Dec 2, 2014

Mounds of the Western US and Harmonics

Summary:  Comparing and contrasting mounds in the United States; Pyramidal structures as free-energy generators and their relation to sacred mounds around the world; Science of harmonics and its potential for application in antigravity crafts.

(Written 12/1/2014)

In California, along Interstate 5, at a rest stop outside Weed is a geological marker about arrangements of two foot high mounds surrounded by stone circles, and connected by trenches. These mounds are believed to have geological or climatic causation, however no theory is confirmed.

Geologic sign at rest area along I5 North about "The Mysterious Stone Circles", 
aka the Siskiyou Stone Circles, or the Shasta Mima Mounds

They have been featured in Fate Magazine, and are related to a local legend about beings known as "the Little People".

One writer described his initial reaction to the circles:
"I could have sworn it was a clever hoax. I truly thought someone on the Google Earth software team had manipulated one of the satellite images when a friend showed me on his laptop two very strange looking mound clusters. They were simply too perfect; too geometric; too…weird. Mounds that resembled crop circles when viewed from above? Right there in the shadow of... Mt. Shasta?" 

(Source: Brad Olsen. "Discovering Forbidden Archaeological Sites". Retrieved 12/1/14.

Forum discussions on the various mounds of the West suggested they were agricultural fields for bulb plants. The trenches around them would have served as irrigation paths. Similar mounds around the Great Lakes were used for agriculture by natives. But no local tribes in the area of the Siskiyou Stones claim responsibility for the sites or demonstrate a practice or history of mound agriculture. 

"Anthropologists discounted this idea, since virtually no other artifacts have been found in the area, and the Native Americans who lived here subsisted primarily on fishing and hunting. Some of the current theories attribute the mounds to upheaving by frost, gopher activity, or erosion by wind and water." (From the rest stop tablet) However, natural causes like frost upheaval, erosion, and animals do not account for the rock trenches encircling the mounds found around that I5 rest area. Other mounds in the area don't appear to have rock-filled trenches, as the image from the rest area tablet suggests, they have interconnected waterways.

A clearer aerial view of two sections of mounds encircled, and connected by trenches.
(Editing note: The coordinates for this site should be West, not East. Thank you to Mandate for this catch.)

Dustin Maef, a writer on, compares 10,000 year old petroglyphs carved into rock faces at Winnemucca Lake (250 miles away across the Nevada border) and in the Lava beds around Mt. Shasta to the mounds and trenches of the Shasta formations. "All of these ancient rock art images appear to depict circular mound-like shapes connected by channels, forming odd geometric shapes. Whether these are related or not I cannot say, but they do appear to be in conformity with each other."

In Washington, some 460 miles north, are the Mima Mounds near Olympia. 

Unlike the Shasta mounds, these have no trenches around them and cover larger areas. The paths you see in the photo are paved foot trails to protect the area from damage by foot traffic. Earthquakes, gophers/prairie dogs, and wind have been studied as other possibilities. A local at University of Oregon said people in his area generally believe them to be sedimentary features created by melting ice from "the end of the last ice age (about 7500 years ago)." 

Geologists mapped out all mound concentrations across SW Washington, marked in red. Those areas coincide with the known edges of melting glaciers that once covered the state. 

The book "Mima Mounds: The Case for Polygenesis and Bioturbation" analyzes the different mounds west of Mississippi, noting examples in Colorado and Wyoming. The author believes the various mima mounds sites arose independently for their own area specific reasons, particularly with regard to the local burrowing wildlife. New mound sites and reformed mounds have been documented in California that suggests animal causation. The composition of these mounds differ from other sites though and should be examined independently. 

What caused the crop circle like outlines of the Shasta mounds could very well be agricultural in nature, or even due to glacial melt like the Washington Mima mounds. Either way, they are unique. 

My interest in these mounds relates to my search for the science of zero-point energy. I believe mounds were once primitive energy generators using lost science of the geomagnetic grid that ancient aliens erected when 'away from home' like you would build a fire when camping while at home you have an electric heater. On a macroscale, for more refined, long-term energy generation, the pyramid generator was constructed.  

When I originally started investigating this idea, I was reeling from the creation of a crop circle that popped up in Washington 2012 at the same stretch of highway where I said to my sister "Wouldn't this be a great area for a crop circle to appear?" It was one of only two crop circles that appeared in the US that year (the other by sacred mounds in Ohio). Read my full story here.

Crop circle in undisturbed wheat field outside Wilbur, Washington, along Highway 62. 
Cereologists deemed it one of the best specimens in support of the non-human origins theory of crop circle formations. 
Note the sizes of the outer circles differ from one another.
The Washington crop circle depicted a pyramid surrounded by three circles. I believed it was showing me the science of energy circulation created by the pyramidal structure. I began to get clues about the elements required to produce this natural device:  bismuth, phosphate, water, sound, diamagnetism. 

Then I learned the Giza pyramid was once covered in a phosphate rich material (limestone), has a network of underground water canals, and its chambers were constructed to produce incredible acoustics. The connections didn't stop. It would all be related to dreams of UFO's, dimensional cloaking technology, telepathic communications, and much more. I was unlocking a whole paradigm of technology that uses natural sciences we don't understand. 

See previous posts continuing this topic:  
Correlations on Zero Point Energy from Dr. Greer's Lectures
Development toward Antigravitic Craft
Natural Methods
Add Phosphate to the Equation

Bismuth can be grown into distinct pyramidal shapes. 

Even more fascinating, below is a video of a magnet suspended between two bismuth pyramids, spinning and floating like UFO's do. 

The problem with this model, if we're trying to build a working understanding of how UFO's fly, is the bismuth itself doesn't levitate. The ground and sky are not composed of bismuth, so even if a craft is composed of bismuth, how would it levitate? Unless the bismuth is wrapped around the magnet, the craft has no hope of moving with the magnet. 

Imagine the bismuth curved in on itself like a toroid (donut) with the magnet fixed in the center by the bismuth's diamagnetic force. In order to generate movement attraction would have to be regulated. There would have to be simultaneous attraction and repel on one side to move the entire craft in one direction, and that doesn't account for lift yet. In other words, the side of the craft would need to be both attracting the central magnet and repelling it. How could that be achieved? A two material alloy perhaps? Quantum locking is achieved with a track, but UFO's don't glide along a track to levitate, they move freely. What if the air provided the magnetic field? Wait, it does. The Earth's magnetic field. It's too weak to repel or attract a large magnet, only the arrow of a compass is small enough to be affected. Can the field be amplified or the strength of the attraction increased? 

Water lining the tubular interior of the toroid? What does that do? Nullify the field affects on the occupants. Submerged body, that makes sense according to my dreams, not sure about the science of it though. constructs and tests what they call vortex coils, toroidal spirals of copper wire. 1StopEnergies applies sound waves to copper wire toroids to generate electricity. Harnessing sound as fuel? In the following video they levitate a 1" neodymium ball magnet in the center vortex of the coil by applying 16,000 RPMs. 

The ball is prevented from touching the coils with the white, non-reactive tube. This example is using a woven spiral that circulates an applied current of energy clockwise around the toroid. In another demonstration, they submerged the toroid in water to reduce the risk of emissions. 9.12 kHz is being applied to the toroid, creating a magnetic field that extends a few feet away from the bowl and generates 4,000 volts of electricity.

Submerging the coil in water eliminates ozone by-product.
"Underwater Resonance" from

What if there was a way to control the amount of magnetic pull of one side of the bismuth (craft), so that the central magnet became more attracted to the opposite side, but that attractive side also repelled just enough to transfer that magnetic energy to the outside of the craft so it would be launched forward. The craft would essentially be powered by magnetic repel. How to transfer that attraction to the entire craft and not just the central magnet is the trick. And how do you control the charge of the entire structure so one charge is reduced and another charge is increased on the same side. Two materials. 

The ground and sky must generate a magnetic field (be diamagnetic) to hold a magnet like this. Even then, the magnet would need to be able to move freely in any direction, not just spin in place or waver. Many UFOlogists have made the case that UFO's use sweet spots on the geomagnetic grid to move in and out of atmosphere and water. 

UPDATE: 2 hours later - I just had a nap (getting over a cold) and dreamed I went to sleep in a desert, and woke up to go pick up my son from daycare. I brought a 4 page manuscript/book with no words from the desert. My daycare provider asked me how it went, I said I found a great deal but I couldn't understand it. My son then asked me to sing it. He thought it was a musical composition I had discovered. She said it couldn't be read, so I took it and started to pretend I could read it. I sang a lovely few pieces that transitioned together and climaxed in an astounding way. I held one tone while singing the final line of the piece. It's known as dual tone throat singing. My son loved it. "Did you notice the amazing thing I did at the finish?" I asked her. Jim chimed in, "You held one tone." 
I returned to the timeline in the desert.

UPDATE: 1 Day later - My dream last night confirmed sound. I'm with my old choir about to perform, but we are incredibly disorganized and unprepared. We know the songs, we have performed them already. But we haven't learned the choreography of where we stand. The stage manager has us in a different arrangement for every song. Some of us have our dresses/robes on backwards, though either way could work. We were not uniform. I pointed it out to our director who corrected it, but was so busy getting other details sorted, he couldn't announce it to everyone. A few of us tried to get those who had it on wrong to correct it at our director's word. Some argued about it.

I forgot my music folder and decided to risk showing myself to the audience by going to the neighboring prep area closed off by another curtain to retrieve it. The audience would see me briefly, but having my music was more important. After that, I felt much more confident. But then half of us were arranged on this unstable platform. I complained about its (exaggerated) wobbling and the unnecessary height. "We're supposed to sing from here? This is our arrangement during this piece?" Someone confirmed and I felt my stomach become queasy. No way was I going to be able to sing with the fear of falling taunting me on this corner edge. The platform was bending unnaturally to and fro. We were going to fall and I welcomed it. Then, at least, they would see the impracticality of that arrangement. I dropped to my chest to hold onto the platform as it swayed forward and I leaned into the forward momentum to make everyone topple over. There was no use fighting it. We would not be able to sing from there.

Our practice run-throughs weren't together. Timings were misaligned and parts weren't blending. I even accidentally sang someone's solo part in the trio. Members were scrambling to mark corrections in their booklets, which made other members upset because these were notes that should have been made long ago in rehearsals. It was a disaster and I wondered how we were going to pull it together. 

My college choir director was meticulous about every detail. He was the best director I'd ever known. Under his direction, we toured the world. We demonstrated new theories of overtones to top professionals, performed the West Coast premiere of Mozart's Mass in C minor, recorded for new composers, sang in at least seven different languages, and brought tears and awe to everyone who heard us with the quality of our sound. We set a high standard. Each member was trained, but had enough humility to defer to the greater unit. We each contributed quality. It has been four or five years since I was in that choir.

There were members in this dream choir from my highschool choir as well. We met every morning before school as a specialty choir. We performed for the community in festivals, choraling, fundraisers, retirement centers, even weddings. The director in my dream was a merging of both my directors from these two choirs. 

This group hadn't been together in some time, so even though we remember our songs well, we don't remember what our individual roles were and the details that made the harmony we knew. We needed to refresh on the notes we put in the score for ourselves to help us blend. We were out of practice and out of sync.

Despite the chaos, I trusted that our director believed it would come together on stage. I didn't understand how we were to remember our places for each song, since we weren't even sure of the concert order yet, but at least we would fail together. It would sort itself out on stage. We'll fumble and then find our bearings with the help of each other, the director, and the stage manager, even if it means breaking the fourth wall to do so. The audience will just laugh and forgive us. We won't be known for our preparation, but hopefully the overall impression of the concert will speak to them enough for them to overlook that fault.

Enabling the kind of freedom of movement UFO's demonstrate is a process of fine-tuning, a carefully orchestrated output. Are you (dream guide) suggesting I continue to tweak what I can because things will fall into place more and more with each performance test? You may not know what works and what needs to be fixed until you've played with it. 

Read this previous post Communicating with Other Realms for more of my investigation into the relationship of sound and anti-gravity technology, with extra analysis on the CHANI Project and more.

See Item #6 in the Investigations Page for an archive listing of related posts to this research.

No comments :

Post a Comment