Goloka Chart Explanation

[Peppin Kishore]

Iwent through the descriptions of Goloka Dhama last year, like there is a svetadwipa that surrounds the lotus like abode of Goloka dhama. Then the petals or leaves (i don't remember exactly) is the place where Radha resides. But now i've forgotten most of it. I even had the chart where goloka dhama and vaikuntha dhama were depicted along with svetadwipa. Can someone please describe it in detail or share a link to a video or article from where i can gain more knowledge about it. Thank you.

There are innumerable divine abodes (e.g. various abodes of gods and goddesses [Mahābrahmā, Mahāshambhu, Durgā-devi etc], and many Vaikunthas of the various Avataras of Vishnu, Dvārika, Mathura Puri, Goloka-Vrindāvana, etc) in Tripadvibhūti (beyond the divine virajā river); and all of those are made up of Shuddha-sattva and all filled with supreme bliss of Brahm (Brahmananda)!

At the very center of that (Adi Vaikuntha lōka in the Paramavyōm) is situated the divine city renowned by the name of Ayodhyā, which is adorned and filled all around by amazing multi storied buildings and picturesque Vimaans."

The eternal Ayodhya is the very form of the nature Sat (eternal existence), Chit (pure consciousness) and Ananda (supreme bliss). All Vaikuntha-s (the abode of Vishnus), Goloka (the abode of lord Krishna) etc are in existence as mere one part of the glory of Ayodhya."

Śrī Rāma is himself Parambrahm, the very form of Sat [eternal existence] - Chit [consciousness] - Ananda [bliss], whose divine abode [Divine Ayōdhyā Śrī Sākēta-Lōka] is eternally self illuminated even beyond the divine world Gōlōka."

"Above the 'Mahā-vaiṣṇava' Loka, there is another 'Satyalok' [the abode of BrahmA of Tripad-Vibhuti]. There live many Siddha-s, great Yogi-s and the god conscious souls. Lord Mahā-Shambhu (Lord Sadā-Shiva) fully endowed with all kinds of potency disports there in the Sadashiva-Lok [which is present above the 'Satyalok' of Mahā-Brahmā]."

(सदशव संहत)

"Above the Mahā-Shambhu-Loka, there is the supremely divine abode of Lord Vishnu known as 'Mahā-vaikuṇṭha' where Lord Vasudeva (Vishnu) [and other Vyuhas and various Avataras] etc disport there with their own inherent potency."

"Above the Mahā-vaikuntha, there is supremely divine eternal abode, which is eternally self illuminated, very form of divine light, highly refulgent, known as 'Gōlōka' which is completely beyond the reach of sensory organs and inexpressible in words."

"At the center of the 'Gōlōka', there is supremely divine world which is known as 'Sāketa' (Śrī Sāketa-Loka) adorned with effulgent gems and served by divine damsels (eternally young ladies) adorned with various ornaments."

Sorry if my question sounds stupid, but i would like to know where exactly Krishna dwells. Does Krishna dwells in whorl 1, 2, 3 or 4? ... By that i mean, does He dwells on the outskirts of Goloka or in the centre most region of Goloka?

Board Certified Forensic Examiner: American Board Of Recorded Evidence, - Fellow, American College Of Forensic Examiners.

***Computerized Noise Removal/ Sound Enhancement: Video/Audio

Authentication: Video Enhancements; Voice ID and Comparison. State Of The Art, Full Service Recorded Evidence Forensic Laboratory.

September 22, 1997: Attention Harvey Mechanic Esq.

My assignment was to review and analyze the recording in order to determine if the content appears to be authentic, in that the words spoken are in context and appear to be all the words spoken at the moment of time the recorded event occurred. Additionally, there should be no signs of inappropriate stopping and re-starting of the recorder as well as the other classifications of signs suggestive of falsification.

The attached exhibits are the results of Waveform and Spectrogram Analysis. The upper window is a Waveform of the acquired audio. This pattern represents audio relative to time and amplitude (volume). The large lower window is a Spectrogram.

The Spectrogram represents audio relative to: 1) Time--as shown on the bottom scale, horizontal axis. 2) Amplitude--as shown as the varying shades of pattern, vertical axis. 3) Frequency-as shown in the horizontal axis.

Each exhibit is annotated with an explanation as to the area of audio acquisition, and that is located in the "Title Bar" on top of the Waveform. A more detailed explanation of the spectrogram patterns is located in the "Title Bar" above each window.

Absent is the Recorder Start Signature. Examples of what a Start Signature looks like can be seen on EXHIBIT no. 3, no. 4, and no. 5. This is consistent with a recording made from an EDITED master recording.

EXHIBIT no. 2 Is a display of the audio located approximately 10 seconds into the recording. The deficiencies revealed are audible, and are consistent with EDITING procedures wherein WORDS are ELIMINATED or REARRANGED to CHANGE the context of what is said.

EXHIBIT no. 3 is a display of the audio located approximately eleven minutes, thirty four seconds into the recording. The deficiencies are audible and are significantly similar to what one would expect to hear and see should the Master recording be an edited version.

EXHIBIT no. 4 is a display of the audio located approximately eleven minutes thirty seven seconds into the recording. This segment is located just after the area shown in exhibit number three. This deficiency is audible and is significantly similar to what one would expect to hear and see should the Master recording be an EDITED version.

EXHIBIT no. 5 is a display of the audio located approximately twenty two minutes, thirty three seconds into the recording. This is the end of the segment(s). One can hear, as well as see on the chart, representation strikingly similar to STOP/RE-STARTS(s) signatures. There is a remnant of audio after these patterns.

In conclusion, this recording exhibits strong signs suggestive of FALSIFICATION. I do not believe that these deficiencies might possibly the product of some mechanical process or problem within the recording or duplication process, and I believe that they exist at what is considered to be a higher degree than that of a coincidence.

I strongly recommend that an independent Forensic Analysis be conducted on the Master recording in order to determine the authenticity and originality of the evidence. This analysis requires what is represented as the original recording and the original tape recorder upon which this recording was represented to be made. The forensic instrumental tests include computer analysis, FFT spectral analysis, spectrogram chart analysis, and microscopic photography of the magnetic field on the original recording. Additionally, the recordings will be compared for dissimilarities as a critical listening procedure is performed.

These tests are directed to discover (1) if the recording has been edited in any manner so as to effect the context of the words, (i.e. erasures, inappropriate starting and re-stating of the recorder), (2) If in fact the audio material is an original source recording and not a re-recorded version. The testing would determine the cause of any deficiency within the audio track and is focused on establishing an opinion as to the integrity and authenticity of the evidence.

Note: Two different recordings were made. One for the purpose of enhancement, the second for the purpose of signal analysis. There were five predefined sections that were to be given special attention.

NOTE 1: The signal analysis and dialog decoding findings of each segment is reported in a separate report for each. A spectrogram print of each segment is included. All of Segment 1, and Segment 4 part 1 are Tektronix Phaser 550 600 dpi color prints. The remainder are Hewlett Packard LaserJet 4mv 600 dpi black and white prints. All originals are in color and a pict file of each has been preserved and may be accessed from zip disk. The F-T-A displays are included with each report as supporting visual documentation for those who have the ability to read them. The sound files for each segment are preserved and can be easily loaded into a spectrographic system.

NOTE 2: During signal analysis and dialog decoding, 9 hours of consultation was done with Dr. Helen McCaffrey, Department of Communication Sciences and Disorders, Texas Christian University.

a. All processing is in the digital domain. Specific software settings are preserved as session files and, if needed, may be accessed from zip disk for specific information. Five segments were predefined as requiring special attention, four from Side A and one from Side B of the cassette. Those from the full recording of Side A in the digital system were identified and extracted digitally from the full file for addition processing.

c. Audio files were subjected to various combinations of the above for noise reduction, frequency bandlimiting, frequency equalization, deconvolution filtering, sidechain and wideband compression, binaural simulation, processing delay compensation, and overall signal amplitude increase/limiting. IDR dither added for increased bit resolution and noise reduction. It should be noted that the sections containing whispers have been subjected to anywhere from 50 to 70 db increase - it is unlikely these sections could have previously been clearly heard (or even perceived) on the average consumer playback system.

d. Fader automation set for amplitude equalization.

5. Output Transfer

a Direct digital transfer from Pro Tools III to DA-30/digital cassette.

b. Analog transfer from Pro Tools III to HK CD491/analog cassette. Dolby noise reduction was not implemented.

Note: Digital audio has a much higher degree of clarity than analog cassette. The analog cassette will have a 15-20% loss of detail, this is the nature of the technology. The digital version should be for playback whenever possible.

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