Song cosmology is also in the Tolkien cosmology book, the Silmarillion:
I think that the reference to 'songs of creation' in mythology is a way of talking about changes in the Frequency Resonance Vibration of individuals - and also the relationship between individual FRV changes to changes in the Frequency Resonance Envelope of the environment.
Sorry, forgot to add the relevant session, which is a really interesting discussion in light of this topic of 'songs of creation' because of all of the musical metaphors (or realities).
Q: (V) Alright what's a frequency envelope you brainy types. (R) Actually, frequency envelope, [asking Ark] isn't that what we were doing with the wave generating computer program? (A) Frequency envelope is something like that.
A: Your awareness maintains a frequency emanation in concert with those in your environment. When there are fluctuations in bonding frequencies both between you and your environment, and the frequency bonding of another, the fluctuations create discontinuities.
Q: (R) Okay, that makes sense. (L) It does? (V) Okay then tell me. (R) Okay. It's like resonance. If the environment has a particular frequency ... hmm ... (V) We were asking about the frequency envelope and what it is. (R) And it's V. And violet is high energy, right? The color spectrum right? [The group reviews the previous C's answer ... ] (R) Exactly, so it's a quantum jump. GROUP: Yeah. (R) Because you're at one level and unless something strange happens that's where you're at. (L) In other words - you emanate energy, the other person emanates energy, and the energy exchange is between you and the environment, and between you and the person and the environment, and your environment is maintained, and the envelope of energy is maintained around you. But if there is ... what? Fluctuations? (R) Ah! "Your awareness maintains a frequency emanation in concert with those in your environment." Hence, if your environment has a frequency that allows for a higher frequency, I mean, it always has the lower, but in some cases it can allow for higher. (L) They're talking about it being fluctuations in the environment. If somebody or something in you're environment is ... (A) But the question is - which properties of environment that we can describe in terms of ... (L) Well they're saying that the fluctuations are in V. (R) In concert with the environment. (L) And in concert with people who are in the environment. In other words, something is breaking up and you are no longer frequency bonded to the people in the environment in the same way; there is a fluctuation there. What is it called when you add too much energy to something? It becomes unstable. Your reality construct is unstable. That's what I would say. (R) You have a bigger marble that you can fit in a bigger hole if the hole happens to be there. (L) Right.
A: Rejoice! You are growing out of your shoes.
Q: (L) Your feet don't fit anymore! You need new shoes!
A: Basis: shoes.
Q: (V) Okay. Perspective is a word that has been coming up a lot, so I am going to go ahead and ask about this. We all live in the same world, but yet we view our environment, what is going around us differently. One time a few years ago I was with a psychic counselor, so to speak, a woman named P, and she insisted that in her world the Rainforest was not being degraded ...
A: STS tend to make such statements because of denial of the very principle just described.
Q: (V) We were sitting there, and I was whining about how bad humans treat the earth - this was when I was studying Environmental Science - and she was just insisting that, in her world, the Rainforest was just fine. And you know, I was just sitting there looking at her, and I just couldn't believe what she was saying was the truth. And I thought, "okay, is this woman traveling back and forth between realms or realities or what is the deal?"
A: She was abnegating any response ... ability.
Q: (V) Well you know I stopped going and seeing those psychic people awhile ago. [Laughter.]
A: Good plan! Hang out your own shingle and let them come to you!
Q: (V) I don't know about living the life of a psychic. (L) I think it was a joke. (V) Ah yeah, because I'm thinking, "no way am I doing that!" (R) But the thing is, when that woman said, "in my world the Rainforest is okay," it means she had already made a judgment that ... (V) Yeah, that she was somehow in a better place than I was. (L) Well it was also making a judgment against the wisdom of the universe. It avoids the understanding that if the Rainforests are dying maybe there is a reason for it. (R) Exactly. All there is are lessons. (V) Well you know it was funny because I was taking a Geology course at the time and we were supposed to go on a diving trip down to South Florida, and it got stopped by a hurricane. But before that, this so-called psychic told me she could see me going down there, following her healing reccommendations, and all the dead coral would come back to life.
A: When the universe is ready to revive dead coral, you can bet it will revive.
Q: (V) Well I thought that was a pretty tall order for me to be taking care of it all by myself. To get back to the perspective thing, personal perception ...
A: Frequency envelopes are realms, however they are "in concert," which implies a degree of scripting at some level. Some members if 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.
Q: (R) Which makes even more sense that in 4D STS and STO don't like to mix because if they do they would play completely out of synch. (L) Very bad music. (V) Is it like my frequency envelope is my consciousness, the representation of my consciousness? (R) No, frequency envelopes are realms. (V) Okay, so I'm a realm unto myself? (JN) You are Queen of your realm. (L) But your realm is part of an orchestra which means that it emanates a sound - you are giving off a sound - you are playing your part; and either you play it well or you do not. (R) But even if you are playing it well ... (L) Those around you may not be. (R) Exactly. So that's also kind of a reason why 3D is such a low density because there is so much canceling out. I mean if you put a lot of 3D guys that are STS oriented in one place and if you put STO people in another place, physically, then there would not be as much canceling out. So you wouldn't need as much awareness individually to make use of higher frequencies because you could have an orchestra. (V) Because you would be gathered together harmoniously. (L) You can have an orchestra. Okay, quick one: Is anything going to happen in 2003 like an appearance of the planet Nibiru or Planet X or anything of any particular interest?
A: Find out!
Q: (L) They're not going to give us a clue. (R) Can I continue on the previous subject? So in relation to frequency envelopes and bonding of awareness to perception, I was wondering if that related to creating the conduit. The C's have said that you were creating conduit here? (L) Um-hmm. (R) Okay, could it be the case that frequency resonance of all who are here together with you is because of the resonance makes it easier, it lowers the amount of energy needed from the environment to make ...
A: The orchestra is able to produce greater volume when in concert.
Q: (R) Right. So, is this concept - in this sentence that says "the orchestra is able to produce greater volume when in concert" - is that what is meant by creating a conduit?
A: Close. Frequency envelope has many applications.
Q: (R) Could you outline some of those applications? Is that too vague? (V) It sounds pretty particular to me. (R) Yeah, but it has many applications and such a conduit would have such many applications, one of which I assume we are using now.
A: For but one example: Joshua and the "Walls of Jericho."
Q: (R) Of course. So they used a conduit meaning a resonance of an orchestra of people to bring down the Walls of Jericho.
A: More or less, though it was not Jericho.
Q: (R) Okay, but the principle applies. (V) Since you are using this orchestra metaphor what kind of instrument are each of us?
A: V**** wants to be a flute. RO: French Horn. Laura: Harp. BT: Tuba. JN: Piano. MN: Glockenspiel. Ark: Violin.
Q: (V) Thank you, that was fun. (R) I have a question. If not the walls of Jericho then the walls of what?
A: Seek Atlantean events for the roots of myths.
Q: (R) Okay, I got you. {Laura sings: Joshua Fought the Battle of Jericho ... } (R) Okay, let's ask about the computer program we have been working on. [Ark and RO, a java expert, had spent the previous week working on creating this program program, based on Schrödinger's equation and Ark's Event Enhanced Quantum Theory. The program simulates graphically scattering, interference, and collapse of quantum probability waves.] The graphical artifacts that we are seeing in the program are they actual or are they caused by numerical problems or errors in the program?
A: Numerical serendipity is more like it.
Q: (A) What, what? (L) I think "serendipity" is a pleasant discovery, from a story about the Land of Serendip. (R) Okay, so, is it something that we should investigate or should we focus on other things?
A: Absolutely. Remember the Benzene Ring. Idea structure was seen first, then followed explication when application was realized.
Q: (R) If we can see some application of it then it will be such that we can back engineer it and figure out the cause of it. Now we are just looking at it in terms of what is it? What is it doing? What is it? But if we can see some application ... (A) Well we see one application, a screen saver. [Laughter.] (R) I think maybe we should find some more interesting application, but it is a good principle to find an application of it because that's what can lead us back to what it is. (A) Yeah, that's true. Well, can you help us with what is the application, give us some direction?
A: Think of the Benzene "Ring."
Curious that 'ring' is not just a shape, but also the description of a type of sound.
Q: (R) Is that only used in chemistry? Or is it used in math as well? (L) Do you know the story of the Benzene Ring? (R) No. I only heard about it in chemistry. (M) The story of the Benzene Ring is the guy that came up with and applied to chemistry, dreamed of a snake biting its tail and rolling along, and so he applied that to benzene molecular structure which is double bonds and a single bond sequence. (R) So that seems to mean that we are on the right track by trying to see if there is something there. (L) Maybe the key is the word ring. (A) No you see, what is mysterious, the fact that things are forming, okay, it is discrete structure, numerical errors, roundings, you know all kinds of these artifacts. But, the fact that they look like three dimensional spirals - even if they are created in one dimension - I have no explanation. I don't even have an idea how to explain why would they ever create these spirals? Where are these extra dimensions coming from? I have no idea. (MN) Still, there is no application unless you can solve it.
A: Ring.
Q: (R) Yes, because it's a cycle. It's what was said before. It's like a loop. (L) Well let me ask this - you've got it moving back and forth between two barriers right? Can you make the ends connect? (R) Yes. But then nothing happens because then it just moves and moves and moves, it is just the initial shape moving out and coming in another. So nothing happens the only thing ... (M) The wave doesn't change. (R) Exactly. So it only happens when it has to react with a barrier. (L) Uh huh. (R) That's the only time it happens because that's what's causing ... (B) Could the barrier represent a density? (R) It could, yeah, actually.
A: Double loop.
Q: (R) Double loop, yeah, exactly. (MN) Double helix? (R) Yeah, because it's looping ... because if you look at the 3D part of it it's not a spiral, it's a cone. (A) Right. (R) Because it is spiraling like that, and if you increase the resolution, then it will be a perfect cone which is moving like that at the same time it is moving like that. [Demonstrates with hand gestures.] And it is moving like that because of balance - because it has to be from an equal amount [of energy] on either side. (V) It builds it from itself? (R) Yeah the thing is like this, if you have a packet of energy going like this and it meets a boundary, either it can fold up like that - just under its own pressure - and then spring back. Or, it can utilize the extra dimensions and coil. Like if you have a string and you just do like that, it won't be at one point. So I think it's the same thing here. But how to find out? We need to have some algorithm for the third dimension for this folding. (A) Um-hmm. (V) What if there is indeed something happening there that you're not seeing? Like we were talking about at the beginning of the session here: that you can't know what you can't know because you can't see it because it's veiled? What are the possibilities that there is something else happening there to be discovered or uncovered? (R) And I think that it seems like the only reason it is manifesting is because the wave is hitting an obstacle. So, the third dimension - it was always there as a possibility - but it didn't manifest until the wave hit an obstacle. So the obstacle, in effect, is creating the additional dimension. It was always there but it didn't manifest until an obstacle was put into the wave's path.
A: Consciousness energy directors.
Q: (R) Exactly. Because if the wave is hitting an obstacle, if it just follows mechanics, it's going to fold up because that's the law. But, if you have consciousness interacting with the energy, then it can say, "hey look it is more efficient if you don't fold up, it is more efficient if you utilize this extra dimension, because there is then less pressure in the wave if you are using this extra dimension." But you need that consciousness to kind of say, "hey look there is this extra dimension that you can utilize." And it has to say how to utilize it because it has to choose a direction to start folding into. (B) If our consciousness defines the parameters of third density, could the barriers on either side of the wave represent the barriers of the outside parameters of third density which causes this continual looping back and forth? And it may be doing something else in a different density that doesn't have those barriers?
A: Frequency resonance envelope.
Q: (R) Exactly, it makes total sense. So frequency resonance envelopes are realms. And our program shows that the only time interesting things happen to a wave is when it hits an obstacle. And it only manifests the extra dimension if someone helps the wave to choose which way to start folding out into the extra dimension. So if densities in effect are frequency resonance envelopes, which exist as obstacles, that waves of energy can resonate within ... yeah, exactly ... that makes kind of sense. (JN) What if the level of consciousness is the barrier? (R) Yeah, exactly. Consciousness energy directors, and the more awareness you have the more possibilities you can see to direct the energy. (JN) The less obstruction. (R) Yeah, or you can choose this ... (V) You say you believe something because it's the law, but ... (R) Yeah, because those are the parameters that you see, but the more awareness you have, the more you see, the more you can find, then you can know dimensions that you can escape into. You have the box, you say it's closed, we can't get out of it. But if you have more awareness, you can say, "well there's some other dimension out of the box that we can use." Do I make sense?
A: You are going in the right direction ...
Q: (R) Which is of course, kind of humorous since they just talked about consciousness as energy directors and we are going in the right direction. So we are directing the energy in a conscious way towards the right frequency resonance envelope. (L) I'm glad you know what you're talking about. (JN) Now don't anyone lick that envelope and seal it up! (R) Okay, well this makes sense. So the basic concept to recap is that densities are frequency resonance envelopes in the same way that the barriers in our program are barriers. We have modeled densities on a computer program. Densities are envelopes. Frequency Resonance Envelopes. You have energy bouncing back and forth and without conscious directing of that energy it's not going to utilize anything more than the paths that are kind of obvious - the default. But as soon as you start to direct that energy, you can direct it in such a way that it exceeds the envelope. (J) So think outside the envelope. (R) Exactly because you are redefining the envelope. You are finding bigger and bigger slots.
This part above had me thinking about the singing stones, and directing energy to exceed 3D material possibilities and receive anything one needs via a conduit... focused sound waves, or songs of creation.
A: Prime numbers show the door.
Q: (R) It's perfect. So in the simulation, the spirals seem to always be prime numbers. We have 3, 5, 7, 11, 19 - I think we have seen at some point. (A) Two is also prime number (laughter). (V) But not a 13? (R) I think we have seen 13. It depends on what parameters you set. I think we can find pretty much any prime number depending on the values. (A) I don't believe it. (R) He doesn't believe it. (A) No. It is a hypothesis. (R) Is the number of apparent spirals always a prime number?
A: Ark is not right on the money.
Q: (A) I am. I will show you! (B) Does that mean he's close? (R) You can't be close. Either it's prime numbers or it's not. (A) What did they say that I am not right? Right? (R) Right, exactly. (A) Okay, I will show you guys. (L) How are you going to show them? (A) We will do an experiment and we will show that it's not prime numbers. And the C's will have to recant! [Laughter.] But there are many other ways in which prime number can come into this game and probably they are coming into this game and it will be very nice to find this out.
A: Find out, in deed.
Q: (L) Well that's kind of a pun, find out "in deed" - by doing. (R) We are on a very, very interesting path here because we just defined what a 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. (A) What is by agreement? (L) 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!
Q: (B) That means it's up for grabs. Which is why they're interested in us grounding a certain frequency resonance so STS doesn't.
A: No, 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?
Q: (M) That's the second time they said that. (R) Yeah, okay, so in essence, that means what we are doing now is assembling the orchestra before the concert, and tuning the instruments. (L) Have you ever sat in the concert hall when they were getting ready, warming up? (J) It's chaos. (L) It is. (R) But after awhile it starts getting tuned. But that's what this is all about - the whole Cassiopaean Communication. Were not playing yet. We're just tuning. (L) Yeah.
(JN) So if our level of consciousness creates the barriers of where this wave can go and how it behaves, can we ... (R) No, No. No. Excuse me for interrupting. Our level of consciousness doesn't create the barriers, it's only aware of those barriers. It can see, okay, what are the barriers: "oh these are the barriers. I can see, okay. So here's what I get to play." But if your awareness grows, then you get to see an array of barriers. "Okay I want to play with this bigger one. I can play with the smaller ones if I want to, but I have the awareness to see other barriers that are more extensive."
(L) I think that the concept that we have a hard time grasping is that - going with the analogy - the musical selection is made, more or less. We at some level - us in the future - have chosen what instrument to play, what part to play. And so, the options that we really have now are: how well we play, how loud we play, how in tune we play with others; can we practice, can we stay in tune, can we do any numbers of these things? And even if we find ourselves sitting next to some jerk who can't carry a tune, and whose instrument is all screwed up, can we still continue to play true? Because even though the rest of the orchestra, being heard from a distance, may sound quite melodic, because we are sitting next to this guy who can't play, it is possible for us to be distracted - pulled off track - and then to distract the guy on the other side of us, leading to general chaos. (R) It's about focus. (L) Yeah. I'm getting tired. (A) I have still a question, because all the discussion around this computer modeling, whether it can be helpful or should be developed, or can lead to something; and all these spirals and barriers; they are all about, it's a standard, there are no events, there are no detectors yet. My idea was that it is the detectors which make events which make the wave collapse. Until now, in all our simulations, there is no collapse and no jumps. And yet we speak about consciousness, while there is this other concept that it is consciousness that makes the wave collapse. Okay. So I see a contradiction and I don't know how to get out of this contradiction. There is no collapse, and yet there was some encouragement that what we have relates to ...
A: The music is on the page long before it is played.
Q: (R) So, when the orchestra starts playing you have the musical notes, the timing instructions. Right. So it's the same music. You can play over and over again. But the difference is how well the orchestra plays and how well it is tuned. Okay, so one implication can be that ...
A: The FRE is the notes on the page. It is the selection. The "playing" constitutes "events." Frequency resonant envelope: FRE.
Q: (R) So when you're starting out, you have a small orchestra, you play simple notes. (L) Kinda like first density. (R) Exactly. As you get better at playing you get the bigger orchestra, you get more instruments, you have to be more careful about having them in tune because otherwise ... (L) And you get more notes. (R) And you get more notes. But the playing constitutes events. It's one thing to have an orchestra, it's another to have it tuned. (L) Alright, let's think about this FRE idea and this application of it and then take it back to V's original questions about it. FRE is emanated and maintained in concert with the environment and others ... (R) Well, it is also bonded to the perception through awareness, right? (L) Okay. (V reads back from the notes) "Your awareness maintains a frequency emanation in concert with your environment. When there are fluctuations in bonding of another, the fluctuations create discontinuities." (R) So a discontinuity would be a quantum jump, for example, yes or no?
A: Yes.
Q: (R) But this requires that you have an orchestra that is well tuned. Because if you don't have it well tuned, it's not resonating so it doesn't matter if the ... (V) So the orchestra's not going to make the music in fourth density. (R) Exactly. So you have the concert hall, the audience is there, you have the notes, but the orchestra is not in tune, so you get bad music. If the orchestra is not in tune, which is why it is important to ...
A: Sing "Goodnight Ladies," Yes?
