It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Some features of ATS will be disabled while you continue to use an ad-blocker.
Originally posted by CrypticSouthpaw
reply to post by Juslurkin
Yeah you described it. the pulsing is caused by that effect, And the breathing technique works too i know what you mean.The pulsing goes up an down. but you can lock the feel and that when you will start start to see sweat rolling down from under your arms and tear come out uncontrollably. The sensation is very intense and i have no idea what it is either. Some speculate chi. But i don't have to be moving either. But i can do this well walking or anything. Its most powerful when im really well rested. If im really well rested i can do some amazing things with it. But after charging i often feel depleted after 30 minutes.
Originally posted by Juslurkin
I should also say that the sensation can be brought on by positive emotional states as well. Witnessing something truly beautiful, for example, can trigger it without any thought on my part.
Originally posted by prevenge
reply to post by CrypticSouthpaw
It is your kundalini rising
Originally posted by eyezenmaitreya
reply to post by CrypticSouthpaw
Just out of curiosity, what type of mood are you in when experiencing the(for lack of a better term) shudder? I mean thoughts as well. Like are you in a state of mind similar to despair, or are you filled with desire or perhaps both?edit on 6-3-2013 by eyezenmaitreya because: sorry for the double post
1 9. Frisson – Thrills from Chills The experience of musically induced “shivers” is often reported as a notable or peak emotional response while listening to music (see, for example, Sloboda, 1991; Gabrielsson & Lindstr ö m, 1993, 2003). The response might be described as a pleasant tingling feeling, associated with the flexing of hair follicles resulting in goosebumps (technically called piloerection), accompanied by a cold sensation, and sometimes producing a shudder or shiver. Dimpled skin is evident, espe cially in the region of the back of the neck and upper spine, often including the shoulders, scalp and cheeks, and sometimes extending to the entire back, belly, groin, arms, chest, or legs (Panksepp, 1995). This experience may last from less than a second to 10 seconds or longer. Longer responses usually involve one or more “waves” of spreading gooseflesh. The experience is phenomenologically pleasurable and accessible to conscious awareness. Grewe et al. (2007, 308) note that the occurrence of such “shiv ers” is significantly correlated with judgments of the pleasantness of music works. Some reports mention that the response may be accompanied by smiling, laughing, weeping, lump - in - throat, sighing, breath - holding, or heart palpitation. For the purposes of this chapter, we will focus exclusively on the prototypical response involving topical (skin - related) sensations. Researchers have proposed a number of different labels for this response, including thrills (e.g., Goldstein, 1980, Konen č i et al., 2007), chi lls (e.g., Grewe et al., 2007, Guhn et al., 2007), and frisson (Sloboda, 1991; Huron, 2006). Gunther Bernatzky of the University of Salzburg has suggested the term skin orgasm – a term also recommend by Panksepp (1995
However, this latter term has gain ed few adherents. In the interests of precision, we will follow Sloboda's suggestion and employ the French loan word, frisson . Listeners can find music “thrilling” without necessarily experiencing gooseflesh. The term “chills” is best reserved for the phen omenological feeling of coldness, which, like piloerection, may be considered characteristic symptoms of the frisson response.
Listeners who experience music - induced frisson are typically able to point to particular moments in a work whe n the frisson is evoked (Sloboda, 1991). This specificity has naturally attracted researchers to search for musical features that might be responsible for the frisson. These efforts have been confounded, however, by poor inter - listener consistency (e.g. B lood & Zatorre, 2001). Early on, investigators discovered that musical works that evoke frisson for the experimenter often fail to evoke frisson in other listeners. Asking participants to bring their own frisson - inducing music reinforced this discovery: wh en participant - selected music is employed as stimuli, listener's inevitably experience more frisson in response to their own music than to music brought by other participants. Moreover, when different listeners experienced frisson in the same work, the poi nts of frisson can differ.
This effect led some researchers to conclude that familiarity may be a key to music - induced frisson. However, this observation is confounded by the reliance on participant - selected music; if asked to bring a piece of music that c auses you to “shiver,” participants are likely to choose pieces that they particularly love, and well - loved pieces are apt to be highly familiar. Consider a gustatory parallel. If asked to bring a dish of your most favorite food to a potluck dinner, what is the likelihood that you will find a dish brought by someone else that you like even better than your own favorite dish? If people attending a potluck dinner tended to prefer their own culinary offering to those of others, one would not be justified in c laiming that familiarity is the most important aspect of taste. Guhn, Hamm and Zentner (2007) addressed this possible confound by measuring the familiarity of different works not selected by the participants. They found a correlation of zero between the fr equency of frisson responses and familiarity. This suggests that listeners become familiar with works that a priori cause them to experience frisson, not that frisson arises due to increasing familiarity.
11. Causes of Frisson In light of the high proporti on of nonresponders and given the high individual variability between responders, the best efforts to identify potential causes of frisson have involved careful pre - selection of experimental participants. When selected according to high self - reports for mu sical sensitivity, Guhn, Hamm and Zentner (2007) were able to show a high degree of inter - subjective consistency in the location of frisson responses as determined by self - report and skin conductance measures. In addition, Guhn and his colleagues found tha t heart rate responses are also highly correlated between such subjects. Even when a participant doesn't exhibit a frisson response, heart rates are still highest at moments when frisson responses are evoked for other participants. This suggests that sympa thetic arousal may be a necessary, though not sufficient, component of frisson.
Among researchers, there is considerable agreement about acoustical and musical correlates of frisson (Blood & Zatorre, 2001; Craig, 2005; Guhn, et al. 2007; Grewe, et al. 2007 ; Sloboda, 1991; Panksepp, 1995, 1998; Rickard, 2004). The most important acoustic correlate is a rapid large change of loudness, especially a large increase in loudness ( subito forte ). A less robust acoustic correlate appears to be the broadening of the f requency range (i.e., the addition of low bass and/or high treble). Musical correlates include the entry of one or more instruments or voices, the return of a melody, theme, or motive, an abrupt change of tempo or rhythm, a new or unprepared harmony, abrup t modulation, or a sudden change of texture. Music deemed “sad” (slow tempo, quiet dynamic, minor key) is roughly twice as likely to evoke frisson compared with “happy” music (Panksepp, 1995). Notice that two common elements can be found in this list of fe atures. First, adjectives such as abrupt, rapid, sudden, new, and unprepared suggest that the precipitating musical events may be surprising or unexpected. A second common theme is high energy, such as increased loudness or the addition of sound sources. N otice also that slow, quiet passages (such as commonly found in sad music) provide an especially contrasting background against which unexpectedly energetic events may be highlighted.