On acoustic archaeology, the 110 Hz resonance, and what the builders of megalithic structures understood about consciousness that we have been slowly rediscovering for fifty years.
I have believed for a long time we sell our ancestors short just because the technology and knowledge they had of many vital subjects was different, but in some ways actually superior to our fantastic progress in our present showy and complex ways. This is especially true in the areas of real healing, sound and vibration and the mostly hidden and unacknowledged abilities of the human mind and spirit. The difference is one of essence and not form. We have become masters of form, but the essence is sadly often something quite different and inferior to what I believe has been possible at other times and places.
I wonder why it’s 110hz. It’s interesting that the mid register male voice does this. What does this mean for tropes on the difference between male and female consciousness? —One of many things needing reexamination in light of what we are learning about things long forgotten in the prehistory of our culture. What ended Sumer? Was it the collapse into philosophical materialism that repeatedly announced the decay of monument building cultures at various times and places (Egypt, Gobeckli Tepe, and even Rome)?
While the overall resonance is 110hz, I’d be curious to find out if that’s the average of the room and whether where you sat in the room produced different binaural beats inside your head.
And then there’s this: New Grange in Ireland dates to a similar time and has some similarities with Hal Saflien, including an internal chamber with the same resonance. Coincidence? Try this: DNA studies show the people we know as Black Irish came from that neck of the woods and were in Ireland thousands of years before the Celts. Curiouser and curiouser.
Tuvan throat singing involves a low-pitched drone produced by the vocal folds, typically ranging from 130 Hz to 164 Hz, with a fundamental frequency ($f0$) often around 150 Hz.
The distinctive high-pitched overtone melody is created by amplifying specific harmonics of that drone. These overtones are generally concentrated in a focused spectral band between 1.3 kHz and 2.2 kHz, though singers can …
I have believed for a long time we sell our ancestors short just because the technology and knowledge they had of many vital subjects was different, but in some ways actually superior to our fantastic progress in our present showy and complex ways. This is especially true in the areas of real healing, sound and vibration and the mostly hidden and unacknowledged abilities of the human mind and spirit. The difference is one of essence and not form. We have become masters of form, but the essence is sadly often something quite different and inferior to what I believe has been possible at other times and places.
I wonder why it’s 110hz. It’s interesting that the mid register male voice does this. What does this mean for tropes on the difference between male and female consciousness? —One of many things needing reexamination in light of what we are learning about things long forgotten in the prehistory of our culture. What ended Sumer? Was it the collapse into philosophical materialism that repeatedly announced the decay of monument building cultures at various times and places (Egypt, Gobeckli Tepe, and even Rome)?
While the overall resonance is 110hz, I’d be curious to find out if that’s the average of the room and whether where you sat in the room produced different binaural beats inside your head.
And then there’s this: New Grange in Ireland dates to a similar time and has some similarities with Hal Saflien, including an internal chamber with the same resonance. Coincidence? Try this: DNA studies show the people we know as Black Irish came from that neck of the woods and were in Ireland thousands of years before the Celts. Curiouser and curiouser.
Relevant?
Tuvan throat singing involves a low-pitched drone produced by the vocal folds, typically ranging from 130 Hz to 164 Hz, with a fundamental frequency ($f0$) often around 150 Hz.
The distinctive high-pitched overtone melody is created by amplifying specific harmonics of that drone. These overtones are generally concentrated in a focused spectral band between 1.3 kHz and 2.2 kHz, though singers can …