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!

Thinking Outside the Box

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It’s a common enough expression, but what, exactly does it mean to “think outside the box?”

I suppose, the first thing to do is to define what exactly is “the box.” It might help to play a little game of word association to understand the connotations associated with the word “box”. One may think of constraints and limitations of some sort, especially in one’s thinking. To be “boxed in” is to be entrapped and contained. One may imagine a prison cell or a tiny cubicle. One may think of the pressures of conformity with the norms and conventions of society. One may think of a “jack in the box” a child’s toy with a glove puppet on a tightly wound spring compressed inside a tiny space, ready to pop up out of its confines with the flip of switch. One may think of the “idiot box” television the most widely deployed medium of mass communication in our society frequently regarded as a popular means for mega-corporations to perpetuate a never-ending doctrine of dumbed-down banality, conventionality, and mindless conformity and consumerism.

Each of these concepts associated with the word “box” are relevant and meaningful in their own way. Ultimately, we cannot define the word exactly, in this context it is defined by its connotations and associated iconography.

Once we have an idea of what we mean by “box”, the notion of something being “out-of-the-box” becomes pretty self evident.

Evidently, to think outside the box is to challenge convention and question the status quo. An out-of-the-box idea may be said to be one that redefines established paradigms of reality or one that takes one’s thinking to a new level a refreshing, life-changing, liberating, ground-breaking, paradigm-shifting mode of thinking. It may be said to be an idea that brings about enlightenment and new understanding instead of a sense of fear or entrapment. It may be described as a revelation or an epiphany, a fresh perspective or a higher vibration — in other words, an eye-opening experience. Some examples that readily come to mind include Einstein’s Theories of Relativity, Newton’s Laws of Motion and Kepler’s heliocentric model of the solar system – all of which were revolutionary, out-of-the-box ideas in their times which dramatically reshaped and challenged established paradigms of reality.

The point of this new blog is to highlight some interesting ideas I have come across that challenge convention and have had a dramatic impact on my life. These ideas are not merely new physical or mathematical theorems they are ideas from a variety of disciplines and spheres of thinking. Some of them are esoteric ideas that defy categorization into any modern university curriculum. Others are ancient modes of thinking that have been forgotten and have quite recently been rediscovered. They are ideas about the nature of reality, about human performance, about developing enhanced skills and abilities and about how the world really operates. The common thread running through each of these ideas is that they are intriguing, fascinating, profoundly unconventional and most certainly out-of-the-box. They have the potential dramatically to transform one’s life or, at least, to open one’s mind to powerful new modes of thinking and understanding if one is open-minded enough to take them into serious consideration instead of dismissing them out of hand.

It must be stated, however, that none of the ideas that I intend to showcase in my blog involve any ethical compromise or  violation of what I consider to be fundamental principles of decency and morality. They may, certainly, impel one seriously to question one’s framing of reality and expose the limitations of one’s modes of thinking. But I would never intentionally seek to promote any idea that I would consider to be a violation of some fundamental ethical principles that I personally hold sacred such principles as honoring the sanctity of life, upholding truth and justice, having compassion for others, having common decency and humanity and, most especially, abiding by the Golden Rule of doing to others as one would have done to oneself.

I write this blog out of a sense of positivity, optimism and hope – a belief that by entertaining such ground-breaking ideas, our lives may profoundly be changed for the better and that all people may thrive and flourish in ways that may never previously have been imagined or, indeed, imaginable.

Here’s looking forward to an incredible voyage of discovery into a new world of incredible out-of-the-box ideas!