The Giza Power Plant Page 16
FIGURE 33. The Pi Factor
William Fix presented well-founded and objective data to support this claim: "We know that someone in very deep antiquity was aware of the size and shape of the earth with great precision. The three key measurements of the earth are incorporated in the dimensions of the Great Pyramid. The perimeter of the Pyramid equals a half minute of equatorial latitude. The perimeter of the sockets equals a half minute of equatorial longitude, or 1/43,200 of the earth's circumference. The height of the Pyramid including the platform, equals 1/43,200 of the earth's polar radius.... We do not know how they measured it, but that they did so is now an article of knowledge."8
There are volumes written on the measurements taken of the Great Pyramid, with each researcher producing slightly different results than the others. I am not going to attempt to argue for one data set or the other; however, I prefer Petrie's more realistic and "real-world" approach in reporting his data in that he provides a tolerance band within which his measurement may fall. Within the tolerance band he gave for the angle of the pyramid, we could have taken the perfect pi proportion, but it really is not necessary for the purposes of this book. What I have established by providing this data is that there is a distinct relationship between the Great Pyramid and the Earth. This is evidenced by the measurements of the pyramid and by its location.
When we question why there is a correlation between the Earth's dimensions and the Great Pyramid, we come up with three logical alternatives. One is that the builders wished to demonstrate their knowledge of the dimensions of the planet. They felt it necessary to encapsulate this knowledge in an indestructible structure so that future generations, thousands of years in the future, would know of their presence in the world and their knowledge of it.
The second possible answer could be that the Earth affected the function of the Great Pyramid. By incorporating the same basic measurements in the pyramid that were found on the planet, the efficiency of the pyramid was improved and, in effect, it could be a harmonic integer of the planet.
A third alternative may involve both the first and the second answers. The dimensions incorporated in the Great Pyramid may have been included to demonstrate the builders' knowledge or more importantly, to symbolize the relationship between the Great Pyramid's true purpose and the Earth itself. Perhaps the dimensions were not a critical requirement for the function of the pyramid, but were included to satisfy the aesthetic nature of the builders.
Considering the degree of practical consciousness evident in the Great Pyramid, I am inclined to accept a practical answer for noted phenomena and choose the second alternative because it recognizes a level of pragmatism that such a degree of consciousness would undoubtedly possess. The second alternative leaves no doubt that the builders of the Great Pyramid did not go to a vast amount of trouble simply to pass along their knowledge to some future generation. They used their energies for a more self-serving and timely purpose. That the builders of the Great Pyramid employed the dimensions of the Earth in their pyramid as a means to an end in achieving a specific result is easier to accept than the speculation that it was the result of some magnanimous gesture intended for future generations. Could our society afford to build—if we were able to—such a structure for this purpose?
Having established the relationship between the Great Pyramid and the Earth, it would be helpful if we remind ourselves that the measurements of an object are not the object itself but a means to create the object—or a means to an end. With the Great Pyramid the means are clearly evident. To what end they were used will become more obvious as we move along.
We know that the Earth is a vibrating dynamic body with tremendous forces that build up over time, forces that eventually result in a sudden release of a tremendous amount of energy. We might ask, therefore, "How can we tap into that energy?" Is there a way to draw the energy off over a period of time, thereby decreasing its intensity and possibly precluding the destructive forces of an earthquake? Science has shown us that it is possible, on a much smaller scale, for an object to draw mechanical energy from another vibrating object if both their vibrating frequencies are in harmony. But to draw mechanical energy out of the Earth would be a huge task. What would the requirements be for the object that we would use to accomplish such a thing?
Before we can answer these questions, we must refresh our minds regarding resonance and harmonics, for these are the natural phenomena that we would need to work with to accomplish such a task (see Figure 34). Resonance is the sympathetic vibration of one object with another. A piano provides a simple example of resonance. Press down one key, or several keys forming a chord, without actually striking the note, and then undamp the strings by pressing the loud pedal. Play the corresponding notes an octave higher, and the strings you have open on the lower octave will vibrate in sympathy. Hum into the piano in the same pitch and the strings will again respond. This transfer of energy is due to resonance. The transmission of energy and vibration go hand in hand. The strings of a musical instrument are induced to vibrate, and the energy reaches our ears in the form of sound waves.
When airborne sound forces mechanical vibrations in several piano strings that vibrate at different frequencies, the phenomenon known as harmonics is at work. Elements (strings) will absorb energy from a source more efficiently if they are of the same frequency. Multiples of the fundamental forcing frequency, known as harmonic frequencies, also will efficiently absorb this energy and vibrate at their natural resonance.
Resonance can probably best be described by a classic example of how this natural phenomenon can unleash an awesome and destructive power. This incident occurred on the morning of November 7,1940, in the State of Washington. The Tacoma Narrows Bridge created a link between the Olympic Peninsula and the mainland. It had been open only for four months when tragedy struck. In gusts of wind at only forty-two miles per hour, the bridge began to oscillate, wildly swaying back and forth. The gusts of wind swept across the bridge at a frequency that matched the bridge's natural resonant frequency. As the gusts of wind continued, the bridge's torsional vibrations amplified to the point that the suspenders were torn away from their moorings and the bridge began to break up. Fortunately, it was closed to traffic in time, and no lives were lost. Nature's demolition of the Tacoma Narrows Bridge is given as a classic example of the destructive forces that can be induced in a structure that is subject to periodic influxes of energy. In this case, the energy was provided by the wind, which swept the bridge at the appropriate resonating frequency of the structure. With insufficient restraint, or damping, any vibrating structure may eventually be destroyed, as long as it is drawing energy from the source.
FIGURE 34. Resonance and Harmonics
Another example of the potentially destructive force of resonance, and the measure taken to prevent it, is the instruction for soldiers to break step when marching across a bridge. Each step of an individual soldier acts as a force on the bridge. If the rest of the company joins this soldier in marching in unison across the bridge, the energy provided by that one step is amplified many times over, and the bridge will vibrate in time to the march. The pounding foot on the bridge is known as the forcing frequency. If the frequency of the marching feet happens to coincide with the natural frequency at which the bridge resonates, the absorption of energy will be maximized and the vibration of the bridge will become much greater, and it could potentially cause the bridge to collapse.
The Encyclopedia Britannica explains this phenomenon: "As has already been suggested, if the damping is very small, a vibrator will draw correspondingly large average power from the source, especially at resonance. If the damping becomes effectively zero, momentarily, or even negative' as can happen under certain peculiar circumstances, the power withdrawal may become so great as to lead to a runaway vibration that may destroy the vibrator."9
At the Army Corp of Engineers Research Laboratory in Champaign, Illinois, there is a huge "shake table" that is used to test military equipment. The
table can simulate the forces of an earthquake by generating both longitudinal and transverse waves. The vibration of the table can also be ramped up and down to any desired frequency. A demonstration of resonance using the shake table leaves one with a strong sense of the awesome power this unique phenomenon can unleash. To demonstrate the effect resonance can have on an object, the shake table is fitted with several long plastic tubes, around six inches in diameter and of various lengths. The tubes are clamped perpendicular to the tabletop. The table is then vibrated and slowly ramped up in frequency. The tubes slowly sway back and forth until the vibrations reach the resonant frequency of anyone tube, and then that tube begins to oscillate more than the others. If that frequency is maintained for a period of time, that tube shakes wildly while the other tubes remain relatively stable. Before the tube shakes loose from its clamp, the operator raises the frequency and the oscillations of the one tube die down. The frequency of the table continues to increase until another tube begins to vibrate wildly. The process repeats itself across each of the tubes on the table. At its own unique resonant frequency, each tube will draw more energy from the source.
It is clear, then, that in order to draw mechanical vibrations and relieve the stresses that build up within the Earth, we would need an object that would respond sympathetically with the Earth's fundamental frequency. This object would need to be designed in such a way that its own resonant frequency was the same as, or a harmonic of, the Earth's. In this manner, energy transfer from the source would be at maximum load. In harmony with the Earth's vibrations, this object would have the potential to become a coupled oscillator. (A coupled oscillator is an object that is in harmonic resonance with another, usually larger, vibrating object. When set into motion, the coupled oscillator will draw energy from the source and vibrate in sympathy as long as the source continues to vibrate.)
Because the Earth constantly generates a broad spectrum of vibration, we could utilize vibration as a source of energy if we developed suitable technology. Naturally, any device that attracted greater amounts of this energy than is normally being radiated from the Earth would greatly improve the efficiency of the equipment. Because energy will inherently follow the path of least resistance, it follows that any device offering less resistance to this energy than the surrounding medium through which it passes would have a greater amount of energy channeled through it. Keeping all of this in mind and knowing that the Great Pyramid is a mathematical integer of the Earth, it may not be so outlandish to propose that the pyramid is capable of vibrating at a harmonic frequency of the Earth's fundamental frequency.
As it turns out, such is the case!
Acoustic data, scanty as it is, supports the theory that the Great Pyramid responds to vibrations from within the Earth. I wish I had been with NASA consultant and acoustic engineer Tom Danley when he conducted his acoustical analysis within the King's Chamber. I owe him a great deal because he performed a task that I have wanted to see transpire for twenty years. As of this writing, Danley is remaining very quiet about his research in Egypt because he is currently under a nondisclosure agreement with the Schor Foundation, a private research organization headed by industrialist Joseph Schor. The Schor Foundation funded Danley's research within the Great Pyramid in 1996 and, honoring an agreement with the Egyptian Department of Antiquities, they are keeping strict control of all the information they gathered there.
There was another member of this party, however, who is not keeping so quiet. Boris Said (pronounced Sa-eed) is a self-proclaimed documentarian and was a producer of The Mysteries of the Sphinx documentary. Said was under a nondisclosure agreement with Schor as well, but claims that Schor negated the agreement by not telling him that his permit to film at Giza had been withdrawn, or had expired, as he was still working on the plateau. In an interview on the Art Bell radio show, Said described Danley's experiments, which involved the use of large amplifiers, subwoofers, and accelerometers (an instrument designed to detect vibration) that were strategically placed in the King's Chamber and in each of the air spaces above the King's Chamber. Much of what Danley discovered remains with Danley, but what little Said has disclosed to promote a documentary video he produced is quite revealing:
Subsequent experiments conducted by Tom Danley in the King's Chamber of the Great Pyramid and in Chambers above the King's Chamber suggest that the pyramid was constructed with a sonic purpose. Danley identifies four resident10frequencies, or notes, that are enhanced by the structure of the pyramid, and by the materials used in its construction. The notes from [sic] an F Sharp chord, which according to ancient Egyptian texts were the harmonic of our planet. Moreover, Danley's tests show that these frequencies are present in the King's Chamber even when no sounds are being produced. They are there in frequencies that range from 16 Hertz down to 1/2 Hertz, well below the range of human hearing. According to Danley, these vibrations are caused by the wind blowing across the ends of the so-called shafts—in the same way as sounds are created when one blows across the top of a bottle.
Included in the program is a meeting with a Native American maker of sacred flutes from Oregon. His flutes, which are made to serenade Mother Earth, are tuned to the key of F Sharp!11
Danley has come up with an interesting theory regarding the wind as the source of the infrasonic sound, but I wonder if he is really hiding something. Did his instruments reveal the source of the sound to be the Earth itself, but he is not allowed to tell? The reason I wonder is that fans have been installed within the mouths of the shafts Danley refers to; and in the west side of the passage leading into the King's Chamber is a tunnel bored to the northern shaft, which has been opened along its length for several feet, precluding any vibrations in the King's Chamber from being caused by the "Coke bottle" effect. Moreover, the fans were installed to remove excess heat and humidity, and are drawing air from the pyramid's chambers through the shafts to the outside. All of these are conditions that would make the "Coke bottle" effect extremely unlikely. Danley, as an acoustical engineer, must know this as well as I do. Therefore, I wonder if the most likely source for the infrasonic sound within the King's Chamber is the Earth itself.
I recently had the opportunity to confirm the acoustical phenomena of the King's Chamber in a unique and rather fortuitous way, although without Danley's instrumentation or expertise. On February 24, 1995, I paid the inspector of the Giza Plateau $100 to leave me inside the Great Pyramid after all the tourists had left and it was officially closed. It was Ramadan, a sacred time for Muslims, and tourist attractions were closing early. I had asked to be left alone in the Great Pyramid for thirty minutes with all the lights turned off. Mohammed, the inspector, thought I was going to meditate, and I did not correct his thinking as I negotiated the deal. My backpack was weighted with my water bottle, an essential item in Egypt, and some instruments I had brought along specifically to take some acoustical and electromagnetic frequency measurements. I was pressed for time, and the activities I had planned allowed no time for meditation. I had asked for the lights to be turned off because I did not want any background electrical noise to affect the digital frequency counter with which I was equipped. I had brought this along to measure radio frequencies that I believe can be generated by the resonant chamber inside the Great Pyramid. I also had brought along a tape recorder, which I turned on and placed upon a block of granite situated close to the granite coffer (I will call the coffer a "box" from this point forward) in the King's Chamber. Using this block as a work stage, I positioned my flashlight, the digital frequency counter, and a monochromatic tuner, which measures sound frequency and is used to tune musical instruments, as I heard the last batch of tourists making their way down the Ascending Passage to the outside.
When the noise faded away, I began to test the frequency of the granite box. I had read in a booklet by flautist Paul Horn (that accompanied his album Inside the Great Pyramid) that the granite box resonated at a frequency of 438 cycles per second (Hz).12 Horn had used a Korg tuner, which
is quite a bit more expensive than the Matrix tuner I was using, to perform his own acoustical tests inside the chamber. I thumped the side of the box with my fist. The tuner registered between 439 and 440 Hz. I loudly hummed that note to test the resonance of the King's Chamber. Sliding up the scale, I noted that the reverberation faded until I produced the same note one octave higher, and then the reverberation was even greater. It was then time to test for radio frequencies, and the lights were still not turned off. I was becoming concerned because I had to be out of there in fifteen minutes, so I crouched back through the passageway, stood at the top of the Grand Gallery, and yelled to the guards to turn off the lights. While there, I intoned the note I had hummed earlier, then scurried back into the King's Chamber with the intent of being by my flashlight before I was pitched into darkness. At last, the hum of the lights ended abruptly; I was left with only the light from my flashlight. My heart was pounding in my chest. I was sweating profusely. I had reached the moment of truth.
Not that day! To my chagrin, I realized that the hum of the lights was masking the whir of fans installed in the alleged "air channels." The guards had turned the lights off, but, as I discovered later, they could not turn off the fans without a key to the electrical box that controlled them. I "blessed" Rudolph Gantenbrink for such a fine engineering job, for he had installed those fans before he made his famous exploration of the Queen's Chamber shafts. Disappointed that I would not be able to use any data, I went ahead and took some readings anyway. I then packed my materials and hurried out of the King's Chamber, down the Grand Gallery, tortured my thighs again down the Ascending Passage, then walked quickly through Al Mamun's forced passage to the gate and out to fresh air.