Techies

Neuro-acoustic Therapy

Dr. Jeffrey Thompson’s work in neuro-acoustics reveals a therapeutic method focused on the physically transformative properties of sound. Based on Oster’s seminal research published in Scientific American on auditory beats in the brain, Thompson has explored the realm of binaural beats and brainwave entrainment. Oster’s binaural beats, as articulated by Thompson are the seemingly connected pulses that occur in perception when, "two separate tones are tuned slightly different from one another - to be precise: within 18% of one another - a range called the "Critical Bandwidth".

Thompson’s experiments and treatments have focused on the presentation of slight differentials in tonal frequency between the left and right ear of patients and the patient's perception of the sound as a seemingly connected pulse. The pulse has been observed to entrain brainwave patterns of activity down to the fundamental beat frequency. Implications arise when considering the consciousness altering effect of entraining brainwave patterns down below the Beta states of normal brain wave activity. Thompson’s investigations have suggested there are consciousness altering effects of hemispherically separated tones within a critical bandwidth of basilar membrane displacement.

In addition, the phenomenon of hemispheric synchronicity between left and right brain functions arises from binaural beat frequency entrainment, thus offering another realm within which to explore "altered" states of consciousness. Thompson articulates the phenomenon by stating, "through headphones, however, the opposite hemispheres, which process sound information from each opposite ear, have to compare information in order to hear the pulse...when the hemispheres compare information, they synchronize their activity: thus hemisphere synchronicity." Furthermore, Thompson reveals the scarcity with which the phenomenon occurs in human populations, as well as the moments of clarity and heightened awareness that investigations in the realm of subjective experience and measured EEG analysis correlate such brainwave activity with. Thompson states, "In a series of recordings based on these principles, I have used sound frequency patterns built into the music that have been shown clinically to cause positive change in consciousness, brainwave, and body function."

Thompson is not alone in his findings, as many other researchers and clinicians have found congruent results within this field of binaural beat-frequency technology and altered states of consciousness. (Atwater, LeScournac et al., CNR) For instance, studies at the Monroe Institute of Applied Sciences have verified that binaural beat brainwave entrainment has not only occurred "in the area of the brain responsible for hearing, or only in one hemisphere or the other, but rather.." and most interestingly, "the entire brain resonated..", with, "the wave forms of both hemispheres becoming identical in frequency, amplitude, phase, and coherence."

Furthermore, these patterns of brain wave activity have been observed beyond normal functioning beta states(30-13 electrical discharges per second, or 30-13Hz.). Findings have revealed transformations in brainwave activity from alpha states (7-13Hz) down to theta states (7-3.5Hz), which have been associated in non-sleep states with intense creativity, visualization ability, imagination, and problem solving. Research supports the notion that in meditation states, the theta state has also been associated with the, "classic "out of the body" experience..., or, "in shamanistic traditions this is the realm of the Shamanic 'Journey'". In no instance have negative effects been observed of within such studies of brainwave entrainment.

Thompson and others have articulated a scientific basis for such exploration into the beat frequency brainwave entrainment phenomenon and hemispheric synchronicity. It is appropriate that a similar exploration is included within the realm of "transformational" aesthetics.

In addition to the scientific findings of those in the field of neuro-acoustics and the anecdotal evidence elucidated by most notably Mitchell Gaynor, M.D. (with regard to the discussions relating the use of chakra tuned crystal bowls within enhanced psycho-immunological healing modalities), one should also note a resurgence of thought around earlier movements in sympathetic vibratory science and cymatics. Such disciplines offer a more educated understanding of the scientific underpinnings behind the use of sound (or periodic vibrational energy in general) in a transformational-based aesthetic exploration.

Scientific Movements

Sympathetic vibratory science, an interdisciplinary field spawned from the intellectual musings of Jonathan Keely, has been more recently articulated by Nikola Tesla and Dale Pond as a scientific exploration devoted to vibrational resonance from the electromagnetic (transversal) to mechanical (longitudinal) realms of the vibrational energy spectrum. As conjectured within the field, light and acoustic energy can be sympathetically aligned for more harmonious physiological systems integration

As in new physics movements such as String Theory, an attempt to structure a Grand Unified Theory of the Universe (T.O.E, or Theory of Everything), vibration is seen as the ultimate elemental force helping to create everything we perceive.

As Dale Pond states:

Elemental vibratory phenomenon are a subject in Brian Greene’s best selling, The Elegant Universe, which elucidates the theories and experiments in physics that have developed into a theoretical vision known as String Theory. Brian Greene echoes Pond’s sentiments by stating, "Each elementary particle is composed of a single string--that is, each particle is a single string--and all strings are absolutely identical. Differences between the particles arise because their respective strings undergo different resonant vibrational patterns. What appear to be different elementary particles are actually different "notes" on a fundamental string. The universe--being composed of an enormous number of these vibrating strings--is akin to a cosmic symphony."

In addition, Hans Jenny’s study in Cymatics, an investigation of wave phenomena and vibration, offers more empirical legitimacy to the connection between "everything" and organized periodic vibrations. His experiments have illustrated the relationships between periodic vibration (the essence of any musical tone) and all matter and energy formations. One could surmise within these legitimate circles of thought that the "music of the spheres" seem to be highly instrumental in the creation of all that we perceive (Jenny).

In keeping with this abstract level of exploration into the power of sound, and periodic vibration, Hans Cuosto’s ingenious investigation of frequency relationships within the realm of planetary motion, sound, and color relationships reveal some interesting data. Consequently, creative analysis allows one to form a base of reference from which to explore the primordial sounds of the "collective unconscious".

For instance, in his book, Cuosto discusses the relationship between the earth day rotational cycle, and other dynamic processes of planetary motion (i.e. planetary/moon orbit cycles) with the octave correlates of those cycles mapped to the audible and visible frequency spectrums.

When the earth’s rotational cycle is mapped over 24 octaves, the frequency of 194.18 Hz is reached. Cuosto, using the period of the earth’s rotation (86,400 seconds) and calculating the reciprocal and multiplying that by two, 24 times reaches the audible frequency of 194.18 Hz (G note). The law of the octave, as Cuosto has dubbed it, would suggest that the earth’s rotation could be harmoniously explored with the musical note G

Cuosto, however, goes a step further and, by mapping the octave of the earth’s day cycle over 65 octaves, reaches a frequency in the range of around 400 trillion hertz, which is the electro-magnetic energy we see as orange-red light. The law of the octave can help one transcend the traditionally disparate and discontiguous realms of sound and light, so to explore the harmonious relationships that may very well exist. Cuosto articulates a bit of this seeming harmony by stating:

The note G (and or the key of G), in addition to its mapped octave color correlate, have been historically noted as a force for re-vitalization. Pythagoras, for instance, prescribed the G tone for use in morning rituals and awakening. As Cuosto coincidentally states, "Music composed in "G" is also very stimulating, and is therefore not recommended for Roman Catholic Priests."

The importance of sympathetic vibration and harmonious resonance between the vibrating elements of the universe can be examined on a cosmological, terrestrial, organism-based, and intra-organism based level all the way down to atomic energy and the vibrations of cycling electrons and their electromagnetic energy. The possibilities are endless and vibration consumes all realms, thus an informed artistic exploration seems warranted.

Artistic Movements

An aesthetically charged parallel to "transformational" sound design is noted in the work of late 18th century and early 19th century Russian "spiritualist" artists. These "theosophers", as they have been dubbed in intellectual circles, were inspired by the potential for sound, color, and other sensory stimuli to have tremendous effects on emotional and physical behavior. A thorough analysis reveals gleaming similarities in their approach to art and science as wholly connected realms of transformational potential.

In the minds of notables within these theosophical and futurist movements, such as George Ivanovich Gurdjieff, Nikolai Kublin, Aleksandr Scriabin, Mikhail Matyushin, and Vladimir Barnoff-Rossine, art and scientific exploration were one in the same and capable of tremendous mind and life altering power. Gurdjieff, for instance, coined the term "objective" music, which, as explained, possessed "certain psychological and psychophysical powers." As Mel Gordon states, "Plain music", the kind created for solipsistic self-expression or simple amusement, had no ability to influence the body's three centers", according to Gurdjieff. Gurdjieff's "objective" music, thus was believed to possess, inherently, a potentiality which demanded attention from life's energy centers, much like a snake charmer's music had a hypnotic effect over the controlled reptile. Within his recipe for sound control, Gurdjieff culled his intellectual influences (studies in advanced physics, medicine, and mathematics) and eastern mystical leanings into an interesting pseudo-scientific and spiritualist aesthetic influential to many artists of his time

Nikolai Kublin also explored the realm of sound, color and phonemic relationships in a "transformational" light. In addition, he is noted as a force in developing theories around synesthesia, the boundary crossing realm of sensory perception, as light may be perceived as sound, and sound as color, and beyond into the five modes of sensory exploration.

Most pertinent to this realm of investigative aesthetics, Kublin, was a proponent of "colored music", and the abolition of staves to be replaced by color notation and microtonal composition. As Gordon states, "...Kublin called for musical compositions that utilized quarter and eighth tones. Although no contemporary instruments could easily play quarter tones, and eighth tones were nearly inaudible to the human ear, Kublin praised their qualities as carriers of dissonant tunes and as lyrical 'strings' to the listener's soul."

In light of modern day physics theory, such sympathetic relationships between color, sound and life may indeed have some legitimate base, and a more informed empirical exploration may indeed provide a base for another movement inspired by the likes of Gurdjieff and Kublin.

Aleksandr Scriabin, another theosophical explorer into the pseudo-scientific realm of color and sound transformation and the synesthetic aesthetic, drew from many of the same influences, in terms of eastern thought, yogic transcendentalism, and observable nature. Although a disturbed and egocentric individual, his studies may have some relevance in this modern day of sophisticated sympathetic vibratory science.

The Mysterium (which was never actually realized by the master) is a spectacle of ritualistic participation and exploration into the aesthetics of all sensory stimuli. It was proposed to, "transform man and nature, male and female, brother and brother into an ectoplasmic unity", as Mel Gordon articulates. Beyond the grandiosity of his claims, the idea that the senses and certain stimuli can indeed transform and create awareness of a grand and unified existence is not out of the realm of reason, and for this Scriabin must be referenced

One must also credit from an aesthetic perspective, the work of Mikhail Matyushin and his experiments into the workings of color and sound perception and their interdependence, which have since been abandoned by Russian Universities. Also, Vladimir Barnoff-Rossine, the inventor of the Color-Music show, demands recognition in this investigation, as his work was influenced by Scriabin and Kublin and shows another intuitive realization of potentially sympathetic resonance in the realm of color, sound, and the soul. He went so far as to invent a "Phono-Optic Piano", which has been said to consist of, "weighted prisms, swing mirrors, colored filters, and transparent disks that were linked by levers and cogwheels to the keys of a tiny electric piano."

Following this tradition of "trasformationally" based music, The New Age movement, as termed by the media critics, has fallen short in many ways. Although Gurdjieff has been called the New Age Guru, the movement in general has been commercialized and marginalized concomitantly and relegated to the "uncool" world of musical obscurity. Unfortunately, people like Steven Halpern, Ph.D., who have tried to bolster New Age ideals through more grounded and therapeutically aligned material have gone unnoticed.

Implications for Artists and Producers

Based on the work cited and concepts elucidated above, it seems that there is some legitimacy to a serious exploration into the transformational properties of sound and other vibrational energies. Thus, artists and producers within multimedia production may be able to tap into these resources and the potentially harmonious energies they may elicit. There is no question that this realm of multi-media production demands attention, exploration, and a whole-hearted contribution of time and energy. What may have been once considered New Age sophistry can be more legitimately explored and utilized artistically for experientially based immersion into the ocean of vibrational energy.