Imagine a humanoid with cetacean sensory applications - evolving over a vast portion of time - much like many of our own species have, perhaps, this ability. Perhaps they need a musicologist for visual sound images.
In simpler terms, an alien data stream is more likely to sound like gibberish as it is not a language by our own definition, if we listen for exactitudes of patterns in semi-rigid repetitions, we need only look at what we visualize every day and how little is repeated in exactly the same way. This infers that SETI may be seeking apples from oranges by anticipating a semi rigid set of linear descriptions, whereas if sound as a direct visual versus spoken language is the case, by using multi-syllabic tones superimposed on one another, as well as the fact that no two images may be alike as a probability, and so perhaps transcription by a anthropomorphic biology based on comparatively repetitious patterning may be better served by a visual transcription by cymatic analysis seeking parallel tones simultaneously. So they have the physical capability, at least, to use languages much more sophisticated than our own." Lilly estimates that dolphins can take in 20 times as much information through their ears as humans can. What this all adds up to is an extremely efficient means of communication.
They have several means of producing sound and can independently emit at least three different sounds at once. Regardless, it is beyond redundant to state that we all for a good portion of our lives are in a dream state, which is, for the most part a visual and auditory simulation based on what are close to "real time" simulations that our sensory apparatus produces, as we experience nothing directly in any real sense, but rather what the mind has configured as a coherent representation of information transposed by biochemical processes.ĭolphins can hear sounds as high as 200,000 cps. I was so enamored by this moniker, I seriously considered changing the name of this blog by retitling it to reflect this description. Someone once gave me an enormous compliment in calling such strange concepts that emanate from my own ruminations, "respectable tin foil" which now seems fairly ironic, or perhaps accurate in light of this subject matter. I would by no means call this a formal theory, but rather an intuitive speculation. For example, the often reported experience of floating through walls seems patently ridiculous and subject to understandable skepticism, however, if the context of a dream has been superimposed within the frame work of a simulated experiential reality, this may be a clue that, yes, this occurs, but not in a strictly traditional, empirical context. All of this is seemingly paradoxical and subject to ridicule, in terms of substitutions that ironically we utilize throughout our lives in the omniscient simulations of our senses. If this is so, the reactions of abductees would be as real as if they occurred, and elicit the same physiological reactions as they are indeed memories but not the sort we simulate by our own volition. When I use the word telepathy, I am aware that this is not telepathy in the strictest sense, but rather as a superimposition using biology to interface with a visualization. Perhaps there is a form of "telepathy" utilizing ultrasound as a pathway of simulating a visualization of reality, which may be a means to transplant seemingly experiential data by means of this interface, in order to either enlighten, confound, or by happenstance, confuse the human recipient by simulating a direct experience, which could also be used to misdirect those who seek clues in the storage of memory. The term diatonic originally referred to the diatonic genus, one of the three genera of the ancient Greeks.
Thus between each of the two half-steps lie either two or three whole-steps, with the pattern repeating at the octave. In simpler terms we are in another related modality, sound as music as a visual image.ĭiatonic Scale-In music theory, a diatonic scale (from the Greek διατονικος, meaning " through tones", also known as the heptatonia prima and set form 7-35) is a seven-note musical scale comprising five whole-tone and two half-tone steps, in which the half-steps are maximally separated. Then again, when we look at the transliteration of energy=sound=image as in the aforementioned example of dolphin language, we seem to have the possibility of a commonality lurking in the background of a potential for interspecies communication, which the late Dr Gerald Hawkins made the focus of his studies using the mathematics of the Diatonic Scale of sound. If we look at a cymatic effect, the results are striking, even in a coffee cup.
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