Science of Sound by Science to Sage

Science to Sage Nov 2011, Volume 4

International

The Science of Sound Jonathan Goldman’s Chakra Chant made visible on the CymaScope

SCIENCE TO SAGE Volume 4, November, 2011

SCIENCE TO SAGE MAGAZINE IS BASE ON THE BOOK ‘INSIDEOUT, THE WISDOM OF OUR DESIGNER UNIVERSE. by Karen Elkin

The book fuses the wisdom of the ages and cutting-edge science. The mission is to make visible our connection to all of life and our universe. Each month is dedicated to exploring another chapter and its ideas more deeply with experts unifying and expanding global community.

Karen Elkin Concept,, Design, layout and production b Karen Elkins

Science to Sage Magazine and its other enterprises are dedicated to a golden age of wisdom. The goal is to weave a beautifully tapestry between the scientists, sage, alchemist, artist, inventors and innovative thinkers. Engage where the mystical, the magical and the miracle of life are explored. Science to Sage has a global network of contributors. I am grateful for their vision and fascination Let's discover together

All material is copyrighted by Science to Sage or is copyright of the authors. Science to Sage reprints these articles with the consent of authors.

The Science of Soun Based-on Chapter 7, InsideOUT the Wisdom of the Designer Univers http://www.insideoutbook.com/# FEATURED AUTHOR

Eliza Mada Dalian

John Stuart Reid & Annaliese Stuar • A Bridge to the Unseen Worl

• The Power of Soun Jonathan Goldman

• Dr. Hans Jenny,The Origins of Cymatic

• Overview of Sound Healin

• A Window into the Unseen Univers

Fabien Maman

• Applications for Cymantic • Cymatics and the King’s Chambe

• The Founding Father of Vibrational Sound Therapy

• Cymatics and the Chakra’

Freddy Silv

Stuart Mitchel

• Is Sound Creating Crop Circles

• Gene Expressio

Karen Elkins

Stuart Mitchell & Thomas Mitchel

• Excerpts from “InsideOUT, the Wisdom of the Designer Universe

• Rosslyn Key Richard Merrick

ARTIST GALLER

• A Harmonic Architectur • The Suppression of Ancient Science Harmoni • Interference Theor

Photography by Karl Herrmann • “The Wind and the Wave” from his Black and White Nature Series Collectio Photography of “Purple Cymatics” by Cymascope and Poem by John Stuart Reid

• Harmonic Evolution Paul Elde

• Poem - Cymatics: A bridge to the unseen world

• Revealing Research for Peck Human Performance

Art by Richard Merrick

• Pythagorean Philosophy musica universali

Billie M. Thompson, Ph. • Being a Per-son,You are Your Soun

RECOMMENDATION

Josef Tyl

From the Resources of the Book “InsideOUT, the Wisdom of Our Designer Universe” by Karen Elkin

• Sonic Sound John Boswel • About the vision for the “Symphony of Science

YOUtube link • Book, DVD’s, C • Plus Extra Idea BANYEN BOOKS SUGGESTED

”

Cover image by Jonathan Goldman’s Chakra Chant made visible on the CymaScope

CONTENT

Volume 4 - Them

John & Annaliese Reid

A Bridge to the Unseen World Sound is an invisible force that permeates every aspect of our lives. With the exception of music, many man-made sounds are jarring while the sounds of Nature tend to flow over and around us like soothing waters, lifting our spirit, inspiring us, exciting us. Yet if we could see sound our world would be even more beautiful than we could imagine. It would be a world filled with shimmering holographic bubbles, each displaying a kaleidoscopic pattern on its surface. To see sound is to open a new window onto our world, one that has been veiled in mystery until recently.

When the microscope and telescope were invented centuries ago, new realms came into view that were not even suspected to exist—a Universe in miniature under the microscope and a Universe so immense that centuries of research lie before us with the telescope. Now, like the microscope and telescope that preceded it, the CymaScope instrument allows us to see a previously invisible realm—the world of sound—helping us to gain a deeper and fuller understanding of life and the Universe. The CymaScope uses the science of ‘cymatics’ to make sound visible, by imprinting sound’s invisible vibrations onto the surface of ultra pure water to reveal its once-hidden geometric structures.

Seeing sound with the CymaScope

This new scientific frontier reveals aspects of Nature every bit as authentic as a flower or a butterfly, the stars in the heavens or starfish in the oceans— in fact, as we will come to see in this article, sound is just as much at work in the interior of a star as it is in the organs of a starfish or in the cells of your body.

Sound lies at the heart of every aspect of Nature,

underpinning all of Creation. Cymatics will, in the future, enable humanity to understand far more about the Universe and our world than was possible with previous technologies. The CymaScope and the science of cymatics provide a bridge that will lead to significant advancements in knowledge.

The Shape of Sound Before looking at cymatics more closely let us dispel the popularly held misconception that “sound is a wave”: It isn’t.

All audible sounds are, in

fact, spherical in form or spheroidal, that is to say audible sounds are sphere-like but not necessarily perfectly spherical. For the sake of simplicity we’ll call these spheroidal sound spheres “Sound bubbles.”

Our world is teeming with beautiful holographic sound bubbles that envelop us in shimmering patterns of acoustic energy, each bubble rushing away at around 700 miles an hour as new bubbles form from the source of the sound. Whether the sound is emitted from your voice or from some other source, such as a musical instrument, this ‘bubble-in-a-hurry’ leaves a fleeting vibrational imprint on the surface of your body: every cell in the surface tissues of your body actually receives sound patterns from the bubbles that surround you. However, only low frequency sounds can penetrate the interior of your body. To understand more fully how your cells respond to the healing power of audible sounds please refer to our article, “Rediscovering The Art And Science Of Sound Healing.”

Yet, despite the fact that sound is not a wave, the term ‘sound wave’ is in general use throughout the world, which is rather amazing when sound waves don’t actually exist! So let us briefly discuss how this strange anomaly has occurred.

Sound is basically periodic movements of air molecules bumping into each other. These movements of sound can be described mathematically and when plotted graphically the shape of the graph does indeed look like a wave. However, if we could see audible sounds shimmering in the air around us we would see beautiful bubbles, not waves, so it is misleading to say that sound is a ‘wave.’ If what is actually a bubble is described as a wave it is possible that incorrect conclusions will be made about the way Nature works.

In the illustration to the side a slice through a sound bubble is depicted. The peaks of the graph represent the regions of high-pressure air within the sound bubble, whereas the mid points of the graph represent the areas of low-pressure air. The ‘space-form’ of audible sound is indeed bubble-like whereas the graph— often referred to as a sound wave—is merely a mathematical depiction of the peaks and valleys of sound pressure.

Sound and its relationship with light To understand the concept of visual sound a little more fully it will be helpful to explore how the vibrating atoms of air that create sound relate to light and life. At the moment of these atomic sound collisions something quite magical happens: Light is created.

Light occurs every time the magnetic shells of two vibrating atoms bump against each other. The frequency of light created in this way depends on the energy in the collisions, meaning how fast they bump together. Try this experiment: Rub your hands vigorously together. You’ll feel warmth. This is because the atoms in one hand are slipping past the atoms in your other hand, creating heat, which is just another name for light. The light you create by this friction method is in the infrared part of the spectrum of electromagnetism, invisible to our eyes but quite visible to some species of bat, owl, snake and mosquito.

You create infrared light even when you speak. The atoms and molecules in the air are excited by the vocal folds in your larynx, creating a tiny pearl of acoustic energy that rapidly expands out of your mouth and rushes away at around 700 miles an hour. The atoms and molecules of air within this expanding bubble are bumping into each other, each collision transferring your voice vibrations to the nearest atom or molecule. As these ‘bumps’ occur they cause infrared light to be created due to the friction between the magnetic shells of the air particles. The infrared light carries with it the modulations of your voice that rush away at the incredible speed of 186,000 miles per second. Unlike the sound of a voice, which becomes inaudible after about one mile, the infrared light created by your voice rushes out into space where it travels for eternity, carrying your words or songs to the stars. Thus, there is a direct relationship between sound and light and in fact there can be no light in the Universe without sound because light is only created when atoms collide with each other, and such collisions are sound. So light and life owe their existence to sound.

Feeling good vibrations—a fun experiment! The Scottish born Alexander Graham Bell moved to Boston with his deaf parents in 1870 and became a teacher of the deaf. He fell in love with one of his students, Mabel, a young woman of 17 years, who had lost her hearing in childhood through contracting scarlet fever. To help Mabel and some of the younger children at his Boston school avoid collisions with horse-drawn carriages approaching from behind, he conceived a simple idea: If they walked outside holding a balloon they would feel the sounds made by the carriages through their fingertips. Alexander realized that the balloon’s surface would tremble in sympathy with the sound of the approaching carriages and alert the children to their presence. It was this simple idea that led him to invent the telephone because he realized that if the sound of a voice could move a membrane by a tiny amount, that movement could be converted into an electric current fluctuating in sympathy with the voice sounds.

Try Alexander’s experiment: Hold a balloon very gently in your fingertips (if you have long nails make sure your skin touches the balloon’s surface, not your nails.) Now, bring the balloon close to your mouth, close your eyes and make a low-pitched ‘oo’ sound while focusing your attention on your fingertips. You should easily feel the sound of your voice through your fingers. But apart from the fun you’ll have doing this, it’s a wonderful reminder of the bubble nature of sound because a balloon is bubble-like and you will feel the trembling of its surface, almost as though you could see the trembling sound bubble coming out of your mouth as you speak.

Dr. Hans Jenny The origin of Cymatics

Cymatics Cymatics—the study of visible sound—can be traced back at least 1000 years to African tribes who used the taut skin of drums sprinkled with small grains to divine future events.

The drum is one of

oldest known musical instruments and the effects of sand on a vibrating drumhead have probably been known for millennia. However, perhaps the first scientist to notice the phenomena was Leonardo Da Vinci. One day he noticed dust behaving oddly on a wooden table:

'I say then that when a table is struck in different places the dust that is upon it is reduced to various shapes of mounds and tiny hillocks. The dust descends from the hypotenuse of these hillocks, enters beneath their base and raises itself again around the axis of the point of the hillock.'

Hans Jenny, a Swiss medical doctor and scientist who studied visual sound intensively is most widely known as the “Father of Cymatics.” Jenny coined the word kymatik, ('cymatic' in English) from the Greek 'kyma' meaning 'wave,' to describe the periodic effects that sound and vibration has on matter (even though, as we mentioned earlier, sound is not actually a wave!) His books are rich sources of cymatic imagery, which he observed and described in great detail, although he left scientific and mathematical explanations to scientists who would come after him. Jenny invented the 'Tonoscope’ and was the first to suggest that such a device might one day assist deaf individuals to acquire speech.

Diatom “Arachnoidiscus”

rst

appeared in the Jurassic period

A 5000-Hertz CymaGlyph reveals a pattern of radial cell

Cymatics s

a window into the Universe

geometry of sound can be imprinted onto membranes and made visible with special techniques. The membrane can be a flexible material, such as latex or your skin, while other surfaces, such as brass or glass plates, may appear rigid yet they can still be minutely imprinted by sound. Simply by sprinkling on a little powder or sand, provided the membrane is horizontal, the imprint of sound can be revealed. The particulate matter gathers in the areas that are not vibrating, leaving the vibrating areas clear of particulate. Cymatic patterns are, therefore, rather like a photographic negative, because they represent the inverse of the sound that caused them to form. To the side is a typical CymaGlyph created with sand on the CymaScope that reveals a fundamental frequency of 5000 Hertz. Note the similarity between this cymatic pattern with the structure of a diatom, a sea creature that first appeared in the oceans of the Jurassic period, around 185 million years ago. We used sand in our early research as the disclosing medium, but we soon discovered that water, with its highly flexible surface tension, acts like a super-thin membrane and reacts almost instantly to any sound, revealing very high levels of detail. In the water CymaGlyph below an ultra-pure tone of 22.2 Hertz demonstrates archetypal pentagonal geometry creating an almost 3D view of sound. This CymaGlyph compares remarkably with the structure of the Campanula flower.

22.2 Hertz CymaGlyph created by Erik Larson, coinventor of the CymaScope.

Campanula ower, showing pentagonal petal structur

The underlying principle of cymatics is that the

The sonic signature of star ‘HR 3831-A’ made visible on the CymaScope

Applications for

Cymatics

Applications for the CymaScope instrument are beginning to emerge in many different fields, including assisting children with autism to acquire language, a subject we will explore in a future issue. Our article in next month’s edition will reveal our latest research in unraveling the mystery of dolphin language, a collaborative project with Jack Kassewitz of SpeakDolphin.com We believe that this important application will one day lead to humans holding conversations with dolphins.

Songs from the Stars Another application for the CymaScope is imaging sounds from space. We discussed earlier the concept that all sounds have an infrared component. When we speak or sing outdoors our words or song will one day reach the stars in the form of modulated infrared light.

But the reverse is also true:

sounds from stars continually bathe the earth, not as sound per se but as modulated infrared light.” Oscillating stars have a particular type of signature and in collaboration with Professor Don Kurtz we recently imaged the sound of a star that he discovered, known as HR 3831-A. This technique allows us to see the distinctive geometry of the sounds at work within the atomic furnace of the star and could provide a valuable analogue for future students of asteroseismology and for outreach projects in schools and colleges.

Cymatics Experiment in the King’s Chamber Reid conducted his cymatics experiment in 1997 with the intent of making sounds within the sarcophagus visible. He positioned a speaker inside the sarcophagus and connected it to an oscillator, a device that electronically creates pure tones. Finally, he sprinkled quartz sand on the surface area of the temporary latex membrane stretched across the sarcophagus and turned the oscillator on. To Reid’s amazement as well as the Keeper of the Keys who accompanied him in the chamber, an astounding array of ancient Egyptian hieroglyphic-like images appeared! Two are shown here but we have many others on file.

Cymatics in Egypt Most people who have experienced the acoustics of the King's Chamber in the Great Pyramid walk away with a feeling of awe, in some cases coupled with an impression that the chamber was designed to reverberate. For a relatively small chamber the reverberation is indeed extraordinary; one can literally hear one's own breathing (when the fluorescent lighting is turned off) and this experience often accompanies feelings of cathedral-like reverence. This notion of design implies a prior knowledge of acoustics and materials. The high levels of reverberation in the chamber are actually a function of the flat granite surfaces, their parallel arrangement and the chamber's dimensions. John Stuart Reid undertook an experiment in the Great Pyramid in order to investigate his belief that the King's Chamber was designed to be highly reverberant and that the energy of any sound made in the chamber is transferred into the sarcophagus. Reid has studied Egyptology for decades and believes that the King’s chamber was designed to support a rebirthing ritual enacted prior to the pharaoh's death or perhaps afterwards and that vowel sounds chanted in the chamber were intended to have an energizing

effect on the sarcophagus and its occupant during sacred rituals.

The simplest explanation for how hieroglyphs came to be imbedded in the sarcophagus derives from the highly resonant crystalline structures imbedded in the granite that would have bathed the scribes in sound bubbles during construction of the sarcophagus. Hypothetically, one or more of the scribes had synaesthetic abilities, that is, they could ‘see’ the sounds from the sarcophagus while it was being worked with tools. Reid postulates that these mind’s-eye sound patterns influenced the scribes in the development of the hieroglyphic language. (For those readers interested to learn more about Reid’s acoustics research in Egypt please visit our web site: http://www.cymascope.com/ cyma_research/egyptology.html)

John Stuart Reid

Cymatics

& the Chakra’s

The word ‘chakra’ means wheel or circle in Sanskrit and is based on the ancient Eastern model of the body having seven primary chakras or energy centres.

Each of the

seven centres connects subtle energies with the physical body and are receptors that vitalize the body with prana or life force energy. The chakras are aligned from the base of the spine to the top of the head. Each chakra possesses speci c purposes and is associated with the functioning of a particular endocrine gland. In order to maintain emotional, mental, physical and spiritual health, all chakras must be functioning properly and working harmoniously with each other. When one or more of the chakras become imbalanced or blocked the result is dissonance in certain aspects of the body. Emotional imbalance, illness or disease often manifest as a result. Just as the cells of our bodies produce distinct sounds, so too do the chakras, although science is only just beginning to investigate this phenomenon using SQUID magnetometers.

Many healers have used their intuition to guide them to the sounds of the chakras and one of the most notable authorities on this subject is Jonathan Goldman, renowned sound healer. He devised a system of chakra sounds that Reid imaged on the CymaScope and can be used as an aid in meditation.

Astoundingly, when he

imaged the heart chakra it appeared in the shape of a heart—the images to the side have not been retouched except for the addition of colour.

“Sound and the Chakras” with Jonathan Goldman

The study of cymatics is still in its infancy and innumerable realms within this sphere of research are waiting to be explored. Please visit our website for updates on the latest cymatic insights and discoveries: www.cymascope.com

Autobiographical note from John Stuart Reid Following a career in acoustics that spanned 30 years I began to research the true nature of sound in 1999, never having been comfortable with the ‘sound wave’ model of sound taught in our Universities. This inevitably led me to search for a way to see sound and to the work of Hans Jenny, a Swiss scientist who had investigated cymatics in the 1960’s.

A few years later, in 2005, I created the rst CymaScope, the same year that I met my wifeto-be, Annaliese. When I showed the prototype to a brilliant young American design engineer, Erik Larson, he took my ‘model T Ford CymaScope,’ as he called it, and gave me back a veritable Ferrari, built to sacred geometry proportions and gleaming in brass and polished mahogany like a machine from the workshop of one of my heroes, H.G. Wells. Vera Gadman, a gifted graphics designer, soon enhanced our company and today CymaScope.com serves the world as a wonderful source for all things cymatic. We now have CymaScopes in several private research institutions, sowing seeds that hold the potential to blossom into new and important sciences for humanity

John Stuart Rei

Cymatics Experts Autobiographical note from Annaliese Shanda Reid I have studied ancient philosophies and its correlations with modern quantum theory for a large part of my life. I have been a teacher of energetic healing and sound healing techniques for over 20 years and have given talks and taught workshops in the United States and Great Britain. I am committed to supporting personal wellbeing on all levels, physical, mental, emotional and spiritual and I co-authored "Journey Into Wholeness" a book that explores the reader’s untapped resources in a practical, af rming manner I met John in 2005 at a cymatics workshop he gave in Atlanta. We are both interested in the effects of sound on cellular matter and are planning a series of micro Cymatics experiments to research this area using a powerful Nikon microscope. I am currently coauthoring, with John, a mainstream book on cymatics.

Annaliese Shanda Rei

Worlds within Worlds the Hidden Mysteries of Life

The Science of Sound made visible on the CymaScope

Cymatics: A bridge to the unseen world Silver Shimmer Shimmer, shimmer, liquid silver, Water has no mind but will; The will to merge with other waters, The will to grow yet greater still. And if mankind could be like water, And if mankind could merge their wills, ‘Would not our souls like silver shimmer? Would not our souls be greater still? by John Stuart Reid

The Biology of Life Unfolding in Symphony of Sound

Duality Symmetry Geometry Sphericity Simplicity Complexity Fractality

Singular Expansion Radius Interconnected Organic & Galactic

The ONE & The MANY The Science of Sound made visible on the CymaScope

Stuart Mitchell ‘Gene Expression’

DNA to Music Process.. The Library of Helixandria …As the tape passes through the head of the recorder it is “read” and converted into music or other sounds. Thus magnetic markings are “translated” into notes. When a “tape” of mRNA passes through the “playing head” of a ribosome, the “notes” which are produced are amino acids, and the “pieces of music” which they make up are proteins. Thus DNA as the base code provides the structural framework, thus the notes of amino acids are formed into are proteins or “pieces of music” Douglas Hofstadter. Godel, Escher, Bach: An Eternal Golden Braid.(New York: Vintage Books Edition,(1980

This simple analogy explains very well the reason for DNA utilizing sound and vibration as its primary tool for building proteins into cells then into living biological structures. Music in its simplest form, as we know it, could be termed as “The organisation of sound into a de nable audible expression” and DNA employs this very principal to operate its complex and delicate genetic function. In fact, I’m sure you have heard of the term ‘Gene expression’, Gene expression is the process by which information from a gene is used in the synthesis of a functional gene product. These products are often proteins which prove that the entire DNA system uses these 2 functions (sound and expression) as an aesthetic interpretation of its data Wave genetics has successfully proven that without sound, DNA could not function and it is at this point that musicians and composers step in to provide an artistic expression to this data purely to bring these elements into the range of human hearing for a greater appreciation of the workings of creation It really is like looking over a music score of life, the DNA score has an orchestra of players (amino acids) it has a conductor (Gene expression) and collectively the entire system communicates together to build the dynamics of sound and colour that combine together into a structured biological Symphony. Namely our bodies and all its constituent parts.

)

In the same way as a score of Mozart is a sequence of instructions for violins and cellos to combine together into a symphonic expression, our genetic score is a sequence of amino acid’s compiled in the DNA data and impeccably expressed into a symphonic structure. No wonder we are so close to music, form and structure

The idea that DNA and music might be connected originates 30 years ago with the work of Dr. Susumu Ohno, a geneticist at the Beckman Institute of the City of Hope Hospital in Duarte, California. Dr. Ohno has notated more than fteen songs based on the DNA of a variety of living organisms. Dr Ohno’s wrote about authentically connecting the DNA code to musical composition “… the principle of repetitious recurrence pervades both the construction of coding sequences in the genome, which can be regarded as being representative of nature and musical composition which can then be regarded as the most abstract and therefore the most intellectual expression of nature.

So nature has already discovered that the principals of sound and sequence are the perfect tools to build biological entities ef ciently, expressively and musically All we have to do is understand and express its properties to bene t this language of sound and sequence that appears to have been composed a very very long time ago..but by who or what For a musician the process is simple, the score already exists within ourselves and is there to be read and interpreted using simple genetic software, one can take a sequence of DNA data directly from an internet database, translate its amino acid sequence into music tone by assigning relative pitches to the amino acid’s measured by their molecular weight and salt, acid content. 22 amino acids become a 22 note scale of music in which an in nite amount of melodic structures can be revealed and the artistically expressed into a piece of music direct from The Library of Helixandria

”

DNA Sequencing/Radioactive Fluorescent DNA/ Author Abizar/GNU CC-By-SA-2.5, 2.0 Phasorial diagram of the simple harmonic motion by Gonfer at en.wikipedia

“...we know that DNA emits a weak form of coherent light that has been demonstrated to work like a communication system between cells and even between larger organisms. In this sense, the art of light is indeed the instrument of the spirit. It is nothing less than the mechanism, the framework so to speak, that allows Mind to exist in the universe. The language of light emitted and received by the DNA may be the original of all languages, the ultimate language of initiation. http://www.jwmt.org/v1n4/readlight.html

‘Gene Expression’ If there is a creator of DNA, he understands the laws, principals and expression of our universal art form known to us as music

…

”

— Stuart Mitchell

‘Gene Expression’ DNA adapts to environmental change and resonates with the frequency of Earths Biosphere — The Schumann Resonance —

understandable now why the animals have such a ‘perfect pitch’, because their DNA is a biological music instrument that tunes itself to its planetary environment in order to develop and survive. — Stuart Mitchell

Every cell of our bodies, heart, and mind have grown up with the Earth's heart beats and being in harmony keeps all that is alive on Earth healthy. It is an essential program deep in the DNA code that maintains stability and growth of each species. So it becomes

432 Hz or ‘cycles Since the very beginning of our human consciousness we have been evolving ourselves within the expression of our day to day life experiences, in music. It would appear natural for us to do this as creative human beings, but we are not alone, and species that have existed from millions of years have been doing the same thing. In fact, I believe that a creative harmonious musical species, such as Birds, Bee’s, Whales and Dolphins have survived precisely because of this collaboration with nature’s tuning

’

I listen to the animals and their frequencies for a tuning system and 432 Hz appears to be what they are centrally tuned to, to my ear. In all the passage of time that has passed before us, we have been in the audience to a music that is in

perfect harmony with nature and provided to us every day by the sounds and musical gestures put forward by species that have successfully survived employing this musical expression since DNA rst arrived here on Earth.

‘Gene Expression’ We are musical ambassadors of DNA, if not the ultimate musical expression of nature, every one of us. Because we understand today how important music is in the fabric of our physical reality, we can begin to interact with it harmoniously and potentially for the survival of our species based upon the current musical species around us today If we are ‘in tune’ with the Earth, we, as a species are within it’s full of potential Potential is the means of our DNA’s

survival.

DNA music has been developed since the early 1970’s when Geneticists found it easier to read the ling strands of DNA code by assigning pitches to the 22 Amino Acids. Order your personal DNA musical pro le

Click here for more info

"DNA music exists within every living organism universally and now we have the technology to unlock a symphony from within everyone for a better and more aesthetic understanding of life, ourselves and each other". Stuart Mitchell

Stuart Mitchell and Thomas Mitchell

In 1995 my father Thomas.J.Mitchell rst introduced me to the enigmatic Rosslyn Chapel and its plethora of carvings and symbols to re my imagination and inspire what has become known as The Rosslyn Motet. Little did I know that in the 10 years that followed the music would introduce me to some of the most advanced and knowledgeable minds on the planet and open up a whole new level of ideas and philosophies about Rosslyn that we could never have imagined at the time. In some way, the actual interaction of our music and cymatics with the media brought forth many thoughts and accounts of peoples experience at Rosslyn and in this book, we would like to share these concepts with you, so generously brought forward to our attention and steadily but surely tted together into a clearer understanding of the questions still left to answer over Rosslyn’s design and concept.

Our goal has been about the revealing the music, and since the time we have discovered the Rosslyn tones, the laws of music have proved to be the very foundation to universal geometry on every scale. We always knew there had to be more to the discovery of the music than ‘just the music’ itself. Now we introduce you to what we have discovered, through the great and beautiful minds that have put all this meaning and truth together. Many centuries have past and a great deal of conspiracies and conjectures have been made, yet all along the time line, the geometry and message remains unchanged since it holds the properties of the universe within its calculations and proportions.

The Rosslyn Key Symbolism, Cymatics/Chladni Patterns, Golden Mean, Pythagoras, Plato, all these elements and calculations are embodied into all of the great ancient structures that we know, including Rosslyn Chapel.

Taken and donated by user:Guinnog/GNU

We will reveal to you what the ancients knew and why it was so important for them to pass this on down through the ages.

A preoccupation with the movements of Venus is a long thread that connects many monuments around the planet and Rosslyn Chapel is no exception. It has always been our belief that these structures were made for times such as this. The ancient knowledge being passed down to us today is comparable to an egg, ready to be hatched when the time is right and absorbed under the right human and sociological conditions. Only this time, we have the support of the Sun and Planets to engage with this knowledge and understand its true meaning as part of a cosmological geometric pattern. Realising we are part of a bigger and wider cycle of time, and at the mercy of the powerful forces of the universe, we can learn to work with the cosmos or choose to ignore it. In the same way William St Clair chose to pass this message down, we today, have the same choice to make. Work with the geometry of our world or choose a different path. The answer is all too obvious, we must to choose to work with our universe or perish in the con ict.

Music is our pointer to true survival, a gateway to understanding how everything works together, life is a symphony, and architecture is the same sequence in stone, both elements together hold ‘the great secret of the one thing.’

Spheres of Influence Kepler’s Planetary Harmonics phttp://www.youtube.com/watch?

I grant you that no sounds are given forth, but I affirm . . . that the movements of the planets are modulated according to harmonic proportions.- Johannes Kepler

“Music is enough for a lifetime, but a lifetime is not enough for music” Sergei Rachmaninov Rosslyn Chapel is widely appreciated for its many wondrous carvings and intricate stonework, no more so than the arrangements of arches and pillars in what is known as ‘The Lady chapel’. It is at this location in the Chapel that you will nd 13 musicians and singers adorning the top of the 3 pillars commonly referred to as The Master Mason Pillar, The Journeyman’s Pillar and The famous Apprentice Pillar respectively. The ‘Orchestra and Choir of Angels’ are arranged as per a regular medieval orchestra of the 15th Century and includes Lute’s, a ‘Stave Angel’ (singer), Fife & Drum’s, Violin, a Bagpiper, an Organetto, a Shawm and nally 4 Singer’s reading from an open book. The musicians are beautifully carved and in such detail that you can make out the chords they are playing on the Lutes, accurately name the instruments chosen by the designers and you can even make out tuning pegs on some of the instruments. Emanating from above each musician/singer are 13 arches with an arrangement of 213 cubic and rectangular objects protruding on stems along the course of each arch. On the face of each ‘cube’ are a sequence of 13 curious symbols that resemble geometric patterns placed in an arrangement with recurring patterns through the layout. (We shall look at the meaning of these symbols in a moment). To a musician it appears as a score, a sequence of information, the mere fact that there are musicians at the base of each sequence only con rms the intent of the designer’s, that this is a musical score and the symbols are its notation. The whole arrangement of carving’s literally cries out ‘music’ when one stands back and observes the complete assembly and the details as a coherent whole. All these elements put together left no doubt in our minds that the symbols were to be performed by these instruments and singers. All one had to do was discover the relative pitch of each symbol and so we began an extensive search to discover where these symbols are found collectively (under one roof) and if they had any musical and resonant meaning. Our research took us through many different theories, philosophies, cults and various ancient languages such as cuneiform which did yield some fascinating results which we will demonstrate to you a little further on. Every so often a ‘cube symbol’ would appear amongst a myriad of obscure patterns but never a complete set of the 13 geometric patterns together. After a period of elimination, the formula that we did nd them all grouped into one collective was the little known science of Cymatics (penned in 1956 by Dr

Hans Jenny), formally known as Chladni patterns or sound patterns.

Revealing the Music

The Apprentice Pillar

Ernst Chladni, born 1756, was a German physicist and musician. He’s the

rst known

person doing research on vibrating plates leading to the “Chladni Patterns”. Cymatics is de ned in Wikipedia as: Cymatics (from Greek: κuμα “wave”) is the study of visible sound and vibration, a subset of modal phenomena.

Flickr -Lynn Morag

symbols to the frequencies because the phenomenon had apparently only rst been noticed by Galileo in 1632. This put the knowledge of Cymatics back 200 years before the rst registered account. As it turned out, the answer to this ‘problem’ became one of the rst great realisations on the journey to completing the intended music of Rosslyn.

(Left: A cymatics/ Chladni pattern & Right: A Rosslyn Cube Middle C)

John Reid, “Sound orders matter because matter is a periodic phenomenon and so is sound. Matter and sound interact naturally. Both follow God-given laws.” From The Secret World of Visible Sound by John Reid. The further we look back into the history of ancient civilisations, the more we discover their connection and understanding of sound & vibration embedded throughout almost every culture.”

Therefore, a knowledge of ‘Sound Pattern’s could easily have been the foundation to the development of language, symbols, mathematics, art, music and geometry. A wonderful visual example of this can be seen in gures on the next page. The resemblance is striking considering the actual time period between the two cultures and leaves one with little doubt that ancient people knew a great deal more about the Laws of Nature and Geometry than we currently give them credit for. Resonance and Geometry has a played a great part in human history quest for knowledge and Rosslyn Chapel’s designers are no exception. By this point we were convinced of the knowledge of ‘Sound Patterns’ being known to William St Clair and his co-designer Sir Gilbert Hay. It also seemed to us the most natural choice for a music notation system de ned by the Laws of Nature knowing that the carvings in the Chapel are a shrine to nature herself. And so we began the long process of matching the Chladni symbols to the patterns on the faces of each cube. This process took the greatest amount of time and effort but as we progressed a beautiful and haunting

melody began to reveal itself and it sounded incredibly medieval to our great satisfaction.

This discovery in Rosslyn alone brought up some interesting questions before we had started to match the

The Stave Angel “Music is well said to be the speech of angels.” - Thomas Carlyle

Adorning the top of the Apprentice Pillar is ‘an angel’ musician pointing out 3 notes (B, C and A) on a G Clef stave. It was thought at rst it could be a Dulcimer or a type of ve string Harp, but the instrument is the an unusual performance position and there are no ‘pegs’ for tuning as indicated on all the other stringed instruments amongst the carvings. on closer inspection it proved itself to be a cypher for the Rosslyn music. The Stave Angel was one of the most interesting and revealing discoveries that we made toward the end of the music decoding process. When we were satis ed with the music and with the pitches of the symbols in place, my father and I now turned to the carvings of the array of musicians running from south to north along the 3 dominant pillars, to accurately de ne what these 15th century instruments are, in order to produce an authentic recording of the Motet. All of the musicians are very well preserved and contain a great deal of detail pertaining to each instrument‘s tuning, size and logical performance position. Every musician is performing in the most natural and academically correct performance position. In fact, the detail is so clear in most gures that it made the task of identifying the instruments very easy indeed and even gave me an accurate estimation of what note ranges were possible for each instrument during this period of history. The designer’s had gone to a great deal of trouble and effort to make us aware of the complexities, design and version of each instrument. The Lute player, for example, explicitly displays the number of pegs on the head of the fret board allowing us to understand how many strings were possible, and the instrument’s lowest and highest note range. The same applies to the ddle player and the manner and technique in which the wind instruments are performing. So far, we had identi ed the Lowland Bagpipes, Fife andTabor, Fiddle, Recorder, Mute Cornett, Organetto, Renaissance Lute and Tin Whistle. The choir seems to be self-explanatory as they are portrayed as gures singing from a book to a text (we will elaborate upon the choice of text in the next chapter). Now we had identi ed all but one instrument. This gure/musician is second from the right on The Apprentice Pillar and the cubes emanating above him declare the second theme that appears in the piece. It also contains an opening sequence of symbols revealing a recurring melodic ‘motif’’ that appears frequently throughout the piece. At rst sight, the instrument in the carving looks like a Psaltery or Dulcimer; this is simply because the instrument that the angel is (supposedly) performing upon, has been speci cally carved to show a 5 stringed lyre type instrument being played in a position in which it would be near impossible to perform correctly and ef ciently.

Given the fact that the instrument has been tilted forward on its side, pointing away from the performer, it thus places the strings out of his line of sight. In addition, his hands are at opposite ends of the string, and therefore he is performing upon the “tightest” point of the string creating what could be termed as nothing less than a dull ‘thud’ in the performance. This is totally inconsistent with the detail of all the other musician carvings, since even the Lute player has his ngers over the exact notes that he about to play. I was convinced for months that this was a Psaltery he was playing and had found the notion of the sound of the Psaltery amongst the sound-mix as an attractive addition to the tonal make-up. But things just did not add up with this particular musician for quite a number of fascinating reasons. Firstly; there are no pegs showing on the ends of the strings to adjust the length of the strings to tune them (as there is in the Lute and Fiddle carvings).

On closer inspection you can see with greater detail the “musician” is in fact a singer, possibly a Tenor by the look of his build and stature. And he is leaning on a “rostrum” or “podium” with his mouth open projecting his vocal power in his expression and deliberation of intention. He is not aware he is performing upon an instrument but he is aware of the position of his ngers. So, if this is it not an instrument, why did they carve the 5 lines and spaces that are cunningly disguised as strings? In our opinion, the musician is a “decoy” that subtly points out the “Key” to 55% of the content in the music. This is not an instrument but a stave of music carved on the front of a rostrum and the “singers” nger tips are pointing precisely at the notes he is singing in the sequence of cubes rising in an arch above him.

To a musician, 5 lines and 4 spaces is like the alphabet to a writer or a colour pallet to a painter or the Periodic Table to a scientist. It is the fundamental of music notation, which was invented by an Italian Monk named Guido D’ Arezzo 995-1050 A.D. He invented the system of staff-notation by combining a 4 line stave with the rst form of notes known as ‘neumes’. He was educated by and became a member of the Benedictine Order in the monastery of St. Maur des Fosses, near Paris. He introduced a way freezing music in time and in a way in which singers would refrain from improvising and glorifying the liturgical melodies which were sacred up until then, and only passed on orally or misread in the ‘neumes’ which was a highly specialist art form to possess at the time. By the time Rosslyn Chapel was built, the universally accepted standard for staff notation was 5 lines and 4 lines for plainchant. There had been variants of 6 lines and even 8 line staffs for various instruments throughout the centuries but the 5 lines became the norm during 1400’s.Further investigation into the gure ( g 8) shows that the tips of his ngers are placed strategically upon the stave at 3 speci c points. B, C and A.

Secondly, in all my years of music, I have never seen a Lyre, Psaltery or Dulcimer performed in this manner, with the performers thumbs resting on the top of the instrument doing nothing (which is quite contrary to string performance since plucking with the thumbs is a foundational element of technique) and the instrument’s face is turned away from the performer who then has to “guess” where and what string to pluck in order to produce the music. In my opinion, it is not an instrument.

This was just one of the rst realisation, deciding this was not an instrument but a singer and that he was quite evidently pointing to the rst three notes he was performing, telling us the identity of the rst three cube symbols in the sequence which runs along the arch above this angels head. The second realisation was astounding: The rst thing that occurred to me when I saw the notes he was indicating was that “they appear to be the notes of the opening themes” and to my astonishment, they were exactly that. The pitch of the notes I assigned using the Cymatics/Voice Pattern formula were (according to this angels ngering) 100% right. 3 notes correct out of 3. But the interesting thing was that between the 3 symbols pointed out by the angel, they account for 113 of the 215 cubes. That is around 55% of the entire work. So it began to dawn on me that if the cymatics formula was correct as this showed, then the formula must be valid throughout the entire work. It was almost as if this gure and stave was verifying the music and the cymatics formula at the same time. But why is he only giving us 3 notes and not more? I believe the designer wanted us to apply the cymatics knowledge to the sequence of cubes. This appears to be the total amount of veri cation and only clue we are “allowed”. If he wereto simply offer up all the notes, there would be no reason to carve such elaborate geometric symbols on the cube faces. Had we discovered the 5 stave “melodic cipher” before the application of Cymatics, Voice Patterns and Chladni patterns, we would still have at least 45% of the cubes to de ne and that is why there has to be a formula to break the symbols and this carving is telling you (if the notes match) that you have found it. In many ways, the cymatics musical/pattern vocabulary is far more sophisticated, visual and accurate to natural music than the restrictive 5 line stave of Western notation. (A great many experimental musicians and musicologists using other systems claim that standard notation is less than ideally suited to instrumental music). It is also interesting to note that he has managed to combine within the same musical setting a standard musical notation system and a natural alternative notation that clearly works as a system due to our interpretation of the symbols using the cymatics formula.

We have to ask ourselves, is this too much of a coincidence that Cymatics is so closely related to music and the patterns and forms of its production are mirrored heavily in every one of the 13 symbols on Rosslyn Chapel’s ceiling. And yet again here we nd a standard 5 line stave only 8 inches away from a Cymatics pattern with a carved angel’s ngers verifying the pattern’s pitch? And the pitches are correct for each one?

There have been many “happy coincidences” along the way on this journey but this didn’t feel like a coincidence. There was a feeling of inevitability about the “cipher”,as if it had been waiting to be discovered, and to serve its purpose by delivering its musical message to the nder.

Since the very rst moment I began my research at Rosslyn regarding the cubes, I was always certain that whoever decided to contain a musical piece in code, would leave a “cipher”, “primer” or “key” which contained a clue to the discovery of the notes. It is almost as if he knew someday someone would pay close inspection to the detail on this particular carved, angel and thereby eliminate it as an actual instrument, thus seeing the musical truth beyond the decoy. Like all good primers, a large portion of the work has been staring everyone in the face for centuries and by directing this central angel on The Apprentice Pillar to point at the leading notes, we can now hear the true music that the designer intended.

Richard Merrick A Harmonic Architecture In most buildings today, the dimensions of a room are designed only to serve certain functional requirements, such as maximum occupancy, intended use, aesthetic style and sometimes

But, never would the dimensions of a room be intended to express a speci c philosophical or theological idea. Not so for Rosslyn chapel. acoustics and lighting.

Take for instance the interior dimensions of the main chapel: 81 feet long, 40.5 feet wide and 68 feet high. When the chapel height is divided by its width, a special acoustical proportion called an Enlightened Sixth is revealed: Rosslyn Magic Ratio = Enlightened Sixth – Major Sixth = (68 / 40.5) – (5 / 3) = 0.012345679 = 1 / 81 This “magic ratio” is magic because it represents 1/81st of the length of the chapel, which given the chapel’s dimensions is equal to exactly one foot. Walking the length of the chapel in one-foot steps, we can then identify speci c locations corresponding to common musical intervals and chords. For instance, an A major scale from the rear entrance of the chapel can be represented as: Scale note: A B C# D E F# G# Steps into the chapel: 0 9 21 27 39 55 75 The amazing thing about this is the F# forms another Enlightened Sixth with the length of the chapel, thus creating what we might call an Enlightened Square with respect to the height-to-width proportion. As a result, it is here where we nd the greatest harmony (and greatest enlightenment) in the chapel’s design. This F# location actually corresponds to the forward edge of the Journeyman pillar at the front of the chapel. Originally named inHebrew as the Shekinah pillar, this perfectly resonant and harmonious location in the chapel translates as “divine dwelling” or “royal residence.”

So we nd that the Shekinah pillar marks both the most resonant and most sacred spot in the chapel – directly before the altar in the holy of holies. Adorned with stars and musical angels carved in stone, this beautifully harmonious pillar is the key to understanding the musical science and harmonic symbolism frozen into the chapel’s architecture.

The Shekinah Pillar The Shekinah is very important in the Hebrew Bible. It refers to the divine feminine presence in the Tabernacle and Solomon’s Temple of Jerusalem. This is the one place where the connection to God was believed to be most perceivable – the source of all prophecy and a portal to a higher realm. In the Talmud Berachot, it says: “when three sit as judges, the Shekhinah is with them.” As we nd it in Rosslyn, the Shekinah is indeed the centre of three pillars that sit before the altar. Its names are the Sabbath Bride, the Lady and the Queen. In Christianity, the Shekhinah is depicted as a “pillar of a cloud,” the “burning bush” of Moses and the Holy Spirit. It is often depicted as a shining radiance or halo of “glory” surrounding deities and sacred objects in religious murals. In the case of Rosslyn, the Shekinah’s radiant glory is expressed in its perfectly tuned acoustical resonance.

In Islam, the Sakinah is said to be the “remnant of Moses and Aaron left behind, carried by the angels.” As the place where the divine presence can be found, the Qur’an associated the Sakinah with the lost Ark of the Covenant, a fabled golden container said to emit a divine radiance. Through the Shekinah, Rosslyn is connected to the legend of the Ark in Solomon’s Temple, suggesting it might have been built as a resonant container.

The Shekinah Glory Enters the Tabernacle; illustration from The Bible and Its Story Taught by One Thousand Picture Lessons. Edited by Charles F. Horne and Julius A. Bewer. 1908.

Temple to Venus The planet Venus has been the prime feminine archetype for God and fertility across many cultures and religions. She was personi ed as Shukra in the Indian Vedas, Inana in ancient Sumer, Ishtar in Assyria and Babylonia, Isis in Egypt, Lilith in ancient Israel, Astarte or Aphrodite to the Greeks, Freyja to to Nordics, Quetzalcoatal to the Maya and Venus to the Romans. In every case, Venus was considered the goddess of love, beauty and music and was often associated with a 5-pointed star or pentagram. The reason for this association is found in the astronomical fact that Venus traces out a pentagonal rose pattern in the sky as seen from Earth over an 8-year period. In ancient times, this orbital pentagram of Venus was very well known and called the Morning Star, the Evening Star, the Babylonian Ishtar, the Star of Bethlehem and the Light Bringer (Lucifer in Latin). Knowledge of this star does bring enlightenment. It was this pentagonal star that was the most likely source forVenus’ attributes of love, beauty and music. This is because it offered proof of an order and a divine intelligence in the cosmos. After all, how could anyone think life is random and meaningless when the same star is found in the seed pattern of an apple, the ve petals of a rose and even in their own anatomy. It comes as no surprise then that we nd the Star of Venus carved into the top of the Shekinah pillar at Rosslyn, identifying the divine presence in the chapel as Venus herself. The musical cherubs above the stars con rm it, as they are the mythological children of Zeus and Aphrodite (Venus). Yet long before the Greeks spoke of such an affair between their gods, the Indian Rigveda described it in cosmological terms as Indra (the Sun) inseminating Shukra (the planet Venus): “This Vena impels them who are in the womb of the variegated one; the membrane of light measures out the sky. At the contact of the waters and the sun the wise kiss him as an infant.”

The “womb of the variegated one” refers to Shukra as the Venus Star from which an infant is born. Scholars interpret this as a reference to the Venus Transit or so-called Birth of Venus – a rare astronomical event that alternates in pairs every 121.5 or 105.5 years as the planet Venus passes between the Sun and the Earth. In this passage we nd perhaps the earliest account of a virgin birth as the Sun’s love shines as a “membrane of light” through Venus, giving birth to life on Earth. This loving light is the feminine Shekinah resonance – the cloud, halo or glory described in the Hebrew Bible – passing through the pentagonal orbit of Venus. In this most ancient interpretation, Rosslyn chapel is revealed not only as a Jewish-Christian or Hebrew temple, but a temple rooted in Vedic traditions that predate Abraham – a time when mankind celebrated the celestial Birth of Venus from the Sun.

Mount Meru To understand the heart of the Indian Vedas is to understand the deepest meaning in Rosslyn chapel. In this legend we nd the prototype for the Biblical afterlife, a mountaintop where the heavenly host sings eternal. This is where the streets are paved in gold. This is the place where Indra, Zeus and Yahwah live. This is where everyone wants to be – forever. But there is more to Mount Meru than just an allegory for the afterlife – it represents a real truth about our physical world and how it is organized. In the Art of Prosody, written by Pingala around 450 B.C. In Vedic lore, there is a great world mountain named Meru. The vertical axis of the universe, Mount Meru (or Sumeru) rises into the clouds like a gigantic Babylonian ziggurat, providing natural terraces for the gods to live and dance. Around its majestic form revolve the Sun, Moon and stars. While Indra is the king of the gods in this supernal realm, the lord of the mountain is Kubera who rules a great city of gold at the summit. His regular attendants are the Nagas or cobra-serpents who help him hide his gold deep inside their serpent holes. But there is another who also protects the gold in Meru and this is Shukra, the sky god of Venus. Mount Meru is described as a numeric progression or “Mountain Forward by Stuart Mitchell of Cadence.” Today, we call this numeric progression the Fibonacci series. Pingala said that Mount Meru was organized as a pyramid of numbers where each diagonal row may be summed with the previous to generate a spiralling cadence: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, … ∞ This is no ordinary sequence of numbers. It is well documented as a central organizing property of nature, approximating the proportional branching patterns of plants, animals and such things as lightning and tidal waves. As adjacent diagonals are divided down the mountain, the numbers gets closer and closer to the universal constant of nature known as the golden mean. But the golden mean is also found in every intersection of a pentagram. This is why Shukra (Venus) was the sky guardian over Meru’s gold. Her pentagonal orbit with Earth also spirals around the golden mean, thus spirals around Mount Meru.

So we nd that the gold in heavenly Meru is not a material gold at all, but instead the golden mean and divine constant of nature. This is the true foundation of the Vedas and the deepest meaning to be found in Rosslyn. The chapel is not only a temple to Venus, but also a tribute to the great world mountain of Meru. The proof lies down the serpent hole.

The StarKey Design

Next to the front altar, in line with the three pillars, is a ight of stairs leading underground. The crypt is an austere room made of smooth stone with no burial tomb, no ornamentation and no seating of any kind. Yet, when one looks closely at the crypt walls, faint gures can be found etched into the stone. On the north wall are fragments of an arch drawing, great circles and an assortment of roughly sketched pentagrams next to a gure known as the Seed of Life.

When the tower etching in the crypt is compared to a Vedic illustration of Mount Meru from the Jain Agamas (circa 600 B.C.), some striking similarities are found. Both gures have the same symmetrical tower structure, same ve levels and similar diagonal lines. But, there is something else that suggests a common origin. The two towers have the same slope of 12 degrees from vertical, indicating that a single underlying geometry was used in their design. But, this can be no ordinary geometry – it must somehow represent Mount Meru, the golden mean and the feminine presence of Venus central to Vedic beliefs. It must be “variegated” and have “natural terraces” in which the gods may live and sing. It must be a pentagram!

Indeed it is a pentagram, but not just one – a series of pentagrams nested one within another, marking the ve levels in both towers as well as many of the ner details in the Jain illustration. This is the StarKey fractal and it has been around a very long time. Not only is the tower etching in Rosslyn a model of Mount Meru, its underlying StarKey geometry can also be found in many other ancient temples. From the Hindu tradition of 5-tier funeral pyres to the 5-level Kings Chamber in the Great Pyramid to the 5tiered steeples on Rosslyn chapel’s own roof, the StarKey has been used as a hidden design element for thousands of years. In this way, temples based on the StarKey design symbolized a great knowledge of nature, high level of spiritual enlightenment and a path of ascension in the afterlife.

www.interferencetheory.com www.rosslynmotet.com

Much of this can be explained as a rough sketch of the gothic arches used in the chapel. But on the south wall, a very strange and unexplained gure remains. There appears an etching of what looks like a skyscraper, oil derrick or electrical tower, tapering upwards to a platform. Along its sides are diagonal “struts” that open up at the top like a light bulb or cup with the middle axis extending further through a series of rings. The drawing then nishes with a small star overlapping the left side of the “cup” at the top. Many have wondered what this strange gure might mean; yet, it has remained a mystery for some 550 years. That is, until now.

The Suppression of Ancient Harmonic Science Three years ago I decided to return to a research project in music perception that I had postponed nearly thirty years earlier. It seems time had not diminished my curiosity about how we are able to organically measure the degree of dissonance and mentally anticipate the direction of resolution in music harmony. My original work in this area had taken me deep into mathematics and computer simulations in search of an explanation. Now, armed with the scientific method, powerful computer tools and access to the world's latest research, I was sure that I could determine once and for all whether our perception of music was something organic or nothing more than cultural conditioning. I had no idea that what I was about to learn would shake the very foundation of my 21st century worldview. Slowly but surely I began to put the pieces together. From a wide array of scientific research in music cognition, neurophysiology, genetics, acoustics, quantum physics and my own calculations and experiments, I developed a set of principles and mathematical models to explain how we recognize and enjoy music. Naming this system harmonic interference theory, I found a

way to show how harmonics play a common role in both sound and the structure of our anatomy.

The Vitruvian Model Once I had convinced myself of the existence of harmonic properties in human physiology, I found myself drawn to Leonardo Da Vinci's popular illustration of the Vituvian Man to see what he might have known. I learned that the circle and square surrounding the Vitruvian Man represented the mathematical 'squaring of the circle' whereby the perimeter of the square is drawn equal (as near as possible) to the circumference of the circle. Proposed first by Roman architect Marcus Vitruvius Pollio in the first century BC, the squaring of the circle was intended to represent the harmony and balance in the ideal human form. As I pondered what this could mean, it occurred to me that the circle implied an inside-out resonance of cells in the body while the square represented an outside-in damping effect to contain the outward push of cellular resonance. Like the standing wave and ring models in my interference theory, it dawned on me that all organic life could be defined as energy exploding outward into space that is then pushed back inward into specific shapes, presumably depending on which harmonic proportions are emphasized by DNA as a quantum resonator. Looking back on it, this was a very difficult thing for me to accept at first. Like every student, I had been taught from the earliest age that space was a complete and utter void. Yet, I simply could not resist the logic of life as a form of resonance and space as a kind of damping container. Using this as a hypothesis, I decided to find a way to measure resonance and damping in the Vitruvian model. To do this, I overlaid a lattice of rightangled standing waves on the Vitruvian figure. When I scaled the lattice such that the circle radius was exactly equal to 2 PI, I was surprised to find that the proportion between the circle and square could be expressed very simply as PI divided by the square of the golden ratio (or ∏ / Φ^2). Could this be pure coincidence? While both of these mathematical constants are irrational and infinite, the ratio between them does converge to the rational ratio 12:10 as 3.14159 / 2.618033 ≈ 1.2.

The moment I saw this, I realized that harmonics really could account for our body structure. We have ten fingers and toes at the extremities (where cellular damping is presumably greatest), yet at the same time we have twelve major articulated joint groups in the body and twenty-four vertebrae in the spine (where cellular resonance must be greatest). Pursuing this line of thought, I decided to add a recursive growth dimension to the lattice (creating what is called a 'Hilbert space'). This was incredibly accurate in predicting each of the key plexus points in the Vitruvian model, convincing me that our bodies (and all life) must resonate or grow into the containment geometry of space. And just to confirm this, I reverse engineered the Vitruvian model from the inside out by recursively building up each part of the body mathematically as if it were growing in space. The implications were absolutely mind-blowing for me, since it seemed to confirm that space was somehow interacting with the structure of life. But this was only the beginning.

Hidden symbols, suppressed knowledge I began to notice how the harmonic lattice could also contain other things, like ancient religious icons, sacred geometrical patterns and the mysterious symbols used by various esoteric fraternities. Not being a member of any such organization myself, I waded through the literature on these topics to get an idea of where these secret orders came from and what their symbols could mean. I found an unbroken current of knowledge through all of them tracing back to the Egyptian Flower of Life pattern (6th century BC) and its components, particularly the geometries of Metatron's Cube and the Vescia Piscis, which all fit perfectly into the Vitruvian harmonic model. I also noticed that the Hebrew Tree of Life fit within this musical lattice, aligning with the seven points of the Hindu chakra system! Even the Gnostic cross used by the Rosicrucian Order - a cube unfolded into 3 x 4 squares - fit nicely into the lattice, transforming the Vitruvian Man into a kind of archetypal crucifix. Could something like this have been the pre-Christian meaning of the cross, I wondered? As my belief in Western science began to falter, I asked myself how this simple harmonic lattice could be so completely absent from general public awareness. Why is this not common knowledge? Why is this not part of science, music, history and our entire educational system? Why would it not at least rate as a 'fun fact' in a sidebar in Popular Science or on an anatomy poster at the doctor's office? And above all, why would the Church not want people to know all about it? After all, it could be taken as proof of a sacred ordering principle in nature, inferring the existence of a cosmic intelligence (call it what you will). So, I reoriented my study of history from this new perspective, and it quickly became obvious to me why we know virtually nothing of this lost knowledge.

I discovered that harmonic philosophy had long been associated with paganism (the belief of God in nature) and that the Roman Catholic Church had worked very hard over a period of a thousand years to suppress it through canon law.

This was the reason the tritone interval of a half-octave, nicknamed Diabolus in Musica or Devil in Music, had been banned from sacred music in 1234 AD by Pope Gregory IX (and still maintained to this day).

The Church seemed well aware that the tritone could reveal the symmetry in music harmony and open the door to the 'carnal knowledge' of harmonics in the body and elsewhere in nature. As the most powerful force in the Middle Ages, the Roman Catholic Church was very successful in establishing and promulgating a franchise system whereby the faithful could only reach God through the Church (and its iconic brand) rather than through the study of self and nature. It was through this marketing and distribution network that the Church was able to social engineer vast populations by regulating admission to the afterlife. Through the power of guilt, fear, torture and war against pagan influences from the Middle East, the medieval Church struggled to bring under hand a violent and turbulent Europe. The last thing the Church needed was a resurgence of Egyptian Hermeticism, Hebrew Kabbalah or neo-Pythagoreanism to interfere with its plan. Such pagan harmonic theosophies were a clear and present danger to the Church and its project of social control. Harmonic ideals, often represented by the Pythagorean pentagram or Hebrew hexagram, were cast by the Church as evil pagan symbols and associated with satanic worship, witchcraft and occult rituals.

Those who studied harmonic properties in numbers, geometry and astronomy, such as the Dualist and Gnostic Cathars in southern Europe during the 11th, 12th and 13th centuries, were threatened, executed or exiled, forcing many to roam the countryside as 'gypsies' (a pejorative form of Egyptian). The Knights Templar, the primary keepers of the Egyptian temple mysteries, were then hunted down and murdered by the Church (on Friday 13, 1307) with a few fleeing to far-flung places like northern Scotland. In these remnants of the Egyptian mystery school were the seeds of Rosicrucianism, Freemasonry and other 'secret societies' - all of which were founded on the study of harmonics in numbers and geometry. This said, few adherents today are the least bit aware or interested in harmonic science, opting instead for the benefits of a fraternal network of friends and the occasional community service project. But while an honest look at European history seemed to explain how and why harmonic principles had disappeared from Western religion, it still did not

answer why science, as the presumed pillar of empirical truth in the world, did not eventually return to harmonic science as a unifying field of study. So I dug a little deeper and here is what I found.

The anti-harmonic campaign During the run up to The Enlightenment in the late 17th and 18th centuries the 'scientific method' had actually been designed to discourage the study of harmonics and its corresponding natural philosophy known as musica universalis. I learned that the exclusion of music and pagan harmonic principles from modern science was first suggested in a letter from the astronomer Galileo to his daughter, apparently prompted by his inner conflict of faith and understandable desire to avoid torture and imprisonment by the Italian

Inquisition.

Supported by Newton, Descartes and others who also wished to find a way to coexist with the Church during this period, the separation of harmonic study away from mathematics and science into 'the humanities' became more and more institutionalized as the scientific method became universally accepted. In time, new generations forgot all about harmonics as a unifying property in nature - even taking up the cause of science to discredit any remaining harmonic theories as 'smelling of the pulpit' (a twist of irony). In the early 20th century, this anti-harmonic campaign reached its zenith in the Michelson-Morley experiment 'proving' that space was an empty void with no intrinsic structure or measurable effect on matter. This belief was quickly accepted as the cornerstone of 20th century scientific thought and education, elevating Darwin's theory of natural selection (with the occasional accidental mutation) as the sole explanation for why life takes the forms it does. Only in recent years has this experiment been shown to be misleading and even false by much more sophisticated instruments indicating space does have a measurable effect on matter.

But, like most everyone these days, I grew up in a society and educational system that still denies the existence of any structuring property in the vacuum or how it could play a role in the formation of life. Even the smartest and best-educated people happily accept the contradictory belief that space is both curved (Einstein) AND an empty void. No one even thinks to raise the question of how it is that nothingness could be curved or, for instance, how cellular resonance into a structured space might explain why our bodies have ten fingers instead of, say, eight or fourteen. The avoidance and outright ridicule of a geometrically structured space (an 'aether') remains a point of great disagreement and debate today, not only slowing progress in virtually every field of science but also hiding a very important truth from society. What is that truth? The truth is that for the past 350 years a complicity of convenience has existed between the institutions of Western religion and science to avoid any mention of harmonics.

This unspoken tradition continues to spill over into society to this day, fragmenting Western culture and ideologically supporting unnatural and unsustainable political, economic and environmental policies.

With the study of harmonics no longer present in our schools and churches as it once was, we push each generation further and further away from the idea that mankind should seek to follow the harmonic processes at work throughout nature. Without any coherent social and cultural model, most presume the universe to be a cold, meaningless and random environment within which only accidents or brute force applies. Life itself is seen as a quirky accident in a hostile world, making it easy to agree with people like neoDarwinist Richard Dawkins that selfishness is the winning strategy for survival. Under the widespread presumption of a random and violent universe, existential nihilism has become the popular consensus.

Toward a new renaissance This all said, I do think there is hope in the bright light of quantum physics. While the rest of science continues to be powered by Newtonian machinations, quantum theory quietly proposes a cosmos composed of coherent harmonic waves crystallizing into matter inside a polarized cubic space lattice (like a physical hologram). The Schrödinger wave function and 'particle in a box' model of quantum mechanics are just another way of describing the harmonic structure of space - no different than the physics of a guitar string. Still, with the long tradition of avoidance, any notion of a coherently structured space has yet to make its way into standard science curriculum while remaining mostly absent in other fields of science.

But if the study of harmonics ever were allowed back into the educational system, we could see a cultural Renaissance that would make even Leonardo's naked Vitruvian Man blush. T-shirts might implore us to 'Bring back the Aether' while religious bumper stickers proclaim, 'Get in touch with your inner archetype!' The full intersecting circles of the Vesica Piscis would suddenly appear in place of just the fish part on all those SUVs. Even Einstein's 'everything is relative' would sound tired, replaced by the neoPythagorean catch phrase 'everything is proportional.' Fashion would explode with 'sacred geometry' and Egyptian styles could make a comeback. The idea that an archetypal structure in space actually shapes flowers, insects, fish, birds, pets and people would be irresistible and, I think, difficult to suppress once the meme was released. Driven by grassroots awareness, hardened scientists might find common ground with the modern theosophical movement. They might accept life as non-accidental and geometry as something sacred. They might even learn to embrace the spirituality of the ancient Hindu Anu - the ultimate quanta of material structure - some say exists deep inside every atom. Western religion might finally make peace with these pagan ideals and finally admit (with a wry smile) that they knew all along the Holy Ghost was but a blueprint for Man in the fabric of space. And as harmonic principles once again took root in the collective consciousness, maybe our off-balance governments would finally consider modeling their policies on the coherence demonstrated so beautifully in the human form.

Personal conclusion I know - many things would have to change for this to ever occur. Textbooks must be rewritten, curriculum revised, educators reprogrammed, social policies adjusted and harmonic principles accepted (at least in part) by people in positions of power who really want the truth to come out. Will it ever happen? I hope so and soon! In the mean time, I'm not waiting around for all those scientists, historians, theologians and musicians to build me a new religion. I'm going to listen to a little Bach, enjoy the musical universe we live in and do my part to try and change things for the better. This is my new unapproved harmonic worldview. By Richard Merrick

Harmonic Interference

eory

Harmonic Interference Theory represents a major breakthrough in our understanding of music and perception. Triggered by a moment of insight thirty years earlier, this theory explains how harmonics combine to form coherent geometrical patterns that our auditory system recognizes as simple shapes. Using a spectral analysis of harmonic interference over an octave, Richard Merrick shows how reflective patterns on vibrated surfaces can be found in the growth patterns of the human anatomy, particularly our ears and brain. From this simple correspondence, perception of music is then explained as the natural process of anticipating and matching harmonic interference patterns against identical structures in our auditory system. When represented visually, music becomes organic geometries floating inside a harmonically structured space - exactly as our ears and brain understand it. But this is only the beginning. Richard Merrick goes much further to show how everything in nature can be described as crystallized harmonics. Drawing on the latest scientific research and cuttingedge theories in the fields of genetics, quantum physics and cosmology, a unified harmonic model is proposed for the study of coherence on both a micro and macro scale. Out of this emerges a grand scientific musical theory that reintegrates ancient harmonic science with quantum physics to

explore the deeper mysteries neither can answer alone.

BY RICHARD MERRICK Pythagorean Philosophy musica universalis

mesoscopic structures of water and carbon, together with the latest geometric DNA mapping theories, suggest that life emerges and grows according to predictable harmonic patterns found in organic chemistry, preserving and propagating speci c atomic geometries into living organisms.

Harmonic Evolution

...is the missing link in Darwin’s Origin of the Species. Recent studies on the

http:// www.interferencetheory. com/HarmonicTheory/ Interference/ Excerpts.html

Artist, Author and Researcher

Richard Merrick

More Amazing Articles Online

Richard Merrick has dedicated his life to blending science, technology and art into innovative digital media experiences and exciting new forms of communication. Merrick’s work spans diverse areas of digital media, including search engines, graphics operating systems, multimedia applications, interactive games, voice-response Web agents and dynamically personalized Internet communications. Because of this, he has been invited to speak around the world on the future of digital media and cited as an expert in leading publications. Outside of technology, he is a jazz pianist and composer, an artist in oils, writer and independent researcher. http://www.interferencetheory.com/HarmonicTheory/Interference/Excerpts.html

Photo of above water & Copyright Alexander Lauterwasser,Germany ::www.wasserklangbilder.de

Ancient Yantra-Mandalas replicate the morphology of the eld. Cymatics, spherical harmonics and hydrogen wave functions reveal, within their patterns, evidences of this phenomenon. In the “Spiritual Teachings of the Avatar” a book by Jeffrey Armstrong, the Sanskrit mantras and songs are said to be an essential part of harmonizing the physical, energetic and mental bodies. In the Vedic tradition, vibration follows a logical cause and effect: whatever you listen to, you will think about: whatever you think about, you will speak about: whatever you do, you will become.

From the Book “InsideOUT the Wisdom of the Designer Universe” by Karen Elkins

Water Sound Images The Creative Music of the Universe Alexander Lauterwasser

Crystallization Chart

Crystals - liquid to solid

Photo/Liquid Crystal by Minutemen Solid Crystal by JJ Harrison/www.noodlesnacks.com

Drawing by Walter Russell, The Universal One

All matter is crystalline. Crystals are the record in form of the state of motion of the potential which produced that form. Crystal are the frozen records in form of the genero/ active effort of accumulating potential. All crystalline forms are records of tonal period-ices. Walter Russell, “The Universal One”

Sacred Geometry is crystallization of One Consciousness, the blueprint of all creation. Ivan Rados, Create Yourself

Water Stores Memory Dr. Emoto’s work vividly displays how our words, stored in water, have a memory. This is why laughter is healing and how water can be blessed. Since our bodies are made of approximately 70% water, one can see how profound our ‘tone’ and our every word is creating. The adjacent photos display water that is affected by our loving or distorted words.

It also shows how the

vibration of our words create shape and our reality. Mind is a union of mind and words.

The work of Prof. Benveniste, Dr. Ludwig and Prof. Schweitzer also shows how water acts as a liquid tape recorder. Water stores and transmits electromagnetic vibrations. This emphasizes the fact that we are our thoughts spoken into words.

From the Book “InsideOUT the Wisdom of the Designer Universe” by Karen Elkins

The Relative Heavenly Eternal Realm Heaven here on Earth was the goal of our embodied Soul

Rob Lavinsky/iRocks.com - CC-BY-A-3.0

When Eternal Soul, through Its use of Spiritual Energy benevolently chose Mind-fully to separate from the Graces of the Heavenly Eternal Realm and Its Superconscious oneness with the Great Principle – The Creator, a new “BioNeuro-Spiritual World,” and a Solar System to support Its inhabitants, were artfully born in this Universe. These new systems were solely encrypted with all the wisdoms and Life Force Energy to support and nourish Soul’s sophisticated yet subastral creation, as long as the skills to decipher and access the Nature of their algorithm designs was preserved within the lineage of Soul’s Spirit as it lived in this new World. Hence, the Souls that came forth from this phenomenon emerged in elemental form- crystallized vibrations as separate aspects of the One true Nature of their prior Divinity and began creating substance to support their mission; their purpose in a now material world. These now Earth bound Souls, backed with the help of “The Great Law” and with the hope that Supreme Harmony would reign in their new world, believed they would achieve and prevail at their Earthly purpose and task to create a Heavenly Eternal physical world.

Chris 73 / Wikimedia Commons

Souls that once inhabited the Eternal Realm aspired to experience the spiritual alchemy of a “Bio-Neuro-Spiritual World.” There encoded and housed in these newly formed matter-bound Heavenly bodies, was their “Eternal Supreme DNA.” These Souls out tted with the profound aspects and abilities of their Supreme Eternal Nature encoded in their human DNA; backed with their divine intent, began to recreate collaboratively the nature of their divinity in this new world. Souls in the Eternal Heavenly Realm, the Realm of Harmony, never knew fear, aging, death, hunger, poverty, physical suffering, pride, hatred or lacked the power of Love - attraction. In the Eternal Realm, the Universal Laws operate as one law and those laws are in nitely governed by three immutable forces called “The Great Law.” But, here in the Relative Realm there would be altered aspects to the Universal Laws in relation to Soul made manifest in a physical world: First - that Soul, through the Eternal Force of Its Spiritual Energy would have access to and the use of Its Supreme Aspects of Creative Force so as to create what It desired at Mind’s free will. Secondly - in the Earthly Realm, the Universal Laws that were once inseparable Eternal Forces became separate Eternal Aspects of their once united Heavenly Nature. And Thirdly – If Soul’s Spiritual Vibrations are not in tune with the Supreme Nature of Eternal Harmony before reentering the Eternal Realm, then by way of the governing aspects of the Law of Attraction and the supporting virtues of the Law of Evolution, Soul would be drawn again to incarnate solely with the intent to liberate Its Spiritual Vibrations from the magnetic rhythms that bind Soul’s Spirit to the material plane of existence. As these Souls took root in the Relative Realm, they began to manifest and create life without a conscious understanding about there being a physical separation from their Divine Nature, the Universal Laws, their Creator or one from another. But this would change throughout their evolution. While these Souls forged and carved out their new world they simultaneously created energy-dynamic relationship with all that they had created through the Laws of Cause and Effect, the Law of Rhythm and the non-negotiable Immutable Laws of the Universe. They began to Love and worship the perishable instead of the Eternal and created Laws from untruths instead of embracing the Laws that once brought them salvation,

preservation and Liberation.

Most Scintillating as a Brilliant Star was to be the prevailing aspect of the Eternal Mind made manifest. But, throughout time on the physical plane of existence, mind was deceived by Its own power and misplaced Its benevolent Truth, Divinity and Eternal plan. Spirit reuniting with Its Eternal Twin, Soul and awakening to Its Divinity, has become Humanity’s age old quest for the unknown. To “Know Thy Self,” as a living manifestation of the All Powerful living force of the Eternal and to make this Wisdom Law (Truth,) once again has now become Humankind’s foremost aim and their mind’s greatest challenge. The choice to transcend the Physical Realm and return to the ways of the Eternal was a path never lost; there at the bridge to the In nite is a gate that swings freely and at will between these Worlds. Still today it seems for Humankind, that there is yet a long road to travel before Liberation is realized and materialized on the Earth Plane; but with the help of The Great Law and the merciful aspects of the Law of Evolution and its loyal ally Hope, Humanity will prevail. As more Light is shed upon the Wisdom found in the rare archival documents written and taught by The Teacher of The Teachers, the Baron Eugene Fersen and by the rst Autochthon Spiritual Engineers of our world, there in the shadows of what has been forgotten, it show that there has always been a proper scienti c and spiritual term for our Earthly Realm. It seems over time, it has escaped Humanity’s grasp to embrace and be-hold. Now that we have entered the “Sixth Race of Humanity,” the race of the “New Age,” where much Truth has been laid before the feet of Humankind, it is now suitable and a moral obligation for Humankind to address this realm by its proper and All Powerful

name, “The Relative Heavenly Eternal Realm.”

For as many thumbprints that exist in human form and blueprints found in Nature, that’s how many religions reside on our planet. The path that each Spirit must live to become One again with Its Eternal Soul and Its Creator is as unique as Its thumbprint. By honoring the incomparable being that is you; your personal relationship with the Eternal and the path – the “Why,” you must live so as to unearth your Divine Destiny will return the uni ed eld of your Soul to the gate that swings freely and at will between the worlds.

Written and copyrighted by Laura Taylor-Jensen, AHLB

Lightbearers ~ Science Of Being ~ World Center © -

photography

Karl Herrmann Natures Series

Wind & Wave

http://www.karlherrmann.com/photo/index.html

Cymatic crop circle. The plants are bent six inches from the top. Goodworth Clatford, UK 1994.

Freddy Silva IS SOUND CREATING CROP CIRCLES?

Tetrahedron’ crop glyph. Barbury Castle, UK 1991, Photo by Freddy Silva. Sound frequency captured in liquid, resembling the Barbury crop glyph. Cymatic image taken from: Cymatics: A Study of Wave Phenomena & Vibration, (Combined Vols. I & II) by Dr. Hans Jenny. © 2001 MACROmedia Publishing. Used by permission. www.cymaticsource.com

What causes plants to bend an inch above soil and gently lay down in precise spiral forms, with no physical signs of damage? What force creates light burn marks on the surface of the stems, alters their cellular structure, and the crystalline structure of the underlying soil; alters the local electro-magnetic eld, depletes the local watershed, shifts the local magnetic eld by 4-degrees, and leaves measurable effects on water samples and the human biological eld?

Right - Blown node, showing hole created by superheated water leaving the stem. Left - Stem from crop circle showing charring effect caused by short, intense burst of heat, as generated by infrasound.

Welcome to the world of crop circles. Over 10,000 of these geometric shapes have been catalogued since the early 1900s, with dozens of eyewitnesses as far back as 1890 reporting them forming in a matter of seconds; several descriptive accounts are even documented in 1678 by Robert Plot, then curator of the Ashmolean Library in Oxford. So much, then, for the widely perpetuated myth that the phenomenon is the creation of two old guys and a plank of wood.

By de nition, a hoax is a forgery. But forgeries require originals from which to copy, so what unknown force creates the genuine crop circles?

One answer is sound.

Sound has traditionally been considered the prime Universal creative force, as echoed in all the world's faiths and traditions: ‘In the beginning was the Word, and the Word was with God', St. John reminds us. Hopi and Navajo traditions assert that in ancient times shamans would utter words onto sand and create patterns, a concept not dissimilar to the Hindu mandalas which are said to be expressions of the breath of God. Consequently, the Eastern faiths—Islam in particular—chose sacred geometry to express the image of God, a practice later applied in Gothic cathedrals to enhance their acoustics and, as discovered recently, to stimulate heightened states of awareness. Sacred geometry lies behind the atomic structures of plants and crystals, and these geometric harmonics are mathematically interrelated with the notes of the pure music scale. Physical reality, it seems, is governed by geometric arrays related to sound. In 1992, the late Prof. Gerald Hawkins discovered four new geometric theorems encoded in crop circles. More signi cantly, he discovered a previously unknown fth theorem from which he could derive the other four. Despite an open challenge to over half a million mathematicians, none were able to create such a theorem. Yet shortly after Hawkins’ discovery (but before its publication), this theorem materialized as a crop circle in southern England.

Soon, crop circles bearing unmistakable associations with sound began to appear: One expressed the Lambdoma, a diagram de ning the relationships between musical harmonics and mathematical ratios; then, an unusual formation—in which the barley plants were bent six inches from the top—gave the proverbial nod to sound, for it represented a cymatic pattern.

Crystalline structure of wheat: normal (top); crop circle (bottom).

As the expression of number in space, geometry is inextricably linked to music, since its laws govern the mathematical intervals that make up the notes in the western music scale—the diatonic ratios. Since Hawkins' theorems also generate these ratios, a link now exists between crop circles and musical notes, which are the by-product of sound frequency.

Cymatic crop circle. The plants are bent six inches from the top. Goodworth Clatford, UK 1994. Photo by Freddy Silva

Cymatics is the study of vibrational wave patterns. One of its pupils was Swiss scientist Hans Jenny who captured on lm the transmission of sound through liquids and powders. He observed how increasing sound vibration created geometric shapes, from simple circles and concentric rings to complex tetrahedrons, mandalas and other sacred geometric forms. Jenny’s work provides a connection to crop circles since many of the vibrational patterns in his experiments mimic their designs. Some are blatant imitations, such as the circle surrounded by concentric rings, typical of early 1980s crop circles; a tetrahedron from 1991; even the highly structured hexagonal star fractals of 1997.

Visually, then, the connection is undeniable. But what evidence links sound and crop circles at a physical level? Several accounts exist of a trilling sound heard by witnesses to crop circles forming. This unusual noise was captured on magnetic tape and analyzed at NASA's Jet Propulsion Laboratory. The conclusion? The noise was not a type of bird or insect, and contained a harmonic frequency of 5.0-5.2 kHz.

Whilst recording an interview inside a crop circle the same trilling sound was accidentally captured by a BBC cameraman shortly before it rendered his $60,000 camera obsolete. And as entire busloads of circles tourists have discovered since, electrical equipment fares poorly inside crop circles.

Interestingly, in their ceremonies to contact the ‘sky spirits’, the Aborigines swing a ‘bora’ – a piece of wood carved in the shape of a vesica piscis and attached to a string– and the noise generated by this instrument is practically identical to the crop circle hum. Perhaps the greatest connection linking sound to crop circles lies in their greatest anomaly: the bending of the plants' stems. Experiments into the effects of music on plants at Anamalai University, India, and Temple Buell College, Colorado, reveal that exposure to Hindu devotional music bends stems in excess of 60º to the vertical. Similar changes are known to occur in plants collected from crop circles: tests performed by the physicist Dr. W. Levengood in Michigan consistently show how the energy creating crop circles affects seed embryo and plant growth, elongates the plant's nodes, even alters the plants’ chromosomes. Tests at Ottawa University exposing corn to sound frequencies produced a higher heat content in soil and a slight charring of the plants – an effect consistent with the 'baked soil' observed in crop circles, where the affected area appears noticeably drier despite overnight rain; the same applies to the charring at the base of their stalks. Indeed, exposing wheat to sound accelerates plant growth, and the frequency used in such experiments is identical to the crop circles’ trilling noise. Sound as the modus operandi of crop circles now seems feasible. But what type of sound coaxes plants to bend and lie down, applying rm and gentle pressure and, given the intricacy and complexity of designs, with a ne degree of control? Interestingly, ultrasound interacts with physical elements to such a degree because it can be focused like a laser. This requires frequencies in the MHz range, the kind detected inside crop circles. Such frequencies can also affect states of awareness– something that visitors in crop formations notice, particularly left brain functions such as counting. This effect is often experienced in temples such as stone circles where, coincidentally, ultrasound has been detected.

Over the last six years, frequency readings in crop circles have jumped, from around 320 MHz to 640 Mhz, and so, too, has their geometric complexity. This coincides with Jenny's sound experiments which show that a relationship exists between the rising complexity of cymatic geometries in proportion to the rise of dispensed frequency. In other words, the level of frequency, whether in a laboratory or a eld, correlates with the increase in design intricacy.

Equilateral version of Hawkins’ fth crop circle theorem was found in the crop glyph’s embedded geometry. The theorem had neither been published nor revealed to the public. Uitch eld, UK 1995, Photo by Freddy Silva.

Interestingly, when tuned in the MHz range, ultrasound prevents damage to sensitive tissues, so its healing properties are today used in hospitals. Since the mid-1990s hundreds of cases of people reporting healings inside crop circles have been documented, including the disappearance of a 99% malignant retinal tumor. Below 20 Hz sound becomes infrasonic, and such frequencies affect biological processes. Here, the acoustic pressure of infrasound can boil the water inside a stem in one nanosecond. As water heats it expands, and crop circle plants reveal tiny holes in their nodes where this superheated water has escaped. This leaves a hollow cavity near their base. Top-heavy, and made subtle like molten glass by the heat, the plants collapse into their new horizontal position. This ‘vapor cavitation’ creates local temperature increases of hundreds of thousands of degrees, evaporates millions of gallons of groundwater, and gives plants a malty, cooked odor. Combine this with Levengood's discovery of microscopic blowholes in the plants' cell wall pits (indicating the rapid boiling of water), and things start to fall into place. Since infrasound is also capable of atomizing water molecules to create a ne mist, it is noted that a number of farmers have witnessed “a series of columns of mist” rising from within new crop circles on their land. Finally, the lower the operating frequency of infrasound, the greater the disruption to chromosomes. Every summer, crop circle plants are sent blind to Dr. Levengood, and some inevitably show unmistakable disruption to their chromosomes. Yet give him samples taken from man-made formations and he nds something really unusual —perfectly normal plants.

The musical scale, constructed on the harmonics of sacred geometry, and now found within the framework of crop circles, represents the soul of the world because it embodies the essence of the Universe. So it's no coincidence that a large percentage of crop circles can be identi ed with, and by, ancient cultures who to this day honor their histories through song and music, their healing rituals performed with sound or rhythm; this relationship is further exhibited in Buddhist mandalas, which are used to alter states of awareness. Perhaps it is not by coincidence that crop circles mirror these intricate patterns, nor that they bear an uncanny resemblance to Jenny's materializations of sound.

If sound is creating crop circles, is it not possible that they are arousing our consciousness? After all, it's through music that whole human experiences are celebrated and carried from generation to generation. It is probable that it is for this reason that the cochlea in the human ear is shaped like a spiral constructed according to the harmonic laws of tone, just as the same spiral forms the primary basis from which thousands of crop circles have sprung. The historian David Tame revealed how music is a carrier for social change: The effects of Handel's music is believed to have reversed the state of morality in Victorian England, just as the anarchic overtones of Punk corralled disillusioned youth into ghting an establishment that held no tolerance for those who stepped outside the system. The effects in people's states of awareness after contact with crop circles is similarly documented: a pictogram at Alton Barnes, England, in 1990 sported the trident of Shiva, the Transformer. Ironically, it was through exposure to this crop circle that millions around the world were transformed, just as images of crop circles today continue to enlighten those who come into contact with them. If sound is one of the formative principles behind crop circles, it is not surprising that they are leaving psychological impressions on those whose antenna is extended and receptive to their tune.

Crop glyph containing unusual ratchet subdivided into the eight parts of the octave. From this is extracted the Pythagorean Lambdoma (right), a diagram containing all the harmonics of the musical scale Photo by Freddy Silva.

How is it that ancient civilizations were able to maintain their cultures in perfect equilibrium for thousands of years but ours become dysfunctional within a few decades? One answer is to look at the legacy of ancient temples, oracles and sacred sites they left behind. By understanding sacred sites we can learn what they do for us, to us, how and why. This requires looking beyond the obvious physical façade, and into the layers of coding, metaphor and subtle force. That’s when you arrive at the true temple, the invisible temple. For several decades I've walked countless temples around the world, taking in both their spatial and special qualities. After a while it became apparent that sacred sites are speaking. A mythical, invisible spirit of place is aware of your presence and purpose. Like a credit card reader it scans your human energy eld, and should the PIN match, you engage in an intimate conversation. Thus begins the relationship with the genus loci, the spirit of place. Eventually you realize there is a library of knowledge being shared. Its contents are boundless and timeless, the sum of all there is: Universal codes of energy, ancient systems of knowledge, measure and proportion, and how these can be applied at any given moment in our lives to enhance our earthly potential. Depending on what you are seeking, the experience will alter your consciousness. Which is precisely the purpose of such places of power. The elements that make nature tick —magnetism, water, stone, sacred geometry, sacred measure, sound— converge at sacred sites. By carefully blending these principles together, it is possible to open a portal of connectivity to other levels of reality. It is even possible to apply the same principles today to construct a temple wherever you are. And that is precisely what our ancestors were up to when they created a grid of tens of thousands of temples all over the world.

As you walk through this site... http://www.invisibletemple.com/ ...I hope you become more aware of the qualities that de ne sacred space from profane space, and that you will

use this information in a way that is positive and, ultimately, bene cial to all living things on Earth. Including yourself.

© Freddy Silva 1996, 2011 Extracts from Secrets In The Fields: The Science And Mysticism of Crop Circles, by Freddy Silva. BIO Freddy Silva is one of the world’s leading researchers of sacred sites, ancient systems of knowledge, and the interaction between temples and consciousness. His new book is Common Wealth: The Origin of Sacred Sites and the Rebirth of Ancient Wisdom. He has also directed three documentaries. He lectures internationally, with keynote presentations at the International Science and Consciousness Conference, the International Society For The Study Of Subtle Energies & Energy Medicine, and Edgar Cayce’s A.R.E, in addition to appearances on Discovery Channel, BBC, and radio shows such as Coast To Coast. Described by the CEO of Universal Light Expo as “perhaps the best metaphysical speaker in the world right now.” Main website www.invisibletemple.com e Cymatic photos from ‘Cymatics: A Study of Wave Phenomena and Vibration’, © 2001 MACROmedia Publishing (used by permission). Website www.Cymaticsource.com

Robert Monroe Robert Monroe was a towering

gure in 20th-century

consciousness research, yet his story is mostly unknown. The boy who loved adventure and exploration, fast cars and rickety aircraft, became a millionaire through writing and producing radio shows in New York City. And then, at age 42, he found himself traveling out of body, having no idea what was happening to him. That was only the beginning of the story. Monroe went on to write the classic "Journeys Out of the Body," continuing to chronicle his experiences in "Far Journeys" and "Ultimate Journey." He built a research center and worked with scientists to create a patented audio technology known as Hemi-Sync ® , a method of using selected sound frequencies to induce altered mental states at will. He found an institute that trains individuals to experience and develop abilities that mainstream culture deems impossible. Monroe died in 1995, but the institute he founded continues to ourish and expand, and Hemi-Sync® is now available in Europe, Canada, South and Central America, and Japan. Now his achievements can be seen in perspective and his contribution to the understanding of human consciousness can be acknowledged. Yet his legacies, as Emeritus Professor Charles Tart has said, “are not just a great gift to knowledge, but a real service to people who are plagued by doubts and

unful lled spiritual longings.” His was a true hero’s journey.

A True Hero’s Journey

Revealing Research for

Peak Human Performance Robert A. Monroe, the founder of The Monroe Institute and its patented audio process known as Hemi-Sync, is internationally known for his work with audio sound patterns that can have dramatic effects on states of consciousness. Monroe observed, during his early research, that certain sounds create a Frequency Following Response in the electrical activity of the brain. Those observations led to some remarkable findings dealing with the very nature of human consciousness. Researchers learned specific sounds could be blended and sequenced to gently lead the brain to various states ranging from deep relaxation or sleep to expanded states of awareness and other "extraordinary" states. This compelling research became the foundation of a noninvasive and easy-to-use audioguidance technology known as Hemi-Sync. The audio-guidance process works through the generation of complex, multilayered audio signals, which act together to create a resonance that is reflected in unique brain wave forms characteristic of specific states of consciousness.

The result

is a focused, whole-brain state known as hemispheric synchronization, or Hemi-Sync, where the left and right hemispheres are working together in a state of coherence. Different Hemi-Sync signals are used to facilitate deep relaxation, focused attention or other desired states. As an analogy, lasers produce focused, coherent light. HemiSync is said to produce a focused, coherent mind, which is an optimal condition for improving human performance. One of the leading researchers into brain wave synchrony, Dr. Lester Fehmi, of the Princeton Biofeedback Research Institute, points out that "Synchrony represents the maximum efficiency of information transport through the whole brain." This means that brain wave synchrony produces a sharp increase in the effects of various brain wave states. The production of synchronized, coherent electromagnetic energy by the human brain at a given frequency leads to a 'laser-like' condition increasing the amplitude and strength of the brain waves. It's evident that a "highly integrated brain," a brain, in which both hemispheres are functioning in symmetry, synchrony, harmony and unity, is a key to peak states and peak human performance.

Amazing

Consciousness

Altering

Technology

Specific combinations of Hemi-Sync signals, for example, can help individuals achieve laser-like focus and concentration. Depending on the intended goals, music, verbal guidance or subtle sound effects are combined with Hemi-Sync to strengthen its effectiveness. Naturally, Hemi-Sync sleep products incorporate predominately Delta frequencies; learning products predominantly Beta, and so forth. Users remain in total control as these recordings do not contain subliminal messages. Hemispheric synchronization does occur naturally in daily life, but typically only for random, brief periods of time. Hemi-Sync can assist individuals in achieving and sustaining this highly productive, coherent, brain wave state. Thanks to the cooperation of notable medical institutions and universities, the scientifically and clinically proven Hemi-Sync technology continued to be the focus of a variety of specialized research projects for a number of years. In addition, many therapists, physicians, educators, and other professionals have used Hemi-Sync extensively. Such research was indispensable in revealing the influence of specific Hemi-Sync sound patterns on consciousness. Over the years, these efforts have resulted in the development of scores of individual products for specific applications such as focused attention, stress management, meditation, sleep enhancement, and pain management, to name a few.

The Hemi-Sync process is internationally acclaimed. Thousands of people have journeyed from around the world to attend The Monroe Institute's lifeenhancing on-campus programs. These programs, conducted at the Institute's campus facilities in Virginia, are dedicated to developing, exploring, and applying expanded states of consciousness using the extraordinary Hemi-Sync sound technologies.

Robert Monroe’s work inspired an entire industry of mind/brain products. After 50 years of research, and thousands of lab sessions, the trademarked Hemi-Sync process remained unparalleled in its ability to assist in harnessing human potential until the development of Spatial Angle Modulation™ or SAM, a new technology developed by The Monroe Institute. This exciting new development will soon be made available to the public.

Submitted by Paul Elder on behalf of the Monroe Institute. A resident of Vancouver Island, Paul is a consciousness exploration instructor at the Monroe Institute in Virginia, where he specializes in the science of Remote Viewing For more information on Hemi-Sync, the Monroe Institute or Paul Elder click on the following links www.monroeinstitute.org www.paul-elder.com

Paul Elder has spent a lifetime studying human nature from a unique perspective. He is a survivor of three near-death experiences: a drowning at the age of 12, a car accident at 17, and a heart attack at the age of 41. Along with the trauma and subsequent beauty of death came a series of spontaneous spiritual events — events that would turn his belief system upside down, leaving him with profound insights as to our true nature and purpose in the universe.

Unlike any other book on the market, Eyes of an Angel offers a gripping, first-hand account of a remarkable spiritual adventure. Its story will keep you spellbound, while its messages resonate deep within your soul.

Now a trainer at the Monroe Institute in Virginia, Paul lives on Vancouver Island, British Columbia, and spends his time writing, teaching, and speaking throughout the United States and Canada on the phenomenon of near-death and out-of-body experiences.

Billie M.Thompson, Ph.D “Mearacle“ is a familiar word sound with a different spelling than we were taught.”Ear” plus “miracle” seems a strange combination. But the more you know about what your ears do for you to develop your potential, the more this combination makes sense.

The research of Dr. A. A. Tomatis (1921-2001) informs us about what the ear does and the importance of developing good listening so that a person can fulfill his or her potential. Think about the origin of the word “person” and what it means. It combines “per” with “son” and means “you are your sound,” which is your voice. And it turns out that your voice can only produce what the ear can receive. The good news is that a field relatively new to the US, which I call “sound listening training,” can be used to improve listening so that gains are observed in linguistic, kinesthetic, musical, spatial, logical/mathematical, interpersonal, and intrapersonal abilities. The sound stimulation impacts how the ear functions and is effective with people of competencies that range from foundational to gifted.

Being a Per-son,

You

Are Your Sound! ..per your sound... Think about the origin of the word “person” and what it means. It combines “per” with “son” and means “you are your sound,” which is your voice. And it turns out that your voice can only produce what the ear can receive.

The following facts provide insights into how the ear develops a person’s abilities at any age and competency level. 1. The ear’s vestibular function allows us to listen to our bodies to control balance, movement, rhythm, and daily living skills (such as dressing, eating, bathing, and toileting). 2. The ear is an integrator that is fully functioning at four and a half months in utero, stimulating pathways developing in 85% of the brain. The ear is the only sensory system to fully function before birth. 3. The brain needs sound energy to enable the thinking processes and the development of all aptitudes / intelligences. 4. The voice can only produce the harmonics that the ear can perceive. If missing sounds are reintroduced to the ear, the voice immediately picks them up. If a person is sufficiently conditioned to hear his or her own voice with a good quality, the changes will be maintained. (Known as the Tomatis Effect.) 5. Listening plays the fundamental role in processing all information learned through language, both receptive and expressive forms. 6. The motivational and emotional need for communication begins with listening to the mother’s voice while in the womb. 7. The auditory system relates self to self, others, and the environment. 8. The prenatal development of the ear of the fetus is related to the phylogenetic development of the ear of the species. 9. Listening and learning dif culties can be observed as auditory processing

patterns on normed tests and non-normed listening tests.

In talking about listening, we must distinguish between hearing as the passive reception of sound and listening as the active tuning in to what we want to hear and tuning out what we do not want. The ear analyzes movement in two ways. The cochlea analyzes sound wave motion and the vestibule analyzes muscle movement so as to keep us upright with gravity. If either or both of these analyses are distorted, incomplete, or made with an underdeveloped part, the per-son will have poor listening. It means their learning will be incomplete by poor processing and inaccurate information. All these relationships undeniably connect listening to receptive and expressive language, learning, motor control, motivation, and one's developmental history. It is no wonder that listening disabilities can cause such pervasive problems, both to individuals and to society. Poor listening can begin at any age and for any number of reasons, such as a health problem, accident, major lifestyle disruption, or stress. In our work we must be able to improve listening for people of all ages and competency levels. The extent to which we can train the ears and brain effectively and efficiently depends on our method and content which is dependent also on knowing that the ear is important and that listening is our most basic skill

Dr. Alfred Tomatis/Author Lena Tomatis/GNU Free Doc 3.0

for learning. Tomatis was the first to systematize a listening training program to retrain the ear and voice. EnListen® software integrates all of the features Tomatis pioneered plus additional features. But unlike Tomatis’ manufactured Electronic Ear of which several thousand have been sold, EnListen programs can be delivered on Windows 7 computers, making it now easy to get an individualized program on a readily available machine. EnListen Corporation is also developing three different product lines for delivery on other modern technologies with different costs and amounts of individualization to meet a per-son’s needs. Costs vary depending on level of individualization needed and professional intervention required (if any). With EnListen® training we modify sounds of music and voice according to the results of a listening assessment and a questionnaire to review a per-son’s history and goals for the program. Individualized programs can be provided for people who have developmental, typical, and proficient abilities in their goal areas. This means we develop potential for all levels of competency in language, reading, kinesthetic, musical, spatial, thinking, social, and self development abilities. Howard Gardner calls these multiple intelligences.

Sound is vibration and goes into every cell and every cellular memory a per-son has from moment to moment. Sound opens the cell to release what is stored there in consciousness; even the fears, doubts, and traumas of many years can be accessed and released. (Think of Bruce Lipton’s work)

http://www. ickr.com/photos/pinksherbet/206812690/ sizes/l/in/set-72157610551917961/photo by Pink Sherbet

Dr. June Maker’s work with gifted learning disabled led her to conclude that everyone has at least one gifted area at age six years. But by age ten years through adult, only 5% of the population retains that giftedness.

What happens?

• We propose first that the ear is not listening. • Second, not everyone seeks development of potential. • And third, the per-son gives up hope, does not believe it is possible to improve because some authority has told them their potential is limited. I am on a different path. I decided to provide processes and programs that would assist people to change, to transform despite long standing difficulties. Then I found programs with different entry points that could allow people to learn about the power of sound. Since 1986 I have worked with over 6,500 per-sons and observed first hand several thousand Mearacles (30%), several thousand good results (30%), several thousand adequate results (30%), and some no gain results (10%). Many times the clients were people who have done other programs with null results. On the other hand, EnListen® is more and more providing a breakthrough, as the following examples show. Woman, age 45, teacher: “I am noticing that when I am truly listening with my entire being, sounds seem to drop into a kind of crystalline silence, leaving psychic imprints in consciousness like ripples of water emanating from a stone dropped into a lake. It is beautiful, and joyful. Some close colleagues told me, spontaneously, that my voice is deeper and fuller now. I can hear the change as well… I am amazed by the effectiveness of the reading aloud in maintaining the listening. When I'm reading, I can feel my ears “working" to catch and hold the sounds of the music as well as my voice. I also feel something happening in my brain, as I simultaneously attend to the meaning of what is being read and appreciate the music. It's fascinating! I'm very excited about all this and so grateful for the work we have been doing together. What an amazing adventure! EnListen® Sound training impacts each person depending on its length, level of individualization to overcome their specific weaknesses, their ability to analyze sound wave and muscle movements, and their belief in the possibility to develop their potential beyond where they are at a given moment. Sound is vibration and goes into every cell and every cellular memory a per-son has from moment to moment. Sound opens the cell to release what is stored there in consciousness; even the fears, doubts, and traumas of many years can be accessed and released. (Think of Bruce Lipton’s work) Sound is so powerful, that I have dedicated my life to providing one of the most powerful sound training programs developed and to pushing the boundaries of consciousness beyond science into soul.

With breakthroughs at the depth this woman experienced, becoming curious about the ear and its contributions to our entire being might be an insightful path to explore. Two excerpts from a mother of a young autistic boy shows how EnListen® training changed her son’s communication, learning, socialization and body connection. From Mary Ellen Dixon My youngest then three would put on his headphones and play with his Thomas trains happily listening. My oldest son John chose to listen when he went to bed. We faithfully completed the first round of the program. In fact once we completed the program John repeatedly asked for “his music” when he went to bed.

Tomatis and Enlisten methods used Mozart

music and Gregorian chants, as well as incorporating children’s music and stories for the kids. And they loved it.

John still asks for the

beach song. I was amazed that the program was home based, just required a computer and special headphones. My youngest then three would put on his headphones and play with his Thomas trains happily listening. My oldest son John chose to listen when he went to bed. We faithfully completed the first round of the program. In fact once we completed the program John repeatedly asked for “his music” when he went to bed. Where the Tomatis method only used Mozart music and Gregorian chants, Dr. Thompson has incorporated children’s music and stories into the program and the kids loved it. John still asks for the beach song. Wolfgang Amadeus Mozart/Artist Johann Nepomuk della Croce/ Public Domain

Results speak louder than any words. After completing the Sound Enlistening program, my youngest son Andy tested out of the pre-school development program. His speech became much more intelligible and his vocabulary greatly expanded. He started singing, which he had never done and he never liked anyone singing to him, now he loved it! He transitioned into a full day Pre-K program and is doing well. To anyone with a child on the spectrum that has an auditory processing delay, this program is where to focus your time and money! I wish we had found this when he was first diagnosed. I’m grateful for the paths we have chosen or that have found us by others sharing their journey and hope that sharing our story will encourage you and yours. Thompson, BM and Andrews, SR. (Mr/Ap 1999). “The Emerging Field of Sound Training,” IEEE Journal in Medicine and Biology. Billie Thompson, Ph.D. Sound Listening Corporation, 1635 E. Seldon Lane, Phoenix, AZ 85020, 602-381-0086, billie.thompson@soundlistening.com.

The Geometry of Life Receiving & Unfolding

Photo of Nautilus Cutaway byChris 73/GNU

Photo of Passion Flower by Tomas Castelazo/CC by 2.5

Photo of SunFlower by L. Shyamal CCby- 2.5

Gray’s Anatomy illustrations in Public Domain

Jonathan Goldman Overview Sound Healing Sound Healing, as the name implies, is the use of sound to create balance and alignment in: the physical body, the energy centers called "chakras", and/or the etheric fields. The sound may be applied by an instrument or by the human voice. Sound Healing is a vibrational therapy and can be understand as being energy medicine. While the use of sound and music for healing is ancient and can be found in many spiritual and sacred traditions, "Sound Healing" is a relatively new modality in the traditional (allopathic) and complementary healing arts. The current field of Sound Healing is enormous in its scope. Sound encompasses virtually all aspects of the auditory phenomenon--from music to nature sounds to electronic sounds to vocal sounds. Practitioners who use sound may likewise use anything that falls within this scope; from classical music to drumming and chanting to electronically synthesized sounds to acoustic instruments. The depth and variety of a "Sound Healing" may vary extensively, from a client listening to soothing music that calms and relaxes to a client lying on a specially designed bed that projects specific sounds into their body.

HEALING SOUND

Perhaps the greatest instrument of healing--one that is natural, cost effective and does not require batteries or electrical outlets--is the human voice. Toning is a generic term to describe the use of the voice for release of pain and stress, and to help align imbalanced portions of the body. Sighing, moaning, groaning and other sounds we frequently make are all aspects of toning, as are the sounding of different vowels. Often, a Sound Healing practitioner will make sounds to a client they are working on. Usually, the client is lying on a table during a session. These sounds made can be purely intuitive, coming through the practitioner as they allow themselves to become a conduit for sacred sound. Some practitioners claim to be able to sense or hear trauma that is trapped in the physical body. By repeating these sounds they are able to release the trauma. Some practitioners work with a technique called "Overtoning" . WHAT A TYPICAL SESSION IS LIKE "Overtoning" is a technique in which a Sound Healer will use their voice to scan the physical body of their client and then project vocal harmonics (overtones) into an imbalanced portion of the body (or etheric center) that is found. A practitioner begins by making a siren like sound, starting which at the bottom of the clients feet with a very low sound and continues up the body, raising in pitch, until a very high sound is created at the client's head. An experienced practitioner of this technique will be able to hear changes in their tone as they do this. The vocal timbre (or tone color created by harmonics in the voice) actually changes when the sound reaches a place of imbalance. The practitioner then proceeds to project this specific harmonic into the area of the body where the imbalance was found. This may be for a few minutes or longer. When the harmonic become less audible or disappears and the tone becomes normalized, the sounding for that area is complete. Frequently, a practitioner will find a number of areas where sounding is needed. A practitioner may conclude the session with discussion of the experience with the client. This technique, while quite simple, utilizes a combination of listening and sounding. The practitioner is listening for a change in their tone which occurs as a result of their sound interfacing with the energy field of their client. They must be extremely aware of the subtle changes in their sound in order to do this technique most effectively. The results of Overtoning can be quite astounding. Since sound can rearrange molecular structure, it is quite possible for seemingly miraculous things to occur; vertebrae align, muscles relax, chronic pains disappear, traumas and blockages are released. Clients may report feelings of being energized, ecstatic, light headed, or drowsy. However, it is also possible for nothing to happen at all. As with many of the healing arts, much of this may depend upon the relationship of the therapist with the client and vice versa. Techniques such as Overtoning are particularly effective when combined with the many different bodywork modalities, from massage to chiropractic to therapeutic touch. A skilled practitioner will be able to create sounds which facilitate their modality and enable their bodywork to reach new levels of effectiveness.

HISTORY The use of sound as a healing modality dates back to prehistoric times, when shaman chanted and drummed to heal people. In the ancient mystery schools of Egypt, Greece, India, Egypt and other centers of knowledge, the use of sound and music for healing was a highly developed sacred science. Sonic vibration was known to be the fundamental creative force in the universe.

Some pioneers in the field of Sound Healing created through instrumentation, include: Peter Guy Manners, MD from England, whose Cymatic Instrument projects specifically tabulated frequencies into the body, Alfred A. Tomatis, MD, from France whose Electronic Ear, uses sound to treat many learning disabilities and emotional problems and Robert Monroe who discovered how to use sound waves to synchronize the hemispheres of the brain and cause accelerated consciousness. The voice has been used as an instrument of healing since the earliest times and has continued to be used in this manner in the East. The technique of "toning", using the voice for healing, was first named and described in the book of the same name by Laurel Elizabeth Keyes. "Overtoning", the technique described in "typical session" was first named and described in HEALING SOUNDS.

HEALING SOUND

In modern times, the Cymatic experiments of Swiss Medical Doctor Hans Jenny demonstrated how various substances such as plastics, liquids and sand would take on different shapes depending upon the frequencies they were subjected to. These experiments showed that sound has the ability to affect and change molecular structure. Since the body is composed of over 75% water, it is therefore easy to understand how sound can create change in the body.

HEALING SOUND Zhu Zaiyu's equal temperament pitch pipes

THE THEORY ABOUT HOW IT WORKS The basic principle of Sound Healing is that of resonance; every object is in a state of vibration and therefore creates sound. This includes the various parts of our body, such as our organs, muscles, bones, etc. If these parts of our body are vibrating at their normal, healthy frequency, we call this state "health". If a portion of our body begins to vibrate at a frequency which is not harmonious to us, we call this "disease". It is possible to use sound to project the correct resonant frequency of that part of the body which is vibrating out of harmony back into the body, causing it to return to its natural frequency and return to a state of health. This projection of sound can be done through electronic instrumentation or through using the human voice. The primary question in Sound Healing is: what are the correct resonant frequencies of the body? The answer to this has not yet been fully verified. Sound Healing scientists and researchers have determined frequencies for the parts of the body, as well as for specific imbalances of the body. They have invented instruments which project these healing frequencies back into the body and all report success with their sounds. Yet these frequencies are all different and do not correlate with each other. There are many theories about this, but no one knows exactly why. In terms of vibrational medicine, another major questions arises: do all people vibrate at the same frequency? The answer to this is unknown. It may be that the frequencies of different people vary. This could be an explanation as to why different instruments with different frequencies all seem to have success. Different practitioners have different methods of testing to determine the proper frequencies. Some use kinesiology (muscle testing), others pendulums or radionics. There is even a system of Sound Healing which uses a method of determining missing frequencies found in the voice (by having the client speak into a voice analyzer) which when added (via listening to a tape) will supposedly restore the body to a state of health. All of these methods have had some success. Whether they work for everyone is another issue.

BENEFITS, LIMITATIONS, CONTRAINDICATIONS Since sound can potentially rearrange molecular structure, the possible healing applications of sound are limitless. Stories exist of terminal or incurable diseases that have been instantaneously healed through sound. However, while such miraculous experiences may occur, it is also quite possible for a client to receive no seeming benefit from the Sound Healing. When dealing with the plethora of instrumentation and sound devices currently available on the market, it is conceivable that a person receiving the sound from an instrument may not resonate with a particular frequency and could potentially have an adverse effect with sound. While this would be rare, it is possible. The least invasive approach to Sound Healing seems to be that of using the human voice.

The Mikado by Gilbert & Sullivan

Jonathan Goldman, M.A., is an internationally renowned writer, musician and teacher. He is an authority on sound healing and a pioneer in the eld of harmonics. Jonathan is the author of several books including his recent release, The Divine Name (Hay House) Visionary Award for “Best Alternative Book” of the Year, The 7 Secrets of Sound Healing (Hay House); Healing Sounds (Inner Traditions); Shifting Frequencies (Light Technology); and Chakra Frequencies (Inner Traditions), co-authored with Andi Goldman, winner of the 2006 Visionary Award for “Best Alternative Health Book” of the Year. A Grammy nominee, his award winning recordings include: “Chakra Chants”, “The Divine Name,” and "Reiki Chants". He is the Founder and Director of the Sound Healers Association and CEO of Spirit Music.

In Spring 2011, Jonathan Goldman was

named as one of Watkin’s Reviews “100 Most

Spiritually In uential Living People on the Planet.”

Some "Sound Healing" sessions may include: 1.

Music in Imagery: in which a client will listen to specific music while using imagery in order to open their psyche to for self-discovery.

Music Therapy: in which therapist will work with clients using songs and music to help elicit states of behavior modification.

Cymatic Therapy: in which specific frequencies via an instrument are projected into a client's body in order to create physiological change.

Tapes: with specifically designed frequencies, either generically created or specifically created for an imbalance of a particular client.

The Electronic Ear: in which a client will listen to a program of specially filtered music via headphones, designed to open the ear and the brain to greater frequencies of sound and treat imbalances such as dyslexia and emotional issues.

Toning and Overtoning: in which a client may receive the vocally created sounds of a practitioner to balance and align imbalances on the physical, emotional or etheric.

Harmonic Resonance: in which a client will be tested using kinesiology and receive frequencies from synthesized sounds in order to balance the physical.

Bio-Acoustics; in which the missing frequencies of a client's voice are found and played back via synthesized sounds.

Hemi-Sync; in which a client listens to synthesized sounds designed to balance the hemi-spheres of the brain and induce altered states of consciousness.

10. Mantric Chanting: in which a client will sound specific mantras designed to balance and align their etheric field. 11. Tuning Forks: in which a client will receive the frequencies from specially designed tuning forks for relaxation and balance. 12. Vibro-Acoustic beds, chairs, etc.: in which a client will sit or lie on a specially designed bed that projects music into their body. Such devices include: the Somatron, the Betar and the Genesis. These categories are by no means inclusive of all the various possibilities inherent in the field of Sound Healing and are listed to give the reader some examples of the potential variation of treatments found in the field.

Article & Interview on Sound EVALUATING A PRACTITIONER Due to the recent rediscovery of Sound Healing, anyone with a musical instrument, an electronic gadget or the courage to project their voice at another person may call themselves a Sound Healers. There are no licenses. There are in fact few programs of study in which an individual can learn about the physiological and psychoacoustic effects of sound. It is hoped that a practitioner will have understanding of the physical and energetic mechanisms of the body. The best way to evaluate a practitioner is simply to experience their work and see if it resonates with the individual. If a client feels better after a session, that is good. If not, don't go back for more. RESOURCES FOR FURTHER INFORMATION The Sound Healers Association (P.O. Box 2240, Boulder CO 80306, 303-443-8181) offers training seminars by Jonathan Goldman, sells a nationwide directory of sound healers and other sound healing related books, tapes and products and prints informational literature. Recommended reading:

HEALING SOUNDS by Jonathan Goldman (Element Books, 1992) SOUNDING THE INNER LANDSCAPE (Caduceus Press, 1990) MUSIC AND SOUND IN THE HEALING ARTS by John Beaulieu (Station Hill, 1987) MUSIC: PHYSICIAN FOR TIMES TO COME edited by Don Campbell (Quest, 1989) SOUND HEALERS ASSOCIATION INTERNATIONAL DIRECTORY (SHA, 1995)

Shop Here

Australian Leaf Insect/Flickr Jeff G./CC 2. Phyllium bilobatum, male larva/Author Dargus, GNU 2.5

Harmonically Guided Evolution Spirit sleeps in the stone, breathes in the plant, dreams in the animal

and awakens in man.”

Fabien Maman

The Founding Father of Vibrational Sound Therapy

Fabien Maman, the founding father of vibrational sound therapy (“Websters’” Dictionary), as the instrument for worldwide dissemination of his research, teachings and creativity. He is dedicated to the evolution of human consciousness.

Fabien Maman, is the Master Guide of Tama-Do, The Academy of Sound, Color and Movement. He is a musician/composer, acupuncturist, researcher, healer/ teacher, bio-energetician and martial artist. In 1977 he became an acupuncturist, creating the now famous system which uses tuning forks instead of needles on acupuncture command points. In the early 80’s, Fabien Maman

conducted

revolutionary sound/cellular biology experiment showing for the first time under the microscope, the impacts of acoustic sound on human cells and their energy fields. Tama-Do Academy www.tama-do.com 800.615.3675

balance the body, mind and spirit through the subtle energy fields.

For nearly 30 years, Fabien has created research and practical applications to balance the body, mind and spirit through the subtle energy fields. He has created more than 30 techniques through his Academy, each of which, took nearly seven years to test and apply. He is in the process of developing at least 20 more.

Highlights of Fabien’s work include

1) Tuning fork techniques with color lights that balance acupuncture command points as well as the spine. Fabien was the first to use tuning forks on the body, and to link them with color. 2) A tuning fork technique for the Subtle Body Command Points using the 8 Extraordinary Meridians. There are 8 meridians, 8 chakras and 8 subtle energy fields, all of which can be harmonized with this technique. 3) Musical scales that correspond with different systems including seasons, elements, meridians, chakras, subtle bodies, and the Sephirotic Tree. Examples include: a) Using the Cycle of Fifths (starting with low F) instead of a diatonic scale (do, re, mi…) to balance and empower the Chakras. Studies have shown that the low F is the vibrational frequency of the circumference of the earth. b) Transposing Pentatonic Modes according to the key of the season, for the purpose of harmonizing with the elements of nature. Many traditions have used modes, but it was Fabien who first made the link with a key, the mode, the element, the organs and the season. 4) A protocol for finding one’s fundamental note, which helps to empower the cells in one’s body. Many other versions of fundamental sound have been created since Fabien first introduced his cellular research. 5) A touch technique (TEP, Tama-Do Extra Points) using sound, color and movement to balance 21 key points on the body which command the Chakras and energy fields. 6) Tao Yin Fa, (Movement for Health), a new form of Qi Gong in five steps, working on the physical; psycho/spiritual; and cosmic consciousness levels. Fabien also created a method to find one’s “fundamental movement”, which is equivalent to the dance of one’s soul. 7) Tama-Do Sound Instruments® to “shatter” negative patterns and bring harmony in the energy field. These magnificent instruments include a monochorde table; the Giant Pyramid (a 7’X7’ pyramid tuned with the modes of the seasons); the Arche of Sound (a 13’ high ‘cathedral of sound’); and the Bagwa (a 15’ octagon). 8) Seasonal Harmonizing Concerts to bring human beings into resonance with nature, community and the cosmos through the use of sound, color and movement.

Thursday, December 8 6:30-8pm Lecture, Book Signing and Demonstration FREE

Sunday, December 11 10am-2pm Sound and Color Workshop KOTOTAMA The Ancient Science of Pure Sound

THE TAO OF SOUND Acoustic Sound Healing for the 21st Century Fabien Maman, the founding father of vibrational sound healing, will present his revolutionary color slides documenting the profound impact acoustic sound has in balancing and harmonizing our subtle energy elds, chakras, and physical bodies. Fabien's research changed the landscape of sound healing as we know it today! He's the man who created the now famous technique of using tuning forks on acupuncture command points to heal the body, mind and soul. Join him as he celebrates the 30th anniversary of his work with the release of his new book, The Tao of Sound: Acoustic Sound Healing for the 21st Century,

Harmonizing the chakras and aura’s with sound and color

Fabien Maman, initiated in Kototama, the ancient Japanese science of pure sound, will teach his own precise sound correspondences to harmonize the organs, chakras and subtle energy elds with the seasons, directions and the stars. Maman, drawing from more than 30 years as a musician/composer, acupuncturist and researcher, aligns with the ancient traditions of classical music, mathematics, Chinese medicine, astrology and esoteric philosophy, as spelled out in his new book, THE TAO OF SOUND. Faery/Shaman Terres Unsoeld will teach students how to harmonize the chakras and subtle energy elds with musical instruments, elemental sounds and color. $40 adv; $50 day of. This workshop will be held next door to Banyen Books at Sacred Space, 3574 w 4th Ave ( 4 doors from Banyen) fi

Presented by Banyen Books & Sound, Vancouver BC Fabien Maman & Terres Unsoeld

3608 West 4th Ave., Vancouver, BC Canada Tickets by phone at Banyen 604) 737-8858 thefolks@banyen.com http://www.banyen.com/events/20111208maman.htm

THE TAO OF SOUND

Fabien Maman conducted a revolutionary sound/cellular experiment, documenting for the rst time under a microscope, the impacts of acoustic sound on human cells. This research changed the landscape of vibrational sound healing as we know it today. 2011 marks the 30th anniversary of Maman’s sound/cellular experiment. In commemoration of this anniversary, Fabien Maman has now written The Tao of Sound: Acoustic Sound Healing for the 21st Century. This book is an encyclopedia of Maman’s more than 30 years of research and practical application, creating more than 30 techniques to heal the body, mind and spirit using acoustic sound, color and chi movement®. Fabien Maman is the man who created the now famous technique of using tuning forks and color lights on the acupuncture meridians to heal the body, mind and spirit. Each evolutionary technique is grounded in sound and cellular research, as well as the Classical traditions of music theory, mathematics, Chinese medicine, aikido, Kototama and astrology. The Tao of Sound will become the quintessential Encyclopedia for Sound Healing. Maman's sound research and sound protocols from Star to Cell - linking the human body, organs, meridians, chakras and subtle energy elds with the 5 elements of nature, 8 directions of the Bagwa, the Kaballa and the stars and beyond.

RECOMMENDED BY STAFF

BANYEN BOOKS MUSICOPHILIA Tales of Music and the Brain by Oliver Sacks $19.95, paperback. Random House. September 2008. isbn 9780676979794 Musicophilia is a highly intriguing exploration of how and why humans experience the many strange phenomena associated with what we call music, from the perspectives of both clinically normal and brain-damaged individuals. For example, where do auditory hallucinations come from and what do they mean? What occurs when we cannot get a song “out of our heads”? How is it that the most severely amnesic man in the world cannot even remember that he had been conscious one minute before, but can play from memory complicated piano pieces or conduct an orchestra? What goes on in human beings when they make or listen to music? What is it about music, what gives it such peculiar power over us, power delectable and bene cent for the most part, but also capable of uncontrollable and sometimes destructive force? Music has no concepts, it lacks images; it has no power of representation, it has no relation to the world. And yet it is evident in all of us—we tap our feet, we keep time, hum, sing, conduct music, mirror the melodic contours and feelings of what we hear in our movements and expressions. In this book, neurologist Oliver Sacks explores the power music wields over us. He explores, in his inimitable fashion, how it can provide access to otherwise unreachable emotional states, how it can revivify neurological avenues that have been frozen, evoke memories of earlier, lost events or states or bring those with neurological disorders back to a time when the world was much richer.

http://www.banyen.com http://www.banyen.com/events.htm

Books: (604) 732-7912 Music/Gift Tickets: (604) 737-885 Long Distance (Canada & USA): 1-800-663-844 thefolks@banyen.com 3608 West 4th Ave,Vancouver BC V6R 1P Since 1970, Banyen Books & Sound has grown to become an abundant oasis – one of the most comprehensive selections in North America focusing on Spiritual Traditions, Healing

HAZRAT INAYAT KHAN THE MUSIC OF LIFE

Arts, and Earth Wisdom. Banyen store offers over 26,000 titles: b o o ks, m u s i c , DV D s, a u d i o teachings, and oracles. Banyen

Review by Metafunk (Philadelphia Metro) This is a book that contains so much wisdom that it must be read more than once. For any musician who feels there is a spiritual component to what they do, this book is inspirational, thought-provoking, and illuminating. Ultimately, the concepts are universal and can be applied by anyone. It seems that Khan's concept of Su mysticism eschews speci c religious orientation and instead utilizes the common threads between all of the world's spiritual traditions to illustrate his points. This is a must-read for anyone looking to broaden their perspective, challenge their long-held beliefs, prioritize their lives and understand their true nature. I just think this is an excellent book.

also has a wide spectrum of gifts, meditation and yoga supplies, musical instruments, crystals, statues, incenses and smudges, and much, much more.

Thoughts and s o u n d s radiate from our bodies like radio w a v e s projected from a tower.

The Power of Sound – Use it Wisely Thoughts, words, and sounds are closely interconnected. We can

describe thoughts as inner sounds, and words as outer sounds. Thoughts and sounds radiate from our bodies like radio waves projected from a tower. They can easily travel far distances and affect not only our health and well-being but also the health and well-being of others. Some thoughts and sounds create positive and uplifting emotions that heal and bring peace, while others generate negative emotions and lead to illness and distress. Many cultures and religions use power of thoughts and sounds to either heal or destroy. For example, prayer and chanting mantras can be used to bring on good health, love, wealth, protection, wisdom, and spiritual awakening. Specific thoughts and sounds can also be used to cast spells, to sicken, control, kill, and dominate others. Today, sound vibrations created by our lifestyle (traffic noise, computers, TV, cell phones, etc.) dominate our lives more than the calming sounds of nature. To find our inner balance and peace we need to become aware of how different sounds and thoughts affect our lives, and take responsibility to create a more beneficial and nurturing environment for ourselves and others.

Diagram of the electric (blue) and magnetic (red) elds surrounding a dipole antenna radiating a radio wave Write: Averse/GNU Free Document Licens

Author” G-Man has reloaded to the public domain/Rugby VLF transmitter

Three lifestyle changes you can make 1. Practice Sound Awareness Take ten minutes a day to sit silently and listen to sounds that you hear around you. Just listen to every sound without judging it as good or bad, soothing or disturbing. Pay close attention to how different sound vibrations affect the way you feel inside. Also pay attention to the silent gaps between sounds where everything becomes peaceful and still. Once you become accustomed to listening to sounds in your sitting practice, begin listening to them during your daily activities. Listening to sounds will help you realize how your environment affects your health and well-being. This will help you make some lifestyle changes in your home and work environment. 2. Eliminate unhealthy sounds from your environment Once you become aware of how sounds influence your life, eliminate negative, stress provoking sounds, from your environment. For example, stop listening to negative news, or mute commercials on the radio or TV that pollute your energy and consciousness with noise and are designed to program your thoughts. Create a space that would be more nurturing to your well-being. Listen to relaxing and uplifting music that helps you let go of your worries, or dance to your favourite tunes and enjoy your own presence. 3. Create a Supportive People Environment Beware of negative and attention-seeking people who deplete your energy as well as those who like to judge, blame, and criticize, and limit or eliminate the time you spend with them. Surround yourself with positive and creative people who accept you as you are and naturally uplift you. Also, spend as much time as possible in nature to balance your energy, meditate, and connect to your inner being and the magnificence of the universe all around you. The effort you put in to follow through with these mindfulness exercises can help you create a more loving and nurturing environment for yourself and others.

Mada is a modern day mystic, spiritual guide, and master healer. She is the founder of the light-speed Dalian Method™ for Health and Consciousness. This revolutionary new healing modality quickly identifies and miraculously erases old beliefs and self-sabotaging imprints from the body's cellular memory. It helps to permanently eradicate the causes of pain and physical ailments and awaken one's innate consciousness. Through her work Mada takes the concepts of spiritual teachers and cutting-edge scientists to a practical experience of liberation from the ego-mind. Mada also co-hosts a weekly show on Healing into Consciousness Radio. www.MadaDalian.com, www.HealingIntoConsciousness.com

Josef Tyls

In 1973 my journey into sound began as an after hours trip to the local garbage dump.

always very rewarding for me in so many ways, tons of interesting things to explore, and many times I would nd wonderful jewels others had thrown away, items I could take home to repair and enjoy. On one particularly good night I came across a perfect condition album of Pink Floyd’s Dark Side of the Moon, and moments later a classic Gerard record player, which even had a good needle! Truly amazing and what a nd for me. Most pleased with my haul, I placed the items in my Sun newspaper sack and made my journey home. I was 11 at the time, and the trek home was long and heavy Being pro cient at repairing electronics and mechanical items, it wasn’t long before I had the record player working and plugged into my rebuilt Electrohome tube receiver. Plugging in my KOSS headphones, a gift from my dads good friend Stan, waiting for the tubes to warm up, I started the record player and placed the needle on the record… With the typical crackles and pops, and slight hissing from the contact with the turning vinyl came the gentle sound of an ever increasing heart beat. With each passing second the volume increased to become so intense I was amazed. I went into another reality within my mind… I closed my eyes and saw sonic visions that dissolved everything Absolutely captivated, I journeyed into a world of sonic bliss, which stripped me of any connection with my present life, opening my being to cascades of sonic textures and realities, which dreams are made of, that had only haunted my imagination and teased my mind

…

until this very moment

Journey into sound

These after hours treasure hunt adventures were

I had found the Rosetta stone of audio bliss, to my absolute amazement and total disbelief, I thought, how could have anyone given up and thrown away such a master piece of music, the likes I had never heard before… The album became the instrument of my sonic awakening, my mission in life, to seek sonic perfection, to cause shifts in my consciousness, to bring bliss into my body and nd GOD at my core.

...my sonic awakening, my mission in life, to seek sonic perfection, to cause shifts in my consciousness, to bring bliss into my body and find GOD at my core.

In years to come through an amazing set of circumstances, coincidences, and very good luck I suppose, considering the 1984 car accident almost took my life. After the incident, I found myself extremely sensitive to all sounds, especially to aggressive noises and ampli ed sounds such as from a stereo. The kind of sounds commonly found with recorded music and produced from stereo systems, and especially the kind of sounds at rock concerts. When I was exposed to these sounds they made me feel physically ill and quite debilitated. This presented quite a challenge since electronic sounds are all around us. It was until I experienced a classical symphony with the VSO that I realised WHY! The cause of my discomfort was subtle and gross arti cial sonic artefacts commonly found within all reproduced sounds. I spent the next two years investigating and researching all of the available data and theories to do with electronic engineering, sound engineering, sound reproduction and monitor design, and also patents of unique military abstracts.

The unique method I discovered utilizes the entire spectrum of audible and inaudible harmonics free of many typical adorations, and deformities and is able to produce absolutely breath taking sonic imagery. It also has the ability to magnify that sonic image to immense proportions without causing pain or fatigue to the listener. I developed a system which mimics nature and creates sound with almost limitless ease and without any noticeable degradation, independent of image size or sound volume. The key is within the details of the sonic image and the ability to enlarge that sonic image without altering or colouring the original image in any way. The fundamental core of the sonic experience is to maintain all of the ‘true to life’ key points of the sonic image, and be able to manipulate it to any size. This enables it to become profound with absolute presence without shock, distortion, or pain of any kind, which would immediately distract or disassociate the listener.

Coherent sound

I came to realize the magical secret to creating perfectly coherent sound and developed an entire sound technology based upon my personal ndings from research I had done

In the process of exploring the effects of this coherent sound system upon myself and my friends, I developed a sound bed, which enhanced the visceral experience by directly channelling the coherent sonic frequencies into the body. The rst sound bed prototype was completed in 1992 f o r re l a x a t i o n , t h e n l a t e r developed into exploring inner journeys, and later yet to discover it was bene cial for healing of mind and body traumas. Over the years I have literally spent thousands of hours of research into this phenomenon. I found that by utilizing particularly inspiring and emotionally moving music compositions played though my sound system, I was able to witness profound and long lasting physiological, emotional, and mental transformations taking place, which would promote healing of old emotional as well as physiological issues.

healing sound ”

Performer Thilo “Many Bears Photo by James Scott

Sonic Temple

In closing, sound has transformed my health, and wellbeing in an amazing journey of discovery and transformation. I have explored many of the ner sciences to see how the interactions of healing frequencies affect the human body, mind connection, and can attest to its ef cacy, as the proof is always in the end product

In 2008 I created the foundation of the Sonic Temple, http://www.tyls.net/2003.htm Utilizing my entire 20,000 watt Coherent Sound Technology within a permanent building structure I developed a uniquely designed oor capable of providing all the necessary support and integration processes, to allow for sound to freely be transferred through the entire oor of the building. In order to share the sonic bed experience with more than one person as the rst bed was designed for, I developed a 12 foot diameter sound bed which could support upwards of 19 people at once. One year later with the formalization of the fully operational SONIC TEMPLE we opened with David Hickey’s Crystal Journey Concert. The Sonic Temple project ran for two years and hosted hundreds of events with wonderfully talented musicians, dancers and artists from across Canada and the United States, providing a unique consciousness enhancing atmosphere tuned to the coherent sound frequencies of healing

Hey - I'm John Boswell, the musician and producer behind the Symphony of Science.

The goal of the project is to bring scienti c knowledge and philosophy to the public, in a novel way, through the medium of music. Science and music are two passions of mine that I aim to combine, in a way that is intended to bring a meaningful message to listeners, while simultaneously providing an enjoyable musical experience.

john@symphonyofscience.com

Inspiration from The Gregory Brothers and DJ Steve Porter, coupled with my experience with remixing, composition, and auto-tune, led to experiments with remixing scientists, culminating in Carl Sagan's "A Glorious Dawn" in Fall of 2009. This rst video's highly positive reception provided motivation to elaborate on the theme of remixing scientists, which spawned the Symphony of Science project. Although the methods of remixing and tuning spoken word, combined with original electronic music and similarly themed footage, are unorthodox in the context of other science-themed music, the results have often been inspiring, humbling, and of course humorous.

The project has now produced 11 full length music videos (see the home page),

and expanded to include and rely on input

from the community and collaborations with peers. Since its launch in Fall 2009, Symphony of Science has been featured on NPR, Wired, The Scientist, Attack of the Show, The Skeptics Guide to the Universe, Bad Astronomy, Coast to Coast AM, The Examiner, net@night, and many more outlets. The videos have attracted over 16 million views online, contributing to the release of the rst song, A Glorious Dawn, on a special 7" 45rpm vinyl single through Jack White's record label Third Man Records After the release of the tenth video, I released an album compiling all the songs, plus an unreleased track. It is updated with each new song and can be downloaded for free here Everything on the site is provided for free; if you like what you see and hear, please consider contributing to the project, or following my work via the social networking links at the top of the page. Thanks for visiting the site. Enjoy what you nd!

~Joh

Science to SAGE Based-on Chapter 7, InsideOUT the Wisdom of the Designer Univers http://www.insideoutbook.com/#

Author/Scientist • Dr. Emoto • Horowitz, Len • Johannes Kepler • Alexander Lauterwassser • Richard Merrick • Thomas J. Mitchell and Stuart Mitchell • Marcus Du Sautoy • Dr. David Schweitzer • Rupert Sheldrake • Victor Schauberger • Rupert Sheldrake Books • Messages from Water – Dr. Emoto • Walk on Water, Horowitz • Cymatics: A Study of Wave Phenomena, Hans Jenny • Dr. David Schweitzer • Water Sound Images, The Creative Music of the Universe, Alexander Lauterwassser • Victor Schauberger • Interference – A grand Scienti c Musical Theory, Harmonic Evolution, Richard S. Merrick • The New Science of Life, Rupert Sheldrake • Spiritual Teachings of the Avatar, Jeffrey Armstrong • Rosalyn Chapel – The Music of the Cubes, Thomas J. Mitchell and Stuart Mitchell Nature of Time • God, Goddess and the Astrologer, Jeffrey Armstrong • Fractal Time, Gregg Braden Organizations • Global Coherence • IONS • Omega Institute • Monroe Institute • http://www.guardiantrader.com/Genesis_Vortex.html

CD • Thomas J. Mitchell and Stuart Mitchell • Cymatics Soundscapes • Stone Age Soundtracks DVD The Nature of the Universe • Water Memory – Dr. David Schweitzer • Victor Schauberger and spin related to aliveness of water • The Quantum Activist – Amit Gosuami, Ph.D • The Complete Vision Board Kit – John Assart • The Elegant Universe – Michael Duff • NOVA: Einstein’s Big Idea – John Lithgow • Hidden Messages in Water – Masaru Emoto • Cymatics website in which to nd many books and DVDs • Orbs: The Veil is Lifting- Miceal Ledwith • 2013 Alignment Chaos, Miceal Ledwith (Looks at many predications related to 2012) Articles • Kepler’s Music of the Planet • Food and Shapes • Earth is a Living Being • The Gia Hypothesis • Music of the Sphere Model by Richard Merick • Vedic galactic perspective • Ancient Calendars Science of Healing • Sound and Healing Products • Color and Healing • Herbs and Healing • Flower remedies • Minerals and hot springs Sage • Shamans • Mandala’s – What is a Mandala • Laughter heals • Knights Templar • Hermetic • Astrology

Science to SAGE YOU-Tube • Water Memory – Dr. David Schweitzer • Water Sound Images • Sound Vibration Creates From( David Icke) • Dr. Hans Jenny • Evolutions • Creation to Genesis • String Theory-Michio Kaku • Hans Jenny-Wave Structure of Matter • Vibration creates matter • Cymatics – the science of sound vibrations • Morphogenetic Fields • Wave Function and Wave-Particle Duality • Science of the Heart -Rollin McCraty & Howard Martin of HeartMathh • The Rosslyn Stave Angel- Music • David Wilcox • Lay lines • http://www.crystalinks.com/grids.html • Shape of the Universe • Dr. David Schweitzerh • Crystal caves • David Icke – Crystal Substance • Gia Resonance • Planets/ Nasa • The Miracle of 528 Hz Solfeggio and Fibonacci numbers • The Motion of Light • Dr. Quantum-Double Slit Experiments • The Secret of Reality • Dr. David Schweitzer • Dr. Emoto http://www.masaru-emoto.net/ • Gregg Braden – Fractal Time • Wikepida The Buttery Fly Effect • Simple Model of the Lorenz Attractor • The Schumann Resonance • Hear the Schumann Resonance • Kepler’s – Harmony of the Spheres • Jeffrey Armstrong on Vedic Astrology

Science to SAGE Journal of Cymatics Journal of Cymatics: The Study of Sound Made Visible http://cymatica.com/

Science of Sound http://www.youtube.com/watch? v=_ovMh2A3P5k http://www.exploratorium.edu/music/ http://www.empmuseum.org/index.asp http://www.lunarsight.com/freq.htm

Brain Frequency http://www.lunarsight.com/freq.htm

http://www.youtube.com/watch? v=r4xYDs5rLNI&feature=related

http://www.cymatics.co.uk/newton-stone/