If we are conscious of the sound, ie if it is causing our eardrums to vibrate at a frequency that our brains can detect as information we recognise, then we have some control over it. When the sound enters our brain we can tune in, or tune out and thereby determine whether it will then affect us on that deeper, spiritual if you like, level.
Normally if I listen to music and it affects my mood, I think it is because I paid special attention to it and, as you say, "tuned in" to it, it was indeed my own decision. Now if I listen to ultra(or infra)sonic 'music', I don't have this decision, as you stated. This means the vibrations of air that our eardrums receive will send signals in our brain, affecting our mood, without us knowing it. This hints that whatever our conscious mind creates from the music we *hear*, is nothing but cream on a cake or paint on a car. It makes things aesthetically prettier for us humans who look for a reason for those mood alterations. It reminds me of consciousness in general - are we really conscious of anything, or is the sense of consciousness only illusion created by the active brain electricity, is it only a blur that makes us think we live in the present though we actually live in the past. Whatever happens, we will realize it after it has happened, but this latency between the unconscious and conscious brain activity makes us think we *made* the decision. This would explain "foretelling" or "sensing the future" as I'd rather call it, it is some sort of an 'error' that happens in the flow of information, something leaks and we get to taste the essence of tomorrow so to say.
However, if we are not physically conscious of that sound, it is ultrasonic, say, then we are not consciously making a tune in or tune out decision. Our brain and our deeper self is engaging in some random way with these sounds that we’re not aware of.
I've been thinking about starting to analyze sound that our TV receivers transmit; are the companies already experimenting with ultra/infrasonic sound in commercials as means of altering the target's mood to create sensations of joy or sorrow, the recipient then associating these sensations with images they see at the same time, and becoming happy when they see that chocolate bar in the shop. Hahah. Might not be yet, but I can tell you, IT WILL HAPPEN if there exists no "objective" regulations as to what frequencies are within the legal limits. And how long will it take until the first engineer comes up with the idea and design and sells it to a megacorporation, in relation to how long it will take for "normal people" to suspect this kind of activity.
So just because at some point sound does not consciously affect us on the physical level, it continues to affect us on the spiritual to a greater or lesser degree in some indeterminate way.
What spiritual is in inarguably 100% physical, mechanical one-way communication between vibrating air molecules and the brain's emotion centre (was this in the forehead, I don't remember)? I'd rather call it raw, direct programming of state of mind that comes from the outside and which you have no real power over. Where's the spiritual, free soul?
You are saying, I think, that someone can be affected by these ultrasonic sounds without their realising the cause.
So how does that relate to being machine-like? Doesn’t this random indeterminacy make us less like machines? How does seeing blood and death come into it?
Machine is mechanical, and so is the way that these ultra/infrasonic vibrations alter our mood. There no longer exists (even) the illusion(?) of this 'space' we all have in our minds, that we are and what makes us human - the conscious, free mind, capable of making decisions. The fact that we don't first have to process music through our conscious mind, makes the consciousness obsolote in creating our moods - it is evidence of that everything in the universe is just simple rules between particles that they obey. Anything that exists is nothing but reflections of these particles, and all complexity only means more mirrors between the "source" and the destination, in music we have simple and complex music, in mathematics we have algorithms, in nature we have the simplicity of monocellular life forms and complexity of humans - but all this is based on the number "1" and "+" and "-". Everything can be constructed using number 1 and it's multitudes, but as the numbers grow to insane string lengths, we must cut the whole to half and start handling these halves as wholes (take an animal (whole) and it's organs (parts of the whole) and organs (whole) and cells (parts of the whole) and so forth). When we've splitted the concepts enough times, we're so drowned in the information that we only see the simple. Consciousness is simple, it consists only of reflections from the outer world that we've gathered by and filtered through our senses. Images, colours and shapes that we've seen, sounds that we have heard, forms and shapes we have touched, and so on, are duplicates of the data that exists outside our consciousness, but it has been compressed, encoded, into some sort of engravings or printings in our brain. Our continuous use of senses keeps them alive as our brain detects an association and the receptors of braincells that store this data start signaling each other to keep the link between them alive. Though all this would seem complex on a visual presentation as a whole, each of it's mechanisms is straight-forward and 'logical'. When we see the details and their deterministic behaviour, we see from cradle to grave, the growth of a person, the movements of the nations, the development of the mankind and the alfa and omega without the µ (somewhere in middle in the Greek alphabet). When the present loses it's meaning, one goes into an existentialistic crisis, or vice versa. Not only past builds the future, but the future paints the past, there's no direction, all just IS.
Blood and death I brought in because once when I was driving home and saw a dead toad in the garage (poor thing had got driven over by somebody). I stopped and looked at it, and then it struck me - the reason why it looked so awful; I didn't see a toad but I saw it's shell, I saw everything physical (or what was left of it) that the toad was, but I didn't see the glimmer in it's eyes or the vibrations on it's skin. I didn't see a toad that was observing the world and experiencing it, none of this reality was passing through it's "mind", it was not a toad but a corpse. When people see blood, they instinctively know something is wrong. Blood is essential for our living but if you can see it directly, something is wrong in the system, blood is not where it should be. This messages of the presence of death, it reminds us of our mortality and it rawly shows us how fragile we are - we are after all physical beings and are going to have an end to our lives. It rips us outside the time, off the present and it shows us bits of the letters on both sides of the µ, it stretches us from our place and irritates our minds that are so concentrated on the seemingly unphysical consciousnesses. This is directly related to the phenomen of sound vibrations reprogramming our moods on unconscious level.
Topic: Movies that use the music well