When plants awaken us to the hidden life of the Universe – dialogue with biologist Marioara Godeanu

Motto: “All living and living structures are permeated by the spirit of God”

Mrs. Marioara Godeanu is a distinguished biologist. Eminent researcher and professor, she has studies and achievements of international value, recognized and awarded by the great scientific forums of the world: a closet full of titles, diplomas and medals. However, by the nature of her discoveries, Mrs Godeanu seems rather a great master of alchemy, a magician who managed to fabricate real miracles in retorts: a pyramid built according to the proportions of the pyramid of Cheops, in which water purifies itself and vegetation grows faster than outside, a film (rewarded with many international awards) in which she demonstrated that nature possesses an improved system of transmitting and receiving information. plants talk to each other, have feelings and emotional feelings, laugh with joy and cry with pain, like humans). But Mrs. Godeanu’s greatest discovery is the reality beyond the boundaries of science, a reality that more and more scientists of the millennium recognize: the presence of the One Creator in all forms of manifestation of matter in the Universe.

Alarm in the plant world

– Mrs. Marioara Godeanu, those who know you say that you perform miracles. For example: putting your hands on top of rocks, and they start emitting visible energy on your computer screen. ..

– It’s no miracle. Stones are also living structures. They are subject to the same laws as living organisms, and can accumulate information. The crystal lattice is alive. The crystal is alive, it can accumulate and transmit information. Through thinking and concentration, the energy charge of the crystalline structure that stones have can be influenced.

– What about your dialogue. How did it start with plants? What made you think plants are living beings?

– The story began in 1975, at a session of experiments looking at toxicity tests performed on plants. It was then that I noticed with surprise that the control plants, which were at some distance from the plants under the experiment, died in greater numbers than those that were actually poisoned. At first, I thought students and labs weren’t careful when using substances. But soon after, I realized that the witness plant, the one who witnessed the “execution” of her sister, was receiving a signal from the “condemned to death” and was suffering just as much as she did, and maybe even more. Then I said to myself: this is the goal of the biology of the future, the transmission of information between living structures, respectively – communication between plants. We immediately resumed the experiments under special conditions (there should be no factor disrupting their development) and, going from close to close, we went as far as using the infrared image capture method. The conclusion was clear: plants communicate with each other through an energy-information system, that is, they transmit information to each other by emitting and capturing energy.

– What do these messages contain for your experiments?

– The plant to be assaulted (to apply the killer toxic substance to it) gives a signal before aggression against it begins. On the infrared image, a halo appears that intensifies before the moment the aggression begins. But it is very important that the control plant, at a distance or separated by polystyrene, the same thing happens, as if it were bullied. The halo, the energetic aura in question, appeared in the periproximal areas (beyond the edge of the leaf). Of course, experiments were done at different temperatures, in specially air-conditioned rooms, so as not to change the parameters, and we found that, indeed, these plants send messages to each other. Moreover, the literature states that when a pest enters a forest (loggers, for example), the forest is already informed of its appearance. Under the conditions of modern technologies, these claims are easy to prove by connecting sensors to a computer. The cries of the forest can be seen on the screen.

– You made two films that went around the world, returning home loaded with awards: “Beyond the Silence of Plants” and “Plant Sensitivity”. How did you manage to carry them out, considering that you made them in the 80s? It took you a lot of courage…

– Indeed, the first was made in 1981, and the second was approved in August 1982, right after the scandal with the Transcendental Movement. I was not part of the group of transcendentals, but I worked with Professor Manzatu, with Professor Milcu, I worked with many of those who got into this strange story. Even we were surprised when C.C. approved our film. We thought we were going to be dusted off with it all. “Plant sensitivity“It was more than a bomb, much more than we had had the courage to say before. We were even allowed to send him to Brazil, to a science film festival, from where he returned with the Grand Prix. As for the first film (“Beyond the silence of plants“), Romanian television sold it in about 15 countries. However, it was very difficult to enter the station, being broadcast in fragments, on Teleenciclopedia. And because the authors’ names were written very small, people said, “What a great American movie they made about plants!” We were both laughing and crying, because the movie was ours.

– How did you actually work on making these films?

– We worked as a team, in the afternoons and nights after work, but we were all young and enthusiastic, and the fact that we did everything secretly raised the stakes. We were filming and experimenting at the same time in the phonoaudiology laboratory (tests were done with children who had hearing impairments, in order to make them very modern prosthetics at that time), with the help of a team from the “Alexandru Sahia” Studio, with director Mircea Popescu, for whom I have great esteem and consideration. I worked with an old wartime camera, but if there had been another camera to record the happenings in the lab, I think another great film would have come out (with a scientific background, of course). For example, at one point we had to change the operator, because he kind of liked to drink, and because of that, the signal of the plants changed. Then the bite of a tomato (the tomato is also a living organism) gave a fantastic signal. Before filming began, we all tested ourselves to see which of us the plants sounded the biggest alarm. Well, the biggest signal (the aura that appeared on the screen) appeared to me, because I was programmed to cut the plants, stress them, cause them suffering and pain. They had detected from the whole group who was going to be the “torturer”, and it shows on the film. But the peak of these strange relationships happened one day, when we realized something was wrong, because the plant signals were desperate, and before we knew it, an iodine bulb had exploded above me. I realized then that they had anticipated the accident (they had previously received the signal of the technical failure – heating the light bulb). I was lucky my hair didn’t catch fire. After a few days, we even discovered shards of glass in the scalp, but we were so excited that the plants had noticed the incident that we did not control ourselves to see if anything had happened. I don’t know if our film still exists, the original seems to have been sheared for I don’t know what party festivity.

– All that is needed is words, so that plants can be people…


– You should know that we also made the acoustic system. One of the best electronics engineers Romania had (he was forced to emigrate to Canada) made a device for transforming signals from the ultra-acoustic field, into the usual frequency range. Next, we introduced the graphical method of potentiometer recording and infrared capture. When we began to decipher, to translate those signals, we found ourselves having various signals, even going as far as the psychic ones, of a sentimental nature, therefore psychoempathy. An energetic change translated acoustically shows how plants scream, cry, sing, enjoy, and even more, their reaction to various stimuli: aggression, musical auditions, states of emotion, human pathology (these signals were given in the film). On the other hand, I can tell you that experimenting on ficus or opuntia (mother-in-law’s tongue), the plants you see here in the lab, I was catching the nearest radio station. But one of the most interesting experiences was made in Periș, where Elena Cernei, the famous opera singer, had a huge, very old walnut tree. Putting sensors on his leaves, I caught Iosif Sava’s music show, his voice very clear. So, the walnut tree not only received the information and retransmitted it, but also had the ability to select the frequency on which it received the signal. Then we remembered what our grandparents told us: that during the war, peasants listened to the radio with galenas, sticking threads to a potato. So the potato, being a living organism, was the source of obtaining information. All these experiments led us at some point to introduce a research program, but we did not succeed, because they used methods that intersected forbidden fields at that time.

Melomanic flowers

– So do larger plants function like antennae? Do they receive and transmit signals?

-Yes. And the next step was to see if our own organisms interact with plants, to see if these phenomena are true for all living structures. And then, I continued the experiments started with Mrs. Elena Cernei, regarding the empathic influence of thought on plants. First, she sang her favorite arias from Carmen or The Troubadour, and this impressed the plants very much (the chromograph needle recorded a plant signal emitted when she heard her voice). After that, I would turn the sheet back and turn on the chromograph needle once more, while Mrs. Cernei sang the same opera arias, but only in her mind. Well, the signals obtained were similar. Plants read minds! I remember that when the movie “Plant Sensitivity” was made, another strange event happened. To Maria Tanase’s song, “Who loves and leaves” (forbidden by musical direction, being considered mystical), the plants reacted with acute sensitivity, especially to the incantation “Who loves and lets / God give him punishment”; You could almost feel pain in their reaction. After the demonstrations with Elena Cernei, I met Gabriela Cegolea, also an opera singer (she did extraordinary experiments on sound). Slowly, many specialists gathered around us and substantiations of what we discovered began to appear. In 1987, we won the prize of the magazine “Flacăra” for “attesting the phenomenon of communication in plants”, although at that time we had already been forbidden to research in this field. In 1981, plant communication was a dangerous subject even to think about, because it involved the idea of the information that matter generally provides, up to the level of remote transmission of information – it is, therefore, about hypnosis, telepathy, biostructure. Of course, these things existed in the literature of the world, but access to it was very difficult for us. It was interesting to find, when we could use those sources of information, that although we had changed the conditions of experimentation compared to Westerners, we had come closer to the methodology that highlights such phenomena.

One pattern in the entire universe: the divine spirit

– Joking a little, do you think we should go to the concert with the flower pot under our arms?

– Not really, but if we chose non-aggressive music for our home auditions, especially classical, this would be very good for our plants in the apartment. Imagine that you see in the infrared how the aura “blooms”, that you see that glowing fluid that appears around it when the plant enjoys the music you give it, and even the signal given by thought. In fact, we should start by being kind to all beings around us, even if they don’t speak the same language as us.

– What did you feel after the first experiments, when you discovered that the plant world is alive, that it speaks and feels the same as we do?

– I understand that we live in a world where we are not alone, and where we cannot do everything. It was an immense joy, but also the beginning of a sense of responsibility, because you discover that you can greatly influence what is around you and vice versa, the action of all living beings in this world can have an influence on your life. For me, it was also the confirmation of the idea of unity in diversity of the living world, of discovering the presence in everything of spirit, of the energy that animates any living structure or even nonsense (apparently only!) in the world that surrounds us, the confirmation of the identity of models at micro and macro-cosmic level.

– Does it seem to me, or are you talking about God?

– There is a very heated dispute about this… We were all raised on the idea of evolution and thought that the universe starts from simple to complex, after which there is probably a collapse and another cycle begins. There are a lot of theories about this. I would like to say, however, that elements of the evolutionary system logically go all the way down to the ape level. But from ape to man, this hiatus that occurs, this link break, this lack of evidence, makes us wonder how, however, man appeared, in his form with reason? Starting from this, hitting all the time with questions and answers, the question of the existence of the fundamental field, of the fact that all living and living structures have an informational pattern, that is, they are permeated by the spirit of God. God is in everything. I am convinced of His existence. It’s less relevant to you. if I tell you that. The important thing is that, indeed, there is someone who programs your life from the beginning. Hence the idea of determinism, hence the idea that happenings are not mere chances.

The pyramid of Pitesti – “It is good for man to live where he drank his first water”

– Another “miraculous” achievement that belongs to you is the pyramid of Pitesti, built in the Ceausescu era. How did you manage to get the agreement of the communist authorities on such a new and “bizarre” idea?

– I still can’t explain it now, after all these years. I only know that Minister Florescu Mihai, who was at the National Council of Science and Technology, saw my miniature model (which I used to study the pyramid effect) and asked me if I had the project for a larger pyramid. I was also surprised when I said: “Of course I do” and, although I was not good at construction, the pyramid appeared. I was helped by two architect engineers, who made the plans at a scale of 1:10 against the pyramid of Cheops, respecting all the parameters of the pyramid in Egypt. Although we were subsequently put in many obstacles, I was surprised to find that I was supported at that time by a number of personalities in the political field, people very passionate in their privacy about such fields of knowledge. The fact is that the pyramid was finished well in 1985. It was more difficult when Elena Ceausescu offered to visit it, but everyone helped me so that the pyramid would not be visited. The presidential couple passed only overhead, by helicopter, but from above it looked like an ordinary installation. Officially, it was built as a pilot station for tracking the action of organisms (algae, bacteria) on wastewater, for their purification. Many studies have also been done on the phenomena of crystallization, polymerization of resins, studies of rapid germination, acceleration of growth processes. But our real battle with the installation in Pitesti was to demonstrate the effect of shape (of the pyramid) on water. In the pyramid, water becomes energized and becomes primary water, like flat, uncontaminated water. As a particle is added to the water molecule – whether it is metal, non-metal or salts – its original information changes and a deformation begins, leading to a deformation of its action. Water is also a carrier of information. This is actually one of our research themes, and we even went patenting with a few projects.

– Who had access to the pyramid in Pitesti, and under what conditions was it worked there?


– Entry was allowed only under the signature of the Minister and myself. Why is that? In order not to vulgarize or bring erroneous information in the media coverage of this project. In all this activity, I received a great help from the team there, without which I could not have succeeded. Because of the special phenomena that happen inside the pyramid (the method of scanning on a computer, performed by two engineering colleagues, shows that beyond the photographic image of the pyramid there are other images, which are due to the existence of another type of information), the maximum working time there is two hours a day.

– What was the echo abroad of the realization of this construction?

– Everyone was struck and wondered how we managed to build it. It was a surprise for the West that we managed to build in Pitesti a replica of Cheops’ pyramid, at a scale of 1:10 and, as a result, in Geneva, in 1992, we won the silver medal; also in the same year, in Budapest, we were given the gold medal for our activity in ecology, and in 93 we won the Grand Prix at the International Invention Salon in Nuremberg, Germany, where again it was a surprise for the 64 countries present there, that that group of Romanians took the Grand Prize. But in the meantime, we had built another similar installation, with the help of the auto-moto 02210 military unit in Bucharest, so this achievement was rewarded by the Nuremberg Grand Prix and the two gold medals received. Brussels followed, where we won the Gold Medal at the Invention Salon and the Special Prize of the World Intellectual Property Organization, on which occasion the jury wanted to specify that Western countries were wrong not to take into account Romania’s human potential so far.

– With so many international successes, how come you haven’t stayed abroad on so many trips you’ve made? What kept you here?

(…) – You know how Coandă used to say: “It’s good for a person to live where he drank his first water!” (It’s about the memory of water, another topic I’ve been passionate about and we could have a separate discussion about). On the contrary, at the exhibitions and invention salons I went to, I even felt a shade of nationalism that is not characteristic of me, in the sense that I felt the need to prove what we do here and that I am not ashamed of being Romanian. The level of creative potential in Romania is quite high, and I am very pleased with the students I have. A generation is emerging that I trust very much. I am sure that the level of Romanian research will be supported by these young people. Sure, they’re not all brilliant, but the good ones are in large enough numbers for me to be optimistic.