Speaking to Physical Motion and Thought Transfer - Part 1

Languages Beyond Words.

We consider the question of how speech, symbols, or thoughts can alter physical reality in an apparently metaphysical way.

We will first explore how machines, on the one hand, and living organisms, on the other, can metaphysically influence their environment by means of indirect transformations of gravity, or communication. In other words, can an object change the physics of its surroundings? Can a person do so? Part 1 of this series focuses on current instruments; part 2 will focus on actual biological/humanistic means.

As far as we have ever known, from prehistory to modern times, all known writing, drawings, and symbols are intended for humans to read, interpret, and act upon. The power of symbols in written form is inherent in their meaning, which is not in the symbols, images, or letters themselves but rather in the mind of the reader, who, by reading or interpreting them, invokes the same or a similar meaning that the author intended. 

When we say that the pen is mightier than the sword, we are actually referring to the mind that writes with the pen, for what is powerful is a thought conveyed from an inner place in one person’s mind, through the exterior marks of written or spoken language, back into the inner recesses of the mind of a reader or viewer. The pen is not a sword but merely a mirror, a medium for echoing sentiments from one mind to another. But does this principle work with energetic symbols—something written that is powerful enough to make an object move or fly in some way?

To reiterate, in order for symbols to have real power, someone must read them and feel inspired to take action. Even the most provocative writing is pointless if there is no reader to interpret it. In order for a craft to fly based on and powered by symbols painted on its fuselage, as we covered in the case of the dragonfly UFOs in previous articles, there must be an entity, an actual reader, powerful enough to interpret the symbols and then act upon their meaning. The writing on the outside of that craft was more than just a label; there were numerous symbols all along the fuselage that were there for someone or something to read.

As improbable as it may sound, we may admit that in the specific case of an object flying through the environment, the reader must be the environment itself. So that is where we must go today, guided in successive approximations by the opening question: what examples exist in which a symbol system (written, painted, or realized in action or performance) is “read” and acted upon by an environmental response? 

The implications are impactful: to the extent that we can demonstrate to someone this unusual theory, we also implicitly show that we exist in a conscious, observant, and responsive universe.

Indeed, we shall see how, in experiments with water, a reaction has been recorded based on writing on surfaces facing the water. But before getting too far down this road, let us recall how similar this idea of patterns on water is to what we heard from “Isaac,” the whistleblower who exposed the idea that the dragonfly UFO could fly largely because of the mysterious writing on its fuselage. 

The Bible states it before anything else: "In the beginning was the Word, and the word was with God, and the word was God.” In other words, what is read or uttered is powerful and primordial because it is a sensory version of the greatest power in the Universe, and is its creative force itself 

In world literature, there are stories that convey this principle. We might remember the classic Ali Baba and the Forty Thieves as a canonical example. Ali Baba, a poor woodcutter, is wandering the forest looking for wood when he stumbles upon a group of thieves. Undetected, he watches them as they approach the side of a mountain, uttering a special phrase, “Open sesame!” and, at the sound of these words, a massive rock at the base of the mountain rolls over to reveal a cave that houses the treasures stolen by the thieves.

What is happening here is more than the simple revelation of a cipher—a secret code. If that were the only point of this scene in the story, then the story would only have consisted of a locked door, behind which a gatekeeper interacts with whoever wants entry, and who must now utter the password. In that reduced version, the actual secret knowledge of the password wouldn't do anything by itself because the gatekeeper would be opening the door. However, uttering the phrase "open sesame" does something quite different: it causes an action to happen when, in response to the sound of the phrase, the rock moves on its own, propelled solely by the language.

Another magic word is abracadabra. In Hebrew, the language most rich in embedded and hidden meanings, the meaning of abracadabra is "I will create as I speak", and in Aramaic, the language spoken by Jesus Christ, the word translates to "I create like the word" (אברא כדברא). Hebrew has a deep and varied history of esoteric meanings and uses. It is a language for which the incantation of a word is also supposed to evoke its meaning in a larger sense, not by the listener or reader but by merely uttering it, as it happens. Its characters are said to be connected to the universe in many forms, for which reason many variants exist, like the Alphabetum Coeleste, or Celestial Script, created by Jacques Gaffarel, a 17th-century Christian kabbalist and astrologer, while working for the French cardinal Richelieu. In 1650, he wrote the book Unheard-of Curiosities Concerning the Talismanical Sculpture of the Persians; The Horoscope of the Patriarkes; and the Reading of the Stars, now a classic of esoteric literature as well as a foundational text in the field of cryptography.  

The image of the Celestial Alphabet Event shown below is from a 17th century Christian Kabbalist, Jacques Gaffarel. The vertices of Hebrew letters are applied to the stars and can be variously combined into words. The sky becomes a visual poem that, while unchanging, can be read any number of ways, and its interpretation has been transposed to the medium of music.

Beyond human incantations of power projected from spoken symbols, can we determine how or whether sound as a medium can, on its own, be connected to the levitation of objects? Indeed, as the presumed flying craft in the dragonfly/CARET photos suggests, ultrasonic levitation is already possible, and, where this seemed oddly an improvement, it is in fact relatively easy to build a similar levitator, as this video shows. 

A better illustration of the principle is from a video demonstration in the Harvard Science Center, where not only is ultrasonic levitation made possible, but the waves themselves are rendered visible:

And for the technically minded, an even more tightly controlled experiment, in which an object can be levitated horizontally and vertically as well, by trapping it in the frequency intervals as shown in the white bands above, is shown next:

Skip around the following video to see the effects; watch the entire content if you wish to understand how levitation through an acoustic trap works.

There are numerous explanations of the same phenomenon. Ultrasonic levitation is possible, approaching a blend of the idea that words, once uttered, can alter physical reality. 

Likewise, exposing objects to high energy magnetic fields will make them float, as in this experiment in a Dutch laboratory:

This is a sense of how machinery can influence its surroundings in an anti-gravity, post-conventional physics mode. It has been a limited introduction to what will come next, because what living things can do to their environment in this way is the much bigger topic of our second part. Until next time.