Free energy, you’ve likely heard about it by now, but might be wondering how far this movement has gone towards seeing the healthy light of day, and of demonstrable planetary redemption.
The conventional view, currently pervading, is that particle physics and electrodynamics (that is, magnets, electromagnets, motors, dynamos and relays) are 2 separate fields, not unitable. There is a similar schism between gravity and electromagnetism (of the Maxwell/Faraday type (the type we ARE familiar with)).
Having been reading assiduously for the last 7 years about the “free energy” movement (or psychtronics as its called in Russia), it seems the connections are likely to be bridged (officially) in the near future.
Everyone by now has heard of Nicola Tesla, and has likely heard about (and possibly even been scammed by premature bogus sales attempts) a machine that draws the majority of its energy from the vacuum state (sometimes called zero point energy). Tesla spoke about a century ago of attaching our machinery to the very wheelwork of nature. He was referring to this drawing energy from the vacuum.
There is extreme prejudice in the academic sphere about this new electrodynamics, to say the least. Partly its a belief system thing, but also there are many many reports of inventors being threatened, bought off or killed. This apparently is coming from a shadowy group (according to Steven Greer) who consider themselves above government. This seems to me likely as presidents and vice-presidents of the USA have been denied access to information.
Many of the materials on free energy work were booted off wikipedia by pressure from the opposition, so peswiki (http://peswiki.com/index.php/Main_Page) has been set up to host such.
The individuals I have discovered who seem to have substantial understanding in this field are: Tom Bearden, Mehrun Keshe, John Bedini and Peter Lindemann. Sterling Allan, who runs peswiki also recommends Marko Rodin, although I havn’t managed to penetrate or understand his ideas as yet, though they look very good.
German scientist Konstantin Meyl gave a soldout presentation on the fields that we havn’t acknowledged, at the Keshe Foundation in Ninove, Belgium on September 21st. You can hear/see his videos online in English.
If you know anyone in engineering, or physics, do alert them to this important material. It could and should save the biosphere from the pollution and instability we must be concerned about. It will provide propulsion and energy resources that we should have had 100 years ago.
For over 40 years, I have been beautifully haunted by the feeling that the gong holds the secret of the future of computers.
I have been fascinated to find ways to circumvent the purely causal logical chains of programming logic, to create a more fleeting and organic use of the extraordinary dexterity of contemporary circuitry.
It seemed key to be looking at how harmonics and tones resonate each other in a gong as an alternative model. I have a beautiful recording by LaMonte Young and Marian Zazeela called “Studies In The Bowed Disc” where they bow a gong with a double bass bow. The sheet of sound that soars from this inspired me – and it started me thinking how a computer might use the resonating causal chains of frequencies rather than bits and bytes being control and data structures.
The right brain is understood to be a massively parallel processor. Now that we are down to microprocessor components consisting only of 10 atoms, and IBM’s sub-atomic particle microprcessors and memory with pico second instruction times look like not materialising, (correct me if I’m wrong) parallel processing seems to be the way forward for us.
In 1971/2 I did a research project as part of my undergraduate degree, where I looked at ways to work with frequencies rather than bits, partly since the then ideas, about the brain and the hologram were encouraging me to think about data that was spread throughout rather than localised at the equivalent of a street address.
It seems to me more satisfying to create a computer that works like the universe, rather than only like a more left brain or materialistic understanding.
I was heartened to hear the late American composer Lou Harrison, who was much influenced by Asian music, say that it would be a good challenge for westerners to learn the oriental art of gong making, as that represents something profound in relation to our more technological achievements.
The gong has been an important focus in the music of LaMonte Young, Daevid Allen and Michael Ormiston. I have used the gong in titles and as a sound source (see “Gong Tears” http://lawrenceball.org/page/recordingsECS90s00s.htm and “Gong Piano” http://lawrenceball.org/page/recordingsMM1.htm) as I find it to be a wonderful instrument family, as well as the eastern symbol of synchronicity of effects.
I would be fascinated and interested to know how all this sits or resonates with anyone.
A stirred unconscious needs managing if it is not to cause trouble or be anti-social. It is tempting to think that a dedicated artist is one who never stops. It is arguable whether they themselves then are a work of art, or something to avoid viewing or listening to!
The axiom that until one truly loves oneself that others will not be drawn to love one’s art applies to “the art” as a whole (art+life). Then maybe the paradox can be sorted? The combined work that is spiritual expansion coupled with a correctly understood therapeutic process is best understood not only as an activation (positive and negative) of unconscious joy, freedom, pain, trauma, ……. but also as an opportunity to gain height and context in making the fruits of the experience ordinary and diplomacy (in the social – not political sense) making.
That height is necessary if one is not to fall prey to the disturbancies that stirring the unconscious can bring in its wake. The balanced psyche that comes from greater conscious awareness is like a balancing wheel that can prevent loss of perspective when life energies can get choppy.
Detachment is very important in any art-form. The distance we can obtain by having a looser more playful relationship with artistic work can help us with being political (in the positive sense) with others, in turn helping with dealing with financial matters and business agreements, and not ending up in heavy situations or emotions that are out of control or explosive.
It is very easy to place the blame for one’s difficulties on society or big business (not to say they are perfect!) and neglect the tending to one’s own conditioning that likely set in in early life. If we can resolve and heal the blinkers and pain we installed at a young age, perhaps our art will be much more appealing to others? If not, then those conditionings could haunt us in our ineffectiveness in dealing with others.
About intensity: artists often do not have an off switch for intensity. They identify with that intensity as a constant way of being. Consequently they become too serious or too difficult to share space with another fruitfully or joyfully, and presence and lightheartedness is lost. This is an anti-social energy that can be their undoing.
Such compulsive intensity is not a friend to oneself, and certainly prevents one from fully looking after one’s state of mind, however exhilirating one might think it is. Intensity, when it is one tool of many in the toolbox is then a more conscious muscle. Effortless expression can then complement it appropriately.
There is a history of adverse associations with art, such as suffering, starving, being misunderstood, being ahead of one’s time. All of these it seems to me leave out a more balanced possibility of the art being an integral part of a fully loved individual’s life. To be truly joyful, there is a transcendence of one’s self, and that is difficult to achieve if one is addicted to suffering or to intensity.
Perhaps the most beautiful human beings (at the soul level as well as physically) are ones who love themselves, mystically even, as much or even more than their creativity.
Anyhow, the point was that artists are often in great difficulties, the following words seem to sum up the factors involved in those difficulties: intensity, unmanaged stirrings, lack of height on or detachment from one’s negative emotional charge, blaming externals for problems, addiction to suffering, lack of direct self-fulfillment and love
For over 35 years I have been studying a remarkable spiritual teaching called Agni Yoga (see http://www.agniyoga.org), which itself will be the subject of a future blog. There is in this teaching a strong emphasis on the term STRIVING.
The 3 words for me provide a deep clue to their individual meanings. They all inhabit an emphasis on the use of the will to engage with action.
However, although all of the folk I speak to seem to interpret them differently, there emerges for me a spectrum of ease, running from struggle which implies more internal or external opposition to overcome, to effort which feels to me like less opposition, to striving which, particularly in Agni Yoga, implies either a more joyful will, or more a transcending of the opposition often implicit in the idea of the use of will.
There is a very fine but critically important line to draw between joyful and selfless action on the one hand, and a more stressful impulse on the other. I don’t know about you but I’m always on the lookout to find a more joyous pathway through the day, and using one’s willpower, essential I feel, is a double-edged sword.
Too much will and the deeper currents of energy are not available. Insufficient will and things simply do not happen, or not as successfully.
But that wave, surfing the will-love wave so as to combine joy and action, now there’s a thesis worthy of a university assignment. Its not even simply a balance, because over time both love and will power are essential to enhance in tandem.
For me there have been giant revelations coming throughout the last 5 years particularly. Allowing has become a big word in my life.
I feel that the deeper insights come through stepping back, there’s more joy in the soul’s reservoir if I’m not so over-engaged in who I appear to be, and teachings of Byron Katie and my dear friend Pamela Wilson have helped me enormously to see what a huge scope all of us still have to allow a deeper effulgence to inform and inhabit our understanding, our expression and our capacity to serve others deeply.
So – I would love to hear how you understand this beautiful spectrum, and how you understand the variation of meaning across the spectrum. The touchstone of variation is perhaps the degree of joy involved.
At the apex of good experience there seems to be a hair’s breadth between love and will, and they seem to me ultimately one when we have understood both. Also whether creative tension signifies striving and perhaps stressful tension signifies struggle.
How do we move more towards joy in our actions, how do we understand adjusting our energy field to permit a deeper striving and allowing, and how do we deal with the sometimes uncomfortable clinging or turbulence that can result from sensitivity or momentous work?
And moreover how does meaning spectra appeal to you as a way to get behind verbal or text communication?
Ever since I was a boy, I have felt that words do not have the effect that people assume they have. For a start everyone has a slightly different take on what a word means, and that may vary from one day or occasion to the next. Lets start with a concrete wobble of an example, the 3 words: information, knowledge and wisdom. For me these 3 words are a fuzzy continuum. a spectrum of meaning. At the information end there is dry data, but the word can also mean knowledge – something with more substance, it can mean something more to do with the self-possession that comes with understanding something. Wisdom for me is on the other side of knowledge from information. It feels more to do with consciousness and presence of understanding. Knowledge has always felt to me like a halfway house toward knowing ‘things’ rather than having a mature capacity to contain an alive perception of the means to deal beautifully with life. I observe though that each of these 3 words is bent, prised, wobbled into meanings that are more often associated with the other 2.
We could say that wisdom is more a disembodied presence or capacity than knowledge – which is half way to the teeming multiplicity of the contents of consciousness. Knowledge is then more to do with the beholding and the possessing of the multiplicity compared to information which is more seen as contents. Download is often used to mean intution or realisation – in the sense that it suggests a substantial experience or insight of the kind that a video or piece of software might contribute to the viewer/user.
These meaning spectra ultimately will cause trouble to our desire to have an objective view of things. I don’t care. We’ve lived with the desire for rational certainty for so long now we could well do with a permanent holiday from it! My concern is that celebration, exploration and joyful creativity be the modus operandi. Rational certainty!! – be dethroned in favour of honouring each other (nation states included!!) Never mind objective impersonal consensus reality. The universe is a symbol, and a host of symbols. Tell the scientist buried in his dream of the symbols.
I could explore meaning spectra in huger depth, but there is a more important vein of truth to uncover here. That is the reason we communicate. So often I hear folk being inflexible about what the words they are using mean. If we’re able to have a knowledge (or perhaps a wisdom, or imbibe certain information) of the wobble, the flexing, the scope of imprecision, the fluctuation of meaning within even a single innocent word, we are fortifying ourselves to be able to communicate with others without getting caught up in the dispute on who has the right understanding. We can say “yes, and there is also this interpretation that illuminates further…….”. In other words, we can step out of the wobbles and look at the meaning flow with much more humanity and caring for understanding.
I have heard folk use “information” to describe even inspiration. “The information was flowing in that direction…….” has been said of the inspiration that can move from serious (so-called , another wobbled meaning) music to more popular. We could think of each word or meaning as a point on a sphere, with their neighbours depicted as spatial neighbours on the surface. Meaning and presence are for me very close, sometimes meaning can strangle presence. Even the sphere is likely to break down, as the connections from one word to another are so numerous that I doubt all the connections could be represented in 3 dimensions. It will be interesting to see if there is ever a model for how the brain manages to store all the connections between meanings, whether there is a space, even multi-dimensional that it holds within it. What I propose is that these meaning spectra as I call them are best represented not by a thesaurus but by a poetic or prose exploration of the manner in which their wobbles happen. Or I could imagine a sphere with a cascade of meaning flowing from the centre to the edge where the connections resonate with each other. Meaning as energetic fountain.
Anyhow, this is the first blog on meaning spectra. I hope to write about other meaning spectra. The next one will be struggle-effort-striving - another can of worms especially for folk that try to understand the contrasts between stressful and joyous activity. A lot of unconscious wobble is talked with these words. I also hope to use meaning spectra as a way to encourage more understanding of compassion in understanding what others say and write.
For some time I have been troubled by a truth I feel is unquestionable. That women are better at listening than men. Having accepted this I have searched very hard for a parallel capability that men have that is the complement of listening. At first I felt it was model-making. A group of women discussing something often lack the simple capacity to ask the question “What’s your model?” Its the masculine way to extricate someone from an emotional hole. But over time I began to see that model-making in itself can’t rival the universal application that listening has, although it is very important. Science, for instance, if we leave aside the corrupt or egotistic elements, thrives most on model-making.
About two weeks ago I understood what us men have to rival and complement listening utterly. I’m driving my friends crazy right now because I won’t commit to a word for it yet, in case the experience and the understanding melts away. But some words come close. Hypnosis is good, but a tricky word because the dictionary is out of date and there is a whole spectrum of light and shade in the opinions about its integrity. Everyone likes Carl Rogers’ approach to client-centred therapy or even discussion, but perhaps influence is something we shy away from. I certainly have until recently. I even felt that listenng was the core quality in spiritual growth. Anyhow I can try to describe it poetically………….
Its the capacity to allow one’s energy or thoughts or feelings to work in an active way on someone, perhaps even oneself. It doesn’t HAVE to be sustained, but it does need to be firm. It can be as gentle as listening, and it can even be combined or alternated with listening. Hypnosis in the sense Joe Vitale uses it is this masculine quality.
In my music there is an influence from all the American minimalists. In this music there is a hypnotic element. Through repetition there is set up a transcendence of the sound, an awareness that is 4th dimensional (outside the looping in time) which parallels hypnosis, in the sense that good hypnosis seems to me (its not my field, yet) a way to communicate by reaching a person’s deeper levels. How good is the music? How deep does it reach, and how happy do you become? How many of your burdens have fallen away? Terry Riley’s music for instance is highly conscious of the subjective component of music (which arguably is where it all happens anyway). We are each music, and that approach has far more chance to engage with us.
We assign presence to our words and our sounds (and in composing music) by entering depth through the body/mind, transcending yet pervading ourselves. Will, command, gesture, hypnosis, broadcast, power …….. all these reverse listening, and although they have negative connotations, they foster a dynamism which makes masculine gender. Then men (and women) can be explosive in relationship as well as aquiescent.
Here I feel is a great key to understanding what it means to equal women in the height of their qualities of empathising; spiritual and healing capacities, and to complement them wonderfully. (Of course nowadays men and women overlap qualities more and more, but you know that). But I’m still not yet committing to a word for it. Watch this space. I might never.
Greetings visitor. You may find some (apparently) unconnected themes on this blog. I started out with the decision to dedicate my life to composing music at age 25. But the universe decided to unpick every musical role I came up with. Rather like the Sufis’ idea of fana and baqa, dissolution and recrystallisation, where the universe, and the person of wisdom both, are continually being dissolved and recreated. There came chords of flavours, the mathematics of flowing visual graphic sculptures, radical transformation of what teaching and learning are, new ways to programme computers to weave sonic textures…………. I experience life not as vocation but as vigorous detached outrageous revelation. Everything can be challenged and reworked in the vigour of regular self-reinvention and resculpting.
What is teaching for instance. Its certainly not bullet-points on a syllabus, nor is it imparting of information, we can do that by photocopying notes – a facility that a university lecturer I encountered chose not to adopt, so as to hide shyness behind a chalk reality. Teaching at its best is not information broadcasting but something far greater. If you understand a subject backwards and inside out, you will understand it as a spirit, not bytes. A living flame of presence and joy – the overlapping of two circles, not merely happy or studious but a third, magical middle condition. I suffered at school. I know what it feels like to be in an energy field of a false authority who is stressed. Its killing educational potential. I encourage students to look after their state of mind whilst working. One of my students said “That’s really radical.” It is. It shouldn’t be.
Ordinary is the ultimate reality. Even though it is authentically outrageous at the same time.
The food we eat affects not only how we feel and work but also how much we can shed our conditioning. I feel that what we like to eat does do us good (regardless of what it is) – contrary to the more robotic nutritionists – enjoyment again is important. I like Juliano’s assertion that good taste and enjoyment are the only considerations for, in his case, a raw food diet. For me, combining enjoyment AND nutrition is the best.
In music I discovered that music is not the rules. Through Terry Riley’s music I discovered the exquisite combination of concentration and relaxation that I aim for in my teaching, Terry since became a friend and played twice at my Planet Tree Music Festival, and he understood early on how sound, the breath and the body ideally connect energetically, something I encounter in dance and movement classes I take with Jhomm, my Korean dancer/choreographer friend. Its the breathing and the sensation awareness in and of the body that fills me with life and keeps my body brimming with health – the late Paul Benson, and Bruce Lipton both speak about cells breathing, they are each miniature, less specialised beings than the organs that they make up. Consciousness itself can invigorate cell life, not just the teeming cascades of atoms that the cell membranes so selectively either let in or not,…….. perhaps teaching is also like that, it needs its life field primarily to communicate life quality. Breath, music, knowledge, flavour, joy…….. these are the touchstones if we want to truly flourish.
When I sit down at the piano, (which I have recorded almost 3000 times) I am not focussing on making sounds. I am listening to my psyche’s streams of energy. It no longer has to do with virtuosity, with accuracy (Jhomm is less concerned with what a movement looks like primarily), the music is an energetic field of feeling and mindfulness, this is the clay I’m keen to shape, this is what glows, tastes incredible and refreshes my being utterly. Its because the form is transcended that this can happen. That’s what sets people off. When younger I heard “When the form of music is clear to you, then the spirit will become clear”. That’s rubbish. Without a sense of presence, music is dead, period. That’s the achilles heel of much western concert music. Mozart improvised, sometimes making many mistakes, then the form of the classical style took over, but the western classical tradition originated that ad lib way.
Breath, music, knowledge, flavour, joy…….. here’s to the blend.