I've got three about three quaters done, and a couple more part way. I'll be bunging bleepyness in the post as soon as its ready

Any idiot can face a crisis - it's day to day living that wears you out.

Somewhat inevitably perhaps, there's also this.

I can absolutely believe that gong therapy works - as I remember that every cell in my body reacted on the vibrations.

And thanks, yes things are going well for me, exploring some new things. :-)

And I think someday I will get myself my own gong!!!!!!

a room full of gongs....oh man..

i bet they'd set each other all off....

bells have a similar fascination...

and so to this:

   
The Rife machine - The beginning of frequency treatment in energetic medicine.

The Rife device was developed by Dr. Royal R. Rife in the 1930s. The Rife machine uses a variable frequency, pulsed radio transmitter to produce mechanical resonance within the cells of the physical body (James E. Bare D.C.). The Rife machine was, in its time, a pioneering front-runner for what today is the basis of energetic medicine.

Royal Rife discovered he could use specific electro-magnetic frequencies to kill a bacteria or viruses without causing damage to the surrounding tissue. The Rife machines utilizes the law of resonance and produces possible health benefits for varied diseases, both chronic and infectious. Though the first Rife machines were used on diseases such as tuberculosis, arthritis, and ulcers, its more commonly know for its use on cancer, described by authors such as Barry Lynes, as "the cancer cure that worked."

How Rife works

Rife machines work on the principle of sympathetic resonance, which states that if there are two similar objects and one of them is vibrating, the other will begin to vibrate as well, even if they are not touching. In the same way that a sound wave can induce resonance in a crystal glass and ultra-sound can be used to destroy gall-stones, Dr. Rife's instrument uses sympathetic resonance to physically vibrate the cells of the parasite resulting in possible elimination.

Vibration between two objects can be seen in everyday life, from a tuning fork to a guitar string. The destructive capabilities of resonance have been widely demonstrated, for example when an opera singer hits a particular note and breaks a glass. In this instance the musical tone sets the glass in motion, and as the motion builds the glass shatters. The pulsed wave used in the Rife system produces a mechanical vibration, whereby the low amplitude input leads to a large amplitude vibration in the target. If the induced resonant vibration is intense enough, the target cell, tissue, or molecule will be destroyed.
http://www.energetic-medicine.net/Rife.html

or this:

Perhaps you've had the opportunity of hearing a concert pianist perform on a
grand piano at a recital and noticed him doing something with his feet. Every good
instrument has two or three pedals, the most important of which -- the sustaining pedal  --
raises the felt dampers on the piano's many strings all at once. Because of this,
the strings may continue to sound even after the pianist has taken his fingers off the keys.
This very ingenious mechanism makes it possible to, for example, transform
the notes of an arpeggio--which sound in sequence, into a rich
composite chord, the notes of which sound all at the same time. This difference
between one-at-a-time and all-at-once is, like the difference between
sound and silence itself, one of the primary features shared by
the musics of all world cultures:

In this way, the sustaining pedal gives the piano something like a built-in echo chamber; it is what allows an individual performer to create a truly remarkable sense of space of almost orchestral proportions. As is frequently the case with everyday miracles, however, I feel that many classical musicians have in a way come to take this magnificent pedal technology somewhat for granted. But for those of us, who, like myself,
are more philosophically inclined and rather less gifted in playing our Bartók and Bach,
it is still possible to sit at the keyboard and ponder this uniquely mysterious movement.
We hear time -- or melody -- folding into pure space -- or harmony. In a way, this is
much like a colorful thread rolling itself up into a skein. One cannot help feeling
that something very profound is being revealed to us, but what exactly? We have this
relationship between:

                  time / space; melody / harmony.

Pondering this, like Rilke said, we are carried to a place "where all language ends,"
and where thought must naturally come to a stop.
http://www.picture-poems.com/week2/resonance.html

just one more: ibid

A Play of Words and their Origins

In English, the word "sympathy"suggests a 'feeling with' or sharing something
of the emotion and experience of another. In other languages of Indo-European origin,
the adjective form, sympathetic, also implies 'one who is capable of this', as in
a friend who can not only be counted upon, but also who 'reads' our feelings without
having to say a single word. Like the Italians say, 'molto simpatico', or in Dutch,
'heel erg sympatiek,' both literally meaning, very sympathetic.  Sympathetic in this
sense might be used to describe not only a person, but also, for example, something
less tangible, like a way of doing music or poetry. Perhaps we could say that this
is more than merely like or dislike, but rather a kind of deeply shared resonance or
mutual affinity. So instead of seeing the world as composed of static, isolated objects,
we are now entering a world of movements which merge and interpenetrate one another.
This naturally brings us back to musical instruments, both in actuality and as metaphor.
As they say very charmingly in German, 'mit schwingen', or literally, 'to swing
together with,' like two strings which move perfectly together. Rilke, the great
master of image-as-movement, awakens in us this very idea in the famous
Love Song which begins his New Poems:

     "And yet everything which touches us, you and me,
      takes us together like a single bow,
      drawing out from two strings but one voice."

Sympathy. Mitschwingen. Moving together. Eight centuries before the Europe of Rilke,
the spiritual teacher and seer Mechtild of Magdeburg suggested something very
similar, only still more general:

     "And all strings
     Which are touched in Love
      Must sound."

So, we see that a great deal is implied in the 'affinity' or 'moving together with'
which characterizes sympathy. Especially when sympathy moves on in depth and
subtlety to compassion which we might describe, following Jiddu Krishnamurti, as
'seeing the other in myself.' In this context, we might think of this as a kind of resonance
which is essentially selfless, or a 'swinging with' the whole of life. This is why,
in the poem, the performer is utterly without movement; he is there not so much
to play his own song but more as an instrument  which manifests the voices he
hears around him.

The Poet as Beat-up Piano

Indeed, the mysterious world of sound and vibrating bodies demonstrates to us
in the most directly perceptible of ways that aspects of our consciousness as
complex as sympathy and compassion are incipiently already present in something
as simple as a single silent string. At the same time, it brings out an important limitation--
some might say, a tragic flaw, of the current electronic and computer technology.
I'll return to this last point briefly by way of conclusion.

In the spirit not of the Academy, but of true Phythagorians, pondering together
under starry night skies the significance of rhythm, mode and interval, I've sketched
out below in musical notation a simple experiment you might want to perform. What
I've done is to take, so to speak, the pebbles dropping in dry sand or quiet water above
and stepped them into a more abstract representation. But the idea is still that it is always
better to experience an acoustic principle first hand, instead of just thinking about
it intellectually. Then when we do think about it, our thought is perhaps rooted in
something deeper than mere numbers or what we see on the screen. To bring
out the difference, let me first introduce the sound experiment with
a little story:

Once, a number of years ago, a young boy visited a studio I was working
in at the time in the Netherlands. I had been out in the forest all day with his father,
a Dutch sod farmer, clearing a tangle of Douglas Fir windfall after a freak fall storm.
As we were coming inside, a bit cold and tired, the boy saw a shiny little brass
hunting trumpet I had laid out on top of an old grand piano that was standing in
the corner. (Personally, I don't play the piano much anymore, although I do
like to compose for it, and, if I can, have an instrument around simply for company.)
I handed the boy the trumpet, which wasn't much more than six feet of hammered
brass tubing with a mouth piece at one end, and told him to give it a loud blow.
Which he did. Then I said, "Listen to this!" while I pushed the pedals down
and he played another loud note. I didn't bother opening up the keyboard cover.
He was amazed. So was his father, who was watching somewhat anxiously
at a distance. How could it be, he thought, that the piano echoed, or reflected,
like a mirror made of sound, the different and yet similar sound of the trumpet.
But, of course, the trumpet was big or loud, while the piano's reflection was quite small
or soft. It was this difference of perspective that gave the sound such a great sense
of space, and which dumbstruck the boy. It was as if we were standing together,
all three of us, in an immense cathedral or concert hall.

A physicist calls this the principle of sympathetic resonance: two orders of similar
movement which merge to form a third which reflects in a unique way both. Notice
that the strings must be perfectly quiet for this to take place. And free. That is,
not impeded in any way.

how have i lived so long gongless?

'The history of public debt is full of irony. It rarely follows our ideas of order and justice.' Thomas Piketty

GAWONGAWONGAWONGAWONGAWONGAWONGAWONNNNNNNNGGGGG!

Don't fight forces, use them R. Buckminster Fuller.

I followed up with Google -- can't resist, do they have 12 step programmes for information junkies? -- and the Swiss team that makes them is now (per web site) taking orders only in the month of April, you have to come to Switzerland in person, etc.

I keep hoping one will show up on ebay :-)

The difference between theory and practise in practise ...

The Schiphol anecdote had me laughing. I could just picture it with all the people turning around..

Brilliant piece of writing; you should go more often to Amsterdam if it can inspires you like this!!

Oh, and the orangutan in Artis always scares the BeeGees out of me. I can't help it. After the lion, I don't think I know an animal that is similarly capable to rattle me. Gorillas, not so much. Orangutan, oh dear.