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Saturday, December 5, 2009

Dec. 3 - Ancient Temple Architects May Have Been Chasing a Buzz From Sound Waves‏

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Ancient Temple Architects May Have Been Chasing a Buzz From Sound Waves
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Emerging archaeology in a new study highlighted by the Old Temples Study Foundation suggests that sound and a desire to harness its effects may have been equally important as vision in the design of humankind earliest ancient temples and monumental buildings.

Sarasota, FL (PRWEB) December 1, 2009 -- Six-thousand-year-old ancient temples are giving up acoustic clues for modern scientists. Intriguing new research on ancient temples in Malta and highlighted by the Old Temples Study Foundation is resonating through international archaeology and interdisciplinary classics research. Reaching beyond the scope of traditional archaeology, a multi-disciplinary approach has opened a new dimension for the study of the ancient world.

"We may be hitting on one of those 'lost secrets'," says Linda Eneix, President of The OTS Foundation, dedicated to archaeology research and education related to the ancient temples of Mediterranean Malta.

Located south of Sicily, the islands of Malta and Gozo are home to megalithic structures that were created by a highly developed people more than a thousand years ahead of Stonehenge and the pyramids. The monuments, including ancient temples, represent free-standing architecture in its purest and most original form. Design features including corbelled ceilings, are mirrored in subterranean mortuary shrines that have been carved out of solid limestone. (In architecture, corbelling is a system of a row of stones oversailing the one below it, reducing the area of the ceiling with each row upward and distributing its weight.) Malta's Hal Saflieni Hypogeum [right] provides the most extraordinary example. A multi-leveled complex of caves and ritual chambers, it is a gem of archaeology that lay undisturbed until workers broke into it accidentally in 1902.

Science Officer at the Hypogeum, Joseph Farrugia describes unusual sound effects in the UNESCO World Heritage Site:

"There is a small niche in what we call 'The Oracle Chamber', and if someone with a deep voice speaks inside, the voice echoes all over the hypogeum. The resonance in the ancient temple is something exceptional. You can hear the voice rumbling all over."

As anyone who sings in the shower knows, sound echoing back and amplifying itself from hard walls can do unusual things. That effect is magnified several times over in the stone chambers. "Standing in the Hypogeum is like being inside a giant bell," says Eneix. "You feel the sound in your bones as much as you hear it with your ears. It's really thrilling!"

After catching a film about the "Sounds of the Stone Age" on a flight from London, Eneix jumped on the chance to explore further and sought out the principals.

[Above:] Mnajdra Temple. An example of the use of corbelling in the oldest freestanding buildings on earth.

A consortium called The PEAR Proposition: Princeton Engineering Anomalies Research are pioneers in the field of archaeo-acoustics, merging archaeology and sound science. Directed by Physicist Dr. Robert Jahn, the PEAR group set out in 1994 to test acoustic behavior in megalithic sites such as Newgrange and Wayland's Smithy in the UK. They found that the ancient chambers all sustained a strong resonance at a sound frequency between 95 and 120 hertz: well within the range of a low male voice.

In subsequent OTSF testing, stone rooms in ancient temples in Malta were found to match the same pattern of resonance, registering at the frequency of 110 or 111 hz. This turns out to be a significant level [right] for the human brain. Whether it was deliberate or not, the people who spent time in such an environment were exposing themselves to vibrations that impacted their minds.

Sound scientist, Prof. Daniel Talma of the University of Malta explains: "At certain frequencies you have standing waves that emphasize each and other waves that de-emphasize each other. The idea that it was used thousands of years ago to create a certain trance -- that’s what fascinates me."

Dr. Ian A. Cook of UCLA and colleagues published findings in 2008 of an experiment in which regional brain activity in a number of healthy volunteers was monitored by EEG through different resonance frequencies.

Findings indicated that at 110 hz the patterns of activity over the prefrontal cortex abruptly shifted, resulting in a relative deactivation of the language center and a temporary switching from left to right-sided dominance related to emotional processing. People regularly exposed to resonant sound in the frequency of 110 or 111 hz would have been "turning on" an area of the brain that bio-behavioral scientists believe relates to mood, empathy and social behavior.

Although archaeologists had not found an explanation for such sophisticated engineering suddenly blossoming nearly six thousand years ago, Prof. Richard England, a Fellow of the American Institute of Architects, sees an evolution: ". . . a gradual growth, from the cave to the tomb. The idea of continuity comes from an underground architecture. Gradually from these ovular rock-hewn spaces, man moved above ground, and above ground he fashioned an architecture of the living which followed the form of an architecture for the dead."

"Once you know what you are looking for, you can see these same ceiling curves in natural caves in Malta." Eneix observes. "It's logical that the ancient temple builders observed the echoes and sound characteristics in the caves and came up with the idea of recreating the same environment in a more controlled way. Were they doing it intentionally to facilitate an altered state of consciousness? There is a lot that we are never going to know."

Acoustics may well have been part of a widespread religious tradition. Old photos in an early edition of National Geographic Magazine show the discovery in securely dated levels of the Malta temples, of conical shaped stones bearing a distinct resemblance to the Omphalos or "belly-button" oracle stone at Delphi [right], used much later in time by ancient Greek priestesses who listened to the voice of the earth for guidance. The Omphalos became an Umbilicus when the Romans took over the concept and spread it over their empire. The timeline places the ancient Temple Builders at the head of a long chain of "coincidence."

Research about Malta's Temple Culture has been documented on a DVD available from the foundation at http://www.otsf.org/Legacy.htm. This captivating documentary details how inquiry into ancient temples in Malta mirrors the evolution of a discovery, branching beyond archaeology to become a multi-disciplinary fascination.

Other Temple Sound Anomalies

A fascinating, though seldom discussed, mystery at Chichen Itza [above] concerns the strange acoustic anomalies observable at the great ball court and the temple of Kukulkan. Words softly whispered at one end of the great ball court (measuring 545 feet long by 225 feet wide) are clearly audible all the way at the other end and a single clap or shout sounded in the center of the ball court will produce nine distinct echoes. Visitors have also commented on a curious acoustic phenomenon at the pyramid of Kukulkan where the sound of a hand clap is echoed back as the chirping sound of the Quetzal bird, the sacred bird associated with both the name of the pyramid and its deity Kukulkan/Quetzalcoatl.

R.G. Jahn et al have taken sound generators and meters into the chambers of six ancient structures and measured their acoustical properties. The sites selected were: Wayland's Smithy, Chun Quoit, and Cairn Euny, all in the U.K.; Newgrange [above], and Cairns L and I, Carbane West, all in Ireland.

All of these sites date back to about 3,500 BC. The chambers were all bounded by roughly hewn stones, but they had very different configurations. Newgrange was cruciform (see sketch); others were rectangular, beehive, and petalshaped. Quoting the abstract from the Princeton report, here is what the acoustical surveys found:

"Rudimentary acoustical measurements performed inside six diverse Neolithic and Iron Age structures revealed that each sustained a strong resonance at a frequency between 95 and 120 Hz (wavelength about 3m). Despite major differences in chamber shapes and sizes, the resonant modal patterns all featured strong antinodes at the outer walls, with appropriately configured nodes and antinodes interspersed toward the central source. In some cases, internal and exterior rock drawings resembled these acoustical patterns. Since the resonant frequencies are well within the adult male voice range, one may speculate that some forms of human chanting, enhanced by the cavity resonance, were invoked for ritual purpose."

In a few cases, it appeared that some of the standing stones had beeen intentionally positioned to enhance the chamber's acoustical properties.[1]

Why 110 Hz?

Many archaeo-acoustic 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.

A recent study [2] 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 rightsided dominance at 110 Hz.

These findings are compatible with relative deactivation of language centers and a shift in prefrontal activity that may be related to emotional processing. (see Left Brain:Right Brain by Dan Eden). These intriguing pilot findings suggest that the acoustic properties of ancient structures may influence human brain function, and suggest that chanting might have been used to enhance right brain activities.


Notes:

1. Jahn, Robert G., et al; "Acoustical Resonances of Assorted Ancient Structures," Technical Report PEAR 95002, Princeton University, March 1995. Devereux, Paul, et al; "Acoustical Properties of Ancient Ceremonial Sites," Journal of Scientific Exploration, 9:438, 1995.

2. Cook, Ian A.; Pajot, Sarah K.; Leuchter, Andrew F., "Ancient Architectural Acoustic Resonance Patterns and Regional Brain Activity," Time and Mind, Volume 1, Number 1, March 2008 , pp. 95-104(10)


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How to Digitally Record/Video a UFO sighting:


Como registar digitalmente ou gravar um vídeo de um avistamento de um UFO:




Stabilize the camera on a tripod. If there is no tripod, then set it on top of a stable, flat surface. If that is not possible lean against a wall to stabilize your body and prevent the camera from filming in a shaky, unsteady manner.

Estabilize a camera com um tripé. Se não tiver um tripé, então coloque-a em cima de uma superfície estável. Se não for possível, então encoste-se a uma parede para estabilizar o corpo e evitar que a camera registe de maneira tremida e instável.

Provide visual reference points for comparison. This includes the horizon, treetops, lampposts, houses, and geographical landmarks (i.e., Horsetooth Reservoir, Mt. Adams, etc.) Provide this in the video whenever is appropriate and doesn’t detract from what your focus is, the UFO.

Forneça pontos visuais de referência para comparação. Isso inclui o horizonte, cimo das árvores, postes de iluminação, pontos de referência geográficos (como o Reservatório de Horsetooth, Mone Adams, etc) Forneça esses pontos no vídeo sempre que for apropriado e não se distraia do que é o seu foco, o UFO/a Nave.

Narrate your videotape. Provide details of the date, time, location, and direction (N,S,E,W) you are looking in. Provide your observations on the weather, including approximate temperature, windspeed, any visible cloud cover or noticeable weather anomalies or events. Narrate on the shape, size, color, movements, approximate altitude of the UFO, etc and what it appears to be doing. Also include any unusual physical, psychological or emotional sensations you might have. Narrate any visual reference points on camera so they correlate with what the viewer will see, and thereby will be better able to understand.

Faça a narração do vídeo. Forneça pormenores sobre a data, hora, local e direcção (Norte, Sul, Este, Oeste) que está a observar. Faça observações sobre as condições atmosféricas, incluindo a temperatura aproximada, velocidade do vento, quantidade de nuvens, anomalias ou acontecimentos meteorológicos evidentes. Descreva a forma, o tamanho, a cor, os movimentos, a altitude aproximada onde se encontra o UFO/nave, etc e o que aparenta estar a fazer. Inclua também quaisquer aspectos pouco habituais de sensações físicas, psicológicas ou emocionais que possa ter. Faça a narração de todos os pontos de referência visual que o espectador irá ver e que, deste modo, será capaz de compreender melhor.

Be persistent and consistent. Return to the scene to videotape and record at this same location. If you have been successful once, the UFO sightings may be occurring in this region regularly, perhaps for specific reasons unknown, and you may be successful again. You may also wish to return to the same location at a different time of day (daylight hours) for better orientation and reference. Film just a minute or two under “normal” circumstances for comparison. Write down what you remember immediately after. As soon as you are done recording the experience/event, immediately write down your impressions, memories, thoughts, emotions, etc. so it is on the record in writing. If there were other witnesses, have them independently record their own impressions, thoughts, etc. Include in this exercise any drawings, sketches, or diagrams. Make sure you date and sign your documentation.

Seja persistente e não contraditório. Volte ao local da cena e registe o mesmo local. Se foi bem sucedido uma vez, pode ser que nessa região ocorram avistamentos de UFOs/naves com regularidade, talvez por razões específicas desconhecidas, e talvez possa ser novamente bem sucedido. Pode também desejar voltar ao mesmo lugar a horas diferentes do dia (durante as horas de luz)para ter uma orientação e referência melhor. Filme apenas um ,inuto ou dois em circunstâncias “normais” para ter um termo de comparação. Escreva tudo o que viu imediatamente após o acontecimento. Logo após ter feito o registo da experiência/acontecimento, escreva imediatamente as impressões, memórias, pensamentos, emoções, etc para que fiquem registadas por escrito. Se houver outras testemunhas, peça-lhes para registar independentemente as suas próprias impressões, pensamentos, etc. Inclua quaisquer desenhos, esbolos, diagramas. Certifique-se que data e assina o seu documento/testemunho.

Always be prepared. Have a digital camera or better yet a video camera with you, charged and ready to go, at all times. Make sure you know how to use your camera (and your cell phone video/photo camera) quickly and properly. These events can occur suddenly, unexpectedly, and often quite randomly, so you will need to be prepared.

Esteja sempre preparado, Tenha sempre uma camera digital, melhor ainda, uma camera vídeo consigo, carregada e pronta a usar sempre que necessário. Certifique-se que sabe como lidar com a sua camera (ou com o seu celular/camera fotográfica) rápida e adequadamente. Esses acontecimentos podem acontecer súbita e inesperadamente e, por vezes, acidentalmente, por isso, necessita estar preparado.

Look up. Be prepared. Report. Share.

Olhe para cima, Esteja preparado, Relate, Partilhe.

MUFON.COM

ESOTERIC



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