I am very excited to discover Cymatics and the study of brain rhythms by Gilley at the University of Colorado at Boulder.
Two areas jump out for me. One is multiple signal interconnections in the brain of the drummer and the other is the curved flows of energy between parts of the brain that establish networks of signals.
This is the clear language I am looking for in my study of signals networking the entire body in the study of dance.
Another exciting insight is the mathematical models that establish curves in the shape of the brain that verify a line through the center of the cranium, a cross-section of the brain.
This line is a mathematical model of what I refer to as the Centrum Cranial Diaphragm. I am interested in the ways dancers learn to pass signals through horizontal planes or diaphragms of the body and connect these diaphragms into signal networks.
These networks pass signals within and between diaphragms that build the interconnection of awareness and the creation and variation of patterned manifestations in movement, sound, and light.
My interest is in the fluid ability of musicians and dancers to create and continually reshape patterns in capsules that represent the complex nature of the human networks both individually and as groups. This is the work of the artist. I am delighted to see scientific research discover the importance of this process for activity in the brain and for the importance to understand learning and rehabilitation for all ages and types of humans.
With dancers, I believe that the areas of melody and rhythm are keys to all these studies. These studies of the brain rhythms are very exciting. Dance is important because all the complexity of the drummer’s motions and rhythms are being created within and outside the dancer. The dancer builds networks in each tiny area of the body and brain. These networks are called on to operate simultaneously in different directions with different intensities and coordinating all systems of sensation, emotion, intention, and continual support and repair.
In order to manage all this interconnected complexity, the dancer must also train the focus to shift between a micro and a macro view of all human systems. Understanding how the dancer does all this is my passion for looking into all realms of the experience of the dancer as well as the scientific and metaphysical study of those experiences.
Tim Hurst 08/25/17
Here are my notes from Cymatics and Brain Rhythms. My minimal understanding of science and math means I must catch the simplicity as I understand it in reference to my own study.
Oscillation of shape and sound
Water droplet levitations
2nd harmonic. Duple
3rd harmonic. Latin off beats
4th harmonic. Latin off beats in duple
5th harmonic. Equal emphasis all directions
6th harmonic. Equal shimmer in triple
7th harmonic. Shimmer in all directions
8th harmonic. Shimmer rhythm creates a circle
Rhythm and the Brain: Superorganism
Studies of the drummer’s brain.
Brain Rhythms: functional brain networks mediated by oscillating neural coupling
firing: synchronization: neural connectivity
Wave forms above and below a line: bottom up
Two areas of the brain establish a curved energy flow connecting below and then completing an ellipse connecting above.
Complete categorization of brain rhythms
My postulate of a Centrum Cranial Diaphragm
Line through the Cranium
Beginning at Brow between eyes: Top of soft palate: Temple area connecting Sphenoid internally and at Cranial Base: Pineal Gland: Hippocampus complex of brain: Completing at Occipital Sutures and Fourth Ventricle.
Sources used to support a Centrum Cranial Diaphragm
Cymatics identifying spirals as a basic shape in all nature from cells to universes and in all organisms: mathematical models that divide these spirals into ellipse and lines
Spiral in the Cranium: modeled as sets of triangles and One line passing through the center of the cranium edge to edge cross-section; through center of brain.
Tim Hurst 08/25/17