Unity Consciousness: Reflections on the Nature of Human Duality and Synthesis

Maharishi Mahesh Yogi, founder of the school of Transcendental Meditation

The school of Transcendental Meditation (TM), founded by the renowned mystic Maharishi Mahesh Yogi (who, incidentally, is probably best known for being a mentor to the likes of John Lennon, Paul McCartney, David Lynch and others), identifies seven basic levels of consciousness, as revealed to the adept in the meditation practice, in the Vedic tradition.

The first three levels are waking, deep sleep and dreaming (REM) – universally experienced by pretty much everyone. The four others are less widely known or appreciated. They may be described as follows:

Transcendental consciousness – which may be described as the pure silence of the deeper levels of the mind, beyond the superficial mental chatter that crowds waking consciousness. This state of mind is best experienced in a deep meditative state.

Cosmic consciousness is achieved when one becomes deeply immersed in the transcendental state, over time and a habitual meditative practice, to the extent that one is able to see through the illusory superficialities of the material world and appreciate one’s true self as eternal consciousness.

Beyond all these levels is “God consciousness,” in which one’s heart opens up to such a degree that one finds joy in the simplest of things and one is enamored by the beauty of creation.

Finally, at the pinnacle of the spiritual journey, achieved through a consistent meditative practice and internal reflection, is the experience of “Unity consciousness” – the rarest state of being that the adept can achieve – a state characterized by the ability to see through and past any form of duality or separateness and to perceive all of creation, all of reality, as an integral, unified whole – all aspects of a single state of being – an universal oneness. In this state of consciousness, there is only the “universal self” – there is no ego and no concept of “the other.”

Unity Consciousness – being at one with the universe

The idea of “unity consciousness” – a state of being more colloquially described as “being at one with the universe” – is hard to appreciate, for all the platitudes and clichés that tend to trivialize the nuance and subtlety associated with its deeper levels of meaning. It is a state of consciousness that we can all appreciate to some degree, because the human mind naturally tends to move in that direction. And yet, it is a state of consciousness from which the human mind is far removed, given that the human condition, such as it is, is fundamentally characterized by duality – one might even say, of alienation or separation from the self and others.

Insofar as we are slaves to the ego and to the superficial trappings of the illusory reality that we find ourselves in – insofar as we feel ourselves to be defined by labels constructed out of ego, ignorance and a limited comprehension of reality – labels based on religious, ethnic, cultural or geographic identity, for example – we remain divided from others and separated from our true selves. For at the core of the idea of “unity consciousness” is the notion that every individual – everything in nature, in fact – is a fractalline fragment in the vast mosaic of reality, or analogous to the crest of a wave in the vast, infinite, universal oceanic field of conscious energy that permeates everything and constitutes the fabric of reality itself – variously referred to as the “unified field,” the “zero point energy field,” or “God.”

Everything in nature is a fractalline fragment in the vast mosaic of reality

These may be difficult metaphysical concepts for the average layperson to wrap their head around, but, perhaps, it is possible to gain some appreciation for what “unity consciousness” really means when we gain a better understanding of what “duality,” its opposite, really means – notably, the duality that characterizes the human condition.

If I may be excused for contradicting myself somewhat by bringing up the subject of television in a blog about “out-of-the-box ideas” – in which I have previously explicitly equated TV with the so-called “idiot box” – I must note that the original Star Trek TV show is one of the few instances of really high quality, intelligent programming on TV – a show that took dramatic television to levels rarely achieved before or since. In some of its best episodes, the show addressed issues that few others have in the domain of popular culture, in ways that remain vivid and accessible to this day, more than half a century later.

A scene from the Star Trek episode Let That Be Your Last Battlefield

One of my absolute favorite Star Trek episodes, entitled Let That Be Your Last Battlefield, deals with two warring aliens encountered by the crew of the starship USS Enterprise. What makes these aliens remarkable is their distinctive physiognomy – they look almost identical, their faces literally being half black and half white – a line of division going down the center of their faces, seeming to separate the left and right cerebral hemispheres while signifying the yin/yang duality of their consciousnesses. And even as their individual consciousnesses are seemingly internally divided by this line of separation, so also are these two-faced beings perpetually at war with each other – perpetually at each others’ throats in a never-ceasing conflict that has continued unabated for over fifty thousand years of tribal warfare.

The aliens’ mutual animosity is completely bewildering to the crew of the Enterprise – especially when considering their distinctive appearance, which makes them seem to be identical twins – at least at first glance. Puzzled by one alien’s derision of the other as the member of “an inferior breed,” Captain Kirk wonders out loud how either of them could possibly consider the other to be any different from themselves. The alien bristles at this suggestion and interjects, “Are you blind?” The alien then points out that each of them is actually the mirror image of the other – not the identical twin. One of them is black on the left side and white on the right, while the other is white on the left side and black on the right.

A scene from the Star Trek episode Let That Be Your Last Battlefield

This seemingly minor detail completely escapes cursory observation from a third-party vantage point, but has become an all-important point of differentiation to the warring aliens themselves – to such a degree that they are irreconcilable, generational, mortal enemies. Kirk, Spock and the others recoil at this realization – the expression of disbelief on Kirk’s face clearly suggests exasperation at the seeming absurdity and triviality of this point of contention.

Rarely have I seen a work of art, on television or elsewhere, that more profoundly captures the essentially dualistic and conflict-oriented nature of the human condition than this episode of a 1960s retro sci-fi TV show! Is this how alien visitors to our own planet possibly see us, especially when they come to recognize the underlying causes of conflict and dissension among human beings, which must be absurdly trivial and insignificant from their point of view?

That duality and division are fundamental to the human condition is evident in any study of history. The earliest literary and historical records recount sagas of internecine tribal warfare between rival factions. The Biblical story of Cain and Abel is one of the foundational myths of western civilization, recounting the tale of a fraternal rivalry turned deadly. Archaic societies as well as more recent tribal societies are frequently characterized by clan warfare. In American folklore and history, there is the Hatfield-McCoy feud of the post-Civil war era and the gang warfare between the Northside and Southside gangs of Prohibition-era Chicago. Around the world and through history, we continue to see this recurrent motif of warring factional dualities – from the Protestants and Catholics of Ireland, to the Shi’ites and Sunnis of the Islamic world, to the Hindus and Muslims of the Indian subcontinent, to the Palestinians and Jews of the middle east.

A scene from the Franco Zeffirelli’s screen production of Shakespeare’s play Romeo and Juliet

One of the all-time greatest poets and playwrights of the western world – William Shakespeare – captured this condition of human duality – of humanity in a perpetual state of conflict with itself – most profoundly and movingly in one of his best known and most popular literary works, the play Romeo and Juliet. In the play’s depiction of the warring Montague and Capulet families of Renaissance-era Verona, Italy, the bard makes the profound observation that love is the antithesis of this condition of entrenched war and hatred that, historically, has characterized the human condition. Tragically, in Shakespeare’s drama, young love is no match for the deadly pressures of the ancient feuds that have ripped apart human society since time immemorial, and Shakespeare’s celebrated star-crossed lovers pay the ultimate price for their innocent dream of a unifying love.

Celebrated French philosopher René Girard

The renowned French philosopher and academic, René Girard, described this condition in human nature as mimetic rivalry. He observed that “mimesis” or imitation is one of the key, central characteristics of human nature:

All conflict, competition and rivalry therefore originate in mimetic desire (mimetic rivalry), which eventually reaches destructive stages of conflict both between individuals and social groups that requires them to blame someone or something in order to diffuse conflict through the scapegoat mechanism.

Wikipedia entry on René Girard

Girard’s key observation, in his earlier philosophical works, is that the deadliest of rivalries and enmities invariably arise between individuals or groups not so much because of their differences but, rather, in spite of their similarities. The deadliest of enemies tend to be identical to one another for the most part – but the relatively minor differences invariably become magnified into a point of major contention and even deadly conflict. This profound observation by the philosophical genius fits in only too well with everything we know about history and the human condition – duality and conflict are central to the human experience and have been since time immemorial.

When we realize this, it becomes evident that the idea of a “unity consciousness” based on Christ-like charitable love (or agape) and mutual empathy and compassion might represent a massive leap

forward in human evolution – as, in fact, suggested in the mysterious text entitled The Law of One, which was supposedly “channelled” from extra-terrestrial authorship, between 1981 and 1984, by a team of independent researchers – Carla Rueckert, Don Elkins and Jim McCarty.

It would seem that the idea of transcending personal ego through the practice of charitable love and forgiveness, aided by a sound meditation practice, is not merely the crux of a positive, healthy lifestyle, nor is it just a feature of 1960s hippy culture, of which John Lennon and the Maharishi were an indelible part. In fact, it may be the key to the next stage in human evolution – to rising to a higher “density” of consciousness – from the current level of “dualistic consciousness” to the higher level of “unity consciousness” – a state of being where there is no ego and no concept of “the other” and one which is, presumably, characterized by both hemispheres of the human brain working together in harmony with one another.

It must be noted, however, that esoteric ideas like these are invariably subject to distortion, misinterpretation and trivialization. Even as duality and conflict have characterized the human condition since the beginnings of recorded history (at least), so also have human beings sought to achieve peace, harmony, order and unity in society through any number of methods – political, religious, cultural, philosophical and educational all describing attempts to “civilize” human beings into living in peace and harmony with one another, to some degree at least. Some of these efforts have been more successful than others – the foundation of the United States of America being a relatively recent, relatively successful political endeavor, while the foundation of the European Union has, thus far at least, been less successful by comparison.

Legendary rock musician John Lennon

All that said, I am personally of the opinion that “unification,” in the mode of achieving an “unity consciousness” – and as expressed in John Lennon’s classic rock music ballad Imagine – must ultimately happen organically and spontaneously, from the heart. The fall of the Berlin Wall is one such event of human unification in recent history, in which divisions were surmounted through a spontaneous, organic, heartfelt movement of popular consciousness. Attempts to forcefully unify dissenting populations through the exercise of political dictates, military might or even rational debate and discourse are invariably doomed to failure. If the heart is not in it, any attempt at unification will, at best, likely be a tentative truce or cease-fire and, at worst, a potentially devastating, bloody failure.

Even so, despite a history of thousands of years of bloody conflict behind us, there remains, all the same, the promise of “Ascension” – of somehow rising above the petty, egocentric, illusory differences that divide us and finding true common ground and truly coming together as a species, from the heart, and ascending to a higher level of being together – achieving “unity consciousness” and a new way of living in harmony with each other and nature.

The Tragedy of Scientific Materialism

Eagle Nebula’s Pillars of Creation. (NASA, ESA/Hubble)

“Modern Science” may claim to be a methodology — a toolkit, as it were, to enable and empower one to separate truth from fiction — but, in actual fact, Scientific Materialism is a belief system rooted in an ideology — no different, in essence, from any other belief system. In this century, Scientific Materialism is the establishment dogma and is responsible for the marginalization and even persecution of competing theories, ideas and belief systems.

When establishment voices speak about the importance and relevance of “Science,” they are not talking about the agnostic scientific method, per se. They are, in fact, referring to the dogma of Scientific Materialism — a dogma that worships at the altar of the big pharmaceutical industry (aka Big Pharma), that denounces alternative medicine and alternative science as heretical, that venerates Darwinism and the doctrine of Climate Change (previously known as “Global Warming”) as its sacred texts, and that heralds the coming of its new messiah — Artificial Intelligence (or AI)!

The tragedy of this misguided dogma is that it is, in fact, a belief system rooted in blind faith, rather than a thought system rooted in critical, rational analysis (as it claims to be), and that dismisses sound evidence that may, in any way, contradict or undermine its core suppositions — namely that human existence is a purely mechanistic phenomenon, that the human organism is an organic machine that evolved purely circumstantially, and that consciousness is purely a product of random electrical activity in the brain. Thus, the high priests of this establishment dogma of scientific materialism feel justified in ridiculing and marginalizing alternative science, alternative medicine and any ideas, propositions, claims or theories that may call their core belief system into question. In so doing, not only do they contradict the very scientific methodology that they claim to uphold (namely, the one that claims to be based on observational evidence and rational analysis), but they are in the process of making themselves irrelevant and obsolete through the process of denial and self-deception.

In actual fact, the cutting-edge claims of the very science that they claim to evangelize and venerate so deeply — the claims of Quantum Mechanics, for example — completely undermine the core suppositions of the materialistic worldview — namely, that the universe can definitely be known as a coherent, solid, material certainty, that human existence is mechanistic and purely organic in its form, and that consciousness is purely a product of the brain’s electrical activity, with no connection to anything beyond or outside itself. The course of scientific research has, ironically, completely undercut and undermined its own core foundation — the scientific materialism that originally arose from Newtonian physics. The cutting-edge physics of Nikola Tesla, Albert Einstein, Niels Bohr, Max Planck, Werner Heisenberg, Erwin Schrödinger, and beyond, appears to have more in connection with the pantheistic spirituality and mysticism of ancient times than with more recent Newtonian physics!

Unfortunately, the political establishment of the early 21st Century is still run by people educated in the Newtonian model of reality and have their consciousness immersed in that defunct mode of thinking. It will probably take a generational shift before scientific materialism will finally be dismissed for the obsolete dogma that it, in fact is, and the mainstream world embraces the cutting edge claims of Quantum Mechanics and, with it, the ancient claims of mystical practices and spiritual texts from the remote past that resonate with these new ideas.

Sound and Water: Understanding Cymatics

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In my last few blog posts, I discussed some ideas presented by the authors Masaru Emoto, Leonard Horowitz and Michael Tyrell. It must be noted that I have barely scratched the surface of the ideas they have discussed in their works. For more details about these and related ideas, I recommend a more in-depth study of their publications, which include books, articles, and audio and video presentations. It is not my intention to go into a detailed discussion of the entire contents of their works. I have discussed here no more than may be found in a book review or, perhaps, an academic dissertation – citing their works under fair use guidelines.

That said, I would like to recapitulate, summarize and elaborate upon some of the ideas previously discussed to enable the reader to come to a better understanding of the deeper significance of the themes being discussed here. These are tough concepts to understand and need to be revisited, chewed and digested before they can truly be appreciated.

Water has structure and memory

One of the basic ideas emerging from these discussions is the revelation that water is not what it appears to be. It is not simply the bland liquid we use to slake our thirst and, for the most part, take for granted, unless one is stranded in a desert with no oasis in sight.

Water, in fact, has a distinct molecular shape – a tetrahedron – that enables water molecules to assume invisible (for the most part) microscopic structures. Structured water behaves like a “liquid crystal superconductor of sound and light” (Horowitz, Leonard G., The Book of 528: Prosperity Key of Love, Tettrahedron, 2011, p. 166). The form of structured water was captured by Masaru Emoto, in his experiments with freezing ice crystals under various conditions. Emoto claims to have established that not only does water have the ability to structure itself, microscopically, it also appears to display one of the primary characteristics of consciousness – response to external stimuli. The hidden structure of water appears to be affected by external circumstances – and even by human actions, words and, it appears, even thoughts. Water appears to have some sort of connection with human consciousness in that its hidden structure and ability to crystallize when frozen are affected by human consciousness. This concept is so mind-blowingly remarkable that it is worth thinking about and discussing extensively as a subject in itself.

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If it is true that water has the ability to retain and “remember” various types of information, then the implications of that possibility are profound. Hopefully, such an understanding will inspire a more reverential attitude towards the world’s water supplies, particularly with regard to dealing with issues involving water contamination and pollution. If rivers, lakes and oceans are literally alive at some level, then surely humanity has a great deal to learn from them – if it were possible, somehow, to communicate with water or, at least, interpret its “hidden messages” (Emoto, Masaru, The Hidden Messages in Water, Atria Books, 2005, Prologue).

Water resonates with certain sound frequencies

Owing, in part, at least, to its tetrahedral molecular shape, water appears to be influenced by sound frequencies so that it seems to resonate with certain frequencies in particular – namely, the so-called Solfeggio frequencies and their harmonics. Water appears to demonstrate its resonance with these frequencies by organizing itself, at a molecular level, into “structured water” – liquid crystal – which is visible when the water is frozen under certain conditions, as in the case of fresh snowflakes or Masaru Emoto’s experimental ice droplets. These specific sound frequencies were discovered through mystical/Divine inspiration and a study of the Biblical Book of Numbers by Dr. Joseph Puleo, an associate and collaborator of Dr. Leonard Horowitz. These frequencies are centered around the sound frequency of 528 Hertz (or cycles per second). While each of the Solfeggio frequencies discovered by Dr. Puleo has a characteristic set of traits, the “Miracle tone” of 528 Hz. – the Mi note in the Solfeggio scale – seems to be unique for its miraculous healing and stress-relieving ability.

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Additionally, through the study of Cymatics – which examines the symmetries of wave formations generated in various media – it is possible to gain some appreciation and understanding of how various sound frequencies influence the media they travel through. The wave formations studied in the discipline of Cymatics can readily be viewed when transmitting sound frequencies through bowls and containers of water. The frequency of 528 Hz., in fact appears to generate a unique shape – a 36 pointed star. It is possible to capture these shapes through photography or other methods, e.g. the cymascope. The images of wave formations obtained by such techniques often manifest as remarkably complex patterns and designs – mandalas – which are a deep-rooted part of many Eastern religions and cultural practices.

The human body is largely made of water

The human body has been described by many as being a glorified sac of water. The human physiology, by varying estimates, is 60-70% water.

It stands to reason, therefore, that if water is deeply affected by various sound frequencies, the human body would also be profoundly affected by those frequencies. Indeed, as posited by Dr. Leonard Horowitz, the Solfeggio frequencies are exactly these biologically resonant sound frequencies. This may be why, it has been suggested, the human body vibes with certain sounds and, especially, musical notes. These particular notes – claimed to be the Solfeggio frequencies or notes – are organically resonant because they  profoundly resonate with the water that makes up 60-70% of human body chemistry.

12-Ways-To-Naturally-Raise-Your-Vibration

We human beings “feel” certain musical notes deeply in our beings – resonating with us at a profound cellular and molecular level – because this music resonates with the water in our body chemistry. This water responds to the stimuli of musical notes by organizing its molecular structure into so-called “structured water”, which has a unique set of properties. It stands to reason, therefore, that our health – which includes our physical fitness and well-being as well as our brain function – is profoundly influenced by the resonance of structured water to the Solfeggio sound frequencies. For this reason, among others, it has been suggested that the Solfeggio frequencies may have healing properties.

The Key of David

The musician Michael Tyrell recounts in his book The Sound of Healing that he believes that he has discovered the so-called “Key of David” – an enigmatic icon derived from a mention in the Biblical Book of Isaiah. By following numerological clues and his knowledge of Biblical and musical history, especially regarding how the legendary King David of Israel tuned his lyre (kinnor) to a higher note or frequency than was the common practice, Tyrell surmised that David possibly tuned his lyre to set the key of A to 444 Hz., as opposed to the modern tuning of A=440 Hz. (standard western turning) or the alternative tuning of A=432 Hz. Doing so results in 4 of the 6 Solfeggio frequencies manifesting themselves when playing the instrument, especially C5 manifesting as 528 Hz.

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Tyrell came to believe that this secret higher-than-usual system of tuning of A=444 Hz. is the key to the allegedly miraculous powers of King David’s music – its supernatural healing properties and miraculous heavenly sound. Apparently, the secret has to do with the Solfeggio frequencies manifesting in the music, which, as was mentioned earlier, resonates with water at a molecular level and, as such, appears to have profound effects on human health and well-being.

The Rockefeller Foundation, Joseph Goebbels and Standard Western Tuning

Both Dr. Leonard Horowitz and Michael Tyrell provide extensive evidence on the background and historical circumstances leading to the eventual standardization of music tuning in the the 20th and 21st Centuries – standard western tuning, which defines the key of A tuned to 440 Hz. This system of music tuning is currently widely adopted and universally accepted as the standard.

Dr. Horowitz mentions that in the 1930s, prior to WWII, according to citations in their own archives, the Rockefeller Foundation conducted extensive research into the psychological impact of sound frequencies for wartime applications, especially with regard to the ability of certain sound frequencies to trigger negative emotional responses such as unease, fear and even mass hysteria. Dr. Horowitz also mentions that the Rockefellers’ Standard Oil corporation was closely affiliated with Nazi Germany through its association with the IG Farben petrochemical cartel. These circumstances culminated, on the eve of WWII, with the Nazi propaganda minister, Joseph Goebbels, holding a conference in London to institute the music tuning system of A=440 Hz. as the international standard. While this arrangement did not last for long, due to the war, subsequent attempts were made to standardize music tuning by the ISO and the EU, presumably at the behest of the Rockefeller Foundation.

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Both Dr. Horowitz and Tyrell emphatically state that the standard tuning system of A=440 Hz., which is widely deployed by the modern mass media, produces a biologically harmful set of sound frequencies that do not resonate organically with human physiology. While the difference in frequency between standard tuning vs. Solfeggio tuning is barely perceptible to the human ear – a mere 4 cents or approximately 0.16 semitones difference in music pitch – the difference can be felt physiologically and even psychologically. The lack of organic resonance to the standard tuning of A440 results in a devastating physiological and psychological impact after prolonged exposure. This can lead to significant health and psychological problems in the widespread populace – a circumstance aggravated by the exponentially growing deployment of mass media technologies like TVs, cellphones, tablets, etc., all of which apparently transmit media at standard frequencies.

The need for a universal music pitch shift

Underscoring the devastating effects of prolonged exposure to music tuned to the “standard” frequency of A=440 Hz., Dr. Horowitz and Tyrell call for a dramatic shift in universal practices of music tuning. They urge musicians and music producers worldwide to reject the standard system of A440 music tuning and, instead, adopt the much more organically resonant and beneficial Key of David tuning system of A=444 Hz. Doing so, they allege, can bring about a dramatic shift in circumstances for the human race.

This new system of music tuning has the potential, if exponentially deployed and amplified, to raise the collective vibration of the human species and to bring about a paradigm shift in human affairs. We could be witnessing miracles transpiring everywhere and dramatic instances of healing and recovery from deadly diseases.

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As Tyrell mentions, when music is played at the correct frequency and with the right intentions, when it is magnified sufficiently to the glory of God, He responds and Heaven comes to earth (Tyrrell, Michael S., The Sound of Healing: Unveiling the Phenomena of Wholetones, Barton Publishing, 2015, p.96). Both Dr. Horowitz and Tyrell firmly believe in the remarkable potential of correctly tuned music to dramatically improve the quality of life for all people worldwide, if deployed at a sufficient scale and with the right intentions at heart.

Conclusions

The evidence provided by the authors I have cited is pretty compelling. If I may add my personal testimony to the mix – although I have not experienced any dramatic instances of healing or recovery resulting from music tuned to A444, I have certainly experienced a profound sense of peace of mind upon listening to A444 music tracks. They are also extremely powerful stress relievers and energizers to listen to. I can also attest to playing some Solfeggio music tracks on headphones for my father when he was gravely ill – while there is no direct evidence that the music had any significant healing properties, I did notice that it gave him a tremendous sense of relief from the illness – an effect that was directly perceptible in his improved heart-rate and breathing patterns.

Is it possible that music played over the Solfeggio frequencies could dramatically transform our lives – healing us from illness and clearing our troubled minds? While the definitive corroborative clinical evidence may be lacking, the possibility certainly holds a great deal of promise. If nothing else, the music is tremendously effective at providing relief from troubles and stress. At best, however, and with further research, it holds the promise of miraculously transforming our lives for the better – but these possibilities still need to be researched and investigated further.

Postscript

There may be some misconceptions about musical instrument tuning, and I think I should clear them up here. For example, I believe there may be some confusion about the difference between major and minor keys on a keyboard vs. the tuning of the keyboard. These are not the same things. A typical keyboard, like the one I own, has a “Function” button with some enhanced settings. If I press the “Function” button on my keyboard a few times, I arrive at a setting labeled “Tune”. This tuning setting was set, by default, to 440.0 Hz., which is the standard western tuning of A=440Hz., perpetuated by Nazi propagandist Joseph Goebbels and the Rockefeller Foundation. What I have done on my keyboard is to modify this setting to 444.0 Hz., which results in A=444Hz. tuning, as suggested by Dr. Leonard Horowitz. As a result, my keyboard now plays in this “Key of David” music tuning system. It still has both major and minor keys, but the entire keyboard plays in this new, more vibrant tuning system, which, supposedly, has health benefits and, in general, is more pleasing to the ear.

The Key of David: Michael Tyrell and the Music of Healing

In 2015, Grammy award winning musician Michael S. Tyrell published The Sound of Healing: Unveiling the Phenomena of Wholetones to accompany his Wholetones music project. The original project contains more than 150 minutes of music – 7 music tracks recorded over 7 music frequencies – the six Solfeggio frequencies and, additionally, 444 Hz. – the supposed “key of David.”

In his book, Tyrell describes an encounter with Dr. Leonard G. Horowitz while he was undergoing alternative medical treatment for a health problem. Tyrell mentions:

After meeting Leonard, I felt that my theories of sound and light and spontaneous healing with music might be far more than just theories. (Tyrrell, Michael S., The Sound of Healing: Unveiling the Phenomena of Wholetones, Barton Publishing, 2015, p.41)

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Dr. Horowitz, as mentioned in my prior blog post, is the author of The Book of 528, in which he makes the case for the Solfeggio frequencies – especially the 528 Hz. frequency – as having remarkable – even supernatural – healing properties, as they are profoundly organically resonant and connected with the molecular structure of water.

In his book, The Sound of Healing, Tyrell provides a musician’s perspective on the significance of the Solfeggio frequencies, drawing upon his considerable knowledge of music history and practice.

Tyrell describes the history of Solfege, or “sight singing”, which, he notes, he was introduced to while he was training to become a Madrigal singer. He notes that:

The early Christians and disciples of Jesus continued to sing the psalms of the Old Testament. These psalms by King David became the inspiration of the Gregorian chants or Solfege (sight singing). (Ibid., p.61)

Tyrell then describes how, in AD 590, Pope Gregory officially made several modifications to the original music of the Roman Catholic church:

Historians reported that the Pope reduced the multiple original intervals of the scale to just 7, then modified the ancient music accordingly. He compiled the altered chants in two books, Antiphonarium and Gradual Romanum…. (Ibid., p.63)

The upshot of these changes was that:

By the year 1050 AD, the Church admitted to losing 152 of the original Solfeggios sung by the early Church prior to Pope Gregory. Along with those Solfeggios, 6 intervals or frequencies inspired by ancient Hebraic songs were also missing, seemingly forever. (Ibid., p.64)

Tyrell then suggests that these missing frequencies were, in fact, identified by Dr. Joseph Puleo and Dr. Leonard Horowitz, as recounted in their book, Healing Codes for the Biological Apocalypse. These are the very frequencies that, in addition to the 444 Hz. “Key of David”, form the basis of Tyrell’s Wholetones healing frequency music project, which he clearly acknowledges and documents in his book.

Tyrell describes taking a trip to Israel with a friend, and stopping at a coffee shop on Ben Yehuda street in Tel Aviv. Upon a chance encounter with a piano player, coincidentally named David, Tyrell was gifted with “manuscript copies of several of David’s psalms” (Ibid., p.80) which contained his musical transcriptions of the ancient musical texts. Upon examining the transcriptions, Tyrell “noticed that [David, the piano player] had adapted these manuscripts to play in modern keys, based on the A440 tuning. At the time, it seemed logical.” (Ibid., p.81)

After returning home, Tyrell tried playing these adaptations of the Biblical psalms on his guitar. However, he notes, “[t]hough they were beautiful, I felt that something was missing.” (Ibid., p. 81) Tyrell also mentions that for him, music has a supernatural quality to it: “I had always known that music held a key to far more than entertainment.” (Ibid., p.81)

Tyrell also mentions his association with a music band named “The Key of David” and describes his reflections on the number 222, especially with regard to Biblical numeric interpretation. “It reminded me of the scripture, Isaiah 22:22, which is where the band The Key of David got their name,” (Ibid., p.82), he explains. The verse in question reads, “I will place on his shoulder the key to the house of David.…” (Isaiah, 22:22)

Tyrell mentions that King David famously played the lyre or kinnor – a musical instrument that never left his side and was a critical part of the practice of worship of the nation of Israel. Tyrell notes that David constructed his lyre out of cedar wood from Lebanon, which was sturdier than other wood, resistant to insects and natural decay, while being beautifully fragrant.

As Tyrell reflected on these varying themes, he was struck by an epiphany – a sudden realization about what it all meant:

I always imagined David tuned his kinnor [i.e. lyre] with some derivative of the note “A,” which in Western tuning today would be 440 Hz…. I also knew that David tuned higher than many of his contemporaries. Suddenly, I remembered page 222 in my Bible, as well as Isaiah 22:22. I asked myself, “What if I double them to 444? Could the tuning be 444?”

Then the bomb dropped! Could it be more than a note … maybe a key, THE key of David? There was only one way to find out!

I grabbed my guitar and tuned it to 444 (“A”) and there it was: 4 of the 6 solfeggio tones were right under my fingers! (Ibid., p.94)

Tyrell goes on to say that this realization was like solving a musical puzzle as all the pieces began to fall into place:

Suddenly, it all made sense. Because David was not satisfied with the kinnors that were available to him, he built his own. He chose cedar from Lebanon because it was a stronger, warmer sounding wood…. Its strength holds up under the higher tensile strength of the 10 strings tuned to 444 Hz. (Ibid., p.95)

All the questions in Tyrell’s mind began to be answered by this understanding. “I began to understand why the ‘Sound of Heaven’ was so elusive and impossible for musicians to capture,” he continues. “Not only have we been playing music in the wrong key, but also we often do it with impure motives.” (Ibid., p.95) Tyrell continues with a powerful affirmation of the spiritual and supernatural dimension of correctly tuned music:

When someone plays music with true spiritual motives and properly directs it to God in worship of HIM alone, God responds and heaven invades earth. (Ibid., p.96)

Tyrell proceeds to discuss the history of music tuning in the western world. He mentions that early instrumental music tuning did not follow any consistent guidelines – there were no reliable standards in place. While King David apparently tuned his lyre to A=444Hz, his contemporaries did not necessarily abide by that system of tuning. However, Tyrell points out, “[t]uning would eventually become stringent due to polyphony and larger symphonic works.” (Ibid., p.97)

Tyrell observes that from the 17th through the 19th centuries, music tuned to A=432Hz was widespread – a practice that is common even today. “By 1850,” Tyrell notes, “instruments were redesigned to play at pitches from 420 Hz (A) to 460 Hz (A). Some played even higher in the cultured theaters of Venice. A full swing tuning war thus began in Europe!” (Ibid., p.98)

Citing the Schiller Institute at length, Tyrell observes that the current practice of A=440Hz music turning was never widespread or taken seriously until the 1930’s, when it was adopted by Nazi Germany and promoted by Hitler’s propaganda minister, the infamous Joseph Goebbels:

The first effort to institutionalize A=440, in fact, was a conference organized by Joseph Goebbels in 1939, who had standardized A=440 as the official German pitch.… The congress did in fact occur in London, a very short time before the war, in May-June 1939. No French composer was invited. The decision to raise the pitch was thus taken without consulting French musicians, and against their will. The Anglo-Nazi agreement, given the outbreak of war, did not last, so that still A=440 did not stick as a standard pitch.

A second congress in London of the International Standardizing Organization met in October 1953, to again attempt to impose A=440 internationally. This conference passed such a resolution; again no Continental musicians who opposed the rise in pitch were invited, and the resolution was widely ignored….

As recently as 1971, the European Community passed a recommendation calling for the still non-existent international pitch standard. The action was reported in “The Pitch Game,” Time magazine, Aug. 9, 1971. The article states that A=440, “this supposedly international standard, is widely ignored.” Lower tuning is common, including in Moscow, Time reported.… (Ibid., pp.99-101)

Tyrell then makes an emphatic, unequivocal statement on his opinion regarding A=440Hz frequency music tuning, which is currently widely accepted as “standard western tuning” and is used by most mainstream media organizations in their practices of sound calibration:

The 440 Hz frequency is a dissonant, unrested, and chaotic tuning that creates agitation in the human body. (Ibid., p. 101)

Tyrell quotes the abstract of an article by Dr. Leonard G. Horowitz that summarizes his position with regard to the insidious and damaging nature of the A=440Hz music tuning standard:

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“This article details events in musical history that are central to understanding and treating modern psychopathology, social aggression, political corruption, genetic dysfunction, and cross-cultural degeneration of traditional values risking life on earth.

This history concerns A=440 Hz “standard tuning,” and the Rockefeller Foundation’s military commercialization of music.

The monopolization of the music industry features this imposed frequency that is “herding” populations into greater aggression, psychosocial agitation, and emotional distress presdisposing people to physical illness and financial impositions profiting the agents, agencies, and companies engaged in the monopoly.

Alternatively, the most natural, instinctively attractive, A=444 Hz (C5=528 Hz) frequency … has been suppressed … [and] musically censored.

Thus, a musical revolution is needed to advance world health and peace, and has already begun with musicians retuning their instruments to perform optimally, impact audiences beneficially, and restore integrity to the performing arts and sciences.

Music makers are thus urged to communicate and debate these facts, condemn the militarization of music that has been secretly administered, and retune instruments and voices to frequencies most sustaining and healing.” (Ibid., pp.102-3)

Tyrell proceeds to point out that Joseph Goebbels was a deeply depraved and monstrous member of Hitler’s Nazi party, whose “goal was to ‘Nazify’ the art and culture of Germany.” (Ibid., p.105) Tyrell states that “Goebbels used radio and propaganda films to win over supporters … [and] was also responsible for creating a cult of personality for Hitler.” (Ibid., p.105) Tyrell then poses the naturally occurring question:

Is it a coincidence that a Nazi, anti-Semitic, outright hater of the Jews [sic.] would push for a tuning (A=440 Hz) that facilitates social unrest, agitation, and friction? (Ibid., p.106)

Again, to clarify his point, Tyrell poses the question:

Why would Joseph Goebbels, propaganda minister and right hand man to Adolph Hitler, master of mind-control, manipulation, and unspeakable evil be so concerned with the international standardizing of musical pitch? (Ibid., p.106)

Tyrell then provides the response to his own question:

My answer is control, manipulation, and power. (Ibid., p.106)

Tyrell makes the case, in his book, for the power of music properly tuned to the correct Solfeggio frequencies to provide healing and even mystical and supernatural experiences. His claims and affirmations in this regard are informed both by personal experience with the power of frequency tuning and music healing as well as the ideas and literature of Dr. Leonard Horowitz and others who have addressed this subject in their publications.

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Clearly, the thought that the monolithic modern media machine operates on music frequencies that were standardized, initially, under the auspices of a Nazi war criminal – in fact, one of the most depraved and heinous characters ever to walk on the face of the earth – is deeply disturbing, to say the least. Is it a far cry to suggest that a slight modification to the pitch of live and recorded music, especially when exponentially amplified and transmitted by modern music and communications technology, could have a dramatic effect on our quality of life?

“‘Does tuning really make a difference?’” Tyrell inquires in his book. He replies, “My answer would be, ‘Only if you are interested in spontaneous healing, changing the world, and touching the heart of God.’” (Ibid., p.97)

Tyrell notes that:

Intonation is simply the accuracy of pitch…. When the cells of the body are in tune with each other, the body functions flawlessly and resonates with life. When the body is in a state of disease, it is out of tune with itself and in need of cellular intonation. (Ibid., p.107)

He summarizes his position with the statement:

“Life is too short to live out of tune.” (Ibid., p.107)

While it is hard to provide definitive, concrete evidence to support claims of miraculous healing brought about by frequency music, it is undeniable, in my mind, at least, that certain sound frequencies, and music tuned to those frequencies, have a palpable effect on one’s mind and body. I can attest to having listened to music tracks that almost magically remove stress from one’s system, even as other music tracks I have been exposed to have the power to inexplicably generate a sense of unease, perturbation and even deep-seated dread.

That music generates a powerful emotional response is undeniable in my mind. That this emotional power of music can extend, under the right circumstances, to produce miraculous healing is a remarkable idea and certainly worth considering, debating and putting into practice.

Music of the Spheres: Leonard Horowitz and the Solfeggio Miracle Tone

In 1998, Dr. Leonard G. Horowitz, a Harvard-educated independent researcher, published Healing Codes for the Biological Apocalypse, in which he recounts his collaboration with respected naturopathic physician and herbalist, Dr. Joseph Puleo. In his book, he describes Dr. Puleo’s discovery, through mystical inspiration, of the so-called lost “Solfeggio musical frequencies.”

In his 2011 publication, The Book of 528, Horowitz describes the events that led to Dr. Puleo’s epiphany:

Dr. Puleo, who died in 2008, had a knack for decrypting Bible codes. He never told me if he developed his decoding skills in the military, while serving as a Navy Seal, but I suspected he was more than an intelligence agent turned naturopathic doctor….

Joey knew there were six verses to St. John [the Baptist]’s sacred hymn. Each verse was chanted in a different ancient Solfeggio frequency. The sacred music, he knew, could resonate Water to Divinely anoint herbal formulas (sic). Joey’s Catholic intelligence network could (or would) not provide the intelligence he sought. So, Dr. Puleo took his quest to Jesus, and prayed for the musical revelation.

Soon thereafter, Joey awoke to “a vision” of Jesus standing bedside, next to a huge angel. The vision did not disappear when he opened or closed his eyes.

Joey reported that while in this “altered state,” Jesus showed him a section of the Bible’s Book of Numbers, Chapter 7, beginning with verse 12 – wherein the six musical frequencies are hidden in the verse numbers. Joey found and deciphered them, without the aid of a computer….

The numbers: 396, 417, 528, 639, 741, and 852, provided the musical notes (i.e. Hertz frequencies) of the original Solfeggio musical scale. These were passed down to Levitical priests from ancient – pre-Egyptian – mystics. The Levites later encrypted the pure tones in the verse numbers of the Bible for posterity. (Horowitz, Leonard G., The Book of 528: Prosperity Key of Love, Tettrahedron, 2011, pp.2-3)

Horowitz points out that the water molecule has a tetrahedral shape and resonates, in its natural state, to certain sound frequencies. He notes that water is abundant throughout the universe and that “pure structured Water vibrates in 528Hz, as does the entire hydrated universe, as evidenced by snowflakes and their sacred geometry” (Ibid., p. 19). Through the study of Cymatics, the science of how sound vibrations affect physical media, especially water, one can come to an understanding of how sound impacts human body chemistry at a cellular, even molecular, level, by vibrationally influencing the water that constitutes nearly 70% of human physiology. “Ultimately, harmony, health, and homeostatic balance is administered vibrationally.” (Ibid., p.32)

Horowitz presents a more detailed mathematical analysis of the number 528, which, he suggests, is a “universal constant” that defines the mathematical constants Pi, Phi and the Golden Mean. He suggests that “the number 528” is “a most important frequency impacting sacred geometry, space/time measurements, and the energetic dynamics of the universe.” (Ibid., p.49) Horowitz points out that the 528 Hz. frequency resides at the heart of the electromagnetic spectrum, translating to the greenish yellow color of chlorophyll and nature, at the center of the rainbow of visible light. “This ‘good vibration’ identified as the ‘miracle frequency’ at the heart of the ancient Solfeggio is, likewise, at the heart of the sound and light spectrum” (Ibid., p.59).

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A striking proof of the significance of the 528 Hz. frequency presented by Horowitz is the photograph of a “hydrosonic CymaGlyph” produced by John Stuart Reid – a remarkable 36-pointed star generated on the surface of water upon transmission of a “528 Hz pure tone.” (Ibid., p.60) Horowitz also presents detailed analyses in sacred geometry and Pythagorean mathematics by mathematician Victor Showell to demonstrate the numerical significance of 528 and other Solfeggio frequencies in the grand scheme of reality – proofs which are best interpreted intuitively as reflective of a symmetry and mathematical design underlying all of existence.

One of the most remarkable demonstrations Showell makes involves the original value of the mathematical constant Pi, which, he notes, evaluates to 3.142857 repeating to infinity. When doubled, the constant evaluates to 6.285714 to infinity, etc. Remarkably, the digits to the right of the decimal point include transpositions of the Solfeggio frequencies 528 Hz and 741 Hz, which, when combined, produce a dissonant sound known, in musicology, as the “Devil’s tone.” This arrangement of digits to the right of the decimal point, which is retained however many times the value of Pi is doubled, reflects the yin/yang pattern of nature.

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Missing in the fractional part of Pi, are the digits 3, 6 and 9, which inventor Nikola Tesla suggested were the key to a deeper understanding of reality. Describing the structure of Pi in its decimal form, Horowitz notes that “the ‘period’ may denote a time warp separating past and future, instead of being in the NOW of physical/spritual totality, or existentially enlightened experiences” (Ibid., p.73). Horowitz also points out the interesting observation that “when [musical] instruments are tuned to 396 Hz., the music feels ‘angelic’ or more spiritual.” (Ibid., p.73) Horowitz concludes that:

All piezoelectricity, oxidative-reductive reactions, and electromagnetism, affecting chemical interactions (sic) rely on the harmonics or dissonance of a musical-mathematical matrix fundamental to physics and chemistry.” (Ibid., pp.82-3)

Having posited that the sacred Solfeggio frequencies of sound and light are fundamental to nature, and that all of nature, especially the tetrahedral water molecule, resonates to these frequencies, Horowitz describes the actions of an international cabal of bankers and industrialists, led, prominently, by the Rockefeller Foundation, to manipulate and suppress these holistic, organic sound frequencies, while imposing, instead, a dissonant set of frequencies designed to cause physiological and psychological stress to the human system.

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Horowitz describes research into acoustics prior to WWII, funded largely by the Rockefeller Foundation, into determining which sound frequencies would maximize stress and mass hysteria in an audience. He cites Dr. James Tobias’ review of Rockefeller Foundation archives which “documented investigations leading to psychological warfare applications of acoustic vibrations, ultimately advanced militarily and commercially.” (Ibid., p.91) According to Tobias:

“[t]he (sic) power of sound control [creates] musical, corporeal synchronization.” That is, people’s bodies would bioenergetically entrain to the musical frequencies and electronically-engineered sound effects. These would affect people’s emotions and cause them to act in certain programmable ways. (Ibid., p.117)

Citing historian Lynn Cavanagh, Horowitz suggests that all this acoustic research into determining which sound frequencies would maximize stress and mass hysteria in an audience led to the adoption of the A=440Hz music turning standard by the British Standards Institute. Horowitz mentions:

Ironically, and most revealing about the British-German-American cartel arrangement, European musicians and the British Standards Institute (BSI), were persuaded to accept this tuning in 1939 by Nazi party propaganda minister, Josef Goebbels. (Ibid., p.103)

Thus, we have the bizarre historical circumstance that, on the eve of WWII, the British Standards Institute was persuaded into adopting a music tuning system promoted by an enemy agent of propaganda, working for one of the most blatantly evil and infamous regimes in history – the product of research into acoustics funded by the Rockefeller Foundation and their international banking and corporate associates. Horowitz notes that:

After the war, the Rockefellers’ Standard Oil Company was indicted by a US Federal Court as an ‘enemy national,’ that is, an American traitor. It was proven that the Rockefeller enterprise was a full partner with IG Farben and the Third Reich” (Ibid., p.104)

IG Farben, it must be noted, was an industrial cartel, that included Bayer Pharmaceuticals, BASF, Agfa, and others, which collaborated with the Nazi Third Reich during WWII, profited off concentration camp slave labor, and even manufactured the poison gas used in Nazi gas chambers. Apparently, IG Farben was a major shareholder in and collaborator with Standard Oil, and the Nazi war machine was heavily reliant on allied suppliers like Standard Oil for their success. For example, Standard Oil was a major supplier of tetraethyl lead gasoline, which was required by the German Luftwaffe to fly their aircraft in bombing raids across Europe.

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Regardless of the legal fallout of WWII, which resulted in grave harm to the Rockefeller family legacy, the damage was done with regard to the institution of the A=440Hz music tuning standard, which continues to this day. Citing Cavanagh, Horowitz even notes that “the B.B.C. began to broadcast the A=440 Hz tuning note, which, for the sake of accuracy was produced electronically.” (Ibid., p.104)

Citing musician and researcher Brian T. Collins, Horowitz notes that “the current tuning of music based on A=440 Hz does not harmonize on any level that corresponds to cosmic movement, rhythm, or natural vibration.” (Ibid., p.108). On the contrary, it appears, this standard western system of music tuning is fundamentally dissonant with nature, with human physiology and even with the molecular structure of water. On the other hand, citing Llewelyn S. Lloyd, Horowitz notes that “the British author and composer expressed his preference for precisely A=444Hz tuning, that manifests the C-5-pitch at 528Hz. He wrote that this 4Hz higher pitch is more pleasing generally for musicians worldwide.” (Ibid., p.107)

A difference in 4 Hz of sound frequency in the tuning of the key of A may not seem to be very significant, but I can personally attest to the fact that this subtle pitch shift is enough to render a duller, flatter tone into a brighter sound, which appears to be more physiologically and psychologically resonant. Using audio software, it is easy enough to pitch-shift any music track recorded at the standard frequency tuning of A=440Hz, by approximately 0.16 semitones, to render an output tuned appromimately at A=444Hz. One can observe the brighter, more resonant sound for oneself and attest to the validity of the claims made in this article and in Horowitz’s books. As pointed out by Dr. Horowitz, a frequency tuning of A=444Hz produces several of the organically resonant Solfeggio frequencies, in particular C-5 at 528 Hz, resulting in music that is more pleasing to the ear, spritually uplifting and even, it appears, having healing properties.

Horowitz concludes his discussion of the “musical cult control” exerted on modern society by the hidden powers that be, with a series of powerful statements:

The current world crises, cultural indoctrination, and behavior modification has a lot to do with the science of coercian, the history of musical instrument tuning, and the media. (Ibid., p.119)

Music bioenergetically affects your body chemistry, psychoneuroimmunology, and health. Your body is now being vibrated musically, audibly and subliminally according to an institutionally imposed frequency that resonates in dissonance with LOVE and positive emotions. (Ibid. p.120)

… the military’s acoustic frequency research and technological developments advanced during the 1930s to induce psychosocial pathology, herd behavior, emotional distress, and mass hysteria, were successfully deployed and are now being used against We The People. (Ibid., p.120)

Instruments and voices tuned to the A=444Hz scale are far more acoustically pleasing, instinctively and kinesthetically stimulating, spritually refreshing, linked to genetic repair, and arguably, even resonating pure LOVE. (Ibid., p.121)

Dr. Horowitz then urges humanity to “reject secret militarization of music, and retune instruments and voices to frequencies most sustaining and healing.” (Ibid., p.121)

Indeed, music has, since time immemorial, been a profound and deeply spiritual expression of the human experience. Ancient Tibetan musical chants were believed to have the power to levitate boulders and open portals into other dimensions. Music has also played a key role in religious and spiritual experience, from the Psalms of King David, to the Gregorian chants, to modern church hymns and popular music.

Dr. Horowitz summarizes these ideas with the observation that:

Music is humanity’s best hope for physical salvation and Divine-human connection. The spiritual musical portals through which planetary rebirth and harmonization is destined, await your vision and activism. (Ibid., p.121)

Mirror of the Soul: Masaru Emoto and the Messages of Water

In June, 1999, a Japanese entrepreneur named Masaru Emoto self-published a curious collection of photographs. They were images he had taken of water crystals under certain specific conditions. Describing his methodology in his 2004 publication The Hidden Messages in Water, Emoto states that after some trials with examing ice from a kitchen refrigerator under a microscope, he eventually built a walk-in refrigeration unit maintained at below freezing temperatures in which his researchers examined and photographed ice crystals in Petri dishes. He cites that:

I put fifty different types of water in fifty different Petri dishes…. I then freeze the dishes at -20° C (-4° F) for three hours in a freezer. The result is that surface tension forms drops of ice in the Petri dishes about one millimeter across. The crystal appears when you shine a light on the crown of the drop of ice. (Emoto, Masaru, The Hidden Messages in Water, Atria Books, 2005, Prologue)

Commenting on his prolific collection of images of ice crystals, Emoto noted that the results tended to be varied – never consistent. The forms, shapes and regularity of the crystals differed widely, and, sometimes, no crystallization occurred at all. At first glance, it appeared, the circumstances dictating the ice crystallization were completely random and unpredictable. But further experimentation began to yield some remarkable results.

Initially, Emoto discovered that “natural water” derived at source from “springs, underground rivers, glaciers, and the upper reaches of rivers” (Ibid.) tended to yield better results than urban tap water. In the latter case, there was little or no crystallization of the ice. By contrast, natural spring, glacial and early river water formed complete crystal shapes in the ice.

Prompted by his researcher, Emoto describes trying a new strategy – exposing his water samples to music before attempting to crystallize the ice. Using distilled water he had purchased from a drugstore, he would position a bottle of the water between a pair of music speakers while playing music for some time before refrigerating the water. He descibed his results as follows:

All the classical music that we exposed the water to resulted in well-formed crystals with distinct characteristics. In contrast, the water exposed to violent heavy metal music resulted in fragmented and malformed crystals at best. (Ibid.)

Emoto’s research team then experimented with writing words and phrases on pieces of paper wrapped around bottles containing distilled water, discovering that:

Water exposed to positive expressions … created attractive, well-formed crystals, but … water exposed to negative expressions … barely formed any crystals at all. (Ibid.)

The results of his experiments with photographing ice crystals led Emoto to make some profound observations. Emoto came to believe that “water is able to memorize and transport information,” (Ibid.) though he points out that “this suggestion has been met with complete rejection by the medical community.” (Ibid.) He proceeded to make the following profound observation:

Water is the mirror of the soul. It has many faces formed by aligning itself with the consciousness of human beings. (Emoto, Masaru, The Hidden Messages in Water, Atria Books, 2005, p.38)

Emoto claims that water, which composes around 70% of the human physiology, is, in fact, a profound, life-giving, mystical medium that has a subtle connection with human consciousness itself. Water is structurally influenced by a number of external factors – human consciousness, electromagnetic fields, music, fluid dynamics, contamination, etc. – and responds in subtle ways – ways that Emoto claims to have captured through his technique of photographing ice crystals created under various conditions.

The extrapolations of Emoto’s thesis, if verifiable, are profound. It suggests that water is not simply the “universal solvent” we know from laboratory experiments and with which we slake our thirst. While it is common knowledge that human life could not last more than a few days, at best, without water, it is, apparently, less well known that water seems to act, under certain conditions, as if it is alive and conscious itself. It appears, at least, to have a mystical connection to human consciousness in that it apparently reacts in subtle ways to such stimuli as human interaction, electromagnetic radiation, sound, flow, etc. These subtle factors appear to have a profound influence not only on the quality of the water we drink, but also on the very water in our bodies, and, by extension, our physical and mental health and well-being. Emoto believes not only that water can be “healed” through “healing prayer” and incantation, but that such water, in turn, has a profound healing effect on our own physical and psychological well-being.

Emoto suggests that water is a mystical medium that links the human to the Divine. Not only does it physically link all life, being one of the building blocks of life on earth, it, in fact, appears to be a reflection of human consciousness and the human soul in that it responds, in subtle ways, to human consciousness and the subtle energies and vibrations emanating from it.

Emoto came to believe that unless human beings come to realize the impact that human consciousness has on the water that surrounds us, we will inevitably poison ourselves by our own negativity – not merely spritually or psychologically, but physically, in a very real sense, by damaging and destroying the subtle, underlying structures in the very water we drink and that sustain life on earth. Emoto’s work is a wake-up-call to all of humanity to come to an awareness of how the human consciousness can affect reality – by either sanctifying or poisoning the very water we drink as a projection of our thoughts. Emoto’s message, clearly, is to change our ways and our thinking before we poison ourselves out of existence!