hyperspace, as the 'cover story' indicated. Instead it was a Navy minesweeper ship known as IX-97. Hence, 'debunkers' have investigated the Eldridge and its crew, and found no evidence of the Philadelphia Experiment having occurred.
In Part I we discussed the fascinating new revelations to come from the Gerry Vassilatos material. An extremely high-intensity electrostatic discharge, used for welding together metallic plates on the hulls of huge Naval ships, caused a rift or dark opening to appear in our space-time. Objects caught in the effective zone could disappear from our reality completely. Dr. Thomas Brown was brought in, having seen similar effects in his own research -- dark openings and anomalous behaviors of physical matter under those conditions.
[I have read about the same thing happening to Lt. Col. Tom Bearden in his research with 'scalar interferometry', i.e. aiming two different torsion-field generators at the same spot so the waves collide and 'interfere' there. When he saw this jet-black aperture form -- like a vertically elongated oval -- he apparently became quite terrified and turned it off, never wanting to mess with it again -- as he did not know what might come through. Do not try this at home!]
It was from this initial observation that the effect was tested and perfected enough that they felt they could use it on an inhabited ship. The steel hull apparently had a dissipating effect. It is believed that the Philadelphia Experiment went awry because of an inconsistency in the hull that caused the danger zone to bleed into the area where the sailors were -- though it was intended to be outside the ship so no one got hurt.
NEW ANTI-GRAVITY INSIGHTS
Another key revelation from the Vassilatos chapter on Dr. Thomas Brown was the effect of anti-gravity being something that you could get started, and then like a siphon it would continue running for a period of time thereafter. As the effect diminished, it did so in step-wise fashion -- and the overall effect was fluid-like.
For me this was a personal epiphany. I have studied the "Tibetan Acoustic Levitation" story for years, (The Science of Oneness, section 8.9) but never really understood how it worked. Brown's discovery helped me make sense out of it -- and the insider statements from this book you're about to read were what finished the job. Here's a little excerpt:
8.9 TIBETAN ACOUSTIC LEVITATION
A similar usage of sound to produce levitation is the now-infamous story of Tibetan Acoustic Levitation. Various tidbits of the story emerge repeatedly in the discussion rooms and articles on free energy and UFO websites, however the best treatment of this story that we have found is in an article by Bruce Cathie in the book Anti-Gravity and the World Grid.
The beginning of the report is transcribed from a German magazine article that was translated into English; and we begin at the point where the translated article starts.
We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds… the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13.
The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report:
A Swedish doctor, Dr. Jarl, a friend of Kjelson’s, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later in 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama.
After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans at the monastery, where the old Lama and his friend who was now holding a high position were now living.
Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe.
One day his friend took him to a place in the neighborhood of the monastery and showed him a sloping meadow which was surrounded in the northwest by high cliffs.
In one of the rock walls, at a height of about 250 meters, was a big hole which looked like the entrance to a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes.
In the middle of the meadow, about 250 meters from the cliff, was a polished slab of rock with a bowl-like cavity in the center.
[Note: This is part of how the sound resonance was focused on the object.] The bowl had a diameter of one meter and a depth of 15 centimeters. A block of stone was maneuvered into this cavity by Yak oxen. The block was one meter wide and one and one-half meters long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 meters from the stone slab. The radius of 63 meters was measured out accurately. The musical instruments consisted of 13 drums and six trumpets. (Ragdons).
[Note: At this point the exact measurements of all the instruments are given in detail, which we have omitted here for brevity, as these measurements are discussed further in the chapter.]
All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks. The situation is demonstrated in the following diagram (see above.)
When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise.
During the first four minutes nothing happened, then as the speed of the drumming and the noise increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 meters high. After three minutes of ascent it landed on the platform.
[Note: Pay attention to the fact that it took three minutes to rise 250 meters. We are not talking about a “cannonball” effect. Slowly, the levity force overtook the gravity force and the stone lazily rose into the air.]
Continuously they brought new blocks to the meadow, and the monks using this method transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 meters long and 250 meters high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task.
Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle.
Because he had the opinion in the beginning that he was the victim of mass-psychosis, he made two films of the incident. The films showed exactly the same things that he had witnessed.
The English Society for which Dr. Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand. : End of trans.’
[Note: And now we have the beginning of Cathie’s comments:]
The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring.
It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground. The reaction was not initiated by the religious fervor of the group, but by the superior scientific knowledge held by the high priests.
The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests, using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, I believe, would be of no consequence.
Cathie’s work then goes into an explanation of how these measurements work very well with his own discoveries of the energy harmonics of Planet Earth, and Cathie’s work has already been covered in our book The Shift of the Ages.
Cathie’s findings point us directly towards the idea that the aether vibrates in harmonic resonance, and the vibrations can be measured very precisely and put into numbers. For now, what we should see is that this act of levitation is not a product of fantasy - the entire setup was carefully observed, measured and yes, even filmed.
It took the stones three whole minutes to rise, so this was not simply a sudden catapulting effect; rather, it was more like a slow, deliberate movement.
8.9.1 SCIENTIFIC ANALYSIS OF TIBETAN ACOUSTIC LEVITATION
For those who are interested, an article by Dan Davidson helps us to put this amazing event into scientific terms. If the technical numbers and terms bother you, then simply skip past this excerpt and keep on reading, as it will not detract from your overall understanding of the concepts.
Monks with 19 musical instruments, consisting of 13 drums and five trumpets, were arranged in an arc of 90 degrees in front of the stone block. The instruments had the following measurements:
- 8 drums were 1 meter diameter x 1.5 meters deep x 3mm sheet iron and weighed 150 kg.
- 4 drums were 0.7 meter diameter x 1 meter deep
- 1 drum was 0.2 meter diameter x 0.3 meter deep
- All trumpets were 3.12 meters x 0.3 meters…
Calculations reveal that the volume of the large drums are similar to the stone block volume. The medium drums are one third the volume of the large drum and the small drum is a 41st of the medium drum and 125th of the large drum. The exact volume of the large stone is not available; however, the harmonic relations of the drums implies it is about 1.5 cubic meters.
Another interesting aspect of this levitation demonstration is the small amount of power necessary to perform the levitation. The loudest tolerable sound pressure that a person can stand is approximately 280 dynes/cm2. From physics analysis this translates to about 0.000094 watts/cm2.
If we assume that each monk with his instrument produced one half this much sound energy (which is highly unlikely) and we make the further gross assumption that this is the amount if power that reaches the stone (actually sound dissipates rapidly over distance), we would have about 0.04 watts (i.e., (19 instruments + 19 × 4 monks) x 0.000094) hitting the huge stone block.
This is an astoundingly small amount of energy actually hitting the 1.5 cubic meter stone to produce the effect.
To lift the stone 250 meters takes a prodigious amount of energy. Rocks such as granite and limestone have weights in the neighborhood of 150 - 175 pounds per cubic foot.
If we assume a nominal value of 160 pounds per cubic foot then the 1.5 cubic meter stones weighed around 8475 pounds (i.e., over 4 tons!!!). To lift the 8475 pounds 250 meters would require about 7 million ft-pounds of work (i.e., 8475 pounds X 250 meters / 0.30408 meters/foot = 6,968,035).
Since this was done over a 3 minute period then about 70 horsepower was produced (i.e., 7 × 106 foot-pounds / 180 seconds / 550 horsepower/foot-pound/second = 70.384). This is equivalent to 52 kilowatts (i.e., 70.384 X 0.74570 kilowatts/horsepower = 52.5). The over unity power factor we obtain is 5,250,000 over unity (i.e., 52,500 watts/0.01 watts).
The monks were obviously tapping into a huge amount of free energy to levitate the huge stone blocks, or gravity requires little power to affect its operation once the principles are understood.
What Davidson missed in this analysis is that the “levity” force is already nearly as strong as the “gravity” force, so it isn’t as hard to shift them as one might otherwise think.
Clearly, the entire arrangement was tailor-made to create waves of sound resonance that would reverberate within the stone to be moved, and absorb or reflect the downward-pressing force to create levitation.
If we look back at the shape of the monks with their trumpets, we can see that they formed exactly one quarter of a circle, with all their sound pressure directed at the “bowl” depression in the ground that the stone sat in.
Once the stone had reached a relatively pure level of sound resonance inside of itself, which took several minutes, a gateway for the aetheric energy to flow into our reality would be opened up, and a polarized spherical “consciousness unit” field would form around the object.
Then, like water drifting into a whirlpool, the gravity would simply absorb into stone without pushing it down to the Earth, while the weaker levity or “pressor” force coming up from the Earth would win out, causing the stone to gradually rise. If you’ve ever seen a bubble of air slowly, slowly rise through a thick liquid, then you can see how these differences in pressure could create a slow levitating effect.
Furthermore, we remember that Cathie didn’t think that the chanting or concentration of the monks had anything to do with the final effect. However, the work that was displayed by gifted psychics such as Nina Kulagina helps us to see that the energy of consciousness, focused by the chanting and meditation, could certainly have been involved in the levitation.
It is possible that without the extra “kick” of meditation to add more conscious energy to the mix and organize what was already forming there, this experiment could not be replicated.
This dramatic display starts to make even more sense to us when we consider that the Tibetans might be the inheritors of a lost ancient aetheric science from an advanced technological society; and these topics were examined in The Shift of the Ages.
That's as much as I understood back when I wrote The Science of Oneness, but the part I was missing was how gravity is the primary force of space-time and levity is the primary force of time-space. When you create a 'node' into time-space you create anti-gravity, as well as a portal into time-space. In fact it appears you cannot use anti-gravity without transitioning into time-space.
This explains everything from the bizarre effects of Dr. Viktor Grebennikov's flying platform to the recent accounts of Dr. Ralph Ring that appeared in a video on Project Camelot. In both cases, using anti-gravity appears to put you into time-space -- you move through a vortex field. I hate to tease you but we'll have to save this discussion for Part III!
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