Pipe Organ at St

Pipe Organ at St. Stephen Walbrook Church Proving C 6 potency

Vergleich: Siehe: Musikgruppe

[Jill Newman: DSH]

Thank you to all the delightfully experimental and generous provers who took part.

“And those who were seen dancing were thought to be insane by those who could not hear the music.”

Friedrich Nietzsche.

Introduction.

A few years back, when I was attending his Shamanic Homeopathy diploma course, Dr. Yubraj Sharma gave me an assignment: Making 3 homeopathic remedies from music.

This is the first of my music-based homeopathic remedies made from a pipe organ played within St. Stephens Walbrook Church, 39 Walbrook, London EC4N 8BN.

I have always loved church pipe organs. I am not religious but I love their sound and they intrigue Jill Newman: The organist plays at a keyboard- but the sound is made by air pushing through vents in giant pipes - which is controlled by pedals. So, it is a wind instrument - unlike the piano which is a string instrument. There is an array of buttons ("stops") to push and pull which create a myriad of different effects.

An astonishing thing about big pipe organs is that they can change volume, within a second, from a faint, hushed whisper into a mighty sound-scape, vast enough to fill the height and width of a cathedral......and then to return within a note into a whisper.

I love the deepest notes of such a sub-bass rumble. They are more of a sensation than a sound and send vibrations up from the floor into one's body .

"The pipe organ is a musical instrument that produces sound by driving pressurized air (called wind) through organ pipes selected via a keyboard. Because each pipe produces

a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre and volume throughout the keyboard compass. Most organs have multiple ranks of pipes of differing timbre, pitch, and volume that the player can employ singly or in combination through the use of controls called stops.

A pipe organ has one or more keyboards played by the hands (called manuals), and a pedal-board played by the feet; each keyboard has its own group of stops.

The keyboard(s), pedal-board, and stops are housed in the organ's console. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are depressed, unlike the piano and harpsichord whose sound begins to dissipate immediately after it is played. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest may have over 20,000 pipes and seven manuals." Wikipedia.

"People who experience a sense of spirituality in church may be reacting to the extreme bass sound produced by some organ pipes.

Many churches and cathedrals have organ pipes that are so long they emit infrasound which at a frequency lower than 20 Hertz is largely inaudible to the human ear.

But in a controlled experiment in which infrasound was pumped into a concert hall, UK scientists found they could instil strange feelings in the audience at will.

These included an extreme sense of sorrow, coldness, anxiety and even shivers down the spine." By Jonathan Amos BBC News Online science staff, in Salford

Geographical and architectural Context:

I am walking northward over the Thames at Southwark Bridge. Straight ahead is Queen St. then bearing left, I turn onto Canon St .and into The City of London's business epicentre. People in suits scurry past displaying hurried, watch-glancing (or phone-glancing) expressions reminiscent of Lewis Carrols' White Rabbit ("Alice In Wonderland"): "I'm late, I'm late for an important date". A cacophony of noise emanates from the many building sites and the constant swathe of traffic. Road crossings bleep, sirens deafen and people mutter into mobile phones. It feels manic, dense and chaotic. The air is particularly polluted and dusty from all of the above. I am looking for an old Christopher Wren church called St. Stephen Walbrook where I am going to listen to a free lunchtime pipe organ recital. As I travel north along Walbrook - I don't even see the church at first - dwarfed as it is amongst new, high-rise office blocks of steel and glass and cranes from all the building sites surrounding it. Eventually, I do notice a very tall wooden door set into a facade of old, pale grey stonework. I enter through the door into another world...........

.....Inside it is quiet, cool, spacious and peaceful. There is an immediate sense of calm, balance, softness. A light and airy space. Such a contrast from the frenzied stresses

of the environment outside. I feel like I have entered another time/space dimension through a secret door. I wonder how many people who work around here know it exists? There are a number of people sat waiting for the recital in a silent, meditative manner and I began to realise that this beautiful building is a lunchtime sanctuary for local workers. The architecture is a masterpiece of classical, spiritual purity designed by Christopher Wren. (his prototype for St. Pauls Cathedral). There are clean lines, geometry, balance, harmony - no pomp or fuss.

I found this quote by Professor Kerry Downes on the St.Stephen Walbrook website. It is a wonderful description of the essence of the place and the atmosphere experienced within. It resonates with some of the later provings of the remedy.

"The worshipper and the agnostic alike may feel at first only that they are in a pleasant interior, but the flooding light, and the arrangement of the interior space, so clear yet capable of several readings, have a cumulative effect. That effect does not depend on decorative richness - the enrichment exists only to give softness and substance to the abstraction of lines; the roses, laurels and palms of the plasterwork are only the most conventional of symbols. Wren considered geometry to be the basis of the whole world and the manifestation of its Creator, while light not only made that geometry visible but also represented the gift of Reason, of which geometry was for him the highest expression. Like the solution to a mathematical problem, everything fits into place with apparent simplicity; yet this simplicity itself is mysterious and magical. Whether one experiences St. Stephen's alone, in stillness and quiet, or in a full congregation resounding with music, the effect is always the saJill Newman: Life outside is complicated and chaotic. To enter is not to escape into fantasy; rather is it to submit to the strongest positive assertion of the true order of the universe.

Like all great works of art, St. Stephen's is of its time, and our sense of history requires that we recognise its associations with a great age; but again like all great works of art, it has something about it that is timeless, and its message, indeed its very survival, must be the concern of us all."

Professor Kerry Downes

My original meditative proving at St. Stephen Walbrook Friday 20^th February 2015 -during the actual organ recital- the source of the remedy.

I sat down on one of the wooden pews, all placed in concentric circles, facing in towards the central altar . Opened my wide, clear glass jar, half-filled with fresh spring

water, placed it on the bench beside me, closed my eyes for 45 minutes and allowed the sounds of the church organ to suffuse...... I wrote down the sensations:

"Notes float in the air on clouds, hovering around...soft air.....slowness.....small clouds like sponges dancing against my skin. I feel a line travelling directly from base chakra

up to crown chakra via my spine . Every molecule and cell is vibrating.

Heart pulsations.

Goose-bumps.

Aching in my occiput and teeth.

Trees sprout from my head like antlers up into the sky.

My skull is connected to my pelvis by my spine...but no other body-parts are material....or I just can't feel them. All else is space and air.....a big expanse of air.

It's an egg-shaped space between my pelvis and head - it is an egg of space and light.

I can't feel my heart...as if it's not there anymore.

I can smell wood smoke. I feel air like a storm or wind....like giant trees breathing. Dark fir or pine trees are lungs. Cold wind.

I have prickles in my throat, tongue on the right side.

Pain in my arm muscle right side.

Layers of atmosphere from deep and heavy gravity and matter (earth) through to air, clouds, ozone, stratosphere into space.

Vibrating on all layers.....connecting all.....massive.....heavy through to light.

I look around from a position high up in the cosmos.

Indigo and Jupiter.

My belly feels pregnant now, egg-shaped, warm, swelling, protected. The whole universe is an egg that is hatching a golden flying creature...a bird of flame…or golden light?

I have an egg-shaped membrane over me and I hatching head and neck first.

My breasts are swollen and have eyes."

06/02/16 Art Proving with Art & Homeopathic group.

A group of 3 provers were given paper, paints, easels to paint onto which were placed at angles so as to prevent seeing one anothers' work. The time allocated was 45 minutes.

Each prover was given a single dose pillule of C.O#1 in 6c potency - a homeopathic remedy made from an Art source (unknown to them) . They were asked to record all sensations, images/colours/rhythms/shapes using a visual art medium. It was requested that they avoid any desire or compulsions to "make art" or do a "pretty picture". To avoid at all costs a self-conscious desire to produce something to be admired but to be as true to the remedy as possible. (This, I believe, is the biggest challenge for provers using art as a medium.)

Here is the conversation between the provers when they finally show each other their paintings and discuss their sensations, compulsions, thoughts and images .

Prover A: Blue circle on an earth-coloured background.

"Elements of earth (brown) and air (blue).

My first sensation was a hollowness - not an empty feeling but an opening up of space....which is the blue.

When I started painting this I made a circle. There was a compulsion to have everything in an anti-clockwise motion - ever decreasing circles to a point.

Different layers of blue from mid blue to deep cobalt getting paler into the middle..

The whole thing was a motion going inwards. Inwards and backwards, into the paper through the layers. Inwards, inwards , inwards and into a point.

And it's uneven- because that journey isn't even.

Then there was a feeling of warmth that needed to come through. (The brown hues) That was one of the things I visualised when I took the RX. I wanted to get it quite earthy with some red tones in the centre. I wanted to have colours of earth (reds and browns) through to air (blue and silver).

It's very un-metal.......2 different elements: Earth + Air.

A feeling of space.....the hollowness."

Prover B: Rectangular primary coloured "vents" and "spots" on blue background.

"I knew I wanted it to be this shape." (The painting in landscape position)

"The first sensation after taking the remedy was of seeing circles of light shimmering and repeating. So, I knew I wanted to paint circles. My circles went anti-clockwise.

I wanted a landscape format. I wanted some very precise lines in it. I felt they had to be coloured, horizontal lines.

I needed to have blue as my background to contrast with the other colours in this arrangement.

I needed to be precise.

I knew I needed to have my circles on there in the same colours as the horizontal shapes ....and repeating.... onto an empty space.

I don't know why I left an empty space. I did experience a desire to have a big expanse....massive....but with a precision in it.

I really wanted the precision to create apertures. They are apertures and I am looking through them. Contraction. Looking through narrow slits. I was looking through into timelessness.

I wrote on the painting 'No no, I see only posted colours' - They are ways of looking at all the colours."

Prover C: Silver-blue circles, a tree, on a wash of mauves, indigo and turquoise

"I noticed how we all wanted to walk around (during the proving).

We have all began by using the colour blue. Blue is a big feature.

And circles...........the first thing I saw after taking the remedy and shutting my eyes were two large silvery blue circles and I immediately painted them onto my paper in an anti-clockwise motion. Spiralling in from the outer circumference."

Prover B:

"My circles went anti-clockwise, too"

Prover C:

"I saw that my circles were holes....or tunnels.....with air flowing through them. They represent my lungs which felt big and strong....breathing."

Prover A:

" It's the element of air again!

They look like Ovaries."

Prover C:

"I had to go for a walk. I had to bring us more water. I seemed to be walking like a very tall robot or automaton/super-being.

My brain was calm...almost empty. I could feel my feet walking in a nice, solid way. My brain was thinking in a very detached, cool and organised manner and my feet move in a mechanical, solid way but there is nothing of me in between.

Just an empty expanse.

Then, whilst painting I had an urge to go onto my knees and paint. A tree emerged. I painted it from an angle of being low down and looking up.

I felt at peace and i didn't care. My feet are solid like the roots of the tree."

Prover A:

"Jupiter! The planet of expansion". (looking at Prover C's drawings) "There are indications that this could be a spine or a structural remedy."

Prover C:

"Initially, I thought it would be connected to lungs and breathing mechanisms. "

Prover B:

"I can see a hybrid of human/animal...or a fantastical creature.....a super-being. Cyclops, even."

Prover B:

"We all have circles of light shimmering and disappearing. The first thing all of us saw!

We all have blue as a common colour experience from the remedy.

All our circles moved inwards as tunnels in an anti-clockwise direction."

Prover A:

"It was a compulsion.... to make an aperture that goes inward. We were all propelled inward yet with a sensation of expansion.

We felt that massive expansion. For me, it was the big hollow space where I could sense sound and echo."

Prover B:

"I went for the opposite: Contraction. Looking through narrow slits. I was looking through into timelessness."

Prover C:

"But leading to more space behind...or beyond?"

Prover A:

"Was there a space when you looked through? Like there being something on the other side?"

Prover B:

"Oh, yes - there was a big space on the other side....big stuff behind...but it felt the opposite of opening up."

Prover C:

"It's like how different people experience TiJill Newman: It's unfolding, or never-ending for some and running out for another."

Prover B:

"And don't forget - that within any Homeopathic Remedy you will find the opposites there, too and they can be in play".

25/02/16 Proving at Yubraj Sharma's Post-graduate class

This was a second proving conducted during a post-graduate class of Dr.Yubraj Sharma. This was a short proving within the class. There were other activities going on at the same time - but 3 three provers volunteered to take the Rx and meditate.

Here are their reports:

Prover D:

"This Rx has an affinity to 'Alice In Wonderland'. Evoking fungi and 'Agaricus' etc. This Rx has a strong connection to fungi remedies.

The energy sinks deep into the world's subconscious... below the surface.

I sense a storyline. A story running in the subconscious. Past lives.

This Rx will help one 'pop' up and down from the surface. To go down into the subconscious. And one will surface somewhere not necessarily from the place one left from. It's a journey down there and then coming back up into a different 'you'. "

Prover E:

"The first thing I felt was my heart beating. A pulsation going through me - it moved up to my head. Not the most comfortable feeling!

It's like I am not where I should be. Strange!

I was very aware of all the noise around me and found it irritating....but then I found a peaceful state after that I could retreat into."

Prover F:

"I was conscious of my heart beating, too and feeling really irritated. Like there's a lot of chaos. Things are going in different directions and it was really hard to pull things together and be still. Then there's this place where I'm accepting all this crazy chaos - and it's really quiet within."

10/09/16 Proving with artist Marcia Scott

Marcia Scott is a professional artist. She has been making and exhibiting an extensive series of abstract paintings: intuitive and luscious glossy colours on canvas.

She once explained to me how she meditates before painting to channel colours, themes and moods. http://marciascott.org.uk/

I thought she would be an ideal candidate to prove C.O#1. I knew she would engage with the idea - and I was confident that she would approach such a task with a delightfully open and generous heart, a natural intuition and a professional attention.

She was already set up ready to paint in her studio when I arrived. I gave her the remedy and left. After 40 minutes, I returned to talk about her experiences with the remedy and the visual marks she was inspired to make.

This our conversation afterwards after painting:

Marcia:

"It was interesting for Jill Newman: I felt quite connected to the intuitions of this remedy.

So, firstly, I started my painting with the colour blue. I got a sense of "bubbling up."

My eyes felt more sensitised, focussed and open. Which is nice for an artist!

I felt compelled to get up and put on some classical music for some reason. This is not what I normally do. I don't dislike classical music - but it usually wouldn't be my choice. But it did feel right this tiJill Newman: I had in mind a certain sound. I played the music for a while but I turned it off eventually because it wasn't close to what I was hearing in my head. Yes, I was hearing sounds, music (maybe strings?)

I felt very definite about the shapes and colours. I did these blue vertical lines strokes and I was already sensing the next colours and shapes I would make.

So I went from the blue lines to the green, then the orange, the yellow, and then the red. And, in some ways, that is where it stopped." (With the red dot)

"It was an interesting process for me - it felt like a step-by-step process. I felt very supported by the remedy. Comfortable. My eyes, in particular. They felt nicely well-balanced."

Jill Newman:

"Tell me more about your first marks - the blue ones."

Marcia:

"Well, they were like waves. or a waterfall. But upwards!

The very first sensation I had was of 'bubbling up'....swelling......expanding.......which felt a positive thing. Then I wanted a 'spring'.....upward moving which was translated into these three blue lines. It seemed to be balanced. A balance of water.

Then it moved to the green.

Naturally, the green colour came next. A fresh colour - and the shape was like an 'opening up' - seeing a new vista!

It's like seeing a new landscape....and I painted it leading upwards. yes, it's all about the upward movement. Maybe like looking up at a curved hill. It's a definite upwards thrust!.....In nature it would sky, perhaps."

Jill Newman:

"I can see some very defined rhythms: curves, linear, gentle upward movements. And each shape and colour is quite separate from the others in the composition."

Marcia:

"I worked on each shape individually and as each one felt complete - the next piece would literally come into my mind. And it all culminated in the red.

I found it hard to get a real red. To get that intensity. I was thinking of the intensity of the sun - capturing the light at dusk. Soft as well as intense. have you seen those suns?

Red is red. It always jumps out and hits your retinas. It's potentially all-consuming. I worked a long time on the red disk. I was determined to set a perfect circle. I wanted it

to look as if there were no brush-strokes........ But to get that by hand.....

I think it was the full stop of the piece."

(Points to the light, feathery brush strokes between the yellow lines and the red disk)

"This was nice....like air."

Jill Newman:

"Do you remember the direction of motion when you painted the circles?"

Marcia:

"I painted the red circle in a clockwise motion. Actually, there was an element of both directions. I wanted to push the shape out. I wanted it to resonate....to sing! I wanted

it to almost be separate from the background."

Jill Newman:

"Like a 3-D planet or sun?

I'm also noticing that the colours are mostly primary ones"

Marcia:

"Yes. The orange circle - that was clockwise.

The yellow lines, in my mind, are like perfect strokes. And each stroke is an individual: The first is just pure yellow paint; The second has a drop of venetian turpentine in it;

To the third, I added some white. That last one works the best. I wanted to get the perfect yellow.

What you see in your eye and what you create isn't often the same thing. I had an idea of freshness....it had to be fresh and bright.

The remedy just felt nice.

The bubbles were high up around my head. They were blue bubbles.....watery, too. The bubbles lead me into the painting to make the three blue waves."

Jill Newman:

"Let's look at the overall composition on the canvas: the arrangement of all your shapes. If we start at your first marks - the blue waves - and then travel around the canvas in chronological order until we end up at the red full-stop....look what happens: it's an anti-clockwise spiralling journey!

You are describing an inward spiral made up of upward-motioned forms. All is in elevation until we reach the solid, heavy red disk containing all the density of the effort you put into it. And it comes out at you.

What about the earthy swathe of colour at the top left hand corner? You haven't mentioned that yet."

Marcia:

"Because I'm not sure about it. It wasn't part of the original flow. If I'm being honest - I'm not sure of its integrity within this proving. I wonder if it's me - the artist - just carrying on. I made it after what I considered to be the full-stop, you see. I considered painting over it in black but I would be sad to lose it. it is nice and warm and earthy."

Jill Newman:

"Well who knows where the remedy ends and where oneself starts during a proving? And who knows what really is The End?! Maybe there's no such thing as a full-stop. It's that theme of expansion again."

Marcia:

"Yes, who knows what is right or wrong? I was willing to take a risk. I was experimenting with texture...becoming more 'painterly'.

Jill Newman:

"From an aesthetic angle: it fits nicely alongside all the other forms. They each have their own characters.

How did your energy feel during the proving? Did you do anything unusual for you?"

Marcia:

"I felt in balance. I felt at peace. My ideas were flowing calmly and logically.

But I felt compelled to listen to classical music. It didn't match with the music I heard in my head so I turned it off. The music in my head was uplifting and warm - but this got a bit 'squeaky'. I heard warmer tones than the violins on the recording.

I have enjoyed this exploration very much and will be up for doing another proving with you."

Main Remedy Themes: In order of commonality of experience (and reported by more than one person.)

Blue (colour)

Expansion (...and contraction)

Circles (....of light, shimmering)

Portals, apertures, openings, vents (looking or moving through...)

Chaos and calm

Hollowness

Space (opening up)

New vistas

Massiveness

Movement (upward, ascension, spiralling,)

Motion (clockwise and anticlockwise )

Journeys (inward and outward)

Light

Air

Earth (and warmth)

Calm

Perfection (striving for...needing precision....)

Pulsations (heart)

Spine, skeleton

Lines

Music

Sound and echo

Layers

Timelessness

Spirituality

Jupiter

Lungs, Eyes (vision), Heart, Head

Conclusions:

First observation: My original meditative proving made at source has a lot more physiology than the later, art provings from the 6c potency. They are more energetic and etheric. (I intend to continue on from this, to conduct further provings with 30c potency.)

I am reading each provers' experiences and looking at the artwork produced. As I am collating the common themes, I am struck by this thought: The remedy I have made seems to have captured a moment in time and space, beyond the sounds produced by the church pipe organ (and the music played through its huge form.) There seem to

be so many elements connected to both the interior space and the environment beyond its confines - architecturely and energetically. I can see the whole experiential environment of sound, architecture, atmosphere, geography within the artwork.

There is the atmosphere of calm and peaceful contemplation - a bubble of calm and balance in the midst of a frenetic and cacophonous world. Some provers said they felt

a sense of chaos - and then of calm. As if they had energetically journeyed from the outside world of business into the peace of the church. One prover describes bubbles.

The chaos of the outside environment begets the calm of the interior - and visa-versa. They are opposites that need each other to define themselves. We can recognise a calmness when we have been through chaos and we are more acutely aware of chaos when it impacts on our peace.

These themes were very strong in the provings.

Also, portals: To enter this place of calm (both physically, aesthetically, aurally and spiritually) one must pass through an almost secret door. A "rabbit hole" into a different world? A portal to another way of being? Portals, apertures, openings, new vistas, journeys into different spaces and an "Alice In Wonderland" experience were reported by most of the provers.

There is a classical purity, precision and balance within the architecture who's carefully considered dimensions allows one enough space to spiritually "expand". Does this correspond to a need for perfection and to be very precise, another theme within the proving?

Now, look at the photographs of the interior of Wrens' masterpiece. (Below) Can you see circles of blue created by the windows, indeed, circles repeated and echoed all around within the space? Again, the colour blue and circles are a common feature - blue circles even!

The whole interior is designed as circular and inclusive (non- hierarchical) with seating arranged in concentric circles around a central, round, organic form of marble

(the alter by sculptor Henry Moore)

The sounds from the pipe organ emerge as magnificent emissions of air from the vents on each of the hollow pipes and can expand to fill every inch of the interior within a

split second - and the notes tend to "float" in the air in cloud-like layers - and hover there before dissolving. The sound can expand to huge proportions, then contract so small - they are barely an audible whisper. These great contrasts of volume can be created within seconds/notes. There are themes of air, expansion and contraction (physical and spiritual), hollowness, vents and music in the provings.

Notes on some of the themes: (I have highlighted some key words that were used during the provings.)

Blue is the colour of all-inclusiveness. You will see in the existence, anything that is vast and beyond your perception generally tends to be blue, whether it is the ocean or

the sky. Anything which is larger than your perception tends to be blue because blue is the basis of all-inclusiveness. When someone attains to their highest but chooses to

be active in the world, his aura will always be electric blue. Anyone who was dynamic was blue. It is this type of aura which allows you to function in the world in a way

that other people think is superhuman. Blue – Used for: Healing, peace, psychic abilities, patience, happiness, inner peace. Protection.

The Circle is the universal symbol of unity and infinity. Many scholars believe it was most likely man's first symbol. The circle is symbolic of all cycles: the seasons, life and death, the movement of the planets; the self, eternity, God. "God is a circle whose centre is everywhere and circumference is nowhere..."

Hermes Trismegostus

Every other (human-based) understanding of the circle symbol meaning stems from that one moment of looking out from the eyes of the first human. From the life-giving

solar orb, to its emotionally charged moon mate who sees to the flow of spiritual life, the influence of circles is literally stellar, as it is cosmic and celestial.

It also represents protection, gold, and as the glyph for zero, nothing. The circle has been part of our social and spiritual beliefs from the beginning. Man has built homes, hearths, animal pens, wells, villages, and religious and magical sites in circular shapes. A circle is a continuous line which separates the inside from the outside; a space that is part of, yet separate from, the rest of creation. The circle divides the known from the unknown and therefore represents a protected and/or consecrated place.

Inclusion, Wholeness, Focus, Unity, Nurturing, Cycles, Everything, Perfection, Womb, Egg, Infinity, Completion.

The circle symbol meaning is universal, sacred and divine. It represents the infinite nature of energy, and the inclusivity of the universe. Our ancient kin observed a circular aspect to the cycles of time, specifically in the movements of the seasons. In waltzing rhythms of time, and with the revolutions of the earth 'round the sun, we can feel the same kind of evolution in annual time and seasons - just as our forefathers and mothers did.

Spirals. The use of the spiral in sacred art can be traced back to the most primitive societies. The spiral has been one of the most used shapes in religious and magical symbolism. This may be because the spiral occurs often in nature: animal horns, the human ear, snail shells, and fern fronds.

The spiral represents anything that expands and contracts: the rising and setting Sun, waxing and waning of the Moon, the seasons, and life and death. It symbolizes the movement of consciousness towards the inner understanding of the Oneness of the All. An inward spiral, clockwise, represents the focusing and projection of an intention,

like a prayer. The outward spiral, counter-clockwise, represents fulfilment of the intention, God's answer. Double spirals have been used to symbolize opposing forces and

the androgyne, the personification of opposites blending to make a whole. A clockwise spiral is generally regarded as a portal to ‘the sun’ – symbol of exit from reincarnation, an anti-clockwise portal as a portal to ‘the moon’ symbol of reincarnation

Sinews, tissues, blood and bones are all organic forms that are spiral in their construct. So we see in trees, their sap, branches and trunk grow in spiralling movements. Spirals, in essence, depict life, movement, development and growth.

We see spiralling movements everywhere in nature: smoke billows, waters, air movements, weather, birds ascend together in spiralling columns. out into the cosmos, we now know that our Milky Way is a giant corkscrew spiral as are most star nebulae. Humans repeat the pattern on Earth with their ancient use of labyrinths and rock art.

The spiral has more than one meaning. It can represent the gyre – the basic unit of energy of the universe.

Alternatively it can also represent a portal. Vortexes of energy can occur within spiritual experiences and are frequently a means of travel from one level or layer to another acting somewhat like a tunnel. Thus the out-of-body traveller may find himself or herself picked up in one area and dropped in another – all this remember is within the experience.

If the sign is placed on a rock or stone a spiral sign can mean that that is the spot where this may happen. In other words this spot can produce a spiritual experience.

Vorwort/Suchen Zeichen/Abkürzungen Impressum