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Thank you for a lovely very welcome.

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I'm sitting on the audience last year and it's nice to be up here today.

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I'm probably more known for podcasting and that's how I know you as well.

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I've grown a little YouTube employer for interviewing people and histories and mysteries.

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It's what I'm passionate about.

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But I have been solving a way of acoustics and astronomy of magnetic cultures for quite a long time now.

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I'm going to talk today about the Megalithic acoustic mystery, a quest to understand altered states of ancient temples.

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And it really has become a quest for me.

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A little bit about me as you said, I'm an author and engineer in systems analyst.

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I'm actually pretty lucky with my engineering career.

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I've spent about 14 years in Britain working as an engineer,

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traversing pretty much the whole of the British oils.

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And in doing so, I worked as a renewable energy consultant,

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systems analyst on the electronic systems for power stations, wind farms, water treatments.

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And there were always in very remote areas.

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My lived in Panzan, some cornwall, the brec and veacans and whales in the Yorkies and in the shepherds, the other heavies.

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And a locker as well.

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And all those districts that I'd always worked in, I'd always checked out the magnetic sites.

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And incredibly privileged to have traversed Britain, I'm an art and for that matter.

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I actually grew up in Newgrange about 10 months from Newgrange.

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And I know I live in North and Ireland, but that was my first passion with Megalith's Newgrange.

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And my first book, The Newgrange, series Mystery, you'll hear about tomorrow.

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Saying all that, I wasn't told I was in my late 20s that I actually academically looked at Megalith's.

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I guess I found the allure and the mystery of Megalith's quite passionate values in my own 20s.

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And like I said, I was privileged to be in all those domains with the Megalith's where.

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I got to provide myself with a database without even knowing it from my future career, which is what I'm doing now.

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I don't like to talk about myself too much, but it is pertinent to what I'm going to talk about today, because I actually had a certain dip at his event, which you'll hear about tomorrow.

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And I'll say for tomorrow, but I've had some rock art with some astronomy on it, which I had the pleasure of showing you last week and Ireland.

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And I'm really kind of pulled at me into what I'm doing now, because I realized as a systems analyst that the job wasn't being done.

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And if I see something wrong, I fix it. That's where I do when I'm an engineer. And I found constellation and rock art in the north of Ireland.

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And it wasn't even in the record. And that was in 2007.

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And that's why I ended up writing the book to the Duke and serious mystery.

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Setting that aside, I did realize I also had a skill set to look at the problem in a different way, because we're looking at a very fragmented culture.

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They left us an incredible host of monuments from Stann Circle's, Dalman's, Passage Tun's.

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Passage Tun's were going to give into a lot later, and it's what I primarily focus on for a reason, because they're incredibly interesting.

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They have a lot of art in the ones in Ireland anyway. And they have a lot of elements. There's a lot of stuff that you can figure out.

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I think there's a lot of stuff that is very difficult to figure out. My start with the easiest method.

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I looked at it from a very, I guess, holistic, a wider view is completely of all the monuments.

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There's a lot of slower to do that. And I review people who spend time at one individual side and provide a massive body of work and individual sides.

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That's not me. I look at things in a different way. I look at things as they're, I want all the data, I want to see what's comparative, and I want to say why that is and why it's not comparative.

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I have different regions, particularly the northwest of Ireland is very interesting. We have specific monuments there that don't occur anywhere in the rest of the megalithic Europe.

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I'm going to talk about tomorrow.

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Megalithic and acoustics. I actually didn't even want to write this book. This is going to hopefully, it's actually been released this month with extra information.

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I've actually didn't even want to write this book, but I found myself traversing Ireland, writing an astronomy book and researching it.

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I realized, I remember reading about Paul DeVero and Stone Age Sound, tracks which is wonderful book. If you haven't read it, it's a great starting point.

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Inside the neolithic moindly David Lewis Williams as well.

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There's a way of this body of work and knowledge of acoustics and powder that I think wasn't entirely sure whether I believed it or not.

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I wasn't entirely sure if you could figure it out, but I was aware of the knowledge anyway.

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I thought I would do acoustics testing as a little system that I'm listening my thing alongside the astronomy research.

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It's a pretty good thing. I thought I was interesting. I didn't want to traverse Ireland and Britain three years later and do the whole thing again.

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So I doubled up on the research, basically.

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This is the body of knowledge as I found myself getting into. Human consciousness, belief systems, imagery and symbolism,

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and self-ful complexity of megalithic peoples, right-brain cultures, geometry and design of monuments, rhythm and sound, frequency and resonance.

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I look at you mention I have a background physics, I have an academic degree in physics, and I did that to get out of engineering because I wanted to have a change of career.

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I actually sat down to design my own future on pen and paper, I couldn't actually do it better than it actually happened.

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But nonetheless, all my research and engineering careers, all kind of pertinent to what I'm going to talk about today on tomorrow.

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And I just find I'm very privileged to have a skill set that I can actually make some sense of some stuff.

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Architectural acoustics is an extremely wide research field.

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It could be applied to archaeological sites or archaeological artifacts.

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The entire research encompasses acoustics, architectural design and geometry, archaeology, ethyl musicology, prehistory, ancient civilizations, and megalithic minds.

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You can see this little bone field here, probably one of the... I've never seen it in a 41,000 years old, but this was 35,000 from Germany.

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And there's actually an audio clip you can find online if you want to play and hear it at a list in Stobar.

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Our love affair with music goes back a very, very long time.

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There's another one I've actually seen in the Vienna Museum as well.

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But I just think it's amazing that we have artifacts going back that long, the musical scales I really do.

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And it backends that we've kind of lost something in our past.

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And I just love the subject of archaeological acoustics because we can apply the physics to figure out things.

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At sites or artifacts, see every right or in a right way of thinking.

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And it's a very, very powerful field.

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The physics is actually not that very hard to understand some of the acoustics.

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It's actually school by physics. It's not even a very advanced line, but there's some basic signs to get through.

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Astral acoustic cultures is a better label.

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Everywhere you look, ancient Egypt, the Great Permanice and the acoustic machines as well as an astronomical.

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The calculator, Mesoamerica, right across Chitsen, the Great Ball chord, Permanica, Cookbookhan, Ushmal, Palenke.

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There are all astronomical masterpieces as well as acoustic machines as well.

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Ancient period, Cuscorn, Marais, Chavand, the Hwantar, long-served many examples of archaeological astronomy and acoustics encountered into the monuments.

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Neolithic and megalithic which I'm going to concentrate a little bit on today.

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The culture and the structures are inherently focused on acoustic side-by-side, which are astronomical monuments.

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Particularly the chambers. Astronomy on the, uh, megalithic chambers is astronomy on the outside and acoustics on the inside,

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where the sun dagger would penetrate some of these chambers and all.

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I just found it amazing that we have so many cultures around the globe, and that's not going to do a little global perspective.

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That's why I started off in the book that I did a first section on it, it logo perspective on all review of the Astral acoustic culture.

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Right Perman, there's the Equinox alignment. You can see this rare photograph here,

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but the shadow lines, the only occur on the Equinox.

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It's also an acoustic chamber inside, again example of the age of being in an astral acoustic culture.

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The Kings Chamber there, these are known as the relieving chambers.

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You can see that there are flat and one side and roughly human on the other.

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Now, like resonating chambers, there's actually a major misnomer to name relieving chambers.

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It's actually probably more of a nightmare to put that chamber in its location, where it's situated,

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one third-up the gray Perman because it's actually putting stress into the structure.

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As an engineer, it would be a logistical nightmare to do that.

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So there's no relieving of stress, it's actually putting more stress into the buzzer,

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but so the Egyptologists have called it a relieving chamber.

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The kind of dreams are rough, human on one side.

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That's for an acoustic reasoning. It's the only one that explains it.

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That's what makes the carbonate is resonating.

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It's extremely difficult to do it through insert those beams in place, extremely heavy,

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through all side by side, and then you have to stack them and layer them and leave a pocket of space in between as well.

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It acts like a joy to acoustic machine.

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Same with Chitunica.

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Here we have in Yucatan, that's the L-Carracol Observatory.

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That's the Permanica Cucan there.

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Again, we have yours truly on the economics last year.

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That's what the economics looks like.

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Again, shadow lines on the economics, including your stonomy into the Permanent.

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And it also echoes like the Questle Board.

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It's known for its vibrant ploying, the resplendent.

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Questle was revered by the Maya and associated with the feathered serpent,

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the d-d-cucal-cant, to whom the namesake temple is dedicated.

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Acoustic studies have revealed,

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Comparing seminars from the Permanids chirping echo,

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and the call of the sacred board.

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As you stand at the base of that Permanent,

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and you clap your hands, you'll hear the sound of that board coming back down the steps.

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And it's an acoustic marble that either mimics the bird or the intentionally put it in it,

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or personally I think that they did the astronomy first.

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And they've manipulated the steps of that Permanent.

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And you'll see that there's a deliberate manipulation of structures.

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Whether they build out very 5,000 permits,

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so they've a lot of time to manipulate these later structures and permits

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to get these acoustic enhancements right.

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But again, it's a great example of a Permanent with acoustic and economics.

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The great ball court, being there last step, Tamar,

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it's absolutely amazing.

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Conversations from being heard from one end to another at a specific location.

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And I'll just show you where they are.

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This is an overview here.

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If you stand at that location there, and you stand at that location there,

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you can hear clearly conversations from one end to the other

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if you're just a whisper to the other person.

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And it's an incredible, incredible achievement.

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Considering how you have to sense that you're in the open ear,

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you can see that there's quite tall walls here.

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Basically what happens is it holds in standing waves there.

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And these perimeter walls then reflect the sounds back in again.

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It's incredibly complex sound map to explain all that.

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And there you can, there's an aerial photograph there.

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But again, it's superb acoustics.

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There's the measurements there.

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It's actually 5,000 or 40 feet long.

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You can barely see the person at the other end,

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but you can hear them clearly.

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Each end has a raised temple area and a whisper coming here.

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Some 500 feet away from where both people stand.

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Actually this guy here, Leo Pauld, Sto Kowski,

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and 31, 1931, he's been four days on the side.

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Trying to determine acoustic principles that could be applied to an open ear

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concert theater that he was designed.

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That's how superb acoustics are.

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And if anybody been to Mexico here,

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wow, okay.

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You probably guys, it's quite popular on the tours now.

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Actually, the door video clip and I couldn't have five minutes piece

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without so many clap or no hands to get the picture.

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Bring that go on and stuff there.

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But it's quite popular for people to be shown this on the tours now.

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Again, the Castillo Palenque, you stand there to put a detemble

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and show the echo comes back to the person's shriek.

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Or a person standing at the top step can speak into a normal voice

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and be heard that was a ground over for some distance.

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It's quality is also shared with an order main criminal at the Cal.

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It's actually all to do with the steps of the pyramid

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and how waves traverse down those steps.

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Think about the epidorus theater,

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these green amputeeers.

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They work in the same way.

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The sound will travel directly in the straight line.

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And we'll also go down the steps.

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And as they both meet and reflect,

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it comes back as an amplified sound.

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You're basically getting two sound waves

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joining together and amplified.

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Again, was that intentional?

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I wasn't not.

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It's the question in that I'm trying to answer.

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But they may have been aware of it under first structure

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and then second structure they may have tried to enhance that.

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Temple of the Magician Oshmoud Pyramid Yuketan.

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This is absolutely amazing this pyramid.

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Again, that's got the same chirping bird echo.

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And it looks like a totally different design as well.

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The person stands at the basic pyramid.

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It gets the same chirping echo coming back at the...

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zero point.

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Here we go to Peru and Marei.

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There's a truly looking like inspector gadget there with the heat.

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But I'm actually sitting at that location just about there on one of those steps.

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And when you stand at the root of that crater,

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you can hear conversations being heard.

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And again, there is another ball in there.

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If you stand inside that ball, you can hear conversations being heard inside that ball too.

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It's absolutely amazing and acoustic wonder.

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Did they design it that way?

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People think that these were made from microclimates.

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There's actually so much going on at this place as a real.

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But they may have had it around microclimate

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a ring of steps, perhaps different seasons for different vegetables and crops they were growing.

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And Shadhan, the one there in Peru as well.

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This is actually a trumpet made from a seashore.

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And these stone chambers are actually reminiscent of some of the stuff we have in Europe.

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It's actually no underground, sit it out.

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There we have it with the trumpets and stars.

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Archaeologists on here are 20 of these.

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I'll try to pronounce the Asian, but the marine shell, trumpets in 2001.

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They actually were polished painted and etched with symbols and shells that had formed

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mouthpieces with distinct v-shaped cuts.

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And if the shells played inside the stone chamber, they were found that the drone would have

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sound like it was coming from several different directions at once.

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And as you'll see with the hypo genes in Sardinia and Malta later,

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that's just exactly the same feeling that you got.

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It sounds coming up from all directions simultaneously.

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Cori cancion, because this place is absolutely beautiful.

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The mausenary there is incredible.

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These three little stone drill holes on the left are a catcher.

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A catcher would probably actually tell me and explain that these actually used to ring like pine pipes

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when the winds blow in the wind this season.

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They would howl through these holes and it would activate the Cori cancion inside.

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And basically it would be like pine pipes playing.

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It would actually have different lens those holes as well.

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Give me three different notes and we'll have played like a musical instrument.

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If you speak into one of these, you can hear the sound being heard in Sardinia.

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There's just acoustics everywhere in Peru.

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All different sides, different varieties, different reasons.

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Again, riddled with astronomy on acoustics.

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Coming to me, let's sound hand acoustics.

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This is up my research.

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This is Dr. Rupert Till and Dr. David Keaton on his camera and Watson.

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Both independent investigations of me, don't a sound hinge.

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Showing you the superb acoustic amplifier auditorium hypothesis.

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It's really interesting to results.

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They use this thing here which is a non-need directional speaker.

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It sounds, or tones, or pulses and all directions simultaneously.

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And then they put out a lot of different microphones, different primitives and different radios.

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It's a check for measurements.

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He's a university of Hutterfield, he's a musicologist of there.

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Both of them come up pretty much with the same results.

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I think what's interesting is, this guy on the left, Dr. Rupert Till.

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He made an effort to go over to the USA.

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This little impostor on the right is a replica of the real sound hinge.

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As you can see, it's made out of concrete.

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But it's in Washington State.

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And no matter of concrete, it does serve for acoustic testing of the monument as it's a complete structure.

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I'm not entirely sure they have the internal layout exactly right,

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because I don't think it's exactly known, but nonetheless,

245
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there was also a very interesting, and that's it in a physics sense.

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This basically on the left is called linear interference,

247
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and this on the right is non-linear interference.

248
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Basically, you'll see two poses when they come together.

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They add and they amplify to a big pose and going and peeking at the trough.

250
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They will come in and translate it around to zero.

251
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It's just exactly the same on the other side.

252
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It only difference is it's going in all directions.

253
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And you'll have like circular, consenctic rings of sound waves,

254
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coalescing with each other.

255
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And we call that constructive and destructive interference.

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Effectively, these two doctors of acoustics basically have proved

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that there's a perimeter around stone-hands that you can walk up,

258
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that you'll hear a period of audio amplification

259
00:18:43,000 --> 00:18:46,000
and then you'll hear a period of almost silence.

260
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Coustics stunning waves and altars states of consciousness.

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Understanding some of the basics will understand the art

262
00:18:58,000 --> 00:19:00,000
and design of passage tombs.

263
00:19:00,000 --> 00:19:05,000
Often to this point, it's hard to say whether the intentional design

264
00:19:05,000 --> 00:19:08,000
of the acoustics that I've just explained to you.

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Archaeo acoustics can show you an understanding of the monuments

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in the acoustical sense, but it doesn't show you the intention.

267
00:19:15,000 --> 00:19:18,000
Personally, I think that there are passages to the Europe,

268
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predominantly Ireland and Scotland,

269
00:19:22,000 --> 00:19:25,000
and some of the long bars for that matter are intentionally designed

270
00:19:25,000 --> 00:19:26,000
in the acoustic ways.

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There's a lot of reasoning for that which I'm going to get into.

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This is my main body of research in the book,

273
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where the way the medical acoustic mystery.

274
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Actually, in 2006, I read Hancock's book,

275
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Rain Hancock's book on supernatural.

276
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And in it, he had a list in the chart of in Topdick for Norman.

277
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It shapes and symbols and imagery that you see

278
00:19:46,000 --> 00:19:48,000
when you're going to know all the states of consciousness.

279
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That's what the acoustics or in the origins

280
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doesn't matter.

281
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You'll see the same in Topdick imagery.

282
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And when I've seen the list in the chart for in Topdick energy,

283
00:19:58,000 --> 00:20:00,000
which you'll see in the moment,

284
00:20:00,000 --> 00:20:03,000
it's let me know the root of, I just seen rock art.

285
00:20:03,000 --> 00:20:05,000
That was prevalent in that new-grain genose,

286
00:20:05,000 --> 00:20:07,000
another place in Ireland.

287
00:20:07,000 --> 00:20:09,000
And that's what led me down the research.

288
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I knew there was something bigger to it on a research,

289
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wasn't actually done.

290
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But let's move to standing waves for a moment.

291
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This is important to understand.

292
00:20:17,000 --> 00:20:20,000
You can ignore the complex formulas on the right there

293
00:20:20,000 --> 00:20:22,000
just to show you harmonics.

294
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But basically a note inside two fixed walls

295
00:20:25,000 --> 00:20:28,000
with a giant trans-chanting, drumming,

296
00:20:28,000 --> 00:20:30,000
a string and a guitar with two fixed lengths

297
00:20:30,000 --> 00:20:32,000
that's a standing note or standing wave.

298
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It's got two fixed constraint ends.

299
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And as it does, you can put harmonics,

300
00:20:37,000 --> 00:20:40,000
and that's what you see the formula for the harmonics.

301
00:20:40,000 --> 00:20:43,000
But basically standing waves is when a sound note

302
00:20:43,000 --> 00:20:45,000
is trapped within the structure.

303
00:20:45,000 --> 00:20:49,000
It's highly relevant to Pasha's tombs and chambered mounds.

304
00:20:49,000 --> 00:20:52,000
Standing waves set up inside Pasha tombs.

305
00:20:52,000 --> 00:20:54,000
They're not only amplified, but they make it appear

306
00:20:54,000 --> 00:20:57,000
as it is sound comes from everywhere at once.

307
00:20:57,000 --> 00:21:00,000
It's just like I explained with the drum from the trumpets

308
00:21:00,000 --> 00:21:03,000
in Mexico, our proubson.

309
00:21:03,000 --> 00:21:06,000
The helm holds resonator, in fact.

310
00:21:06,000 --> 00:21:08,000
This is really interesting.

311
00:21:08,000 --> 00:21:11,000
Again, we have a little complicated formula here

312
00:21:11,000 --> 00:21:13,000
for helm-host resonator.

313
00:21:14,000 --> 00:21:16,000
You're probably already familiar with the helm-host resonator.

314
00:21:16,000 --> 00:21:19,000
If you had a wine bottle and you blew into the top of a wine bottle,

315
00:21:19,000 --> 00:21:21,000
you'll hear a frequency or a note.

316
00:21:21,000 --> 00:21:25,000
So basically you have a narrow neck into a big chamber.

317
00:21:25,000 --> 00:21:29,000
Picture that as a bottle or a flask or whatever comes there.

318
00:21:29,000 --> 00:21:33,000
What changes the note of that helm-host resonator

319
00:21:33,000 --> 00:21:35,000
or a bottle or chamber?

320
00:21:35,000 --> 00:21:38,000
Basically is the length of the neck, the area of the neck.

321
00:21:38,000 --> 00:21:41,000
Another important, this, where the area here,

322
00:21:41,000 --> 00:21:43,000
is the volume or the inside of that chamber,

323
00:21:43,000 --> 00:21:45,000
whether that's a wine bottle or a passage to him.

324
00:21:45,000 --> 00:21:48,000
But essentially, essentially, this is no different to a passage to him.

325
00:21:48,000 --> 00:21:51,000
Pasha tombs are natural helm-host resonators.

326
00:21:51,000 --> 00:21:56,000
The question is, the intention or even more so

327
00:21:56,000 --> 00:22:00,000
demenipulation of the design to enhance the effect of a helm-host resonator.

328
00:22:00,000 --> 00:22:03,000
I'm going to show you an example in a moment.

329
00:22:03,000 --> 00:22:08,000
The sheer quantity of chambers melt in Europe

330
00:22:08,000 --> 00:22:10,000
and the production and design,

331
00:22:10,000 --> 00:22:14,000
turning towards long, extremely bottled neck chambers.

332
00:22:14,000 --> 00:22:18,000
Most people just see the Pasha tombs of Europe.

333
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I think it would probably be about 600, by the way, across Europe.

334
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I really know that because there's like 127 or 54 in Holland

335
00:22:26,000 --> 00:22:29,000
and I can adopt the regions and sort of so many regions.

336
00:22:29,000 --> 00:22:32,000
It's a rough number. I didn't actually count them all.

337
00:22:32,000 --> 00:22:35,000
But the Pasha tombs of Europe, they,

338
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there's so many of them. They all have the same on the outside.

339
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They look like a mound of earth and a dome-shaped mound.

340
00:22:39,000 --> 00:22:43,000
But inside there's lots of different geometries and designs.

341
00:22:43,000 --> 00:22:47,000
This one in Kelty, Literum and Ireland, by the way, she's big-car.

342
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You can see extremely long neck on the passageway.

343
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And then the chamber.

344
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These recesses are common as well.

345
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Sometimes you just have the one chamber.

346
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You have three recesses like a cruciform shape.

347
00:22:59,000 --> 00:23:03,000
And sometimes you don't have so long a chamber.

348
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Sometimes we have half of that length.

349
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But sometimes we have five recesses as well.

350
00:23:09,000 --> 00:23:13,000
This seems to be some sort of a generic plan.

351
00:23:13,000 --> 00:23:15,000
Three or four different generic plans to follow.

352
00:23:15,000 --> 00:23:21,000
This is the end-topic phenomenon.

353
00:23:21,000 --> 00:23:23,000
Art work that you see on an autostate of consciousness.

354
00:23:23,000 --> 00:23:25,000
There's so many different symbols.

355
00:23:25,000 --> 00:23:27,000
There actually that's a very short list that I drummed up

356
00:23:27,000 --> 00:23:29,000
for the purpose.

357
00:23:29,000 --> 00:23:31,000
These are different examples of sand rock art

358
00:23:31,000 --> 00:23:35,000
and castle, the Paleolithic rock art, and topic phenomena

359
00:23:35,000 --> 00:23:37,000
from a scientific consciousness test.

360
00:23:37,000 --> 00:23:41,000
But basically, these are the shapes and symbols that you see

361
00:23:41,000 --> 00:23:43,000
going into an autostate of consciousness,

362
00:23:43,000 --> 00:23:45,000
whether that's acoustics or an theogeons.

363
00:23:45,000 --> 00:23:49,000
And used autostate of consciousness, they produce the

364
00:23:49,000 --> 00:23:51,000
in top of the imagery.

365
00:23:51,000 --> 00:23:53,000
Ecosics and theogeons are both combined.

366
00:23:53,000 --> 00:23:55,000
Or the both combined produce autostate of consciousness.

367
00:23:55,000 --> 00:23:59,000
Megolithic chambers in Ireland, both huge quantities of A, S, C,

368
00:23:59,000 --> 00:24:00,000
and topic artwork.

369
00:24:00,000 --> 00:24:01,000
And that's the key.

370
00:24:01,000 --> 00:24:03,000
Because that's telling us that these guys were aware

371
00:24:03,000 --> 00:24:07,000
of the eocusics of these monuments.

372
00:24:07,000 --> 00:24:09,000
They may have took solosences as well.

373
00:24:09,000 --> 00:24:11,000
That does evidence for that.

374
00:24:11,000 --> 00:24:15,000
But two types of artwork, prevalent, astronomical artwork

375
00:24:15,000 --> 00:24:19,000
and autostate of consciousness, induced and topic imagery.

376
00:24:19,000 --> 00:24:22,000
They're not necessarily distinct from one owner

377
00:24:22,000 --> 00:24:24,000
those two types of artwork.

378
00:24:24,000 --> 00:24:26,000
Sometimes the artwork is a combined, we see a mixture of

379
00:24:26,000 --> 00:24:28,000
consciousness, rock art, if you want to call it that.

380
00:24:28,000 --> 00:24:31,000
Or astronomical rock art.

381
00:24:31,000 --> 00:24:34,000
They may have used spirals in order and topic imagery for

382
00:24:34,000 --> 00:24:38,000
their symbolism to represent their complex set of ideas.

383
00:24:38,000 --> 00:24:41,000
And I'm open to spirals being geospiroes like a

384
00:24:41,000 --> 00:24:43,000
non-Maria she reserted for,

385
00:24:43,000 --> 00:24:44,000
at the dining.

386
00:24:44,000 --> 00:24:48,000
They probably have many use for these symbols.

387
00:24:48,000 --> 00:24:53,000
It's moving onto chambered mountains and acoustics.

388
00:24:53,000 --> 00:24:58,000
Passage tombs, tomoli, long barrels.

389
00:24:58,000 --> 00:25:01,000
I don't like these names, by the way.

390
00:25:01,000 --> 00:25:07,000
They're incredibly, I don't know, mind-norming names to

391
00:25:07,000 --> 00:25:09,000
explain something that's probably like a stony

392
00:25:09,000 --> 00:25:11,000
universe is what I like to call them.

393
00:25:11,000 --> 00:25:13,000
They're incredibly complex structures.

394
00:25:13,000 --> 00:25:15,000
This is actually no great man of noston.

395
00:25:15,000 --> 00:25:17,000
It's got 18 satellite tombs around it.

396
00:25:17,000 --> 00:25:20,000
It's probably a lunar temple mapping the cittlest night

397
00:25:20,000 --> 00:25:21,000
lunar month.

398
00:25:21,000 --> 00:25:25,000
I know a lot tomorrow, but it's an incredibly long

399
00:25:25,000 --> 00:25:27,000
chambers as well, giving you a home host resonance.

400
00:25:27,000 --> 00:25:31,000
And the longest passageway under two passageways in the eastern

401
00:25:31,000 --> 00:25:33,000
west is incredibly complex.

402
00:25:33,000 --> 00:25:35,000
They say new grains and the boy values the most complex

403
00:25:35,000 --> 00:25:38,000
megallitic site in the world and composing some 40

404
00:25:38,000 --> 00:25:41,000
passage tombs just within three miles of each other

405
00:25:41,000 --> 00:25:44,000
in astro and acoustics.

406
00:25:44,000 --> 00:25:47,000
Those passage tombs, you can see there.

407
00:25:47,000 --> 00:25:49,000
They've built a ledge to protect the kerbs'

408
00:25:49,000 --> 00:25:50,000
stones.

409
00:25:50,000 --> 00:25:52,000
It's actually falling over and they've removed them, but there's

410
00:25:52,000 --> 00:25:53,000
127 in total.

411
00:25:53,000 --> 00:26:02,000
The topic imagery, kerbs' stones, this K42 and K45.

412
00:26:02,000 --> 00:26:05,000
These are on the list of in topic imagery.

413
00:26:05,000 --> 00:26:08,000
That's what we call floating circles.

414
00:26:08,000 --> 00:26:13,000
This one is a spiral with two bars left and right of it as you

415
00:26:13,000 --> 00:26:14,000
can see.

416
00:26:14,000 --> 00:26:17,000
Once it's got more bar, it's like concentric rings around a bar.

417
00:26:17,000 --> 00:26:21,000
It's a very specific image and an in topic image.

418
00:26:21,000 --> 00:26:23,000
I've got to show you as many cases as they can.

419
00:26:23,000 --> 00:26:27,000
I have time to any of it in topic images.

420
00:26:27,000 --> 00:26:29,000
K78, K17.

421
00:26:29,000 --> 00:26:32,000
Again, this long squiggly line here.

422
00:26:32,000 --> 00:26:35,000
This like a serpentine squiggle, that's an in topic imagery.

423
00:26:35,000 --> 00:26:37,000
So I was the band of circles as well and

424
00:26:37,000 --> 00:26:40,000
combining the two together as a double in topic image on the left.

425
00:26:40,000 --> 00:26:43,000
Spirals with inside.

426
00:26:43,000 --> 00:26:46,000
Because you don't normally just see one in topic image.

427
00:26:46,000 --> 00:26:48,000
You see them all in a matrix.

428
00:26:48,000 --> 00:26:51,000
When you're in an author-stated conscious, which I've actually experimented

429
00:26:51,000 --> 00:26:52,000
by the way.

430
00:26:52,000 --> 00:26:54,000
I can speak with experience.

431
00:26:54,000 --> 00:26:55,000
So that's what you're looking at.

432
00:26:55,000 --> 00:26:58,000
You're looking at groups of in topic images.

433
00:26:58,000 --> 00:27:00,000
Layered on top of each other.

434
00:27:00,000 --> 00:27:03,000
It's still an example of in topic images.

435
00:27:03,000 --> 00:27:05,000
It's actually a line there.

436
00:27:05,000 --> 00:27:07,000
There's actually the reverse image.

437
00:27:07,000 --> 00:27:09,000
It's very hard to see in our photograph.

438
00:27:09,000 --> 00:27:11,000
But a way, but there's two you shaped.

439
00:27:11,000 --> 00:27:14,000
It's like there's a mirror of a slit like that.

440
00:27:14,000 --> 00:27:17,000
But in topic imagery, an astound actually mirrors

441
00:27:17,000 --> 00:27:18,000
it's supposed to horizontal line.

442
00:27:18,000 --> 00:27:19,000
It's very hard to see.

443
00:27:19,000 --> 00:27:22,000
But there's 127 kerbs known that knows

444
00:27:22,000 --> 00:27:26,000
the most decorated one form of art or the other.

445
00:27:26,000 --> 00:27:29,000
The artwork in many cases can be solely explained by

446
00:27:29,000 --> 00:27:31,000
strongly explained by in topics.

447
00:27:31,000 --> 00:27:35,000
There is an overlap of combined use that I mentioned with the imagery.

448
00:27:35,000 --> 00:27:38,000
The best example of that is the serpentine squiggle.

449
00:27:38,000 --> 00:27:43,000
For example, it's a pure straight example of in topic imagery.

450
00:27:43,000 --> 00:27:49,000
It's also 19 turns on it as well.

451
00:27:49,000 --> 00:27:50,000
It's given you a lunar number.

452
00:27:50,000 --> 00:27:53,000
You can see that the stone that is wrote on is aligned with the moon.

453
00:27:53,000 --> 00:27:58,000
They're using their in topic imagery as a way of representing their astronomy and a way.

454
00:27:58,000 --> 00:28:03,000
It's like a combined or efficient use of their artwork and signals.

455
00:28:03,000 --> 00:28:06,000
My beloved karaoke, this is one of my favourite

456
00:28:06,000 --> 00:28:08,000
is my galithic places in the world.

457
00:28:08,000 --> 00:28:11,000
It's a pretty unique place.

458
00:28:11,000 --> 00:28:14,000
It actually looks like a giant, the whole mountain range.

459
00:28:14,000 --> 00:28:17,000
It looks like a giant right hand palm down.

460
00:28:17,000 --> 00:28:19,000
It does drive into the complex.

461
00:28:19,000 --> 00:28:21,000
You're driving into where the finger and the thumb is.

462
00:28:21,000 --> 00:28:25,000
There's passes toms dotted all around on the fingertips

463
00:28:25,000 --> 00:28:27,000
after the landscape.

464
00:28:27,000 --> 00:28:29,000
That's what you're looking at now.

465
00:28:29,000 --> 00:28:31,000
That's what you're looking at.

466
00:28:31,000 --> 00:28:36,000
These passes toms are sitting up on top about 1,300 meters.

467
00:28:36,000 --> 00:28:37,000
That's about 1,300 meters.

468
00:28:37,000 --> 00:28:38,000
That's about 1,300 meters.

469
00:28:38,000 --> 00:28:43,000
There's a national and complex up there.

470
00:28:43,000 --> 00:28:46,000
There's always a mixture of acoustics and astronomy.

471
00:28:46,000 --> 00:28:48,000
The acoustics I'll talk about today.

472
00:28:48,000 --> 00:28:52,000
A caracel car and FNG.

473
00:28:52,000 --> 00:28:54,000
You can see some of the complex geometry.

474
00:28:54,000 --> 00:28:57,000
I'm going to get into some of the geometry in a minute and show you why

475
00:28:57,000 --> 00:29:00,000
the geometry is related to acoustics as well.

476
00:29:00,000 --> 00:29:04,000
You can see inside that each one's kind of different,

477
00:29:04,000 --> 00:29:08,000
but they always follow the passageways there.

478
00:29:08,000 --> 00:29:09,000
I can see that there.

479
00:29:09,000 --> 00:29:11,000
See that little stone right there.

480
00:29:11,000 --> 00:29:14,000
That's actually a very special item.

481
00:29:14,000 --> 00:29:16,000
It can only be explained by acoustics.

482
00:29:16,000 --> 00:29:18,000
It's not actually embedded into the structure.

483
00:29:18,000 --> 00:29:19,000
It's something you have to step over.

484
00:29:19,000 --> 00:29:20,000
It's quite a hindrance.

485
00:29:20,000 --> 00:29:24,000
But it's an acoustic seal for sealing the long bottleneck of that passage

486
00:29:24,000 --> 00:29:25,000
toms.

487
00:29:25,000 --> 00:29:28,000
What they used to do is just sequentially put these in

488
00:29:28,000 --> 00:29:31,000
every so many feet in that long passageway.

489
00:29:31,000 --> 00:29:35,000
There are basically putting apertures in acoustic apertures.

490
00:29:35,000 --> 00:29:38,000
That could create more of an enhancement for the acoustic effect.

491
00:29:38,000 --> 00:29:41,000
But each one of the carons of a caracel

492
00:29:41,000 --> 00:29:45,000
has their own individual specific geometry and layout.

493
00:29:45,000 --> 00:29:46,000
They're very, very sand.

494
00:29:46,000 --> 00:29:48,000
They're all of the same on the outside, but inside they're all.

495
00:29:48,000 --> 00:29:50,000
It looks like they're playing around with the different

496
00:29:50,000 --> 00:29:51,000
jombs.

497
00:29:51,000 --> 00:29:54,000
It's to get different acoustic frequencies out of the chambers.

498
00:29:54,000 --> 00:29:56,000
And the acoustics are amazing, by the way.

499
00:29:56,000 --> 00:29:59,000
I'm going to play your video sample in a moment of account.

500
00:29:59,000 --> 00:30:02,000
Caracel, car, and care, perhaps the best acoustic chamber

501
00:30:02,000 --> 00:30:04,000
that there is up there.

502
00:30:04,000 --> 00:30:06,000
Many are from many of the caracel, but the way?

503
00:30:06,000 --> 00:30:08,000
Everybody know caracel?

504
00:30:08,000 --> 00:30:10,000
Oh, well, not many.

505
00:30:10,000 --> 00:30:11,000
Caracel is in the northwest of Ireland.

506
00:30:11,000 --> 00:30:14,000
Most people don't go to it, because it's so remote,

507
00:30:14,000 --> 00:30:15,000
it's something in the northwest.

508
00:30:15,000 --> 00:30:17,000
New Grange being so close to Dublin's probably famous.

509
00:30:17,000 --> 00:30:19,000
It's like Stonehenge, you get famous monuments,

510
00:30:19,000 --> 00:30:22,000
and other ones not so far away, or they don't get the line,

511
00:30:22,000 --> 00:30:24,000
but it's incredibly special.

512
00:30:24,000 --> 00:30:26,000
If you go to make art, you've got to make a trip to,

513
00:30:26,000 --> 00:30:28,000
you've got two megallity complexes,

514
00:30:28,000 --> 00:30:32,000
which are caracel, but the geometric layout you'll see,

515
00:30:32,000 --> 00:30:34,000
there's like an up-tighten old chamber.

516
00:30:34,000 --> 00:30:38,000
These recesses are important, because they feed back to the acoustic

517
00:30:38,000 --> 00:30:39,000
back into the central chamber.

518
00:30:39,000 --> 00:30:42,000
You can see that they've individually corroled each recess,

519
00:30:42,000 --> 00:30:45,000
and they have an opening at the top of the core,

520
00:30:45,000 --> 00:30:48,000
but in each recess to feed back in the acoustic

521
00:30:48,000 --> 00:30:51,000
back into the central chamber.

522
00:30:51,000 --> 00:30:55,000
So, when you feed that in, you're basically splitting the sound

523
00:30:55,000 --> 00:30:58,000
into three directions, and then it comes back again,

524
00:30:58,000 --> 00:31:00,000
and feeds back in and amplifies that nuts

525
00:31:00,000 --> 00:31:02,000
with builds and drives that resonance.

526
00:31:02,000 --> 00:31:04,000
Plus, you're dealing with standing waves on the helm

527
00:31:04,000 --> 00:31:07,000
host resonator effect, with the long passageway

528
00:31:07,000 --> 00:31:10,000
into the central chamber, and then they've further

529
00:31:10,000 --> 00:31:14,000
acoustically sealed that long passageway by putting in these

530
00:31:14,000 --> 00:31:17,000
flor-cells as they're called.

531
00:31:17,000 --> 00:31:21,000
I thought an example of what it sounds like with myself

532
00:31:21,000 --> 00:31:24,000
on the drum, and my good Canadian friend,

533
00:31:24,000 --> 00:31:30,000
who's a fieldist, actually sounds like a studio recording.

534
00:31:54,000 --> 00:31:59,000
I'm not sure if I can hear the sound of the sound

535
00:31:59,000 --> 00:32:04,000
of the sound of the sound of the sound of the sound of the sound

536
00:32:04,000 --> 00:32:09,000
of the sound of the sound of the sound of the sound of the sound of the sound

537
00:32:09,000 --> 00:32:14,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

538
00:32:14,000 --> 00:32:17,000
of the sound of the sound of the sound of the sound of the sound of the sound

539
00:32:17,000 --> 00:32:21,000
of the sound of the sound of the sound of the sound of the sound of the sound

540
00:32:21,000 --> 00:32:28,000
of the sound of the sound of the sound of the sound of the sound of the sound

541
00:32:28,000 --> 00:32:33,000
of the sound of the sound of the sound of the sound of the sound of the sound

542
00:32:33,000 --> 00:32:36,000
of the sound of the sound of the sound of the sound of the sound of the sound

543
00:32:36,000 --> 00:32:39,000
of the sound of the sound of the sound of the sound of the sound of the sound

544
00:32:39,000 --> 00:32:44,000
of the sound of the sound of the sound of the sound of the sound

545
00:32:44,000 --> 00:32:48,000
of the sound of the sound of the sound of the sound of the sound

546
00:32:48,000 --> 00:32:50,000
of the sound of the sound of the sound of the sound of the sound

547
00:32:50,000 --> 00:32:57,000
of the sound of the sound of the sound of the sound of the sound of the sound

548
00:32:57,000 --> 00:33:02,000
of the sound of the sound of the sound of the sound of the sound of the sound

549
00:33:02,000 --> 00:33:07,000
of the sound of the sound of the sound of the sound of the sound of the sound

550
00:33:07,000 --> 00:33:11,000
of the sound of the sound of the sound of the sound of the sound of the sound

551
00:33:11,000 --> 00:33:15,000
of the sound of the sound of the sound of the sound of the sound of the sound

552
00:33:15,000 --> 00:33:19,000
of the sound of the sound of the sound of the sound of the sound of the sound

553
00:33:19,000 --> 00:33:22,000
of the sound of the sound of the sound of the sound of the sound of the sound

554
00:33:22,000 --> 00:33:26,000
of the sound of the sound of the sound of the sound of the sound of the sound

555
00:33:26,000 --> 00:33:29,000
of the sound of the sound of the sound of the sound of the sound of the sound

556
00:33:29,000 --> 00:33:34,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

557
00:33:34,000 --> 00:33:37,000
of the sound of the sound of the sound of the sound of the sound of the sound

558
00:33:37,000 --> 00:33:40,000
of the sound of the sound of the sound of the sound of the sound of the sound

559
00:33:40,000 --> 00:33:42,000
of the sound of the sound of the sound of the sound of the sound of the sound

560
00:33:42,000 --> 00:33:44,000
of the sound of the sound of the sound of the sound of the sound of the sound

561
00:33:44,000 --> 00:33:46,000
of the sound of the sound of the sound of the sound of the sound of the sound

562
00:33:46,000 --> 00:33:49,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

563
00:33:49,000 --> 00:33:53,000
of the sound of the sound of the sound of the sound of the sound of the sound

564
00:33:53,000 --> 00:33:56,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

565
00:33:56,000 --> 00:34:01,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

566
00:34:01,000 --> 00:34:04,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

567
00:34:04,000 --> 00:34:07,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

568
00:34:07,000 --> 00:34:09,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound

569
00:34:09,000 --> 00:34:13,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound

570
00:34:13,000 --> 00:34:43,000
of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the

571
00:34:43,000 --> 00:35:13,000
sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of

572
00:35:13,000 --> 00:35:43,000
the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound of the sound

573
00:35:43,000 --> 00:35:50,000
not in your stunning waves are depicted in dozens of engravings of megalis form in the resonance chamber of Gavronis, Carr and Brittany Frons

574
00:35:50,000 --> 00:35:55,000
Twenty-three of the twenty-nine stunning stones are engraved with mesmerising patterns

575
00:35:55,000 --> 00:36:03,000
including concentric waveforms, double serp and spirals, concentric circles, referencing potent psychotistic effects in acoustic environments

576
00:36:03,000 --> 00:36:07,000
and also made it a course in calcite content of sandstone and limestone,

577
00:36:07,000 --> 00:36:14,000
Megalis extremely difficult to carve the waveforms into a really hard rock state quartz content

578
00:36:14,000 --> 00:36:19,000
being on the hardest scale of 6.5 I think on the Moscow

579
00:36:19,000 --> 00:36:23,000
and the long resin and chamber possesses piezoelectric properties

580
00:36:23,000 --> 00:36:28,000
whereby transducing all the absorbed acoustic energy into an electrical charge as the quartz

581
00:36:28,000 --> 00:36:30,000
and I'm developing an electromagnetic field

582
00:36:30,000 --> 00:36:35,000
that's actually scientific that's not like we will that's that is not an all effect

583
00:36:35,000 --> 00:36:40,000
it's not a massive effect but it is an effect and it's measurable and quantifiable

584
00:36:40,000 --> 00:36:46,000
Most decorated plastic tom we have and then you can see it's just a shot straight down to the back

585
00:36:46,000 --> 00:36:53,000
to think that people in 3,500 BC erected that complex structure and carved all that rock on a show

586
00:36:53,000 --> 00:37:00,000
and show you great examples of interference patterns is just mind blowing to me

587
00:37:00,000 --> 00:37:05,000
stunning waves explained a concentric arcs arches engraved in the stone

588
00:37:05,000 --> 00:37:10,000
or curve of the pictures are stunning waves, generally by the baritone chanting at the entrance of the passage chamber

589
00:37:10,000 --> 00:37:13,000
and I listen to an important male vocal range studies

590
00:37:13,000 --> 00:37:20,000
constructed with the appropriate length and width to allow reflected sound waves to portray some wave path as it moves in both directions

591
00:37:20,000 --> 00:37:25,000
basically they have the width of the passage just tweaked just right for the baritone range

592
00:37:25,000 --> 00:37:28,000
a little bit more than work a little bit less wooden work unit

593
00:37:28,000 --> 00:37:33,000
as the vocal driving of the chamber proceeds the stunning waves created in the passage

594
00:37:33,000 --> 00:37:38,000
it weighs intensifying to begin cropping with deep in profound in percent frequencies

595
00:37:38,000 --> 00:37:41,000
that's one we can't hear in the heartbeat range

596
00:37:41,000 --> 00:37:48,000
and the in percent is decay because that's just another level of acoustic stand that these guys probably had as well

597
00:37:48,000 --> 00:37:53,000
so we're talking standing waves, how holds resonators and in percent

598
00:37:53,000 --> 00:37:57,000
and I guess if anybody is a bit stuck on the signs you might have to do a little bit more research

599
00:37:57,000 --> 00:38:02,000
because it is a little bit complex to explain it but it's all measurable and it's all there

600
00:38:02,000 --> 00:38:07,000
lock crew can't really meet Arland's I looked at this place as well

601
00:38:07,000 --> 00:38:11,000
you can actually stand at the top of lock crew and see one third of Arland from that location

602
00:38:11,000 --> 00:38:15,000
you can see it literally from hills in the west up to the north of the more mountains

603
00:38:15,000 --> 00:38:19,000
and you can see it's far south of where new ranges and the Wicklow hills

604
00:38:19,000 --> 00:38:23,000
that's currently on the left there and that's what the rock art looks inside

605
00:38:23,000 --> 00:38:28,000
lots of examples of a topic for now and again that chart that I showed you at the start

606
00:38:28,000 --> 00:38:32,000
it's all there all someone else who was there basically saying we had all the states of consciousness

607
00:38:32,000 --> 00:38:39,000
this one here the solar wheel of top left and then the sun beam would come in and do a national number of the line across it as well

608
00:38:39,000 --> 00:38:42,000
so again this mixed river astronomy and acoustics

609
00:38:42,000 --> 00:38:47,000
basically I think these guys were just polymaths of the past and they were encompassing

610
00:38:47,000 --> 00:38:52,000
as many different bodies of research into one little university and that was their passage to them

611
00:38:52,000 --> 00:38:54,000
that was like their body of knowledge

612
00:38:56,000 --> 00:39:00,000
that's the geometry of current here, you're going to have to move fast because it got a lot of slides to get through

613
00:39:00,000 --> 00:39:04,000
that's the geometry of current here is quite structured, it's octagonal

614
00:39:04,000 --> 00:39:08,000
again you can see these floor cells here, floor cell here as well

615
00:39:08,000 --> 00:39:12,000
they have acoustically sealed up long passageway, you have to physically step over these

616
00:39:12,000 --> 00:39:16,000
they're not built into the structure, they're actually a hindrance walking down the structure

617
00:39:16,000 --> 00:39:19,000
and when you get in there the acoustics is absolutely amazing

618
00:39:19,000 --> 00:39:22,000
and basically like you would have the sound hole on a guitar

619
00:39:22,000 --> 00:39:29,000
you would have these basically recesses were the same, they have a little aperture to get into the recess

620
00:39:29,000 --> 00:39:33,000
and you'll see nothing in the thing that the hypogene room was going to come to as well

621
00:39:33,000 --> 00:39:41,000
so the strings on a guitar are basically standing ways and they vibrate over the sound hole

622
00:39:41,000 --> 00:39:46,000
and the sound hole and creates a resonance in the chamber, it's no different

623
00:39:46,000 --> 00:39:52,000
it's the same principles and that's what these chambers are, these little recesses are driving the acoustic resonance back into the central chamber again

624
00:39:52,000 --> 00:39:55,000
and it's all with the geometry and the acoustics mixed

625
00:39:56,000 --> 00:40:04,000
to take me a while to do this research but I didn't come, but I did see the liberal acoustic design that was the important thing

626
00:40:04,000 --> 00:40:09,000
I just thought there was a natural any chamber or any room by the way the room right now has a sound acoustic

627
00:40:09,000 --> 00:40:12,000
doesn't mean that that was the purpose for building it

628
00:40:12,000 --> 00:40:20,000
but the more I've looked in the more of the research I found examples of the effects of the acoustics on their consciousness

629
00:40:20,000 --> 00:40:26,000
and it's playing that and I've found the effects of the acoustics being manipulated to try and make it more or more resonance

630
00:40:26,000 --> 00:40:29,000
they were looking for the resonance, that's what they were looking for

631
00:40:29,000 --> 00:40:33,000
and it's the difficult thing to manipulate but they certainly built enough patches to get this right

632
00:40:33,000 --> 00:40:36,000
again you can see the floor still here, it's not actually built into the structure

633
00:40:36,000 --> 00:40:39,000
you have to step over that to get into the solar recess

634
00:40:39,000 --> 00:40:45,000
for example, the top, this is a veined leaf here on the right, you can see another example of the top

635
00:40:46,000 --> 00:40:50,000
again you have Lockrune, you've got this exact way to be aligned, that's actually currently

636
00:40:50,000 --> 00:40:54,000
you were just looking at a mile away on the yellow hill, Lockrune, for many of you know

637
00:40:54,000 --> 00:40:59,000
probably it was about 150 patches toms on those four hills at one point

638
00:40:59,000 --> 00:41:03,000
and it's not been decimated throughout the three left and various states of decay

639
00:41:03,000 --> 00:41:08,000
and credible amount of rock art, 75% of the rock art of the whole of Europe is on that island

640
00:41:08,000 --> 00:41:14,000
but I've learned most of it is either astronomical or consciousness of the states of crunch of this rock art

641
00:41:15,000 --> 00:41:19,000
it's a little zoomed in shot you can see again the stone on the right but this exact sign waves

642
00:41:19,000 --> 00:41:24,000
and this serpentine squeak on the rhombus shape as well as another Antarctic phenomenon

643
00:41:24,000 --> 00:41:28,000
you're probably getting the picture right now, it's just the same imagery all over and over again

644
00:41:28,000 --> 00:41:33,000
and it's pretty much most of that chart is on the Rock Art in Ireland

645
00:41:36,000 --> 00:41:39,000
Lockrune current, hey, this is a great example because you can actually

646
00:41:39,000 --> 00:41:44,000
it's open top some of the mountains being removed and you can see that is the acoustic box there

647
00:41:44,000 --> 00:41:49,000
and that they've put, sometimes you don't just walk into this passage when you have to step over

648
00:41:49,000 --> 00:41:54,000
an orchard stone, it's usually flat and it's very thin and you have to step over

649
00:41:54,000 --> 00:41:58,000
and then you're inside another box and you have to step over that and they've put it basically

650
00:41:58,000 --> 00:42:03,000
an acoustic box seal of current H entrance, you can see that's the second one there

651
00:42:03,000 --> 00:42:08,000
and you can see I'm in the on the one on the right, that's my friend Daniel, he's another engineer

652
00:42:08,000 --> 00:42:15,000
he's inside and you can see that I'm standing inside the box seal there

653
00:42:15,000 --> 00:42:21,000
and it's actually just not built into the machinery, it's dry walls at one point left and right

654
00:42:21,000 --> 00:42:25,000
but it's not a part of the structure, they've put that in there deliberately just to acoustic steel

655
00:42:25,000 --> 00:42:28,000
that Helmholt's passage right

656
00:42:28,000 --> 00:42:33,000
Karen H, the floor still chain the resence again, that's the one going

657
00:42:33,000 --> 00:42:36,000
it shows this one the show you, why do I do so many examples of this?

658
00:42:36,000 --> 00:42:39,000
Helmholt's in this show you, because it's open, you can look in, otherwise it's very difficult

659
00:42:39,000 --> 00:42:43,000
the photograph is stuffed in the dark, but again there's one of the floor cells

660
00:42:43,000 --> 00:42:47,000
the floor has been built up probably about half a year, but otherwise with loose chipping

661
00:42:47,000 --> 00:42:51,000
it was probably down a lot lower and here you're getting the sparsons and concentric rings on that

662
00:42:51,000 --> 00:42:54,000
actual stone there on the left

663
00:42:54,000 --> 00:43:01,000
Wow, see if it'll pass this tune, this is one of the most difficult passages to get to

664
00:43:01,000 --> 00:43:05,000
exactly on a military firing range, funny enough Marine was just talking about that

665
00:43:05,000 --> 00:43:08,000
and you can actually see how narrow the entrance

666
00:43:08,000 --> 00:43:13,000
I'm going to, why do I got white shoulders, even turning on the flame as well

667
00:43:13,000 --> 00:43:17,000
I barely fitted it in that doorway, I had to go in and wait for it and I could barely fit

668
00:43:17,000 --> 00:43:20,000
in without the doorway and it doesn't make sense with astronomy

669
00:43:20,000 --> 00:43:24,000
people think that they wanted to get the sun beam in and get a nice thin beam of sunlight

670
00:43:24,000 --> 00:43:27,000
or starlight, it actually doesn't open up to the sun first and foremost

671
00:43:27,000 --> 00:43:32,000
that it was up to 70 degrees east of north, which is an astronomical line for probably a star

672
00:43:32,000 --> 00:43:36,000
but if the passageway is long enough, that beam will be seen anyway

673
00:43:36,000 --> 00:43:40,000
just like new grange, it's nice thin beam but the time it gets down 60 foot

674
00:43:40,000 --> 00:43:43,000
so it doesn't work for the astronomy, there's no physical reason where you would hinder yourself

675
00:43:43,000 --> 00:43:47,000
getting down a passageway, but they wanted narrow passageways for that narrow neck on a helmhouse

676
00:43:47,000 --> 00:43:49,000
resonator

677
00:43:49,000 --> 00:43:53,000
and you can see that they've put a little portion there or some sort of a

678
00:43:53,000 --> 00:43:57,000
and you can see that's on the right there, they've put like a little pocket of air

679
00:43:57,000 --> 00:44:04,000
and they're basically so that it's not just a direct line of sight into the passageway

680
00:44:04,000 --> 00:44:09,000
screaming in our passage in entrance there, I am inside looking back out

681
00:44:09,000 --> 00:44:13,000
you can just see how narrow that entrance is there

682
00:44:13,000 --> 00:44:18,000
that's actually one of the smallest pieces of quartz on the site, but I can see my hand on the left there

683
00:44:19,000 --> 00:44:24,000
and all of the ortho stats on the upright of that passageway, they have sheets of quartz

684
00:44:24,000 --> 00:44:30,000
they have removed that granite on one side exposing the quartz vein

685
00:44:30,000 --> 00:44:34,000
and you can see that there's a sheet of it just stuck to the quartz vein, stuck to the rock

686
00:44:34,000 --> 00:44:37,000
and they've used them, orprites as features walls

687
00:44:37,000 --> 00:44:41,000
I do plan to go back here for a more acoustic test and some point, but it's difficult to get to

688
00:44:41,000 --> 00:44:44,000
you never know when the red flag is going to be up either until you just turn over there

689
00:44:44,000 --> 00:44:48,000
again you can see the ortho stats there and the quartz sheet again

690
00:44:48,000 --> 00:44:52,000
it's quite thick as well, it's a bit of an inch thick and again there

691
00:44:54,000 --> 00:44:57,000
I personally think they were doing that because the quartz does react to the acoustics

692
00:44:57,000 --> 00:45:00,000
if you put pressure on the piece of electric as well, it generates electric field

693
00:45:00,000 --> 00:45:03,000
you can squeeze quartz and it generates electric field as well

694
00:45:03,000 --> 00:45:07,000
and that's what the acoustics is doing, if you have a stunning wave compressing the walls

695
00:45:07,000 --> 00:45:11,000
like that, it's putting it sound pressure, it's basically putting physical force

696
00:45:11,000 --> 00:45:14,000
so instead of squeezing it with your hand you're pushing the wood with the sound wave

697
00:45:14,000 --> 00:45:16,000
creating a electrical magnetic...

698
00:45:18,000 --> 00:45:23,000
May's how chamber in the orphanage, wow this is probably one of the most amazing pacitins as well

699
00:45:23,000 --> 00:45:26,000
one of the biggest ones in Europe as well

700
00:45:26,000 --> 00:45:28,000
it isn't acoustic masterpiece

701
00:45:29,000 --> 00:45:33,000
here you can see it's actually a cathedral inside

702
00:45:33,000 --> 00:45:36,000
they've went to extreme lengths how they've corroled it

703
00:45:36,000 --> 00:45:40,000
they were just corgling at the way they went up, they didn't change the intrusive

704
00:45:41,000 --> 00:45:45,000
and when you look at the geometry of all this, basically sound waves

705
00:45:45,000 --> 00:45:49,000
when they hit a geometrical pattern they will reflect in their opposite way

706
00:45:49,000 --> 00:45:51,000
so after going to a corner they'll come back out another way

707
00:45:51,000 --> 00:45:55,000
and basically they're just driving acoustic waves all around that place

708
00:45:56,000 --> 00:45:59,000
it's the internal geometrical air you can see the schematic there

709
00:45:59,000 --> 00:46:03,000
as Gendick's got eight sides to the internal chamber and recesses

710
00:46:07,000 --> 00:46:10,000
the first guy I mentioned there Dr. David Keaton and Aaron Watson

711
00:46:10,000 --> 00:46:13,000
for that research, Stonyne's these guys made a little pilgrimage up there

712
00:46:13,000 --> 00:46:15,000
and they checked this place out for acoustics

713
00:46:15,000 --> 00:46:19,000
I won't go through the data there's quite tedious just dimensions and stuff

714
00:46:19,000 --> 00:46:22,000
but basically it is hell and whole residents of four here

715
00:46:22,000 --> 00:46:25,000
it's the measured scientificly with lots of equipment

716
00:46:25,000 --> 00:46:26,000
if you haven't checked out

717
00:46:26,000 --> 00:46:31,000
some of this acoustic experiments is all individual guys all gone around Europe

718
00:46:31,000 --> 00:46:35,000
and all gone around places and you know it arches acoustics is a growing field at the moment

719
00:46:35,000 --> 00:46:38,000
everybody is starting to pull the recesses together

720
00:46:38,000 --> 00:46:41,000
it's got the impression of a analytic cathedral

721
00:46:41,000 --> 00:46:44,000
but four here is important because that's the theatre frequencies

722
00:46:44,000 --> 00:46:47,000
four to seven here is what's known as the theatre frequencies

723
00:46:47,000 --> 00:46:51,000
alphabet of theatre and when they affect your brain at about four here

724
00:46:51,000 --> 00:46:54,000
it's going to a trans-like state

725
00:46:54,000 --> 00:46:58,000
so that's why I think that the acoustics was definitely the desired method

726
00:46:58,000 --> 00:47:03,000
for going into another state although I do think they were using

727
00:47:03,000 --> 00:47:08,000
a plant products as well or in the origins

728
00:47:08,000 --> 00:47:10,000
okay I gotta keep moving there

729
00:47:10,000 --> 00:47:12,000
multi-tempels and hypergium

730
00:47:12,000 --> 00:47:18,000
these things are acoustically you know beyond the past just tomes really

731
00:47:18,000 --> 00:47:20,000
because they're dealing with a solid bedrock

732
00:47:20,000 --> 00:47:22,000
they're carving them out of rock

733
00:47:22,000 --> 00:47:24,000
they're not constrained to building materials of dry walls

734
00:47:24,000 --> 00:47:27,000
and getting everything to fit like masonry

735
00:47:27,000 --> 00:47:29,000
they're just basically carving a solid rock

736
00:47:29,000 --> 00:47:32,000
you can see that they've even tried to make it look like

737
00:47:32,000 --> 00:47:33,000
make a lot of ectemples

738
00:47:33,000 --> 00:47:38,000
the mindset of the people that carve the hypergium of multi

739
00:47:38,000 --> 00:47:43,000
it's just incredible that people can see that and act out on the landscape and carve that

740
00:47:43,000 --> 00:47:46,000
they've actually also curved walls to acoustically enhance

741
00:47:46,000 --> 00:47:49,000
and you'll see that in the temples above ground as well

742
00:47:49,000 --> 00:47:54,000
but multi-tempels of hypergium they probably both some of the best examples of acoustics

743
00:47:54,000 --> 00:47:57,000
higerine in multi

744
00:47:57,000 --> 00:48:00,000
I talk with these as acoustic doorways as you can see

745
00:48:00,000 --> 00:48:02,000
they've took a solid piece of rock and cut a square hole

746
00:48:02,000 --> 00:48:05,000
just like the past is tomes they put a floor sill in

747
00:48:05,000 --> 00:48:07,000
they didn't in different pieces they put two upright stones

748
00:48:07,000 --> 00:48:09,000
a lintle and then they put a floor sill

749
00:48:09,000 --> 00:48:10,000
they didn't for pieces

750
00:48:10,000 --> 00:48:14,000
they didn't do it for pieces they just cut one piece and cut a hole in it

751
00:48:14,000 --> 00:48:17,000
same principle same idea as same company

752
00:48:17,000 --> 00:48:20,000
the apertures that have doorways is the real multi

753
00:48:20,000 --> 00:48:23,000
just like the sound hole in a guitar like I explained

754
00:48:23,000 --> 00:48:26,000
stunning ways strings vibrate outside the resonance chamber

755
00:48:26,000 --> 00:48:29,000
like the guitar box the acoustic doorways are known different

756
00:48:29,000 --> 00:48:34,000
engineering manipulation of the structure to enhance the acoustics of the temple space

757
00:48:34,000 --> 00:48:39,000
not a great example of acoustic doorway here this is neither not too far from higerine

758
00:48:39,000 --> 00:48:42,000
beautiful example

759
00:48:42,000 --> 00:48:45,000
curves parabolic walls at night of temple

760
00:48:45,000 --> 00:48:49,000
wow this is this is not in the same feed of engineering that these guys did

761
00:48:49,000 --> 00:48:53,000
not only did they build a wall in a semi circle but they lean the in going

762
00:48:53,000 --> 00:48:55,000
upwards of the core of the same time

763
00:48:55,000 --> 00:48:59,000
the effect of this is like the atrius increases well as two

764
00:48:59,000 --> 00:49:03,000
basically build simultaneously in three directions which is incredibly difficult to do

765
00:49:03,000 --> 00:49:06,000
but they did it to enhance the acoustics of the room because once you curb the wall

766
00:49:06,000 --> 00:49:09,000
you're not building with the straight geometries anymore

767
00:49:09,000 --> 00:49:12,000
you're refoaksing all the parabolic sounded to the centre of the room

768
00:49:12,000 --> 00:49:16,000
another great example there of a parabolic acoustic wall

769
00:49:16,000 --> 00:49:18,000
see it there

770
00:49:18,000 --> 00:49:22,000
actually this little box here reminds me of the octines as well

771
00:49:22,000 --> 00:49:26,000
very similar to that as Tarjan Temple by the way

772
00:49:26,000 --> 00:49:30,000
and nearly all of you they caught and set up calling them recesses they call them

773
00:49:30,000 --> 00:49:34,000
absets but basically all of those absets and rooms they've all got curved

774
00:49:34,000 --> 00:49:39,000
curvature focusing the sound back into the centre of that little recess

775
00:49:39,000 --> 00:49:41,000
high-volg multi

776
00:49:41,000 --> 00:49:44,000
this one is called this rooms called the Holy of Holy

777
00:49:44,000 --> 00:49:48,000
given these religious names today's chambers but basically the whole thing is a

778
00:49:48,000 --> 00:49:52,000
three story cave complex carved by hand

779
00:49:52,000 --> 00:49:56,000
a been there but probably with seven times and each time I go in there I have the same

780
00:49:56,000 --> 00:50:00,000
thing and same bizarre mindset that I just can't escape

781
00:50:00,000 --> 00:50:06,000
when you all are chant or you basically it comes back and hits you when you're

782
00:50:06,000 --> 00:50:09,000
chest cavity your chest cavity will resonate about sixty hertz

783
00:50:09,000 --> 00:50:13,000
and below are hearing but it's just a physical thing

784
00:50:13,000 --> 00:50:16,000
and that happens you some people are very discomfort by

785
00:50:16,000 --> 00:50:18,000
in percent you'll see that anyway

786
00:50:18,000 --> 00:50:22,000
some more examples of it's very hard to get photographs and this do you not know

787
00:50:22,000 --> 00:50:26,000
photograph it you actually do your tour by an audio whether you like it or not you're not even

788
00:50:26,000 --> 00:50:29,000
speak down there the thing is totally controlled

789
00:50:29,000 --> 00:50:33,000
and they don't like anybody having a opinion on either

790
00:50:33,000 --> 00:50:38,000
it's an incredibly controlled monument which is sad really because it's one of the

791
00:50:38,000 --> 00:50:42,000
most in study monuments we have

792
00:50:42,000 --> 00:50:45,000
all these rooms within rooms within rooms

793
00:50:45,000 --> 00:50:48,000
every room has its own aperture going in from other room

794
00:50:48,000 --> 00:50:52,000
there's hundreds of rooms down there but I may actually go down seven floors as well

795
00:50:52,000 --> 00:50:57,000
it's basically resonator within a resonator within a resonator

796
00:50:57,000 --> 00:51:02,000
if I can show you the article how next this is the most amazing part of all

797
00:51:02,000 --> 00:51:07,000
you speak into this little box here with a male vocal range

798
00:51:07,000 --> 00:51:11,000
and the whole three-star cave system resonates which

799
00:51:11,000 --> 00:51:16,000
your voice and it's just like going into a loud speaker and all you're doing is a small

800
00:51:16,000 --> 00:51:20,000
armor-chantic hall is the article whole by again you can see the examples of

801
00:51:20,000 --> 00:51:24,000
in public phenomena this author states of consciousness and that's probably what they were doing

802
00:51:24,000 --> 00:51:28,000
they were going down having author states of consciousness with the recoustics and

803
00:51:28,000 --> 00:51:32,000
this is an ossyrian it's got 5,000 remains in there likely rea just explained before

804
00:51:32,000 --> 00:51:36,000
me thankfully the schools have gone missing there was allegedly six schools left

805
00:51:36,000 --> 00:51:40,000
out of original 5,000 remains and nobody knows what are happening more

806
00:51:40,000 --> 00:51:44,000
apparently in the basement in the velet of museum but

807
00:51:44,000 --> 00:51:48,000
which brings me to sardinia

808
00:51:48,000 --> 00:51:52,000
sardinia's high-boggiums the whole of sardinia is just riddled with

809
00:51:52,000 --> 00:51:56,000
high-boggiums and I've just come back there with Maria for a medical

810
00:51:56,000 --> 00:52:00,000
other sea film shoot and going back again hopefully with you very soon

811
00:52:00,000 --> 00:52:04,000
it's just high-boggiums everywhere this I'm going to just want to

812
00:52:04,000 --> 00:52:08,000
review that I've been managed to get to you can actually see that all these

813
00:52:08,000 --> 00:52:12,000
doorways up here are really awkward some of

814
00:52:12,000 --> 00:52:16,000
somebody's rooms I'm six or three and I'm probably I was

815
00:52:16,000 --> 00:52:20,000
struggling to get in and by I was four and a half feet tall and I've managed to get in

816
00:52:20,000 --> 00:52:25,440
but incredibly small rooms the doorways are really high in

817
00:52:25,440 --> 00:52:29,440
the awkward places and this like they're making a musical instrument basically

818
00:52:29,440 --> 00:52:32,960
the work at the columns but always a great little engineering piece this is a

819
00:52:32,960 --> 00:52:36,960
panoramic shop otherwise bent the image to take it all in and then they have

820
00:52:36,960 --> 00:52:40,720
these false doorways as well similar to stuff in Peru actually these false

821
00:52:40,720 --> 00:52:42,720
doorways

822
00:52:43,680 --> 00:52:49,360
it's pilunkas high-boggium this one is amazing it's over 35

823
00:52:49,360 --> 00:52:53,440
hypergia just within 200 minutes each other in this location just put in this

824
00:52:53,440 --> 00:52:57,440
half-by-open mountain just built into the hillside

825
00:52:57,440 --> 00:53:02,080
I see I can guess in there pictures there's yours truly on the left there

826
00:53:02,080 --> 00:53:06,960
I'm standing at that sound hole and basically there's a reverberation of seven

827
00:53:06,960 --> 00:53:12,000
seconds at that point and you'll see they've carved just like it open the

828
00:53:12,000 --> 00:53:16,000
temples above ground they've carved an insert rim around the door into an

829
00:53:16,000 --> 00:53:18,960
insert rim around the door into another one and they made these things

830
00:53:18,960 --> 00:53:22,960
incredibly decorative this is the groundclin of an on the right this is just one of

831
00:53:22,960 --> 00:53:26,960
the hypergimes both away um and they put this into solid bedrock

832
00:53:26,960 --> 00:53:32,480
but yeah reverberation is seven seconds and I just it's to have a reverberation goal

833
00:53:32,480 --> 00:53:34,080
go that long by the way

834
00:53:34,080 --> 00:53:39,120
uh it's insane it's just it's it's

835
00:53:39,120 --> 00:53:41,120
the biggest belief scientifically

836
00:53:42,640 --> 00:53:46,320
some can to uh this is another amazing one as well you can see some of the

837
00:53:46,320 --> 00:53:49,680
color still remains a lot of these were decorated you'll see the next as well

838
00:53:49,680 --> 00:53:53,120
decorated with art as well the lot more artistic than the

839
00:53:53,120 --> 00:53:56,160
hypergium of multi I'm pretty much an altru's probably

840
00:53:56,160 --> 00:54:01,760
acoustically uh it's probably acoustically the the best one we've got

841
00:54:01,760 --> 00:54:05,200
probably the most impressive in terms of its size as well but uh

842
00:54:05,200 --> 00:54:09,040
some of the ones in our sardine as you'll see are really really beautiful

843
00:54:09,040 --> 00:54:12,960
and hopefully decorated inside again you can see the false door right here what

844
00:54:12,960 --> 00:54:18,480
this is about um i said pick up better shot out to see the way that eight

845
00:54:18,480 --> 00:54:22,160
pegs the roof as well um they've always kept trying to keep their geometries

846
00:54:22,160 --> 00:54:27,280
the same and explore them um ignore the green bro that's just algae

847
00:54:27,280 --> 00:54:31,600
by the way it's a lot of these are in bod shaped bod states are

848
00:54:31,600 --> 00:54:34,640
repaired and just open to the elements you can just go and see these the

849
00:54:34,640 --> 00:54:37,920
bowls head by the way up here sardine is just like a whole bulk

850
00:54:37,920 --> 00:54:41,680
the whole of the magnetic people were obsessed with bold worship

851
00:54:41,680 --> 00:54:47,120
which may have links with arlan as you'll see in a moment but um uh yeah this

852
00:54:47,120 --> 00:54:52,800
in set within an in set doorway um this is a common feature in all these sardine

853
00:54:52,800 --> 00:54:57,280
and sydine and my regimes but no more of it yeah this is incredibly beautiful this is

854
00:54:57,280 --> 00:55:01,120
a throwback to arlan here what what all these uh the bold worship of one of

855
00:55:01,120 --> 00:55:06,400
our Irish mythology tales is the cutlery of culey about a bold um it was

856
00:55:06,480 --> 00:55:10,080
actually on a bull's hide as well it's a 12th century book that's survived the

857
00:55:10,080 --> 00:55:14,000
rages of time but um and the spirals as well just synonymous with new

858
00:55:14,000 --> 00:55:17,040
grains and the orchies without matter too a lot of links between the

859
00:55:17,040 --> 00:55:24,480
orchies multi and sardine and arlan of the ends of europe too but uh and the Irish

860
00:55:24,480 --> 00:55:27,760
core tombs of arlan and the sardine of bull shaped chambers are incredibly

861
00:55:27,760 --> 00:55:32,080
similar as well like many of mentions with bellist not but the two horns a lot of

862
00:55:32,720 --> 00:55:37,760
chambers over there are like kind of long barrels with horns on them like that um and

863
00:55:37,760 --> 00:55:42,320
they may be just a slightly variation I think bellist not was very like that um but

864
00:55:42,320 --> 00:55:46,240
you have an order of the secuestics born as far along to accelerate the connection to arlan

865
00:55:48,640 --> 00:55:54,000
there you can see some more of the inside of it there and again the ground plan is almost identical

866
00:55:54,000 --> 00:55:58,960
to its belong to almost identical it's likely we're reproducing but then slightly changing

867
00:55:59,040 --> 00:56:03,920
some recesses to explore an order of acoustic angle but almost identical it's like they

868
00:56:03,920 --> 00:56:07,440
had schematics and they were taken them and reproducing somewhere out the other end of sardine

869
00:56:08,720 --> 00:56:13,120
extreme engineering and transmission of knowledge from one on the other to the other

870
00:56:15,680 --> 00:56:20,560
almost finished there we go in for sound hypogems sardine is hypogems just like multi

871
00:56:20,560 --> 00:56:25,280
are in for sound generators there's like a different level of acoustic going on because they've

872
00:56:25,360 --> 00:56:30,080
got so many rooms they're building in solid rock not like the passage tombs where you're talking one

873
00:56:30,080 --> 00:56:35,120
one structure one defined shape with a helimholz resonator and they've got so many chambers

874
00:56:35,120 --> 00:56:40,000
resonating with each other e generating this in for sound it can affect you in health in

875
00:56:40,000 --> 00:56:44,640
for sound and not not if you know that there is natural occurring in for sound airs Craig's

876
00:56:44,640 --> 00:56:49,440
be one of but each part of the body has the sound in for sound frequency that it reacts to

877
00:56:49,520 --> 00:56:55,680
chest cavity sixty hertz the cranium four hertz the seven hertz and every part of the body has

878
00:56:55,680 --> 00:57:02,560
a sound frequency but the typical male vocal range is about 85 to 180 hertz so that would act

879
00:57:02,560 --> 00:57:09,440
of fate the chambers but standing waves might drive them into an in-person range so you can

880
00:57:09,440 --> 00:57:13,040
operate it with a male vocal range frequency but the frequency was a lot of change with the resonance

881
00:57:13,040 --> 00:57:16,400
and the standing waves and then the different smaller rooms twisting those frequencies

882
00:57:20,080 --> 00:57:23,200
and there's another one of some of the patterns that I've shown you already I think yeah

883
00:57:25,520 --> 00:57:29,840
but yes Ardini is like our James it's a non-towl story as well I don't think they know what they're

884
00:57:29,840 --> 00:57:35,040
sitting on over there it's Ardini it's like the country it's stuck in the 1960s but on the

885
00:57:35,040 --> 00:57:40,800
Megolithic research I don't think has been done it's it's really not that's my job I guess but

886
00:57:40,800 --> 00:57:45,040
then conclusions are key to acoustics it just adds another dimension to our own history

887
00:57:46,000 --> 00:57:49,840
specific agents civilizations and cultures were equally versatile acoustics as a

888
00:57:49,840 --> 00:57:55,280
astronomy and covering both of them into their structures the intention was at some point

889
00:57:56,000 --> 00:58:00,560
deliberate in some cases from the very start and in some cases enhancement of the structures

890
00:58:01,440 --> 00:58:06,720
the effects on human consciousness was at least one dividend for the efforts and it's definitely

891
00:58:06,720 --> 00:58:11,360
definitely a result they were looking for exploration of acoustic effects and experiment with

892
00:58:11,440 --> 00:58:16,400
construction was their methodology and basically that was their physics of the day and they were

893
00:58:16,400 --> 00:58:19,920
exploring the structures and they were trying to figure stuff out and they were trying to tweak

894
00:58:19,920 --> 00:58:24,720
the results and the experiments the only difference is they had to build a very complex

895
00:58:24,720 --> 00:58:28,320
arduous task of a passage tomb whereas we'll just do it in the laboratory to

896
00:58:28,320 --> 00:58:32,480
plop or if we today with some technology and they were doing it against the odds basically

897
00:58:32,480 --> 00:58:38,160
but the effects on human health is debatable it's likely it is one of the aspects but I'm still

898
00:58:38,160 --> 00:58:45,280
up into debate on that one but I'm coming soon we have magnetic Odyssey documentary season one

899
00:58:45,280 --> 00:58:53,680
parts a parts you and Maria involve the many others I've got a symposium coming up in August

900
00:58:53,680 --> 00:58:58,640
20 as well for some of the documentary people and you can catch the all the magnetic

901
00:58:58,640 --> 00:59:02,640
Odyssey.com my personal webpage Jameswagard.com if you don't know about it and my

902
00:59:02,640 --> 00:59:07,280
Capricorn Radio TV podcast page you'll find a Capricorn Radio.com and that is the fourth

903
00:59:07,280 --> 00:59:11,120
coming book the magnetic acoustic mystery and I thank you for your time.