Experience active listening as you embark on an immersive soundwalk. Imagine the microphone in motion as you are walking there yourself, meandering through bustling streets, vibrant squares, and bridges. Each city boasts its unique energy and sonic identity, captured through recordings made while strolling through their urban cores—ushering you into a dynamic realm of auditory exploration.
Soundwalking transcends mere sound—it encapsulates the essence of sound, just as it’s more than walking—it encapsulates the environment you are walking in. A spatial-temporal, embodied, multi-sensory, mobile practice, soundwalking unravels a world of sensory and experiential dimensions while listening to the essence of an environment. To experience sound walking you need to use hearable devices such as headphones, pods, and earbuds.
In the realm of real-world soundscapes, our brains grapple to compensate for the loss of multidimensionality in audio recordings. The cognitive strain of deciphering poorly processed soundcan induce a level of stress, anxiety, fatigue, and cognitive decline. Here, binaural recording and binaural immersive listening comes to the rescue, satisfying our brains and alleviating stress. Why? Because it sounds more natural, the listening is as you are in a multidimensional environment.
Contrasting to static stereo field recordings, the dynamic act of walking stimulates the auditory system. Sounds emerge and vanish, presenting an intricate interplay—one sound reigning in an area only to dissolve shortly after. Bells resonating through towers and districts, each narrating its own story and having its own spot in the 3d environment.
This immersive auditory experience goes therefor beyond traditional soundscapes, heightening your perception of intricate details and offering an unconventional listening adventure.
Nowadays our lives are intricately interwoven with urban landscapes that evolve almost in symbiosis with technological advancements.
Amidst all this, alongside other urban factors, the evolving technological milieu influences the rapid transformations in the auditory soundscapes of our cities. Just as our visual landscape undergoes changes due to urban constructions and revitalizations, our auditory realm is equally affected. Research underscores the constant rise of noise pollution alongside industrial progress. Although urban designers are increasingly attuned to the issue of noise within cities, there remains substantial work to be done. In essence, the sonic snapshot of a specific era in a given time gives understanding about the level of acoustic well-being and the historic time frame.
Urban soundscapes and Heritage
In the realm of pedestrian-friendly cities, the auditory experience becomes an playing field for training active listening within our minds. The act of moving, coupled with sound recording, introduces an ever-shifting dynamic to auditory perceptions. Passersby inherently draw our attention, causing us to engage with the surrounding sonic environment. This perpetual flux in the soundscape keeps our auditory senses attuned, sharpening both micro and macro acoustic perceptions. The binaural recording technique, conducted at a walking pace of approximately 4-6.4 km/h, simulates a first-person perspective. Placing microphones within the ear canals, accounting for the occlusion caused by the head’s mass, augments the immersion, rendering the experience familiar and natural.
Moreover, the act of moving provides a unique opportunity to capture different language dialects without detection, exemplifying the interplay of urban sounds with the subtleties of linguistic diversity.
In her eloquent essays, Pauline Oliveiros encapsulates the sonic epiphany that arises from the intention to listen rather than merely hear. This distinction becomes a gateway to profound meditative states. The omnidirectional signals interpreted by our auditory apparatus activate dormant brain regions when we hear, but come to life when we actively listen. This dynamic further solidifies the intricate connection between sound and cognition.
As Flower of Sound
Inspired by the possibilities of soundwalking and creating non-oridinairy listening experiences we created several Walking Cities albums. Which you can get here:
All the experiences consist of different walks through cities. On the album you will find the sound recording and the same recording elevated with calming immersive drone sounds. This tranquil layer envelops you, promoting a profound sense of well-being and serenity. Allow your mind to recalibrate, redirect focus, and unwind in an environment that feels authentic, all while remaining centred and relaxed.
In conclusion, the soundscape of a city, shaped by technological progress and urban dynamics, holds a profound influence on our cognitive experience and makes it possible to really experience a city via listening. The intersection of auditory heritage with urban evolution also offers a fertile ground for designing healthier, more harmonious environments. Through the lens of spatial sound, we can truly decode the rhythm of urban life and pave the way for a more mindful engagement with our surroundings.
If you like to read more on the subject we can recommend the following references:
Noise pollution is one of the biggest health risks in city life
Warning for the Walking Cities albums : Wind conditions occasionally lead to distortions. The incidental presence of background music in the recording is not intentional for the purpose of reproducing the music.
With the extreme weather of the last year, we might start to listen differently to rain. If you look superficially at the world we are either in desperate need of rain or we have too much of it. Rain in the end is a fundamental meteorological phenomenon. It has captured the imagination and reverence of diverse cultures throughout history. Its multifaceted impact and our dependency on it extends beyond its role in sustaining life and ecosystems; it resonates deeply within our emotions, perceptions, and physiological responses.
Let’s look at rain outside the need to sustain life and ecosystems and look into the effects on the auditory system, and the psychological impact of listening to rain.
Cultural Perceptions of Rain
Rain is more than mere droplets from the sky; it carries symbolism and cultural significance across the globe. In Indian culture, monsoon rains are celebrated as a divine blessing, bringing relief from heat and rejuvenating the lands. Similarly, Native American tribes associate rain with renewal and cleansing, reinforcing the spiritual connection between nature and humanity. Rain dances and rituals in various cultures illustrate the reverence accorded to rain’s life-giving properties. It’s in this significance of rain that the sound of rain and the rhythmic of rain is often mimicked in music and engraved in our brain.
Auditory Experience of Rain
The auditory system’s response to rain is intricate and intriguing. Rainfall produces a rhythmic sound that varies based on factors like drop size, velocity, and surface impact. Studies (see below this article) have shown that the sound of rain engages the brain’s auditory cortex and limbic system, triggering emotional responses. Rain can also be perceived as kind of white noise, which can mask external disturbances and promoting a sense of tranquility. The reason it can qualify as a white noise as it contains all frequencies in equal proportion and the sound is made by uncorrelated samples.
Psychological Impact of Listening to Rain
Listening to rain has garnered attention for its potential psychological benefits. There is more and more research to be found on the topic. Research by Alvarsson et al. (2010)1 suggests that nature sounds, including rain, have stress-reducing effects also supporting the above claim that the noise of rain can have tranquil effect. The main conclusion from the article is that stress recovery goes faster while listening to nature sounds. Rain sounds can evoke feelings of safety, comfort, and nostalgia, potentially aiding in sleep and concentration. Important to notice is the word CAN. As the perception of sound is always a personal one, when for instance less pleasant memories are triggered the sound in general can be calming but will not have that effect.
Interesting is that in many nature studies on the effect of nature that there is always a small group of people who don’t describe any benefits from listening or being in nature. The estimated guess is that a group of people just don’t like nature, don’t like bugs, or have unpleasant memories associated with nature. This effect is described in relation to multiple nature research in the book The Nature Fix by Florence Williams.
Types of Rain and Their Effects
Different types of rain can also create different and distinct psychological responses. A light drizzle, akin to a gentle tapping, can create a cocooning sensation conducive to introspection and meditation. Heavy rainfall, with its dynamic and enveloping sound, might evoke a sense of coziness and encourage productivity. A soft rain accompanied by distant thunder could enhance the feeling of security by emphasising the power and unpredictability of nature.
Neurologically, listening to rain can influence the release of neurotransmitters associated with relaxation, such as dopamine and serotonin. Apparently the repetitive and gentle nature of rain’s sound contributes to activating the parasympathetic nervous system, inducing a relaxation response. Therefor physiologically, rain sounds can lower heart rate, reduce blood pressure, and decrease cortisol levels, collectively contributing to reduced stress and anxiety. If you search across the internet many people use rain sounds to help them fall asleep or calm them down in general.
In work environments, the rain’s rhythmic cadence may promote focus and creativity. Research2 shows that extroverts while listening to heavy rain sounds can do calculations better. < https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5821317/
The effects of listening to rain is highly personal. Listening to rain can be beneficial. In short the possible positive effects of listening to rain are:
The may reduce anxiety and stress levels
The may enhance creativity and cognitive abilities
The may enhance focus or sleep by masking (white noise) other disturbing sounds
If you like to experiment with listening to Rain sounds?As Flower of Sound we recorded several rain experiences. They are recorded in high order ambisonics sound, which means when you listen them you can perceive yourself in the middle of the rain giving the experience of listening to rain extra impact ( IMMERSIVE ). You can listen: Rain, sounding nature here:
Want to listen the whole experience? You can purchase the album here:
Research to read more
On how you can benefit from listening to nature sounds: Alvarsson et al. (2010)1.
On how Natural sounds can be used as a non-pharmacological way to reduce the anxiety of patients undergoing CABG. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5688625/
On playing ‘natural sounds’ affects the bodily systems that control the flight-or-fright and rest-digest autonomic nervous systems, with associated effects in the resting activity of the brain. https://www.sciencedaily.com/releases/2017/03/170330132354.htm
On when listening to rain sounds boosts arithmetic ability https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5821317/
Sound noises, often referred to as ambient or background sounds, hold a unique place in the realm of auditory perception. These auditory textures, akin to the colours in a painting, encompass a wide spectrum of frequencies and amplitudes.
In the world of sound, beyond the symphonies and melodies, lies a sonic landscape that often escapes conscious attention—the realm of sound noises. These are ambient sounds that surround us, intricately woven into the auditory tapestry of our lives. Sound noises emerge from a myriad of sources, both natural and artificial. Think of the humming of your fridge, the sound of the rain or sea, the fan of your computer, distant voices and car traffic. It is a canvas splashed with colours, sound noises bring forth a palette of sonic hues, each evoking emotions and states of mind. They all contribute to the tapestry of sound noises and our auditory environment.
Good to note is that this article is about certain frequency ranges across the audible spectrum, not about we as human might consider as noise or the volume of sounds.
The Colours of Sound Noises
Much like colours in a painting, sound noises are diverse in their characteristics. The low rumble of a waterfall might elicit a sense of tranquility, while the rhythmic clatter of a train can evoke a contemplative mood. These auditory hues have been metaphorically associated with colours, such as the “blue noise” resembling the sound of ocean waves, or the “pink noise” akin to rainfall. These sonic shades offer a spectrum of emotional and cognitive experiences.
There are many coloured noises but the ones below are the most distinct:
1. Grey Noise:
Grey noise is characterized by equal energy per octave, rendering it perceptually flat across the entire audible frequency spectrum. It lacks the prominence of higher frequencies found in white noise.
Frequency Range: Throughout the entire audible range.
Use: Grey noise is often used for psychoacoustic studies, as it allows researchers to explore how humans perceive sound energy at different frequencies.
2. White Noise:
White noise exhibits equal energy across all frequencies, creating a consistent sonic spectrum akin to the static on a television or radio.
Frequency Range: Throughout the entire audible range.
Use: White noise is commonly used for sound masking, promoting concentration, and aiding sleep.
3. Blue Noise:
Description: Blue noise has a higher energy in higher frequencies, rendering it a sharper and more pronounced sound than white noise. It is akin to the sound of ocean waves crashing.
Frequency Range: Increases logarithmically with frequency.
Use: Blue noise finds application in audio testing, especially for assessing high-frequency capabilities of audio equipment.
4. Brown Noise:
Brown noise, also known as red noise, has more energy in lower frequencies (twice as strong as Pink noise), creating a deeper, rumbling sound reminiscent of a thunderstorm or a waterfall.
Frequency Range: Decreases logarithmically with frequency.
Use: Brown noise is favoured for relaxation, stress reduction, and aiding sleep. Recently a lot of articles have popped up of the use of brown noise to help focusing when you have ADHD.
5. Pink Noise:
Pink noise has equal energy per octave, resulting in a balanced frequency spectrum that decreases as frequency increases. It has a smoother and more natural sound compared to white noise.
Frequency Range: Throughout the entire audible range.
Use: Pink noise is beneficial for enhancing focus, improving cognitive performance, and aiding relaxation.
6. Violet Noise:
Violet noise, also known as purple noise, emphasises the highest frequencies, making it a sharper and crisper sound compared to white noise. It resembles the hiss of a high-powered waterfall.
Frequency Range: Increases logarithmically with frequency, with higher energy in higher frequencies.
Use: Violet noise has potential applications in improving hearing sensitivity and aiding auditory processing.
Deeper into coloured noise
In the book Sonic wonderland, A Scientist Odissea of Sound by Trevor Cox he mentioned that he moved his head from side to side, voices in the room change as if someone was rapidly altering the settings on a hi-fi’s graphi equaliser.This
colouration was caused by a change in the balance of the sound, with some frequencies being boosted while others were suppressed. In short he was experiences noises this is what he had to say about the colouration of noises:”
It might seem odd to talk about the colour of a sound …The link between colour an sound goes back many centuries, with Sir Isaac Newton spotting the similarity between the distance his prism spread out light colours and the lengths of strings needed to sound out a musical scale”
Trevor Cox mentions that also today, acoustic engineers use terms as ’white and ‘pink’ noise. In a way it is similar as he explains when paints are mixed together the frequency balance of the reflected light changes from the original colours presenting a different colour. He explains further that blue paint reflects light of a higher frequency than red paint and therefor acoustic engineers use colours to describe the dominant frequencies in sounds,
What is interesting is that he also found that sound most likely influenced the way our ancestors painted. He mentions acoustic archaeologist Steven Waller who wrote a paper on this subject. (We delve into this subject in another blog) apparently the sheer volume of evidence that prehistoric rock art was influenced by cave acoustics is growing. But Cox does refer to David Lubman, a retired aerospace engineer who has been applying acoustic science to archaeological sites, warns that correlation does not necessarily mean causation.
Benefits and Negatives
The benefits of sound noises are multifaceted. They can mask intrusive sounds, enhancing concentration and aiding relaxation. Studies (see below this article) highlight the positive effects of sound noises on cognitive performance and stress reduction. However, excessive exposure to certain sound noises can lead to noise pollution and even adverse health effects. Our world is increasingly becoming louder and louder. Interestingly enough these coloured noises can be used to mask the “noise” from the world around us helping us to relax or focus. Also there are more and more experiments and research is done to find the benefit of these noises for healing in hospitals, to enrich musical soundscapes and increase productivity in normal noisy environments.
The human auditory system’s response to sound noises is an interplay of neural processes. When exposed willingly to sound noises, the brain’s default mode network can deactivate, promoting mindfulness and concentration. Neuroimaging studies, such as those by L. Liikkanen (see the last one of the list, below this article), illuminate the brain areas involved in processing sound noises, shedding light on their cognitive and emotional effects. The world of color noise offers a diverse spectrum of auditory experiences, each with its unique frequency distribution, emotional impact, and cognitive effects.
Self Help versus the research
If you are inspired to start listening consciously to noises it is good to note, most scientific research on this subject is not a 100% clear on how often, how to use, what colour to use exactly for what kind of mental effect you want to reach. Wether it is to focus, to mask sounds or fall asleep or stay asleep, the best advice we can give you is to experiment with the different noises in different situations. You can use the description of the colours above as a starting guideline. Experiment with different factors: the colour, the volume and the exposure time and see what works best for you. Our tracks are made in such a way you can easily put them in a loop. To read further at the bottom of this articles are some interesting links.
You can purchase our album with the different noises here: <insert link>
In recent years, I have spent a significant portion of my time delving into two axes. One involves delving into immersive technological tools and their applications on the auditory apparatus. While the second revolves around the role of sound on the emotional states of living beings and beyond.
I admit that at the beginning of my studies, my approach to the second subject was a mixture of skepticism towards a holistic world I had never approached, and in its track a lack of reliable sources. So, overcoming the initial skepticism and steering clear of the allure of sensationalistic readings, I embarked on a fascinating journey, which is founded on themes such as neuroscience, anthropological research, deep listening and sound as the main key to trigger undiscovered human potential.
The topic of how music and sound influences your state of being, initially viewed as a fringe of the sonic world, reveals its fundamental influence on all fields of science and the study of matter. As well as it touches the very existence of our being—both in conscious terms and in terms where the unconscious is the protagonist. After all, we are vibrating bodies in a universe that vibrates, and it should not surprise us that these infinite and boundless forces are omnipresent.
I am here to introduce one of the topics that has particularly struck me: the influence of sound/music on altered states of consciousness. It’s a subject still debated and far from unanimously recognised scientific validation, but this doesn’t diminish the significance it holds.
This introduction has been necessary to understand and hopefully follow, in the simplest and clearest manner, the series of articles I will write on this topic.
Talking about ecstasy and trance in the same article can lead to confusion because the two terms are often interpreted with similar meanings both by scholars and in the collective imagination. ln reality they are two different emotional states or state of consciousness, what they have in common is the search for spiritual and emotional healing that has characterized all of humanity since the dawn of time as my favourite author Gilbert Rouget also mentions.
To write this article I am making use of the valuable studies and research done by this Gilbert Rouget (1916 – 2017) a French ethnomusicologist and researcher who in the book Music and Trance, The Relationships between Music and the Phenomena of Possession, has well explained the meaning of ‘mystical/emotional acting that leads man to the search for ecstasy and trance. Most of the claims I make can be found in his book.
Now with my limited knowledge and with the respect that this subject demands, I will try to explain in the simplest and most subjective way possible these emotional states and take you on the journey I took and resulted in my sound journey From Ecstasy to Trance.
Ecstasy and Trance
Inherent in each of us ecstasy and trance touch territories of the unconscious not yet rationally explainable. They touch complex aspects of human existence and are therefore susceptible to manipulation by phantom healers, spiritual waifs and swayed by opinions and distinctions especially when viewed from a religious or spiritual rather than a social or rational point of view.
Let me start by saying that both ecstasy and trance are temporarily emotional states otherwise we speak of psychic pathology or mental disorder. Both states require that one is voluntarily willing with mind and body to enter this non-ordinary state of consciousness.
During the experience of these states people report to feel completely different from their daily life, they experience life completely different as life itself changed. Visual and auditory hallucinations (ecstasy) and divinatory possessions (trance) can often occur.
To simplify the concept and make it clear from the beginning, let me start with the difference between the two terms:
Trance is related to sensory overstimulation, (dances, singing sociability and ensemble rituals ) while ecstasy on the contrary is mostly a deprivation of the senses (solitude, silence, fasting self hypnosis).
Below you can find thediagram used by Rouget that effectively explains the elements that characterise these two states for the occurrence of phenomena :
Absence of hallucinations.
Obviously, one cannot imagine that this scheme leads to the total differentiation of the two phenomena. It is much more complex and carries with it a series of overlaps that can give rise to contradictions and further confusions. So to simplify let me say that one enters one of the two states properly if all the elements from Rouget scheme occur. On the other hand one cannot speak distinctly of a state of ecstasy or trance but of a continuum between the two phenomena.
A good example is the individual/solitary experienced Dhkir state which is more described like a state of ecstasy than trance but it is embedded in a secular Sufi trance ritual (famous twirling dancers).
As already pointed out the state of ecstasy is by its very nature an inner quest, and comes from a practice that has immobility, silence solitude and sensory deprivation as its cornerstones. Therefore it is incompatible with music which is dynamism sociality sensory excitement. Certainly there are instances when at deep levels of meditation one can hear melodies, chants or specific motifs but these occurrences are caused by sound hallucinations also called “mystical sounds” that arise from the ‘unconscious and manifest as a call of the innermost memory and are therefore a signal from within our being.
Trance on the other hand needs external stimulation almost always accompanied by music. Sometimes only rhythms, other times only with melodic and incantatory chants or other times still religious litanies but still from an external audible and participated signal. It should be added that trance is a transient state of consciousness (hence the word trance) where a part of oneself is revealed in an almost uncontrolled way, while in ecstasy one is in oneself and inwardly one finds bliss without having any kind of possession phenomena.
Trance then, is a transient state where for a given period we allow a spirit, entity to be represented in our body so we become something else and/or someone else. There are different types of trance: that of communion, ritual and religious and that of identificatory possession. The latter is triggered when the adept under certain circumstances represents the deity, the spirit ( eg vodun, djiin ) that has been called during the ritual. It often requires hours of dancing, chanting dancing, accelerating and crescendo before this can occur.For example, in both Benin and Aleppo rituals several cults/confraternities use music and thus the dance that arises from it to bring the participants at a psycho-physical level of exhaustion. By pushing and crossing the limit of tolerance of these external stimuli beyond a threshold one enters states of transcendence where supernatural behavior, sometimes of extreme violence, self-flagellation up to episodes leading to the death of the possessed can occur.
Role of Music
What is the role of music in the arising of these phenomena?
To simplify: a certain kind of music played insistently activates dance, which combined with the right preparation, intention and stun can lead to trance.
But what kind of music?
In the collective imagination it is the drum that is often represented as the instrument that causes trance, just think of shamans but this is not always the case indeed…
From the direct testimonies of scholars present at the ceremonies, a fundamental role is played by the voice: not only the beautiful singing that leads to transcendence but even more important is the often overlooked meaning of the words. The language circumscribed to the type of culture of reference, singing about the exploits of the saints, or the cherished places and instil the stories that tell the stories of the ancestors and the patron deities of the community. It is rare if not impossible to enter trance if one is a stranger to the culture of that particular cult.
In the second part I will explore the role of music in relationship to trance from the viewpoint of philosophers like Plato or Aristotle and mystics like the Persian Ghazzalî or Rumi.
Cymatics is the study of visible sound and vibration patterns and a subset of modal vibrational phenomena. As Collins dictionary says: the study of wave phenomena, esp sound, and their visualrepresentations.
It explores how sound waves interact with different materials to create geometric patterns and shapes. The term “cymatics” was coined by the Swiss physician and natural scientist Hans Jenny in the 1960s, derived from the Greek word “kyma,” meaning “wave.” Or simply put it makes sound visible or better say it makes vibrations visible and each frequency of vibration has its own visible pattern.
The basic principle of cymatics is that when sound waves pass through a medium, such as water, sand, or a metal plate, they create distinct patterns that can be seen and studied. These patterns are formed due to the vibrations caused by the sound waves, which cause the medium to move in specific ways.
One of the earliest references even though both Darwin and da Vinci mention the change of patterns in dust when “hitting” it with a vibration to cymatics can be traced back to the work of Ernst Chladni, an 18th-century German physicist and musician. Chladni conducted experiments using a metal plate covered with a thin layer of sand. By drawing a bow along the edge of the plate, he caused it to vibrate, and the sand rearranged itself into intricate geometric patterns, known as Chladni figures. Chladni’s work demonstrated the visual representation of sound and laid the foundation for further exploration in the field of cymatics.
Hans Jenny expanded upon Chladni’s experiments and conducted extensive research on cymatics. In the 1960s, he published a book called “Cymatics: A Study of Wave Phenomena and Vibration,” which documented his findings. Jenny used various materials, including fluids, powders, and pastes, to visualize the effects of different sound frequencies and amplitudes on the medium.
To make sound visible most of the time there are two different kind of devices used. One the Chladni plate which is a metal plate with “dust” on it or a device that is essentially a bowl of water on top of a speaker with a camera. Especially with the last one the most beautiful images of specific frequencies are captured.
What is interesting is that when pure frequencies are played, the material used forms the most beautiful shapes that are based in geometry and can resemble nature, flowers and ancient symbols and patterns. Besides the the some what mystery that something (sound) invisible to the eye can become visible it is also this “beauty” and harmony effect that draws people into the study of cymatics.
The common theory behind a lot of sound healing practices comes from the fact that if pure frequencies form beautiful figures in water and create harmony it will therefor have a similar effect on our body and the planet. The same deduction explains why disorganised frequencies can make us feel uncomfortable.
An interesting addition on this topic and on how vibration becomes visible is the work of Japanese scientist Masaru Emoto where he shows the influence of our thoughts, words and feelings on molecules of water. Using high-speed photography, Dr. Masaru Emoto discovered that crystals formed in frozen water reveal changes when specific, concentrated thoughts and words are directed toward them. He found that water from clear springs and water that has been exposed to loving words shows brilliant, complex, and colourful snowflake patterns. In contrast, polluted water, or water exposed to negative thoughts, forms incomplete, asymmetrical patterns with dull colours.
The name Flower of Sound
The name Flower of Sound is inspired by Cymatics and the beautiful flower shapes sound can make. As Flower of Sound we want to let you experience the power of sound.
The books to read for more information about Cymatics:
Jenny, H. (2001). Cymatics: A Study of Wave Phenomena and Vibration. Macromedia Press. You can read the book here: https://archive.org/details/hans-jenny-cymatics/page/113/mode/2up
Chladni, E. F. F. (1787). Entdeckungen über die Theorie des Klanges. Breitkopf und Härtel. You can read the book here https://archive.org/details/entdeckungenuber00chla
Masaru Emoto The Hidden Messages in Water This one you can order on all online bookshops
The hexagon is one of the building blocks of nature, representing many frequencies. It’s a geometric shape that is integrated in a lot of sacred geometry shapes. At Flower of Sound, we are very inspired by the hexagon — we have embedded it everywhere from our logo, to the lights we use in our immersive sound shows.
Hexagons are the building blocks of life
A hexagon has six equal sides and is one of the building blocks of life and one of the principal governing patterns dominant in the natural world.. From honeycombs to the center of snowflakes, the hexagon is everywhere. When placed under a horoscope these objects reveal one of the most efficient “tile” shapes to build, as discovered in 1999 by Thomas Hales.
Hexagons are everywhere
When used to build, hexagons minimize the amount of material needed, and which is why honeybees build in hexagons. It is also at the molecular core of water and therefore also in each of us, as we are made of at least 70% water. When hydrogen molecules freeze and bond, they form hexagons (ie – the center of a snowflake). The hexagon is also found in the structure of DNA — it forms the chains that produce the double-helix macromolecule.
Hexagons as sacred symbols
You can find the hexagon in many ancient symbols. In sacred geometry and ancient sagas the hexagon represents the potential for life. It is found in sacred shapes like the Flower of Life, which is seen in ancient architecture around the world. Because of its two interlocking triangles, the hexagon as a symbol often stands for harmony and balance and also male and female energy . When you draw a six pointed star the points form together as a hexagon. This can beautifully seen in Dr. Masaru Emoto’s videos showing the crystallization of water reacting to pure tones, images and therefore frequencies.
Hexagons and Flower of Sound
In our search for scientific validation for our frequencies, we found that certain shapes correspond with the frequencies we most often use. For example, Pythagoras is widely known for using frequencies to explain mathematics. One of the shapes that inspired us the most is the hexagon and we incorporate it into pretty much all of our designs. It’s such an essential shape and building block of life – it’s in water, honeycombs, cymatics, and even the feel-good chemical Dopamine — and it is at the core of who we are as well.
The power of 3 in our compositions
According to Tesla and Pythagoras the essential numbers in the universe are 3, 6 and 9. If you use Pythagoras’ theorem in the Solfeggio frequencies they all add up to 3, 6 or 9. In all of nature, these three numbers keep coming back.
The common denominator of all these numbers is the number 3. This is one of the reasons why we compose our pure tone music using three frequency layers into one.
The first layer is a low base tone, or a slow sound wave, is derived from the original tone.
Then, we layer in the original frequency.
And finally, we layer in the surrounding ambient sound, based on the even harmonic. This way our compositions are more effective, stay pure and are easier on the ear.
There are no extra keyboard tracks, instruments or music added to our compositions, to further retain the purity of the sound. We do use different sound healing techniques, such as the use of harmonics, to make our frequencies more effective.
Fun facts about hexagons
On Saturn’s north pole, there’s an enduring cloud formation in the shape of a hexagon. The total size is bigger than Earth.
In California there’s something known as the Devils Postpile. Less than 100,000 years ago, a lava flow spawned these odd structures. These structures are basalt columns in the shape of hexagons. As it turns out, a 120-degree crack releases the most tension. And 120 degrees is a hexagon’s interior angle.
We represent organic compounds with hexagons. Most organic compounds have carbon backbones, as carbon is superabundant and bonds well with other elements. When one carbon atom bonds with another carbon atom, the bond angle is less 120 degrees. But when six carbon atoms bond — due to electron pair repulsion — it’s an even 120. As a result, six bonded carbons — benzene — make a perfect hexagon, also known as a benzene ring.
The hexagon is rooted in the number 3 in many ways and ancient philosophers were intrigued by the interaction between 2 and 3 . They symbolized it by the image of a “marriage” as 2 is even/female, 3 is uneven/male to show that the hexagon functions as a stable foundation of which the two components support each other mutually. The hexagon was used as a symbol to convey the spiritual attainment of an individual on the mummified body in Egypt and it is still used by trines and communities today to refer to the same notion.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Not consenting or withdrawing consent, may adversely affect certain features and functions.
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.