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      "title": "the power of Meh : New Insights into Traditional Sound Healing",
      "body": "![soundinwaterpattern.png](https://cdn.steemitimages.com/DQmRs5fvgUA1dNWNiQpsmGWgqj7VoYT8atYQgDdGtSEuiDc/soundinwaterpattern.png)\n\nThe story of the fascinating art science of sono-cytology - the sound of cells - begins with two curious healing stories. The first is the quite remarkable story of John Reid and his sound experiments with the sarcophagus of the pharaoh Khufu in the King's Chamber, in the Great Pyramid of Giza, Egypt, 1997. The second story is my own, rather much more ordinary, quite less spectacular case of healed tennis elbow. But I digress.  For Reid, his experiences sparked a lifetime investigation into the qualities and medicinal powers of sound and in particular, of sound in water. For me, my unexpected and quite literally unbelievable experience with sound healing has lead me to deepen my appreciation for it and to add it to my therapeutic and educational offerings in the cre8ofit creative arts practice.\n\nWhilst I have made reference to my own experience with the healing power of sound, I must defer to the story of John Reid to light the way to your possible acceptance, dear reader, of the notion that sound alone heals. To summarise, Reid is a specialised sound man and an inventor at heart : his fascination lies in making ways of making sound visible to the human eye and in the concept of resonance and how that interacts with the water in biological : aka human tissue.\n\n***\n\nReid visited Egypt and the Great Pyramid of Giza with his sound gear to record the resonance in the Kings Chamber on several occasions. It is worthy to note that upon commencement of his sound experiments and recording in the Great Pyramid, Reid was plagued by a chronic back injury so debilitating that he had personal aids with him on his expeditions to carry his equipment and to assist him to access chambers and tombs, up steep stair cases and through narrow and low openings. He was in substantial pain and was quite crippled most of the time when he arrived in Giza. \n\n  \n![reidexp.png](https://cdn.steemitimages.com/DQmWS4E77pkkaRNQVcpVaCkmxL23XrzShXYVQjP415XVzL3/reidexp.png)\nJohn Reid in the Kings Chamber with his recovered injury and hieroglyph experiment\n\nOn one of those occasions journeying into the Great Pyramid with his aids to record the sound of the King's Chamber, Reid being fascinated with the desire to make sound visible, concocted an experiment to stretch a film over the top opening of the sarcophagus and lay that film with sand. He then sung an ascendsing hum inside the chamber to create resonance. He was able to observe the sound and its resonance as sand vibrating on the stretched film. What he witnessed and experienced next astounded him and his recording team. In front of his very eyes, Egyptian hieroglyphs began to form and move in the sand : first the Djed Pillar (snake - see image below) snaked and wove across the film, followed by the eye of Horace and a number of other hieroglyphs. Reid felt this could be no coincidence and he became determined to unravel the nature of this phenomena. \n\n ![horace.png](https://cdn.steemitimages.com/DQmVxEpkyvjo28rrX9yuBMBi3sJM45YYDVJZiUgJ6XgrYqd/horace.png)\nEye of Horace\n\n ![dijed pillar.png](https://cdn.steemitimages.com/DQmbNM4S9VqjoKNKbqnrxN7YJCRx1YGvU3EbQNhBLwf66LW/dijed%20pillar.png)\nDijed Pillar\n\n![rasungod.png](https://cdn.steemitimages.com/DQmcCoTSSgBFNy7S4NXtkwiuVkHCydYUJyzxs6o8KQ4tde9/rasungod.png)\nRa - Sun God\n\n As well as the appearance of the hieroglyphs, the vibrating chamber overtook and submerged his entire body in the sounds he had made, but at the resonance of the chamber, and he remarks on experiencing an enormous sense of wonder, joy and well being. After the resonance of his own sonic presence in that space subsided, Reid found that the chronic pain in his spasming back was completely dissolved. He was overcome by appreciation, wonder and confusion all at once, and was amazed to also know over time henceforth, that the pain in his back did not seek to return. This extraordinary experience set him on a journey to investigate how this could be so and what the Egyptians must have known about sound. So much so, that the science of sound healing has since become his life's work.\n\nBefore we unravel a taste of the scientific mechanics of sound : of sound in water and of how this creates healing, I will now briefly share my own experience of sound healing and how it lead me to take the science extremely seriously as an authentic alternative mode of energetic healing. I commenced my degree in arts psychotherapy in 2019, nursing a chronic elbow injury gained from too much strenuous heavy lifting with a shovel, as I funded my return to full time study with manual labour to pay my rent. By the sixth month into my three year degree, my elbow was so achingly sore as to ache much of the time and to just never be comfortable : I was resorting to wearing the arm in a sling at times as it offered some relief. \n\n***\n\nDuring one of my Saturday lectures, I was fortunate enough to attend a guest lecture session with a visiting sound healing practitioner. During this session we were introduced to the concepts of vocal toning, of hearing the sounds of our cells, of hearing and vocally expressing the sounds of our injuries or of our sufferings and traumas and of using those sounds, expressed outwardly in tone and breath to induce healing. I was enormously sceptical. At this point chronologically, I was not aware of John Reid and the Kings Tomb experiment or of any body of knowledge or research regards the healing power of sound. \n\n***\n\nTo summarise, I was asked by the practitioner to locate a pain site in my body, to identify the sound the pain made and to vocalise that pain. I was promised that if I repeated my vocalisations loudly and with feeling a few times a day that the pain would immediately subside : if the pain came back, to keep vocalising, and that soon the pain would vanish forever. Living high in the mountains in relative peace and solitude, it was no problem to go outside and vocalise loudly to the sky the pain of my chronic elbow. I would experience instant relief in the elbow immediately after vocalising. The pain returned sporadically over the next few weeks : I repeated the instructions, buoyed with confidence at the results ... and soon within weeks I was indeed pain free and the chronic injury has not ever returned. That was now 3 years ago.\n\n***\n\nSo how on Earth does all this sound healing business work?\n\nWell to begin with, let us examine the mysterious phenomena of sound and what it is and what it does with a quote from John Reid himself:\n\n\"When we sing to the stars the atomic inelastic collisions created by our singing create infrared light that is modulated by our individual voice frequencies. The infrared light zips through the atmosphere into space where it will travel forever unless it meets dark matter.\" (2021).\n\nIn much the same manner, the action of waves crashing onto a beach creates infrared light that is modulated by the sound of the waves itself. In exactly the same manner, according to Dr James Gimzewski, using a term he coined \"the song of the cell'; each and every cell in the human organism emits sound as a part of its metabolic process (Niemetz, 2004) and furthermore, sick cells emit different frequencies to healthy cells. This cell noise, what is more, was discovered to also emit infrared light as a by product of the inelastic collisions created by the cell sound, then of course, that light is also modulated by the cell sound itself. Cell to cell communication it is discovered happens in this infrared spectrum of light.\n\n \n![cell2cellcommsgraph.png](https://cdn.steemitimages.com/DQmPNjvseuiryUzJaEmyLrxteMnV5GnugZHJEVuP4xVVwSa/cell2cellcommsgraph.png)\ncell-cell communication diagram: trends in Microbiology\n\n So therefore, it stands according to Gimzewski and Reid, that the infrared light created in cells by the phenomenon of sound is the same process as the way infrared light is created by nature : but how does this effect healing?\n\nOne of the most beneficial substances that is made naturally by the body and aids in healing is Nitric Oxide (NO) (Reid, 2021) which is produced both in the lungs, on the out breath, and in the sinus cavity as a byproduct of out breath and vocalisation. (Reid, 2021)\n\n ![nitricoxide.png](https://cdn.steemitimages.com/DQmPxhvpRP2wEbknHSPPuEvjwtZVGAeyH9hhxDhnkhYSSNk/nitricoxide.png)\ncredit image : John Reid\n\n It has been found in many clinical studies that a person who hums or sings can actively increase the production of healing NO, as does nasal breathing. It has also been shown that immersing the entire bodily organism in low frequency sound or music with a frequency of between 5 and 40 hertz can passively increase the body's natural production of NO by significant amounts. \n\nFurther studies into these sound and light making qualities of cells has discovered that full body immersion in a soundscape we love is a healing experience in itself. The music can be of any persuasion or genre : it must only be entirely loved by the listener, who listens bodily. Listening to music we love : immersing ourselves in the surrounding vibrational soundscape, increases NO production levels as well as increases white blood cell creation, which in turn promotes and creates healing. How?\n\nWell now we return to that light that is made by sound. Just as internal cell sound modulates cells, so too does exposure to external sound frequency that creates infrared light : these external light making sounds also program our cells. See below the exquisite image of a cross section of a single cell : this beautiful and symmetrical image shows the way that sound forms a pattern in water that it touches : the pattern is photographed as light using a particular scientific microscope.  \n\n ![soundinwaterpattern.png](https://cdn.steemitimages.com/DQmRs5fvgUA1dNWNiQpsmGWgqj7VoYT8atYQgDdGtSEuiDc/soundinwaterpattern.png)a cellular pattern made in cell water by sound : image credit John Reid\n\n Sick cells offer up an a-symetrical pattern in their water. Gimzewski found that by playing back the exact same frequency that a sick cell generates, amplified and audibly expressed to that cell, that the cancerous cells will then die. The healthy cells may suffer some stress as a result of this process but have been found to remain unharmed in the long term. (Niemetz. 2004) The frequency of the sick cell is gleaned by the client, who can interpret and sing out the pain, as I did with my elbow and John Reid unwittingly did with his back in the King's Chamber. As this cell frequency is tonally vocalised by the client, the cell receives that noise back, and this according to Gimzewski, causes it to collapse on itself and die. \n\nTo close,  we will now turn our attention to the title of this article - \"the power of meh\". In the oldest circles of sound healing there exists a practice of vocal toning : this was practised by the Egyptians inside the King's Chamber itself. This toning was based on the seven vowel sounds of the Egyptian language of which Meh is one. While this term has become a commonplace expression in popular culture to express disinterest, it is fascinating to learn that the sound and the word are a part of the vowel sound toning of the Egyptians.  It is found that by repeating the vocal toning of the Egyptians, as well as an aid to healing, remarkable inner energetic ascension, peace and well being can be achieved. It is fabled that when repeated with sufficient expertise, light can be witnessed to be emitted from the bodies of participants. This vocal toning is reproduced here for you to sample the true depths of what it must have been like to seek healing with sound in Egyptian times. This recording is an excellent introduction to what vocal sound healing sounds like.\n\nToday though, whenever I get an ache or a pain, I take myself off to a wide open space, like a paddock a park or the beach : and I listen to my pain : I tone it back to myself and I manage my own healing from pain with sound. \n\n \nMelani du Jardin for cre8ofit ALL RIGHTS RESERVED\n\n \nREFERENCES\n\nNiemetz, A. (2004). Singing cells, art, science and the noise in between. MFA Thesis, UCLA Department of Design/Media Arts, University of California, Los Angeles.\n\nReid, J (2012) Ancient Egyptian Acoustics and Sound Healing, presented by John Reid FULL LECTURE :  Pentos Television\n\nReid, JS (2021) Sound Therapy : Medicine of the Future with John Stuart Reid. Global Sound Healing Conference\n\nRosicrucian Vowel Sounds from The King's Chambe",
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      "title": "safe4me : how art making shifts trauma and helps to make us well",
      "body": "After 30 years or more of medical practices and of addiction medicine, what I found was that the common template for virtually all afflictions, mental illness, physical disease, is in fact, trauma. And there is a wisdom in trauma. When we realise that our traumatic repsonses and imprints are not ourselves, then we can work them through and thus become ourselves.’ (Mate, 2021)\n\nJust as trauma imprints our experience of being human, making an imprint on paper is one of the first ways in which we understand that as a child, that we can make movements that create marks. This new mark or marks is a new entity, over which, unlike life, we have full control. De Charms  (2013) defined an innate sense of satisfaction that comes from making marks and Buhler defined this as ‘function pleasure’ (1959). We can take pleasure in the control of making marks as well as innately in the process of making the marks themselves as a separate entity. From this position, we can thus return to a sense of inner order and innate pleasure that is lost as we grapple with the imprints of survivable trauma.\n\nArt making also allows us access our subconscious, opening doors to a deeper understanding of ourselves, our triggers and our ways of being after uncontrollable life happens to us and around us. As Klee attests, “art makes the invisible visible.” Therefore, as trauma itself has a non-verbal core (in Telwar, 2007), pictorial expression can be absolutely key in accessing that non-verbal core of traumatic memory. In that sense, we create for ourselves a unique and contained frame of reference to explore sensitive inner material, where trauma can be non-verbally stuck.  Within a depressed, anxious, dis-rupted or  dis-regulated human organism, creating with the hands safely, induces function pleasure. Inducing function pleasure : feeling that sense of being safe, held and seen, is a relief for the organism : an evaporation of all worry in the now moment and safely letting go : through hand ; heart ; mind : can bring the body out of the guarded state, into resting state.  This function pleasure thus works to send soothe signals to the Vagus nerve, the primary body regulator of the somatic safety system (Porges,  2009) From here, safe exploration, sharing and ultimately lifetime positive resilience & healing habits can begin to unfurl. \n\nThis innate knowing of the human being to use marks to process the non-verbal phenomenological core of dis-rupted being, goes to the core of why children draw so innately and why it is such a large part of the process of working towards growth, towards 'finding the wisdom in trauma. (Mate, 2021).\n\nAccording to Eisner, (1978) 'children learn that they can create images with material and that the activity of making such images can provide intrinsic forms of satisfaction.' He goes on to explain that this knowing then provides a child with a sense of control external to themselves...\n\n'The making of a mark on paper or on wet and or in moist clay is an alteration of the world. The forming of a new entity. When children are first given the opportunity to use materials, this is one of the first things they learn, namely, that consequences have actions.' (Eisner, 1978)\n\nDe Charms (2013) refers to this as developing a senes of 'personal causation', representing an empowered disposition towards creating in the world...\n\n'The rhythmic movement of the arm and the wrist, the stimulation of watching lines appear where none existed before...are intrinsic sources of satisfaction.'\n\nThis has on flow for improved self esteem, confidence and sense of independence.\n\nUsing creative arts as a vehicle for trauma informed therapy also enables the community through sharing of common experiences, and discussing, responding to and processing these experiences via the moderating nature of images. Other modalities work equally well in this respect, but the innate sense of control gained by children through drawing & painting cultivates life long, healthy creative impetus that can be joyously passed to others, turned to on a rainy day or developed as a career in the creative arts. Creating is a magical thing and can have a positive ripple effect of increased robustness across entire communities.\n\nby Melani du Jardin for cre8ofit. All rights reserved.\n\n \n\nREFERENCES\n\nBuhler, C. (1959). Theoretical observations about life’s basic tendencies. American Journal of Psychotherapy, 13(3), 561-581.Buhler Charlotte\n\nDe Charms, R. (2013). Personal causation: The internal affective determinants of behavior. Routledge.\n\nEisner, E. W. (1978). What do children learn when they paint?. Art Education, 31(3), 6-11.\n\nMate, G. (2021) 'The Wisdom of Trauma'. Science & Nonduality, Sebastopol, CA.\n\nPorges, S. W. (2009). The polyvagal theory: new insights into adaptive reactions of the autonomic nervous system. Cleveland Clinic journal of medicine, 76(Suppl 2), S86.\n\nTalwar, S. (2007). Accessing traumatic memory through art making: An art therapy trauma protocol (ATTP). The arts in psychotherapy, 34(1), 22-35.",
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      "parent_author": "cre8ofit",
      "parent_permlink": "art-inner-inspiration-and-therapy-romanticism-and-the-scientific-backlash",
      "author": "steem.history",
      "permlink": "re-cre8ofit-art-inner-inspiration-and-therapy-romanticism-and-the-scientific-backlash-20220618t233228016z",
      "title": "",
      "body": "Hello welcome to Steemit world! \n I'm @steem.history, who is steem witness. \n This is a recommended post for you.[Newcomers Guide](https://steemitdev.com/guide/@steemitblog/steemit-a-guide-for-newcomers) and [The Complete Steemit Etiquette Guide (Revision 2.0)](https://steemit.com/steem/@steem.history/the-complete-steemit-etiquette-guide-revision-20-homage-1598425779) and, recommended community [Newcomers Community](https://steemit.com/trending/hive-172186) \n I wish you luck to your steemit activities.<center> \n \n \n https://cdn.steemitimages.com/DQmXHwdcNs5VPcBft1iSosPdHLpBNBfjuG84g3ffWhMw5JQ/image.png \n <sub>(The bots avatar has been created using https://robohash.org/)</sub> \n @steem.history \n \n ### My witness activity \n - [My aspiration for STEEM witness](https://steemit.com/hive-185836/@steem.history/my-aspiration-for-steem-witness-1601280729) \n - Provides information on Steem.  \n [Reference](https://steemit.com/trending/hive-130095) \n - Supporting the Steem project. \n [SPUD4STEEM project](https://steemit.com/trending/spud4steem) \n - Supporting the community. \n [Newcomers Community](https://steemit.com/trending/hive-172186),[Steem Sri Lanka](https://steemit.com/trending/hive-133716) ,[WORLD OF XPILAR](https://steemit.com/trending/hive-185836), [GLOBAL STEEM](https://steemit.com/trending/hive-145160), [Scouts](https://steemit.com/trending/hive-181136), [Latino Community](https://steemit.com/trending/hive-188619) \n \n ### My featured posts \n - [The Complete Steemit Etiquette Guide (Revision 2.0) -Homage](https://steemit.com/steem/@steem.history/the-complete-steemit-etiquette-guide-revision-20-homage-1598425779) \n \n [![image.png](https://cdn.steemitimages.com/DQmd7of2TpLGqvckkrReWahnkxMWH6eMg5upXesfsujDCnW/image.png)](https://steemlogin.com/sign/account-witness-vote?witness=steem.history&amp;approve=1) \n <sub>please click it!</sub> \n \n ![image.png](https://cdn.steemitimages.com/DQmWDnFh7Kcgj2gdPc5RgG9Cezc4Bapq8sQQJvrkxR8rx5z/image.png) \n <sub>(Go to https://steemit.com/~witnesses and type fbslo at the bottom of the page)</sub> \n \n </center>",
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      "parent_permlink": "art",
      "author": "cre8ofit",
      "permlink": "art-inner-inspiration-and-therapy-romanticism-and-the-scientific-backlash",
      "title": "art, inner inspiration & therapy : romanticism & the scientific backlash",
      "body": "![wanderer.jpg](https://cdn.steemitimages.com/DQmYBSe131sR8s7tMrFwMeucDbhSZTWektFiJDSkbbkURQM/wanderer.jpg)\nThe Wanderer above the Mists - Caspar David Freidrich\n\nA depiction of the lone artist seeking the divine in nature while contemplating his inner life.\n\n“The painter who is initiated in the divine secrets of the arts hears the voice of nature recounting its infinite mysteries through trees, plants flowers water and mountains the gift that transposes emotions into art comes to him like the spirit of God”\n\nETA Hoffman\n\nIn a time of the imminent rise of the new scientific cult of the white coat and the rampant growth of industrialism, in 1800s Europe, art was still regarded solely as a science, which indeed, in part, it absolutely is. However, with the dawning of the industrial age, the scientific part of creative arts endured a firm revolt in the hearts and minds of contemporary artists of the time. A new way of thinking emerged that rejected all conventions and unleashed the imagination of the artist to execute thought, feeling and emotion in a unique and original way, as opposed to painting only in the traditional realist manner of their predecessors. \n***\nFor the first time artists painted what was in their minds and souls and didn’t care if they were understood or even liked by the pubic. Their images were of the dark, the passionate, the mysterious and the introspective. Inspiration was drawn from the natural world and viewed as a divine gift. The creative drive was conceived as an inner voice, which when obeyed, could give the artist a sense of euphoria; thus construed as a complete rejection of the elevation of science and rationalism. This new way of being in and with art, self and universe was referred to as Romanticism. The movement spawned such greats as JWM Turner, Caspar David Freidreich and contemporaries. \n***\nRomanticism was a reaction against society and the norm. It was anything new or different. One of the key driving philosophies was freedom and the examination of true and false senses of freedom in social structures, as described by Jean-Jacques Rousseau who observed...‘Man is born free but is everywhere in chains’.\nIn terms of the discourse of Romanticism, many of the artists of the day were literally the poorest, most marginalised and vulnerable in society : many suffered with mental illness and were shunned by society, as was the norm of the day and many were recluses, whom did not fit with the trends of their times. These sculptors, poets, composers and painters embraced the ethos of Romanticism. This ethos became a culture of likeminded, damaged creatives and the philosophers among them were quick to discover the link between creativity and elevated mood, and hence the formal recognition of art as therapy by the creative expressive and energetic arts community  of the ill and impoverished was begun. \n***\n\nThis artistic movement encouraged them to find freedom through outward expression of imagination; to focus on intuition rather than calculation; to explore feeling rather than thought; and to express the emotional and the subjective. JWM Turner expresses the essence of how dramatic the Romantics could be to capture the inexpressible, exclaiming of the creation of 'Snow Storm - Steam boat off a harbour's mouth'...\n\n“I wish to share what such a scene was like. I got the sailors to lash me to the mast to observe it and I did not expect me to escape it but I felt bound to record it if I did. No one had any business to like the picture.’ \n\n \n\n ![turner.jpg](https://cdn.steemitimages.com/DQmfWn24D5CnZp2L3s3jcmYCkGuaeUzuLtYUDGaSKUJY2Eb/turner.jpg)\nSnow storm – Steam boat off a harbour’s mouth - Joseph Mallord William Turner \n\n***\n\nIn terms of studio practice, an artist's originality often meant isolation and solitude - the walls are bare, the light is dim, the artist faces away from the canvas, concentrating on the inner landscape.\n\n \n\n \n![kersting.jpg](https://cdn.steemitimages.com/DQmcJh6iBNoh398frfSKY1SGospUFLrNvBsVPeSJokTUWLJ/kersting.jpg)\nCaspar David Friedrich in his studio  - Georg Friedrich Kersting\n\n \nThe Romantics were complex people : they were philosopher artists who delved more deeply into the human mind, the human condition and the human submission to nature state than any artists before them.\n\n***\n\nAs well as the overarching philosophies of freedom and inspiration in nature, the Romantics also explored the dark side, enjoying the depiction of such themes as a fascination with death and dying; creating depictions of insanity, horror and chaos, suicide and martyrdom, madness and and madhouses. Below, Fuseli juxtaposes beauty and innocence with horror and Goya examines the dark side of night when rational thought ceases and irrational nightmares take over in 'The Nightmare' and 'The sleep of reason produces monsters', respectively.\n\n \n\n\n![fuseli.jpg](https://cdn.steemitimages.com/DQmZTcQpqktRGaLHBxRs32JNMfA7qxhmcEBCc2Sqw6YWKyy/fuseli.jpg)\nThe Nightmare - Henry Fuseli\n\n \n![goya.jpg](https://cdn.steemitimages.com/DQmUdiD8WzqhD973HiSivR4vkns1CyK4rgnLj8zscpypWoc/goya.jpg)\nThe sleep of reason produces monsters - Francisco Goya\n\nArtists were the first to consciously emloy art as therapy but the secret eventually made its way to the mainstream and marriage of sorts between science and Romanitcism first occurred in the 1800s when doctors and psychologists also recognised the use of art as therapy for the mentally ill. In the UK, William Tuke – an English businessman who established a code of ‘moral care’ for the mentally ill and established York House. In France, Jean-Baptiste Pussin and Phillipe Pinel pioneered a more individualised approach to treatment in hospitals and Auguste Comte pioneered the rise of positivism : that knowledge must be able to be verified in terms of experience.  \n\n \n\nmelanie du jardin for cre8ofit : copyright 2022",
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