Autonomous sensory meridian response - Revision history

WikiSysop: /* 4-7-8 */

2014-12-20T11:41:04Z

‎4-7-8

WikiSysop at 11:40, 20 December 2014

2014-12-20T11:40:55Z

WikiSysop at 09:41, 15 September 2014

2014-09-15T09:41:43Z

WikiSysop at 09:41, 15 September 2014

2014-09-15T09:41:04Z

WikiSysop at 19:14, 30 March 2013

2013-03-30T19:14:06Z

New page

* http://www.youtube.com/user/RRcherrypie
* http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response
* http://www.youtube.com/user/gingerapplemilk

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 You simply breathe in through your nose for four seconds, hold your breath for seven seconds, and exhale through your mouth for eight seconds. She explained that the studied combination of numbers has a chemical-like effect on our brains, and would slow my heart rate and soothe me right to sleep that night. “It works,” she told me. “It’s crazy.”
- When you feel stressed or anxious, adrenaline courses through your veins, your heart beats at a rapid rate, and your breathing becomes quick and shallow. So before I get into the specifics behind how the 4-7-8 breathing trick works, I wanted to explain in my own words what it feels like when you try it. To me, the effect of the breathing technique feels almost like a sedative drug, because in order to hold your breath for seven seconds and then to exhale for eight—when your breath is so shallow and short—your body is forced to slow your heart rate. It has no choice. Holding your breath, and then slowly, deliberately exhaling for eight seconds, causes a chain reaction. It feels like going from a mad-dash sprint to a finish line to a slow, leisurely, calming stroll through the park.
+When you feel stressed or anxious, adrenaline courses through your veins, your heart beats at a rapid rate, and your breathing becomes quick and shallow. So before I get into the specifics behind how the 4-7-8 breathing trick works, I wanted to explain in my own words what it feels like when you try it. To me, the effect of the breathing technique feels almost like a sedative drug, because in order to hold your breath for seven seconds and then to exhale for eight—when your breath is so shallow and short—your body is forced to slow your heart rate. It has no choice. Holding your breath, and then slowly, deliberately exhaling for eight seconds, causes a chain reaction. It feels like going from a mad-dash sprint to a finish line to a slow, leisurely, calming stroll through the park.
 http://www.byrdie.com/how-to-fall-asleep-fast

← Older revision		Revision as of 11:40, 20 December 2014
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	A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.		A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.
		+
		+
		+	== 4-7-8 ==
		+
		+	You simply breathe in through your nose for four seconds, hold your breath for seven seconds, and exhale through your mouth for eight seconds. She explained that the studied combination of numbers has a chemical-like effect on our brains, and would slow my heart rate and soothe me right to sleep that night. “It works,” she told me. “It’s crazy.”
		+
		+	When you feel stressed or anxious, adrenaline courses through your veins, your heart beats at a rapid rate, and your breathing becomes quick and shallow. So before I get into the specifics behind how the 4-7-8 breathing trick works, I wanted to explain in my own words what it feels like when you try it. To me, the effect of the breathing technique feels almost like a sedative drug, because in order to hold your breath for seven seconds and then to exhale for eight—when your breath is so shallow and short—your body is forced to slow your heart rate. It has no choice. Holding your breath, and then slowly, deliberately exhaling for eight seconds, causes a chain reaction. It feels like going from a mad-dash sprint to a finish line to a slow, leisurely, calming stroll through the park.
		+
		+	http://www.byrdie.com/how-to-fall-asleep-fast
		+	http://www.drweil.com/drw/u/VDR00112/The-4-7-8-Breath-Benefits-and-Demonstration.html

	== See also ==		== See also ==

@@ Line 1: / Line 1: @@
-* http://www.youtube.com/user/RRcherrypie
+[http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview SOPHIE INTERVIEW]:
-http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview
+A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.
-''When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia).''
+== See also ==
-A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.
+* http://www.youtube.com/user/RRcherrypie

← Older revision		Revision as of 09:41, 15 September 2014
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	* http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response		* http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response
	* http://www.youtube.com/user/gingerapplemilk		* http://www.youtube.com/user/gingerapplemilk
		+
		+
		+	http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview
		+
		+	''When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia).''
		+
		+	A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.