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the Grand Gallery seems to be tunable, via its stepped ceiling con- struction, to four octaves. The antechamber before the King's Chamber, with its portcullis grooves and granite leaf, is reminiscent of a giant reed for tuning the cavity. In musical terms, the King's Chamber resonates at 740 Hz = F sharp. The coffer resonates at 440 Hz = A. In music, pitch is the perception of the frequency of a note. For example, the A above middle C is nowadays set at 440 Hz (often written as "A = 440 Hz", and known as "concert pitch"). Pitch is often cited as one of the fundamental aspects of music. If you've ever filled a series of bottles with water at different levels and used them as an instrument, you can understand the principles behind tuning the Gallery. Perhaps the Pyramid is a giant crystal set, capable of receiving signals from far-off planets. Tuning the Grand Gallery The ceiling of the Gallery has a total of 40 incremental tuning steps to measure water height and frequency. Dividing the cham- ber into two, there are 20 ceiling corbels or notches plus eight steps each end, making two sets of 28, and there are also 28 ramp holes. This equates to four sets of seven notes or frequencies, remembering that the eighth note in an octave is actually the first note of the second. Water rising in the Gallery fills the centre pit at a higher level, which would create a greater pressure behind an object designed to be raised up and down the Gallery. The ramp holes may have housed rollers and guides, and the wall grooves reflect a linear movement as they are relative to the angle of the ramp. Reports have also been made by tourists in the subterranean chamber that they can clearly hear the unmistakable sound of the coffer being struck by guides, coming down through the ceiling. This seems to point to, and certainly there is room for, a vertical shaft running directly down the centre of the Pyramid. I believe that, as a part of the system of the Great Pyramid, salt- water was pumped up from the subterranean chamber, hence the eroded, unfinished appearance and the presence of salt on the walls up to the level of the Queen's Chamber. In 1987, a Japanese team using sound waves to scan the inside the Pyramid found cavities behind the wall in the Queen's Chamber, precisely at the point in my 3-D image where the two are very close together. However, no further investigation seems to have been allowed by the Egyptian authorities into the matter. Piezoelectricity A piezoelectric material is defined as a material that generates an electric charge when mechanically deformed. Conversely, when an external electric field is applied to a piezoelectric materi- al, it will mechanically deform. An example of this is quartz, which is one of the main constituents of limestone and granite. Piezoelectric induction also creates frequencies. Quartz res- onates at 32,768 kHz, which is a multiple of 2, a number sequence also found in computers, e.g., 2, 4, 6, 8, 16, 32, 64, 128, 256, 512, 1,024, 2,048, 4,096, 8,192, 16,384, 32,768, making it a binary crystal. Could this be the reason for the choice of material in the Great Pyramid? In conclusion, I believe that the Great Pyramid was created, as Edgar Cayce suggests, over 12,000 years ago by the inhabitants of the lost Atlantean continent, and the Egyptians over many cen- turies tried and failed to copy its perfection. Whatever it is or was, one thing is certain: the Great Pyramid is certainly no tomb. oo About the Author: James Colmer was born in England in 1967 and holds a BA in Fine Art. He migrated to Australia in 1975, living in Adelaide for 20 years before settling on Queensland's Gold Coast in 1994, where he played a key role as a consultant to the theme park industry. He has worked on over 120 projects including the giant kewpie dolls featured in the opening ceremony of the Sydney 2000 Olympic Games. His "day job" is in feature films, originally as a creature effects artist and now as a concept artist/illustrator. He is the founder and director of Bimmini Special Effects Studios. James's interests have always revolved around the unex- plained, extraterrestrials and Egyptian culture, especially the Great Pyramid mysteries, and he has a library of over 500 eso- teric books. He has also had a long-term interest in Ed Leedskalnin's construction work at Coral Castle, Florida, and Bruce Cathie's theories on grid harmonics. Over the past seven years, James has been developing a screenplay based on Bruce Cathie’s life and work, entitled Antigravity, which is now mov- ing towards production. His goal is to become a film director, as he believes the only way to get information to the people is via the mass media. James Colmer can be contacted by email at james@bimmini.com or via his website at http:/Avww.bimmini. com. Note that the information and images in this article and on his website are copyright © James Colmer 2005. NEXUS + 39 OCTOBER — NOVEMBER 2005 www.nexusmagazine.com