Journal of Borderland Research - Vol XLVII, No 4, July-August 1991

8/12/2019 Journal of Borderland Research - Vol XLVII, No 4, July-August 1991

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If we begin to intellectualize about music, we only remove ourselves from whatmusic truly is. To conceptualize music byphysical interpretation via mathematical analysis oftones, removes music from its element.While there is a place for the study of tonephysiology (acoustics), it has nothing to sayabout the musical element, and thus should beleft as the individual science that it is. Themusical element dwells purely in the spiritual.n assessing the other arts such as paint-ing, sculpture, and architecture, one can fmdmodels in physical world fromwhich theartist must at ftrst pass through mental imageto create pictures of the will. The creativemusician, on he other hand, has no models to

imitate, thus composes musical ideas fromhis/her soul into direct expressions of he will.As art can be considered an attempt to revealnature's secret intentions, the painter or sculp-tor, through the combination of mental pictures merely expresses the ide of nature, butthe composer of rhythms, melodies, and harmonies expresses the will of nature in songand dance.Before we look at the evolutionary progression ofmusic, we must understand rhythm,melody, and harmony, and how the humanbeing iriitially experiences them.RHYTHMLet us return to art for a briefexplanationconcerning rhythm in the musical element.The sculptor, painter, or architect, has physical forms with which to create his/her arttransforming it into matter, whereas the composing musician, utilizing time as canvas, has. the ability to generate the composition anew,

. again and again with varying quality.Time, or rhythm, is the measure of motion, or to quote Aristotle, Time is the measure of motion and rest, as all rest is in time.Rhythm, then must be exalted high abovemelody and harmony as rhythm can existwithout them, but melody and harmony cannot exist apart from rhythm.Many seem to be driven to the conclusionthat nature is a reflection of music as anordered (or chaotic?) number ofcosmic vibrations, based on static interval relationships,but through simple observation of nature'smotive characteristics, we could rightly pre-

sume that she is an expression of rhythmicformative force; being a series of varied,cyclic emanations from the spiritual world.This rhythmic formative force is the primordial foundation underlying all creative processes in nature, of which examples may beobtained via the measurement oftime (usingourtimescale,manyoftheformsinnaturearesimply motion come to rest). One such ex-

ample can be found in the human body, as ourinternal experience ofrhythm is based on theconnection between pulse and breath (in theaverage person this ratio is 1 4 or 4/4 time).

n a greater, cosmic connection we fmd adefmite relationship between the breathingrhythm ofthe earth organism and the breathing rhythm of the human being. The earthorganism's breathing process is observed inthe alternating barometric pressure of day andnight; exhaling at sunrise, and inhaling atsunset. The average person inhales and exhales approximately 18 times a minute, or1080 times an hour 1 080 itself is a mostprominent number in ancient geometrical cos-

mology), or 25,920 times a day (24 hoursequaling one e rth breath). The number ofhuman breaths in one day corresponds to thenumber of years (revolutions of the e rtharound the sun) it takes the sun to pass througheach of the twelve signs in the circle of thezodiac.The rhythmic perceptions of he body arenot only confmed to the function of.breathingbut through the propagation ofb lood from theheart to the limbs (a likening to our circulatorysystem can be observed in the earth as well;i.e. the alternating temP,erature differences innight/winter and dayfsUlnmer). All of thisshould lead us to the conclusion that thehuman organism is completely immersed inrhythmic formative force.

Now ifwe return to rhythm in the musicalelement, in association with the human organism, the question of healing arises. Why is itthen that in most of the healing circles involved with music, one rarely hears of therhythmic process save only in connection tothe shaman? Apparently, it js due in part tocharacter armouring brought on by medievalwestern societal dysfunction with its everimposing religious beli ef systems wherebymusic was slowly transformed into a civilizedaffair (no Wild dancing to the beat of thatsavage music, or you will end up in the placewhere the man with the horns and pointedstick reigns). There are still some areas of heworld where Christian missionaries forbid thelocals to use the drum.The fundamental reason for the absenceof the rhythmic process among musician/healers seems to be that they lack the understanding ofcomplex rhythms and do not knowhow to categorize them. While it is easy todiscriminate tones by their frequency, overtones, etc., rhythms tend to be elusive and

difficult to classify in relation to musicalhealing techniques, especially if one considers polyrhythms and polymeters. Studies inthe treatment of pain, resolution of depression, and induction of relaxation have beenperformed using shamanic drumming (withfavorable results), but no classifications of heexact rhythms has been done and every shaman will have their own unique style.Before leaving the rhythmic element ofmusic, let s briefly examine its associationwith the astrological geometries of the ancients. The early megalithic builders werehighly aware of he sacredgeometry needed toattract the forces of nature to their celestialmonuments. They also realized the importance of giving life to these structures bycreating motion within. Thiswas accomplishedthrough the ritual of chant and dance and wassubject to the rigid correspondence of he timeof day or night. The evocative substance of

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this etherial music did not emulate the vibratory emanations of the desired energies, butrather took on the rhythmic and emotionalqualities of the energy (for instance, in theworkings ofJupiter, common time and majorkeys would be typically characteristic of themood of hat sphere).The ancients had a profound workingknowledge ofnature' srhythmic cycles (cycle,from the Greek meaning circle, implies acoming around to the place ofbeginning) andthrough careful interpretation they could construct the rituals with which to breathe lifeinto their sacred sites. This, in all likelihood,was the true re-creation of the music of thespheres.MELODY AND HARMONYMelody and harmony are by no meansone and the same entity, but need to be expressedhere incontext to one another. Melody,in conjunction with rhythm, is the only component necessary for the construction of song(as for the use of he term melody; it alreadypossesses rhythm or it could not exist, so wewill continue to apply it unaccompanied).

In observing melody, we fmd that a newtype ofmotion occurs on the vertical axis withthe ascending and descending notes of thecomposition. This is really only an impliedmotion as it is dependent upon the longitudinalmotionof hythm, but it is still a part ofoursense perception of melody. As we know, thehuman ear percieves tone as a sensory function, but the ear is also related to a sense ofspatial orientation (relative to three dimensions) that we are no longer aware of. Remnants of his sense arise when the ear becomesinjured and our balance and regard to direction become upset. When harmony enters thepicture, other types of motion will appear tothe senses, butthedifferencesbetweenmelodyand harmony need to be examined frrst.

If we take a look at folk music, which isconsidered province of the commoner andprimitive to the 'educated', we will usuallyfmd that there is a lack of accompaniment(other than he employmentofa drone in someareas such as India and the Celtic countries) tothe standard melodies. To the modem listeneraccustomed to harmony, straight melody isgenerally not satisfying due to the fact thatharmonised music is actually falsified; givento its adjusted temperment. To really feel thistype of music one must recover the sense ofpure intonation and dety all implied harmonies.

Equally distinctive in solo melody, is theuse of grace notes (giving the transcriberincredible difficulty in interpretation) whichadd varying degrees oflight and shade to thestructural arrangement of the composition.

Early attempts to add harmonization to theoften complicated and highly ornamentedbagpipe and fiddle tunes of he Celtic peoplesfailed miserably and most efforts were abandoned due to the many dissonances encountered. We are left with the realization thatunaccompanied melody is capable of standingon its own.Another important feature of most folkmusic is the emphasis on the interval ratherthan the note sung or played. The exception tothis lies in the art of counterpoint, giving riseto the aforementioned other types of motion.Through contrapuntal music we see the emergence of spiraling movement propagated bythe oscillating currents of intervallic inversion, and retrograde themes. Here again it isan implied motion, experienced only throughspatial (and counter-spatial) orientation. For

the desired effect, one actually needs to listento some examples of he music, otherwise thedescriptions are probably meaningless.The next partof' RHYTIIMIC FORMATIVE FORCE'', will deal with our perceptionof the musical interval through ether/time,along with an introduction to the study ofrhythmic ritual. For further exploration, anextensive bibliography and discography areincluded below.BffiLIOGRAPHYAnanda K Coomaraswamy. The Dance o fSiva,

Essays on Indian .Art and Culture, NewYork: Dover, 1985.

- - - - The Transformation ofNature in Art, NewYork: Dover, 1956.Edward Dewey and Edwin Daldn. Cycles, The

Science ofPrediction, New York: Heruy Holtand Co. 1947.

MeHta Denning and Osborne PbUllps. TheDance as an Instrument o fMagic, Gnostica:No. 51 May/June 1979 pp 14-17.

Mickey Hart. Drumming I l l the Edge o fMagic, AJourney into the SplrU o fPercussion, SanFrancisco: Harper, 1990.

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Henna Helmlloltz. On the Sensatiou ofT rNew York: Dover,1954.

Robert Lawlor. SIICI ed Geometry , New York:Crossroad Publishing Co.,1982.

Erast MarU. The Four Ethers, SchaumbergPublications, 1984.Jolin MlclaeD. The New View Over Allutls, Sa

Francisco:Haiper Row, 1983.Peter Randall. Rhythm in Actio11, New York:Delwin Mills, 1981.

RudolfSteber. Tile In11erNature o fMrlslc 'the Experle11ce ofT ne, AnthroposophicPress, 1983.

Michael Theroux. Geometry: In Support ofth'Etherlc,.Jownal of Borderland Research:March-April, 1987.

Ba c k o Baclt, Jounal ofBorderland ReseUIMay-June, 1988.

-3.1415927 ..etc.,etc.,etc, Journal ofBorderuResearch: May-June, 1987.

Donald Francb Tovey. A Compullln to . A r t ~Fugue. Oxford,1982.

Dr. Gueather Wachsmuth. The EtherlcFormatil e Forces in Cosmos, Earth andMan, Anthroposophic Press, 1932.

DISCOGRAPHYDRUMS AND PERCUSSIONBabatunde Olatunjl. Drums ofPassion: Tile

Invocation, Rykodisc CD-1 0102, C-0102Drums o fPassion: Tile Belli, Rykodisc CD

: 10107, C-0107Ritual Drums of HaJU, Lyrichord C-7279Zaklr Hussain. Making Music, ECM 831 544The Dlga Rhythm Baad. Diga, Rykodisc CD-

10101The Rlaytlam DevUs. Tile ApocalypseNow

Sesslllns, Rykodisc CD10109Souadtrack- The Emerald Forest, CIV 81244Mickey Hart. t he Edge, Rykodisc CD-1 012Various Artists. Konblt- Bur11ing Rhythms of

Haiti A M C-5281Afrtcaa Rlaytlams Instruments VoL 1-3,

Lyrichord CD,C-7328;7338;7339CEI,TIC MUSICBagpipe: Ireland, Scotlaad, Brlttaay,GaUcla.

Lyrichord C-7327Various Artists. Flight ofthe Green Linnet,

Green Linnet C-103The Bothy Band. The Best o f he Bothy Band,

Green Linnet C-3001The Cblettabls. Tile Chieftains 7, CBS C-3561Dolled Ia Lead. Orb, Atomic Theory ATC 110SUJy Wizard. Live Wizardry: Best Of, In Cone

Green Linnet CD-3036nMUSIC FROM THE EASISlaankar. World Music Institute C-104Harlprasad Chaurasia. Flying Beyond-

Improvisations on Bamboo Flute, Earth EC-89004

Uv e In Iadla, Earth Beat C 2547Urosevlch Ensemble, Stevo Teodostevsld

Easemble, others. Turkish Folk GypsyMusic, MonitorC-51481

CQNTRAPUNJAL MUSICJ.S. Bach. Musikalish es Opfer(Musica l Offer

S. 1079 Musical Heritage SocietyTh e Art o fFugue, BWV 1080, Lionel Ro(organ) Angel.


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SHERRY EDWARDS is a noted researcher inthe fields o psychic and acoustic phenomena.She lives in Athens, Ohio, but is spending anincreasingamountoftimeon the road, lecturingand consulting with people. She teaches parttimeatBlueRidgeCommunity Collegein WeyersCave, Virginia. Amonghermanyachievementsare a book called Psychic lsn t Psychic Anymore , anda seto Aura Cards thathelppeoplesee auras more readily. I first met her at the1988 Global Sciences conference in Denver.Her talk there was one ofthe most well-receivedof he whole week, and she was invited backThisinterviewwasconductedin October, 1990,when she was in Denver or a short visit, conducting classes and seeing clients. She hadcome to town in an V which contained acomplete acoustical research laboratory, andwas creating subaudible sounds related to harmonies o ertain chemical elements.MICHAEL: The general perspective of thisinterview is that there is a unified sciencebridging spirituality and physics, and every-thing happening in the world is really basedon harmonics. All structures are essentiallycomposed of harmonic vibrations, and different structures are created by differingharmonies going on between vibratory elements. That s basically where we re startingfrom, so you can get pretty technical here.SHERRY: Well, I can ump right in and tell you

that I've created a new musical scale based onhydrogen, carbon,andoxygen; and that musicalscale leads right in and agrees with Kepler sideas about harmonics of the spheres. So itlooks like that here is a planetary system thatsets up a frequency, those frequencies in tumcreated the elements, and we in tum match ourbrain waves to those elements. It's all one largepicture.

I think there are a couple ofstrong points tomy work. Numberone, I'm not a trained person;

my background is in education. So I look at thislike a lay-person so I can explain it to a layperson, and that makes a big difference. Others

simplytoldmethatlcouldn'tdo it. Someofthe things they are saying that can't be done, I say ok

here are the results. I want to make it clear thatIdon't have the background to do this; all Ihaveis talent.MICHAEL: I find we get a lotof results from

people who have no qualifications. Thatseems to be a recurring theme at this point inour society.SHERRY: I had an interview this morning wit hthese people from New York. She said, sowhat that she can do this, how does it pertain toeverybody's life?'' To me it means the alleviation of ear about psychic healing. That is whatmakes the difference, even concerning psychicphenomena, telepathy, numerology.MICHAEL: I think numerology is beingindicated through Ben Iverson s work [inquantum arithmetic] where he shows thatthere is really something going on there. t snot usta bunchof arbitrary manipulation ofnumbers. There is an interharmonic pattern,which deals with ratios.Now,whenyousayyoucreatesubaudiblesound, does that mean the frequencies arebelow the range of hearing or that you do itat a very low volume?SHERRY: What we create is subaudible, but wecreate it with audible sounds. When we want tocreate nine we would use 18 and 27.

For instance, we knew that when my sonhad this motorcycle accident and had extensivenerve damage, we knew that fifteen cycles asecond would stimulate nerves. So, we went tothe elemental code and used magnesium, whi chis twenty five and calcium which is forty, bothsidesof he machine,one the wenty five and onethe forty, and the difference between those isfifteen.MICHAEL: The person will hear those twofrequencies.SHERRY: The brain will create 9 and that iswhat it will respond to.

[This process is similar t what RobertMonroe is doing in Hemi-Sync, but there areimportant technical differences which implythat his program may work best for left-brainedpeople.)MICHAEL: I think it would be a good ideato describe the machine you're using.SHERRY: The machine is called a Self Managemen t Audit ory Device (SMAD). It createstwo sounds. Now we know if we need fifteen

cycles a second and we just shoot fifteen cyclesat somebody, it doesn twork. Butwe also knowthat if we give two sounds, the difference ofwhich is fifteenor he addition is fifteen then weget some results.MICHAEL: And this is an audible sound?SHERRY: Veryaudiblesound. Weuseitfromfourteen cycles on up, and deliberately try tokeep it audible. So, here we go needing fifteencycles; and I happened to notice in the periodictable that calcium and nylgnesium which feedsnerves happens t re8pond t twenty five tforty. We put those in, and then we got regeneration ofnerve tissue.MICHAEL: But, what was happening wastwenty five and forty were creating a phaseconjugationthatcreated a fifteen cycle sound.SHERRY: Right. And, with that we got thestimulation of he new nerve regeneration, andwe tried t put thaton DigitalAudio Tape and itdidn't work [at a 48 kHz sampling rate]. Itwould work somewhat, but not nearly as muchas the actual machine; and since there are veryfew of he machines around, we tried to find anew way. Then, we started putting it on videotape.MICHAEL: Howdoesthemachineoperate?Is it like an audio amplifier?SHERRY: You can plug it directly in t a VCRor stereo, and it will come outof he speakers. Itdoesn't have any amp itself. We haven't developed it that far. The model that I have is verycrude. This is the very first one that was everdeveloped, and it's the one that we use with theemphysema patients.

All of his was an accident from the beginning of me finding out that everybody didn'thear [auric] sounds. [This led] to the discoverythat everybody creates a sound that tells peoplewhat they are thinking in general terms. Thenwe got t the point of always doing the soundsfor people, and people said what are they.And, I said I don't know. I'm so musicallyignorant. Because, I'm notamusician, I'mnota mathematician, and I'm not a physician. I'mjust somebody who has unusual hearing.

So I am trying to give people thesesounds,and I don't know what they are. Somebodybrings over a little instrument tuner and says

Oh, we can figure it out from this. And thenI notice that a sound is missing from someone svoice. We just sort ofsnowballed from there tfinding out what you can actually do when youfeed somebody back the sound that they havemissing.

Somebody else comes along and finds outit's a shade ofcolor that you can't see. So that

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ledmeto thinking there is something in the bodythat is manifesting this. So I started looking atbody organs and finding out the liver, pancreas,and gallbladder run on the note ofD, and whenpeople have the note ofD missing their digestion is hampered. So those frequencies that theorgan runs on, if he body isn t doing it appropriately, those are missing from the voice andthe ears.Then we started working with comatosepatients, babies, and throat cancer patients. Sowe said, we ve got to have another way to dothis. Norm Sheely and I got together and cameup with the idea that we could possibly do thisfrom brainwaves. We don t know that we cando that, but we are going to try it.We eventually want machines that peoplecan go into, and monitor all body functions bysound. This computer that s surrounding youwill say exactly the liver doesn t run here, andthis doesn t run there, this sound you need; andthey ll just shoot it into you like a laser at thatmomentandwillbecreatingthissoundenvironment. Sound as in using frequency sound, butsound also as in structurally welL I think thatcame to our society through our language, andwe justdidn t pick up on it yet. Something thatis sound is structurally well put together, andwe re trying to create a sound environment. Ican see eventually being able to reproduce almost any kind of thing that the body needsthrough sound.MICHAEL: II there any possibility that amusician could come up with a piece ofmusicthat would do more or less what you aretrying to do with the sounds? Or do you feelthat music is too nonspecific?SHERRY: Well, I ll give an example ofsomething that happened with us. When we wereworking with the emphysema patient, with normal music, we could stop an emphysema attackifwegavehimtherightnotes. But, we could notdo anything with curing the disease.MICHAEL: So, you ve seen remissions ofthe emphysema sometimes.SHERRY: Right. We have done that to thepoint where there bas been an abatement of hescar tissue.MICHAEL: That s amazing.SHERRY: We found that different octaves;eithervery high octaves or very lowoctaves willdo the work. Different octaves tend to respondto different systems of he body. We know thatthe beta range, which is sixteen to thirty onecycles per second, tends to respond to largemotor response, arteries, heart.

The alpha range tends to respond to some-

body emotionally; and so the more we workedon thatthemorewe found that there are differentoctaves. One is emotional, one is even environmental. One is biochemical, one is physical, andone is bioelectrical; andwe know thatthis affectspeople genetically, physically, bioelectrically,emotionally, and biochemically. For example,ifsomeone has the note ofEmissing, biochemically, they lack an oxygen carrier. Physically,they don t breathe deep enough. Environmentally, they have dirty air. Genetically, theyprobably have emphysema, tuberculosis, asthma,something like that. Emotionally, they are selfsuffocating.MICHAEL: When you say genetically doesthis also correlatewithwhat the homeopathicdocton call miasms?SHERRY: I would think that it does. We veworked with some of hem. The homeopathsfound that there are certain sounds related tocertain remedies. I have not tested all of hem,but certainly each remedy bas a sound.[SHERRY then showed a proprietary musicscale that she and her group have developed.]MICHAEL: This is very similar to what BenIverson bas been doing.SHERRY: Yes, very similar. Itisbasedonwhatwe are made of; hydrogen, oxygen and carbon.I m very interested in putting this in a synthesizertoseewhathappens. Itseemsto be halfwaybetween a scientific scale andan even temperedscale. There seemsto be a compromise betweenthe two. Somebody knew what they were doing. I really think that particular pieceof nformation right there is going to add scientificknowledge or support to numerology.MICHAEL: Well, Iversonbas been saying somuch for yean. Be talks a lot about preciseproportions oftbe planets and bow you cancalculateit easierand moreprecisely throughratios than you can through calculus. Be seescalculus as sort of a dead end, which I thinkour society is rapidly approaching. Be seesratio based mathematics, which is essentiallythe same process that numerologists havebeenusingforyears,asawaytogetoutoftbatand a way to connect with real science, as heputs it.SHERRY: Our particular scale started with thePythagorean scale that is in equal thirds. Meaningyoustartwithone, thenextoctaveistwo, thenext is four, the next is eight, andequally spreadapart so that 0595 is an equal distance betweeneach of he notes and their lowest form. Whenthose ratios tend to be 1:1, 2:2, 1:2, 1:4, 1:8,1:16, (because at the 0595 distance they are all

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person talks in, whether it is above or below.MICHAEL: So people talk in different oc-

t taves?SHERRY: Yes, depending on their hormones.This. is complicated ... actually sub-audible.Which isnt really sound at all, but tends to be[pure] frequency.[At this point, we went outside to Sherry sRVlaboratory. The machine was turned on with apatient present, and someof he readings refer toher condition.]SHERRY: Atomic weight is 1S 999, so we aregoing to use 16 on one side and 32 on the other.You can actually go 1Oths and 1OOths but it isa little loud. You don t need it that loud; youreally don't need to hear it.MICHAEL: There isa di fferen t feelingwhenyou turn it off. I also noticed when I walkedin I felt sort of an ozone in the airSHERRY: I had this on 5.07 when you came in,which is the note D.MICHAEL: t s the sound of oxygen, and itfeels nice i n here. This a pretty polluted part

of Denver. It definitely feels betterSHERRY: In my mind, what is making the. difference is the fact that I can hear you, [on an

1 auric level] because there bas been a mutation inmy ears and my voice. This is a pivot to be ableto understand why frequency heals, which in tum is color healing, which in turn is hands-onhealing, which is medicine, because each medi. cine bas a frequency. Instead of looking atthings by elements people will be mixing themby frequency.MICHAEL: I thinkwe are coming to thatEven when you are dealing with radioiso-topes you realize after a while you get an

atomicnumber of131 and it might be cesiumor it might be something else. t becomesdifficult when you are dealing with isotopes

. and trying to classify them as one element oranotherSHERRY: Fromthe soundofthem itcan beanyway you want them.

. MICHAEL: Walter Russell put together the. table of the elements as a sound wave. Now,I need to make a graphic table of all of theelements that manifest in three dimensionsout n space. This machine has thecapability.You hook itup to the holography stuff, makea few manipulations and you have a hologram

[At this point we go over to a Korg instrumenttuner, Model AT-12, which includes a needlemeter. When doing diagnostic work, Sherrywill re d the needle, making notes as to pitchesthat are included and missing in the voice. Fromthat information, she can make a diagnosis.]SHERRY: When missing the note E emotionally you would usually self-sabotage. In onecase it can destroy the nervous system. Inanother case it may affect the lungs.MICHAEL: Igetthe impression thatE beingmissing could be a person who could beheading for a crisis,butseems fine at the timeSHERRY: Nobody would take you seriouslythat you'd follow through on something. Theywill see you as someone they can run over, takeadvantage of, manipulate, because that noteofEisself-sabotage, meaning you don t standup foryourself physically or with wgrds.MICHAEL: Doesthatmeanifthepatientgotmusic that is keyed in E and played it a lot,that would help?SHERRY: Ifyou do it in the musical scale wefind that as long as that music is playing then youbave it and you will reactivate within sometimesthree minutes, sometimes three hours. But youwill go back to needing the note E.When the note C is missing, that indicatesmuscle stress. The note B missing means thestress is coming from a cellular level, on a nervelevel. This can be caused by emotional stress notgetting out of the system, not talking about it,and physically not doing anything. So you havephysical stress. When you have the notes ofBnd C missing, B indicates someone being highlysensitive to electricity and C means someonehighly sensitive to exercise. Then you need aform of exercise all the time to get the garbageout ofyour muscles and to keep things moving.One would do really well with exercise or massage etc., that is almost required. Insulin getslaid down in the muscles when you don't exercise. That is why they tell a diabetic to keepexercising

Say someone actually talks in a predominant key in E F and G. So there is a notemissing. The fact that C and D are missingmeans people will perceive the person as weak,not a lot ofselfpower. That is all psychologicalaswelistentopeople'svoices. Wecanmechanically takeC out ofsomeones voice that bas fullrange and you'll think they are a weak person.We can take Bout and you will think they are amanipulator.Ifwe give the patient C and Bin music shebas to play it all the time or she'll go back. Wecan goto lower octaveswherewe are going rightinto the magnetic system of he body and begin

to vibrate at the cells, using the sound machine.When we start on it you can t be away from it forlonger than 6 hours or you'll go right back. Wecan start this and keep you on it and wean you offof t.With the emphysema patientwecan stopanattack with music. We could not do anythingabout the disease. Once we got at lower octavesthe disease started to disappear. Less medication, less scarring tissue, more able to breathe,less fluid in the lungs. In one case it was genetic,so we had to go down to lower delta, because itwas genetically in his frequency where be gotthis disease. _;-.-.We bad to end the published part of theinterview at this point because ofprivacy considerations, as the discussion ofcases got veryspecific. Sherry is continuing this research, andis lecturing all over the country on several related subjects. Since the timeof his interview,she bas been involved in several specific casesincluding: A study showing decreased need for painmedication in several patients; X-Ray data, showing a child who badknocked off part of a bone, with no scartissue on the bone after four months on thesound tlierapy; An emphysema patient who decreased theneed for supplementary oxygen from 1 literto 1/4 liter per day; A blind lady with MS who was able to see

some light and regain some movementofherlegs after only three hours on sound; An airline pilot whose scoliosis was clearedup; A man with chemical bums in his lung, downto 30 ofnormal capacity, was able to regainup to 80 ofhis capacity after three monthson soundSherry would like to invite interested healthprofessionals to correspond with her at: P 0Box 706, Athens, Ohio 45701

~ N Y J R P N M ~ N T A C . 4 . Q . M ~ J .Feng Shui consulting services

Electromagnetics, radioactivity,and Ch'i pa ttern flow

Reports includedWill travel almost anywhere

Michael RiversongQl ONSULTINGP.O. Box 36387

Lakewood, Colorado 30236303)829-077

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The concept of a universal ether is an ancient one. A superfine ambient mediumassociated with the stars and with the light ofday, known as the ether, was universally recognized in ancient timesQ.2r In more recent times,the greatest scientists from Newton to Maxwellto Testa (see below, Testa on TJ. See's etherwave theoryofgravity) have considered such anambient medium to be a necessary condition forthe action of forces through space.

As author 3.4) ofseveral books dealing withancient legendary and esoteric themes, I haveperhaps more than the usual respect for some ofthese venerable scientific concepts. I believethat an energy-gravity unification-theory --stillsoughtby physics at large-- is possible using theancient concept of he ether, and also using (inpart) evidence from the psi field.

The first effort to unify energy theory to hetaken seriously was that ofFaraday who, in theearly 19th century, did experiments on electromagnetic fields using magnets acting on electriccurrents passing through wires. He proposed afield theory basedon the idea thatthe fundamental force ofmagnetism and gravity is electricalattraction and repulsion. His theory ultimatelyfailed to win over physicists. Faraday wasoperating under sizable handicaps compared tomodem theorists. Forexample, he thought thatelectromagnetic waves were propagated relatively slowly, whereas we now know that theytravel at the same velocity as light waves. Hisfailure, and that ofothers, to unify field theoryusing experimental data led later theorists, mostnotably Einstein, .to attempt a unified theory byresorting to observational data and applied highermathematics. Einstein s general theory proposed that the effect of gravity arises from acurved, boundless-but-infmite space. n so doing, he was rejecting Newtons concept ofabsolute space. In Einsteins model, waveforces can be propagated through empty space,so his theory also rejects the idea ofa universalether. Einstein spent much of he last 30 yearsofhi s life trying to unify gravity with energy, butfailed. Heneverreallyacceptedquantum theory,which is a mechanical model ofparticle-interaction based on probability theory. His mostfamous criticism of quantum mechanics wasGod does not play dice with the universe:

Modem physicists follow a path that more orless straddles both Einsteinian relativity and

quantum theory, and that rejects the ether-concept. ''ParticleTheoryhas come to mean quantum-scale particles --i.e., the electron-photonquantum unit which transmits light and electromagnetic waves. The Encyclopedia ofModem

defines electromagnetism as the forcebetween any charged particles .. mediated by aphoton, and gravity as mediated by a graviton, a particle predicted by quantum gravity.'

However, the field of psi phenomena atleast suggests the existence ofa world ofmagnetic-type, mutually-attractive, transmissions ofa more-ethereal plane than thatofmodem physics. Psychics relate phenomena that seem toknow n o spatial or other limitations, at least incomparison to the energy transmissions ofmodem physics. Modem physicsdefines elementaryparticles as those that travel at the same velocity(speed ofligh t) as the electron-photon quantumparticle. (According to relativity-theory, becausethespeedoflightis the same inall referenceframes, there is no rest frame relative to thespeed oflight, and elementary particles are saidto have zero rest mass. ) In other words,observational phenomena, and the human perceptual horizon, which are dependent on thespeedoflight, arebeing used to define elementary particles(6)' A potential pitfall appears to beinherent in such a scheme when one is attempting to defme the limits of eality, which may notnecessarily equate with our perceptional horizon.

In my book TheAura Paradigm (1988),I present a theoretic model, or paradigm, basedon the idea that all solid bodies contain andradiate energy fields, or auric fields, comprisingetheric particles too rarefied to be detected withmodem electronic instruments. The basic controversial assumption ofsuch a model would bethe idea that super-fine etheric particles (appropriately termed etherons ) exist. Ifthey doexist, it would be a reasonable assumption thatthey wouldbe subject to the same forces, such asmagnetism, as the particles known to physics,such as electrons and photons. Therefore, ifoneaccepts the possible existence ofsuch ultra-fineparticles, it wouldbe logical to supposethattheywould potentially be capable of magnetic typephenomena, such as mutual attraction and energictransmission,just like electromagnetic phenomena. The real implication of such a model is that

age 6 july-August 1991 Journalo Borderland ese rch

these etherons exist everywhere, includingside matter itself, and from this it would foll

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Journal of Borderland Research - Vol XLVII, No 4, July-August 1991