The "Cone Fictive" Virtual Cone Pendulum (Dr.

Ibrahim Karim) This very accurate and simple scientific pendulum was designed and calibrated by the French researchers Chaumery and Belizal in the late 1940's to be used for detection and measurements in Physical Radiesthesia, or Microvibrational Physics, as they called their science to differenciate it from the widely populari ed !ental "adiesthesia, which was a form of #owsing based on the operators interaction with his subconscious, in a form of psychic activity, which was prone to autosuggestion, and was therefore not very accurate for scientific wor$% They lay the basis for what they called &Ondes de Forme& which means &'nergy of (hape&% This school included other e)ually important researchers li$e* Turrenne, +oillaume, and others% They were soon eclipsed by the proponents of !ental "adiesthesia or #owsing, and there wor was !or"otten e,cept for a few researchers here and there who did not add much to the original wor$% There were many other researchers in the 'nglish spea$ing world li$e -brahms, !alcolm "ay, #e .a/ar, .ethbridge, Tansley, etc% who developed their own systems but never added anything to the original science of "adiesthesia% #t was Chaumery and Belizal who $ut the !oundations on which a new science could be built, or rediscovered in a modern way% To understand the importance of this simple instrument called the virtual $endulum it is necessary to go into the new concepts needed for a future science, for it is based on the conversion o! colour to "eometrical an"les and a$$lyin" both beyond their res$ective ran"es % To have an ob0ective interchangeability of laws between colours and angles opens new possibilities but also needs a new $ind of scientific awareness% The need !or a new ty$e science There is a growing trend among scientific philosophers professing the need for a new type of science% 1ur present scientific way of thin$ing has produced a split in our worldview% /e put science in one hand and the arts, humanities, religion etc% in the other hand, and are not able to sha$e hands% /e loo$ at science as ob0ective and based on )uantitative methods of measurement, that cannot include incorporate activities based on )ualitative aspects, which are labeled as sub0ective% This point of view is based on the fact that today's traditional science does not deal with all levels of energy in nature% 2t is based on its ability of )uantitative measurement, which is limited by the capability of modern measurement instruments% %ature however does not reco"nize our scienti!ic units o! measurement* The centimeter, inch, mile, volt, and so on, do not e,ist in nature, they are our way of understanding nature by )uantifying it% /hen nature recogni es )uantity, it does so by interacting with the &)ualitative aspect of )uantity&% For nature every number has a vibrational )uality% 3owever )uality and )uantity are two faces of one coin% 4ythagoras was the first to introduce to the western world the ancient 'gyptian way of correlating musical )ualities with )uantifiable, numerical values% 3e used a simple monochord, which is made of one musical chord strung on a piece of wood, to show that every )uality of sound played on the chord was based on a certain length of the string% The simple monochord can actually convert )uality into )uantity and vice versa% Then the whole idea of having two poles in our life is 0ust a fallacy% The problem is not )uality vs% )uantity, but the fact that )uantity is measurable ma$es it ob0ective, while )uality is not measurable, it is highly sub0ective, and is based on the individual taste% The problem lies in the ability to measure, and measurement must be based on a scale% If we had measurement scales for quality then it would become objective, and even quantifiable, which would then become scientific. &o such 'ualitative scales e(ist) They actually do* /e have musical scales, colour scales, and in a less obvious way, also scent and touch scales%

These scales are loo$ed at as methods of composition or categori ation, than actual scales of measurement% These scales of colour, sound, smell, taste, and touch are all produced by our brains, and then interact with the meaning level in the brain, to $roduce our inter$retation of a small number o! ran"es from the absolute reality, that is selected to provide the best way to interact with the physical realm, insuring the propagation of life , which is in turn pro0ected outwards and is perceived as a separate world% There are no colours or sounds in the absolute reality% This is a bold statement that has to be illustrated by a small e,periment* if we let daylight which has no colour pass through a glass or crystal prism the light will be refracted and produce the colours of the spectrum% The components which are bent at different angles according to their wavelength are separated and become visible, each on it's own% 2f we reverse the process and put all the colours together, that means every colour and its opposite, which are also called complementary, will be merged, and the original colourless whole light will be reproduced% (imilarly if we put all the vibrational ranges of absolute reality together we get the coulourless, and soundless, everything and nothing, that the physicists call &energy soup&% The absolute reality is all energy, and every species of being, interacts with it through different senses and sense ranges to produce it's own perceived reality through which it can achieve optimal interaction in it's physical environment% 2n order to understand how this process wor$s and where the different scales are, we will separate the sense processes into several levels of interaction% The first level is the sense or"an, this is where a specific range of vibration is selected from the total vibrational energy that e,ists within the absolute reality% 1ur energy field interacts with the total energy of the absolute reality% 1ur biological energy functions of the body organs interact with the total energy of the absolute reality, and when our body is functioning, our brains produce the perceived reality, that starts with the functioning of our sense organs% The sense organs however limit our awareness to only small segments from the total of the e,isting vibrations around us% 1ur senses are there to limit our awareness and focus only on those vibrational levels that ma$e us most efficient to deal with the physical environment, in order to insure the continuation of physical life% If we were able to hear or see several other realities or worlds besides ours we would not be able to interact, move, or function properly in our own physical world. 2 will e,plain the functioning of the senses in a simplified manner from only a certain point of view that will help us with the concept of the use of &)ualitative scales& for the measurement and evaluation of all vibrational energy levels within our perceived reality or the total absolute reality that we do not perceive% 'ach sense organ is made to select the limited vibrational range, with which it interacts% The )uality of interaction is then transferred to the nerve leading to a specific area in the brain that transforms the nervous impulses into a type of perception based on a )ualitative scale specific for the nervous interaction with that specific organ% For simplification we will call the effect on the nerve, the second level of perception, and the )ualitative scale of measurement within the brain, the third level% -t the second level, the nervous reaction to the information of the different sense organs is the same* either an increase or decrease in the different aspects of the electrical nervous impulses% 5o colour, sound, smell, taste, or feel is transferred through the nerve% All nerves are the same they transfer electrical impulses which can carry certain codes of information related to the reaction to the energy received by the sense organ. The third level is where our nervous reaction is evaluated according to a )ualitative scale of colour, sound, smell, taste, or feel% This is where the unity of reaction of the second level is transformed into a diversity of perceptions% 2n the third level the perceptions are abstract, ob0ective to all human beings, because they all have a similar anatomy% 1n that level these scales do not only indicate )uantitatively the level of increase or decrease different aspects of the electrical nervous impulses, but also other non6)uantitative aspects of )ualitative nature% /e actually do not perceive the )uantitative aspect of those scales of perception% /e perceive in the colour red, the sound note 7 or #o, the taste sweet, etc%%certain )ualities and not

)uantities% That is why we will refer to them as )ualitative scales of measurement% The measure of )uantity is linear, and when applied to vibration it would be a measure of the speed of movement, that we call fre)uency, and measure in 3ert units% The possibilities of our scientific instruments put the limits to what we can measure, at both ends of the scale* the very small or the very big% The present level of technology will therefore always limit our traditional scientific worldview% To understand the properties of )ualitative scales, we loo$ at the musical notes and their relationship to the )uantitative fre)uency of sound or the length of the musical cord% The fact that at certain intervals the chords interact, when one is struc$, and all start vibrating together, in what we call resonance, to produce their respective sounds, that are labeled as the same musical note, although at different places on the instrument, or levels in the scale, also indicates that they all produce the same effect on the nerves going from the ear to the brain, and are therefore perceived as the same note% -ny trained musician usually has ac)uired enough sensitivity to perceive the )uality or musical note of any one of the sounds produced anywhere on the strings of the instrument% This repetitive or cyclic effect is the reason that we spea$ of octaves on the piano because the first, eighth, si,teenth notes and so on, produce the same )ualitative effect on us% ow if all the sense scales apply to the same !ind of nervous reactions to the e"ternal stimuli, then they refer to the same qualities and are therefore interchangeable. The laws applying to each type of scale, are of two types, specific to that scale or general% 2t is the latter type that interests us, because while we apply them to their own ranges, they can be also applied in all sense scales% #! we could im$ort some o! the 'ualitative laws o! each sense scale into the other sense scales, and sort o! build a set o! "universal laws o! 'uality", we would immediately o$en new dimensions and see new $ossibilities in each o! the scales) -s an e,ample we could apply the laws of resonance, as found in sound, to colours, and would understand that similar colours can enter into resonance thus amplifying their energy effect as in music. #imilar movements, shapes, feelings, thoughts etc. could also enter into resonance and sort of amplify each other changing each others vibrational levels and also e"changing other types of information, carried by the object besides the common colour, shape, movement etc. $ost of the laws of colour composition, li!e harmony, opposition, complimentarity, luminosity, etc. can be applied to sound, shape, or movement. 2n order to $eep things simple, 2 will leave other sense scales such as, touch, taste, and smell out in my e,amples for the moment, as they are not widely used by instruments of )ualitative measurements, and will refer to them when relevant, or when discussing instruments that use them% #ma"ine that a sim$le instrument li e the vitual Cone or "Cone Fictive" $endulum can o$en the way to this new world) 2 recall that in 1981 during my first year of study of -rchitecture at the Federal 2nstitute of Technology (F2T9 in :urich, (wit erland, we had art courses with professor 3ans 'ss, a prominent figure in the (wiss and ;erman abstract art scene at the time, and were given such tas$s as transforming wor$s in certain musical forms of composition into visual art% /e would listen to <ach and transform his &Fugues& into abstract art by transforming musical relationships into colour, form, and mathematical ratios of composition% 1nly in later years did 2 understand the immense importance of these artistic e,ercises in the understanding and forming of my new concepts of interchangeability of )ualitative scales% 2f we ta$e any of those scales, li$e the colour scale that 2 will use from now on, because of my greater familiarity with it through my training as an architect, and also because it is was used in the calibration of the pendular instruments of &!icrovibrational 4hysics& or &4hysical method of "adiesthesia& in the wor$ of the French scientists Chaumery and Bellizal, the $ioneers o! the $hysics o! detection o! 'ualitative e!!ects on the human ener"y system, in the *+,-.*+/-s% 1ther great wor$s were done at the time by Turrenne, using polarity scales, and Voillaume using pendular length scales% .ater on, in ;ermany the theories of 0echer in "adio wave antennas were used by 1chneider to develop the .echer antenna, which is the main instrument used in 'urope at the moment for the detection of the

wavelengths that our body energy fields are interacting with% The .echer antenna is now the main instrument used for the )ualitative detection of energy interaction among 'uropean practioners of the science of physical "adiesthesia% 4endulums are used in another form of vibrational interaction, and that is the interaction with the unconscious levels of our being through meanings given to certain movements of the pendulum and agreed upon with our subconscious in a form of autohypnosis% The movements agreed upon usually mean &yes& or &no& and are used in a series of simple )uestions, to enter into a dialog with the subconscious% This is a very valuable method for mapping the levels and possibilities of the subconscious, but it is unfortunately very sub0ective and prone to autosuggestion% 2t has been widely used in the west, and due to its sub0ective nature, has ac)uired an unserious reputation when applied to ob0ective criteria% The popularity of this method of "adiesthesia has made it necessary to separate it from the scientific approach which uses the scales of measurement on the third level of sense perception, in an abstract ob0ective way, before entering into the fourth level of perception, which we shall call the meaning level% 7haumery and <elli al named their science $icrovibrational physics to differentiated from the term %adiesthesia used in &urope, which is the e)uivalent of the term #owsing used in 'ngland and the =nited (tates to refer to this psychic ability% 1thers applied the term &4hysical "adiesthesia& or the physical method of "adiesthesia to the scientific form, and &!ental "adiesthesia& to the second psychic form% This differentiation was needed because they used similar instruments, di!!erentiated only by the use o! scales o! calibration on the former and not the latter, and the method o! 'uestion and answer used by the latter and not the former which only does abstract meaningless )ualitative and )uantitative measurements% 2n the meaning level of perception in the brain all the different types of information from the different scales of perception are again put together and correlated with the memory contents of the brain, our ever e,panding data ban$, to produce the final form of perceived reality as we $now it% 2n the fifth level this perceived reality is pro0ected outside onto its' respective areas of absolute reality% /ith the selection of the senses the brain produces the world around us with its shapes, colours, sounds, smells and so on, these criteria are pro0ected from inside our brains on the absolute reality% The absolute reality will have every colour, sound, etc% and its' opposite, which means everything put together without selection giving a total energy soup containing everything that if perceived in its' totality would produce nothing> a nothing that includes everything, 0ust li$e putting all the colours of the spectrum together would give the full light which is colourless, similarly all sounds put together would cancel each other out% (o the absolute reality is everything and nothing% This also would applies to time and space which is created by our reality, and differs from other time space configurations in other dimensions% 2n our dreams time seems to run at different speeds and space follows different laws than in our wa$ing state% Time6space concepts of every organism differ according to its si e and life span% #n Physical Radiesthesia we a$$ly the colour or $olarity scale to all levels o! vibration inside or outside the boundaries o! our $erce$tion to become a universal scale o! 'uality measurement) The universal a$$lication o! the $olarity scale to all vibrational levels is more understandable, as everythin" is ener"y, and ener"y is vibration, and vibration is the inter$lay o! $ositive and ne"ative $olarities, but one can easily substitute the colour red !or $ositive $olarity and blue or violet !or the ne"ative $olarity, or red !or increasin" and blue !or decreasin" ener"y !unctions) By usin" those scales in a universal way one can access realms beyond the limits o! 'uantitative science, however in a 'ualitative way) The 'ualitative way ma es $ossible the interaction with all e(istin" levels o! ener"y in nature, which include the $hysical, vitality, emotional, mental, and s$iritual levels in an abstract ob2ective way) The linear character of )uantitative measurement, which is bound by time and space, gives way to the non6linear character of )ualitative measurements that have no time or space boundaries% 2n 19?@

during my visit to 4aris on a government mission, for the 'gyptian !inistry of 3ealth, to which 2 was a planning advisor to the !inister, 2 was luc$y enough to obtain all the wor$s on 4hysical "adiesthesia which were buried in one of the rooms in the cellar of the !aison de la "adiesthesie in France% The owner !adame .ambert who was eighty over years old at the time, told me that her husband and founder of the center, who was a famous radiesthesist at the time, $new 7haumery, <elli al and Turrenne very well and were in constant e,change of views between the two types of "adiesthesia, but the physical method never really caught on, due to its' lac$ of efficiency as a psychic method of divination, which had made traditional "adiesthesia very popular at the time, and also because of the tragic accident that caused the death of 7haumery who was a victim of one of his e,periments on mummification using geometrical shapes to emit energy, which put of any research in the field for many years% (he gave me all the old boo$s and instruments of the scientists of that era% This started the beginning of a 0ourney that ended in the sorting out of this science based on the modern concepts of physics and 4ythagorian and -ncient 'gyptian theories% This is what 2 have developed into a science of )ualitative measurement that we today refer to as 'gyptian "adiesthesia% This then became the research method that led to the development of the new holistic universal science of 'io(eometry% 3sin" the "Cone Fictive" Virtual Cone Pendulum 4lease refer to the s$etches related to the sense scales and this pendulum in the second boo$let you received in the seminar% /e will go through the basic components of the cone pendulum (2 will use the original French name as a tribute to it's developers9, in a few simple steps* 1% The rod of the pendulum has the holes labeled with the different colours% <y placing the pin in a hole the disc is fi,ed at a certain distance from the lower point forming a virtual cone specified by the ape, point and the base circle, which is the same for all the possible cones% )he difference is in the height and angle of inclination of each cone which corresponds to a specific colour. 2n each configuration the shape of the cone is in resonance with a certain corresponding colour% *n the disc is a smaller, slightly higher, ring which should be !ept on the upper side of the disc. In this position the pendulum is calibrated to react to the hori+ontal phase ,also called magnetic) of vibrations, which are the ones in harmony with life. A% /aves are of different types* They have either only a hori ontal motion, or only a vertical one, or both% <y changing the angle of the cone very slightly, one can differentiate between both the vertical and the hori ontal types of movement% If the disc is turned with the small ring facing downwards, it will be sensitive to the vertical motion of the waves ,called electric). )his is usually useful for the detection and differentiation of the harmful &arth energy grids, crossings, ley lines etc., beside the specific colour of each type of line. It is advisable however not to wor! too much on the detection of harmful grid crossings without enough !nowledge of proper energy cleansing or restoration of the body-s energy balance. 2t is for that reason that 7haumery and <eli al never mentioned the use of the small ring on the disc% 7haumery himself died from over e,posure to the vertical negative green emanation from emitters he was wor$ing on% @% )he colours are therefore usually labeled as magn. or electr. to differentiate them (eg% !agn% red, electr% red, or hori % red, vert% red, and so on9% .. )he negative green quality of vibration ,as named by /haumwery and 'eli+al), is a penetrating carrier wave emanated from the shadow side of a sphere facing the sun, opposite to the green vibration at the top of the hemisphere in the light. It can be found between the blac! and white in the grey area. *n the pendulum you will find this quality of vibration at the top and bottom of the scale being on different octaves.

B% )he magnetic negative green can be found in beneficient gridlines and crossings, especially in sacred power spots. It is found in all communicative or spiritual practices. 2t is one of the three components of spiritual energy and one of the main criteria in <io;eometry% The second component which is =ltra +iolet is easily ad0usted on the pendulum% The gold can be detected with the ad0ustment on orange, but it is more accurate if you also hold an ob0ect made of gold in your hand% 0. )he electrical negative green is found in harmful gridlines, or underground water or pipes especially at crossings, where they are channeled upwards and cause more harm. 1. )he three !nots on the string are for three octaves of measurement. )he lowest is more sensitive to biological energy fields, the middle to &arth emanations, and the higher for colour measurements, but the user should use the one that is most effective with his own sensitivity. C% In physical type of measurements the one should !eep a neutral mental state only thin!ing of the colour of calibration, without as!ing any other questions as in mental %adiesthesia. The legs should not cross% 5ote the direction you are facing, the time of day, day of wee$, location, as these are factors that might influence your measurement% Deeping records of all measurements is important, because future comparison will show discrepancies that will lead to new criteria% Tratto da* http*EEwww%biogeometryshop%orgEinde,%phpFitemGperspe,6fictive6cone6 pendulumHactionGarticleHaidG8AHlangG'5