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.

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John Michelle, a man I'm much admired. I knew him not terribly well. I got to know him better.

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Shortly before he died, which was very unfortunate. Still better than not meeting him at all.

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I was with John on his last trip ever to Avery. John was a real lover of Avery.

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In October of 2008, he was staying with a mutual friend, Joagyn Kronig, just a couple of miles from Avery.

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We got it very early, one morning, and we were at Avery before 9 o'clock, amazingly.

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There's my self-injons, so that's the red line, having a British cup of tea.

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We went and looked at some barrows, and I talked to John about various bits of work I've been doing.

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He was always interested. You never knew whether he genuinely interested because he was so polite.

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Whatever you told me about, he'd always say that's actually interesting.

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While we were in Avery, John and I, a cup of tea plan to do an interview for 14 times,

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and an overview of his life's work, and just to make sure that we could put the record straight.

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But shortly after, John was diagnosed with cancer, and I thought we could have to cancel, but he wanted to go ahead anyway.

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So I went along to John's flat in London, here he is, and we did an interview, which we're both new, was going to be in a bituary.

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It was very difficult, really.

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John had to finish some work before we could do the interview, and here he is writing his last column for the old day,

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which he wrote to my surprise on a word processor.

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But then even while surprising, he printed it out on a piece of paper, went down the post office and put it in the post.

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I was with John in the last week of his life, when he went to his sons in Dorset,

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and now it's along with Louise Hodgesson, an old friend, and a little dog Percy.

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And it was a beautiful spring day, and John wrapped up, and we went for a little stroll down the lane.

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And it was really, really fun, surprisingly, considering that we all knew John was going to die shortly.

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We got into a thing of reciting Dirty Limericks.

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John particularly liked mine, there was a young girl from devices, with boobs of two different sizes.

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One was quite small and not much at all, but the other was huge and one proysis.

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It was a very intellectual conversation we had.

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And that's my last ever shot of John.

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John Michel had a strange habit of gathering people around him with the same initials, or almost the same initials.

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And one of the JNs, which there was several, was Joan Moore.

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It's sadly also died, just before Christmas.

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Joan was a very talented geometry used to correspond with John quite often.

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She wrote 16 books that she is with us on Anthony, who is here today.

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And she's best known for her work on the Abbott's Kitchen, literally next door.

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And Anthony tells me he's got a few copies, if anyone would like to have a look, they're not for sale,

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but if anyone would like to have a look at Joan's work, he's got the copies with him.

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The Kitchen stay with me and we'll share, which is when these pictures were taken.

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Joan was a wonderful character.

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She realized that the world of geometry was dominated by men.

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She was completely undoned. She printed her own books. She typed them by hand.

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She printed them up. I got a self-ibs, I asked BN numbers.

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And the positives in my library is all over the world.

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And I hope that sometime in the future someone would be looking for exactly that information.

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And she used to tend to push over one of the Abrostones. She didn't succeed.

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Joan will be very suddenly missed. She was a regular here at Miggler for many years.

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So, I'd be choose a side, let's look at what I'm actually going to talk about.

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I'm going to talk about the first time I've ever seen a space that's not space that's full of stars.

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There's several different types of space. There's a definition of it, not the terribly satisfying one.

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I don't think an empty area between things. I think it's a little bit vague.

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I can't think of a better way of expressing it myself.

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But we have different types of space.

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I'd like to talk about live space or dead space. I'm an exound engineer, so I'm particularly concerned with live space and dead space.

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There's a very good example of live space. Well, Skasidra, one of my best life life spaces in the world.

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You make a sound and it speaks back to you.

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Here's a very good example. The best I know of dead space. This is an anacocachamber.

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Where there is no reflection whatsoever. Those wedges of foam are a meter deep and the abysour of any sound in the room.

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It's really unnerving. The first time I went in an anacocachamber, the friend of mine in Yorkshire, makes some bespoke microphones.

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He needs an anacocachamber for testing them. He mustn't have any reflection when he testing or do equipment.

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The floor was the same as this one. We can see there's a way of mesh on the floor and space underneath it.

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The first time I went into this anacocachamber, the light had gone, the bulb had blown.

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So I had to walk into this fairly small room with all the wedges on the ceiling and the walls.

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You can't tell where you are when there's no sound, when there's no reflection. It's very, very disturbing.

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It's like being in space where no one can hear you scream after about five minutes, it's a had to get out.

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This one that we're seeing now is the acoustic department of sulfur university and it costs half a million pounds.

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It's one of the most efficient anacocachambers there is and it's absolutely horrible.

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There it is again.

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When we encounter live space like well, scathedral, we often regard it as sacred space.

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Life space and sacred space are very, very similar in some cases.

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It's hard to imagine a sacred space that isn't live.

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We expect this space to breathe back to us and even reply.

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Well scathedral, if you have been on one of candy-vendous singing events when it takes all the furniture out of the January, is absolutely amazing.

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We've been through about a hundred people walk around the place and can conduct them into singing groups.

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You realise how clever the medieval engineers were that they managed to not swamp the place we sound.

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The sound that comes back to you when you see is controlled, but it's as if it's alive.

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This is what I do for a hobby.

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We're never encounter an interesting space.

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My instinct is always to make noises into it, in a particular key on overturning singing.

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So wherever I go, I like to do overturning and it also keeps the rest of the tourists away.

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This is an interesting quote.

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The separation of the senses is a modern concept, first noted by Plato around 400 BC.

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Before then and for most of human history, it was just sense.

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I think this is enormously important when we're looking at how the ancients regarded sound.

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There was no separation of the senses and in fact Plato's description is a little vague.

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There's a brief mention in the Vedas of India.

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That's even vague.

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People were starting to get the sense that the senses may be separate.

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So I'm going to try and angle things towards age Avery.

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It's my specialist area and John loved Avery as much as I did.

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There are some very interesting acoustical effects in Avery.

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If you go to Avery and you're interested in the way it reacts to sound,

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try to go early in the morning as you can when there's very little traffic.

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A lot of the work that I've done in Avery with recording reflections was done on the first of January on New Year's Day,

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the first thing in the morning, A to clock when there's no traffic, hardly anything at all going on.

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Then you realise that any sound you make reflects back from the banks and the stones.

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You start to appreciate how Avery wouldn't make come alive with sound thousands of years ago.

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Sound brings Avery alive even today.

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One of the high points of the Avery semisolstis, why I'd say the high points,

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is the performance by the King's drums.

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They're actually sambaband from London.

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They're also known as the Baking Batteria.

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They're actually the radical anthropology group of East London University,

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led by Lionel Simms, who's quite an noted anthropologist.

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They perform at political rallies as well.

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But for the week of some assaults, they camped in a nearby campsite.

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They bring loads of little kids with them.

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They make costumes and they rehearse.

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And the whole thing column it culminates on the evening of the assaults,

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with this amazing performance.

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I love that little girl in the red dress.

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She's really ever enthusiastic.

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Not all the performances are as loud as that one over as vibrance.

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There's a wonderful song.

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I love that little girl in the red dress.

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She's really ever enthusiastic.

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Not all the performances are as loud as that one over as vibrance.

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There's a wonderful thing happens at soaring,

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where the local group set up a labyrinth.

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They're allowed by the national trust to use a lawnmower to make a labyrinth to market out.

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They then put lots of jars, hundreds of them with tea lights in,

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and marking out the cost of the labyrinth.

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People can take their own, it's a sort of meditative thing.

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People can take their own path through the labyrinth one at a time.

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At the end of the labyrinth, completely invisible,

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is a group of drummers that sit there in the dark and play a slow rhythm.

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And I filmed it last year to try and give you the impression of what it's like to be walking the labyrinth.

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That's what it looks like in daylight.

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The labyrinth is a very beautiful place.

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It's a very beautiful place.

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It's a very beautiful place.

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It's a very beautiful place.

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It's a very beautiful place.

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The airbrie labyrinth is a lovely experience.

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It's a lovely experience.

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It's thoroughly enjoyed that.

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And the sound really completely enhances it.

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You can hear those drums reflecting off the stones around you as you walk with labyrinth.

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Here's the airbrie labyrinth seen from Satellite on the Google Earth picture.

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It's a hinge because it's surrounded by a bank and ditch.

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The bank is outside the ditch, which means it's not defensive.

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And because the bank is on the outside of the ditch, you could say that it's built not to keep something out, but to keep something in.

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One of the things that keeps in is sound echoes.

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And it really the sound really does bring over to life.

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It does it now who can think what it must have been like 5,000 years ago.

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And then echoes if echoes were seen as ancestors, devices of the ancestors.

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It could regard it every sound as being the sign that it was populated by spirits.

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The hinge is huge. It's a quarter of a mile across.

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And if we make a sound, it's difficult today because there are buildings there.

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There are traffic cars passing through the hinge all the time.

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But if we imagine it without all those buildings, as it was when it was first built,

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if we made a sound in the middle of April, it would radiate out to the banks and then come back as an echo.

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I'll do that again.

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That wasn't in real time. By doing a simple calculation on the speed of sound,

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we can work out that the echo would actually take 1.16 seconds.

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So if we played a click to pair of sticks together in the middle of the hinge, that's how long it would take.

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And I've set up this so that we in one channel of the stereo, you'll hear the original sound and then the echo in the other.

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Hello, hello, echo, echo.

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1, 2, 1, 2.

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That is a very, very long echo.

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But there were two smaller rings inside a tree, rings of stones.

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The south, the southern inner ring and the northern inner ring.

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There are shown in red.

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There are about 100 meters across, and the apologies, not sure.

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100 meters or equivalent in proper measures seems to have been important to the Pacific people,

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because there are several other circles that are around the same size.

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The echo in the circle of this size, if we were in the middle, is almost a third of a second.

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Let's hear what that sounds like.

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Hello, hello.

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Echo, echo.

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1, 2, 2.

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Now, in a certain conditions, particularly damp cold weather, sound seems to travel a lot further.

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If there's no sound around as well, like kind of winters morning when the birds aren't singing,

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you may get the sound travelling to one side of that stunt circle, echoing back,

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and then echoing back again from the other side.

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Let's hear what that sounds like.

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Hello, hello.

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Echo, echo, echo.

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1, 2, 2, 3.

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Well, we can actually hear what that sounds like for real.

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The A of Bristan circle, the two, destroyed to stand any chance of hearing that happen on the spot.

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But if we leave A of Bristan, travel north to walk me, there is the ring of broadgar, which again is about 100 meters across.

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It had more stones than the A of Bristan circles, and it's in a far better condition.

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I've been there a couple of times, but the last time I went, it was abnormally windless, which is fairly unusual.

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The ring of broadgar, there's normally a screaming girl going even on a nice day.

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But for the first time, I was able to click some sticks together, and he wore that echo really sounds like.

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I think that's a pretty good approximation of what the A of Bristan circle is made of, like when they were complete.

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There's another very interesting sound phenomenon in A of Bristan, which unfortunately we can't hear as it was originally.

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That's the existing A of Bristan, the west-kinnit A of the new, which runs from the southern entrance of A of Bristan for about half a mile south.

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Well, there was another A of the new on the west side of A of Bristan, which is now sadly destroyed all but for two stones.

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Here's what I'm still pleased to be, if I mentioned it to a B when it was complete.

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It was actually destroyed when he went to A of Bristan 1724.

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There were two stones known as the long stones. Here's where they are today.

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The known as Adam and Eve, we saw them yesterday, if you saw my lecture yesterday.

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The largest stone is Adam, it's a quest stone set in its side like a lozenge, and a small one strangely shaped one is Eve.

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Eve was one of a pair, two double row stones that went all the way from the long stones into A of Bristan.

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Adam was part of a setting known as the long stone, the cove.

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There's Adam, and there are the stones that used to be the central axis of the cove, pointed pretty well southeast, exactly to winter solstice sunrise.

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A friend of mine, Stephen Allen, and I decided to find out if there were any interesting acoustically effects in this cove when it was complete.

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So at the University of West of England we've got a lot of space.

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We did a simple model, exactly the right proportion, but with small pieces of chipboard, which I would find at the time.

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There's the size of Adam, we ended up using a fraction of that size, but the point was that we had the positioning right, so we could see how the sand reacted inside it.

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That's how William Stukley drew it in 1724. Adam is the stone on the right.

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It's opposite part, there was exactly the same size and proportions, and the two stones on the long axis were slightly smaller.

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There's the actual ground plan, which was found by excavation in the year 2000.

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So we're taking that ground plan, we set up some sheets of chipboard, and we did all sorts of acoustical tests, including bursting balloons inside and recording the impulse, so that we could find if there are any standing waves or interesting resonances.

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That's Stephen just about to burst up a balloon.

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In fact, we found no interesting resonances inside, much to our surprise, and we were very disappointed until we discovered by accident what the actual acoustical effect is.

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There's the layout of the cove.

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We discovered that if a person inside the cove, they're represented by a green dot, and a red person, red dot outside the cove.

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If the green person makes any sound, it's reflected within the cove on that long axis and the sound doesn't escape.

209
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But any sound that it goes out to the sides is reflected off those two side stones, round the end stone, and reaches the listener, the red spot.

210
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And the net result is that it appears to the red listener that that end stone is speaking.

211
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I've got some recordings of it, but I didn't bother playing them because there's nothing remarkable. It just sounds like a person speaking, except all you can see is, I would say, it'd be a huge stone.

212
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So we've got here, it's potentially an oracle, if an initiator, someone was taken up to the cove and put where that red dot is, they could hear the stone speaking directly to them.

213
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It may not necessarily be what it was used for, but it's hard to imagine any other use for it, or why the stench would be arranged that way.

214
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So we've only done the one experiment so far, there's a few years ago, what we need now is some funding for how to make benefactors in the audience, to build the thing full size.

215
00:24:00,000 --> 00:24:08,000
There you can see how it works with light, exactly the same principle.

216
00:24:09,000 --> 00:24:13,000
What evidence is there a prehistoric interest in pitch or tuning?

217
00:24:13,000 --> 00:24:22,000
Well, there are lots of hints, there are several bone flutes, but as usual the dates are disputed, whether they're even flutes is disputed.

218
00:24:22,000 --> 00:24:27,000
Some people just say the bones that have been chewed by bears and lots of things.

219
00:24:27,000 --> 00:24:33,000
Some actual evidence is that it can be found in the quiver, the neather in southern Spain.

220
00:24:33,000 --> 00:24:45,000
Good dating evidence that the first humans living in that 27,000 years ago, and remarkably these caves are about half an hour from Malagrepport.

221
00:24:45,000 --> 00:24:52,000
There we can see it's become a tourist's showcase, but hidden in the way in an area that tourists are not allowed in.

222
00:24:52,000 --> 00:24:59,000
There are markings in red ochre, where the most interesting echoes are.

223
00:24:59,000 --> 00:25:03,000
So prehistoric people were aware of the echoes and we're marking them.

224
00:25:03,000 --> 00:25:09,000
They were also taking, we just saw that previous shots from calcite folds, which looked like curtains, made of stone.

225
00:25:09,000 --> 00:25:15,000
And we hit them, like we're with your knuckles, for instance, or with a sticker or another stone.

226
00:25:15,000 --> 00:25:18,000
They ring like marimbas, as are the fumes.

227
00:25:19,000 --> 00:25:26,000
And we know that people were interested in pitch and tuning, because some of them have been broken off to change the pitch,

228
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and make scales. So humans were actually making scales that they wanted to hear.

229
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And I visited last year, and you're not allowed to do this, but I did anyway.

230
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We went on the tour and just hung back a bit.

231
00:26:19,000 --> 00:26:28,000
I think that's a lovely sound. I can imagine people playing tunes on that thousands of years ago.

232
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Ten, thousands of years ago.

233
00:26:30,000 --> 00:26:32,000
There's no direct equivalent in Avery.

234
00:26:32,000 --> 00:26:40,000
Some of the stones I've holes in them, which were made by roots of trees before the sand was set hard into sandstone.

235
00:26:40,000 --> 00:26:44,000
If you hit the holes in a certain way, you can resonate.

236
00:26:44,000 --> 00:26:50,000
A bit like if you hit a bottle, it makes a muck nose of a particular nose.

237
00:26:50,000 --> 00:26:58,000
The barbersurgeon stone number nine has got particularly good stone holes, and it that have cavities behind them that are quite resonance.

238
00:26:58,000 --> 00:27:02,000
And if you hit them properly, you can get different notes.

239
00:27:02,000 --> 00:27:12,000
There is where the stone number nine is in the southwest quadrant, and that stone number nine.

240
00:27:13,000 --> 00:27:19,000
Other stones I've similar holes, but this is the most impressive as well as regards sand.

241
00:27:19,000 --> 00:27:25,000
So you hit them with a sort of flat of your hand, and you'll hear the resonance.

242
00:27:25,000 --> 00:27:30,000
And if you do it right, you can actually play a tune on them.

243
00:27:43,000 --> 00:27:57,000
Obviously it takes a bit of practice.

244
00:27:57,000 --> 00:28:08,000
You've got a bit of practice and training, obviously.

245
00:28:09,000 --> 00:28:17,000
Here's the West Kinnit Longbarrow, and this is the every monument that I've done the most acoustic work with.

246
00:28:17,000 --> 00:28:22,000
We saw this yesterday on my tour of the Avery area.

247
00:28:22,000 --> 00:28:28,000
It's 104 metres long, and I was completely wrong. It's not the longest long barrow in Britain or the world.

248
00:28:28,000 --> 00:28:33,000
There's a far longer one somewhere else, but it's pretty blooming long, and it 104 metres.

249
00:28:33,000 --> 00:28:36,000
There you can see all of it.

250
00:28:36,000 --> 00:28:42,000
And only a tenth of that area is sort of useful for sand phenomena.

251
00:28:42,000 --> 00:28:48,000
That's the way you can see Drone in black, and that's the chambers, which are made of incredibly hard sarsons stone.

252
00:28:55,000 --> 00:29:00,000
There are five chambers inside, two at each side and one at the end.

253
00:29:00,000 --> 00:29:12,000
And what's so great about the West Kinnit Longbarrow is it's up on a hill, the middle of nowhere, and you can visit it anytime of the day or night, which is perfect for me doing acoustic experiments.

254
00:29:12,000 --> 00:29:23,000
They can see in section the two small chambers either side and the larger chamber at the end.

255
00:29:23,000 --> 00:29:25,000
This is inside the barrow.

256
00:29:25,000 --> 00:29:29,000
It's pretty well unchanged since it was built.

257
00:29:29,000 --> 00:29:37,000
John Thurnham, a so-called archaeologist in the 19th century, dug into the barrow.

258
00:29:37,000 --> 00:29:47,000
He was obsessed with antique skulls, and he dug straight down and got his workments as smashed the capstone of the far end chamber.

259
00:29:47,000 --> 00:29:50,000
Took away some skeletons, and he completely missed the side chambers.

260
00:29:50,000 --> 00:29:52,000
He didn't know that we were there.

261
00:29:52,000 --> 00:29:55,000
So they were rediscovered in 1950.

262
00:29:55,000 --> 00:29:58,000
There's huge blocking stones, we see it at the front.

263
00:29:58,000 --> 00:29:59,000
We're not there originally.

264
00:29:59,000 --> 00:30:05,000
After about a generation, probably 30 years of use, the barrow was decommissioned.

265
00:30:05,000 --> 00:30:09,000
So it was blocked up with those massive stones at the front and lots of sarsons and boulders.

266
00:30:09,000 --> 00:30:14,000
This is how it was originally with a curved forecourt at the front.

267
00:30:15,000 --> 00:30:18,000
That's how we described the various chambers.

268
00:30:18,000 --> 00:30:25,000
The barrow faces east, so the end chamber is also known as the west chamber.

269
00:30:25,000 --> 00:30:28,000
Each of those chambers has a definite resonance.

270
00:30:28,000 --> 00:30:33,000
You've probably heard of Hellmholz resonances, which is where you get when you blow across a bottle.

271
00:30:33,000 --> 00:30:36,000
This is a slightly different type of resonance.

272
00:30:36,000 --> 00:30:41,000
It's called a room mode, and it's the reflection across from one wall to the other.

273
00:30:41,000 --> 00:30:43,000
A bit like in a bathroom.

274
00:30:43,000 --> 00:30:45,000
I'm sure you've all experienced this.

275
00:30:45,000 --> 00:30:48,000
If you sing in a bathroom, it has a resonant frequency.

276
00:30:48,000 --> 00:30:52,000
One note will sound a lot louder than any other notes, and it'll ring on as well.

277
00:30:52,000 --> 00:30:58,000
This is what happens if you make a dirt noise in these chambers, you'll find what the note is.

278
00:30:58,000 --> 00:31:00,000
You'll hear it ringing back to you.

279
00:31:00,000 --> 00:31:03,000
Those are the actual notes.

280
00:31:03,000 --> 00:31:05,000
Any guitarists will recognize them.

281
00:31:05,000 --> 00:31:08,000
The E is the lowest note of a guitar.

282
00:31:08,000 --> 00:31:12,000
The A is the next lowest string of the guitar.

283
00:31:12,000 --> 00:31:14,000
This is actually recorded in the barrow.

284
00:31:14,000 --> 00:31:17,000
That's the first chamber on the left.

285
00:31:17,000 --> 00:31:20,000
First chamber on the right.

286
00:31:20,000 --> 00:31:23,000
And the smaller chambers.

287
00:31:23,000 --> 00:31:34,000
And then in the middle of the passage between those first two chambers is another A, which is actually the most powerful resonance in the whole barrow.

288
00:31:35,000 --> 00:31:38,000
Hear them all together.

289
00:31:38,000 --> 00:31:42,000
Oh, I like that, I'll do it again.

290
00:31:42,000 --> 00:31:53,000
Interesting that these notes that the chambers resonate at are within the male vocal range.

291
00:31:53,000 --> 00:31:55,000
That low E bar.

292
00:31:55,000 --> 00:31:58,000
I couldn't sing that until I was 50.

293
00:31:58,000 --> 00:32:03,000
Men's voices generally are when we saw others as well, but men's voices spectacularly drop with age.

294
00:32:04,000 --> 00:32:15,000
Interesting that for anyone to be able to sing that low E, there would have been regarded as an elder if they were 50 or over.

295
00:32:15,000 --> 00:32:19,000
No idea whether that's deliberate or not, but there are strong suspicions that it is.

296
00:32:19,000 --> 00:32:21,000
I'm sorry this is the end of chamber.

297
00:32:21,000 --> 00:32:27,000
No particular resonance, it just rings at every frequency.

298
00:32:27,000 --> 00:32:32,000
The end chamber is almost very important.

299
00:32:32,000 --> 00:32:37,000
The chamber is almost spherical, so whatever sound you're making there seems to ring on for quite some time.

300
00:32:37,000 --> 00:32:40,000
There's notes there, A and E.

301
00:32:40,000 --> 00:32:44,000
There's the frequencies, 110 Hertz and 84 Hertz.

302
00:32:44,000 --> 00:32:49,000
And it's a musical interval, E to A, and now there's the perfect fourth.

303
00:32:49,000 --> 00:32:55,000
Like an amazing grace, bar, bar, bar, so an interval we're all familiar with.

304
00:32:56,000 --> 00:33:05,000
It can also be expressed as a ratio of 4 to 3, and yet more indications that pre-strike people were interested in mathematical ratios.

305
00:33:05,000 --> 00:33:12,000
Because when we look at the floor area of those chambers, they're also proportioned 4 to 3.

306
00:33:12,000 --> 00:33:23,000
And since the resonant frequency is a product of the size of the rooms, it's looking rather as if 4 to 3 was a ratio that the builders cared about.

307
00:33:23,000 --> 00:33:31,000
Particularly when we look at other long boroughs, and see that these have also got two pairs of chambers proportioned 4 to 3.

308
00:33:31,000 --> 00:33:37,000
Why should be 4 to 3? I have no idea, but there is some evidence there.

309
00:33:37,000 --> 00:33:43,000
How could the even understood the relationship between the pitch and ratios 6,000 years ago?

310
00:33:43,000 --> 00:33:49,000
With a hunting bow, holding a piece of stone onto the various places along the string,

311
00:33:49,000 --> 00:33:59,000
the could have made something like the monocord that the ancient Greeks invented about 2000 years later.

312
00:33:59,000 --> 00:34:05,000
Here's a Greek monocord, in this case it's a duo chord, but we're just using one string.

313
00:34:05,000 --> 00:34:10,000
And it can say we've divided the length of the string into 4 and into 3.

314
00:34:10,000 --> 00:34:15,000
And let's see what it sounds like.

315
00:34:16,000 --> 00:34:20,000
Divide the string in half and we get the octave to 1.

316
00:34:24,000 --> 00:34:28,000
Divide it 3 to 2 and we get the perfect fifth.

317
00:34:37,000 --> 00:34:42,000
And divide it 4 to 3 and we get the perfect fourth.

318
00:34:45,000 --> 00:35:01,000
So it would have been very easy for people 5,000 years ago to make the connection between proportion, length and musical pitch.

319
00:35:01,000 --> 00:35:08,000
This is a question that's not have been successfully answered. What were long boroughs used for?

320
00:35:09,000 --> 00:35:16,000
There have been various ideas suggested, initiation rituals, rights of passage, coming of age.

321
00:35:16,000 --> 00:35:20,000
There was the function as tombs as well since bones were found in them.

322
00:35:20,000 --> 00:35:26,000
But there are a lot of evidence that suggests that there was space in there for the living.

323
00:35:26,000 --> 00:35:32,000
There's also the strange question of infrasound which baller has been produced.

324
00:35:32,000 --> 00:35:39,000
Infrasound is sound that's too low to be heard but it can be felt and we're aware of it.

325
00:35:39,000 --> 00:35:45,000
And it can have a strange effect on the human brain. And I believe it can produce altered states.

326
00:35:45,000 --> 00:35:50,000
I spent a lot of time wandering around in this borough in the middle of the night on my own.

327
00:35:50,000 --> 00:35:54,000
And the main impression that you get is that the someone walking behind you.

328
00:35:54,000 --> 00:35:58,000
Infrasound produces the sense that you're not alone.

329
00:35:58,000 --> 00:36:06,000
I think it probably goes back way back to time when early humans were at quite at risk from large animals.

330
00:36:06,000 --> 00:36:11,000
We're not talking one million years BC but the weather seems like all rocks like giant cattle.

331
00:36:11,000 --> 00:36:18,000
And I think if you felt subsonic vibrations through the feet through the ground,

332
00:36:18,000 --> 00:36:23,000
I think you're probably running to tree or something to get out of the way because you'd sense that there was a large animal coming.

333
00:36:23,000 --> 00:36:26,000
It may be something like that that causes it.

334
00:36:26,000 --> 00:36:36,000
But if you're in the borough and moving around, you cause it to resonate and you can be convinced that the someone behind you is very, very unnerving.

335
00:36:36,000 --> 00:36:42,000
The central passage is 10 metres long, are the equivalent in proper measures.

336
00:36:42,000 --> 00:36:47,000
And if we vibrate here.

337
00:36:48,000 --> 00:36:51,000
There's a resonant frequency of 9 Hz.

338
00:36:51,000 --> 00:36:56,000
So that's 9 times a second. The air column is moving up and down in there.

339
00:36:56,000 --> 00:37:00,000
I've simulated it here with something called binoral beats.

340
00:37:00,000 --> 00:37:04,000
So I need that we're listening to stereo speakers either side of the hall.

341
00:37:04,000 --> 00:37:08,000
On one side we've got a low e-note.

342
00:37:08,000 --> 00:37:12,000
On the other side we've got a low e-note that's detuned by 9 Hz.

343
00:37:12,000 --> 00:37:19,000
In between there's a difference tone of 9 Hz and that's what that strange pulsing sound is, which you can probably feel.

344
00:37:19,000 --> 00:37:23,000
I thought could people feel it in this stomach?

345
00:37:23,000 --> 00:37:31,000
So we're going to simulate the effects of being in the barrow.

346
00:37:31,000 --> 00:37:39,000
The reason why I think that these low frequencies are important is down to phenomenon known as brainwave entrainments.

347
00:37:39,000 --> 00:37:45,000
With using flushing lights or sound or direct stimulation of nerves,

348
00:37:45,000 --> 00:37:52,000
the brain can be persuaded to latch on to a frequency, which will produce an altered state.

349
00:37:52,000 --> 00:38:00,000
If the brain waves are at below 10 Hz and you get alpha waves, then you get theta waves.

350
00:38:00,000 --> 00:38:07,000
And these are all states that are associated with deep concentration of meditation.

351
00:38:07,000 --> 00:38:13,000
And it can be produced entirely by sound under the right conditions.

352
00:38:13,000 --> 00:38:18,000
This is one way to fill the barrow in drummers.

353
00:38:37,000 --> 00:38:55,000
That's actually seen that happens regularly in the West County Longbara.

354
00:38:55,000 --> 00:38:58,000
There are often groups of drummers going up there.

355
00:38:58,000 --> 00:38:59,000
They make a sound.

356
00:38:59,000 --> 00:39:05,000
The passage vibrates and everyone feels different.

357
00:39:05,000 --> 00:39:11,000
But if we're talking about initiating young persons who are going into entering into adulthood,

358
00:39:11,000 --> 00:39:15,000
it's not only very practical to fill up the barrow with drummers.

359
00:39:15,000 --> 00:39:18,000
There'd be no room for the initiates.

360
00:39:18,000 --> 00:39:22,000
And there's about a dozen people playing there.

361
00:39:22,000 --> 00:39:31,000
And another way of doing it is to play the drums from outside the barrow.

362
00:39:31,000 --> 00:39:37,000
Nine Hz, that's nine times a second, that the air column is moving up and down inside the barrow.

363
00:39:37,000 --> 00:39:43,000
Or is it nine drum beats a second work?

364
00:39:43,000 --> 00:39:47,000
We can try this one instead.

365
00:39:47,000 --> 00:39:50,000
So I got two brothers, who were relatives.

366
00:39:50,000 --> 00:39:53,000
The eldest was 16 and a quite an unaccomplished drummer.

367
00:39:53,000 --> 00:39:56,000
We gave him a click track of a drum machine.

368
00:39:56,000 --> 00:40:03,000
And he's 14 year old brother, who was exactly the profile we wanted for a young person being initiated into adulthood.

369
00:40:03,000 --> 00:40:07,000
A group to sit in the end chamber in the dark with just a candle.

370
00:40:07,000 --> 00:40:14,000
And see what happened when he's brother played the drums from the barrow's forecoats.

371
00:40:14,000 --> 00:40:21,000
That's the tempo that's nine drum beats per second.

372
00:40:21,000 --> 00:40:26,000
So we put Adam in the forecoat playing a drum that exactly nine beats a second.

373
00:40:26,000 --> 00:40:29,000
And Alex is younger brother, once and for the west chamber.

374
00:40:29,000 --> 00:40:31,000
Notice how the sound changes.

375
00:40:51,000 --> 00:41:10,000
So we did that for about 20 minutes in the dark.

376
00:41:10,000 --> 00:41:15,000
And when we had finished, I went in and asked Alex what had happened.

377
00:41:15,000 --> 00:41:18,000
He said, first I said, oh, nothing.

378
00:41:18,000 --> 00:41:22,000
So I said, I didn't anything happen.

379
00:41:22,000 --> 00:41:27,000
And he said, oh, yeah, well, I was looking at the end stone and there was a black dot appeared on it.

380
00:41:27,000 --> 00:41:28,000
And he got bigger and bigger.

381
00:41:28,000 --> 00:41:30,000
And I could see through into another chamber.

382
00:41:30,000 --> 00:41:32,000
But apart from that, nothing.

383
00:41:35,000 --> 00:41:36,000
So he said, oh, yeah.

384
00:41:36,000 --> 00:41:38,000
And then I closed my eyes.

385
00:41:38,000 --> 00:41:40,000
And you came in and out a few times didn't you.

386
00:41:40,000 --> 00:41:42,000
So I said, no, I didn't come in at all.

387
00:41:42,000 --> 00:41:44,000
I was at the other end playing a drum.

388
00:41:44,000 --> 00:41:46,000
So you said, oh, what somebody did?

389
00:41:46,000 --> 00:41:50,000
So again, it's this idea that you send a presence.

390
00:41:50,000 --> 00:41:55,000
So if you imagine if you're a neolithic child, put in there with the bones of your ancestors,

391
00:41:55,000 --> 00:41:58,000
tell that you're going to meet your ancestors for real.

392
00:41:58,000 --> 00:42:00,000
And you only had to sense.

393
00:42:00,000 --> 00:42:09,000
It could have been a very, very powerful experience, particularly if you've been staffed for a couple of days and given magic much through mushroom, some kind of empty agenda.

394
00:42:09,000 --> 00:42:14,000
So I thought it'd be interesting.

395
00:42:15,000 --> 00:42:18,000
Oh, sorry. I'm jumping ahead of myself.

396
00:42:18,000 --> 00:42:20,000
This is another way of resonating in the barra.

397
00:42:20,000 --> 00:42:22,000
This is the ball-roarer.

398
00:42:22,000 --> 00:42:25,000
The oldest musical instrument now.

399
00:42:25,000 --> 00:42:27,000
The worldy round on a piece of string.

400
00:42:27,000 --> 00:42:37,000
It makes this incredibly low note, which goes from north and Herz of two about a hundred and back down again as the string has a string, spin, tightens and loosens.

401
00:42:38,000 --> 00:42:48,000
The bull-roars have been found all over Europe from before the Ice Age at least 19,000 years ago and probably earlier.

402
00:42:48,000 --> 00:42:58,000
All around the world, always known as the voice of the ancestors, used in the same sort of initiation rituals, usually not always men only.

403
00:42:58,000 --> 00:43:04,000
Sometimes women in this society have told that they mustn't know that the bull-roarer even exists on pain of death.

404
00:43:05,000 --> 00:43:08,000
So I'm afraid I will have to kill everyone.

405
00:43:08,000 --> 00:43:11,000
You often use incoming-of-age ceremonies as well.

406
00:43:11,000 --> 00:43:14,000
There are sometimes used by women but it's quite rare.

407
00:43:14,000 --> 00:43:22,000
I do my bit at reclaiming the bull-roarer for British women by encouraging them to the fave them as often as possible.

408
00:43:22,000 --> 00:43:27,000
There's a wonderful collection of bull-roars here in my favourite museum, Pit River's in Oxford.

409
00:43:27,000 --> 00:43:32,000
There are a couple of cases full of bull-roarers collected from all over the world and you can see the variety.

410
00:43:33,000 --> 00:43:39,000
The generally made-of-word fish shaped, there is some from England from the 1920s.

411
00:43:42,000 --> 00:43:55,000
I've discovered after making experimental models that snapped flint knives from the nearly thick can also be used as bull-roarers.

412
00:43:55,000 --> 00:44:02,000
There's a genuine planoconvex knife and cross-section. You can see it's got an air-foil section.

413
00:44:02,000 --> 00:44:07,000
If you can attach them to a string and roll them round, they sound like bull-roarers.

414
00:44:07,000 --> 00:44:10,000
They may have been used, they're raised a sharp.

415
00:44:10,000 --> 00:44:16,000
I've got this guy as a professional flint and I've got to make me one, which is so sharp I can cut chicken with it.

416
00:44:17,000 --> 00:44:23,000
It works as a bull-roarer. You found a way of fixing the string onto it using nearly thick outer-roll dites.

417
00:44:23,000 --> 00:44:31,000
You tied it with handmade string and then covered the string in beeswax and pine resin.

418
00:44:31,000 --> 00:44:35,000
You whirl it round even though it's razor sharp and it makes a sound.

419
00:44:35,000 --> 00:44:41,000
A very masculine thing to do, I thought, really, we were whirling and razor sharp flint around your head in the confine space.

420
00:44:42,000 --> 00:44:47,000
They do tend to fly off sometimes as well. I was going to demonstrate it here, but I don't fell from safety.

421
00:44:47,000 --> 00:44:57,000
There's one of my new action with a fitted with an LED. You can see that the single rotates on its long axis as it's being spun round.

422
00:44:57,000 --> 00:45:09,000
So at the string, the tite ends up the pitch drops to zero and then goes up against its perfect for resonating a chamber or a passage with a very low frequency.

423
00:45:10,000 --> 00:45:22,000
So I've tried using this, my wife came and I have been to several lots of chambered graves such as New Granging in Ireland.

424
00:45:22,000 --> 00:45:29,000
You're not allowed to do these sort of things, so I usually chat up the person who's in charge and said,

425
00:45:29,000 --> 00:45:35,000
Do you mind if we just quickly try this thing at the end? So I came as inside, now is outside, whirling the bull-roarer.

426
00:45:35,000 --> 00:45:50,000
And interestingly, as soon as I started to whirl it, Kim said that inside all the women suddenly reacted like jumped, like what's that? The men didn't notice.

427
00:45:50,000 --> 00:45:59,000
That doesn't normally happen. So we've done it at New Grange with its famous triple spiral.

428
00:45:59,000 --> 00:46:06,000
We've tried four knocks in Ireland, which is rather a different place. You let yourself in.

429
00:46:06,000 --> 00:46:12,000
You have to give them a little bit of a little bit of a little bit of a key, you can spend as long as you like there, which is perfect.

430
00:46:12,000 --> 00:46:28,000
We've tried overturning all sorts of things. In all of the places that we've tried, you can, the person inside the monument can feel the subsonic frequencies of the bull-roarer which is being world outside.

431
00:46:28,000 --> 00:46:40,000
We've tried it at Bathothi Edigoras on Anglesi, another one where you're going to get the key at the post office and make yourself in.

432
00:46:40,000 --> 00:46:47,000
Same thing happened. You could clearly feel the low vibrations, although they were inaudible.

433
00:46:47,000 --> 00:46:52,000
I'm trying to skip those through a little bit faster.

434
00:46:52,000 --> 00:47:01,000
It may as hell unalk me. Not allowed to take photographs inside, so you'll have to guess what it's like. It's got a very long passage made of dry stone walling.

435
00:47:01,000 --> 00:47:06,000
Similar thing happened. Strange feeling inside. This is an abnormally low frequency.

436
00:47:06,000 --> 00:47:12,000
Friend of mine recorded it as being two hertz, which I don't understand how he managed to record that even.

437
00:47:13,000 --> 00:47:28,000
Last November, we had a trip to Spain and tried the Dolmans of Antichera. There were three wonderful structures. All of them were world-double-roarer outside and you could clearly feel the low frequencies inside.

438
00:47:28,000 --> 00:47:35,000
This one's aligned to this strange rock formation.

439
00:47:36,000 --> 00:47:43,000
So, shall we try recreating the effects of the low frequency vibrations in the hole here?

440
00:47:43,000 --> 00:47:53,000
Let's imagine that you're initiates and you put in the end chamber of the West Can It Long Barrow.

441
00:47:53,000 --> 00:47:57,000
And you're going to be initiated into adulthood.

442
00:47:57,000 --> 00:48:04,000
You can see how the skeletons that were there, the bones were piled into the corners, which stood suggest that they're spacing there for people.

443
00:48:04,000 --> 00:48:14,000
I'd suggest that we've got singers in those four side chambers and the initiates are going in the end chamber.

444
00:48:14,000 --> 00:48:25,000
Somewhere there. Imagine you're satowing me back next to that brownstone. Let's flip it around so that it makes much sense.

445
00:48:25,000 --> 00:48:32,000
There you are. So that's where you're sitting. And you're here very assounds.

446
00:48:32,000 --> 00:48:44,000
So one of them is the ball-roarer, which is being played in the four ports.

447
00:48:44,000 --> 00:48:53,000
Might be a couple of ball-roars out there. That's what's driving the low frequency resonance.

448
00:48:54,000 --> 00:49:07,000
This is the Bernal Rodby's. So that low-strobbing that you hear, that's the nine hairs, which are generated by the placid resonance.

449
00:49:07,000 --> 00:49:13,000
And in the four chambers, I've put some singers doing over-tensing.

450
00:49:13,000 --> 00:49:18,000
I've never ever been to told any of the people who were over-tensing, and I just happened to like you.

451
00:49:19,000 --> 00:49:25,000
This is my model, so I'll do it a lot.

452
00:49:25,000 --> 00:49:32,000
So for you initiates sitting in that back chamber, you're going to hear all those three sounds.

453
00:49:32,000 --> 00:49:38,000
And let's see if anything happens. I should mention that when I first started playing around with these frequencies,

454
00:49:38,000 --> 00:49:44,000
I played this on headphones and the nine hertz, Bernal Rodby's.

455
00:49:44,000 --> 00:49:49,000
I sat on my own on my bed at 9 o'clock in the morning when I was very alert and bright.

456
00:49:49,000 --> 00:49:52,000
After 10 minutes, I was just about to give up because nothing had happened.

457
00:49:52,000 --> 00:49:58,000
I suddenly felt myself whizzing up to the ceiling, literally, and I didn't do it physically.

458
00:49:58,000 --> 00:50:02,000
It was a mental thing, but I really felt like I'd levitate it up to the ceiling.

459
00:50:02,000 --> 00:50:08,000
Terry Fein, of course. So panics and drop back down again, and even bounce from the head of the bed.

460
00:50:08,000 --> 00:50:14,000
So I thought I'd continue and see if it happens again. But five minutes later, the similar thing happened.

461
00:50:14,000 --> 00:50:17,000
But because I was ready for it, it wasn't quite so effective.

462
00:50:17,000 --> 00:50:21,000
So there is a possibility that some of you may feel that you're levitating.

463
00:50:21,000 --> 00:50:27,000
I hope so. And if you do, please tell me afterwards.

464
00:50:27,000 --> 00:50:37,000
So we're in that end chamber. We're looking out, but there's a slight problem because of course the dispara's been decommissioned.

465
00:50:37,000 --> 00:50:43,000
So today, stone number 45, that huge thing that weighs about 80 tons is in the way.

466
00:50:43,000 --> 00:50:49,000
So that's the view from the end chamber. So let's get rid of that end stone.

467
00:50:49,000 --> 00:50:54,000
Probably look more like that. And really, we need to be doing this so many at night.

468
00:50:54,000 --> 00:51:02,000
So we'll let just wait for 8 hours until it gets dark and don't worry, you'll get your dinner later.

469
00:51:02,000 --> 00:51:11,000
And for the people who are living the bullrores in the entrance, probably good to have a little fire going.

470
00:51:11,000 --> 00:51:17,000
So then we've got a fire. So let's try it for five minutes or so.

471
00:51:17,000 --> 00:51:20,000
Imagine that you're sitting with you back to that cold stone wall.

472
00:51:20,000 --> 00:51:23,000
Some of the skeletons, by the way, were found in the barrow.

473
00:51:23,000 --> 00:51:31,000
It was tied up into sitting positions. So you were literally sitting there with your ancestors.

474
00:51:31,000 --> 00:51:34,000
And let's see if anything happens.

475
00:52:01,000 --> 00:52:06,000
So we're going to have to go to the end chamber.

476
00:52:06,000 --> 00:52:11,000
So we're going to have to go to the end chamber.

477
00:52:11,000 --> 00:52:16,000
So we're going to have to go to the end chamber.

478
00:52:16,000 --> 00:52:21,000
So we're going to have to go to the end chamber.

479
00:52:21,000 --> 00:52:26,000
So we're going to have to go to the end chamber.

480
00:52:26,000 --> 00:52:31,000
So we're going to have to go to the end chamber.

481
00:52:31,000 --> 00:52:36,000
So we're going to have to go to the end chamber.

482
00:52:36,000 --> 00:52:41,000
So we're going to have to go to the end chamber.

483
00:52:41,000 --> 00:52:46,000
So we're going to have to go to the end chamber.

484
00:52:46,000 --> 00:52:51,000
So we're going to have to go to the end chamber.

485
00:52:51,000 --> 00:52:58,000
So we're going to have to go to the end chamber.

486
00:52:58,000 --> 00:53:03,000
So we're going to have to go to the end chamber.

487
00:53:03,000 --> 00:53:06,000
So we're going to have to go to the end chamber.

488
00:53:06,000 --> 00:53:09,000
So we're going to have to go to the end chamber.

489
00:53:09,000 --> 00:53:12,000
So we're going to have to go to the end chamber.

490
00:53:12,000 --> 00:53:15,000
So we're going to have to go to the end chamber.

491
00:53:15,000 --> 00:53:18,000
So we're going to have to go to the end chamber.

492
00:53:19,000 --> 00:53:24,000
So we're going to have to go to the end chamber.

493
00:53:24,000 --> 00:53:28,000
So we're going to have to go to the end chamber.

494
00:53:28,000 --> 00:53:33,000
So we're going to have to go to the end chamber.

495
00:53:33,000 --> 00:53:36,000
So we're going to have to go to the end chamber.

496
00:53:36,000 --> 00:53:39,000
So we're going to have to go to the end chamber.

497
00:53:39,000 --> 00:53:42,000
So we're going to have to go to the end chamber.

498
00:53:42,000 --> 00:53:45,000
So we're going to have to go to the end chamber.

499
00:53:46,000 --> 00:53:49,000
So we're going to have to go to the end chamber.

500
00:53:49,000 --> 00:53:53,000
So we're going to have to go to the end chamber.

501
00:53:53,000 --> 00:53:57,000
So we're going to have to go to the end chamber.

502
00:53:57,000 --> 00:54:00,000
So we're going to have to go to the end chamber.

503
00:54:00,000 --> 00:54:03,000
So we're going to have to go to the end chamber.

504
00:54:03,000 --> 00:54:06,000
So we're going to have to go to the end chamber.

505
00:54:06,000 --> 00:54:09,000
So we're going to have to go to the end chamber.

506
00:54:09,000 --> 00:54:12,000
So we're going to have to go to the end chamber.

507
00:54:13,000 --> 00:54:16,000
So we're going to have to go to the end chamber.

508
00:54:16,000 --> 00:54:19,000
So we're going to have to go to the end chamber.

509
00:54:19,000 --> 00:54:22,000
So we're going to have to go to the end chamber.

510
00:54:22,000 --> 00:54:24,000
So we're going to have to go to the end chamber.

511
00:54:24,000 --> 00:54:27,000
So we're going to have to go to the end chamber.

512
00:54:27,000 --> 00:54:30,000
So we're going to have to go to the end chamber.

513
00:54:30,000 --> 00:54:33,000
So we're going to have to go to the end chamber.

514
00:54:33,000 --> 00:54:35,000
So we're going to have to go to the end chamber.

515
00:54:35,000 --> 00:54:38,000
So we're going to have to go to the end chamber.

516
00:54:38,000 --> 00:54:41,000
So we're going to have to go to the end chamber.

517
00:54:41,000 --> 00:54:44,000
So we're going to have to go to the end chamber.

518
00:54:44,000 --> 00:54:47,000
So we're going to have to go to the end chamber.

519
00:54:47,000 --> 00:54:50,000
So we're going to have to go to the end chamber.

520
00:54:50,000 --> 00:54:53,000
So we're going to have to go to the end chamber.

521
00:54:53,000 --> 00:54:56,000
So we're going to have to go to the end chamber.

522
00:54:56,000 --> 00:54:59,000
So we're going to have to go to the end chamber.

523
00:54:59,000 --> 00:55:02,000
So we're going to have to go to the end chamber.

524
00:55:02,000 --> 00:55:04,000
So we're going to have to go to the end chamber.

525
00:55:04,000 --> 00:55:07,000
So we're going to have to go to the end chamber.

526
00:55:08,000 --> 00:55:17,000
Hopefully, I got to some idea what the nearly thick experience was like.

527
00:55:17,000 --> 00:55:19,000
That's the end of my talk.

528
00:55:19,000 --> 00:55:21,000
But I'll leave you with this one thought.

529
00:55:21,000 --> 00:55:24,000
The separation of the senses is a modern concept.

530
00:55:24,000 --> 00:55:26,000
So we're going to have to go to the end chamber.

531
00:55:26,000 --> 00:55:28,000
So we're going to have to go to the end chamber.

532
00:55:28,000 --> 00:55:30,000
So we're going to have to go to the end chamber.

533
00:55:30,000 --> 00:55:31,000
So we're going to have to go to the end chamber.

534
00:55:31,000 --> 00:55:33,000
So we're going to have to go to the end chamber.

535
00:55:33,000 --> 00:55:34,000
So we're going to have to go to the end chamber.

536
00:55:35,000 --> 00:55:38,000
The separation of the senses is a modern concept.

537
00:55:38,000 --> 00:55:40,000
First and outed by Plato in 400 BC.

538
00:55:40,000 --> 00:55:43,000
Before then, and for most of human history, there was just sense.

539
00:55:46,000 --> 00:55:50,000
There's more about these sound experiments in my book, Exploring Avery,

540
00:55:50,000 --> 00:55:52,000
which is available outside.

541
00:55:52,000 --> 00:55:54,000
And there will be, with Maria Weitley,

542
00:55:54,000 --> 00:55:58,000
we'll be touring Avery on Tuesday if anyone would like to come along with us.

543
00:55:58,000 --> 00:56:00,000
Thank you very much for listening.

544
00:56:00,000 --> 00:56:02,000
Thank you.

545
00:56:30,000 --> 00:56:32,000
Thank you.