VIDEO SURFACES THAT CLAIMS TO BE FROM APRIL 27TH, 2010

The video above was submitted anonymously and seems to hold more than meets the eye initially. The man in the video is running from "something in the woods" that can be heard crashing through the woods in the background. Although the creature is never identified it obviously has scared the man and forced him to separate from the group he was hiking with.

What is striking is that right around :40 seconds the cameraman stops to record a brief message, seemingly meant for whoever would be later viewing the footage. Out of breath from running, the man identifies the date as being "April 27th, 2010" immediately and then begins to explain the circumstance that led to him running frantically through the woods. He is interrupted by the sound of the pursuing creature and he begins running again, the video ends shortly thereafter.

We shall see what more this video has to tell us, it is certainly an interesting addition to the media information coming down the wire currently. Please post any analysis you can make of this or insight if anyone has some.

REPLACEMENT OF THE MISSING FUNDAMENTAL

More information here to help explain the cosmological event of the Earth interacting with the universe that 'created' it by vibrating at alternating and changing frequencies. It is interesting to look at this phenomenon in terms relative to music, but music is merely a complex rendering of vibrations, which themselves contain references to 'rhythm' in their repeating.

A sound is said to have a missing fundamental, suppressed fundamental, or phantom fundamental when its overtones suggest a fundamental frequency but the sound lacks a component at the fundamental frequency itself. However, the brain perceives the pitch of a tone not only by its fundamental frequency, but also by the ratio of the higher harmonics. Thus, we may perceive the same pitch (perhaps with a different timbre) even if the fundamental frequency is missing from a tone.

For example, when a note (that is not a pure tone) has a pitch of 100 Hz, it will consist of frequency components that are close to integer multiples of that value (e.g. 100, 200, 300, 400, 500.... Hz). However, smaller loudspeakers may not produce low frequencies, and so in our example, the 100 Hz component may be missing. Nevertheless, a pitch corresponding to the fundamental may still be heard.

The way in which the human brain will respond to incomplete tonal structures by filling in the missing frequencies, the Earth is responding to the universe's incomplete tonal structure that come as a result of the ever increasing entropy affecting our reality as the only true constant, but also as a result of similar interactions and unique cosmological events throughout the known galaxy and beyond.

It is now widely accepted that the brain processes the information present in the overtones to calculate the fundamental frequency. The precise way in which it does so is still a matter of debate, but the processing seems to be based on an autocorrelation involving the timing of neural impulses in the auditory nerve.

This very concept of "missing fundamental" being reproduced based on the overtones in the tone is nowadays used to create the illusion of bass. By processing certain overtones selectively, a richbass effect can be created using the small speakers which cannot produce lower frequency components below 100 Hz. While speakers produce tones above 100 Hz, the processed bass overtones compel the brain to replace the missing fundamental bass signals, creating the illusion of bass.

The tones the Earth responds to literally mimic chaos in that the universe is slowly traveling from point A to point B, and within that it will take each conceivable variation on itself only once through the slow progression produced by increasing entropy. As this interacts with the various bodies within itself it begins to change in relation to itself - like the surface of an ocean during a storm, but on the level of waves of energy operating at a rate which can be interpreted into vibrations.

In music, polyphony is a texture consisting of two or more independent melodicvoices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony).

As opposed to the species terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another (van der Werf, 1997). In all cases the conception was likely what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.

It is this blending of 'voices' throughout the universe that build at random like a house of cards and create a myriad of possibilities for any given set of conditions. This is the invisible universe the Earth is truly living in, a reality much like a deafening sea in a violent storm. Now, however, our vessel cannot withstand the waves and is set to capsize under its own weight.

Another good article I found -
http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JASMAN000059000004000915000001&idtype=cvips&gifs=yes&ref=no

NEW AUDIO REPRESENTATION OF THE HARMONIC CATALYST FOR UNIVERSAL "HEAT DEATH"

JUST RELEASED!!

http://sciencetracker.net/06%20universal_entropic_hz_progression.mp3

"That is an audio rendering of the interplay between the universe's shifting vibrational definition and the Earth's resonant response. It is sped up approximately 1k times to bring 13.27 billion years into a little over 2 minutes. The slow progression of tones that plays out in the clips final moments is in fact based on the Hz we are experiencing today. Scientists believe that April 27th will occur at or around 1:54 in the recording, so the slowly dissipating frequency heard over the drone of the universe's slow movement is based on mathematical calculations involving the natural dissipation of frequency if the Earth ceased acting as resonator suddenly. This of course will not be the case since once the Earth has shattered under the stress of its own resonant frequencies it will not be able to even dissipate the existing tones - they will have expended all their energy as a part of the resulting explosion which is estimated at 4.27 megatons per unit mile.

Notice the almost musical "melody" that is formed by the ebbing and waning frequency response. This seemingly harmless pattern in fact plays out the combination of vibrations necessary to destroy our planet and end the human chapter forever. Since science identified the time frame in which the Earth would produce vibrations within the parameters necessary to destroy itself it has been solely focused on refining its knowledge of this cosmological event and exactly defining the procession towards this end. This recording marks the summation of all data pertaining to this event, although a part of that data involved the discovery that our world will end soon and that fact withstanding has overshadowed this accomplishment."

A very interesting sample of audio indeed! Listen to the exchange between the higher pitched sounds the Earth begins to make around the time conditions begin to produce life on the planet's surface in comparison to the fluctuating drone of the universe's increasing entropy. It is interesting to track how the Earth's replacement of the missing fundamental seems to coincide in design with the organization of life on our planet - first in bursts of non-structured expressions, then as (seemingly) focused ideas of pattern and interdependent progress. Ultimately the violence inherent in the final chords produced by the universe's 'overtones' and the Earth's 'fundamental tones' produced in a way that is physiologically similar to the very way we process music and sound as humans.

This discovery could mean so much for our understanding of how our brains developed in accordance with a world that was at its core defined by the way it in turn interpreted the universe's modulating vibrational patterns. The very nature of an expanding universe acts the same way a descending audio pattern further separates the apex of its sound waves to define it's Hz - the Earth that created us hears music the same way we do, or rather we hear it the way it does. Very exciting stuff here, more to come...