When I finally bought a sound synthesizer during the fall of 1984 and started exploring sound vibrations, my sole intent was to compose music in a continuous flow without changing it afterwards.
I wanted to create a unity of time and space, to obey no other law than my own creativity, and accept no other guidance than the resonance these sounds triggered in my body–a wholly intuitive process.
I had absolutely no idea where this would lead me, but knew I could not escape the urgent fire compelling me to unveil the still shadowy material inside.
I also knew that my vehicle was to be sound, as I have had a special vibrational sensitivity since an early age.
In 1984 I was ending a fourteen-year period spent traveling with a movie camera.
During the editing of my last films, my attention had been drawn to sound and I had been sensitized to its strange power over the human psyche.
Sound and tones are far more powerful than we have imagined in our Western culture!
After exploring the outer world with my eyes and camera, I began to listen inwardly and experienced quite a sudden change of direction.
The next fourteen years were spent traveling my inner world of sound vectors.
With a synthesizer it was easy to produce frequencies beyond the usual span experienced when using classical music instruments.
Ultra low sounds and ultra high ones were available at will; I could even produce ultra or infra sounds and cross invisible borders.
It did not take long to realize that this was somehow comparable to being exposed to very high altitudes or being launched into outer space.
I became the cosmonaut of my inner spaces and the speleologist of my underworlds.
Being exposed to unknown vibrations helped me discover other dimensions, other feelings, other realms.
This revealed new directions and psychic rooms I had never entered before.
My body had to adapt instantly to new frequencies which sometimes vibrated so powerfully in parts of my body that, in the twinkle
of an eye, I needed to correct course, release tension, and adjust to these high energy fields.
None but my soul could guide me in this quest for inner meaning.
By means of sound frequencies I began to create a new body capable of sustaining high energy fields.
I had to strengthen my nervous system in order to unify body, mind, heart, and soul.
I had to keep still and open while remaining focused, coherent, and flowing.
I had to listen to the unknown music that was pouring straight from the Source, without trying to make it fit an already recognized category.
I had to trust myself totally.
A “no-doubt" attitude had to replace the “multiple-questioning" one.
The global was to supplant the sequential and it was telling quite another story.
When I succeeded in these attempts, the grace I experienced was so rewarding that it gave me the courage to endure the dark periods of resistance, insecurity, scarcity, and loneliness that would follow each successful entry into the garden of Eden.
Paradise was neither to be found nor lost–it was there all the time, provided that I resisted the temptation to hold onto and appropriate one color, sound, or experience to the detriment of others.
Paradise was no other than my own self when I was in true and full contact with it, letting energy flow through my body, expressing creativity itself.
It was attainable when I was free of judgment and concern, free of separation and fear, when I was filled with gratitude for the unexpected. It bathed me in an incommensurable loving energy that transformed me.
The physical sensation radiated in strong warm waves from my head and all along my spine, accompanied by a special iron taste in the mouth and fresh feeling slightly wet hands.
My own self was no other than the Self, the “I Am" experiencing expanded consciousness, unlimited awareness; it was unified, one with the flow of knowing, of loving, of feeling, and of experiencing.
I was no longer my narrow geographical identity but my real one, made of all identities, of all countries, of all times, races, spheres of being, of all kingdoms, of all music.
My true self was multidimensional.
This I experienced in my music studio under no other influence than sounds emerging from the play of my hands on a keyboard.
I encountered a meaningful universe and needed no external confirmation.
It was as though, gradually unfolding under my hands, the totality of the music was already present in the first tones and would inevitably obey an underlying matrix, a kind of supreme mathematics that followed principles with no contradiction.
It was the unfolding of an implicit matrix in a holographic experience in which each point contains the whole in a “holosonic" form.
My bodymind consciousness was experiencing a unified energy field; my cells were dancing with the music at their own proper biorhythms.
Who was originating this cosmic dance–my heart, my cells, my soul, my hands, or some other source?
It was all a manifestation of the One.
Some sounds carried me into unknown territories, throbbing with life, with entangling shapes that sometimes appeared in the form of “beings" whose very identity was sound. Sometimes they appeared as multidimensionally rotating spheres or as strange architecture cast from life itself.
On the contrary, tonalities from already existing musical instruments which I could sample on my synthesizer, such as violins or flutes, made me feel imprisoned in a field of resonance containing not only my own memories but those of the people and cultures which had nurtured them.
A climax was reached when, through a kind of “looping circuit," a highly coherent, resonant field was established that seemed to suspend the ordinary laws of physics and give birth to unknown ones.
When this occurred, my synthesizer programs would transform by themselves, without my permission or conscious activation.
For instance, the treble zone on the keyboard might suddenly switch into the base zone; or I would witness the progressive transformation of a sound resonating, at first, like a purely mechanical one, into one that sounded more like a human voice. Sometimes very high pitched tones would spring from my synthesizers without any physical activation.
These frequencies appeared as by-products of highly coherent states of consciousness.
Then, I would experience the utmost joy and feel pure gratitude towards the mystery that was allowing it, encountering the most delightful emotions I had ever had.
To me, this meant the whole of creation was alive and participating in an orchestration from my cells, nerves, and the flow of electrons in my body to those of the electronic circuitry inside my synthesizers.
Consciousness was, no doubt, the true and ultimate component in this chain of life.
Was I playing music or being played by it?
Learning to keep cool after such experiences was not an easy task. In order to mix the different tracks I had been playing into a coherent energetic field, I needed to switch to a more analytical focus, one more convenient for sound engineering.
In a word, I had to simultaneously be the sound itself, the composer, the interpreter, the audience, the sound engineer, and the conductor.
Finally, when I listened to this newly created music, I felt intensely cold in my whole body–sometimes so cold that I had to take long hot baths to recover some warmth.
The comparison with high altitudes or outer space is accurate: it’s generally freezing cold up there!
When I started exploring these fields in the early ’80s, I felt isolated, unaware this would, later, be studied under the labels of “consciousness and anomalous physical phenomena" or “consciousness field effects" or “the quantum mechanics of consciousness."
The second part of my experience was to prove no less surprising than the first. It began as soon as other people listened to what I would later call “multidimensional music."
A whole list of phenomena then occurred, giving evidence of “consciousness field effects."
The most spectacular one was when I realized this process had opened clairaudience in me.
It happened one afternoon when, listening in the company of two persons, to my utter astonishment, I was hearing a different music! I could not in the least identify the music I had composed and which I knew by heart!
I was, instead, listening to an unbearable cacophony made of distorted sounds more resembling mattress springs exploding into the air than to any kind of harmonic musical structure!
I was panic stricken, looking for a plausible, logical explanation, but the only explanation was that I was witnessing the distorted resonance my music occasioned in these people.
The musical tones were dissonantly resonating and reverberating in the individuals’ inner structure.
The effect was striking!
What was this inner structure? Was it a physical, energetic, emotional, psychic, or spiritual one?
It took me several years to precisely identify it.
Like X-rays, sounds and tonalities from the music were illuminating invisible inner fields and, like beams
of coherent light, penetrating the subtle human structure.
I was immensely surprised!
This music was not only transforming me, it seemed to have deep effects on others too.
During the next seven years, data showing evidence of the multifarious action of multidimensional music on the human psyche and soma gradually accumulated.
My best volunteer guinea pig was my husband.
Then friends joined in the experiment.
Then unknown listeners sent me feedback after a French physicist-teacher of quantum physics at Poitiers School of Medicine, Professor Regis Dutheil,dedicated a chapter of his book Superluminal Medicine to researching the music. click
In 1992 a number of tests were made on over 200 volunteers.
Blood samples were taken immediately before and after listening to Multidimensional music for one to one-and-one-half hours in private sessions or workshops.
These tests repeatedly showed a spectacular increase up to one gram in the hemoglobin level of the blood samples.
Resonance with the expanded consciousness field present in the music was inducing physiological, somatic transformations in blood makeup!
In other words, research showed both a consequent increase in blood oxygenation during listening to the music; the increase of red blood cells was comcomitant to an increase of white blood cells, mostly neutrophiles.
This suggested a potent cleansing effect which could be witnessed with the naked eye; it was considerably lighter red after listening than before.
In the most dramatic cases it would show a champagne-like quality, formally testifying to the inner exercising cells had been performing.
In one instance, after a workshop which a seropositive, HIV-infected participant had been part of, the general level of lymphocytes of all participants showed significantly higher levels.
This meant that a high quality “information" had pervaded the entire group, activating physiological correlates in accordance to its needs. It also suggested a group coherence or shared loving energy.
Examination of the data indicates that information of a highly coherent quality (which could be called “neg-entropic" or “counter-entropic" meaning orderly–entropy being the progressive dis-order experienced in all living systems when aging) is present in Multidimensional music created under conditions of expanded awareness, causing living organisms to transform and re-harmonize according to a higher order.
This information is of a bio-energetic, bio-sonic coherent, self-conscious quality.
Multidimensional music could be considered a “high quality food" for cells craving a higher level of consciousness, health, love, coherence, and freedom, as the following story gives evidence.
I had a volunteer patient with a severe somatic condition. She had an artificial kidney and very low hemoglobin levels among other symptoms.
She listened to Multidimensional music with me, for one-and-one-half hours, in a deep state of relaxation.
During the session I could hear severe distortions in the frequency range of her resonance with the music.
To my astonishment I witnessed the eradication of the tape to which she had been listening in the form of a continuous hatching.
The only sense I could make of it was that she had “eaten" the holosonic frequencies her organism needed in order to heal, energize, and balance. The “eating" had no doubt been magnetic or electromagnetic in quality !
To summarize, I dedicated a seven-year period to understanding the range of effects caused by resonance with Multidimensional music and to establishing the principles underlying them.
My evidence shows that the music causes a resonance in the dimension of the body and psyche that best fits the deep, personal need of the individual, conforming to some accurate circuitry.
It also activates the acupuncture meridians and the chakra system through consciously felt sensations of pressure or opening.
It is as if the psyche activates these systems by delivering freshly-released information which was formerly repressed beneath the threshold of consciousness.
Apparitions of bright colors and a number of other manifestations commonly accompany the experience.
The conclusion is that Multidimensional music induces a global process of transformation, through resonance, in both body and psyche.
Sound is an ideal carrier of quantum information operating in a non-local way.
It is also a self-educating trigger for consciousness, enhancing creativity, self-sufficiency, self-transformation, and self-healing.
Out of these years of self-exploration, self-transformation, and internal listening, I touched a unified field of consciousness–all-pervasive, healing, creative, self-loving, enlightening.
Whenever I want to touch it, I just have to listen inside and let the music dance.
Jacotte Chollet is a very self-directed, creative Frenchwoman, fascinated by borders, both foreign and interior. She has traveled extensively, been a reporting photographer, a documentary filmmaker, a wife and mother, and now a transformational healer through the medium of music. She is at work on a book on Multidimensional Music.
Published, in AHP (Association of Humanistic Psychology) San Francisco, USA.