recording telluric signals part-2

7/21/2019 Recording Telluric Signals Part-2

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Borderlands >> Vol. 49 >> No. 01

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Ill. from Athanasius Kircher's "Mundus Subterraneus" (1664) [!

[#$

RECORDING TELLURIC SIGNALS II

by Gerry Vassilatos



%ontinued from the &o!ecember 1# *ournal of +orderland ,esearch.

RADIONIC RATES & OVERTONES

A-ainst the bac-round of -round -enerated noises each material

is identified throu-h its o/n differentiable series of oertones. 0ach tone

si-nature conforms /ith the essence of the material from /hich it

emanates materials each maintain their fi2ed identit3 throu-hout eer3

sensate ran-e. Material identities are continuous and fi2ed maintainin-

and re5resentin- their created essence. [Iron "sounds" metallic carbon

sounds "/arm" ameth3st is accom5anied b3 a rich "dariolet"

sensation). he oertones of each material are 5s3choactie si-nals

liin- ener-ies /hich transact the essence of their 5arent bodies directl3

into us. he iron oertones 5roe to -ie the shar5 odor and sense of themetal u5on listenin-. %o55er did the same /ith a "s/eet" odor. he

studies of +. a3ne /ith 5lanetar3 li-ht and /ater are corroborated in the

audio realm /ith similar 5henomena.

In eer3 ne/ sam5le I hae discoered different oertone

"/arblin-s" different oertone "dances". hese include arieties /hich

(/ithout 5recedent) suddenl3 mae their audible a55earance durin- each

recordin-. he curious feature of these "sudden oertones" is that (once

the3 a55ear) the3 do not cease7 his 5henomenon su--ests that each ne/

such sound re-isters the adent of some "tonal conductiit3" /hich the

materials each en-a-e /hen in the -round alter a time. 8or this reason I

al/a3s allo/ each sam5le to "soa" in the -round aura for a lon- /hile

before committin- their tones to a recordin-.

9hile listenin- to the 5la3bac and the arious s5eedre-ulated

tracs taen from each material I became a/are that each tonesi-nature

e2hibits measurable radionic as5ects. In attem5tin- to balance tones

(a-ainst a raised olume leel) I reali:ed that certain oertones /ere

suddenl3 a55earin- in the mi2 as I sim5l3 ad;usted the olume control.

o m3 utter ama:ement I found it 5ossible to entune # or < distinct

"bands" of oertones in the tree recordin-s 9I= =0 >?@M0S

%?&,?@ A@?&07 9ithin these harmonic bands there e2ist man3

finede-rees of oertone shifts /hich cannot be accuratel3 re5roduced on

cassette ta5e. hose bands /hich 3ou /ill hear are the ma;or boundaries

bet/een tone-rou5in-s. ?nl3 these ma;or boundaries are successfull3

translated to cassette occurrin- at the er3 limit of the ta5e transfer

https://borderlandsciences.org/journal/vol/48/n06/Vassilatos_Recording_Telluric_Signals.html

https://borderlandsciences.org/journal/vol/48/n06/Vassilatos_Recording_Telluric_Signals.html



5rocess. In addition one MS S0 =0A!=?&0S to hear each

oertone distinction7

hrou-h this sim5le means I /as ama:in-l3 able to detect real

(radionic) oertone -rou5in-s /hen usin- arious olume settin-s for

each material in m3 collection. unin- 5itch throu-h a olume control isanomalous if 3ou do not understand radionics. hese oertone -rou5s are

not the ordinar3 result of audio distortion I made sure that the si-nals

/ere not [#Bdistortin- at the console. he 5otentiometers (slide controls)

/ere actin- ;ust as radionic tuners. >olume settin-s re5resent different

5athlen-ths throu-h resistie materials. Auric si-nals trael outside or

throu-h the resistie material accordin- to their ener-3 leel. &odes are

formed /here the ener-ies emer-e. hese are sensed and located as

"stic 5oints".

he emer-ence of distinct oertone -rou5s is shatterin- to allconentional criticisms. If I /ere to assert the essential liin- Cualit3

/hich I hear in these oertones fe/ (I doubt) /ould acce5t the statement.

his demonstrable fact ho/eer indicates that tonesi-natures are more

than ;ust com5le2 collections of tones and 5itch the3 are 5ossessed of a

true and liin- nature. If the oertone -rou5s /ere the result of ordinar3

distortion then each sam5le /ould offer the same ariations u5on

ad;ustin- the 5otentiometers. +ut these are found on different locations

of the olume settin- and each hae distinct details /hich mutuall3

differ. his discoer3 /as an accidental obseration.

he discoer3 that tonesi-natures do not all share the same

radionic sounds or the same number of oertone bands /as une25ected.

/o such ariations e2isted for the ma-netic 5icu5 recordin-s but /ere

not as stron-l3 defined as those taen throu-h materials /hich /ere

buried. he or-anic recordin-s /ere (not sur5risin-l3) the er3 sam5les

/hich 3ielded the -reatest number of radionic sounds /hen "entuned"

throu-h the olume control. I hae recorded sam5les in /hich these

ariations of oertones (/ith 5otentiometer ad;ustments) are

demonstrated. his re5resents the radionic tunin- of sounds throu-h a

slideresistor7 I found # or < oertone bands /hen testin- the treerootsi-nals.

A critical friend of mine (I hae man3) cited that ca5acitance and

inductance alues could shift these oertones throu-h the subtle tunin-

effect /ithin the 5otentiometer. 9ith these audio freCuencies the

ne-li-ible chan-es in lum5ed resonance alues cannot 5ossibl3 alter the



oertones to such an audible de-ree. I am sure ho/eer that critical

anal3sts /ill not rest until the3 hae found some corres5ondin-

mechanism throu-h /hich the "liin- Cualit3" /ill be reiled. 9hen the

mind's e3e is o5ened... all is life.

hese recordin-s ma3 be considered as the first trul3 ori-inalradionic sound recordin-s. he3 are ultrarich in radionic 5otentials and

are ca5able of bein- entuned throu-h =ieron3must35e anal3:ers. 9hat

these ne/ facts /itness is further corroboration of the non

electroma-netic character of these ener-ies. hese si-nals are so rich in

or-anic ener-ies that the3 allo/ audibl3 detected radionic tunin-s to tae

5lace. I had considered the 5ossible effect of "5robe 5oisonin-" of the

5robe site. I learned /ith time that each sam5le reCuires seeral moments

before it can saturate /ith the -round 5o/er and achiee material

resonance. ime is reCuired for each sam5le to reach its constant and

characteristic tonal si-nature.

9e can actuall3 hear this 5henomenon durin- the course of the

e25erimental soundin-s. ?ne can hear the er3 moment at /hich the

5robe material becomes "su5erradiant". his 5rocess seems to inole

some form of 5olari:ation (but /e cannot define the s3mmetries b3

/hich materials 5olari:e) and a certain ener-etic saturation. 9e actuall3

hear the s5ontaneous 5ro-ression /ith time. he sudden adent of

5reiousl3 unheard oertones (listen to ameth3st7) is eidence of this

5henomenon and 5rocess. [he e3 to e2tractin- -round 5o/er is the

entunement 5rocessD throu-h /hich it is 5ossible to dra/ all tones intos5ecificall3 ordained elemental "/indo/s".

robes -raduall3 become "ener-eticall3 5olari:ed"D the3 tae time

to reach ma2imum si-nal intensit3. his is 5ossibl3 due to a more hi-hl3

conductie state throu-h /hich -round 5o/er enters both 5robe and

monitorin- s3stems a conductiit3 /hich is more fundamental than

electrical conductiit3. he -radual and continual a55earance of distinct

oertones becomes the eident feature of a subtle and 5ro-ressie

saturation 5rocess. I am reminded of similar findin-s re5orted b3 +aron

Karl on ,eichenbach.

It is al/a3s /ise to allo/ 5robes to "rest a/hile" in the earth

before actuall3 monitorin- their si-nals. his feature of -reat interest

(and anomalousl3 unconentional) re5resents the m3sterious self

intensification of receied si-nals oer a time 5eriod. 9e find that these



si-nals (once set in the "safe" recordin- threshold) suddenl3 thus

manifest the "dan-er 5oint" at the console.

he discoer3 of tonesi-natures 5roides a 5otentiall3 5o/erful

dia-nostic tool for chemists and minin- en-ineers. hrou-h such means

it /ould be 5ossible to locate dee5l3 buried ores and mineral lodes (from-round leels) throu-h tones /hich emanate from the subterranean

de5osits. he tension /hich enters the 5robe must be considerableD it is

definitel3 not electric or electrical in its 5rimar3 form. 9hen handlin-

the 5robe rod I find that the 5ersonal rece5tion of radionic im5ressions

actuall3 becomes -reater in 5o/er. 8urthermore this 5ersonal a/areness

increases /hen sim5l3 5ointin- the 5robe -round/ard or alon- -round

ra3lines.

It /as intri-uin- that the handlin- of the sin-le lead /ire (once the

sam5le had reached its conductie state) could 5roduce "micro5honic"craclin- sounds once the 5robe /as buried. he sound su--ested a

stran-e de-ree of "hi-h tension" in the thin /ire an anomal3. ?ne critic

mentioned that this /as an effect of such a confi-uration . . . "actin- as

an electret" somethin- er3 unusual /ith lo/ olta-e "electricit3".

hese craclin- sounds su--ested a de-ree of tension in the thin leadin

/ire. I 3et hae the stron-est im5ression that this tension is a formatie

(cr3stalline) 5ermeation emanatin- throu-h the sam5le material

insensate radionic ener-3.

8urthermore the fact that the -round 5otential ener-ies can"s5rin-" into the mono5olar sin-le /ireline indicates the i-orous de-ree

to /hich the3 are "hi-hl3 actie". his actiit3 also does not seem to

reCuire s5ecific "/aelen-ths" of sin-le /ire or "oscillator3 tans". he

mi2in- console is not made to oscillate at those freCuencies. In addition I

/ish to 5oint out that each sam5le /as 5assed throu-h a loadin- coil of

considerable inductance. he filterin- effect of such a coil on hi-h

freCuenc3 si-nals is /ellno/n. I hae receied soundin-s throu-h lon-

sin-le /irelines (#E 3ards) and short ones (1< 3ards) /ith no difference

in receied oertones. %ritical len-ths in the receiin- circuitr3 is not an

im5ortant feature /ith this ener-3. &ot reCuirin- an3 "return circuit" inorder to effect their si-natures these ener-ies re5resent an immense

reseroir of subterranean 5o/er deserin- our inesti-ations in earnest. I

infer that the -round-enerator (/hile seemin-l3 inactie) is actuall3

ast in its o/n (insensate) actiities.

LIVING GROUND POTENTIALS



S5ace does not 5roduce the olume of sound as found in the

-round. M. herou2 demonstrates this /ith his di5olar -round receiers.

he aerial rods neer 5roduce the same amount of sound as do the

-round rods F e2ce5t /hen hand held7 he best olumes for recordin-

-roundGrods /ere re-istered /hen the central core of m3 lead lines (the

shielded 5art of the coa2ial cable) /as used and ta55ed. his is a 5er5le2in- feature /hen inter5retin- the results from a conentional

stance there is no reason /h3 either the inner or the outer cable 5ortion

of the connectin- cable should offer such a ast de-ree of conductie

difference to these ener-ies. &o "return /ire" /as made in order to

5roide a di5olar circuit in m3 e25eriments.

If there is a "return circuit" then it is most certainl3 of ra3ic

nature. !r. !ro/n and !r. %ha5man al/a3s s5oe of this m3sterious

"auric connectiit3" in the absence of conductie lines. Much of radionic

a55aratus desi-ns [#taes these h35erdimensional ra3circuits intoaccount. 8urthermore there is no "read3 5o/er" at the console site

ca5able of enterin- the -round and re-isterin- si-nals. he fact that the

arieties of 5robe materials each are 5ossessed of astl3 different

oertone content should eliminate these critical considerations entirel3.

hese oertones are not the result of ordinar3 heterod3nin-. he3

continue to a55ear as constants in s5ite of -ra5hic eCuali:ation.

It is /ell no/n that the er3 -round u5on /hich /e /al is

seethin- /ith all manner of ra3 ener-ies. hat materials do not -enerall3

emit such inds of ener-ies (/hen held aloft) must be better a55reciated.M. herou2 sho/s this re5eatedl3 in his recordin-s /here onl3 the

buried 5ortion of the confi-uration (/hen free) releases sounds. ?f

course Mr. herou2 conducted seeral e25eriments /hen half of the

5robe circuitr3 /as held aloft (the -round 5robe /as also held) in /hich

case a thunderin- and dramatic sur-in- of 5o/er /as at once eidenced.

he or-anic 5resence maes the difference7

Inesti-ators of "the subterranean dee5" hae no/n that -round

ener-3 manifestations are e2ceedin-l3 more 5otent than those of u55er

s5ace. he -round is indeed a er3 s5ecial reseroir of life-eneratin-ener-3 a focus of intense d3namics /here ra3s (of intense 5o/er)

transact and interblend. 9e are chiefl3 intri-ued /ith the ra3ic as5ects

/hich thunder cr3stalli:e and sustain the er3 structure of

consciousness from the indis5ensable -round. he -round is a ast

-enerator of conscious and liin- 5o/ers /hose com5onentr3 consists

of metal lodes and mineral de5osits throu-h ein structures. Its caerns



are resonators. he nature and re-ional source of sounds heard "in the

head" shortl3 before entrance into slee5 reCuires afar -reater stud3 of

-round 5o/er sur-es (/hich are re-istered dail3 alter midni-ht).

Immensel3 5o/erful ra3s hae been diffracted into the -round strata

/here the3 sur-e in ast and m3steriousl3 insensate transactions. he

-round a55ears to be essentiall3 inactie e2ce5t to sensities. !eicesand a55aratus /hich seem "inactie" are actuall3 o5eratin- at immensel3

5otent de-rees of insensate actiit3 the e3 to/ard com5rehendin-

future technolo-3. his ener-3 of the -round is 5rimaril3 an e25eriential

one throu-h /hich consciousness is mediated into our bein-. All the

other effects of this sin-ular 5resence reeal the 5lenar3 nature of 5o/ers

/hich are ours to use. hrou-h the ordained -round 5oints /e ma3

achiee and e25erience dee5 ra3ic connections.

%reated thin-s (trees minerals mountains laes humans etc.)

are both -enerated and sustained b3 this -rand 5o/er. 9hen >ictorianscience s5oe of the earth as a reseroir of ener-3 admi2in- the

5realent ie/ that auric ener-3 /as 5rimar3 to electrical ener-3. he

>ictorian em5hasis /as al/a3s u5on the italistic ener-ies. 9hat /e

need to 5ursue are the means throu-h /hich this ener-3 ma3 be

a55ro5riatel3 transmuted into li-ht heat motie force em5athic

telecommunications healin- force and minde25ansie 5otentials.

hese ne/ tonal forms offer fresh eidence and insi-ht concernin-

the "indis5ensable -round". he 5o/er /hich resides in the -round is

5otent in -iin- the listener sudden and im5rom5tu (resonant) dis5la3s of e2tended consciousness. s3choactie effects be-an to a55ear amon- the

discoeries made /ith tonesi-natures. 0ffects in /hich the radionic

sensitiities of the bod3 are enhanced throu-h e25osure to these sounds

/as mared. 9hile /orin- /ith the lar-e carbon rod I e25erienced a

distinct sensation of er3 ra5id (1E#E 5er second) ener-etic rotations in

the s5ace surroundin- the rod. his /as es5eciall3 5o/erful /heneer

the rod /as 5ointed to/ard the -round. I had noticed this aetheric action

/ith other materials before. I also learned that b3 s5ecific inds of

"loadin-s" on such materials (iron rin- co55er /indin-s or-anic blocs

in 5ro2imit3) that it /as 5ossible to slo/ and intensif3 this aethericorte2. In order to test the aetheric 5otentials of "orte2 action" /hich

/as felt surroundin- the carbon rod I conducted an e25eriment in orte2

induction. he conce5t /as to attem5t the entrainment of electrical

ener-ies in a /ire heli2.



I used an insulated coil /ra55ed (%%9) around a lar-e carbon rod

and buried it (#H cm. dee5) /ith the remainder (HE cm. standin- aboe

the soil leel. he coil "/ra55in-" /as made of #EE ti-ht turns of

tele5hone /ire in a sin-le la3er. his /ra55in- /as sin-le terminatedD

the -roundsided end /as crim5ed (e25osin- no metal) and /as

com5letel3 contactcoered b3 a er3 thic acetate ta5e. he free lineend /as aboe -roundD this /as connected to the mono5olar sin-le /ire

and made connection thus /ith the console. I allo/ed this confi-uration

to reach resonance in the -round for 1H minutes before sam5lin- its

sound. he results corroborate m3 claim that an anomalous 5rimar3

actiatin- ener-3 is enterin- these arran-ements.

he /ra55in- coil (5lastic insulated) formed a 5o/erful

combination /hen cou5led /ith the carbon. his did not im5ede the

a55earance of a most unusual (hi-her 5itched) "bu::" alon- /ith the

ori-inal carbon si-nature. he ener-3 enterin- the s3stem /as stron-D butnot as stron- as those monitored throu-h the carbon alone. his ener-3 is

ca5able then of enterin- solids and heail3 insulated /ires alie. hese

t/o facts -ie more eidence /hich affirms that the 5rimar3 ener-3 (of

-round) is not ori-inall3 of an electrical nature.

@ife-eneratin- ener-ies do not be-in as electroma-netic si-nals.

@ife-eneratin- ener-ies ma3 leae electroma-netic "tracers"

(5olari:ation trails in s5ace) as their ener-etic 5resence is encountered.

8urthermore the mani5ulation of a55ro5riate inertial elements to form

electroma-netic 5olari:ations in a s5ace does not im5l3 that liin-ener-3 /ill he "summoned" into the core of that 5olari:ation the effect

is not reci5rocal. In most instances life-eneratin- ener-ies cannot be

detected throu-h mere instrumentation bein- a s5ace /hich reCuires an

e25eriential transaction. @ife-eneratie ener-ies therefore cannot be

no/n e2ce5t throu-h certain of our senses directl3 (-an-lier ision).

hose /ho den3 the sub;ectie element of e25eriences can neer

"detect" life.

he -eneratie 5o/er is sensed and desired b3 our bein-s. o

den3 its 5ermeatin- realit3 is to lie in /illful i-norance. his 5o/er issub;ectiel3 sensed and discerned b3 all /ho are /illin- to allo/

themseles the ;o3 of sensin- and feelin- /ith their /hole bein- a-ain.

9e can detect these ener-ies throu-h our bein- and can also re-ister their

5resence throu-h radionic (instrument) tunersD these tuners e2tend our

sub;ectie senses into other (inaccessible) e25eriential resonances. 9e

hae eer3 assurance that coo5eratie modulations of this 5o/er is a



sin-ular 5roidence /ith /hich humanind has been -ifted to /or /ith

the -eneratie 5o/er is both our lon-lost cultural dream.

ART AND POWER

M3 fascination /ith these sounds (as a musician) is e5itomi:ed b3the eternal rin-in- of matter in the -round. 9hen I e2amine the -eo

radionic enironment I do not e25erience "the /alt:" melodies of

romanticism. I do 5erceie the stead3 and endless emanation of eternal

tones in their /ondrous 5ano5lies and combinations. I hear the

m3sterious ;oinin- of sounds F the 5ermutation of tones throu-h s5ace

and -round. Such direct rece5tion is a -oal reali:ed. he com5osers and

artists of the t/entieth centur3 deelo5ed the for-otten arts /hereb3

auric a55rehensions /ere directl3 e25ressed. he artistic st3li:ation

durin- this e5och /ere sim5l3 the artists' o/n rece5tions of [<Ethe

aetheric /orlds /ith /hich contact /as made. 0ach artist e25ressed adifferent realm and artistic inflection because each artist is in tune /ith

different s5aceresonances.

he musician has historicall3 been associated /ith a 5rocess of

e2ternali:ation on behalf of the culture /hich the3 re5resent. hrou-h

the musical or artistic (aetheric healin- aetheric si-ht) the musician is

able to e25ress sounds /hich e2ist in the enironmentD and the artist is

able to structure liin- forms /hich hae been located in 5s3chos5ace.

hese items are not heard or seen b3 most 5ersons (althou-h man3 do

antici5ate and a55rehend them in some minimal manner). 025ressin- thesi-hts and sounds of the -eoradionic enironment /as a lost art. he

emer-ence of bour-eois artforms (caterin- to the aristocratic courts of

0uro5e) 5lun-ed the /orld's 5o5ulation into a "belle e5och" of friolous

selfindul-ence.

he lost art of directl3 e25ressin- the ra3auric sounds of the

unierse (3tha-oras 8ludd Messaien @i-eti) has reemer-ed /ith

e25losie 5o/er. he confla-ration /hich accom5anied this

reemer-ence (1EE) caused some de-ree of disma3 amon- the

romanticists and im5ressionists. he bio5athic inabilit3 to receie thehi-her dimensional si-hts and sounds of e25ressionism is am5le

eidence of schismatic human 5erce5tion. he conseCuent social

structures /hich hae eoled as a result of this schism is eas3 to

identif3 and -rou5. here are those /hose stubborn fi2ation on

emotional content is sufficient eidence of ri-idified and maudlin

armorin- an un/illin- fear of directl3 e25eriencin- the true life of the



unierse /ithout traditional mass acce5table shields or bour-eois

5retense. herefore I find this -round noise and matternoise most

fascinatin- and reelator3. 9ith the rediscoered art comes a for-otten

a/areness. he friolous artforms /hich do not connect us /ith the

unierse are selfreferential and selfcentered. he 5roliferation of

bour-eois music and art entra5s those /hose attentions hae beenca5tiated into autoemotie loo5s. he 5o/er of an art cannot be

se5arated from its "5lace of ori-in". he hi-her the dimensionalit3 of

artistic reelation the -reater the abilit3 of that artform to translate the

5artici5ants thereof.

An3 artform is inse5arable from its ori-in and its 5o/er to chan-e

lies. he a-ue and friolous nature of /ea deriatie art reeals the

de-ree of reelation /hich s5a/ned the form. he loss of true

connectiit3 /ith the liin- -enerator 5roduces much of the mass

5roduced artforms /hich hae flooded our societ3. 8urthermore those/hose lies reflect loss of connectiit3 /ith the true and liin- -enerator

are inca5able of a55reciatin- or accessin- the 5ure e25ression of aetheric

/orlds. hese indiiduals do not hae the s5iritual credentials or

Cualifications to s5ea. =ain- no com5rehension of the -eoradionic

enironment and its 5o/erful conscious 5ermeations these 5ersons lie

out their i-norance /hile o5eratin- throu-h clotted emotions.

VITALISM AND INERTIALISM

he academic 5rofessions are no/n for their stance on sub;ectieand e25eriential science the3 refuse to "feel sense or e25erience" an3

5henomenon in the unierse. 9ith this "nofeel notouch nosense"

doctrine the3 hae effectiel3 se5arated themseles from the er3 heart

and meanin- of the unierse all /hile 5rofessin- to no/ all about it.

he e2cessie descri5tions /ith /hich the3 da::le the naie betra3s their

essentiall3 acant e25erience of the ibrant unierse. o merel3 measure

and describe is not essential to our bein- or ca5able of addressin- the

true need of humanit3. heirs is a messa-e /hich is acant as is their

e25erience of the unierse. he3 no/ nothin- of the dee5l3 ancient

enlienin- intelli-ent and e2oticall3 sensual 5otentials of s5ace itself.

9hat sensations and e25eriences academicians disallo/ is

actuall3 the essential messa-e meanin- and ;o3 of bein- in a liin-D to

den3 this is to be insensitie and deran-ed. hrou-h such bio5athic

dictates "a-ainst sensation" the academes hae effectiel3 blinded

themseles from directl3 e25eriencin- /orlds /hich su5erene and



dominate those /hich the3 claim are central to the unierse. he

academe is not a/are of the 5ermeatin- domain throu-h /hich all true

cause emanates the real source of the effects u5on /hich academia

fi2ates. his is the er3 rift /hich irre5arabl3 se5arates us from them.

9e re;ect an3 do-ma /hich indites or disa55roes of sub;ectie

sensations. 9e ob;ect to all such rule and /ill neer concede our -roundthe3 must come to us. A ne/ barra-e of anomalies has emer-ed from the

domainD these /ill not be understood b3 academia.

In the matter of -round5o/er and radionic emanations the

academe has been limited. he totalit3 of academic e25ertise in these

re-ards is 5ressed bet/een t/o er3 narro/ descri5tie studies "contact

5otential" and "telluric electrocurrents". 9ithin these t/o e2ceedin-l3

narro/ blades the3 hae succeeded in satisf3in- all of their fears that a

liin- earth actuall3 e2ists7 Measurements of the 5ressures resultant

throu-h the "contact5otential" of metal 5robes in the earth ;ud-e an3and all measurable electrical 5otentials to be the mere result of

electrol3tic actions (metalssoils).

he second 5ee5hole throu-h /hich the3 claim no/led-e of the

or-ani:ed subterranean de5ths is summed in their measurements of

"telluroelectric" 5ressures and currents. eo5h3sicists hae charted and

ma55ed man3 arieties of these currents for nearl3 a centur3 no/. he3

hae a thorou-h catalo-ue of the directions and 5otentials inoled in

these minute and surface leaa-es. elluric currents re5resent the

smallest traction of a far more 5otent 5rimar3 causatie ener-3 throu-h/hich all these effects are manufactured.

elluric 5ressures of inertia re5resent the mere fractional

(electroma-netic) "debris" of a 5rimar3 -eneratie 5resence. his ener-3

[bein- radionic rather than electrical in essence is not 5ri:ed for its

/or5erformin- abilit3. 9hat /e derie from this ener-3 is 5rimaril3 its

reelator3 5otential ideas ima-es isions s3mbols melodies desi-ns

archet35es . . . "buried treasure".

I hae anal3:ed the comments of m3 critics to a de-ree /hich 5reents them from conincin- me of error or of dama-in- m3 continual

;o3. I hae too often "-ien 5lace" to such conentional anal3sis to m3

o/n detriment /hen 3oun- and ine25erienced in these matters. he

academe is a 5arasite /hose discussion can closel3 5arallel those of the

italist since inertial effects often sim5l3 follo/ ital causes. Inertialistic

science is full3 ca5able of shado/in- the italist's 5ro-ress and



discoeries. his ma3 be understood b3 stud3in- the 5ath /hich italistic

discoer3 actuall3 taes.

9hereer there are italistic 5otentials at /or in the unierse

there can be inertial res5onses and effects. 9hile these do not 5arallel

each other in all cases there is some/hat of a corres5ondence bet/een both the causatie domain and the realms of "effect". Inertial effects do

not al/a3s follo/ >ital %auses because of the limits of s5aceresistance.

S5aceresistance is the e25eriential interface throu-h /hich italistic

5otentials 5ass. he interaction of ital ra3s /ith the s5aceresistance

results in the manufacture of inertial 5olari:ations and detritus. hese

allurin- dis5la3s hae ca5tiated academicians for centuries. 9ithout

reco-ni:in- their error the academes has continuall3 attem5ted the

descri5tion of realit3 from this manufactured leel. Mistain- the effects

for causes results in a sin-ularl3 interestin- (and anno3in-) human

situation. 9e find that insensitie indiiduals are no/ main-cosmolo-ical declarations /hich are entirel3 unfounded.

8urthermore the am5lified inabilit3 to sense italistic causes (ra3s

and their aura) amon- the academes ri-idifies their un/illin-ness to

re;ect the manifestations to [<1/hich the3 so 5assionatel3 clin-. his

erroneous confusion bet/een 5henomenolo-ical cause and effect has

torn the human communit3. o/er stru--les for domination /ealth

masteries and acCuisitions hae resulted in the realm of human

e25erience. he dama-in- results of inertial technolo-3 are eer5resent.

he instances /here no inertialistic e25lanation can follo/ italisticcausatie action are e2cessie. he inertialistic "e25lanations" do not

reci5rocate the liin- cause one cannot arran-e a mechanism b3 /hich

liin- 5otentials ma3 be e25erienced. his /as the >ictorian "5roblem"

/hen academicians attem5ted the re-eneration of the dead throu-h

(mere) electrical means. Similar theories /ould insist that a sim5le

mechanistic eolutionar3 5rocess is res5onsible for all s5ecies. It infers

that 5o/ders (taen from the crushin- of a /orin- /atch) could

re-enerate a /orin- /atch after suitable a-itation.

here are sensate realities (sensitiities) neer no/n b3 theacademes causatie /orlds of liin- sense and e25erience. Such

i-norance and insensitiit3 is t35ical in the 5attern of bio5athic

anaesthesia. In this re-ard there hae been more 5rofound e5isodes

/here si-nificant italistic eidences hae been totall3 "for-otten" lost

and actiel3 denied b3 academia the er3 histor3 of su55ressed science

and technolo-3.



here are those instances /here radionic actiities do not re-ister

in an3 e2istin- inertial meters b35assin- the s5aceresistance throu-h

/hich inertial effects (5olari:ations and detritus) are re-istered. In a

m3sterious manner such 5henomenolo-3 indicates that the ;o3s of

radionic actiit3 are resered for those /ho /illin-l3 e25erience them.

he central core of meanin- and life is an e25erience F not ameasurable Cuantit3 or a mass of alienatin- descri5tions. Inertialistic

understandin- relies totall3 u5on the measurable (dead) effects initiated

b3 5rimar3 cause. 9here no effects are 5roduced the inertialist then

dictates (usuall3 ociferousl3) that "nothin- is there". oor Monsieur

+londlot . . . 3ou did see and e25erience the &,a3s7

DISCUSSION AND CRITICAL ANALYSIS

I hae -raduall3 reali:ed that the im5ortant oertones in this

research re5resent a real instance /here a 5iotal italinertial ne2us has been found. he corres5ondence of tone and oertone cause and effect

has reealed a class of ne/ 5henomena for stud3. he fact that each

oertone dance is material s5ecific offers a fresh anomal3 to baffle the

academicians.

It is im5ossible to hae 5redicted that different materials (5laced

in the same -round) /ould 5roduce such different tonesi-natures. It is

onl3 throu-h em5irical actiit3 /ith an o5ened and sub;ectie attitude

/hich allo/s such discoer3. 0ach 5robe sam5le is found to -ie its o/n

ran-e and ind of oertone content. here should he no difference intonal content re-ardless of the ind of 5robe used. he onl3 e25ectable

difference /ould be the one /hich controls "si-nal olume" and that

/ould be the result of ariations in 5robe resistance.

If the tones /ere mere result of electrochemical reactions bet/een

the 5robes and the -round /e /ould not e25ect the audible differences

amon- such tonalities. here are seeral reasons /h3 can eliminate the

5ossibilit3 that these sounds are deelo5ed throu-h the electrochemical

"fr3in-" or "fri::lin-" of the 5robe surface areas (in -round contact).

Accordin- to conention /e /ould hae to acce5t the ie/ that differentmaterials are ca5able of sudden conductiities "because of electrol3tic

action in the -round". he3 /ould ar-ue that the s5ecific electrochemical

reactions of a material in soil /ould 5roduce s5ecific "si::lin-" and

"fri::lin-" sounds in the monitor as each chemical reaction differs from

the ne2t. If I sho/ed them that un-rounded metals (merel3 5laced in acid

cu5s or in eleated 5ots of soil) /ould neer 5roduce these recorded



sounds F could the3 then belieeJ Inertialistic understandin- relies on

effects. 9here no effects e2ist the3 conclude that no cause e2ists. he

conductiit3 of an3 material alone could neer allo/ such sudden (and

maredl3 different) tonal a55earances of oertone -rou5s /ith different

5robe materials. he sheer olume of sound receied is in no /a3

corroborated /ith the relatiel3 unreacted face of the metals after their short s5ell in the -round. In addition I hae receied ;ust as 5o/erful

and as arie-ated tones throu-h -lass3 substances /hich do not react

/ith the soil in an electrochemical manner.

0ach material used -ies a different "oertone son-" onl3 /hen

buried in the -round. 0m5lacement in acid /ater or 5ots of soil does

not 5roduce the sounds. Aerial eleation of the materials has not 3et

5roduced the sheer olume of sounds receied unless the human

or-anism (or an3 liin- or-anism) is 5resent near the receiin- deice.

Accordin- to the conentionalists no difference of si-nals bet/eendifferent materials should hae been monitored at all in an3 of these

e25eriments. he surface area of receiers does not increase the oertone

olume leels or their content. hese e25eriments ans/ers those /ho

s5ea of electrol3tic reactions /ith re-ard to our research. I buried a

-rou5 of se5arate carbon rods and interlined them /ith /ire. I full3

e25ected these to 5roide me /ith ten times the out5ut sound and si-nal

(since I used ten rods and /as 5roided /ith ten times the electrol3tic

surface area). he3 did not offer an a55reciabl3 louder si-nal. &either

did the oertone son- alter. Anomal3 a-ain.

It is si-nificant that tonesi-natures do offer er3 different

"dancin-" oertone si-nals. he astoundin- feature of all these

recordin-s is that (oer the seeral tracs made) the 5robes /ere in the

er3 same -round s5ot in the er3 same hour. rou5s of these sam5les

/ere made in this manner. It /ould be difficult to com5rehend ho/ the

-reat ariet3 of si-nalforms could other/ise be -enerated. ?ut of the

er3 same -round come different tonesi-natures . . . the result of

different materials 5laced therein.

he si-nificant oertone son-s /hich differ from sam5le tosam5le cannot be the mere result of locale or time. ?ne cannot sa3 that

"suddenl3" there /ere "telet35e si-nals" or the lie /ithin a soundin-.

0ach one is 5ossessed of its o/n characteristic oertone son- /hich

remains fi2ed for that sam5le. 025osure to -roundra3s actiates these

releases. If some local effect of electrical leaa-e [/hether into or out of

the recordin- s3stem /ere to blame for these s5ecies of sounds /e



/ould e25ect onl3 ariations in am5litude and a constant sound in each

sam5le. his /ould follo/ the conentional e25lanation /here aried

resistances of the 5robe /ould effect chan-es in olume of a constant

tonesi-nature. his is not /hat /e hae discoered ho/eer /ith each

material there is a s5ecial and distinct earth tone si-nature. hese sounds

are onl3 actiated throu-h contact /ith the -round itself. 9hen the3 areeleated aboe the -round the3 do not emanate an3 tonesi-natures

/hich can be detected. his is eident in the recorded material of M.

herou2 as /ell as amon- m3 o/n recordin-s.

THE MASTER TONESIGNATURE

he sounds of 6Ec3cle A. %. offer a bac-round "dull hum". 9e

ma3 hear the sudden dull sound ("dmmm") of local a55liances turnin- on

and off in the nei-hborhood in certain sam5les. heir entrance and e2it

do not alter the fi2ed tonesi-natures of each material. he 5resence of 6Ec3cle induction cannot he i-nored. et /e hae found these leels to

be so easil3 reco-ni:ed that /e (initiall3) made our discoeries in s5ite

of their sli-ht 5resence. he 6Ec3cle "hum" and all its [<#harmonics (lo/

or hi-h) are all of the same tonal ariet3 a "dar" hummin- sound.

he enormous olume of liin- bac-round noise is 5roblematic

for most anal3sts /hose bio5athic reaction to these tones is both

characteristic and 5redictable. hese indiiduals /ill tend to focus their

attentions u5on the merel3 inertialistic 5ressures resultant from the

5rimar3 -eneratie ener-3. Stud3in- the effects /hich are manufactured b3 5rimar3 cause is the inertialist's scientific s5ecialt3 the3 no/ the

effects er3 /ell. nfortunatel3 the mere no/in- describin- and

5redictin- of effects does not reci5rocate or translate into "life". 9hen

/e eliminate the 6Ec3cle hums and their harmonics from these tracs

/e find a 5reeminent si-nal 5ermeatin- all of the tonesi-natures the

master tonesi-nature.

his is an eer5resent tonesi-nature /hich /e cannot i-nore or

misinter5ret. I beliee this tone si-nature ma3 ar3 /ith locale b3 /hich

/e ma3 also ma5 and chart re-ions in a ne/ a/areness. he -reater 5ortion of this si-nal (/hich bu::es and rattles /ith such enormous

throbbin- 5o/er) is not the result of human technolo-3. Isolatin- this

si-nature of the -round from the sam5le tones is im5ossible. Sim5le

ad;ustments /ith the -ra5hic eCuali:er can eliminate the effects of

inductie leaa-e but cannot bloc the si-natureoertones of a material.



he -eneratie 5o/er of earth sounds is enormous. he3

a55arentl3 remain 5otential (silent) until -ien a material into /hich the3

ma3 flo/. his flo/ is s5ecific and distinct for each material5robe

buried in the -round eidenced in the s5ecific oertones /hich are

dischar-ed. 8urthermore the oertone son-s are not easil3 isolated and

am5lified throu-h the ordinar3 means of -ra5hic eCuali:ation. heir e5hemeral and5ermeatin- 5resence is heard "across the full s5ectrum".

?ne ma3 eliminate an3 freCuenc3 band and 3et find the shado/ of the

oertone dance 5resent. his 5ersistent feature is trul3 anomalous. he

oertones ride aboe the master tonesi-nature in a distinctie dance

5attern throu-h /hich materials ma3 be identified. he3 offer a s5atiall3

dis5osed behaior /hen heard. his is /h3 head5hones are an

im5eratie /hen listenin-.

0lectrical a55liances (locall3 used) do not cause the shar5 and

irre-ularl3 s3nco5ated im5ulses /hich are heard throu-hout therecordin-s. here are "racers" amid these constant throbs /hose

inde5endent and se5arate rh3thms 5ermeate the bac-round noise. he

"racers" are characteri:ed b3 a -reat ariation of se5arate and continual

rh3thmic s5eeds these cannot be the result of 6Ec3cle leaa-es or the

use of local a55liances.

Interference from 5o/erlines -round connections radio stations

tele5hone cables "militar3 si-nals" these are not the oertones u5on

/hich /e are focusin- our attentions and discussion. 9hen all the effects

of such "electrical 5oisons" are filtered the sound olume is stillenormous. Induction and leaa-e /ould 5roduce the er3 same sounds in

all sam5les. he onl3 audible difference /ould be contained to

differences in out5ut olume the result of ariations in conductiit3.

onesi-natures are elements5ecific and 5ossessed of oertone features

/hich are found throu-hout the collection of elements.

E!PERIENCING TONESIGNATURES

his ne/ field of tonesi-natures is a door into the future. It

5roides us /ith accessible ision into the other/ise unno/nsubterranean earth. he constanc3 of em5athic actiit3 in matter reCuires

no "measurement" b3 those /ho are sensitie to their actiit3. he

human or-anism does not natiel3 reCuire transformations from ra3ic to

electrical effects in order to "alidate" the e2istence of anomalous

ener-ies /e are full3 ca5able of directl3 detectin- them /ith our dee5est

senses. It is merel3 academic conditionin- /hich "disallo/s" the



e2istence of actiities /hich each of us can 5lainl3 discern. he

dier-ence bet/een academic measurement and radionic e25erience

defines the schism bet/een our factions.

@0AS0 S0 =0A!=?&0S 9=0& M?&I?,I&

?>0,?&0 SI&A@S ?, ,0%?,!I&S7

here are enou-h of the arious sam5les 5laced on the sam5le

cassette so that the student ma3 a55l3 /hateer labdia-nostic

techniCues (oertone anal3sis -ra5hic eCuali:ers and filters

oscillosco5es etc.) reCuired. he full a55reciation of these oertones is

e25eriential. @ab techniCues ma3 not reeal /hat the human or-anism

alone senses and e25eriences. @ab tools can neer im5art or 5artae of

meanin-s /hich is the human 5roidence.

he delicate nuances of tonesi-natures can be transmittedthrou-h cassette ta5e but reCuires head5hones in order to detect the

subtleties of oertone moements. hese oertones are heard at the er3

5eas of our audible ran-e. he3 rin- /histle and /arble /ith s5ecific

5atterns /hich de5end on the matter from /hich the3 /ere deried. he

s5ontaneous stereo 5hasin- of the oertones is a thin- to be felt and

en;o3ed. It is m3 sincere ho5e that 3ou /ill s5end enou-h time /ith each

sam5le to e25erience the si-nificant and marelous motions for 3ourself.

It is m3 dee5est desire in these re-ards that 3ou each e25erience these

tonesi-natures and relinCuish the "dia-nostics of doubt" /hich se5arate

from 3ou direct e25erience.

@isten to each sound and saor the oertone motion /hich rides

the bac-round noise. @isten "aboe" the master tonesi-nature.

0liminatin- the soft 6Ec3cle harmonics is relatiel3 eas3. he resultant

throbbin- undulations of the -round /ill not be easil3 su55ressed

/ithout the -ra5hic eCuali:er on 3our stereo. ou /ill be ama:e to hear

the "oertone son-" /hich is the essential tonesi-nature of each sam5le.

It does not ar3 considerabl3 /ith -ra5hic eCuali:ation.

8ocus 3our attentions on the oertones /hich 3ou hear "ridin-aboe" the other sounds. ou /ill find that these /ill touch 3ou . . . at the

chest nec and facial areas. his re5resents the em5athic si-nal /hich

enters the -an-lier sensors of 3our bod3 directl3. !o not be sur5rised at

this 5henomenon. @isten to the "/arblin-" oertones of each sam5le

the3 are each different and constant for each sam5le.



@isten and absorb the trac /here I hae "balanced" iron a-ainst

carbon. he e25erience of this combination is lie bein- 5h3sicall3

connected /ith as 5o/erful an earth batter3 as that /hich Anton Mesmer

constructed7 @et 3ourself feel its 5o/erful ener-3 moin- throu-h 3our

bod3 from ri-ht to left.

he bac-round noise is not the im5ortant feature here. Allo/

3our a/areness to focus onl3 u5on the /arblin- oertones /hich ride

aboe the other sounds. 02amine eer3 /arble /ith 3our /hole bein-.

@earn to de5end on 3our senses a-ain. 025erience. Sto5 demandin- the

anal3tic tools /hich se5arate 3ou from direct sensation and meanin-. It

is the doubt concernin- radionic realit3 /hich forces humanit3 into

inertial obseration. Sto5 doubtin- and no/.

!an 9inter is a er3 dear friend of mine for /hom I hae e2treme

admiration and res5ect as a researcher (stunnin-l3 successful /or on!irac 9aes Mora3 diodes %.0.S. deices and bibliomanc3). In the

course of our lon-time association /e discussed the man3 features of

-round ener-ies. It /as he /ho first su--ested that I tr3 slo/in- the

s5eeds of these -round tone recordin-s do/n throu-h successie ste5s.

9hen I en-a-ed this 5rocedure I /as absolutel3 astounded to discoer

an unsus5ected /orld.

+3 recordin- at the er3 hi-hest s5eed and then successiel3

fra-mentin- the tracs I /as able to 5roduce eer slo/er ersions of the

ori-inal. In seeral instances I used the method of recordin- at hi-hests5eeds (1 i5s) to mae the ori-inal master co5ies. I then rerecorded

each trac at successiel3 slo/er s5eeds (1L# master s5eed for each

deceleration). he result is an astonishin- succession of eerdecelerated

5la3bacs. I finall3 reached 1L<# master s5eed /ith the -radual a55roach

of distortion enterin- this last ste5. he disa55earance of lo/est audible

5itch /ith slo/er s5eeds is onl3 made more m3sterious b3 the sudden

a55earance of nearl3 ultrasonic 5itches. A 5itch /hich measures a clear

1E K=: 5itch at these s5eeds must be an ori-inal <# 2 1EK=: or

<#EK=: a true m3ster37

0ach harmonic dro5s do/n (from inaudibl3 [<<hi-h re-isters) "into

ie/" /hen the tracs are slo/ed to this de-ree. 0ach such harmonic

must therefore hae ori-inall3 been nearl3 ultrasonic in 5itch. I /ould

neer hae sus5ected their e2istence in the tonesi-natures made /ere it

not for the successie decelerations of the ma;or tonesi-natures. +ut

these recordin- machines of mine are not su55osed to be ca5able of



res5ondin- to such e2treme tones. 8urthermore a definite m3ster3

5ersists throu-hout m3 1L<#nd s5eed recordin-s.

It has been su--ested (b3 conentionalists) that the bac-round

noises and rh3thmicities are manmade the mere result of local

a55liance use. If these sounds /ere the result of -round leaa-es then I/ould e25ect siler to receie more of the si-nals than others (includin-

acuum). his in fact is not /hat has been discoered. I find it er3

difficult to beliee that an3 a55liance is ca5able of emittin- the " . . .B

AS0AS0B . . ." rh3thms /hich carbon so dramaticall3 emits. In

addition the oertone dischar-es are not the same from sam5le to

sam5le. 0ach element emits a different oertone 5attern. Some oertones

dance /ith a s5ecific rh3thmical em5hasis. here is no 5recedent (to m3

no/led-e) for these tonesi-natures.

hese radionic tonesi-natures are ca5able of remainin- in thema-netic recordin- medium (ma-netic ta5e) in a 5ermanent manner. If

all these manifestations /ere the sim5le result of induction electrol3tic

"batter3 action" or ar3in- de-rees of "conductiit3" there /ould be no

tonesi-natures. he fact that these tones are radionicall3 char-ed is Cuite

enli-htenin- offerin- us the 5riile-e of discoerin- and e25eriencin-

ne/ /orlds. here are sudden emissions /hich s5ontaneousl3 release

er3 shar5 "5in-s" of e2ce5tionall3 short duration. &ot all materials do

this. Ameth3st s5haelerite 53rite and -alena seem to eince these

sudden shar5 tone emissions. M herou2 discoered these in enormous

olumes out 9est. I see these mineral tones as bein- ain to forcedradioactiit3 under the im5act of the -roundra3 (see /ors b3 . @e

+on).

9ith the -ra5hic eCuali:er alone it is im5ossible to isolate the

oertones. he3 are m3steriousl3 a 5art of the "/hole si-nal" and

"dance" amon- the ma;or tones heard 5er sam5le. ou must listen to

these b3 directin- 3our attention to the er3 hi-hest sounds heard

"bet/een" the head5hones. ou cannot isolate or eliminate the oertone

dance /ith the -ra5hic eCuali:er.

&one of the mineral sam5les /ere touched or handled durin- the

sam5lin- 5eriod. &one of the other sam5les /ere handled /ith the

e2ce5tion of the handheld coil. he craclin- sounds 3ou hear are their

natural out5uts. In addition all the sin-le /ire lines /ere carefull3

insulated and aoidedD no motion too 5lace in the laborator3. he



absence of automobile traffic maes the constant craclin- noises more

sus5ect of anomalous source.

Allo/ 3our attention to he dra/n into the oertone dance these

contain the em5athic si-nals. he3 seem to hoer aboe and u5on all the

other sounds. 0ach oertone "dance" differs from substance to substance.hrou-h them /e become em5athicall3 entuned /ith the aura of each

sam5le saorin- their essence directl3. hrou-h such a means /e ma3

(5ersonall3 and intimatel3) e25erience the minerals and metals in a /a3

neer before 5ossible b3 no/led-e alone. 02tendin- these e25eriences

into the tonesi-natures of stars and 5lanets is m3 ne2t e25eriment. hen

comes teleem5athic research the deelo5ment of technolo-3 throu-h

/hich /e ma3 e25erience distant communications of an e25eriential

ariet3.

he com5le2it3 of the sounds are difficult to s5ecificall3 anal3seand must be heard rather than described. he ta5e is made for 5ur5oses

of sub;ectie anal3sis and stud3. ,emember that none of these recordin-s

/ere made /ith an3 ind of "tunin-" in the re-ular (radio) sense. he

onl3 tuners /ere the 5otentiometers of the amaha recordin- consoleD

and these had an a55reciable effect on the tonal arieties throu-hout the

recordin- and the 5la3bac7 otentiometers act as radionic tuners and

re5resent the use of cr3stalline carbon as an or-anic detector. his is not

sur5risin- considerin- the affinit3 of earth tones ener-3 for carbon.

I hae 5ur5osel3 made the recordin-s lon- enou-h so that studentscan sam5le enou-h of the soundsca5e to familiari:e themseles /ith the

lon-time transients /hich roll and flutter throu-h minutes of time. he

most unsus5ectin- "bu::in-" contained such a ast de-ree of tonal

com5lacit3 that most researchers hae sim5l3 discarded these sounds.

%ertain stead3 5ulsations (too dee5 to hear) can actuall3 be traced /hile

/atchin- >.. meters. he -reat arieties of oertones is a sur5risin-

e25erience. he ne/ student of these /onderful radionic 5henomena /ill

derie -reat discoeries from these modest be-innin-s. he 5ulsations

from the 5icu5 or the -roundrod s3stem are remarable. I 5roided one

minute of each sound sam5le for the listener. &o doubt there are other -round arra3s and "-roundor-anic" confi-urations /hich must be

sam5led for their additional oertone content.

?ne ma3 use the sam5les for sub;ectie em5athic) anal3sis or

for use in con;unction /ith radionic tuners. In the case of either the

rationale of offerin- lon- sam5les is to allo/ sufficient time /ith an3



s5ecific soundin- to 5erform needed em5irical ad;ustments and

dia-nosis. he sounds -ie a definite sensation throu-hout the s5ace the3

are listened in. he foremost fact to remember concernin- our -round

recordin-s is that these si-nals are musical oertones. +e ama:ed and be

o5ened. @et the sounds moe 3our thou-hts /here the3 /ill. I assure 3ou

that 3ou /ill e25erience far more than 3ou 3et reali:e throu-h discussionalone. !etermine the ra3lines /hich 5ierce and 5enetrate 3our

nei-hborhood. hese sounds should hel5 reeal these ra3lines b3

traellin- into them and actiatin- some of their 5otentials. Such an

e25erimentation /ill lead to breathrou-hs in our abilit3 to e2tract

naturall3 occurrin- nonelectrical ener-3 from the dee5 strata in the

-round. Such ener-3 interactions /ill (/ith ne/ materials and ne/

tuners) 5ermit the local release of li-ht heat cold motorin-

thera5eutics astral trael tele5ortations transision directcou5led

learnin- and all the 5otential future needs of humanit3 /hich are indeed

-eneratin- and sur-in- . . . /ithin the -round.

"!esi-n 0colo-3 II" [NN

[Inde2

[OO "M3 Search for ,adionic ruths"

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recording telluric signals part-2

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