Music,sound and resonance

Great MusicMan !!!
I gonna put some videos to illustrate your "good vibes".
About V.K streets

https://youtu.be/IDeGDFZSYo8
About slit and wave/particle

https://youtu.be/Iuv6hY6zsd0

https://youtu.be/Xmq_FJd1oUQ
And in rambling "with" a certitude :lol:
i fell on this

https://youtu.be/1yaqUI4b974
Where you can turn off the sound
and put the Bolero of Ravel in sync to see this other "dance"( http://cassiopaea.org/forum/index.php/topic,42183.0.html
)
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...
In rambling "with" faith and certitude :lol: on CassWiki:
H.J. Sharp also speaks of the Bose Einstein Condensate and its relationship to the first interval in the Gurdjieffian octave. Gurdjieff calls this first interval the 'Mechano-coinciding-Mdnel-ln' in his book Beelzebub's Tales To His Grandson.

This Mechano-coinciding-Mdnel-ln relates to the THIRD and FOURTH notes of the octave which is between the Mi-Fa interval. This interval is where the progression of the vibrations slow down and if it does not recieve a shock from the outside it will deviate from it's original direction. This interval or 'shock point' corresponds to the missing semi-tones of the musical octave between mi-fa (and there is another one at si-do). This mi-fa interval is what Gurdjieff called the 'Mechano-coinciding-Mdnel-ln' It is at this interval (note: Gurdjieff calls these intervals 'stopinders' in his book Beelzebub) that a retardation of vibrations occurs and a deviation or deflection from the original direction takes place. It is at this point that an external or mechanical shock is needed in order to keep the octave progressing to its completion into the next higher cycle.

There is also another retardation point in the octave that is between the si-do interval. just before its progression into the next higher octave, that Gurdjieff call the 'intentionally-actualized-Mdnel-In' where the shock must be internal, that is, it comes from within instead of without. This is where the completed octave has sufficient energy within itself to begin a new octave.

Gurdjieff says in Beelzebub: (Note the Law of Heptaparaparshinokh is another name for Gurdjieff's 'Law Of Seven.'

"Our COMMON FATHER OMNI-BEING-ENDLESSNESS, having decided to change the principle of the maintenance of the existence of this then still unique cosmic concentration and sole place of HIS most glorious Being, first of all altered the process itself of the functioning of these two primordial fundamental sacred laws, and HE actualized the greater change in the law of the sacred Heptaparaparshinokh.

"These changes in the functioning of the sacred Heptaparaparshinokh consisted in this, that in three of its Stopinders (intervals) HE altered the, what are called 'subjective actions' which had been until then in the Stopinders, in this respect, that in one HE lengthened the law conformable successiveness; shortened it in another; and in a third, disharmonized it.

"And, namely, with the purpose of providing the 'requisite inherency' for receiving, for its functioning, the automatic affluence of all forces which were near, HE lengthened the Stopinder between its third and fourth deflections.

"This same Stopinder of the sacred Heptaparaparshinokh is just that one, which is still called the 'mechano-coinciding-Mdnel-In.'

"And the Stopinder which HE shortened, is between its last deflection and the beginning of a new cycle of its completing process; by this same shortening, for the purpose of facilitating the commencement of a new cycle of its completing process, HE predetermined the functioning of the given Stopinder to be dependent only upon the affluence of forces, obtained from outside through that Stopinder from the results of the action of that cosmic concentration itself in which the completing process of this primordial fundamental sacred law flows.

"And this Stopinder of the sacred Heptaparaparshinokh is just that one, which is still called the 'intentionally-actualized-Mdnel-ln.' "

Concerning this first first shock point at the mi-fa interval called the Mechano-coinciding-Mdnel-ln, Harry Sharp relates this to what Professor Frolich proposed concerning another form of resonance that relates to biological structures which often consist of electric dipoles that are capable of vibratory motion, such as the hydrogen bonds in DNA and proteins. Long-range coulomb interactions between the oscillatory units produce a narrow band of frequencies corresponding to the normal modes of electromagnetic oscillations. Frolich showed that when energy is supplied to such a system-- either from metabolism or from external sources-above a critical rate, it is automatically channeled into the lowest frequency mode, thereby resulting in coherent excitation of the vibratory components (a phenomenon known as Bose-Einstein condensation).

In reference to this Harry Sharp says in his website "The Adventures of a Solitary Soul":

"This brings us to the first special interval, a Mechano-coinciding-Mdnel-ln between Mi and Fa. Once this special interval is bridged by energy from other Laws of Seven, we are able to apply quantum mechanics to our explanations.

"It was over 25 years ago at Liverpool University that Prof Frolich found that in a protocell in the form of a micelle the long chain molecules making up its wall vibrated at the same frequency at a given temperature but independently. If further energy was available, by a small rise in temperature of the medium, what is called a Bose-Einstein Condensation occurs. All these molecules come into synchronicity, vibrating together, allowing for more energy to be contained. The assembly then becomes a living cell and emits biophotons. Further work by German and Japanese scientists has confirmed that all living tissue emits light to a degree relating to its vivifyingness. So here we have in effect the results of the interaction producing radiation. Surprisingly no one has connected this with Auras. It is also significant that such living material is able to create higher energies from lower energies, to make energy go against the second law of thermodynamics".
http://thecasswiki.net/index.php?title=Bose-Einstein_condensate

It can help to look the "Schematic Bose-Einstein Condensation versus temperature and the energy diagram"
here: https://en.wikipedia.org/wiki/Bose%E2%80%93Einstein_condensate

:knitting:
:knitting:
 
Keep on rambling...
When the ligand, the chemical key, binds to the receptor, entering it like a key in a keyhole, it creates a response that causes a rearrangement, a changing of shape, until INFORMATION enters the cell.

In a certain sense, a ligand is the cellular equivalent of a phallus! Ligand comes from the Latin “ligare”, or that which binds. The same word is also the root of “religion.” Curious, yes?

A more dynamic description of this very miniscule process would be that relating to “frequency.” The ligand and the receptor combine their identical frequencies – striking the same note, so to say – which produces a sufficiently strong vibration that more or less “rings the doorbell” to cause the doorway of the cell to open and there is some sort of exchange of atomic potentials that constitute the “information” that is “sent into the cell.” What happens next is quite amazing. The receptor, having received a message transmits it from the surface of the cell deep into the cell’s interior, where the message can change the state of the cell dramatically. A chain reaction of biochemical events is initiated as tiny cellular machines go into action and, depending on the message of the ligand, begin any number of activities – manufacturing new proteins, making decisions about cell division, opening or closing ion channels, adding or subtracting energetic chemical groups like phosphates – to name just a few. In short, whatever a given cell is up to at any moment, is determined by which receptors are on its surface, and whether those receptors are occupied by ligands or not. On a larger scale, these tiny physiological phenomena at the cell level can translate to major changes in behavior, physical activity, even mood – and ABILITY.


Ancient Science
Laura Knight-Jadczyk

And, what about music? Is it present through all the densities? Is it a Lizzie creation to control the masses, or are they only using it for this purpose? Did Beethoven and Mozart channel their music from another density?


I think that music exists in some form or another at all densities, though we may not be able to conceive of it’s “whole system” manifestation at other levels as might be imagined from the first extract below regarding music at 4th density. I expect, also, that like everything else in creation, there are STS and STO (positive and negative) expressions of music. We often play music when doing the sessions, and the Cassiopaeans once requested that we turn OFF a particular selection and play something else, as the first was “disruptive” to the frequency.

Q: (L) Jan and I are very curious about artistic expression at 4th density. We experience art and music in a very positive and moving way, most of us, in this realm, and sometimes music can be very sublime and very transforming. It can move one in a lot of very unusual ways. What is it like in 4th density?
A: In 4th, you can “see” sounds and “hear” colors, for example.

The following series of remarks came after the group had taken a break to watch the “Riverdance” video:

Q: Hi guys! Did you like the movie?
A: We do not need to have such presentations, since we have all presence awareness!
Q: Well, gosh! Lighten up! (T) Well, they must be able to see the original! (L) Indeed. How close are these dances to the original Celtic dances?
A: Half.
Q: Considering how everything we are aware of has been twisted and distorted by 4th density STS controls, that is a lot. What about these dances would make them more original?
A: Floating.
Q: Holy Shi’ite Moslems! No wonder Caesar went bananas! But, why the stylized rigidity of the arms?
A: Has to do with sound through chemical enzyme based utilization for power purposes.
Q: How does the stiff-arm posture relate to sound?
A: Chemical transmitter flow.
Q: You mean that something flowed through their arms and out their hands to enhance levitation?
A: Close.
Q: Well, that is totally cool! It must be similar to the Reiki energy which, after initiation, produces a LOT of heat and a definite feeling of “flow” down the arms! There is also the incredible heat that one feels when transmitting Reiki, and that connects to the idea of “mastery over fire” of the various shamanic paths which are Indo-European, and that tracks back to Sanskrit, which is also IndoEuropean, which is the Celtic root. Also, the Celtic floklore talks about the enormous heat of certain heros who had to be plunged into very cold water several times so that they could cool down enough to put clothes on after battle – the Furor. The Celts went into battle naked because they would go into this ‘furor’ and produce so much heat that they could not tolerate clothing. Then there is the heat of the Sufi ‘states’ which I have experienced from time to time, particularly when channeling. The C’s identified that as a ‘reflection’ of the connection to 4th density. That is a truly bizarre state because the heat is so intense it is almost unbearable, yet does not even show on a thermometer, and to anyone else who touches me, I am not hot. Yet the internal heat is unbelievable. So, yeah – I understand it… the power flows through the hands… So, this 4th density energy flow makes us feel this tremendous heat that does not register physically?
A: Reflection of it.
Q: Is the watching of these dances or listening to this music helpful in unlocking ancient genetic memories?
A: In person, not through reproduction. Wearing of silk will enhance the EM effect.


At another time, music was mentioned in another context:

Q: (A) You mentioned the term ‘pyramidal’ and I thought about putting prime numbers along a pyramid, around, higher and higher, but then, today, we discoverd that Ulam was putting prime numbers along a spiral and there were funny patterns arising. So, I thought that maybe we should do something similar, but three dimensional rather than two. Is this the right track?
A: In prime numbers, you will find resonance.
Q: Resonance in prime numbers? Can you please elaborate a little bit on that?
A: Elaboration is not needed because the answers are there for you already in the texts, as with so much else. One needs only listen to the “music to your ears.” Mathematics converts to sound in geometric measurements. Why do you think the pyramid became a pyramid?
Q: (A) It became a pyramid because it is a simple shape to build. (L) Did it become a pyramid because a sound shaped it? Determined its shape?
A: Closer.
Q: (L) And, what was the origin of this sound?
A: Those who heard it knew. Those who knew how to convert math to sound. Why would the mystics reside there?


[This last was a reference to another session about Prime Numbers as the “Dwellings of the Mystics.”]

Q: Alright: ‘mathematics converts to sound in geometric measurements.’ When we set up these figures…
A: Imagine an interlocking triangular mosaic in three dimensions.
Q: When one wishes to apply this, does one somehow… Is the sound inside one?
A: It is all around and through you.
Q: Is it a sound that can be perceived with the physical ears?
A: Yes.
Q: What frequency?
A: Not issue. Tone and Vibratory pitch.
Q: (A) If I want to use the computer to produce such a composite sound based on a series of prime numbers, how many of them should I take and, from where? It is important whether it is ten or one hundred, or one thousand.
A: Okay, so start with 10. But, do not limit yourself. The pathway leads…
Q: Just a little while ago, we looked at the image of the prime number designs that were like interlocking pieces of…
A: Flattened pyramids.
Q: That’s exactly what they looked like. Okay, if you take your series of sound from those that form a three dimensional pyramid by the proximity based on the flattened pyramids… it really doesn’t matter where you start? You pick one, and take the ones that are connected, is that the idea?
A: Close. But, you will not discover the answer tonight. For example: you have already seen that we sometimes employ anagrams… Learning is such fun. Ludwig put words to his music.
Q: (L) Yes… the poetry of Wolfgang Schiller. His Ode to Joy.
A: What does Schiller, or Schoeller mean?
Q: Now that you brought this up! This is a VERY strange thing because this guy wrote a bunch of cosmic poems to someone named Laura, and they were about universes and gravity and the music of the spheres, and reincarnation, time and time warps, a bunch of funny stuff. He even wrote one that begins: ‘I was in Arcadia born…’ He hung out with Von Eckarthausen and I think he was an alchemist…
A: Was he zuber?
Q: (A) Zauber, in German, means ‘magic.’ (L) Close enough! (A) Does this mean he was a magician?
A: Other close one… Zeuber?


I was going to ask why music has a physical effect on us, then I realized that it is made up of sound waves, which are matter in themselves
, so I answered my own question. When the C’s say “We are you in the future”, I don’t think they mean literally. I did at first, but after re-reading some of the material, I think they mean that we will be doing what they are doing when we get to sixth density. When we get to 6th, they will have already merged with the One. Perhaps that is just my linear, 3rd density thinking though!


But it is probably correct… and, if time does not exist as the Cassiopaeans repeatedly tell us… then we are ALREADY them, and they are still us… infinite possible futures and pasts… an undulating matrix mosaic that has it’s center anywhere and everywhere and goes on forever!

Laura
http://cassiopaea.org/2010/09/15/questions-from-readers-crystals-shems-4-d-takeover-and-music/

Then

https://youtu.be/nlbwxxNrvxw
Why are some composers fascinated with canons? Canons are not unlike puzzles and other brainteasers: from just a few rules, you can achieve so much. Plus, canons have the appeal of any puzzle. There is the initial challenge, the mystery of solving it, and the feeling of satisfaction you get from completing it. (Davidian 2015, 136)
...
Puzzle canon
A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed (Merriam-Webster n.d.). "The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it down, of which a solution is required" (Richter 1888, 38). Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used (Scholes, Nagley, and Whittall n.d.). J S Bach presented many of his canons in this form, for example in The Musical Offering. Mozart, after solving Father Martini's puzzles (Zaslaw and Cowdery 1990, 98), composed his own riddles using Latin epigrams such as "Sit trium series una" and "Ter ternis canite vocibus" ("Let there be one series of three parts" and "sing three times with three voices") (Karhausen 2011, 151).

Other notable contributors to the genre include Ciconia, Ockeghem, Byrd, Beethoven, Brumel; Busnois, Haydn, Josquin des Prez, Mendelssohn, Pierre de la Rue, Brahms, Schoenberg, Nono and Maxwell Davies (Carvalho 1999, 38–39; Davidian 2015, 136; Davies 1971; Davies 1972; Hartmann 1989, passim; Hewett 1957, passim; Johnson 1994, 162–63; Jones 2009, 152; Leven 1948, 361; Litterick 2000, 388; Mann, Wilson, and Urquhart n.d.; Morley 1597, 173, 176; Perkins 2001; Tatlow 1991, 15, 126; Todd 2003, 165; van Rij 2006, 215; Watkins 1986, 239). According to Oliver B. Ellsworth, the earliest known enigma canon appears to be an anonymous ballade, En la maison Dedalus, found at the end of a collection of five theory treatises from the third quarter of the fourteenth century collected in the Berkeley Manuscript (Ciconia 1993, 411n12).

Thomas Morley complained that sometimes a solution, "which being founde (it might bee) was scant worth the hearing" (Morley 1597, 104, cited, inter al., by Barrett 2014, 123). J. G. Albrechtsberger admits that, "when we have traced the secret, we have gained but little; as the proverb says, 'Parturiunt montes, etc.'" but adds that, "these speculative passages...serve to sharpen acumen" (Albrechtsberger 1855, 234).
https://en.wikipedia.org/wiki/Canon_(music)

:read: :knitting:
 
Then
The Art of Fugue:
The Art of Fugue (or The Art of the Fugue; German: Die Kunst der Fuge), BWV 1080, is an incomplete work of unspecified instrumentation by Johann Sebastian Bach (1685–1750). Written in the last decade of his life, The Art of Fugue is the culmination of Bach's experimentation with monothematic instrumental works.

This work consists of 14 fugues and 4 canons in D minor, each using some variation of a single principal subject, and generally ordered to increase in complexity. "The governing idea of the work", as put by Bach specialist Christoph Wolff, "was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject."[1] The word "contrapunctus" is often used for each fugue.
Instrumentation
Both editions of the Art of Fugue are written in open score, where each voice is written on its own staff. This has led some to conclude[6] that the Art of Fugue was intended as an intellectual exercise, meant to be studied more than heard. The renowned keyboardist and musicologist Gustav Leonhardt,[7] argued that the Art of Fugue was probably intended to be played on a keyboard instrument (and specifically the harpsichord).[8] Leonhardt's arguments included the following:[7]

1. It was common practice in the 17th and early 18th centuries to publish keyboard pieces in open score, especially those that are contrapuntally complex. Examples include Frescobaldi's Fiori musicali (1635), Samuel Scheidt's Tabulatura Nova (1624), works by Johann Jakob Froberger (1616–1667), Franz Anton Maichelbeck (de) (1702–1750), and others.
2. The range of none of the ensemble or orchestral instruments of the period corresponds to any of the ranges of the voices in The Art of Fugue. Furthermore, none of the melodic shapes that characterize Bach's ensemble writing are found in the work, and there is no basso continuo.
3. The fugue types used are reminiscent of the types in The Well-Tempered Clavier, rather than Bach's ensemble fugues; Leonhardt also shows an "optical" resemblance between the fugues of the two collections, and points out other stylistic similarities between them.
4. Finally, since the bass voice in The Art of Fugue occasionally rises above the tenor, and the tenor becomes the "real" bass, Leonhardt deduces that the bass part was not meant to be doubled at 16-foot pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord as the most logical choice.

However, opponents of Leonhardt's theory such as Reinhard Goebel argue that:

1. The Art of Fugue is not completely playable on a keyboard. Contrapunctus XII and XIII, for instance, cannot be played on a single keyboard without making awkward jumps or neglecting the main theme, especially on the keyboard instruments of Bach's day, such as the harpsichord or the early pianoforte, both of which lacked a sustain pedal. This is something Bach would never have allowed to happen. (Although Leonhardt notes that there are similarly 'unplayable' passages in The Well-Tempered Clavier.)
2. The absence of the basso continuo is only logical since a fugue for string quartet wouldn't have one by default.

There is also the possibility that The Art of Fugue was not intended for one single (type of) instrument, but instead for whatever instruments were at hand. This hypothesis is given weight by the modern recording and concert history of the work: it is variously performed by string quartets, wind quartets, solo keyboardists, and orchestras.

The Unfinished Fugue
A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating "Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben." ("At the point where the composer introduces the name BACH [for which the English notation would be B♭–A–C–B♮] in the countersubject to this fugue, the composer died.") This account is disputed by modern scholars, as the manuscript is clearly written in Bach's own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.[9]

Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's obituary actually makes mention of "a draft for a fugue that was to contain four themes in four voices". The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called "fragment X", on which the composer attempted to work out the counterpoint between the four subjects.[citation needed] The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion.[10]


A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busoni's Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio completed the contrapunctus for orchestra.[citation needed]

In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.[11][12]

Douglas Hofstadter's book Gödel, Escher, Bach discusses the unfinished fugue and Bach's supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödel's first incompleteness theorem. According to Gödel, the very power of a "sufficiently powerful" formal mathematical system can be exploited to "undermine" the system, by leading to statements that assert such things as "I cannot be proven in this system". In Hofstadter's discussion, Bach's great compositional talent is used as a metaphor for a "sufficiently powerful" formal system; however, Bach's insertion of his own name "in code" into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bach's failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system.
 
I would like to come back to the Orchestra metaphor:
In Silmarillion, Tolkien's creation myth tells the story of a world that was conceived in music. In this tale, titled "Ainulindale", Illuvatar's (God) first act was to create the entities called Ainur to make musical harmonies together. Melkor was one of the most gifted amongst the Ainur, but he also had a greater share of arrogance and pride. Soon he began to sing outside the themes of Illuvatar, weaving his own discordant tunes into Illuvatar’s original theme. Turmoil ensued, and the harmonies of the Ainur were interrupted. Some among them began to tune their melody to that of Melkor, others fell silent and confused, while others yet stayed true to the original melody.

Then Illuvatar intervened and soon there were two tunes competing for dominance. Of these tunes, Tolkien writes:

"And it seemed at last that there were two musics progressing at one time before the seat of Iluvatar, and they were utterly at variance. The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came. The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed that its most triumphant notes were taken by the other and woven into its own solemn pattern."

This contest between the musics of Melkor and Iluvatar continued until finally Iluvatar ends it in one loud chord. He then takes the Ainur to show them the meaning of the music they had just heard. What he shows them is Earth and he declares: “Behold your music!”

According to the creation myth of Tolkien, the world is a manifestation of the harmony and discord competing for dominance.

One can draw certain parallels between Tolkien’s story of Ainulindale and the Cassiopaeans material. First and foremost, they both contain the idea that creation emanates downwards, and that this realm is the product of the "thought" of higher realms.

Secondly, there is the notion of two distinct and opposing forces battling for expression. Readers of the Cassiopaeans and Ra material will know these forces as STO and STS. Lastly there is the notion of macrocosmic dramas on higher plains translating into the microcosm of life on 3D Earth. In other words, like with the Ainur, it is up to mankind to choose between being in tune with either of the two forces, Iluvatar or Melkor, STO or STS.

In one transcript the following quote is found:

"Frequency envelopes are realms, however they are "in concert," which implies a degree of scripting at some level. Some members of the orchestra do not play well. Some do not play in tune. Some are out of synch. Others expect the one next to them to play their part."

And then later:

Q: (R) We are on a very, very interesting path here because we just defined what density is. It's a frequency resonance envelope. (A) The question is frequency of what?
A: Yes, of those in the orchestra. -
Q: (L) So it is by agreement. To be in the orchestra, frequency resonance envelope. (B) Not only to be, but to play within those parameters. (L) Who gets to pick what gets played?
A: Ah! There's the rub! You don't get to pick the selection at this level. But you in the future does. The question is: How well do you play, and can you play true if the others don't?

That last sentence is very similar to Tolkien’s story, and it is here that the Metaphor of the Orchestra comes in. The C's indicated in the excerpt above that there is a certain "selection"/music played at higher levels that one can align oneself with in 3D. The task of the 3D "orchestra" then, is to "play true" to the selection one chooses to align oneself with.

How does one play well in an orchestra? First of all, one must be able to read the notes. In other words, one must study and gain knowledge of the score. Once the piece of music is understood one has a choice, one can either choose to play or find a different orchestra with a different score. This is an emotional choice, either a tune appeals or it does not. If one chooses to play the score, then the work has begun. Secondly, one must have an instrument that is working and is tuned. Here the instrument represents the self, and idea of functioning and being in tune is the alchemistic transformation and the point of 4th way Work. Thirdly, one must be a useful member of the orchestra by playing harmoniously.

The tune of STS/Melkor is the dominant in the world as it is, but one can make a choice to play a different tune, namely STO/Illuvatar. If one becomes able to play true, then the metaphor has it that the melody produced by the orchestra becomes resonant with that same tune played on higher densities. The players in the orchestra, in effect, become part of the Resonance Frequency Envelope of 4th density STO
.
https://thecasswiki.net/index.php?title=Orchestra_metaphor
 
Keep on going with "frequency envelopes are realms":
This is the Cassiopaean term for a division of reality. The use of the term is very broad. This includes the following meanings:

- Density - the degree of development of a consciousness determines the general type of experience of space and time, manner of perceiving other entities etc.

- STO and STS divisions of a density - Souls of different polarities may occupy distinct realms within one density.

- Lateral divisions within a density, as in parallel universes.

- Realms are bounded by a so-called "frequency resonance envelope". A realm curtain or realm border as another word for a section of such an envelope.

- The Wave is also called a realm border.

On one hand, realms are naturally occurring divisions of reality, on the other hand realms are influenced by their occupants. There is a sort of resonance effect which tends to lock the resident of a realm within its boundaries in terms of frequency. A realm might be compared to a radio broadcast and the being to a receiver. Nature provides a sort of automatic fine-tuning which will cause the receiving frequency of the being to snap to match that of the closest realm. There may be a small reciprocal effect from the being on the realm but this would be negligible in the individual case.

A realm border could be likened to many stations broadcasting near the same frequency, so that a small change of individual tuning may cause the tuner to snap to an entirely different reality. We could say that the receiver's mental map of reality decides which broadcast can be followed and thus mentally synchronized with. The realm border is just a circumstance which brings multiple 'bands' of reality within close reach or in overlap with each other.

Passage between realms is in principle possible anytime, in some cases with technology, in other cases by attaining a somehow total purity of thought and being, aligning one to another reality. However, such a process is problematic if one has no notion of what is possible or where one may be headed, not to mention the near invincible inertia of the human condition.

A realm is neither a completely physical nor a completely consciousness based concept. We could say that a realm is a set of partitions, a bit like a sandbox where a particular type of consciousness may experience interaction with reality. These move with respect to each other according to some cyclicity and the consciousness itself moves between realms for example through reincarnation. The incarnate and disincarnate states occupy different but joined realms.

Phenomena taking place at the border between realms can according to the Cassiopaeans be technologically manipulated, which is the manner in which 4D STS beings keep a sort of net of control over the Earth and enforced changes on humanity in the context of the mythical Fall.

We cannot describe these processes in scientifically precise terms, hence we have to use words like frequency and resonance in a somewhat allegoric meaning.
https://thecasswiki.net/index.php?title=Realm
And also:
In Castaneda's works, the term means a locus of perception within the energy field of a being.

Moving the assemblage point causes the being to perceive and interact with a different reality. This could be likened to tuning to a specific channel of reality. Castaneda describes the universe at large as consisting of filaments of energy. A being is an egg-shaped field of energy and some filaments pass through it and others do not. The filaments which intersect with the being are the sum total of realities accessible to the being.

All shape changing, travel between worlds and states of consciousness, etc. discussed by Castaneda derive from shifting the assemblage point. This can occur in a somewhat haphazard manner through the use of drugs but ultimately is something to be accomplished as an act of will.

The concept is specific to Castaneda. A somewhat corresponding concept in the Cassiopaea material is the notion of frequency resonance envelope or realm. Essentially all these concepts attempt to bring into words the relationship between consciousness and its external reality and the laws governing this reality
https://thecasswiki.net/index.php?title=Assemblage_point

And always with CassWiki :wow:

FRV and frequency fence
FRV stands for Frequency Resonance Vibration and is a term specific to the Cassiopaea material.

The term "frequency" generally means the number of repetitions of a repeating event within a period of time. The word "vibration" generally refers to an oscillating, repeating motion. "Resonance" occurs when a vibration in one system triggers a vibration of the same frequency in another system. Systems can have one or more "resonant frequencies" at which frequencies they have a tendency to vibrate.

In common New Age parlance, vibration or vibe means a sort of psychic impression, the feel of a person or situation. High frequency connotates goodness or spiritual value, low frequency is dirty, unclear, sticky, vulgar, maybe violent and selfish. One feels a resonance or resonates with something when this something, whether person or information, somehow feels right or true or personally relevant.

In the Cassiopaea material, FRV is a property of a person that has to do with the person's alignment or intrinsic nature. FRV can tend towards service to others or service to self.

FRV is itself not immutable. The FRV of a person may change as a result of influences. If a person is in proximity to another who has a different FRV, there can occur forced resonance where the two start resonating at the same frequency. Still, one has a constitutional predisposition to resonate at some frequencies more than at others.


FRV is not directly coupled to knowledge or intellectual capacity. Still, knowledge and intellectual capacity facilitate work on one's FRV. They allow one to discern between STS and STO and to make corresponding choices, thus heading towards one or the other end. FRV is essentially an indication of an emotional path.

It is possible that the terms of frequency and vibration have a literal meaning in a hyperdimensional context involving a person's alignment with a thought center. If this is so, the phenomenon is not perceived by us in this manner, except allegorically.
The frequency fence is a Pleiadian/Cassiopaean term for an artificial construct meant to occlude perception or keep someone's perception or frequency resonance vibration within a particular range.

The term was first used in Bringers of the Dawn and then mentioned a few times in the Cassiopaean material. The two sources seem to use the term in a similar meaning.

We cannot give a precise definition of the term. We can think that consciousness has a frequency and that this frequency binds it to a realm where this frequency fits. This is similar to a radio tuner not receiving transmissions which are off the selected frequency even though their signal physically reaches the antenna. The frequencies to which the receiver is not tuned are invisible, as it were. A frequency fence is a structure which keeps receivers and transmitters it affects tuned to a certain band. The idea is insidious in that the frequencies that one cannot access for all intents and purposes do not exist. Thus it is difficult or impossible to prove the existence of such a thing, especially from inside it.

The effects of such a thing would greatly vary depending on the affected persons' natural tendencies. If one naturally stays within the fence one need never become aware of it. Further, distinguishing artificial limitation from natural limitation is problematical.

In practical terms, a frequency fence may manifest as any artificial control on emotion, though usually one that tends to bring people away from consciousness, towards indifference or depression, or towards chaotic activity or obsessive preoccupation.

The only defense against such can come from awareness of the possibility of the fence and of knowing oneself. Having these, one can use will to combat the effects of the fence or to avoid situations where it is felt the most.

We note that this need not be a planet-wide situation in all cases. The effects may be localized or be transmitted through particular people. The Wave Series by Laura Knight-Jadczyk discuss many unusual effects that may be linked to a phenomenon of this sort. Saying anything conclusive is next to impossible but the idea of electromagnetically influencing the mind is well demonstrated. Thus there is corroboration for the general concept, although its hyperdimensional aspects are not fully understood.

From Bringers of the Dawn:[1]

It was like corporate raiding on Wall Street. These creator gods raided Earth approximately 300,000 years ago – the time period, historically speaking, that you would call the beginning of human civilization...

When this skirmish occurred, a certain group of entities fought in space and won the territory of Earth. These new owners did not want the native Earth species – the humans – to be informed of what took place. Uninformed, the species would be easier to control. This is why light is information and darkness is lack of information. These entities beat out light, and Earth became their territory. It gives you a new idea of light, does it not? There was great radioactivity and nuclear action, and much of Earth was rent asunder. The original species, human creation, experienced great destruction and was scattered.

These new creator gods who were the new owners were also master geneticists. They understood how to create life, and they wanted this territory for their own reasons. Territories are created and held by certain energies for many reasons, one of which is that there is consciousness within all things.

Consciousness communicates continuously. Consciousness vibrates, or can be led to vibrate, at certain electromagnetic frequencies. Electromagnetic energies of consciousness can be influenced to vibrate in a certain way to create a source of food. Just as apples can be prepared and eaten in a variety of ways, consciousness can be prepared and ingested in a variety of ways.


Some entities, in the process of their own evolution, began to discover that as they created life and put consciousness into things through modulating the frequencies of forms of consciousness, they could feed themselves; they could keep themselves in charge. They began to Figure out that this is how Prime Creator nourished itself. Prime Creator sends out others to create an electromagnetic frequency of consciousness as a food source for itself.

The new owners of this planet had a different appetite and different preferences than the former owners. They nourished themselves with chaos and fear. These things fed them, stimulated them, and kept them in power.

These new owners who came here 300,000 years ago are the magnificent beings spoken of in your Bible, in the Babylonian and Sumerian tablets, and in texts all over the world. They came to Earth and rearranged the native human species. They rearranged your DNA in order to have you broadcast within a certain limited frequency band whose frequency could feed them and keep them in power.

[…]

Anything [of DNA] that was unnecessary for survival and that could keep you informed was unplugged, leaving you with only a double helix that would lock you into controllable, operable frequencies.

A frequency fence, something like an electrical fence, was put around the-planet to control how much the frequencies of humans could be modulated and changed. As the story goes, this frequency fence made it very difficult for the frequencies of light-information-to penetrate.

When light frequencies were able to penetrate the control fence, there was no light to receive them. The humans' DNA was unplugged, the light-encoded filaments were no longer organized, so the creative cosmic rays that brought light did not have anything to plug into and hold onto.

Let's trying to plug some "atomITY":
Esotericism views the atom, and matter that is built up from the aggregation of these atoms in a much more encompassing way then does material science. Esotericism speaks of matter in terms of MATERIALITY and views matter in terms of vibrations. The suffix 'ity' in the word 'materiality' connotes 'state' or 'quality of being.' Thus all matter is the same but materiality is different. Materiality has degrees of quality associated with it that go beyond the quantatative limitations of material science.

According to esoteric science there are different gradations or 'densities' of materiality that are determined by the rate at which the atoms vibrate that comprise it. Each level has its own characteristics and the matter on one plane may not be seen to be 'material' at all from the perspective of a lower plane. Thus materiality is relative, as is matter and energy. What is material at one level may be considered non-material at a lower level, and what may be considered non-material at a lower level may be considered as material on a higher level.

As we ascend the scale of materiality, from lower orders of being to higher orders, the distinction between matter and energy becomes less clear since matter and energy are really just characteristics of the phenomenal world with which we are all familiar. As we ascend to higher orders of being, matter and energy begin to blend into each other and becomes less dualistic, at least with respect to how we commonly understand these terms.

From the point of view of esoteric science matter is not dead at all but is a reflection of the living essential Thought Centers from which all creation is manifest. Gurdjieff speaks of these gradations of materiality in terms of intelligence. As we ascend the scale of being the matter becomes more intelligent, more conscious. It is in reference to this that Gurdjieff speaks of "gradations of objective reason" in his magnum opus 'Beelzebub's Tales To His Grandson.'

In Ouspensky's book In Search of the Miraculous, Gurdjieff says:

"We must now realize that the density of vibrations and the density of matter express many other properties of matter. For instance, till now we have said nothing about the INTELLIGENCE or consciousness of matter. Meanwhile the speed of vibrations of a matter shows the degree of intelligence of the given matter. You must remember that there is nothing dead or inanimate in nature. Everything in its own way is alive, everything in its own way is intelligent and conscious. Only this consciousness and intelligence is expressed in a different way on different levels of being--that is, on different scales. But you must understand once and for all that nothing is dead or inanimate in nature, there are simply different degrees of animation and different scales."

[...] "the degree of consciousness corresponds to the degree of density or the speed of vibrations. This means that the denser the matter the less conscious it is, the less intelligent. And the denser the vibrations, the more conscious and the more intelligent the matter."

"Really dead matter begins where vibrations cease. But under ordinary conditions of life on earth's surface we have no concern with dead matter. And science cannot procure it. All the matter we know is living matter and in its own way it is intelligent".

Concerning the atom of esoteric or "objective chemistry", Gurdjieff says:

"An atom of a given density, a really existing individuum, must be taken as the smallest quantity of the substance examined which retains all those qualities—chemical, physical and cosmic—which characterize it as a certain note of a definite octave. For instance, in contemporary chemistry there is no atom of water, as water is not a simple substance but a chemical compound of hydrogen and oxygen. Yet from the point of view of 'objective chemistry' an 'atom' of water is an ultimate and definitive volume of it, even visible to the naked eye".

Thus from the point of view of esoteric science there could be, for example, an 'atom of water' to designate the smallest amount of this substance possible that still retains all it's properties, both physical and cosmic.

The distinction between the different orders of materiality and it's relationship to the atom of esoteric science is well expressed in P.D.Ouspensky's book, The Psychology of Man's Possible Evolution.

Below excerpt taken from pages 123 -126:

The next idea which it is necessary to master is the materiality of the universe which is taken in the form of the 'ray of creation.' Everything in the universe can be weighed and measured. The Absolute is as material, as weighable and measurable as the moon, or as man. If the Absolute is God, it means that God can be weighed and measured, resolved into component elements, calculated, and expressed in the form of a definite formula.

But the concept 'materiality' is as relative as everything else. If we recall how the conception 'man' and all that refers to him--good, evil, truth, falseness, etc. -- is divided into different categories (man number one, man number two and so on) it will be easy for us to understand that the concept 'world' and everything that refers to the world is also divided into different categories. The ray of creation establishes seven planes in the world, seven worlds one within another. Everything that refers to the world is also divided into seven categories, one category within another.

The materiality of the Absolute is a materiality of a different order from that of 'all worlds'. The materiality of 'all worlds' is of an order different from the materiality of 'all suns'.
The materiality of 'all suns' is of an order different from the materiality of our sun.
The materiality of our sun is of an order different from the materiality of 'all planets'.
The materiality of 'all planets' is of an order different from the materiality of the earth and the materiality of the earth is of an order different from the materiality of the moon.


The idea is at first difficult to grasp. People are accustomed to think that matter is everywhere the same. The whole of physics, of astrophysics, of chemistry, such methods as spectro-analysis, etc., are based on this assumption. And it is true that matter is the same, but materiality is different. And different degrees of materiality depend directly upon the qualities and properties of the energy manifested at a given point.

Matter or substance necessarily presupposes the existence of force or energy. This does not mean that a dualistic conception of the world is necessary. The concepts of matter and force are as relative as everything else. In the Absolute, where all is one, matter and force are also one. But in this connection matter and force are not taken as real principles of the world in itself, but as properties or characteristics of the phenomenal world observes by us. To begin the study of the universe it is sufficient to have an elementary idea of matter and energy, such as we get by immediate observation through the organs of sense. The 'constant' is taken as material, as matter, and 'changes' in the state of the 'constant' or of matter, are all manifestations of force or energy.

All these changes can be regarded as the result of vibrations and undulatory motions which begin in the center, that is in the Absolute, and go in all directions, crossing one another, colliding and merging together, until they stop altogether at the end of the ray of creation.

From this point of view, then, the world consists of vibrations and matter, or of matter in a state of vibration, of vibrating matter. THE RATE OF VIBRATION IS IN INVERSE RATIO TO THE DENSITY OF MATTER.

In the Absolute the vibrations are the most rapid and matter is the least dense. In the next world vibrations are slower and matter denser; and further on matter is still more dense and vibrations correspondingly slower.


'Matter' may be regarded as consisting of 'atoms.' Atoms in this connection are taken also as the result of the final division of matter; in every order of matter they are simply called certain PARTICLES of the given matter which are indivisible only on the given plane. The atoms of the Absolute alone are really indivisible; the atom of the next plane, that is, of World 3, consists of three atoms of the Absolute or, in other words, it is three times bigger and three times heavier, and its movements are correspondingly slower.

The atom of world 6 consists of six atoms of the Absolute merged together, as it were, and forming one atom. Its movements are correspondingly slower. The atom of the next world consists of twelve primordial particles, the next worlds' of twenty-four, forty-eight and ninety-six.

The atom of world 96 is of enormous size compared with the atom of world 1; it's movements are correspondingly slower and the matter which is made up of such atoms is correspondingly denser.

The seven worlds of the 'ray of creation' represent seven orders of materiality. The materiality of the moon is different from that of the earth; the materiality of the earth is different from the materiality of the planetary world; the materiality of the planetary world is different from the materiality of the sun, and so on.

Mouravieff also speaks of the esoteric atom in his book Gnosis, pages 89-93:

An exhaustive examination of the names of the notes that form the musical octave shows direct correspondence with the notes of the Great cosmic Octave, as can be seen from the following diagram:

1) God. The Absolute manifest. The central Sun--- DOminus (Do)
3) Starry sky. Ensemble of all Worlds--------------- SIdereus orbis (Si)
6) Our Great World; the Milky Way ----------------- LActeus orbis (La)
12) The Sun--------------------------------------------SOL (Sol)
24) The Planetary World------------------------------FAturn (Fa) to which antiquity attributed direct influence on our destiny
48) Earth-----------------------------------------------MIxtus orbis (Mi)
96) Moon-----------------------------------------------REgina astris (Re) ruler of human fate according to the ancients

Let us return to the problem of matter-energy, to clarify the question of atomic structure as it is understood by esoteric science. We have seen that the first manifestation of energy appears in the form of a cyclic intra-atomic vibratory movement. This movement, animating a certain number of nuclei, forms matter. If we can say in effect that these moving nuclei form matter, then we must not forget that they themselves consist of energy in a static form. Conversely, energy is no more than matter taking dynamic form. The disintegration of the atom gives a clear example of such a transformation. On the other hand, we have named spherical lightning as an example of the concentration of dynamic energy in the form of nuclei.

This process is the converse of the first, and can be compared to the phenomenon of atomic fusion.

We have also mentioned that the structure of matter is subject to the principle of Equilibrium, and that its density is inversely proportional to that of the internal vibrations which animate it. This serves to introduce into our studies the notion of the atom, as described in the Tradition.

According to the classical definition, the atom is that particle of any element which is said to be simple; which can be divided no further if it is to keep those chemical properties which determine the various ways in which it combines with other bodies.

Esoteric science has a different notion. Here it is:

Definition - The atom is the smallest particle, the last division of any given substance which integrally conserves all its properties: physical, chemical, mental and cosmic. We can see that this definition is closer to that of the molecule, even though it also goes beyond that.


We therefore recognize atoms of various compound bodies as well as the atoms of those elements which chemistry considers to be simple. For example, (there is) an atom of water, an atom of air, etc. In correlation with the cosmic properties of the atom thus defined, esoteric science recognizes various Orders of Matter, classified according to the density of the typical atoms that correspond to every Ievel of the Great Octave.

Given this conception, it does not in principle admit any opposition between Matter and Spirit. If we oppose one to the other, it is as a convention for simple convenience, in the same way that astronomy continues to utilize Ptolemy's system for its practical aims, while pertinently aware that it is the system of Copernicus that more exactly reflects reality. From the point of view of esoteric science, which is in principle monistic, all is matter in the manifest world. Matter is a manifestation of energy, which is no more than a form of Spirit. In a hymn which has been preserved in Orthodoxy, the attributes of the Holy Spirit quite clearly show this form of thought:

King of Heavens, Comforter
Spirit of Truth, Omnipresent,
All Filling, Treasure of Saints,
Dispenser of Life,
Come and abide in us,
Purify us from all pollution
And save our souls, O good one!'
(Translated from old Slavonic. The author notes that this concept of Holy Spirit is represented in the form of Fire (Acts ii: 3),and is analogous to Agni in Hinduism. We should also note that in Greek the terms spirit and air are homonyms (PNUMA), as are the terms spirit and breath (doukh) in old Slavonic).

This said, we can understand that only the atom of the Absolute is really simple and consequently indivisible: here a single nucleus of Energy-Spirit vibrates at maximum intensity. It is the lightest atom; in esoteric science its matter-density is taken as unity.


Then, coming down the Ray of Creation; step by step, the vibrations progressively lose their speed. It follows that, at each successive note of the Cosmic Octave, the constitution of the atoms will require more matter: the atoms become more and more heavy and inert. As we shall see hereafter, the typical atoms of each level reflect the form of Creation in accordance with the Law of Three, as described above, in such a way that the density of these typical atoms follow the notes of the Great Octave, and can be represented by the figure on the following page.

Positive science only considers four of the seven levels of cosmic matter: it studies the level of the Earth integrally; a large proportion at the level of the Moon, and in gradually lesser proportion the levels of the Planetary World, and the Sun. As yet it does not possess any means of perceiving or knowing the three higher levels. The atoms of the Planetary World-as defined above-already appear in some way hypothetical. As for the Sun, we know very few things concerning that star. But the progress of positive science has placed us today on the eve of important discoveries in this field, as in our knowledge of out satellite. We will be surprised to learn that, objectively, the Sun has an altogether different appearance from the one we perceive, and that the Earth, seen from the Moon, appears altogether other than what we make of it.

The atom of the Absolute: the only indivisible atom
(...)
 
Q: (L) Jan and I are very curious about artistic expression at 4th density. We experience art and music in a very positive and moving way, most of us, in this realm, and sometimes music can be very sublime and very transforming. It can move one in a lot of very unusual ways. What is it like in 4th density?
A: In 4th, you can “see” sounds and “hear” colors, for example
.
On this quote, i would like to add some stuffs on synesthesia:
Synesthesia (also spelled synæsthesia or synaesthesia; from the Ancient Greek σύν syn, "together", and αἴσθησις aisthēsis, "sensation") is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.
(...)
The interest in colored hearing dates back to Greek antiquity, when philosophers asked if the color (chroia, what we now call timbre) of music was a quantifiable quality.[15] Isaac Newton proposed that musical tones and color tones shared common frequencies, as did Goethe in his book, "Theory of Color".[16] There is a long history of building color organs such as the clavier à lumières on which to perform colored music in concert halls
https://en.wikipedia.org/wiki/Synesthesia

https://en.wikipedia.org/wiki/Chromesthesia
The color associations, that is, which color is associated to which sound, tone, pitch, or timbre is highly idiosyncratic, but in most cases, consistent over time.[1][3] Individuals with synesthesia have unique color pairings. However, all studies to date have reported that synesthetes and non-synesthetes alike match high pitched sounds to lighter or brighter colors and low pitched sounds to darker tones, indicating that there may be some common mechanism that underlies the associations present in normal adult brains.[4] There are forms of pseudo-chromesthesia that may be explained by associations synesthetes have made and forgotten from childhood
(...)
Cross-activation theory
The cross-activation theory of synesthesia was formulated by V.S. Ramachandran and E.M. Hubard, based on converging evidence over studies of the various forms of synesthesia that sensory areas for processing real and synesthetic information tend to be neighboring brain regions.[8] This is most apparent in grapheme-color synesthesia, because the brain regions for color processing and visual word form processing are adjacent.[9] Individuals with sound-color synesthesia show activation of brain areas involved in visual processing, such as V4, immediately after the auditory perception, indicating an automatic linking of sounds and colors.[8] The reason for this cross-activation is still unclear, but one hypothesis is that the increased connectivity between adjacent brain regions is due to a reduction in the pruning back of neuronal networks during childhood.[8]

Disinhibited feedback model
The disinhibited feedback model provides an alternative to the cross-activation theory.[8] The disinhibited feedback model rejects the assumption of increased connectivity in synesthetes and proposes that the cross-activation is due to a decrease of inhibition in the networks present in the normal adult brain.[8] Disinhibited feedback could account for the fact that sound-color synesthesia can be acquired by damage to the retino-cortical pathway.[4]

Forward feeding connections in the brain that receive converging signals from multiple pathways are always reciprocated by feedback connections.[10] In most people, these feedback connections are sufficiently inhibited to avoid synesthetic induction of a concurrent perception. In synesthetes, it is suggested that feedforward signaling in the inducer pathway could activate neurons to which both inducer and concurrent pathways converge, and that feedback signaling is capable of propagating down the concurrent pathway to activate the concurrent representation.[10] By this mechanism, feedforward activity from the inducer leads to feedback activation of the concurrent representation.[10]

Involvement of specific brain regions
In addition to the high interconnectivity in synesthesia, there is an apparent contribution by the inferior parietal cortex during synesthetic experiences, possibly serving as the mechanism to bind the real and synesthetic perceptions into one experience.[8][11] Parietal lobe activation is most apparent when the synesthete is directing attentional focus to the synesthetic experience.[8]

Functional magnetic resonance imaging studies also implicate the left superior temporal sulcus as being involved in the integration of auditory and visual information. This brain region responds most strongly to congruent pairs of visual and auditory information, such as congruent lip movements and heard speech.[4]
And:
A second group called "higher synesthetes" perceive color associated with more abstract numerical concepts. Color is triggered not only by graphemes (visual shapes of numbers) but also by the abstract idea of numerical sequence as embodied in days of the week or months of the year; so called "calendar synesthetes". Additionally, phonemes associated with letters can evoke colors. It has been suggested that in these higher synesthetes, the cross-wiring occurs higher up in the vicinity of the angular gyrus where more abstract numerical ideas are represented (Ramachandran & Hubbard, 2001b). The ratio of "higher" to "lower" synesthesia is not known, but anecdotal evidence suggests that it may be as high as 6:1 (nor is it likely that the distribution is bimodal).
Certain "higher" color areas which receive input from V4 are also closer to the angular gyrus than to the fusiform. Brain imaging studies (fMRI) which allow precise localization of V4 support the notion that lower synesthetes have cross activation in the fusiform gyrus (Hubbard, Arman, Ramachandran & Boynton, 2005; Figure 3).
More compelling evidence for this hypothesis is the recent finding, using Diffusion Tensor Imaging, that there is an actual increase of axons in the fusiform gyrus of "projectors" (lower synesthetes according to our terminology) and additional white matter tracts in the superior parietal lobule of all grapheme-color synesthetes (Rouw & Scholte, 2007), exactly as we had predicted (Ramachandran & Hubbard, 2001a). Such selective “cross-wiring” may be based on transcription factors that lead to selective local expression of the synesthesia gene. If the gene were more diffusely expressed, the result would be an excess cross-wiring throughout the brain. If abstract concepts are also represented in specific brain regions, then such diffuse cross-wiring would confer a propensity to link seemingly unrelated concepts represented in far-flung brain areas; the basis of metaphor (“Sharp cheese” or “ Juliet is the sun”). Hence, the higher incidence of synesthesia in artists, poets and novelists who all have the ability to link unrelated ideas. This “hidden agenda” might explain the high prevalence of the otherwise useless synesthesia gene (Ramachandran & Hubbard, 2001b). This is analogous to the manner in which the sickle cell anemia gene survived in the Mediterranean, despite being lethal in the double recessive form, because the single recessive gene confers immunity from malaria.

The gene mutation- based cross-wiring hypothesis also receives support from the fact that if you have one type of synesthesia you are also more likely than chance to have one or two other types (again, this would depend the gene being expressed more widely but in a patchy manner; Ramachandran and Hubbard, 2001b).
Reality of number forms and their relevance to cognition
Galton also described another strange variant of synesthesia. When asked to visualize numbers, some people will say that every number always occupies a specific location in space and the integers are represented sequentially along a virtual line called a number line or number form. Remarkably, these lines are often elaborately convoluted - even doubling back on themselves (so 5 might be spatially nearer to 19 on the number line than it is to 7; Figure 4).

The importance of number forms in studying cognitive processes in normal people was largely overlooked until recently (Seron, Pesenti, Noel, Deloche, Cornet, 1992; Ramachandran and Hubbard, 2001b). To establish the “reality" of these convoluted number lines, synesthetes were tested using a "stroop memory" task (Azoulai, Hubbard, Ramachandran, 2005). The subject was asked to memorize a subset of numbers that were randomly selected from 1 to 50. There were three conditions a) the selected subset were placed randomly on the line b) A new subset of numbers was selected and they were presented congruently; i.e. on the "correct" location on the line or c) They fell randomly throughout the screen. The accuracy of subsequent recall was highest in (b) and lowest in (a) - perhaps a result of stroop-like interference in memory. Similar, but more conclusive evidence has been more recently reported by Sagiv, Simner, Collins, Butterworth, and Ward (2006).

What causes number lines? Given hardware constraints and the way it evolved, the brain may lack the ability to represent ideas such as numerical sequence in abstract form, and may therefore map them on to pre-existing spatial maps which are phylogenetically ancient. A genetic glitch in this “remapping” of numbers on to space may result in a convoluted number line (Ramachandran & Hubbard, 2003). The observation implies a “hardware“ rather than “software” glitch and cannot be accounted for by any straightforward associationist model of synesthesia.

In another curious variant of the phenomenon, months of the year are represented sequentially in a hula-hoop like circle - a "calendar line"- around the subject's head (Smilek, Callejas, Dixon, Merikle, 2007). We have observed that the head often occupies the rim of the circle with the current month centered on it; e.g. if the current month is march, the head occupies March and February is to the left and April to the right, but when it is May, April will be to the left of the head (we have observed this in 3 out of 15 subjects). Once again this demonstrates the brain's tendency to represent time in spatial and (in this case) bodily representations.

Ordinal linguistic personification
The cross activation (of brain maps) model explains many aspects of synesthesia. But some synesthetes report that each grapheme is a specific sex, or good or evil (Ramachandran & Hubbard, 2005b), and it strains credulity to assume that there are brain maps for classifying sexes. Our brains tend to binarize the world (black/white, male/female, good/evil, ugly/beautiful, yin/yang, etc.) to simplify cognitive processing and it's not inconceivable that there are dedicated brain regions involved in such functions, but why they should get hooked up to graphemes is unclear. Perhaps certain shapes are more feminine (or masculine) through association even in ‘normals’ and these are made explicit by the enhanced connectivity caused by synesthesia genes. The boundary between such phenomena and higher cognitive functions remains elusive.

The fact that the "sex" effect is genuine was shown in a clever manner by Simner and Holenstein (2007). Assume S is "feminine" for a particular synesthete. For this individual it takes longer to identify the male name "Sam" than the female name Sue, reflecting the inherent incongruity. The manner in which high level phonemic representations can interact with and modulate synesthesia have also been explored by Simner and Ward in a series of intriguing experiments (2006).

The simpler and more common forms of synesthesia -such as graphemes evoking colors- can be explained readily in terms of cross-activation and the psychophysical and physiological evidence for this is overwhelming. But the existence of certain "weird" idiosyncratic forms of synesthesia is harder to explain - e.g. "8 is female and has a demanding personality; wants to be a larger number than she is and is difficult for the other numbers to be around." Many of us also make such seemingly random associations from time to time but we don't get "stuck" with them. In synesthesia such Hebbian associations may have a "self-enhancing" tendency - akin to kindling - once they are set in motion.
Touch-emotion synesthesia
Certain rarer forms of “congenital” synesthesia can also be partially explained by the cross activation model. For example, some people “taste shapes”. For these synesthetes, every taste has a shape which they perceive alongside their gustatory experience (i.e. chicken tastes “pointy”, Cytowic, 1989). It has been suggested that this is caused by cross activation between taste neurons in the insula and S2 somatosensory cortex involved in discerning tactile texture and shape (Ramachandran and Hubbard, 2001b). Similarly, in a newly discovered form of synesthesia - tactile textures evoking highly specific emotions (e.g. velvet = guilt). We postulate that there may be enhancement of connections that already exist between tactile textures (S2 cortex) and adjacent insula (emotion) as well as between the insula and the orbito frontal cortex (Brang & Ramachandran, 2007b; Ramachandran & Brang, in press). Not coincidentally, perhaps similar "touch to emotion" activations are also common in cross-sensory metaphors ("sharp taste," "flat taste," and "touching remark") suggesting that metaphors may, speaking statistically, respect the same cross sensory anatomical constraints as “pathological” synesthesia (Ramachandran & Hubbard, 2001b).

Enhanced cross activations are most likely to occur between adjacent brain regions given that such regions are most likely to be already partly connected to begin with. But this isn’t always true because preexisting connections can also exist (less frequently) between far-flung brain regions that are functionally linked. The synesthesia gene(s) could enhance these connections.

Saying that synesthesia involves cross activation (by which one means the spontaneous inevitable activation of neurons in one map by those in another) doesn’t imply that the process cannot be influenced by top-down processes
(...)
In addition to semantic effects in grapheme-color synesthesia, the saturation and luminance of the color experienced with each grapheme seems to be modulated by linguistic factors, specifically the frequency of letter and number use in a language (Beeli, Esslen, Jäncke, 2007; Smilek, Carriere, Dixon, Merikle, 2007) and similarly by numerical magnitude (Cohen Kadosh, Henik, Walsh, 2007).
And:
Mirror neurons and synesthesia
A curious form of acquired synesthesia can be observed in patients with phantom limbs. If a system of mirrors is used to optically resurrect the phantom and it is made to appear visually that the phantom is being touched with a pencil, the subjects feels her phantom being touched even though no part of her body is being touched. This implies that the visual sensations must be feeding back to activate somatosensory maps in the brain (Ramachandran, Rogers-Ramachandran, Cobb, 1995). Even more remarkably it was noticed that patients with phantom arms will experience their phantom being touched in a precisely localized manner even if they merely observe another persons intact arm being touched (Ramachandran, Rogers-Ramachandran, 2007). Similarly they experienced their phantom moving if the experimenter put his own hand in the vicinity of the phantom and moved it. Such effects may be mediated by a class of neurons in the premotor cortex and parietal lobes called “mirror neurons” ((Rizzolatti, Fadiga, Gallese, Fogassi, 1996). These neurons are activated when a subject moves his hand - as expected. But surprisingly they also fire when the subject watches another person making similar movements. Such activation does not lead a normal observer to experience sensations presumably because the regular somatosensory neurons (i.e. those that are not mirror neurons) signal the absence of real proprioceptive and tactile inputs. When the arm is amputated, however, this normal sensory input is removed, leading the patient to quite literally experience the touch (or proprioceptive) sensations in the phantom (Ramachandran and Rogers–Ramachandran, 2007). The patient also noted that watching another persons intact hand being rubbed caused relief from his phantom pain.

There is anecdotal clinical evidence that synesthesia is more common in TLE (temporal lobe epilepsy). This can be explained by assuming that the repeated seizure volleys might indiscriminately strengthen certain brain connections through a process known as kindling. This would lead to pathological cross activation (Ramachandran & Hubbard, 2001b).

...studies on synesthesia in the last decade have taken us on a journey from genes (affecting S2a receptors, perhaps) to anatomy (e.g. fusiform and angular gyri) to psychophysics (texture segregation / contrast effects/ apparent motion / Mc Collough effect / Stroop interference) to metaphor. They suggest that far from being a "fringe" phenomenon as formerly believed (or indeed that it is purely “conceptual” or associative in nature), synesthesia can give us vital clues toward understanding some of the physiological mechanisms underlying some of the most elusive aspects of the human mind.
http://www.scholarpedia.org/article/Synesthesia
A little more on this:http://www.synesthesiatest.org/

Also some others things on qualia: https://en.wikipedia.org/wiki/Qualia
In philosophy, qualia (/ˈkwɑːliə/ or /ˈkweɪliə/; singular form: quale) are what some consider to be individual instances of subjective, conscious experience. The term "qualia" derives from the Latin neuter plural form (qualia) of the Latin adjective quālis (Latin pronunciation: [ˈkʷaːlɪs]) meaning "of what sort" or "of what kind"). Examples of qualia include the pain of a headache, the taste of wine, or the perceived redness of an evening sky. As qualitative characters of sensation, qualia stand in contrast to "propositional attitudes"
(...)
Erwin Schrödinger, a theoretical physicist and one of the leading pioneers of quantum mechanics, also published in the areas of colorimetry and color perception. In several of his philosophical writings, he defends the notion that qualia are not physical.

The sensation of colour cannot be accounted for by the physicist's objective picture of light-waves. Could the physiologist account for it, if he had fuller knowledge than he has of the processes in the retina and the nervous processes set up by them in the optical nerve bundles and in the brain? I do not think so.[3]:154

He continues on to remark that subjective experiences do not form a one-to-one correspondence with stimuli. For example, light of wavelength in the neighborhood of 590 nm produces the sensation of yellow, whereas exactly the same sensation is produced by mixing red light, with wavelength 760 nm, with green light, at 535 nm. From this he concludes that there is no "numerical connection with these physical, objective characteristics of the waves" and the sensations they produce.

Schrödinger concludes with a proposal of how it is that we might arrive at the mistaken belief that a satisfactory theoretical account of qualitative experience has—or might ever—be achieved:

Scientific theories serve to facilitate the survey of our observations and experimental findings. Every scientist knows how difficult it is to remember a moderately extended group of facts, before at least some primitive theoretical picture about them has been shaped. It is therefore small wonder, and by no means to be blamed on the authors of original papers or of text-books, that after a reasonably coherent theory has been formed, they do not describe the bare facts they have found or wish to convey to the reader, but clothe them in the terminology of that theory or theories. This procedure, while very useful for our remembering the fact in a well-ordered pattern, tends to obliterate the distinction between the actual observations and the theory arisen from them. And since the former always are of some sensual quality, theories are easily thought to account for sensual qualities; which, of course, they never do.[3]:163–164
Llinás argues that qualia are ancient and necessary for an organism's survival and a product of neuronal oscillation. Llinás gives the evidence of anesthesia of the brain and subsequent stimulation of limbs to demonstrate that qualia can be "turned off" with changing only the variable of neuronal oscillation (local brain electrical activity), while all other connections remain intact, arguing strongly for an oscillatory—electrical origin of qualia, or important aspects of them.
(...)
As Orpwood states,

Once an attractor state has been established, the output [of a network] is a representation of its own identity to the network.[42]:4

Representation of the networks own output structures, by which represents its own information message, is Orpwood's explanation that grounds the manifestation of qualia via neurobiological mechanisms. These mechanisms are particular to networks of pyramidal neurons. Although computational neuroscience still has much to investigate regarding pyramidal neurons, their complex circuitry is relatively unique. Research shows that the complexity of pyramidal neuron networks is directly related to the increase in the functional capabilities of a species.[43] When human pyramidal networks are compared with other primate species and species with less intricate behavioral and social interactions, the complexity of these neural networks drastically decline. The complexity of these networks are also increased in frontal brain regions. These regions are often associated with conscious assessment and modification of one's immediate environment; often referred to as executive functions. Sensory input is necessary to gain information from the environment, and perception of that input is necessary for navigating and modifying interactions with the environment. This suggests that frontal regions containing more complex pyramidal networks are associated with an increased perceptive capacity. As perception is necessary for conscious thought to occur, and since the experience of qualia is derived from consciously recognizing some perception, qualia may indeed be specific to the functional capacity of pyramidal networks. This derives Orpwood's notion that the mechanisms of re-entrant feedback may not only create qualia, but also be the foundation to consciousness.
A more complete view on this last line: http://journal.frontiersin.org/article/10.3389/fpsyg.2013.00121/full
 
Color spectrum

Visible light corresponds to a range of wavelengths of electromagnetic radiation from about 400 for red to 800 nanometers for indigo.

In chemistry, the composition of a substance may be deduced by the way in which light is absorbed by it. When light passes through a substance and is passed through a prism and thus divided into its component wavelengths, we may notice darker bands which denote absorption of a specific frequency. Different substances have different characteristic absorption bands. This method of analysis is called spectroscopy.

In astronomy, the spectra of colors of light emitted by stars displays characteristic absorption bands corresponding to the presence of hydrogen, helium and other elements on the way of the beam. These bands may appear shifted towards higher or lower wavelengths, depending on the relative motion of the source and observer. These bands do however retain their relative positions in the spectrum of the light analyzed. The observation that light from more distant sources tends to be shifted further towards red, that is the source appears to be moving away from the observer at a higher velocity, has been the initial impulse for the theory of an expanding cosmos.

Colors are associated to many different concepts of esoteric study. From among these, we can mention:

Chakras. In Eastern esotericism, the chakras are each traditionally associated to a color. The colors range from red for the first to indigo for the 6th, the 7th is usually described as alternating white and violet.

The channeled source Ra discusses colors in relation to chakras and densities. Each chakra and density would have a 'true' color, corresponding to a precise wavelength of the light spectrum. The composition of a soul could be seen in terms of these colors, a bit as in spectroscopy but now applied at a metaphysical level. We understand that these statements do not refer to the human plane of perception and are thus more symbolic than literal.

Goethe has introduced the circle of colors, where the usually linearly represented spectrum is bent around the circumference of a circle. There, between the adjoining reds and violets is the color magenta, which looks like a smooth bridge from violet to red. Goethe's theory of colors is more geared towards perception of colors by the human than to their physical properties.

Colors are often associated to octaves. Isaac Newton noticed and published a correspondence between the ratios of the frequencies of the musical notes and the ratios of wavelengths of visible ligh
t. The correspondences are as follows:

Do C 1 : 1 4.40 x 10'4 Red
Re D 9 : 8 4.95 x 10'4 Orange
Mi E 5 : 4 5.5 x 10'4 Yellow
Fa F 4 : 3 5.86 x 10'4 Green
Sol G 3 : 2 6.60 x 10'4 Blue
La A 5 : 3 7.33 x 10'4 Indigo
Si B 15 : 8 8.25 x 10'4 Violet
Do 2 : 1 (Invisible)

George Gurdjieff discusses octaves extensively. He draws a parallel between colors and musical notes in his descriptions of experiments concerning the Law of Seven in Beelzebub's Tales to His Grandson. Gurdjieffian cosmology sees the universe as composed of vibrations in different media, proceeding at different rates but always according to the Law of Seven or the octave.

So
The 4th Way cosmology sees all processes as divided in seven stages, often denoted by the notes from do to si (ascending) or do to re (descending).

For example, the metabolism of man is described as as three food octaves, corresponding to how:

1. physical food is transformed by the organism
2. how air is transformed by the organism and lastly
3. how impressions are transformed by the organism.

An octave has two special intervals called shocks. These are the ones between mi and fa and si and the do of the next octave. These correspond to the absence of the black key on the piano keyboard. A process proceeds through the stages denoted by the notes if it has enough initial impetus. However, the process does not keep its original direction if left to itself. Usually, the process also needs an extra impulse from outside to proceed past the shock between mi-fa or si-do. Lack of understanding of the Law of Seven is, according to the 4th Way, the principal reason why human plans almost never reach their goal and why activities usually turn into their antithesis. One example is revolution against tyranny automatically turning into more tyranny.

According to Gurdjieff, there exists an objective way of dividing all processes, from cosmic to social to mental to biological into octaves. This division is according to Gurdjieff, the only objective basis for the notion of time. A few examples of this division are provided in literature but generally man has no capacity or insight for seeing this division in nature and practical application of this law is elusive.


Ouspensky's In Search of the Miraculous contains the best structured presentation of octaves and the Law of Seven. Mouravieff also comments on octaves and how they relate to time and the progress of entropy, a sort of winding down of the universe.
https://thecasswiki.net/index.php?title=Color_spectrum
https://thecasswiki.net/index.php?title=Law_of_Seven
 
Before to continue, i'm going to make an "interval"on this note:
https://cassiopaea.org/forum/index.php/topic,42506.0.html#lastPost
Laura said:
MK Scarlett said:
I hope this was not too boring as I found the reading of it very interesting. A lot fit with what C's and Laura's researchs have to say about our World. :)

It was very interesting, thank you.

One thing that caught my eye was the mention of Mozart's "The Magic Flute"

7 Nov 1998 said:
Q: (A) What about 'zuber' and this 'bezu' mentioned in this
book, The Horse of God? Was it an anagram?
A: Oh now, it may just have been.
Q: (L) Well, it freaked ME out, coming the next day after
last week's session... with the mention of 'chevin' and
the funny numbers representing the Golden ratio and all
that... it was amazing, even if the woman does not have a
clue of what she is talking about!
A: Learning is such fun. Ludwig put words to his music.
Q: (L) Yes... the poetry of Wolfgang Schiller. His Ode to
Joy.
A: What does Schiller, or Schoeller mean?
Q: Now that you brought this up! This is a VERY strange
thing because this guy wrote a bunch of cosmic poems to
someone named Laura, and they were about universes and
gravity and the music of the spheres, and reincarnation,
time and time warps, a bunch of funny stuff. He even
wrote one that begins: 'I was in Arcadia born...' He hung
out with Von Eckartshausen and I think he was an
alchemist...
A: Was he zuber?
Q: (A) Zauber, in German, means 'magic.' (L) Close enough!
(A) Does this mean he was a magician?
A: Other close one... Zeuber?

25 May 1996 said:
Q: (L) Well, okay. We have several issues just now...
A: Flute.
Q: (L) What does that mean?
A: You have one.
Q: (L) I don't have a flute. Tell me about the flute.
A: Ponder.
Q: (L) Flute as in playing a tune? Another clue?
A: No.
Q: (L) And you want me to stop and ponder this right now?
Well, you play music on a flute. Usually you play happy
music on a flute.
A: Not point. On or not.
Q: (L) You guys are being really obscure tonight. Is flute
significant in some way?
A: Maybe.
Q: (L) Is there another word or two you can give me for a
clue? A: D.
Q: (L) Fluted?
A: Yes.
Q: (L) Does 'fluted' have anything to do with 'grooving?'
A: Columns.
Q: (L) What columns are we talking about?
A: Ionic.
Q: (L) Why are we talking about Ionic fluted columns?
A: Because they are a link to previous direct contact between
humans and density 4 STO!
The whole session here:https://cassiopaea.org/forum/index.php/topic,34921.msg496571.html#top
In reading this, i wanted to check on the Magic Flute_Die Zauberflöte:
The opening of the Magic Flute is indeed the only one of all the operas of Mozart (and one of the few, if not only of the classical period) which has developed a fugato, after an initial slow and solemn episode. It is well connected, in its way, openness to the French Baroque. But its second episode is also related (and more likely) the sonata allegro. According to Jean-Victor Hocquard: "There is no question here of a fugue itself, but a sonata movement that adopts at times the fugal style. Striking example of the synthesis, characteristic of the last Mozart, between contrapuntal writing and thematic language "5. Thus, after the recall of the initial agreements, at about the center of the allegro, the fugal writing resumes (a little longer than the first time).

The brief coda is immediately followed by the first act.
https://fr.wikipedia.org/wiki/La_Fl%C3%BBte_enchant%C3%A9e
https://en.wikipedia.org/wiki/The_Magic_Flute
Also on Ionic fluted columns:from the 25 May 1996 session
A: Good. Suggest that you install a triple Ionic column with top beam and base, as the Romans and Greeks did, near the deep end. Two sided triangle when seen from above, flat top of beam, no gables. 1.3 meters between bases of the three columns. Columns 1.6 meters tall. Base set at 30 degree angle. Center column placed to the East of the pool. Use pure spiral, counterclockwise, corresponding to Northern hemisphere of the planet.
And Wikipedia:
Ionic columns are most often fluted. After a little early experimentation, the number of hollow flutes in the shaft settled at 24. This standardization kept the fluting in a familiar proportion to the diameter of the column at any scale, even when the height of the column was exaggerated. Roman fluting leaves a little of the column surface between each hollow; Greek fluting runs out to a knife edge that was easily scarred.
(...)
Vitruvius, a practicing architect who worked in the time of Augustus, reports (De Architectura, iv) that the Doric has a basis of sturdy male body proportions while Ionic depends on "more graceful" female body proportions. Though he does not name his source for such a self-conscious and "literary" approach, it must be in traditions passed on from Hellenistic architects, such as Hermogenes of Priene, the architect of a famed temple of Artemis at Magnesia on the Meander in Lydia (now Turkey).
Fluting in architecture is the shallow grooves running vertically along a surface.

The term typically refers to the grooves running on a column shaft or a pilaster, but need not necessarily be restricted to those two applications. If the hollowing out of material meets in a point, the point is called an arris.

If the lower half of the hollowed-out grooves appear to have been re-filled with a cylindrical element, it may be referred to as "cabled fluting."[1]
https://en.wikipedia.org/wiki/Fluting_(architecture)
https://en.wikipedia.org/wiki/Ionic_order
https://www.google.es/search?q=cannel%C3%A9&ie=utf-8&oe=utf-8&client=firefox-b-ab&gfe_rd=cr&ei=z4TZV_GiMoit8wfv0rPwAw#q=colonnes+ioniques

Well above all i wanted to check on microtubule, it was the first thing that come to "my" mind
when i read the last quote in the answer of Laura to MK Scarlett, so let's go !
MYSTERY OF THE MICROTUBULES

ENLIGHTENNEXT: You’re best known as one of the world’s leading proponents of a quantum-physics-based theory of the mind. How did you first become interested in the mystery of consciousness?

STUART HAMEROFF: I got interested while in college in the late 1960s. Studying mostly science and math, I took a course called Philosophy of Mind and was intrigued with how difficult was the problem of explaining how conscious experience arises from the pinkish-gray meat we call the brain. And I remained interested through medical school, being drawn toward fields having to do with consciousness—psychiatry, neurology, neurosurgery. But one day, while doing a research project in a cancer lab in the early 1970s, I was looking at cells dividing—mitosis—under a microscope, observing how the DNA-containing chromosomes were separated and pulled apart into perfectly equal mirror images of each other. The tiny strands and little machines moving the chromosomes were called microtubules and centrioles (which were themselves composed of microtubules). The dance of the chromosomes had to be perfect, because if they divided unequally, abnormal cancer cells could result.
Most of my research colleagues followed the trail of the chromosomes and went into gene-based research. But for some reason, I became fixated on how these little molecular machines knew exactly what to do and how they were choreographed. I wondered how they were organized and guided, and whether there was some intelligence, if not consciousness, at that level. Around the same time, it was discovered that these same microtubules existed in all cells—especially neurons—as major components of the cell skeleton, or structural scaffolding. Being highly asymmetrical, brain neurons are just full of microtubules. So it occurred to me that microtubules, which seemed to display some kind of intelligence or consciousness in cell division, might have something to do with consciousness in brain neurons. Maybe in addition to being the cell’s structural support, microtubules were also the cell’s on-board computer.

After medical school in Philadelphia I gave brief consideration to a full-time research career, but decided to take a clinical internship in Tucson, Arizona, to figure out what I wanted to do next. I was leaning toward neurology, but then met the chairman of anesthesiology at the new University of Arizona medical school hospital who was in need of residents for his fledgling program. He was a Boston-trained Texan named Burnell Brown, and he showed me around the operating rooms at the new hospital, explaining how anesthesiology was important, paid well, and could be fun. As he came to know my interests, he told me that if I really wanted to understand consciousness, I should figure out how anesthesia works, because anesthesia selectively erases consciousness while sparing other brain functions. He also showed me a paper written by a colleague of his in 1968, suggesting that if you apply the gases used in anesthesia to microtubules, they depolymerize—they fall apart. So there was a theory that anesthesia worked by causing brain microtubules to fall apart. It turns out, fortunately, that that’s not true. You need about five times the amount of anesthesia for microtubule depolymerization than you need to cause somebody to lose consciousness. But it showed that anesthetics do affect microtubules, which further suggested that microtubules might have something to do with consciousness.

EN: What, exactly, is a microtubule?

SH: First and foremost microtubules are the rigid structural support defining the shape of all animal cells, but continually moving and rearranging. The rearrangements account for all cell growth, development, movement, synaptic regulation—pretty important stuff. Each microtubule is a molecular assembly, a cylindrical polymer composed of many versions of a single, peanut-shaped protein called tubulin. Each of these tubulins can flex into alternative conformational shapes, and can also have genetic and other types of diversity, but are overall similar. The tubulin proteins self-assemble into hollow cylinders whose walls are elegant lattices which are both hexagonal and helical, the helical winding patterns having beautiful Fibonacci geometry. I became somewhat obsessed, enchanted really, with the structure of microtubules. These self-assembling and unassuming cylinders somehow accounted for cell growth, movement, and function. Their actions reminded me of the “Indian rope trick” where the Fakir tosses up a rope, climbs it, and then disappears. Except there’s no Fakir, just self-assembling proteins forming the cytoskeleton, the bone-like structural support or scaffolding, inside all animal cells. Like a building assembling itself, brick by brick. And the more asymmetrical a cell is, the more it needs the structural support. So neurons with their long axons and dendrites have lots of microtubules. If you look inside a single neuron, you see hundreds of microtubules composed of something like one hundred million tubulin protein subunits. You could say that neurons are actually made of microtubules. So I just figured that if microtubules were organizing complex activities during rudimentary cell division, then they might be doing something similar in brain neurons related to consciousness.

EN: Interesting! Most people think that consciousness arises from activity between brain cells, or neurons, but you’re saying, well, no, it may actually be these extraordinarily tiny structures within neurons that provide the real physical basis for consciousness.

SH: Yes, exactly. Most views consider the brain-as-computer, with neuronal firings acting as “bits.” Neurons are seen as simple fundamental components of brain information processing, able to perform simple logic functions. But I began to think the mechanisms for consciousness went deeper. A couple of other things helped lead me in this direction. The first was that I looked at single-celled organisms like paramecia. A paramecium is one cell and therefore has no neurons or synapses. But it swims around, finds food, avoids obstacles and predators, finds a mate, has sex, and can learn. It seems to have some intelligence. Not necessarily consciousness, but the single-celled creature definitely has cognitive functions—“cognition” meaning sensory processing, control of behavior, and so forth. It has intelligence and yet no neurons nor synapses. It does, however, have microtubules, and organelles called cilia composed of microtubules which act as both sensors and motors. This suggested to me that a paramecium might use its microtubules to process information and organize its behavior. And if paramecia did so, why wouldn’t neurons?

The second thing was that, around the time I learned about microtubules, I also began to read about computer switching matrices, lattices, and networks. The structure of microtubules consisted of a cylindrical lattice of tubulin proteins. Each of these could switch between different conformational states, and be programmed by genetics and other factors, and be influenced by lattice neighbors, like gates and switches in computers. This was more support for the notion that microtubules might be acting not only as bone-like support, but also as molecular-scale computers, the intelligence system inside cells.

EN: So you basically started to realize that there’s actually a lot more activity—and maybe even conscious activity—going on inside the brain than most people imagine?

SH: That’s right—I saw more intelligence at a deeper level inside neurons, specifically in microtubule computation. Most views saw the brain as a computer with one hundred billion simple, dumb neurons interacting together to produce something intelligent and conscious. I thought each neuron at the level of its microtubules had significant information processing and intelligence. I had a hunch that microtubules were “Nature’s computers.”
So I started working with engineer and physicist colleagues to model and simulate tubulin states in microtubule lattices. We assumed each tubulin could be in two alternative states correlating with its dipole, and that neighboring dipoles interacted, or computed according to rules set by the microtubule geometry—very much like cellular automata, self-organizing computers. We also assumed the computational interactions were synchronized by coherent excitations on the scale of nanoseconds. Based on these assumptions, I worked with my colleagues Rich Watt, Steen Rasmussen, Jack Tuszynski, et al., and showed that microtubules were well suited to be efficient computational devices. Based on about ten million tubulins per neuron and nanosecond-range computations, we calculated that microtubules within each neuron in the brain could perform roughly 1016 operations per second. That was twenty years ago. Recent evidence has shown slightly slower coherent microtubule excitations of about one-hundred nanoseconds, and ten times more tubulin per neuron, so a revised estimate would be about 1015 operations per second per neuron for microtubule information processing. So instead of each neuron registering as a single bit in the computer of the brain—a one or a zero, firing or not firing—there was another layer of microtubule processing deeper inside each neuron, raising the potential computational complexity of the brain tremendously.

This was in the 1980s and early 90s, and I was going to a lot of artificial intelligence and neural network conferences where they were trying to model and simulate the brain as many simple neuronal switches. The Singularity people are still trying to do that. Considering brain computation strictly at the level of neuronal synaptic interactions, they estimate one hundred billion neurons per brain, each with up to one thousand synapses per neuron, and up to one-hundred operations per second per synapse. This gives roughly 1016 operations per second for the entire brain. Using Moore’s law for the minaturization and speedup of computer components, they were forecasting brain equivalence—and hence consciousness—in a few decades.

That 1016 was familiar. It was what we had calculated for one neuron at the microtubule level. I was saying, “No. Each of your simple switches is incredibly complicated. You have to take into account this added computational complexity. Each neuron has 1016 operations per second. The computational capacity of the brain is squared!” They didn’t like that very much. If correct, it pushed their goal of simulating a human brain way down the road. So I became kind of unpopular among that crowd.

But then one day someone said to me, “Okay, let’s say you’re right. Let’s say each neuron has all this enormous added computation going on. How would that explain conscious experience? How would that explain why we have feelings, why we see red, why we feel pain? How does that explain consciousness?” And I realized I didn’t have an answer to that, which brings us to what the Australian philosopher David Chalmers famously dubbed the “hard problem” of consciousness research.

EN: The question of how we get mind out of matter.

SH: Exactly.

ROGER PENROSE & SCHRÖDINGER’S CAT

SH: Fortunately, someone suggested that I read a book by the English mathematical physicist Sir Roger Penrose called The Emperor’s New Mind. So I did, and it was really amazing. The book’s title was intended as a slap in the face to artificial intelligence theorists because they maintained that if you had sufficiently complex computation in a computer, it would be conscious. But Roger argued—in a somewhat obscure mathematical direction called Gödel’s theorem—that consciousness involves something noncomputable, that understanding, or awareness, is not a computation. Something else is involved. So after ruling out the idea that consciousness was strictly a computation, Penrose then offered a mechanism for consciousness that involved something so far out of left field that most people considered it—and still consider it—rather bizarre. And that has to do with quantum physics, and in particular, quantum gravity.

Reading The Emperor’s New Mind, I was floored with the breadth and subtlety of Penrose’s knowledge, much of which I didn’t understand. I did know that anesthetic gases exert their effects by quantum forces, so consciousness having something to do with quantum physics made sense to me. And I had this gut feeling that he was onto something. He at least had a mechanism for consciousness. It was based on a particular type of quantum computation in the brain having something to do with quantum gravity—the fabric of spacetime geometry. I learned that quantum computation required information, e.g., “bits” of 1 or 0, to exist for a time in quantum ‘superposition’ of coexisting possibilities—quantum bits, or “qubits” of both 1 and 0. After interacting/computing the qubits then reduce, or collapse to bits, e.g., 1 or 0 as the answer. Roger was proposing a new explanation for the reduction, or collapse based on quantum gravity, and associated with consciousness. But on the brain side, he didn’t have a strong candidate for a qubit, suggesting possibly superpositions of neurons both firing and not firing.

I said to myself, well, maybe tubulins are qubits and microtubules are the quantum computers Penrose is looking for. So I wrote to him and we soon met in his office at Oxford.

Roger is a gentle, unassuming man, despite being incredibly brilliant and highly acclaimed. He mentioned he was going to a consciousness conference at Cambridge, and had me do almost all the talking. So I just started talking about microtubules and showed him the 1987 book I’d written on the subject. He listened intently, asked questions and was particularly taken by the Fibonacci geometry of the microtubule lattice. After several hours, he finally said, “Well, that’s very interesting.” I said goodbye and didn’t think anything was going to come of it. But about two weeks later, I was having dinner with some friends in London and they said, “Guess what? We were at this conference at Cambridge and Roger Penrose was talking about you and your microtubule stuff.” Soon after that, I received an invitation to a conference in Sweden that Roger was attending, and we struck up a friendship and decided to start developing a formal model of consciousness based on his theory of quantum gravity and the possibility of quantum computation in microtubules in the brain. I also invited him to speak at the first Tucson conference, Toward a Science of Consciousness in 1994.

EN: Pretend I don’t know anything about quantum physics. Could you explain what a quantum superposition is? And how it relates to consciousness or microtubules?

SH: Quantum means, literally, the smallest fundamental unit of energy, like a photon—an indivisible unit of light. But behavior at the quantum level is bizarre. It’s so bizarre, it’s like another world. In fact reality seems to be divided into two different worlds—the classical world and the quantum world. The classical world is our everyday familiar world, in which Newton’s laws of motion, electromagnetism and other basic physics pretty much describe everything very well. If you throw a ball, its trajectory, speed, location and so forth can be easily predicted. But as we go to smaller scales—let’s say, for argument’s sake, atoms and smaller—we enter a world where completely different physical laws apply, and predictions become a lot more difficult. For example, at the quantum level particles can be in two or more places or states at the same time. Instead of being either here or there, particles can be both here and there simultaneously, more like smeared-out waves than particles, and governed by a quantum wave function. And when pairs of superpositioned particles are separated, they remain somehow connected. This is called entanglement, or what Einstein called “spooky action at a distance.” But we don’t see this other world. And some say that’s because quantum superpositions collapse, or reduce to classical systems—the wave function collapses—only when consciously observed.

EN: This means that a human observer is required to collapse a state of superposition?

SH: In one interpretation of quantum physics, yes. The Danish physicist Niels Bohr popularized this model, which became known as the Copenhagen interpretation. Early experiments seemed to show that if a machine measured a quantum system, the results in the machine remained in superposition until observed by a conscious human, that consciousness “collapsed the wave function.” This put consciousness outside science, but allowed Bohr and others to continue experiments without worrying about any deeper meaning for reality or consciousness.

If you take Copenhagen to its extreme, you might suppose that if you’re sitting in a room and there’s a picture hanging behind you, then the picture may be smeared out in multiple places at once until you turn around and look at it. In other words, anything unobserved would be in a wave-like state of quantum superposition. That idea is pretty bizarre, however, and Erwin Schrödinger, another early quantum physics pioneer, thought it was downright silly. So he came up with his famous thought experiment, called Schrödinger’s Cat, to try to demonstrate how nonsensical it was.

But the question raised by Schrödinger’s thought experiment remains: How big can a quantum superposition get? Can isolated quantum systems be amplified so that something as large as a cat can be in two states simultaneously? There’s still no answer to that, but the question has led physicists to come up with alternatives to the Copenhagen interpretation—different models of wave function collapse that don’t necessarily require a conscious observer.

A QUANTUM OF CONSCIOUSNESS

EN: And you prefer one of these alternatives to the Copenhagen interpretation?

SH: Well, yes, Roger’s theory is one of the alternatives—the only one incorporating consciousness. The others include the multiple-worlds view in which each possibility in a superposition branches off to form a whole new universe. Despite the mess of an infinite number of overlapping universes, this is actually a popular view among physicists. Another view is Bohm’s interpretation that pilot waves guide quantum particles in choosing their classical states and paths. And then there’s decoherence, in which any interaction with the classical environment disrupts quantum states—quantum systems must remain isolated from the classical environment somehow. But what about quantum systems which are isolated from environment, and may grow or evolve to a larger scale?
Roger proposed that in such cases, if decoherence can be avoided long enough, the wave function eventually proceeds to a certain point at which it self-collapses, or reduces due to an intrinsic, objective threshold in the fabric of spacetime itself, what Roger called objective reduction, or OR.

To understand this, go back to the multiple-worlds view. Every superposition is considered a separation in the underlying structure of spacetime, or fabric of the universe, with each branch of the separation evolving separately—resulting in two different universes. The universe divides like a living cell into two nearly identical copies. Roger agreed that superpositions are indeed separations in the underlying spacetime fabric, or geometry of the universe. He pointed out that Einstein’s general relativity meant that matter was equivalent to curvature in spacetime, so that a particle in two places is the same as simultaneous spacetime curvatures in opposite directions—a bubble in the underlying fabric of reality. But in Roger’s view these separations, or bubbles, are unstable—even if decoherence is avoided. Rather than evolve to form a new universe, the spacetime separations eventually reach an objective threshold for self-collapse, or quantum state reduction, and choose one bit of reality or the other. And when that happens, he argued, this self-collapse—OR—resulted in a moment, a fundamental unit or quantum, of conscious awareness.

The objective threshold for Roger’s OR self-collapse and consciousness was given by a very simple equation, very similar to the equation relating wavelength and frequency in photons in the electromagnetic spectrum. The wavelength of a photon is inversely related to its frequency by a constant—the speed of light. So the shorter the wavelength of a photon, the higher will be its frequency and energy. High energy X-rays have shorter wavelength and higher frequency compared to visible photons or microwaves. For fundamental units, or quanta of consciousness, Roger used a similar equation related to quantum indeterminacy, E= h/t. E is the size of the superposition, as well as the energy and intensity of the conscious moment, and t is its wavelength, or duration. h is Planck’s constant, putting it all in the quantum realm, or more precisely on the edge between the quantum and classical worlds. So the larger the superposition E, the shorter the t, or wavelength, and the faster the system will reach OR threshold for self-collapse and a conscious moment. And the larger the E, the greater also is the intensity of the conscious experience. This gives a quantum of consciousness, or actually an entire spectrum of quanta-conscious moments.

Penrose turned the Copenhagen interpretation around. Conscious observation doesn’t cause quantum wave-function collapse, as the Copenhagen interpretation says. Rather, he suggested consciousness is the wave function collapse, or at least one particular kind of collapse. It’s a quantum collapse that gives off fundamental units of conscious awareness, just like an electron orbital shift gives off a photon of light. And like photons, quanta of consciousness come in a spectrum of different intensities, frequencies and qualities.

EN: Wow! In this interpretation of quantum physics, superpositions naturally collapse themselves? And those collapses somehow produce consciousness?

SH: Yes, if decoherence or measurement doesn’t occur first. And that’s a fairly tricky thing, otherwise we’d have consciousness all over the place. If E is very small, t will be very long. So if an electron with a very small E in superposition were isolated from environment, it would have a conscious moment only after a very long time t—something like ten million years. And it would be a very low intensity experience—rather dull. A large superposition E, if isolated, would reach threshold quickly with a high intensity experience. We think the brain has evolved to isolate large superpositions E, but otherwise it’s very difficult to isolate large superpositions. So consciousness can happen whenever E=h/t, but in the universe it is fairly rare.

So how does it happen in the brain? That was kind of my job to figure out when Roger and I began to formalize our model in the mid-90s. I showed how synaptic inputs could tune, or ‘orchestrate’ OR-mediated quantum computations in microtubules, hence our theory became known as orchestrated objective reduction, ‘Orch OR’. There was the obvious issue of decoherence in the warm brain which I suggested was avoided by coherent biochemical pumping, microtubule resonances, ordered water and actin gelation encasing microtubules. Over the years we’ve had a lot of criticism about this, but recent evidence has clearly shown quantum coherence in warm biological systems. Another biological issue was how a quantum state isolated in microtubules in one neuron could extend to those in other neurons, for which I suggested gap junctions—window-like connections between neurons. In recent years, gap junctions have been shown to mediate gamma synchrony EEG, the best measurable correlate of consciousness. We also addressed how tubulin states could be regulated by weak quantum forces, be isolated from environment yet interact with it causally, and how it all fit in modern neuroscience.

So we had a reasonable story for how OR events—Orch OR—could happen in microtubules throughout wide regions of the brain. And when these collapses happen again and again, you get a series of conscious moments that is your experience of a stream of consciousness. So consciousness consists of a series of discrete events, yet is experienced as continuous. This is kind of like a movie appearing to be continuous yet being composed of individual frames, only with a movie you have an outside observer. In Orch OR, the frame itself has the observer built into it. The conscious moment and the quantum wave-function self-collapse are one and the same—a ripple in the fundamental level of the universe.

What is fundamental spacetime geometry? If we were to shrink smaller and smaller, much smaller than atoms, the medium of spacetime would appear smooth and featureless until we eventually reached the incredibly tiny Planck scale—the basement level of the universe—where patterns and webs of information exist. What it might look like is approached theoretically through geometry arising from string theory, twistors, spin networks or quantum gravity. Roger is one of the world’s experts in these areas, and he suggested that information embedded at this level, and repeating holographically, contained mathematical truth, as well as perhaps other Platonic values. Roger suggested that pure form and truth arise from information intrinsically encoded in the universe. This led to his noncomputability.

When superpositions decohere, or are measured as in standard quantum physics, the quantum possibilities collapse or choose a definite state randomly—like flipping a coin. But when decoherence and measurement are avoided and OR conscious threshold is reached, Penrose suggested that the choices of definite states—the conscious choices we make, or perceptions we experience—are not chosen randomly from among possibilities, but are influenced, or guided, by Platonic information embedded in spacetime geometry. He called this influence noncomputable because the Platonic influences were outside the system, built into the universe. Consciousness does sometimes involve choices or perceptions which appear to be noncomputable, e.g., intuition, instinct, divine guidance, enlightenment, or “following the way of the Tao.”

EN: So according to Penrose, gravitational effects at the quantum level are causing wave functions to collapse automatically, emitting little bursts of consciousness that somehow result in our own continuous, moment-to-moment experience of being conscious, aware, and alive?

SH: That’s right. I don’t know how familiar you are with the early-twentieth-century mathematician and philosopher Alfred North Whitehead, but his thinking was very much along these lines as well. He said that consciousness was a sequence of what he called “occasions of experience occurring in a wider field of proto-conscious experience.” In his view, the universe isn’t made of things or particles. It’s a process. It’s made up of events. In the early nineties, physicist Abner Shimony pointed out that Whitehead’s occasions of experience are very much like quantum wave-function collapses, or quantum state reductions, so our view seems pretty consistent with Whitehead’s. But what about his “wider field of proto-conscious experience”?

When Roger and I first came out with our theory, we didn’t directly address the hard problem—why we have conscious experience. But when the Journal of Consciousness Studies did a special “hard problem” issue in 1996, we took a stab at it. And we basically followed Whitehead, saying that the “wider field of proto-conscious experience” was the fabric of the universe at the Planck scale—quantum gravity, or fundamental spacetime geometry—and that OR events were “occasions,” or ripples, occurring in that wider field. Fundamental properties of matter such as spin, mass, and charge are irreducible components of the universe that are somehow embedded in this Planck-scale geometry. So Roger and I proposed that the primary components of consciousness, of awareness, or at least their precursors—are also fundamental, irreducible, and built into the basic structure of the universe. After all, why should precursors to matter be present at that level but not the precursors to mind?

EN: Good question. You’re saying it’s possible that at least some basic level of consciousness may be as fundamental to the universe as the laws of physics?

SH: Yes. The laws of physics must include consciousness, or its precursors. I wouldn’t say the universe is conscious, just like I wouldn’t say the universe is entirely yellow, or purple, or wet or whatever. But under the right conditions, any of these can be true for small regions of the universe. The un-collapsed, still-superpositioned precursors of consciousness are somewhat like dreams. When OR occurs, the universe—at least a tiny portion of it—wakes up.

GAMMA FREQUENCY & ALTERED STATES

EN: We began by talking about microtubules, so please tie these together for me. How do these quantum wave-function collapses relate to what is happening with the microtubules in the brain?

SH: Well, the best measurable correlate of consciousness is a type of EEG—that is, electroencephalography, or brain-wave measurement—called gamma synchrony at around forty times per second, discovered in the 1980s in Germany by Wolf Singer. Typically with EEG you get a mess of squiggly lines, but if you break them down into frequency ranges you get various types of waves—delta, theta, alpha, and beta. These indicate electrical waves in the brain ranging from zero up to about thirty hertz, or thirty waves per second. But Singer discovered a higher, perfectly coherent frequency that came to be known as gamma synchrony, which ranged from thirty to ninety hertz, or even higher, though forty hertz is typical. Gamma synchrony is the best marker we have for consciousness in the brain. This suggests that conscious moments, or Whitehead “occasions,” occur roughly forty times per second.

EN: You’re saying that by monitoring someone’s brain with an EEG, researchers have been able to isolate a certain frequency of activity that only correlates with conscious experiences?

SH: There has to be a critical amount of it, but yes. And it can occur in different parts of the brain, kind of moving around. For example, if somebody smells a rose, they have this gamma synchrony in the olfactory cortex, the part of the brain dealing with smell. If you’re having visual consciousness, you’re going to have gamma synchrony in visual cortex, and in frontal cortex. For sexual pleasure, there is gamma synchrony in a part of the brain called nucleus accumbens, and so on. Gamma synchrony goes away with general anesthesia while other brain neuronal activities continue.

So Roger and I proposed that gamma synchrony correlates with OR quantum-state self-collapses happening roughly forty times per second among coherent, organized networks of the brain’s microtubules. Using E=h/t, we set time t as twenty-five milliseconds, the time duration for forty events per second, and calculated E in terms of superpositioned microtubule subunits. We came up with roughly nanograms of superpositioned tubulins, occupying roughly one hundred thousand neurons worth of microtubules, a number which matched other estimates for consciousness coming from conventional approaches.

Now, I should note that the frequency of conscious events can vary. In heightened or altered states, we seem to be having more conscious moments per second, which would mean that our perception of the outside world would be slower. For example, in a car accident when the car is spinning, people often report that time seems to slow down and the outside world appears to be moving half as fast as it usually does. This could be because their rate of gamma synchrony is changing from around forty hertz to eighty hertz. And similarly, someone once asked the great basketball player Michael Jordan in his prime how he was able to outperform the other team so well. He said when he’s playing well, it’s like the other team is in slow motion. So maybe Michael Jordan was experiencing sixty, seventy, or eighty conscious moments per second and the opponents were only experiencing something like forty.

We also see it in meditation. Buddhist texts describe flickering in pure awareness which have actually been counted—something like six and a half million in a day, which comes out to be in the gamma synchrony range. A few years ago, the Dalai Lama sent some monks to a lab in Wisconsin. They found that while meditating, the monks had the highest gamma synchrony ever recorded. They were actually operating at about eighty to one-hundred hertz, with control subjects at forty. And even at baseline, before they would meditate, the monks showed an unusually high rate of gamma synchrony. Years of meditating had changed their brains so that they were just normally in this higher-frequency gamma range. That suggests they’re having a richer and more intense conscious experience more frequently than the average person. You could perhaps also say they were having higher energy, frequency and intensity OR conscious moments, or quanta. They go deeper into the quantum world.

THE SPIRITUALITY OF SPACETIME GEOMETRY

EN: Okay, I have a question about this. If consciousness is arising as a certain frequency of quantum collapses in the brain, then your model could still be considered materialistic, right? Consciousness is still ultimately a byproduct of brain activity, just pushed down to the level of what you’re calling quantum spacetime?

SH: Hang on a second! Material means “matter.” Matter derives from something more fundamental, which is quantum spacetime geometry, twenty-five orders of magnitude smaller than atoms. So this goes way below the scale of matter. Matter is … immaterial.

EN: Can you elaborate?

SH: Basically, if you think of mind and matter and the relation between them, there are a number of different philosophies to choose from. First you have dualism, where mind and matter don’t relate; there’s a brick wall between them. Next, you have ordinary materialism, the conventional view that says that matter creates mind. Then you have idealism and various mystical approaches, which say that mind creates matter. And there’s panpsychism in which mind and matter are the same. But in my opinion, none of these work. They all have problems. So the final choice, I think, is what’s called neutral monism, which has been put forth by such figures as Bertrand Russell, William James, and Baruch Spinoza in Western philosophy, and various nondual positions in Eastern philosophy. Neutral monism says that there’s one common underlying entity that gives rise to, on the one hand, matter, and on the other hand, mind. In our model, that underlying entity that gives rise to both matter and mind is quantum spacetime geometry. If you have a superposition which decoheres, you get matter. If you have a superposition which avoids decoherence and evolves to reach threshold for a conscious event/quantum, you get both matter and mind. In the Vedic traditions, you could call spacetime geometry Brahman, the underlying ground of being. You can call it whatever you like—spirit, the cosmos, quantum gravity—whatever it is that gives rise to both mind and matter and underlies all of reality.

EN: So you’re saying that based on your model, reality could be seen as being fundamentally spiritual?

SH: First let me say that Roger doesn’t relate his work to spirituality. But I personally have nothing to lose, so I figure, why not? I recently wrote a blog about this topic after speaking at an atheist conference, which I called “Being the Skunk at an Atheist Convention.” Richard Dawkins, Patricia Churchland and other atheists were there bashing religion. I said I didn’t hold with any organized religion, but that based on what we know of quantum physics and consciousness, we have to take seriously the scientific possibility of spirituality. Needless to say, they didn’t like that very much. In defining spirituality I mentioned three things. The first was an interconnection among living beings, and the universe as a whole, and I said that this could be possible through quantum entanglement, the intimate connection between quantum particles seemingly beyond the limitations of space and time. The second was some kind of divine guidance or cosmic wisdom influencing our choices due to Platonic values embedded in fundamental spacetime geometry. And finally, there was the possibility of consciousness persisting outside of the body, or after death.
About ten years ago, several studies about near-death and out-of-body experiences came out of Europe. Both involved several hundred patients who had cardiac arrests, and they found around seventeen percent of the patients had these near-death or out-of-body experiences. Then the BBC did a show about it called “The Day I Died,” in which they asked the researchers who did the studies if they could explain these experiences scientifically. And they replied, “We have no idea. Why don’t you ask Penrose and Hameroff ?” Anyway, Roger declined comment, but I said, well, under normal conditions, consciousness is happening at the level of spacetime geometry in and around the microtubules in the brain. However, when the blood and oxygen stop flowing and quantum coherence in brain microtubules stops, then the Planck scale quantum information isn’t destroyed. It continues to exist at the Planck scale, and can leak out or dissipate but remain entangled as a certain pattern, at least temporarily. So if the patient is revived, the quantum pattern gets drawn back into the microtubules inside the brain, and the patient reports having had a near-death or out-of-body experience. If the patient actually dies, then it’s conceivable that the quantum information can remain entangled in some sort of afterlife state. And perhaps the information can get pulled back into a new creature, a zygote or embryo, in which case you’d have something like reincarnation.

Now, I’m not offering any proof that this happens. I’m just providing a plausibility argument. I’m saying here’s how it could happen based on the Orch OR model.

EN: Let’s see if I’ve got the gist of your theory straight. Essentially, you’re saying that at least some basic degree of consciousness is woven into the fabric of spacetime itself, and it’s the coherent quantum activity among the microtubules in our brain that allows us to amplify or strengthen the basic universal consciousness that’s already there?

SH: Yes. Or simply to gain access to it, connect to it, become one with it. Quantum processes in brain microtubules make this connection in a way that also involves cognition, computation, and intelligence.

Most people think that consciousness emerged over eons as a byproduct of random mutations and the inherent complexity of natural selection, but I look at it the other way around. I think the fundamental field of proto-conscious experience has been embedded all along—since the big bang—in the Planck scale, and that biology evolved and adapted in order to access and connect to it. When someone meditates or becomes enlightened, they’re moving more deeply into that quantum realm. If you meditate and attain what people call nothingness, it isn’t actually nothingness. I think it’s spacetime geometry with its Platonic wisdom. You move more deeply into the basic fabric of the universe and actually become more consciously a part of it.
In fact, the Kabbalah says that we have this world of wisdom and light and then we have the world of aggravation and strife, and that consciousness dances on the edge between the two worlds. I think that’s very close to what’s happening, with the classical world being filled with aggravation and strife, and quantum spacetime geometry being filled with wisdom and light. OR is a process literally “on the edge” between quantum and classical worlds, converting quantum possibilities to classical reality. Spiritual practices allow you to dive deep and become immersed in the quantum Platonic world of spacetime geometry. You could call it God if you wanted to.

I should add that our theory has many, many critics. One argument against us has been that the brain is too warm for quantum effects, and that decoherence would prevent superpositions from reaching threshold for consciousness. But evidence in the past few years has shown that quantum coherence and superposition play major roles in living systems at warm temperatures, for example photosynthesis in plants. If plants can avoid decoherence, the brain is likely to have evolved a similar capability. So I’m betting on our side. If the quantum consciousness hypothesis is proven, it will give credence to the spiritual dimension of life. It will undermine materialism and atheism. I think it will rightfully justify faith and hope.
From this thread of Shijing:http://cassiopaea.org/forum/index.php/topic,17598.msg158713.html#msg158713

A little animation:https://commons.wikimedia.org/wiki/File:MicrotubuleDynamicInstability.ogv

Keep on going:
Fritjof Capra wrote:

"For that scientists are able to describe nature mathematically, Galileo thought they should just study the essential properties of the body shape, number and movement which could be measured and quantified. Other properties such as color, sound, taste or smell, were merely subjective representations which were to be excluded from the field of science. "

This question of qualia, qualitative phenomenal experiences, is often referred to as arduous or difficult problem (Hard problem), expression of the philosopher David Chalmers.
David Bohm viewed quantum theory and relativity as contradictory, which implied a more fundamental level in the universe.[9] He claimed both quantum theory and relativity pointed towards this deeper theory, which he formulated as a quantum field theory. This more fundamental level was proposed to represent an undivided wholeness and an implicate order, from which arises the explicate order of the universe as we experience it.

Bohm's proposed implicate order applies both to matter and consciousness. He suggested that it could explain the relationship between them. He saw mind and matter as projections into our explicate order from the underlying implicate order. Bohm claimed that when we look at matter, we see nothing that helps us to understand consciousness.

Bohm discussed the experience of listening to music. He believed the feeling of movement and change that make up our experience of music derive from holding the immediate past and the present in the brain together. The musical notes from the past are transformations rather than memories. The notes that were implicate in the immediate past become explicate in the present. Bohm viewed this as consciousness emerging from the implicate order.

Bohm saw the movement, change or flow, and the coherence of experiences, such as listening to music, as a manifestation of the implicate order. He claimed to derive evidence for this from Jean Piaget's[10] work on infants. He held these studies to show that young children learn about time and space because they have a "hard-wired" understanding of movement as part of the implicate order. He compared this "hard-wiring" to Chomsky's theory that grammar is "hard-wired" into human brains.

Bohm never proposed a specific means by which his proposal could be falsified, nor a neural mechanism through which his "implicate order" could emerge in a way relevant to consciousness.[9] Bohm later collaborated on Karl Pribram's holonomic brain theory as a model of quantum consciousness.[11]

According to philosopher Paavo Pylkkänen, Bohm's suggestion "leads naturally to the assumption that the physical correlate of the logical thinking process is at the classically describable level of the brain, while the basic thinking process is at the quantum-theoretically describable level."[12]
In the formalism of Bohm, there is a fundamental level where consciousness is not separate from matter. Bohm position on the consciousness is linked to the holographic brain theory Karl Pribam. It considers that the sight and other senses are lenses without the other senses appear as holograms. Pribam states that the information is recorded throughout the brain and is wrapped in any manner similar to a hologram. It is suggested that memories are connected by association and they are manipulated by logical thinking. If the brain also receives information through our senses, then the memories, associations, logical thinking and sensory perception are supposed to be unified in the overall experience of consciousness
Hameroff proposed that microtubules were suitable candidates for quantum processing.[32] Microtubules are made up of tubulin protein subunits. The tubulin protein dimers of the microtubules have hydrophobic pockets that may contain delocalized π electrons. Tubulin has other, smaller non-polar regions, for example 8 tryptophans per tubulin, which contain π electron-rich indole rings distributed throughout tubulin with separations of roughly 2 nm. Hameroff claims that this is close enough for the tubulin π electrons to become quantum entangled.[33] During entanglement, particle states become inseparably correlated.

Hameroff originally suggested the tubulin-subunit electrons would form a Bose–Einstein condensate,.[34] He then proposed a Frohlich condensate, a hypothetical coherent oscillation of dipolar molecules. However, this too was rejected by Reimers' group.[35] Hameroff then responded to Reimers. "Reimers et al have most definitely NOT shown that strong or coherent Frohlich condensation in microtubules is unfeasible. The model microtubule on which they base their Hamiltonian is not a microtubule structure, but a simple linear chain of oscillators." Hameroff reasoned that such condensate behavior would magnify nanoscopic quantum effects to have large scale influences in the brain.

Hameroff proposed that condensates in microtubules in one neuron can link with microtubule condensates in other neurons and glial cells via the gap junctions of electrical synapses.[36][37] Hameroff proposed that the gap between the cells is sufficiently small that quantum objects can tunnel across it, allowing them to extend across a large area of the brain. He further postulated that the action of this large-scale quantum activity is the source of 40 Hz gamma waves, building upon the much less controversial theory that gap junctions are related to the gamma oscillation.[38]

Consequences
The Orch-OR theory combines the Penrose–Lucas argument with Hameroff's hypothesis on quantum processing in microtubules. It proposes that when condensates in the brain undergo an objective wave function reduction, their collapse connects non-computational decision-making to experiences embedded in spacetime's fundamental geometry.

The theory further proposes that the microtubules both influence and are influenced by the conventional activity at the synapses between neurons.

In 1998 Hameroff made 8 probable assumptions and 20 testable predictions to back his proposal.[39]

In January 2014 Hameroff and Penrose announced that the discovery of quantum vibrations in microtubules by Anirban Bandyopadhyay of the National Institute for Materials Science in Japan[40][41] provides favorable evidence towards the Orch-OR hypothesis.
https://fr.wikipedia.org/wiki/Esprit_quantique
https://en.wikipedia.org/wiki/Quantum_mind
https://en.wikipedia.org/wiki/Orchestrated_objective_reduction

A little more:
The idea that distinct brain regions are excited simultaneously comes from the discovery in 1988 that two neurons (not connected) oscillate synchronously when a single external object stimulates their receptive fields. Subsequent experiments confirmed this phenomenon to a wide range of visual percepts. In particular, Francis Crick and Christof Koch (1990) argued that there is a significant relationship between the unit of visual awareness and synchronous oscillations 40 Hz (gamma waves) and that they could be involved in the perception visual and in unifying the underlying percepts.

An article by Andreas K. Engel et al. in Consciousness and Cognition defines the assumption of gamma waves as well:

"The assumption is that the synchronization of neuronal firing serve the integration of neurons spread across various sets of cells and that this process would underpin the selection of relevant perceptual and behavioral information. "

In fact, subsequent research has expanded the scope of the initial hypothesis. Gamma waves were observed in the presence of subliminal stimuli during REM sleep (which is certainly accompanied by visualizations but perceptions). More intriguing still, gamma waves were detected during anesthesia. The hypothesis of gamma waves seems premature because the very definition of the subjective phenomenon under study is unclear: a correlate of perception, gamma oscillation has become a correlate of the subjective experience during sleep and anesthesia, mysterious areas par excellence.

Furthermore, the assumption described but did not explain how synchrony generates consciousness? What "decides" that synchrony is justified?
https://fr.wikipedia.org/wiki/Unit%C3%A9_de_la_perception#40_hertz.2C_la_fr.C3.A9quence_de_la_conscience.3F
And:
Brainwave entrainment is a colloquialism for 'neural entrainment', which denotes how the aggregate oscillation frequency, resulting from synchronous electrical activity among ensembles of cortical neurons, can adjust to synchronize with the periodic vibration of an external stimulus, such as a sustained acoustic frequency perceived as pitch, a regularly repeating pattern of intermittent sounds perceived as rhythm, or a regularly intermittent flashing light.
Neural oscillations are rhythmic or repetitive electrochemical activity in the brain and central nervous system. Such oscillations can be characterized by their frequency, amplitude and phase. Neural tissue can generate oscillatory activity driven by mechanisms within individual neurons, as well as by interactions between them. They may also adjust frequency to synchronize with the periodic vibration of external acoustic or visual stimuli.[1]

The activity of neurons generate electric currents; and the synchronous action of neural ensembles in the cerebral cortex, comprising large numbers of neurons, produce macroscopic oscillations, which can be monitored and graphically documented by an electroencephalogram (EEG). The electroencephalographic representations of those oscillations are typically denoted by the term 'brainwaves' in common parlance.[2][3]

The technique of recording neural electrical activity within the brain from electrochemical readings taken from the scalp originated with the experiments of Richard Caton in 1875, whose findings were developed into electroencephalography (EEG) by Hans Berger in the late 1920s.

Frequency bands of cortical neural ensembles
The fluctuating frequency of oscillations generated by the synchronous activity of cortical neurons, measurable with an electroencephalogram (EEG), via electrodes attached to the scalp, are conveniently categorized into general bands, in order of decreasing frequency, measured in Hertz (HZ) as follows:[4][5]

Gamma, 30 to 50 Hz
Beta, 14 to 30 Hz
Alpha, 8 to 14 Hz
Theta, 4 to 8 Hz
Delta, 0.1 to 4 Hz


In addition, three further wave forms are often delineated in electroencephalographic studies:

Mu, 8 to 12 Hz
Sigma (sleep spindle), 12 to 14 Hz
Sensorimotor rhythm (SMR), 12.5 to 15.5 Hz[6]


It was Berger who first described the frequency bands Delta, Theta, Alpha, and Beta.

Neural oscillation and cognitive functions
The functional role of neural oscillations is still not fully understood;[7] however they have been shown to correlate with emotional responses, motor control, and a number of cognitive functions including information transfer, perception, and memory.[8][9][10] Specifically, neural oscillations, in particular theta activity, are extensively linked to memory function, and coupling between theta and gamma activity is considered to be vital for memory functions, including episodic memory.[11][12][13]

Awareness and consciousness
Electroencephalography (EEG) has been most widely used in the study of neural activity generated by large groups of neurons, known as neural ensembles, including investigations of the changes that occur in electroencephalographic profiles during cycles of sleep and wakefulness. EEG signals change dramatically during sleep and show a transition from faster frequencies to increasingly slower frequencies, indicating a relationship between the frequency of neural oscillations and cognitive states including awareness and consciousness.[14][15]

Entrainment
Meaning and origin of the term 'entrainment'
Entrainment is a term originally derived from complex systems theory, and denotes the way that two or more independent, autonomous oscillators with differing rhythms or frequencies, when situated in a context and at a proximity where they can interact for long enough, influence each other mutually, to a degree dependent on coupling force, such that they adjust until both oscillate with the same frequency. Examples include the mechanical entrainment or cyclic synchronization of two electric clothes dryers placed in close proximity, and the biological entrainment evident in the synchronized illumination of fireflies.[16]

Entrainment is a concept first identified by the Dutch physicist Christiaan Huygens in 1665 who discovered the phenomenon during an experiment with pendulum clocks: He set them each in motion and found that when he returned the next day, the sway of their pendulums had all synchronized.[17]

Such entrainment occurs because small amounts of energy are transferred between the two systems when they are out of phase in such a way as to produce negative feedback. As they assume a more stable phase relationship, the amount of energy gradually reduces to zero, with system of greater frequency slowing down, and the other speeding up.[18]

Subsequently, the term 'entrainment' has been used to describe a shared tendency of many physical and biological systems to synchronize their periodicity and rhythm through interaction. This tendency has been identified as specifically pertinent to the study of sound and music generally, and acoustic rhythms specifically. The most ubiquitous and familiar examples of neuromotor entrainment to acoustic stimuli is observable in spontaneous foot or finger tapping to the rhythmic beat of a song.

Exogenous entrainment
Exogenous rhythmic entrainment, which occurs outside the body, has been identified and documented for a variety of human activities, which include the way people adjust the rhythm of their speech patterns to those of the subject with whom they communicate, and the rhythmic unison of an audience clapping.[16]
<b
 
Even among groups of strangers, the rate of breathing, locomotive and subtle expressive motor movements, and rhythmic speech patterns have been observed to synchronize and entrain, in response to an auditory stimuli, such as a piece of music with a consistent rhythm.[19][20][21][22][23][24][25] Furthermore, motor synchronization to repetitive tactile stimuli occurs in animals, including cats and monkeys as well as humans, with accompanying shifts in electroencephalogram (EEG) readings.[26][27][28][29][30]

Endogenous entrainment
Examples of endogenous entrainment, which occurs within the body, include the synchronizing of human circadian sleep-wake cycles to the 24-hour cycle of light and dark.[31] and the synchronization of a heartbeat to a cardiac pacemaker.[32]

Brainwave entrainment
Brainwaves, or neural oscillations, share the fundamental constituents with acoustic and optical wave forms, including frequency, amplitude, and periodicity. Consequently, Huygens' discovery precipitated inquiry[citation needed] into whether or not the synchronous electrical activity of cortical neural ensembles might not only alter in response to external acoustic or optical stimuli but also entrain or synchronize their frequency to that of a specific stimulus.[33][34][35][36]

Brainwave entrainment is a colloquialism for such 'neural entrainment', which is a term used to denote the way in which the aggregate frequency of oscillations produced by the synchronous electrical activity in ensembles of cortical neurons can adjust to synchronize with the periodic vibration of an external stimuli, such as a sustained acoustic frequency perceived as pitch, a regularly repeating pattern of intermittent sounds, perceived as rhythm, or of a regularly rhythmically intermittent flashing light.

Music and the frequency following response
Changes in neural oscillations, demonstrable through electroencephalogram (EEG) measurements, are precipitated by listening to music,[37][38][39][40][41][42] which can modulate autonomic arousal ergotropically and trophotropically, increasing and decreasing arousal respectively.[43] Musical auditory stimulation has also been demonstrated to improve immune function, facilitate relaxation, improve mood, and contribute to the alleviation of stress.[44][45][46][47][48][49][50][51] These findings have contributed to the development of neurologic music therapy, which uses music and song as an active and receptive intervention, to contribute to the treatment and management of disorders characterized by impairment to parts of the brain and central nervous system, including stroke, traumatic brain injury, Parkinson's disease, Huntington's disease, cerebral palsy, Alzheimer's disease, and autism.[52][53][54]

Meanwhile, the therapeutic benefits of listening to sound and music is a well-established principle upon which the practice of receptive music therapy is founded. The term 'receptive music therapy' denotes a process by which patients or participants listen to music with specific intent to therapeutically benefit; and is a term used by therapists to distinguish it from 'active music therapy' by which patients or participants engage in producing vocal or instrumental music.[55] Receptive music therapy is an effective adjunctive intervention suitable for treating a range of physical and mental conditions.[56]

The Frequency following response (FFR), also referred to as Frequency Following Potential (FFP), is a specific response to hearing sound and music, by which neural oscillations adjust their frequency to match the rhythm of auditory stimuli. The use of sound with intent to influence cortical brainwave frequency is called auditory driving,[57][58] by which frequency of neural oscillation is 'driven' to entrain with that of the rhythm of a sound source.[59][60]

Binaural beats
Human subjects rarely hear frequencies below 20 Hz, which is exactly the range of Delta, Theta, Alpha, and low to mid Beta brainwaves.[61][62] Among the methods by which some investigations have sought to overcome this problem is to measure electroencephalogram (EEG) readings of a subject while he or she listens to binaural beats.

A binaural beat is an auditory illusion perceived when two different pure-tone sine waves, both with frequencies lower than 1500 Hz, with less than a 40 Hz difference between them, are presented to a listener dichotically, that is one through each ear.[63] For example, if a 530 Hz pure tone is presented to a subject's right ear, while a 520 Hz pure tone is presented to the subject's left ear, the listener will perceive the auditory illusion of a third tone, in addition to the two pure-tones presented to each ear. The third sound is called a binaural beat, and in this example would have a perceived pitch correlating to a frequency of 10 Hz, that being the difference between the 530 Hz and 520 Hz pure tones presented to each ear.[64]

Binaural-beat perception originates in the inferior colliculus of the midbrain and the superior olivary complex of the brainstem, where auditory signals from each ear are integrated and precipitate electrical impulses along neural pathways through the reticular formation up the midbrain to the thalamus, auditory cortex, and other cortical regions [65][66][67][68] Listening to binaural beats has been shown to precipitate auditory driving by which ensembles of cortical neurons entrain their frequencies to that of the binaural beat, with associated changes in self-reported subjective experience of emotional and cognitive state.[69][70][71][72] It is however possible that the real cause of the observed changes is the headphones, rather than the sound itself, as demonstrated in 2002 during a University of Virginia presentation at the Society for Psychophysiologial Research. It was shown that EEG changes did not occur when the standard electromagnetic headphones were replaced by air conduction headphones, which were connected to a remote transducer by rubber tubes. This suggests that the basis for the entrainment effects is electromagnetic rather than acoustical.[73]
https://en.wikipedia.org/wiki/Brainwave_entrainment
 
zak said:
https://cassiopaea.org/forum/index.php/topic,42506.0.html#lastPost

25 May 1996 said:
Q: (L) Well, okay. We have several issues just now...
Q: (L) Does 'fluted' have anything to do with 'grooving?'
A: Columns.
Q: (L) What columns are we talking about?
A: Ionic.
Q: (L) Why are we talking about Ionic fluted columns?
A: Because they are a link to previous direct contact between
humans and density 4 STO!
Well above all i wanted to check on microtubule, it was the first thing that come to "my" mind
when i read the last quote in the answer of Laura to MK Scarlett, so let's go !
...there was a theory that anesthesia worked by causing brain microtubules to fall apart. It turns out, fortunately, that that’s not true. You need about five times the amount of anesthesia for microtubule depolymerization than you need to cause somebody to lose consciousness. But it showed that anesthetics do affect microtubules, which further suggested that microtubules might have something to do with consciousness...

The tubulin proteins self-assemble into hollow cylinders whose walls are elegant lattices which are both hexagonal and helical, the helical winding patterns having beautiful Fibonacci geometry. I became somewhat obsessed, enchanted really, with the structure of microtubules...

The structure of microtubules consisted of a cylindrical lattice of tubulin proteins. Each of these could switch between different conformational states, and be programmed by genetics and other factors, and be influenced by lattice neighbors, like gates and switches in computers. This was more support for the notion that microtubules might be acting not only as bone-like support, but also as molecular-scale computers, the intelligence system inside cells...

...I had a hunch that microtubules were “Nature’s computers.” So I started working with engineer and physicist colleagues to model and simulate tubulin states in microtubule lattices. We assumed each tubulin could be in two alternative states correlating with its dipole, and that neighboring dipoles interacted, or computed according to rules set by the microtubule geometry—very much like cellular automata, self-organizing computers...

Hameroff proposed that microtubules were suitable candidates for quantum processing.[32] Microtubules are made up of tubulin protein subunits. The tubulin protein dimers of the microtubules have hydrophobic pockets that may contain delocalized π electrons. Tubulin has other, smaller non-polar regions, for example 8 tryptophans per tubulin, which contain π electron-rich indole rings distributed throughout tubulin with separations of roughly 2 nm. Hameroff claims that this is close enough for the tubulin π electrons to become quantum entangled.[33] During entanglement, particle states become inseparably correlated...

That would be an interesting pun between ionic fluted columns and the Hameroff fluted channels with ionic dipole polarization states spiraling around the microtubule cylindrical columns.
 
I am going to close this "interval" with a metaphor of Stuart Hameroff:
If you go to the symphony the sounds and tones of an orchestra warming up, they're each doing their own thing,
here all the tones, it's not music, and then the symphony starts and you have music.
So what the brain does with the microtubules do is organize and orchestrate all these individual objective reduction
moments into litterally music, and i really think that consciousness is more like music then it is like computation.
The brain is more like a quantum orchestra than it is a computer.
https://www.youtube.com/watch?v=I4vjq46gCUQ (To the end of the interview)
 
Well in following the "ionic" stuff, i wanted in order to dig a little with Vitruvius and his De architectura.
So in the Book V of the chapters III and IV on harmonics we can find:
6. The voice arises from flowing breath, sensible to the hearing through its percussion on the air.
It is propelled by an infinite number of circles similar to those generated in standing water when
a stone is cast therein, which, increasing as they recede from the centre, extend to a great
distance, if the narrowness of the place or some obstruction do not prevent their spreading to the
extremity; for when impeded by obstructions, the first recoil affects all that follow.

7. In the same manner the voice spreads in a circular direction. But, whereas the circles in water
only spread horizontally, the voice, on the contrary, extends vertically as well as horizontally.
Wherefore, as is the case with the motion of water, so with the voice, if no obstacle disturb the
first undulation, not only the second and following one, but all of them will, without
reverberation, reach the ears of those at bottom and those at top


8. On this account the antient architects, following nature as their guide, and reflecting on the
properties of the voice, regulated the true ascent of steps in a theatre, and contrived, by musical
proportions and mathematical rules, whatever its effect might be on the stage (scena), to make it
fall on the ears of the audience in a clear and agreeable manner. Since in brazen or horn wind
instruments, by a regulation of the genus, their tones are rendered as clear as those of stringed
instruments, so by the application of the laws of harmony, the antients discovered a method of
increasing the power of the voice in a theatre
1. Harmony is an obscure and difficult musical science, but most difficult to those who are not
acquainted with the Greek language; because it is necessary to use many Greek words to which
there are none corresponding in Latin. I will therefore explain, to the best of my ability, the
doctrine of Aristoxenus, and annex his diagram, and will so designate the place of each tone, that
a person who studiously applies himself to the subject may very readily understand it.

2. The inflexion of the voice is two-fold; first, when it is monotonous, second, when it proceeds
by intervals. The first is not limited by cadences at the close, nor in any other place; no
perceptible difference of tone being discoverable between its beginning and ending, the time
between each sound is however distinctly marked, as in speaking, when we pronounce the words,
sol, lux, flos, nox. Herein the ear does not perceive any difference of tone between the beginning
and ending, by the voice rising higher or descending lower; neither, that from a high pitch it
becomes lower, nor the contrary. But when the voice moves by intervals, it is differently inflected,
being sometimes at a high pitch, and sometimes at a low one, and resting at different times on
different tones; by doing which with quickness and facility, it appears unfixed. Thus in singing,
the variety of inflexion produces an air. In short, by the use of different intervals, the tones are so
marked and determined, that we perceive the pitch at which it begins, and that at which it
finished, though the intermediate tones are not heard
.
(...)
4. A cube is a solid, with six equal square faces, which, however it falls, remains steady and
immoveable till removed by force: such are the dice which are thrown on a table by gamesters.
From this circumstance they seem to have adopted the cube, since like the cube, this number of
verses makes a more lasting impression on the memory.
The Greek comic poets also divided the
action of their stories, by the interposition of the chorus to ease the principal actors, so that a
cubical proportion is observed.

I took the excerpts from here:http://www.mlahanas.de/Greeks/PDF/Vitruvius.pdf
but for a more complete view it's here:https://archive.org/stream/cu31924005226513#page/n174/mode/1up

And about Aristoxenus:
Aristoxenus of Tarentum (Greek: Ἀριστόξενος; b. c. 375, fl. 335 BCE) was a Greek Peripatetic philosopher, and a pupil of Aristotle. Most of his writings, which dealt with philosophy, ethics and music, have been lost, but one musical treatise, Elements of Harmony (Greek: Ἁρμονικῶν στοιχείων; Latin: Elementa harmonica), survives incomplete, as well as some fragments concerning rhythm and meter. The Elements is the chief source of our knowledge of ancient Greek music.
(...)
While it is often held among modern scholars that Aristoxenus rejected the opinion of the Pythagoreans that arithmetic rules were the ultimate judge of intervals and that in every system there must be found a mathematical coincidence before such a system can be said to be harmonic,[9] it must be noted that Aristoxenus made extensive use of arithmetic terminology, notably to define varieties of semitones, and dieses in his descriptions of the various genera.[10]

In his second book he asserted that "by the hearing we judge of the magnitude of an interval, and by the understanding we consider its many powers."[9] And further he wrote, "that the nature of melody is best discovered by the perception of sense, and is retained by memory; and that there is no other way of arriving at the knowledge of music;" and though, he wrote, "others affirm that it is by the study of instruments that we attain this knowledge;" this, he wrote, is talking wildly, "for just as it is not necessary for him who writes an Iambic to attend to the arithmetical proportions of the feet of which it is composed, so it is not necessary for him who writes a Phrygian song to attend to the ratios of the sounds proper thereto."[9] However, this should not be construed as meaning that he postulated a simplistic system of harmony resembling that of modern twelve tone theory, and especially not an equally tempered system. As he urges us to consider, "(a)fter all, with which of the people who argue about the shades of the genera should one agree? Not everyone looks to the same division when tuning the chromatic or the enharmonic, so why should the note a ditone from mesé be called lichanos rather than a small amount higher?" [11]

It is sometimes claimed that the nature of Aristoxenus' scales and genera deviated sharply from his predecessors. That Aristoxenus used a model for creating scales based upon the notion of a topos, or range of pitch location,[12] is fact, however there is no reason to believe that he alone set this precedent, as he himself does not make this claim. Indeed, the idea of unfixed pitch locations that cover certain ranges, the limits of which may be defined by fixed points, is a notion that was popular until the modern fixation upon fixed pitch systems, as is indicated by baroque theoretical systems of pitch and intonation. Another way of stating this, however perhaps less accurate, is that instead of using discrete ratios to place intervals, he used continuously variable quantities.

The postulation that this resulted in the structuring of his tetrachords and the resulting scales having 'other' qualities of consonance [13] is one that can only be accounted for by the recourse to often repeated inconsistencies amongst his interpreters and modern confirmation bias in favour of simplified twelve tone theories. Aristoxenus himself held that "(...) two things must not be overlooked: first, that many people have mistakenly supposed us to be saying that a tone can be divided into three equal parts in a melody. They made this mistake because they did not realise that it is one thing to employ the third part of a tone, and another to divide a tone into three parts and sing all three. Secondly we accept that from a purely abstract point of view there is no least interval."
https://en.wikipedia.org/wiki/Aristoxenus
 
A reminder with something brought by kenlee:
It says here that the silk fibroins (a fibroin is one of the types of protein spun by silkworms which is the structural center of silk) is produced by insects and spiders and are often classified as keratins.

Citer

http://en.wikipedia.org/wiki/Keratin

Variety of animal uses
Keratins are the main constituent of structures that grow from the skin:
•the α-keratins in the hair (including wool), horns, nails, claws and hooves of mammals[verification needed]
•the harder β-keratins found in nails and in the scales and claws of reptiles, their shells (chelonians, such as tortoise, turtle, terrapin), and in the feathers, beaks, claws of birds and quills of porcupines.[1] (These keratins are formed primarily in beta sheets. However, beta sheets are also found in α-keratins.)[2]
Arthropods such as crustaceans often have parts of their armor or exoskeleton made of keratin, sometimes in combination with chitin.
The baleen plates of filter-feeding whales are made of keratin.
They can be integrated in the chitinophosphatic material that makes up the shell and setae in many brachiopods.
Keratins are also found in the gastrointestinal tracts of many animals, including roundworms (which also have an outer layer made of keratin).
Although it is now difficult to be certain, the scales, claws, some protective armour and the beaks of dinosaurs would, almost certainly, have been composed of a type of keratin.
In Crossopterygian fish, the outer layer of cosmoid scales was keratin.

[…] The silk fibroins produced by insects and spiders are often classified as keratins, though it is unclear whether they are phylogenetically related to vertebrate keratins.

Then we have here where the keratin proteins serve as a kind of armour cytoskeleton around the nucleus of the epidermal cells:

Citer

http://www.keratin.com/aa/aa012.shtml

The primary component of hair fiber is keratin. Keratins are proteins, long chains (polymers) of amino acids. Keratin proteins form the cytoskeleton (miniature skeleton within a cell) of all epidermal cells. Keratin filaments run within a cell from the inside of the outer membrane to weave a "basket" around the nucleus of the cell. Keratins are a principle part of the cells in the epidermis, hair, nails, feathers, hooves, horny tissues and the enamel of teeth.

Keratin accounts for 30% of the cellular protein of living epidermal cells and 85% of cellular protein of the dead cells in the stratum corunem (the scaly, dead or horny layer of the outer skin). In hair fiber, keratin proteins comprise 65-95% of the total hair fiber by weight. Each molecule of keratin is very small - about 10 nanometers across. To give you a sense of how small that is, 10,000 keratin molecules lined up side by side would cover the width of the average terminal scalp hair.

Then we have here where silks are partially crystalline protein fibers:

Citer

http://science.jrank.org/pages/4565/Natural-Fibers.html
Animal hair fibers consist of a protein known as keratin. It has a composition similar to human hair. Keratin proteins are actually crystalline copolymers of nylon, where the repeating units are amino acids. The fibrous proteins form crystals. They also crosslink through disulfide bonds present in the cystine amino acid.
Silks are partially crystalline protein fibers. Animal tendons consist of collagen, another fibrous protein with a complex hierarchical structure.[/b]
Then we have here where the electrical characteristics of the cochlear hair cells in turtles is tested:
Citer

http://www.pubmedcentral.nih.gov/articlerender.fcgi?artid=1275559
An electrical tuning mechanism in turtle cochlear hair cells
A. C. Crawford and R. Fettiplace
[…]
1. Intracellular recordings were made from single cochlear hair cells in the isolated half-head of the turtle. The electrical responses of the cells were recorded under two conditions: (a) when the ear was stimulated with low-intensity tones of different frequencies and (b) when current steps were injected through the intracellular electrode. The aim of the experiments was to evaluate the extent to which the cochlea's frequency selectivity could be accounted for by the electrical properties of the hair cells.
2. At low levels of acoustic stimulation, the amplitude of the hair cell's receptor potential was proportional to sound pressure. The linear tuning curve, which is defined as the sensitivity of the cell as a function of frequency when the cell is operating in its linear range, was measured for a number of hair cells with characteristic frequencies from 86 Hz to 425 Hz.
3. A rectangular current passed into a hair cell elicited a membrane potential change consisting of a damped oscillation superimposed on a step. Small currents produced symmetrical oscillations at the beginning and end of the pulse. Larger currents increased the initial ringing frequency if depolarizing and decreased it if hyperpolarizing.
4. For small currents the frequency of the oscillations and the quality factor (Q) of the electrical resonance derived from the decay of the oscillations were close to the characteristic frequency and Q of the hair-cell linear tuning curve obtained from sound presentations.
5. The hair cell's membrane potential change to small-current pulses or low-intensity tone bursts could be largely described by representing the hair cell as a simple electrical resonator consisting of an inductance, resistor and capacitor.



So the cochlear hair cells are like tuned circuits/sound transducers that are electrically sensitive to sound frequencies and have a certain electrical selectivity to sound when tested with low levels of acoustic stimulation.

And a tuned circuit in radio and communication engineering is a LCR circuit (inductive/capacitive/resistive harmonic oscillator) that is used to select a narrow range (or band) of radio waves from a much larger spectrum like the variable tuning capacitors (that was attached to a tuning knob) in the old radio sets.


Then we have the definition of electrical resonance from
_http://earthobservatory.nasa.gov/Glossary/?mode=alpha&seg=e

Citer

electrical resonance: An effect in which the resistance to the flow of an electrical current becomes very small over a narrow frequency range.

A big FWIW on this statement but maybe silk, like cochlear hair, in some way, is electrically resistive to certain kinds of radiation and is only electrically selective and sensitive to a very narrow band of radiations where it reaches a kind of peak resonance on this narrow band


https://en.wikipedia.org/wiki/Electrical_resonance#/media/File:Teslova_c%C3%ADvka_v_provozu.JPG

Before to let laura to explain you the whole thing, a little anatomy:
Your ears are extraordinary organs. They pick up all the sounds around you and then translate this information into a form your brain can understand. One of the most remarkable things about this process is that it is completely mechanical. Your sense of smell, taste and vision all involve chemical reactions, but your hearing system is based solely on physical movement.
We saw in the last section that sound travels through the air as vibrations in air pressure. To hear sound, your ear has to do three basic things:

_ Direct the sound waves into the hearing part of the ear
_ Sense the fluctuations in air pressure
_Translate these fluctuations into an electrical signal that your brain can understand
Take a look to the ear diagram here and the next pages:http://health.howstuffworks.com/mental-health/human-nature/perception/hearing1.htm
Hair Cells

In the last section, we saw that higher pitches vibrate the basilar membrane most intensely near the oval window, and lower pitches vibrate the basilar membrane most intensely at a point farther down the cochlea. But how does the brain know where these vibrations occur?

This is the organ of corti's job. The organ of corti is a structure containing thousands of tiny hair cells. It lies on the surface of the basilar membrane and extends across the length of the cochlea.

Until a wave reaches the fibers with a resonant frequency, it doesn't move the basilar membrane a whole lot. But when the wave finally does reach the resonant point, the membrane suddenly releases a burst of energy in that area. This energy is strong enough to move the organ of corti hair cells at that point.

When these hair cells are moved, they send an electrical impulse through the cochlear nerve. The cochlear nerve sends these impulses on to the cerebral cortex, where the brain interprets them. The brain determines the pitch of the sound based on the position of the cells sending electrical impulses. Louder sounds release more energy at the resonant point along the membrane and so move a greater number of hair cells in that area. The brain knows a sound is louder because more hair cells are activated in an area.

The cochlea only sends raw data -- complex patterns of electrical impulses. The brain is like a central computer, taking this input and making some sense of it all. This is an extraordinarily complex operation, and scientists are still a long way from understanding everything about it.

In fact, hearing in general is still very mysterious to us. The basic concepts at work in human and animal ears are fairly simple, but the specific structures are extremely complex. Scientists are making rapid advancements, however, and they discover new hearing elements every year. It's astonishing how much is involved in the hearing process, and it's even more amazing that all these processes take place in such a small area of the body
.

So Laura:
http://www.cassiopaea.org/cass/wave12e.htm

However, there is a kind of person who has some sort of "inner inclination" for Truth. They are simply unable to accept anything else. They cannot be satisfied until they have peeled the onion to the very core. And these keep their eyes on the goal of Truth.

The seeker of truth continues to gather knowledge in the same way the servants in the Parable of the Talents continued to "invest" their money. Gathering knowledge without prejudice inevitably leads to humility. Humility added to knowledge inevitably leads to self-recognition. And self-recognition becomes the companion that enables a person to navigate the emotions and illusions that seek to distract us and blind us! Finally, self-recognition, which is the ultimate state of Humility, leads us to PURE WILL.

Now, notice, it didn't say STRONG will, just pure. A person's "will to be" is his natural frequency. And, when you marry will to knowledge, you have hope of using the will in a particular way. This Will is the "mustard seed" of the Biblical parable. Again: Will to be, or orientation, is FREQUENCY Application of will via knowledge, to choices produces FREQUENCY RESONANCE VIBRATION in the consciousness which can then manifest in the experience of the individual in very particular ways as I will try to explain.

Any given system has a natural frequency. A human being has several frequencies which relate to the atomic "signature" of the cellular structure, etheric body frequency, and the frequency of the consciousness which is a function of will or orientation.

If you record a pure tone, you can connect the output line that would go to a speaker to an ocilloscope instead. In this way, you can SEE the sound rather than hear it. As you observe it, you note that it oscillates. You are seeing a wave. Frequency is the number of crests of a wave in a designated unit of time. That is what determines frequency. More units in time means higher frequency. Frequency is in inverse ratio to the length of the wave. The higher the frequency, the shorter the wave. (It is important to note here that a "unit of time" is an arbitrary measurement, so assigning a "number" to a frequency is merely a matter of convention.)

Frequency Resonance Vibration is directly related to what is called Forced Oscillation. Any wave system may be driven by a force from the "outside." Whenever a system is made to vibrate by a periodic force, the resulting motion is called Forced Oscillation. An example would be the glass that shatters when the opera singer hits the "right note."

Forced Oscillations take place with the frequency of the driving force rather than with the natural frequency of the system. The amplitude of the response depends on how the driving frequency is related to the natural frequency. If these frequencies are nearly the same, even a very weak driving force can, in time, feed enough energy into the system to give it a large amplitude of motion. This condition is called Resonance.

Everybody has probably pushed a child on a swing. What you notice is, after a series of very strong pushes to get the swing going, you can stand there and just give an occasional push or "tap" to keep the same swinging motion going. But, as every parent knows, it has to be given at exactly the right instant. The tap must be applied in the same direction, and at the very instant of the swinging away motion for it to work. If you give a push at intervals instead of at every return, you will find that an increase of force is necessary depending on how many times you let the swing come and go before applying another tap. If you set up a series of "every other return" before pushing, you will have to apply the exact same force at each of these arbitrarily determined intervals which will be a multiple of the force you would have to apply if you pushed with every single return. These intervals of pushing at arbitrarily designated returns are submultiples of the natural frequency.

And, as you see from this example, they can produce the same resonance also, the Frequency Resonance Vibration being the swinging in response to being pushed.

If the pushes are continued, and if the swing had long enough ropes and a brave enough child, a regular series of pushes could eventually launch the child into outer space!

But, you will notice that if the pushes are not given at the right moment, if they are not constantly delivered either with every swing or in a submultiple, if no periodicity is maintained, the swing will slow down and stop. You will also notice that if you do not apply the pushes in a fixed period, the motion of the swing is erratic. And you will definitely notice that if you push at the wrong moment, or against the swing direction, you will cause it to slow down! In such a case, you are taking energy away from the system.

The very same principles apply to Forced Oscillation of any wave whether it is a sound wave, radio wave, light wave or whatever. In fact, it could be said that light is produced is Forced Oscillations of atoms. All things in nature which are a "response to a stimulus" are Forced Oscillations.

A human being could be considered to be a series of Forced Oscillations.


And here we come to the problem:

Besides depending on how close the driving frequency is to the natural frequency, the amplitude of response of the forced vibrations of a system also depends on the strength of the damping. The less damping there is, the greater the response of resonance. The resonance frequency is always lower than the natural frequency but gets very close as the damping is reduced. [Freeman, Physics Principles and Insights, 1973]


Now, as we have said, a human being is a combination of frequencies of the cellular structure, the etheric/genetic body, and the consciousness orientation. If these different frequencies operate in harmonious submultiples of a certain fundamental frequency, we say that the system is in harmony, that is to say, there is Harmonious Frequency Resonance.

We can also say that, by changing one of the frequencies and amplifying it, the others may be brought into harmony by the process of Forced oscillation IF the natural frequency of each is a harmonic of, or is close to, the driving frequency.

At the same time, the act of changing ANY of the frequencies can be accomplished by Forced Oscillation from the "outside," whether for harmony or not. That is to say, if the forced oscillation is not close to the natural frequency, there will be less amplitude.

Now, a human being, in general, is under the powerful influence of the matter of which his body is constructed. Matter is the result of the STS "Thought of Non-being," or "Sleeping Consciousness" of God. Therefore, in a general sense, by being in 3rd density, to a great extenct, man is "asleep;" he is under the influence of the frequency of the STS polarity. His Frequency Resonance Vibration is STS, or that of matter/contraction - the predator's mind.

But, man has a possibility of CHANGING FREQUENCY, aligning with STO polarity, IF he can find that part of himself that is truly of Service to Others and AMPLIFY it through the process of Frequency Resonance Vibration, resulting from the Forced Oscillation of alignment with the STO thought center. It is only his Will that can do this, and it is only WHEN it is "married to knowledge" so that he can truly KNOW what his choice is and how to implement it. These choices are the "pushes" of the swing. If sufficient amplitude is achieved, ALL of his other frequencies will also gradually be forced into Frequency Resonance Vibration.

Of course, this process is not only dependent upon the natural frequency of the individual, but also upon the dampers that may be in place that can restrict the amplitude. The fewer dampers, the greater the amplitude that can be achieved with the least application of energy.

We have to discover and remove the "dampers" to our systems.


Again, it is in the gaining of knowledge that we can remove the dampers, little by little. It is hard work and it is painful. But as we do this, we come, step by step, to the position of humility and self-knowledge that enables the alignment of the will. If the natural frequency of STO is present in the moment of choice, this pure will "becomes the friend of the highest of knowledge" and they "enter into a bond of eternal union." And one is then able to connect with the Eternal Creative Light within, which then becomes the Forced Oscillator that changes the Frequency Resonance Vibration in dramatic and life changing ways. This amounts to giving up self-will to allow the greater will of the Thought Center to manifest. The manifestation of this in one's daily life via choices become "pushes" of the swing of the etheric/genetic body and the atomic signature of the cellular structure which then changes the entire reality.

When we finally achieve Self-recognition/humility, we understand that it is implementation of our choices at THIS 3rd density level that increases the amplitude of our Frequency Resonance Vibration, which IS, in actuality, our polarization. Amplitude constitutes our "ripeness" for advancement to the next density. What we are choosing is, in effect, which part we will play in the NEXT cycle of creation! What we do now determines our course into either consciousness that creates, or the intensely contractile Thought of Nonbeing that "goes to sleep" as primal matter. Neither of them are "higher" frequencies, they are DIFFERENT.

Mass and "Spring Constant" are the determinants of Frequency in material terms. Using the principle of "As above, so below," we must assume that similar constructs apply to "spiritual frequencies." The Spring Constant is the measure of the force needed to extend the mass by an arbitrary measure. Mass, since it relates to matter, in spiritual terms is analogous to "sleeping consciousness" or IGNORANCE. This means that the fundamental "ignorant" or "sleeping" nature of the STS orientation equates to greater mass AND Spring Constant. Greater mass and Spring Constant require greater strength of Forced Oscillation to produce Frequency Resonance Vibration even if the Natural Frequency is very close to the frequency of the Forced Oscillator. Thus, since the "Natural Frequency" of the human being is that of matter to the greatest extent, it is more inclined to be influenced by the STS polarity Forced Oscillation.

Less mass and Spring Constant are the result of knowledge. Knowledge is a function of consciousness, and all knowledge that IS knowledge and not assumption, prejudice or illusion, increases consciousness.

Some Wiki:
Helmholtz resonance or wind throb is the phenomenon of air resonance in a cavity, such as when one blows across the top of an empty bottle. The name comes from a device created in the 1850s by Hermann von Helmholtz, the Helmholtz resonator, which he used to identify the various frequencies or musical pitches present in music and other complex sounds.[1]
https://en.wikipedia.org/wiki/Helmholtz_resonance
The aim of tonal harmony is to unite these principles of horizontality (melody) with the principles of verticality (chords). It takes up part of the rules of counterpoint, and brings to it enrichments proper to this verticality with three sounds and more. Counterpoint, on the other hand, continued to evolve in parallel with harmony
Today, tonal harmony and counterpoint continue to be taught, sometimes in parallel, as two disciplines in their own right and complementary. This complementarity can be illustrated by this quotation from Olivier Messiaen:

"Knowing that music is a language, we will first try to" speak "the melody. The melody is the starting point. That she remains sovereign! And whatever may be the complexity of our rhythms and harmonies, they will not draw it in their wake, but, on the contrary, will obey it as faithful servants; The harmony especially will always remain the "real", the one that exists in the latent state in the melody, has stemmed from it forever. "
https://fr.wikipedia.org/wiki/Harmonie_tonale
 
Contrapunctus !
Session 980718

Q: (L) What gravity is and what it is not is a controversy. (T) But if gravity is part of the UFT, and somebody knows what it
is... (L) They are building HAARP. (T) I think there is more to it than this HAARP. UFT is a major step...

A: Grids.

Q: (L) What kind of grids... (T) They keep jumping off... wait a minute...

A: We are not "jumping off."

Q: (L) What kind of grids?

A: The planet has been enshrouded with EM grid.

Q: (T) Are these the ley lines?

A: No.

Q: (L) Are they artificially generated?

A: Contoured.

Q: (L) They are artificially contoured. What is the result of this shrouding?

A: Manipulated for use by 3rd/4th Consortium.


Q: (A) What kind of EM grid? (L) The natural EM grid is being contoured...

A: Like a gently waving geometric "blanket."

Q: (T) Is it on the surface of the planet, through the planet, or where?

A: Above.

Q: (J) Do microwave towers factor into this?

A: Indirectly discovered by same principal. [person?]

Q: (A) Who is this principal? A name? (T) The gravity waves, whether they exist or not, are a controversy, yet they are part of
the UFT, and someone already knows how it works. Therefore, it is only controversy to those who don't know what the
answer is, and it is not a controversy to those who know. They know what it is and how to measure it and how to use it.

A: Of course.

Q: (T) So, it is only a controversy that is allowed to be. (L) Or created. (A) Some power is used to sustain this grid. What is it?

A: Land and space based generators.

Q: (T) What can it be used for?

A: Multiple uses.

Q: (L) Well, what are the top three, for example?

A: No "top three."

Q: (T) Just an example, give us an idea? How does this affect us?

A: Broaden concept.

Q: (T) Can this grid be used by other objects as a power source? (J) Can it be tapped into?

A: Net.

Q: (L) It is a net that traps things?

A: Broaden.

Q: (L) It is a net that...

A: Calculates...


Q: (J) Internet? (T) Is it like a big fence to keep us in?

A: You are dancing on the 3rd density ballroom floor. "Alice likes to go through the looking glass" at the Crystal Palace.
Atlantean reincarnation surge brings on the urge to have a repeat performance.

Q: (T) The Atlanteans who have reincarnated are getting ready to do the same thing they did before with the crystals. So, this is
an Atlantean type thing that is being done now? Different equipment, but the same type of thing?

A: All lessons must be learned before you can move onto bigger and better things.

Q: (L) Is that a general statement about the Atlanteans repeating the lessons, or that once we learn this lesson, we can move
onto bigger and better things in counteracting this grid?

A: All that is present and future too.

Q: (T) Well, maybe it is a defensive shield that has been put up to protect us since we have monkeyed with the ozone so
much...

A: No. Better to contemplate and meditate. No linear thinking please, you know better.

Q: (J) I think they just slapped your hand. (A) I want to ask if there is something that we can and should do about this grid for
ourselves?

A: Why? To know was all you need.

Q: (A) Well, it was said that this was for the purpose of control and manipulation. So, knowing is all that we need. Or, we
could try to shield... (L) But, to know IS the shield. I don't know how that works, but it seems to be so.

A: Yes.

Shijing:
Infrasound

Infrasound refers to sound vibrations that are at a frequency too low to be heard by the human ear which has a range from 20 Hz to 20,000 Hz (called the audible range). Levels below 20 Hz are described as infrasonic (infrasound) and those above 20,000 Hz are ultrasonic.

While we may experience discomfort at sounds we can hear at volumes of around 80 decibels upwards, it is believed exposure to low frequency sound vibrations which we cannot detect may also have considerable impact on humans. In much the same way many find the audible bass of a high volume car stereo annoying, sounds at even lower frequencies may interfere with our emotions and perceptions. It is known that military forces have examined the effects of infrasound and even looked into its use as a weapon.

Exposure to infrasound has been demonstrated to effect recipients with symptoms including fear, sorrow, depression, anxiety, nausea, chest pressure and hallucination. It can cause objects to move through vibration and some believe the body’s internal organs can be effected. It is suggested that levels above 80 decibels at frequencies between 0.5 to 10Hz may start to effect the vestibular of the inner ear thus causing disorientation. Any high volume sound can trigger the body to react by increasing respiration, heart rate and blood pressure, but when they cannot actually hear the sound recipients are left with no explanation for the sudden onset of these symptoms. This may then lead to further effects caused by the minds possible reaction to the unknown, as outlined below.

Once the mind receives information it considers unusual it may enter into “search mode” to try and explain what is being experienced, calling on all senses to assist - sight, sound, touch, smell etc... The longer the search goes on without an answer, the more intense the scrutiny. In the extreme, the body may react in “survival instinct” - fear sets in, pulse races etc... This is the body’s natural reaction to the unknown, preparing it for possible “fight or flight” from danger. At such times, because the senses are so heightened and “in tune” for experiencing something, the brain may begin to misinterpret what the senses are picking up. Much akin to sitting alone in the dark after watching a horror movie although to a much greater extent.

This is all a natural reaction of the brain and very real to the witness. Possible triggers (either alone or in combination) are anything that may suggest something strange is occurring including high EMF, infrasound, low atmospheric pressure, carbon monoxide exposure, darkness, isolation and any stimulus that may create suggestion such as watching a spooky movie, being in an spooky location, or Ouija board use. Ocean waves are known to sometimes generate infrasound and it has been suggested to have been a possible "trigger" causing ships crews to abandon their craft in fear, only to have the ship later found mysteriously drifting about unmanned.

The range of infrasound is generally accepted to be between 0-20 hertz with a specific area of interest between 17 and 19 hertz. Tests by NASA have revealed that the human eyeball resonates at around 18Hz, to which infrasound exposure may cause a reaction and lead to hallucinations.

Infrasound occurs quite naturally at some locations and possible causes include storms, earthquakes, waterfalls, volcanoes, ocean waves and wind reacting with structures such as chimneys. Some buildings or natural features can act as Helmholtz resonators and create infrasound at high levels. Ancient places of worship or ceremonial burial such as the Maeshowe mound in Orkney, have been shown to act in this way. Some animals are sensitive to these low frequency vibrations and may appear to "foresee" approaching storms and earthquakes. Elephants are known to use infrasound as a form of communication over long distances.


It is possible that any room with an open doorway or window can operate like a Helmhotz resonator, similar to blowing a column of air across an empty bottle. Subsonic sound can travel long distances, pass through walls and may be amplified in tunnel like structures. Standard hearing protection is of little use for subsonic sound as it often can pass straight through and may even be amplified. There have been links reported between supposedly haunted locations and the presence of infrasound, which is the reason paranormal investigators may monitor infrasound levels whenever possible.

The following text gives some insight into how sound levels including infrasound are represented (usually in pascals, micropascals or decibels) which may be of some assistance in interpreting the results of monitoring.

There is a huge variance in sound pressure ranging from the minimum that can be heard by the human ear, 20 micropascals, to the threshold of pain, 20 Pa (pascals). Because of this huge range a logarithmic scale is used to represent the sound pressure level (SPL). A reference of 20 micropascals is commonly used, being the lowest level that can be heard by the human ear at a frequency of 1000 Hz. This is equal to .02 mPa (millipascals) or 0.00002 Pa (pascals). The unknown level is compared to the 20 micropascal threshold which is given a value of 0 dB (decibels) and the resulting level is expressed in decibels (dB). Because the human ear perceives sound intensity differently depending on it’s frequency, weightings may also be applied in attempt to match what the human ear experiences. "A-weighted” levels are the most common used, although a “G-weighting” is perhaps more suitable for infrasound.

For comparison dB levels for some audible sounds are given below.

0-10dB Threshold of human hearing.
10-20dB Normal breathing, rustling leaves.
20-30dB Whispering at about 1.5 metres.
40-50dB Coffee maker, library, quiet office, quiet residential area.
50-60dB Dishwasher, electric shaver, office, rainfall, refrigerator, sewing machine.
60-70dB Air conditioner, alarm clock, background music, normal conversation, television.
70-80dB Coffee grinder, toilet flush, freeway traffic, hair dryer, vacuum cleaner.
80-90dB Blender, doorbell, heavy traffic, hand saw, lawn mower, ringing telephone, whistling kettle.
85dB Lower limit recommended for the wearing of hearing protection.
90-100dB Electric drill, shouted conversation, tractor, truck.
100-110dB Baby crying, boom box, factory machinery, motorcycle, subway train.
110-120dB Ambulance siren, car horn, leaf blower, walkman on high, power saw, shouting in the ear.
120-130dB Auto stereo, rock concert, chain saw, pneumatic drills, stock car races, thunder, power drill.
130-140dB Threshold of pain, air raid siren, jet airplane taking off, jackhammer.
150-160dB Artillery fire at 500 feet, balloon pop, cap gun.
160-170dB Fireworks, handgun, rifle.
170 -180dB Shotgun.
180 - 190dB Rocket launch, volcanic eruption.

The vibration of the sound alters the pressure of the medium it is traveling in - be it air, water or living cells. If the sound level is very high, the entire organism may vibrate. For instance the pressure of artillery with a few metres can exceed 200dB which is enough to cause blood vessels to tear and could even prove fatal. A level of 140dB is enough is to damage nerves of the inner ear which could lead to permanent deafness.

The sound we can hear (20-20,000Hz) gives us fair warning, but what of the sound frequencies we cannot hear? Such high levels of infrasound can easily pass through the skin and cause organs to vibrate which can lead to symptoms commonly associated with high infrasound exposure (see above). As we cannot hear the sound the cause of the symptoms often remains unidentified - but may be just as intense and harmful as any audible sound exceeding 120dB.

Such sound, although inaudible, is still subject to the laws and principles of pressure waves and may be amplified naturally through resonance etc... The Paranormal Calculator contains some formula which allow various calculations concerning sound waves.
http://cassiopaea.org/forum/index.php/topic,28549.msg544397.html#msg544397
And !!!
http://cassiopaea.org/forum/index.php/topic,36932.0/topicseen.html
Q: (Pierre) A superstorm.

(L) So, what did they say about that other African flight?

(Perceval) A vortex that sucks it up and then throws it down, and there was a superpowerful lightning strike...

A: Vortexes can occur without lightning.

Q: (L) So, just out of curiosity: a long time ago, you said that 4D war is experienced by us as weather. I'm assuming it's not just weather, but also maybe cometary bombardment could also be a 3rd density manifestation of 4th density war. So my question is, is there any consciousness to these kinds of things... is any of it "directed"?

A: In some cases, yes. In others, just "collateral damage."

Q: (Perceval) For the Air Asia flight, did it involve a massive updraft and then a downdraft as some are claiming?

A: Yes

Q: (Perceval) And what causes that kind of a vortex?

A: Variations of temperature in layers of atmosphere enhanced by variations in charge potential difference.

Q: (Pierre) So it's powerful. You have the electrical factor and the mechanical or thermal factor sometimes working in conjunction.

(Chu) Like a tornado then.

(L) Alright, what else has been on our mind? Anything in particular?

(Perceval) I was reading a story today...

A: Question all!

Q: (L) Question all? You mean like everything?

A: Yes

Q: (Perceval) So, there was a story in the news today that on January 1st: apparently, British state botanists or whatever go around and check the number of flowering plants and usually, there are 20 to 30 plants flowering in the beginning of January. There shouldn't be a lot of them. But this year they found something like 300, so like a ten times increase in bloom in the UK. Andromeda was saying that Laura said that there were some kind of historical records where that happens preceding...

(L) Oh yeah! Repeatedly they mention it in the ancient texts before the destruction of the Roman Empire that various scientists have determined was cometary/asteroidal. There are numerous mentions of plants blooming out of season; it seems to be part of the whole cataclysmic scenario where everything crazy is going on, and...

A: A lot of that is due to changes in cosmic environment. Not all that governs plant and animal cycles is related to earth and diurnal cycles.

Q: (Pierre) So it's not always temperature, humidity...?

(L) Yeah, it's not always just the length of light and darkness?

(Perceval) Exactly, but that's what they base it on... They haven't a clue. They're not even wrong in that sense, because the guy was quoted for an explanation was saying that yeah, it's really amazing, and he made reference to warm winters. He said, "We're now in another warm winter". And I'm like, hang on a minute, it was three or four winters ago that the entire UK was covered in ice, basically!

A: Much is determined by the planet's relationship to the sun and related electrical current flow between same plus other planets in the solar system. At the present time, all of that is in flux.

Q: (Andromeda) There's that giant coronal hole on the sun now, too.

(Perceval) Yeah.

(Pierre) And unusual x-rays...

(Galatea) On the David Attenborough documentary, he shows some fish swimming along a stream and just going around in circles. They don't do it to mate or to do anything else like feed. There's a mouse crawling up the wall behind that painting!

(Perceval) Spidermouse!

(Pierre) It's a channeling mouse.

(Galatea) So, they just swim in a circle and they have absolutely no idea why they do it. So, I was wondering why do the fish go there to swim in a circle?

A: Generating energy.

Q: (Galatea) Oh, so they generate energy. Interesting. So the fish are like witches.

(Chu) Do you want to ask about that weird thing you saw in the pool?

(L) Oh, yeah. What day was it? Was it Wednesday? It was the same day that this Charlie Hebdo thing happened, so that was Wednesday. So I was looking out the window at the guys who...

(Galatea) The mouse is crawling down.

(L) ...at the guys who were removing a stump out in the back yard. I noticed that the pool had swells, and they were big, slow, almost-entire-pool-sized swells. The water was going up and down, up and down, almost straight up and down, in a big way. It was BIG swells like you'd see on big open water long before a storm. I stood there and watched and watched and waited, because usually if the pool is doing something like that, it will calm down after 5 or 10 minutes. I watched it for at least 10 minutes or so, and I went back and looked at it again and it was still doing it 30 minutes later. Honey, you remember?

(Ark) Yes, yes.

(L) It was doing it for a long time, and it didn't stop.

(Ark) It was like, you know, being in resonance with something with frequency of 60 Hz or something like that.

(Perceval) But it didn't splash over the sides?

(L) No splashing, no wavelets. It was almost as if it had oil on top of it to keep it perfectly smooth, what mariners would call “oily swells” I think.

(Pierre) It was a very long wavelength, like 3 or 4 meters.

(L) Yeah, at least. We waited, and I was thinking maybe it was an earthquake or something like that.

(Pierre) Something in the ground?

(L) Yeah, so can you tell me what that was?

A: Activation of inner earth energies in response to events elsewhere. We have noted that your planet responds to activities on the surface. Often this is expressed as heat which results in earthquakes and/or volcanic eruptions. But it can also call forth other types of frequencies. There is another aspect that you should consider: the use of infrasound machines by secret projects to control human emotional states. Such instruments can evoke even more devastating responses from the planet and thereby the solar system.


Q: (L) So are you suggesting that this could have been...

[Q & A segment REDACTED by legal advice]

Q: (L) Are you also suggesting or saying that the use of the infrasound machines in and of itself can evoke negative reactions from the planet?

A: Yes

Q: (L) And then if it evokes negative reactions from human beings, that amplifies the negative reaction from the planet?

A: Yes


[Q & A segment REDACTED by legal advice]

Q: (Galatea) That's weird. I woke up very cheery that day!

(L) Well, long ago, you once predicted that France would experience a nuclear attack...

A: Yes

Q: (L) Uh, is that kind of like back on the table now?

A: Yes

Q: (Perceval) Could that be natural in the form of an earthquake that causes some kind of a problem at a nuclear power station?

A: [ REDACTED by legal advice]

Q: (Pierre) So meteorites impacting...

(L) I don't think they necessarily mean meteorites. That can be a metaphoric expression. Do you mean specifically meteorites?

A: !? Maybe

Q: (Perceval) I mean, in the past session we talked about these drones over nuclear power plants in France, and that the French military would like to know who it is. The suggestion was that it was the Bad Guys.


[Q & A segment REDACTED by legal advice]




Q: ... (Scottie) I think I know what the Disturbance in the Force is.

(L) What?

(Scottie) Remember I was telling you the other day that something was up? This seems like a pretty big disturbance in the Force, dontcha think?

(L) Yeah!

(Scottie) It was like a day or two before the Charlie Hebdo thing that I mentioned it.

(L) Oh yeah.

(Scottie) People here were feeling squirrelly, couldn't sleep, having headaches, bad dreams and all that stuff. Something was clearly "off"... And then: KABOOM!

(Andromeda) It's sickening.


[Lengthy Q & A segment REDACTED by legal advice]


A: Help is on the way!

Q: (Galatea) Did you ever ask them when it's going to come? When?!

A: Wait and see!

Q: [laughter] (Galatea) Can we get a small time frame? Like, within less than 10 years?

A: Yes

Q: (Pierre) Oh, great! Yeah, before 2025. Woohoo! [laughter]

(Chu) Help as in comets? People?

(L) I have the feeling that it's comets...

A: Close!

Q: (L) Well, there were two things that actually have been said in previous sessions. One thing was when we were talking about volcanic eruptions, and the remark was made that what happens if all the volcanoes go off at once. Is this something like what's coming up?

A: Very warm! [Ha-ha!]

Q: (L) And it was also said that programmed people, who were programmed to go off and become shooters upon certain signals, were all going to go off at once at some point. I guess what we're seeing now is something like that part, and...

(Perceval) Is it possible that these mind-controlled, programmed people like you're talking about, that they could be activated by some natural frequencies when it's not expected?

A: Indeed! Won't that be interesting?

Q: (Pierre) Shootings everywhere?

(Perceval) Not just shootings, but these people are kept in close proximity to their handlers, or their handlers keep an eye on them. They don't know that they're mind-programmed assassins. You could end up having one of them suddenly offing presidents and other officials.

(Pierre) Like Frankenstein's monster killing off its creator!

(Perceval) Yeah.

(L) It's kind of like the movie The Manchurian Candidate. Except they go rogue. And the possibilities of them going rogue apparently are there. Well, alrighty then. I guess...


(Perceval) Can I ask one question about the Rig Vedas?

(L) Yeah.

(Perceval) The mention of flying ships, and flying to other planets, did you ask about that?

(L) Yeah, we asked about that. They talked about nuclear war and all that. Flying machines and all that stuff.

(Perceval) Atlantis.

(L) Some of it could also have been descriptions of comets.

A: Both.

Q: (L) Alright then. Unless there's something we need to know, or something that we should have asked that we didn't ask, consider it asked. Eeeh, I try it every time and they never give it to me!

(Andromeda) Maybe one day!

A: You are doing well. Goodbye.

END OF SESSION
 
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