The Source Field Investigations (44 page)

These results are spectacular to a conventional mind-set, leading most to conclude Dr. Grebennikov must be lying—but already we are seeing an effect consistent with our model. When he put the tack in the direct center of the vortex current created by the insect’s wing casing, the tack’s atoms all popped over into time-space and it seemingly disappeared. In a 2005 issue of
New Energy Technologies,
we find out that although Grebennikov never disclosed the exact genus and species of the insect he discovered this effect with, he does make multiple mentions in his book about the remarkable properties of the wing cases for scarabaeus, bronze poplar borer and particularly Cetonia. There are five species of bronze poplar borer that have an unusual honeycomb pattern on the inside of their wing cases, similar to his description.
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So if you really love Mother Nature, you just might learn something. Some folks here on earth have apparently been aware of these dueling gravitational forces for thousands and thousands of years—and the techniques to overcome normal downward gravitational flow by understanding how to speed up the spiraling motion within the Source Field—to create currents that push in a different direction. This appears to be the great secret of how the Pyramids were built. However, we still haven’t really answered our deeper question: How do we pop enough atoms over into time-space to actually make an object levitate? Once again, an old friend comes to the rescue: coherence. We need to bring the frequency inside the atom to a point that is faster than light speed—so it then pops over into time-space. This can be done by creating a harmonic pulsation in the Source Field—in gravity. So, if we want the magic to happen, all we have to do is start vibrating an object, or a given area, with the right frequencies. Then, by creating coherence in that area, some of the atoms will start popping over the light-speed boundary—where they then get pushed on by what we call levity.

This might sound complicated, but the actual techniques are easy once you know what you’re doing—and hardly any technology is required to create the coherence. The most intriguing example I’ve ever discovered is called Tibetan Acoustic Levitation, and this is another piece of weird science that I struggled for years to understand. This comes to us from Henry Kjellson, a Swedish aircraft designer, who described the whole story to a journalist who then published it in a German magazine. A truly groundbreaking New Zealand researcher named Bruce Cathie then wrote a detailed analysis of it in David Hatcher Childress’s
Anti-Gravity and the World Grid.

Henry Kjellson was a close friend and colleague of a medical doctor, also from Sweden, who chose to be identified only as Dr. Jarl. According to Kjellson, Dr. Jarl befriended a young Tibetan student while he studied at Oxford. When Dr. Jarl was later paid to visit Egypt by a scientific society in England, his Tibetan friend found out—and sent a messenger to find him. The message was very good. Dr. Jarl’s friend had become a trusted member of the monastery, and now a high Tibetan lama said he wanted to meet Dr. Jarl—urgently. Apparently Dr. Jarl then got permission to stay in Tibet for a fairly long time, take notes, and report back on what he found. While he was there, Dr. Jarl got to see a variety of things that few Westerners had ever been allowed to witness before. The greatest secret of all, according to Swedish engineer Olaf Alexanderson, was that “a vibrating and condensed sound field can nullify the power of gravitation.” Other experts on Tibet, including Linaver, Spalding and Hue, had heard about the Tibetans using sound to levitate gigantic stones, and Dr. Jarl had also heard about these legends—but he was the first Westerner to witness it.

Dr. Jarl was led into a sloping meadow that was surrounded by high cliffs to the northwest. One of the cliffs had a ledge that led into a cave, some 250 meters above the ground. The Tibetans were in the process of building a wall out of huge stone blocks up on this ledge—but there was no way to get there, except by climbing straight up on a rope. About 250 meters away from the cliff, there was a polished rock slab that had a bowl-shaped area carved out of the middle of it. The slab was a meter wide and the bowl area was fifteen centimeters deep. Then, a team of yak oxen hauled a giant stone block into the bowl. The stone was incredibly huge—it was a full meter high, and a meter and a half long.

Here’s the weird part. A perfect quarter-circle arc (90 degrees) was set up with thirteen drums and six trumpets all aiming at the stone. All the drums were made of three-millimeter-thick sheet iron, and instead of any type of animal skin for a head, there was metal on the end that the monks beat with leather clubs. The other end was left open. The six trumpets were all quite long—3.12 meters to be exact—with 0.3-meter openings. The monks carefully measured the distance from the stone to this quarter-circle of instruments, and it came out to 63 meters. Eight of the thirteen drums were exactly the same size as the stone—a meter wide and a meter and a half long. Four of the drums were smaller in size, but were exactly one third the volume of the larger drum, at 0.7 meters wide and one meter long. One additional drum was the smallest, at 0.2 meters wide and 0.3 meters long—again in perfect harmonic proportion. You could fit 41 of the small drums into the medium drum, in volume, and 125 into the larger drum.
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All the instruments were fixed on mounts that allowed you to precisely aim them. And finally, you needed another key ingredient to make it work—a total of nearly two hundred monks who lined up in rows, about eight or ten deep, behind each of the nineteen instruments. Most people wouldn’t think the monks could add any measurable energy to the mix, but with what we now know about the Source Field, all that has changed. It seemed that the instruments were tools that helped focus and concentrate the energy that was being consciously generated by the monks. (This is also why the experiment might not work if the people lining up behind each instrument were not properly trained in generating coherence within themselves, through meditation.)

Swedish aircraft designer Henry Kjellson’s sketch of Tibetan Acoustic Levitation—where 200 monks with drums and trumpets somehow levitated massive stones.

Now, let’s hear directly from Bruce Cathie about what happened next.

Incredible. We’re watching a gigantic stone, as big as some of the ones used to build the Great Pyramid, making a long, slow, lumbering three-minute trip up through the air in a 500-meter arc. Obviously, the power of the drums, trumpets and chanting is nowhere near enough to cause an object to levitate by any conventional means—but if they were creating the right coherence in the block, they could resonate atoms inside the rock over the light-speed boundary. They then enter into time-space, and provide thrust as they get pushed on by the levity force. If you touched the rock during this time, it would have almost certainly become spongy, since as many as half of the molecules are no longer in our reality. This appears to be how the gigantic stone blocks in Peru, at Sacsayhuaman, were able to be fitted together with cracks so tight you can’t even fit a razor blade between them. The rocks become soft and malleable, like clay, as their builders popped more and more of the atoms into time-space. As we already saw in the tornado anomalies, there are many examples of solid materials becoming soft and spongy when they become coherent.

Some of the stones split from the intensity, and the monks moved them away. Nonetheless, they were able to keep the production line going and transport a total of five or six blocks an hour with this method. Now here’s the incredible part. Dr. Jarl thought he was either being hypnotized or going through some sort of mass psychosis, so he actually set up a movie camera and filmed the whole process—two different times. When he played the films back later on, they showed exactly the same thing he had witnessed. Dr. Jarl was astonished, and obviously felt this discovery would shake the very foundations of the world as we know it—maybe even literally. When the scientific society that had been sponsoring Dr. Jarl heard about these films, disaster struck. They swooped in and confiscated the originals, declaring them classified—which Dr. Jarl felt was “hard to explain, or understand.” They tried to appease him by saying the films would be released in the year 1990—but this obviously never happened.

This form of levitation still seems to be a cumbersome process, and may require a level of consciousness that most of us do not now possess. What if we build something where the propulsion system is inside a craft we can actually fly in? Let’s go back to Dr. Viktor Schauberger, who found levitation effects occurring with trout and rocks in water. He built structures with the same egg shape he saw in the rocks, and built special turbines that rotated water at a high speed inside them—creating the same vortex shapes he had carefully observed in nature. There is a great wealth of reading material on how he succeeded in building a working gravity-shielding craft by using this process.
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Researchers such as Nick Cook and Joseph Farrell have written about how this and other technologies came into the hands of Nazi Germany—though there is clear evidence that Schauberger resisted cooperating with them, and only ended up participating because of dire threats to him and his family. In Nick Cook’s
The Hunt for Zero Point,
he explains that the Nazi code word for this gravity-shielding project was Chronos—which means “time.” As our model predicts, the Nazis apparently found that a movement through space creates a movement through time.

Later, Cook goes into more detail.

Dr. Viktor Grebennikov, who discovered a gravity-shielding effect in insect wings, was also able to use this discovery to build a working craft that was big enough for him to fly in. He organized multiple wing cases together on layers that could open and close like Venetian blinds, designed to spread open like an oriental fan. The lifting power of the wings would dramatically increase when you crossed them over the tops of each other, and this mechanical system allowed him to control that process. When they were all stacked on top of each other, he achieved plenty of vertical lift. He then built this mechanism into a small, rectangular wooden box: “I chose a rectangular design because it is easier to fold and once folded, it may resemble a suitcase, or a painter’s case, and it can be therefore disguised and not arouse any suspicions. I have naturally chosen a painter’s case.”
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He would ride it standing up, like a scooter. The vertical thrust was controlled by a bicycle brake caliper that could open and close the fanlike layers of wing cases. His forward speed was controlled by a second brake caliper that determined the tilt angle of the wings. He steered by leaning his body, and belted himself to the metal pole that held the handlebars for the bicycle calipers. Grebennikov’s account of what actually happened when he used this device fits with our model so perfectly well that this seems very unlikely to be a hoax.

First of all, since he popped over into time-space, once he reached a certain height he looked more like a wave to viewers on the ground.