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Re: Sound Current: Discussion

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  • texasbg2000
    ... dear Gene: i was very glad to read this message. The sound current is a very special and singular experience that is unlike any other in my experience.
    Message 1 of 9 , May 1, 2003
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      --- In meditationsocietyofamerica@yahoogroups.com, "Gene Poole"
      <gene_poole@q...> wrote:
      >
      > Greetings, ALL...
      >
      > Here is the best link I could find:
      >
      > <http://www.frankperry.co.uk/nada_yoga.htm>
      >
      > Personally, I find it very unfortunate that this
      > 'phenomenon' is treated only in the language
      > of 'spirituality', because it is very real, and
      > very powerful, and very useful.
      >
      > By that, I mean to say, that by association, such
      > subtle phenomena are by definition, evocative of
      > 'Deity'.
      >
      > The assumption seems to be that certain
      > spiritual 'ways and paths' have this one, the
      > sound current, all wrapped up and buttoned
      > down.
      >
      > Students of raw phenom, who look into the
      > nature of the sound current, will find precious
      > little, besides the 'spiritual' interpretation, unless
      > personal experience is tapped as a source of
      > information.
      >
      > As a lifelong 'reality hacker', I acknowledge
      > spirituality, and also phenomenality and also,
      > importantly, our various concepts of physics.
      >
      > On the sound current:
      >
      > Perception is... an outgoing force.
      >
      > Perception is... a process which occurs
      > AFTER reception.
      >
      > Perception is... as an outgoing force,
      > my side of the conversation; in other words,
      > while I may write after I perceive, my perception
      > is in itself, an outgoing communication, just like
      > writing, only quicker. Perception is the way
      > that I constantly 'talk back' to the universe.
      >
      > I perceive the sound current; it is a sound
      > which fills the silence. It is an etheric, ringing
      > tone, which changes and varies so quickly
      > that I cannot anticipate it; I can only surrender
      > to it.
      >
      > Now, this tone, is actually composed of many
      > individual tones; and each of those individual
      > tone, is also, composed of individual tones. I
      > have not found any point, in my exploration of
      > this sound current, at which there are not yet
      > more tones to be found in any individual tone.
      >
      > My experience is this:
      >
      > The sound current, once perceived, serves as
      > a gateway into a vast 'network'. Each 'subtone'
      > is a gateway into a 'subnet'. All gates are arrayed
      > in a perfect geometrical and very beautiful way;
      > it is possible to 'navigate' this vast network,
      > purely on the basis of the esthetic sense. Intellect
      > need not be employed during navigation, but
      > later, as a means of understanding and evaluating
      > the experience.
      >
      > To break (word used deliberately) between
      > subnets, or in other words to step from net to
      > net, requires that stored energy be expended.
      > Energy is gained by the whole appreciation of
      > the beauty (yes, can be considered 'Divine')
      > of the experience, and then, 'spent' during the
      > process of navigation of the network.
      >
      > The above stepping is analogous to the
      > tonal 'stepping' spoken of by G Gurdjeiff;
      > the aspect of 'shock' can be taken as the
      > norm, by the experienced navigator. It is
      > meditation (with or without sound current)
      > which teaches how to withstand these
      > 'shocks'.

      dear Gene:

      i was very glad to read this message. The sound current is a very
      special and singular experience that is unlike any other in my
      experience.

      The stepping as I remember Gurdjieff, was those intervals between
      regular spacings or regular natural patterns of acceleration or
      evolution. such as the vibrations of musical strings. The
      vibrations per second of the notes ascending on the musical scale are
      regular increments of increase until there is a space. And then there
      is another regular increase in increments producing the notes on the
      scale. All other vibrations would be atonal if I am using the right
      word. I am certain you can explain it better. I don't know music
      enough to explain it but that was the anologue Ouspensky used so that
      is what I remember.

      It is the spaces between the regular increments of increase that
      require a shock or energy from the outside to progress or evolve to
      go past that space. In other words we will progress or learn in
      regular steps with little effort until there is an obstacle of some
      kind. It is there that energy must be applied to continue. Overcome
      the obstacle and it seems easy again until the next "space".
      Understanding that allows one to expect the unexpected in a more
      predictable way.

      I believe Gurdjeiff used a scale of 'impressions' as the food for
      this energy. Such as the impression of the "doves taking flight at
      sunset as your lovers boat pulls into the harbor and waves from the
      bow".
      That would be a low number maybe a 12. Whereas seeing another "A" on
      a child's report card may be 158. Store up enough 12's and you move
      on. That is why he cooked for his people so much. He psyched them up
      and fed them more than the food.

      >
      > (The recent discussion here, of fear
      > during meditation, alludes to the 'shock
      > value' of meditation... fluctuations are
      > not always smooth, sometimes they are
      > very rocky, abrupt, and filled with showers
      > of imagery and feelings... )
      >
      > Overall, the sound current provides an
      > immediate and always available means and
      > 'proof' of the actual 'etheric' nature of the
      > human; and that anyone can discover, learn,
      > and do what I have described above, serves
      > to point out that assumptions of 'Divinity' do
      > not necessarily have to precede the gaining
      > or exercise of such abilities.
      >
      > To 'perceive' the sound current, is to thereby
      > communicate 'back to it', and thereby to
      > modify it, in that it speaks back to us, as what
      > we perceive. The 'exchange' of this conversation
      > is so rapid, as to escape detection, unless it is
      > pointed out that what is going on, is actually
      > an exchange, not a one-way delivery of
      > a tone 'to the ears' of the hearer.
      >
      >
      > (It may be useful to contemplate just
      > what a 'reality hacker' does, and the
      > attitudes which will either facilitate or
      > hinder such activities.)
      >
      >
      > Best regards...
      >
      >
      > ==Gene Poole==
      >
      >
      > tone = tonus= tension = movement = life
      >

      Very nice Gene.
      If I listen carefully to the sound it becomes enterweaving harmonies
      which just get better and bigger the longer it goes on
      uninterrupted. Do you believe that is Samadhi?

      Bobby G.
    • satkartar7
      ... thank you Gene, and I kow you talk from experience and from your wast knowledge not tounge to cheek Love-awareness, Karta
      Message 2 of 9 , May 1, 2003
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        "Gene Poole" <gene_poole@q...> wrote:
        >
        > Greetings, ALL...
        >
        > Here is the best link I could find:
        >
        > <http://www.frankperry.co.uk/nada_yoga.htm>
        >
        > Personally, I find it very unfortunate that this
        > 'phenomenon' is treated only in the language
        > of 'spirituality', because it is very real, and
        > very powerful, and very useful.
        >
        > By that, I mean to say, that by association, such
        > subtle phenomena are by definition, evocative of
        > 'Deity'.
        >
        > The assumption seems to be that certain
        > spiritual 'ways and paths' have this one, the
        > sound current, all wrapped up and buttoned
        > down.
        >
        > Students of raw phenom, who look into the
        > nature of the sound current, will find precious
        > little, besides the 'spiritual' interpretation, unless
        > personal experience is tapped as a source of
        > information.


        thank you Gene,

        and I kow you talk from experience
        and from your wast knowledge
        not tounge to cheek

        Love-awareness, Karta


        >
        > As a lifelong 'reality hacker', I acknowledge
        > spirituality, and also phenomenality and also,
        > importantly, our various concepts of physics.
        >
        > On the sound current:
        >
        > Perception is... an outgoing force.
        >
        > Perception is... a process which occurs
        > AFTER reception.
        >
        > Perception is... as an outgoing force,
        > my side of the conversation; in other words,
        > while I may write after I perceive, my perception
        > is in itself, an outgoing communication, just like
        > writing, only quicker. Perception is the way
        > that I constantly 'talk back' to the universe.
        >
        > I perceive the sound current; it is a sound
        > which fills the silence. It is an etheric, ringing
        > tone, which changes and varies so quickly
        > that I cannot anticipate it; I can only surrender
        > to it.
        >
        > Now, this tone, is actually composed of many
        > individual tones; and each of those individual
        > tone, is also, composed of individual tones. I
        > have not found any point, in my exploration of
        > this sound current, at which there are not yet
        > more tones to be found in any individual tone.
        >
        > My experience is this:
        >
        > The sound current, once perceived, serves as
        > a gateway into a vast 'network'. Each 'subtone'
        > is a gateway into a 'subnet'. All gates are arrayed
        > in a perfect geometrical and very beautiful way;
        > it is possible to 'navigate' this vast network,
        > purely on the basis of the esthetic sense. Intellect
        > need not be employed during navigation, but
        > later, as a means of understanding and evaluating
        > the experience.
        >
        > To break (word used deliberately) between
        > subnets, or in other words to step from net to
        > net, requires that stored energy be expended.
        > Energy is gained by the whole appreciation of
        > the beauty (yes, can be considered 'Divine')
        > of the experience, and then, 'spent' during the
        > process of navigation of the network.
        >
        > The above stepping is analogous to the
        > tonal 'stepping' spoken of by G Gurdjeiff;
        > the aspect of 'shock' can be taken as the
        > norm, by the experienced navigator. It is
        > meditation (with or without sound current)
        > which teaches how to withstand these
        > 'shocks'.
        >
        > (The recent discussion here, of fear
        > during meditation, alludes to the 'shock
        > value' of meditation... fluctuations are
        > not always smooth, sometimes they are
        > very rocky, abrupt, and filled with showers
        > of imagery and feelings... )
        >
        > Overall, the sound current provides an
        > immediate and always available means and
        > 'proof' of the actual 'etheric' nature of the
        > human; and that anyone can discover, learn,
        > and do what I have described above, serves
        > to point out that assumptions of 'Divinity' do
        > not necessarily have to precede the gaining
        > or exercise of such abilities.
        >
        > To 'perceive' the sound current, is to thereby
        > communicate 'back to it', and thereby to
        > modify it, in that it speaks back to us, as what
        > we perceive. The 'exchange' of this conversation
        > is so rapid, as to escape detection, unless it is
        > pointed out that what is going on, is actually
        > an exchange, not a one-way delivery of
        > a tone 'to the ears' of the hearer.
        >
        >
        > (It may be useful to contemplate just
        > what a 'reality hacker' does, and the
        > attitudes which will either facilitate or
        > hinder such activities.)
        >
        >
        > Best regards...
        >
        >
        > ==Gene Poole==
        >
        >
        > tone = tonus= tension = movement = life
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        >
        > --
        >
        > If less is more,
        > nothing is everything.
      • Nina
        Hi, Bobby and Gene, thanks for the discussion. Sometimes, it seems that there is a connection available, but the bridge hasn t been found. This is the sense I
        Message 3 of 9 , May 1, 2003
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          Hi, Bobby and Gene, thanks for the discussion. Sometimes, it seems
          that there is a connection available, but the bridge hasn't been
          found. This is the sense I am getting, "me to y'all".

          > If I listen carefully to the sound it becomes enterweaving
          > harmonies which just get better and bigger the longer it goes on
          > uninterrupted.

          While I know you are speaking of the sound current, something that
          this reminds me of is the resonance it is possible to key into when
          chanting Aum. One of the ways of doing this is by feeling/listening
          to the resonance of sound at the heart on A, the throat on U, and the
          center of the head on M. The frequency of sound increases as the
          location in the body/mouth moves up. Overlaid on the base tones of A,
          U, and M are numerous tones, which appear in resonance/harmony with
          the voiced tone. These tones come 'out of nowhere' - they are not
          produced by the voice, but they appear in reponse to the voice. The
          first overlaid tone is the most accessible, the second is less so,
          and so on. It is possible to climb the tones like a ladder.

          I am comparing the above and below, and wondering if there is a
          connection.

          > It is the spaces between the regular increments of increase that
          > require a shock or energy from the outside to progress or evolve to
          > go past that space. In other words we will progress or learn in
          > regular steps with little effort until there is an obstacle of some
          > kind. It is there that energy must be applied to continue.
          > Overcome the obstacle and it seems easy again until the
          > next "space". Understanding that allows one to expect the
          > unexpected in a more predictable way.

          Well, speaking of expecting the unexpected, and the spaces in-
          between, I will share with you a hilarious sound-related incident.
          John and I were driving home last weekend and noticed the hordes of
          nicely dressed people headed towards the Civic Center. Ah, we
          thought, it must be a symphony night. Sure enough, the symphony was
          listed on the Civic Center event board. So, we drive on into the
          parking garage, and I'm spaced-out day-dreaming. Suddenly, a tune
          pops into my head, and I start singing it w/ much gusto and flair.
          John says, what's that. I say, I don't know, but I think it has
          something to do with vikings. (Tee hee, it was a "car tune" - "bugs
          bunny" came to mind, also.) Pause. I say, Hey, I wonder if it's
          playing tonight at the symphony. John said, you're nuts (or something
          akin to that), but we still checked the symphony program online when
          we got home. Sure enough, Wagner's Flight of the Valkyries was on the
          docket. LOL!

          good evening to you all,
          Nina
        • texasbg2000
          ... Hi Nina; I am really shaky on my memory of Gurdjeiff so I am hoping Gene or Karta will correct me on my take of the steps or intervals in progressions.
          Message 4 of 9 , May 1, 2003
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            --- In meditationsocietyofamerica@yahoogroups.com, "Nina"
            <murrkis@y...> wrote:
            > Hi, Bobby and Gene, thanks for the discussion. Sometimes, it seems
            > that there is a connection available, but the bridge hasn't been
            > found. This is the sense I am getting, "me to y'all".


            Hi Nina;

            I am really shaky on my memory of Gurdjeiff so I am hoping Gene or
            Karta will correct me on my take of the steps or 'intervals' in
            progressions.

            >
            > > If I listen carefully to the sound it becomes enterweaving
            > > harmonies which just get better and bigger the longer it goes on
            > > uninterrupted.
            >
            > While I know you are speaking of the sound current, something that
            > this reminds me of is the resonance it is possible to key into when
            > chanting Aum. One of the ways of doing this is by feeling/listening
            > to the resonance of sound at the heart on A, the throat on U, and
            the
            > center of the head on M. The frequency of sound increases as the
            > location in the body/mouth moves up. Overlaid on the base tones of
            A,
            > U, and M are numerous tones, which appear in resonance/harmony with
            > the voiced tone. These tones come 'out of nowhere' - they are not
            > produced by the voice, but they appear in reponse to the voice. The
            > first overlaid tone is the most accessible, the second is less so,
            > and so on. It is possible to climb the tones like a ladder.
            >
            > I am comparing the above and below, and wondering if there is a
            > connection.

            The sound I am referring to is heard beneath the audible sound of aum
            and its resonance. it never stops.

            Bobby G.

            >
            > > It is the spaces between the regular increments of increase that
            > > require a shock or energy from the outside to progress or evolve
            to
            > > go past that space. In other words we will progress or learn in
            > > regular steps with little effort until there is an obstacle of
            some
            > > kind. It is there that energy must be applied to continue.
            > > Overcome the obstacle and it seems easy again until the
            > > next "space". Understanding that allows one to expect the
            > > unexpected in a more predictable way.
            >
            > Well, speaking of expecting the unexpected, and the spaces in-
            > between, I will share with you a hilarious sound-related incident.
            > John and I were driving home last weekend and noticed the hordes of
            > nicely dressed people headed towards the Civic Center. Ah, we
            > thought, it must be a symphony night. Sure enough, the symphony was
            > listed on the Civic Center event board. So, we drive on into the
            > parking garage, and I'm spaced-out day-dreaming. Suddenly, a tune
            > pops into my head, and I start singing it w/ much gusto and flair.
            > John says, what's that. I say, I don't know, but I think it has
            > something to do with vikings. (Tee hee, it was a "car tune" - "bugs
            > bunny" came to mind, also.) Pause. I say, Hey, I wonder if it's
            > playing tonight at the symphony. John said, you're nuts (or
            something
            > akin to that), but we still checked the symphony program online
            when
            > we got home. Sure enough, Wagner's Flight of the Valkyries was on
            the
            > docket. LOL!
            >
            > good evening to you all,
            > Nina
          • Gene Poole
            texasbg2000 wrote: ... You seem to be doing well. Each step signifies multiplication of the previous frequency. It takes X 10 energy to
            Message 5 of 9 , May 1, 2003
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              "texasbg2000" <Bigbobgraham@a...> wrote:
              , "Nina" <murrkis@y...> wrote:

              > > Hi, Bobby and Gene, thanks for the discussion. Sometimes, it seems
              > > that there is a connection available, but the bridge hasn't been
              > > found. This is the sense I am getting, "me to y'all".
              >
              >
              > Hi Nina;
              >
              > I am really shaky on my memory of Gurdjeiff so I am hoping Gene or
              > Karta will correct me on my take of the steps or 'intervals' in
              > progressions.

              You seem to be doing well. Each step signifies
              multiplication of the previous frequency. It takes
              X 10 energy to move one step up, and so on. In
              other words, the scale is logarithmic.

              > >
              > > > If I listen carefully to the sound it becomes enterweaving
              > > > harmonies which just get better and bigger the longer it goes on
              > > > uninterrupted.

              Yes... that's it.

              It may be noticed that each tone is also made of
              many tones.

              > > While I know you are speaking of the sound current, something that
              > > this reminds me of is the resonance it is possible to key into when
              > > chanting Aum. One of the ways of doing this is by feeling/listening
              > > to the resonance of sound at the heart on A, the throat on U, and
              > the
              > > center of the head on M. The frequency of sound increases as the
              > > location in the body/mouth moves up. Overlaid on the base tones of
              > A,
              > > U, and M are numerous tones, which appear in resonance/harmony with
              > > the voiced tone. These tones come 'out of nowhere' - they are not
              > > produced by the voice, but they appear in reponse to the voice. The
              > > first overlaid tone is the most accessible, the second is less so,
              > > and so on. It is possible to climb the tones like a ladder.
              > >
              > > I am comparing the above and below, and wondering if there is a
              > > connection.

              > The sound I am referring to is heard beneath the audible sound of aum
              > and its resonance. it never stops.
              >
              > Bobby G.

              Right. It never stops.

              It is called by some, 'the comforter'.

              In every (musical) tonal scale, each 'up' note is simply
              a multiple of the preceeding note. It does not have to
              be a whole multiple; it can be a 1/4, 1/3, and so on.

              Interestingly, radio-frequency antennas are cut to
              specific length, based on the same principle.

              Anyway, Nina, I am not sure if you are really asking
              anything having to do with the sound current, but
              when we speak of sound, it is all relevant.

              'doh rae me fah so lah te doh', it can go forever up or down,
              repeated steps of transformation. To go up, requires
              more energy. Have you noticed that? In other words,
              the first 'doh' has less energy than the last 'doh'.

              Have you ever tried to sing the scale downward?

              The principle Bobby is carrying forward from my
              post, is that the transitions between tones, requires
              work, or if going down, contributes energy previously
              invested. Pretty esoteric stuff, eh?

              Probably the coolest thing you can do with your
              friends, is to sit or stand in a circle, close together,
              and everyone loudly produce exactly the same tone,
              persistently. No cheating or 'creative expressions'
              are allowed! This is done, by pronouncing (for
              example) 'E' as a constant tone... "EEEEEEEEEEEE..."

              This requires discipline and the ability to
              take something seriously!

              When that is under way, one person (the person with
              the best voice control) is assigned to very slowly
              move up in tone, not an entire harmonic, just slightly
              off from the others. This slow shift will eventually result
              in some pretty radical effects. Try it and see!

              The effect produced is called 'the beating of frequencies'
              and is the product of oscillating volumetric displacement
              of air, as the medium (air) cannot hold two identical
              things (tones) at the same time! Whooo-eee!

              If you get really good at this, you can actually cancel
              all of the sound being produced, even though you are
              still producing it! All that remains, is crackling silence!

              This is fun stuff!


              ==Gene Poole==


              If less is more,
              nothing is everything
            • Nina
              ... Yes, I understood that. That is why I said While I know you are speaking of the sound current... ... No, I wasn t asking about the sound current. ...
              Message 6 of 9 , May 2, 2003
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                > > > > If I listen carefully to the sound it becomes enterweaving
                > > > > harmonies which just get better and bigger the longer it goes
                > > > > on uninterrupted.
                >
                > Yes... that's it.
                >
                > It may be noticed that each tone is also made of
                > many tones.
                >
                > > > While I know you are speaking of the sound current, something
                > > > that this reminds me of is the resonance it is possible to key
                > > > into when chanting Aum. One of the ways of doing this is by
                > > > feeling/listening to the resonance of sound at the heart on A,
                > > > the throat on U, and the center of the head on M. The
                > > > frequency of sound increases as the location in the
                > > > body/mouth moves up. Overlaid on the base tones of
                > > > A, U, and M are numerous tones, which appear
                > > > in resonance/harmony with the voiced tone. These tones
                > > > come 'out of nowhere' - they are not produced by the
                > > > voice, but they appear in reponse to the voice. The
                > > > first overlaid tone is the most accessible, the second
                > > > is less so, and so on. It is possible to climb
                > > > the tones like a ladder.
                > > >
                > > > I am comparing the above and below, and wondering if there is a
                > > > connection.
                >
                > > The sound I am referring to is heard beneath the audible sound of
                > > aum and its resonance. it never stops.
                > >
                > > Bobby G.

                Yes, I understood that. That is why I said "While I know you are
                speaking of the sound current..."

                > Right. It never stops.
                >
                > It is called by some, 'the comforter'.
                >
                > In every (musical) tonal scale, each 'up' note is simply
                > a multiple of the preceeding note. It does not have to
                > be a whole multiple; it can be a 1/4, 1/3, and so on.
                >
                > Interestingly, radio-frequency antennas are cut to
                > specific length, based on the same principle.
                >
                > Anyway, Nina, I am not sure if you are really asking
                > anything having to do with the sound current, but
                > when we speak of sound, it is all relevant.

                No, I wasn't asking about the sound current.

                > 'doh rae me fah so lah te doh', it can go forever up or down,
                > repeated steps of transformation. To go up, requires
                > more energy. Have you noticed that? In other words,
                > the first 'doh' has less energy than the last 'doh'.
                >
                > Have you ever tried to sing the scale downward?
                >
                > The principle Bobby is carrying forward from my
                > post, is that the transitions between tones, requires
                > work, or if going down, contributes energy previously
                > invested. Pretty esoteric stuff, eh?
                >
                > Probably the coolest thing you can do with your
                > friends, is to sit or stand in a circle, close together,
                > and everyone loudly produce exactly the same tone,
                > persistently. No cheating or 'creative expressions'
                > are allowed! This is done, by pronouncing (for
                > example) 'E' as a constant tone... "EEEEEEEEEEEE..."
                >
                > This requires discipline and the ability to
                > take something seriously!
                >
                > When that is under way, one person (the person with
                > the best voice control) is assigned to very slowly
                > move up in tone, not an entire harmonic, just slightly
                > off from the others. This slow shift will eventually result
                > in some pretty radical effects. Try it and see!

                Yes.

                > The effect produced is called 'the beating of frequencies'
                > and is the product of oscillating volumetric displacement
                > of air, as the medium (air) cannot hold two identical
                > things (tones) at the same time! Whooo-eee!
                >
                > If you get really good at this, you can actually cancel
                > all of the sound being produced, even though you are
                > still producing it! All that remains, is crackling silence!
                >
                > This is fun stuff!

                I'll try that.

                It is also possible, if one is aware of how this works, to "go to"
                another's voice, move slightly away from it, wait, and watch as the
                other's voice "comes to" one's own voice. In this way, it is possible
                to "drag" another's voice up the scale.

                good day,
                Nina
              • texasbg2000
                ... key ... A, ... a ... of ... That is interesting Nina. I am sorry I missed that the first time; if there is a connection to the above and below. Probably
                Message 7 of 9 , May 2, 2003
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                  > >
                  > > It may be noticed that each tone is also made of
                  > > many tones.
                  > >
                  > > > > While I know you are speaking of the sound current, something
                  > > > > that this reminds me of is the resonance it is possible to
                  key
                  > > > > into when chanting Aum. One of the ways of doing this is by
                  > > > > feeling/listening to the resonance of sound at the heart on
                  A,
                  > > > > the throat on U, and the center of the head on M. The
                  > > > > frequency of sound increases as the location in the
                  > > > > body/mouth moves up. Overlaid on the base tones of
                  > > > > A, U, and M are numerous tones, which appear
                  > > > > in resonance/harmony with the voiced tone. These tones
                  > > > > come 'out of nowhere' - they are not produced by the
                  > > > > voice, but they appear in reponse to the voice. The
                  > > > > first overlaid tone is the most accessible, the second
                  > > > > is less so, and so on. It is possible to climb
                  > > > > the tones like a ladder.
                  > > > >
                  > > > > I am comparing the above and below, and wondering if there is
                  a
                  > > > > connection.
                  > >
                  > > > The sound I am referring to is heard beneath the audible sound
                  of
                  > > > aum and its resonance. it never stops.
                  > > >
                  > > > Bobby G.
                  >
                  > Yes, I understood that. That is why I said "While I know you are
                  > speaking of the sound current..."


                  That is interesting Nina. I am sorry I missed that the first time;
                  if there is a connection to the above and below. Probably so. I
                  have wondered if the 'sound current' or divine sound is really just
                  an auditory sensation of the electrico-magnetic field the body mind
                  neurological system produces.

                  Since it is constant it is a good focus. I meditated intensly on it
                  for years though and it was the atma vichara 'Who am I' that worked
                  better on me.

                  Bobby G.
                • satkartar7
                  ... yes Bobby, I heard this.. all roads leads to Rome, they say Love, Karta
                  Message 8 of 9 , May 4, 2003
                  • 0 Attachment
                    "texasbg2000" <Bigbobgraham@a...> wrote:
                    >
                    > Since it is constant it is a good focus. I meditated intensly on it
                    > for years though and it was the atma vichara 'Who am I' that worked
                    > better on me.

                    yes Bobby, I heard this.. all roads
                    leads to Rome, they say

                    Love, Karta
                    >
                    > Bobby G.
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