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Interpreting NOBODY reading Part 1

Interpreting the NOBODY reading (Part2)

On using the FM and VAR setting Part1

On using the FM and VAR setting (Part2)

Connection of  FM/VAR painting and  TCM

Sticky spots, reverse polarity and tissues which don't heal

Connection of  FM/VAR painting and  TCM

The following is only my personal experiences not necessarily meaningful.

In spite of using FM/VAR at a fixed point.  We also do FM/VAR painting.
This technique is somewhat similar to the traditional Chinese cutaneous
scraping therapy.  There are important principles of scraping therapy in
order to avoid inappropriate reaction (it could be explained in physic terms
but need some time, so let's just skip it).

1. It is better to scrape the back before scrape the abdomen, especially on
chronically ill patients.
2. From meridian point of view, when scraping the yin (lung, heart,
pericardial, liver, spleen and kidney) meridian, it is better also scraping
the reciprocal yang meridian (colon, small intestine, triple warmer, gall
bladder, stomach, and bladder).
3. when painting, lighter first, then heavier
4. Purging heat(i.e.moving away): fast and heavy
5. Invograting(supplement): slow and light, at body back, some in upward
direction
6. Adjust according to body weight, heavier for overweight person

When we do large area painting, most of the time we automatically fulfilled
the 2nd principle.  I remember once on the website, a person suggested that
one patient had an unusual response, maybe due to not following the 1st
principle.

As it had been taught in the training course, if the patient had
constipation, then you moving the SCENAR in clockwise direction at his
abdomen and this is in accordance with the concept of purging heat. Long
line scraping is also belong to purging.  The opposite counterclockwise
belongs to invigorating , so when the patient has diarrhea, we treat him
with this direction.  If you moving in a spiral direction, it contain both
components.

Generally speaking, the symptoms of the patient can give you some clues.  If
heat, pain is more dominant, then the symptom is more yang prominent, at
this time more purging  is needed.  If cold,soreness, numbness is more
dominant, then he is more yin prominent and invigorating is needed. Be
careful in extreme case, things would reverse.
Shortly after painting, the appearance of red indicative of yan aspect, the
pale part the yin side.

There are basically 4 ways to have the best results in the shortest time
according to the patients' conditions:
1. Pure purging
2. Pure invigorating
3. Purging then invigorating
4. Concomitant purging and invigorating

In the case although this patient showed prominent yan symptoms, she also
had been ill for a period of time, she is what we called on deficient fire.
In spite the rules that we learned in the training course, the above rules
were added (i.e. mostly purging, but also a small part of invigorating,
because she didn't look like kind of already very weak person before she
became so sick).  The back just like ordinary, the head just like what were
taught in the class and 6 points. In the ventral body side, I just treating
the more central part of chest and abdomen but not gynecology area. I also
did the Su-Joc, and inner side of the feet till below knee, downward along
those yin meridian to the bottom of feet then upward and repeated (this
involved the 5 elements theory, I don't think most people interested).  At
this stage the spleen meridian was quite important.  Too long time therapy
was not necessarily good to her, so I try to control the time not too long.

If this was an ordinary patient, to us maybe it was only piece of a cake.
But with this kind of patients, the progression of the disease sometimes
fairly fast and once flare up, the problem became tough.  This patient
already moved into this direction but not too deep for us to resolve.  Maybe
this was God's will and also help us our imperfect performing.

L.  MD., MSE

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Sticky spots, reverse polarity and tissues which don't heal

Now to another subject:  the concept of blockage of energetic pathways is as old as recorded history and is a mainstay of acupuncture.  Although written about 300 years ago, it has been more recently researched by Bjorn Nordenstrom, MD, the director of radiology in Stockholm and the former president of the Nobel committee.  It has been proven that the blood vessels, lymphatics, and peri-neural sheaths are electrical conduits in the body which are the primary communication pathways of the body.  The walls of the vessels are like insulation on a piece of electrical wire.  The fluid in the vessels is like the copper wire.  Electrical information moves over this system much faster than through nerves.  Once you get to the cellular and extracellular level, the electronics of the body is connected by ionic electricity (if you don’t remember what ions are, look them up on the net). 

A capacitor is a device which holds electrons for future use.  In the body, these capacitors are made up of ions. 

Injured tissue is electro-positive.  White blood cells, proteins, and other things needed for healing are electro-negative.  Thus they are attracted to the injury by the charge.  In addition, the body creates ionic capacitors around the injury.  These capacitors thus store and release the energy necessary for the tissue to heal.

Blood and dying tissue are electro-negative.  When you bleed into an injury or have tissue death, there is enough electro-negativity to convert the normally electro-positive injury and associated capacitors to negative.  When the polarity switches, there is no longer an attraction to bring the things necessary to heal.  This switched polarity prevents healing and is what is known in acupuncture as a “blocked meridian”.  Acupuncturists create energy to correct the polarity = unblock the meridian so the capacitors can release their energy to the injured area.  Polarity therapists (a type of massage therapist) do the same.  Magnets do the same.  Reflexology does the same.  Qigong therapists do the same.  I think you get the point.  All of these procedures are aimed at correcting the polarity of the ionic capacitors so that normal healing can resume.  One can utilize the SCENAR to quickly do the same correction of the polarity.

When the tissue polarity is reversed, it is manifest by creating a magnetic field which manifests itself through the skin.  This is identified as a “sticky” spot.  All SCENAR therapists use this phenomenon as an asymmetry (a term with special meaning to SCENAR folks).  However, you can find these sticky spots = magnetic field with any magnet-attracting metal, e.g., a simple stainless steel dinner spoon.  When you rub the spoon over the body, you will find these areas of magnetism. When you find them, you will have found the reversed-polarity-ionic-capacitors (blocked meridians) associated with disease.  One can resolve them using traditional SCENAR rules.  However, you can resolve them faster using ancient techniques of polarity therapy = in Diag 1 find the sticky spots.  Now begin the spin the device counter-clockwise over the sticky spot and watch for it to go to zero.  When it does, brush the spot again.  You will find that the sticky spot (magnetic field) is gone or nearly so.  Continue the process until the magnetic area can no longer be found.  You will find that the pain, dysfunction, etc. associated with this area is also gone. 

Remember that the magnetic field has depth and is like a cork-screw.  As you unwind it, you can sometimes feel that it angles off in a particular direction that is not necessarily perpendicular to the surface. 

When you treat people who can feel energy, they will describe to you that they can feel the unwinding of the reversed polarity in the tissue.  Energy-sensitive massage therapists are particularly good at helping you know what you are doing as you learn this technique.

The point is that all of the various energetic paradigms/techniques such as acupuncture, acupressure, reflexology, massage, Voll, chiropractic, osteopathy, craniosacral therapy, polarity therapy, etc. have a common pathway which leads to the reversed polarity of the local ionic capacitors described by Nordenstrom.  As an acupuncturist/massage therapist/chiropractor that was a patient told me today, “I have been doing this slowly and laboriously with my hands for years.  You did in minutes with the SCENAR what it took years of study for me to learn to do with my hands---and my hands are wearing out!”.

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On using the FM and VAR setting

To Paul, Barth, Dick
Hello

this following message was sent back to some MD associates who have been
using the SCENAR device - they sent me some very encouraging case reports
concerning persons they have been working with

my reply to them (which is below) makes reference to those case reports
without describing them in any detail

if you are not familiar with the SCENAR device, this message will be of not
much interest although the last third might be intriguing if you are
interested in self-regualtion in organisms and the healing process

I thought I might as well post this on the general site in case a few of you
find it helpful or stimulating

so here goes

**************************************************************
thanks for the case reports - all encouraging

I thought I'd stick my neck out a bit and offer some thoughts of mine - I,
like the rest of us, am doing my best to understand this SCENAR phenomenom
and so please take whatever I have to say here as a "work in progress"

I was struck by the general use of FM/VAR in the "painting" technique
described in the case reports - this is just a guess of mine (here's some of
the early "neck sticking") but I don't think Zulia Frost was using FM/VAR
for the majority of the treatment on Barth in Dallas - let's be clear...I
don't KNOW what she was using BUT I don't THINK it was FM/VAR - it may have
been FM/VAR here and there

to my knowledge, when in the painting mode, one generally does not use
FM/VAR extensively - typically, specific settings such Sk2, Sk3 or Sk4 are
used with frequency settings such as 29.7, 59.3, 90.3 qnd 121 Hz - (this is
in contradiction to Jerry Tennant's general approach for areas he perceives
as being "low in energy" - Jerry uses FM/VAR in painting mode quite
frequently in such a case)

my understanding of the work of Barth and Paul is that the painting of
FM/VAR is done as a basic general technique without the Jerry "low energy"
prerequisite - which makes it a "step further" than Jerry's "low energy"
FM/VAR painting  (I do note that a couple of Paul/Barth's case reported
"NOBODY" readings)

OK, first point - FM/VAR is a setting where two dynamics are in motion:
1) the FM which is a cycle through the frequencies from 29.7 to 121 Hz -
Revenko, while in London explained it to me as 30 to 120 - I assume that was
a convenience and he actually meant 29.7 to 121 - as I recall (which is bit
tough because we had a lot of info flowing through a translator during a
break from the main lecture - it was hard to hear amidst the loud parallel
conversations going on) - again as I recall Revenko explained that these
frequencies had very little skin penetration and as a consequence did not
evoke deeper tissue nerve stimulation into the central processes

2) the VAR is a damping cycle through Sk1 to Sk4 - Sk1 and Sk2 are more
harsh wave forms and useful for more Acute conditions and Sk3 and Sk4 are
softer, less harsh signals for more Chronic conditions

The FM/VAR setting is described as a "local training" meaning that the site
at which the device is placed is brought into a complex, ever changing
communication with the central processes of the body - most typically, this
is done at a site which has 1) been recognized as "special" in that it has
been disconnected from the central process in an earlier attempt to safe
guard the central processes from the conflicted, unresolved stressful nature
(that's the numeric analysis which recognizes it as an "asymmetry"), 2) the
central processes have been alerted of its "special" characteristic as well
as its local position (that's the DOSE) and 3) this "special" site has been
re-connected back into the central processes (that's the ZERO).....4) the
FM/VAR is used to "train" the local dynamic (that's the asymmetry again) to
remain in communication with the central processes

this constitutes the basic use of FM/VAR in the Diag 1 setting - the FM/VAR
in the analytical Diag 1 setting is not (as I understand it) the most
important step - the third step of ZERO/RECONNECT is the critical step in
restablishing the central control in the formerly disconnected local process

the use of FM/VAR in the more subjective Diag 0 setting is not as clear in
theory (at least not clear to me at this time)

in the SCENAR Level One training notes there are a few references to the use
of FM/VAR:
1) in a degenerative chronic condition with no severe pain, use FM
2) in a degenerative condition with severe pain, use frequency setting FM
3) in a degenerative condition with no severe pain,
          start with 15 to 60 Hz, then end with 90 to 121
       OR use FM (which you may recall is a 30 to 120 cycle)
4) in a chronic condition with no acute symptoms, use VAR (with FM)
5) in acute conditions without significant reaction during the treatment,
          use Modulation 3:1 then 5:1 then 3:1
        OR use FM
6) in chronic inflammation, use FM/VAR
7) in aggravation of chronic process,
           use Modulation 3:1 then 5:1 then 3:1
        OR use FM

based on the above list of 7 situations, FM AND VAR
    (as opposed to just FM) could be used as an obvious choice:
a) in a chronic inflammation - #6 above
b) in a chronic condition with no acute symptoms - #4 above
    (I assume this means inflammation does NOT need to be an active
      component of the chronic condition)
c) in aggravation of chronic process - #7 above

from above, #1, #2, #3, #5, are all possible uses of FM, BUT not necessarily
FM/VAR combined

the key to combining the VAR with the FM seems to be the CHRONIC aspect or
the CHRONIC aspect in an AGGRAVATION phase

therefore, it would also follow that one could combine FM AND VAR in:
a)  a degenerative chronic condition with no severe pain - #1 above
    (because it is a CHRONIC condition which happens to be degenerative with
     no severe pain)

along the same line of thinking, it seems FM would NOT be combined with VAR
in the following:
a) a degenerative condition with severe pain - #2 above
    (because the condition may be ACUTE with ACUTE severe pain)
b) a degenerative condition with no severe pain
    (because the condition may be ACUTE although lacking pain)
c) an acute condition without significant reaction during the treatment
    (because it is ACUTE)

well that was pretty confusing for an attempt to make things clear!

so here's a re-statement of the info above (following the "logic" of it?!?)

WHEN TO USE FM/VAR:
1) in a chronic inflammation
2) in a chronic condition with no acute symptoms
3) in an aggravation of chronic process
4) in a degenerative chronic condition with no severe pain

WHEN TO USE JUST FM:
1) a non-chronic (acute?), degenerative condition with severe pain
2) a non-chronic (acute?), degenerative condition with no severe pain
3) an acute condition without significant reaction during the treatment

Ok...now here's the kicker - when painting (which is of course all movement)
when is it good to use the FM/VAR (or FM alone) setting?  - to ask the
question a different way.....is FM/VAR (or FM) a common setting to choose
when moving the device as in painting? - or is FM/VAR (or FM) primarily a
setting for use when remaining in one stationary spot?

in all of Paul/Barth's examples, I believe FM/VAR was used in the sliding
movements of "painting" - certainly in Jerry's interpretation of "low
energy" zones, FM/VAR is the setting used for his "painting" style

this point of theory is important to me and one which I am currently
actively pursuing with the "Russians" by way of Zulia Frost - it sits in the
face of the discussion begging clarification (at least for me)

my understanding of the SCENAR approach is that the effects are reliant on
sets of comparisons - SCENAR does not work without the contrasting condition
of comparison - we arrive at this possibilty of comparison by creating a
context for the information

the context in the Diag 1 mode is created by measuring one place with
another place - in such a manner, the "asymmetry" is exposed - in the
process of "dosing" or "alerting" as I prefer (Jerry likes "alarming"), a
series of comparative modulations are compared relative to percentages of
activity - in the "zero" or "reconnect" phase, signals are compared in
relation to the speed of the exchange

the context of comparison in the Diag 0 mode takes place in a different way:

1) if a spot is being focused on, the context of comparison is typically
created by having the signal turn off and on at a rate determined by the
Modulation setting (1:1, 2:1. 3:1, 4:1, 5:1) - in this way the organism has
a context for comparison - the signal is on then the signal is off - the
duration of on can be varied by the setting

2) also another way of creating the context for comparison when working ona
stationary spot is the Modulation setting FM which is not an on and off but
rather a comparison of frequencies from 29.7 to 121 HZ - the organism uses
these varying carrier frequencies in contrast so as to be able to compare
reactions

3) if an area is being worked (as opposed to a stationary spot), the context
for comparison is created by the movement (typically the movement is
established in one main direction, often down or out) - now you're here and
now you're there - the organism experiences the same signal but in
constantly different locations - how does it feel here? - and now how does
it feel over here? - what about over? .....it is the movement that creates
the context while the signal of the carrier wave remains unchanging

4) another way the context for comparison is created when working an area is
by stroking in the 4 vectors - this is done when an "asymmetry" is located
usually by stickiness, sound change, skin color or subject reporting
significant sensation - when working an asymmetry in the painting style
because you are not moving from spot to spot along a path but instead you
are staying on the very same spot, you create the context for comparison by
alternating the vector - each vector conveys a very different message to the
organism

5) there are other ways of creating the context of comparison in the Diag 0
mode - notice how protocols always work in contrasts such as:
    - big relative to small
    - front relative to back
    - upper relative to lower
    - inside relative to outside
    - right relative to left
    - diagonals such as upper right relative to lower left
    - etc, etc, etc

you can see from my explanation above (I am very much interested in knowing
where I am not clear or where I am outright wrong) that the context of
comparison is created in a number of ways with the SCENAR - when in Diag 1
the issue is fairly straight ahead - in Diag 0 it becomes more varied
however one thing that appears to me is that the signal of the carrier
impulse is constant and unchanging when the context for comparison is being
created with some aspect of movement of the SCENAR device - when the SCENAR
device is not being moved over an area but rather is being held stationary
on a spot, the signal of the carrier impulse will then vary in order to
create the context for comparison by the organism

IF THIS IS SO (?) then the fluctuations in the characteristics of the
carrier impulse while in the FM/VAR setting would be most suited for use on
a stationary spot and not for the "painting" style movements described in
Paul/Barth's cases or in Jerry's "low energy" concept

to re-state the point/question:

is FM/VAR best used in the moving/painting techniques found in Diag 0 or is
it best used in the stationary spot work in Diag 0 (and the 4th step of Diag
1 following the zero/reconnect step)?

I look forward to any discussion this may excite - learning amongst ones
peers is a pleasure and a treasure - let's all look forward to the
information and guidance from practitioners such as Prof Revenko and Zulia
Frost to help us clarify our fledgling queries - it is our good fortune that
this device and its methodologies have been under constant development and
scrutiny for the past 20 to 25 years in Russia - I personally am anxious to
gain deeper access and insight into the work that has been already done - it
makes the work of the future all the more creative

AS A LAST NOTE - this itself warrants a full discussion (however it is late
and I'm ready for bed) - when in the Diag 1 setting, the numbers that result
from the measure of different spots are, of course sometimes higher and
sometimes lower - in direct personal discussion of these values with Prof
Revenko, he explained (to the best of my recollection) that these did NOT
reflect "energy" levels - high numbers did not mean "high energy" and low
numbers did not mean "low energy" - the high or low of the numbers in
general have a relationship first of all to the general "power" level of the
device - a "power" level of 90 will yield numbers generally higher than if
the "power" level of the device is set at 60  - furthermore conditions of
room temperature and humidity can also effect number measurements

when asked to clarify the "meaning" of the high and low numbers, Revenko
explained tersely that they had a conceptual relationship to the Voll
interpretation of "inflammatory" (for the higher numbers) and "degenerative"
(for the lower numbers) - do NOT jump to conclude that here "inflammatory"
and "degenerative" are to be directly interpreted to equal the common
physiological conditions which utilize these same words - the concepts are
more closely related to the dynamics first appreciated in early Functional
Medicine practices - they are informational registers of dynamic processes
of regulation - they have an indirect relation to energetic, chemical and
physiological activities of the organism

furthermore, an important point of clarification from Prof Revenko (which
resulted from his patient appraisal of concepts using several napkins,
forks,etc at our dinner table in London one night)  - the SCENAR is an
INFORMATIONAL device and NOT an ENERGETIC device - it does NOT introduce
"energy" into the body in a fashion like blood being transfused from outside
and into the body - the SCENAR acts as an extension of the body's own
self-regulation - the central processes do not recognize the actions of the
device as coming from the "outside" or as "machine" - as far as the central
processes of the organism know, the local areas are suddenly very interested
in communicating with the central processes - the long lost relative
surprises you with a phone call and wants to discuss getting back into the
family activities again

a crucial key to understanding this business (oh my, will I ever get to
bed?!) is to appreciate that when an initial ALARM response is not capable
of full resolution, the organism protects itself by creating an ADAPTATION -
this means the "unfinished business" of the ALARM still exists in the
mind/body but is "disconnected" from general regulatory activities - in this
way the organism can return to general duties (in short it means the body
chooses to keep on living instead of dying)

HOWEVER...the ADAPTATION still maintains a relationship at the level of
energy supply - it is disconnected at an INFORMATIONAL level - "energy" and
"chemistry" are still available BUT they are not managed by the central
processes anymore - it's as though the ADAPTATION has a "mind of its own"!

think of the ADAPTATION as having a "direct debit" from the main
energy/chemical checking account of the organism - the "money" goes out
automatically

this "energy/chemistry" is still "in" the body BUT is not available to the
body AS A WHOLE - the more ADAPTATIONS we have, the more "energy/chemistry"
is being directly debited - the general organism begins to feel at a deficit
- the organism AS A WHOLE feels at a deficit because of the drain off of
funds to the ADAPTATION patterns

when the SCENAR locates and re-connects an ADAPTATION back into the central
processes.....the "energy/chemistry" that had been in allocation to the
ADAPTATION IS FREED BACK INTO THE ORGANISM AS A WHOLE - Prof Revenko
explained this beautifully in his analogy -

"The energy of the enemy is used for peaceful purposes"

this deep appreciation of self-regulation dynamics - the dynamics of
self-preservation - the dynamics of healing - strikes me as profound

generally speaking when we feel low or lacking in "energy", it is very
likely that the "energy" we seek is actually within us - it is busy
maintaining the ADAPTATIONS which are natures way of allowing us to live
will still carrying around unfinished business

finish up the business - "energy" will be released into the organism as a
whole - the "energy" of the disease is also the "energy" of of healing - the
SCENAR helps the body heal itself by creating channels of communication
along which information can flow

as always

G. 

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On using the FM and VAR setting (Part2)

G. and group

            It is late, but I will try to summon enough neurons to add some thoughts to your eloquent dissertation on the function of the Scenar, particularly as it relates to moving FM/Var.

            First, let me point out that we have received two conflicting views about what the IR represents.  When Zulia came back from Russia early this year, she gave me a new chart from the Russians which indicate the relative meaning of the IR = the IR’s indicate the energetic status of the body.  Essentially, it charted that IR’s below 21 are energy deficient and the readings are unreliable, IR’s between 21-35 are normal, etc. on up to >65 = athletic.  This chart duplicated my clinical impressions.  Then---as you know---Professor Revenko said in London that the IR’s do not represent “energy levels”.  It was obvious that he was not the Russian on the team that gave Zulia the chart of energy levels (they have their own Jerry/G. team---ha!)

            Professor Revenko also made the statement that using FM/Var greater than two minutes was a waste of time.  I then told him of my discovery that neuropathies could fairly easily be corrected with 20 minutes of FM/Var painting.  I also pointed out that the normal color of the foot returned at two minutes while the nerve sensations returned at 20 minutes.  I also pointed out the same time frame for correcting intestinal obstruction scarring, back pain, etc.  He looked intrigued---he then explained something in Russian to Zulia that I didn’t completely understand.  It had to do with the fact that there are ten “???” stacked, and that I must be going through that stack of ten at two minutes each.  He then said he would try my technique when he went back home.

            The point that must be considered is that tissue or organs that are energetically dead (read Nobody, read a number <20 after about 15 seconds, or give a quick reading still <20) begin to react after two minutes of FM/Var painting and generally lose their stickiness, sound returns, and the red-with-white-spots area disappears after 20 minutes.  (That time can often be shortened by simultaneously applying the Collins diode at 90 or 180 degrees to the Scenar electrode).  That is also the time that most pain disappears or dead nerves begin to function.  If you simply hold the device still on the area for two minutes, you will not get the result.

            Although I may be wrong that FM/Var is giving the body enough energy to create an abundance of its normal healing mechanisms, it is certainly what seems to be happening.  Whatever is happening, it is a useful Gestalt for the practitioner.

            Painting with FM/Var around Pirogov’s ring is also useful in patients in which you are having trouble getting Little Wings.  You will usually find stickiness in the Little Wings areas.  While you are painting, you will often see the muscles start to twitch.  Then Little Wings will work with 3:1, Sk2, 121.

            Using the three paths/six points will identify the nerves---and therefore the troublesome organs---which need help.  Almost 100% of the time, the nerves that require reconnection (taking to zero) will give you stickiness, etc. on the horizontal and often over the involved organ with FM/Var painting.  Each site of stickiness generally requires 20 minutes of painting for resolution.  However, the results are certainly worth the effort.  I agree with Zulia when she says that the most effective treatment is from the work on the horizontals.

            In summary, I am sure I don’t really know what is happening---at least not all that is happening---with the device.  However, I do know from experience that when the IR’s are below 20 or Nobody, I need to paint the areas with FM/Var for 20 minutes to bring them back to life = get readings above 20 and return of some function.  I also know from experience that the nerves that are identified by the IR’s using Stereo on the back correlate very well with the patient’s history.  One will also find asymmetries on that horizontal (or that dermatome) and painting them with FM/Var generally brings resolution to the problem.

            The multiple other settings of the Scenar are generally not necessary unless you do not get an effect from this process.  Then you simply try other combinations until you see a change in the situation.  A change means that you are going to be successful.

            ) Zulia was also clear to remind me that FM/VAR is most certainly used in the Diag 1 mode after the zero/reconnect phase of the process - in this approach the FM/VAR application is stationary on the spot/point being treated - this should not be confused with the exploration of a "moving" FM/VAR application

I’m sure this is a typo by G..  FM/Var cannot be used in Diag 1—it only can be set when you are in Diag 0.

            There is a dual approach to finding the “where” and “how” to treat.  The Eastern approach is that if you can find that exact “magic spot”, one acupuncture needle would correct everything.  This is like having water dammed up and you find the one log that will release the entire dam and let the river flow again.  This is represented by the conventional acupuncture symbol with black on one side and white on the other with corresponding spots of the opposite color in each.  The other approach is the Western approach in which things are identified as normal or abnormal by the “bell-shaped curve”.  In this model, things that are too high or too low are equally abnormal.  I view this (in my typical “lumper” mode) that the stereo technique will help me use comparisons to find the “magic spot”.  I then alarm and reconnect it.  I then view the high and low numbers to help me find the sticky spots on the horizontals. I “pump in energy to create an abundance of the body’s normal healing neuropeptides” using FM/Var.   It may not be elegant or correct, but it works.

             For those of you reading our public “Learning Out Loud” between G. and me, please be assured that we are great friends and I have learned a lot from  G. (and of course our primary teachers = Zulia, Guy, and Professor Revenko) and expect to learn much more in the future.  I hope those of you who read our mutual learning sessions will learn as well.  That is why we are learning in public---so you can learn with us and teach us too.  Please feel free to share---we want to be better at what we do.

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Interpreting NOBODY reading

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Interpreting the NOBODY reading (Part2)

-----Original Message-----
From: Richard Kratz [mailto:rpkratz@att.net]
Sent: Sunday, May 05, 2002 5:06 PM
To: EnergeticMedicine
Subject: [EnergeticMedicine] Scenar:What Does IR Measure?

 
Jerry, G. and Others,
In Palm Desert, CA the patient’s skin is very dry.  In Diag 1, I
frequently get a "Nobody" with full skin contact which will take up to
12 minutes before giving a low IR of about 14.  My uniformed opinion is
that IR is only a measure of skin conductivity.  In using a Voll machine
by BioMeridian, we always used an atomizer to moisten the skin before
taking a reading.  I tried using the atomizer on the same area that read
"Nobody" and got immediate response of IR=85. Pleases comment on this
concept.  Thanks.
Dick Kratz

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