OVE
STRANICE NE MOŽEŠ SHVATIT I RAZUMIT AKO KORISTIŠ PAMETNI TELEFON
ZNANJE IZ
BUDUĆNOSTI
Cilj je da se objasni ljudima šta je to:
Jezikom
Slova Zvuka Vala-Talasa Genetika i Jezikom Slova Svjetlosti Genetika
i šta su i
kakvi su izgledi za humanost u ovom pravcu.
Vjeruj u vodu u samom sebi, zato što je voda u tebi jedinstvena bez ograničenja šta ti možeš uraditi! Kad je voda (um) spojena sa vodom u svemiru-kosmosu-universumu, osoba je tad slobodna od dvojnosti, ego iluzija da je život pun patnje i bijede.
Vav oni su vodu zvali u Gujarati jeziku; i Baoli u Hindi jeziku. Sjećam se ovih riječi na stranim jezicima radi osjećajnosti sa kojima su izrečene: riječi valjane oko usta muškarca i talasale usne i napravile su osmijeh nakon što su se javili u mekom zvučnom valu do mog uha i na koži tijela.
THIS
PAGES YOU CAN NOT COMPREHEND AND UNDERSTAND IF YOU USE SMART PHONE
KNOWLEDGE
OF THE FUTURE
The aim is
to explain to people what is it:
Linguistic
Sound Wave Genetic and Linguistic Light Wave Genetic
and what are the prospects for
humanity in this direction.
Believe in water in yourself, because water in you is so unique with no limit what you can do! When the water (mind) is connected with the water of all existing matter and space considered as a whole universe, a person is free from duality, ego restrictions illusion that life is full of suffering and misery.
Vav they are called water in Gujarati language; and Baoli in Hindi language. I remember these words in foreign languages because of the sensuality with which they were pronounced: the words rolled around the man’s mouth and rippled his lips and made him smile after they emerged in a soft sound wave to reach my ear and my body skin.
LINGUISTIC SOUND WAVE GENETIC AND LINGUISTIC LIGHT WAVE GENETIC
JEZIKOM ZVUKA SLOVNA VALNA-TALASNA GENETIKA I JEZIKOM SLOVA SVJETLOSTI GENETIKA
The Infrared Frequencies of DNA Bases:
Science and Art Connecting with Our Bodies through ”Molecular Music”
See deep enough, and you see musically; the heart of Nature bring every where music, if you can only reach it. - Thomas Carlyle.
If we could hear the body. delve into its rhythms and frequencies, what might it sound like?
Would we recognize patterns pleasing to the ear... consider them beautiful... musical?
Is our Biology harmonically ordered in any way?
And if so, so what?
The Music
Sequencia, (cassette and compact disc), hree original compositions by Susan Alexjander,
using microtonal scales derived from the infrared spectra of adenine, guanine, thymine and
cytosine.
Performed by voice, tabla, violin, cello, and synthesizer (Note: "Eikos,"
written in 1994, is only on CD,)
HEALING FROM DIABETES IS MY ARTICLE AND MY OWN EXPERIENCE
Here is Rudolf Bosnjak discovery and explanation healing from diabetes instantly or in few days how to talk with pancreas via water communication system around human brain and translate your thoughts or spoken words in form of sound from your mouth to your chromosomes in your complete body, then, start something still do not known scientist, some explain some details as David Deamer in below video.
Others DO NOT TALK AND DO NOT SPEAK, WHY?
I SPEAK AND MAKE THIS WEB PAGES FOR BETTER AND SIMPLE UNDERSTANDING FOR ORDINARY PEOPLE THIS MATTER AND WATER INSIDE HUMAN BODY AND WATER OUTSIDE HUMAN BODY AND ALL COMMUNICATIONS IS DONE VIA THIS WATER CALLED Cerebrospinal fluid (CSF) is a clear, colorless body fluid found in the brain and spine.
HOW WORKING WATER COMMUNICATION LINK OF TWO WATERS.
HEALING FROM DIABETES AS MY EXPLANATION - IZLJEČENJE OD DIABETESA - ŠEĆERNA BOLEST I MOJE OBJAŠNJENJE
KEYBOARD REALIZATION OF DIRECT SEQUENCES
IN HUMAN INSULIN GENE
DNA Suite: by D.W.Deamer (cassette).
Keyboard realisation of direct sequences in human insulin
gene; two satellite DNAs, and ALU Consensus, a 300 nucleotide repeating
sequence that surprisingly compromises over a tenth human genome.
Molecular meditation: by David Deamer, (cassette).
Synthesizer translations of nucleotide (nucle otide) sequence in antibody gene.
There are many ways to explore such questions. and one direct way is to access the frequencies of deoxyribonucleic acid (DNA), the primary carrier of genetic information for all living organisms.
In I983 the author, a composer, posed these questions to Dr. David Deamer, a cell biologist (now at University of California, Santa Cruz).
Dr. Deamer is internationally known for his research on the origins of life.
Some years before he had created very interesting music cassettes (DNA Suite and DNA Music) based on the mapping of sequences of bases in the double helix of DNA.
He was intrigued and offered to help.
One significant constraint with this project required that, rather than “mapping," or assigning arbitrary pitches to "hear" patterns, the actual vibration frequencies were to be collected directly from the molecular realm.
These frequencies would then be arranged as "scales" of tones and used as the basis for musical composition.
Two years later, on April 22. 1990 (Earth day), the cassette version of “Sequencia“ was recorded, and in 1994 the CD with additional music was produced.
Sequencia consists of three performances of original music “Eikos, " “Sequencia,” and "Pataphysical Thymine“- performed on traditional instruments plus electronic keyboard, based entirely on a tuning system derived from certain frequencies that occur naturally in DNA.
Methods and Material: The Science
There are about three billion base pairs in the DNA of each human cell. If they were
strung out they would measure about three feet long.
Yet, each of these bases remains absolutely consistent in its chemical makeup.
The four DNA bases called adenine, cytosine, guanine, and thymine each consist of carbon, hydrogen, oxygen and nitrogen.
There exists a variety of chemical structures, including C-O, N-H, C-H, O-H, and C-O, whose bonds bend, stretch, and rock upon absorbing infrared light with a specific frequency related to the energy and strength of the bond and the mass of the nucleus of the atom.
A tighter, smaller bond from, say, from hydrogen,
w i l l a b s o r b l i g h t w i t h a h i g h e r wave number (number of waves per centimeter), and a higher “note“ in the infrared spectrum.
(The original energy for these motions comes from the sun in the form of infrared radiation.
Solar photons cause heating in the molecule, as orbiting electrons jump to a higher energy state.
The tuning system for "Seguencia“ was derived directly from the laboratory chemistry of the four bases DNA called adenine, cytosine, guanine, and thymine each consist of carbon, hydrogen, oxygen and nitrogen, and it had nothing to do with a particular gene or with configuration of bases along a helix.
The process of "collecting" frequencies from the bases of DNA begins with a spectral photometer, a device about the size of a breadbox.
In this instrument, infrared light with frequencies ranging from 600 to 3000 wave numbers (in units of cm") is passed through the sample, in this case a base molecule of DNA.
When translate: Cytosine, Adenine, Guanine and Thymine we get this.
Cytosine = MUSICAL NOTE C
Adenine = MUSICAL NOTE A
Guanine = MUSICAL NOTE G
Thymine = MUSICAL NOTE E
The bases of DNA and RNA have certain resonance frequencies related to the absorption of infrared light.
This is a common property of all organic molecules. and, in fact, infrared spectra are used as a primary diagnostic characteristic in analytical procedures.
As the light is passed through the sample, it is absorbed by the sample
at specific frequencies and the spectral photometer plots the absorption bands as a
spectrum.
(Fig. 1). a process analogous to a glass chime sounding when it is struck. For example, the C-H (carbon-hydrogen) bond absorbs infrared light with a wave number of approximately 2900 cm.
Once the wave number is known, the following equation is used to convert it to frequency in Hertz (Hz): Frequency (Hz) = velocity (speed of light) x wave number
If the wave number is 2900 cm on minus 1, F = 3 x 10 cm on 10 x 2900 cm on minus 1 = 8.7 x 10 on minus13 Hz.
These high frequencies, or Hertz numbers, are problematic in two ways.
First, they are light frequencies, not sound.
And second, they are too high to he heard, even if they were sound, since our ears can only register frequencies between 20-20.000Hz.
Below 20, vibrations are "felt" rather than heard, and frequencies above 20.000 belong to ears more discerning than ours.
The problem of getting the frequencies within hearing range can be solved by recognizing that any Hertz number divided in half or doubled will produce its corresponding lower or upper octave, respectively, whether it be sound or light.
Thus, 8.7 x 10 on 13 Hz can be divided in half, again and again, to create lower and lower octaves.
Finally, we derive after dividing 36 times, a workable frequency that, if it were sound, would fall within the range of hearing.
Thus, we would have for the example above 1266,
which is a very c o m f o r t a b l e f r e q u e n c y f o r t h e e a r, corresponding to a (slightly sharp) D#.
The question of "translating" light into sound is more a philosophical concept.
Sound sped up can, of course, never be light, since the former depends upon molecules to push around while the latter derives from electromagnetic radiation.
One could argue that what is important here is not so much the medium but the ratios involved - the relationships between frequencies.
The ears can detect about 10 octaves of sound, while the eyes can only perceive a little over one octave of light or color.
An octave in light is the same ratio as an octave in sound 2:l.
A perfect fifth, or a relationship of 3:2. is the same proportion in light as in sound (and can be continued into the world of geometry, architecture, movements of the planets, and so forth: anywhere there is a periodic or regular vibration).
By discovering patterns of ratios in light, we are simply translating into a sound medium to "hear" what information they might contain and how they relate to each other.
It could also be argued that both light and sound refer back to a common archetype, which as yet is unknown to us, not unlike cousins who relate back to a common relative.
Again, four base molecules were measured: adenine. cytosine, guanine and thymine.
Each base molecule after being subjected to light yielded 15 to 18 frequencies, 60 in all.
Once these data were collected, the frequencies were itemized down into a hearing range and programmed into a Yamaha DX IID synthesizer, which would create sound banks from any Hertz number provided as input.
A special electronic keyboard was needed because the tuning that were derived were almost all microtones, or tones smaller than a normal half-step (for instance any c to c#) on piano.
The tuning system on ordinary keyboard is artificial, based on and adapted from the natural harmonic series.
Around the time of Johan Sebastian Bach, equal temperament as a favored tuning system came into being to solve the problem of modulating through different keys.
(Bach did not entirely welcome it. Its sound was inferior to the sweet concordances of just intonation).
Equal temperament divides the keyboard octave i n to 12 e q u a l parts, assigning a measurement of 1200 cents to the octave, with each half-step being 100 cents.
Half-steps are, of course, fixed on the piano, but a violin could play a variety of C#s, anywhere from 50 cents to 99 cents away from the original C, and then 50 cents above the C#.
These notes are defined as microtones and are often considered harsh and out-of-tune to our Western ears, except for the wonderful “bent" pitches found, for example, in Blues, Folk, and so on.
Other cultures, such as those of the Middle East, Asia. and India, have been creating music with microtonal scales for centuries.
Using Editor Librarian and Vision software (Opcode Systems, Palo Alto, CA) on a Macintosh computer, the DNA tunnings were programmed in as microtonal "scales" for each base (see Fig. 2].
Story: The Art
Before describing what the tunnings sounded like, it is of interest to address a rational
for doing this at all.
Pythagoras (6th century BC). who is credited with explaining musical harmonics to the Western world, is reputed to have described a stone as frozen music.
He knew nothing of physics, but he intuited that the mathematics of frequency that occur in processes such as planetary rotations, cycles of the seasons, right down to the atomic world of elemental matter, are not just lifeless pieces of data but reveal movements, rhythms. relationships, and meanings that may be loosely translated as “stories.”
Stories, in turn, generate meanings and artistic expression.
The word "matherna" comes from the Old French “mathein, " "to be aware: to awaken.”
The art, then, assists in "telling the story“ of the data.
It is mythic as well as “mathic."
There is a reasonable degree of certainty that deep within our molecular beings, beauty will show up as a central issue.
It can be found in all other stellar, planetary, and natural processes-in the growth of a flower or wanderings of a river - so why not DNA?
At another level, if the body recognized itself in sound, might this mean something in terms of health, or at the very least, inspire the imagination, and help to understand our adaptation to the environment, or to persistent stimuli?
The process unfolds, but really, all we want to know is - wi1l I like these sounds?
Microtonal World
A first hearing of these 60 pitches front the DNA infrared spectra was discouraging.
The scales and clusters they created sounded so strange and alien that one at first despairs of ever creating a beautiful work of art, or making any coherent “sense‘ out of them.
An overall description might be “tight relationships... densely packed microtones, with curious leaps."
The four individual bases - adenine, cytosine, guanine, and thymine - are very similar in terms of the ratio relationships, or the distances between the separate "pitches" within each base.
If they are configured like a musical scale, arranged from lowest frequency to highest, there is about a 2.5 octave span for all four with a noticeable gap, or distance, of a major sixth/minor seventh in all bases.
Intervals on the keyboard are named major and minor seconds, thirds, sixths, and sevenths, depending on how many steps they are away from the beginning note, or tonic.
A major sixth in the scale of C would be C to the sixth note, or A, above: and a minor seventh would be C to B at above.
(To sing a minor seventh interval. begin Bernstein's “'There is a Place For Us" from West Side Story.
“There's a....“ = a minor seventh), in addition to major and minor intervals, we also recognize the perfect fourth (C to F), the perfect fifth (C to G) and the tritone (C to F#), the interval that cuts the scale perfectly in half.
The smaller, microtonal intervals, or ratios, tend to rub against each other when heard, creating beats.
Beats occur when two frequencies are extremely close together - within a few Hertz of each other, such as 254 and 257 Hz - two very slightly different middle C#.
The frequencies will be heard as the same pitch, C, but slightly out-of-phase. The phasing results in occasional louder moments, or “wa-wa” beats. when they do phase together.
To the ear, this bears a striking resemblance to the quality of "aliveness,” or organic movement found in any living process.
As these microtones were played over and over on the synthesizer, some arresting beautiful combinations began to appear: but, what to do with them?
Compositional Considerations
Microtones present formidable complications for composers, not to mention performers.
First of all, it is virtually impossible to play them on a normal keyboard.
Microtonal scales can be mastered, with practice, by those performing on stringed instruments such as cellos and violins who cart play any pitch on their string, once they have found it.
However, microtones are often too difficult for many "fixed pitched“ instruments such as clarinets and trumpets.
The voice has the easiest time matching microtones.
If a singer's car can hear it, she/he can produce it.
And percussionists, of course, need not worry about them at all.
In addition to difficulty of none production, microtones play havoc with the idea of "key.”or tonality.
What one is working with is a clump of " random" sounds with no seeming tone order or organization at all.
However, something very interesting began to happen.
After weeks and weeks of experimenting with different sound combinations on the synthesizer, a tonal center began to emerge.
One pitch seemed to draw other pitches to it, to lend coherency to the mass.
This pitch turned out to be a kind of a C#, common to all the bases:
Adenine: 545.6 Hz
Guanine: 550
Thymine: 543.4
Cytosine: 5313
Average Ha = 544.2
Most pianos are tuned to around 554 for C#.
An acute ear would be able to discriminate between S54 and 54-l - an approximate 1/4 tone.
It is important to emphasize that this discovery was cemented musically in the compositions first by the ear, and not by the data.
The above numbers were only discovered later.
If one looks at the pitch chart (Fig.2). one can see that this C# is found in all four bases, almost exactly in the middle of each column.
Also, it is positioned almost exactly in the center of the absorbance rates, and shows up as the average.
This C# seems to act as a balance for the entire spectrum of frequencies.
The pitch that shows rip the most frequently and ought to have asserted itself as a tonic, or tonal center, is F#.
It is found no less than three times in each base collection.
But instead it is its fifth, the C#, that acts as the organizing force.
The first composition, "Sequencia," was written for tabla, or tuned drum. with the drum tuned to C".
The drum keeps a steady rhythm throughout the ensemble sections.
While the synthesizer plays an ostinato, (a continually repeated musical phrase or rhythm) or repeating pattern, with the original sounds of the frequencies, the added instruments - violin, cello and voice - revolve harmonically around this central stabilizing force and match the tunings with their melodic shaping.
It is interesting to observe that most of the gongs, bells, and drums of the non-Western world are tuned to this key-note, suggesting further that perhaps we, as a planet (not to mention as a body), may be trying to collectively tune to something.
One theory involves a recently discovered pulsar called Vela X (PSR 0833), which collapsed
into its pulsar state about 11.000 years ago.
X-Ray video and radio 'sound' of the Vela Pulsar.
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Pulsar called Vela X (PSR 0833) jet.
The Vela Pulsar (PSR J0835-4510 or PSR B0833-45) is a radio, optical, X-ray and gamma-emitting pulsar associated with the Vela Supernova Remnant in the constellation of Vela. It spins 11.195 times per second (i.e. a period of 89.33 milliseconds—the shortest known at the time of its discovery) and the remnant from the supernova explosion is estimated to be travelling outwards at 1,200 km/s (750 mi/s). It has the third brightest optical component of all known pulsars (V = 23.6 mag) which pulses twice for every single radio pulse. The Vela pulsar is the brightest persistent object in the high energy gamma ray sky.
The association of the Vela pulsar with the Vela Supernova Remnant, made by astronomers at the University of Sydney in 1968, was direct observational proof that supernovae form neutron stars.
Studies conducted by Kellogg et al. with the Uhuru spacecraft in 1970-71 showed the Vela pulsar and Vela X to be separate but spatially related objects. The term Vela X was used to describe the entirety of the supernova remnant.[7] Weiler and Panagia established in 1980 that Vela X was actually a pulsar wind nebula, contained within the fainter supernova remnant and driven by energy released by the pulsar.
On 12 May 2015, a NASA research balloon was launched from Alice Springs in Australia's Northern Territory, taking aloft instruments developed as a joint project between Nagoya University and Kobe University in Japan to measure gamma ray output from the Vela Pulsar. The flight was expected to end near Longreach, Queensland, after sunset.
WHAT IS NOT
The pulsar is occasionally referred to as Vela X, but this phenomenon is separate from either the pulsar or the Vela X nebula. A radio survey of the Vela-Puppis region was made with the Mills Cross Telescope in 1956-57 and identified three strong radio sources: Vela X, Vela Y, and Vela Z. These sources are observationally close to the Puppis A supernova remnant, which is also a strong X-ray and radio source.[10]
Neither the pulsar nor either of the associated nebulae should be confused with Vela X-1, an observationally close but unrelated high-mass X-ray binary system.
IN MUSIC
The emissions of Vela and the pulsar PSR B0329+54 were converted into audible sound by French composer Gérard Grisey and used in the piece Le noir de l'étoile (1989–90).
Cycle of pulsed gamma rays from the Vela pulsar
It is beaming radio waves toward planet Earth with a pulse frequency of 11.24 Hz, or an F# equivalent.
It is fifth or C#, turns out to be a frequency of 16.86 or 539.52 (x2 on 5), exceedingly close to our DNA, 544 Hz.
The emissions, scientists think, come from a combination of spilt and strong magnetic fields.
No one knows for sure if these emissions and their periodicities, which are regular, have an effect upon our energy fields.
Are the Frequencies in DNA Bases Harmonically Ordered?
They most certainly are.
By comparing all 60 pitches, one can find all of the precise ratios found in the firs 16 harmonics of the over-tone series: octaves, P5th, P4ths, major and minor thirds, major and minor seconds and sevenths, even a "flat" seventh.
Mathematical, the odds of this happening at random are almost nonexistent.
This author has not taken the time to measure the higher harmonics, but Randy Masters of Aptos. CA, is refining this step of the process.
He is trying to discover a fundamental that could possibly be generating all of DNA frequencies and overtones.
This finding would be invaluable to all those involved in sound and the healing arts, as well as to scientist and artists.
The compositions did not make particular conscious use of the simpler perfect ratios.
But the ratios are there, doing their work, as are all the microtonal relationships.
What is more important is the raw sound, "Eikos," for instance, (only on the CD recording) pays extreme attention to the way the violin enters into, explores, and leaves single synthesized tones.
It is energy is Zen-like: subterranean, with a playful middle section.
It is not known what information is encoded in these ratios, but one particular pattern appears striking.
Figure 3 shows a curious leap in all four bases from the pitch F# up to the D# above, roughly a major sixth/minor seventh.
The interval in between, G to D, contains no measurable frequencies at all.
It is mirror, the G to D an octave below, contains a tightly packed cluster of 22 frequencies, over a third of the total frequencies measured.
What is the function of this "shadow" gap?
Is it just a coincidence, or are we looking into some kind of anti-matter, fourth dimension?
More and more we are finding that things contain their complements; their opposites.
It is almost a given "law" of the universe.
This "gap" could be important, especially because both are balanced on their lower and upper edges by D# - F# intervals: nine pitches in the lower cluster and 10 pitches in the upper cluster.
Almost perfect symmetry.
Possible Physiological Manifestations Through the DNA Code
The trick is to hear the music that is the body.
If we can do so, the meaning often body can be transformed.
It becomes not a blind, silent, doomed machine but a glorious composition, a of God's oeuvre...“The Great Tonte." - Meaning and Medicine, Larry Dossey, M.D.
Again, math makes processes visible.
It decodes meanings.
We can see the self-organizing power of the universe, and because the universe is a community, it is constantly communicating.
Are the sounds of DNA communicating anything to us?
Sequencia first begins to communicate through its concept, that we can
hear the hidden beauty of life.
This helps to give us perspective - to find our place in the "Great Tone.“
This comes directly out of the ancient Greek definition of of education: the purpose of studying science and the natural world is to find our proper place in it, allowing us to fulfill our role in the larger pattern.
It is truly “student-centered learning," and the natural world is the primary educator. Art processes that translate directly from nature allow us deeper access into levels of being.
And an is, of course, a celebration.
The second way Seguencia communication is simply because it is music.
This is more than casual statement.
We are attracted, often like moths to a flame, to music.
One explanation is that composed music can be seen as metaphor for life itself.
Music, or organized sound, is just about perfectas a metaphor for life.
It is born, goes through a process of evolution and transformation, perhaps repeats itself or crates new avenues of life.
(If, you are really listen, after it is over you can still hear the sounds continuing.)
The components of music express a yearning for balance.
Energy is gathered together for forward motion, and then is released.
Pulses, small ones for frequencies, larger ones for rhythms, and still larger ones for phrasing, all act in concert.
Relationships are constantly forming and re-forming as new tones, rhythms, and events come into the picture, and others recede.
Music is the active way we live our lives: the way we like our lives to be.
It is the very life process itself.
If the music does not flow, we are deeply disturbed.
How long can you tolerate a stuck recording?
Bringing physics into the picture adds to this metaphor.
Music (literally) mirrors the essence of nature itself, in its chaos patterns and mathematics.
The same mathematical formula that characterized the ebb and flow of music has been discovered to exist widely in nature: the flow of a river, the wobbling of the planet Earth its axis.
This is more than just simple pulses.
The rhythms closely resemble irregular patterns of coastlines, clouds, and mountain ranges, and other natural scenery.
The brain must then, on some level, perceive its realty as musical complex landscape.
And turning this around, the music we hear must feel like our earthly home.
No wonder we love it.
It is likely that something unusual is being communicated directly through the combinations and ratios of spectral music.
The descriptive adjectives one hears most often are: smoothing, comfortable, a feeling of spaciousness, expansion.
Sequencia is not "new age" or demonstration music, nor was it composed to "heal" anyone.
It was written because that is what a composer does in the world: write music.
But after 10 years of hearing unique reactions and virtually no complains from those who hear these strange tuning for the first time, one cannot help but wonder what is going on.
Some listeners admit that they never (or hardly ever) listen to music because it "interferes with what is going in their heads or is too invasive."
How ever, they love, even crave, these DNA sounds.
About one in every four or five persons has a deep. almost devotional, response.
Movement teachers love it, saying their students respond deeply.
Would people react in the same way to compositions employing 60 random microtonal combinations!
Who knows?
And certainly there are endless styles of tonal arrangement. given the same musical materials to begin with.
But these particular DNA ratios, originating in light, are profoundly arresting to the ear.
This first wakes up the nervous system, puts it on alert.
What follows in sound is then allowed to enter out psyches on a deep level.
People report feelings of connectedness, familiarity.
"I feel right at home," they say.
It is tempting to speculate that the body is recognizing itself and is communicating this to the psyche.
The Impact of Sound Upon The Body
No one knows how sound, the raw stuff of creation, effects our being, our consciousness,
(consciousness is water in our body around brain and scientific name is Cerebro Spinal
Fluid (CSF) is a clear, colorless body fluid found in the brain and spine).
Mysteriously, we decode meanings that come to us through sonic carrier
waves, perceiving these waves as a full - body experience, not only through the ears but
directly through the bones, tissue,
and mutter of the body.
The body mass feels sound as pressure.
We know that the body is piezoelectric, translating pressure (on skin) into electric signals, such as the way in which the inner ears send signals to the brain.
Sound, therefore, impacts the many realms of the molecular world directly, and somehow finds its way to the parts of us that make meanings.
We know for sure from the work of many medical institutions that sound can affect hormonal levels and other physic-logical systems of the body.
Dr. Valerie Hunt of Malibu Beach. CA, has done extensive work measuring the strengthening effects of sound upon the aura field, the energy field surrounding the body.
Dr. Hunt did most of her research while a professor at UCLA.
And there is no doubt that a sophisticated knowledge of resonance has led many practitioners and researchers throughout the world to use sound in a variety of successful ways.
Some introduce sound frequencies directly into the body with their voices, the client‘s voice, or by machine.
Their methods can often create coherency, allowing the patient‘s natural healing ability to take over.
This harmonious state can clear up chaos and static.
Communication on all levels, physiological and emotional, often becomes clearer and brighter, healthier.
This article written in March /April 1999 year and later I add new advanced I discovered.
Article is taken from image from IEEE ENGINEERING AND BIOLOGY I found on internet.
DNA Music by David Deamer, Professor of Chemistry, University of California, Santa
Cruz.
All be healed by Rudolf Bosnjak.
