|
Creation Healing - Part 3
|
Alpha-Omega
|
Jul 30, 2003 16:57 PDT
|
Creation Healing - 3
IAM - Intent - Articulation - Materialization
PART THREE: Materialization
From "the Word" (Articulation) came light, as told in most of the
world's religions, East and West. Light, in this context, means much
more than just the visible light spectrum humans see with their eyes. It
encompasses the whole of the electromagnetic spectrum.
However, for the purposes of Creation Healing, we will focus on the
visible spectrum, since that is what is used in what is called "color
therapy" or "chromotherapy".
HISTORIC SPIRITUAL SIGNIFICANCE OF COLOR
CHROMOGRAPHY
Chromography is the study of colors and the language of colors. For
example, Native American beadwork conveys content through color, as did
Aztec writing with its many colors.
Its use has been expanded into sound to identify "sound fingerprints" -
the unique characteristics of the human voice that set each voice apart
from every other. It has been used in criminology to identify
terrorists, stalkers and phone harrassers in their phone calls.
Its sister science, chromatography, has been used in astronomy to
identify the chemical makeup of faraway stars and galaxies, in chemistry
to identify the composition of metals and gases by breaking down their
light emissions into the specific wavelengths of their components.
Yet, as high-tech as all this sounds, its roots go back more than 3,000
years to the ancient Egyptians and possibly even before.
Color was used in ancient times as a language in which certain colors
had certain meaning in many African tribes.
From Jabulani Jewellery Copyright © 2001
It is generally assumed that African beadwork in regions south of the
Sahara has its origins in the comparatively recent past when the
colonisation of Africa opened up the dark Continent to traders from
Portugal, the Netherlands and England. Further south, in what is now
Kwa-Zulu-Natal and the Eastern Province of South Africa, the trade in
beads is supposed to have had an even more recent origin. Henry Francis
Fynn, who came to Port Natal (now Durban) as a trader in 1824, was
possibly the first Englishman to have offered glass beads as standard
merchandise to the North Nguni, best known of which was the Zulu, whose
colourful beadwork is unique because of it's singular eloquence in the
way messages dealing with male-female relationships were traditionally
woven into it's design.
Even further to the south in what is the Transkei region of the Eastern
Province, the South Nguni - of whom the Xosas, Pondo and Thmebu are
well-known sections - have had close contact with the British ever since
the first settlers arrived in Delagoa Bay (now Port Elizabeth) in 1820.
Obviously, glass beads were common commodities offered by those early
traders to Africans of the region whose beadwork, different in some
respects from that of the Zulu, are in many ways as spectacular as the
Zulu product.
The beadwork tradition did not, however, begin with the traders of the
early nineteenth century. the market for glass beads already existed in
KwaZulu-Natal and the Eastern Province. Fynn at Port Natal and British
traders operating from Delagoa bay merely supplied it, meeting a need
for a commodity that had been well known to their customers long before
they arrived in what is now KwaZulu-Natal and the Transkei.
Glass beads appear to have been a by-product of the discovery of glass,
said to have occurred in the Egypt during the rule of the pharaohs as
well as amongst the Chaldeans and Sumerians some 30 centuries ago. The
Egyptians, favourably placed to trade with Africa to the south, were
probably the first to peddle for gold, ivory and slaves. The Egyptians,
who knew and valued precious stones, might well have assumed that the
less sophisticated African to the south could be misled to believe that
the beads, too, were gems of singular value.
The Egyptian glass beads, as well those from other sources with access
to the Indian Ocean and the Mediterranean, were transported by
Phoenicians, a seafaring nation known to have circumnavigated the cape
long before the Portuguese led by Dias and Da Gama. From the Nile Delta
in the far eastern Mediterranean to Carthage and on to the Straits of
Gibraltar these Phoenician mariners carried cargoes of glass beads in
addition to other merchandise, shipping them to every port along the
North African coast and the ancient Negro kingdoms of the West and
Central Africa.
With the passage of time, the Arabs succeeded the Phoenicians as traders
and continued to supply beads to Africans along the East Coast and
India, having in the meantime become a supplier of this commodity. To
this day, red cornelian beads of Indian origin are washed out on the
Transkeian shored from ancient Arab vessels that fell victim, to storms
and sank. From the North African coast on the Mediterranean, camel
caravans criss-crossed the Sahara desert to trade with the African
kingdoms south of the Sahara.
The Arab traders were ousted by the Portuguese in the fifteenth and
sixteenth centuries, and these in turn were succeeded by the Dutch and
the British.
Glass beads were valued in Africa, not because Africans were duped into
believing them to be precious stoned, but because they were the products
of an exotic technology, of which the equivalent was unknown in Africa
at that time. Beads, therefore, became precious in their own right end
were soon linked to whatever was valued in the cultured of the people
who owned and crafted them into a variety of objects to be worn
according to custom, as a token of social status, political importance
and for person adornment.
The West African kings of Ghana, Songhai, Mali and Nigeria are known to
have worn beaded regalia so heavy that they had to be supported by
attendants when rising from their thrones to move about in the course of
their duties.
In the Cameroon, beaded patterns and colours are remarkably similar to
those found amongst the Zulu of KwaZulu-Natal covered the regalia and
badges of office used by Cameroonians rulers, so that entire thrones -
examples of which may be seen in the Linden Museum in Stuttgart - were
covered entirely with beads. Closer to home, Ndebele beadwork, often
sold on the streets and pavements of Pretoria and Johannesburg, is well
known. Traditionally, certain beaded items were worn to distinguish
young girls from their more senior sisters, to identify girls engaged to
be married, or to adorn brides and young mothers after the birth of
their first children. Among the Xhosa of the Transkei, special beadwork
marks off peer grounds of different age-sets while distinctive regalia
is reserved for the bride and groom at weddings and for the guests
closely associated with them.
What makes Zulu beadwork unique, however, is the code by which
particular colours are selected and combined in various ways to shape
messages that at the time are woven into decorative geometrical designs.
The geometric shapes themselves have particular significance and the
craft itself forms an intricate communicational system devoted entirely
to the expression of ideas, feelings and facts related to behaviour and
relations between the sexes.
It is sometimes difficult to decide whether beadwork is a craft, and
art, a communicational system similar in principle to a written language
or part of a symbolic code used for their own purposes by specialists in
traditional magic. Zulu beadwork, because it's close relationship with
weddings and engagements where the major actors are identified by the
beaded finery they wear, has at times been presented as evidence in
court cases where the responsibilities of parties to marriage contracts
are in dispute. Beadwork, as an art form, thus intrudes into the fields
of social relationships, the practice of law and the communication of
ideas. Beadwork is the exclusive terrain of Zulu women, so that they
become in some ways communities of their own, using the beaded item as
technical instruments to follow their own interests. Amongst woman,
beadwork is also an educational tool, teaching young girls how to
conduct themselves in their relationships with males.
All this indicates that Zulu beadwork is closely integrated with Zulu
social organisation, the technology of specialised craftsmanship,
religious beliefs and magic, educational objectives, communication and
even recreation, because the craft itself provides plenty of fun.
Zulu beadwork tells us a lot about the way in which the Zulu have
constructed their society. One soon understands that they have produced
a closely integrated system in which all institutions - religious,
social, economic, educational, technological, communicational,
recreational, legal, political as well as those designed to give
aesthetic satisfaction in the form of art - are mutually supportive.
This makes it a very powerful system, highly resistant to change.
Unfortunately, it is this very strength that danger lurks; Zulu
tradition, as in so many other African territories, will resist change
until the impact of rises above optimal margin of tolerance, at which
point there is the very real possibility that social values will fall
apart, resulting in serious socio-economic damage.
What this means is that the impact of change, whether generated by the
need for economic development, technological advancement or improved
educational levels, should be carefully controlled so that the margins
of tolerance are respected. if this is not done, all development
programmes are likely to fail.
An African Valentine: The Bead Code of the Zulus
Finding a spouse is maybe the most difficult thing for people to do. In
many traditional societies, marriages were arranged by parents or other
elders. Sometimes the young people involved could turn down a marriage
they did not want, but other times the couple had no choice at all. Most
if not all cultures have kind of symbol system to show whether a person
is married or single. In Canada, most common is the use of wedding and
engagement rings. Among traditional Mennonites, if a door is painted
green, it means there is a daughter eligible for marriage. The Zulu
people of southern Africa developed a complex code using coloured beads.
In Zulu tradition adulthood comes with marriage, and married people have
advantages over those who are not. This created a major incentive for
young men to gather enough wealth to purchase what was required as
marriage goods. Traditional wealth was measured in cattle, and only a
man with enough cattle could afford to marry.
Young girls learned bead work and the meaning of the symbols and colours
used from their older sisters. The bead work was usually worn as a head
or neck band. Men depended on female relatives to explain the code. They
can see whether a woman is engaged, married, unmarried, has children or
unmarried sisters. The patterns and colours can also tell what region a
woman comes from and what her social standing is.
The one basic geometric shape used for this kind of bead work is the
triangle and a maximum of seven colours. The three corners of the
triangle represent the family: mother, father and child. The point of
the triangle is facing down is the symbol for an unmarried man or boy,
while a triangle with the point facing up is the symbol for an unmarried
woman or girl. A married man is symbolized by two triangles joined at
the point forming an hourglass shape. A married woman is shown by two
triangles joined at the base making a diamond shape.
The seven colours used are black, blue, yellow, green, pink, red and
white. Each colour has two meanings, one positive, one negative, except
white. White has only one meaning, purity and spiritual love. When
another colour is used beside white, it takes its positive meaning. For
example, a blue band with a band signifies "fidelity" or "faithful".
This colour combination is commonly used to show if someone is engaged.
Blue, white and black bands are a standard combination to show marriage.
A Zulu valentine, called an Ibheqe, is a narrow beaded band with a
rectangular flap that rests in the hollow of the throat when worn around
the neck. The flap shows the design made up of triangles in various
combinations. One example might be White, Red, Blue. The red beside the
white could be read as "I love you". The blue band in this case, would
mean "request", that is asking for answer. Beside the white/red
combination, it would ask "Will you be my valentine?"
A boy would use the girl symbol (triangle pointing up).
A girl making a valentine for a boy would use the boy symbol (triangle
pointing down) using these colours.
http://www.edunetconnect.com/cat/soccult/images/beads.gif
Wolfgang Wickler & Uta Seibt, in Chromography with beads, write:
"As an example of traditional symbolic message notation in a
pre-literate culture we analyzed over 400 beadwork items of a South
African Bantu (Nguni) tribe, the amaMchunu people in Natal. We
discovered, that their "isishunka" colour-sequence comprises 7 defined
colours on 17 positions: sooty - red - sooty - green - yellow - green -
blue - sooty - blue - green - white - green - sooty - pink - blue - pink
- green.
"Each colour represents a special statement. Every beadwork item
contains a selection of statements using a corresponding part of this
sequence.
"Isishunka"-wristband with part of the sequence repeated, emphazising
the respective statements. © Seibt
"Around 1950, the colour-coded beadwork began to be invaded by letters
of our Latin alphabet, used first as ornaments, then as graphemes to
write words with beads. We collected the available interpreted colour
coded messages and more than 100 beaded texts for a comparative
structural and semantic analysis. Many texts written with beads are
verbal equivalents of the old colour-coded messages. There are even
detailed parallels between colour-coded and alphabetic statements
covering the traditional situations between female and male partners
prior to marriage and in later family life.
"Belt telling: "My spirit does not worry; it does not matter what the
horrible people say".
"A traditional colour sequence is still followed letter by letter. ©
Seibt
"This process of alphabetization turned out to be the first fully
documented transition from pre-literate message notation to true writing
in a contemporary human population. Bead literacy in these peoples
illustrates both, advantages and shortcomings of superseding a
traditional coding system by the western alphabet."
References:
Wickler, W. und Seibt, U. 2002: Kalenderworm en Kralenpost. Biologische
verklaringen voor ongeschreven cultuurfenomenen. Natuur & Techniek Veen
Magazines, Amsterdam, ISBN 90-76988-10-2
Wickler, W. und Seibt, U. 2001: Perlensprache In: Das Afrika Lexikon.
Ein Kontinent in 1000 Stichworten. Peter Hammer Verlag Wuppertal,
491-492
Wickler, W. & Seibt, U. 2000: Des messages codés en perles de couleurs.
Pour la science (Edition Française de Scientific American). Dossier
Hors-Série, April 2000, 124-130
Wickler, W. & Seibt, U. 1998: Kalenderwurm und Perlenpost. Biologen
entschlüsseln ungeschriebene Botschaften. Spektrum Akademischer Verlag,
Heidelberg/Berlin
Wickler, W. & Seibt, U. 1996: Zulu Beadwork messages: Chromographic
versus alphabetic notation. Baessler Archiv (NF) 44, 23-75
Wickler, W. & Seibt, U. 1995: Syntax and semantics in a Zulu bead-colour
communication system. Anthropos 90, 391-405
Wickler, W. & Seibt, U. 1994: Vom Farben-Code zur Schriftsprache bei den
Zulus. pp.299-312 in: Kultur-Ethologie (M.Liedtke ed.), Realis Verlag,
München
Wickler, W. & Seibt, U. 1994: Colour-coded Zulu bead-language and a
European medieval equivalent. Baessler-Archiv (NF) 42, 61-73
Wickler, W. & Seibt, U. 1991: Structural and semantic constituents of
Mchunu bead language; Msinga district, Natal, South Africa.
Baessler-Archiv, NF 39, 307-344
Wickler, W. & Seibt, U. 1990: Zulu bead-language and its present
alphabetization. Baessler-Archiv (NF) 38, 65-115
Wickler, W. & Seibt, U. 1990: Liebesbriefe in Farben. Spektrum der
Wissenschaft 1990 (9), 124-136
Wickler, W. & Seibt, U. 1989: Studies in Bantu peoples' bead-language: A
special colour convention from Msinga District (Natal, South Africa).
Baessler-Archiv (NF) 37, 315-328
CHEROKEE INDIANS
James Mooney's history, "Myths and Sacred Formulas of the Cherokees"
printed in 1900, states that color symbolism played an important part in
shamanistic system of the Cherokees. Each one of the cardinal directions
has a corresponding color - each color has a symbolic meaning. Shamans
used the knowledge of these symbolic colors to invoke the spirit whose
characteristics was needed for his formulas.
The symbolic color system was as follows:
East = red = success; triumph
North = blue = defeat; trouble
West = black = death
South = white = peace; happiness
The Red Man, living in the East, is the spirit of power, triumph, and
success. The Black Man, in the West, is the spirit of death. The shaman
would invoke the Red Man to the assistance of his patient and consign
his enemy to the fatal influences of the Black Man. According to Thomas
Mails, in his book, "Cherokee People," the mythological significance of
different colors were important in Cherokee lore.
Red
Red was symbolic of success. It was the color of the war club used to
strike an enemy in battle as well as the other club used by the warrior
to shield himself. Red beads were used to conjure the red spirit to
insure long life, recovery from sickness, success in love and ball play
or any other undertaking where the benefit of the magic spell was
wrought.
Black
Black was always typical of death. The soul of the enemy was continually
beaten about by black war clubs and enveloped in a black fog. In
conjuring to destroy an enemy, the priest used black beads and invoked
the black spirits- which always lived in the West,-bidding them to tear
out the man's soul and carry it to the West, and put it into the black
coffin deep in the black mud, with a black serpent coiled above it.
Blue
Blue symbolized failure, disappointment, or unsatisfied desire. To say
"they shall never become blue" expressed the belief that they would
never fail in anything they undertook. In love charms, the lover
figuratively covered himself with red and prayed that his rival would
become entirely blue and walk in a blue path. "He is entirely blue,"
approximates meaning of the common English phrase, "He feels blue." The
blue spirits lived in the North.
White
White denoted peace and happiness. In ceremonial addresses, as the Green
Corn Dance and ball play, the people symbolically partook of white food
and, after the dance or game, returned along the white trail to their
white houses. In love charms, the man, to induce the woman to cast her
lost with his, boasted, "I am a white man," implying that all was
happiness where he was. White beads had the same meaning in bead
conjuring, and white was the color of the stone pipe anciently used in
ratifying peace treaties. The White spirits lived in the South.
There are three additional sacred directions:
Up Above = yellow
Down Below = brown
Here in the Center = green
Some of these applications can seen to be gathered from the world around
them. Green, for example, was "here in the center" - the green world in
which we live. Blue was the sky, yet it signified defeat and trouble.
Why? Because storms came from the sky, perhaps? It's interesting that
the comparisons ("He is feeling blue" and even the music form we call
"the blues") signify sadness, failure, disappointment and unfulfilled
desires, suggesting the universality of color as language.
Yellow (Up Above) could easily have stemmed from the yellow color of the
sun, and brown from the color of the soil (Down Below).
COLOR AND RACIAL PERCEPTIONS & FEARS
It is interesting to note the apparent lack of racial overtone. It is
understandable that to the "red man" red would be a symbol of success,
health and love. It is a vibrant color and has universally been used as
an energy booster to "recover from sickness" as Mails notes above. Red,
the color of blood, is understandable in its application to the war club
with which the "enemy" was beaten and conquered.
But what about white and black? It is odd that the Cherokee would boast
"I am a white man" in courtship, apparently proclaiming the purity of
his bloodline. Was this simply a case of twisted reporting by the white
writer? Yet white is universally seen as a color of purity, peace and
happiness, much to the chagrin of the black races who feel denigrated in
comparison.
Black is also universally seen as the color of death or mystery, perhaps
because, in terms of physics, it absorbs all the natural wavelengths and
yields nothing, while white on the other hand is the color of complete
openness, yielding all in its transparency. Is even modern racism
perhaps rooted in this ancient fear of the color black? Black represents
the void, the "nothingness" that existed before Creation, and therefore
it represents the unknown - which always prompts more fear than the
known.
Isn't it strange how such powerful social forces, even in this
highly-technological age, are so tied to ancient mythologies and
primevil fears dating back to humankind's very beginning? Either we are,
in many ways, just as ignorant as in our prehistoric days ... or there
is some hidden meaning with real basis that we just haven't put our
finger on yet.
It is significant that ancient races held these beliefs long before the
discovery of the prism in 1666 by Isaac Newton, which broke natural
sunlight down into its color components.
SIGNIFICANCE OF THE 12 DISCIPLES
It has been said, but certainly not proven, that Jesus of Galilee chose
12 disciples, one from each of the 12 signs of the zodiac, to surround
himself with the balanced spectrum of human nature, just as the Tribes
of Judah number 12. According to Pythagorean numerology, 12 = 1 + 2 = 3,
with 3 being the number of the Trinity Godhead ... as well as signifying
Beginning. (See Healing Codes of the Biological Apocalypse for more
details).
But the numbers extend into color as well as Pythagorean skeins. The
Achala color wheel contains the three primary colors of pigment
(magenta, yellow and cyan) and the primary colors of light (green, red
and blue). Placed together in a circle, these two sets of three form a
perfect Star of David. By mixing equal parts of each two adjacent of
these six colors, a circle of 12 colors is created. By dividing the
circle into four quadrants, four distinct color zones are formed,
dileneated by what one might term an "emotional cross" (emotional in
terms of the effects each quadrant has on human emotions).
Each Zodiac sign is also represented by various stones, which possess
their own color attributes. It was probably among the stones picked up
by curious primitive man that we expanded our world of color and began,
for reasons still unknown, to assign certain powers and "magic" to the
colors of stones and crystals.
Is there a connection among these "Sacred Colors" ... or is this merely
a "coincidence" - a flight of fancy?
In the Taoist philosophy of Feng Shui, everything is made of energy or
qi. Qi is categorized into the Five Elements that are also known by
their colors: earth is yellow; fire is red; water is black; wood is
green; and metal is white. The names for different colors are a
convention for people to refer to different wavelengths of light.
Adhering to this mode of thought, everything is made of a variation of
light energy or color.
As with the Cherokee attributes of color, some are easily understood,
others are not. Yellow earth? Black water? White metal? All of these
traditions have been passed down through the millenia, but we actually
have little knowledge of how and why they originated as they did, and
why there is such a difference among cultures.
Light or color is the essence of energy or qi. F. Birren, author of
Color and Human Response points out that "all civilizations since the
beginning of man's existence worshipped the sun and from the sun came
light and color." Ancient cultures across the world hold the belief that
light or color is the source of life. Isaac Newton discovered this in
1666 when he passed a beam of light through a crystal prism, which
revealed the visible color spectrum - something ancient shaman long
before him already seemed to know.
COLOR AS THE BASIS OF FENG SHUI
Feng Shui derived from Daoist philosophy, which is primarily concerned
with understanding the nature of the universe and harmonious integration
of human activity and communities within the terrestrial and cosmic
scheme. Daoists developing Feng Shui were the theoretical physicists of
the ancient world — part mystics and part scientists, their keen
observations of and hypotheses about nature are the closest thing the
ancients had to modern scientific inquiry, surpassing the Greeks by a
considerable margin. Part of Daoist belief is that everything is
transmutable, which sounds pretty close to the Law of Conservation (that
energy can't be created or destroyed, only transformed).
Jenny T. Liu is a fourth generation practitioner of feng shui who holds
a BA in Environmental Design from UC Berkeley and an MA in Architecture
from UCLA. Awarded for her Master's Thesis on Feng Shui, she is an
expert in the ancient Chinese philosophy of Feng Shui. You may have seen
her on Good Day LA, the LA Times or local community papers.
"Imagine if you could see the full spectrum of wavelengths from infrared
to ultra-violet," she writes. "You would see that we are submerged, as
Dr. John Pierrakos describes, 'in a sea of fluid tinged rhythmically
with brilliant colors which constantly changes hues, shimmers, and
vibrate.'"
"You would see that everything glows and are constantly interacting and
mutually affecting each other. You would see brighter or darker areas in
your home as the energies flow through the space around you. At any
given time, we are surrounded by infinite frequencies and are in essence
connected to everything around us."
"Living things have adapted to light since the existence of the sun,"
she points out. "Because of our physicality, we often forget that we are
actually beings of light. Our eyes are not the only receptor of light.
Our skin also absorbs light."
"Humans are also equipped with a pineal gland in the brain that is
sensitive to light. Known as the third eye, the pineal gland produces
neurohormones that control all of our body's cycles. The pineal gland is
influenced by variations of small magnetic fields (less than .5 gauss,
similar to the electromagnetic field that circulates the Earth's
surface) that cause it to produce more or less neurohormones."
"Illuminating the head modifies the gland's hormone production even if
the light is not directly reaching the gland. This demonstrates the
electromagnetic characteristic of light. Dr. T. R. C. Sissons explains
that 'Light does not merely lend illumination to human existence but
exerts a powerful physical force, affecting many compounds within the
body, some metabolic processes, the life and generation of cells - even
the rhythms of life. Light is ubiquitous, it can be manipulated, and it
is not entirely benign.'"
"From Hasting's book, Health for the Whole Person, we are told that
'different wavelengths stimulate different aspects of our physiology,
all playing a vital role in our functioning.' A condition called
Seasonal Affective Disorder (SAD) stems from the lack of exposure to
full-spectrum light. SAD is often the result of the winter season when
the days are shorter. People tend to sleep more, become sedentary, crave
carbohydrates, gain weight, and avoid social interaction.
Psychologically, they are depressed. SAD has been cured by regular
outdoor walks and daily exposure to full-spectrum lights.
"We especially need natural light with its subtle variations that act on
our well being. The rhythm of dark and light from day and night and the
full-spectrum of light is essential to our circadian rhythms (biological
clock), endocrine, immune, sexual and nervous systems.
"Attaining a balance of yin-yang or light and dark is innate in the Feng
Shui philosophy. Although we cannot see the electromagnetic frequencies
of the earth or planets, it is important for us to live in an
environment that allows us to be synchronized with these forces.
"In Feng Shui, based on their year of birth, every person has a specific
frequency that is associated with the Five Elements. The Earth also has
an electromagnetic field that circulates along its meridians. These
frequencies vary in the eight directions and are also associated to the
Five Elements through color: north - black; northeast - yellow;
southeast - yellow/; east - blue; southeast - green; south - red; west -
white; and northwest - purple. Ideally, everyone should be properly
aligned with the appropriate earth and cosmic forces.
"Our response to color is an innate part of our biological system. As an
earlier form of color therapy, Feng Shui uses color to affect a person's
physical and psychological well being. In Feng Shui, colors are specific
wavelengths of energy associated to the Five Elements that are used to
balance energies or stimulate specific reactions in our selves.
"In Feng Shui, we expose ourselves to colors that are harmonious with
their body's qi, or that promotes our body's weaker frequencies. Because
colors are frequencies similar to the biomagnetic frequency of the body,
they can be synchronized or used to adjust and enhance our body's qi.
"Similarly, in modern color therapy, colored light is shined into the
eyes in to stimulate or relax the eye nerves, which in turn relax the
body. Different colors have different effects. Blue/violet are known to
reduce headaches; red increases blood pressure; yellow, green and blue
relieves digestive ills and yellow is beneficial to certain mental
disorders. Interestingly, these correspond with ancient Feng Shui color
associations: violet or purple is associated with the head; red is
associated with the heart; and yellow, green and blue are associated
with the digestive organs.
"Of course, there are also psychological and subjective responses to
color that play a key role in Feng Shui. Because color can affect the
mind through its symbolic meaning, it can be utilized to empower the
mind. The colors in our wardrobe, room or artwork are often used in Feng
Shui to enhance people's well being or to assist in positive
visualization of a goal."
Copyright © 2003 Dragon Gate Palace (M) Sdn Bhd. All Rights Reserved.
-
http://www.dragon-gate.com/resources/tips/fengshui/classical/index.asp
Many scoff at feng shui because of its somewhat unorthodox beliefs,
beliefs that we are told have been demolished by modern (and assumably
more accurate) science.
"There are far too many discussions of Feng Shui and so-called aetheric
energy, a gas supposedly pervading the universe," writes Cate Bramble.
"This concept was developed by the Greeks, who also believed that
celestial bodies were gigantic crystals made of a fifth incorruptible
element, and that women's reproductive organs wandered around their
bodies. The ideas of 'aether' (or 'ether') and the wandering female
human reproductive system were hot topics in the Middle Ages and
influenced early Western scientific thought.
"'Aetheric energy' was regarded as superfluous by Einstein in his famous
1905 paper and eventually demolished as even a remote possibility in one
scientific experiment after another. Nevertheless, repeated proofs of
aether's nonexistence never entirely stopped the most diehard dreamers,
though these days believing in aether is like believing in the Tooth
Fairy. "The material aether does not exist," says physicist and
professor Arthur Zajonc in his wonderful book Catching the Light. 'It
was a hypothetical fiction born of a materialistic imagination.'"
But as recently as February 11, 2003, astronomers released what they
called a photograph of the Big Bang and gave strong credence to the
"theory" of "ether". NASA scientists called it the "dark substance" that
makes up more than 70% of the universe.
COLORS AND CHAKRAS
Today it has become once more fashionable to dwell on the chakras, their
frequencies and their colors. That, too, has ancient roots.
BRAINWAVE GENERATOR
Description:
A brain stimulation application that creates sounds with binaural beats.
It can be used for relaxation, meditation, enhancing learning
capabilities, sleep induction, self hypnosis, etc.
filename-bwgen31.exe
http://www.bwgen.com/bwgen31.exe
Software Title: BrainWave Generator
Homepage: http://www.bwgen.com (dead link)
Version: 3.1
Date Added: 01-Jun-2000
File Size: 1.2MB
License: Shareware
Price: $30.00
BioDrummer is a software-based drum machine that lets you "grow"
rhythms: the interface is so easy to use that you don't need any musical
training or ability. All you need are a Pentium PC, a 16-bit soundcard,
and your personal musical taste. WARNING: this demo is highly addictive!
Software Title: BioDrummer
Homepage: www.triptoys.com
Version: 1.0.1(D)
Date Added: 06-Dec-1998
File Size: 2334
License: Commercial Demo
Price: $29.95
The Mellosoftron is a low latency, fully programmable virtual sampler.
In short, it turns your PC into a sampler which you can play live with a
MIDI keyboard, with a sequencer or with any MIDI file player. Any sound
card with a DirectSound 3 (or later) driver will do - you don't need a
particular brand or model. You can edit all instrument patches and
create new ones from scratch using your own WAVs as sound sources. Since
it comes with an integrated patch editor and uses the same file formats
(PRGs and WAVs) as WAVmaker and the MIDInight Express, the Mellosoftron
is the ideal tool for the creation of your own soft synth instruments.
Add the Acid WAV synthesizer and sound editor and you have a virtual
recording studio inside your PC!
Software Title: Mellosoftron
Homepage: www.polyhedric.com/software/ml/
Version: 3.1
Date Added: 23-Jul-2000
File Size: 1.8 MB
License: Shareware
Price: $29.00
http://www.polyhedric.com/software/ml/download.html
|
|
 |
|
