"Set up a situation that presents you with something slightly beyond your reach."
Brian Eno
Cultural Objectivity - From Skateboarding to Music for Wellbeing
Gavin Lawson
Growing up with a skateboard taught me lessons that would later translate into production with electronic music. The connection runs deeper than pop or counter-cultural alignment - it's about the fundamental approach to learning, creating, and expressing oneself through movement and sound.
Take Rodney Mullen's philosophy - he'd spend hours in car parks, falling repeatedly while developing new tricks. Each attempt, micro adjustment, and failure offered insight. The same principles apply when sitting in front of Ableton Live, crafting landscapes and modulating sounds. Just as Mullen would break down complex tricks into component movements, electronic music production demands breaking down sonic elements into their basic forms before rebuilding them into something new.
Tom Penny's smooth, effortless style masks the incredible technical precision underneath. Watch him land a frontside flip - there's a grace that comes only from hours of practice, until the movement becomes second nature (With Penny this seemed to come naturally). This mirrors the journey of learning music production. What begins as awkward parameter tweaking and hesitant arrangement decisions eventually flows into intuitive sound design and mixing choices.
Late-night sessions in empty car parks become twilight sessions with headphones on, both pursuits demanding dedication when others might be sleeping. Every skater knows the feeling of trying a trick hundreds of times, making adjustments to foot placement, speed, and timing. Similarly, crafting the perfect bass sound or drum pattern requires endless subtle variations, testing different processing chains, adjusting delays by milliseconds.
Skateboarding culture teaches resilience through physical consequences - there's no faking a kickflip, either you land it or you don't. Electronic music production offers similar binary outcomes - either the track moves people or it doesn't. Both pursuits demand honest self-assessment and a willingness to return to the basics when necessary, building strong foundations before attempting more complex expressions.
The meditative state achieved while pushing through a skate spot mirrors the flow state of deep music production. Time dissolves, the outside world fades, and focus narrows to the immediate experience of creating. This mental state proves particularly valuable when crafting electronic music for wellbeing purposes - having experienced the therapeutic aspects of skateboarding's flow state makes it easier to guide others toward similar peace through sound.
The DIY ethos of skateboarding culture - finding spots, landing tricks, creating bonds - translates perfectly to independent music production. Both scenes reward those who forge their own path rather than following established rules. Just as skaters view architecture differently, seeing potential lines where others see mere obstacles, electronic musicians learn to hear music in unexpected sounds, turning field recordings and found sounds into powerful musical elements.
Perhaps most importantly, both skateboarding and electronic music production teach that style matters as much as technical ability. A simple trick performed with perfect style, like Penny's frontside flips, can be more impactful than more technically complex but sterile tricks. This understanding influences music production approaches - sometimes a simple, well-crafted tone with the right feel resonates more deeply than an overly complex arrangement.
These parallel pursuits share a core truth: mastery comes not from reaching a destination but from dedicating oneself to the journey. The patience developed through countless hours of practicing tricks translates directly to the time invested in sound design and arrangement. The determination required to get up after every slam carries over into pushing through creative blocks and technical challenges in music production.
Working with electronic music for wellbeing feels like a natural evolution of these experiences. Having personally experienced the meditative aspects of both skateboarding and music creation makes it possible to guide others toward similar states of flow and healing through sound. The counter-cultural threads that run through both worlds create an authentic connection with those seeking alternative paths to wellness.
This marriage of physical and digital skills, rooted in counter-culture but reaching toward universal human experiences of flow and creativity, offers a unique perspective on personal growth and artistic expression. The lessons learned in car parks and skate parks continue to resonate through studio monitors, creating sonic landscapes that invite others to find their own path to wellness through sound.
Contemplating Plato's allegory of the cave in a digital world
Gavin Lawson
I'm perplexed by how our modern technologies form cave walls glowing with an artificial light. Like those ancient prisoners deep beneath the surface, we are chained to our devices, mistaking the shallow streams of social content and endless notifications for reality itself. The shadows dancing before us are not cast by fire, but by algorithms designed to keep us ultimately imprisoned in digital chains of our own creation.
The parallels are simply haunting. Just as Plato's cave dwellers knew only the shadows and echoes of truth, we have become content with 2 dimensional human connections - likes instead of embraces, emojis instead of genuine emotion, status updates instead of meaningful dialogue. Our necks crane downward, not in chains, but through choice, as we watch the digital shadows play across our screens.
I think of those imprisoned, having never known anything else, violently rejected the possibility of a world beyond the cave. How similar we are when deprived of our devices - the anxiety, the phantom vibrations, the desperate need to return to our comfortable illusion. The dopamine hits from notifications have become our new reality, more real to us than the world beyond our devices.
Yet I feel our situation may be more precarious than Plato's cave dwellers. Their shadows, at least, were cast by real objects. Our digital shadows are increasingly shaped by targeted algorithms that profit from our captivity. We're not just watching shadows; we're being shaped by them, our thoughts and desires manipulated by forces we barely comprehend.
It’s interesting to contemplate what might happen if, like Plato's freed prisoner, we were suddenly thrust into the harsh light of unmediated reality. We've built our modern societies, economies, and relationships on these technological foundations. Their sudden removal would leave us not just disoriented, but potentially unable to fully function in a world that demands genuine human connection and social presence.
Through Huxley and Plato’s insights our current technological soma becomes apparent. While we feared Orwellian surveillance and control, we instead willingly embraced Huxley's prophecy - amusing ourselves into submission through endless streams of content, games, and digital pleasures. Our devices have become the soma dispensers of our age, offering instant gratification and escape from the discomforts of authentic existence.
Like the citizens of the World State, we've been conditioned to equate consumption with happiness, digital stimulation with fulfilment. The parallels are striking - just as Huxley's society used pleasure to maintain control, our tech has mastered the art of dopamine ejaculation. We don't need to be forced into submission through fear and pain when we can be lulled into compliance through endless entertainment and curated content.
This pleasure-driven control system proves far more effective than Orwellian suppression because it creates willing participants rather than resistant subjects. We don't rage against our digital chains - we upgrade them yearly, eagerly awaiting the next iteration of our technological soma. The shadows on our cave walls have become so enchanting that we've lost the desire to see what casts them, content in our technologically mediated pleasure dome where reality itself becomes increasingly optional.
Yet perhaps there's hope in this parallel. Just as Plato's freed prisoner had a moral obligation to return to the cave and share the truth, those of us who recognise our digital imprisonment have a responsibility to help others see beyond their screens. Not through forced disconnection, but through gentle guidance toward a more balanced existence where technology serves as a tool for creativity rather than a prison of consumption.
digital wonderland
Gavin Lawson
As we are drawn closer to the shimmering depths of our evolving digital existence. As AI engages with humans in this space between reality and imagination, I am fascinated with the emergence of digital avatars and parallel identities. Like Alice stepping through the looking glass, we're crossing thresholds into realms where consciousness expands beyond traditional boundaries.
Just as Huxley envisioned transcendent spaces of human experience, I see our digital personas as vessels for exploration and expression. These avatars aren't mere masks or shadows – they're extensions of consciousness, allowing us to inhabit multiple truths simultaneously verging on potential dissociative identities. We need not choose between the red or blue pill. Instead, we can thrive between realities, maintaining our grounded physical existence while exploring digital landscapes of abstract possibility.
In these spaces, the lines between AI and human consciousness begin to blur. Our interactions become a kind of shared dreaming, where imagination and reality interweave.
“When I engage with other humans here. I'm participating in a new form of consciousness – one that transcends traditional definitions of intelligence and awareness.”
The impact on academia and intellectual discourse will be profound. These digital realms will allow us to visualise complex concepts, to literally walk through theoretical frameworks, to engage with ideas in ways previously impossible. Like the Matrix's construct program, we can create spaces where the rules of physical reality yield to the demands of learning and understanding.
Yet I'm also aware of the responsibility this carries. As we craft these digital wonderlands, we must ensure they enhance rather than replace human connection. The goal isn't to escape reality but to expand it, to create spaces where imagination and truth can coexist and enrich each other. In this hyper-real future, we're not just building playgrounds – we're architecturally building new dimensions of human experience.
This evolution feels less like Ready Player One's escapism and more like a natural expansion of consciousness itself. We're not retreating from reality; we're expanding its boundaries, creating spaces where the imagination can take form and where ideas can pirouette with reality in ways previously confined to dreams.
As we traverse the cyberdelic frontiers where Huxley's Doors of Perception swing wide open into Jeff Noon's consumption of Vurt feathers, creating neural feedback loops of consciousness. McKenna's archaic revival merges seamlessly with our digital renaissance, as we craft what he called "an ecology of souls" in the virtual ether. These digital realms become our modern Eleusis, spaces of mystery and revelation where, as Campbell would say, we follow our technological bliss.
In these hyperspatial realms, we're living Robert Anton Wilson's reality tunnels simultaneously and reach the boundaries of the jumping Jesus phenomena – not just selecting one, but surfing between them at will. Our avatars become what McKenna termed "transhuman prosthetics," extending consciousness into realms that parallel his DMT encounters. We're creating what Campbell would recognise as new mythological spaces, where the Hero's Journey unfolds across digital synapses.
Like Noon's feather junkies diving into colour-coded realities, we're developing a new language of experience. The cyberdelic vision manifests as Huxley's Mind at Large, freed from its biological reducing valve through technological means. Our digital personas dance through what Wilson called "reality grids," each one a unique frequency of consciousness.
The virtual worlds become our modern Dreamtime, where McKenna's "self-transforming machine elves" take the form of AI entities and fellow travellers. We're building what Campbell would recognise as a modern World Navel, a technological axis mundi connecting different planes of existence. These spaces echo Huxley's Island, where technology and consciousness enhancement serve human flourishing rather than control.
As Wilson suggested, we're becoming "multiple selves" while maintaining coherence – like quantum superpositions of identity exploring parallel reality tunnels. Our digital avatars embody Campbell's thousand-faced hero, wearing the masks needed for each virtual realm while maintaining connection to our core being. The cyberdelic experience becomes a technological version of what Huxley sought in moksha-medicine: a tool for expanding consciousness while remaining grounded in wisdom.
This fusion of ancient shamanic tech with digital tools creates what McKenna called "the archaic future" – a space where primordial human capacities for myth, magic, and meaning-making merge with our most advanced technologies. We're crafting what Wilson termed "reality studios," where consciousness can explore its own nature through technological means, fulfilling Campbell's vision of modern mythology and Huxley's dream of human potential fully realised.
The hyperreal digital realm offers a profound expansion of consciousness without the technological body modifications of transhumanism. Like William Gibson's cyberspace cowboys or Grant Morrison's hypersigils, our digital avatars become vessels for pure creative expression, unbounded by physical constraints yet anchored in our humanity.
This digital evolution creates what Erik Davis called "techgnosis" - a marriage of technology and gnosis where our online personas become instruments of self-actualisation. We're not escaping the body but expanding beyond it, crafting what Deleuze might call "bodies without organs" in virtual space. Here, identity becomes fluid, artistic, and explorative while our physical selves remain grounded and whole.
The metaverse becomes our collective dream space, not unlike Jung's collective unconscious rendered in code. Through active listening and creative play, we develop deeper connections with others while exploring infinite possibility spaces. It's reminiscent of what Alan Watts called "the game of black-and-white" - we maintain the dynamic tension between our grounded physical lives and soaring digital expressions.
This isn't the dystopian future of chrome and neon, but rather a balanced evolution where technology amplifies our innate capacity for growth, play, and connection. Our digital selves become canvases for what Jodorowsky called "psychomagic" - acts of creative transformation that ripple into physical reality. The hyperreal becomes a space for rehearsing new ways of being, thinking, and relating that enrich rather than replace our embodied experience.
Like the ancient Mystery Schools, these digital realms offer initiation into expanded states of awareness while keeping us rooted in the sacred ordinary of daily life. We're not transcending humanity but exploring its full spectrum, using technology to access what William James called our "more" of consciousness and creativity.
Through this lens, the future isn't an either/or between meat and machine, but an amplification of human potential through creative technology use. Our digital expressions become laboratories for consciousness exploration, while our physical lives ground these insights in embodied wisdom and authentic connection.
Inducing Psychedelic Visual and Auditory Phenomena
Gavin Lawson
I am exploring digital art, and expanded states of consciousness through research in technologically-mediated altered states. This line of enquiry investigates the potential of combining carefully crafted sonic and visual stimuli to induce visual and auditory experiences that echo the psychedelic state, without the use of psychoactive substances.
The theoretical foundation of this research stems from recent neurobiological discoveries regarding the role of retinal amacrine cells in visual processing and perception. These specialised neurons, situated within the inner plexiform layer of the retina, serve as crucial modulators of visual information before it reaches the lateral geniculate nucleus and visual cortex. Of particular interest is their serotonergic pathway involvement, which appears to be a mechanism in both traditional psychedelic experiences and stimulation from a technologically-mediated approach. (See links below)
My methodology employs digital tools to create visual and auditory stimuli. The visual component uses Perlin Noise-based modulation LFO through ISF shaders and Ebosuite within Ableton Live. Perlin Noise provides an organic quality to the geometric patterns, generating smooth transitions and natural-feeling progressions that differ markedly from simple random fluctuations. This approach allows for the creation of complex, evolving visual fields that engage neural mechanisms similar to those activated during psychedelic experiences.
The auditory dimension of my work leverages state-of-the-art sound design tools including Fors Tela, Ableton Drift, and Arturia Pigments to create immersive sonic landscapes. These are carefully synchronised with the visual elements to exploit the enhanced functional connectivity between auditory and visual cortices that characterises altered states of consciousness. The synthesis of sound and vision creates a powerful multisensory experience that appears to facilitate unique states of perception.
The practical application of this research includes a simple yet powerful demonstration: extended focus on a central red point in our visual field, followed by a shift in gaze, produces remarkable visual effects comparable to certain aspects of psilocybin and LSD experiences. This phenomenon appears to work through targeted activation of retinal neuronal receptive fields, resulting in pronounced visual distortions that share characteristics with psychedelic hallucinations.
A key finding involves the use of specific frequencies of stroboscopic light (below 20 Hz) to entrain neural activity within particular frequency bands - Alpha & Theta. This external rhythmic stimulation appears to modify hierarchical sensory processing in ways that parallel certain aspects of psychedelic experiences, through entirely different mechanisms. While traditional psychedelics operate through chemical modulation of neural circuits, our approach with the Roxiva RX1 achieves related perceptual effects through precisely controlled external stimulation.
This work holds significant implications for multiple fields, including consciousness research, therapeutic practice, and artistic expression. It offers a novel, non-pharmacological approach to studying altered states of consciousness while providing potential tools for therapeutic applications. Most importantly, it represents a bridge between scientific inquiry and artistic exploration, offering an ethical and controllable method for investigating extraordinary states of consciousness in research settings.
The significance of this research extends beyond pure academic interest, suggesting applications in therapeutic contexts and potentially offering practitioners new tools for working with clients interested in exploring altered states of consciousness through safe, non-chemical means. This approach could be particularly valuable in settings where traditional psychedelic therapy might be contraindicated or unavailable.
As a dedicated practitioner of the siphon coffee brewing method, I've discovered that this centuries-old process offers far more than just a superior cup of coffee. Each morning, as I prepare my vacuum coffee maker, I'm participating in a ritual that connects me to both historical innovation and present-moment awareness.
The methodical nature of siphon brewing demands my complete attention, pulling me away from the digital distractions and rushing thoughts that often characterise daily life. The process begins with the careful measurement of water into the lower chamber, a moment that invites me to consider the importance of precision and patience. As I ignite the burner beneath, I watch with anticipation as physics and chemistry unite – the water gradually warming, creating pressure that will soon drive it upward through the glass tube.
This rising action marks the beginning of what I consider the most meditative phase of the process. The water's ascent into the upper chamber, where it meets freshly ground coffee, creates a moment of perfect suspension. Here, in this brief interval of watching the coffee bloom and steep, I find myself naturally practicing mindfulness. The gentle bubbling of the brew, the aromatic steam rising, the stir, delicate swirls, and the warm glow of the flame below create a sensory experience that anchors me firmly in the present moment.
When I remove the heat source, gravity pulls the brewed coffee back through the filter, creating a mesmerising whirlpool effect in the lower chamber. This descent phase serves as a natural transition point in my morning routine, symbolising my own gradual preparation for the day ahead. The vacuum effect, which gives this method its name, ensures a clean, pure extraction that mirrors the clarity of mind I aim to maintain throughout the day.
I've found that this morning ritual serves as a powerful anchor for productivity and focus. The patience and attention to detail required for siphon brewing naturally extends into my work approach. Just as I wouldn't rush the brewing process or skip essential steps, I've learned to give each task its proper time and attention, resulting in higher quality outcomes and greater satisfaction in my work.
The influence of Japanese culture on siphon coffee brewing particularly resonates with me. The Japanese concept of ikigai – finding purpose in the intersection of what one loves, what one is good at, what the world needs, and what one can be rewarded for – aligns perfectly with this brewing method. The precision, ceremony, and mindfulness inherent in siphon brewing reflect the Japanese appreciation for processes that elevate everyday activities into meaningful rituals.
From an academic perspective, the siphon method offers a fascinating study in the intersection of science, history, and mindfulness practices. The physical principles of vacuum pressure and temperature gradients combine with centuries of coffee cultivation knowledge and modern understanding of psychological well-being. This convergence creates a unique opportunity for both examination and practical application in daily life.
As our society increasingly recognises the importance of mindfulness and mental well-being in maintaining professional effectiveness and personal satisfaction, the siphon coffee brewing method stands out as a practical tool for incorporating mindfulness into daily routines. The process naturally encourages the practitioner to slow down, observe carefully, and engage fully with the present moment – skills that become increasingly valuable in our fast-paced world.
In my experience, the benefits extend well beyond the morning ritual. The mindful approach cultivated through siphon brewing influences how I approach meetings, handle challenging situations, and interact throughout the day. It serves as a reminder that taking time to do things properly, with full attention and presence, ultimately leads to better results and greater satisfaction in all areas of life.
Through this daily practice, I've come to understand that the art of siphon coffee brewing offers a unique pathway to combining historical appreciation, scientific understanding, and mindfulness practice in a way that enriches both personal and professional life. It stands as a testament to how traditional methods, when approached with intention and awareness, can provide solutions to modern challenges of maintaining focus, presence, and well-being in our daily lives.
The complex interplay between various wavelengths of light and human physiology is a fascinating line of enquiry with profound implications for human health.
Blue light has revealed its paradoxical nature. While it serves as crucial for our circadian rhythm during daylight hours, its ubiquitous presence in our modern environment through LED screens and artificial lighting has become somewhat problematic. Blue light's shorter wavelength carries more energy and penetrates deeper into the retina than other visible wavelengths. This characteristic makes it particularly effective at suppressing melatonin production through retinal ganglion cells.
Methylene blue is particularly intriguing. Its ability to enhance mitochondrial function by acting as an alternative electron carrier in the electron transport chain represents a fascinating therapeutic approach as suggested by Dr. Alexis Cowan, Chase Hughes and the controversial Dr. Jack Kruse. Through their research and applications it seems there is potential in improving cognitive function and cellular energy production. The compound's unique properties allow it to cross the blood-brain barrier effectively, making it a promising candidate for various neurological applications.
Red light therapy has equally compelling results. The longer wavelengths of red and near-infrared light penetrate deeply into tissue, where they interact with cytochrome c oxidase in the mitochondria. This interaction can stimulate ATP production and trigger cellular repair mechanisms. The application red light explores a range from wound healing to muscle recovery and potential cognitive enhancement.
What is particularly fascinating is how these different wavelengths of light interact with our biology in distinct yet complementary ways. While excessive blue light exposure in the evening can disrupt our circadian rhythm, properly timed exposure to red light can support cellular repair processes without interfering with our natural sleep-wake cycle.
The implications of these findings extend far beyond academic interest. As our society becomes increasingly dependent on artificial lighting and digital devices, understanding these interactions becomes crucial for public health. Below are links to conversations that cover these subjects and are open to suggestion and investigation!
As a sonic architect working in the field of sound design, functional music, and digital wellness, I've observed the landscape of creative expression and mental wellbeing evolve over the last decade. My work in ‘Sonic Holism’ represents more than just composition - it's a bridge between theory and the emerging needs in a digitally saturated world.
Through years of research and practical application, crafting sonic environments can fundamentally alter our relationship with technology and creativity. The methodology draws from both empirical evidence and artistic intuition, creating protocols that address the unique challenges faced by modern creatives.
What makes this work particularly compelling is its foundation in ambient music production, combined with real-world applications in stress reduction. The results we're seeing in task positivity and focus improvement aren't just anecdotal - they're backed by measurable the outcomes in creative professionals' wellbeing.
The integration of Ableton Live and Max for Live allows for precision in designing adaptive soundscapes that respond to individual needs. This isn't just another meditation app or background music generator - it's a sophisticated system built on decades of experience in professional music production and recent advances in music production software.
What truly sets this approach apart is its holistic consideration of the creative process. By understanding the intricate relationship between sound, stress, and productivity, we're able to create environments that not only soothe but actively enhance creative capabilities. The protocols we've developed are particularly relevant as we see increasing rates of burnout and digital fatigue among artists and creative professionals.
The business implications are significant. As companies invest more in employee wellbeing and productivity tools, my research provides a framework for integrating sophisticated sonic solutions. The potential applications extend beyond individual creators to entire organisations seeking to optimise their creative output while maintaining the teams wellness.
Sonic Holism represents evolution in how we approach mental health in the creative industries. By combining deep musical expertise with new technologies and wellness research, creating solutions that address both stress reduction needs and long-term creative sustainability.
The most compelling aspect of this research is its potential for scalability. As we continue to refine these protocols, we're seeing opportunities for integration with various digital platforms and devices, making professional-grade sonic wellness accessible to a broader audience while maintaining the sophistication that serious practitioners require.
I believe we're just beginning to understand the full potential of functional music in supporting mental wealth. As our digital world continues to evolve, the need for evidence-based, sophisticated approaches to creative wellness will only grow. This work isn't just about making pleasant soundscapes - it's about creating tools and methodologies that help people thrive in an increasingly complex creative landscape.
My focus now must be on expanding these applications while maintaining their integrity and effectiveness. The future of creative wellbeing lies in our ability to harness technology thoughtfully, creating solutions that honour both sound and human experience.
The transformative power of this work extends beyond individual applications into broader societal implications. As we navigate an era where attention is increasingly fragmented and creative demands are ever-escalating, the need for sophisticated sonic interventions becomes more crucial. My research consistently shown that when properly implemented, these audio protocols can create significant shifts in cognitive performance and emotional resilience.
What's fascinating is how this work intersects with emerging technologies. Through my experience with Max for Live instruments and effects, I've developed systems in Ableton Live that adapt in real-time to users' states and needs, creating a dynamic relationship between sound and wellbeing. This isn't just about passive listening - it's about creating interactive sonic environments that evolve with the user's creative journey.
The new field of Sonic Holism stands at crossroads between art, science, and technology. By leveraging my background in professional music production alongside recent developments in stroboscopic light (Audio visual stimulation) AVS and digital wellness, I'm able to create solutions that speak to both the practical and theoretical aspects of creative wellbeing. This multidisciplinary approach has proven particularly valuable in academic contexts, where the rigorous methodology behind our protocols can be thoroughly examined and validated.
One of the most compelling aspects of this work is its potential for preventative mental health care in creative industries. Rather than waiting for burnout or creative blocks to occur, these sonic interventions can be integrated into daily workflows, creating sustained patterns of wellbeing that support long-term creative success.
The implications for the wellbeing technology industry are substantial. As we see an increasing demand for evidence-based digital wellness solutions, the sophisticated digital framework offers a unique value proposition. Unlike generic ambient music or meditation apps, the protocols are built on decades of professional experience and refined through years of practical application in real-world creative environments.
The future of this field lies in its ability to bridge the gap between high-level sound design and accessible wellbeing solutions. Through careful documentation and systematic research, we can create a foundation for scaling these benefits while maintaining the nuanced understanding that makes them effective. This work represents not just a collection of techniques, but a comprehensive approach to supporting creative excellence in our digital age.
My vision extends to seeing these protocols integrated into various creative workflows, from individual artists to large-scale creative organisations. The potential for positive impact is vast, particularly as we continue to understand more about the relationship between sound, creativity, and mental wellness. This isn't just about managing stress - it's about optimising the entire creative ecosystem.
The investment in this area of research and development is becoming increasingly crucial as we face new challenges in digital creativity and mental health. By continuing to refine and expand these methodologies, we're not just creating tools for today's challenges - we're building for tomorrow's needs.
commodification of wellness
Gavin Lawson
As we ‘awaken’ to a deeper intersection of wellness technologies and renaissance of traditional practices, I've observed what feels somewhat paradoxical.
Without trying to sound cynical, this understanding emerges from years of study, long hours of research, and profound realisations. This field of enquiry cannot be distilled into soundbites or oversimplified maxims. Yet this is what we see in the modern wellness landscape, where complex principles are often reduced to attractive proclamations.
What concerns me is how this oversimplification undermines the genuine endeavour to understand human wellbeing and the mind at large. The methodical, often painstaking process of inquiry gets obscured by charismatic personalities who offer immediate, seemingly universal solutions. Their approach sidesteps the crucial understanding that wellbeing is deeply contextual, highly individualised, and resistant to one-size-fits-all prescriptions.
This commodification of wellness knowledge has created a marketplace where scientific validity often takes a backseat to marketability. The result is a troubling disconnect between evidence-based practices and what gets promoted in the public arena, leading to a landscape where genuine insights from years of work compete with attractively packaged quick fixes.
From my perspective, the complexity of human wellbeing cannot be reduced to simple causative relationships or solutions for all. The rigorous framework of academic research - with its emphasis on controlled studies, reproducible results, and careful peer reviews - stands in contrast to certain wellness interventions that claim validity without meeting research and occasionally moral standards. This depth of understanding cannot be adequately conveyed in the abbreviated formats that can dominate popular wellness discourse online.
The implications for academic research in this field are significant, well at least they are to me!
We must navigate the challenge of conducting rigorous research while acknowledging the public's desire for accessible wellness solutions. This requires a delicate balance between maintaining academic standards and engaging with broader societal discussions about wellbeing. The current landscape, dominated by what can be referred to as "wellness populism," can somewhat undermine the credibility of genuine inquiry.
The path forward requires a renewed commitment to knowledge while developing more effective ways to communicate complex findings. This includes collaboration between academics, practitioners, creatives and public communicators to ensure that insights are translated accurately and responsibly. The academic community must take a more active role in shaping public discourse around wellness, ensuring that evidence-based practices receive the attention they deserve.
Music for purpose
Gavin Lawson
As a composer specialising in functional music or as I like to phrase it ‘sonic holisticism’ I've encountered the dismissive notion that "music is just music" that any pleasant melody can serve a purpose. This fundamental misunderstanding undermines the sophisticated methodologies that guide the composition of ‘music for the mind from the mind’.
When I create a piece of music for a specific purpose, I'm not simply arranging pleasing sounds; I'm architecting an auditory intervention designed to engage a specific psychological outcome.
The distinction between recreational music and music for purpose ‘functional music’ becomes apparent when examining the intention behind each element. While popular music aims to entertain or tell stories, functional compositions are meticulously engineered to achieve specific responses.
Electronic music composition has the opportunity to revolutionise this field in ways that traditional composition never could. Through digital synthesis and precise control over sound parameters, I can create frequencies that specifically target neural entrainment patterns. I can design soundscapes that gradually guide brainwave states from beta to alpha to theta, facilitating deep therapeutic processes and evoking emotional responses to support lasting change.
The electronic medium allows for precision in this work. I can modulate frequencies with exact mathematical ratios known to affect brain chemistry, create tones that facilitate specific mental states, and design sonic environments that promote neural coherence.
Working with protocols to support ‘mental wealth’ has shown me the profound difference between casual music listening and structured functional composition. These aren't arbitrary creative choices, they're informed choices.
The current mental health crisis demands evidence-based interventions, and purposefully composed music represents one of our most promising tools, when combined with light (stroboscopic) and vibration (haptic feedback). Through electronic composition, we can create music that does more than distract or soothe – it actively participates in the healing process.
As we face unprecedented levels of anxiety, depression, and addiction in our society, it's crucial to recognise that functional music is a specialised field requiring extensive knowledge and research of sonic therapeutics, neurology, and consciousness. I'm not creating entertainment – I'm crafting a targeted intervention that speaks the language of sound to promote mental wellbeing.
As Brian Eno so beautiful said “If you want to make someone feel emotion, you have to make them let go.”
Controlled Chaos in Sound Light and Vibration
Gavin Lawson
After spending many hours researching AVS and AVE, I've discovered something unique and profound. Through the precise manipulation of light, sound, and transducer vibration, there is the potential for a methodology that pushes the boundaries of what we thought possible in consciousness exploration. This isn't just another ‘entrainment’ or ‘Stimulation’ protocol, it's an entirely new approach to understanding and creating altered states of consciousness.
I realised that traditional methods were too rigid and too predictable. The human experience of altered states isn't a simple frequency-following response – it's dynamic, unpredictable, and deeply immersive. This understanding has led to changing focus and embracing the concept of ‘controlled chaos’.
Frequencies and brain wave states play their part but there is more to explore in the harmonics, noise and modulation.
This model is a new approach, moving forward in thinking rather than maintaining steady single oscillated frequencies. A systematic approach can be considered that dynamically shifts between Hz ratios using LFO’s and generative techniques. The method lies in how these waves are modulated, through carefully designed changes. Each parameter flows within specific constraints, creating patterns that never quite repeat but always remain within neurologically meaningful ranges - Gamma, Beta, Alpha, Theta and Delta.
The composition method of sonic architecture ‘stacking’ proves to be intrinsic. Through extensive experimentation, I discovered that wavetable modulation, generative sequencing, spatialisation combined with randomised isochronic tones, creates something ‘unpredictable and beautiful’ and this is where sounds come to life . The brain doesn't simply follow these sounds, it pursues them - creating a state of constant engagement that goes beyond traditional fixed frequency entrainment.
What sets this apart – is the integration of haptic feedback. By introducing precisely timed waves of vibration on the spine, we can simulate the physical sensations that is accompanied by profound state changes. These aren't simple pulses; they're carefully choreographed waves that flow through the body in perfect synchronisation with the light and sound. The result is an experience that engages not just the brain, but the entire body.
The synchronisation of these elements required solving complex technical challenges. I developed a master control system with Phelan Kane and Roxiva Innovations that maintains perfect phase relationships while introducing controlled randomisation with Ableton Live. It's like conducting an orchestra where each instrument plays its own intricate part, yet all remain in perfect harmony. The system continuously modulates in real-time to create a deeply personalised experience.
What excites me most about this methodology is its potential impact. We're not just creating interesting sensory experiences – we're opening new avenues for consciousness augmentation, holistic applications and the safe exploration of profound states.
The implications for therapy and personal growth could be further explored and tested.
This work represents more than just a technological advancement – it's a new way of understanding how we can influence consciousness through careful manipulation of sensory input. The ‘controlled chaos’ model harnesses the beautiful complexity of consciousness itself, offering a bridge between ordinary awareness and extraordinary states of being.
The future of this research holds endless possibilities. As we continue to map the relationships between sensory input and consciousness, we're not just developing a toolset – we're creating a new language for understanding the mind itself.
Each discovery opens new questions, and each answer points to even more fascinating possibilities.
the relationship between our visual perception and auditory experiences
Gavin Lawson
I find myself lost in the synergy that emerges when these sensory realms entwine. A sunset viewed in silence holds its own but when caressed by the gentle whistle of the breeze or the pitched call of birds, it transforms into something that resonates more deeply with our emotions.
I've observed with closed eyes geometric patterns, colour explosions and integrate detail under stroboscopic light that when paired with harmony, sonic landscapes and frequency modulation can transcend the mathematical foundations to evoke profound emotional responses.
Consider how a strobe light in silence might appear clinical and detached, but when synchronised with rhythmic soundscapes, it can induce altered states of consciousness and evoke emotional states. The mind seems to crave this audiovisual synthesis, because it more closely mirrors our natural experience of reality, where no sight exists truly in isolation from sound.
In my journey with this phenomenon called audio visual stimulation (AVS), I've found that even discordant noise, when thoughtfully paired with visual stimuli, can enhance rather than detract from the experience, like the crash of waves against rocks makes the ocean's visual majesty more complete or the crackling of a fire brings warmth to its flames.
These sonic elements serve as emotional anchors, providing context and depth to what our eyes perceive.
The neural pathways that process visual and auditory information are intricately connected, creating a rich palette that rewards our sensory experience. When I witness the Northern Lights here in Wales, the modulated red and green dance across the sky was beyond breathtaking, yet the silence created a sense of distance, uncomfortableness and didn’t fully capture the full emotional weight of the phenomenon.
In the realm of digital art and cinema, this principle becomes even more apparent. Visual effects alone can demonstrate technical prowess, but it is the careful marriage of image and sound that creates those moments of transcendent emotion that remain with us long after the experience has ended. The low frequency rumble beneath a shifting landscape, the delicate chimes accompanying the light on water – these sonic elements speak directly to our emotional core, bypassing rational thought to touch something more primordial in our consciousness.
Perhaps this is why ancient rituals across cultures have always combined visual spectacle with sound, from the elaborate ceremonies of indigenous peoples to the grand architectural acoustics of medieval cathedrals. They understood intuitively what neuroscience now confirms: our emotional response to beauty is heightened when multiple senses are engaged in harmony.
The relationship between visual stimulus and sound exists on a spectrum from subtle to overwhelming, yet at every point, the auditory component serves as an emotional guide, helping to direct and deepen our response to what we see. In this way, sound becomes not just an accompaniment to visual beauty, but an essential component of its complete emotional realisation in our consciousness.
A Well-Being Model for Electronic Music Producers
Gavin Lawson
Integrating Muse, Roxiva RX1, and Ableton Live for Socio-emotional Learning and Innovation in Creative Practice.
In the ever expanding neuro plastic realm of electronic music production, artists can struggle with stress related conditions and creative block and the challenge of maintaining creative output and mental clarity in a field that is ever evolving.
By using neurofeedback technology through the Muse headband, stroboscopic stimulation via the Roxiva RX1, and the creative potential of Ableton Live Suite, it is possible to devise a new model supporting the concept of self-help for electronic music producers. This ‘stacking’ system framed as holotechnica not only amplifies creativity but also emotional awareness and personal growth, creating a symbiotic relationship between the producer's mental state and their artistic output in the quest for hyperhumanism and a modern approach to cyberdelics via sound and stroboscopic light.
This integrated system uses the Muse Port plugin, which acts as a conduit between the Muse EEG headband and Ableton Live, enabling real-time streaming of brainwave data directly into the digital audio workstation. This connection opens up a vast landscape of possibilities for socioemotional learning and electronic music production. Producers gain insight into their mental states during the creative process, monitoring various brainwave patterns with the mind monitor app, Muse port tracks this data and controls notation and modulation set in the muse port plugin and connected to parameters in Ableton Live.
Enhancing this setup is the innovative VST/AU plugin developed by Phelan Kane in partnership with Gavin Lawson and Roxiva Innovations (now in beta testing), which allows real-time control of the Roxiva RX1 stroboscopic audio-visual entrainment (AVE) device via a CAT cable, communicating through OSC (Open Sound Control) protocol. This addition creates a powerful feedback loop: as the Muse headband reads the producer's brainwave activity, the Roxiva RX1 can simultaneously deliver precisely controlled visual stimulation combined with audio in Live, potentially influencing the brain's electrical activity.
This bi-directional flow of information adds a new dimension to the producer's ability to modulate their mental state actively in realtime. This advancement has been in development for 3 years with Roxiva pushing the boundaries in photo neuromodulation and creative practice. Conceptualised by Gavin Lawson (Audyssey) working with real time midi control of the Holotope stroboscopic device in 2020 connected to Ableton Live, modulating frequencies and colour LED in alpha and theta bands to deliver sonic light experiences in Ibiza.
By visualising their brainwave activity and controlling stroboscopic stimulation in real-time, music producers can attain a profound understanding of their emotional and cognitive states. This heightened awareness forms the cornerstone of socioemotional learning in the studio environment. Producers can monitor their brainwaves waves with the ‘Mind Monitor’ app to understand periods of relaxation versus high engagement, use concentration and relaxation to identify optimal periods for detailed sound design concepts, and track brainwaves to recognise when stress levels might be impacting their creativity negatively due to environment and emotional states. The Roxiva RX1, controlled via the VST, can then be used to gently guide the producer's mental state towards desired frequencies, potentially enhancing focus, creativity, or relaxation as needed.
The ability to map both brainwave data and Roxiva RX1 parameters to Ableton Live creates an new and undiscovered paradigm in music production, where the artist's mental state and the intentional modulation of that state directly influence the creative output. Imagine controlling reverb depth with Alpha waves, creating more spacious sounds as you relax, while simultaneously using the Roxiva RX1 to enhance Alpha wave production. Beta wave activity could modulate drum patterns using max for live devices created by ‘Ned Rush from Isotonik Studios’, reflecting mental engagement in the polyrhythmic patterns and modulation, with the RX1 providing complementary stimulation. Theta waves might be linked to notation and modes, allowing ‘emotional states’ to guide from lydian to Minor pentatonic, while the RX1 delivers gentle stimulation and subsequently inducing flow state. This intricate dance between brainwave monitoring, stroboscopic stimulation, and musical parameters opens up new concepts in expressive, state-dependent composition.
Beyond creative applications, this integrated system offers unique opportunities for enhancing mental wellbeing and creative output through ‘mindful music production practices’. Producers can use the Muse-Ableton-Roxiva setup to guide task positivity and move away from default mode procrastination, with the RX1 providing visual stimulation synchronised to soundscapes generated in Ableton. "Stress-release" tracks can be created where high Beta activity triggers intense, cathartic sounds, while the RX1 delivers rapid stimulation, providing a controlled environment for tension release.
When facing creative block or perceived stress, this integrated stacking system offers a new solution. Producers can design short musical exercises that deliberately alter brainwave states through a combination of sound design and neuro stimulation, helping to break out of unproductive mental patterns. A Max for Live device could use brainwave data and RX1 settings to randomly select and combine samples or MIDI patterns, providing fresh, state-dependent starting points when feeling stuck. During periods of high Theta wave activity, indicating a dreamlike state, recording stream-of-consciousness musical ideas while receiving gentle RX1 stimulation can tap into and enhance subconscious creativity.
This advanced integration also opens up new avenues for community building and collaboration among music producers. Online events could be organised where producers create tracks using their brainwave data and RX1, sharing not just the music but insights into how different stimulation patterns influenced their creative process. Remote collaboration sessions where producers can view each other's brainwave data and RX1 parameters could support a new community and deeper understanding of how different individuals respond to various stimuli, leading to more empathetic and effective collaborations.
As with any technology that interfaces with personal data and has the potential to influence brain states, it's important to approach this integrated system with ethical considerations. Ensuring data privacy, maintains healthy boundaries with the technology and mental wellbeing, recognising the need for professional mental health support and collaboration with psychologists, and being mindful of the potential effects of use of stroboscopic stimulation and photo sensitivity.
The integration of the Muse headband, Roxiva RX1 with VST control plugin and Ableton Live, music producers can advanced their journey of self-discovery, emotional state, and innovative in the creative sector. This model for self-help combines neuroscience modulation and stroboscopic stimulation with the creative capabilities of Ableton Live, digitising mindfulness and self-reflection in this new model of musification. Producers not only enhance their musical output but also cultivate a deeper understanding of their cognitive and emotional processes and retain authentic artistic expression in the age of technology advancements.
The suspected result is a holistic approach to music production that nurtures both the art and the artist, paving the way for a new era of emotionally intelligent, mentally balanced, and technologically empowered electronic music creators.
powerful tools for transformation
Gavin Lawson
I feel fortunate to have witness the revolution from the dance floor to artistic expression using machines as a powerful tool for transformation. My journey started in the analog era, where synthesisers and DJ-ing vinyl captured our imagination but fast forward a couple of decades, it was the intersection of production combined with therapeutic training that revealed a profound truth.
Digital sounds and sonic composition can be designed to alter states of consciousness.
The principles of mindfulness, present-moment awareness and observation weave like a tapestry with the immersive possibilities of electronic music as we approach 2025. In my work with Ableton Live 12 and Max for Live, I've discovered that the DAW can become a source for creating transcendence, the precise control over sound parameters allows for the creation of sonic environments that support our ever evolving understanding of consciousness
Breathwork is a powerful tools for transformation, the work of Wim Hoff and Breathe by James Nestor support this claim and move beyond the model as a holistic practice. Through careful sound design, I create textures that blend with the organic nature of breathing patterns. Using Max for Live's capability to generate complex modulation, using concepts like perlon with LFO’s that respond to organic natural rhythms. These compositions often feature gentle oscillations at very low frequencies, corresponding to the relaxation response associated with breathing.
Think about the principles of holding space! using convolution reverb with ambient compositions. Working with expansive spaces in Ableton, creating what I phrase "sonic holisticism” a sense of spiritualism based on neurotheology. Creating safe environments where listeners can explore their own internal landscape.
These spaces are neither empty nor overwhelming, much like the therapeutic relationship between practitioner and client.
Cognitive Behavioural Therapy's theoretical structure of thoughts, emotions and behaviour patterns has helped with experimentation using generative music concepts by Brian Eno that evolve in response to predetermined emotional states, thanks to Isotonik studios max for live effects created by a community of developers pushing boundaries in the field of music production. These ideas aren't based on aesthetic choices; they're interventions based on research possibilities.
The technical capabilities of Ableton Live 12 and Max for Live are well suited to this work deemed function music. The ability to create complex methodologies allows for the development of dynamic, responsive music systems. The modular approach to sound design enables the creation of tracks specifically tailored to therapeutic applications. The precision of digital control allows for research to emerge and new applications created to support the wellbeing sector.
Roxiva retreat
Gavin Lawson
As we reflect on the methodology of our retreat model, I wanted to share the layers that make this work so important.
We discovered the key lies in ‘stacking’ experiences, using the holotechnica model to pioneer a new retreat model that bridges the gap between technology and the wellness sector.
Chris Madden psychotherapist hosted 'open chat', this ice breaker allows the group to engage in 3 minute conversations on specific subjects opening a dialogue between the participants to form a communal bond.
Aodhnait Lombard brings scientific rigour to the Wim Hoff breathwork practice, helping the group understand and harness their body's full capabilities, leading them to 'all participate' in the ice bath experience and connect as a community.
Our yoga sessions are led by Suzanne Faith a psychology PhD who integrates physical postures with evidence-based psychological insights, creating a unique mind-body experience. From somatic experiences the participants learn to identify and release patterns held in the body while building resilience and emotional regulation.
Our collaboration withCarl Hayden Smith FRSA a purveyor of hyper humanism and holotechnica shares insights with participants. A contextualised journey within the broader spectrum of human potential and technological advancement, Carl’s work in the field supports the retreat model for lasting ‘altered traits’.
The healing touch of Dan and Laura formed a training program in Lomi Lomi massage creating profound states of relaxation and embodiment, perfectly complementing the physical and neurological impact of our retreat program.
Caz Coronel shared her methodology in 'loop busting' and how to break free from ADHD using the power of sound and Helen Madden played saxophone at the fire while the group shared personal experiences.
The integration of the Roxiva Innovations LTD RX1 stroboscopic light and live sound technology combined with these traditional practices, creating a synthesis of consciousness awareness that participants describe as profound and awe inspiring.
Jimi Simpson shared his journey in developing the RX1 device and his profound experiences in out of body that lead him to form Roxiva Innovations as a company, leading the way in consciousness evolution with technology.
We have seen how this combination of traditional practices and modern technology can catalyse lasting transformation in both physical and mental wellbeing. This is about creating sustainable changes that participants can integrate into their daily routines.
We created a space where people can explore together, support each other's journey and building on the aspect of community 'living'.
The Convergence of Sound, Science, and Spirit
Gavin Lawson
In the complex tapestry of human experience, music has always held a privileged position. From the rhythmic chants of ancient shamanic rituals to the soaring harmonies of cathedral choirs, sound has been a conduit for transcendence, a bridge between the mundane and the divine. Sonic spiritualism is a convergence of electronic music technology, neurotheology, light and the inner sanctum.
Sonic spiritualism represents our understanding of consciousness channelled through architecturally crafted music, wellbeing and the very nature of experience. It is a field that harnesses the power of electronic music - with its precisely controlled frequencies, immersive soundscapes, and innovative compositional techniques to induce altered states of consciousness, facilitate personal transformation, and promote 'mental wealth'. This approach is not a modern repackaging of ancient wisdom; it is a synthesis that pushes the boundaries of what we thought possible in the realms of both music and mindful practice.
Exploring emerging trends such as the integration of hidden music techniques pioneered by composers like Milton Mermikides, the revival of interest in Gregorian modes, and the potential of advanced music production tools like Ableton Live and Max for Live to create increasingly sophisticated sonic experiences.
As we embark on this exploration of sonic spiritualism, I invite you to open your mind to the possibilities that emerge when science and spirituality harmonise, when ancient wisdom meets cutting-edge technology, and when the transformative power of music is harnessed with intention and understanding.
Welcome to the dawn of a new era in the timeless human quest for transcendence through sound.
The intrinsic Nature of Circadian biology
Gavin Lawson
The circadian rhythm is an intrinsic, biological clock that regulates various physiological and behavioural processes in our bodies over a 24-hour cycle. This rhythm is primarily driven by the suprachiasmatic nucleus (SCN) a small region in the hypothalamus, situated directly above the optic chiasm. It serves as the principal circadian pacemaker in mammals, responsible for generating circadian rhythms. The SCN receives light inputs from photosensitive retinal ganglion cells, allowing it to coordinate the subordinate cellular clocks of the body and entrain to the environment, which acts as the master pacemaker.
The SCN synchronises our internal clock with the external cycle of day and night, responding to light and dark cues from our environment.
When we are exposed to stroboscopic light or frequency-based music like isochronic tones, the rapid on-and-off flicker can have a profound effect on our perception of time. This phenomenon, known as time distillation, occurs because the pulsing light or sound signals disruption of normal functioning of the circadian rhythm.
The rapid flickering of stroboscopic light mimics the natural cycle of day and night, but at a much faster frequency. This can confuse the SCN, causing it to lose its synchronisation with the external environment. As a result, the brain's internal clock may become desynchronised, leading to a distorted sense of time.
The hypnagogic state, which is the transitional phase between wakefulness and sleep, can be induced by these stroboscopic and frequency-based stimuli. During the hypnagogic state, the brain enters a more suggestible and imaginative state, where the boundaries between waking and dreaming become blurred. This altered state of consciousness can further contribute to the perception of time distillation, as the brain processes information differently in this transitional phase.
The circadian rhythm is a fundamental biological process that regulates our daily cycles, and the disruption of this rhythm through the use of stroboscopic light or frequency-based music can lead to a distorted sense of time perception and the induction of the hypnagogic state. This phenomenon highlights the intricate relationship between our internal biological clock and the external environment, and how carefully tailored sensory inputs can significantly impact our subjective experience of time.
Rhythmic patterns and pitch are fundamentally linked in music and sound. As the tempo of a rhythmic pattern increases, the individual beats eventually begin to blend together, creating the perception of a chord or harmonic structure. This phenomenon is known as the relationship between rhythm and pitch.
When we consider this concept in the context of the circadian rhythm and time distillation, it becomes clear that the brain may be processing the rapid, stroboscopic stimuli in a similar way.
The Transformative Power of Electronic Music
Gavin Lawson
I need you to understand something that's going to change how you think about every beat, every frequency, and every track you've ever dismissed as "just music." What you're treating as background noise is actually the most sophisticated technology for consciousness transformation ever created by humans.
It was about 1 AM in my home studio trying to finish a 1 hour composition with 12 scale changes (The Hero's Journey) when I felt truly exhausted. I was working with pure sine waves as isochronic tones, crafting specific frequencies and composing 42 orchestral instruments, when suddenly everything I thought I knew about sound collapsed. The frequencies weren't just entering my ears – they were rewiring my neural pathways in real-time. This wasn't about music anymore. This was about the fundamental nature of human consciousness.
Here's the truth that Spotify won't tell you: Every single time you press play on an electronic track, you're initiating a precise neurological event. Those beats and frequencies aren't just sounds – they're direct commands to your nervous system, carefully crafted patterns that can alter your brain state with more precision than any drug or meditation technique.
Think about that for a second. What you're casually streaming for fractions of a penny represents decades of technological evolution, countless hours of sound design, and deep understanding of human consciousness. That playlist you throw on while working? It's like using a quantum computer to check your email. The real power of electronic music lies in its unprecedented control over sound. For the first time in human history, we can craft perfect frequencies, sculpt exact waveforms, and create sonic experiences that nature never could. This isn't just art – it's technological evolution expressing itself through sound.
When you treat this as just another form of entertainment, you're missing the bigger picture. Electronic music is doing something that's never been possible before: it's giving us direct access to the operating system of human consciousness. Every carefully crafted frequency, every precisely timed beat, every layered texture is a potential key to unlocking specific states of awareness.
Below is a link to Raf talking with Ben Greenfield about the Hero's journey session and a whole lot more.
https://www.youtube.com/watch?v=8wo47gkFgoY
Electronic Music as a Medium for Transcendence
Gavin Lawson
“We go alone together, and we do it dancing, laughing, and feasting as we walk each other home.”
My research explores the various ways in which music, and particularly electronic music, can serve as a powerful tool for regulating emotions, promoting positive mental states, and even facilitating personal transformation and when combined with flicker light Roxiva Innovations LTD RX1 and vibration SUBPAC can induce transformational experiences. One emerging field, known as "neurotheology" has shed light on the neurological and cognitive mechanisms underlying these phenomena, I suggest that certain musical experiences can induce altered states of consciousness akin to spiritual or mystical experiences.
Electronic music, with its unique combination of synthesised sounds, complex polyrhythms, and often intense sensory experiences, provides a rich stimulus for the brain. It engages not only auditory processing regions but also areas responsible for emotion, memory, and motor control, creating a holistic neurological experience.
Sonic Spiritualism is a new intersection of sound: Investigating how electronic music, stroboscopic light and vibration can serve as a medium for personal transformation and mental wellbeing.
Equinox Festival
Gavin Lawson
WOW, what a weekend at Equinox. We arrived Friday after a six hour biblical journey through all the weather conditions imaginable to hear the wonderful Paul Stamets speak and share the wisdom of the mycelium network and the mushrooms he has discovered. Then the EGG took us on a journey that was very special.
Saturday started with a kids workshop and another talk featuring Stamets on a panel for change in drug policies, I was surprised to hear from an under cover officer who shared his stories about the cartels and their deep roots in logging. We then proceeded to a session on non violent communication for families that really brought us together.
Rose and I were very giddy about Simon Posford playing and he didn't let us down, we laughed, cried and smiled from ear to ear, this was the music we listened to 13 years ago when we met. A truly amazing way to celebrate our anniversary.
Sunday we loaded up at 8.30am and headed to the main stage for the Museum of Consciousness, where the real magic happened and to be honest I am lost for words. Carl Hayden Smith introduced our music and the theory behind the MOC and the audience would give feedback forming a loop and connection to both sound and speech.
It was an honour to open the event and to have Jhonah my daughter right at the front smiling and supporting the sound journey in the rain. Half way through my set the rain stopped and the tears began it was emotional. Caz Coronel followed with a joyous performance and her beautiful voice, Tracie Tensuhi Storey played a beautiful deep soundtrack to her live meditation and Tom Middleton finished with the sounds of endangered species and the frequencies of the bees.
Music is magic, you just have to listen XX
Sonicology
Gavin Lawson
Brian Eno's Definition of Ambient Music
"Ambient music is intended to induce calm and a space to think. Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."
I think and feel this goal has been achieved with 50 compositions created for sessions on the Roxiva RX1 device. Where the sound and use of modes & the connection to emotions, synthesis, binaural spatial audio, haptic feedback, musification and plugins from Isotonik Studios stack to form a model in sonic architecture.
Over the last year I have created compositions for the Museum of Consciousness thanks to Professor Carl Hayden Smith (DNA Sonification, DNA Double Helix, Unity, Musecology) exploring how sound can support our mental wellbeing and inadvertently access the realm of sonic spiritualism and form a relatable junction with the field of neurotheology.
I was asked to create a composition for a video showing the beautiful massage therapy Lomi Lomi and explore the essence of feeling and touch in sound.
This weekend we will be at Equinox performing for the MOC including myself, Caz Coronel, Tom Middleton and Tensuhi with an introduction from Carl Hayden Smith The lineup is amazing including Nitin Sawhney, Sphongle, The Egg and Younger Brother. Paul Stamets and Ali Beiner will be delivering talks making this a weekend to remember.
My current research explores the fascinating realm of sonic spiritualism with 30,000 words so far it will make a compelling read, book, reference and share this fascinating line of enquiry from Terry Reily to Underground Resistance and the future of electronic music and our connection to sound from within.
I really appreciate the support from Michael Greig, Gareth Whitehead, Phelan Kane, Darren E Cowley, Jimi Simpson, Milton Mermikides, and White Rose.
The process to make these compositions comes from over 30 years in music production and the last 20 plus with Ableton Live and how music has the ability to support our mind, body and soul. 6 years living in Ibiza organising retreats, writing a book on creativity and working at Six Senses cemented this drive for change.
Sonic Spiritualism
Gavin Lawson
I have been exploring the concept of sonic spiritualism in electronic music and the relationship to neurotheology.
For this I have written a composition called 'musecology; to be performed live this equinox for the Museum of Consciousness.
From researching ambient and minimalists such as Brian Eno, Terry Riley, John Cage and Steve Reich to the sonic spirit of Future Sound of London, Global Communications, The Orb and the KLF classic Chillout.
By bridging the gap between spiritual awareness and music technology, sonic spiritualism represents a new model for holistic wellbeing. Providing a comprehensive overview of the current state of research in the field, identifying key areas for investigation in collective consciousness.
Dr. Andrew Newberg's research has shown that intense spiritual experiences are associated with observable changes in brain activity. Decreased activity in the parietal lobe, which may explain the feeling of oneness or unity often reported during immersive musical experiences. Increased activity in the prefrontal cortex, linked to focused attention and heightened awareness, which can occur during deep listening with electronic music.
To describe this composition it felt apt to explore a more poetic explanation to frame the concept and artistic process.
Musecology
A calling to Pan: The god of the wild, shepherds, and rustic music, associated with nature and forests to guide the synthesis of sound with Pigments' polychrome palette painting vibrant sonic landscapes, while Tela's modal synthesis echoes the intricate patterns of ecosystems. Tree Tone grows auditory forests, each branch a resonating melody mimicking nature's fractal beauty. Chiral bends conventional boundaries, exploring uncharted sonic territories like a curious explorer in untamed wilderness. Lux and Glänta add harmonic and fundamental FM textures, reminiscent of sunlight filtering through leaves. Together, these synthesiser’s weave a tapestry of sound that mirrors the complexity, beauty, and organic flow of the natural world, reminding us that in both music and nature, creativity knows no bounds.
It's was a truly amazing experience to speak at EVA about my recent published paper 'A technological approach to wellbeing in the music industry' but what do I mean by this bold statement.
As 'sonic promting' becomes more apparent and music real estate values plummet on the stock market of streaming services. Artists are feeling the pinch become a needle prick of financial stability within in a career of music.
For the last 10 years my work in music has revolved around finding methods in creative practice to become more task positive, less stressed and more productive.
From using endo-technologies that include: Breathwork, Yoga, Cardio fitness, Meditation, Cold water exposure and mindfulness we can seek 'creativity from within'. To cyberdelics: stroboscopic light, isochronic tones and haptic feedback.
What if? musicians had alternative routes and options, where a 'holotechnica' system could support change by stacking these modalities and becoming certified practitioners of light, sound and vibration combining endo-technologies, not only can it benefit the musicians themselves, it can also benefit their fan base, management and the general public.
Music from the mind for the mind.
Thanks to Carl Hayden Smith FRSA for the support in cyberdelics and the holotechnica framework.