Yes, there are other books about and called 'the flower of life' but Drunvalo Melchizedek's books are the specific ones I am referring to. Those books were his first I think and later he went on to focus on the heart and then discovered the feminine energy and became more balanced - spending a lot of time with tribes and acting as (allegedly) a go-between between them and the 'white people'. It's a bit of a controversial topic with some claiming that he has been 'taken over' by another spirit and is actually luciferian. I am not about to judge it, I just look at the information for what may be of value.
Moving beyond words is of value, yes, we are vibrational beings and we can be felt - in truth we need to be felt to be understood.
I understand the mold video now, thanks - that is very interesting - maybe I will reconsider getting some pet mold again. :)
I have been clearing and balancing my energy centers for about 25 years in various ways, so the crystal trigger was not unprecedented exactly, but it was the first time I felt a direct experience due to a crystal in that way. The key is resonance and timing. I have put a lot of time into making music and mixing frequencies as a result, so I am quite attuned to that in general.
Of all the hundreds of sources I have explored, there is one that stands out so far that many who read it throw their other books away. I highly recommend these books. <3
The book series descriptions are, themselves, enlightening. It looks like a very helpful set. I bet you voraciously consumed everything in your path, perceiving the ideal of what you search for, sensing its existence 'somewhere', but never holding it in your hands. The spiritual seeker is driven by what she KNOWS inside, but has never yet KNOWN outside the self. We don't need to learn 'it', we need to CONFIRM what we already know. That's why we search.
I remember vividly my first birthday. I and my cousin of the same age had a conversation without a word spoken. When we are infants, our thoughts are images and ideas, not words. In recollection, I remember the meanings of thoughts between myself and my cousin and can articulate them with words, but that's a learned processes and along with learning language we learn social conditioning. Returning to the primal state requires the undoing of social conditioning. Anyone fortunate enough to have retained primal nature always feels integrated and conversant with nature, as though nature is an extension of self. Harmlessness - ahimsa - for one who has remained with Nature, the Life-Being, is self-preservation expressed as selfless service - seva. The rationale of the principle is obvious: don't damage your world, because you must live in it.
Oh, I bet you have some neglected pet mold somewhere around the house. Make friends with your yogurt. They have feeling too. :)
Music is a primal language. We don't really say too much with it in the west, but the east has an entire treatise on the Raga methodology. They have a distinctly different scale, compose using specific notes, which are to be played at particular times of the day and on particular days of the week. They composed hymns that matched words to note in an intensely methodical way.
I've only found this classical Raga audio for you, but if those typical flat notes resonate - and I do mean physically resonate - with you, you might want to see what you can create, incorporating the science of Raga into your compositions. For me, some of the Ragas literally stun my brain, like a tolerable electrical ZAP, but nonetheless halting.
Wikipedia...
"A raga is a central concept of Indian music, predominant in its expression, yet the concept has no direct Western translation. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of raga cannot be offered in one or two sentences.[4] Raga is a fusion of technical and ideational ideas found in music, and may be roughly described as a musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression.[59] In some cases, certain rules are considered obligatory, in others optional. The raga allows flexibility, where the artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke a different intensity of mood.[59]"
https://en.wikipedia.org/wiki/Raga
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Raga
A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring, tingeing, dyeing") is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the raga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.A raga consists of at least five notes, and each raga provides the musician with a musical framework within which to improvise. The specific notes within a raga can be reordered and improvised by the musician.
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