Extraordinary new Laser Interference Technology reveals ancient sounds of the violin from 1552 on a surviving Petrachus clay pot. For more on this archaeological audiophonic sensation, read the book - rosenberg 3.0 – its all in there! This is sound art at the core of historical artefact and intrigue. The Rosenberg Museum is in possession of data that could lead to even greater discoveries beyond the world of violin music and into the realm of religious ecstasy and meta-belief systems. The leader of our scientific team, Professor Loekasia Von Strabo, suggests that pots stored in the Vatican from the time of Christ might reveal sonic traces of the saviours own singing voice embedded in the skin of the clay…copies of these Aramaic recordings are known to be in circulation amongst the secretive Oeyy Vei sect. A quote from the start of the relevant text The Rosenberg Code. https://youtube/watch?v=Dzd4AVXBP9k&feature=youtu.be For centuries, scholars have wondered about the cryptic reference in the Chichester Codex to Aethaneus Rosenberg’s ‘howlinge claye.’ Likewise, the (excised) paragraph on ‘singing pots’ in the surviving MS pages of Roger Bacon’s New Atlantis appear to adumbrate the same enigmatic notion. Vas quae auditus fieri posse. It’s true that the late Alfred Watkins, citing Vitruvius (Book V. Sounding Vessels in the Theatre) believed Rosenberg had simply misunderstood the Roman practice of using pots in their great amphitheatres as Helmholz resonators… the same principle as the phonograph – a potter, inscribing a decorative groove with a stylus into a pot spun on a wheel is – de facto – recording whatever sound is present in its vicinity.
Posted on: Sat, 06 Dec 2014 05:53:47 +0000