What¶s Really Happening to Us? And Can ³528´ Save Us from Extinction? Introduction When a great basketball player sees 3 seconds remaining on the game ga me clock, and stands at the top to p of the key with the score tied at 96, without time to think or pass the ball the o nly heroic option is to put up ³a prayer.´ This is done by melding heart and ball with faith and inner vision of the shot sailing through the center of the hoop to achieve ³all net.´ Thus, the ball arcs perfectly per fectly guided to the sound of a ³swish.´ Game over! WE WIN! A Question of Balance Several years ago physicist physicist Nassim Haramein of o f the Resonance Project advanced the t he double torroid structure of the universe based on o n Einstein¶s field equations expanded to include torque, spin, and velocity. velocity. He determined a black hole runs vertically down the middle of the spinning cosmic structure, much like the icon designed for the film ³INCEPTION´ shown below.
By Dec. 21, 2012, the day the Mayan calendar ends, Haramien mathematically predicted our galaxy will be transiting the ³event horizon (EH)´ as graphed in Figure 1.
Figure 1. Double toroid structure of the universe with the ³Event Horizon´ at the top.
As though flowing freely over the t he edge of a waterfall, Haramein lectures that matter may shift it polarity in a nanoinstant we spin through the vortex vort ex of this ³Black Hole.´ Physicists also speak of this ³zone,´ much like basketball players speak of being in the ³zone´ when they launch their winning shots. Almost instantly, from that ³zone,´ victory is manifested, and the player watched the entire ent ire ³score´, and felt it happen, before it actually act ually happened. It routinely happens, they t hey report, because of their ³level of consciousness,´ from which they throw the ball, wherein w herein they and the ball, and their victory, are ONE--once choice, cho ice, one INCEPTION--a real level of superhuman metaphysical creation.
Theoretically, there is a place at the heart of the universe, that t hat mirrors every ball player¶s heart--a place where the ³love of the game,´ or ³love of the victory,´ or o r simply ³LOVE,´ takes form. The physical manifestation of the spiritual (i.e., metaphysical) intention and passion, is at the heart o f creation--the Creator¶s heart, or Michael Jordan¶s heart down by 3 at ³crunch time.´ The Merits of 528 The heart of this th is place, this ³zone,´ or the black hole ho le singularity, must be ³528´ if it is anything. This is evidenced by: t he musical/mathematical matrix that physicists agree exists to 1)Rodin¶s math finding 528 is fundamental to the manifest the universe.
2)Showell¶s math confirming 528 as fundamental to ancient Pi, Phi, and the Golden Mean evident throughout natural design.
3)528 being fundamental to sacred geometry, 4)528 being the heart o f the rainbow, (greenish-yellow).
5)528 being the heart o f the botanical world, and chlorophyll.
no te of the original Solfeggio musical scale. 6)528 being the ³MIracle´ note
7)528 resolves to a 6, the icon for physical manifestation from either. That is, 5+2+8=15; a nd 1+5=6 (using Pythagorean math). The symbol ³6´ reflects the ³spiraling down from heaven into the wholeness of earth.´ p olarity, in which ³9´, ³completion´ of o f the number set (1-9), represents 8)Th ³69´ (yin/yang) symbol reflects the polarity, spiraling back up to the completeness of heaven.
9) superimposing the ³6´ and the ³9´ produces the image of o f the ³8,´ reflecting totality as seen in Haramei¶s do uble
toroidal structure of the universe.
10) At the heart of the ³8´ is that ONE SINGLE place where the vectors vecto rs of energy--positive/negative, above/below, yin/yang, cross. This is the heart of o f the universe. IF NOT 528/LOVE/MIracle, which number do you suggest? Christ¶s number according accord ing to many 11) C(5)=528Hz on the piano is the equivalent of A=444Hz. 444 is Jesus Christ¶s investigators.. Jesus, of course, was the bearer of investigators o f the LOVE Gospel.
12) Double 444, and you get 888--the name for Jesus according to Greek numerology. Acoustic frequency researchers Estes and Walton determined that a synthesizer tuned to 88.8 ³makes the t he room spin as though you have entered and energy vortex to another dimension.´ abou t the ³Vitruvian Wo/man´ with nine projections; project ions; with with the 3rd note, 528, 13) Leonardo da Vinci drew his circle about at the greenish yellow ³zone´ of the chakra system.
aco ustics engineer and co-inventor of the CymaScope, an instrument that makes 14)John Stuart Reid, an English acoustics sound visible, photographed the sound of 528 producing, most uniquely, a 36 pointed star.
S un and Jupiter. Both recordings resonate predo minantly 15) NASA scientists recorded the sounds coming from the Sun in 528Hz, according to comparisons made by this author and others.
16)Grandmother Drum, probably the largest drum in the wor ld, constructed according to spiritual directions received from Alaskan aboriginal grand-mothers, vibrates most powerfully at 52 8Hz, and has been associated with w ith remarkable ³healings.´ According to experts, the ³Arc of the Covenant´ was a drum, carries around in an ornate solid gold box.
17)Scott Huckabay, a ³guitar alchemist´ a lchemist´ plays in the 528 tuning, tun ing, with LOVE, and routinely has members of his audience experience healing.
18)Daniel Koehler, a pioneering piano manufacturer and veteran piano tuner constructed piano made with granite bridges that far outperformed pianos, including Steinway¶s grand co ncert pianos with wooden bridges. When he tuned his strings to 528Hz, the t he powerful pianos became healing instruments.
19)Dr. Joseph Puleo proved that 528 is the 3rd note o f the original Solfeggio, associated with healing ³MIracles.´ t he ³Key to the House Ho use of David´ that opens spiritual ³doors´ that no mortal may c lose. (Isaiah 20)528 appears to be the 22:22; Rev. 3:6-8).
21)528 is fundamental to the sacred geometry of the ³Star of David,´ the Carbon-6 organic chemical ring, the water molecule and the snowflake.
22)King David played a magical healing harp, apparently tuned to the ³Key to the House of David.´ Conclusion All of these authors, mathematicians, physicists, musicians, researchers, and scientists are of sound mind. Our world has gone ³mad´ because of the suppression of truth that ³shall set us free´ to be all that we can be, in 528Hz frequency. 528 musical healing information and applications app lications have been obviously suppressed. If 528 was so unimportant, why did the Church and Temple T emple officials suppress it? I propose that ³528´ LOVE--the ³Universal Healer´--is what is going to save us from going ext inct.
EGYPTIAN SONICS The foundations of many sciences were laid by the ancient Egyptians . . . but where their architects inspired i nspired by acoustical knowledge? by john stuart reid* Introduction
Many of Egypt¶s pyramids have chambers which w hich are highly resonant, possibly the best examples being Snefru¶s µRed¶ Pyramid at Dahshur and Khufu¶s µGreat¶ Pyramid Pyra mid at Giza; it is believed that both monuments were constructed in a 47-year period, circa 2575-2528 B.C., in the 4th Dynasty (1, 2). Snefru, Khufu¶s father, father, chose a 50-feet high, high, cathedral-like, corbelled limestone main chamber whilst Khufu chose chose a simple rectangular, granite-lined granite-lined space; granite has also been used used to fashion Khufu¶s sarcophagus. Whilst there is no evidence that these t hese two pyramids were designed by the same architect, the disparate choices of construction material and style were both successful in creating a long Reverberation Reverberation Time (RT) (RT is defined as ³the time taken for a sound to decay to one o ne milliont millionth h of its original intensity.´ The results below show that the ¶King¶s Chamber¶, in Khufu¶s Pyramid, benefits benefits from an even longer R.T. than Snefru¶s Snefru¶s main Chamber. Snefru¶s Red Pyramid (limestone main chamber): Khufu¶s Pyramid (granite- lined King¶s Chamber):
RT = 2.72 seconds. Volume = (approx) 350 cu metres RT = 4.47 seconds Volume = 329 cu metres
The main body bod y of data obtained from Snefru¶s Red Pyramid will be t he subject of a future paper, pap er, howeve
r, from the results set out above, it can be concluded that it is the granite linings of Khufu¶s King¶s Chamber which are responsible for the increased RT. Such long reverberation times compare well with those found in large cathedrals and churches, where this t his feature was, and is, an important element in the design, in order to enhance enha nce the organ and choir performance. It may be relevant that, t hat, whilst limestone was available locally at both work sites, the granite for Khufu¶s King¶s Chamber had to be brought from Aswan, 500-miles south of Giza. Given G iven the great cost and diffi d ifficulty culty in its acquisition, it seems likely that the architect considered t he material to have some major advantage(s), including the optimal acoustical qualities of granite. Textual Indicators
The following quotation from Demetrius, circa 200 B.C. suggests that purity of sound was, apparently, apparent ly, important in this era and that the rendition of o f sound for its own sake, or for ritual purposes, was o f concern to the ancient Egyptians.(3) µIn Egypt, when priests sing hymns to the t he gods, they sing the seven vowels vowe ls in due succession and the sound of these vowels has such euphony, that t hat men listen to it instead of the flute and the lyre.¶
Such µeuphony¶ would, no doubt, have been enhanced by singing in reverberative chambers, just as artificial reverberation is an important function of sound equipment eq uipment in some churches and most places of entertainment today. Although the date of o f this quotation is much later than the pyramid age, it should be remembered that vowels were considered sacred throughout ancient Egyptian E gyptian history and that Late Kingdom customs invariably had their roots in early or even pre-dynastic times t imes.. It seems reasonable to suggest, therefore, that the ancient Egyptians of the 4th dynasty may have used vowel vowe l sound chants as part of their ritual. However, even if their chant was not specifically vowel sound oriented, or iented, studies of ancient Egyptian cult texts of o f a religious character, have revealed that, in many cases, they were intended to be sung rather than spoken. Dr. Lise Manniche (4) provides confirmation of this, in some measure, with the following quotation from Nikaure in the 5th dynasty: 'Instructor of the singers of the Pyramid of King Userkaf¶ This title, given to Nikaure, seems to indicate that a group of singers were retained reta ined specifically to maintain song or chant-based rituals at the pyramid of o f Userkaf, although whether the singers performed inside or outside t he pyramid cannot be determined det ermined without further evidence. Although no Critical Distance Test was carried out (the distance from a given sound source at which the level of direct energy, reaching one¶s ears, equals equa ls the level of reflected energy) speech intelligibility, intelligibility, even eve n when two people are as close as one o ne metre apart, is extremely poor in the King¶s Chamber. However, this effect works very much in favour of chanting or singing, where continuity not intelligibility, is the prime concern. This is particularly relevant where extended vowel sounds are employed, for example, in Gregorian Chant. R.A. Schwaller de Lubicz (5) believed that the ancient Egyptians used sounds, as distinct from words, in their rituals. In the last sentence of the following following passage he quotes from Corpus Hermeticum:
µSacred or magical language is not to be understood as a succession succession of o f terms with definite meanings...the excitation of certain nervous centres [cause] physiological effects [which] are evoked by the utterance of o f certain letters or words which make no sense in themselves.¶ µThe Pharaonic texts are rich in examples exa mples of litanies playing a magical role through t hrough the repetition of sounds...and through word play. The hieroglyphic writings allow us to confirm this although their transcription into our language is impossible since the pronunciation of this language is unknown...In a letter from Asklepios to King Amman [he says]: µAs for us, we do not use simple words but sounds all filled with power.¶ Sonic Symbolism Sounds created in the highly reverberant King¶s Chamber may have been intended to have an energising effect on the sarcophagus during sacred rituals r ituals that were connected with foetal symbolism. Such a po ssibility ssibility is based on on Professor I.E.S. Edwards¶ (6) hypothesis that the sarcophagus symbolised the wo mb of the goddess Nut: µAccording to one of the most popular myths...the sun god Re entered the mouth of the sky goddess Nut every evening, passed through her body and was reborn at dawn. When he died, the King was assimilated to Re and was thought to undergo the t he same nightly process of gestation and rebirth as the sun-go d.
Spell 430 addresses the god in the womb thus: µYou are restless, moving about in your mother¶s womb in her name of Nut¶.
It is particularly indicative that Djedefre, Khufu¶s immediate successor, should have cho sen to have an oval, o val, not rectangular, sarcophagus; it is really a representation o f the human womb...As these texts show, the t he actual sarcophagus was regarded as identical with Nut and it possessed her maternal attributes¶. When sound is generated in the King¶s Chamber at its Prime Resonant Frequency Frequenc y (PRF), (See reference below for definition of PRF.) the sarcophagus resonates in sympathy. This phenomenon would occur even if the PRF of the sarcophagus was substantially different to that of the King¶s Chamber but in such a case, the excitation level of the sarcophagus would be of relatively relat ively low amplitude. Methods, Results and Discussion The actual PRF of the chamber (identified by the technique in which Pink Noise is generated in the space and the resulting reflected energy is analysed) was found to be 125 Hz ±4Hz. This was later refined, by calculation, to be in the order of 121 Hz; that of the sarcophagus was identified, using the same technique, as 117 Hz. However, the south-east corner of the sarcophagus is severely damaged and it is, therefore, possible that it was once tuned exactly to the chamber.
Even today, the two t wo prime resonances are so closely matched that any powerful intonation produced in the chamber, especially if executed at or o r near musical note µB2¶ (123 Hz), causes a massive excitation of the sarcophagus, via acoustic coupling. The similarity between the two resonant frequencies could be viewed as either coincidental or as a possible indicator of acoustics design. µIn smaller rooms, where some of the dimensi d imensions ons are less than 10m, it is found that `the resonant frequencies become widely spaced out at the low frequency end of the range. This is particularly so if two or more of the room dimensions are the same, or are related by simple ratios such as 2:1 or 3:1...When widely spaced frequencies occur, sounds [made in the room] can occasionally be strongly influenced by [such d imensions]..¶(7) The process of tuning may not have been as difficul d ifficultt as one o ne may imagine since granite is highly resonant and most large pieces of the stone emit a clearly audible, bell-like sound when struck, albeit albeit at low frequency. The architect would have had access to expert stone masons who would be adept at hollowing out large blocks of stone; the process of grinding off material to alter its ringing tone is o ne which was well within the limits of their known kno wn technology. Indeed, there are clear signs of grinding on its inner walls although it is admitted that this would have been necessary, in any event, during general finishing procedures. However, the concept t hat the sarcophagus was deliberately µtuned¶, suggests a further po ssibility ssibility related re lated to Professor Edwards¶ womb hypothesis. I discovered by experiment that t he pitch of sound of a new-born new-bo rn baby¶s heart is also centered around 125 Hz. The ancient Egyptians could easily have identified this, simply by placing an ear
against a baby¶s chest, as one can do today, and then mimiced it in the resonance of the sarcophagus. Whilst this may seem unlikely, there are two t wo further items which lend some support for this concept. Firstly, some ritualistic instruments were found in the northern µstar shaft¶ of the Queen¶s Chamber in 1 872 by Wayman Dixon, a British engineer. One of the instruments he discovered was a small bronze too l, described then as a µgrapnel hook¶ but now thought to be a ceremonial, non-functional, µPesh-en-kef¶.(8)
The second item concerns the t he pyramid¶s µstar shafts.¶ It is is well known that t hat µfalse doors¶ which the ancient Egyptians used as a symbolic device through which the ka or spirit body could pass, were invariably constructed to normal door proportions, as if to accommodate a ka which matched the proportions of the living Pharaoh. However, the shafts, which are now believed, by many authorities, to be conduits co nduits to the stars for the Pharaoh¶s ka, are only o nly around 200mm square, well suited to the t he symbolic transit transit of o f a foetus or the ka of o f a foetus but not that of an adult. a dult. Also, if the sarcophagus can be considered as the womb of o f the sky goddess, it is possible that the shafts were constructed as symbolic fallopian tubes; the ancient Egyptians were almost certainly aware of the existence exist ence and main functions of the female reproductive organs. It may be relevant that, in the human female, the necks of o f the fallopian fallopian tubes remain closed/ dormant until the time of o f ovulation, just as in the Queen¶s Chamber, the shafts were originally closed off at the chamber end. Both these shafts terminate within the body of the pyramid, perhaps symbolising the connection between the fallopian tubes and the ovaries. The southern shaft, connecting with this chamber, was explored by Rudolf Gantenbrink in 1996, by robot, resulting in the discovery of, what has come to be known as, µGantenbrink¶s Door,' 200-feet from the chamber. There are other examples exa mples of concealed symbolism within and adjacent to Khufu¶s Pyramid, most notably the seagoing Solar Boats which, it is generally believed, facilitated the Pharaoh¶s sailing on t he celestial sea. Such examples demonstrate that the ancient Egyptians were fond of symbolic devices and would wou ld go to extreme lengths to produce them; construction of the shafts would certainly cer tainly have been a very difficult engineering problem and must have held a powerful po werful symbolism. symbolism. Conclusion Regarding Egyptian pyramid design, several features po int to an acoustics design intent. Most notably is the architect¶s choice of a simple 2:1 ratio (20 and 10 royal cubits respectively for the King chamber¶s length and width.) This T his is significant, significant, particularly at bass frequencies where distinct room modes (dominant resonances) would be expected to arise. The actual width and height, at approximately 5.25 and 5.85 metres respectively are also important. Notes concerning definition of Prime Resonant Frequency (PR F):
In any enclosed space but particularly one of regular proportions p roportions and with parallel facing walls, many dominant resonances (modes) will occur. They can be predicted mathematically but when found experimentally e xperimentally there is always one wherein the amplitude a mplitude of the resonance is perceived as being t he most powerful; it occurs when the maximum acoustic energy in the room ro om is reflected back to source. Conversely it can be thought of o f as occurring when there is least absorption of acoustic energy by the t he room. These are two definitions of µPrime Resonant Frequency¶ a nd typically the prime will be of o f low frequency. However, the roll-off frequency of the t est loudspeaker was 63 Hz, thus I was unable to analyse frequencies below this figure. The highest amplitude of energy reflected from the chamber, using pink noise no ise as the sound medium, was 125 Hz, (centre frequency on the analyser) and calculations refined this to 121 Hz. This frequency is very near to a musical µ B2¶ (123 Hz), is easily sung or chanted by a male priest (see below for specific reference to the male gender). This male frequency dominance would have been discernable to anyone with a µmusical ear¶ simply by walking slowly around the chamber whilst a vocalist performed a slow bass glissando. The sound o f greatest loudness would have been around 121 Hz. The lowest frequency that can be sung by an adult male is about 80 Hz and for the purposes of discussing male chant, I have, therefore, redefined the Prime Resonant Frequency as the lowest frequency mode which can be generated by an adult male voice. The true Prime Resonant Frequency of the King¶s Chamber may prove to be a sub harmonic of 121Hz, say at 66 Hz or 33 Hz, but if so, a 33 Hz mode could not have been discerned by the ancient Egyptians and neither of these frequencies could have been vocalised by their priests.
Note concerning the gender of priests: From what is known of o f the priesthood in ancient Egypt, those t hose of high rank were almost always of the male ge nder. If it was the architect¶s intention to engineer spaces in w hich male priests were required to perform chant-based ceremonies, then we can predict that powerful low frequency modes would have been desired since the general inclination of the male voice vo ice is toward the bass register. The dominant resonance in the King¶s Chamber, circa 121Hz, is below the vocal voca l range of most female singers and it is, therefore, likely that it was designed primarily, although not necessarily exclusively, for male priests. References 1.Marcus V. Pollio Vitruvius, Vitruvius on Architecture, Loeb C lassical lassical Library, ISBN 0-674-99277-6, p.293 2.John Baines & Jaromir Malek, Atlas of Ancient Egypt, E gypt, Time Life Books, p.36 3.Aristotle, Poetics, Loeb Classic C lassic Library, ISBN 0-674-99563-5, p.395 4.Lise Manniche, Music & Musicians in Ancient Egypt, Eg ypt, British Museum Press, ISBN 0-1741-0946-0, p.60, p.162 5.R.A. Schwaller de Lubicz, Sacred Science, Inner Traditions International, ISBN 0-89281-222-2, p.167, p.168 6. I.E.S. Edwards, The Pyramids of Egypt, Penguin, ISBN 0-14-013634-7, p.62 7. P.H. Parkin, H.R. Humfries & J.R. Cowell,
Acoustics, Noise & Buildings, Faber & Faber, London, ISBN 0-571-04953-2, p.39 8. The word µpeshen¶ µpeshen¶ means to divide, to split, split, to cut, to separate, and such instruments instruments were used during the µOpening of the Mouth Ceremony¶ in which the deceased was symbolically reanimated. They were also used as a birthing knife, i.e. for cutting the u mbilical mbilical cord of o f new born babies. In their archaic form, they were probably fashioned from flint, consisting of two curved blades which meet at a point, thus cutting through both bo th sides of the umbilical as it was circumflexed around it; in effect an early form of scissors. John Stuart Reid is an English acoustics aco ustics engineer and was technical director o f Sound Electronics Ltd from 1969 to 1999, a company specialising in acoustics solutions for churches, cathedrals and public bu ildings. He retired from business in 1999 to conduct research into the true nature of o f sound, its role in the creation of life and the mechanisms by which it heals. John is co-inventor of the CymaScope, C ymaScope, an instrument that makes sound visible, enabling t he vibrations of life and the Universe to be studied by direct ocular vision. His paper on the spherical nature natu re of sound and sound's special relationship with light was published in the ISSSEEM Journal in 2007. John is also interested in ancient Egyptian Egypt ian stone-working techniques and the ritualistic use of sound. He is one of only two men to have carried out an acoustics study of the Great Pyramid and the only person to have investigated the King¶s Chamber sarcophagus, cymatically. He lives and works in the English E nglish Lake District with his wife and co-researcher, Annaliese Shanda R eid. John¶s fascinating text, Egyptian Sonics ($19.90) can be ordered from: Sonic Age America, PO Box 19, Hope, Idaho, 83836. Call: North America: 1 208 264 0171 Email:
[email protected] For destinations outside USA, or to order online o nline please refer to www.cymascope.com SACRED GEOMETRY & ZERO POINT ENERGY All geometry, including sacred geometry, g eometry, lacks the discovery of differential mathematics and shapes. Without differentials, the universe could not function as a perpetual motion machine. by DAVID SEREDA*
Introduction
Submission Submission accepted acc epted for publication pending editorial ed itorial review. 528HZ SOUND ³MIRACULOUSLY´ CLEANED OIL POLLUTED WATER IN THE GULF OF MEXICO, ACCORDING TO A NEW STUDY BY A CANADIAN RESEARCHER
Perdido Bay, Alabama²A series of sounds played to oil polluted water from the Gulf of Mexico has ³miraculously´ cleared test samples of the deadly petrochemicals, says a well known Canadian researcher. According to John Hutchinson, an electro-magnetic energy expert from Vancouver, B.C., Canada, a selection of ³music´ has helped purify poisoned water. The frequencies included the ³sound of Jupiter,´ recently recorded by NASA, vibrating close to 528Hz frequency. That sound energy has been determined to match the color greenish-yellow--the heart of the rainbow, the electromagnetic color spectrum, celebrated by the botanical world, according to Dr. Leonard Horowitz, who has published most on that pure tone. Nature obviously celebrates that shade, the pigment chlorophyll, to produce oxygen and energy needed for life. According to Dr. Horowitz, Hutchinson¶s study results are most promising, as they were certified by the Analytical Chemical Testing Laboratory, Inc. of Mobile, Alabama, and are consistent with studies and predictions based on the most advanced discoveries in mathematics, physics, and biophysics. 528Hz frequency, the ³Miracle´ note of original Solfeggio musical scale, is only one of nine ³core creative frequencies´ in a ³Perfect Circle of Sound´ that animates physical reality, like atomic energy technology, using spinning electrons vibrating with electro-resonance. This is an image of one of the most perfect, detailed, pure water crystals ever photographed. It formed to reflect the
sound of the sun .
In 2009, researcher David Sereda sent Dr. Horowitz NASA recordings of the sun along with this crystallograph produced by researchers in Russia. Later, Dr. Horowitz compared the sound of the sun, and jupiter to the pure tones of ³The Perfect Circle of Sound´ frequencies, including 528Hz. The Harvard trained public health expert noted 528Hz was most obviously harmonic to both recordings. Dr. Horowitz believes 528Hz is also fundamental to ³LOVE´²the ³Universal Healer;´ and he recommends combining the frequency of ³LOVE/528,´ with the ³Universal Solvent´²Water²to advance ³the future of medicine´²LOVE Hydrosonics Hydrosonics.. To this end, the award winning author and film-maker publishes two online journals Hydrosonics, that discusses the powerful impacts of sounds on water, and Medical Veritas, heralding advances in natural ways to end pollution and advance healing.
John Hutchison, is a well known scientist best known for examining The Bermuda Triangle, and explaining strange occurrences in this infamous area of the Atlantic ocean, called the ³Hutchison-Effect,´ all associated with electromagnetic disturbances of unknown origin. The Canadian Government has persecuted Hutchinson heavily over the years, the last time for supposedly causing his neighbor to levitate without consent. Hutchinson¶s partner, Nancy Lazaryan, a journalist from Minnesota, said their research was ³intuited´ to include the 528Hz sound that they observed causing oxygen to bubble up heavily from the bottom of the oil soaked Gulf and Perdido Bay, between Florida and Alabama. The couple started their research requesting samples of polluted Gulf water be sent to Hutchison's lab in Vancouver. There, Hutchison and Lazaryan experimented using ancient Solfeggio sounds and Gregorian chant frequences that have been traditionally used for healing. The frequencies were applied to several polluted water samples using audio and radio waves, with wonderful results. So Hutchison and Lazaryan packed up their lab equipment, borrowed a trailer, and farm truck, and traveled from Canada to the Gulf. Their chemical analysis from their first "open air frequencies" experiments in Perdido Bay proved to them that, ³the Gulf water can be healed.´ To date, the federal government has relied on the deadly oil dispersant, Corexit, a Goldman Sach/Boots & Coots chemical causing a lot of people, and wildlife, to get sick and die. Alternatively, Hutchinson and Lazaryan recommend a harmonic "stream of sound" to completely purify the polluted water. The couple claims the inspiration for these harmonics came from the Essenes, a sect of Israel where Jesus was a member. The Essenes "inner circle" taught the "stream of sound" as part of the Creator¶s power to create. The 528 hz tone is known by the ancients to be a "healing frequency," and many people believe it can be used to repair damaged DNA. Most recently, Dr. Horowitz, working with mathematician Marko Rodin, advanced the mathematical relationship to genetic structuring, as DNA segments reflect Rodin¶s ³infinity pattern,´ that others predict will revolutionize everything. ( CLICK HERE for a YouTube presentation on this knowledge.)
In 2009, Dr. Horowitz produced Live H2O: Concert for the Living Water , Water , in which groups from 72 countries participated by singing and chanting in 528Hz, praying for all polluted water to be blessed worldwide. One of the honorees at LIVE H2O was Dr. Masaru Emoto who conducted years of research sending purifying intentions and ³LOVE/528Hz frequency vibrations into water with astonishing results published in dozens of languages and two New York Times bestselling bestselli ng books. Dr. Emoto actually filmed the molecular structure of the water changing from disorganized arrays of crystals in polluted water, into beautiful snowflake formations included visible ³messages´ as through the water was actually ³conscious.´ Dr. Horowitz, among Dr. Emoto¶s leading scientific supporters, explains this metaphysically by relating the power of LOVE in human hearts to the power of the Creator to respond to prayer and heart-felt loving intentions to heal the world and be helpful to one another. Hutchison and Lazaryan, likewise, are hoping to bless the planet with their new discoveries in the Gulf of Mexico. "We declare PEACE," says Lazaryan, "the war upon the Gulf is over. "
