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Re: Sound Current: Discussion

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  • satkartar7
    ... thank you Gene, and I kow you talk from experience and from your wast knowledge not tounge to cheek Love-awareness, Karta
    Message 1 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 2 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 3 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 4 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 5 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 6 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 7 of 9 , May 4, 2003
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                  "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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