Radiations throughout the Universe
It is relatively common knowledge that radiations surround
us. It is "fact" that has been submerged into the realm of other facts that we
know and set aside. We intend to delve into this realization head first, as it holds the
key to our construction of the Shamanic Radio. How can we build a radio without at least a
basic understanding of what it is we are trying to tune into and deliver?
The Electromagnetic Spectrum is a human way of understanding
and classifying the many varieties of radiation that surround us in the Universe. Most of
us have heard the term and the categories, maybe many times. But the reality of their
presence escapes us. If we turn on a regular radio, and tune to a station, the signal that
we now hear was already present and continues to be present in the air around us. Even
when the radio is turned off, the signal is still there. A thin sliver of information
running around our bodies, beside our bodies and through our bodies.
The radio station that sends the signal uses a particular
frequency, a very small, specific speed of radiation and uses that "channel" to
transmit its message or content. This new shape in the frequency channel is now a
"message" or "information" because it has been somehow shaped by
"intelligence". Beyond the frequencies that are shaped by the human mind, there
is a vast ocean of what we now call "noise". It is in this noise that we will
eventually find our answers.
* * *
Radiations are usually distinguished by their
frequency, the amount of repeating wave forms that occur in a particular amount of time,
usually a second. The two forms of radiation that we usually perceive directly are
"sound" and "light". Even between those two ranges of frequency there
is a vast area that we don't perceive at all, and there is of course even more below the
frequencies of "sound" and above the frequencies of "light". In other
words, we only directly perceive a fraction of the "information" or
"noise" that is happening around us, and from this small percentage we
extrapolate and determine the content of the rest... a risky proposition but unavoidable.
Frequencies that are lower than the lowest pitch that we can perceive, can still be
perceived as something else: "rhythm". But we'll explore that later. First we
will explore the basics of sound.
* * *
We can talk about sound as one particular form
of "radiation" or waveform. Sound is a propagation of vibrations through the air
which are captured and interpreted by our ears and brains. The same "patterns"
that we perceive as "sound" can and do exist in other forms which we can't
perceive but when they manifest through the air, we "hear" them and process them
with our brains.
These patterns are wave forms, frequencies that
radiate outward from some initiating source. If you talk right now, or make a sound, you
initiate a series of reverberations similar to the little waves that are produced on a
pool of water when you drop a stone into it. This waveforms have three basic qualities:
Pitch, which is a function of frequency. When
a waveform repeats in a regular manner at a certain speed, we perceive this as a
particular "pitch". There are very particular limitation to this. Beneath a
certain speed, we stop perceiving "pitch" and our brains switch to
"rhythm" and above a certain speed, our ears become unable to perceive the
sound.
Volume, which is a function of amplitude. When
a waveform comes into being, it comes with a certain amount of energy. If you speak loudly
right now, you put a larger amount of energy into the reverberations that you create. If
you speak softly, you put a lower amount of energy. This affects not only how loudly
the sound will be perceived but also how far the reverberations will travel.
Timbre, which is a function of the frequency,
amplitude and of the overtones that a sound creates. When you hit a guitar string
that is tuned to A, you won't only get a pure A note, you will also produce a series of
overtones, or higher harmonics of A. The particular timbre of the A produced by the guitar
string (what distinguishes it from the same A played on a piano or sung) is a product of
these overtones, of their individual amplitude, frequency and shape. By shape, we
mean how the sound "evolves" in time. Does it start suddenly and then drop off
slowly? Does it slowly move up to a climactic point and then disappear?
These qualities can be used to describe any
sound at all that you can hear, from pure sine tones through singing violin notes to cars
crashing into each other. Different pitches at different amplitudes with different timbres
and shapes. To distinguish between "music" and "noise" can be useful
but it can also be a hindrance. For now, to the degree that we can, we will dispose of
this distinction and approach all of it as "sound".
* * *
Experiment 1
1- Go to a lonely place. Not necessarily quiet
but lonely (it can be your room, your living room, your backyard, the beach, a forest,
etc.).
2- Sit for a while and take a few deep breaths.
Relax.
3- Now listen closely to the sounds around you.
(No matter where you are, no matter how "quiet" you believe the place to be,
there will be "sound" of some kind.)
4- Pick out a single sound among the many that
you hear.
5- Reproduce the sound in your mind 3 times.
6- Now, reproduce the sound out loud 3 times.
7- Pick another sound and go through the same
process.
8- When you have done 5 sounds, stop.
9- Take a few deep breaths and relax.
Experiment 2
1- Go to a lonely place again.
2- Sit for a while and take a few deep breaths.
Relax.
3- Now again listen closely to the sounds around
you. (No matter where you are, no matter how "quiet" you believe the place to
be, there will be "sound" of some kind.)
4- Try to feel the rhythm of the
"chamber" that you are in at the moment. (If the meaning of "chamber"
in this sense is unclear to you at this time, it will be made clearer later.)
5- When you feel like you have a grasp of the
rhythm of the chamber, imagine a low sound in your mind, a low sound that beats the time
for the chamber.
6- Very slowly, take the sound from the inside
of your mind and bring it out through your voice.
7- Repeat it over and over, as if you were the
heart beat of the whole space and were essential to keeping it alive.
8- Now, again very slowly, let the sound come
back into your mind and dissapear into the "background" of your thoughts.
9- Take a few deep breaths and relax.
Experiment 3 - Pattern and Matram 1
Sit in the lonely place (it doesn't have to be
the same one every time!)
Pick any word at random. It doesn't have to be
a "spiritual word" in any way. In fact it's better if it isn't. If you can't
think of a word, use "shoe" or "lawn".
Start to repeat the word slowly. Pay attention
to the sound that you make. To the feeling of your mouth opening and shaping the sound as
it comes out of you.
Repeat it over and over, paying more and more
attention to the quality of the sound you make and its shape. Take note of the parameters
that we pointed out above: pitch, volume and timbre.
Finally, while continuing to repeat it, become
aware of the sound as pure radiation. Feel yourself as a transmitter of radiation to the
chamber around you. Feel how the chamber responds.
Stop. Take 3 breaths and walk away. The whole
experiment shouldn't last more than 15 to 20 minutes.
Experiment 4 - Heart Radiations
Go to a place where you can be alone and
undisturbed, preferably a place out in nature.
Sit down in a comfortable spot. Take some deep
breaths and relax.
Now close your eyes. Imagine a cone of white
shining light emerging from your heart.
Let it grow slowly. As it grows vibrate
"OM" internally, and feel it emerging from your heart along with the cone of
light.
Let the cone of light spread over the whole
chamber. Feel yourself slowly connecting and flowing into the chamber through the cone of
light.
When you feel that the cone has spread out
over the whole chamber, and the whole chamber is shining with white light, start to let it
fade.
Take your time as you slowly close this space.
Take deep breaths. Move VERY slowly.
Radiations throughout the Universe
Electromagnetic Spectrum, the many forms that
radiations take, matter as constrained Radiation, the relation between speed and
frequency, timbre, beats and notes
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