I, personally as a researcher, have always tried to mix in various other unconventional, yet scientific techniques with my research. I use things like Plasma Paper in front of Camcorders when in a fixed position to see if any heat signatures from any unseen prints appear on the paper before the camera. As with anything in this field of research, I can't say for certain if Cloaking is real or not, but I thought it was worth a try to attempt to capture something. I have checked into using other research equipment, such as GPR (ground penetrating radar)/Sonar to test the ground underneath stick structures and markings. I am curious to know if under those structures or markings, there could be tunnels, spring water, or even some sort of unusual energy field. Maybe the answers are much deeper than the surface of what we know and presume in this field of research. Technology is always advancing, and we, as researchers, should explore other opportunities and ideas. I remember once on a trip in KY that had nothing to do with Bigfoot research, we were out in a Civil War area one night discussing it's history. I happened to have a FLIR T640 on me at the time when we started getting howls, tree breaks and rocks thrown. We were down in the trenches when it started, and the sounds were extremely close. I came up out of the trenches and ran around the corner, FLIR in hand. It was my first time to see heat signatures from actual footprints. Everyone was in awe! There was a large track of prints with very vivid toes in view, prints approximately 16' in length, with a trail of them leading to the edge of a cliff, where it appeared to have jumped off the cliff. We couldn't tell how far the drop was in the darkness. My point being, before FLIR, we were working with very little technology, so I am always looking at new ideas for using different technology in my research.
During my animal communications research, I was blown away the first time I heard kulning, the unique Scandinavian herding call that's also a song. You may be asking, "why is she talking about kulning in a Bigfoot Blog?" Bear with me...I'm about to share with you an ancient secret that works rather well in this field of research. Maybe it's my Cherokee heritage coming out in a spiritual sort of form and connecting to the ancient tone, I don't know for sure what draws me in; but I can only imagine that it may have the same effect on other living creatures. Years ago in the midst of my research, it occurred to me that if we were dealing with a highly intelligent creature, we had to find a way to communicate....a way that speaks to them on another level. The usual gifting is great, but it's not really the communication I was looking for. I wanted to reach them on some other level of intelligence....and what one thing speaks to people across all barriers? Music. I have an American Eskimo Spitz that is 14 years old, but when I got him at 4 weeks, there was only one thing that would calm him and make him sleep....yes, music. But not just any music wood do. It took me awhile to find what worked best, but he would sleep through the night to Native American Flute music (another sound I often play when I'm out in the Forest). Not only was this animal completely drawn to music, but he would insist you turn off a song he did not like, by barking continuously. Of course that put the wheels in motion for me and I started researching animals and music, when I stumbled upon Kulning.
This technique seems to put cattle in a trance when done properly. The video footage shows artist and
photographer Jonna Jinton, 26, making full use of an ancient Swedish herding call for her first time trying it, to request the presence of the cows. Grazing off in the distance the herd immediately prick up their ears at the sound of Jonna's voice. She wrote: 'The cows came running and I loved the feeling… although they also brought with them millions of tiny gnats and mosquitoes. 'But the feeling of getting to stand there and share a moment with the cows was unbeatable. Not to mention the finish.'
Kulning is an ancient herding call often used to call livestock (cows, goats, etc.) down from high mountain pastures where they have been grazing during the day. It is believed that the sound may also serve to scare away predators (wolves, bears, etc.), but this is not the main purpose of the call. It's not just a dramatic melody. Kulning developed as a way for (mostly female) herders to call sheep, cows and goats down from the hills where they were grazing. Its use can be traced back to mountainous Swedish and Norwegian areas (where it's called kauking) when animals were domesticated in medieval times. It has some similarities to yodeling, which was also a communication form that echoes against mountains and down into valleys — maintaining as much of the sound as possible over great distances and varied terrain. It's meant to be a loud, strong sound, because the most important purpose is for communication. We often ask "What did people do before modern communications technology?" At least in this case, the answer is they developed incredibly beautiful musical calls that sing through the mountains.
The song has a high-pitched vocal technique, i.e. a loud call using head tones, so that it can be heard
or be used to communicate over long distances. It has a fascinating and haunting tone, often conveying a feeling of sadness, in large part because the lokks often include typical half-tones and quarter-tones (also known as "blue tones") found in the music of the region. Linguist/phonetician Robert Eklund, speech therapist Anita McAllister and kulning singer/speech therapist Fanny Pehrson studied the difference between kulning voice production and head-voice (sometimes also somewhat erroneously referred to as falsetto voice) production in both indoors (normal and anechoic rooms) and in an ecologically valid outdoor setting near Dalarna, Sweden. The song analyzed was the same in all cases, and was performed by the same kulning singer (Pehrson). Comparing kulning to head-voice, they found that partials were visible in far higher registers in kulning than in head-voice (easily observed up to 16 kHz) and that they were also less affected by an increased distance from the source than head-voice, with more or less unaffected partial patterns when comparing a distance of 11 meters from the source, compared to 1 meter from the source. In the outdoor setting, they also found that head-voice production exhibited a 25.2 dB decrease at 11 meters from the source, compared to 1 meter from the source, while the corresponding amplitude decrease in kulning was only 9.4 dB, which is a clear indication that kulning is well-suited to carry over long distances in an outdoor setting. Or, as the authors summarize these findings:
"it was shown that kulning fell off less with distance from an intensity point of view, and also that partials in kulning – but not in head voice – remained more or less unperturbed 11 meters from the singer, as compared to 1 meter from the singer. Both results help explain why kulning as a singing mode was developed for calling cattle that might be at considerable distance from the singer" (Eklund & McAllister, 2015).
When a call is made in a valley, it rings and echoes against the mountains. The animals, a number of whom wear bells tuned so that the livestock's location can be heard, begin to respond to the call, answering back and the sound of the bells indicates that they are moving down the mountain towards their home farm. The kulokks can belong to an individual, but are sometimes family-based and are handed down so that a family's cows know they are being called and thus respond. A number of calls contain names of individual (sometimes the "lead") animals, as herds are not very large.
Although when I am out in the woods by myself, I have my own way of doing this, but not everyone wants to try Kulning. I have downloaded the above track and play it often when I am out in the field conducting research. It is such a beautifully haunting sound that echoes through the forest, and seems to affect all the wildlife around me, including the birds. I have to say that there has not been even one time that I did not get a response from the audio, and I have been using this technique for about 14 years now. But let me warn you...you will need a parabolic and some good earphones.....this sounds travels a long distance, so your responses often come from far, far away and are either barely heard, or not heard by the human ear. With the parabolic, the responses come in loud and clear. I have heard various different responses, ranging from haunting howls, to a sort of Yodeling or song response, grunts and grumbles, whoops, Native American sounding chants, to a sort of ancient Syrian type chatter. Go ahead and give it a try next time you are out in the forest alone...nobody has to know. You can thank me later. 😊
Southern SASquatch Expeditions
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