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via World Mysteries – Mystic Places – Puma Punku – Puma Punka.

Pumapunku, also called “Puma Pumku” or “Puma Puncu”, is part of a large temple complex or monument group that is part of the Tiwanaku Site near Tiwanaku, Bolivia. In Aymara, its name means, “The Door of the Cougar”. The processes and technologies involved in the creation of these temples are still not fully understood by modern scholars. Our current ideas of the Tiwanaku culture hold that they had no writing system and also that the invention of the wheel was most likely unknown to them. The architectural achievements seen at Pumapunku are striking in light of the presumed level of technological capability available during its

Sacsayhuaman, Qenko Peru

construction. Due to the monumental proportions of the stones, the method by which they were transported to Pumapunku has been a topic of interest since the temple’s discovery

Puma Punku doesn’t look impressive: a hill as remains of an old pyramid and a large number of megalithic block of stone on the ground, evidently smashed by a devastating earthquake. However, closer inspection shows that these stone blocks have been fabricated with a very advanced technology. Even more surprising is the technical design of these blocks shown in the drawing below. All blocks fit together like interlocking building blocks.

continue reading World Mysteries – Mystic Places – Puma Punku – Puma Punka

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A mysterious undersea pyramid structure off the coast of Japan causes controversy – is this a natural geological phenomena or a man-made structure which changes the history books as we know them?

In 1986, a diver near the island of Yonaguni Jima, off the southern tip of Japan (around Okinawa) came across some strange structures about 25 metres below sea level.

They appeared to be stepped structures with terraces and ramps.

One of the largest pyramid structures is 600 feet wide and 90 feet high –with five separate levels of stone blocks with what appears to be road surrounding the structure.

Tool marks and carvings have been discovered upon the stones (and documented) which indicate that they have were constructed rather than being natural stone structures.

Masaaki Kimura, a marine geologist from Japan’s Ryukyu University, Japan, has been studying and mapping the site for over 15 years and believes that the site is over five thousand years old – but was sunk during an earthquake two thousand years ago.

Others have estimated that the structure is far older – including Teruaki Ishii, professor of geology at Tokyo University who%2

continue reading World Mysteries – The Yonaguni Monument: unexplained underwater structure.

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via “World History and Bosnian Pyramids”

Almost everything they teach us about the ancient history is wrong: origin of men, civilizations and pyramids. Homo sapiens sapiens is not a result of the evolution and biologists will never find a “missing link”, because the intelligent man is product of genetic engineering. Sumerians are not the beginning of the civilized men, but rather beginning of another cycle of humanity. And finally, original pyramids, most superior and oldest, were made by advanced builders who knew energy, astronomy and construction better than we do.

In order to understand the ancient monuments, we need to view them through three realms: physical, energy and spiritual. Our scientific instruments are simply not enough to explain the purpose of oldest pyramids, for example. Mainstream scientists, archaeologists, historians and anthropologists, are often main obstacle for scientific progress.

Gap between physical and spiritual science is to be bridged if we want to get fully understanding of the past.

Twelve hundred ton stone block in Baalbeck (Lebanon) needs explanation. Who was able to shape, move and install four times bigger blocks than our, 21st century, capabilities? Yonaguni megalithic monuments (Japan) do belong to the previous cycle of humanity. Th

via WORLD HISTORY AND BOSNIAN PYRAMIDS 2011 – Fondacija “Arheološki park: Bosanska piramida Sunca, Archaeological Park: Bosnian Pyramid of the Sun Foundation.

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This 16 page article is reblogged from a different website and has been scaled to fit this column, and unfortunately the print is small. So for anyone interested in this metaphysical topic, of the healing effects of sound at 528 Hz and Egyptian sonics, it would be worth it to investigate the link to the original Scribd page, below.

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based upon “When the Jaguar Lies Down With the Lamb” by Roy Ascott
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Scientists are optimists. With stars in their eyes, and “the-sky’s-the-limit” mentalities, they forge on their merry way, analyzing and dissecting the physical aspects and forces of nature of the world around us, like the courtiers in the old Chinese fable who would de-construct the mechanical songbird, but find it too difficult to put the original back together. Yet it is the hope, of the idealistic reconstruction of reality, that drives scientists to deconstruct the fabric of the universe, and accord humans a new place in it.

Puts forth Roy Ascott:

Just as globalisation means that not only are we are all connected, but that our ideas, institutions, even our own identities are constantly in flux, so too will moistmedia bridge the artificial and natural domains, transforming the relationship between consciousness and the material world.

Through advanced technologies we are evolving a double consciousness which allows us to perceive simultaneously the inward dynamic of things and their outward show……The crossovers between art, science, technology and mythology will mean that increasingly we live in the context of mixed reality…rubric of an emergent technology that deals concurrently with the virtual synthesized world…It creates environments that integrate both real and virtual worlds quite seamlessly.

Hold it right there. Doesn’t anyone remember the “Borg” on Star Trek the Next Generation? The “cybernetically enhanced” humanoid drones connected through wires and plasma membranes to the physical structure of their spaceship? Although the character Data demonstrated that intelligent androids could serve humans loyally–if programmed to–what about the robots who come to rule earth in “the Terminator”? Did the scientists who manufactured the first cyborg components at ‘Cyberdyne’ regret later what they thought of as progress?
size-medium wp-image-680″ />As human consciousness expands with access to an expanding and shared database and cultural immersion in technology, at what point do humans retain their physical integrity as entities apart from a “Matrix”? Gene Rodenberry and Harlan Ellison seemed to remain skeptical of some scientific encounters with the future of human integration with technology.

But Roy Ascott remains a perpetual optimist:

Just as telematic art celebrates the telenoia of world-wide connectivity (opposing the paranoia of the old industrial society), so moistmedia will provide new systems and structures to the emergent forms of planetary art, redefining the dynamic space of interaction and collaboration between artists of East and West, North and South, indeed of all regions of the world, however remote and hitherto unknown to each other. Poetry will always finally outlast oppression…Moistmedia is set to create a whole new post-biological universe, quite unlike the world as legislated on high in its authorised version with its apparently immutable laws.

I guess my skepticism that all “advancements” are unquestionably beneficial, makes me part of the “paranoia of the old industrial society”. That “Poetry will always finally outlast oppression”…well now that’s a nice thought, but the cybernetic drones upon the Borg might think otherwise.

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“Chip tunes”…what the heck? Are these like iTunes? Was there something before Mp3 and Midi files? What are they?

When I have questions about anything, I usually call upon Wikipedia for answers. Wiki recounts that:

The earliest precursors to chip music can be found in the early history of computer music. In 1951, the computers CSIRAC and Ferranti Mark 1 were used to perform real-time synthesized digital music in public.[1]

In the late 1970s, video game consoles and microcomputers started to have integrated circuits with dedicated sound logic. A notable early example is the TIA chip of the Atari VCS (1977) featuring two voices with separate volume and waveform setting.

As several microcomputers were marketed with their music and sound capabilities, commercial music software became available for many models. An early example is the Atari Music Composer released in 1980 … In order to really take advantage of the sound chips, programming skills were required.

Arguably the most influential piece of hardware in the development of chip music has been the MOS Technology SID, the sound chip of the Commodore 64 (1982).

In 1981 a chip was developed by Robert Yannes called the MOS Technology SID. The SID is a mixed-signal integrated circuit, featuring both digital and analog circuitry, which mechanically creates sound, as compared to computer software which only emulates it.

Among the simplest sounds are the simple, single tone beeps and clicks we associate with computer operations. But as complexity increases, sound can be modulated or modified to mimic realistic tones. The SID chips had

three separately programmable independent audio oscillators (8 octave range, approximately 16 – 4000 Hz) ,
four different waveforms per audio oscillator (sawtooth, triangle, pulse, noise), three attack/decay/sustain/release (ADSR) volume controls, one for each audio oscillator and a ring modulation, filter, and programming techniques such as arpeggio (rapid cycling between 2 or more frequencies to make chord-like sounds) .

All these features gave the sound created in the early 80’s, unique characteristics. SID can refer to the chip, or to the MIME filename extention of these audio files. Retro sentimentality among audiophiles and computer gamers, has even renewed a demand for songs from this period of music. And many musicians simply prefer the sound coming from the audio chip to that which can now be emulated through software.

LABoral, for example, features an exhibition new Mediateca Expandida, explores the role played by music in the adoption and manipulation of obsolete technologies: vinyls, old computers, game platforms, etc.

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