Rather than Hemi-Sync’s binaural beating to achieve its effect, SAM uses a single frequency tone digitally movement-modulated for presentation in a stereophonic field. Using stereo headphones or speakers, the spatial angle of the apparent sound source moves more rapidly than the brain can process as a Doppler shift anomaly. As a result, the brain produces a modulation or change in the tone—a tremolo effect similar to binaural beating. It is this tremolo effect coupled with the size and orientation of the movement arc produced that give SAM its ability to influence regional brain activity and changes in states of consciousness. The Induction of States of Consciousness When a person’s ordinary baseline state of consciousness is active and stable, it is said to be immersed in a pattern of supportive psychological functions in spite of environmental changes (Tart, 1975). Stated another way, an individual’s everyday baseline state of consciousness tends to continue functioning as the individual moves through his or her day. Inducing the transition to an altered state of consciousness is seen as requiring disrupting and patterning stimuli to begin the induction (stage 1). When the disrupting stimuli are successful in breaking down the organization of the baseline state, a transitional period occurs and the disrupting stimuli are not as important and can be subjugated by
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the now more important patterning stimuli (stage 2). The patterning stimuli must then encourage the now isolated psychological structures from the baseline into a new construction, so that an innovative, self-stabilized altered state of consciousness forms (stage 3) (Tart, 1975). Within the context of the SAM audio support technology, this is referred to as the three-stage process of disruption-induction-stabilization. During the “disruption” stage, certain specific SAM movement-arc oscillations act to disrupt the listener’s baseline state of consciousness, while others provide stimuli encouraging the listener in the direction of the desired altered state of consciousness. During the formal “induction” stage, disruptive stimuli fall away and state-specific SAM movement- arc patterns become dominant. Once the desired altered state of consciousness is fully achieved, the “stabilization” stage begins and SAM arcs are adjusted to simply support the preferred state. Once the altered state of consciousness is stabilized, it effectively becomes a new baseline. To return to the original baseline state, the three-stage process begins again, this time targeting a return to what is usually the normal waking state. Many times, simply quieting the SAM “stabilization” stimuli can be enough to bring the listener back to the normal waking-state baseline. SAM can be used in conjunction with music; pleasing natural background sounds, e.g., surf, rain, wind, etc.;
artificially produced background sounds, e.g., pink sound, brown sound, etc.; and verbal guidance in the form of narrative inserts strategically placed to enhance the three-step induction process. The use of these additional components traditionally enhances the effectiveness of audio induction procedures. This process is particularly effective when combined with other sensory-information techniques (such as sitting in a darkened room), social-psychological conditioning tools (such as intra-group affirmation, affinity, and/or communion), and educational curriculum (in which new cognitive, “consciousness expansion” skills are learned, i.e., breath work, visualization, etc.) such as are provided within The Monroe Institute’s many educational programs. Binaural beats, monaural beats, and isochronic tones have been said to “entrain brainwaves,” yet there has been no physiological mechanism proposed that would explain such entrainment. This notion of entrainment is a post hoc ergo propter hoc, Latin for “after this, therefore because of this,” offer of proof. It is a logical fallacy implying that since changes in brainwaves followed the introduction sound (e.g., binaural beats), the changes in brainwaves must Next Page 2 TMI JOURNAL 2012