DRAFT: This module has unpublished changes.

 

 

Hamid Razmkhah

Professor Adam Berg

Otis college of art and design

Fall 2017-18

 

color,water,sound

An investigation into the use of colors in abstract painting as a healing method

 

.Nirvana, Baby! 78 x 64” inches. mixed media on canvas (2017)






“ Here even the various mind pleasing blossoming flowers and attractive shining supreme golden houses have no inherently existent maker at all, they are setup through the power of thought. Through the power of conceptuality, the world is established.”

-Buddha







“Underlying the doctrine of pratītyasamutpāda is the notion that “Because this exists, that arises; because this does not exist, that does not arise”. All of the Buddha’s teachings may be seen as founded on the teaching of Pratītyasamutpāda which is also connected to the Buddhist concept of Dharmadhātu; states that all beings create themselves and even the universe is self-created.”                                                                                                           The idea of cyclic existence and understanding the nature of reality and living as human beings leads us to consider the origin of events that are happening in our lives, every moment is part of a pattern that connects us to a larger reality and each cycle that is part of an infinite chain.
















.Nirvana, baby! (close up/center of the composition)








[ collage]





Acknowledgment



This document contains many topics and ideas that are not yet recognized or proven by mainstream scientific and religious institutions. This research is solely addressing my understanding of issues related to the practice of painting by looking at properties of material that I use. The style of writing may stand outside of traditional artist statements. I tend to think, paint and write in a poetic manner within traditions of my inherited culture. I also understand the existing resistance of academic institutions over the ideas related to inner worlds or so called spiritual concepts. With this awareness; I apply my perspective to various philosophical and scientific theories to question, investigate and to open up a new window to the idea of infinite possibilities from where I stand as a being.





Affirmation

 

“The realization that something is not as you want it to be is an important first step, but once you have identified that , the faster you are able to turn your attention in the direction of a solution, the better, because a continuing exploration of the problem will prevent you from finding the solution. The problem is a different vibrational frequency than the solution and all thoughts (or vibrations) are affected by (or managed by) the law of attraction.” - Esther Hicks




  •          







  • دفتر صوفی سواد و حرف نیست    جز دل اسپید همچون برف نیست‏

                                                        زاد دانشمند آثار قلم                       زاد صوفی چیست آثار قدم‏       

 

                                                       -مولوی ( مثنوی معنوی -  دفتر دوم )                            

















Abstract

 

 



    In this paper I will be discussing the inner and inter-relationships between the artist,

 

the art and the viewer through approaching various methods ranging from artistic

 

practices, scientific and holistic methods.

 

Coming to realization that we, human beings, are symbol makers and are inexorably

 

connected to our environment, led me to think of how art can possibly affect our

 

moods, emotions and beliefs about existence and ourselves. Particularly,

 

deconstructing abstraction in my painting practice took me on a journey filled with

 

colors and emotions as well as artistic and scientific sources from all over the globe

 

from ancient civilizations’ abstract patterns to visual markers such as Hilma AF Klint in

 

Sweden, Emma Kunz in Switzerland and Agnes Martin in Canada and United States,

 

with their focus on abstraction and symbols. Yet what is ‘in common’ remains a

 

mystery of marks and compositional orders which create inciting encounter, for the eye

 

and the brain.

 

As a result through symbols that transform and reform both the artist and the viewer,

 

moving from conventional ways of experiencing art, toward gaining an experience that

 

is enriching both visually and intellectually.

 

In paintings, I use different mediums and colors and rely on particular symbolic and

 

acquisitive meanings and their vibrational qualities as well as found or selected and

 

suitable  objects. Specially by using both traditional and unconventional materials in the

 

works, I attempt to generate certain effects within the compositions. Such effects

 

became a pivotal source for me to follow with research and learn about the effects of

 

vibrational qualities of color, sound and water all of which are the key ingredients in my

 

work.









.Sri yantra - used in the Shri Vidya school of Hindu tantra

 

  1. In mathematics a fractal is an abstract object used to describe and simulate naturally occurring objects. Artificially created fractals commonly exhibit similar patterns at increasingly small scales. It is also known as expanding symmetry or evolving symmetry. If the replication is exactly the same at every scale, it is called a self-similar pattern. An example of this is the Menger sponge. Fractals can also be nearly the same at different levels. This latter pattern is illustrated in small magnifications of the Mandelbrot set. Fractals also include the idea of a detailed pattern that repeats itself. -wikipedia

  2. Resembling fractals in painting by using acidic and basic chemicals to generate a neutral reaction. Caption of ‘As within, so without’ (2017) .





Part 1

 

. Color

 

        

          If we consider that each color in the visible spectrum has it’s own individual

 

frequency that is the result of the vibration of charged particles which are a type of

 

electromagnetic radiation, and these radiations are present in all physical objects and

 

we can detect and measure them, logically, we must be able to orchestrate a code for

 

a painting in order to change the vibrational patterns which emit from it through

 

detecting its frequencies and measuring change in frequencies that results into

 

desirable vibrations.



.Dan Winter's: The (FRACTAL/ recursion wave perfected) - CAUSE of Gravity : planck(length/time) x phi^N - image from : http://www.fractalfield.com/

  • Winter’s hypothesis is a scientific approach to DNA repair through experiencing the feeling of bliss.




Practically, using vibrational frequencies and turn them into healing tools could be a

 

supplement or even a substitute for traditional healthcare practices. The main question

 

is what is the signature frequency of well being and health and/or what is the color of

 

healing? Is there any specific vibration that can transform human body and mind?

 

Based on this hypothesis; color could function as an amazing vibrational tool that we

 

can use to effect the environment and ourselves on physical and psychological levels.

 

Even when investigated deeper by scientists; colors can affect our skin in a direct

 

physical level. There are several examples of using color for healing purposes currently

 

under research for practical use. As a result it is possible to say that if we find the

 

perfect frequency alignment with cure for illnesses it is not far from reality to be able

 

to practically eliminate certain psychological and physical abnormalities in human

 

body only by exposure to the signature frequencies related to organisms of the body.





. Left:The seven Chakras are arranged along the spinal cord, from bottom to top: 1. Muladhara 2. Svadhisthana 3. Nabhi-Manipura 4. Anahata 5. Vishuddhi 6. Ajna 7. Sahasrara.

 

. Right: Human etheric energy system and it’s color relationships in human body by Choa Kok Sui.



. When viewed in full size, this image contains about 16 million pixels, each corresponding to a different color on the full set of RGB colors. The human eye can distinguish about 10 million different colors - image : wikipedia.






Self healing and color

 



 Elizabeth Blackburn, a PhD. Nobel prize winner in physiology and/or medicine in

 

2009 and Elissa Epel PhD in the book “Telomere Effect: A revolutionary approach to living

 

younger, healthier, longer” wrote : “Each time a cell divides, its telomeres shorten.

 

Eventually, they become so short that cells stop dividing and become

 

senescent. This prevents production of cells that can become genetically

 

unstable and lead to cancer (telomerase is activated in most cancers). But

 

stress can trigger telomere loss prematurely.”  In this book Dr. Blackburn

 

explains how positive thinking and maintaining an optimist lifestyle and  self

 

care will eventually result in less stress and longer telomere length which

 

keep the body healthier and younger, longer telomeres can slow down the

 

aging process in the cellular level.

 

Dr.Blackburn gathered many research results related to behavioral

 

psychology and the relationship of stress and the process of aging and how

 

immune system of an individual responds to their psychological stress levels

 

in which takes different routes either to boost self-healing process or toward

 

weakening the immune system and letting the diseases and infections

 

progress inside the body.

 

. A visual explanation of Telomere shortening through cell division.

 

Dr. Blackburn’s research on the effect of positive intention on physical health

 

(length of telomeres) of the individual and our ability to programme the body

 

on the cellular level by choosing right habits and healthy exposure  

 

demonstrates we are able to rebuild new cells and add to the length of

 

telomeres by lowering the level of stress in daily life.

 

Every and each color vibrates with particular frequencies and our sensory

 

organs are receivers and translators of such frequencies where they

 

translate these frequencies into perceptions of feelings and emotions through

 

nervous system, therefore we should be able to conduct a series of color

 

frequencies in order to construct a tonal harmony in alignment with one’s

 

well being.The idea is that if color vibrations can actively affect our senses,

 

our mood and our stress level, as a result, certain tonal harmonies of colors

 

can play a major role in soothing the mind which will become extremely

 

beneficial for maintaining a healthy mind.

 

. In complex vertebrates, including humans, the amygdalae perform primary roles in the formation and storage of memories associated with emotional events. Research indicates that, during fear conditioning, sensory stimuli reach the basolateral complexes of the amygdalae, particularly the lateral nuclei, where they form associations with memories of the stimuli. The association between stimuli and the aversive events they predict may be mediated by long-term potentiation, a sustained enhancement of signaling between affected neurons. There have been studies that show that damage to the amygdala can interfere with memory that is strengthened by emotion. One study examined a patient with bilateral degeneration of the amygdala. He was told a violent story accompanied by matching pictures and was observed based on how much he could recall from the story. The patient had less recollection of the story than patients with functional amygdala, showing that the amygdala has a strong connection with emotional learning - wikipedia

 

Acknowledging the power of colors while nurturing a responsible and thoughtful

 

way of living derives my attention to think of painting with these vibrational qualities as

 

well.

 

While some contemporary artist emphasise more on defined lines of framing visual,

 

symbolic language, to me this platform is one of the only remaining easily

 

accessible regions where humans can communicate purely innovative ideas and

 

explore new phenomena without having to deal with the limits of associations,

 

connotations and preconceived meaning of ‘symbols’.

 

By stretching out boundaries of mainstream ways of thinking about painting and how it

 

has been done and presented for many years within a fine line of what specific  

 

individuals thought reality of existence in time and space could possibly be.

. As within, so without (2017) 74 x 74” inches.





.Single Iceberg (two by two), 2015, 4 archival pigment prints, 20 x 30 inches, 51 x 76 cm, each, 44 x 64 inches, 112 x 162.5 cm. By Iñigo Manglano-Ovalle





. Part 2

 

Water and healing

 

Qualities of water such as high level of absorbency and fluidity makes it possible to

 

work with this substance as a solution, a medium and a container at the same time.



Water in different phases performs certain qualities and by passing across any surface

 

washes and leaves its mark even when it is evaporating from the uppermost layer of

 

The external layers. The formlessness of water creates a dynamic flow where the

 

medium of thought can freely come into shape and express itself in a specific mood.

 

Gravity painting is a way to capture the essence of liquid and watery mark on the

 

surface. A formlessness similar to river streams on the surface of planet Earth which if

 

used in Earth-tones can signify certain natural processes in microcosmos and

 

macrocosmos.

 

These style of painting and imagery contains tendencies of meditative trance and light

 

emotional momentum. In the book “Formless; A user’s guide” there is a page written

 

by Denis Hollier which explains: “The formless, however, is not just an ensure of form

 

but an operation to undo form, and thus a process of generating “bad form.” And the

 

matrix figure displays this in its own paradoxical condition. For while it is made up of

 

totally unstable and changing parts, it is the vehicle of compulsive repetition and thus

 

must be able to secure its own identity, its own sameness over time. To do this it must

 

have a form, yet the difficulty of thinking of this producer of disorder and disruptions a

 

form is obvious. “How in general,” Lyotard asks, “can hat which is form also be

 

transgression? How can what is deviation, derogation, deconstruction be at the same

 

time form? The answer he finds is in the evidence of a form that is not good form, not a

 

good Gestalt. Rather, “it is a form in which desire remains caught, form caught by

 

transgression; but it is also the, at least potential, transgression of form.” And this form

 

which is also the transgression of form is given in the very action of Freud’s matrix

 

figure: it is the action to beat, which codes the pulsation of pleasure, but the pulse as

 

well, of death, as when Lacan writes of the Wolf Man’s terror at the sight of twitching

 

shudder of butterfly wings: “This is why the butterfly may .. inspire in him the phobic

 

terror of recognizing that the beating of little wings is not so very far from causation, of

 

the primal stripe marking his being for the first time with the grid of desire.”

 

To beat it thus not only the form of recurrence, of repetition, but also the “bad form” of

 

the matrix: the vehicle of undoing form, of transporting the temporal into the heart of

 

the figural, and re qualifying it as the inverse of form, which is to say, formless.

 

“The sacralization of the desired object submits desire to the law of contradictory

 

injunctions for which the model (the pole of attraction) that he imitates is at the same

 

time what constitutes the obstacle to his satisfaction (the pole of repulsion).” - Denis

 

Hollier, Le College de Sociologie.

 

This notion of transcendental where ideas merge together and every person can relate

 

to it in a personal way is what attracts me to paint with water.



 

. First wave (2015) 20 x 16” mixed media on canvas



.Olafur Eliasson Creates an Indoor Riverbed at Danish Museum

© Louisiana Museum of Modern Art

 

Sound in healing



A well known scientist and nobel prize winner Professor Luc Antoine Montagnier has

 

conducted a research on water memory and identified certain electromagnetic

. Human saliva before (left) and after a two-minute mobile call (right)

High-frequency fields are often caused by mobile phones (electromagnetic radiation for transmission of messages).

 

frequencies can store and transfer information to other bodies of water without

 

physical contact. This result can possibly open up a new domain in medicine industry.

 

Being able to use electromagnetic frequencies instead of medicine to cure could be the

 

starting point of a new approach to digital biology in a radical way; to heal without

 

physical interaction.

 

Since human body is fabricated of more than 70 % water and this substance is

 

considered the building block of the cell of the body. the idea of healing with frequency

 

makes complete sense to be considered in high priority as it can revolutionize the

 

medical system toward a much more efficient and practical direction.

 

The technique of electromagnetic detection proves that viruses and bacteria emit

 

certain frequencies and can be determined and controlled through the mysterious

 

. Resonance made visible with black seeds on a harpsichord soundboard - wikipedia



qualities of water in storing information by being in contact with any substances or

 

frequencies.

 

Also, Cymatics which is a term to describe the acoustic effects of sound wave

 

phenomena on matter was coined by Hans Jenny a swiss follower of philosophical

 

school of anthroposophy is another way of visualizing the order that waves and

 

vibrational frequencies affect the formation of materials. Because a large percent of

 

the human body is water we can reaffirm that exposure of certain frequencies can

 

transform information of the water molecules inside human body in order to heal and/or

 

to conduct defense mechanism programmes.

 

.Cornstarch and water solution under the influence of sine wave vibration - wikipedia




         Dr. Masaru Emoto a Japanese researcher who was interested in the power of

 

thoughts visualized this idea through microscopic photographs of crystallized frozen

 

drops of water which he exposed to different forms of physical objects, written words

 

and remote attentive thoughts. The result different experiments are a series of pictures

 

which show how positive and negative thoughts can affect the geometry of water in the

 

cellular level.










left to right                                                                

1. Pine Flower Essence

2. Speech of Martin

   Luther King Jr.

3. Water exposed to

   Emerald Stone

4. Love and gratitude

5. Truth




 

 

. you fool

 

.Dr Emoto’s photos of crystallized water drops after these word stayed attached to the container over night

 

 

. Test with water and a magnetic field (A simple experiment under the dark field microscope by researchers and professors at the Aerospace Institute of the University of Stuttgart in Germany is confirming Dr. Jacques Benveniste 1988 assertion that water has an imprint of energies to which it has been exposed.)

 

 

The reference water (well water) is dripped onto a clean glass slide with a disposable syringe. Thereafter, the water is exposed to a magnetic field and dropped onto a second slide with a new, fresh syringe.

The photos show the structures of the water drops before and after the effects of the magnet.

Test 1: Water before the experiment (reference water, left); water 30 minutes after exposure to an iron magnet (right).

 

 

Water in the alternating field

 

 

In another experiment, we exposed the reference water to an alternating field of 50 Hz and in a second test to an

alternating field of 500 Hz.

For this purpose water in a water bottle is placed into a coil, which can be loaded with different alternating fields.

Here,although the same source of water is taken, but only once subjected to an alternating field, so that one and the

same water is not used twice, rather than a new example of the reference water.

The experimental setup in the laboratory: Water bottles (A) in the alternating field (B): Voltage: +/- 10 V;

Frequency: 50 Hz or 500 Hz; Magnetic flux density: 10 µT

 

. before the test                                                                                      . after alternating field 50 Hz

 

. after alternating field 500 Hz




Conclusion of the experiment: "Our experiments in the static magnetic field and the alternating

field indicate a great impact of these fields on the drying structures of water samples. Often

magnetic fields lead to a "scratched" structure that appears to superimpose the unaffected image

just like a network."

This conclusion and the experiment were taken from the research report "Electromagnetic

pollution - A method for the detection of electromagnetic fields in living organism”

 

Contemporary artists such as Olafur Eliasson who work with scientific ideas use

 

material to connect to the spectator in the emotional level. His work is known for their

 

elegant simplicity and lack of materiality, his installations are rooted in a belief that art

 

can create a space sensitive to both individual and collective. I found many similarities

 

in my work with his ideas of working with bodies of water and thinking about

 

configuration of us and our environment and self-awareness that comes after

 

questioning our existence in the world and if it matters and how our actions reflect and

 

change the world around us.

.left: Chlorophyll (2017) 74 x 74” mixed media on canvas.

right: Olafur Eliasson-New York City Waterfalls (2008)

Garry Hill one of well known and fundamental created a video called Meditations that

 

explores the affect of words on sand through a loudspeaker.

 

.Meditations by Garry hill

 

. Nigel stanford performing effect of sound on a metal plate and sand in his video clip Cymatics - science vs. music.



The way body reacts to color and sound is a major question that I keep asking in order

 

to unfold the applications of vibrational qualities of art and mediums. What I grasp

 

from the relationship of human body, water, and vibrations that program the water in

 

cells is to spend more time with objects, colors and ideas that add to moments of

 

feeling better and thinking about them results in more understanding about myself and

 

others as well.

 

When we change size and look at microscopic, we also change dimension and if we are

 

able to see change and effect of symbols in subtle dimensions the only task we need to

 

do in order to improve our condition is bring out the vibrations that are in alignment with

 

the vibration of well being. In this perception of reality words, colors, and objects

 

become the alphabet of a code language where we have full access to order and

 

reorder as many pleasant and desirable forms of goodness into our lives only by

 

composing the note to the music that we will be dancing to. In other words our

 

educated consciousnesses will be engineers of a better co-created reality with more

 

access for everyone and more diversity of ideas.
































Works cited:

 

  1. Blackburn, Elizabeth. “TELOMERE EFFECT: a Revolutionary Approach to Living Younger, Healthier, Longer.”  GRAND CENTRAL PUB, 2018.

  2. Bois, Yve-Alain, and Rosalind E Krauss. “Formless: a user's guide.” Formless: a user's guide by Bois, Yve-Alain, Krauss, Rosalind E, New York: Zone, 1997,

  3. Dalai Lama XIV, Jeffrey Hopkins (Editor), et al. “How to See Yourself As You Really Are.” By Dalai Lama XIV. 2005.

  4. Kok Sui, Choa, “Miracles through pranic healing: practical manual on energy healing” Institute for Inner Studies Publishing Foundation - 2004.

  5. J. Long, Manya. “The Psyche As Interaction: Electromagnetic Patterns of Conscious Energy - Read Online.




Bibliography:

 

 

  1. Tenzin Gyatso, shortened from Jetsun Jamphel Ngawang Lobsang Yeshe Tenzin Gyatso, born Lhamo Thondup,6 July 1935) is the current Dalai Lama. Dalai Lamas are important monks of the Gelug school, the newest school of Tibetan Buddhism which is formally headed by the Ganden Tripas. From the time of the 5th Dalai Lama to 1959, the central government of Tibet, the Ganden Phodrang, invested the position of Dalai Lama with temporal duties, and Jeffrey Hopkins. How to See Yourself as You Really Are. Thorndike/Chivers, 2009.

  2. Emma Kunz: "My Art is destined for the 21st Century" This prediction by Emma Kunz dates from 1941. On the threshold of the new century, it inspired the publication of a `comprehensive monograph on the life and work of this visionary woman in both German and English. Emma Kunz. Artist, Researcher, Healer (English) Gebundene Ausgabe von Rudolf Haase, Anton C Meier, Blanche Merz Ring Thomas, Harald Szeemann, Annelise Zwez (Autoren) Illustrationen Giorgio von Arb, Beat Müller Übersetzer David Britt Maße 265 x 315 mm Einbandart Leinen ISBN-10 3-9521591-1-5 / 3952159115 ISBN-13 978-3-9521591-1-8 / 9783952159118 Emma Kunz lived from 1892 to 1963 in the German-speaking part of Switzerland. In her lifetime she was recognized as a healer; she herself described herself as a researcher. Now she has acquired an international reputation through her artistic work. Even in her schooldays, Emma Kunz occupied herself with exceptional happenings. When she was 18 years old, she began to use her abilities of telepathy, prophecy and as a healer, and she began to exercise her divining pendulum. She achieved successes through her advice and treatments that often edged on the limits of miracles. She herself rejected the term miracle because she attributed it to the ability to use and activate powers that lie dormant in everyone. Not least, it was this gift that permitted Emma Kunz to discover in 1941 the power of the Würenlos healing rock that she named AION A. From 1938, Emma Kunz created large-scale pictures on graph paper. She described her creative work as follows: "Shape and form expressed as measurement, rhythm, symbol and transformation of figure and principle"

  3. DEAN RADIN, Ph.D.,1 RYAN TAFT, B.S.,2 and GARRET YOUNT, Phd. 2 / THE JOURNAL OF ALTERNATIVE AND COMPLEMENTARY MEDICINE Volume 10, Number 1, 2004, pp. 103–112 © Mary Ann Liebert, Inc.-Effects of Healing Intention on Cultured Cells and Truly Random Events /  Dean Radin (/ˈreɪdɪn/; born February 29, 1952) is a researcher and author in the field of parapsychology. He has been Senior Scientist at the Institute of Noetic Sciences (IONS), in Petaluma, California, USA, since 2001, served on dissertation committees at Saybrook Graduate School and Research Center, and former President of the Parapsychological Association.[1][2] He is also co-editor-in-chief of the journal Explore: The Journal of Science and Healing.[3]

  4. PROF. DR. LUC MONTAGNIER - Retroviruses are viruses whose genomes consist of RNA and whose genes can be incorporated into host cells' DNA. In 1983, Luc Montagnier and Françoise Barré-Sinoussi discovered a retrovirus in patients with swollen lymph glands that attacked lymphocytes - a kind of blood cell that is very important to the body's immune system. Montagnier new research is about ‘Water memory’ which explains the purported ability of water to retain a memory of substances previously dissolved in it even after an arbitrary number of serial dilutions. It has been claimed to be a mechanism by which homeopathic remedies work, even though they are diluted to the point that no single molecule of the original substance remains.

  5. Dr. Elizabeth Blackburn - Professor Elizabeth H. Blackburn is a Nobel Laureate and Morris Herzstein Professor of Biology and Physiology, in the Department of Biochemistry and Biophysics at the University of California San Francisco (UCSF). She is a leader in the area of telomere and telomerase research. Elizabeth Blackburn discovered the molecular nature of telomeres – the ends of eukaryotic chromosomes that serve as protective caps essential for preserving the genetic information – and co-discovered the ribonucleoprotein enzyme, telomerase. Professor Blackburn and her research team at UCSF are working with various cells (including human cells), with the goal of understanding telomerase and telomere biology. They also collaborate in investigating the roles of telomere biology in human health and diseases, in clinical and other human studies. Born in Australia, Professor Blackburn earned her B.Sc. (1970) and M.Sc. (1972) degrees from the University of Melbourne, and her Ph.D. (1975) from the University of Cambridge in England. She did her postdoctoral work in Molecular and Cellular Biology at Yale University from 1975 to 1977. In 1978, Professor Blackburn joined the faculty at the University of California Berkeley (UCB), in the Department of Molecular Biology. In 1990, she joined the Department of Microbiology and Immunology at UCSF, where she served as Department Chair from 1993 to 1999. Professor Blackburn is currently a faculty member in the Department of Biochemistry and Biophysics at UCSF. She is also a Non-Resident Fellow of the Salk Institute. Professor Blackburn has won many prestigious awards throughout her career. She was elected Fellow of the American Academy of Arts and Sciences (1991) and the Royal Society of London (1992). She was elected Foreign Associate of the National Academy of Sciences (1993) and Member of the Institute of Medicine (2000). She served on the President’s Council on Bioethics from 2002 to 2004, and has been awarded honorary degrees by 11 Universities. She received the Albert Lasker Medical Research Award for Basic Medical Research in 2006, and in 2007 was named one of TIME Magazine’s 100 Most Influential People. In 2008 she was the North American Laureate for L’Oreal-UNESCO For Women in Science. In 2009, Professor Blackburn was awarded the Nobel Prize in Physiology or Medicine.

  6. .George C. Brainard - University of Texas Health Science Center Ph.D. (Anatomy) - 1982 Research Interests. Dr. Brainard has directed Jefferson's Light Research Program since 1984. This program's research studies the effects of light on neuroendocrine physiology and circadian regulation in humans. Using the techniques of photobiology, radioimmunoassay, and performance testing, this group has documented how various visible and nonvisible light sources influence both hormonal balance and behavior. Current studies include elucidating the action spectrum of melatonin regulation, investigating the phase shifting capacities of light, studying the influence of light on tumor progression, and testing new light treatment devices for winter depression. Other Expertise - INTERNATIONAL AND NATIONAL COMMITTEES National Institute of Mental Health, Psychobiology Branch: Consultant for experimental light therapy, 1986-1989.NASA, Lighting design of space vehicle and spacecraft interiors: space shuttle, space station and space laboratory, 1987-present. Inter-Society Color Council, Co-Chairman Committee on Physiological Response to Color, 1988-1994. Society for Light Treatment and Biological Rhythms, Chairman, Federal and Industrial Relations Committee, 1989-1992. Illumination Engineering Society of North America, Chairman Photobiology Committee, 1990-2000. Bio-Brite, Inc., Chairman, Scientific Advisory Board, 1991-present. Commission Internationale De L'Eclairage (International Commission on Illumination), United States National Committee, Chairman Photobiology Committee (Division 6), 1992-present. Society for Light Treatment and Biological Rhythms, Chairman, Membership Committee, 1992-1996. Temple University, Center for Frontier Sciences, Advisory Board, 1997-present. European Pineal and Biological Rhythms Society, Board of Directors, 1999-present Society for Light Treatment and Biological Rhythms, Board of Directors, 2000-present. NASA, National Space Biomedical Research Institute, Member Human Performance Factors, Sleep and Chronobiology Team, 2001-present. NASA, National Space Biomedical Research Institute, Associate Team Leader Human Performance Factors, Sleep and Chronobiology Team, 2002-present.

  7. . Master Choa Kok Sui is the Founder and Originator of the Pranic Healing® and Arhatic Yoga® System, as well as the internationally acclaimed author of the book, Miracles Through Pranic Healing (3rd Edition). Originally published in 1987 as The Ancient Science and Art of Pranic Healing, Master Choa conceptualized a fresh and far deeper understanding of energy healing, using the readily available source of all life - Prana, called Pranic Energy or Vital Life Force.

  8. .Rosalind Epstein Krauss (born November 30, 1941) is an American art critic, art theorist and a professor at Columbia University in New York City.[1] Krauss is known for her scholarship in 20th-century painting, sculpture and photography. As a critic and theorist she has published steadily since 1965 in Artforum, Art International and Art in America. She was associate editor of Artforum from 1971 to 1974 and has been editor of October, a journal of contemporary arts criticism and theory that she co-founded in 1976.. In the late-1960s and early-1970s Krauss began to contribute articles to art journals such as Art International and Artforum — which, under the editorship of Philip Leider, was relocated from California to New York.[5] She began by writing the "Boston Letter" for Art International, but soon published well-received articles on Jasper Johns (Lugano Review, 1965) and Donald Judd (Allusion and Illusion in Donald Judd, Artforum, May 1966). Her commitment to the emerging minimal art in particular set her apart from Michael Fried, who was oriented toward the continuation of modernist abstraction in Jules Olitski, Kenneth Noland and Anthony Caro. Krauss's article A View of Modernism (Artforum, September 1972), was one signal of this break.

  9. .Masaru Emoto (江本 勝 Emoto Masaru, July 22, 1943 – October 17, 2014)[1][2] was a Japanese author, researcher, photographer and entrepreneur, who claimed that human consciousness has an effect on the molecular structure of water. Emoto's conjecture evolved over the years, and his early work explored his belief that water could react to positive thoughts and words, and that polluted water could be cleaned through prayer and positive visualization

  10. .Yve-Alain Bois (born April 16, 1952) is a professor of Art History at the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey.

  11. .Denis Hollier Professor of French Literature, Thought and Culture

  12. .Leo Maurice Hurvich (September 11, 1910 – April 25, 2009) was an American psychologist who conducted research into human color vision. He was married to fellow cognitive psychologist Dorothea Jameson. The pair collaborated on much of their work, including an elaboration on the opponent process theory. Hurvich was a member of the National Academy of Sciences and he received the APA Award for Distinguished Scientific Contributions to Psychology from the American Psychological Association.









Further studies:

 

  1. https://plato.stanford.edu/entries/qt-uncertainty/

  2. Color and Visual Comfort - Cecilia Rios Velasco - The University of Texas at Austin school of architecture - center of sustainable development.

  3. https://vscht.cz/uchi/ped/hydroteplo/materialy/introduction.fluid.mech.pdf  introduction to wave mechanics

  4. https://en.wikipedia.org/wiki/Color_psychology

  5. https://en.wikipedia.org/wiki/Wikipedia:Wiki_Science_Competition_2017_in_the_United_States#/media/File:Paracetamol_in_polarisiertem_Licht_2.jpg

 

DRAFT: This module has unpublished changes.

 

Research Oct/17/17

 

 

 

Hamid Razmkhah

Senior thesis essay

Professor Adam Berg

Fall 2017




Meta analysis or

An investigation of the role/importance of vibrations in abstract painting;

Water-Color-Sound.





Quotes:

 

 



  1. “ Here even the various mind pleasing blossoming flowers and attractive shining supreme golden houses have no inherently existent maker at all, they are setup through the power of thought. Through the power of conceptuality, the world is established.” -Buddha

 

Jeffrey Hopkins in the introduction of the book “How to see yourself, as you really are” writes: … the overarching theme of this book is that self-knowledge is the key to personal development and positive relationships. The Dalai lama shows us how in the absence of true self-knowledge, we hurt ourselves true misguided, exaggerated notions of self, others, external events and physical things. Even our senses deceive us, drawing us to attachment and negative actions that only come back and haunt us in the future. This book details how to overcome these mistakes in order to live from a realistic knowledge of our healthy interdependence. … by directing our attention to the false bay near that so bedazzled



  1. “Quality is the whole of being unveiling itself within the limitation of the there is.” - Jean-Paul Sartre (formless; A user’s guide)





  1. “... forms are the mutable results of an unchanging framework. Another is that the framework is constructed in obedience to law that the inner construction is logical; but that the results change or are unchangeable. It allows us to discover “ the logical grounds of possibility for the purely subjective phenomenon of vision itself.”

 

  1. In the process of psychic healing or laying on of hands, the healer feels connected to a higher power. For many western healers this higher power is Christ consciousness, an all knowing and loving presence that transcends rationality and guides the healing session. In my painting Healing, the healer and patient complete a circuit of spiritual energy originating from a common source. The energy follows the route of the optic tract, restoring sight to the blind man. - Alex Grey






  • Acceptance of mutability and mutuality

 

  • Brain’s ability in understanding patterns

  • The rejection of any source of evidence is always treason to that ultimate rationalism which urges forward science and philosophy alike  —Alfred North Whitehead






Abstract

 

 

 

    In this paper I will be discussing the inner and inter relationships of the artist, the art material and the viewer through approaching various methods such as artistic, scientific and holistic and experimental observation.

 Coming to realization that we, human beings, as a specie, are inexorably connected to our environment, led me to think of how Art can possibly affect our moods, emotions and beliefs about existence and ourselves. Particularly, deconstructing abstraction in painting took me on a journey filled with colors, emotions and much artistic and scientific material from all over the globe. From Hilma AF Klint in Sweden to Emma Kunz in Switzerland to Agnes Martin in Canada and United States all artist who were focused on abstraction and subconscious layers of human mind had something in common which is the mystery of placing marks and making composition in a way which created an od encounter for the eye and the brain, as a result transforming and reforming artist and viewer from conventional and historical way of experiencing art toward gaining an up to date and more beneficial experience both visually and intellectually.




Philosophical

 

The psyche as interaction: Electromagnetic patterns of conscious energy

 

 

 

Author

Flatte, Stanley M

"Einstein and Religion: Physics and Theology" by Max Jammer is reviewed.



Chapter 3

Jammer states the purpose of Chapter 3 as an investigation into "whether Einstein's "purely scientific" work has any implications that are relevant to religious issues or to theology as a systematic discipline."Jammer's paradigm lies in the acknowledged facts that both Newton and Copernicus changed forever the way theologians thought about the universe. Let us list the scientific results of Einstein's work:

1. The Overthrow of Simultaneity. Newton's evenly and equably flowing time is not a correct concept for our universe. Rather the order, or simultaneity, of events is dependent on the observer. The discussion here requires understanding the special theory of relativity, including Lorentz contraction, time dilation, and different reference frames. Jammer uses equations, diagrams, and technical discussion in this very extensive part of the book.

2. Mass-Energy Equivalence. The theological implications here are: (a) Can the universe be created out of nothing? Jammer refers to a discussion by Henry Margenau, in which Margenau cancels the rest mass energy of a sphere with its gravitational potential energy. (b) God can achieve physical incarnation. A significant section of Chapter 3 discusses the theories of Thomas Forsyth Torrance and reactions thereto that equate energy-mass equivalence to the possibility that a being (God) of pure energy could transform to matter in an Incarnation. Jammer quotes a number of critics of this position.

3. Gravitation is equivalent to Curved Space. The identification of a force with the very structure of space time has powerful implications for theologians trying to understand metaphysics. Jammer's discussion of this aspect of Einstein's general theory is tied up with his treatment of the Big Bang. However, he does give a light-hearted contribution to the discussion by quoting Kepler, from 1601: "Where matter is, there is geometry."

4. Local Realism. Despite his lifelong aversion to the standard interpretation of quantum mechanics, Einstein was one of the founders of this basic branch of physics. The theological implications of quantum mechanics spring from just those parts of quantum mechanics that Einstein said were ephemeral, and that would be replaced with a more complete theory (which has not come yet). However, Einstein made one crucial contribution by pointing out explicitly how quantum mechanics disagrees with our belief that nothing can travel faster than light. This contribution came in the form of a thought experiment presented by Einstein, Podolsky, and Rosen, in which two photons are created at a central location, and each travels to a distant star (in the opposite direction). The first photon is measured, and at the instant of this measurement the second photon is modified. Einstein rejected this as absurd, but the experiment has been done (in effect), and quantum mechanics is correct. We have therefore to admit that two photons light-years apart are in some sort of relation to each other. We cannot send real signals by this means, but the relation is still mysterious. The theological speculations that this aspect of physical reality induces are mind-spinning.

5. The Big Bang. The general public's view of the early moments of the universe is probably strongly influenced by Steven Weinberg's book "The First Three Minutes," which gives the impression that one can go back closer and closer to a singularity represented by time zero. In 1983, Stephen Hawking and James B. Hartle showed that because of quantum mechanics there is no singularity. Perhaps I can help the reader understand with a reminder of a simple model of the expanding universe in space. There is no wall at the outermost reaches of space. In order to understand this, one can imagine a two-dimensional space that is the surface of a balloon that is expanding. At any time one can travel everywhere on the surface of the balloon but never hit a wall. Hawking and Hartle's theory can be thought of as a four-dimensional version of the balloon, but with one of the dimensions as time. Thus there is no "wall" at zero time any more than there are walls in space.

Nonetheless, the appearance of having started from a point in time 15 billion years ago, even if not defined to the microsecond, has given theologians grounds for interpretation of the Bible and other texts that previous scientific theories did not. Pope John Paul II in 1979, the 100th anniversary of Einstein's birth, discussing Einstein, said "Filled with admiration for the genius of the great scientist, in whom is revealed the imprint of the creative spirit, without intervening in any way with a judgment on the doctrines concerning the great systems of the universe, which is not in her power to make, the Church nevertheless recommends these doctrines for consideration by theologians in order to discover the harmony that exists between scientific truth and revealed truth."

Jammer provides much discussion about the origin of time, summarizing people like Adolf Grunbaum, William Lane Craig, and Quentin Smith. He ends by reminding us that we may never answer questions like "Why is there something rather than nothing?" Present science can do no better than to create the "anthropic principle," which merely says that if there were nothing, we would not be around to contemplate it.




Part C

 

Neurological Concepts

 

  1. How color generates dimension: The differential response of the human visual system to the frequency of the e/m spectrum called color determines dimension. The human color vision is trichromatic, meaning our visual system is comprised of three types of photoreceptors cross connected to three color channels. Consequently, three dimensions are needed to represent the kinds of color distinction that we can make. The theory that originally proposed the three color channels is called the opponent-process theory by Leo Hurvich and Dorothea Jameson in 1957. It is accepted dogma that the “channels correspond in some way to the complex cross-connections among retinal cells and post retinal neuronal ensembles. The opponent-process theory proposed that there are three color channels: one channel is achromatic (black and white) and involves the photoreceptors in the retina, called rods, which signal differences in brightness (these are involved in night vision); the other two channels are chromatic (red-green and yellow-blue) and involve the photoreceptors which are less sensitive to light, called cones, which signal differences in the hues. Together the rods and cones account for seventy percent of the body’s receptors since there are one hundred twenty-five million rod cells and six million cone cells. Red, green, yellow and blue are the four fundamental colors or hues from which the approximate 50,000 binary hues are formed, e.g., reddish-blues (purple), reddish-yellows (oranges), greenish-yellow (chartreuse), etc. The retina cone cells, which, like the rod cells, process visual information signals either in vertical or horizontal pathways, absorb the104frequency of the visible light spectrum (or 560, 530 and 440 nanometers in wavelength) in a mosaic pattern. These three cones analyze and differentiate the incoming frequency into two mutually exclusive or opponent pairs which constitute the two chromatic channels. The process of the intermingling of the three types of cones result in the long wave (L), middle wave (M) and short wave(S) receptors. “Excitatory and inhibitory processes in post-retinal cells enable the signals from these receptors to be added and or subtractively compared. And, as discussed in Sacred geometry, the reason for the necessity of these periodic oscillations, for example lateral inhibition, might be found in an unlikely source. “The answer is simply that equality, there is no difference, and without difference, there is no perceptual universe. So the human visual system is based on the interactions of its parts (the rods and cones), resulting in an eventual image being built upon the cells of the visual cortex in the brain. Also, the visual system constitutes the difference between the signals from the L and M receptors generated by the red-green channel, and the difference between the sum of the signals from the L and M receptors and the S receptors, which generates the yellow-green channel. The integration process called lateral inhibition results from the signal processing of sinewave coded information (frequency) of the vertical and horizontal pathways of the rods and cones. “When a rod or cone stimulates a horizontal cell, the horizontal stimulates the nearby receptors but inhibits more distant receptors and bipolar cells that are not illuminated, making the light spot appear lighter and the dark surroundings even darker. This process sharpens edges and enhances contrast in the image, which determines dimension so that our “color coded world is brought forth by complex processes of the structural coupling.






EMMA KUNZ

 

 

 

 

Emma Kunz, one of the most exceptional women of the 20th century, was known as a natural healer all her life and described herself as a researcher. She has now acquired an international reputation as an artist who created an incomparable artwork that has to date been exhibited in over 50 museums around the world.

 

Emma Kunz left behind a comprehensive legacy of artwork consisting of around 400 drawings. The legacy was first made available to the public in 1973 thanks to Prof. Heiny Widmer, the director of the Aargauer Kunsthaus art gallery at the time, and created a sensation in the art world.

 

Emma Kunz recorded her knowledge in large-format drawings on graph paper, and their significance extends far beyond their aesthetic beauty. They are a visible testimony of her research, represented by strictly geometric drawings on graph paper with pencil, coloured pencil and oil pastels, whose content, among other things provides answers to her questions about life and its spiritual implications. She described her artistic energy fields as follows: "Design and shape as dimension, rhythm, symbol and transformation of numbers and concepts." For Emma Kunz, each colour and each shape had a precise meaning in her understanding of the world. The pictures served her as her answers in her search for enlightenment.

 

She regarded her pictures as holograms, spaces you could walk into, images to be unfolded or collapsed back down again, usually multilayered in their construction. At a primary level, they opened up to her the cryptic answers to numerous questions that interested her. These might be spiritual or philosophical in nature, of they might contain the cause and treatment of an illness, or provide an explanation for a political situation and the resulting consequences.

 

On another level, she also used her pictures to help with the physical or mental problems of her patients. For Emma Kunz, her works went far beyond the normal definition of art. She was sounding out spiritual layers that often led to prophecy.

 

The Emma Kunz Centre was opened in the Roman quarries in Würenlos in 1986 to preserve the findings of Emma Kunz for posterity and to extract the AION A, a healing rock that she had discovered, and thus make it accessible to mankind. As the result of the founding and work of the Emma Kunz Centre, the heart-felt wish of Emma Kunz was fulfilled that "this place of strength" might become a meeting place where cultural, spiritual and healing works could be brought together.



The impressive stone grotto, where Emma Kunz discovered the AION A healing rock in 1942, forms the centrepiece of the facility. She continually returned to this place in order, as she put it, to "recharge like a battery" her body and soul, surrounded by the balancing and harmonising effect of the grotto. This earthly sanctuary is sought out today by innumerable people in line with Emma Kunz's vision.

 

The Emma Kunz Museum, opened in 1991, houses a permanent exhibition of 70 of her most important works.

 

As a pioneer, Emma Kunz is considered to be one of the most important "females healers" of the past millennium (illustrated volume, Sandmann-Verlag, Munich, 2010).



In 2011, the Limmat-Verlag publishing house, Zurich, published the book "Starke Schweizer Frauen" (Strong Swiss Women), in which Emma Kunz is honoured with the title "The visionary among the blind" and "The people's saint".

 




“My paintings have neither object nor space nor line nor anything-no forms. They are light, lightness, about merging, about formlessness, breaking down form. You wouldn’t think of form by the ocean. You can go in if you don’t encounter anything.” - Agnes Martin



Formless A user’s guide by Yve Alain Bois and Rosalind E.Krauss:

 

 

 

P 108 “The destruction of difference, the work here of the matrix figure, is the destruction of form. This is what Roger Caillois saw when he reasoned that the animal that cannot separate itself from its background, cannot keep either its shape or the form of its own identity intact. This is how the surrealist photographers joined him as they attacked form by literally melting the image (Ubac’s brulages) or by embracing the fetishes blurring of sexual difference(Bellmer’s poupees, Man Ray’s “hats” figure 33

 

The formless, however, is not just an ensure of form but an operation to undo form, and thus a process of generating “bad form.” And the matrix figure displays this in its own paradoxical condition.For while it is made up of totally unstable and changing parts, it is the vehicle of compulsive repetition and thus must be able to secure its own identity, its own sameness over time. To do this it must have a form, yet the difficulty of thinking of this producer of disorder and disruptions a form is obvious. “How in general,” Lyotard asks, “can hat which is form also be transgression? How can what is deviation, derogation, deconstruction be at the same time form? The answer he finds is in the evidence of a form that is not good form, not a good Gestalt. Rather, “it is a form in which desire remains caught, form caught by transgression; but it is also the, at least potential, transgression of form.” And this form which is also the transgression of form is given in the very action of Freud’s matrix figure: it is the action to beat, which codes the pulsation of pleasure, but the pulse as well, of death, as when Lacan writes of the Wolf Man’s terror at the sight of twitching shudder of butterfly wings: “This is why the butterfly may .. inspire in him the phobic terror of recognizing that the beating of little wings is not so very far from causation, of the primal stripe marking his eing for the first time with the grid of desire.”

To beat is thus not only the :form: of recurrence, of repetition, but also the “bad form” of the matrix: the vehicle of undoing form, of transporting the temporal into the heart of the figural, and re qualifying it as the inverse of form, which is to say, formless.

“The sacralization of the desired object submits desire to the law of contradictory injunctions for which the model (the pole of attraction) that he imitates is at the same time what constitutes the obstacle to his satisfaction (the pole of repulsion).” - Denis Hollier, Le College de Sociologie.




 



Color and it’s (healing) properties in scientific and/or holistic views

 

 







Myths and preconceptions: These common beliefs about interior color have allowed individuals to make assumptions about its impact on interior space occupants. While there is limited empirical evidence suggesting the physiological impacts of color, the prevailing view is that warm colors are more arousing than cool colors, and that red (to a lesser extent orange and yellow) can speed up psychomotor reactions and, if excessive, can impair efficiency of work performance. The experimental findings that support this view are sparse, often contradictory, and have limited usefulness in predicting the effects of color in the interior environment on office workers’ productivity and psychological well-being.1 One of the studies conducted on how color can have a positive effect on people’s behavior is the pink prison experiment in the late 1970s. In this study, inmates in Seattle, Washington were placed in a bright pink prison holding cell and they were later found to exhibit less aggressive traits.3 Their findings became so well

 

Experimental studies The following series of experimental studies aims to understand more fully how color within the work environment affects its occupants. These experiments have been conducted over the past 20 years in a controlled environment of closed office spaces to determine the possible effects of color on workers’ well being, satisfaction, productivity, and performance. Study #1: Color of interiors and productivity and mood. This experiment focused on the effect of color on task performances. It was designed to analyze the effects of a red office environment versus a blue office environment on participants’ typing task and mood. The general assumption is that warm colors have more arousing effect on human behavior than cool colors. In this study, we postulated that there would be greater anxiety and arousal among the occupants in the red office than the occupants in the blue office. Typing performance was also measured to see if the overall performance of occupants was affected by office color. Subjects Thirty-six subjects participated in this experiment. There were equal numbers of female and male subjects. One third were between the ages of 18 and 25 years, another third were between the ages of 26 and 35 years, and the last third were 36 years or older. The subjects’ typing performance was estimated and categorized into low (15 to 30 words per minute), medium (30 to 45 words per minute), or high (45 to 60 words per minute) performance. Materials Office interiors: Each office was 8ft. wide, 11ft. 9in.long, and 8ft. 9in. high. All four walls (including the back of the door) in each of the spaces were painted red (Munsell color notation: 6.05R 4.59/11.15) or blue (Munsell color notation: 1.51PB 4.95/8.05). The temperature for both offices was maintained between 76°F and 81°F. Each office was furnished with two desks, three chairs, books, a window, a lamp, a small plant, typing paper, and an electric typewriter. Tests: Each subject was given information to type onto three University of Texas business forms (gift processing form, purchase voucher, and request for appointment form). If the subjects finished these forms in the allotted time, they were provided with a copy of an essay to type. After 20 minutes of typing, each subject filled out the Employee Screening Questionnaire (ESQ), which provides a profile over eight categories: anxiety, stress, depression, regression, fatigue, guilt, extraversion, and arousal. Procedure There were four orders of procedure (nine subjects in each order). In each order, the subjects were pre-tested on their typing ability and they were matched according to the result of their typing test. Subjects in each order were instructed to do one of the following things: stay in the red room for the entire experiment; stay in the blue room for the entire experiment; start in the red room in the first half of the experiment and shift to the blue room in the second half; and start in the blue room in the first half of the experiment and shift to the red room in the second half. The experimental procedure started by escorting the subjects to one of the monochromatic rooms and they were given the University’s forms to fill out for 20 minutes with an additional five minutes warm-up time. Next, the subjects were given the ESQ. After a five-minute break outside of the office, subjects were either back in the same room or moved to the other monochromatic room and repeated the same tasks: filling in forms for 20 minutes and then responding to the same ESQ. All subjects were asked to type on the same forms. Carbons were attached to the typewriter to keep track of the errors they made while typing. The dependent variables included the number of words typed, number of errors made, and the responses on the ESQ. Results Analysis of variance was performed with repeated measures using the Statistical Analysis System (SAS) software. The only significant main effect in the analyses was the total number of errors made on the typing task. • In terms of typing performance, the subjects who switched to a different office half-time during the experiment made a greater number of errors than those who stayed in the same office for the entire experiment. The group that switched from the blue office to the red office made a significantly greater number of errors than the other three groups. Specifically, women who went from the blue office to the red office made more errors than women in any other group. • In terms of mood, the responses from the ESQ showed that the red office was associated with anxiety, whereas the blue office was associated with depression among subjects. Also, changing color environment (offices) was associated with increased arousal among subjects. In addition, the fatigue measure on the ESQ was lower for women who switched from the blue office to the red office. This would indicate that the increase in errors in the second half of the experiment was not due to the fatigue effect.





















 

Sound

 



.Circle_of_fifths_deluxe_4





Cymatics

 

Cymatics, from Greek: κῦμα, meaning "wave", is a subset of modal vibrational phenomena. The term was coined by Hans Jenny (1904-1972), a Swiss follower of the philosophical school known as anthroposophy. Typically the surface of a plate, diaphragm or membrane is vibrated, and regions of maximum and minimum displacement are made visible in a thin coating of particles, paste or liquid.[1] Different patterns emerge in the excitatory medium depending on the geometry of the plate and the driving frequency.

The apparatus employed can be simple, such as the old Chinese singing bowl, in which copper handles are rubbed and cause the copper bottom elements to vibrate. Other examples include the Chladni Plate[2] and the so-called cymascope.

 

 

History

On July 8, 1680, Robert Hooke was able to see the nodal patterns associated with the modes of vibration of glass plates. Hooke ran a bow along the edge of a glass plate covered with flour, and saw the nodal patterns emerge.[3]

The German musician and physicist Ernst Chladni noticed in the eighteenth century that the modes of vibration of a membrane or a plate can be observed by sprinkling the vibrating surface with a fine dust (e.g., lycopodium powder, flour or fine sand). The powder moves due to the vibration and accumulates progressively in points of the surface corresponding to the sound vibration. The points form a pattern of lines, known as nodal lines of the vibration mode. The normal modes of vibration, and the pattern of nodal lines associated with each of these, are completely determined, for a surface with homogeneous mechanical characteristics, from the geometric shape of the surface and by the way in which the surface is constrained.[3]

Experiments of this kind, similar to those carried out earlier by Galileo Galilei[4] around 1630 and by Robert Hooke in 1680, were later perfected by Chladni, who introduced them systematically in 1787 in his book Entdeckungen über die Theorie des Klanges (Discoveries on the theory of sound). This provided an important contribution to the understanding of acoustic phenomena and the functioning of musical instruments. The figures thus obtained (with the aid of a violin bow that rubbed perpendicularly along the edge of smooth plates covered with fine sand) are still designated by the name of "Chladni figures".

 

n 1967 Hans Jenny, a follower of the anthroposophical doctrine of Rudolf Steiner, published two volumes entitled Kymatic (1967 and 1972), in which, repeating Chladni's experiments, he claimed the existence of a subtle power based on the normal, symmetrical images made by sound waves. Jenny put sand, dust and fluids on a metal plate connected to an oscillator which could produce a broad spectrum of frequencies. The sand or other substances were organized into different structures characterized by geometric shapes typical of the frequency of the vibration emitted by the oscillator. It should be noted that modern analysts, including Michael Shermer, have termed anthroposophy's application in areas such as engineering, medicine, biology, and biodynamic agriculture as pseudoscience.

According to Jenny, these structures, reminiscent of the mandala and other forms recurring in nature, would be a manifestation of an invisible force field of the vibrational energy that generated it. He was particularly impressed by an observation that imposing a vocalization in ancient Sanskrit of Om (regarded by Hindus and Buddhists as the sound of creation) the lycopodium powder formed a circle with a centre point, one of the ways in which Om had been represented. In fact, for a plate of circular shape, resting in the centre (or the border, or at least in a set of points with central symmetry), the nodal vibration modes all have central symmetry, so the observation of Jenny is entirely consistent with well known mathematical properties[citation needed].

From the physical-mathematical standpoint, the form of the nodal patterns is predetermined by the shape of the body set in vibration or, in the case of acoustic waves in a gas, the shape of the cavity in which the gas is contained. The sound wave, therefore, does not influence at all the shape of the vibrating body or the shape of the nodal patterns. The only thing that changes due to the vibration is the arrangement of the sand. The image formed by the sand, in turn, is influenced by the frequency spectrum of the vibration only because each vibration mode is characterized by a specific frequency. Therefore, the spectrum of the signal that excites the vibration determines which patterns are actually nodally displayed.

The physical phenomena involved in the formation of Chladni figures are best explained by classical physics

 

.Resonance made visible with black seeds on a harpsichord soundboard




 

.Cornstarch and water solution under the influence of sine wave vibration









 

In healing[edit]

It has been posited that sound waves may stimulate healing[citation needed]. However, other than select articles on the subject of low-amplitude high-frequency sound in bone fracture healing,[5] there is no medical evidence of this phenomenon.

Influences on art and music[edit]

Devices for displaying nodal images have influenced visual arts and contemporary music. Artist Björk created projections of cymatics patterns by using bass frequencies on tour for her album Biophilia.

Hans Jenny's book on Chladni figures influenced Alvin Lucier and helped lead to Lucier's composition Queen of the South. Jenny's work was also followed up by Center for Advanced Visual Studies (CAVS) founder György Kepes at MIT.[6] His work in this area included an acoustically vibrated piece of sheet metal in which small holes had been drilled in a grid. Small flames of gas burned through these holes and thermodynamic patterns were made visible by this setup.

In the mid 1980s, visual artist Ron Rocco, who also developed his work at CAVS, employed mirrors mounted to tiny servo motors, driven by the audio signal of a synthesizer and amplified by a tube amp to reflect the beam of a laser. This created light patterns which corresponded to the audio's frequency and amplitude. Using this beam to generate video feedback and computers to process the feedback signal, Rocco created his "Andro-media" series of installations. Rocco later formed a collaboration with musician David Hykes, who practiced a form of Mongolian overtone chanting with The Harmonic Choir, to generate cymatic images from a pool of liquid mercury, which functioned as a liquid mirror to modulate the beam of a Helium-Neon laser from the sound thus generated. Photographs of this work can be found in the Ars Electronica catalog of 1987.[7]

Contemporary German photographer and philosopher Alexander Lauterwasser has brought cymatics into the 21st century using finely crafted crystal oscillators to resonate steel plates covered with fine sand and to vibrate small samples of water in Petri dishes. His first book, Water Sound Images,[8] translated into English in 2006, features imagery of light reflecting off the surface of water set into motion by sound sources ranging from pure sine waves to music by Beethoven, Karlheinz Stockhausen, electroacoustic group Kymatik (who often record in ambisonic surround sound) and overtone singing. The resulting photographs of standing wave patterns are striking. Lauterwasser's book focused on creating detailed visual analogues of natural patterns ranging from the distribution of spots on a leopard to the geometric patterns found in plants and flowers, to the shapes of jellyfish and the intricate patterns found on the shell of a tortoise.

Composer Stuart Mitchell and his father T.J. Mitchell claimed that Rosslyn Chapel's carvings supposedly contain references to cymatics patterns. In 2005 they created a work called The Rosslyn Motet realised by attempting to match various Chladni patterns to 13 geometric symbols carved onto the faces of cubes emanating from 14 arches.[9]

Like many claims in the cymatics community, the hypothesis that the carvings represent Chladni patterns is not supported by scientific or historical evidence. One of the problems is that many of the 'box' carvings are not original, having been replaced in the 19th century following damage by erosion.

The musical group, "The Glitch Mob" used cymatics to produce the music video "Becoming Harmonious (ft. Metal Mother)"[10]

Influenced by Yantra diagrams and cymatics, artist and fashion designer Mandali Mendrilla created a sculpture dress called "Kamadhenu (Wish Tree Dress III)" the pattern of which is based on a Yantra diagram depicting goddess Kamadhenu. [11][12]

Aphex Twin suggests learning more about cymatics (linking to this article) in reference to 'master tuning of 440 Hz' in a conversation with synth-maker Tatsuya Takahashi [13]

Influences in engineering[edit]

Inspired by periodic and symmetrical patterns at the air-liquid interface created by sound vibration, P. Chen and coworkers developed a method to engineer diverse structures from microscale materials using liquid-based templates.[14] This liquid-based template can be dynamically reconfigured by tuning vibration frequency and acceleration.

 

Binaural beats[edit]

Binaural beats

To experience the binaural beats perception, it is best to listen to this file with headphones on moderate to weak volume – the sound should be easily heard, but not loud. Note that the sound appears to pulsate only when heard through both earphones. Time duration of 10 seconds Binaural Beats Base tone 200 Hz, beat frequency from 7 Hz to 12.9 Hz. Time duration of 9 minutes.

A binaural beat is an auditory illusionperceived when two different pure-tone sine waves, both with frequencies lower than 1500 Hz, with less than a 40 Hz difference between them, are presented to a listener dichotically (one through each ear).

For example, if a 530 Hz pure tone is presented to a subject's right ear, while a 520 Hz pure tone is presented to the subject's left ear, the listener will perceive the auditory illusion of a third tone, in addition to the two pure-tones presented to each ear. The third sound is called a binaural beat, and in this example would have a perceived pitch correlating to a frequency of 10 Hz, that being the difference between the 530 Hz and 520 Hz pure tones presented to each ear.

Binaural-beat perception originates in the inferior colliculus of the midbrain and the superior olivary complex of the brainstem, where auditory signals from each ear are integrated and precipitate electrical impulses along neural pathways through the reticular formation up the midbrain to the thalamus, auditory cortex, and other cortical regions.



*Mathematician Ian Stewart, in a letter printed in the24 September 2005 issue of New Scientist magazine, elaborates:

 

 

The Meru Project is based on 30 years of research by Stan Tenen into the origin and nature of the Hebrew alphabet, and the mathematical structure underlying the sequence of letters of the Hebrew text of Genesis. The Project is sponsored by the Meru Foundation, registered California 501(c)(3) private nonprofit research and educational corporation founded in 1983.

From the Introductory Text:

"The Meru Project has discovered an extraordinary and unexpected geometric metaphor in the letter-sequence of the Hebrew text of Genesis that underlies and is held in common by the spiritual traditions of the ancient world. This metaphor models embryonic growth and self-organization. It applies to all whole systems, including those as seemingly diverse as meditational practices and the mathematics fundamental to physics and cosmology...Meru Project findings demonstrate that the relationship between physical theory and consciousness, expressed in explicit geometric metaphor, was understood and developed several thousand years ago."

 

A Matrix of Meaning: Portraits of the Hebrew Letters, in Pictures and Words

©1996 Stan Tenen

BET — DISTINCTION

B

Distinction

Bet partitions the Unity and Wholeness of ALePh. ALePh by itself is One. There is no opposition or polarity and no need for action or change. BeT is distinction (– B) pointing (– I) in itself (– T). BeT partitions ALePh. BeT, as the first possible distinction, distinguishes what is within from what is without. From BeT on there is difference, complement, counterpoint, and contrast. There is spirit and matter, flame and coal, wave and particle. BeT is a BIT, it takes a BYTe, it parts ALePh in two (Tween). BeT forms a BooTh BeTween BoTh. That is why BeT, two and duality, is a House. As a prefix BeT means In or With.

BeT is the Yin/Yang Bifurcation within the Primal Point, the Dew-drop of Manna BREAKING OUT from the tip of the Great Flame. BeT is the Primal Point, the APPLe seed, Breaking open.

Bet – A Letter Portrait

©1996 Stan Tenen

BET is the second letter of the Hebrew alphabet (corresponding to the Greek "Beta", the Arabic "Ba", and our English "B"), and the first letter of the Hebrew text of Genesis. The meaning of the name of the letter, "Bet" in Hebrew, is "House" – and what a house does and represents. Thus, Bet represents the distinction between inside and outside. This is the same distinction that generates the alphabet from our model: the First Handvortex inside, representing a flame, with a tetrahedral "meeting tent" outside, representing the vessel that holds and protects the flame. Our paper, The Light in the Meeting Tent, explains how this inside/outside relationship is also the relationship of asymmetry and symmetry, of mind and body, of our private conscious inner world, and the objective outer world we share.

There is a traditional teaching that all of the Torah is contained in the first letter. What is in the first letter is also in the first word, and in the first verse, and in the first paragraph, and in the first chapter. In modern terms, this teaching is telling us that the Torah is a hierarchical structure, somewhat (although imprecisely) like a hologram. The image is always the same; a larger hologram provides a sharper image. So, in principle, if we understand the first letter, that should tell us a great deal about what follows.

Mathematician G. Spencer Brown, in his Laws of Form, explains how the "First Distinction," the distinction between inside and outside, can in itself, in principle, generate whole worlds. Mathematicians have shown that all of formal logic can be derived from the distinction between inside and outside.

In the Talmud, a person of integrity is said to be toko k-varo, "their insides are the same as their outsides" – they are morally transparent. A person whose consciousness is in harmony with their place in the outer world is a Tzaddik, a saintly person. This is because, with no distinction between inside and outside, there is no motive for their personal will. Such a person would, in a sense, be without willful ego. It is possible that this is why Moses receives the Torah. Seemingly paradoxically, in spite of his confrontations with Pharoah, and his leadership of the nation, in the Talmud Moses is known as the humblest of persons. Thus, a person who truly comprehends the meaning of the initial letter of the Torah has the humility, the "righteousness," that qualifies them to receive and carry it.

". . .It is true that the Fibonacci numbers are associated with a particular kind of spiral - the logarithmic spiral - and they are also closely associated with the "golden number", which is roughly 1.6. And the nautilus shell does have the form of a logarithmic spiral.

 

"Unfortunately the correlation ends there, because there are many different logarithmic spirals. . . .The usual "Fibonacci" spiral has a growth rate of about 6.8 - the fourth power of the golden number - whereas that of the nautilus is about 3, meaning it is too tightly wound to be related to Fibonacci.  . . .

 

"The connection between Fibonacci numbers, certain spirals, the golden number and the structure of many plants is genuine and increasingly well understood. Most other alleged occurrences of Fibonacci in nature are bogus."

 

(For Dr. Stewart's complete letter, see http://www.newscientist.com/article.ns?id=mg18725180.400)

 

Regarding the term “Golden Mean”, the following is from The Mathematics of Plato’s Academy, ©1987 D.H. Fowler.  Clarendon Press: Oxford Science Publications, Oxford UK.ISBN 0-19-853947-9, p. 105, in the notes and references to Ch. 3, The Dimension of Squares:

 

3.5(b)  The extreme and mean ratio has been known under a variety of names. There is a brief history of these in the introduction to my GGS [A Generalization of the Golden Section, article in Fibonacci Quarterly 20 (1982), 146-58]; in particular the most common name, the golden section, first seems to appear in a book by Martin Ohm, the younger brother of the physicist Georg Simon Ohm, in 1834 or 1835.  The dramatically simple construction of the extreme and mean ratio of Fig. 3.30, based on the mid-points of two sides of an equilateral triangle inscribed in a circle, was published, perhaps for the first time, in 1984. . .

 

 

Water memory

 

Einstein:”he solution to infinite non-destructive (charge)compression IS the unified field. ..So- if perfect compression is the solution to virtually every science problem in history: gravity, alchemy, fusion, urban design, computers.. the physics of human (peak)perception/bliss.. the list goes on - THEN what does it mean that we have just proven the (fractality perfected) wave mechanics showing that golden ratio is the solution to perfect (charge) compression?

 

 

Montagnier, 82, who shared the Nobel Prize in physiology or medicine in 2008, stunned many fellow scientists about 5 years ago with claims that DNA emits weak electromagnetic waves that cause structural changes in water that persist even in extremely high dilutions. Montagnier considers himself an intellectual heir to the controversial French scientist Jacques Benveniste, who claimed in a 1988 Nature paper that water can retain "memories" of compounds even when diluted at a very high level—a claim that caused a sensation in the press and was taken as support of homeopathy by its proponents, but that other scientists weren't able to replicate.

Montagnier says he and his colleagues have a device that can detect such waves, which are strongest when they come from bacterial and viral genetic material. "In the future, we may use these findings not just for diagnostics but also for treatment," Montagnier told Science in 2010. "It's possible that electromagnetic waves at some frequency will kill the waves produced by bacterial DNA."

Montagnier documented the claims in a fewpapers in 2009. But many scientists have been extremely skeptical. Swiss immunologist Alain de Weck, who had long known and respected Montagnier, said he was "perplexed" in 2009. Lewis and other skeptics skewered his papers. Montagnier has also come under heavy fire for promoting long-term antibiotic treatments for children with autism; he claims his detection technique has shown that microbes play a role in that disorder.

 

Water memory is the purported ability of water to retain a memory of substances previously dissolved in it even after an arbitrary number of serial dilutions. It has been claimed to be a mechanism by which homeopathic remedies work, even though they are diluted to the point that no single molecule of the original substance remains.

Water memory defies conventional scientific understanding of physical chemistry knowledge and is not accepted by the scientific community. In 1988, Jacques Benveniste published a study supporting a water memory effect amid controversy in Nature, accompanied by an editorial by Nature's editor John Maddox urging readers to "suspend judgement" until the results could be replicated. In the years following publication, multiple supervised experiments were run by Benveniste's team, the United States Department of Defense,[1]BBC's Horizon programme,[2] and other researchers, but no team has ever reproduced Benveniste's results in controlled conditions.

 

While Benveniste's study demonstrated a mechanism by which homeopathic remedies could operate, the mechanism defied conventional scientific understanding[clarification needed] of physical chemistry knowledge.[5][7][8] A paper about hydrogen bond dynamics[9] is mentioned by some secondary sources[10][11] in connection to the implausibility of water memory.

 

.In the cold fusion or polywater controversies many scientists started replications immediately, because the underlying theories did not go directly against scientific fundamental principles and could be accommodated with a few tweaks to those principles.[19] But Benveniste's experiment went directly against several principles, causing most researchers to outright reject the results as errors or fabrication, with only a few researchers willing to perform replications or experiments that could validate or reject his hypotheses.[19]

After the Nature controversy, Benveniste gained the public support of Brian Josephson,[20] a Nobel laureate physicist with a reputation for openness to paranormal claims. Experiments continued along the same basic lines, culminating with a 1997 paper claiming the effect could be transmitted over phone lines.[21] This was followed by two additional papers in 1999[22] and another on remote-transmission in 2000 by which time it was claimed that it could also be sent over the Internet.[23]

Time magazine reported in 1999 that, in response to skepticism from physicist Robert Park, Josephson had challenged the American Physical Society (APS) to oversee a replication by Benveniste. This challenge was to be "a randomized double-blind test", of his claimed ability to transfer the characteristics of homeopathically altered solutions over the Internet:

"[Benveniste's] latest theory, and the cause of the current flap, is that the 'memory' of water in a homeopathic solution has an electromagnetic 'signature.' This signature, he says, can be captured by a copper coil, digitized and transmitted by wire—or, for extra flourish, over the Internet—to a container of ordinary water, converting it to a homeopathic solution."[24]

The APS accepted the challenge and offered to cover the costs of the test. When he heard of this, Randi offered to throw in the long-standing $1 million prize for any positive demonstration of the paranormal, to which Benveniste replied: "Fine to us."[25] In his DigiBio NewsLetter. Randi later noted that Benveniste and Josephson did not follow up on their challenge, mocking their silence on the topic as if they were missing persons.[26]

An independent test of the 2000 remote-transmission experiment was carried out in the USA by a team funded by the United States Department of Defense. Using the same experimental devices and setup as the Benveniste team, they failed to find any effect when running the experiment. Several "positive" results were noted, but only when a particular one of Benveniste's researchers was running the equipment. "We did not observe systematic influences such as pipetting differences,

 

contamination, or violations in blinding or randomization that would explain these effects from the Benveniste investigator. However, our observations do not exclude these possibilities."

Benveniste admitted to having noticed this himself. "He stated that certain individuals consistently get digital effects and other individuals get no effects or block those effects."[27]

Third-party attempts at replication of the Benveniste experiment have failed to produce positive results that could be independently replicated. In 1993, Nature published a paper describing a number of follow-up experiments that failed to find a similar effect,[28] and an independent study published in Experientia in 1992 showed no effect.[29] An international team led by Professor Madeleine Ennis of Queen's University of Belfast claimed in 1999 to have replicated the Benveniste results.[30][31] Randi then forwarded the $1 million challenge to the BBCHorizon program to prove the "water memory" theory following Ennis's experimental procedure. In response, experiments were conducted with the vice-president of the Royal Society, Professor John Enderby, overseeing the proceedings. The challenge ended with no memory effect observed by the Horizon team.[2] For a piece on homeopathy, the ABC program 20/20 also attempted, unsuccessfully, to reproduce Ennis's results.[32]





Holistic Healing

 

 

 

Pranic healing is a claimed energy healing system founded and promoted by Choa Kok Sui (1952–2007), a Filipino entrepreneur and philanthropist of Chinese descent. The healing modality claims that prana (energy) can heal ailments in the body by contributing to the person's energy field.[1][2] Sui has also stated that pranic healing is like acupuncture and yoga in that it treats the "energy body" which in turn affects the "physical body".[3][4]

No peer-reviewed evidence or publications (in recognized medical journals) exist to support the claimed results of the practitioners. In 1995, Jack Ruso described the method in the magazine Skeptical Inquirer as "mystical or supernaturalistic".[5]



 

Works cited:

 

  1. Color and Visual Comfort - Cecilia RiosVelasco - The University of Texas at Austin school of architecture - center of sustainable developmenet https://soa.utexas.edu/sites/default/disk/urban_ecosystems/urban_ecosystems/09_03_fa_kwallek_riosvelasco_ml.pdf

  2. Dalai Lama XIV, Jeffrey Hopkins (Editor), et al. “How to See Yourself As You Really Are.” By Dalai Lama XIV,

  3. Bois, Yve-Alain, and Rosalind E Krauss. “Formless: a user's guide.” Formless: a user's guide by Bois, Yve-Alain, Krauss, Rosalind E, New York: Zone, 1997,



Bibliography:

 

 

 

.Emma Kunz lived from 1892 to 1963 in the German-speaking part of Switzerland. In her lifetime she was recognized as a healer; she herself described herself as a researcher. Now she has acquired an international reputation through her artistic work. Even in her schooldays, Emma Kunz occupied herself with exceptional happenings. When she was 18 years old, she began to use her abilities of telepathy, prophecy and as a healer, and she began to exercise her divining pendulum.

She achieved successes through her advice and treatments that often edged on the limits of miracles. She herself rejected the term miracle because she attributed it to the ability to use and activate powers that lie dormant in everyone. Not least, it was this gift that permitted Emma Kunz to discover in 1941 the power of the Würenlos healing rock that she named AION A. From 1938, Emma Kunz created large-scale pictures on graph paper. She described her creative work as follows: "Shape and form expressed as measurement, rhythm, symbol and transformation of figure and principle". As visionary artist, she bequeathed to us a fascinating collection of her works of art that encodes immeasurable knowledge. The pictures are probably the most direct way to experience Emma Kunz's personality.

 

.Rosalind Epstein Krauss (born November 30, 1941) is an American art critic, art theorist and a professor at Columbia University in New York City.[1] Krauss is known for her scholarship in 20th-century painting, sculpture and photography. As a critic and theorist she has published steadily since 1965 in Artforum,Art Internationaland Art in America. She was associate editor of Artforum from 1971 to 1974 and has been editor of October, a journal of contemporary arts criticism and theory that she co-founded in 1976..

+In the late-1960s and early-1970s Krauss began to contribute articles to art journals such as Art International and Artforum — which, under the editorship of Philip Leider, was relocated from California to New York.[5] She began by writing the "Boston Letter" for Art International, but soon published well-received articles on Jasper Johns (Lugano Review, 1965) and Donald Judd (Allusion and Illusion in Donald Judd,Artforum, May 1966). Her commitment to the emerging minimal art in particular set her apart from Michael Fried, who was oriented toward the continuation of modernist abstraction in Jules Olitski, Kenneth Noland and Anthony Caro. Krauss's article A View of Modernism (Artforum, September 1972), was one signal of this break.



.Masaru Emoto (江本 勝 Emoto Masaru, July 22, 1943 – October 17, 2014)[1][2] was a Japanese author, researcher, photographer and entrepreneur, who claimed that human consciousness has an effect on the molecular structure of water. Emoto's conjecture evolved over the years, and his early work explored his belief that water could react to positive thoughts and words, and that polluted water could be cleaned through prayer and positive visualization



.Yve-Alain Bois (born April 16, 1952) is a professor of Art History at the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey.

 

.Denis Hollier Professor of French Literature, Thought and Culture

 

.Leo Maurice Hurvich (September 11, 1910 – April 25, 2009) was an American psychologist who conducted research into human color vision. He was married to fellow cognitive psychologist Dorothea Jameson. The pair collaborated on much of their work, including an elaboration on the opponent process theory. Hurvich was a member of the National Academy of Sciences and he received the APA Award for Distinguished Scientific Contributions to Psychology from the American Psychological Association.



DRAFT: This module has unpublished changes.