From the Introduction

We are inclined to see temples and pyramids very much in the past tense and fail to see that they were, and still are, living, breathing places of creation: of the outpouring of creation that came from them. What we do not and cannot see is what we cannot now hear - these were places of music and dance. Britain had Perpetual Choirs, there were Choral Guilds in the Temple of Jerusalem, the pyramids rang out to the music and hymns of the gods. Wherever there is a sacred place it was a place of music and chant.

The purpose of music and chant was to alter our brainwave patterns, to take us away from the mundane and into the heavenly.

Over the course of many years I was witness to and partook in a series of experiments at these places; experiments that charted their individual resonance. But there was one clear distinguishing aspect to them all that was nothing short of astonishing. When soundwave patterns from these sites were manifested in pictorial form, using a process known as Cymatics, they demonstrated a clear linguistic form, exhibiting script-types unique to those cultures. We saw Celtic knot-work at Celtic sites, Buddhist and Hindu yantras at Buddhist and Hindu sites, Paleo-Hebrew script, the Om of Hinduism, and, most astonishingly, hieroglyphs deep inside the Great Pyramid of Giza. The list is by no means definitive, but the implication is clear: written script, in its earliest form, emerged from these sites in a form created by sound.

However, it didn’t just appear there: it was a gift of the gods given to humanity via the hero.

It is the hero who is the fulcrum point at these places: whose myth informs us that he was the meeting point of humanity and God: the perfect arbiter between both.

It is the hero who, in the mythologies of the world, brings language and the skill of writing to humanity. It is the hero who draws down knowledge and brings the civilizing arts to the world. It is also the hero who is born in the temple--and who dies there: at the centre of the world.

As I began to look deeper into the legends it became increasingly obvious to me that what we are looking at is not just a metaphor for an experience but an expression of what I can only describe as Spiritual Technology.

But who is the Hero really?

The hero is a state of mind, almost the calm after the storm of not knowing. He brings self-awareness and the ability to grow, to ascend, to climb to heaven by learning wisdom. In effect, we are witnessing a Technology of the Soul, the science of our intellectual and conscious ascent: and in this scheme of things the sacred site becomes the umbilicus connecting us to an unseen world.

These places were constructed with a clear and resonant purpose: they are places of communion--between humanity and the divine. But what exactly are the gods? What do they represent?

The general answer is that they are forces of nature, expressions of the different aspects of the world around us. However, somewhere in all of this is a meeting point, where man meets god, where man even becomes god. That place is the Temple.

There was no denying the remarkable similarities of worldwide hero-myths: the story, with variations based on geography and culture, is largely the same, even to the degree that the names are the same and have the same meaning.

In this scheme the Sun as the Father-god shines upon the Earth-Mother, adding to the life she gives. The earth aspect is wisdom: our ability to listen to it is our wisdom, the beauty of which is reflected in the shades of the moon. The child of these deities is the hero, whose task is to unite heaven and earth by teaching us language and how to sing it. In his quest to bring us self-awareness, he dies to become a Judge of the Dead: an ancestral memory. Humanity is brought to consciousness by the Divine Child--and in all of this the sacred place plays a central role.

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As this work will demonstrate, all sacred places were carefully designed to maximise the most beneficial acoustical effects, for the precise days to which they were aimed, more often than not the summer and winter solstices; though there are plenty of exceptions to the rule.

Whilst this analysis is extraordinary it leaves out one central point: that we are the instrument of measurement in the new science--the technology is ourselves.

In the mythologies associated with these sites it is the hero who brings consciousness, who brings self-awareness by his heroic actions on behalf of humanity: because the hero is humanity, he is humanity as self-aware. His is the journey to the dark heart of wisdom: dark in the sense that wisdom is about seeing both sides of the argument in order to reach the higher good.

And indeed, on the morning of the Winter Solstice the sacred places are equally dark as their resonant frequencies take effect. In this way they acted as chambers of initiation wherein the hierophant would undergo spiritual death in order to become the hero. Quite often this hierophant was the King--and the duty of the King was his duty to his people.

Thus the beauty of the sacred space was as a touch paper whose fires were lit by the presence of the enquiring mind: ars sine scientia nihil est - the practice of an art without proper knowledge accomplishes nothing.

It is my belief that it was at the sacred site where knowledge first emerged.