https://www.online-literature.com/forums/blog.php?7385-title The largest classic literature discussion forum on the Internet. Read Write Teach Share. en Sat, 06 Jun 2026 17:43:48 GMT vBulletin 10 https://www.online-literature.com/forums/images/misc/rss.jpg https://www.online-literature.com/forums/blog.php?7385-title https://www.online-literature.com/forums/entry.php?3455-suvarna-nalapat-s-Blog Tue, 23 Oct 2007 06:08:26 GMT Division of globe in ancient Indian literature. King Priyavratha had seven sons each with names synonymous with Agni or fireGod.The purana... Division of globe in ancient Indian literature.

King Priyavratha had seven sons each with names synonymous with Agni or fireGod.The purana considers the world as 7 dweepa or islands belonging to these 7 Agni or fire,who were brothers.
Jambudweepa Agneendran
Plakshadweepa Idmadwajan
Salmali dweepa Yagnabahu
Kusadweepa Hiranyarethas
Krounchadweepa Grithaprishtan
Sakadweepam Methathithi
Pushkaradweepam Veethihothran

Annie Besant and Madame Blavatsky identify these as follows.

DWEEPAM ANNIE BESANT BLAVATSKY

Jambu Asia Eurasia
Plaksham South America South America
Salmali Australia Australia
Kusa oceania oceania
Krouncha Africa Africa
Saka Europe Atlantis
Pushkaram North America North America
According to Blavatsky the Plaksha ,kusa ,salmali and Krouncha had been under the sea for a long time and surfaced again and Sakam which is at present submerged is the legendary lost Atlantis.A part of sakadweep called the swethadweepa or white island(Shet land)is the present Greenland and parts of Siberia.Bhavishyapurana says that swethadweepa lies beyond the salty sea and Magha Brahmins of this land had once built a sun temple for Sambha,the son o f Krishna and Jambavathy .(Varahamihira was adescendent of Magha Brahmins).Jambavathy,the daughter of Jambavan,the oldest root race of inhabitants of the world(partly human and partly Riksha-the bear-ape man)was asouth Indian wife of Krishna and belonged to the oldest Adivasi of the continent.Thus ,the relation of Atlantean race and Indian race is mentioned in scriptures.

Maya is a generic name for the people of sakadweepa.or Atlantis.In other words ,Maya,the yavanasilpi or architect of olden times was also a Magha Brahmin and who knew solar and lunar calendars and vaasthuvidya.He was the one who built Indraprastha during Yudhishtira’s time and another of his race with the same generic name was the father of Mandodari .(Ravana’s wife).He was an original inhabitant of sakadweepa(Atlantis)and he had come to live in present Rajasthan during Ravana’s time.The word Asura and Azorus ,Atlantis and Atlantic ocean and Athalam of the scriptures are from the same root .According to Sounakahora ,Maya was a astronomer of excellance and he taught astronomy to the great Rajarshi Viswamithra.The original abode of Maya according to Indian scriptures is Romakapura in Athalam.(The Romakapura spoken by the Mahg ha Brahmin Varahamihira ,is this Romakapuram of Atlantis and not Rome.)Romakasidhantha of Maya,the yavanaguru came from Atlantis and not Rome as the historians of Astronomy think.The knowledge came to India in very very ancient times .When Viswamithra accepted the southern stars as polestar there was agreat debate between his disciples and disciples of Vasishta who followed the northern star clusters.
Jambudweepa had 9 divisions.Between the two poles run the Meru and around it the aretic region Ilavritha is seen.Around Meru are the Bharatha,Hiranmaya,Ramyaka on one side and Kethumala and bhadraswam on the other side of the Globe.The orthographic map(Fig 1) shows this division clearly The tropical landmasses above equator ,speading almost 270 degrees on the globe’s surface around equator represent Jambudweepa.Therefore,Indians,Lankans,peoples of Atlantis,Arabians,Babylonians and Nazreans belong to the race of Agneedran ,the firstborn son of King Priyamvada,In Puranas Jambudweepa is compared to a lotus flower.(fig 2)When Atlantis sank,parts of Jambudweepa also sank,since they were continuous landmasses in the tropical belt.It also includes parts of central and south America,When these landmasses sank people of Plaksha and Jambudweepa lost all communications between them .People who had already migrated to other parts of the world continued the culture there.(As mentioned in Ramayana ,when Kaikasi ,daughter of Malyavan is married to sage Visravas in Nepal and Ravana born to them)Readers digest publications The last mysteries of the world “Voyage to Atlantis”gives the evidence of this migration of culture.The people of central and south America ,people of Crete ,of Timbukthu,South India and Lanka and probably the people who built stone henges in England are descendents of the same race.The interchange of the Azorez(Asura)race and Indian race started even before Atlantis was lost and continued even after that.The reason why Ravana was married to Maya’s daughter(who had been earlier inhabitants in Rajastan)was precisely the fact that Maya and Kaikasi belonged to the same race.Both were Azores people.In central America there is still a mountain called Maya and an old culture called Mayan culture was there.The Mayan people of central America were great builders,architects,astronomers,and sun worshippers just as the Puranas of India describe them.If these facts considered just as coincidence and left out,our reconstruction of history would be incomplete.
In Skandahora.the globe is divided to 4 halves,each about 90 0.They are Bhogavathy,Samyamani.Sidhavathy,and Romavathy.The globe is further divided to a sixpointe dstar (shanmukha or 6 faced one)each arm with 60 0.(fig 3) If these divisions are computed on to the globe given by Varahamihira in Panchasidhanthika we get the following.(fig 4)which is a tortoiseshape ..The route of Arjuna when he did his digvijaya all over the world as given by Mahabharatha of Vyasa is the same as we get in this figure.Vyasa was a person belonging to the kaivarthaka or seafaring parathava of Tamil nad.
Kimpurushavarsha is the Rusha or modern Russuia.Ramyakavarsha is present China.According to Gargabhagavatha Hari once took birth in Swethadweepa as its king and it was then called Harivarsha.
Was this division known to Rgveda?Rgveda speaks of the division of Globe by the Ribhus.Rishi vamadeva says we don’t know the exact date on which this first division happened.(Ch 8.sooktha 51.Mandalam 1.Rgveda).The first Ribhu divided the globe into 2 parts of 180 each.Vibhu ,the second Ribhu divided it into 3 parts of 120 each.Vaajan ,the last Ribhu divided it into 4 parts each with 90 0(ch 7 sooktha 33) Rishi prajapathi speaks of 6 horses of sun ,5 in succession .These are 6 seasons and the 5 years of panchavarsheeyayuga.She speaks thus:-“There are thus three areas above or on the back and of these only one is visible and other 2 invisible.Below there is a beautiful core with three yoni ,three breasts,and three heads of dharma.In each of these three parts the sun stays for 4 months.The sun makes love with one devi for 4 months.Then leaves her for 8 months to stay with the next two devis.He repeats the cycle every 12 months.These areas are called the varsha because the sun gives varsha or rain to each of these successive devi areas while he stays with her.Varsha is the love of sun for the devi.The people in the 3 varsha are the devas.The devis are Ila,Saraswathy and Bharathy”This passage clearly shows that the rishi knew the seasons of India and its effects in 3 different parts(ie the monsoons were known)And all men were called deva.Asuras were people of the western hemisphere or people of Azorez/Atlantis.All of them were sons of Vishnu .In his three consorts mentioned above as rivers.Ila I ais Nila or Nappinnai of South Indians.
When globe is divided to 12 parts of zodiac (on a different scale)only 9 are visible landmasses in equatorial plane.2 are on other side of globe and hence invisible to Indians.The rest is Aleutian islands from where we see sunrise.The 2 invisible and the Aleutian sea(3 divisions)were called Thribhonam by ancient Indian astronomers.
Thri=3
Bham=zodiacal sign or raasi
Oonam=minus
That is the word means minus 3 signs (or minus 90 degree) The first landmass visible on east of Bharatha was therefore called Ribhonam which was pronounced as Rippon or Ribbon in Japan as the name of their land in early times.The meaning is the first landmass in east of Bharatha where the sunrays touch after traversing the 3 divisions of the globe invisible to the east (or eastern landmasses).The land of the rising sun.
From this point landmasses divided into 3 divisions comprising 90 degree each.The northeast part represent the Arctic area is Ilavritham .Middle Bharathy,lowest southwest Saraswathy.When sun rises in Lanka or Ujjain sun sets in Kethumala and Sidhapuram.At kuru and Romakapura it is midnight while Bhadraswa and yamakoti it is noon ,says Varahamihira.
Kethumala is the present Guatemala and Chethumal in gulf of Mexico.Sidhapuram is Theothihuacanand Tula in Mexico.Kuru includes part of Sahara and west boundary of republic of Mali.Romakapuram locate din Azorus islands in Atlantic ocean ,the place of old Atlantis.(Plato had mentioned Atlantis in Greece).For Indian mythology this great landmass belong to Azura.And was submerged by Vishnu(God).They have faithfully recorded the history and science of the survivors in scriptures.
Bhadraswam and yamakoti along with ar e along the Aleutian bay in pacific ,sakalin and kuril islands including.From this it is evident that ancient Romakapura of astronomers is not the modern Rome.The social,cultural links between the oldest inhabitants of Romakapuram and Kuru (which surprisingly includes Sahara desert and Mali republic).and the evidence of caves in Sahara desert where humans lived millions of years ago and the Dogon tribes of MALI (Thumbukthu)knowing the Sirius star and its binary (which is known to samavedin Dalbian rishi of India also)and some of the aspects of Romakasidhantha the links are more wide and ancient than suspected by the European enthusiasts like Max Muller.It goes to roots of world history .Not to Indian history alone. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?3455-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?3354-suvarna-nalapat-s-Blog Tue, 09 Oct 2007 04:32:27 GMT A sacred Pilgrimage There are 7 stages in a sacred pilgrimage1.The stages are ideas ,not rules. 1.What it means to be a pilgrim?How different it... A sacred Pilgrimage

There are 7 stages in a sacred pilgrimage1.The stages are ideas ,not rules.
1.What it means to be a pilgrim?How different it is from traveling between 2 points?
2.Read the sighns,the journey as entities.That they take a life of their own.
3.Aware of our companions.Why we are in a company?This is not always an easy task in life.
4.The history,the story we are witnessing or experiencing ,its social ,spiritual,cultural,historic or even political implications.
5.We loose the role of a mere observer in the 5th stage.We become part of the landscape,part of the story ,of history.
6.Visionary appreciation of the travel.As when heaven and earth touch.We see with the eye of the spirit.
7.Finally affirmation of the fact that we are truly divine children,children of God,we are spiritual people not merely physical.Pilgrimage as a way of opening ourselves upto that in a way which both confronting and reassuring .We become one with the story in advaitha.The observer,the observed and the observations or interpretations become a wholesome one.

Life is such a pilgrimage.And at the end of this pilgrimage we realize our real nature.

In the wilkepedi a,the earliest timeline of the Indians is shown as Rock shelters of Bheembhektha at foothills of the Vindhyas2 (9000-7000BC)and Mesolithic cavepaintings and stones in Edakkal /Thovary which UN has declared as world heritage sites.
Edakkal and Kodakkal of Kerala had been two fascinating sites for me.
Kodakkal:-Indian archeology between 1784-1830,was full of fieldwork discoveries3 of ancient sites.4 of them were
1.Nellore north madras area yielding roman coins
2.Near sarnath temple complex an ancient temples with bonerelics inside a vessel (one of the worshippers of Budha buried there)
3.J.Babbington reporting Pandoo coolies in Malabar showing 4 drawings of iron objects ,pottery ,beads,from kodykulls or megalithic graves marked by umbrella stones.First illustration of Indian prehistoric megalithic antiquity .Two types of megalithic burials .Kodykul and Topie kulls.
Kodaikkals contained urns ,borns,ashes,iron instruments of various shapes,colours and materials ,periods of construction not known.Babbington reported.
4.Megalithic graves of Oopulgutt 36 miles south of Hyderabad.cairn burial within pots(chutty)3 ½ feet from ground level a complete chutty was unearthed.a few inches further down a broken one.5 skulls and bones were also unearthed.And Voysey studying one of the skulls reported it as that of a Hindoo female.The first published instance of an skeletal study in Indian archeology.
25th Aug 1806 Henry salt described Jogeswary caves thus:-Tigers in the island,resort to a desolate cavern in search of water .Their footsteps ,seen in dry season when they take up abode there.This is interesting ,because 200 years later (present)Jogeswary lies within the modern city of Bombay.
Buchanan studied Nalanada in the village of Bargaon with Rajgrih closeby and the Barabar groups of caves ,a drawing of the door of the Lomash Rishi cave (Lomash is Romash or the ancient Romaka )
In 1830 Leeutnent colonel James Tod noticed that worship of the Indians is based on astronomy.It originated in India proper and scinthia(sindhu)Bania (banvaasi),Jalindra(Jalandarapeetha)Gaya,Gwalior,D humrar,Ellora and Elephanta.
H’T.Colebrooke in 1807 wrote that Indian history should be studied first by editing the ancient texts of India,then deciphering ancient inscriptions,and only then a dependable framework for ancient Indian chronology will be obtained.

Kodakkal

These ancient monuments though reported earlier than many other monuments are not yet studied fully.
I am interested in them because they are in the Thalappally Thaluk of the ancient Rajavansa to which my mother’s father belong.Recently when I visited England ,I wanted to visit the stonehenges in Salisbury plains .And we spent a whole day there .The stonehenges of the druids and the kodakkals are both megalithic stones but have a very different orientation and sculptural features.The megaliths of Cornwall4 bear resemblance to kodakkal of Malabar.
I will first describe the kodakkal.
Koda or chathra means a umbrella which is a Royal insignia.Ekachathradhipathy means an emperor who has no rivals .The sakthipeeta or area between heart to crown (from equator to pole or dhruva)is ksha or cha(syllable)and is called chayachathrapura.The mirror image kuda area.The Ay dynasty when they spread all over the world from equator to pole they used to wear a umbrella and a kol (chenkol)as symbols of overlordship.Women of the family take an umbrella to cover their face and head(still followed in some orthodox families of Brahmakshathra of kerala.If we go to the naaga mothe rat Manaarasaala you will find the old womanchief carrying a kuda(umbrella) .When Mahabali comes we still put a chatra made of palmleaves over his head.
Apart from cheramangad ,other sites in kerala where such kudakkals are found are,
1.In calicut district Paithoth,Aasarikkandiparamba,veloor,cheruvannoor,A tholi,kodasseri,Naduvalloor,Koduvally,cheruppa.
2.In MALPPURAM ,Thirurangadi,Pattarkulam,koduvayuer,mankada ,pallipuram
3.Palghat ,Andumkallur,
4.Kannur cheryuthazhath
5.Trichur ,Eyyal,Arikanyakayur,porkkalam,cheramanghat
(That is the entire Malabar area from Kannur to Trichur have kodakkals.)
Of these the names kodasseri,koduvally,koduvayur suggest the name koda itself.The names Naduvallor suggest the habit of Nadukal in graves,Mankada and cheramankad suggest the burial places ,cheramankad with suggestion that it was burial places of the ruling class .(the umbrella signals that also)Andumkallur (Andum means rulers and kallu means stone)also has the same meaning .Pattarkulam suggest the place of old bhattaraka rulers.

The Porkalam or warfront ,and the iyyal or eyyal (sending arrows)and the multitudes of umbrella stones in Trichur district suggest that this was a favourite site where the royal families had their battles and were buried in large numbers and it also denotes very antique importance as the place and the raajavansa here is called thalappilly (Head is Thala )as in the thalaikaveri or thalaimannaras the origin of Kavery and Mannars.The original Rajavansa is located here due to these features.
The ancestral bali is called kodakku kodukkuka(giving alms to the koda )and in this koda means the ancestors or Pithru .
Those who have looked at the Bourne stone inscriptions5 obtained from America will find that the third letter is a kuda and the inscription is in ancient Brahmi.

Indian ocean was known as the milky ocean of Vishnu till the period of Ptolemy.One can see in the TOMaps 6of the medieval period the words Palud FUF Man (Palai saamundamanai of Ptolemy)marked faithfully illustrating this point.The TO map shows on the horizontal arm of the T Fatru Ayyanthanai (Ayyan is pronounced as Aiin thanai)and Fathru or pithru is the ancestors (the Ainthiunai or panchajana of the ancestors).

The TO map shows the symbol of sukra and of female .The adikshetra or adaysathron of Ptolemy was kerala.or the south India in general., Dravidadesa ,in the coastal beds of the sea.The rulers were Ikshawkus till the time of Ptolemy as given in our texts or scriptures.The Noah of Bible is Satyavratha of Dravidadesa who lived in the kerala/pandya territory.
Towards the southwest of the Adikhethra ,Ptolemy has reported Rikshaparvatha(Uxanthion)which is Rikshamukachala of Ramayana in the Sabarimala area.
Why Am I writing these before I start writing on Kodakkal.?
Because ,only then the geographical importance of the west coast of India and its most ancient stone remains will be understood in its proper antiquity.The travel by searoute is recorded right from the vedic age.But it started with the prevedic people.The earliest tribal inhabitants of South India and south east Asia who were able to understand the geodesic of the searoute and the monsoon winds very early.And this made them ekachathradhipa of the entire world.Viswamithra describes how to make an ankh or the nankura of a ship with wood (ashtaka 3 anuvaka 1)Nankur became ankhur or ankora in Latin and greek and from it we get the word anchor.Those who were wearing the symbol or mudra of venus(sukra)or the nankura were the saamudrika or one with the mudra(sammothiri later)and in Japan it means the son of a king who is a warrior(not a king).Which is equivalent to a raajaputhra.The raajaputhras were adventurous travelers.Egyptian kings had this mudra.While in India ,the mudra was not worn by the king but a king’s relative or a rajaputhra(raajanya)Chathra was the mudra of the emperer or king.The stonecaves and stonehouses of Polynesia are called Hareppanga which closely resembles our word Harappa.And they have the first of the tribe selected as ThangadaManu (Manu is the first king in India also)by getting the first egg of the Manuantharo bird by crossing the ocean in September.
The September is the Chinga/kanni or Bhadra/aswina of kollam and saaka year.Both Keralites and Polynesians have considered this as their year beginning ,when the southeast monsoon recedes and the northwest sets in.Manutharo is closely resembling the word Mohenjodaro.The Taro,sacred book of Enoch ,was written years before Abraham was born.Madam Blavasky7 says that this book originated from India(secret doctrine)
Koorgans were the burial grounds of scythians.Kodaku was that of the south Indians.Kaveri ,the southern Ganga originate from kodakumalai.The adipithru of this are a are called kodavar even now,and 8 kms from the vakmandala(baghamandala)is thalaikaveri ,the origin of kaveri in Kodakumalai.The bhagandeswara of kodavar is Vishnu as well as subramanya ,his nephew..Chanakya says the burialgrounds of soodra are in southern parts.This means ,the common practice of burying the pithru in the southern courtyard of every house.The thalappalli taluk cheramanghad being in the south of India just shows the old custom .The fact that Chandraguptha accompanied Bhadrabaahu to kodakumalai to end his life from there also shows that this custom was carried over to several successive rulers from the megalithic to the Maurya period.Chandragiri near Sravanabalagola inKarnataka wsas earlier called the kudavapram or the country of the dead (pithrus).The rite which Chandraguptha did was called Sallekhanamaranam (equivalent to samadhi)and from BC 3rd century to AD 14th century similar rites had been recorded here.Only after Chandragupta’s praayopavesa the place got the name chandragiri.
AD 974 Narasimhan second AD 974 Indran the fourth did prayopavesa there.This area with 92 burials was a favourite site for the yogi clan of Ikshwaku while the Cheramangadu was the favourite site of the royal clan with umbrella insignia and the yuvaraja with toppi insignia.
According to Ramayana ,Mareecha was doing this penance at the western coast of India when Ravana approached him .Naabeeputhra Rishabha of ikswaku clan (first Therthankara)also did penance in the coasts of southern ocean and preached bhagvathadharma.His sons the Navayogins lived in the south India and did penance in Munimada and were instrumental in many places of worship in the area,like Thirunaava,Guruvayur etc.
The Thalappally rajavansa ,as I mentioned earlier is my mother’s father’s vansa and some of the recent famous men of the vansa are C.KunjanRaja of Adyar Library,the scholar Kunjunniraja and C.Unniraja and C.S.Rajan (supreme court judge).Here ,I am describing a few prehistoric stone monuments belonging to Thalappally Taluk ,to my grandfather’s clan property.

There were 5 complete kodakkals and a partial one,and a rectangular structure underneath a paala tree in a protected enclosure(Archeological society of India)in Harikanyakayur ,near the Devi temple (kandanassery).The proportions of the kallu were striking.3 of the complete stones were measured.(see figures 3,4,5,6)
1.The medium kodakkal at the corner which is complete but small.
Height 60 inches(5 ft)
diameter 360 inches (6times 5 ft)+12inch(372)
Had a round base below with same diameter

2.72 inches (6 ft)height
432 inch (36 ft)+15 inch(447)(The biggest and the most finished one)
The base 4 stones had 41X 30 inches size as the fallen stones described in 4.
Had round base below with same diameter.
There was small openings in the base stones through which one can just pass onees hands.One of them like a yoneemukh.(see pictures)
3.46 inches height
288 inch (+)48”(336)diameter.(In front of the Paalatree near the 3 stone rectangle)There were 2 more kodakkals one of them had a cleft both in the koda and in the corresponding base.

4.
X 30 inch breadth 41 inches height (4 basestones only.The koda is missing.)96 inch(8ft)and 6inches diameter for the top of the 4 stones together.
1230 inches (41X 30)for each of the 4 stones at the base .
Diameter of the 4 stone together is 102 inches.On which the Koda rests .
It appears that the people who made the kodakkals wanted to convey the mode of construction of it.The 4 basestones without koda is possibly for us to see that the measurements of the base stonesa nd their orientations should be such and such before one attempts to balance a koda on them.
5A rectangle made with 3 stones,(one side kept open).The rectangle has 12.8X10.2 size with a diagonal of 11.5
The position below the Paala tree and the way it is constructed tells us the geometrical proportions and the custom of ancestral worship underneath trees.Paala is a tree for Gandharva and their consorts and sacred for all ancesters.The mathematical precision and astronomical ,musical proportions of the kodakkal was astonishing.
)

1 Arabian sea
2.Ponnani
3.Chowghat
4Calicut
5Trichur
6.Palghat
7.Kunnamkulam/Guruvayur
8Coimbatore(old Kongudesa

9 Paari(parambimala/parambikkulam)
10.Kaari


11 Veliyan (paari,kaari and veliyan of sangham age)
12 kannore.(The figure above show the location of the kodakkals and other megalithic structures from Kunnamkulam to Edakkal ,Thovary)

13.Edakkal ,Thovary in Wynad ,Pulpally
A travel has an external component and an internal one.Exploring a sacred site involve both these journeys.The physical and the metaphysical.Journey to the divine begins with the first step and begins within the pilgrim.Any old sacred landscape is first observed ,and later when we stop admiring the view ,but try to reconstruct the stories about it and explain the observations ,we become part of the landscape,part of the story ,the observed and observer become merged .
How a rock came there?How the shape is like that/Why was it put there and by whom?How and why a tree grow in a special place?We then are becoming part of the narrative itself.We cease to observe.We are not mere spectators anymore.We become part of it,part of history of our landscapes,our ancestors,and that merging makes us different.
Rediscovering the old pilgrimage routes ,the sacred designs of the human mind and the landscapes,the towns and cities and forts and forests working from there to revive the beauty of the ancient lifes of ancestors is an experience anyone would love to undertake.Rivers are natural places of beauty ,peace and healing The life of people in and around Nila River (Nila incidentally is the wife of Vishnu ,known as Nappinnai in Sangham literature and is the only river which has the name of Bharath attached to it .It is called the Bharathapuzha.Why so ?It is a question that will lead to hitherto unexplored mysteries of our history as a nation.)
From Harikanyayur we went to nearby Kakkat munimata(the ascetic home or cave).Kakkat is the name given to the eldest of the Thalappally Rajaas (Kakkat kaaranavar)and is also the name of a nearby Brahmin Namboothiri family.It is said that the cave was the place of meditation of the navayogins and the Pazhoor Bhattathirisa nd of Adisankara ,a descendent of Pazhoor mana by maternal descent.It is roughly a swasthik shape from outside and is a rock ,almost in level with the ground and there are 2 openings one round and the other rectangle as entrances into an underground dwelling.The underground cave can be visualized partially from the surface holes .There is a rockcut bed on which a person with 6 ft size can easily sleep and beneath is carved 2 panels on which one can sit and recline.There are steps cut into the cave one of them very neat and round and almost like a peetam (a multipurpose stool ,which can also be used as a seat and a table for eating food if one sits on floor.)The bed is on the Northwest corner and there is a pillar carved nearby.The cave is not only a dwelling place but also carefully carved with aesthetic sense.The rectangular opening and steps to the east for rising sunrays to enter .And the round opening to the sky(sun).up.to get the sunrays at noon (Ucha of the sun).This astronomical sunrelated construction and the rough swasthika of the later vaasthu of temple construction is important in this Neolithic rockcut cave of prehistoric times.
Measurements





























The swasthik is roughly 120X 120.
(117 +16)+(35-32)=120 square with additional cuttings and carvings on sides to make it a swasthik.
Very near is the old Kallayikkunnu Narimada(dwelling of the tiger)since it was the abode of tigers for a long time after abandoned by the human beings.It is an ancient mound with a center (nabhi)or omphalos having a 3 doored cave and a partially walled structure (probably a walled city or a fortress ,(but more possibly an observatory )The boundaries of the hillock are Vadakkanchery (east)Pattambi and Bharathapuzha(north),Guruvayur –kunnamkulam(south)and Kunnamkulam ,parempaadam and Bharathapuzha beyond it(west)and is in Thalappally Taluk in Kunnamkulam.This one is an unprotected mound and is not taken up by the archeological society of India (as the other 2 monuments are).
We ascended the mound from the south ,and it was smooth because cinema shootings are done on this side and no markings are left since people visit frequently.Towards the southeast as one ascends one notices a few parellel stone formations like an ascending steps and it reminds one of an observation point (whether of sun or of coming enemies or both ,one cannot tell.).We rounded the hill on the east and found a water canal with two stones laid over it as if to walk over or to prevent water to spill over.The canal system could be to channelise the rain water accumulating over the hilltop to the bottom of the hill.The main entrance of the Cave is to the east (like any vasthu in India )and it is a wide opening well above 6ft ,so that a man can stand at the door .But as it proceeds the cave narrows and one has to crawl as one reaches the end.The steps cut into the cave,the roof markings,the stonesteps on the sides,all show that the cave was not a natural one but manmade and used by human beings for multipurpose (dwelling,defence points,observatories).There are 2 openings interconnected at the west and north and one can enter the cave through them also .But they are very narrow and one has to crawl down.The top of the cave is flat rock just as the cave previously described and the rock is carved into a neat nitch at one place where rainwater collects.
On the northwest side there are parts of steps neatly cut to a platform on top,just as on the southeast.Which shows that this was part of a stone fort or an observatory.
One has to descend the hill on the west to have the best view of the ruins of the stone fort ,remnants of which are still intact.The steps and the courtyard beneath(where there is no grass still after several years of diduse)shows the structure to be a horseshoeshaped one almost like the observatory at Jaipur etc.But very very ancient .Layers of algae are everywhere and the stoneforts are prior to the rockforts in India.There is a sacred grove and a forest on the southwest (just like any ancient Houses in India)beyond which is a small brook formed by water streams and a marshy watery area with stonecut steps and a rectangular structure well above the level of the water.Beyond is a old but small temple with 2 deities(vishnu and shiva)which is the custom of Brahmakshathra (Thalappally kovilakam has a similar duel temple at Velappaya in Avanoor but a bigger and newer one)The water is a Chira (or big tank).The stone rock has not been excavated yet and is unprotected and hence is endangered by unauthorised people ,if not for the forest and the snakes there.We could see one snake and hear the calls of a peacock from the wilderness.
The mount has a beautiful view of the entire sky as a inverted half of a ball or a inverted Uruli (vessel of brass in Indian households)and serves as a best point to see all around the sky as well the earth .(for defence )There are 3 markings ,which are straight lines from top of hill to the western valley ,which is noticed by the rich growth of plants around(showing that they are watercanals)on the western side.The other possibility of such well formed and periodic straight lines being the division of a clock for astronomical purposes(archeoastronomy)I have noticed 3 of them in west and one in east (on south none)and we hadnt explored the northern side.The west fort remnants also show part of a deep kidang all around and stonepaved channels from the chira probably for irrigation purposes of the paarempaadam and the groves.

The circular mound,the horseshoeshaped western fort ,the straight line markings on mound ,the observational points on southeast and northwest and the stepcut observatory at the west with ancient chira,groves and temple are very significant when we consider the fact that the vaasthu of kerala is very ancient and is described in mooshakavansakavya of Athulan .The strategic point of the observatory is noteworthy.The riverside civilisation of kerala is more ancient than that of Indus valley and the ancient sacred cities of the Thalappally Raja and their relatives (the mooshakavansa from North and south Malabar )bear testimony to it.The literary sources of Arthasasthra,Chilappathikaara,sangham literature,Sanskrit scriptures and purana and Ithihasa like ramayana all bear testimony to the fact that the south was a economical unit with its own republican administration and Indus valley civilisation on the northwest coast upto Gandhara and kekaya was ruled by this tribe or clan of Brahmakshathra.The stone age relics and the kodakkals and caves of the Thalappally Taluk and along the coast of Nila upto Wynad in North kerala when studied shows the astronomical and the vaasthu ,mathematical knowledge and the city planning and economy of the people to be very advanced .
The kodakkal has a similar structure in Cornwall,which is very crude and unfinished and the number is scarce ,which suggests that the structure was eructed there by a travelling king /emperor or a sailor who came from Malabar coast .Ofcourse he didn’t get a proper piece of stone or a silpi to carve it beautifully so that it is very crude ,unpolished and without proportions whereas in Malabar coast it is wellproportioned,polished red stone carved neatly and placed neatly over the 4 stones..The 4 stones and the umbrellalike top are the only similarities and the name Kodakkal chun Chiot also may be said to have a resemblance when pronounced(Koda and Chiot).. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?3354-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?3260-suvarna-nalapat-s-Blog Fri, 28 Sep 2007 05:08:20 GMT The people who show a will to cultivate a climate of innovations and constantly improve their processes give priority to create future leaders with... The people who show a will to cultivate a climate of innovations and constantly improve their processes give priority to create future leaders with values to the society.For this we have to assimilate new ideas ,technologies,practices without loosing the old values of our society.An effective leader is one who can chart out a clear growth strategy and make sure that the faculty members internalize it and work as a team.
How to build strong relationships with teammates,faculty members ,students,members of society /How to achieve it in a small group and in a large group?
There should be staff meetings (informal over a cup of tea)every day ,for 15 minutes.That will sort out day to day coordination functions.
Faculty council meetings every nmonth to monitor implementation of projects,midcourse adjustments if required.Debates and discussions on new ideas,achievements of faculty members to be celebrated during these meetings.
Long term strategic issues and visions discussed in annual retreats of faculty.

Perks ,incentives for good work,publications,restriction of workload to get enough time for research etc will boost the morale.
Curriculum review and update regularly based on industry output.
Employment of pedagogy to impart knowledge and skills (case method,live projects,gameplaying,roleplay,computer simulations etc)
Continuous evaluation programmes like quizzes,assignments,presentations,tests at regular intervals should replace the end term examinations.The concept of teamteaching in select courses where multidisciplinary focus is necessary.
Strong mentoring programmes to make correct choices (An industry mentor,alumnous menter,faculty menter for each student is ideal,if not possible at least one faculty menter)for councelling on academic ,career and personal concerns.


Valuebased:-Education is for full development of human life.Quality of schools,institutions,universities should be improved to increase the limitless inner potential of teachers and students within the institutions.Knowledge has three units-the knower,the known ,and the process of education or knowing.
The process of Knowing:1.Through sensory perceptions.Of the Knower.
2.Through the thoughts,intellectual analysis of the known object /subject and the knower.
3.Extrasensory perceptions of the knower.

Traits that uphold the integrity of a person and the progress of society
.1Enlightened selfinterest
2.reliability
3.compassion
4.justice
5.breadth of vision
These are associate dwith liberal education.Teaching profession touches the future of the society,nation and the world and hence teachers should be well chosen(The Guru)
Quality of a really educated person is not his degree or his positions.They are
1.Listening,hearing ,or reading(with concentration),speaking,feeling the content of the communicated word(by speech or by writing).Communication skills
2.Can read more than the words spoken or written.Through great works of art ,music etc for the sheer joy of it.
3.can communicate with anyone irrespective of age ,caste,gender,nationality etc.at a very broad range.(written,verbal,nonverbal communication skills)
4.can solve problems of society or nation or the world,for the common good of all and with no selfish motive or prejudice
5.rigor and truthseeking.Love for learning ,respect for learning and learned people.
6.Tolerance ,open liberal attitudes.Honour own culture.Respect other cultures and the diversity of cultures
7.strives to make the world a better place to live in.
8.Nurtures and empowers.The triumph of one person becomes the triumph of all ,-Belong to the world,to human race,
9.Education is all about connecting and communicating .Make sense of the world by making connections .Communicating values,positive thinking ,culture etc.
Education comes from universities,schools and colleges ,institutions,books but most importantly from people.From inter and intrapersonal relationships and experiences shared.
When two people live or work together they communicate.Stimulate the quest for knowledge and truth in the other .Create values together.This dynamic evercontinuing process is real education.Starts from home(parent-child)Gurukula(guru/disciple)society(person to person)man-woman(husband-wife)etc.Even simple facts are made meaningful by positive communication.This experience is the most valuable part in any educative process.The positive thoughts and emotions are evergreen in the memory of every human child and adult and they cherish and respect it.And the people who gave those valuable experiences.The human relations create experiences and hence we need model human beings in our midst to create valuable experiences to society,not just books and computers.
Who is a valuable human being?
A valuable human being is a noble being with freedom of will and expression ,happy to do and speak and communicate to the world,honest and loving,compassionate to all living things ,peaceful to all situations in life,responsible for what he/she says,writes thinks or does,is tolerant to other’s views,finds unity in life.In other words.simple life and high thoughts and noble ideals and deeds characterize a really educated and valuable human being.(Even if he/she doesn’t have a degree/position).
Every individual has a self organizing map(SOM),an algorithm to visualize and interpret large highdemand data sets –A regular grid of processing units ,the neurons.How efficiently this works in different persons is different (individual variations).But essentially the potential is in every member of the human race.Therefore a valuebased educationist has to set a model of himself/herself in front of the world to show how much of the potential is utilized by him./her and those who comes in touch with him./her.That is how a Guru gets more and more acclaim far and wide and good valuable disciples come to him/her .The valuebased eduation education takes away the pressures ,stress ,strain,anxiety of life from children /students/people and make them frustration-free individuals.When frustration is taken away we become more efficient .
The Gurukula of India was devised with this aim.
Caring for the roots of life
An important aspect of valuebased eduation is the caring for roots of life Our root of life does not stop at the geneology of our own family.But goes to the oldest ancestor of the human race.It even goes beyond that to all the living creatures,to genes,aminoacid sequences,elements of which aminoacids are made of,atoms and subatomic particles with which elements are made of.And ultimately to energy .The bio and cosmic energy are thus one in origin.The entire cosmos with its multitude of forms ,seen and unseen,become integrated in the “I “or AHAM of the sage since it is equivalent to Brahma.The root of all is ONE.Protection of thoughts of ancestors(books,manuscripts,cave writings,etc)civilizations,histories,monuments etc for coming generation is to learn and experience the beauty of our existence on it.To learn our roots.The need for disciplining and balancing the inner personality and concentrating on such valuable activities characterize an educated civilized person.
When such aims are in the thought process of any individual ,that individual naturally becomes a good human being ,a good world citizen,a role model to be emulated by others.We want such broadminded individuals .Such teachers for our children.Part of a valuebased educational system is thus to devise a curriculum for this .We need visionaries in all fields of art and science ,in all wakes of life ,in education and research to carry on the world on its path to fulfillment of such an aim.
In UNESCO report of 21st century ,learning is defined as a treasure.within the reorientation of preservice and inservice teacher /parent educatonfor enabling them to aquire the intellectual and emotional qualities that the nation wants to be developed in a citizen /child/society.
National policy of education(NPE)and programme of action (1992)has identified 10 core elements as the integral part of curriculum but as it is it remains in the papers only

One can raise one’s response to an electromagnetic wave(visual)or an auditory wave(sound)by rousing one’s level of subconscious and conscious mind to a higher level of consciousness(superconscious state).That means,emotions are not in the stimulus given alone,but in the receiving mind also.Both Guru and Shishya are having an equal part in creating knowledge,in the curriculum,experience of aesthetic generation etc.every One has to improve that quality to become a valuebased educationist. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?3260-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?3005-suvarna-nalapat-s-Blog Sat, 01 Sep 2007 13:59:55 GMT Are you a realist or not? When people ask that question ,I ask ,what is your realism?For them realism means only one entity.But for me realism is a... Are you a realist or not?
When people ask that question ,I ask ,what is your realism?For them realism means only one entity.But for me realism is a multitude of entities.It is a corruption of reality(Wallace stevens)the most independent elastic and prodigious of critical terms.There is the fantastic realism followed by formal realism,ideal realism,infrarealism,ironic realism,militant realism,naïve realism,national realism,naturalist realism,objective,optimistic,pessimistic,plastic,p oetic,psychological,quotidian,romantic,satiric,soc ialist,subjective,supersubjective,visionary realisms the adjectives neverending.Wimsatt and Brooks names low,high and drab realisms.Then there is a spiritual realism.Which one of these you mean when you ask ,”Are you a realist or not”In a way ,we all are realists.But in our own way.
Realism,a critical term adopted from philosophy .It is sath,dharma,or may be idealism.Originally meant for universalism.Opposite of it was conceptualism(universal exists only in the mind)and nominalism (which denied the existence of universalism .It is just a name)
Truth is either scientific or poetic.Scientific truth is discovered by a process of knowing ,through observation and comparisons.It is technically refered to as a correspondence theory.Poetic truth is created by a process of creation,and is a coherence theory.Science is the truth of a positivist determinist whose aim is to document ,delimit,define and correspondence theory defers automatically to the fact and requires that truth be verified by reference to it.It is taking confidence from substantial agreement of majority in its description of reality which it therefore calls objective.
Coherence theory deals with intuitive perceptions.Selfevidence is formost.Correspondence theory is semantic and coherence theory is syntactic conception of truth(Russell)and hence both are functions of our brain and are realistic in their own way.
It is the troubled conscience of socalled realists that accord a special value to documentary drama,facts and to confessional poetry.A value which is applied illegitimately from without instead of being generated from within .Pretensions are more awarded than real performance in it.Correspondence theory is conscience of literature and coherence theory is consciousness of literature.In the latter realism is not imitation of someone else,but is original creation.
In this sense ,poetry is the real thing ,but it is created in another real world.Thia world is a dictionary of Hieroglyphics.(Baudelaire)Transcendentalism in poetry involves idealism and expresses itself ultimately as symbolism in literature.For idealists the transcendental doctrine alone is true ,according to which the goal of humanity is the establishment of a higher consciousness(Ernest Renan 1890).Picasso said “your self is a sun with a thousand rays in your belly.The rest is nothing”Something like the sahasrasuryaprakasa
of vishnu in his nabhipadma.
Metaphor offers a kind of satisfaction to intellectual nostalgia for the predualistic stage of consciousness.But the puritanical realist and th enovean romancier reflects metaphor as a contrivance in his obstinate burrowing away from the light of the mind.Whereas realism of consciousness derives all its strength from its simplicity ,realism in its conscious phase depends upon an awareness of its own complexity.
The naïve realist guided by the light of conscience ignore the actual process of creation.The informed realist knows that he is guided only by the light of the mind,so the process itself assume great importance.(Diary 4.9.1994)

Godell’s incomplete theorem
There are several problems which mathematics can never solve .Man will never know the final secret of the universe,however much he/she try.Because so many simple problems are still there which mathematics cant prove.Wittgenstein like a Zen mystic said”we feel that even when all possible scientific questions have been answered ,the problems of life remain completely untouched.The solution of problem of life is seen in vanishing of the problem.In Godell’s book ,the consistency of continuum hypothesis,Canton’s continuous principle cannot be disproved from existing axioms of the set theory.
What is Cantons continuum problem?He wrote in it:Despite their remoteness from sense experience we do have something like a perception of object of a set theory ,as it is seen from the fact that the axioma force themselves upon us as being true.This kind of mathematical intuition or perception is better than any sense perception.They too represent an aspect of objective reality ,but their presence in us is due to another kind of relationship between us and reality(unlike our senses).Godells incompleteness theorems are on an importance comparable to Pythagorus proof that square root of 2 is irrational.Pythagorus said that no ratio of natural numbers can fully describe the relation between the diagonal and the sides of the square.Godell showed that no finitely describable theory can codify all mathematical thruth.Sets of all true statements about mathematics is finitely unnameable and thus essentially random and infinite.His theorem :”The rational thought can never penetrate to the final ultimate truth” is the same as that of Sankara who said that logic can never explain the absolute ,but swanubhoothy can.
When Godel say “I do objective mathematics”he meant,the mathematical entities exist independently of the activity of mathematician,just as the stars would be there even if there are no astronomers to watch them.For him mathematics ,even that of infinities ,was essentiall y an empirical science.According tothis standpoint we do not create mental objects we talk about ,instead we find them on some higher plane that the mind sees into ,by a process not unlike sense perception.Godel said ,possibility is observer-dependent and therefore real.Because it is not subject to our will.Any one can go and see the Tajmahal .It is there for anyone to see.Like that anyone who takes some trouble to learn mathematics can see set of natural numbers himself with an independent existence ,an existence as a certain abstract possibility of thought .Just like Brahma concept.It is there for anyone who takes trouble to enquire (Only for the enquirer it reveals).
But how to enquire and perceive an abstract possibility of thought?
The method is exactly that of the Brahmagnani.Godell says three things.
1.Close off all other senses by lying down in a quiet place and seek with your mind.(This is called chithavrithy nirodha)
2.It is a mistake to let everyday reality condition possibility and only to imagine combinings and permutations of physical objects.The mind is cpable of perceiving infinite sets.
3.Ultimate goal of such thought and of all philosophy is the perception of the absolute.
Kurt Godell thus shared with Einstein a certain mystical turn of thought.The central teaching of mysticism is Reality is ONE.The practice of mysticism consists in finding ways to experience this higher unity directly.The one has variously been called the Good,God,Cosmos,Mind,Void,Absolute.No door in the labyrinthine castle of Science opens on to the absolute.But it is possible to jump out of the maze (Bandhana)if one understands it,and expereience absolute oneself.
This is the reality of mystics,mathematicians,yogi and the Advaithi ,and both Einstein and Cantor belonged to this class ,like our Sankara.They did chithavrithinirodha,concentrated on absolute and experienced it.Therefore when Godell say that Mind is everywhere opposed to the being localized in the brain of people,it is the basic mystic teaching of ancient philosophers who used the same method.He came across the same discovery ,because he tried the same method(Travelled the same road so that he could see the Taj Mahal. ) ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?3005-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2755-suvarna-nalapat-s-Blog Fri, 03 Aug 2007 15:43:21 GMT Music therapy in Indian perspective As a global theme Many people ask,which music you prescribe for this disease/For that disease?We cannot... Music therapy in Indian perspective As a global theme

Many people ask,which music you prescribe for this disease/For that disease?We cannot prescribe music as we do drugs,and that is the first principle which we have to give our prospective music therapists as well as clients.Others say,it is just a hypnosis or selfhypnosis.What is the difference between thinking about riding a a bicycle or driving a car and actual riding/driving?Unless you put something to practice in the present,no matter how much you think ,it becomes valueless.Unless you drive a car,or ride a bicycle all your thinking about those activities are useless. In his book Music therapy for dementiacare,D.Aldridge 1says,moving as if we are happy we promote happiness,and as if we are sad ,we promote sadness around us.That is,thoughts have an effect on the behaviour,and behaviour on the environment around.Alport’s2 social contagion theory and also gestalt psychology3 prove the same.Just by thinking you may not create any good in the world.But putting that thought into practice you create goodness.My thoughts on music and its outcome music therapy ,as an interdisciplinary approach has to be seen in this light.In a way,each book becomes the autobiographical narrative of the author.Life is a process of education.A holistic,lifelong learning activity,which at the same time is a work or profession,a dialogue ,a service to humanity,and a characterbuilding process.It is not only for an individual,but also for society,nation and the world,that a person thinks and does his dharma.This activity generates culture and values.Culture is a growth for a microbiologist .There are three levels of culture or growth.4
1.The most superficial,that give identity to a person,to a people.Makes them distinct from others.Dress,food,festivals,rituals on birth,death,marriage,external behaviour,social etiquettes and interactions.these can change with time or can continue.
2.The second level is the architecture,the music,dance,literature,arts,crafts,planning,organi zation of life which defines a person’s abilities,and a people’s growth .
3.Third ,the deepest ,often misunderstood,or not understood at all,is the level of meanings of these second level and first level,which is called meaning of philosophy,meaning of music or philosophy of music etc.This ia at the level of spirituality.In I ndia these are associated with Bhoothadaya(karuna or Pathos),vidya (wisdom/education),transcendental levels of consciousness(pragna,pratyabhigna).Music therapy spans over these three spheres of culture.It is part of everyday life,of festivals and rituals(level 1),the level of musical development and its interconnectedness with other branches of art and science of India shows the second level(as part of indianness,or nationality,cultural heritage,and unifying principle of our country),and finally when we go to deeper realms it is the divine Naadabrahma,taking us to the beginning of time,and to timelessness in a cyclical spiral,touching spiritual depths of our self,and the universe.India always have a global perspective when she says”Loka samastha sukhino Bhavanthu”.

An idea of an Indian foundation of Raagachikitsa with a global perspective is essential for achievement of the desired results in quality control..The need of a national and international global perspective is to

1 check unauthorized therapists
2 without licensing from the state and the nation and without knowing what is happening in the world music therapy forums ,practicing the discipline at individual levels can be harmful to the discipline in the long run.
3. People without awareness of the professional ethics and medical implications can complicate the issues
4.Hospitals/doctors without knowledge of the traditional Indian music and its healing properties may read articles coming in the world forum and introduce western music (not western classical)which can be detrimental to the patients .
5.The most important aim is to introduce humanity into the field of medical science,and science into the field of art of music.Introduction of modern scientific methods of investigation into the art of musicology will provide a common platform for artists and scientists to cultivate fruitful relationships ,which is good for the nation and the world,in the long run.
The focus should be on
1.Clinical practice
2.Music therapy methods
3.research and development
4.professional issues.
In the Liepzig 2005 neurosciences music conference ,it was decided that research models should focus on needs.The dilemma raised in the conference was,
1.EBM(Evidence based medicine)insists on references in a recognized journal before a research paper is taken as acceptable.
2.In an infant science like Music therapy,if the case histories are not faithfully recorded,and shared between practicing therapists how can we create EBM?
3.If the researchers do not create EBM by their own clinical trials ,experiments but clinicians see an improvement in their client’s physical,mental (not to say anything about intellectul and spiritual)faculties,and happiness in the faces of the relatives which one should be considered more important?
4.Is not the satisfaction /happiness /improvement in individual patients /relatives worthy of consideration as evidence?
The contribution of we,Indians ,to this global thought is what I mean by the title of the chapter,Music therapy in an Indian perspective as a global theme.
Many of the research activities of the institutions and academies have become passive and the funds that go into the research do not bring the expected results to the society.This is not only in India but also in the united states of America.To overcome this passiveness of this research process ,the research has to be changed into an active transformative process involving the entire society rather than restricting it to one institution alone.There is limitation of studying a complex real social situation or event within the four walls of the laboratory and for overcoming this Curt Levin introduced the term active research.Active research in music therapy involves
1.State a problem situation
2.Establish roles for musicians,therapists,clinicians,laboratory staff etc etc.
3Declare the methodologies
4.Describe the existing theory and practice
5.Do a pilot project to prove
6.Give awareness of the new programme including workshops,seminars to various concerned groups
7.Rethinking and taking part in the changing process.
If the problem is solved the social research ends.If not,it continues,and we will have to reflect upon the experiences gained so far,record all our learnings/thought processes on the problem subject ,in relation to the methodology ,framework of ideas,areas of concern etc .
There is an endpoint for a clinical research .But for a social research the endpoint is only a temporary one for rethinking and the process continues.

ENGRAM –MEMORY TRACE
You can assess yourself or others(writers/speakers/singers)from the words they use,the music they choose to communicate.Engram means whatever is in the organism,which accounts for his/her memory,presumably some structural change in the brain- memory,intelligence ,learning behaviour,dreams and aspirations,all included.RNA molecules are repository of the past activity related to experience.A quantitative change in the RNA and synthesis of new proteins happen during learning.Children,even the mentally retarded ones have a memory or a detailed pictur e of a scene or experience.A dejau experience or”I have seen this place before”feeling or a dejau entendu (I have heard this voice before feeling)or a tip of the toungue feeling ,relearning a forgotten poem /music etc are all part of eidectic memory.Dream memories and creativity are interconnected.Many musicians,mathematicians and scientists have created their works from altered states of consciousness and dream visions.Then how can we separate art and science?How to separate subjective from objective?For the materialists the human brain,neurons,neuronal peptides ,for the astrophysicists soundwave and light particles,and energy which is matter itself,for aestheticians , Naadabrahma,for atheists nature and for theists God,is the cause of these visions and the experiences.This subjectivity of explanation of the same experience and the attitude that “Iam right ,You are wrong”6has created lot of problems in society.The fact is that the experience/visions are the same,only the explanations differ.Hence the experience ,vision is objective and the explanations (even that of science)is subjective.Once we recognize this,the differences disappear,and unity establishes itself.In the twilight language of a yogi/Zen/Charaka/,Advaithin/musician explanations are similar but their languages differ.Readeroeiented or listener oriented theories of Rasa in language,literature and music gives more meaningful expressions to what is said or sung by the author/singer.Therefore,the communication process between two people and the transformation is the total effect of literature and music.And naturally raagachikitsa ,is not just another method of treatment ,but a universal communication for integration of souls ,national integration and world peace.Hospital practice is only a part of it.

1.It is a transformative research
2.For society,nation and world for a peaceful coexistence
3.for alleviation of pain(physical,mental,intellectual,spiritual pain)
4.educative tool for children-normal and mentally handicapped
5.research tool for analytical and creative music therapy for betterment of life on earth
6.As a branch of narrative and family medicine and hospitalbased practice also it is used for collection of data and further development of the discipline. 7.There are three levels of educational vision possible.Cosmic consciousness,Human consciousness,personal (life disciplines).Of these personal consciousness can be of four types.
1.personal nonreflective
2.Emergent (survival)
3.critical and
4.visionary.8.
when we plan a curriculum it should integrate social sciences and medical science with anthropological and health psychological considerations9

Quite unlike the classical Newtonian research ,quantum research is nonlinear ,creative,holistic,acausal,nonhierarchic with no subject/object split and it is evolutionary in nature.Systematic research should touch four areas.

1 Philosophical:Analysis ,criticisms,speculations and comparisons come under this.
2.Historical.Reviews,surveys,,,past information available on the subject are historical in nature.
3.Descriptive.The current status of the profession,case studies,descriptions of work,training programmes,etc fall under this category.
4.Experimental.Results of structured research and presentation of future research plans etc .

As far as possible I have made it a point to touch all these points in this book.
A few useful hints for the prospective music therapists who want to follow the profession:
1.Make it a point to obtain an informed consent (preferably in two languages,one in the patient’s mother toungue)
2.Each institution should have their protocol,proforma,assessment charts, time limit set,evaluation strategy,beforehand and statistics and discussion ,analysis afterwards.
3.Have controls along with clients.
4.Open mind of assessment needed.
5.Evaluations pre,during and post music intervention is to be done.
6Assessment can be summative or formative
SUMMATIVE FORMATIVE
1.To show students are fit to go to the next stage of training.A formal requirement.Results to be recorded.2.To gain degree.Requirements A.specify the early level prerequisites.There is no need for a written exam or multiple choice questions.But a pass in al the special study modules are neededB.acceptable record of attendence of teaching/learning activities like problembased tutorials.Communication and clinical skill coursesSpecified practical/clinical workProject workDissertation. 1.To enable student to judge how well they do at each stage of course and identify any weak point to be corrected.No formal record need be kept of the results2MethodsA.Informal and ongoingB.more formal assessment
Informal ongoing assessment:
1.Feedback from PBL group and teacher
2Guidance from teachers on communication,clinical skill courses
3.Completion of selfassessment questions.These give guidance on both the breadth and depth that directed selflearning should take at each stage of the course.
Formal formative assessment:
1.progress test(mock examinations)which take the same form of summative tests.These give experience of the examination format,in addition to information in progress.Progress test done at end of each semesterunless there is a summation assessment at the same time.Participation is compulsory but marks are not kept as part of the formal record.

This is necessary for monitoring the quality control of music therapy .According to the central council of Indian medical act,1970,Alternative medicine is acknowledged as a certified course,and therapy practice,but so far,there is no proper course on music therapy,though there are several music colleges.My book aims at recommending the Government both at national and state levels to look into this very urgent matter.Hence,a detailed prospective curriculum is drawn out ,after verifying the feasibility of the treatment,and a course in the new discipline,using Indian music.The concept of a medical uty for kerala,on the basis of MUSC and the concept of Indian universities for nationbuilding by10 R.P.Singh is utilized for formulating a final picture of my project .Other references which were useful include,11WFMT education symposium,12AMTA website,13Florida state university educational programmes.and qualitative and quantitative perspective on Music therapy.

Ref 1.D.Aldridge.Music therapy in Dementia care.Jessica Kingsley publications.2000
2.Alport’s social contagion theory
3.Gestalt psychology pp320,649-650,656, Ref no:5 Introduction to psychology ed Leonard Charmichael.3rd ed.1969.
4.Transformative learning.Educational vision for 21st century.Edward O ‘Sullivan .uty of Toronto press.Zed books.1999 vision for curriculum pp 198-201.
5.Engram.,memory trace or neurogram.Ch 10.Remembering and forgetting.pp264-265.Introduction to Psychology.Norman .L Munn ,L.Dodge Fernald,ed .Leonard Charmichael. 3RD Edition Oxford IBH . 1969
6. I am right ,You are wrong.. Dr Edward de Bono.Penguin books 1991.
7. (Nicholas Walliman.Your research project 2nd edition .Vistar publications New Delhi 2005
8. (Transformative learning .Educational vision for 21st century .Edmond .O.Sullivan uty of Toronto press Zed books 1999.pp 198-201 vision for curriculum
9. .(culture and health A critical perspective towards global health Sec ed .Malcolm .Mac Lachton .John Wiley sons Ltd 2001)
10 concept of Indian universities for nationbuilding by10 R.P.Singh
11WFMT education symposium.November 1999.Washington DC,New developments in music therapy.Barbera Hesser.MA,CMT,New york city.
12AMTA website.
13.Florida state university educational programmes.
14.Wheeler B.Music therapy research .quantitative and qualitative perspectives.PA. Barcelona publishers ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2755-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2703-suvarna-nalapat-s-Blog Sat, 28 Jul 2007 06:18:27 GMT Indian Aesthetics -The Personal and Impersonal Dr Suvarna Nalapat The English word language comes from Latin lingua and from the Sanskrit root ... Indian Aesthetics -The Personal and Impersonal
Dr Suvarna Nalapat

The English word language comes from Latin lingua and from the Sanskrit root linga which means the sign ,the toungue and the male generative organ.It denotes any means of expression/revelation or communication of thoughts and feelings.Therefore ,the Sanskrit word for language is Bhaasha ,from the root Bha ,to shine,to express or reveal.Bha is always related to light,so that it is something with a form (roopa)and hence perceivable(darshana)and enjoyable.The heard(sruthy-veda and music)is thus not separate from the darshana or light(the visualized.)What is visualized in the mind of the Rishi(Pashyanthy)comes out as the heard(language,music)so that the listener also get the same images or visions of the rishi.The bhaasha or language are of three classes
.1.The sound(dwani,shruthi,naada)
2.The sign(mudra)
3.The word.(Vaak or varna)
The sound originate from instinct and develop into art of music and consists of inarticulate sounds(termed notes in music)which proceed through vocal chords.The sign originate both from instinct and reason and consists of gestures of the body.The word is based on reason,consists of spoken and written words which require palate,toungue ,teeth,lips and nose .Thus ,in India ,in ancient Tamil speaking territories the development of isai(music),iyal(literature)and naatakam(drama) in the thinking,reasoning,feeling,enjoying and communicating brains of our ancestors happened simultaneously..Natyasasthra of Bharathamuni gives a beautiful description of how it developed as the vrithy(Bharathy,saathwathy,kaisiki and Aarabhaty )from the dance and wars of Vishnu.Since it originated from the lawfull gathi(niyathagathivishesha)of Vishnu they are called Nyaaya.Bharathamuni (1)says he is using this natyaveda for his poetic works also.He received Bharathy from Rigveda,sathwathy from yajurveda,kaisiki from saamaveda and Aarabhaty from Atharvaveda.The rasa for sathwathy are veera,adbhudha and roudra.(no sringara or karuna )Aarabhaty also has rasa like krodha,vega and characters of kapata,vanchana,dambha,anritha etc.(since it is in war).Bharathy is prose .Hence all the three are not used by the Indian classical music.And according to Bharatha these were created out of Vishnu in male form.But kaisiki was created in vishnu’s activity as a woman(mohini)and it is in this we find women participating with beautiful dresses ,dance,music,drama and feelings of eros and agape.In the saivist traditions also this developed from the face of Girija while the others developed from the faces of Shiva. The king of the rasa is sringaara and it is predominantly seen in kaisiki and is the main ingredient of the Indian aesthetics and aesthetical theories. There are four anga for kaisiki related to the different rasa..
1.Narma.
Aasthaapithasringaaram
Visudhakaranam nivrithaveerarasam
Hasyaparavachanabahulam
Narmathrividam vijaaneeyaath
The prominent rasa is sringara and is pure dance without veerarasa,but with sense of humour.This is of three types.Vipralambasringara or love in separation can turn to anger,to criticize,and also to attract.These are the three types of narma in sringara.
2.narmaspunja.
Nvasamgamasambhogo
Rathysamudayaveshavakyasamyuktha
Gneyo narmaspunjo
Hyavasaanabhayaathmakaschaiva

There is fully developed and expressed emotion of eros,and the dresses and bhava of the hero and heroine is attuned to that emotion and there is the first unin with pleasure and then followed by fear of being known to others or of separation.
3.Narmasphotam
vividhaanaam bhaavaanaam
lavairlavair bhoo****hobhahuvisheshai
asamagrakshiptharaso
narmasphotasthu vigneya
All the different bhavas are present in different proportions ,but the rasapoorthy or final union does not happen.
4.Narmagarbha
vignaanaroopasobhaa
dhanaadhirbhi naayako gunairyathra
praschannam vyavaharathe
kaaryavasaannarmagarbhosow.
The hero is uthamapurusha excellant in knowledge,beauty,wealth and all the qualities,but he is hiding these qualities due to some reason from the beloved and the rasa is uthamasringara itself .The love in disguise is narmagarbha.
In short,sense of humour,eros or sringara ,are in kaisiki,veera and adbhudha in sathwathy,roudra and bhayanaka in aarabhaty and karuna and bheebatsa in bharathy.
Since music is predominantly kaisiki and partially sathwathy(veera and adbhutha)and partially bharathy(karuna)but never aarabhaty we can assess the rasa or aesthetics associated with classical music from this description.

From sound language arise prose and poetry.In vocal music this consists of the melodic prose part (raga alaapana )and in vocal conversation the natural musical tones peculiar to certain languages.Poetry of sound language is either artistic or artificial.This include melody,harmony expressing external emotions,harmony expressing internal emotions.The sign language also has prose and poetry in it.The prose part of sign language is gestures in conversation,lipreading,manual alphabet,signals used in railway,road,military and naval departments etc.The poetry part is the artistic mudra or gestures used in Indian dance,and artificial are the ones used in physical drill,in organized games and also in European dance.
The word language has a prose part of noisy day to day conversation ,and novels and other critical prose in literature(Scott and kadambari given as examples).It has a poetry part or kaavya (kaalidaasa and Shakespeare given as examples)(2)

From the abovesaid facts ,it is clear that to communicate the aesthetics of the art of classical music certain prerequisites are needed.The aesthetics of the music and information theory(3) or communication theory (which term I prefer)since music is not mere information gathering but communication between the artist and the rasika for enjoyment of rasa.The information value of any symbol,sign and its meaning can be either as aesthetic information or communication(artistic)or as scientific nonaesthetic information.The criteria for aesthetic communication of music are
1.the originality of the music
2.the optimal extent to which people are attracted to the performer and the performance determined by the crowd and by the time (in years)he or she can sustain the attractive effect on the society.(whether momentary or longstanding)
3.whether the people are enthralled by it.
4.What types of rasika are attracted.whether all the types of rasika ar e among his/her followers.Lifelong fans who admire,critics(samaalochak)who evaluate ,criticize,grades and appreciates the performance as well as the performer,and think for the singer and improve the singing.Daarsanika(visionaries)concerned with defining the notion of musical experience,his(listener’s) or her position in it,and the identity as an eternal listener to an eternal singer (metaphysically to God).The daarsanika understand and experience the ecstacy at a yogic level.It stimulates the others including the singer.(4 and 5)
The function of the message or communication from music are different in different individuals
1.Transmitting a new mental image (innovative)
2.integrating the new mental images with already existing ones
3.systematizing the mental images
4.characterizing them so that they obtain a very high degree of specificity for the listener.
For this innovation,integration,systematization and characterization to happen ,the singer has to have a sustaining effect on society and the listeners should have listened to him/her for a long period and thought about and enjoyed his/her music and studied it analytically.That is,saadhana and experience are required for the total aesthetic experience to bloom not only from the side of the singer but also from the listener.That determines the originality,sustained enthrallment and saadhana from the rasika as well and henc e the rasika is not a passive listener but a very active participant totally involved in the singing activity and hence psychologically and physiologically becomes a potential singer or a mute artist(6)Listening to the tonal swara variations ,the rhythmic laya and the form of a particular singer’s music the rasika develop a type of mystical rapport with the singer and towards God and that is how Indian music is spiritual than earthly.It goes from the personal to the impersonal level.and vice versa.
The rasa experience depends upon three factors.The listener,the singer and the inherent properties of the music itself.There are a few excellencies and defects (qualities and faults)described for the voice of a singer ,for the singing style and for the singer as a person in Indian music.(7) which are important for getting the optimum aesthetic bliss.
The excellances are the aesthetic subsets which increase the rasa experience and the defects decrease rasa.
There are 22 excellances in the performance of a singer which makes him/her the best among singers since he/she gives the most aananda(rasa or aesthetic experience)to the listeners whether informed or uninformed.
The aesthetic subsets of the best singer
1.attractive voice and good tonal quality
2.adept in initiating and finishing a raga
3.wellversed in singing raga,raagaanga,bhaashaanga,kriyaanga and upaanga
4.expert in singing prabhandha
5.knows different forms of aalaapana(aalaapthy)
6.commands natural access to shakes and graces(gamaka)arising from all the three registers
7.selfcontrolled voice
8.aware of musical time(thaala)
9.attentive(shradha)
10.indefatiguable
11.knows shudha and chaayalaga compositions
12.expert in all intonations
13.commands movements of different sthaayaas
14.who is free of all blemishes
15.whois given to regular saadhana or exercises
16.mindful of tempo(laya)
17.versatile personality
18who is retentive
19. holds praana while singing with great passion
20.who is capable of arresting the attention of the audience
21/who belongs to a good tradition of guruparampara
22.who excels in the exposition of the raga
A mrishta,madhura,trishaanaka ,sukhavaahaka prachura,komala ,and strong voice,sraavaka and karuna,snigda,Ghana ,slakshna or continuous like a vertical flow of oil (without discontinuity)and creating enjoyment and interest and love(rakthimaan)in listeners faultless and bright(chavimaan)is a Godgiven gift to a singer and this suswara is considered the most important quality of a good singer by Vishnu himself,as he tells Naarada (8)

The aesthetic subset for a good listener are

1.pure with unruffled senses(sudha,indriyanigraha)
2.expert in discussing the pros and cons(oohaapohavishaarada)
3.faultless(tyakthadosha)
4.lover of music(anuraagi or better to call raagaanuraagi)
5.Capable of rasaanubhava or aesthetic experience(bhaavaanukarane alankritha)
6.impartial
7.attentive(saavadhaana)
8.good speaker(vaagmi)
9.logical(nyaayavaadi)
10.aware of wrong and right(trutithaathrutithaabhigna)
11.humble(vinaya)
12.prideless(agarva)
13aesthetically sensible(rasabhaavagna)
14.proficient in music and dance(tauryatritaabhigna)
15.One who refutes false stand boldly(asadvaadanishedha)
16 expert(chathura)
17.with no envy(amaatsaryachith)
18intensely sensitive heart(Amanda rasanishyandhi hridaya)

The artist’s creative urge and the listener’s appreciative urge should thus match perfectly and only then the communication is perfect and the aesthetic experience total.It has to follow a behavioural analysis of a artist as well as a involved listener (both are essentially artistic but combine a scientific turn of mind as evaluation and analysis concerened)The conceptual framework for analysis of aesthetic behaviour(9) (behaviour analysis)involves the nature and form of aesthetic behaviour,nature of aesthetic response ,nature of aesthetic stimulus,the artist and the listener as a person .And such study is very very rare since devoted and involved listeners are also becoming a rare commodity. .My attempt to study my musical consciousness as a listener and the effect of two of the greatest singers of my times(M.S.subbulakshmy and K.J.Jesudas)on me and on society happened quite naturally and as my musical life panorama,yet it is scientific, since anyone can assess by hearing the music of the singers mentioned whether I am right,and they can also by assessing my aesthetic musical personality and behaviour see whether I have the qualities of a good listener mentioned.Thus the research on aesthetic of music becomes a behavioural analysis also. Apart from the listener and the musician there is the third factor ,the music and its intricacies itself.This part I am not entering into in the present context,since it is too exhaustive to cover here.And,as an uninformed listener,and an advaithin interested in spirituality and brahma experience ,,since rasa and Brahma experience are twins and are alike ,I would like to concentrate on the naadalayayogi and the yogic experience of samadhi akin to rasaanubhava.Rasa is chamathkaar(transcendental emotional experience of bliss or pleasure and hence is aloukika(not of this world)according to Indian aesthetics but experienced by the people on earth(loukika).The raga has a form ,a form of a divine beauty (raagdevatha)associated with a rithu(season)and the scheme of the musical notes and the lyrics and the music give the expression of an experience related to it.The musical notes as such have no independent existence unless it conveys the embodied form ,personified to evoke a rasa.This Raagdevathadhyaana is exactly like the devathaadhyaana of the thanthric or of the dhyaana of prakrithy by the poets .Rasa is parellel to the theory of Sankara in this way.That is it does not exist in its pure form (like pure satwa,pure rajas,pure thamas)but as a mixture of the thriguna in this world.This is accepted by all arts and sciences of India including Ayurveda.The predominence of one of the guna gives a name of that guna.If sathwa predominates we call saathwik and if rajas predominates rajasic and like that.Brahmaananda with satwodreka(increase and predominance of satwa)is the ultimate aim of a spiritualist.Rasa or aesthetic bliss being akin to it is sathwik in character.The satwa guna is predominant in Vishnu . and as mentioned in Bharathamuni’s Natyasasthra Kaisiki is taken from Saamaveda (music)and In Bhagavad Gita also Krishna says among the veda’s I am saamaveda,denoting his preference for the satwika musical spirituality of the saama singers.That gives prasaada(bliss)and niraamaya(health forever)for the bhaktha(singer and listener both being devotees of God)and Thanmayatha in God who is Love incarnate.
The fact that raaga has a roop(form) the beauty of which one can see or perceive(darshana vision)and enjoy with your own eye(internal/external)has given rise to the science of soundarya(beauty with proportionate anga or parts ) and lavanya (charming personality) or maadhurya(.animated sweet personality)This beauty has a lustrous shine like that of a pure pearl of high quality according to Roop Goswamy and produce rasa experience in the perceiver(10)The rasa come from the bhaava (emotional state)in a sensitive person’s mind (sahridaya)for which aesthetic propensity(vaasana)is essential with previous impressions(sanskarra)which may be of this birth or of previous births is the Indian concept.Therefore,the ability to be a good singer and a good listener and partake in rasa experience is a divine gift carried over due to previous births and its relations.
Right from the Nadabindhu Upanishad and times of the veda the role of the sound and manthra and music in yoga and in awakening the kundalini power in the human body had been discussed in detail(ch 8,9 and 10 Without a stumble A book on spirituality of music .Dr suvarna Nalapat. 2003.)(11)(12)

According to Indian aesthetics and yoga psychology the body of all beings including that of the singer and listener is following the same rule of the cosmos and this golden rule makes it possible for us to become one with the divine experience and since music is the nearest which follows the golden rule of aesthetics it is natural for us to become one with God through the music.Hence ,the structure of the chakra(sreechakra,sudarsanachakra,sangheethachakra )and its form and property and the meditation on it has been an ageold practice to attain rasa experience of God. The personal and impersonal,the jeevathma and paramathma,the bhaktha and bhagavaan become one creating an advaitha
The excellances are the aesthetic subsets which increase the rasa experience and the defects decrease rasa.
There are 22 excellances in the performance of a singer which makes him/her the best among singers since he/she gives the most aananda(rasa or aesthetic experience)to the listeners whether informed or uninformed.
The aesthetic subsets of the best singer
1.attractive voice and good tonal quality
2.adept in initiating and finishing a raga
3.wellversed in singing raga,raagaanga,bhaashaanga,kriyaanga and upaanga
4.expert in singing prabhandha
5.knows different forms of aalaapana(aalaapthy)
6.commands natural access to shakes and graces(gamaka)arising from all the three registers
7.selfcontrolled voice
8.aware of musical time(thaala)
9.attentive(shradha)
10.indefatiguable
11.knows shudha and chaayalaga compositions
12.expert in all intonations
13.commands movements of different sthaayaas
14.who is free of all blemishes
15.whois given to regular saadhana or exercises
16.mindful of tempo(laya)
17.versatile personality
18who is retentive
19. holds praana while singing with great passion
20.who is capable of arresting the attention of the audience
21/who belongs to a good tradition of guruparampara
22.who excels in the exposition of the raga
A mrishta,madhura,trishaanaka ,sukhavaahaka prachura,komala ,and strong voice,sraavaka and karuna,snigda,Ghana ,slakshna or continuous like a vertical flow of oil (without discontinuity)and creating enjoyment and interest and love(rakthimaan)in listeners faultless and bright(chavimaan)is a Godgiven gift to a singer and this suswara is considered the most important quality of a good singer by Vishnu himself,as he tells Naarada (8)

The aesthetic subset for a good listener are

1.pure with unruffled senses(sudha,indriyanigraha)
2.expert in discussing the pros and cons(oohaapohavishaarada)
3.faultless(tyakthadosha)
4.lover of music(anuraagi or better to call raagaanuraagi)
5.Capable of rasaanubhava or aesthetic experience(bhaavaanukarane alankritha)
6.impartial
7.attentive(saavadhaana)
8.good speaker(vaagmi)
9.logical(nyaayavaadi)
10.aware of wrong and right(trutithaathrutithaabhigna)
11.humble(vinaya)
12.prideless(agarva)
13aesthetically sensible(rasabhaavagna)
14.proficient in music and dance(tauryatritaabhigna)
15.One who refutes false stand boldly(asadvaadanishedha)
16 expert(chathura)
17.with no envy(amaatsaryachith)
18intensely sensitive heart(Amanda rasanishyandhi hridaya)

The artist’s creative urge and the listener’s appreciative urge should thus match perfectly and only then the communication is perfect and the aesthetic experience total.It has to follow a behavioural analysis of a artist as well as a involved listener (both are essentially artistic but combine a scientific turn of mind as evaluation and analysis concerened)The conceptual framework for analysis of aesthetic behaviour(9) (behaviour analysis)involves the nature and form of aesthetic behaviour,nature of aesthetic response ,nature of aesthetic stimulus,the artist and the listener as a person .And such study is very very rare since devoted and involved listeners are also becoming a rare commodity. .My attempt to study my musical consciousness as a listener and the effect of two of the greatest singers of my times(M.S.subbulakshmy and K.J.Jesudas)on me and on society happened quite naturally and as my musical life panorama,yet it is scientific, since anyone can assess by hearing the music of the singers mentioned whether I am right,and they can also by assessing my aesthetic musical personality and behaviour see whether I have the qualities of a good listener mentioned.Thus the research on aesthetic of music becomes a behavioural analysis also. Apart from the listener and the musician there is the third factor ,the music and its intricacies itself.This part I am not entering into in the present context,since it is too exhaustive to cover here.And,as an uninformed listener,and an advaithin interested in spirituality and brahma experience ,,since rasa and Brahma experience are twins and are alike ,I would like to concentrate on the naadalayayogi and the yogic experience of samadhi akin to rasaanubhava.Rasa is chamathkaar(transcendental emotional experience of bliss or pleasure and hence is aloukika(not of this world)according to Indian aesthetics but experienced by the people on earth(loukika).The raga has a form ,a form of a divine beauty (raagdevatha)associated with a rithu(season)and the scheme of the musical notes and the lyrics and the music give the expression of an experience related to it.The musical notes as such have no independent existence unless it conveys the embodied form ,personified to evoke a rasa.This Raagdevathadhyaana is exactly like the devathaadhyaana of the thanthric or of the dhyaana of prakrithy by the poets .Rasa is parellel to the theory of Sankara in this way.That is it does not exist in its pure form (like pure satwa,pure rajas,pure thamas)but as a mixture of the thriguna in this world.This is accepted by all arts and sciences of India including Ayurveda.The predominence of one of the guna gives a name of that guna.If sathwa predominates we call saathwik and if rajas predominates rajasic and like that.Brahmaananda with satwodreka(increase and predominance of satwa)is the ultimate aim of a spiritualist.Rasa or aesthetic bliss being akin to it is sathwik in character.The satwa guna is predominant in Vishnu . and as mentioned in Bharathamuni’s Natyasasthra Kaisiki is taken from Saamaveda (music)and In Bhagavad Gita also Krishna says among the veda’s I am saamaveda,denoting his preference for the satwika musical spirituality of the saama singers.That gives prasaada(bliss)and niraamaya(health forever)for the bhaktha(singer and listener both being devotees of God)and Thanmayatha in God who is Love incarnate.
The fact that raaga has a roop(form) the beauty of which one can see or perceive(darshana vision)and enjoy with your own eye(internal/external)has given rise to the science of soundarya(beauty with proportionate anga or parts ) and lavanya (charming personality) or maadhurya(.animated sweet personality)This beauty has a lustrous shine like that of a pure pearl of high quality according to Roop Goswamy and produce rasa experience in the perceiver(10)The rasa come from the bhaava (emotional state)in a sensitive person’s mind (sahridaya)for which aesthetic propensity(vaasana)is essential with previous impressions(sanskarra)which may be of this birth or of previous births is the Indian concept.Therefore,the ability to be a good singer and a good listener and partake in rasa experience is a divine gift carried over due to previous births and its relations.
Right from the Nadabindhu Upanishad and times of the veda the role of the sound and manthra and music in yoga and in awakening the kundalini power in the human body had been discussed in detail(ch 8,9 and 10 Without a stumble A book on spirituality of music .Dr suvarna Nalapat. 2003.)(11)(12)

According to Indian aesthetics and yoga psychology the body of all beings including that of the singer and listener is following the same rule of the cosmos and this golden rule makes it possible for us to become one with the divine experience and since music is the nearest which follows the golden rule of aesthetics it is natural for us to become one with God through the music.Hence ,the structure of the chakra(sreechakra,sudarsanachakra,sangheethachakra )and its form and property and the meditation on it has been an ageold practice to attain rasa experience of God. The personal and impersonal,the jeevathma and paramathma,the bhaktha and bhagavaan become one creating an advaitha

The excellances are the aesthetic subsets which increase the rasa experience and the defects decrease rasa.
There are 22 excellances in the performance of a singer which makes him/her the best among singers since he/she gives the most aananda(rasa or aesthetic experience)to the listeners whether informed or uninformed.
The aesthetic subsets of the best singer
1.attractive voice and good tonal quality
2.adept in initiating and finishing a raga
3.wellversed in singing raga,raagaanga,bhaashaanga,kriyaanga and upaanga
4.expert in singing prabhandha
5.knows different forms of aalaapana(aalaapthy)
6.commands natural access to shakes and graces(gamaka)arising from all the three registers
7.selfcontrolled voice
8.aware of musical time(thaala)
9.attentive(shradha)
10.indefatiguable
11.knows shudha and chaayalaga compositions
12.expert in all intonations
13.commands movements of different sthaayaas
14.who is free of all blemishes
15.whois given to regular saadhana or exercises
16.mindful of tempo(laya)
17.versatile personality
18who is retentive
19. holds praana while singing with great passion
20.who is capable of arresting the attention of the audience
21/who belongs to a good tradition of guruparampara
22.who excels in the exposition of the raga
A mrishta,madhura,trishaanaka ,sukhavaahaka prachura,komala ,and strong voice,sraavaka and karuna,snigda,Ghana ,slakshna or continuous like a vertical flow of oil (without discontinuity)and creating enjoyment and interest and love(rakthimaan)in listeners faultless and bright(chavimaan)is a Godgiven gift to a singer and this suswara is considered the most important quality of a good singer by Vishnu himself,as he tells Naarada (8)

The aesthetic subset for a good listener are

1.pure with unruffled senses(sudha,indriyanigraha)
2.expert in discussing the pros and cons(oohaapohavishaarada)
3.faultless(tyakthadosha)
4.lover of music(anuraagi or better to call raagaanuraagi)
5.Capable of rasaanubhava or aesthetic experience(bhaavaanukarane alankritha)
6.impartial
7.attentive(saavadhaana)
8.good speaker(vaagmi)
9.logical(nyaayavaadi)
10.aware of wrong and right(trutithaathrutithaabhigna)
11.humble(vinaya)
12.prideless(agarva)
13aesthetically sensible(rasabhaavagna)
14.proficient in music and dance(tauryatritaabhigna)
15.One who refutes false stand boldly(asadvaadanishedha)
16 expert(chathura)
17.with no envy(amaatsaryachith)
18intensely sensitive heart(Amanda rasanishyandhi hridaya)

The artist’s creative urge and the listener’s appreciative urge should thus match perfectly and only then the communication is perfect and the aesthetic experience total.It has to follow a behavioural analysis of a artist as well as a involved listener (both are essentially artistic but combine a scientific turn of mind as evaluation and analysis concerened)The conceptual framework for analysis of aesthetic behaviour(9) (behaviour analysis)involves the nature and form of aesthetic behaviour,nature of aesthetic response ,nature of aesthetic stimulus,the artist and the listener as a person .And such study is very very rare since devoted and involved listeners are also becoming a rare commodity. .My attempt to study my musical consciousness as a listener and the effect of two of the greatest singers of my times(M.S.subbulakshmy and K.J.Jesudas)on me and on society happened quite naturally and as my musical life panorama,yet it is scientific, since anyone can assess by hearing the music of the singers mentioned whether I am right,and they can also by assessing my aesthetic musical personality and behaviour see whether I have the qualities of a good listener mentioned.Thus the research on aesthetic of music becomes a behavioural analysis also. Apart from the listener and the musician there is the third factor ,the music and its intricacies itself.This part I am not entering into in the present context,since it is too exhaustive to cover here.And,as an uninformed listener,and an advaithin interested in spirituality and brahma experience ,,since rasa and Brahma experience are twins and are alike ,I would like to concentrate on the naadalayayogi and the yogic experience of samadhi akin to rasaanubhava.Rasa is chamathkaar(transcendental emotional experience of bliss or pleasure and hence is aloukika(not of this world)according to Indian aesthetics but experienced by the people on earth(loukika).The raga has a form ,a form of a divine beauty (raagdevatha)associated with a rithu(season)and the scheme of the musical notes and the lyrics and the music give the expression of an experience related to it.The musical notes as such have no independent existence unless it conveys the embodied form ,personified to evoke a rasa.This Raagdevathadhyaana is exactly like the devathaadhyaana of the thanthric or of the dhyaana of prakrithy by the poets .Rasa is parellel to the theory of Sankara in this way.That is it does not exist in its pure form (like pure satwa,pure rajas,pure thamas)but as a mixture of the thriguna in this world.This is accepted by all arts and sciences of India including Ayurveda.The predominence of one of the guna gives a name of that guna.If sathwa predominates we call saathwik and if rajas predominates rajasic and like that.Brahmaananda with satwodreka(increase and predominance of satwa)is the ultimate aim of a spiritualist.Rasa or aesthetic bliss being akin to it is sathwik in character.The satwa guna is predominant in Vishnu . and as mentioned in Bharathamuni’s Natyasasthra Kaisiki is taken from Saamaveda (music)and In Bhagavad Gita also Krishna says among the veda’s I am saamaveda,denoting his preference for the satwika musical spirituality of the saama singers.That gives prasaada(bliss)and niraamaya(health forever)for the bhaktha(singer and listener both being devotees of God)and Thanmayatha in God who is Love incarnate.
The fact that raaga has a roop(form) the beauty of which one can see or perceive(darshana vision)and enjoy with your own eye(internal/external)has given rise to the science of soundarya(beauty with proportionate anga or parts ) and lavanya (charming personality) or maadhurya(.animated sweet personality)This beauty has a lustrous shine like that of a pure pearl of high quality according to Roop Goswamy and produce rasa experience in the perceiver(10)The rasa come from the bhaava (emotional state)in a sensitive person’s mind (sahridaya)for which aesthetic propensity(vaasana)is essential with previous impressions(sanskarra)which may be of this birth or of previous births is the Indian concept.Therefore,the ability to be a good singer and a good listener and partake in rasa experience is a divine gift carried over due to previous births and its relations.
Right from the Nadabindhu Upanishad and times of the veda the role of the sound and manthra and music in yoga and in awakening the kundalini power in the human body had been discussed in detail(ch 8,9 and 10 Without a stumble A book on spirituality of music .Dr suvarna Nalapat. 2003.)(11)(12)

According to Indian aesthetics and yoga psychology the body of all beings including that of the singer and listener is following the same rule of the cosmos and this golden rule makes it possible for us to become one with the divine experience and since music is the nearest which follows the golden rule of aesthetics it is natural for us to become one with God through the music.Hence ,the structure of the chakra(sreechakra,sudarsanachakra,sangheethachakra )and its form and property and the meditation on it has been an ageold practice to attain rasa experience of God. The personal and impersonal,the jeevathma and paramathma,the bhaktha and bhagavaan become one creating an advaitha ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2703-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2681-suvarna-nalapat-s-Blog Tue, 24 Jul 2007 11:45:15 GMT The truth in the lie There was in Crete a man called St Paul Epimenidus.He once said: All crete dwellers are liars. Epimenidus is a crete dweller.... The truth in the lie
There was in Crete a man called St Paul Epimenidus.He once said:
All crete dwellers are liars.
Epimenidus is a crete dweller.
Therefore Epimenidus is a liar.
So there are 2 possibilities from what he said we can assess.
1.Either he is a bogus person ,a liar like all cretans as he claims to be.
2.Or ,he is a person who utters the truth,and then all crete people also must be like him true people.
Both are possible.This is called the Epimenidus paradox,or dialectics of liars.
One person had a mystical experience.He knows that it is truth .But to communicate that to someone else,he might say”
I had X experience.It must be true,because the great personality Y also had similar experience”Then to prove that Y had a real experience,he has to quote reference of Z experience.This endless series of proofs is called a regression.In philosophy the regress goes on from th efirst mystical experience eof the rishi and it still continues.In science also this regress is happening by quoting references and proving one’s viewpoint with another person’s viewpoint and experience.This reference and cross reference we call evidence,or verification of experience.
Now there is an old story .A lie story.
Once upon a time there was a princess.She was stitching a dress.She lost the needle.Can you get back the needle by any process you do?By nodding head?by making an answer?The question will you get back the needle goes on repeating forever ,so that the child is tired and goes to sleep without troubling the elder further.If you write the question endless times horizontally or vertically you can fill pages and pages of books.But if you write cyclically and put an arrow you need write just once.Repeating decimals are also like this.The question whether there is a God also is like this,a single left to right omega sequence ,which can never be answered fully.For those who prove the existence of a infinite energy ,god exists,for those who prove the existence of two(duality)God can never be proved.(unless they follow the path of bhakthy between the observed and the observer as two things separate from each other and call that relationship-love,kindness,concern,knowledge whatever ,-as God)therefore,as Wittgenstein said the problem of life is always unsolved.An unsolved problem is always new for coming generations of souls,jeeva,and hence the problem of one-many,of God,noGod,of existence and transcending existence is an evergreen one.Each one of us has to tackle it in our own way.The incompleteness theorem of Godell (1930)is based on this Wittgenstein theory.All mathematical laws are complex methods to grasp the meanings of symbols and are not enough to grasp absolute truth,according to Godell.Godell was a mystic thinker like Einstein.The central point of mysticism is that Truth is Only ONE(EKAM)or God is ekam.The methods to experience these vary with various mystics.What name you call the Ekam is immaterial.What is important is that you experience it .Hence the anantham can have anantham names,it can anantham forms is a perfectly scientific way of thinking which developed in India several thousands of years before Curt Godell .Our body including brain is the hardware,our memories,abilities,opinions,our behaviour from childhood(what you feed is the childhood habits),etc are the software,and these two are there in a computer also.But these is a jeevan or athma,a manodharma,a pure consciousness in us which is at present absent in computers,and this pure consciousness which we callI or Aham is studied in detail by the Upanishads,Gita and Brahmasoothra of India.Since our thoughts can be communicated and they remain eternal in the world’s memory,each of us has a eternal life.In that sense death does not exist.The thoughts of ancestors existing in new generations,their genes in new generations all prapagate an eternity which shows death is an allusion .Only the physical brain and body destroyed,not the mental,intellectual body of thoughts.The pure consciousness of individuals and of the universe as a whole is eternal.hence Canter said infinity is existing in our minds.This statement paved the way for proof of telepathy,ESP and other transcendental visions.When Krishna said in the Gita that he is infinite and he reincarnates every yuga ,he really meant it in the most scientific sense.
All poets ,writers,musicians etc record majority of their software as codes to be read by posterity.Every book,cavewriting,musical compositions are such records.When a sahridaya catches up the software and grasps it he/she become one with the creator in mental /intellectual self.In this way,even after thousands of years,poets and musicians and thinkers and philosophers are reborn in a listening mind.,a concentrated mind.A Tyagaraaja,a Kaalidaasa,or a sankara are never dead,because they live through their software ,not the hardware.When I write these words I am also trying to communicate my thoughts,my software,in a way.Hence every book,every musical composition,every speech,every work a person does,every word a person utters too,are reflections of that person’s consciousness and to map the consciousness of a person,it is not good to disturb them ,but share the experiences in a friendly way.Nowadays investigators of brain and consciousness try to embarrass and torture their subjects ,toget the preformed notions they have in their minds/consciouness about consciousness.It is not torture medicine and data which will enrich our knowledge of human nature ,but narrative medicine,free sharing of thoughts so that everyone finds out truth in their own way.
What is not expressed through words is revealed to us as mystical experiences,as musical experiences etc.What we call God,goodness,beauty,heartspace,etc are only different names of the same Eka energy.Those who have a vision of language a sa sreni of symbols to express a absolute truth,is having a semantic vision.Those who think that language is only a leela according to some definite rules it is a syntactic vision.Semanics ask whether S is truth in the mental mathematical universe.The syntactics ask,whether it is possible to prove S through the known scientific techniques.These are the model theory and proof theory in logic.The one who asks both and proceeds from both ends will find a new experience.
To experience a vision ,and then search for its proof,either consciously or unconsciously arriving at the truth is what I have in my life.It is both mystical and scientifically logical simultaneously.That is when we take the entire biography.When I experience the mystical vision I was not conscious of the mysticism or of science.But when itry to prove it,I didn’t have mystical elements in me,but I was behaving like any scientist would do in a similar situation.The experience of einsten ,Srinivasaramanuja,Kekule etc ,that of Poincare and many others I have quoted in many places just to prove my point ,as reference.Mysticism is Ekatwa.It is Isavasyamidam sarvam.If consciousness is a circle,and radius is 1,going on endlessly dividing it into two,we can reduce it into a bindu or point (naadabindu /suvarnabindu concept of vaishnava) .This is dhyaanamargam.Every cyclical concentration toinside,the selfishness reduces and self expands to universe.When mind is concentrated in Zero bindu,we experience ourselves as the entire universe,or our consciousness expands intothe entire universe,O and alpha are merged in one.The cyclical reduction of the circle inwards is in the shape of a Taurus,bent inwards.Where the relative timespace disappears,and the mystical timelessness experienced,the laws of the universe become revealed in a split second(sphota)and one become blessed in a blissful state is called vettaveli by Tamil sidha .Erwin schrodinger said:If I know that my body is functioning according to rules of the universe,and I am controlling my body with my own experiences,it also is true that I am controlling the movement of every atom in the universe.When Krishna said this in the Gita,he was stating a scientific truth.The problem was Arjuna could not grasp it.Rudy Rucker in her boo has compared the view of schrodinger to Upanishad vakya Atma=Brahma=Prapancham
The experience of timelessness is satori in Budhist tradition.Zen Budhism tells us that a person need not be always in this state.It is compared to the state of sushupthy(deep sleep)from which we come back to routine life in Mandukya Upanishad,The avasthathraya explains this in Indian science and philosophy.If world is in me ,and I am in world,it is a coordinate reciprocal relationship.If S is me,and Y is the universe,the copy of Y is in S and copy of S is in Y in an infinite way,like mirrorimages.(Dakshinamurthysthava).
. The circle is S and the rectangle is Y here.According to this mirrorimage theory(called schroder Bernstein hypothesis)
S=Y
Suvarna=Universe
Jeeva=Universe
Language is controlled by left brain.It also counts things ,cattle etc.The right brain reveals musical melodies,the infinite aakasa or the timespace etc.The left is needed for anekam,the right for ekam to be grasped.The left is needed for science and right for humanity.Human brain has both.We cant deny that we have both.How much of it works is the problem of consciousness in each individual as far as researchers of the brain as a physical matter of neuronal bundles are concerned.
When Newman compares chess and calculus in the book Godell’s proof,I was thinking about the old leela of ours,the gyan choupad or gnaanachathuranga.
Here also there are initial formula(axiom),formulae derived from axioms(theorem)and rules of the play(rules of inference or derivation).Whether I am playing ,diagnosing a pathology slide,analyzing a philosophical question of existence of God,or an astronomical problem,or formulating a music therapy programme,I am using both sides of my brain in a balanced way,and hence I don’t feel the necessity to say that mysticism is lie and science is truth.Nor do I feel the necessity of saying the vice versa,that science is a lie and mysticism is truth.Both are true,from a different standpoint,and both are in us,and if we apply a balanced lifestyle and open all the possibilities of our thought processes(what the neuroscientist will call the neuronal channels )we can be near perfect if not perfect .And that existence is what every conscious man will prefer to have.For me,apart from my deep sleep state and my musical layayoga states,and my dhyana of various subjects in which I became naturally interested ,the hours I get to involve in routine things which every women in my locality ,and of my age does is very very little,and that makes me a different person Is that a lie or a truth which looks like a lie is a question for you,but not for me who has experienced it.It is just like that ,the question of God and His/Her existence will always remain a problem of truth or lie. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2681-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2674-suvarna-nalapat-s-Blog Sun, 22 Jul 2007 06:02:20 GMT Mind and infinity. Imagine two serpents coiled upon themselves.These two are two zeroes (Brahma/prakrithy,Ekam/anekam)and in the figure of 8 pattrn... Mind and infinity.
Imagine two serpents coiled upon themselves.These two are two zeroes (Brahma/prakrithy,Ekam/anekam)and in the figure of 8 pattrn they are the symbol of anantham eternity of existence.(ashtam,ashtadalapadma,octave etc)Hebrews called it alef null from which the symbol alpha (the one we use for meditational brain waves )originated.Westerners call this leminiscate.But started to see the leminiscate as the symbol of eternity only in the 17th century.(Rudy Rucker.Dept of Mathematics .Randolph Macon women’s college –virginia)The father of eternity theory in modern mathematics is George Canter.He renamed it alef null and introduced a new symbol.
Only in 16th century did Galileo understand in the western world that there is an eternal time,and discovered calculus.Canter discovered three types of eternities.
1.The absolute (paramarthasatha)
2.Physical infinities (Time and the sky or timespace)
3.Infinity grasped by human mind
The last two were together called transfinites by Canter.In a figure of 8 the big bang and the big stop are continuing forever in a cyclical pattern as if in a coiling serpent and what is big stop is a big crunch the next moment.This consciousness within your heartspace(hridaakaasa)of the Brahmaprakrithy is always something transcendental,which you cannot express with ordinary language.The hridaakaasa of the Indian is now known as the mindscape by the western thinkers.
When Joshua Roys say that the mental image of one’s own mind must be infinite ,it is an echo of the mirror image universes of the ancient astronomers which are seen in successive generations of yogis as heartspace(in guruparampara).Our thoughts and views are within our mind ,and are like one mirror in front of another and like that an infinite number of mirrors reflecting the same truth.Here the word jeeva is changed to mind in a guruparampara.
Viswam darpanadrishyamaana nagai(sankaracharya)
Thus the world in our thoughts is the conscious world of ours and when the consciousness of a guru becomes one with the disciple they become one individual and not two. If all my thought processes and researches and books are considered as a single set ,mathematics is the science that study the qualities of my internal world with a set rules.My universe with the definite set rules are within me,and outside me as the cosmos and what is in meis a blueprint of what is outside me.The absolute truth cannot be grasped by the finite mind,but can be grasped by two ways
1.The rational way(vivekam).My commentaries on Prasthanathraya is my attempt to grasp absolute by rational logical scientific methods.My medical knowledge of the neurones also is a rational way.
2.The mystical way(experience or Anubhoothy) My musical experiences, and dream experiences,my dhyana experiences and imagery in poetics etc is the result of the second method of knowing the absolute.
According to me the mystical experience through music and dream visions had been of more use for me to grasp or understand what little I have known of the absolute.Sankara also said that swanubhoothy is better than logic.Rudy rucker also says to understand infinity only mystical experiences can be relied upon.Hence the importance of Naadalayayoga or musical transcendental experiences in my consciousness. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2674-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2669-suvarna-nalapat-s-Blog Sat, 21 Jul 2007 09:51:14 GMT Problem of consciousness For Bernard Baars who developed the global workspace theory it is an original fascination of the human thought and only... Problem of consciousness
For Bernard Baars who developed the global workspace theory it is an original fascination of the human thought and only when the question is a personalized one (mine ,yours)the question of Mind-body paradox arises and the dialogues of this dualism is like the dialogue of the deaf,and will go on for ever without arriving at a solution.For Ned Block it is the technicolour phenomenology.For David Chalmers who coined the term hard problem ,it has to be looked in the third person perspective of science and not in the first person perspective .Science is objective and consciousness is subjective according to him.For Francis crick ,the easiest way is to talk about qualia,while DanDennettsay we have to get rid of qualia altogether.These are just some examples of how the world’s best brains look at consciousness as given in Susan Blackmore’s book conversations on consciousness.

I have looked at human consciousness both from the subjective and the objective way,as suggested by the scientists and try to correlate my personal consciousness with the consciousness of the best brains of the world,both ancient and modern.
For this I analyse my visions(lucid visions during naadalayayoga),my dream visions,and also my cognitive powers in various subjects that span from art to science,from 6000BC scriptures and cave writings to most modern science concepts in various branches.
This is what we in Indian Advaitha philosophy call swanubhoothy(one’s personal experience)compared to the world’s experience(para anubhoothy)When you look at your own consciousness and try to communicate to our fellow travelers in the journey of life naturally we have to use the term I (first person)or Aham in Sanskrit.Then when we compare that with the world’s experience we understand the biological I (aham)is the part and parcel of the cosmic Aham which we call the brahma and hence the dictum of Aham Brahmasmi.(I am the cosmic I).I am not drawing any comparison to the china brain of the modernist here.But if you think a little deeply,the Indian Aham brahmasmi treats each individual brain(not only of humans,but of other living things and even of nonliving things though they do not possess a brain but the essential elements and atomic structures for the building blocks of our biological world)and every object in the universe as part of a coordinate or correlated neuronal network of the cosmic purusha (Brahma).
In my study ,I have included Jyothisha (astronomy,cosmology,mathematics,astrophysics,quan tum mechanics)music,protomusic,linguistics ,protolanguages and protocultures of the world,medicine and protomedicine of the world,etc.For these I have taken a few brains from the east and the west and studied their writings in detail(which are their thoughts and hence consciousness).
The questions whether brain is causing an experience or an experience is causing a brain activity,whether the neuronal event is the cause or the behaviour is the cause of the event had been controversial from time immemorial.In my childhood there was a famous Tamil song which asked
Kodi asainthathum katru vanthathaa
Kaatru vanthathum kodi asainthathaa
(did the movement of the te.0ndril cause the air movement(wind)or did the wind caused the tendril to move?)When Francis Crick ask the question did the sunrise cause the **** to call or the cock’s call caused the sunrise,I just remembered this song.So the nobel laureate and codiscoverer of the DNA structure francsis Crick’s consciousness has asked the same type of question like the artist poet Kannadasan and their brains though functioning in entirely different spheres of activity,and though they live in two continents and speak different languages ,have something in common .This ekam in Anekam(unity in diversity )is the beauty of our world.This is the answer my consciousness gives me and what I infer from the experiences of others.The conscious knowledge and unconscious knowledge in the global workspace theory is really interesting.Stephan Laberge’s self transformation through dreaming has several parallels in history ,as well as in my biological life experiences.The meditational experiences,imagery and lucid states created by music is my favourite experiment with myself and with many of my acquaintances and students and patients. I am very much impressed by the binocular rivalry .In 1890 William james raised this subject first in the western scientific world.The image of a monkey’s face in left eye,and that of a sunburst in right eye,you cannot see both at the sme time,you see it either as the one or the other.This later on found place in the duck-rabbit picture of Wittgenstein,and in quantum mechanics appeared as schrodinger’s cat ..This is an image we often see in advaitha as Rajjusarpa.there is a piece of rope which is seen as rope by someone.Another(either due to dim light or lack of eyesight )see it as a snake and is afraid of it.Once the man understands his folly and recognizes it as a rope,the truth of sarpa(snake)vanish.The truth is sometimes like that .When you are conscious of the rope you are not conscious of the serpent.when you are conscious of the serpent you are not conscious of the rope.This allows to compare the two state s of dream and consciousness.or an unconscious representation and a conscious representation.Just as any other scientific question this is a testable question.
When I was dealing with the theory of multiple intelligences and its uses in educational system I found that some people have a predominant musical intelligence ,others have a predominant logical mathematical intelligence and so on.Why this disparity?Because some of the brain areas may be having a better function.Gerald Edelman had put forth a Neural Darwinism theory which postulates cooperation and competition between massive number of neurons in the brains and the winning neurons (coalition)are the conscious ones,the others are also functioning but not in the limelight of the stage of activity.So all of us have all the potentials for development of artistic and scientific faculties and possibility of one developing only one faculty is due to the neural Darwinism or dynamic cor e hypothesis. Suppose there is a person in whom the two sets of neuronal coalition for art and science(we will say ,right and left)function equally balanced,and none is taking the upper hand he/she can understand or cognise both arts and sciences and in such a brain the duality of art and science /spirituality and worldly life can get nullified.Budha,Krishna,Christ etc ,the lucid intervals of meditational life of several people in the past and present including could be such states as a postulate. This is what Indian and Chinese and Kabbala meditational techniques claim.
The variations in sensations make worth beautiful,just as variations in human personalities,variations in fauna and flora ,multicolours and multiple arts and intelligences decorate our life and makes it enjoyable.Understanding the basic unity and ,then enjoying the multiplicities of our earth around is probably what a human being can do to lead a blissful existence.
How do we discriminate a singer’s voice from others?Some say because of familiarity.But how it became familiar?They say because he/she has been singing for several years and we have been listening all these years.But ,how could he stay in the field so long with this much competition,and how come that the listeners like us still are fascinated by the same voice,and we do hear the same voice?How in the first place this voice became like this?
The singer’s voice is what it is because it has a particular power spectrum.And that makes one voice attractive and another not attractive.The power spectrum is a modern word in English language.The musicology of India in Sanskrit will use the word sakthy for power and Varna for spectrum.The good spectrum (suvarnam)according to saamaveda traditions is what we cal l the swara.But swara is not the voice of a particular individual alone.It is the spectrum of saptaswara or the octave as we call it now.Now the second line of questions come.How do you discriminate between the different notes in a spectrum?All music lovers claim they can discriminate the notes.But how?
Each note has an internal structure,just like the colours of a spectrum.Our brain is sensitive to that internal structure and that is how we discriminate the notes.The sound of middle C is a compression wave train of frequency 263 .If C 7 is played it is actually not a single note but a C,E,G and B flat played simultaneously.It is actually a fournote ,or C7 is foursome,and chathusruthy.Just like the colour yellow which is a composite colour..,an activation vector of three different types of cells.
When we speak of a vector of three or four types of cells instead of thrishruthy or chathusruthy,we come to certain properties and operations like changing the length of vector by rotation of it.
Now we are talking about consciousness and we are speaking of hearing(acoustics),seeing,(optics)colours(chromati cs) (,sruthy,darsana,varna),in terms of mathematical formula.This is exactly what was done by the Sanskritspeaking ancestors.
When we look at someone elses brain,don’t think that we are seeing his/her brain ,understand that we are seeing or having an awareness of our own brain.When Ilook at Sankara’s brain,or at Einstein’s brain or Tyagaraja’s brain through their works and life, I am looking at my own cognition ,my own brain and its awareness,and consciousness.This process of selfawareness ,can happen with conscious effort,or unconsciously in sleep or altered states.The fact is knowing our brain events by virtue of their belonging to one’s own conscious biography ,as they are themselves ,from inside ,by living them,by selfreflectively being them.(or because they have a internal structure we recognize them and are aware of them).Intrinsic attributes are disclosed by awareness.They are selfrevealed ,in the sense that our own awareness reveals them to us,but for that revelation a specific and appropriate type of conscious activity or lifestyle may be needed as yoga science teaches us. To directly gaze at our own self,without allowing the mind to wander is the technique.and for this ,the best is music ,since it is inherent in human beings to forget everyother thing when one listens to music and enter a transcendental plane.This naadalayayoga of saamaveda or Gandharva music was the essential teaching of Krishna also.
Awareness is likened to a lamp or light sweeping around the inner landscape of the brain by modern thinkers and scientists.The ancient also likened it to a lamp ,and to the allrevealing light of the sun.The light is only revealing the already present qualities or parts of the landscape of our brain.The quality of awareness is already there in the brain.It is the being.Not becoming.And it is revealed to us in a flash of lightening .We do not see the searchlight .We see only see what the light reveals.
Translating that into a mathematical language , which the ancients used to measure the stars and observables of the cosmos(Rasichakra)where real numbers exist on a infinite horizontal line and complex on a vertical The negative sign show corresponding imaginery numbers.The Mithuna or couple is Rathantharasaaman and Brihadsaaman (devi and Vishnu )for the rishi.

Multiplying a number by another on this is equivalent to rotating or changing length of vector.
Multiply by 2= double length of vector
By –1=rotate through 180 degree
By –2=rotate through 180 which is also doubling the vector
Multiply by I which is squareroot of –1=anticlockwise rotation by 90 degree.
Complex number 1/squareroot of 2+.1/squareroot of 2 =45 degree anticlockwise rotation.45 degree X 6 times=270
8 times =360.

Real numbers and complex numbers,identifiable sapthaswara and the weak unidentifiable multitudes of sruthies,identifiable colours in the spectrum and the varius shades in between,and the 72 melakartha raga scheme itself with the complex vivaadi scales and simple samvadi,vaadi scales are following thiis rule of the cosmic raasichakra.Now it is called the Argand diagram .Earlier that name was not there.But the principle was used in every science and art of our land.
When I look into the consciousness of a musician for studying the musical intelligence of Howard Gardner I am surprised to see this awareness revealed to me,but I know that it had already been there in me ,in my brain cells,waiting to be revealed at the right time of my life.

Regarding the problem of Scrodinger’s cat ,if we consider a God’s eyeview(or that of a man with superbrain)He can perform a thought experiment and then put into practice ,with a time reversal analogue of the system in one hour,so that there is no collapse of wave function,and find the cat alive and well,container of the cyanide unbroken,radioactive atom intact.Repeatedly this can happen,every time yielding the live cat.At the time (end of one hour)cat is in superposition of both live and dead.both negative and positive.Then why the observer does not remember it?The observers amnesia is explained quantum mechanically,by appealing to interference between trajectories,in which the cat was observed to be live and the one in which it was observed to be dead.That imply the observer’s branching of biography followed by reconvergence.Or superposition of histories.The microscopic superposition as well as a macroscopic superposition of history is possible at the same time.Taking ,biography as history,Biography of any person is only a straight line on a solid cylinderlike structure with time on the vertical axis.(given as in Ms Susan's book on consciousness)


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The green zone is from our biography starts and we observe it.blue and yellow are two possibilities into which it can branch. But they can reconvergeBiography is a single stream of consciousness with which continuous infinite parallel systems/streams can be replaced That is it is not branching ,but only differentiating that is taking place with time.I think we can compare it to a tree,where the seed differentiate into what it was destined to be,into a fullgrown tree,and then branching also occurs naturally.The proble, of branching or differentiating biographies is thus at the level of microcosm.There can be a preferred basis on which different biographies may differentiate or branch.What is preferred here is from the point of view of awareness itself,it could be genetic at microlevel,or brain related at macrolevel,both being interconnected as correlates.
This also explains problems of amnesia of dreams after a sleep,amnesia of long term memories of the past in Alzhemer,and also amnesia of multiple births.In Gita,Krishna says ,Arjuna,I and You had been here for several times,I do remember each of it,but you don’t.This is what I mean by a God’s eyeview .When time comes ,if we are having an appropriate lifestyle,and if we deserve it,the amnesia is taken away with God’s grace and we do get revelations of this kind.So when we study consciousness in our biographical notes,not only the things we do in day-to-day life of waking states,but also our dream ,lucent interval.neardeath experiences,our samadhi experiences etc also count ,and then only we get the entire picture of differentiation of our life from infancy to adulthood,not in physical sense,but mentally,intellectually and spiritually.My autobiography is trying to unfold my inner life and its differentiation and branching into various art and science subjects as a banyan tree,sometimes spreading roots from trunk into depths of archeology and cultural heritage,sometimes making tiny leaves and red shoots which embrace the most modern concepts and ideas of humanity.It is an open approach.Never does it close to knowledge and to asking questions and to finding out answers.Never does it forget to take in the ecstacy of music and keep its energy level at optimum for fresh enquiry.Even without conscious efforts these have gone on continuously without break .In dream visions and in samadhilike experiences. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2669-suvarna-nalapat-s-Blog https://www.online-literature.com/forums/entry.php?2668-suvarna-nalapat-s-Blog Sat, 21 Jul 2007 09:50:17 GMT Problem of consciousness For Bernard Baars who developed the global workspace theory it is an original fascination of the human thought and only... Problem of consciousness
For Bernard Baars who developed the global workspace theory it is an original fascination of the human thought and only when the question is a personalized one (mine ,yours)the question of Mind-body paradox arises and the dialogues of this dualism is like the dialogue of the deaf,and will go on for ever without arriving at a solution.For Ned Block it is the technicolour phenomenology.For David Chalmers who coined the term hard problem ,it has to be looked in the third person perspective of science and not in the first person perspective .Science is objective and consciousness is subjective according to him.For Francis crick ,the easiest way is to talk about qualia,while DanDennettsay we have to get rid of qualia altogether.These are just some examples of how the world’s best brains look at consciousness as given in Susan Blackmore’s book conversations on consciousness.

I have looked at human consciousness both from the subjective and the objective way,as suggested by the scientists and try to correlate my personal consciousness with the consciousness of the best brains of the world,both ancient and modern.
For this I analyse my visions(lucid visions during naadalayayoga),my dream visions,and also my cognitive powers in various subjects that span from art to science,from 6000BC scriptures and cave writings to most modern science concepts in various branches.
This is what we in Indian Advaitha philosophy call swanubhoothy(one’s personal experience)compared to the world’s experience(para anubhoothy)When you look at your own consciousness and try to communicate to our fellow travelers in the journey of life naturally we have to use the term I (first person)or Aham in Sanskrit.Then when we compare that with the world’s experience we understand the biological I (aham)is the part and parcel of the cosmic Aham which we call the brahma and hence the dictum of Aham Brahmasmi.(I am the cosmic I).I am not drawing any comparison to the china brain of the modernist here.But if you think a little deeply,the Indian Aham brahmasmi treats each individual brain(not only of humans,but of other living things and even of nonliving things though they do not possess a brain but the essential elements and atomic structures for the building blocks of our biological world)and every object in the universe as part of a coordinate or correlated neuronal network of the cosmic purusha (Brahma).
In my study ,I have included Jyothisha (astronomy,cosmology,mathematics,astrophysics,quan tum mechanics)music,protomusic,linguistics ,protolanguages and protocultures of the world,medicine and protomedicine of the world,etc.For these I have taken a few brains from the east and the west and studied their writings in detail(which are their thoughts and hence consciousness).
The questions whether brain is causing an experience or an experience is causing a brain activity,whether the neuronal event is the cause or the behaviour is the cause of the event had been controversial from time immemorial.In my childhood there was a famous Tamil song which asked
Kodi asainthathum katru vanthathaa
Kaatru vanthathum kodi asainthathaa
(did the movement of the te.0ndril cause the air movement(wind)or did the wind caused the tendril to move?)When Francis Crick ask the question did the sunrise cause the **** to call or the cock’s call caused the sunrise,I just remembered this song.So the nobel laureate and codiscoverer of the DNA structure francsis Crick’s consciousness has asked the same type of question like the artist poet Kannadasan and their brains though functioning in entirely different spheres of activity,and though they live in two continents and speak different languages ,have something in common .This ekam in Anekam(unity in diversity )is the beauty of our world.This is the answer my consciousness gives me and what I infer from the experiences of others.The conscious knowledge and unconscious knowledge in the global workspace theory is really interesting.Stephan Laberge’s self transformation through dreaming has several parallels in history ,as well as in my biological life experiences.The meditational experiences,imagery and lucid states created by music is my favourite experiment with myself and with many of my acquaintances and students and patients. I am very much impressed by the binocular rivalry .In 1890 William james raised this subject first in the western scientific world.The image of a monkey’s face in left eye,and that of a sunburst in right eye,you cannot see both at the sme time,you see it either as the one or the other.This later on found place in the duck-rabbit picture of Wittgenstein,and in quantum mechanics appeared as schrodinger’s cat ..This is an image we often see in advaitha as Rajjusarpa.there is a piece of rope which is seen as rope by someone.Another(either due to dim light or lack of eyesight )see it as a snake and is afraid of it.Once the man understands his folly and recognizes it as a rope,the truth of sarpa(snake)vanish.The truth is sometimes like that .When you are conscious of the rope you are not conscious of the serpent.when you are conscious of the serpent you are not conscious of the rope.This allows to compare the two state s of dream and consciousness.or an unconscious representation and a conscious representation.Just as any other scientific question this is a testable question.
When I was dealing with the theory of multiple intelligences and its uses in educational system I found that some people have a predominant musical intelligence ,others have a predominant logical mathematical intelligence and so on.Why this disparity?Because some of the brain areas may be having a better function.Gerald Edelman had put forth a Neural Darwinism theory which postulates cooperation and competition between massive number of neurons in the brains and the winning neurons (coalition)are the conscious ones,the others are also functioning but not in the limelight of the stage of activity.So all of us have all the potentials for development of artistic and scientific faculties and possibility of one developing only one faculty is due to the neural Darwinism or dynamic cor e hypothesis. Suppose there is a person in whom the two sets of neuronal coalition for art and science(we will say ,right and left)function equally balanced,and none is taking the upper hand he/she can understand or cognise both arts and sciences and in such a brain the duality of art and science /spirituality and worldly life can get nullified.Budha,Krishna,Christ etc ,the lucid intervals of meditational life of several people in the past and present including could be such states as a postulate. This is what Indian and Chinese and Kabbala meditational techniques claim.
The variations in sensations make worth beautiful,just as variations in human personalities,variations in fauna and flora ,multicolours and multiple arts and intelligences decorate our life and makes it enjoyable.Understanding the basic unity and ,then enjoying the multiplicities of our earth around is probably what a human being can do to lead a blissful existence.
How do we discriminate a singer’s voice from others?Some say because of familiarity.But how it became familiar?They say because he/she has been singing for several years and we have been listening all these years.But ,how could he stay in the field so long with this much competition,and how come that the listeners like us still are fascinated by the same voice,and we do hear the same voice?How in the first place this voice became like this?
The singer’s voice is what it is because it has a particular power spectrum.And that makes one voice attractive and another not attractive.The power spectrum is a modern word in English language.The musicology of India in Sanskrit will use the word sakthy for power and Varna for spectrum.The good spectrum (suvarnam)according to saamaveda traditions is what we cal l the swara.But swara is not the voice of a particular individual alone.It is the spectrum of saptaswara or the octave as we call it now.Now the second line of questions come.How do you discriminate between the different notes in a spectrum?All music lovers claim they can discriminate the notes.But how?
Each note has an internal structure,just like the colours of a spectrum.Our brain is sensitive to that internal structure and that is how we discriminate the notes.The sound of middle C is a compression wave train of frequency 263 .If C 7 is played it is actually not a single note but a C,E,G and B flat played simultaneously.It is actually a fournote ,or C7 is foursome,and chathusruthy.Just like the colour yellow which is a composite colour..,an activation vector of three different types of cells.
When we speak of a vector of three or four types of cells instead of thrishruthy or chathusruthy,we come to certain properties and operations like changing the length of vector by rotation of it.
Now we are talking about consciousness and we are speaking of hearing(acoustics),seeing,(optics)colours(chromati cs) (,sruthy,darsana,varna),in terms of mathematical formula.This is exactly what was done by the Sanskritspeaking ancestors.
When we look at someone elses brain,don’t think that we are seeing his/her brain ,understand that we are seeing or having an awareness of our own brain.When Ilook at Sankara’s brain,or at Einstein’s brain or Tyagaraja’s brain through their works and life, I am looking at my own cognition ,my own brain and its awareness,and consciousness.This process of selfawareness ,can happen with conscious effort,or unconsciously in sleep or altered states.The fact is knowing our brain events by virtue of their belonging to one’s own conscious biography ,as they are themselves ,from inside ,by living them,by selfreflectively being them.(or because they have a internal structure we recognize them and are aware of them).Intrinsic attributes are disclosed by awareness.They are selfrevealed ,in the sense that our own awareness reveals them to us,but for that revelation a specific and appropriate type of conscious activity or lifestyle may be needed as yoga science teaches us. To directly gaze at our own self,without allowing the mind to wander is the technique.and for this ,the best is music ,since it is inherent in human beings to forget everyother thing when one listens to music and enter a transcendental plane.This naadalayayoga of saamaveda or Gandharva music was the essential teaching of Krishna also.
Awareness is likened to a lamp or light sweeping around the inner landscape of the brain by modern thinkers and scientists.The ancient also likened it to a lamp ,and to the allrevealing light of the sun.The light is only revealing the already present qualities or parts of the landscape of our brain.The quality of awareness is already there in the brain.It is the being.Not becoming.And it is revealed to us in a flash of lightening .We do not see the searchlight .We see only see what the light reveals.
Translating that into a mathematical language , which the ancients used to measure the stars and observables of the cosmos(Rasichakra)where real numbers exist on a infinite horizontal line and complex on a vertical The negative sign show corresponding imaginery numbers.The Mithuna or couple is Rathantharasaaman and Brihadsaaman (devi and Vishnu )for the rishi.

Multiplying a number by another on this is equivalent to rotating or changing length of vector.
Multiply by 2= double length of vector
By –1=rotate through 180 degree
By –2=rotate through 180 which is also doubling the vector
Multiply by I which is squareroot of –1=anticlockwise rotation by 90 degree.
Complex number 1/squareroot of 2+.1/squareroot of 2 =45 degree anticlockwise rotation.45 degree X 6 times=270
8 times =360.

Real numbers and complex numbers,identifiable sapthaswara and the weak unidentifiable multitudes of sruthies,identifiable colours in the spectrum and the varius shades in between,and the 72 melakartha raga scheme itself with the complex vivaadi scales and simple samvadi,vaadi scales are following thiis rule of the cosmic raasichakra.Now it is called the Argand diagram .Earlier that name was not there.But the principle was used in every science and art of our land.
When I look into the consciousness of a musician for studying the musical intelligence of Howard Gardner I am surprised to see this awareness revealed to me,but I know that it had already been there in me ,in my brain cells,waiting to be revealed at the right time of my life.

Regarding the problem of Scrodinger’s cat ,if we consider a God’s eyeview(or that of a man with superbrain)He can perform a thought experiment and then put into practice ,with a time reversal analogue of the system in one hour,so that there is no collapse of wave function,and find the cat alive and well,container of the cyanide unbroken,radioactive atom intact.Repeatedly this can happen,every time yielding the live cat.At the time (end of one hour)cat is in superposition of both live and dead.both negative and positive.Then why the observer does not remember it?The observers amnesia is explained quantum mechanically,by appealing to interference between trajectories,in which the cat was observed to be live and the one in which it was observed to be dead.That imply the observer’s branching of biography followed by reconvergence.Or superposition of histories.The microscopic superposition as well as a macroscopic superposition of history is possible at the same time.Taking ,biography as history,Biography of any person is only a straight line on a solid cylinderlike structure with time on the vertical axis.(given as in Ms Susan's book on consciousness)


.



The green zone is from our biography starts and we observe it.blue and yellow are two possibilities into which it can branch. But they can reconvergeBiography is a single stream of consciousness with which continuous infinite parallel systems/streams can be replaced That is it is not branching ,but only differentiating that is taking place with time.I think we can compare it to a tree,where the seed differentiate into what it was destined to be,into a fullgrown tree,and then branching also occurs naturally.The proble, of branching or differentiating biographies is thus at the level of microcosm.There can be a preferred basis on which different biographies may differentiate or branch.What is preferred here is from the point of view of awareness itself,it could be genetic at microlevel,or brain related at macrolevel,both being interconnected as correlates.
This also explains problems of amnesia of dreams after a sleep,amnesia of long term memories of the past in Alzhemer,and also amnesia of multiple births.In Gita,Krishna says ,Arjuna,I and You had been here for several times,I do remember each of it,but you don’t.This is what I mean by a God’s eyeview .When time comes ,if we are having an appropriate lifestyle,and if we deserve it,the amnesia is taken away with God’s grace and we do get revelations of this kind.So when we study consciousness in our biographical notes,not only the things we do in day-to-day life of waking states,but also our dream ,lucent interval.neardeath experiences,our samadhi experiences etc also count ,and then only we get the entire picture of differentiation of our life from infancy to adulthood,not in physical sense,but mentally,intellectually and spiritually.My autobiography is trying to unfold my inner life and its differentiation and branching into various art and science subjects as a banyan tree,sometimes spreading roots from trunk into depths of archeology and cultural heritage,sometimes making tiny leaves and red shoots which embrace the most modern concepts and ideas of humanity.It is an open approach.Never does it close to knowledge and to asking questions and to finding out answers.Never does it forget to take in the ecstacy of music and keep its energy level at optimum for fresh enquiry.Even without conscious efforts these have gone on continuously without break .In dream visions and in samadhilike experiences. ]]> suvarna nalapat https://www.online-literature.com/forums/entry.php?2668-suvarna-nalapat-s-Blog