Listening to Sacred Places

[T.C.]

(copy typed from the latest issue of Freemasonry Today)

Listening to Sacred Places

Paul Devereux explains the latest research in this new area of archaology

*Photo* A professional percussionist at Mynydd Preseli, Wales, the source of the Stonehenge bluestones, 'playing' some of the ringing rocks. Photo: Paul Devereux

Freemasons will appreciate that the ancient Egyptians knew many secret arts, and we can safely assume that the secrets of sound were among them. For instance, there is a fallen obelisk in the great temple complex of Karnak in Luxor and if the ear is placed close to its pyramidal point and the block struck with the hand, the whole piece of granite can be heard to resonate. Goethe referred to architecture as 'frozen music' and so it seems to have been in ancient Egypt. Did the temples of the Nile have their own notes, their own sonic frequencies?

Knock on Rock

A new branch of archaeology called 'archaeoacoustics' - the study of sound at archaeological sites - is now telling us that sound was important in other and often much older cultures than even that of ancient Egypt. For instance, inside the painted caves of France and Spain, which date back tens of thousands of years, it has been found that some of the stalactites and stalagmites will issue pure bell - or harp-like - notes when struck. They display extremely ancient percussion marks.

*Photo* Looking east on Mynydd Preseli, Wales. The rocky outcrops of Carn Menyn are visible on the sunlit ridge in the middle distance. Photo: Paul Devereux

Other types of rock can also ring or make musical note. These 'lithophones' or 'rock gongs' are now being identified at many sites. In Africa, two hundred lithophones have been found close to prehistoric rock art panels near the fourth cataract of the Nile, and are also in Nigeria, Tanzania, and other parts of the continent.

*Photo* The ancient painted panels on Mazinow Rock, Ontario, can only be approached by boat. Photo: Paul Devereux

In the Americas, ringing rocks have been found at ancient vision quest sites - lonely places to which Indians resorted to fast and have a vision. In the southern Deccan, India, Cambridge archaeologists were studying Stone Age engravings along a rocky ridge when a local man came up and struck the boulders with a small stone: to the archaeologists' astonishment they rang like bells. These rock markings date back to 4,000 years, but it is perhaps not coincidental that a few hundred miles to the south there is Nellaiyapper temple, where a single block of rock, carved into columns, is able to emit the seven key notes of classical Indian music when struck. This feature dates to c.700 A.D. - did the Stone Age use of natural ringing rocks develop into a sophisticated art in southern India?

*Photo* Petroglyph Rock, Ontario. The 'Whispering' fissure can be seen running across the rock face at the lower right. Photo: Courtesy of Petroglyphs Provincial Park, Ontario

A research team from the Royal College of Art, London, is making a detailed audio-visual study of Mynydd Preseli, southwest Wales, source of the Stonehenge bluestones - the shorter stones at the monument. Some of these spotted dolerite rocks are being found to issue, variously, pure bell-like notes, tin drum sounds, or deep base gong-like rumbles in the very outcrops from where the Stonehenge stones were extracted. This project can be followed at _www.landscape-perception.com.

It has been a mystery as to why the Preseli bluestones were taken almost two hundred miles to Stonehenge - they clearly had something special about them. Was sound a factor?

Voices of the Manitous

Echoes are another type of natural sound associated with some sacred places. A classic example occurs at Mazinaw rock, a cliff-face rising out of Mazinaw Lake in Ontario. The area is known as Bon Echo Provincial Park because the cliff-face produces remarkable echoes. Less well known is that along the bottom of the cliff just above the waterline - a conjunction that enhances echoes - are two hundred panels of red ochre paintings produced by ancestral Algonquin people about a thousand years ago. They cluster where the echoes are strongest. This fits in with an Algonquin belief that spirits (manitous) lived inside the cliffs and rocks, and that shamans in trance could pass through the rock surface to obtain 'rock medicine' beyond.

Indeed, this belief was held by many American Indian peoples and probably other peoples around the world - it is known to have existed in southern Africa, for instance. We moderns take sound for granted in our noisy world, but to ancient peoples it could be magical, especially when issuing as music or ghostly echoes from rocks.

An echo occurs in a very different context in Castillo, a stepped-pyramid in the Myan city of Chichen Itza, Mexico. It has long been noted that the rising equinoctial sun (21 March and September) throws a serrated shadow of a stepped corner of the pyramid onto its northern balustrade, making it appear like a snake decending from the summit temple, which was dedicated to Kuckulcan, the feathered serpent.

It has now been discovered that the north face of the Castillo produces a special echo in response to percussive sounds: it has a 'chirp' that is very similar to the primary call of the quetzal bird - the priests of Kukulcan used quetzal feathers in their headdresses. So we may have here a kind of 'son et luminere' sumbolism. Acoustic symbolism is also now being noted at temples worldwide.

There are numerous other ways rocks can make sounds. For instance, Petroglyph Rock, Ontario is a huge, flattish outcrop of rock covered with ancient engravings. Why that particular rock? It may have something to do with a deep fissure cutting across it - at times ground water runs along the bottom of the crack causing noises remarkably like whispering voices. In Britain, as a different type of example, there is a rock known as the Blowing Stone, near Oxford. When a certain weathered hole is blown into, it issues a sound like the call of an elk.

*Photo* Newgrange, Eire: one of the chambered monuments tested by the International Consciousness Research Laboratories, Princeton, for acoustic resonances. Behind the carved stone (my note: covered in spirals) is the entrance to the monuments 19-metre-long passage. The 'roof box,' the aperture above the entrance lintel, admits the rising midwinter sun which shines down the passage and illuminates the 7-metre-high stone chamber at the heart of the Newgrange mound. It resonates almost precisely at 110 Hz. Photo: Paul Devereux

The Old Stones Speak

Archaeologists have now also started to use electronic equipment to probe the sonic secrets of ancient monuments. One Anglo-American team, from International Consciousness Research Laboratories (ICRL), Princeton, used instrumentation to test the primary resonance frequencies of Stone Age chambered monuments - that is, the lowest frequency that produced a standing wave within a chamber.

They discovered that despite their differing sizes, all the structures they tested resonated in a narrow acoustic frequency band of 95-125 Hertz (cycles per second), with most focusing on 110 Hz.

Subsequent neuroscientific research has shown this frequency (the lower baritone range of the human voice) to have a marked and unexpected effect on parts of the brain: in tests with 30 subjects, the lowest activity area in the right frontal lobe of the brain switched over completely to the left frontal lobe, while the temporal cortex (at either side of the brain, and associated with language processing) also quietened, though less dramatically so. This regional effect on the brain activity was at its maximum at precisely 110 Hz, just as if a switch was thrown.

The subjective implications of this are currently not understood, but the effect only occurs in the brain's theta range of electrical activity, which is usually associated with trance and associated conditions. But much more investigation is required to properly explore these findings. 1

Archaeology acoustic research is in its infancy as yet but it is already providing new insights about ancient places and will surely allow the old stones to tell us more of their secrets in the years to come.

1, See I. Cook, et al., 'Ancient Architectural Acoustic Resonance Patterns and Regional Brain Activity', Time & Mind, March 2008.

Paul Devereux is not a Freemason but has long been interested in spiritual traditions.

He is the author of many books and currently co-editor of Time & Mind an academic journal of Archaeology, Consciousness and Culture. See _www.pauldevereux.co.uk. and _timeandmind.bergpublishers.com.

 

[Green_Manalishi]

The .pdf of the paper "Ancient Architectural Acoustic Resonance Patterns and Regional Brain Activity" mentioned in the previous post:

_http://www.ingentaconnect.com/content/berg/tmdj/2008/00000001/00000001/art00007

Abstract
Previous archaeoacoustic investigations of prehistoric,
megalithic structures have identified acoustic resonances
at frequencies of 95–120 Hz, particularly near 110–12
Hz, all representing pitches in the human vocal range.
These chambers may have served as centers for social
or spiritual events, and the resonances of the chamber
cavities might have been intended to support human
ritual chanting. We evaluated the possibility that tones at
these frequencies might specifically affect regional brain
activity. In a pilot project, 30 healthy adults listened to
tones at 90, 100, 110, 120, and 130 Hz
while brain activity was monitored with
electroencephalography (EEG). Activity in
the left temporal region was found to be
significantly lower at 110 Hz than at other
frequencies. Additionally, the pattern of
asymmetric activity over the prefrontal
cortex shifted from one of higher activity
on the left at most frequencies to right- rightsided
dominance at 110 Hz. These findings
sided are compatible with relative deactivation
of language centers and a shift in prefrontal
activity that may be related to emotional
processing. These intriguing pilot findings
suggest that the acoustic properties of
ancient structures may influence human
brain function, and suggest that a wider
study of these interactions should be
undertaken.

I highlighted what was already roughly mentioned in the last post by T.C., just to toss this: as Mouravieff said all esoteric work, has as aim the correct functioning of the emotional centre in Man. Also that, as everyone knows if interested in this subjects that our modern type of language is an obstacle to the understanding of the said esoteric subjects.

Could this be a way of "speeding things up", or perhaps more of a kind of aid?

This is of course linked to the all the shaman tradition around the world, sound being one of the characteristics of it.

Now what i would like to see in more detail is the subject of the emotional processing. What kind of emotions are we talking about, and how as this discovered? I will look it up in the references of the paper to see if something explains this.

 

[bedower]

Echoes are another type of natural sound associated with some sacred places.

This is enlightening.

Some years ago, a group of us were meandering along by the north face of the Great Pyramid of Giza. A horse and rider came down the tarmac'd road a few hundred feet away, which runs roughly parallel to the north face; the horse going at a gallop. We were all astounded to hear a distinct echo of the hoofbeats bouncing off the pyramid's side. We actually stopped in amazment to listen; a pyramidal shape not normally being associated with acoustics, or so I believe.

None of us could think of a good reason for this, and agreed in the end that the north face must be where the original opening of the pyramid was, for want of a better explanation. It was the best guess we could come up with.

I hope one of these researchers has the idea to do some acoustic measurements on the Giza plateau; that would be really interesting.

 

[T.C.]

Also that, as everyone knows if interested in this subjects that our modern type of language is an obstacle to the understanding of the said esoteric subjects.

Could this be a way of "speeding things up", or perhaps more of a kind of aid?

Here below, are some session excerpts to do with stones.

Q: (L) What was Stonehenge built to do or be used for?
A: Energy director.
Q: (L) What was this energy to be directed to do?
A: All things.
Q: (L) Was the energy to be directed outward or inward to
the center?
A: Both.

Q: (L) In many ancient ruins there are found certain symbols
which interest me, specifically the coil or spiral which seems to
be ubiquitous throughout the world. This is also very similar to
one of the Reiki symbols. What is the origin and meaning of
this symbol?
A: Energy collector translevel; stonehenge was one.
Stonehenge is a coil. The missing stones form a coil
arrangement. People have been "zapped" at Stonehenge.

(L) Okay, what is it about Stonehenge?
A: Location attracted those spirit types on the proper
frequency, who in turn, placed stones in proper location to
receive the coded communications in code telepathically, in
order not to have to chase around the countryside reading
encoded pictographs.
Q: (L) What was the technique used within the circle to
receive the information telepathically? [Planchette spiraled in,
and spiraled out.]
A: Transcendent focused thought wave separation.
Q: (L) OK, so that you're saying that moving in a spiral...
A: The spiral serves to translate message by slowing down the
wave and focusing thought wave transference energy. Utilizes
/transduces electromagnetic waves, the conduit, by breaking
down signal from universal language of intent into language of
phonetic profile. This is for multiple user necessity.
Q: (L) Multiple user necessity implies that a number of people
must do the spiral. Is that correct?
A: No. Must hear and feel and understand precisely the same
thing. The molecular structure of the rock, when properly
sculpted sing to you.

Maybe "properly sculpted" has something to do with this magic number of 110Hz?

Q: On page 80, the book talks about these statues at
Tiahuanaco on Lake Titicaca. It says: 'Carved in red
sandstone, worn and ancient beyond reckoning, the statue
stand about 6 feet high and portrays a humanoid,
androgynous being with massive eyes and lips. In it's right
hand it clutches something resembling a knife with a wavy
blade like an Indonesian kris. In its left hand is an object like a
hinged and case-bound book. From the top of this book,
however, protruded a device which had been inserted into it
as though into a sheath. From the waist down, the figure
seemed to be clad in a garment of fish scales.' Okay, there is
another statue with an object in it's left hand that is like a case
bound book, but from it protruded a forked handle. The right
hand object was roughly cylindrical, narrow in the center and
bigger at each end. It appeared to have several different parts.
I would like to know what these objects, or devices, carved
into these ancient statues represented?
A: Conductor.
Q: What did these conductors conduct? Were these the
sound machines that you have described previously?
A: No.
Q: What did they conduct?
A: Quartzine energy from atmospheric source.
Q: What was this energy used for?
A: All.
Q: Well you have described a lot of things that did all kinds of
things... the pyramid, Stonehenge...
A: When one harnesses free energy, no limitations need apply.

Q: Is it the case that some of them communicated with higher
density beings via Stonehenge, and that these communications
they received...
A: Stonehenge used to resonate with tonal rill, teaching the
other wise unteachable with wisdoms entered psychically
through crown chakra transceiving system. [Note: the word
"rill" is new to me. Webster defines it as a small stream or a
little brook; to flow in or like a rill.]

As far as centres go, the crown chakra is supposed to relate to the higher intellectual centre.

 

[Pierre]

You can hear a 110 hz sound by clicking here

110 hz is a musical tone since it's the exact frequency of LA 1 (A according to the US scale).

 

[3DStudent]

You can hear a 110 hz sound by clicking here

110 hz is a musical tone since it's the exact frequency of LA 1 (A according to the US scale).

Here are some tables that show A2=110 hz and some of the other relations between notes.

 

[clarabell]

This is bRILLiant! Am interested in sympathetic resonance of stones activating energy or RILL when percussed or activated by weather conditions.

 

[clarabell]

You can hear a 110 hz sound by clicking here

110 hz is a musical tone since it's the exact frequency of LA 1 (A according to the US scale).

Here are some tables that show A2=110 hz and some of the other relations between notes.

Wow. I feel very stange after listening to that & cat completely freaked.

 

[anitasweetie]

Hello Everyone!, actually ran across a pdf of the Princeton study mentioned in the original article.

https://www.princeton.edu/~pear/pdfs/1995-acoustical-resonances-ancient-structures.pdf

Mods feel free to move if there is a more appropriate thread. Thank you.

Taken from the summary:

Certain ancient structures possessed resonant acoustical properties that may have contributed to their functional purposes. The extent to which these features were deliberately engineered into these sites, and their particular utilization, are beyond the scope of this study, but certain suggestive aspects, perhaps worthy of more extensive and precise surveys, have been noted. First, by whatever course of design and construction, all six of the configurations visited sustain clearly discernible acoustical resonances in the vicinity of 110 Hz, well within the male voice range. The dominant standing wave patterns at these frequencies are the principle radial or longitudinal harmonics, with little azimuthal or vertical structure. In a few cases, it appears that various interior standing stones may have been positioned to enhance such resonances, by suppressing unwanted azimuthal modes. At some sites, a number of the rock art drawings bear striking similarities to the plan or longitudinal patterns of these standing wave configurations,


They make the most sense so far about what ROCK ART is:

The Newgrange and louchcrew sites present extraordinary and well known examples of diagrammatic rock etchings conventionally regarded as astronomical, seasonal, or environmental representations. In several cases, however, the experimenters were also struck by the similarities of certain sketches with the resonant sound patterns characterizing these chambers. For example, a number of these sketches feature concentric circles, ellipses, or spirals that are not unlike the plan views of the acoustical mapping. In other sketches, sinusoidal or zig-zag patterns resemble the alternating nodes and antinodes found in the radial traverses. Note especially that the two ziz-zag trains etched on the corbel at the west side of the sub-chamber of Newgrange have precisely the same number of "nodes" and "antinodes" as the resonant standing wave pattern we mapped from the chamber center out along the passage. Similarly, one of the Kerbstones displays a triple zig-zag above a spot and two concentric circles, which in number and spacing would be accurate representations of the modal patterns radiating from the central chamber into the recesses. Conceivably, the triple spiral configurations sketched on the magnificent entrance stone and elsewhere, could be somewhat more metaphysical representations of the interactive resonance of the three sub-chambers.


Anyway I was looking at Celtic Crosses last year and thought that maybe they represented some kind of technology! This pdf is really the closest information found so far.

@Laura, maybe this is the Tarsus thing!

Louchcrew 1: The simplest idealization that suggests itself for this uncovered structure is to treat it as a vertical elliptical cylinder, closed on the bottom and open on the top, sectored by 8 standing stone partitions. Fortunately, the acoustical wave equation separates in elliptical-cylindrical coordinates, yielding standing wave solutions in the form of Mathieu functions, indexed by {l,m,n} corresponding to the number of radial, azimuthal, and vertical nodes. Given the absence of any clear azimuthal or vertical structure in the measured patterns, we may again focus on modes with only radial variation. (I t is tempting to speculate whether the builders purposely aligned the sector stones to suppress the angular modes, leaving a sharper and purer resonant tonality.) The modality is further specified by the appearance of only one node in the measured radial traverses, leaving {1,0,0} as the dominant pattern. The measured dimensions of the chamber are best approximated by a semi-major axis of the ellipse of 2.5m semi-minor axis of 1.8m and, height 2.0m, which yield a theoretical resonant frequency of 106Hz for this mode.

IOW the loop of the cylinder!


In looking at the Cross at Hendaye, it got me to thinking, why a cross?
Of course there is probably many layers of information to be gleaned from it, but maybe the cross itself is the biggest clue.

cruciform: (mathematics) a geometric curve, shaped like a cross.

Newgrange, County Meath, Ireland

The most impressive of all sites surveyed was this 5500 year old cairn near the Boyne River. It features a remarkable 19 meter long entrance passage, again opening to the southeast and floridly decorated with rock art, leading to a 6.5 x 6.5m cruciform configuration composed of a central chamber and 3 sub-chambers. Each of the sub-chambers contains a mysterious stone basin, and further magnificent rock art designs. With the sound source at its center on a short tripod, the chamber complex resonated at 110Hz, at which the standing wave patterns were established. Radial traverses into the two shortest sub-chambers each showed 2 nodes and two antinodes, one at the outer wall, and one near the sub-chamber orifice. The deepest sub-chamber allowed a third node-antinode pair to stand inside itself. The overall plan pattern thus involved a closed node in the central chamber, and a closed antinode near the sub-chamber and passage orifices, progressing into the sub-chamber patterns just mentioned. Equally if not more remarkable was the pattern of standing waves sustained along the entire length of the entrance passage. Despite its comparatively small cross section ( roughly 1m wide x 2m high), and the large and small scale irregularities of the stones forming its walls and ceiling, some 12 antinode\node pairs could be clearly discerned, extending over its full length from chamber to outside entrance, in a classic sinusoidal pattern akin to that of some gigantic musical wind instrument.

Maybe if this is something to look into, perhaps our knowledge and technology just needed to catch up so that it could be utilized! :)