In DNA Dreams ~ Sounds of our Genetic Codex~, Jill Mattson creates a complex symphony of frequencies based on your molecular DNA building blocks. The overarching musical score enhances the listening experience, producing a rich sonic revelation. Cascading throughout the tracks are streams of sound from healthy DNA components.
Fibonacci-sound-spirals mirror the double helix geometry of DNA, taking you upward along the deepest pathways of your energetic scaffolds. Our genetic records are purified and reinvigorated, strengthening and infusing the very structures of our chromosomes. And since DNA is found in every cell of the body, DNA Dreams provides a Holistic Benefit for the entire self. The collection consists of 18 tracks,
55 minutes in all.
geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works.
The following extracts are translations taken from the German article: '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 Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later (it was 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 North West 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. 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).
Eight drums had a cross–section of one meter, and a length of one and one–half meters. Four drums were medium size with a cross–section of 0.7 meter and a length of one meter. The only small drum had a cross–section of 0.2 meters and a length of 0.3 meters. All the trumpets were the same size. They had a length of 3.12 meters and an opening of 0.3 meters. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone.
The big drums were made of 3mm thick sheet iron, and had a weight of 150 kg. They were built in five sections. 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.
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.
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.