The Body Eclectic (Part Two)
2006 04 10
By Jeff Wells | rigorousintuition.blogspot.com
Carrying on from this post, do you remember The Spirit of the Beehive? Here's yet another example of the "buzzing of bees" common to boundary experiences, this one mentioned in a 1996 interview by cereologist Colin Andrews when asked, "What was your most memorable crop circle experience and why?":
While visiting a circle in a remote field at Kimpton, Hampshire, England during July 1987, I heard a very strange buzzing sound which was close to me and appeared to interact with me. I was overwhelmed by the experience and it left me very touched because it began after I had stood near the ring alone and prayed for a clue as to what the crop circles were about. A year later, the same sound was recorded on two occasions in crop circles -- one was at "Operation White Crow," the other while a BBC Television crew were interviewing myself and Pat Delgado, my co-author of "Circular Evidence."Debunkers quickly ascribed the trilling on the "White Crow" tape to the Grasshopper Warbler, though the bird is rare and its habitat is marshland rather than crop fields. More persuasively, an audio analysis of the frequencies show them to be oscillating at entirely different frequencies. And frequencies can be as serious as a heart attack, because that's the heart when it loses its own. "What's the frequency, Kenneth?" may be a sensible question after all.
Karl Pribram, "one of the world's leading cognitive neuroscientists," is best known for his holonomic model of the brain. Pribram's model suggests that cerebral function follows holographic principals, with memory and information "stored not in cells, but rather in wave interference patterns."
"What had occured to Pribram," Lynne McTaggart writes in The Field, "is that when we look at something, we don't 'see' the image of it in the back of our heads or on the back of our retinas, but in the three dimensions and out in the world." That is to say, sight creates a virtual image of an object in the same place as the actual object, and memories are preserved in highly efficient wave-frequency patterns distributed throughout the brain rather than as discrete bits of information assigned to localized regions. (Though Pribram's theory of distributed memory was first greeted with much disbelief in the 1960s, it has since been supported by the laboratory work of fellow researchers (numerous vivisections, for instance, on the brains of salamanders have demonstrated they share the attribute of generalized recall).
When we observe the world, Pribram theorized, we do so on a much deeper level than the sticks-and-stones world "out there." Our brain primarily talks to itself and to the rest of the body not with words or images, or even bits or chemical impulses, but in the language of wave interference: the language of phase, amplitude and frequency - the "spectral domain." We perceive an object by "resonating" with it, getting "in synch" with it. To know the world is literally to be on its wavelength.
In a sense, in the act of observation, we are transforming the timeless, spaceless world of interference patterns into the concret and discrete world of space and time.... As with a holgram, the lens of the eye picks up certain interference patterns and then converts them into three-dimensional images.... If we are projecting images all the time out in space, our image of the world is actually a virtual creation.
A holographic brain should be expected as the natural, biological decoder of a holographic universe, such as that of quantum physicist David Bohm. In these compatable models, the brain becomes a participant in the construction of reality by assembling certain frequencies of wave patterns. Just as a hologram cannot be divided against itself as each division contains the base wave pattern required to recreate the image, so Bohm says our brains are smaller aspects of the whole picture that nonetheless "contain the whole knowledge of the universe." Our perspectives are determined by the frequencies to which we're attuned, so the virtual reality we construct encompasses only a narrow spectrum of the quantum wave pattern, or zero point field, that both contains us and which we ourselves contain.
DNA, we've noted, is biophotonic. It's a "coherent source of light, like a laser." A laser, of course, is a useful tool for the creation of holograms.
Light is a form of wave motion, as is sound. A formerly distinguishing characteristic of the two was thought to be that light can travel through empty space, while sound needs a medium, but zero point theory has done away with the vacuum: light traverses the medium of the quantum field. Shamanic initiations appear to stimulate the reception of both wave patterns. For instance, ayahuasca ceremonies generate visual stimuli while the presiding ayahuasqueros sing sacred songs, icaros, said to be taught by the plants or elemental spirits. "I am not the one creating the song," says a shaman. "It passes through me as if I were a radio":
The notion that ayahuasqueros learn their songs directly from the spirits is generalized. According to Townsley (1993), Yaminahua shamans "are adamant that the songs are not ultimately created or owned by them at all, but by the yoshi [spirits] themselves, who "show" or "give" their songs, with their attendant powers, to those shamans good enough to "receive" them.... Chaumeil (1993) talks of the extremely high-pitched sounds emitted by the spirits who communicate with Yagua shamans, more particularly of "strange melodies both whistled and talked," with a strong feminine connotation"("Extremely high-pitched sounds" of the spirits. The buzzing of bees?)
If life is vibration, then music must not be incidental to it. (See, for instance, "Vibration, Music and the Basic Truths of Reality.")
In 1891 Margaret Watts-Hughes sang notes into a device containing lycopodium powder and captured for the first time precise geometric patterns on film. Seventy six years later, Swiss scientist Hans Jenny published his first study on the transmission of sound through electronic frequencies:
He observed how sound vibration created geometric shapes - a low frequency produced a simple circle encompassed by rings, whereas a higher frequency increased the number of concentric rings around a central circle. As the frequencies rose so, too, did the complexity of shapes, to the point where tetrahedrons, mandalas and other sacred forms could be discerned. Like Margaret before him, Jenny enabled humanity to observe 'frozen music'.
The late Gerald Hawkins, former chair of the astronomy department at Boston University, identified a musical scale embedded in the geometry of the crop circles depicted in the early study Circular Evidence, that conformed to the "diatonic ratio," or the white keys of a piano. Hawkins' also found that circle patterns contained a formerly unexpressed Euclidian theorem.
Crop circle and a standing wave of sound vibration
Colin Andrews, whose most memorable experience in a circle was the "strange buzzing sound," says something like three quarters of the patterns made today are probably hoaxes, lacking such properties as magnetic anomalies ("the magnetic field within 20% of crop circles is consistently a few degrees rotationally out of sink with the magnetic field of the earth"), electronic malfunction, cellular change to the grain which germinates seeds growing up to 40% faster than seeds from unaffected plants in the same field, the emission of sound and more.
But perhaps even the hoaxers are unwitting participants in a genuine mystery, because human consciousness appears to be engaged somehow in even the creation of the most mysterious pictograms.
In the early days of crop research, Colin Andrews dreamt of a Celtic cross pattern which hadn't been seen in the fields before. The next morning one was discovered in a field adjoining his home. Busty Taylor, an aerial photographer, was flying with a colleague when he remarked "all we need right now is to see all the designs that have appeared so far rolled up into a Celtic cross." The next day, flying over the same field, he saw the precise depiction of his imagined pattern. These examples and more are reminiscent of UFO reports in which observers describe the objects in the sky as though behaving with an intelligence that is reading their minds.
Researcher Ed Sherwood has found "The Nine" of the Great Ennead of Ancient Egypt - and of Sirius, and Andrija Puharich - represented symbolically in every crop circle season since the early 1980s, when "crop circle seasons" began. He additionally notes that the "contact" of the "White Crow" trilling happened before nine witnesses, on the ninth day of the operation, on the 18th of the month. (For what it's worth, visions of large pyramids surrounded by waves of energy and vibrant colours have been described by "sensitives" while standing in the patterns, as recounted by Eltjo Haselhoff in The Deepening Complexity of Crop Circles.)
Laurence Rockefeller spent a fortune - or what might pass as a fortune for the rest of us - on paranormal research, and gave particular attention in his later years to UFOs and crop circles. I think it's always instructive to consider what captures a Rockefeller's interest.
Article from: http://rigorousintuition.blogspot.com/2006/04/body-eclectic-part-two.html
Related: The Body Eclectic (Part One)
Consciousness, OBE, RV, NDE, Entheogens and Altered States
Holographic Reality & Spritual Science