Painted Rock: a natural alignment with Chumash cosmology

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In the heart of California’s Carrizo Plain National Monument, an ancient natural formation known as Painted Rock stands as a testament to the region’s rich cultural and ecological history. For centuries, the Chumash people painted many petroglyphs on it inside walls and regarded this site as a sacred place, using it for ceremonies, initiations, and astronomical observations. Recent observations reveal an extraordinary feature of Painted Rock: its alignment with key celestial events, echoing the cosmology of the Chumash in remarkable ways.

The Chumash were a highly advanced and vibrant society whose territory stretched from Malibu Beach in the south to the central regions of San Luis Obispo County in the north, bordered by the Carrizo Plain and Mount Piños to the east (the highest peak in the region at 8,831 feet), and the Channel Islands to the west. Archaeological evidence shows that the Chumash settled in the Carrizo Plain as early as 2000 BCE, with their population peaking around 1000 CE. However, the population diminished steeply after that, likely due to significant climate changes that affected the region’s resources, Some Peoples from the Yokuts settled and shared the area until the 19th century.

The Carrizo Plain is bordered on the east by the San Andreas Fault, a geographical feature that not only shaped the landscape but also influenced the water sources and ecosystems the Chumash depended upon. Painted Rock, located near the heart of the plain, became a spiritual and cultural focal point for the Chumash people.

Chumash cosmology divided the universe into three interconnected realms: the underworld, the middle world, and the sky world. Humans inhabited the middle world and were tasked with maintaining balance between the realms, which were permeated by a neutral energy. Unlike many cultures that revered the Sun, the Chumash held the North Star (Polaris) as the most significant celestial object, symbolizing stability and balance in the universe.

A map of the Carrizo Plain National Monument. You can see the location of Painted Rock on the center right.

“California’s Chumash Indians thought of the sky gods this way. They saw a balance of nature and the world order in terms of a nightly gambling game played between two teams. Sun was the captain of one team, while the pole star, Polaris, led the other. Polaris was known as Sky Coyote, and its pivotal position among the stars made it a symbol of the night.

For a full year they played, and at the winter solstice the score was tallied. Moon, that expert at counting out the days, kept score. If, at the winter solstice, Sun was the winner, it would go bad for people on earth: rather than return upon his yearly journey back to the north, he might just continue on south and leave the earth in the dead of winter, with the cosmos out of balance. Sky Coyote was a benefactor, a benevolent influence. If his team won, the order of things would be restored.” E.C. Krupp Echoes of the Ancient Skies

A Petroglyph of the Sky Coyote on the inside of Painted Rock (unfortunately damaged like many of the other painting on the rock ) photo by Dan McCaslin / Noozhawk

My wife, Sarah Pillow, and I have been visiting the Carrizo Plain for many years, drawn by its unspoiled landscapes, pristine night skies, and rich history. Our connection to the area deepened through stargazing and learning about the indigenous Chumash culture, so vividly demonstrated at the Painted Rock monument. As an amateur astronomer with a passion for sky lore and archeo-astronomy, I was particularly intrigued by how the Chumash integrated celestial events into their cultural practices.

In August 2023, I conducted a detailed scan of the interior of Painted Rock using an iPhone and the Scaniverse app. The scan data was assembled in Blender, and I also created a 360˚ panoramic photo of the site, which I inserted into the Stellarium app for astronomical analysis. The results were striking: the rock formation, shaped like a large horseshoe, has its opening perfectly oriented towards Polaris, a celestial body of profound significance in Chumash cosmology. (see below a short video that show the North view of a whole year motion of the constelation around Polaris)

whole year motion of the constelation around Polaris

Another remarkable discovery emerged during my analysis: on the south side of Painted Rock, the Sun at noon during the winter solstice aligns precisely with the top of the formation. This natural alignment mirrors the Chumash’s understanding of celestial cycles, which informed their rituals and worldview. (see below a short video of the Sun, during a whole year at noon, looking south from inside the rock)

video of the Sun, during a whole year at noon, looking south from inside the rock

What makes this discovery particularly fascinating is that Painted Rock is a natural formation, not a human-made structure. Its alignment with these celestial events appears to be a fortuitous occurrence, yet it seamlessly supports the Chumash belief system. It highlights the deep connection the Chumash people saw between their sacred geography and the cosmos.

An aerial of Painted Rock

Tragically, the Chumash population was devastated during colonization. The establishment of Spanish missions introduced disease, forced labor, and cultural disruption, and westward expansion by settlers led to further extermination of their population and heritage. Yet, the Chumash legacy endures through their artifacts, traditions, and the profound cosmological insights that continue to inspire and amaze.

Part of a large painting on the inner wall of Painted Rock, unfortunately vandalized modern inhabitant of the area (the location is now fenced in and you need to register to visit it)

The Carrizo Plain is more than just the home of Painted Rock. It is a vital ecological and cultural preserve, with vibrant wildflower blooms, rare wildlife, and one of California’s last native grasslands. Its dark, unpolluted skies make it an ideal destination for stargazers and those seeking to connect with the celestial traditions of the past.

I hope this discovery inspires further exploration of Painted Rock and its connections to the Chumash worldview. By uncovering and honoring the interplay between culture, nature, and astronomy, we can better appreciate the profound legacy of the Chumash and their relationship with the universe. If you are fortunate enough to visit the Carrizo Plain, approach Painted Rock with reverence, keeping in mind its cultural and spiritual significance. Together, we can ensure this sacred site remains a source of wonder and learning for generations to come.

Who is ignorant of motion is ignorant of nature

The major contributions to science that Galileo brought to the world are well known. But putting these discoveries in the musical context could turn out to be more relevant that one would think.

The origin of Western science is linked to the study of harmony. As it was understood, Harmonia comes to be in all respect out of contraries; for Harmonia is the unity of multiplicity, and the agreement of things that disagree (the fitting together of extremes).

The Pythagorean school of philosophy sought to integrate scientific inquiry into the nature of Number and a mythical awareness of the musicality of universal law. In particular, the harmonic series consisted of whole numbers: 2/1, 3/2, 4/3, 5/4…and so on.

The instrument that was used to investigate numbers was the monochord (see my previous blog post on the subject), which is used to measure the relationship or ratios between harmonics of a root note (the fundamental).

In fact, some historians of science contend that the division of the monochord strings is possibly one of the earliest scientific-empirical experiments ever to be carried out with mathematical rigor.

Image of a monochord played by a monk

Throughout the whole of history, right up to the eighteenth century, the monochord was associated with cosmic concerns…the stretched string stood for the universe, with the various harmonics representing the planets in the solar system. Music, mathematics, and astronomy were inexorably linked in the monochord. The universe was thought to obey musical laws; therefore, the study of the monochord yielded information considered relevant to the other sciences, the humanities, and religion. Keeping with this harmonic-based cosmology, Kepler discovered a numerical relationship, his third law of planetary motion where the major semi-axis of the orbits of planets and their periods are proportionately related. He called it the “Harmonic Law”, and like all the philosophers of the time, he studied the ancient world of Pythagorus and Plato (Kepler also attempted to fit all the orbits of the 6 planets in nested Platonic solids).

Ancient cultures, before the invention of the printing press and the proliferation of books, were far more sonically oriented than visually focussed. That made them more receptive of the subtleties of the nature of pure tones.

Galileo was born into a musical family, and his father Vincenzio, beside being an excellent lutenist, was also a music theorist, and was investigating tuning. There was at the time a controversy about which form of tuning was best: on one side was the ‘natural’ tuning based on the harmonics of the monochord, and on the other side a more “tempered” tuning, which sounded more pleasing to the ears, in particular the major third- which sounded a bit harsh in the ’natural’ tuning. Also, the pure tuning limited the number of keys the instruments could play in. Galileo, who also played the lute, helped his father in his research. This research involved weighted strings which were set up similar to monochords.

There are several examples of how Galileo would have used music in his research:

In order to keep time while conducting his studies of the motion of bodies and their rate of fall, he used a ball rolling on an incline, by spacing frets at increasing distances from one another in order to hear a steady beat. If the frets were spaced evenly the ball would hit them at an increasing rate. At the time there was no clock precise enough to measure this. The obvious solution was music. Sing a song and the beat will be steady. This was first suggested in 1973 by Stillman Drake, a leading Galileo expert. 

After Galileo discovered the moons of Jupiter, he spent a long time figuring out their periods, in an unsuccessful attempt to use their orbits as a clock to help navigators establish their position at sea, since the first three moons- Io, Europa and Ganymede, were locked in a harmonic ratio of 4:2:1 at one octave from each other.

I think it makes sense to mention that during the experiment at the Tower of Pisa (if it ever happened), the sound of the two objects hitting the hard surface of the ground would have been much more accurately measured by the sound made than by looking at them. The rate at which our ears can distinguish singular events from one another is four times more precise as the one our eyes can.

So thinking about Galileo and the work he did assisting his father with tuning, I am sure his inquisitive mind must have stretched the boundaries of these investigations, and I dare to come up with the following insight:

Coming back to the experiment at the Tower of Pisa, I started to wonder if there was not some connection with the “weighted string experiment” which is how some monochords are set up: by hanging weights at the end of strings. And trying to understand what would be the common phenomena of the falling object and the production of the tones on the strings put into tension by the weights. It dawned on me that there could be a direct connection:

  • the weight (let us say they are stones), initially are at rest, and have potential energy, each linked to their mass
  • this energy is unlocked when put in motion, either when released from the top of the tower or from being hung from the strings they are attached to. None of the phenomenon in these configurations – the falling of the stones or the tones emitted by the strings in tension from the weights – are possible without gravity.
  • as the weight of the stones’ sizes differ, the tension on the string varies.
  • in order to reveal their tension, we have to pluck them, which gives them energy (the same goes for the stones- we have to nudge them over the tower’s edge to use gravity to put them in motion)
  • as it is apparent in the stones’ varying sizes, each string produces a tone that is proportional to the size (in that case inversely proportional, the smaller stone giving the lowest tone) of the stone
  • the energy given to the string manifested in its tension is equivalent to the energy produced by the gravity acting on the stone, both directly related to their potential.
  • you could assume that if you pluck two strings together, they should not reach our ears at the same time, as the lower frequency (being of a lower energy tied to the lighter stone) would take longer to travel in the air than the one with the higher frequency (tied to the heavier stone) as you would assume that the lighter weight would fall at a slower rate. But they don’t, they reach our ears at the exact same time (we never question this because it is so obvious). 
  • but both phenomena, the plucking and the falling, are merely a translation (or to use a musical term, a transposition) of the same initial fact: the size of the stones, and both are a form of motion. The only difference is that one (the sound waves) do not have friction (actually traveling through the medium of the air). So if we remove the friction on the stones, you should end up with the same result and they would hit the ground at the same time, as demonstrated by cosmonaut David Scott of Apollo XV on the Moon – as the different notes reach our ears at the same time.

So it could have been that this correlation was revealed to Galileo during the experimentations he performed with his father, and the root of these physics could very well be music. it seems to me that we have the same initial state give rise to a similar effect, demonstrated by two phenomena, connected through the bridge of the Monochord acting as a phase transition acting on the energy of the stone. 

The various stones fall at the same rate and the various sound waves travel at the same rate.

Of course these are conjectures; it might not be the way his train of thought worked out. But I think there is a chance, and it is an interesting proposition, and it shows that the Law of moving bodies can be deduced with this old instrument, the monochord.

To close, it is interesting to know that in the past ten years the relationship between science and music has been revived and has revealed to us elements in our data set that would not be so easy to discern if the information was offered to us visually only. There are many examples – from exoplanet systems, asteroseismology, gravity waves, and so on. (View my previous posts)

When you listen to the music of Galileo’s time, it is important to try to imagine what was the acoustic environment in which it was conceived and performed. It clearly illustrates the unique position he held in the history of human knowledge with one foot in the ancient world and the other in the modern world. He was, to use a trendy word, an inflection point not possible without the past but enabling the future.