The timbre parallel is brilliant. Most people don't think of touch as having qualities that vary as drasticly as instruments do, but once you frame it that way, it changes everything. The real insight here is that by borrowing language from composition (timbre, sequence, contrapuntal), you're not just making massage sound fancy. You're actually giving yourself and clients a precise vocabulary for something tactile that usualy stays pre-verbal. It's harder to improve what you can't name. Thinking of resonance as a formal element rather than mysticism could be where this gets really interesting.
Thanks for saying - i am so glad the research area resonates with you :)
I am looking forward to writing about resonace technically from somatic, acoustic and physics perspectives with a wild assumption that resonance is a type of frequency on an energetic spectrum. So 5D. So liberating to express freely, outside academic discourse!
The timbre parallel is brilliant. Most people don't think of touch as having qualities that vary as drasticly as instruments do, but once you frame it that way, it changes everything. The real insight here is that by borrowing language from composition (timbre, sequence, contrapuntal), you're not just making massage sound fancy. You're actually giving yourself and clients a precise vocabulary for something tactile that usualy stays pre-verbal. It's harder to improve what you can't name. Thinking of resonance as a formal element rather than mysticism could be where this gets really interesting.
Thanks for saying - i am so glad the research area resonates with you :)
I am looking forward to writing about resonace technically from somatic, acoustic and physics perspectives with a wild assumption that resonance is a type of frequency on an energetic spectrum. So 5D. So liberating to express freely, outside academic discourse!