Sanctum Sanctorum

Personal and Planetary Transformation
with Sound and Sacred Geometry

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The Evolution of the DreamWeaver

From the Head to the Heart:
The Practical Application of Sacred Sound,
Light and Geometry

Bill Coomer: Benedick Howard, of all the people I've ever met you are one of the most lovely people, you are one of the most peaceful, serene, harmonious, gorgeous. You remind me of Iman. There are not many men of which I would say, "He's gorgeous," but this guy is gorgeous. He's got some real surprises planned for you tonight. I believe you're going to enjoy the evening, and he's from England, so let's give him an incredible American welcome.  Benedick Howard. 

Benedick: Thank you, Bill, and thank you all for inviting me here, and especially to John and to Robin. This started with me talking to Robin on the phone, and we joked and we laughed, and we laughed and we joked some more, and one thing led to another. It's a great pleasure to be here, and a great pleasure to be amongst all you wonderful people and your smiling faces and your hearts so open.  
It's a great pleasure to introduce to you what I've been doing for the last twenty years, which has been playing with sacred geometry and sound and light, and discovering all sorts of things. In those discoveries I'm in awe at what the implications have meant. When I began I had no idea what was going to be happening, and now where I'm going I'm in the state of discovery that is just awesome. 

The coming together of the people that are working with us, and collectively working where Buckminster Fuller, in essence, left off with his geodesic dome, we created in this shape here a different space. Plato talked about this space in the occult schools, in the mystery schools. The shape is called a dodecahedron. It has twelve faces to it, and the twelve faces correspond to the twelve meridians, the twelve tribes, the twelve signs of the zodiac. It is a life-sustaining force, this shape. 

 In terms of sacred geometry, like the other shapes, which are holding patterns, which are blocking -- a cube, which are preserving -- a pyramid, this shape is liberating through the essence through which it vibrates, which is through the Prana and Ghaia, which is combined within this one element. In the five platonic solids -- and we'll get into that in a little bit -- they're the basic building blocks through which all of the universes are made, and through which consciousness is intertwined. With the fabrication of consciousness, which is what we are regridding -- we are remapping consciousness -- we have always thought that consciousness was from our thoughts, and it's gotten locked further and further deeper away from our hearts and our other senses.  

In that removal from the passion of our other senses we think that we know it all, and we think that we have the wisdom, and we think, and it's not about that as we move into the Millennia. It's about a state of being. It's about a state of being in that total free flow, and that's what this work represents, as does all of yours here, too. 

 In that free flow we're changing the consciousness of our society, the fabric of which all of us are built from. The way that our universities work, the way that our governments work. The way that everything is fabricated is in a state of change. In essence, that's what this dodecahedron represents. It's not a holding pattern like the pyramids that we used. The pyramid shape will set up holding patterns within the society. They held the belief structure. The different angles on those pyramids held different sets of beliefs. That's how we controlled our societies into different removals from our higher selves. The pyramid structure is something that is dying from us now. They are the control systems which work within our own psychology.  

As we ramp them, as we Negroid them into our own fabric of consciousness, and that of the Earth, and that of our immediate universe system, we are helping to evolve a whole new way of being. In that way of being we have a consciousness that flows with love, and the love that is what we think it is moves to some other level as we feel with it. It is through the feeling that this whole thing moves. 

 That's where the music comes in, because it is so full of emotion. It moves that whole emotional body. It's the music that we use, in terms of this, to act as a carrier wave that carries the intent. We all are students of intent here. We know from the dowsing that it's getting out of the way and allowing that energy to flow through the pendulum or the rod, to allow that energy to flow through so that our intent is to tap into the Earth. Or our intent is to tap into different realms. It is with that intent that we are using the music to fabricate and to remold the relationships within the body's own mini-systems. 

 We are going to study some of that tonight, and then later on I'll ask for a volunteer to come and sit with us in the dodecahedron, and we're going to run a commentary on you, for you, on what's happening within that energy field within the dodecahedron, and then within the person, too. I've chosen to use just a static form because it has a very significant way that it works.  

The twelve faces on the dodecahedron, as I talked about a little bit earlier, in terms of our own human species, link into the twelve meridians. So we have the bottom and the top faces, and these ten faces, the dodecahedron, around here. The twenty subpoints, which are these triangular corners, if we want to call them that, in classical acupuncture correspond to the twenty sub-maridians around the body. 


What happens when the blastocyste is developing within the womb of any specie, whether it be on this planet or any planet, is that these shapes all shape the way that that specie develops in the likeness and similitude of our higher self. As that energy flows through ourselves and comes around ourselves, through the crown and back in through the feet, and the chakras, which are these nodal points within this energy system, link into the body, which is this flesh body underneath. This is what this shape so organically attunes to. This is the magic of this shape. It's very different from the other ones. 

Let me give you a little example. Actually a few more than a little. These were two very significant hits when I started playing with this. About fourteen or fifteen years ago I quit work as a development engineer for Canadian General Electric. I was working with sub-micron powders. They are basically powders that are ground down to the size of smoke particles. We were mixing those powders to make tungsten carbide cobalt alloys for the mining and the metal-turning industries. Although I didn't know it at the time, what I was studying was how those powders mixed and how those different granules fit together. Basically that's what I was discovering, from a practical aspect, was how the sacred geometric fit together. 

I quit that after I had been hearing some West African music playing down in Toronto where I was living -- at Harbor Front -- and the music took my heart to a different place than I knew before, and it took my body into rhythms and patterns which were totally foreign to me. It eventually took me to Africa, where I raveled for six months and stayed with different tribes. In 1983 I stayed with the Dogon, and I stayed with Ituri pygmies among different tribes in Africa.


What it was allowing me to do was to ground out and to be at home on this planet, and feel at home on this planet for the first time. When I came back from Africa my experience was deeply enriched. I didn't know what the dickens I was going to do when I came back. It so happened that I really felt the need to work with my hands, so I went to construction and renovations in Toronto and hit a very good real estate market there for a couple of years and then sold out.  

With that money I moved to the States down in Hot Springs, Arkansas. In Hot Springs, I stayed there for what turned out to be about eight years. I took over the work of a Dr. Randall Baer who had his Starcrest Academy of Interdimensional Law and Science there. What he was doing was mapping into using a lot of Buckminster Fuller's language, in terms of using more of a headspace in terms of languaging what was happening with energy. In that happening I was very drawn to that work. What he had built there was five different prototype chambers,


which I ended up inheriting, before he passed on in a car wreck at the age of 33. He had been working with the sacred geometries and crystals for a number of years, and what had happened to him was that he had gotten his head blocked off from his heart. The heart couldn't resonate through for him. He got more and more heady into the sacred geometry stuff, which is so easy to do, in terms of the numbers and the resonances that it works with. He lost contact with his lower-body selves and he turned to fundamentalism. 

 Tragically he went into fundamentalism, and this is his message, this is what he left for us. "Play with this stuff but do not get caught up in it. Play with this stuff because it has much to teach us, in terms of gridding the energies into the planet, and for the changes that we are ascending through." In his death a year later, after I purchased his academy from him, I got to play with these different shapes.  

One evening my daughter, who was probably 18 months at the time, had a raging fever. I had been dowsing, and giving her belladonna and different homeopathics and nothing seemed to be working that night. I had a table set up, and something told me to lay her inside the dodecahedron. 


Within five to eight minutes her eyes stopped being glazed over. She came back in the body. She was talking to me. The fever passed. I took her out of the shape and laid her on the couch that was next to her, and her fever came back. I was going, "This is really strange," because I hadn't seen this happening in a pyramid, and it was very different, what was happening there. 

 So I took her back and I laid her again in the dodecahedron, and in about the same time frame the fever passed again and she came back into her body. Her eyes were clear and she was talking to me again.  

I had birthed her into my own hands when she was born, and I had cut her umbilical cord, and I had been with her all of her younger months. She had worked with me and she was in so much communication with me. Her mom was at work and I was working on the renovations. I would put here to bed, and then she would wake up, and before she would wake up she would tell me that she was waking up. I would go to the room and bring her bottle to her, and there was never any tears with her. We were just connected. She would communicate with me.  

When she came back in her body I took her out again and put her on the couch, and the fever came back. And I'm going, "What is happening here? What is happening with the energy field that it's getting packed and unpacked, and packed and unpacked?" I put here back in there again and this time the fever cleared completely. It was my first big "Uh-huh," that there was something very significant happening within this shape that was totally different from the other shapes. 


I had been playing with the tetrahedron, the cube, the octahedron and icosahedron, and they all linked, in terms of like locking in different essences here, but not manifesting the change and the integration that was happening in her own energy field during that time. So what I did from that was like light bulbs going off in my head, and there was also rejuvenation of memories that I had worked with these different shapes in other levels in past lifetimes. What I had forgotten, though, was how to get back into the heart. What I had forgotten was that in my denial, even though I was talking with Spirit, and they were coming and counseling me through the changes that were going on in my own presence here on this Earth plane, I was not connected to this Earth plane. I was devoid of any sense of being able to relate on this Earth plane. What the geometries had done was take me further and further into my head space, which is really easy for me to do. 

 However, several years later, after my daughter had left -- she now lives up in Toronto -- and I had gone through the sadness and the tragedy of being separated from her and the other young one that came after her, what happened for me was that I kept going with a vision that came in a dream about eight or nine years ago. I had said to Spirit, "I will keep with this, but bring me the people to do this with," and that is what's happening in the last year and a half, two years, is that we have created a system here that balances the body and balances the meridians and acts as a mirror. 

 The vibroacoustics, which is the relationship of the musical massage, is not a new technology. We've had it here for ten or fifteen years, and there have been other pioneers who I'm working with and associated with, who have taken it into the hospitals, who have taken it into the National Institute of Health, who have done this work, and it's been accepted in the normal medical practices, in psychology, into parapsychology. The vibroacoustics has a very deep penetrating quick effect of balancing the body, and that's because we're using music, or we're using steady tones.  

The tonal aspect induces one set of phenomena, the music another. The music is a dance and the tone is more of a particular arrangement. If I were to tone an om and hold that tone -- and I'll do that in a moment when the music starts over there, after his voice breaks up (referring to a noise in the adjoining room where a wedding reception was going on) -- if I hold that tone, what happens in the ethers is that shapes materialize. Form is essence out of the tonal quality. There is a book you can look at called "Cymatics" by Dr. Hans Jenny, who has passed on unfortunately, and what he did was document with high-speed film the effect of tone on particles. He used liquids, he used powders, he used sand, he used magnetic powders, he used pollen, he used different particles, and by vibrating the energy into a plate you can form specific mandalas, just as you see in the Indian and Tibetan schools, and in the North American schools, too. These specific mandalas are made out of tone, and that's the relationship between sacred geometry and music, and also light, as we'll see in a little bit. 

 Simply, there is a resonance between the particle, which is the mandala, and the tone. One makes the other. All of us are oscillating between the particle and the wave. As we get stuck in a thought we're in the particle. As we move from one thought to the next, with the feeling or the intuition, that is the wave aspect of it. As we move more out of being particularly in control of being particularly arranged in our lives, in our lifestyles, in our attachments to the physical, then we can flow with the organic structure of the wave. Both are essences that we need. That's how we come to be here in this flesh body.  

In essences of evolving consciousness, it is through the fabrication of specific geometries or specific tones. In the evolution of consciousness, which is what we all are collectively on this planet as a specie to evolve and to recreate -- and at a phenomenal rate we are moving through now -- in this phenomena we are resonating to higher and higher resonant particular essences. In one sense it's very complicated. In another sense, if you keep it simple and use the simple building blocks, you've got the fabric from which consciousness is molded no matter what the dimension you sit in, no matter what heaven you sit in, no matter what belief pattern you sit in, no matter what chakra is blocked. It will move and it will change whatever the situation is. 

 So what we developed here was an environment, basically, that can balance the body. The body wants to be whole. It wants to be free of the attachments. In that freeing that's what this environment does automatically, and we'll show that with a person sitting inside there. 

 I was sitting here earlier this evening, and when I look back to some of the stories I have to share with you, I want to share this funny one, which was kind of strange for me. It took me a long while, even as an engineer, to work out the jig to make these corners. I sat down for about two weeks trying to work it out, and I called different friends who are really good at algebra, and even though I am an engineer I never passed any algebra exams or calculus exams, but I was really good at multi- dimensional statistics. When I started to try to work out the angles for these corners, even though I had one set in front of me, a model of one, I couldn't do it. About a year later a friend came by and said, "Take these bricks and these pieces of pipe and just play around with it," so that's what we did.  

I started building these corners for people that were using them as meditation chambers. They take a while to make up because there's quite an involved process with the silver soldering and everything else to it, and as the silver solder sets in there I focus an intent into that crystalline structure there, and that is the Ghaia/Prana relationship that the shape resonates through. I built this one set of corners, there are 21 in a set, and it takes me a day and a half, two days to make them, and I had left them out in the garage outside of the bed and breakfast -- I had a wholistic center in Hot Springs, Arkansas at that time -- and I had set the set and the pipe, ready for shipping out to a customer up in Washington State. 

 Well, I came back a couple of hours later and was just about to box the thing up and I counted the corners and there were two corners missing. There were supposed to be 21, there was an extra one in each box, but there were two corners missing. As I walked into the garage there was a green entity, E.T., standing there and he just flipped out as soon as he saw I saw him. I'm going, "Why do these guys need me to make these corners for them?" Anyway, that's the way it worked out that day and I had to go back and make some more. But it was like there is, as you know, so much happening in terms of what we're building here.  

We're building a greater community that is not only about this Earth plane and about our passions and about our feelings and about our intuition and about our passion for life and moving forward to live life, and setting what it is that flows for us, it's also with the resonance that we're evolving in this greater community that we're building. It's building a community for all of the species that work with us, that play with us, to evolve to higher levels. That's what we're building. 

 We're building for all of the species to evolve to different levels. It's not only us, but all of us, and it's a greater community that we're building for the whole fabric of consciousness, for all of the dimensions. In that fabric of evolvement, this is where the shape helps because it corresponds to the etheric. It's a go-between shape. It's not set here much in this dimension, except in the DNA, which is life sustaining. The twelve faces of this correspond to the twelve strands, for instance, that Barbara Marciniak mentions in her books. 

 So we have is this resonant structure. We have a a life-giving substance through which not specifically the shape but the consciousness of what these shapes is about, which molds the fabric through which we evolve. In terms of what Buckminster Fuller was doing in his thick books, wordy books on synergistics, where he was building the geodesic domes essentially out of the least number of two by fours to make the most stable structure, in that stability what he was doing was locking in, if you call these things consciousness, these shapes, these gadgets, these as some people have been calling it today - contraptions, these contraptions, in an essence, in a particular way -- and I mean particle way -- resonate to consciousness. 

 It's kind of like when we're in denial we feel blocked, and so that cubic aspect in our energy field is blocked. The block is as though it has 89-degree sets of corners instead of 90-degree sets of corners on the cube, and so we're rattling around with a set of friends who are also rattling around with this 89-degree set of corners and beliefs, and what we're doing by changing these fabrics, by changing this whole consciousness model, is that we are aligning the different meridians that not only feed into ourselves but feed from the stars into the planet and to the whole grid network, which is what is evolving, too. 

 The more that we can work on our own blocks, our own denials and our own stories, in terms of freeing ourselves from the history, freeing ourselves out of the language that we use to lock us into belief structures, and into the intuitive dreamtime states that the aborigines talk about, the more that we're going to flow with the fabric of the evolution of consciousness. In that evolution of consciousness we're moving. We're all moving. We know it. We all sense that. In that evolution we're moving to different beings, different states. That's what is going to lock in for all of us as we evolve, because we all affect the whole planet. 

 You being here tonight, and my being in this humble position to talk before you all is a great honor for me. I had been looking at this for years and years, and I knew that this was going to happen, and I just knew that all I need to do was work on myself and then it would happen on its own accord. That's what's happening for me now. It's from working on my own blocks, my own denials, my own relationships with my parents, which I had a wonderful healing with this year. It was the first time, in essence, that I consciously went back as a man in 21 years to see my family. I had been back other times, but it was consciously that I went back as an individual, as a man, to see my parents and my brothers and sisters. That was an incredible grounding allowing me to be in the space again to evolve from, because it felt to me when I left England, because of the stories I had made up about and believed about my life -- I knew I needed to be here.  

I didn't know what it was for but I knew I needed to be here -- and when I flew back here from England in April it was like I was looking back to that time when I first flew to Canada and I cried all the way over on that plane, and when I got into Winnipeg it was like this world of, "Oh, let me out of here," and I felt a total alien, which is, of course, what they call me here in the States, a resident alien, and I have a card to prove it. You don't believe me? I can show you. And it's got this sort of profile face and I do look like an alien on it. And the alien was like when I flew from England to Canada 21 years ago it was as though I was flying to a completely different solar system or different planet. 

 This time, going back, all the stories that I had about my mother and my father from growing up in childhood were suddenly not there. When I went with my mother she was going through great difficulty-- her new husband is in the process of moving on, so all of her stuff was coming up for her and I was able to be there for her. When I went to visit my father down in Cornwall it was like he was glued to my hip for the three days I was there. We just talked and went over all this stuff about the family, which I had never been able to share with him before, and a phenomenal healing, or allowing and acceptance, came from my family through that and the work that I had been doing. They were wondering where I was going sometimes, and quite justifiably so, too, because I was not grounded and I didn't know what it was to be grounded at that time. 

 It was working with psychodrama and different heavy duty therapeutic techniques that I began to get back in my body and be, in essence, back here today. I encourage all of you to go into that pain because in that pain -- and it is very painful -- there is incredible bliss when you allow that pain to move through you and accept it for what it is, and accept it for the pain and the bliss state that was denied in whatever that situation was, and the bliss state that was denied when you were a child, or wherever it may be, past lifetime or future, it doesn't really matter, but go into that pain because there are incredible lessons to be learned, and an incredible regridding that happens in the body at the same time. What I would like to do now is have you all put your feet on the floor and we'll do a toning of the om. I would like it to run for at least five minutes or so. 


Dr. Carrol sings. 

Benedick: Wake up. The time is now. There are more than 12,000 groups of twelve. We have gathered from afar. We have come to fill the Earth with light to fulfill her birth as a star. 

I want a volunteer. (Volunteer Gail is positioned.) Jerea is going to give us a commentary on what is happening with her energy field. 

 Benedick: What do you see? 

 Jerea: Right now I see a very spiritually alert person devoted into her training to lead her closer to the light. I see a wide range of green and blue and some lavender. It's a normal range of colors of a person delighting in spiritual travel and enjoying the fellowship of spirit-minded followers also. 

 Benedick: Keep breathing deeply. What we're looking for here is the way that the consciousness of the shape is interacting with her energy field. There are different lines of force in there with different colors of lines, which is the light component that we're talking about tonight, that are interacting with different parts of her. It's happening very fast. They are flicking like once every tenth of a second or so, in that sort of range, a fifth of a second. What do you see? 

Jerea: I'm seeing bright bands of colors attaching themselves directly to the chakras. I see real vivid pastels turning to richer colors as they go into her, and pass from each of these sockets or joints that you have so carefully constructed. It's increasing the energy field around her. Her aura is expanding and as it expands you begin to hear a toning and a volume of bells, and energy is created from that. You get all of these rays going from all directions like lasers of energy, spiritual energy, going across. It's beautiful. It goes so rapidly, and she is being bathed in all the spiritual strength that she is increasing by volumes. It's beautiful. Colors are enriching. The aura is building. It's expanding out. Those of you in the back of the room are beginning to feel just the tip of her aura coming back to you and enriching you and enriching the other colors, not only the colors being enriched inside of it, she is being touched by other spiritually minded people. She is just being so energized by the cushion of her energy because the bottom also of these sockets or these joints are also sending energy to her and supporting her and lifting her into new spiritual life. 

 Benedick: Gail, would you like to tell us what you're feeling? 

 Gail: Great!! 

 Jerea: Along the center line of her is a great spiritual rising that we've heard about before, and all of these joints are following into a path that's lifting her up. We see the crown chakra expanding and coming back to the point that extends the eternal cord that attaches us from the beginning to the end of eternity, if that's possible, but I see the spiral, a beautiful spiral lifting it up. I also see -- and it's a blessing to witness this -- an unfolding of wings. I see them beginning to move and enjoin into the spiritual uplifting. It is gorgeous. I see that it's beginning to turn purple. It's developing inside there in such a peaceful mist that it's unbelievable. It takes my breath away. I have to stop and get my breath back

  Out of the outer tips and around her it's beginning to turn to gold, and it's developing. It's beautiful. I can't say that enough. Beautiful is not a proper word. We need a new word to describe the evolution of color that we're witnessing here. Now she's beginning to develop pure manna, or high manna manna, and the energies are turning to white. You can begin to feel the aura level is expanded here. It's out to each of you, because I know each of you are very very much aware and in tune to what's taking place. It's glory. It's wonderful. 

 Benedick: If anybody in the room would like to project love and light towards her and tone with us, let's just do a little more. Before we do that, what did you see happening this time? 

 Jerea: Well, this whole toning that's around her is a blessing. It's just like receiving lots of spiritual kisses or signs of affection that lifts her spirit even more. It's healing, it's blessing, and it just develops a whole line that follows her around seeing her aura renewed and outlined and strengthened with pure white light. From each of these you can feel the power surge from this and just aim towards here. Not only this, it's just like a continuous link that goes out to each and every one. Does everybody feel that power? Feel that linking together that we're united as in One, and an uplifting color? Again, the colors turn from the blues - she's basically blues - and then to greens, which are wisdom, and then into purple, which is spiritual power, and then into gold and suddenly into the most magnificently brilliant white light of high mind. I'm sure there are other people enjoying seeing the colors also. No matter what the hue or interpretation you're getting from it, you have to admit and acknowledge the perfection that's there from the vibration and the tones of the colors that are there. It's beautiful. 

 Benedick: So let's go one more time. Tone with us, and project your love and wisdom and light towards her. 


Benedick: Did you still feel grounded while you were experiencing that? Were you present here? 

 Gail: Oh, yeah. 

 Benedick: Tell us about that. 

 Gail: It's like being home.  

Benedick: What's so special about the dodecahedron is that this is going on Prana, so it's grounding and it's bringing in the etheric energies at the same time. So you are really present here even though you're right out there? 

 Gail: Yeah. I felt very very stretched, and as the tone was moving up I felt the vibration starting, as if I was into a really deep high-connected state where I get when I'm working with my guides. But it just like kept going and accelerating, and I felt as the opening was coming up, kind of listening to you where you were with the color shifting, and I was feeling the energy just moving out. These two fingers were like electric vibrations. My hands got about that big around, this way, fuzzy, puffy, just electrified, buzzing, like soft electric running all the way down my arm and through my whole field. I could just feel my whole self opening up. 

 I heard you saying spiral, and I could actually feel that reverberating through me. It was like then my body started moving into different positions because it felt drawn to do that, to start coming back in or I would have just probably disappeared. 

 Jerea: We just feel your spirit rising. We feel the assistance of hosts of angels just coming home, powers just reaching down. I mean, literally coming. The guides that fill this room were coming to take shares not only just for her benefit for cleansing, but how many of you felt the return of your guides to lift your spirit? 

 Gail: It was like I could just sense it coming back, and it was really kind of cool because when they started playing the other music, rather than the other stuff they played two of my favorite songs so I just got into it and went. It's like, this is it. Just buzz into it and go. When you get into it it might be cleansing. What I'm doing is like power songs. Just do it. Just let it go because they're playing it for reason, so I just went into it. That's when it really started buzzing off, and you said it really started shifting up. I just went with that. This was wonderful. Thanks. 

 Benedick: Thank you, Gail. The ancients talked about this shape as being sacred/secret -- they occulted it. They hid it from us. They took this and they said the school of Socrates taught the disciples there about the dodecahedron, but it was punishable by death if they communicated this outside that school. That was the reason why. What you saw there is the reason why, because organically it restructures and it allows that connection from the heavens into the Earth that Gail was talking about, and the colors that were happening with her. That's the magic of this one. That's why it hasn't become available to us before, because now is the time. 

 When you look at the Earth's gridding, like in "The Keys of Enoch" by J.J. Hurtack, it's a book concerning a lot of the stuff that happening now in prophesy, and it's written from a very scientific/scriptural relationship, and in there there's different maps and plans and this, that and the other, and they talk about the different gridworks that are happening around the planet, and also other people have as well. In that gridding the dodecahedron and the icosahedron, which is the brother and sister of the shape - the icosahedron is actually the inverse of this shape, and that's the Buckminster Fully "Bucky Dome" type of relationship, very structured, very stable, this one is not stable, and that's why it works so with this etheric relationship. That's what it's doing, it's packing and unpacking. Like with my daughter's aura, it was packing and unpacking until she came back in her body. I took her out of there, it went back to where her physical flesh was at, which was in fever, the fever came back, her eyes glazed over, she went out of her body. I put her back in the shape and it started unpacking and packing, reorganizing it in an organic state. 

 The pyramid holds and preserves, so it locks in. The nodal points in there that it corresponds to, I'm not saying the pyramid is not a very valid structure, but as we move with consciousness, it's about freeing it up. This is a model that we can work from, in terms of understanding how consciousness can be liberated, very very simply. What we do with the music, or like with the toning, it changed the whole structure within there. With the vibroacoustics, which is the sound mat that Bill was talking about earlier, it's bouncing or massaging the body with music. 

 The body wants to be whole, it wants to complete, it wants to be free, it wants to be in love, it wants to have feelings, it wants to be attached to none other than itself, and then in that attachment to everybody else, to bring that oneness together. What the music through the body does is, wherever there is tension in the body you will feel as though the music is working on those different spots. It could be in the knees, back, hip, wherever it could be, even with the same piece of music, and this is the particular aspect of the musical relationship. Even with the same piece of music, everyone of you will have a different response. The response is basically one where you are holding the tension, the locks, the blocks, within the body. So the waveform of the music is allowing it to flow off. When it flows off there is a release, a puff of energy that comes off the body, and that's where the frame can very quickly regroup that energy and repack it and reorganize it. 

 It happens so fast when you're playing music in there that it's very very difficult to see it. That's why this demonstration is a very different state, and the different levels of music through the body brings out different responses.  

This is basically a healing temple, as you saw. It's a very evolved healing temple, and even though it's very simple, in terms of the way it looks and it's structured, it is highly evolved in terms of the way that it works. Again, back to that evolution of consciousness, that's where we're moving through. This is a model that we can begin to glimpse, and more of you are already glimpsing, but this really does amplify how we're changing the fabrics of consciousness -- how we're changing that whole and remolding it and resculpting it, and allowing it to move. 

 People come up to me -- and a lot of people have come up to me this weekend -- and ask me to go into this, that and the other about the specifics of this piece of music, and that piece of this, and this piece of geometry, and this piece of that, and it doesn't matter is all I can say back to you. It doesn't really matter. What really matters is how you focus that intent, and then let the other stuff do its own magic, and the other realms cocreate with that magic at the same time. 

I'm going to finish up shortly, and if anybody hasn't picked up one of the flyers I have here, it's talking more about the physical, mental and emotional effects of this process on the body. On the other side are some workshops that I'm doing just to introduce people to these concepts. We have a number of different units around the country, and it's growing towards 10 units a month now. What's happening with that is that we're fast approaching this 100th monkey effect. We're in a state of discovery, and I invite you to work with that state of discovery through this technology. I just happen to be the person that happens to be here tonight. In another sense, I don't happen to be here tonight, it was very specifically planned. 

But it's like allowing oneself to move through the pains, as I talked about before. Even if it's a cancer, whatever it is that one is going through, or one's relatives are going through, that is the learning that we need to go through, and we have choice. In that choice we can go and move ahead, or we can stay where we are. In the choices that we make, as we evolve all of consciousness on this planet, we can evolve through a higher set of fabric of choices, and we're affecting everybody in those choices at the same time.  

I'd like Dr. Carroll to come and close with another song. 

Thank you. 
Bill: I have a couple of suggestions. One is, if you have a group back home, and let's say you have 36 people in your group, if they all have a hundred dollar bill, $3,600 will buy the structure, the mat, all of the electronics, CD player, speakers, and Benedick will come and show you how to use it. Or, if you have 20 people with forty-four dollars apiece, Benedick will bring his and do an all-day seminar for you. It's amazing. Anything that makes us cry, anything that makes us feel beautiful, anything that helps us feel connected to each other and to God is incredible. 

 I think we ought to give Benedick another hand. And Dr. Carroll.  

Transcript of keynote speech delivered by Benedick Howard
to the 7th Continent Dowser Conference Banquet
near Chicago, Il., June 1996

Photo Credits:

  • 7 Continents Dowsers Conference ©1996 Susan Wallace
  • Dodecahedron ©1996 Truett Tidwell
  • Dogon Rain Dance ©1983 Benedick Howard
  • Receivership Chamber Prototype designed by Dr. Randall Baer ©1988 Benedick Howard
  • Dodecahedron Chamber Prototype ditto ©1989 Benedick Howard
  • Benedick Howard ©1996 Rosemary Warburton
  • Embraced by the Light ©1996 Benedick Howard
  • Sound Light and Sacred Geometry Workshop ©1996 Benedick Howard

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