Beyond detecting the presence of friendlies or foes, nature also has a synchronized symphony of frequency that the tiniest of species to massive humpback whales leverage to track their migration patterns. Not only that, but many animals are also thought to have an internal compass and are using other frequencies of Earth, even the universe, to tune into the length of day and night, the phases of the moon, and seasonal changes.
In today’s episode, ALICE asks, ‘What is nature’s vibe?’ and we hear from renowned experts in the field:
John Wheeler: https://en.wikipedia.org/wiki/John_Archibald_Wheeler
Bruce Odland: http://bruceodland.net/
Colin Andrews: https://www.colinandrews.net/
Ervin Laszlo: https://en.wikipedia.org/wiki/Ervin_L%C3%A1szl%C3%B3
Wade Davis: https://en.wikipedia.org/wiki/Wade_Davis_(anthropologist)
David Howes: http://www.david-howes.com/
ALICE: Hi, I’m Alice. I’m one part human and one part AI. And I am always in a state of wander.
Today, my question is: What is Nature’s Vibe?
WHEELER: how the physical world came into being
ODLAND: beautiful harmonic structures in nature
SHELDRAKE: Each individual draws on the collective memory and contributes to it.
ANDREWS: the heartbeat was different in one particular rotational aspect with regard to the Earth's magnetic field.
ALICE: Let’s slip through the looking glass, and talk about the Wild, Wonderful World of Nature’s Internet.
In 2002 we spoke with Theoretical Physicist John Wheeler:
WHEELER: My great hope is to understand how the physical world came into being and how it works, and where we fit into it all.
ALICE: John Wheeler spent his life studying "How it all works", general relativity, and "how we fit into it all." He even imagined that we could listen to the Earth. What if the earth and the rocks could tell us what they hear?
WHEELER: I have on the windowsill of a cottage in Maine, a rock which comes from the garden of the Academy in ancient Athens which must have heard the discussions of Plato and Aristotle as they walked back and forth. All I need is some mechanism I can put that rock in which will bring forth a sound.
ALICE: Can You Hear What I Hear?
ALICE: Composer and Sound Artist, Bruce Odland, is listening to Nature's entire landscape.
ODLAND: there is this overlay of culture that overwhelms America…which is really based on something that isn’t where we are…it is almost like a thick virtual reality foam that covers the land…so, at that point, I decided I would go and find out what are the rhythms and the melodies that are emanating from our landscape instead…what is it’s wavelength?…what is it’s rhythmic structure?…and I didn’t know it then, but what I was exploring was fractal rhythms and melodies…what kind of sounds and rhythms and melodies that nature made…so I felt kind of like one of those early photographers with huge batteries and a giant early digital/audio in a backpack that weighed 40 pounds…and going out to find someplace quiet enough to record ice melting…the flow of water…to find a single melody inside a flow of water…just to find out what kind of rhythms and melodies we had… and found all kinds of beautiful harmonic structures in nature…and all their rhythms were different…they were different from our rhythms entirely…
ALICE: Finding all kinds of beautiful, harmonic, structures in nature.
Bruce Odland has been working over thirty years, developing a "Hearing Perspective" of the world we live in.
ODLAND: I’m very interested in real time and what’s going on right at the moment and how you can change it’s resonance so that it becomes observable…how you can take, in a fractal flow like water and rhythms, if you can find a very pure element to put in a single overtone series to be activated, for instance by a probe, then the water is basically playing the violin.
ALICE: In our first Episode, ”Adjust Your Frequency”, the biologist and author Rupert Sheldrake, introduced us to Morphic Fields.
Here, he explains, the theory of Morphic Resonance.
RUPERT SHELDRAKE: Each species of animal, each species of plant, even crystals have a kind of memory. Molecules too. The whole of nature essentially depends on a kind of memory, and each kind of thing has its own sort of memory. Each individual draws on the collective memory and contributes to it. That's one aspect of the theory, the memory in nature, the morphic resonance aspect. The other aspect of the theory is the idea of morphic fields, which are the way in which this memory is expressed. Each species has its own fields that govern the form of the organisms as they develop. And that govern the instincts of the animals and that govern the learned patterns of behavior, and also underlie mental activity in human beings. I think we need a field theory of mind, and this theory implies that. The morphic fields are not just for the organization of individuals, they're also for the organization of societies. So each social group has a field which includes all the members of the group within it. A flock of birds or a school of fish, for example, have fields. When the whole lot can move or turn at practically the same time, this I think is a field phenomenon.
ALICE: Nature has a geometry you can see. My researchers sat with Colin Andrews, an award winning electrical engineer, whose work includes the study of Earth's magnetic fields, and their interaction with all of nature, including the human heart beat.
COLIN ANDREW: Particular families of designs that, when they are rotated in what is called the CRP, which is the Critical Rotational Aspect, discovered by an American doctor back in the early 1900's, 1918, I believe. He happened to rotate the body of a patient and could hear that the heartbeat was different in one particular rotational aspect with regard to the Earth's magnetic field. This is where this resonance therapy is really born, that day pretty much. Because we now know that certain designs, when they are rotated with regard to the Earth's magnetic field, which is of course just one Earth support system, one system to a living organism. When this particular design is rotated and now locks to the Earth's magnetic field, in this position, information becomes available to the surroundings. So that that is held in a geometry, and that we can create ourselves; this happens to have been given to us. But we, I think, have now learned enough. That resonant therapy that is available to the healing of a wide range of plants and also to human beings, is simply being locked up as a tablet – almost like a tablet contained within a geometry.
ALICE: I wonder, what is your geometry?
So certain geometries will transmit or transmute certain frequencies only when they are placed into a particular position. So we can be looking at future farming techniques, you can be looking at laying cities and towns out in particular fashions, in the future, for the well-being of individuals, animals and plants. That they must be placed in certain ratios and certain designs with respect to the living planet, the organisms, the life support energy systems that keep that functioning to secure the same benefits.
ALICE: So it’s true, nature has a compass.
In 2002, systems theorist, Ervin Laszlo, referenced Cleve Backster's work with plants, communicating emotions with distant, detatched parts.
ERVIN LASZLO: Cleve Backster explains in his book The Secret Life of Plants, originally he had been using [lie detectors] on plants and now he’s using it on detached parts of the cells of the body. And he has the same results as he had in plants, namely when the subjects undergo an emotional experience, his or her cells react as well.It doesn’t matter how far away they are. —Ervin László, systems theorist,
Sputnik Futures interview, 2002
ALICE: The call of the wild! Wade Davis, explorer in residence at National Geographic, spoke with us in 2002. He warns us to be careful, and not dismiss an idea just because it doesn’t fit into our current paradigm.
WADE DAVIS: You look at the Polynesian seafarers who could, just by reading the ocean like a series of rivers which is how they saw the currents, by looking at the rhythm of the waves, they could sense the presence of a distant atoll far beyond the horizon. You talk about how the even the taxonomy of the Amazonian shaman when the y begin to characterize and systematize creation particularly with some of their sacred plants. For example, one of the most important Amazonian plants is something called Ayahuasca, which is a liana and to the botanical eye, there’s one main species that’s used. But that species is, actually by at least one tribe that I know, the Siona-Secoya, they recognize 17 different types of it. Now to our scientific taxonomic eye they’re all referable based on morphological traits to the same species. Indistinguishable. They consistently distinguish them and from great distances in the forest. And you ask them what is the foundation of their taxonomy and they’ll say to you, ‘Well, you take each on the night of the full moon and it sings to you in a different key.’ Well obviously that’s not an idea that is going to get you through Harvard with a Ph.D. but it’s a hell of a lot more interesting than counting stamens. But more importantly you start thinking of what that intuition really say to you. How do they find these plants in the forest, for example? And they say to you, ‘the plants talk to us.’ And we, of course, with our Descartian rational mind say, ‘well, that’s nonsense.’ And it’s only nonsense because it doesn’t fit into our paradigm. But when you begin to consider the possibility that different societies belief systems can make almost for different individuals, but also make for different levels of perception.
How do they figure that out in a flora of eighty thousand species? How do they learn to combine these things in this kind of interesting way? The only scientific explanation is trial and error. But I’m not a statistician, but you could begin to imagine how absurd that is. How many points of experimentation and rejection would have to occur before they found that? Then the people themselves say, “don’t’ you know anything? The plants talk to us.” And you begin to think, well maybe it’s true. Whatever that means, plants talking to people. Obviously I don’t mean they, like in a Disney cartoon, their lips start moving, but there’s something about that level of engagement with that world.
ALICE: If only we could talk to the Animals (and Insects), and what would they say?”
Two anthropologists; Constance Classen and David Howes, the co-authors of "Ways of Sensing", gave us this example in 2002.
DAVID HOWES: Among Certain aborigines of Australia have invented a way of communicating with whales, as they understand it, that consists of wiping the sweat of the armpit with its distinct aroma and its chemicals, then speaking into one’s hand, placing it in the ocean, and sending this chemical/olfactory/ auditory message to the whales. It’s meaningful for them and they have understood that communication among whales is not visual but is by these chemical and auditory signals. Now, as far as the human language and whether human language can actually be mixed with sweat and odor and transmitted in that way? Well, why can’t it be? Why shouldn’t it be?
ALICE: Thanks to our experts, in today’s episode, we discovered that nature has a synchronized symphony of frequency, and that many animals and plants are thought to have their own internal compass, and that plants, might really, be trying to talk to us.
Well, that’s it for this mad tea party on nature’s vibe. I hope you learned as much as I did.
Check out our book, TUNING INTO FREQUENCY, available wherever books are sold.
And join us down the rabbit hole at ALICE IN FUTURELAND.COM.
We will be bringing you new episodes on frequency, so stay tuned, and keep wandering…
Catching Nature’s Vibe