Womb as Paradise Lost
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Womb as Paradise Lost

Dissertation 2015. Womb as Paradise Lost - Regained by the Energy of Life. My name is Dr. Gideon Benavraham, professor-emeritus Clinical Hermeneutics. "What happens in a human being fundamentally during the proces of prenatal development (Fetal Programming) and what are the consequences to distortions and diseases later on life?" Research tools: Mindlink-Tesla-Transformation Technology (MTTT) as diagnosticum with PEMF and music frequencies as treatment methods. A RCT-double blind and placebo-controlled research, with statistics. Dissertation 2015. Womb as Paradise Lost - Regained by the Energy of Life.
My name is Dr. Gideon Benavraham, professor-emeritus Clinical Hermeneutics. "What happens in a human being fundamentally during the proces of prenatal development (Fetal Programming) and what are the consequences to distortions and diseases later on life?" Research tools: Mindlink-Tesla-Transformation Technology (MTTT) as diagnosticum with PEMF and music frequencies as treatment methods. A RCT-double blind and placebo-controlled research, with statistics.

aavgideon
19.07.2020 Views

Womb as Paradise Lost – Foetal Programming408Practical Part – 528 Hz-music- Schumann Resonances - Mindlink-systemcomposer? (...) We found that an overwhelming majority of rhythms obeyed 1/fpower law (...) Although music compositions are intended to be performed, thefact that the notated rhythms follow a 1/f spectrum indicates that such structure isno mere artefact of performance or perception, but rather exists within the writtencomposition before the music is performed”. 319In the same line, Dr. Johann Lechner – the founder of Mindlink-system - considersthe partite more effect full, comparing the performed, according to the therapeuticalvalue of transformed music. His vision is connected with the preferenceof the consciousness-field of the composer, instead of the consciousness-field ofthe performer. In his German article “Scalar-music for stress-impairment” hewrote: “Durch dieses Feld intensiviert Transformierte Musikeinspielung die Kopplungzwischen dem “Bewusstseinsfield” des Komponisten und dem Anwender,der gar nicht mehr Zuhörer ist. Dadurch, dass transformierte Musikeinspielungdie akustische Ebene verlässt und sie durch ein neuartiges informations-skalaresFeld ersetzt, kommt es zu einer rezitatorischen Kopplung zwischen dem Bewusstseinsfelddes Anwenders und dem Komponisten ‘hinter der Musik’. (...) Die Wirkungist also unabhängig von der Konzentration des Anwenders und trotzdemsicherer und zielgerichteter, denn Resonanz kommt zustande, ohne dass der Anwendereine mentale Eigenleistung erbringen muss”. 320(Translation German text)Through this field intensified transformed music recording the linkage betweenthe "consciousness field" of the composer and the performer aswell, who is no longer a passive listener.The fact that transformed recorded music leaves the acoustic level and replacesit with a new information into a scalar field, there is a resonation319 Levetin, Daniel J. a.o. “Musical rhythm spectra from Bach to Joplin obey a 1/f power law” (Publication of PNAS,vol.109, March 6, 2012)320 Lechner, Dr. Johannn, Skalar-Musik für das gestresste”, Raum&Zeit 183/2013

Womb as Paradise Lost – Foetal Programming409Practical Part – 528 Hz-music- Schumann Resonances - Mindlink-systemconnection between the field of consciousness of the performer and of thecomposer 'Behind the Music'. (...) The effect is independent of the concentrationof the performer, yet safer and more full of intention, because resonancecomes about, without the performer providence to have a mentalself-power."The equation is balanced when it sounds good. Stravinsky: “Musical formis close to mathematics; not perhaps to mathematics itself but certainly tosomething like mathematical thinking and relationship”. Above all musicis inherently, deeply and strangely hierarchical. Notated music of thewestern art tradition is basically a graph of frequency information quantisedto the pitches of the chromatic scale over time. 321 Besides the chromaticscale and other well-tempered scales there are many other scaleswith a non-natural character, as Aline Honigh defended in her dissertation.This has no connection to my research, but it is important enough to addressthis scientific publication. See the remarks in the footnotes. 322“Prime/f” or (1/f): Law of Entrainment.Music and the brains are connected fractalized, with the fixed power law of 1/f asLevitin emphasized. He wrote: “The well-known Richardson Effect which beganthe modern study of fractals, states that measurements of natural phenomena arecharacterized by 1/f fluctuations is also a prominent feature of human cognition.Neurons in primary visual cortex were found to exhibit higher gain, and the spikeresponses exhibit higher coding efficiency and information transmission rates for1/f signals ...”. 323321 Whally, Dr. J. Harry, “Transformations and their musical counterparts”, Thinking about Music, 2014.322 Honigh, Dr. Aline, “The Origin and Well-Formedness of Tonal Pitch Structures”, University of Amsterdam, 2006.The central question is: “When we call a set of tunes a scale or an accord?”Untill today there is no definitive answer on this question. She searches an answer inside the socalled tuning space. The scales in this tuning space create convex forms, that are forms withoutany deformation like a donut or a star. All scales inside this space have a convex form. Honighpostulates in her dissertation that convexity of scales has to do with consonance. The more tones in connection,the easier the steps and the smaller the intervals.323 Levitin a.o. PNAS op.cit.

Womb as Paradise Lost – Foetal Programming

408

Practical Part – 528 Hz-music- Schumann Resonances - Mindlink-system

composer? (...) We found that an overwhelming majority of rhythms obeyed 1/f

power law (...) Although music compositions are intended to be performed, the

fact that the notated rhythms follow a 1/f spectrum indicates that such structure is

no mere artefact of performance or perception, but rather exists within the written

composition before the music is performed”. 319

In the same line, Dr. Johann Lechner – the founder of Mindlink-system - considers

the partite more effect full, comparing the performed, according to the therapeutical

value of transformed music. His vision is connected with the preference

of the consciousness-field of the composer, instead of the consciousness-field of

the performer. In his German article “Scalar-music for stress-impairment” he

wrote: “Durch dieses Feld intensiviert Transformierte Musikeinspielung die Kopplung

zwischen dem “Bewusstseinsfield” des Komponisten und dem Anwender,

der gar nicht mehr Zuhörer ist. Dadurch, dass transformierte Musikeinspielung

die akustische Ebene verlässt und sie durch ein neuartiges informations-skalares

Feld ersetzt, kommt es zu einer rezitatorischen Kopplung zwischen dem Bewusstseinsfeld

des Anwenders und dem Komponisten ‘hinter der Musik’. (...) Die Wirkung

ist also unabhängig von der Konzentration des Anwenders und trotzdem

sicherer und zielgerichteter, denn Resonanz kommt zustande, ohne dass der Anwender

eine mentale Eigenleistung erbringen muss”. 320

(Translation German text)

Through this field intensified transformed music recording the linkage between

the "consciousness field" of the composer and the performer as

well, who is no longer a passive listener.

The fact that transformed recorded music leaves the acoustic level and replaces

it with a new information into a scalar field, there is a resonation

319 Levetin, Daniel J. a.o. “Musical rhythm spectra from Bach to Joplin obey a 1/f power law” (Publication of PNAS,

vol.109, March 6, 2012)

320 Lechner, Dr. Johannn, Skalar-Musik für das gestresste”, Raum&Zeit 183/2013

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