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Do what you've learned,
Do what you've always done.
I've watched you run from the whole World you conquered...
And when you turn, you know you've lost us...
Don't you, Don't you... Don't - You.
Originally posted by Mary Rose
I'm reading the "The Physics of Quality" page of Dr. Ibrahim Karim's website biogeometry.com. I just came to a sentence that made me think of this thread:
The linear character of quantitative measurement, which is bound by time and space, gives way to the non-linear character of qualitative measurements that have no time or space boundaries.
What about BioGeometry? Is it plagued by Western science?
“Either Buckminster Fuller was a real man or an autocratic Solar Dynasty Myth.”
BioGeometry® uses proprietary shapes that replicate and amplify these highly beneficial and natural energy qualities. These shapes interact with the body’s own surrounding energy fields, according to the natural laws of harmonics and resonance to introduce the energy-quality balancing effect. The result is a profound qualitative balancing of the body’s energy system, and the harmonization of energy interactions with the environment. The solutions provided in Hemberg and Hirshberg were based on the placement of specially designed geometrical shapes in certain locations that radiate a harmonizing quality into the electromagnetic fields that propagate them into the environment.
The reason that a hundred-metre dash starts with a pistol shot rather than a burst of light, Eagleman pointed out, is that the body reacts much more quickly to sound. Our ears and auditory cortex can process a signal forty milliseconds faster than our eyes and visual cortex—more than making up for the speed of light. It’s another vestige, perhaps, of our days in the jungle, when we’d hear the tiger long before we’d see it.643
Malidoma Some, a shaman from Burkina Faso, says his elders talk about the “competing literacies” between tonal, non-literate land-based languages and the written text.
St. Augustine’s Confessions published in 401 A.D. was the first book to use the pronoun “I” in the modern sense but people still did not equate the sounds of written words with the self-awareness inside their heads!
Definition of NOUS 1 : mind, reason: as a : an intelligent purposive principle of the world b : the divine reason regarded in Neoplatonism as the first emanation of God 2 chiefly British : common sense, alertness
So this idea that we equate written phonetic language with our identity -- with the sounds in our head -- it's not normal.
I'm not allowed to say what the pineal gland chemical is that creates visionary light even though it's found throughout our bodies and Nature.
The real conspiracy is the music as mind control through the logarithmic tuning and the rhythm.
The cults' origin myths tell of a time when the women possessed secret and powerful objects, often bullroarers, flutes, or trumpets, and used them to dominate the men. Rallying together, the men forced or tricked the women into giving up the sacred instruments, resulting in the reordering of the society and establishing of patriarchy (see Bamberger 1974, and Lévi-Strauss 1973 for summary discussions of Amazonian variants; see Gewertz 1988 for Melanesia). In both regions, the men share a strategic, potentially troubling secret: that the sounds of the trumpets, flutes, bullroarers, and other instruments associated with the cult are not the voice of spirits, as they allege, but are produced by the men themselves (cf. Metraux 1927).[2] This summary hardly does justice to the energy that has generated the array of ideas and symbolic associations linked to the cults. In their density, in their manneristic elaboration, in their fantastical departure from ordinary life, and in their raw, uncensored use of primary-process symbolism, they are among the more remarkable human creations documented by ethnography.
Recent brain-scan studies indicate that music seems to stimulate deeply primitive centres at the front end of the right hemisphere of the brain. In rather crude terms, the left half of your brain is more active in conscious processes – hence the fact that it is particularly strongly implicated in language – whereas your right half is more active in those unconscious more primitively emotional aspects of behavior….That peculiar form of speech known as motherese which women (in particular) seem to use so naturally when talking to infants has many of the hallmarks of music – a simple rhythmicity, a strikingly exaggerated sing-song intonation that can rise and fall two whole octaves, and a pitch that is significantly higher than normal speech….This unique form of music is very calming for it, and babies seem to find it very attractive and soothing. It’s the magic of the endorphins again, and their role in bonding….The !Kung San of southern Africa, for example, seek to heal rifts in personal relationships within the community using music and repetitive dance movement to trigger trance states. Many religions have practices such as chanting and fasting that invoke similar mental states: blinding light bursts within the head….It is easy to see how this activity could have been extremely beneficial to our ancestors, uniting the group, discouraging free riders, and so increasing the chances that individuals would survive and reproduce more successfully.168
For example, máwi flutes are always made and played in "male" and "female" pairs. These instruments are blowpipes with palm-leaf reeds and lacking finger holes. Blowing harder or softer produces an overtone series of wider and narrower intervals. A single flute is thus incapable of producing a melody, so pairs of longer, "male" flutes are played in a hocket style (i.e., alternating M-F-M-F- etc.) with shorter, "female" flutes to make complex melodic structures. Each performance of máwi flute music is an interweaving of "male" and "female" voices, and this meaning is doubled by the fact that each pair of male flute players is accompanied by a pair of female dancers. Kulirrína trumpets are also richly imbued with gender meanings, since women of childbearing age are forbidden to be present when the woven, resin-covered resonators are closed and attached to hollow palm mouthpieces. It is said that a woman's future unborn children could become stuck inside her womb, causing death to both mother and child, if she were to witness the sealing together of kulirrína mouthpieces and resonators.[9] In this case, the fastening of "male" palm tubes into the cavernous, womblike resonators to make kulirrína trumpets symbolically expresses a concept of ambisexuality, or the fusing together of "male" and "female" properties into a single object. This same meaning is externally enacted in the use of kulirrína trumpets as gifts from the sponsors of a male-owned pudáli that remind their hosts of the obligation to hold a female-owned pudáli at a later time.
Originally posted by Americanist
reply to post by fulllotusqigong
It sounds as though (pun intended) you've lived more of a life than I have, but together we'll still get it done! I appreciate the tunes along with your insight...
Originally posted by fulllotusqigong
Originally posted by Americanist
reply to post by fulllotusqigong
It sounds as though (pun intended) you've lived more of a life than I have, but together we'll still get it done! I appreciate the tunes along with your insight...
All I can do is recommend you get a phone healing from Spring Forest Qigong -- Just get the phone number off the website and call to make an appointment for a phone healing -- they they'll tell you your blockages and do a healing on you
I have nothing more to reply to you. That's my insight for you -- take it or leave it. haha. No I am not selling anything.edit on 3-3-2012 by fulllotusqigong because: (no reason given)
xxxx, i did feel the healing powers of master lin. he was a very inspiring person. i didn't have maybe the level of intensity that you described but i felt this overwhelming feeling of unconditional love and then i felt like my heart opened up. my whole body and mind is clearer. chunyi lin was such a gracious, gentle, and hilarious person. it was a great class and i am so thankful you kept pushing me to go. now i just have to save for the second class. magnetic brain bliss! haha, chris
Originally posted by Starchild23
I have nearly finished my research, friends of ATS...
Here it is: Harmonics
I am not doing this for stars or flags. I am doing this because I can see clearly how many of you are interested in sound and its power...this thread I have just linked is everything I have put together regarding sound and the influence it has on the physical and metaphysical world.
Have a look, if you want. Or just ignore it...I would rather you didn't.edit on CSaturdaypm040451f51America/Chicago03 by Starchild23 because: (no reason given)
Director Eisenstein said of Prokofiev, "He is a man of our time and a man of the screen. He understands how the screen can reveal not only the outer appearance of things but their inner nature as well. He is able to dress objects in sound and instrumentation, bringing them to life with shifts in tone and timbre, adding an emotional dimension to images through his orchestration".
It is the relative position of the formants that are important. Each vowel sound can be produced at any pitch of the human voice. The vowel sounds are thus the result of the balance of higher and lower frequency components irrespective of pitchshifts. There may be an analogy here with Land's discovery that colours are reported as the psychophysiological products of contrasts of higher and lower wavelengths irrespective of their position in the frequency spectrum (1959). Perhaps we shall find brain mechanisms that respond to such relationships in all the sensory fields (He 1962).
The color mainly is dependent upon the light's frequency, which is the number of waves of the light that pass a given point in one second. If the color of light was dependent on wavelength, its color would change when it entered a medium with a different index of refraction. But it doesn't. For instance, if you look at an object in air, and then jump into a swimming pool with the object and look at it under water, the color of the object will remain the same.
A multicoloured display was illuminated with all three projectors, each equipped with a band-pass filter, one passing long-wave (red) light only, the other middle-wave (green) light only and the third short-wave (blue) light only. When the display is illuminated with long-wave light only, the entire display acquires a red wash and some areas will appear very light whereas others very dark. The red, white, magenta and yellow areas will all appear light and human observers cannot predict which of these will be red when the display is later illuminated with all three projectors, nor will the appearance of red depend upon the sequence with which the display is alternately illuminated with long-wave light and with light of all three wavebands. The same is true for illumination with short- and middle-wave light only, except that the lightnesses will change, e.g. a red area will appear very dark when illuminated with middle-wave light only, whereas it appeared very light when illuminated with long-wave light only. In general, full colours appear only when the display is illuminated with light of all three wavebands.
As biophysicist Vitus B. Dröscher states in his book, Magic of the Senses: Let us draw up a fundamental vibration with its first and second harmonic overtones [1:2 and 2:3]….if we then shift the phase relationship, we get a totally different course of the combined curve; that is, of the pressure course [amplitude and frequency] which is apparently effective in the final analysis. When looking at both curves, one might suppose that in the two cases we should hear two sounds that are just as different. But in fact our ear does not notice any difference. (p. 168)
Topological constancy is a psychophysical phenomenon associated with the visual trace figures produced by two frequencies which are sufficiently close to a low-order rational fraction and it persists even if the oscillators are perturbed. Such effects are described for rotational and vibrational near-harmonies of a dynamical system. Mathematical models are considered for such topological constancy; the optical substrate, neural response, and emergent perception are investigated.
The spins for these figures is analogous to the Doppler shift. Just as the pitch of a siren is increased as an ambulance approaches you while it suddenly falls as the ambulance begins to recede (spatial phase affects frequency), for mandalas a perturbation in frequency is expressed as a corresponding change in spatial phase. The sequence of these rational "interpolants" may also be influenced by capabilities of the observer. For instance, it is known that the "flicker fusion frequency" (rate at which a blinking light is perceived to be constant - as when watching a movie) will differ from one person to another. How does this influence which mandalas can be seen? Exactly the same questions arise for Lissajous figures. I've posed them above for mandalas because it is slightly easier to describe the resulting figures and their dynamics. In particular, Lissajous figures often have a 3-dimensional appearance, so additional phenomena may be involved in their perception.
If one changes the color of a Lissajous figure, whether exactly rational or not, if the color changes are also periodic, with a harmonic relationship to the displayed form, one has the percept of a color flow around the figure.
Nan:....Again, why do we have to study these? During meditation practice, you may “see” all kinds of colors rising within yourself. If one is not aware that the colors are but an aspect of form, the person can be deluded by the phenomena, thinking one has become a master! These colors all arise out of the “Realm of Mere Shadow.” You should understand that these are hallucinations, a natural phenomenon of the changes happening in your body - certainly nothing supernatural at all.
We are told in the Western system that the visual measurement is correct – that indeed because of the change in time as distance (phase-shift), there is a total transformation of the over all composite sound wave from the fundamental and the first and second harmonic overtones. “But in fact our ear does not notice any difference.” ( Dröscher) The symmetric visual measurement is wrong and the complementary opposite hearing of the ear is correct.
But it's now been proven with the new
Los Alamos “macrosonix” technology that thermoacoustics enables an almost unlimited level of
sound amplitude, if the “phase” or time as distance is in the geometry (spacetime) of a cone, or
full-lotus tetrahedron of complementary opposites. So instead of a linear model based on
squared distance inversions there is a nonlinear constructive feedback resonance: “We get a specific series of harmonics that have a specific amplitude and phase to produce the desired waveform” via Fourier wave summing. MacroSonix's cavity shapes, which include various cones, cone-horn hybrids, and bulbs, are said to have high Q, the resonance-storage quality factor….
But Lucas discovered that by sending sound waves through empty containers of various shapes, the shock waves were eliminated. Clean electric power generators? "Once you've done that," he says, "you can add all the energy, create all the pressure, and deliver all the power that you want." Lucas calls his invention Resonant Macrosonic Synthesis -- RMS. He has used it to power such things as a gas compressor, but believes there is so much potential that he compares what he has done with sound to what the laser has done with light.
Note that it is not, in general, possible to tell when a waveform develops shocks simply by examining the amplitudes in the frequency spectrum; harmonic phases must also be considered. Also note that the phases of the harmonic components relative to the fundamental can vary substantially with fundamental amplitude. This phase amplitude dependence is not surprising in light of the nonlinear hardening behavior ~described in detail in the next section! observed for the lowest mode of the cone resonator. When the amplitude at the fundamental mode ~frequency f ! is increased, the frequency of this resonance increases by an amount Df , which causes a corresponding increase in the nth harmonic frequency of nDf . Consequently, the higher harmonic frequencies can be swept near and/or through higher modes of the cavity, causing substantial changes in harmonic phase. Also, the large overpressures of the fundamental mode can significantly alter the local ambient conditions of the gas. These changes in local conditions can result from the large temperature changes that occur over an acoustic cycle and also from nonlinear effects such as the large dc pressure and density gradients from end to end in the resonator. This effect can alter the modal frequencies, causing further amplitude-sensitive phase changes. All of these effects can be modeled and do not prohibit good resonator design.
For the noncylindrical resonators, harmonic frequencies, in general, do not correspond to modal frequencies. Harmonic frequency components grow as the fundamental is resonance amplified, but ~unlike in the cylinder! the basic character of the waveform ~i.e., ‘‘u wave’’ or ‘‘m wave’’! does not change as it does in the cylinder.
As mentioned previously, when harmonic wavelengths become small with respect to the dimensions of the resonator, it becomes more difficult to provide a desired harmonic phase. This difficulty is compounded by the fact that the modal spectral density increases substantially with frequency. The inability to control harmonic phases at higher frequencies can lead to the formation of what we refer to as micro-shocks. The shock front of a micro-shock does not span the entire peak-to-peak pressure of the waveform, as is the case for a sawtooth-type shock wave. Micro-shocks can appear as high-frequency spikes on the pressure waveform. The family of harmonics comprising a micro-shock is a subset of the total number of harmonics present in the resonator. Many micro-shocks can exist simultaneously. Micro-shock formation may lead to acoustic saturation. Depending on resonator design, micro-shocks can occur at overpressures of a few percent of ambient, or not until overpressures of more than 100%. The specific overpressure at which micro-shocks appear is determined by the geometry of the resonator.
These applications include process control; process reactors for the chemical and pharmaceutical industries; chambers for separation, agglomeration, levitation, mixing, and pulverization; oil-less compressors for air compression, refrigeration, comfort air-conditioning, and natural gas; noncontaminating compressors and pumps for commercial gases, ultra-pure, and hazardous fluids; and the conversion of combustible fuels into electric power with RMS pulse combustion.
These applications include process control; process reactors for the chemical and pharmaceutical industries; chambers for separation, agglomeration, levitation, mixing, and pulverization; oil-less compressors for air compression, refrigeration, comfort air-conditioning, and natural gas; noncontaminating compressors and pumps for commercial gases, ultra-pure, and hazardous fluids; and the conversion of combustible fuels into electric power with RMS pulse combustion.
Over the past decade, Tim Lucas, an acoustician who is president and chief executive officer of MacroSonix Corp. in Richmond, Va., has developed a technique by which standing sound waves resonating in specially shaped closed cavities can be loaded with thousands of times more energy than was previously possible. For example, the new devices can generate dynamic (oscillating) pressures exceeding 500 pounds per square inch in gases, more than what is needed for commercial applications. "You've heard about researchers using sound to levitate Ping-Pong balls inside tubes," he said. "Our technology should allow us to levitate bowling balls with sound waves."