Our work this fall is different than the Light Crown we were working on last year. This year the focus has been on Dimensions Next Door and it’s nearly done.
I’ve been trying to solve question of what exactly Bruce Gernon, the pilot who flew through a space-time anomaly in 1970 (see his book with Rob MacGregor The Fog: A Never Before Published Theory of the Bermuda Triangle Phenomenon) flew through on a flight from Andros City airport in the Bahamas to West Palm Beach, Florida.
As my research has uncovered, there are likely links to other, widely-reported and speculated-upon, items of time lore. Such as levitation, time distortion, UFOs, the Philadelphia Experiment and a LOT more…
We have found, for example, that there were three ships, not just one ship that may have been involved in the Philadelphia Experiment.
As another, we may have solved the “lifting of giant stones” by Tibetan monks blowing 3.12 meter long horns (denchens also called ragdon trumpets), and along with these solutions came a likely “answer set” to questions of UFO appearances as well as the famousof World War II,
On this last, we worked the problem like an acoustical engineer might. Since I’ve spent so much time in studios over the course of my lifetime, the sound angle became very important. Not because of my history, but because the pile of data SUGGESTED that sound, was indeed the key.
As the research progressed (I’ve burned up 4 stereo amplifiers so far, wasted one of the six matched Bose/Intereaudio SA-200 speakers, and such) it became apparent to me that there was an amazing similarity between the aircraft reporting foo fighters and the specific details of Bruce Gernon’s flight. I’ll save the detail level for the book, which has nearly 240 footnotes now.
Let’s just say that acoustics matter and that’s why I sent a note to my colleagues this week; (Chris Tyreman of The Chronicle Project and my buddy the retired major who is an ace of academic research into things Biblical in additional to psychological and social).
Since the phenomenon seems to be acoustic, it bears a striking resemblance to “the voice of the Lord” which appears “in a cloud” between to cherubim on top of an Ark of specific dimensions made of acacia wood.
And that’s why I called in the “A-team” to work the problem because something was amiss: Which variety of acacia…(shittim wood)…and was the Ark of the Covenant powered by sound as my research was beginning to implyl?
Let me share Chris’ response to my inquiry…
“I assume Ure…have they changed stuff in the bible…is sarcasm.
Try…what have they not changed.
verse ten, then 14. I have blued the word ark. Notice the difference. The first one appears about 19 times, the second one about 129 times. Both are different words. They say there is also a third spelling, but I have not yet seen it. This is not to be confused with Noah’s ark, a completely different word.
The second spelling means…the to begin to sound, I have to check if any wooden box was ever made using that name or if it exclusive to the ark of the covenant.
A lot of the descriptions here are damaged or vague translations, but I don’t know if I have hit the point where I can give an accurate restoration.
Uta (one of the Chronicle researchers-g) is sending me an updated program that should be able to do it, but it could be a couple of days until it is ready.
The names of the wild acacia found in Israel are:
- Acacia raddiana
- Acacia albida
- Acacia torilis
- Acacia gerradrii ssp. Negevensis
Reading Chris’ email, it matched up with the major’s work – which went more into the characteristics of the sound of the shofar (and types of acacia wood). Remember that the shofar is mistranslated as “trumpet” because in fact is sounds more like a tuba with a kind of “farty” note – common to the dengchens and ragdons of Tibet..
One part of the major’s (9 detailed pages) cited a source that wrote:
“ Such neumes are to be found in the “Siddur” of R. Amram (ed. Warsaw, 1865, p. 45b), in a late fourteenth-century manuscript (Codex Shem, No.74, in the Parma Library), and in Juan de Gara’s small Ma?zor (p. 190, Venice, 1587). The Parma notation, entitled in the manuscript in question “Simani Noti,” is reproduced in Sulzer, “Shir ?iyyon,” ii. 153, as follows:…”
There are 10 main shofar sounds, but it seems likely that a different one was used to “shake down” the Jericho walls. Missing is the instruction set for blowing this sound. We know 376 Hz is approximate primary frequency, but tonal variations could take us anywhere, particularly because of the “beat notes” produced by the interactions between six or seven shofars, all sounding at the same time.
Yet another curiosity: Tibetan levitation was done with 6 trumpets and 12 main drums (a 13th was used as a timing drum) in a specific arrangement. And it’s clear that about every 5th to 8th stone the monks tried to levitate with sound would simply shake a bit over the lifting cavityand would then disintegrate in a heap of rubble.
The Tibetan stones that were “thrown up mountains” by the trumpets were not the same material as the biblical Jericho. We would expect Tibetan stones to be basaltic or perhaps quartz. Yet, Jericho’s walls were made of crude bricks. Despite this, the effect was similar. The commonality is the presence of multiple sound sources.
Which begs the question: Is there is power in six (or more) farty trumpets making noise. And if in Jericho and the mountains of Tibet, how would this apply to Bruce Gernon’s aircraft experience?
But wait…did I mention the Beaufitghters of WW II that were flying in formation when the foo fighters appeared? Coincidentally, the Beaufighters used the same basic engines as that missing flight of torpedo bombers in the Bermuda Triangle.
Flight 19 – the missing squadron of TBF/TBM torpedo bombers that got lost in the triangle…had what in common with the foo fighter-sighters in Beaufighters? The Curtis-Wright R-2600 Cyclone radial engines… This is a 14-cylinder radial engine, and there were many variants, but more to the point (as you’ll read in the book which I release it) there’s one other remarkable commonality: three-bladed propellers!Then another email popped in… another finding by the major to send up to Tyreman:
But wait! This is terribly important because it confirms – perhaps – the notion that we are following.
And that is simply this:
My theory is that under specific conditions of low humidity, multiple sound sources which are properly phased, and with enough wind (which we presume to cause static electricity on aircraft), can give rise to spontaneous low temperature plasmas that may indeed warp space-time.
It also means that the traditional view of the Ark of the Covenant (book-in-a-box with statues or figures on it) may not be correct. It’s key to notice not just the construction details of the Ark given in the book of Exodus, but also the details of the rest of the furnishings. Specifically, the table, the tabernacle, and the lampstand. This last is fascinating because it was to be hammered out of a single piece of gold — talking pricey here! One ‘talent’ which the lampstand was to be made of runs about $1.7 million in current gold vs. paper pricing! And it was all to be in a portable tent which you’ll read could also have (static) electrical properties.
Since the Ark would have been used in very dry conditions, I found that another curiosity. But there’s more – if you’re a student of the idea of a flux capacitor – a sci-fi notion in the film Back to the Future. The whole structure described in Exodus would have had definable electrical properties, but not just from the Ark. It’s setting is also critical to its operation.
Which leave me, surrounded by amplifiers, noise gates, and waveform generators where?
Looking for something different: a charging of plates by multiple sound sources creating first static electricity (*which is why the low rel.humidity requirement) and then transitioning into an adhesing cold plasma that may finally, indeed, open doorways that are stated in my book’s title.
Dimension’s Next Door.
If it works, no ego here: We’ll just call it the Ure Effect.
Back to the lab! Saturday afternoon the relative humidity here should drop below 30%…the fans will come on, the o-scope powered up, and the amplifiers will start pushing air. Gernon’s The Fog, or the “cloud between the cherubim” anyone? Knowledge that has been “static” for too long is afoot.
Write when you get rich,