Wednesday, May 4, 2016

Have you heard about hynagogia?

We’re all familiar with the two basic states of consciousness: sleep and wakefulness. But what about what happens in between those states? 
In the borderlands between wakefulness and rest is a strange and fascinating state of consciousness characterized by dream-like visions and strange sensory occurrences. Psychologists call this stage “hypnagogia,” but centuries before they created a term for it, artists were using the hypnagogic state to tap into some of their best ideas. 
Surrealist artist Salvador Dali called hypnagogia “the slumber with a key,” and he used it as creative inspiration for many of his imaginative paintings. 
“You must resolve the problem of ‘sleeping without sleeping,’ which is the essence of the dialectics of the dream, since it is a repose which walks in equilibrium on the taut and invisible wire which separates sleeping from waking,” Dali wrote in the book 50 Secrets of Magic Craftsmanship
Mary Shelley, too, said she got the inspiration for Frankenstein from a “waking dream” in the wee hours of the morning, writing, “I saw with eyes shut, but acute mental vision,” according to The Guardian.
During this state, the mind is “fluid and hyperassociative,” giving rise to images that can “express layers of memories and sensations,” dream researcher Michelle Carr explained in a Psychology Today blog.
You experience some phenomena of sleep while you are still able to be awake and remember them.”Neurologist Dr. Milena Pavlova
Similar to REM sleep — the state of deep sleep when our dreams occur — the mind is cycling through thoughts, ideas, memories and emotions, making free and often distant associations between diverse concepts. But unlike REM, during hypnagogia you’re conscious enough to be at least partially aware of what’s going on.  
“There can be fragments of rapid eye movement sleep occurring in a non-REM state when the individual is not yet fully asleep,” Dr. Milena Pavlova, a neurologist studying sleep and circadian disorder at Brigham and Women’s Hospital in Boston, told The Huffington Post.
There’s a good chance you’ve experienced hypnagogia before, even though you may not have known exactly what was going on. Little research has been conducted on hypnagogia, but here’s a look at what we know about its mysterious workings. 

Between Sleeping And Waking 

The term hypnagogia comes from the Greek words for “sleep” and “guide,” suggesting the period of being led into slumber.
In this state, which lasts a few minutes at most, you’re essentially in limbo between two states of consciousness. You experience some elements of sleep mixed with some aspects of wakefulness, explains Pavlova.
“You wind up in the state somewhere between sleep and wakefulness, and you experience some phenomena of sleep while you are still able to be awake and remember them,” she told The Huffington Post. 
What’s going on in the brain to create this trippy state of consciousness? Scientists have observed the presence of both alpha brain waves — which are the dominant brain wave mode when we are conscious but relaxed, for instance when daydreaming or meditating — and theta brain waves, which are associated with restorative sleep, during hypnagogia. Typically, these brain waves occur only separately, and it may be the unique combination that gives rise to unusual visions and sensations. 
The state is also marked by reduced activity in the prefrontal cortex of the brain, which is involved in planning, decision-making and social behavior. 
In some ways, hypnagogia is the best of both worlds. You get the free flow of ideas and associations that occurs during REM sleep — when the brain reviews and processes memories, thoughts and feelings — but you’re still awake enough to be somewhat conscious of what’s going on.
For this reason, some artists have found hypnagogia to be a rich source of ideas and inspiration. 

Vivid Visions 

ST. LOUIS POST-DISPATCH VIA GETTY IMAGES
A Dali-style dreamscape of tired, rundown bodies created by The St. Louis Post-Dispatch’s Tom Borgman in 2004.
Hypnagogia is trippy, and can give rise to some bizarre visual and perceptual hallucinations. It’s common for people to experience dream-like visions, sounds, flashes of color, insights, sensations and barely formed thoughts.  
“Typically, there is a lot of visual imagery,” Deirdre Barrett, a clinical psychologist at Harvard Medical School, told ScienceLine. ”Sometimes static images, sometimes short-moving segments and occasionally longer narratives more like REM sleep dreams. Sounds also accompany this state sometimes.”
When these images are too vivid or disturbing, however, they can be indications of something more serious — a sleep disorder called hypnagogic hallucinations. These types of highly realistic visions are also common in narcolepsy. 
“That means seeing things that are not there upon falling asleep,” Pavlova said. “That’s the disordered function of this.” 
What’s happening is that the switches in your brain are turning from wakefulness to sleep, but haven’t fully synchronized. 
“Part of your brain is still in the waking world and part of it is not, and so you see this that are not there,” she explains. “It’s very similar to the dreaming stages of sleep.” 
For those without sleep disorders, hypnagogia can be used to generate creative insights, as it provides a clear path to the subconscious, intuitive mind that is the source of “aha!” moments that arise seemingly out of nowhere when the rational mind is occupied elsewhere. 
“Hypnagogia is the shortest path for communication from our subconscious,” Sirley Marques Bonham, a consciousness researcher at the University of Texas at Austin,told ScienceLine. “Your subconscious mind might send you solutions through imagery or other sensations.”

Microbes can play games with the min



The 22 men took the same pill for four weeks. When interviewed, they said they felt less daily stress and their memories were sharper. The brain benefits were subtle, but the results, reported at last year’s annual meeting of the Society for Neuroscience, got attention. That’s because the pills were not a precise chemical formula synthesized by the pharmaceutical industry.
The capsules were brimming with bacteria.
In the ultimate PR turnaround, once-dreaded bacteria are being welcomed as health heroes. People gobble them up in probiotic yogurts, swallow pills packed with billions of bugs and recoil from hand sanitizers. Helping us nurture the microbial gardens in and on our bodies has become big business, judging by grocery store shelves.
These bacteria are possibly working at more than just keeping our bodies healthy: They may be changing our minds. Recent studies have begun turning up tantalizing hints about how the bacteria living in the gut can alter the way the brain works. These findings raise a question with profound implications for mental health: Can we soothe our brains by cultivating our bacteria?
By tinkering with the gut’s bacterial residents, scientists have changed the behavior of lab animals and small numbers of people. Microbial meddling has turned anxious mice bold and shy mice social. Rats inoculated with bacteria from depressed people develop signs of depression themselves. And small studies of people suggest that eating specific kinds of bacteria may change brain activity and ease anxiety. Because gut bacteria can make the very chemicals that brain cells use to communicate, the idea makes a certain amount of sense.  
Though preliminary, such results suggest that the right bacteria in your gut could brighten mood and perhaps even combat pernicious mental disorders including anxiety and depression. The wrong microbes, however, might lead in a darker direction. 
This perspective might sound a little too much like our minds are being controlled by our bacterial overlords. But consider this: Microbes have been with us since even before we were humans. Human and bacterial cells evolved together, like a pair of entwined trees, growing and adapting into a (mostly) harmonious ecosystem.
Our microbes (known collectively as the microbiome) are “so innate in who we are,” says gastroenterologist Kirsten Tillisch of UCLA. It’s easy to imagine that “they’re controlling us, or we’re controlling them.” But it’s becoming increasingly clear that no one is in charge. Instead, “it’s a conversation that our bodies are having with our microbiome,” Tillisch says.
Figuring out what’s being said in this body-microbe exchange, and how to shift the tone in a way that improves mental health, won’t be easy. For starters, no one knows the exact ingredients for a healthy microbial community, and the recipe probably differs from person to person. And it’s not always simple to deliver microbes to the gut and persuade them to stay. Nor is it clear how messages travel between microbes and brain, though scientists have some ideas.
It’s early days, but so far, the results are compelling, says neuro­scientist John Cryan of University College Cork in Ireland, who has been trying to clarify how microbes influence the brain. “It’s all slightly weird and it’s all fascinating,” he says.
Cryan and others are amassing evidence that they hope will lead to “psychobiotics” — bacteria-based drugs made of live organisms that could improve mental health.

We’re not alone

Ted Dinan, the psychiatrist who coined the term “psycho­biotics,” was fascinated by a tragedy in Walkerton, Canada, in May 2000. Floods caused the small town’s water supply to be overrun with dangerous strains of two bacteria: Escherichia coli and Campylobacter. About half the town’s population got ill, and a handful of people died. For most residents, the illness was short-lived, about 10 days on average, says Dinan, who collaborates with Cryan at University College Cork. But years later, scientists who had been following the health of Walkerton residents noticed something surprising. “The rates of depression in Walkerton were clearly and significantly up,” Dinan says. That spike raised suspicion that the infection had caused the depression.
Other notorious bacteria have been tied to depression, such as those behind syphilis and the cattle-related brucellosis, and not just because ill people feel sad, Dinan says. He suspects there’s something specific about an off-kilter microbiome that can harm mental health.
This possibility, though it raises troubling questions about free will, is certainly true for lab animals. Mice born and raised without bacteria behave in all sorts of bizarre ways, exhibiting antisocial tendencies, memory troubles and recklessness, in some cases. Microbes in fruit flies can influence who mates with whom (SN: 1/11/14, p. 14), and bacteria in stinging wasps can interfere with reproduction in a way that prevents separate species from merging. Those findings, some by evolutionary biologist Seth Bordenstein of Vanderbilt University in Nashville, show that “there’s this potential for [microbes] to influence behavior in this complex and vast way,” he says.
By sheer numbers, human bodies are awash in bacteria. A recent study estimates there are just as many bacterial cells as human cells in our bodies (SN: 2/6/16, p. 6). Just how legions of bacteria get messages to the brain isn’t clear, though scientists have already found some likely communication channels. Chemically, gut microbes and the brain actually speak the same language. The microbiome churns out the mood-influencing neurotransmitters serotonin, norepinephrine and dopamine. Bacteria can also change how the central nervous system uses these chemicals. Cryan calls microbes in the gut “little factories for producing lots of different neuro­active substances.”
Signals between the gut and the brain may zip along the vagus nerve, a multilane highway that connects the two (SN: 11/28/15, p. 18). Although scientists don’t understand the details of how messages move along the vagus nerve, they do know that this highway is important. Snip the nerve in mice and the bacteria no longer have an effect on behavior, a 2011 study found. And when the gut-to-brain messages change, problems can arise.

New bacteria, new behavior

Wholesale microbe swaps can also influence behavior. In unpublished work, Dinan and his colleagues took stool samples from people with depression and put those bacteria (called “melancholic microbes” by Dinan in a 2013 review in Neurogastroenterology and Motility) into rats. The formerly carefree rodents soon began showing signs of depression and anxiety, forgoing a sweet water treat and showing more anxiety in a variety of tests. “Their behavior does quite dramatically change,” Dinan says. Rats that got a microbiome from a person without depression showed no changes in behavior.
Cryan and colleagues have found that the microbiomes of people with depression differ from those of people without depression, raising the possibility that a diseased microbiome could be to blame.
The fecal-transplant results suggest that depression — and perhaps other mental disorders — are contagious, in a sense. And a mental illness that could be caught from microbe swaps could pose problems. Fecal transplants have recently emerged as powerful ways to treat serious gut infections (SN Online: 10/16/14). Fecal donors ought to be screened for a history of mental illness along with other potentially communicable diseases, Dinan says.
“Gastroenterologists obviously check for HIV and hepatitis C. They don’t want to transmit an infection,” he says. The psychiatric characteristics of the donor should be taken into account as well, he says.
A fecal transplant is an extreme microbiome overhaul. But there are hints that introducing just one or several bacterial species can also change the way the brain works. One such example comes from Cryan, Dinan and colleagues. After taking a probiotic pill containing a bacterium called Bifidobacterium longumfor a month, 22 healthy men reported feeling less stress than when they took a placebo. The men also had lower levels of the stress-related hormone cortisol while under duress, the researchers reported at the Society for Neuroscience meeting  in Chicago last October. After taking the probiotic, the men also showed slight improvements on a test of visual memory, benefits that were reflected in the brain. EEG recordings revealed brain wave signatures that have been tied to memory skill, Cryan says.
The researchers had previously published similar effects in mice, but the new results move those findings into people. “What’s going to be important is to mechanistically find out why this specific bacteria is inducing these effects,” Cryan says. And whether there could be a benefit for people with heightened anxiety. “It’s a very exciting study, but it’s a small study,” Cryan cautions.
Bacteria in an even more palatable form — yogurt — affected brain activity in response to upsetting scenes in one study. After eating a carefully concocted yogurt every morning and evening for a month, 12 healthy women showed a blunted brain reaction to pictures of angry or scared faces compared with 11 women who had eaten a yogurtlike food without bacteria.
Brain response was gauged by functional MRI, which measures changes in blood flow as a proxy for neural activity. In particular, brain areas involved in processing emotions and sensations such as pain were calmed, says Tillisch, co­author of the study, published in 2013 in Gastroenterology. “In this small group, we saw that the brain responded differently” when shown the pictures, she says. It’s not clear whether a blunted response would be good or bad, particularly since the study participants were all healthy women who didn’t suffer from anxiety. Nonetheless, Tillisch says, the results raise the questions: “Can probiotics change your mood? Can they make you feel better if you feel bad?”
So far, the human studies have been very small. But coupled with the increasing number of animal studies, the results are hard to ignore, Tillisch says. “Most of us in this field think there is something definitely happening,” she says. “But it’s pretty complicated and probably quite subtle.... Otherwise, we’d all be aware of this.” Anyone who has taken a course of anti­biotics, or fallen ill from a bacterial infection, or even changed diets would have noticed an obvious change in mood, she says.

Two-way traffic

If it turns out that bacteria can influence our brains and behaviors, even if just in subtle ways, it doesn’t mean we are passive vessels at the mercy of our gut residents. Our behavior can influence the microbiome right back.
“We usually give up our power pretty quickly in this conversation,” Tillisch says. “We say, ‘Oh, we’re at the mercy of the bacteria that we got from our mothers when we were born and the antibiotics we got at the pediatrician’s office.’ ” But our microbes aren’t our destiny, she says. “We can mess with them too.” 
One of the easiest ways to do so is through food: eating probiotics, such as yogurt or kefir, that contain bacteria and choosing a diet packed with “prebiotic” foods, such as fiber and garlic, onion and asparagus. Prebiotics nourish what are thought to be beneficial microbes, offering a simple way to cultivate the microbiome, and in turn, health.
“Prebiotic” foods, such as asparagus and garlic, may help cultivate beneficial bacteria in the gut.
FLYDRAGON/SHUTTERSTOCK

That a good diet is a gateway to good health is not a new idea, Cryan says. Take the old adage: “Let food be thy medicine and let medicine be thy food.” He suspects that it’s our microbiome that makes this advice work.
Combating stress may be another way to change the microbiome, Tillisch and others suspect. Mouse studies have shown that stress, particularly early in life, can change microbial communities, and not in a good way.
She and her colleagues are testing a relaxation technique called mindfulness-based stress reduction to influence the microbiome. In people with gut pain and discomfort, the meditation-based practice reduced symptoms and changed their brains in clinically interesting ways, according to unpublished work. The researchers suspect that the microbiome was also altered by the meditation. They are testing that hypothesis now.
If the mind can affect the microbiome and the microbiome can affect the mind, it makes little sense to talk about who is in charge, Bordenstein says. In an essay in PLOS Biology last year, he and colleague Kevin Theis, of Wayne State University in Detroit, make the case that the definition of “I” should be expanded. An organism, Bordenstein and Theis argued, includes the microbes that live in and on it, a massive conglomerate of diverse parts called a holobiont. Giving a name to this complex and diverse consortium could shift scientists’ views of humans in a way that leads to deeper insights. “What we need to do,” Bordenstein says, “is add microbes to the ‘me, myself and I’ concept.” 

This article appears in the April 2, 2016, issue of Science News with the h

Saturday, April 30, 2016

music and consciousness




Music and Consciousness

Earl Vickers

"On a river of sound
Thru the mirror go round, round
I thought I could feel
Music touching my soul
Something warm, sudden cold
The spirit dance was unfolding."

— John Lennon, "#9 Dream"
Music has a way of interacting with consciousness. For listeners, one's state of mind may alter what one hears, and vice versa. For performers, the two-way interaction between mind and music becomes a real-time feedback loop, especially when multiple performers engage in extreme improvisation.
Just as people sometimes self-medicate for conditions such as depression, they also use music to self-regulate their emotional states. Conversely, the music that pops unbidden into your head can be an indicator of your emotional state, a window into the soul revealing content of which you may not have been consciously aware. In Lisa Tucker's debut novel, The Song Reader, one of the main characters earns money by analyzing and decoding the songs that are stuck in her client's heads. Along similar lines, Tracy Ullman's psychotherapist character on Ally McBeal recommends that Ally discover her theme song as a step toward locating her errant mental health.
While music is commonly intended to affect the listener's mood, compositions have also been designed specifically for the purpose of altering the listener's consciousness. Indeed, entire musical genres (acid rock, trance, rave, etc.) have explored the interplay between mind and music.
Consciousness consists of a wide continuum of mental states, constantly changing in direction and focus. Music, like mind, is ephemeral, mercurial, always in motion, often flitting from one insubstantial thought to the next. Sometimes a single phrase can be evocative of a certain mental state. For example, in the Beatles song "A Day in the Life," the wordless vocals following the phrase "somebody spoke, and I went into a dream" evoke an image of someone falling into a dream or trance state.
This article will explore the interactions between mind and music, including a number of techniques for using sound to interact with the listener's consciousness.

Dreams and Dreaming

Music inspired by dreams [sound example by Earl Vickers] often has an strangely dreamlike quality and is sometimes felt to have special personal value.
"Dream songs, as we shall see in the next chapter, were particularly important in American Indian life. The dream songs received during the all-important adolescent vision quest became the dreamer's personal refrain. They were used throughout his life at stressful times (for example, war parties) and were also used to evoke the power of his own personal spirit. This is readily understandable as a function of the dream songs' strong emotional power for the dreamer." [Garfield, p. 53.]
While dreams are an unreliable source of musical material and are quite likely to be forgotten upon awakening (as was part of Coleridge's "Kubla Khan"), with practice, musical dreams can occur more frequently and perhaps be remembered better.
"Many of my songs I dream fully realized. I dream that I am in the control room, listening to something on the speakers, and it is this piece of music that I have not written yet.... This has happened so frequently that I can wake myself up and remember substantial parts. I don't know whether my subconscious has been working overtime writing these songs without my help and then revealing them to me, or whether they're transmitted to me by some kind of muse or angel, or whether there is a difference between the two.... They're lucid to the extent that I realize I'm dreaming and wake myself up to write the song down." [Rundgren, p. 104.]
Paul McCartney dreamed the melody of his most successful song, “Yesterday." Steve Allen's biggest hit, "This Could Be the Start of Something Big," originated in a dream. Portions of Handel's Messiah and Wagner's Tristan and Isolde are said to have come from dreams. Stravinsky claimed that his Octet for Winds was inspired by a dream in which the composer was surrounded by musicians playing an unknown piece on an unusual collection of instruments; while he was unable to recall the music, he did make note of the instrumentation and began composing the Octet the next morning. Mozart, Beethoven and Schubert also referred to music derived from their dreams.
At age 21, Giuseppe Tartini dreamed he sold his soul to the devil in exchange for a composition. The devil seized his violin and played "the most exquisite, enchanting, and breathtaking sonata." Tartini said the piece he composed upon awakening, The Devil's Trill, was far inferior to what he had heard in his dream, but was still by far the best he had ever written. This plot was later revisited in the Charlie Daniels song "The Devil Went Down to Georgia" (which was in turn transformed into David Allen Coe's "The Devil Went Down to Jamaica"); the final episode ofFuturama had a similar story line. (The recurring theme of paying with one's soul for shortcuts to musical inspiration might suggest caution.)
External sounds are often incorporated into one's dreams. Researchers have experimented with using audio playback to induce lucid dreams (in which the dreamer is aware that he or she is dreaming):
"We began our experimentation on cuing lucid dreams with perhaps the most obvious sort of reminder: a tape-recorded message stating 'This is a dream!'.... The subjects in this study were already proficient at lucid dreaming, and the success rate for inducing lucid dreams was accordingly high. The tape was played a total of fifteen times and produced five lucid dreams.... Eight times the tape simply awakened the subjects.
On two occasions the message entered the dreamer's world, but the dreamer lacked the presence of mind to realize what it meant. In one particularly amusing case, the subject complained that someone in the dream was insistently telling him, 'You're dreaming,' but he paid no attention to the advice! From this and our subsequent efforts to stimulate lucid dreams with cues, we concluded that we can help people to realize when they are dreaming by giving them reminders from the outside world. But would-be lucid dreamers must still contribute to the effort by preparing their minds to recognize the cues and remember what they mean." [LaBerge and Rheingold, pp. 83-4.]
Just as Salvador Dali used sunlight to induce brighter, more vividly-colored dreams, it seems likely that audio stimulation during sleep can encourage specific types of dreams, including dreams with musical content.

Hypnotic States

Like dream states, hypnotic states have also inspired music, and conversely, music can be used to help induce hypnotic states. To develop new musical ideas, Wagner would sometimes induce a semi-hypnotic state by forcing himself to stay awake late into the night.
Rachmaninoff dedicated his Second Concerto to the hypnotherapist who cured his apathetic condition:
"Consequently I heard the same hypnotic formula repeated day after day while I lay half asleep in my armchair in Dr. Dahl's study, 'You will begin to write your concerto.... You will work with great facility.... The concerto will be of excellent quality....' It was always the same, without interruption.
'Although it may sound incredible, this cure really helped me. Already at the start of the summer, I was composing once more. The material accumulated, and new musical ideas began to stir within me — many more than I needed for my concerto. By autumn I had completed two movements (the Andante and the Finale)....' "

Surrealism

Surrealism, the art movement founded by Andre Breton around 1920, prided itself on being “the most powerful mental explosive ever invented.” [Carrouges, p. 99.] It used Rimbaud’s “reasoned disordering of the senses” to disintegrate and reintegrate the mind. Although the techniques of Surrealism have mostly been used in literature and visual art, they can also be applied to music. Such techniques might well be more effective in music than in art, because an auditory stimulus is more likely to slip past our conscious awareness than a visual one. Sight speaks more directly to the conscious; sound speaks more directly to the unconscious.
In addition to drawing inspiration from the dream state, the Surrealists also pursued the cultivation of voluntary hallucinations. These hallucinations were primarily visual, elicited through exercises such as staring at the textured patterns on a blank wall, but it was discovered that “by using a seashell, one can also have auditory hallucinations, related either to voices or to music, and which often have a premonitory or monitory character.” [Carrouges, p.172.] The ocean-like sound of the seashell, which acts as a Helmholtz resonator, serves as an auditory substrate upon which auditory hallucinations can develop.
The Surrealists developed the technique of automatic writing, not only for creating literature but also for cultivating hallucinations. Automatic writing is the practice of writing quickly, without premeditation or conscious control. One simply listens to one’s mind and writes what one hears. A similar technique was adopted for painting.
The manic stream-of-consciousness monologues of Neal Cassady,
a unique being whose quest is Speed, faster, godamn it, spiraling, jerking, kicking, fibrillating tight up against the 1/30 of a second movie-screen barrier of our senses, trying to get into... Now— [Wolfe, p.131.]
helped inspire the Beat Movement, Kerouac's On the Road, and the improvisational style of the Grateful Dead. Musical improvisation by its very nature is more automatic than art or literature. When painting or writing, one can always slow down to edit or intellectualize, but live musical performance inherently occurs in real time.
Surrealist poets practiced the intentional disarrangement of the senses in an attempt to destroy mental narration and filtering. The Beatles' "Revolution No 9" introduced many new listeners to musique concrète, "a musical form defined by fragmentation and discontinuity" [Pouncey], based on found sound recorded and played back in a musical context. The Surrealist techniques of multiple images, superposition, and juxtaposition are taken to new levels in the works of Negativland and in John Oswald's "plunderphonics."
A related technique involves the intentional confusion of illusion and reality by superimposing sounds that appear to come from the listener's immediate environment rather than from the recording — a knock on the door, or someone whispering in your ear. This can be particularly effective when using binaural or multichannel spatialization.

Shamanism and Psychedelia

Music is commonly used by shamanic healers as an integral part of their healing rituals, often accompanied by the use of plant hallucinogens. De Rios and Katz suggested that the music did much more than merely set a mood; it served as a vital link in bridging separate realities and was instrumental in providing the structure for the experience. They hypothesized that for the traditional societies they studied, the music “functions almost as a computer’s magnetic tape, instructing the calculating machine in a particular course to follow.” [De Rios and Katz, p. 68.] Peruvian ayahuasca healers learn a vast repertoire of "magic melodies" known as icaros, which are used to elicit specific visions to achieve predetermined goals: contacting a supernatural deity, revealing the cause of illnesses, etc.
By way of contrast, a passage from Daniel Pinchbeck's Breaking Open the Head, a fascinating first-person exploration of contemporary shamanism, looks back on the psychedelic rock of the 1960s:
"Leary's slick, superficial constructs lacked the deep framework of separation, transcendence, and reintegration that shamanic cultures had developed over 75,000 (give or take) years....
... [Psychedelics] break the trance of the consensus culture. But neither LSD nor Leary could provide answers to the most profound issue exposed by the LSD trip: Once the individual ego was liberated from its social role, from the well-worn grooves of Western society's game machinery, what was it supposed to do?
This agonizing question is refracted, reverbed, and wa-wa pedaled through the psychedelic rock of that era. Psychedelic rock oscillates between contrasting impulses. There is the Dionysian desire to pulverize all the boundaries of space and time — Jimi Hendrix's yearning to kiss the sky, or chop down a mountain with the side of his hand. But the feeling of magic super-potency is countered by its opposite, a childlike helplessness, found in the nursery rhyme pastoralism of Pink Floyd's 'See Emily Play' or the Beatles' 'Mother Nature's Son.'
Psychedelic rock reached its unfortunate endpoint in distorted soundscapes of psychic disintegration... The music traces the sorrowful process of psychic decay, swirling down toward what Freud called 'the oceanic,' a zone of preinfantile undifferentiation. The records describe failed attempts at initiation — short-circuited blow outs, made without road map or guide, except for Leary's dangerous manual....
The 1960s pursuit of shamanic knowledge was too shallow, too uninformed, to succeed. Products of a consumer culture, the hippies and flower children tended to treat psychedelics and spirituality as new commodities. Fooled by the immediate psychic transformations of LSD, they thought enlightenment could be quickly achieved.... The psychedelic culture flourished for a few short years, leaving behind a chaotic legacy of short-circuited brilliance and schizoid tragedy...." [Pinchbeck, pp. 184-5.]

Psychoacoustic Effects

Polyphony
Changes in consciousness can be triggered when the brain is overloaded by an excess of sensory input. A simple method of overloading the brain's ability to follow melodic patterns is through polyphony, the use of multiple independent melodies. The average person can consciously attend to one or two melodies at a time, but not to, say, four simultaneous melodies, as in the counterpoint of J. S. Bach.
Anton Ehrenzweig, in The Psycho-Analysis of Artistic Vision and Hearing: An Introduction to a Theory of Unconscious Perception, claims that “the birth of polyphony was due to a sudden rise of irrational urges in the late Middle Ages,” that it died out “in the century of enlightenment and modern rationality,” and that it began emerging again in the 20th century. [Ehrenzweig, p. 41, 85.] Polyphony, because it can not be followed by the conscious, rational part of the mind, has a confusing, “ear-wandering” effect. [Ehrenzweig, p. 42.]
In order to enjoy polyphonic music a change of attitude is necessary. One has to experience the fugue-theme from the very beginning not as a melody but as a germ cell from which the intricate polyphonic structure of a fugue will grow; to follow the unfolding of this structure with a diffuse attention not concentrated on a single voice but on the structure as a whole; to feel how it gains in transparency and expands into infinite space (perhaps an example of an ‘oceanic’ feeling in art); only then will the listener feel the deep elation connected with polyphonic music which has to speak in several tongues instead of in one. [Ehrenzweig, p. 42.]
The confusing effect of polyphony is extended further if more than one set of words are used, or if the words occur at different times in different voices, as in Bach’s cantatas or in the madrigals of the mad prince Gesualdo. The very rational classical Greeks did not like vocal polyphony precisely because of the confusing effect it causes. Aristotle compared vocal polyphony to several speakers saying the same thing, when one person alone could be heard much better. [Ehrenzweig, p.90.]
Often, multiple melodies are perceived as a type of background texture, though it can be an interesting form of meditation to try to follow all the melodies at the same time. Spatial processing that places different melodies at different positions around the listener can enhance this effect.
Spatial Effects
If multiple spoken voices are played back on separate channels, the effect may be reminiscent of that described in Tales of Power, in which separate voices whisper in each ear, causing a feeling of being split in half. [Castaneda, p. 183.] Al Stewart’s Past, Present and Future uses spatial effects in which sounds are rapidly panned back and forth from one channel to the other. The Rolling Stones’ song, “In Another Land,” from Their Satanic Majesties Request, also uses interesting spatial effects. “Note, when listening to the number with stereo headphones, the effectiveness of the device of putting the voice in the left ear and throwing the echo into the right channel.” [Davis, p. 173.]
The right ear is somewhat more directly linked to the left side of the brain and vice versa. The left hemisphere is responsible for much of our music perception and for processing words and sound sequences, while the right hemisphere processes the quality of complex non-verbal sounds. [Deutsch p. 92.] The left ear is reportedly better at perceiving vocal nonverbal sounds, such as hummed melodies, laughing, and crying; the right ear is better at perceiving verbal sounds. [King and Kimura, p. 111~116.]
Various auditory illusions can be used to trick the brain's perceptual system. For example, the brain apparently uses separate mechanisms for determining what sound is being heard and which direction that sound is coming from. In right-handed subjects, the right ear determines what pitch is being heard, while the direction of that pitch is determined by which ear is hearing the highest pitch. [Deutsch, p. 92.] Thus, a pattern could be perceived which is not the pattern being played. In theory, a recording could have entirely different melodies depending on whether it were played in mono or stereo.
Repetitive Sounds
Throughout history, traditional and modern cultures have sought to generate trance-like states using music with short, repeated phrases and a hypnotic beat, so that time seems to slow down or stop.
“The incremental repetition of brief, non-developing phrases, with or without intelligible words, generates and at the same time is generated by an unremittent beat. The continuity of the beat destroys the sense of temporal progression, so that one lives once more in mythological, rather than in chronological, Time.” [Mellers, p. 29.]
Repetitive, hypnotic sounds can induce trance-like states by focusing the brain's attention on a minimal set of sensory inputs:
Music has become such a commonplace that its effects may pass unnoticed, but when recordings of African or other unfamiliar music is listened to, it is realized that the rhythms are “fascinating.” The repetition of phrase and motif, the complicated rhythm within a rhythm that is characteristic of much of this music, may explain why man throughout recorded history and in the multiplicity of modern cultures has used music, both instrumental and vocal, for inducing the trance. When these phenomena are subjected to experimental study, some forms of music will be found to be much more hypnogenetic than others, and some persons will be more susceptible than others. For example, Ravel’s ‘Bolero’ can hardly fail to induce definite trances in some listeners. Ancient man knew of the trance-inducing qualities of music and used it for this purpose. The Druids, at the beginning of the Christian Era, were versatile in their use of hypnosis, and music was one of their chief ways of inducing "magical sleep." [Williams, p. 6.]
Tape loops and sampled audio loops generate repetitive or hypnotic sounds by repeating the same verbal or musical phrase over and over. After a while the phrase (particularly if it is verbal) may seem to change to something different, typically followed by additional transformations. The underloaded brain tends to invent perceptual changes.
Rhythm and Auditory Entrainment
The sonic driving effect, also called auditory entrainment or the Frequency Following Effect, is based on the idea that physiological functions, such as the heartbeat or brainwaves, tend to synchronize to rhythmic patterns in the audio. Whether or not one's heartbeat actually locks up to auditory rhythms, it is clear that tempo has a strong effect on whether a piece of music is perceived as calming or exciting.
Movies make use of this phenomenon to heighten the tension at key moments; a heartbeat pulse may speed up to produce extra suspense. The video game "Space Invaders" used a low-frequency pulse that accelerated as the player approached the end of each level. Fast food stores use music with upbeat tempos to speed up the movement of customers as well as employees. The drumbeats of military music are designed to keep the feet moving even when the head may have second thoughts.
The use of rhythm to induce changes in consciousness is common among traditional cultures:
In Australia, aborigines sat by the flickering fire. They played the digerido — a long hollow wooden tube which produces a peculiar drone note, and used wooden click sticks for rhythmic accompaniment. Playing the digerido, at least by my personal experience, requires a unique circular breathing method and causes a slight oxygen deprivation which causes lightheadedness and an altered sense of surroundings....
Most Native American tribes I studied seemed to use rhythmic drumming to alter states, along with long periods of dancing. Many ceremonies took place in a dark lodge or at night, with flickering smoky fires. Different method, similar results.
Siberian Shamans and some Northern Tribes seemed to use drumming, rhythmic movement and sleep deprivations to help induce altered states. Some American Indian Tribes used vision quests methods where food, sleep and water deprivation helped induce altered states.
The more I studied different religions and tribal customs, I realized that they all used locally available materials to change the sense of light and the sense of smell, as well as using rhythmic chanting, drumming or noisemakers to assist. [Genuit.]
Traditional cultures use different types of rhythmic patterns — polyrhythms (African music), interlocking patterns (Balinese and Javanese gamelan), rapid accelerating tempos (Haitian voodoo possession music) — for a variety of purposes. Siberian shamanic music breaks up the rhythm by constantly varying the tempo:
Unique among all kinds of music we’d previously met with, shamanic music apparently varied constantly in tempo. This distinguished it from trance or possession music, which typically works up to climactic extremes of speed and volume, as well as from non-shamanic musics of peoples with shamanic cultures, which typically conform to the steady tempo pattern of almost all folk musics.
But why, then, did the music of the shamanic performances constantly vary in tempo? We set off into the field with an idea, but were forced to abandon it. We thought that the function of music during shamanising was largely to disorientate listeners and participants through constant fluctuations of tempo. This idea owed much to Robert Ornstein’s work in the 1960s on the experience of time.... It seemed to us that where the grouping unit was constantly unstable—as with music of constantly varying tempo—the normal habitual modes of information-processing would become generally disturbed, and the subject would then become increasingly psychologically suggestible....
After discussion with practitioners, however, it became clear to us that the primary reason for tempo fluctuation in shamanic seances was not to produce a deliberate effect on the audience. It transpired that shamanising involves the interaction between the drumming activity, producing a sensory input, and a sequence of psychological states in the mind of the shaman. These states are at least stimulated, if not regulated, by shifts in tempo and intensity of drumming. But the shaman is not using the drumming in order to reproduce the same psychological evolution in an audience. Consequently the description of shamanising as a performance – as in Western theater or music – is misleading. This non-performance aspect becomes even more marked when several people shamanise together, as sometimes happens. In these workouts, each person follows his or her own psychological evolution, and coordination of psychological states and, consequently, of drumming tempo is exceptional. [Hodgkinson.]
The auditory flicker phenomenon is a similar psychoacoustic effect involving the use of repetitive sounds. This is closely related to the visual flicker phenomenon, a colorful effect created by looking at a strobe light with the eyes closed. Epileptic fits, which may be triggered by flickering lights or by a fine mesh pattern in the visual field, can also be caused by certain types of music, which suggests that the visual flicker phenomenon has an auditory analogue. [Ferguson, p. 180.] Notes played at a rate of eight to ten per second (the brain’s alpha frequency, at which speed strobe lights are most effective) may produce the strongest effect, due to the brain’s tendency to link up with rhythmic stimuli. [Ferguson, p. 70.] An auditory strobe, which would blink music on and off at such a rate, can make the music seem to be a sequence of instants, freezing it as the strobe light freezes motion, with a similar hypnotic effect.
The emphasis in house music and dance culture on physiologically compatible rhythms and this sort of thing is really the rediscovery of the art of natural magic with sound; that sound, properly understood, especially percussive sound, can actually change neurological states... [McKenna.]
Sounds rich in harmonics may be more effective at producing auditory entrainment. Shamanic healing music often uses rattles, which create a fine mesh pattern in the auditory field:
The lowest common denominator of the musics appears to be the frequency of rattling effects, or rapid vibratory sounds, almost always in consort with whistling or singing. [de Rios.]
Rattles have rich harmonic content and almost no fundamental, and drums generally have no definite fundamental but have “a powerful and dense overtone chord.” [Ehrenzweig, p. 160.]
Timbre and Overtones
Timbre, or tone quality, is largely a function of the harmonics of the tone. Ehrenzweig claims that the brain represses the harmonics for biological survival reasons. “In the repression of the overtone chord usually the lowest of the sounds emitted by a particular thing remain consciously audible while the higher ones undergo repression.” [Ehrenzweig, p. 161.] In other words, the fundamental is consciously perceived, while the harmonics are perceived by the unconscious mind. The harmonics are heard not as separate tones, but as tone color, or perhaps directly as emotion.
The human voice is capable of perhaps the most interesting harmonic variations of any instrument. Because people are so familiar with normal vocal sounds, any alteration of the voice immediately captures the attention of the listener. Political and religious leaders throughout history have used highly reverberant environments, such as cathedrals, to make their voices sound more powerful and godlike. Many other methods have been used to modify the voice, including vocal techniques such as vibrato, tremolo, operatic techniques and Tibetan overtone singing, as well as devices such as bullhorns, multi-effects boxes, and audio effects software. “It has been suggested that that strange baby-voice in which John sings 'Lucy in the Sky' could have been maintained only by way of a preliminary inhaling of helium.” [Mellers, p. 192.]
Caveat Emptor
The "new age" marketplace includes a number of CDs and sound machines that claim to produce a variety of mental and psychological effects by means of binaural beats, brainwave altering frequencies, harmonic blends, brain synchronization, subliminal messages, morphic resonance, etc. Studies have shown that some of these techniques can indeed alter brainwave frequencies, but there is a need for additional research and unbiased comparative reviews. Some of the more promising products include binaural audio recordings for hypnosis, featuring two or three therapists speaking simultaneously from distinct spatial locations.

Conclusion

Music may be used for relaxation or to increase excitement. It may be intended primarily to affect the mind, the body, the heart or the soul. In traditional cultures, consciousness-altering music was generally designed to facilitate the healing process by inducing various hypnotic or trance-like states; more recently, Todd Rundgren's Healing was intended as an experiment in therapeutic environmental music. While some of the techniques from this article can produce interesting effects, techniques are only means to an end. Ultimately, music's effect on consciousness depends largely on the intention and skill with which these techniques are applied.

Friday, April 29, 2016

oscar the cat having esp skils.

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You have probably heard of this story in the media: A cat named Oscar at a Rhode Island nursing home has the uncanny, and somewhat creepy, ability to know when someone is about to die. But, the question is how does he know just when someone is nearing death? For that matter, how do many animals have the ability to sense sickness, sadness, or even impending danger? Is it really ESP, or is it that they have a stronger normal sense?
Oscar the Cat
For those of you who are unfamiliar with this story, Oscar the Cat is a community pet at Steere House, a Rhode Island nursing home, where they believe in the “therapeutic benefits of animal companionship”. While animals are not uncommon at Steere House (from their website, they have everything from dogs and cats, to parakeets and rabbits), Oscar has the ability to know when a patient is nearing death. He is so accurate, in fact, that they use Oscar as an early warning, and are able to call the family in.
But how is this possible? Is he alert to chemical changes in dying people? Does he hear something different? Does he actually just know when someone is about to die? There are a number of theories behind this, and it can apply to other things that an animal may sense as well.
Theory 1: Heightened Sense of Smell
This seems to be the most discussed rational behind Oscar’s abilities. Perhaps he is capable of picking up a chemical change in perspiration, or body processes, such as digestion, in a dying person. However, most cats do not seem to pick up on these smells; or, if they do, they do not act on them. Oscar tries to give comfort to the dying person, which is how they know what is going to happen.
Theory 2: Heightened Sense of Touch
This was more of a made-up media story, but on episode 104 of “House, M.D.”, entitled “Here Kitty” (original airing date: March 16, 2009), Greg House was using a cat who, similar to Oscar, was capable of knowing when a person was about to die. However, there ended up being a completely logical explanation; the cat was picking up on the changes in temperature of the dying peoples organs, and would lie on the affected organ, as a means of staying warm.
This also may explain how certain animals are capable of sensing certain natural disasters, such as earthquakes; they may pick up a slight tremor, that a person would not. This could also be linked to the sense of hearing as well, since there are sound associated with tsunamis, earthquakes, and other disasters, that a human would not here, but an animal might.
Theory 3: They just know, via a sixth sense
This theory is not often talked about, as it seems completely out of place, and there is no scientific explanation. Here, people thing that the animal knows, through a sixth, unexplainable, sense. But, since there is no knowledge of this sixth sense, or how it works, it is very hard to have a discussion about it. However, just because it can not be measured at this point doesn’t mean that it doesn’t exist.
Animals like Oscar, who are willing to comfort those who are dying, are rare. Whether these animals actually know that there is something wrong with a person, or if they are just picking up a change in the persons body temperature or chemical balance, is something that would need to be researched. This research could greatly help in end-of-life care, should they succeed in determining what exactly happens, as a person nears death.

Thursday, April 28, 2016

As i am blogging about the mind we will also see different different stunts being conducted by different people and also provide explanation.

Let us see this video ..
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https://www.youtube.com/watch?v=oCXr7rxTLBE
I shall explain to you whats happening..These monks have always trained their mind to do advanced higher stuff..These people are able to change the temperature of their body.
How is it psosible
its through mind ..subconsious mind..
Not only a  meditation monk but also a hypotist can do the same feat.. Or even a prayer guy
Cuase he reach his minds deepest state and give the commands..
Our mind  can make your body feel as if you in a ice storm when you  are infact inside a desert.
So this can help you a lot..
Lot of things possible on these methods.


This is about human mind.
Human  mind is one of the most incredible  mechanism in nature.
It is also about mind science .. And we are looking for only truth..
Will be posting things about mind ...about mind science ..
You know  higher power can contact our mind .and once the higher power contacts you its a
amazing experience ...

We will understand about silva mind control, intution,,meditation,Self hypnosis,prayer .
We people love to go to worlds which are   outside our galaxy too. .We are trying to find alien life ...
And strange issue we find we have not made any break through in finding higher intllegence. .even after 40 years after i am born.
Actually the higher intellgence is in earth itself .. It can come and talk to you your mind..

The mind needs to be in a very relaxed state for it to happen.

I also have understanding of magic.. so i can educate people most of the magic are fake .,and fraud.
Life of fakery is never fun.. Earth is a commedy place ..where people spend money on fakers ,sports,,movies,.All this is absolute nonsense.
Humans should be sent to a different continent where they can make movies,play 10 hour cricket,
Politicians who spread hatred, Friends and relatives who love to  spread gossip..cause their mind is a weak mind.


The countries have billion of people they get entertained watching cricket ..etc they spend 4 hours of time watching cricket ,football ,etc But have no time for themself..
Polticians are example of  fakers too.
Humans are sychophants who love  power and money.
For people if you need to know real things about mind ..dont waste your time on mentalist.or metnalism. They are only using fake techniques to fool you..its only deception..

If you need to understand some thing real ..then try for meditation, relaxed state,lucid dreaming .Prayer ,hypnosis and experiment with your own mind.

There is a being in spirt form which cant been seen  in earth it is very smart it can enter our mind and talk to us when required.
I hope the spirit is not angry when i talk or reveal about him ..if so i  might have to delete these posts.


One thing i know in silva mind  control they tell us to close our eyes ..and put it in 45 degere angle and  try to visualise something ...This gives a trance state..

Now a days my mind doesnt conduct very well to higher power .I think it should ..

I have a feeling to understand buddhism and reveal it  as a  fake stuff..
The most important  point is there is a higher spirit .. who plans things in earth..

Most of the osho Rajneesh followers are sex addicts.

Will iss will ever go to heaven.
The good thing about iss is they ready to fight for God .
But they are so blinded they keep killing innocent  people Even they have been raping girls .
How can humans be so foolish to do this in name of God.
What sort of species are those. and worst is they claim to be close to god..
Question in my mind why did god not punish iss ..Could be some master plan.
Which we dont know.



One proof the higher power exist.. I mean it decides which animals to have wings.
It decides i have to have brain so i have a higher brain..funny thinking.

About Gratitude..Gratitutde is one great way to alter your mind state.
We need to praise lord every day for small things given by him
and start your day.
This shall result in being you being eternally happy.
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