Tonal rill

This is very interesting,

In the latest session they mentioned our 1D bodies, I wonder if it is related, at 1D our bodies would be composed of tissue and organs perhaps, minerals too, all arranged in geometric patterns that would resonate with certain sounds. Sickness or injury is then perhaps a disarray of the harmonious geometric structure of these minerals and tissue, sound then would work as an iron does or a massage on the muscles, maybe... providing the information needed for the structure to return to its optimal form.

I wonder if the stones have to have a similar geometric structure as the ones found in our bodies for the sounds they produce to resonate with our bodies and thus produce healing. I wonder if what the C's said about sub notes and several stones is similar to homeopathy, where sometimes several ingredients are needed for an individual depending on their specific make up.

Much like with homeopathy, perhaps we all have a specific geometric signature that is matched by certain stones and the sounds they produce, but with Sounds it becomes interesting as you need to add time and tempo and melody perhaps.. so it's not so much hitting rocks to produce sound.. it's music that needs to be produced so that it interacts with the body, and if so then perhaps the rocks contain the sound, but they're parts of a larger melody, and this melody is what matches the geometry within us. That's where math would enter the picture, it may not be just the sounds that can heal, is the sounds when arranged geometrically, via melody, to produce music that resonates with the body.

Which if you think about language, it's not just sounds, it's sounds modulated to produce language that contains information and meaning. So, adding melody to sounds, or creating melody with sounds, it's adding information, this information is then given to the body for healing.

The above are of course just my musings, but it's very interesting to consider the implications, not just positively but the negative implications of it as well.
 
Continuing your musing ... I am reminded of the german saying ,, wo man singt , da lass dich gerne nieder , bose menschen singen keine lieder ,, meaning where people sing you can gladly settle , evil people don't sing songs

Music to your ears another way of saying you can hear the harmony or it resonates with you

Math , geometry, music ....that just shouts Pythagoras, didn't he develop the musical scale thru math/geometry
alone

And we all do sing to stones already our crystals, l wonder what would happen if we did that on a leyline node?
Find a ley line near you and try
Here in Australia we have song lines ! And your ,,totem,, is what songline your mother was closest to when she felt the first kicks
There is a funny story told by Bruce Chadvin in his book Songlines where some elders were riding in a truck on a trip to country and they asked the driver to slow down because they could not sing so fast
 
Polyvagal theory talks about the auditory/acoustic pathways to a ventral vagal state where healing potential is maximised. Apparently in sympathetic mobilisation or dorsal vagal states the muscles of the inner ear tune hearing toward the detection of low frequency sounds associated with predators and where the ability to hear human voices is diminished. In those states, resources are either directed toward defense/fight/flight or shut down rather than healing and growing. However prosody of voice and tone can help support a ventral vagal state or vagal resilience and flexibility. According to Porges the best frequencies to use are those of a regulated mother talking to a child or the voice used when talking to a puppy. Maybe that has something to do with tonal rill or healing properties magnified or transmitted by the stones.
Would you happen to know the specific source in which Porges states the above more explicitly? As I'm writing my dissertation on the topic of children's singing, the above would be a valuable addition for one of my main arguments, that is, that it is preferable and more natural for children to sing in higher keys and to use plenty of the so called 'head voice' register, instead of using the darker 'chest voice', which is unfortunately very common these days due to the lack of know-how and because the kids imitate their adult 'pop idols' (which are often also digitally 'enhanced').

I have a number of articles by Porges but it would save me some time if you could point me in the right direction. :-)
 
Would you happen to know the specific source in which Porges states the above more explicitly? As I'm writing my dissertation on the topic of children's singing, the above would be a valuable addition for one of my main arguments, that is, that it is preferable and more natural for children to sing in higher keys and to use plenty of the so called 'head voice' register, instead of using the darker 'chest voice', which is unfortunately very common these days due to the lack of know-how and because the kids imitate their adult 'pop idols' (which are often also digitally 'enhanced').

I have a number of articles by Porges but it would save me some time if you could point me in the right direction. :-)


Sure, he hasn't given away the exact frequencies he's using as far as I know - I haven't yet read the papers below, but his Safe and Sound Protocol is one of the interventions he has developed. Here's what I've posted about it so far:




Here are some papers he's written on the subject:

"In this peer-reviewed study, children with Autism Spectrum Disorder (ASD) who used an early version of the SSP experienced significant improvements in emotional organization, listening, spontaneous speech and hearing sensitivities."


"In a second peer-reviewed study, higher functioning individuals with ASD were tested using an early version of the SSP. The study showed that auditory processing and state regulation improved following the intervention."


And about the clinical trials in progress:

 
Sure, he hasn't given away the exact frequencies he's using as far as I know - I haven't yet read the papers below, but his Safe and Sound Protocol is one of the interventions he has developed. Here's what I've posted about it so far:




Here are some papers he's written on the subject:

"In this peer-reviewed study, children with Autism Spectrum Disorder (ASD) who used an early version of the SSP experienced significant improvements in emotional organization, listening, spontaneous speech and hearing sensitivities."


"In a second peer-reviewed study, higher functioning individuals with ASD were tested using an early version of the SSP. The study showed that auditory processing and state regulation improved following the intervention."


And about the clinical trials in progress:
Wow, that was fast! Many, many thanks! :hug2:
 
Wow, that was fast! Many, many thanks! :hug2:

You're welcome :flowers: Just thought of something else, if it's not already in the links above, Porges mentions somewhere that he is using existing music, but removing the frequencies that are not in the target range. He mentioned Simon and Garfunkel in one of his video's on the subject, but not which song or songs.
 
An interesting resonance .. coincidence? (nothing new or informative, just a cool thing in a fictional work):

I'm reading a series of science fantasy sort of novels, the 'Ea Cycle' by David Zindell, for the first time. I like his 'Neverness' series of science fiction novels very much, and reading those it seemed to me that he's read a great deal of religious and esoteric type stuff, like Gurdjieff and who knows what else.. It fully permeates those books.. Many of his ideas seem to me to mesh with things the C's have said. But they're fiction books after all.. Sort of a mish-mash of ideas and terms borrowed from various places, but the books have a good heart.

These Ea books are basically a quest for the Holy Grail type thing, with knights in a medieval world searching for the "lightstone", which takes the form of a golden cup. The "magic" people use in these books is all done with stones, "gelstei", different kinds of stones having different uses.

In the bit I'm up to - book 3 'The Silver Sword', chapter 13, page 231 to be precise - a scholar is in an ancient library, accessing information stored in "thought stones" - which can record and replay information by directly interacting with the user's mind..

'Do you remember the passage from the Beginnings?: "The Lightstone is the perfect jewel within the lotus found inside the human heart."'
'A beautiful metaphor,' I said.
'Beautiful, yes - and perhaps something more.' Master Juwain gazed above us at the dome's clear windows that let in the light of the stars. 'You see, there are the infinities.'
'Sir?'
He looked back at me and showed me the thought stone. He said, 'This little gelstei is a finite thing, as is the knowledge it contains - as are all things. The One, of course, is infinite. But the Lightstone, somehow, is both.'
Now all of us, even Maram, stared at the golden contours of the Lightstone as if seeing it for the first time.
'And as with the Lightstone,' Master Juwain continued, 'so with the Maitreya. We know that he is the one who has a perfect resonance with it. There is a sense that in order for this to be so, he must sacrifice his finiteness - his very humanity.'
I gripped the Lightstone so tightly that it hurt my fingers. I shook my head because I did not know what Master Juwain's words could mean. I said, 'If only there was more.'
'I'm afraid that's all I gleaned from this first pass. But if I'd had more time...'
His voice died off into the library's half-light.
'Yes?' I said to him.
'Well, you see,' he said, 'there was one stream of recordings, more like a rill, actually, that I might have followed. A hint of a hint about some great store of knowledge concerning the Lightstone.' ....

"..more like a rill, actually..".. strange thing to write in there..in a section about receiving knowledge by consciousness interaction with stones, no less. I wonder if he's read Laura's work? This book was published in 2004. Also note "the light of the stars"..
 

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