This week’s episode features Dr. Rupert Till, aka Dr. Chill, who does actually hold the world’s first PhD in Electronic Music. Dr. Chill also has a habit of reconstructing ancient acoustic spaces from caves and temples, then writing electronic chill out music with 3D printed replicas of the world’s oldest instruments. In other words, he’s a badass at the intersection of academic archeology and international dance festival culture. A pretty great place to be.Dr. Chill’s Blog:https://rupertchill.wordpress.com/Dr. Chill’s set from Boom Festival 2016: https://soundcloud.com/rupert-chill/sets/boom-chillout-gardens-live-setDr. Chill on Boom Festival and living on the line between academia and festival culture: “I keep saying to people, this is work. I’m not here on holiday…I’m here disseminating the results from a 3.5 Million Pound European research project.” * Support Future Fossils Podcast on Patreon: patreon.com/michaelgarfield *We discuss the intersection of minimal electronica and the music and instruments of antiquity. Designing interactive and immersive 3D environments with accurate acoustics, and rebuilding the experience of ancient music in digital space. We also get into a tasty back and forth about the need to reclaim lost technologies of ritual and ceremony as we move deeper into the mayhem of electronic media…“Understanding what was going on in the ancient past tells us something about what is happening today. I’m interested in looking at what was similar, then to now.” - Rupert TillThe similarities between modern and ancient humans, and the sense of continuity and kinship we can feel when visiting ancient sacred sites. I mention my talk from Liminal Village, which you can listen to here:https://evolution.bandcamp.com/album/how-to-live-in-the-future-at-boom-festival-2016How the human brain case shrank as a consequence of writing, and how Google might be shrinking our brains even further…oral cultures have a much more sensitive experience of hearing:“At night, when you’re in these caves, you can’t see much. So you’re using your ears ALL THE TIME to get around the place…we’re so surrounded by so much noise nowadays, I think we miss some of that. Some of the caves I’ve been in have been the most remarkable acoustic places because they’re so silent. They’re astonishingly quiet. They were so quiet that our noise meter couldn’t measure. It was reading the lowest it could read. The noise floor of the electronics was all it was measuring. [Then later, coming out of Lascaux Cave,] you go around this corner and this SCREAMING volume of the French countryside was astonishing.” - Rupert TillThe difference between the sensory deprivation of the cave and the noise and color of topside existence.“I can understand that when people went into the dark of the caves, that when they came out, they appreciated sound and people and light so much more. That process of journeying somewhere else, to go somewhere in isolation and them come back to the world, going into the liminal space and then returning again…I think it’s a big part of what’s happening at this festival and most. That rediscovery of ritual is another thing that’s going on in this re-enchantment of the world and this rediscovery of the technologies of the past that are useful today.” - Rupert TillMichael’s story of his overnight stay in a Texas jail and rediscovering the beauty of Texas upon his release. Understanding why the police feel the need to protect this place.How the American emphasis on future-thinking has divorced us from our rites of passage. Refusing a developmental opportunity, it appears regardless, as “horrible fate.” The nature of the infamous “Saturn Return” as the moment in which we’re caught up with all of our postponed developmental crises……and how entanglement with the War on Drugs may be the only modern rite of passage available to many Americans.RJ Stewart’s book The Way of Merlin and the recurring theme in esoteric initiation of being trapped and/or put u