Archaeoacoustics- C. Dunn, B. Pietsch, P. Horn + correct Devereaux link
Sorry, the correct web link for the Paul Devereaux article "Spirits in the Stones" is:
In the previous post I mistakingly inserted Chris Dunn's outstanding article! which is:
by Christopher Dunn
extracted from The Giza Power Plant
I had been looking at it in connection with Ancient Waterways member-onlooker Ben Pietsch's work with Giza Research board member Paul Horn. I shall be taking great liberties by cutting right into the middle of Dunn's page which is already an extraction from his The Giza Power Plant book, which I own and has greatly influenced me.
I want folks here to see where an extensive, ongoing process of scientific research continues to come together profoundly through cooperative work of Christoper Dunn, Ben Pietsch, Paul Horn (Stephen Mehler, and others as I hope to show at a future time here). The four mentioned are also members of the Board of the 5000+ member Great Pyramid of Giza Research Association. Each appears to me to maintain integrity within their own work yet together are building a symphony many are not yet attuned to receiving..... the 'architectural acoustics' of Dunn, "archeometrics" of Pietsch, and 'archeoacoustics' by Horn re: the intended design, structure, sound within the origins underlying the Great Pyramid of Giza.
A few paragraphs before the sound clip, are areas I am specifying here. Hopefully to further whet the appetite of some at this site to investigate more of this kind of courageous, brilliant research. Whether the great structure(s) on the Giza Plateau were designed, built, and utitized as tombs for dynastic kings, or far earlier----for much more out-reaching, benevolent societal purposes during a very different course of the history of the fertile region of the Nile. Should the latter hold true, such energy and sound technologies could have profound applications for some of the very crucial situations facing our world
Dunn's book The Giza Power Plant I also have available to loan to any Ancient Waterways Society members here, if you pay return postage.
SEE ENTIRE ARTICLE "The Mighty Crystal" in link above, because you will be unable to click into the Sound Bites video-black rectangle in scanned/pasted exerpt below). Here is a bit of the profound and current being done by researchers meticulous in the scientific method, working collaboratively with others:
...While modern research into architectural acoustics might predominantly focus upon minimizing the reverberation effects of sound in enclosed spaces, there is reason to believe that the ancient pyramid builders were attempting to achieve the opposite. The Grand Gallery, which is considered to be an architectural masterpiece, is an enclosed space in which resonators were installed in the slots along the ledge that runs the length of the Gallery. As the earth's vibration flowed through the Great Pyramid, the resonators converted the energy to airborne sound. By design, the angles and surfaces of the walls and ceiling of the Grand Gallery, caused reflection of the sound and its focus into the King's Chamber.
Although the King's Chamber was also responding to the energy flowing through the pyramid, much of the energy would flow past it. The design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resonant King's Chamber. This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, the input of sound and the maximization of resonance, the entire granite complex, in effect, became a vibrating mass of energy.
The acoustic qualities of the design of the upper chambers of the Great Pyramid have been referenced and confirmed by numerous visitors since the time of Napoleon, whose men discharged their pistols at the top of the Grand Gallery and noted that the explosion reverberated into the distance like rolling thunder.
Striking the coffer inside the King's Chamber results in a deep bell-like sound of incredible and eerie beauty, and it has been a practice over the years for the Arab guides to demonstrate this resonating sound to the tourists they guide through the pyramid. This sound was included on Paul Horn's album, (Inside The Great Pyramid, Mushroom Record, Inc., L.A., CA) After being advised of the significant pitch produced by the coffer when it has been struck, and the response of the chamber to this pitch, Horn brought along a device which would give him the exact pitch and frequency. Horn tuned his flute to this tone, which was emitted, which turned out to be `A' 438 cycles per second. In a fascinating booklet about his experiences at the Great Pyramid, Horn describes phenomena concerning the acoustic qualities of the inner chambers.
"The moment had arrived. It was time to play my flute. I thought of Ben Pietsch from Santa Rose, California (a man who had told Mr. Horn about the pitch of the coffer) and his suggestions to strike the coffer. I leaned over and hit the inside with the fleshy part of the side of my fist. A beautiful round tone was immediately produced. What a resonance! I remember him also saying when you hear that tone you will be `poised in history that is ever present.' I took the electronic tuning device I had brought along in one hand and struck the coffer again with the other and there is was - `A' 438, just as Ben predicted. I tuned up to this pitch and was ready to begin. (The album opens with these events so that you can hear all of these things for yourselves.)"
And, indeed, the sound, which Paul Horn brought to my living room, was most fascinating.
[again, see Dunn's page for phenominal Sound Clip]
I shall need to answer to Dunn directly and make corrections, if my comments distort his work. Ben Pietsch reads posts here, I have a direct line to him also, will add his comments or rebuttals, until he is able to access this site directly. Pietsch's DVD just arrived in the mail, unlistened to yet as have not even unpacked from my trip. Or taken off my coat. An earlier post let you know of his generous offer to mail his new DVD to anyone here at Ancient Waterways, without cost, titled:
"The Great Pyramid of Cheops and the Origin of the Philosopher's Stone" (DVD), 2008 www.sonic.net/bernard
A separate Post will follow my viewing and study of the DVD, better yet if others also view your own. Anyone wanting a copy sent to you, please mail Ben Pietsch directly so you can comment on his work and/or thank him. Or email me your mailing address and I can send him a list.
Speaking of which....those who watched the Presidential Inaugural may have seen how many times the Washington Monument came into view. It seems far more meaningful after viewing Pietsch's three short YouTube Videos of the Washington Monument with suggested 3000+ year old design behind it:
Bernard Pietsch (& Suzanne)Art, Architecture & the Idea of the Sacred-The Washington Monument
--- In email@example.com, "Susan" <beldingenglish@...> wrote:
> Good subject raised earlier on archaeacoustics and ties nicely with
> rock art and sound in relation to sites accessed by old rivers, lakes,
> water routes. To include all Ancient Waterways Society members on this
> type of research, not unrelated to ancient waterways, I shall include a
> web site a linguist from Puerto Rico had put up a few years ago at the
> now publicly "closed" PreColumbian Inscriptions web site. I"ve sent it
> to others, but a couple of months ago to to Chris and Ted re: some of
> their off-line research.
> The site may be of interest to this group as applies to the Petroglyphs
> Provincial Park near the Kawartha Lakes region not far from Toronto.
> Perhaps the Ontario members here are familiar with the Peterborough
> Petroglyphs, maybe even Paul Devereau's work on Ontario rock-art
> sites and archeo-accoustics. Or with the reportedly legendary
> special acoustic properties at special areas of the park.
> Archaeoacoustics - Spirits in the Stones