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Wednesday, March 31, 2010

Sustainable artist Richard Long




                                                           


http://www.richardlong.org/index.html

Art as a formal and holistic description of the real space and experience of landscape and its most elemental materials.
Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking.
Walking itself has a cultural history, from Pilgrims to the wandering Japanese poets, the English Romantics and contemporary long-distance walkers.
My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going 'nowhere'. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art.  Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking - as art - provided an ideal means for me to explore relationships between time, distance, geography and measurement. These walks are recorded or described in my work in three ways: in maps, photographs or text works, using whichever form is the most appropriate for each different idea. All these forms feed the imagination, they are the distillation of experience.
Walking also enabled me to extend the boundaries of sculpture, which now had the potential to be de-constructed in the space and time of walking long distances. Sculpture could now be about place as well as material and form.
I consider my landscape sculptures inhabit the rich territory between two ideological positions, namely that of making 'monuments' or conversely, of 'leaving only footprints'.
Over the years these sculptures have explored some of the variables of transience, permanence, visibility or recognition. A sculpture may be moved, dispersed, carried.  Stones can be used as markers of time or distance, or exist as parts of a huge, yet anonymous, sculpture.  On a mountain walk a sculpture could be made above the clouds, perhaps in a remote region, bringing an imaginative freedom about how, or where, art can be made in the world.

Tuesday, March 30, 2010

Art Exposure, LLC

http://www.starnewsonline.com/article/20100329/ARTICLES/100329664
Hampstead studio opens up possibilities for community
By Amanda Hutcheson
StarNews Correspondent
Wilmington, NC, Star News Newspaper
Published: Monday, March 29, 2010 at 8:58 a.m. 
Last Modified: Monday, March 29, 2010 at 8:58 a.m.

HAMPSTEAD | In a new, bright red barn in Hampstead, one woman is fulfilling a dream of creating an artistic and community center.
“I’ve always wanted to do this,” said Ellen Elder, the brain behind Art Exposure and a former art teacher of 30 years. “I’ve always wanted a big art studio where we could promote local artists, something for the community.”
Elder sat on a couch that had once belonged to her grandmother, in the middle of the center modeled after a barn, with large windows shining light on the artwork displayed throughout. Work studios line the edges of the building and a loft at the back has hosted everything from art classes to foster parenting groups. Recently, the loft served as the dance floor for a wedding reception. A small store at the back is packed with art supplies.
The building is home to the Art Exposure Artists Association, a group of fine artists who display and sell their art in the building.
Some rent the studio rooms on either side, and before a new member joins the association, all the members get a say. Elder said she envisioned a place for local artists to meet, work and interact.
“If you build it, they will come,” said B.F. Reed, one of the association members who rents studio in the space, referring to what she calls Ellen’s marvelous vision.
“That’s what I like about having a place like this, a place for people to see,” added Karen Crenshaw, one of the group’s first artists. “I can’t sell my work if it’s sitting in my studio at home. I’m out interacting with the public.”
The group hosts different art shows, with an opening on the second Friday of every month.
The events are open to the public and light refreshments are offered, Elder said. She is also hoping to add the performing arts, including music events and plays.
This summer will likely see a summer camp for children to learn about art. But Elder said she wants the building, located off U.S. 17 just north of Hampstead, to be available to all interests in the community.
She envisions the barn hosting luncheons, birthday parties, family reunions and receptions, as well as community group meetings.
“It’s like any art gallery, it just has some other things going,” said Elder. “We’re really in a rural area here. There’s not much like this, not many places to meet.”

Monday, March 29, 2010

more on sustainable art ("the things we shouldn't ask artists to do")

Following are writings I've run across on the net (low carbon footprint) on the sustainable arts theme. Evolution takes time and we are in the midst of that transition. What and how will the time snapshots of this transition appear. How many years, 10, 25 , 63 will the revolution take? Historically these things do not occur over night. What will a sustainable art look like, speak to and manage itself? Obviously the empowered art clique; the big art schools (the Academe' will not let go of their cherished ecocentres, afterall that's how they got there.), the big supporters (in large part industries rife with environmental failures - ahhh but as adults we must all clean up our own messes, unless of course, we can afford to hire workers to do it for us, or just move to the next town over and allow the slums to incubate.) and the buyers - who will be the leaders in buyng out the promotions of the galleries and other venues? There'll even be a synchronicity of order , looking back, that the critics and historians can debate. But for now we persist in denial, pride, gluttony and other human endeavors that perhaps may be some of the subliminal lead in subjects of artists works to the greater movement. This will be an ongoing topic of writings....

http://ashdenizen.blogspot.com/2010/02/new-low-carbon-arts.html
new low carbon arts

http://ow.ly/1s2FQ
Robert Butler why is art more important than the planet?

http://ow.ly/1s2FQ
they'll do the asking themselves
Robert Butler 

http://ow.ly/1s2FQ
Eco-bling: why the arts sector needs to lead on climate action
Contributed by: Lucy Gibson

http://www.welshartnow.org/index.php?option=com_content&view=article&id=593&catid=11:5&Itemid=110
Paul Matosic is an international artist

http://www.fionacassidy.com/files/46_stuff_and_nonsense.pdf
Fiona Cassidy

Sunday, March 28, 2010

Top Ten Artists!


The top ten artists from http://www.artcyclopedia.com/mostpopular.html measured by their sale of art posters are:
What would a living artist say to this? Is this cultural behavior sustainable? Does it show art, or the image of art? Here's a really earthy question, is the yearly profit made from art posters more or less than the yearly sale of art? 

Saturday, March 27, 2010

WebGround Series




WeaveGround Series needs a new name; Grid Ground, GridGround, Grid, etc., or not... I'm not going to spend a lot of time on it, the name is there.  WebGround! (edited comment 5/10/10 sometimes it takes a few weeks...)

Friday, March 26, 2010


The thing we shouldn’t be asking artists to do

March 26, 2010 by William Shaw
Filed

http://ow.ly/1rlnS
nder: Will
Heart of Darkness by Cornelia Parker, 2004 from Earth: art of a changing world, London 2009
This is Climate Action on Cultural Hertitage week – it’s an initiative championed by Bridget McKenzie as a response to the growing number of individuals and organisations calling for a more clearly defined sense of purpose from the arts and heritage sector.  People like Al Tickell of Julie’s Bicycle ask: “Why do we expect moral leadership to come from corporations and science? Surely the meaningful nature of the arts in society puts it in a position to take a lead on climate action?”
There are two aspects to this. Firstly it’s about how we behave ourselves. Art fairs, say, have become an example of the muscularity of the art industry. As curators/critics Maja and Reuben Fowkes have asked,  is this world of global art jamborees a sustainable one? Gustav Metzger’s Reduce Art Flights was one of the artist’s passionate “appeals”, this time to the art world to reconsider how they had been seduced into transporting themselves and their works around the globe. Furtherfield.org’s We Won’t Fly For Art was equally explicit, asking artists to commit to opting out of the high profile career track that conflates your ability to command air tickets with success.
Industries can change the way they behave. Tickell’s work with the music business has already shown how a cultural industry can transform itself in terms of process.
But there’s also the role of art as a spoke in the wheel of culture. Science itself changes nothing. To become a transitional society requires more than policy. The real change must be cultural. So should climate be the subject matter of art?
Pause for thought: Do we want rock stars enjoining us to change our ways? Please God, no. See? If it doesn’t work for rock music, why should it work for other art forms?
In an article being published next week on the RSA Arts & Ecology website, Madeleine Bunting will be arguing strongly against the urge to push artists into an instrumental role in climate:
“The visual arts offer a myriad of powerful ways to think and feel more deeply about our age and our humanity, but it is almost impossible to trace the causal links of how that may feed through to political engagement or behaviour change,” she cautions.
It is time to accept that artists don’t simply  ”do” climate. Even the most obviously campaigning art is of little value if it is simply reducible to being about climate. They may be inspired to create by the facts of science and economics, as Metzger and Ruth Catlow and Marc Garrett of Furtherfield were in those examples above, but if you asked them to make art about climate they’d almost certainly run a mile.
What was interesting about the RA exhibition Earth: art of a changing world was the way that made that explicit. Artists like Cornelia Parker and Keith Tyson were clear in saying their pieces that they weren’t necessarily conceived with climate in mind at all, (though both are passionate about the subject). The decision to include Parker’s Heart of Darkness as an a piece of work to make us ponder the destruction of our planet was a curatorial one.
There’s a kind of separation between church and state needed here; institutions shouldn’t just be looking to their carbon footprints, they should be looking to see how they can contextualise this cultural shift with what they show their audiences – whatever the artform. It is up to the curators, directors and art directors to take on this role. In this coming era, we urgently need events, exhibitions and festivals that make us feel more deeply about the change taking place around us – and we need them to find new audiences for those explorations too.
But what we shouldn’t be doing is asking artists to make art about climate.





Wednesday, March 24, 2010

entry fees

Just received notification that Rocky Mount has my check for $25 for entry in the 53rd Juried Art Show.

Tuesday, March 23, 2010

pregnancy, breastfeeding, young children herbal cautionaries...



Herbs to be used with caution during pregnancy: with assistence of a practiced clinician.
Angelica
Ginger *
Dong Quai
Licorice
Feverfew
Motherwort

Herbs not to be used internally during pregnancy:
Andrographis
Bethroot
Blue Vervain **
Celandine
Chinese Coptis
Devil's Claw
Juniper Berry
Ephedra
Osha
Lesser Periwinkle
Poke
Spikenard **
Tienchi Ginseng
Wild Carrot Seed
Yellow Root
Arnica
Black Cohosh **
Buchu
Ligusticum wallichii
Corydalis yanhusuo
Goldenseal
Life Root (Senecio)
Mugwort
Parsley *
Petasites
Quassia
Tansy
Uva Ursi
Wild Ginger
Barberry
Blue Cohosh **
Calamus
Comfrey
Cotton Root
Jamaica Dogwood
Lomatium
Oregon Grape
Pennyroyal
Pleurisy Root
Rue
Thuja
Chinese Peony
Wormwood

Laxatives such as Buckthorn, Cascara Sagrada, Rhubarb  or Senna can be irritating to the uterus as well as to the colon. Avoid using while pregnant.
Herbs with potential for serious toxicity are Mayapple, Bloodroot, Lobelia, Mistletoe, Pulsatilla, Wormseed and Pink Root.

Herbs not to be used while breastfeeding:
Aloe
Ephedra
Petasites
Rhubarb
Senna
Borage
Life Root
Poke
Rue
Wild Ginger
Comfry Root
Mayapple
Pulsatilla
Sage *

Herbs not to be used with young children: (None for children under 5 w/o trained clinician)
Blue Flag
Ephedra
Petasites
Celandine
Life Root
Poke
Comfry Root
Mayapple
Quassia

* not at medicinal dosages, mild tea ok
** under physician, practitioner or midwives recommendations may be used during the last 2 weeks of pregnancy if appropriately administered

Monday, March 22, 2010

Basketball Double Helix




March Madness, the athleticism is fantastic, the hype can go away... several times over the years I've had a fascination with drawing a basketaball game. I've done baseball, football, maybe soccer games, but they've never brought the intensity of fascination and a satisfaction from its completion that the basketball drawings had. Whichever team has the ball, their color follows the path of the ball throughout the entire game. May have been Michegan, or Michegan St. against Ohio State or Illinois. For me these were some of the first manifestations through my work of the infinity sign. Each game developed to the    pattern. This one from a series was done in 2007.

Sunday, March 21, 2010

The Earth Pigments Company nci

   Venetian Red  Refined Linseed OilDammar ResinWhite Beeswax

Have just come on this website, http://www.earthpigments.com. They have some goods!
pigments, tools like biodegradable paint cups, mediums (damar varnish, casein, beeswax, and gum arabic, etc.) and information to use when making different medium paints (oils, watercolor, acrylic, cassein, egg tempera, etc.) Will likely order some beeswax and pigment...





Saturday, March 20, 2010

Vernal Equinox




“Persephone” Dante Gabriel Rossetti (1828-1882) 
a daughter of Zeus and Demeter, abducted by Hades to be queen of Underground and allowed to return to the surface of the earth at the Vernal Equinox and then to return to Hades at the Autumnal Equinox.
http://www.ibiblio.org/wm/paint/auth/rossetti/


from http://www.astrologycom.com/equinox.html
The Spring Equinox

The Vernal Equinox is the time when the Sun reaches the balancing point in its path through the zodiac. It marks the beginning of the new astrological year, as the Sun enters the first degree of Aries, the Ram. It happens in 2010 on March 20 (17:33 UT – but bear in mind that the Equinox is a day and a night, a phase not a moment), marked in the Christian Calendar by the Festival of the Annunciation of the Virgin (Lady Day) on March 25. This major calendrical event is the focus of religious and social festivities in all cultures, and is the key to the timing of Easter. 

The death of the old year and the rebirth of the new has been celebrated since time immemorial, on or around the spring equinox, which is why the death and resurrection of Jesus is celebrated at this time. Aries is the sign of the exaltation of the Sun, for it marks the time when the days of light begin to outstrip the nights of darkness (for this reason the Ram is also the Fall of Saturn). 

The word equinox means "equal night": the duration of the day being equal to that of the night, an event which occurs but twice a year, the one marking the astrological beginning of spring and the other the ending of summer. Interestingly, the actual equal duration (equilux) need not occur on the official Equinox, which is more cultural and celebratory than scientific. The Autumn, or Fall Equinox marks the harvest celebrations in September, outlined later in this article. [See NOTE for Southern Hemisphere.] 

Spring is a time of new beginnings, both spiritually and physically. Crops germinate and shoots peek through the earth, flowers bloom, young animals gambol about and everything feels new. It is a truly energising time, when people feel bold and ready to take on the world! In an earlier era, the Equinox marked New Year's Day (in Christian times, the New Year marker was taken on by Lady Day – up to 1752 when the Gregorian Calendar was introduced in England). It is still the beginning of the year in various calendars, including the Iranian and the Bahai. 

Astrologically, the March Equinox marks the beginning of the tropical astrological year, being the entry of the Sun into the Cardinal Fire Sign of Aries, the Ram. Aries is traditionally ruled by Mars, so the ancient Roman festivals of the equinox centered around Mars (hence the name of the month "March"). The Lupercalia was a fertility festival at this time, said by Cicero to be so ancient as to have been instituted before civilisation and law existed. Interestingly, the name "Easter" derives from the ancient fertility festival of the goddess Eostre, the teutonic goddess of spring. All cultures have spring festivals of this type and the Vernal Equinox is still widely celebrated as a holiday in many countries across the world. 

Thanks to a rare retrograde period, Mars has been travelling through the constellation of Ursa Major (traditionally known for expressing a martial nature), contacting several of the stars involved. Ursa Major, the Great Bear, is rarely good for nations and political leaders whose charts are affected. Fortunately, Mars turned direct again on March 10, 2010, in the first degree of Leo, remaining in that degree for much of the month, forming a potent trine with the Sun at the Equinox. Mars is at this time in conjunction with Talitha, in the forepaw of the Great Bear, offering a guide to the nations as they turn from the angry persuasions of the retrograde phase. The Sun in Aries and Mars in Leo at the Equinox are in the favourable relationship known as mutual reception, greatly aiding the benefits associated with the trine aspect. It's an ego-boosting time. The energy is dynamic and will give a big boost to courageous activities, and a dynamic push to get ahead. Nevertheless, do not take things too much for granted, or become too sure of yourself, as Mars is not to be trusted, especially when so highly stimulated. During this phase, Mars is moving slowly forward, but returns to full speed ahead by May 17th.

Friday, March 19, 2010

CSPA QUARTERLY: CALL FOR SPRING SUBMISSIONS


http://www.sustainablepractice.org/2010/03/18/cspa-quarterly-call-for-spring-submissions/

CSPA QUARTERLY: CALL FOR SPRING SUBMISSIONS
from Miranda Wright| March 18, 2010
The third edition of the CSPA Quarterly is now open for submissions. This time around, we’re hoping to cover art made from found objects and existing materials. Spring cleaning for the spring issue, if you will! Many of you are working with existing materials to create work- let us know what you’ve been up to!
Questions to consider: What dictates the “sustainability” of the work? If the found objects are made of plastic, is the work green? If the materials are raw, but held together with chemical adhesives, is the work green? Musicians or media artists: how does using existing material affect the sustainability of culture, and fight against limitations of copyright? Performance and theater artists: are you making work with found objects, set pieces, or written material?
The CSPA Quarterly explores sustainable arts practices in all genres, and views sustainability in the arts through environmentalism, economic stability, and cultural infrastructure. The periodical provides a formal terrain for discussion, and seeks to elevate diverse points of view.
Please send your essays, photos, and articles to: Miranda@SustainablePractice.org
The deadline for consideration is April 9, 2010.

Thursday, March 18, 2010

Ocean Sunrise Ankh and Lingam



I find this most appealing to the coming season, Spring.


from National Geographic http://www.nationalgeographic.com/history/ancient/artifacts-symbols.html



"The ankh is a symbol of life often shown in the hands of Egyptian gods or pharaohs. The gods are sometimes depicted giving the ankh, and thus giving life, to a human.
The origins of this widespread symbol are much disputed. Whatever its original symbolic meaning (theories range from a sandal loop to a sunrise) the ankh was widely adopted first by Egyptian religions and later by early Christians for whom it linked the cross with eternal life."
My personal preference would be that its meaning comes from the sunrise over water. Here is my reasoning. Man was drawing what he observed around him before he wore shoes, much like our cousin the ape. Conceptually, the symbolism of it relating to the sandal is a bit contrived. This idea does not relate to nature as our source for most of our symbolisms. Visually the sandal really doesn't look anything like an Ankh. The dots don't connect. Typically the Ankh is associated with "life". We realize that the water and the sun (light) are the great sources of life. Water is teeming with a major food source for us. Birth, delivering from the womb protectively within the water that streams forth as the "water breaks". Another interpretation of its symbolistic origins is associated with the lingum, or penis. This also would imply life as it sourcing the seed of life, also transmitted in the seminal fluid, a body of water.  The Sanskrit word for the male sexual organ is Lingam and is loosely translated as "Wand of Light."

Wednesday, March 17, 2010

Hokosai



"From the age of six I had a mania for drawing the shapes of things. When I was fifty I had published a universe of designs. but all I have done before the the age of seventy is not worth bothering with. At seventy five I'll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am eighty you will see real progress. At ninety I shall have cut my way deeply into the mystery of life itself. At a hundred I shall be a marvelous artist. At a hundred and ten everything I create; a dot, a line, will jump to life as never before. To all of you who are going to live as long as I do, I promise to keep my word. I am writing this in my old age. I used to call myself Hokosai, but today I sign my self 'The Old Man Mad About Drawing.' " ~ Hokusai, The Drawings of Hokosai.

File:Hokusai-fuji7.png






Tuesday, March 16, 2010

Chakra Rising Wave Series Giclee Cards




Chakra Rising Wave Series Giclee Cards

The 5" x 7" Chakra gift cards are archival giclee frameable art prints. Images of the original paintings done in beeswax & natural pigments on Khadi papers can be viewed on my website at http://www.greenartstudio.com/galleryrising.html.

useful meditation tool

7 Card package $35.oo + s&h
Individual card $8.oo + s&h
tax included

please contact me at info@greenartstudio.com

Cards are also sold at the following retail 
ArtExposure, Hampstead, NC
Gypsy Sun, Surf City, NC
Porters Neck Yoga Spa, Wilmington, NC
Sambuca, Wilmington, NC
Visions and Dreams, Wilmington, NC

Original Chakra 1 Rising Wave
                                               Beeswax and natural pigment on Khadi Paper

Monday, March 15, 2010

New Moon and the Ancient Solfeggio Frequencies



from http://astrology.about.com/od/themoon/qt/NewMoonPisces09.htm

This new moon is in Pisces, the last sign of the Zodiac. It's the phase where all streams return to the big ocean, and there's a realization of Oneness. Often, it's painted as soft and a push-over. But Pisces swims in deep waters, and when it's a major player, we're seeing just the part that's visible. The churning happens deep within, and requires a lot of solitude for this process to be nurtured as a source of strength.
It's an ideal new moon to find your own way of diving within, as talked about by filmmaker David Lynch. One way is meditation, but each of us is unique, and only you know what takes you to that place that's both private, but somehow linked up to higher planes. It might be surfing, listening to the Ancient Solfeggio Frequencies, or sketching in your local park. This is the alternative to spinning on the latest urgent news, and riding the waves of fear. This is THE new moon to choose another path, and turn inward to find what you need to sustain you through hard times. Since Pisces is the natural artist, this diving inward is also a path to greater personal creativity, too. Your intentions may even merge the two with divinely inspired creative pursuits, as in Zen Drawing or Ritual Theatre.

The Ancient Solfeggio Frequencies:
http://www.youtube.com/watch?v=M-E3hU2pg5c
http://www.youtube.com/watch?v=KjjbVrDNNC8&feature=related

Forgotten In Time: The Ancient Solfeggio Frequencies
Article by David Hulse, D.D. - www.somaenergetics.com
A Little History
Repairing DNA
How I found out about the Ancient Solfeggio Frequencies
Energy and Relationship
Sound, Vibration and Form
How Did The Solfeggio Frequencies Get Lost?
The 3, 6, and 9
Just Intonation – 12 Tone Equal Temperament
How these different types of tones affect our health
What are the Ancient Frequencies?

A Little History
At the turn of the century the awareness of DNA entered the collective consciousness of the world. We have incarnated into this human experience as divine beings with a blueprint, a set of instructions. We know that a very small percentage (3%) of those instructions make up our physiology.

Carl Sagan writes that most of our genetic information (about 97%) is unused DNA. He refers to this as "genetic gibberish." Is it possible that most of who we are still lies dormant as our human potential?

In the old paradigm of religion, "potential" remained a mystery to the human mind, therefore we coined a mystical term called "SPIRIT." "Spirit" was something that was detached from who we were, something we didn’t have and could only be gained through the systems of most religions.

The old paradigm and its premise stated that we began as biology in the womb of our mothers. Telliard deChardin tells us that we are not a human being trying to attain a spiritual experience, but, rather, we are spiritual beings having a human experience. This shift in perception causes a tremendous difference in the way we perceive ourselves in this third/fourth time-space continuum.

Being a student of "A Course In Miracles" in the late 80’s, I was faced with a dichotomy in the idea that we are not a body. I never understood this statement fully until I began to study Quantum Physics which tells us that everything is energy and matter is not as solid as we perceive it to be. I believe what is being stated is that at the deepest level we are not separate, as a body, as a spirit, as a soul — we are just energy-beings. This is the level of consciousness being opened to us from which a new paradigm is emerging for the purpose of healing all separation. The popular term, "The Divine, is in me"- makes "me" separate from the Divine. May I suggest a shift in the saying to: "The Divine, AS me" to remove the separation.

As we move from genetics and concepts like Soul, "Soul Mates" and "Soul work," we move beyond physical diagnosis, into a new field of quantum physics. In this new field, where consciousness is seen as a unified field where everything is everything else, (T.O.E. Theory - The Theory of Everything) —there are no boundaries. There is no "this" or "that;" no you or me. It is a pure field of awareness – consciousness. I solved the dichotomy about "we are not our body" by changing my perception of genetics to energetics - realizing that we are not meant to ignore our physiology, but recognize the body as energy, vibrating at a very dense frequency.


Repairing DNA
I was first introduced to DNA in 1988 when I was going through a transitional period, during which I felt that I had come to the end of everything that I believed. A tape was given to me of a gentleman speaking in an accent, (which I thought at the time, was rather boring), and I didn’t understand what he was talking about. Then all of a sudden, as I was ready to turn it off, he said: "Quantum physics has found that there is no empty space in the human cell, but it is a teeming, electric-magnetic field of possibility or potential." That’s all he said! But whatever frequency was contained in those words, RESONATED something inside the CORE of my BEING — and I had a KNOWING in me that the NOTHING I thought I was looking at was the EVERYTHING. Much like in Zen, and the idea of becoming "as an empty bowl." Eastern Religions (including the Bible) refer to it as the VOID – The Nothing that is EVERYTHING – The Womb of Creation. I knew that I was experiencing a re-birth! The person on that tape was Dr. Deepak Chopra.

I had never heard of Deepak Chopra in 1988, as he was just coming on the scene about that time. I credit him for a very important transition in my life, just from the statement he made on that tape. Today, in retrospect, I would call my response to that statement a "cellular memory experience." We know that intelligence is stored within the cells of the body, and when the right resonance comes and releases that information to become inherent information or inherent KNOWLEDGE – that comes from the true Self. That is why so many of us seem to jump form one stimuli to another looking for what will resonate in us.

The work being done today with energy at the cellular level really excites me, since I had been very interested in DNA before it became a household word. In fact, I think it took me two years just to learn how to pronounce it (deoxyribonucleic acid did not roll off my tongue quickly). But, I was determined to understand this tremendously powerful energetic blueprint for life, as we know it, at the cellular level on this planet. DNA became a part of the collective consciousness when CNN produced a special on the Genome Project in 2000.

As I pursued my passion for the study of DNA, I attended a workshop by Dr. Robert Girard from California on DNA Activation. His work focused on using certain sounds and frequencies to activate DNA and I started doing DNA Activation workshops. Through those workshops, an article was given to me that reported how biochemists are using the frequency 528Hz to repair human DNA. The article stated that it was a "C." When I read that I thought, "All I would need to do is go to a piano or other instrument and play a "C" and then, in the DNA workshops we would be able to repair DNA."

Well, it wasn’t that simple, because I discovered that the regular "C" that we all know of in this culture (which is from the diatonic scale of do, re, mi, fa, so, la, ti, do) was not the 528 Hz frequency "C", as described in the article. Instead, I discovered that a regular "C" vibrates to a frequency of only 512 Hz, and that the "C" of 528 Hz used in DNA repair had been a part of an ancient scale called the Solfeggio Scale. Moreover, the difference in the scales existed because of different tuning methods that were utilized in ancient times, vs. those in general use today. Later, we will explore that difference between how we create music today vs. how we used to create it, and how that simple change has made all of the difference in the world.
How I found out about the Ancient Solfeggio Frequencies
I found this ancient scale to be part of a 6-tone scale sequence of electro-magnetic frequencies called the Original Solfeggio Scale through the book "The Healing Codes of Biological Apocalypse" by Dr. Leonard Horowitz. These particular frequencies were rediscovered by Dr. Joseph Puleo, who received them in a wonderful experience that some would suggest was mystical. These frequencies are not something new, but they are something very old.

I shared the information about these frequencies with a musician friend who had a studio in her home. After reviewing the information, she decided that she would like to experiment with these frequencies in the form of meditation music. She was also in touch with Jonathan Goldman (author of the book, "Healing Sounds") and he knew of these frequencies, and was using them in some of his music such as "The Lost Chord" CD. Aryiana requested that he have the tuning forks made for her to research the frequencies. I asked if she could also have a set made for me.

After I received the tuning forks and began talking about them around the country, I noticed that people were resonating with the information about these powerful frequencies. It felt as though something was going on in a much larger picture. We were connecting energetically to this information, and yet I didn’t know what I was going to do with the tuning forks. Then people began to ask if I could use the tuning forks on them. From those experiences, and with information I had gathered, a method and technique began to develop. I called the technique SomaEnergeticsTM, which is designed to utilize the optimum energy of the Solfeggio frequencies using tuning forks. Soma, meaning "body" in the Greek, combines the wholistic idea of the body as an energy field - SomaEnergeticsTM.

When starting these first tunings, the main frequency that I knew the most about was 528 Hz – that biochemists are using for DNA repair. I realized that the right side of the body is controlled by the left-brain, and the left side by the right brain and that these correspond with our inner male and female energies. As I took the fork down each side of the body, I could get in touch with the dominate ancestral DNA that comes thru the Mother’s side or Father’s side of the chromosomes. I would many times get a tremendous imbalance in the sound between the two sides. The purpose of energy work, as many of you know, is to attain balance. For example, if everything is in balance, such as the ph level, the physical body can heal more naturally. It’s the same way in our energy bodies. If we can find that energy balance, that equilibrium, where everything aligns or everything comes into synchronization into the rhythm of the dance of life – then healing becomes the natural state. It’s nothing supernatural, or miraculous. I think a lot of spiritual texts have referred to this idea when they describe, "going home to heaven." Heaven, to me, is the complete synchronization with higher frequencies and vibrations of creation being totally entrained. In other words, being in a state of at-one-ment.

When I would continue to do the technique, the sound would begin to even out between the male and female sides of the body, and the client would indicate they were "feeling" a shift. As that would occur, I was totally amazed, and asked myself, "What is happening here?" Although I’ve been a speaker of spiritual things for over 40 years, I can’t tell you that I’ve been the most intuitive person in the world. All of a sudden I started having certain feelings about what to do with the forks. I found that at some point in working with the client, I stopped "doing" the tuning forks (being the initiator of the technique), and they started "doing me" – seeming to direct the movement of the Forks! After hundreds of tunings and positive testimonies, I have learned to trust the Ancient Solfeggio Scale frequencies in the form of Tuning Forks as a legitimate modality.

Energy and Relationship
Everything is relationship. I remember Dr. Fred Wolf, who is a physicist stating on a tape "Everything is consciousness." He further noted, "When you are observing an object, on some level the object is observing you." As I listened to that statement, I thought it was strange. I then realized that because something doesn’t have a human consciousness, as I do, that doesn’t mean it doesn’t have it’s own consciousness. Apparently, observing something changes it on some level – that the observer, and the observed are one.

I treat the Solfeggio tuning forks as a conscious "entity." They are energy, they’re vibration, they’re frequency – the client is vibration, frequency and energy – I am vibration, frequency and energy. All of that coming together begins to produce a synergetic experience that takes place on many levels. The energy bodies that we focus on using the Solfeggio Frequencies are the physical, the etheric, the mental/emotional, and the astral.

Sound, Vibration and Form
For more than 200 years, researchers have been validating the connections of Sound and Vibrations on physical form. The first to make that connection was German scientist Ernst Chladni, who, in 1787, detailed his research in his book "Discoveries Concerning the Theory of Music." In that pioneering work, he explained ways to make sound waves generate visible structures. He detailed how a violin bow, drawn at a right angle across a flat plate covered with sand, produces patterns and shapes. Today, those patterns and shapes are called Chaldni figures. (Coincidentally, Chaldni died in 1829, the same year as Beethoven. Mozart, a Free Mason, heavily influenced Beethoven about the mathematics of music, and likely influenced Chaldni as well).1

In 1815, Mathematician Nathaniel Bowditch followed up on Chaldi’s discoveries. He concluded that the conditions for these designs to arise were because the frequencies, or oscillations per second, were in whole number ratios to each other—such as 1:1, 1:2, 1:3 and so on.2

The study of wave phenomena, the ability of sound to organize and repattern matter, is called Cymatics. According to John Beaulieu, in Music and Sound in the Healing Arts, "Form is the more elusive component of sound. Sound-forms can be seen by subjecting mediums such as sand, water, or clay to a continuous sound vibration." The following pictures taken by Dr. Hans Jenny are sound-forms. They were obtained by placing various mediums on a steel plate with a crystal sound oscillator attached to the bottom. The Oscillator creates a pulse, which vibrates the steel plate. The forms on the plate are examples of sound organizing matter." Jenny also "noticed that when the vowels of ancient languages like Hebrew and Sanskrit were pronounced, the sand took the shape of the written symbols for those vowels. "Modern languages, including English, failed to generate those patterns."

"Space is not empty. It is full, a plenum as opposed to a vacuum, and is the ground for the existence of everything, including ourselves. The universe is not separate from this cosmic sea of energy." David Bohm

              

Jenny concluded that were examples of cymatic elements everywhere—"vibrations, oscillations, pulses, wave motions, pendulum motions, rhythmic courses of events, serial sequences, and their effects and actions"—and they effected everything including biological evolution. The evidence convincingly demonstrated that all natural phenomena were ultimately dependent on, if not entirely determined by the frequencies of vibration. He argued that physical healing could be aided or hindered by tones. Different frequencies influenced genes, cells, and various structures in the body, he claimed.

Vibration of Music of the Spheres: "Every cell pulsates, reflects and interacts with acoustic oscillations of the medium. Even the earth and sun vibrate in unison based on a main rhythm of 160 minutes. Each musical note is therefore united to non-audible notes of higher octaves, and each symphony to other symphonies that we do not hear, and although they make our cells oscillate and possibly resonate. Even DNA has it’s own melody. The musical nature of nuclear matter from atoms to galaxies is now recognized by official science."3 In " Molecules of Emotion," by Candice Pert, Ph.D., she writes, "… basically, receptors function as scanners (sensing molecules, on a cellular level). They cluster in cellular membranes, waiting for the
right ligand (much smaller molecules than receptors), to come dancing along (diffusing) through the fluid surrounding each cell, and mount them – binding with them and (tickling ) them to turn them on and get them motivated to vibrate a message into the cell. Binding of the ligand to the receptor is likened to two voices, striking the same note and producing a vibration that rings a doorbell to open the doorway to the cell."

Poet Cathie Guzetta summarized this science best when she wrote:

"The forms of snowflakes and faces of flowers may take on their shape because they are responding to some sound in nature. Likewise, it is possible that crystals, plants, and human beings may be, in some way, music that has taken on visible form."








How Did The Solfeggio Frequencies Get Lost?

I discovered that these powerful frequencies had been given to the church many years ago for a very spiritual purpose. This was back when the church was a wonderful place for the people in the villages to gather together. The church served as a social, political, and spiritual place. People came to Mass, which at that time, was done in Latin (until Vatican II came along). When people sing in Latin or musical tones, it is very powerful, because it gets through all of the limited thought forms, and into deeper levels of the subconscious – accessing insights beyond belief systems.

As described above by Dr. Candice Pert, PhD, energy and vibration go all the way to the molecular level. She states that we have 70 different receptors on the molecules and when vibration and frequency reaches that far they begin to vibrate. Moreover, she observed, "as they begin to vibrate they sort of touch each other, and tickle each other, and they play and mount each other." It’s this whole energetic dance ritual, at the cellular level, that opens the chromosomes and exposes the DNA to the frequencies. When we do toning, drumming, chanting, or tuning forks – it can be a way to direct energy for transformational purposes.

Vibration and sound can be used, like most things, either with positive intention or negative intention. Used negatively, it’s nothing more than control and manipulation. Most of the world has been built upon control and manipulation by the way we communicate thru language. A lot of different texts, such as the Bible, talk about the importance of just making Sound—whether it’s chants, drumming, or speaking in tongues (such as the charismatic fundamentalists do), they are just different ways that people are accessing deeper levels of themselves. I suggest to you that the Solfeggio Tuning Forks are an even purer ways of doing that with positive intention.

When Dr. Joseph Puleo was researching the tones, he was directed to a Monsignor at a university in Spokane WA, who was head of the mediaeval department. Following a 20 minute conversation, the clergyman asked what he could assist Dr. Puleo with:
"Can you decipher Mediaeval Latin?’
‘Absolutely!’
‘And you know the musical scale and everything?’
‘Absolutely!’
‘Well then, could you tell me what ‘UT - queant laxis’ means?’
After a brief pause, the Monsignor quipped, ‘It’s none of your business’
Then he hung up."1

Additionally, as Dr. Puleo researched the tones further, he came across a book on Gregorian chants by Professor Emeritus Willi Apel who "argued that the chants being used today were totally incorrect, and undermined the spirit of the Catholic faith."1 Moreover, Professor Apel reported that "one-hundred fifty-two chants were apparently missing. The Catholic Church presumably "lost" these original chants. The chants were based on the ancient original scale of six musical notes called the Solfeggio."1 Trust me, nothing is lost, it’s just neatly put away; however, they cannot hide from the masses what is energetically placed within the Soul.

According to Professor Willi Apel,1 "The orgin of what is now called Solfeggio...arose from a Mediaeval hymn to John the Baptist which has this peculiarity that the first six lines of the music commenced respectively on the first six successive notes of the scale, and thus the first syllable of each line was sung to a note one degree higher that the first syllable of the line that preceded it. By degrees these syllables became associated and identified with their respective notes and as each syllable ended in a vowel, they were found to be peculiatly adapted for vocal use. Hence "Ut" was artificially replaced by "Do." Guido of Arezzo was the first to adopt them in the 11th century, and Le Marie, a French musician of the 17th century added "Si" for the seventh note of the scale, in order to complete the series."

Further research states that, "Pope Johannes later became a saint - Saint Iohannes - and then the scale was changed. The seventh note "Si" was added from his name. "Si" later became "Ti." These changes significantly altered the frequencies sung by the masses. The alterations also weakened the spiritual impact of the Church’s hymns. Because the music held mathmatic resonance, frequencies capable of spiritually inspiring mankind to be more "Godlike," the changes affected alterations in conceptual thought as well, further distancing humanity from God." In other words, whenever you sing a Psalm, it is music to the ears. But it was originally intended to be music for the soul as well or the "secret ear." Thus by changing the notes, high matrices of thought and to a great extent well being, was squelched. Now it is time to recover these missing notes."1

I’d heard of do, re, me, fa, so, la, ti, do. I particularly responded to it whenever I hear that song by Julie Andrews from "The Sound of Music." I literally have a "brain cell firing" as it is engraved into my brain, and I see her coming over the mountain in the movie. I didn’t realize this was actually a second, modified scale. The original Solfeggio scale was actually: UT, RE, MI, FA, SO, LA.

Looking at the definitions of each of the original syllables, using hidden entries from Webster’s Dictionary and the Original Greek Apocrypha, I have determined that these original frequencies can be used for: Turning grief to joy, helping the person connect with their Source to bring forth miracles, DNA repair, connecting with spiritual family, solving situations & expressing yourself and finally, becoming more intuitive.2 Through music these tones can assist all the channels in staying open and keep the life force (the Chi) literally flowing thru the Chakra System quite freely. Is this is what the six electro-magnetic frequencies were to accomplish that were put into "lost" hymns and Gregorian chants?

I think we are living in a tremendously wonderful time, and rather than seeing the glass as "half empty," I see it as "half full." Rather than accepting "CNN’s perspective" of the world view, it’s about finding perspective thru the vision of your own heart. It is about change and transformation of mankind to the next level of evolution. We, as Spiritual Light Workers, have made ourselves accessible at this time, by Divine Appointment, to be here to help those in humanity who choose (it’s all based upon irrevocable choice) to stay, or to go. Those who have chosen to stay will come into our lives, and we have already agreed to assist them.

It’s all about assisting other people. It’s not to be their "Healer," but to assist them in knowing who they are and connecting with their true Source. It is about providing an atmosphere of non-judgement, a Sacred Space, for the purpose of healing themselves. We should be continuously teaching while assisting people. The old paradigm teaches us to keep the information among the professionals. The new paradigm is to share the information, and empower the client. Everyone you work with—whether it’s Reiki, Massage, Tuning Forks or other modalities you are using, you should feel that you’ve empowered that person, so they can extend this information to someone else. Healing has become about our evolution by reconnecting our additional strands of DNA. Healing is also about assisting the person in restoring themselves to a state of "Spiritual Wholeness."


1 "Healing Codes for the Biological Apocalypse" by Dr. Leonard Horowitz, p. 345-6
2 Ibid. 
3 From "Man’s Cosmic Game" by Guiliana Conforto
The 3, 6, and 9
As we look at the six original Solfeggio frequencies, using the Pythagorean method, we find the base or root vibrational numbers are 3,6, & 9. Nicola Tesla tells us, and I quote: "If you only knew the magnificence of the 3, 6 and 9, then you would have a key to the universe."

John Keely, an expert in electromagnetic technologies, wrote that the vibrations of "thirds, sixths, and ninths, were extraordinarily powerful." In fact, he proved the "vibratory antagonistic thirds was thousands of times more forceful in separating hydrogen from oxygen in water than heat." In his "Formula of Aqueous Disintegration" he wrote that, "molecular dissociation or disintegration of both simple and compound elements, whether gaseous or solid, a stream of vibratory antagonistic thirds, sixths, or ninths, on their chord mass will compel progressive subdivisions. In the disintegration of water the instrument is set on thirds, sixths, and ninths, to get the best effects."

In the book of Genesis it states that there are six days of creation. Yet many talk about the creation week – or seven days, and the Christian Bible views the number seven as the number of completeness. Why Seven? It is due to the influence of the Near Eastern culture at the time in which Jesus lived, when it was believed that there were only seven planets.

When wrestling with adding a 7th number, I was mystically drawn to an article in Discover Magazine. In his newest book, Just Six Numbers, Rees argues that six numbers underlie the fundamental physical properties of the universe, and that each is the precise value needed to permit life to flourish. In laying out this premise, he joins a long, intellectually daring line of cosmologists and astrophysicists (not to mention philosophers, theologians, and logicians) stretching all the way back to Galileo, who presume to ask: Why are we here? As Rees puts it, "These six numbers constitute a recipe for the universe." He adds that if any one of the numbers were different "even to the tiniest degree, there would be no stars, no complex elements, no life." (From Discovery Magazine). As some authors have speculated, could these tones have played a role in the miraculous shattering of Jericho’s great wall in six days before falling on the seventh day? Some scientists are now stating that if we have been created, we most likely would have been sung into existence. Is it possible that the six days of creation mentioned in Genesis represent six fundamental frequencies that underlie the universe? Religious scholars believe both events occurred as a result of sounds being spoken or played.

Other scientists, including the geniuses Nikola Tesla, Raymond Rife, as well as Mozart, Haydn, Beethoven, and Chladni, all must have known about, and used the concept of, the inherent power of threes, sixes, and nines. So we are dealing with three powerful numbers: 3-6-9. Everyone of the six Solfeggio Tuning Forks all add up, individually to the Pythagorean scheme of 3-6-9. In fact, because there are two sets of 3-6-9 (anagrams) in the solfeggio, they are even more powerful as these combinations serve as "portals" to other dimensions!
Just Intonation – 12 Tone Equal Temperament

As I observed earlier, another reason these Ancient Solfeggio frequencies became "lost" was because of the change in tuning practices throughout history. The standard tuning method for the past 200 years is quite different from the tuning practices dating from antiquity through about the 16th century A.D. These ancient tuning practices used a system of tuning known as Just Intonation. The tuning practice adopted for western cultures during the 16th, 17th, and 18th centuries, and used today, is known as Twelve-Tone Equal Temperament. The explanation of the fundamentals of these tuning systems is far too complex for this agenda, but the following quote from a book written by David B. Doty, titled The Just Intonation Primer, should give an idea of the confinement that music has been relegated to. "Essentially, music has been placed in a box of limitations"— as the result of the rigidity imposed by the Twelve-Tone Equal Temperament tuning standards in use today.

"Although it is difficult to describe the special qualities of Just (Intonation) intervals to those who have never heard them, words such as clarity, purity, smoothness, and stability come readily to mind. The supposedly consonant intervals and chords of (12-Tone) Equal Temperament, which deviate from simple rations to varying degrees, sound rough, restless, or muddy in comparison."

Just Intonation can be found in many of the great Fathers of Classical Music – Beethoven and Hyden, just to name a few. They did not use this 12-tone temperament and I think that is why we have a richer experience when we hear music that was composed several hundred years ago. Classical Music based on Just Intonation gives us a different rapport with time and space and brings us into our higher chakras.

Native American chanting is many times based on Just Intonation. The chanting seems to sound monotone, but we are finding out that within the monotone sound is multi-dimensional harmonics.
How these different types of tones affect our health
Consequently, since all music in our contemporary world (from commercials, to modern hymns and symphonies) has been composed utilizing the 12-Tone Equal Temperament Scale, they all have vibrational limits. As a result, vibrational frequency of the tones of modern music can create situations such as "boxed-in thinking," stuffed and suppressed emotions; and fear-based " lack" consciousness—all of which then tend to manifest into physical symptoms of "dis-ease."

This is in contrast to music created from the Ancient Solfeggio Scale, which stimulates the vibration of expanded creativity, easier problem solving and holistic health.

Again, it should be noted that although there are contemporary notes that approximate the Solfeggio tones, they are not the same frequencies as the ancient tones. Example: The Solfeggio tone, Mi. vibrates to 528 Hz. The closest, comparable, contemporary tone is C, above Middle C, which vibrates at 512 Hz. Our research indicates that the vibrational frequencies contained in the Solfeggio tones hold these original healing potentials.

1 - Professor Apel’s and Dr. Puleo’s remarks as reported in "Healing Codes for the Biological Apocalypse" by Dr. Leonard Horowitz. Pages 58-61
2- Hidden Entry Meanings from the book, "Healing Codes for the Biological Apocalypse" by Dr. Leonard Horowitz. Pgs. 166-67
What are the Ancient Solfeggio Frequencies?
Transformational Tuning Forks and CD's based on the ancient Solfeggio Frequencies.
Download Printable version of the full booklet: Forgotten In Time: The Ancient Solfeggio Scale (.pdf 233kb)

Other Resources:

John Beaulieu, "Music and Sound in the Healing Arts." Station Hill Press, 1987

Giuliana Conforto, "Man’s Cosmic Game," Edizioni Nowsis, 1998

David B. Doty, "Just Intonation Primer"

Jonathan Goldman, "Healing Sounds: The Power of Harmonics," Element Books, 1992

Leonard Horowitz and Joseph Puleo, "Healing Codes for the Biological Apocalypse," Tetrahedron Publishing Group, 1999

Candice Pert, PhD, "Molecules of Emotion"

Michael Talbot, "The Holographic Universe"

Dr. Rees, "Just Six Numbers"