#Biogeometry: "atmosphere of the Angels", "scales of quality", "higher harmonic of gold energy"...
"CONNECT TO THE DIVINE FREQUENCY" | Hidden Ancient Knowledge of VIBRATION"
"...Many Thanks to Dr. Robert J. Gilbert for providing such valuable information about the ancient knowledge of vibration and BioGeometry.
Check out his amazing work:
www.vesica.org ..."
mindcontrol-research.net/wp-content/uploads/2016/12/3_goodmann-steve-sonic-warfare.pdf"SONIC WARFARE"
"...Sound, Affect, and the Ecology of Fear:
“What moves as a body, returns as the movement of thought.”
Of subjectivity (in its nascent state)
Of the social (in its mutant state)
Of the environment (at the point it can be reinvented)
“A process set up anywhere reverberates everywhere.”
The Technologies of Lived Abstraction book series is dedicated to work of transdisciplinary reach, inquiring critically but especially creatively into processes of
subjective, social, and ethical- political emergence abroad in the world today.
Thought and body, abstract and concrete, local and global, individual and collective: the works presented are not content to rest with the habitual divisions.
They explore how these facets come formatively, reverberatively together, if only
to form the movement by which they come again to diff er.
Possible paradigms are many: autonomization, relation; emergence, complexity,
process; individuation, (auto)poiesis; direct perception, embodied perception,
perception- as- action; speculative pragmatism, speculative realism, radical empiricism; mediation, virtualization; ecology of practices, media ecology; technicity; micropolitics, biopolitics, ontopower. Yet there will be a common aim: to
catch new thought and action dawning, at a creative crossing. Technologies of
Series Foreword
viii Series Foreword
Lived Abstraction orients to the creativity at this crossing, in virtue of which life
everywhere can be considered germinally aesthetic, and the aesthetic anywhere
already political.
“Concepts must be experienced. They are lived.”
Erin Manning and Brian Massumi..."
"...We’ll come in low out of the rising sun and about a mile out, we’ll put on the music.
—General Kilgore, Apocalypse Now..."
"...Introduction xv
and the ethico- aesthetic paradigm it beckons, will be termed the politics of frequency.
In order to map this black hole, a specifi cally tuned transdisciplinary
methodology is required that draws from philosophy, science, fi ction, aesthetics,
and popular culture against the backdrop of a creeping military urbanism. By
constructing this method as a nonrepresentational ontology of vibrational force,
and thus the rhythmic nexus of body, technology, and sonic process, some latent
aff ective tendencies of contemporary urban cultures in the early- twenty- fi rst
century can be made manifest. A (dis)continuum of vibrational force, a vast,
disjointed, shivering surface, will be constructed that traverses police and military research into acoustic means of crowd control, the corporate deployment
of sonic branding, through to the intense sonic encounters of strains of sound
art and music culture.
The book is neither merely an evolutionary or historical analysis of acoustic weaponry, nor primarily a critical- aesthetic statement on the use of sonic
warfare as a metaphor within contemporary music culture. Along the way,
various schemes will be indicated, including experiments with infrasonic weapons, the surreal “psycho- acoustic correction” waged by both the U.S. Army in
Panama City and the FBI during the Waco siege, and the Maroons whose use
of the abeng horn served as a fear inducer in their guerrilla tactics against the
British colonialists in Jamaica. But this list is not a comprehensive historical
survey. Similarly, a total story will not be told, or a critique waged against, the
militarized (and usually macho) posturing that often takes place, from rock to
hip- hop, within pockets of both white and black popular music. No doubt interesting things could be said about the amplifi ed walls of sonic intensity and
feedback deployed in rock, from Hendrix, to metal through to bands like Sonic
Youth and My Bloody Valentine. But this is not a book about white noise—or
guitars. Equally, while some attention will be devoted to the key, inventive, sonic
processes of the African diaspora, a detailed analysis of the innovative politics of
black noise and militarized stance of Public Enemy and the martial arts mythologies of the Wu Tang clan are sidestepped here, despite the fact that both could fi t
snugly into the following pages. Moreover, more conventional representational
or economic problems in the politics of black music will be detoured in favor of
an engagement with the speculative aesthetic politics suggested by Afrofuturism. Ultimately, Sonic Warfare is concerned with the production, transmission,
and mutation of aff ective tonality.
Similarly, this book does not aim to be an all- encompassing survey of contemporary developments in military scientifi c research into sound. En route,
xvi Introduction
sonic booms over the Gaza Strip, long- range acoustic devices, and musical torture in Iraq and Guantanamo Bay, directional ultrasound in supermarkets and
high- frequency rat repellents deployed on teenagers will be listened out for.
But
this is not a catalogue of these objectionable deployments.
More disclaimers. Given that the themes of the book revolve around potential
sensations of sonic intensity and the moods they provoke, both controlling and
creative, it may strike some readers as strange that the topic of drugs has been
omitted. From ganja to hashish, from cocaine to MDMA, from LSD to ketamin
to amphetamine, the nexus of drugs and sonic sensation, the narcosonic, acts as
an intensifi er of acoustic sensations and serves as both a sensory and informational technology of experimentation, deployed by artists, musicians, producers,
dancers, and listeners to magnify, enhance, and mutate the perception of vibration.
The narcosonic can also function as a means to economic mobilization,
with the lure of these intense experiences used as attractors to consumption
within the sprawling network that now constitutes the global clubbing industry.
Moreover, like the sonic, the narcotic forms part of the occulted backdrop of the
military- entertainment complex, in which the modulation of aff ect becomes an
invisible protocol of control and addiction a means to distract whole populations.
Yet again, to do this topic justice in both its aff ective and geostrategic
dimensions merits a more focused project—one that would be sensitive to both
the dangers and empowerments of intoxication.
The focus here will always remain slightly oblique to these research themes.
While drawing from such primarily empirical projects, Sonic Warfare instead
assumes a speculative stance. It starts from the Spinozan- infl uenced premise
that “we don’t yet know what a sonic body can do.” By adopting a speculative
stance, Sonic Warfare does not intend to be predictive, but instead investigates
some real, yet often virtual, trends already active within the extended and
blurred fi eld of sonic culture. What follows therefore attempts to invent some
concepts that can stay open to these unpredictable tendencies, to the potential
invention of new, collective modes of sensation, perception, and movement.
By turning up the amplifi er on sound’s bad vibes, the evangelism of the recent
sonic renaissance within the academy is countered. By zooming into vibration,
the boundaries of the auditory are problematized. This is a necessary starting
point for a vigilant investigation of the creeping colonization of the not yet audible and the infra- and ultrasonic dimensions of unsound. While it will be
suggested that the borders and interstices of sonic perception have always been
under mutation, both within and without the bandwidth of human audibility, a
Introduction xvii
stronger claim will be made that the ubiquitous media of contemporary technoaff ective ecologies are currently undergoing an intensifi cation that requires an
analysis that connects the sonic to other modes of military urbanism’s “full-
spectrum dominance.” Sonic Warfare therefore concentrates on constructing
some initial concepts for a politics of frequency by interrogating the underlying
vibrations, rhythms, and codes that animate this complex and invisible battlefi eld—a zone in which commercial, military, scientifi c, artistic, and popular musical interests are increasingly invested. In this way, the book maps the modes in
which sonic potentials that are still very much up for grabs are captured, probed,
engineered, and nurtured.
The fl ow of the book intentionally oscillates between dense theorization, the
clarifi cation of positions and diff erentiation of concepts, on the one hand, and
descriptive, exemplary episodes drawn from fact and fi ction, on the other. I
hope this rhythm will not be too disorienting. The intention has been to present
a text that opens onto its outside from several angles. The text is composed of
an array of relatively short sections that can be read in sequence, from start to
fi nish as linearly connected blocks. Each section is dated, marking the singularity of a vibrational, conceptual, musical, military, social, or technological event.
In addition, these sections can as productively be accessed randomly, with each
chunk potentially functioning as an autonomous module. A glossary has been
provided to aid with this line of attack.
To help with navigation, here is a quick tour of the book’s thematic drift. The
main argument of the book is found in the tension between two critical tendencies tagged the politics of noise and the politics of silence insofar as they constitute
the typical limits to a politicized discussion of the sonic. Admittedly oversimplifying a multitude of divergent positions, both of these tendencies locate the
potential of sonic culture, its virtual future, in the physiologically or culturally
inaudible. Again being somewhat crude, at either extreme, they often cash out
pragmatically, on the one hand, in the moralized, reactionary policing of the
polluted soundscape or, on the other, its supposed enhancement by all manner
of cacophony. Sonic Warfare refuses both of these options, of acoustic ecology
and a crude futurism, as arbitrary fetishizations and instead reconstructs the
fi eld along diff erent lines.
The book opens with a discussion of the origins, parameters, and context
of the concept of sonic warfare. It will be defi ned to encompass the physicality
of vibrational force, the modulation of aff ective tonality, and its use in techniques of dissimulation such as camoufl age and deception. The key theorists
xviii Introduction
of media technology and war, Friedrich Kittler, Paul Virilio, and, in relation to
sonic media, Jacques Attali, will be outlined and extended, forcing them toward
a more direct, aff ective confrontation with the problematics of the military-
entertainment complex.
A discontinuum of sonic force will be constructed, connecting examples of
the modulation of aff ective tonality within popular and avant- garde music, cinematic sound design, and military and police deployments of acoustic tactics.
Futurism responded to this discontinuum through its art of war in the art of
noise. This artistic response has been revised, mutated, and updated by Afrofuturism, signaling how at the beginning of the twenty- fi rst century, “futurist”
approaches must adapt to the mutated temporality of contemporary modes of
control, often referred to as preemptive power or science fi ction capital.
In recent theories of sonic experience, an attempt is made to bridge the duality of concepts of the “soundscape” and “sound object” from acoustic ecology
and the phenomenology of sound, respectively, through a conception of the
“sonic eff ect.” It will, however, be argued that this does not go far enough: the
phenomenology of sonic eff ects will be transformed into the less anthropocentric environmentality or ecology of vibrational aff ects. This impetus is continued
into questions of aff ective tonality in the sonic dimension of the ecology of fear.
How do sonically provoked, physiological, and autonomic reactions of the body
to fear in the fi ght, fl ight, and startle responses scale up into collective, mediatic
mood networks? The anticipation of threat will be approached through the dynamics of sonic anticipation and surprise as models of the activity of the future
in the present, and therefore a portal into the operative logic of fear within the
emergent paradigm of preemptive power.
Drawing from philosophies of vibration and rhythm, Sonic Warfare then detours beneath sonic perception to construct an ontology of vibrational force as a
basis for approaching the not yet audible. Here vibration is understood as microrhythmic oscillation. The conceptual equipment for this discussion is found in
rhythmanalysis, an undercurrent of twentieth- century thought stretching from
Brazilian philosopher Pinheiros dos Santos, via Gaston Bachelard to Henri Lefebvre. An examination of rhythmanalysis reveals conceptual tensions with infl uential philosophies of duration such as that of Henri Bergson. The “speculative
materialism” developed by Alfred North Whitehead, it will be argued, off ers a
route through the deadlock between Bachelard’s emphasis on the instant and
Bergsonian continuity, making possible a philosophy of vibrational force based
around Whitehead’s concept of a nexus of experience—his aesthetic ontology
Introduction xix
and the importance of his notion of “throbs of experience.” These vibrations,
and the emergence of rhythm out of noise, will be tracked from molecular to
social populations via Elias Canetti’s notion of the “throbbing crowd.” This philosophical analysis of vibrational force will be contrasted to Gilles Deleuze and
Félix Guattari’s theory of the refrain, and the rhythmic analyses implicit in physical theories of turbulence. The front line of sonic warfare takes place in the
sensations and resonances of the texture of vibration. An ontology of vibrational
force must therefore be able to account for the plexus of analog and digitally
modulated vibration, of matter and information, without the arbitrary fetishization of either. The relation between continuous analog waves and discrete digital
grains is reformulated in the light of the above. Sonic warfare therefore becomes
a sensual mathematics, equally an ecology of code and of vibration.
On this philosophical foundation, the aff ectively contagious radiation of
sonic events through the networks of cybernetic capitalism will then be examined. This audio virology maps the propagational vectors of vibrational events.
This involves a critical discussion of the dominant approach to cultural viruses,
memetics, and the relation between sonic matter and memory. Sonic strategies
of mood modulation are followed from the military- industrial origins of Muzak, the emergence of musical advertising through jingles into contemporary
corporate sonic branding strategy, and the psychology of earworms and cognitive itches. The aim is to extend the ontology of vibrational force into the tactical
and mnemonic context of viral capitalism. Some speculations will made regarding the acoustic design of ubiquitous, responsive, predatory, branding environments using digitally modeled, contagious, and mutating sonic phenomena in
the programming of autonomous ambiences of consumption. This forces the
domains of sound art, generative music, and the sonic aesthetics of artifi cial life
into the context of a politics of frequency.
Whereas predatory branding captures and redeploys virosonic tactics to induce generic consumption, the tactical elaboration of sonic warfare in the fi ctions of some strains of Black Atlantic sonic futurism take the concept of the
“audio virus” beyond the limitations of memetics and digital sound theory.
Here, audioviruses are deployed in aff ective mobilization via the diasporic proliferation of sonic processes, swept along by the carrier waves of rhythm and
bass science and a machinic orality. Illustrating the dissemination and abuse
of military technologies into popular culture, and developing the concept of
the audio virus through a discussion of the voice, the military origins of the
vocoder will be tracked from a speech encryption device during World War II to
xx Introduction
the spread of the vocodered voice into popular music. This contagious nexus of
bass, rhythm, and vocal science, and their tactics of aff ective mobilization, will
then be followed into the do- it- yourself pragmatics of sound system cultures
within the developing sprawls of what Mike Davis has recently referred to as the
“Planet of Slums.” What vibrations are emitted when slum, ghetto, shantytown,
favela, project, and housing estate rub up against hypercapital? And what kind
of harbinger of urban aff ect do such cultures constitute within contemporary
global capitalism?
The book concludes by bringing together some speculations on the not yet
heard, or unsound, in the twenty- fi rst century, mapping some immanent tendencies of the sonic body within the military- entertainment complex. The
concept of unsound relates to both the peripheries of auditory perception and
the unactualized nexus of rhythms and frequencies within audible bandwidths.
Some suggestions will be made for the further conceptualization of sonic warfare within contemporary societies of control defi ned by the normalization of
military urbanism and the policing of aff ective tonality. It is contended that,
existing understandings of audiosocial power in the politics of silence and the
politics of noise must be supplemented by a politics of frequency. The prefi x
“sub” will be appended to this idea of a politics of frequency. The ambivalence
of the term “(sub)politics of frequency” is deliberate. To some, this will not be
recognized as a politics in any conventional sense, but rather lies underneath at
the mutable level of the collective tactics of aff ective mobilization—so a micropolitics perhaps. While this micropolitics implies a critique of the militarization
of perception, such entanglements, for better or worse, are always productive,
opening new ways of hearing, if only to then shut them down again. But more
concern will be shown for those proactive tactics that grasp sonic processes and
technologies of power and steer them elsewhere, exploiting unintended consequences of investments in control. For instance, the bracketed prefi x “(sub)” is
apposite, as a particular concern will be shown for cultures and practices whose
sonic processes seek to intensify low- frequency vibration as a technique of aff ective mobilization. The production of vibrational environments that facilitate the
transduction of the tensions of urban existence, transforming deeply engrained
ambiences of fear or dread into other collective dispositions, serve as a model of
collectivity that revolves around aff ective tonality, and precedes ideology..."
~
" rhombohedral crystals in pineal gland"
www.researchgate.net/publication/11165623_Calcite_Microcrystals_in_the_Pineal_Gland_of_the_Human_Brain_First_Physical_and_Chemical_Studies "Calcite Microcrystals in the Pineal Gland of the Human Brain: First Physical and Chemical Studies"
"...Abstract and Figures:
...A new form of biomineralization has been studied in the pineal gland of the human brain. It consists of small crystals that are less than 20 microm in length and that are completely distinct from the often observed mulberry-type hydroxyapatite concretions. A special procedure was developed for isolation of the crystals from the organic matter in the pineal gland. Cubic, hexagonal, and cylindrical morphologies have been identified using scanning electron microscopy. The crystal edges were sharp whereas their surfaces were very rough. Energy dispersive spectroscopy showed that the crystals contained only the elements calcium, carbon, and oxygen. Selected area electron diffraction and near infrared Raman spectroscopy established that the crystals were calcite. With the exception of the otoconia structure of the inner ear, this is the only known nonpathological occurrence of calcite in the human body. The calcite microcrystals are probably responsible for the previously observed second harmonic generation in pineal tissue sections. The complex texture structure of the microcrystals may lead to crystallographic symmetry breaking and possible piezoelectricity, as is the case with otoconia. It is believed that the presence of two different crystalline compounds in the pineal gland is biologically significant, suggesting two entirely different mechanisms of formation and biological functions. Studies directed toward the elucidation of the formation and functions, and possible nonthermal interaction with external electromagnetic fields are currently in progress..."
~
"They call them “THE HOLY FREQUENCIES” | SACRED KNOWLEDGE Of Ancient Solfeggio Scale"
"...The Magical Power of Solfeggio Frequencies.
✅SELF-HYPNOSIS AUDIO PROGRAMS:
bit.ly/2RGCade (Reprogram Your Subconscious)..."
