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Welcome - Learn more about Father Yahweh's Creation1 - Sound

Conversion: frequency f to wavelength λ and wavelength tofrequencyConverting acoustic energy into useful other energy formsCrop Circles and Sound: part 3Cymatics

CymascopeCymatics LinksMargaret Watts-Hughesthe phonoscope, phoneidoscope and the eidophone

Dan Carlson: Sonic BloomDoppler EffectFrequencies and Wavelengths of SoundHells Bells - Part 2 of 18InfrasoundJoel Sternheimer: DNA MusicJohn Keely: MusicNeon Lamp Traces Sound Wave's PictureSonic Wave upon Growth of AlgaeTuning of host plants with vibratory songs of Nezara viridula L(Heteroptera: Pentatomidae)Worm Grunting

2 - LightELECTRONS DO NOT ROTATE AROUND THE ATOMICNUCLEUSL.E.D. light: Speed the HealingPhotoelectric EffectRaman SpectroscopySpectrochromeThe Octaves of Light: Jorn BargerTherapeutic Value of Light and ColorWhat is Light? Einstein's Idiots # 7

3 - Resonance Light & SoundHarmonic ResonaceHerman von HELMHOLTZ : ResonatorLight and Sound Resonance Frequency Tables

4 - GeometryFibonacciGolden Section GaugeMarko RodinPhiShape Power

5 - Platonic Solids6 - Magnets and Magnetic Flux Energy

Ambient Resonate Magnetic Flux EnergyDr John Milewski: Magneto-Electric Radiation and Super LightElectricity and MagnetismELECTROMAGNETIC WAVES DO NOT EXISTHans Coler ExperimentsThe Amazing Magnetic Blender

A: A periodic banded pattern revealed by chemicalstaining emerges in a developing embryo, due toa chemical harmonic resonance whose standing

waves mark the embryonic tissue for futuregrowth. B: This chemical harmonic resonance has

been identified as the mechanism behind theformation of patterns in animal skins, as well asfor the periodicity in the vertibrae of vertibrates,

the bilateral symmetry of the body plan, as well asthe periodicity of the bones in the limbs and

fingers. C: Murray shows the connection betweenchemical and vibrational standing waves by

replicating the patterns of leopard spots and zebrastripes in the standing wave resonances in a

vibrating steel sheet cut in the form of an animalskin.

http://en.wikipedia.org/wiki/Cymatics

Cymatics


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Aether Research Cymatics is the study of wave phenomena. It is typicallyassociated with the physical patterns produced through the

interaction of sound waves in a medium.

A simple experiment demonstrating the visualisation ofcymatics can be done by sprinkling sand on a metal plate andvibrating the plate, for example by drawing a violin bow along

the edge, the sand will then form itself into standing wavepatterns such as simple concentric circles. The higher thefrequency, the more complex the shapes produced, withcertain shapes having similarities to traditional mandala

designs.

History of Cymatics

The study of the patterns produced by vibrating bodies has avenerable history. One of the earliest to notice that anoscillating body displayed regular patterns was Galileo Galilei,who wrote in his 1632 book, "Dialogue Concerning the TwoChief World Systems":

"As I was scraping a brass plate with a sharp iron chisel inorder to remove some spots from it and was running the chiselrather rapidly over it, I once or twice, during many strokes,heard the plate emit a rather strong and clear whistling sound:on looking at the plate more carefully, I noticed a long row offine streaks parallel and equidistant from one another.Scraping with the chisel over and over again, I noticed that itwas only when the plate emitted this hissing noise that anymarks were left upon it; when the scraping was notaccompanied by this sibilant note there was not the least traceof such marks."

On July 8, 1680, Robert Hooke was able to see the nodalpatterns associated with the modes of vibration of glass plates.Hooke ran a bow along the edge of a glass plate covered withflour, and saw the nodal patterns emerge.[2][3]

In 1787, Ernst Chladni repeated the work of Robert Hookeand published "Entdeckungen über die Theorie des Klanges"("Discoveries in the Theory of Sound"). In this book, Chladnidescribes the patterns seen by placing sand on metal plateswhich are made to vibrate by stroking the edge of the platewith a bow.

The term cymatics was coined by the Swiss scientist, HansJenny. It is derived from the Greek kyma (????) meaning"wave," and ta kymatika meaning "matters pertaining towaves."

Cymatics was explored by Jenny in his 1967 book, Kymatik


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In Greek, 'Aithen' means to burn orshine

The word 'aethere' was used by Romans and Greeks to meanthe upper air which they regarded as pure and connected toa Sun that was driven through this aethere across the skyduring the day, hence the relation to shining and burning

(thus luminiferousAether is nothing more than a distributed physical mediumpermeating the entire universe, endowing it [space] with

measurable physical qualities

H. A. Lorentz formulated an aether based version of specialrelativity, known as Lorentz Ether Theory

MATTER IS MADE OF WAVES

" The material Universe is solely made out ofAether "

Matter is made of waves

Matter is made of waves

The Greek derived word Aether is defined in theWebster Universal Dictionary as a:

"hypothetical medium, supposed to fill space,by means of vibrations in which light

and other forms of radiation are transmitted".

Up until the latter part of the last century the'Ether' theory was an established scientific fact.

(translated Cymatics).[4] Inspired by systems theory and thework of Ernst Chladni, Jenny began an investigation ofperiodic phenomena but especially the visual display of sound.He used standing waves, piezoelectric amplifiers, and othermethods and materials.

New Discoveries with Cymatics

The discovery of a breakthrough technique that involvesmaking dolphin and whale sounds visible in water, possiblymimicking the very mechanisms that nature evolved in thecetaceans' own sound-receiving apparatus, was announced inlate 2008 using a newly developed instrument, theCymaScope. A team led by Jack Kassewitz in the USA andJohn Stuart Reid in the UK aim to build a lexicon of cetaceanwords, each word having a specific meaning and each forminga recognizable pattern, known as a CymaGlyph.

John Stuart Reid is an English acoustics engineer, scientist andinventor. He has studied the world of sound for over 30 years.He is the inventor of the CymaScope, an innovative instrumentthat makes visible sound’s once hidden structures, just as themicroscope and the telescope have brought previously hiddenrealms into view.

Jack Kassewitz's goal is to establish full communicationbetween humans and dolphins. Jack's research has propelledhim to search out and obtain cutting-edge technology in orderto record cetaceans (dolphins, whales and porpoises) in thebroadest spectrum and highest definition possible and nowmake them visible with Cymatic images created by John StuartReid.

Influences in art

Jenny's book influenced Alvin Lucier and, along with Chladni,helped lead to Lucier's composition Queen of the South.Jenny's work was also followed up by Center for AdvancedVisual Studies (CAVS) founder Gyorgy Kepes at MIT. [5] Hiswork in this area included an acoustically vibrated piece ofsheet metal in which small holes had been drilled in a grid.Small flames of gas burned through these holes andthermodynamic patterns were made visible by this setup.

Based on work done in this field, photographer AlexanderLauterwasser captures imagery of water surfaces set intomotion by sound sources ranging from pure sine waves, tomusic by Ludwig van Beethoven, Karlheinz Stockhausen,electroacoustic group Kymatik(who often record in surroundsound ambisonics), and overtone singing.


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In 2007 Thomas J. Mitchell and his son Stuart told the pressthey had decoded "frozen music" based on sculptures inRosslyn Chapel, in part by using cymatics.[6]

References

1. Good Vibrations, Joyce McLaughlin, American Scientist,July-August 1998, Volume: 86 Number: 4 Page: 342, DOI:10.1511/1998.4.342

2. http://www.ilt.columbia.edu/projects/bluetelephone/html/chladni.html -- http://www.ilt.columbia.edu/about/index.html --- Ernst Florens Friedrich Chladni, Institute for LearningTechnologies, Columbia University

3. Pg 101 Oxford Dictionary of Scientists- Oxford UniversityPress- 1999

4. Jenny, Hans (1967). Kymatik. ISBN 1888138076

5. http://web.archive.org/web/20021104072629/http://web.mit.edu/cavs/people/kepes/kepes.html -- Gyorgy Kepes profile at MIT6. http://www.sundaymail.co.uk/news/tm_headline=da-vinci-chorus--&method=full&objectid=18943091&siteid=64736-name_page.html Scott, Marion (22 April 2007). Exclusive: Da Vinci Chorus.The Sunday Mail

Links

* http://www.sonic-age.com/ --- Cymascope John Stuart Reid

* http://www.speakdolphin.com/ --- Dolphin Research JackKassewitz

* http://www.youtube.com/watch?v=s9GBf8y0lY0 --- Videoof Cymatics of salt grains on vibrating square metal plate

* http://www.rmcybernetics.com/projects/DIY_Devices/homemade_cymatics_display.htm --- DIY Cymatics

* http://www.youtube.com/watch?v=cy2Dg-ncWoY ---Rosslyn Chapel Cymatics Music Video on YouTube

* http://www.tjmitchell.com/stuart/saturnhex.html ---Cymatics Hexagon on North Pole of the planet Saturn

* http://www.cymatics.org/ --- Beautiful Cymatics images &video capturing the interaction of sounds with liquids


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Videos re: Cymatics

http://www.google.com/search?hl=en&q=cymatics+video&revid=1894958434&sa=X&oi=revisions_inline&


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resnum=0&ct=broad-revision&cd=1

http://www.youtube.com/watch?v=XiUuCbeKAus --Vibration Creates Form This is a clip from a David Icke Documentary called "FreedomRoadhttp://www.youtube.com/watch?v=Qf0t4qIVWF4 --Resonance Phenomena in 2D on a Plane http://www.FreeScienceLectures.com The plane is vibrated...http://www.youtube.com/watch?v=LCk9-blM5Xg --Cornstarch at 35-55hz A petri dish full of cornstarch and water, vibrated by a35-55hz sinehttp://www.youtube.com/watch?v=GCUg4Kx_CjY --hexagon 19 flower of life standing wave liquid in infrasound ... life flower hexagon cymatic faradaychladni .http://www.youtube.com/watch?v=gTh8kcCvlTY --Cymatics on Saturn Saturn Hexagon Mystifies Scientists March 27, 2007http://www.youtube.com/watch?v=sY6z2hLgYuY --resonance Dr. Hans Jenny in his study of Cymaticshttp://www.youtube.com/watch?v=fpI4EiGACo8 --Magnetic Liquid is Crazy Take some magnetic liquid add a magnet, and you get instantcoolhttp://www.youtube.com/watch?v=6sonpvUxGL8 -- Websof Maya Victory!!! Our video has reached the number one spot onGoogle videohttp://www.youtube.com/watch?v=6wmFAwqQB0g --Chladni Patterns on a Square Plate When sand is sprinkled on a vibrating square plate ...http://www.youtube.com/watch?v=cy2Dg-ncWoY -- TheRosslyn Stave Angel - Music Cipher The Rosslyn Stave Angel - Music Cipherhttp://www.youtube.com/watch?v=7dliI63ERpw --ants,mice and alligators v cymatics The rhythm of the universe the wave of the futurehttp://www.youtube.com/watch?v=05Io6lop3mk --Cymatics - Bringing Matter To Life With Sound (Part 1 of 3) Hans Jenny's rare old videohttp://www.youtube.com/watch?v=3csi-2Hrzhg --resonance3 Dr. Hans Jenny in his study of Cymaticshttp://www.youtube.com/watch?v=sOMiowrff0Y --Harmonics - Salt on a vibrating table Salt on a table, vibrating at different frequencies


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http://www.youtube.com/watch?v=Hm13q8m5-Cc

http://www.youtube.com/watch?v=7dliI63ERpw

http://www.naturalnews.com/023380.html

http://www.youtube.com/watch?v=1iXY2BE1S8Q&eurl=http://www.naturalnews.com/023380.html

http://www.youtube.com/watch?v=stfIjObFZYU -- HiddenWorld: Cymatics The work of German photographer Alexander Lauterwasser ispresentedhttp://www.youtube.com/watch?v=s9GBf8y0lY0 -- SoundWaves Seeing Sound Waves

http://www.youtube.com/watch?v=tAqwerXEaGI --Cymatics, Metatron's Cube, Love and Gratitude water crystal.

http://www.youtube.com/watch?v=xo4TfegY5hI -- diy synthcymatics water playing my synth through waterhttp://www.youtube.com/watch?v=ahJYUVDY5ek --Cymatics - Bringing Matter To Life With Sound (Part 2 of 3) Hans Jenny's rare old video.http://www.youtube.com/watch?v=o2o2NaV3J_Q --Beautiful Cymatics & Wave Phenomena Cymatics - the interaction of sound with liquids and materialshttp://www.youtube.com/watch?v=tMXwZSPw2X8 --(Cymatics) Sound Part 1 - Salt Sound and Vibration in salt crystalshttp://www.youtube.com/watch?v=etZJyOeXiXI --(Cymatics) Sound Part 5 - Cornstarch Sound and Vibration in a Cornstarch Solution ... Soundvibration cymaticshttp://www.youtube.com/watch?v=c7OtpsjkBjc -- cymaticsconvection spiral secret ymatic faraday chladni convectionhttp://www.youtube.com/watch?v=4DoN6xs1vrI -- CymaticNon Newtonian Fluid Experiment A Non Newtonian fluid exposed to vibration can forinteresting results.http://www.youtube.com/watch?v=n6n6jW0XIV0 -- DIYprojector Cheap way of having a cinema in you room! without shellingout hundreds of $$http://www.youtube.com/watch?v=tI6S5CS-6JI -- Acousticwater dance Simple sound experiment - I filled plastic cup with water andplaced directly on speaker cone.


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http://www.youtube.com/watch?v=Zkox6niJ1Wc --Resonantie How a resonance has influence on ricehttp://www.youtube.com/watch?v=l9fYVYpXFCQ --Cymatacon 1 An experiment with sub bass tones and liquidshttp://www.youtube.com/watch?v=CtmZ1s7oCn4 --Cymatics One: The Morning Star Weeps Cymatics is the study of wave phenomena.http://www.youtube.com/watch?v=IuyQSZX8HMI -- Soundand Salt See what happens when high frequency sound is exerted ongrains of salthttp://www.youtube.com/watch?v=0YVHEjS50bw --(Cymatics) Sound Part 4 - Water Sound and Vibration in Waterhttp://www.youtube.com/watch?v=5VJQdy83wzE --(Cymatics) Sound Part 2 - Graphite Sound and Vibration in Graphitehttp://www.youtube.com/watch?v=HiqyQlaZIuc --(Cymatics) Sound Part 3 - Glycerin Sound and Vibration in Glycerinhttp://www.youtube.com/watch?v=2VB3VfAoEU0 --Cymatics animating inert substances with audible soundhttp://www.youtube.com/watch?v=0Gwwt41mEBs -- Saltlake NT A physic experiment showing how different soundwaves reallylookslhttp://www.youtube.com/watch?v=GtiSCBXbHAg --Cymatic experiment A simple experiment demonstrating the visualisation ofcymaticshttp://www.youtube.com/watch?v=I4jUMWFKPTY --Cymatics - Bringing Matter To Life With Sound (Part 3 of 3) Hans Jenny's rare old video.http://www.youtube.com/watch?v=wMIvAsZvBiw --Chladni Patterns - Adjust your volume! Chladni Patterns Two-dimensional standing waveshttp://www.youtube.com/watch?v=wio728lLOh0 -- The ArtOf Sound Table that resonates with sound causing sand to form patterns

Patents

http://v3.espacenet.com/publicationDetails/biblio?KC=A&date=19681029&NR=3407897A&DB=EPODOC&

locale=en_EP&CC=US&FT=D


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US3407897 Device for rendering visible acoustic vibrations

1968-10-29 HANS JENNY

Classification: - international: A63H33/00; A63J5/10;A63J17/00; G01H9/00; G09B23/14; G09F19/02; G10K13/00;A63H33/00; A63J5/00; A63J17/00; G01H9/00; G09B23/00;G09F19/00; G10K13/00 - European: A63H33/00; A63J5/10;A63J17/00; G01H9/00; G09B23/14; G09F19/02; G10K13/00

Priority number(s): CH19630010047 19630814

...


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...


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... ...


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http://v3.espacenet.com/publicationDetails/biblio?KC=A&date=20081119&NR=2449367A&DB=EPODOC&

locale=en_EP&CC=GB&FT=D

GB2449367 Acoustic device for displaying modal patterns of

particulate matter

Inventor: REID JOHN [GB] Applicant: SONIC AGE LTD [GB]

2008-11-19 Also published as: GB2431505 // GB2431505 //

GB2449366 Abstract -- The acoustic device 10 has a diaphragm 14


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extending across a housing 12 to define a chamber 15. When amass of particulate material matter is located on the diaphragm14, excitation of the diaphragm 14 by a sound source creates apattern in the particulate matter indicating the property of the

sound produced by a sound source. A removable soundcollector 60, for delivering sound to the chamber 15, has aconnector end 66 for connection to the housing 12 and a

collector end 64 for placement next to a sound source such asa loudspeaker. The housing 12 may have a number of inlets to

which the connector end 66, which preferably has acompression fit portion, can be connected. The removable

sound collector 60 may include a rigid tubular section with acurved profile, which reduces in diameter from the collector

end 64 to the connector end 66.


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...

http://v3.espacenet.com/publicationDetails/biblio?KC=A1&date=20070426&NR=2007045898A1&

DB=EPODOC&locale=en_EP&CC=WO&FT=D


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WO2007045898 DEVICES FOR DISPLAYING MODAL PATTERNS

Inventor: REID JOHN [GB] Applicant: SONIC AGE LTD [GB] ; REID JOHN [GB]

2007-04-26 Also published as: EP1955307

Abstract -- The present invention provides an acousticdisplay device for displaying modal patterns in response tosound from a sound source. The display device (10) has a

substantially circular housing (12), which housing (12)includes a continuous curved side wall (13a), a substantially

flat base wall (13b), and open end (13c). The open end (13c) isclosed by diaphragm (14), thereby forming closed chamber

(15). Excitation of the diaphragm can be effected byintroducing vocal sounds to the underside of the diaphragm viaone of a plurality of sound connecting means (22) that include

a flexible tubular section (30), which terminates in amouthpiece (32). A user can place the mouthpiece over theirmouth and nose and make vocal sounds, which are deliveredto the interior of the chamber (15).; The mouthpiece (32) can

be substituted with a sound collector (60) having a "horn"shape and an annular flange for engagement with a

loudspeaker. The other ends (24) of the sound connectingmeans (22), within the closed chamber (15), each contain a

non-return valve so that pressure within the chamber ismaintained. The device can also include weight locating means

(21a, 21b, 21c) or magnetic tensioning means (80, 84) fortuning the diaphragm. Removable covers having different

markings can assist in analysing the patterns produced. Two ormore integral curved spirit levels (38) in conjunction with

adjustable feet (40) enable accurate levelling of thediaphragm.

http://v3.espacenet.com/publicationDetails/biblio?KC=A1&date=20060209&NR=2006013311A1&

DB=EPODOC&locale=en_EP&CC=WO&FT=D

WO2006013311 DEVICES FOR DISPLAYING MODAL PATTERNS

REID JOHN [GB] Applicant: SONIC AGE LTD [GB] ; REID JOHN [GB]

2006-02-09 Abstract -- Digital images of modal patterns, initially derivedby digitising and storing the modal phenomena of a wide rangeof audio signals can be viewed in real time on, for example, a

cathode ray tube, computer monitor, LCD screen, plasmamonitor, video projector or band-held display device. Sound

from a live or recorded source can be converted by amicrophone into a representative electrical audio signal. The


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signal is suitably fed to an analogue-to-digital converter,whereupon fit is processed by a computer at a sampling rate

of, typically, not less than 25 times per second. The wave formof the round sample is analysed for its harmonic content andthe modal pattern image corresponding most closely to the

harmonic content is released from the device's memory. Thus,a moving set of patterns is seen by the viewer in synchronism

with the recorded or live round source.

http://www.cymascope.com/

Sonic Age America

Cymascope

Call: North America: 1 208 264 0171

Email: cymaArt(at)sonic-age(dot)com

Mail: Sonic Age America:

PO Box 19 Hope, ID 83836

http://www.cymascope.com/cetacean.html Decoding Cetacean Language with the Cymascope

http://www.cymascope.com/store


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/index.php?main_page=product_info&cPath=3&products_id=2

Chakra Sounds Poster

The CymaScope has captured the actual CymaGlyph image ofeach chakra sound. Now—for the first time ever, the Chakra

Sacred Sounds poster makes these chakra sound imagesavailable for meditation to assist you in balancing your seven

primary energy centers. ( $19.95 )


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John S. Reid Papers

How the CymaScope Was Born by John Stuart Reid

http://www.cymascope.com/pdf/HowtheCymascopeWasBorn.pdf

Wave Goodbye to Sound Waves by John Stuart Reid

http://www.cymascope.com/pdf/Wave-Goodbye-to-SoundWaves.pdf

The Art of Sound: How Sound Images Are Captured by John Stuart Reid

http://www.cymascope.com/pdf/Violin-ArtOfSound.pdf

Sound, The Trigger for Life by John Stuart Reid

http://www.cymascope.com/pdf/Soundthetriggerforlife.pdf

http://www.cymascope.com/cetacean.html

Songs From The Sea: Deciphering DolphinLanguage with Picture Words

In an important breakthrough in deciphering dolphin language,researchers in Great Britain and the United States have imagedthe first high definition imprints that dolphin sounds make in

water.

The key to this technique is the CymaScope, a new instrumentthat reveals detailed structures within sounds, allowing theirarchitecture to be studied pictorially. Using high definitionaudio recordings of dolphins, the research team, headed by

English acoustics engineer, John Stuart Reid, andFlorida-based dolphin researcher, Jack Kassewitz, has beenable to image, for the first time, the imprint that a dolphin

sound makes in water. The resulting "CymaGlyphs," as theyhave been named, are reproducible patterns that are expected

to form the basis of a lexicon of dolphin language, eachpattern representing a dolphin ‘picture word.’

Certain sounds made by dolphins have long been suspected torepresent language but the complexity of the sounds has made

their analysis difficult. Previous techniques, using thespectrograph, display cetacean (dolphins, whales and

porpoises) sounds only as graphs of frequency and amplitude.The CymaScope captures actual sound vibrations imprinted in

the dolphin’s natural environment—water, revealing theintricate visual details of dolphin sounds for the first time.


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Within the field of cetacean research, theory states thatdolphins have evolved the ability to translate dimensional

information from their echolocation sonic beam. TheCymaScope has the ability to visualize dimensional structurewithin sound. CymaGlyph patterns may resemble what the

creatures perceive from their own returning sound beams andfrom the sound beams of other dolphins.

Reid said that the technique has similarities to decipheringEgyptian hieroglyphs. "Jean-Francois Champollion andThomas Young used the Rosetta Stone to discover key

elements of the primer that allowed the Egyptian language tobe deciphered. The CymaGlyphs produced on the CymaScope

can be likened to the hieroglyphs of the Rosetta Stone.

Now that dolphin chirps, click-trains and whistles can beconverted into CymaGlyphs, we have an important tool for

deciphering their meaning."


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http://www.cymaticsource.com/

MACROmedia Fax (253) 322-7996

Email: [email protected]

SOUND INSIGHTS by Jeff Volk http://www.cymaticsource.com/articles/a1-article.html

http://www.world-mysteries.com/sci_cymatics.htm

Cymatics - The Science of the Future?

by Peter Pettersson, Translation Yarrow Cleaves


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Is there a connection between sound, vibrations and physicalreality? Do sound and vibrations have the potential to create?In this article we will see what various researchers in this field,which has been given the name of Cymatics, have concluded.

In 1787, the jurist, musician and physicist Ernst Chladnipublished Entdeckungen über die Theorie des Klangesor

Discoveries Concerning the Theory of Music.In this and otherpioneering works, Chladni, who was born in 1756, the same

year as Mozart, and died in 1829, the same year as Beethoven,laid the foundations for that discipline within physics thatcame to be called acoustics, the science of sound. Among

Chladni´s successes was finding a way to make visible whatsound waves generate. With the help of a violin bow which he

drew perpendicularly across the edge of flat plates coveredwith sand, he produced those patterns and shapes which today

go by the term Chladni figures. (se left) What was thesignificance of this discovery? Chladni demonstrated once andfor all that sound actually does affect physical matter and that

it has the quality of creating geometric patterns.

Chladni figures.

What we are seeing in this illustration is primarily two things:areas that are and are not vibrating. When a flat plate of anelastic material is vibrated, the plate oscillates not only as a

whole but also as parts. The boundaries between thesevibrating parts, which are specific for every particular case,are called node lines and do not vibrate. The other parts are


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oscillating constantly. If sand is then put on this vibratingplate, the sand (black in the illustration) collects on the

non-vibrating node lines. The oscillating parts or areas thusbecome empty. According to Jenny, the converse is true for

liquids; that is to say, water lies on the vibrating parts and noton the node lines.

Lissajous Figures

The result of two sine curves meeting at right angles.

Illustration: Typoform, Jenny W. Bryant, Swedish NationalEncyclopedia

In 1815 the American mathematician Nathaniel Bowditchbegan studying the patterns created by the intersection of two

sine curves whose axes are perpendicular to each other,sometimes called Bowditch curves but more often Lissajousfigures. (se below right) This after the French mathematicianJules-Antoine Lissajous, who, independently of Bowditch,

investigated them in 1857-58. Both concluded that thecondition for these designs to arise was that the frequencies, oroscillations per second, of both curves stood in simple whole-

number ratios to each other, such as 1:1, 1:2, 1:3, and so on. Infact, one can produce Lissajous figures even if the frequencies

are not in perfect whole-number ratios to each other. If thedifference is insignificant, the phenomenon that arises is that

the designs keep changing their appearance. They move. Whatcreates the variations in the shapes of these designs is thephase differential, or the angle between the two curves. In

other words, the way in which their rhythms or periodscoincide. If, on the other hand, the curves have different

frequencies and are out of phase with each other, intricateweb-like designs arise. These Lissajous figures are all visual

examples of waves that meet each other at right angles.


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Lissajous Figures

As I pondered the connection between these figures and otherareas of knowledge, I came to think about the concept thatexists in many societies and their mythologies around the

world, which describes the world as a web. For example, manyof the Mesoamerican people regarded the various parts of theuniverse as products of spinning and weaving: "Conceptionand birth were/.../ compared with the acts of spinning andweaving; all the Aztec and Mayan creation and fertility

goddesses were described as great weavers."(1) A number ofwaves crossing each other at right angles look like a woven

pattern, and it is precisely that they meet at 90-degree anglesthat gives rise to Lissajous figures.

In 1967, the late Hans Jenny, a Swiss doctor, artist, andresearcher, published the bilingual book Kymatik -Wellen und

Schwingungen mit ihrer Struktur und Dynamik/ Cymatics -The Structure and Dynamics of Waves and Vibrations. In thisbook Jenny, like Chladni two hundred years earlier, showedwhat happens when one takes various materials like sand,

spores, iron filings, water, and viscous substances, and placesthem on vibrating metal plates and membranes. What then

appears are shapes and motion- patterns which vary from thenearly perfectly ordered and stationary to those that are

turbulently developing, organic, and constantly in motion.

Jenny made use of crystal oscillators and an invention of hisown by the name of the tonoscope to set these plates andmembranes vibrating. This was a major step forward. The

advantage with crystal oscillators is that one can determineexactly which frequency and amplitude/volume one wants. Itwas now possible to research and follow a continuous train of

events in which one had the possibility of changing thefrequency or the amplitude or both.

The tonoscope was constructed to make the human voicevisible without any electronic apparatus as an intermediate

link. This yielded the amazing possibility of being able to seethe physical image of the vowel, tone or song a human being

produced directly. (se below) Not only could you hear amelody - you could see it, too!

Jenny called this new area of research cymatics, which comesfrom the Greek kyma, wave. Cymatics could be translated as:the study of how vibrations, in the broad sense, generate and

influence patterns, shapes and moving processes.

The Creative Vibration

What did Hans Jenny find in his investigations?


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In the first place, Jenny produced both the Chladni figures andLissajous figures in his experiments. He discovered also that if

he vibrated a plate at a specific frequency and amplitude -vibration - the shapes and motion patterns characteristic ofthat vibration appeared in the material on the plate. If he

changed the frequency or amplitude, the development andpattern were changed as well. He found that if he increasedthe frequency, the complexity of the patterns increased, thenumber of elements became greater. If on the other hand heincreased the amplitude, the motions became all the morerapid and turbulent and could even create small eruptions,

where the actual material was thrown up in the air.

The development of a pattern in sand (step by step).

Swinging water drops (by Hans Jenny)


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Sand patterns as a function of the size of the plate

The shapes, figures and patterns of motion that appearedproved to be primarily a function of frequency, amplitude, and

the inherent characteristics of the various materials. He alsodiscovered that under certain conditions he could make the

shapes change continuously, despite his having altered neitherfrequency nor amplitude!

The vowel A in sand

When Jenny experimented with fluids of various kinds heproduced wave motions, spirals, and wave-like patterns in

continuous circulation. In his research with plant spores, hefound an enormous variety and complexity, but even so, there

was a unity in the shapes and dynamic developments thatarose. With the help of iron filings, mercury, viscous liquids,


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plastic-like substances and gases, he investigated the three-dimensional aspects of the effect of vibration.

In his research with the tonoscope, Jenny noticed that whenthe vowels of the ancient languages of Hebrew and Sanskrit

were pronounced, the sand took the shape of the writtensymbols for these vowels, while our modern languages, on the

other hand, did not generate the same result! How is thispossible? Did the ancient Hebrews and Indians know this? Isthere something to the concept of "sacred language," whichboth of these are sometimes called? What qualities do these

"sacred languages," among which Tibetan, Egyptian andChinese are often numbered, possess? Do they have the power

to influence and transform physical reality, to create thingsthrough their inherent power, or, to take a concrete example,

through the recitation or singing of sacred texts, to heal aperson who has gone "out of tune"?

Sound structures in the water drop as a function of thewavelength and a function of the extent

An interesting phenomenon appeared when he took a vibratingplate covered with liquid and tilted it.The liquid did not yieldto gravitational influence and run off the vibrating plate but


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stayed on and went on constructing new shapes as thoughnothing had happened. If, however, the oscillation was then

turned off, the liquid began to run, but if he was really fast andgot the vibrations going again, he could get the liquid back in

place on the plate. According to Jenny, this was an example ofan antigravitational effect created by vibrations.

Universality?

In the beginning of Cymatics, Hans Jenny says the following:"In the living as well as non-living parts of nature, the trained

eye encounters wide-spread evidence of periodic systems.These systems points to a continuous transformation from theone set condition to the opposite set."(3) Jenny is saying that

we see everywhere examples of vibrations, oscillations, pulses,wave motions, pendulum motions, rhythmic courses of events,serial sequences, and their effects and actions. Throughout thebook Jenny emphasises his conception that these phenomena

and processes not be taken merely as subjects for mentalanalysis and theorizing. Only by trying to "enter

into"phenomena through empirical and systematicinvestigation can we create mental structures capably ofcasting light on ultimate reality. He asks that we not "mix

ourselves in with the phenomenon"but rather pay attention toit and allow it to lead us to the inherent and essential. He

means that even the purest philosophical theory is neverthelessincapable of grasping the true existence and reality of it in full

measure.

What Hans Jenny pointed out is the resemblance between theshapes and patterns we see around us in physical reality and

the shapes and patterns he generated in his investgations.Jenny was convinced that biological evolution was a result of

vibrations, and that their nature determined the ultimateoutcome. He speculated that every cell had its own frequencyand that a number of cells with the same frequency created anew frequency which was in harmony with the original, which

in its turn possibly formed an organ that also created a newfrequency in harmony with the two preceding ones. Jenny wassaying that the key to understanding how we can heal the body

with the help of tones lies in our understanding of howdifferent frequencies influence genes, cells and various

structures in the body. He also suggested that through thestudy of the human ear and larynx we would be able to cometo a deeper understanding of the ultimate cause of vibrations.

Trinity


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In the closing chapter of the book Cymatics, Jenny sums upthese phenomena in a three-part unity. The fundamental and

generative power is in the vibration which, with its periodicity,sustains phenomena with its two poles. At one pole we have

form, the figurative pattern. At the other is motion, thedynamic process.

These three fields - vibration and periodicity as the groundfield, and form and motion as the two poles - constitute an

indivisible whole, Jenny says, even though one can dominatesometimes. Does this trinity have something within science

that corresponds? Yes, according to John Beaulieu, Americanpolarity and music therapist. In his book Music and Sound in

the Healing Arts,he draws a comparison between his ownthree-part structure, which in many respects resemblesJenny´s, and the conclusions researchers working withsubatomic particles have reached. "There is a similarity

between cymatic pictures and quantum particles. In both casesthat which appeares to be a solid form is also a wave. They areboth created and simultaneously organized by the principle ofpulse (Read:principle of vibration). This is the great mysterywith sound: there is no solidity! A form that appears solid is

actually created by a underlying vibration."(4) In an attempt toexplain the unity in this dualism between wave and form,physics developed the quantum field theory, in which the

quantum field, or in our terminology, the vibration, isunderstood as the one true reality, and the particle or form,

and the wave or motion, are only two polar manifestations ofthe one reality, vibration, says Beaulieu.

In conclusion, I would like to cite Cathie E. Guzetta´s poeticcontemplation of where the investigation of the relationship


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between sound and the arising of various life forms might leadus in the future: "The forms of snowflakes and faces of flowersmay take on their shape because they are responding to somesound in nature. Likewise, it is possible that crystals, plants,

and human beings may be, in some way, music that has takenon visible form."(5)

Disclaimer! The quotes from Hans Jenny´s book Cymaticsisnot exactly as they appear in the book. The reason for this is

that the author of the article doesn t́ have access to the book inquestion for the moment, but he´s working on it. Although the

overall spirit and meaning of the quotes is accurate theresponsibility lies totaly on the author.

Footnotes:

* Klein, Cecilia F.: "Woven Heaven, Tangled Earth: AWeaver´s Paradigm of the Mesoamerican Cosmos", in

Ethnoastronomy and Archaeoastronomy in the AmericanTropics, Ed. by Anthony P. Aveni and Gary Urton, Annals of

the Academy of Science, Vol. 385, New York, 1982, p. 15

* McClellan, Randall: The Healing Forces of Music: History,Theory and Practice, Element, Inc., 1991, p. 50

* Jenny, Hans: Kymatik: Wellen und Schwingungen mit ihrerStruktur und Dynamik/Cymatics: The Structure and Dynamics

of Waves and Vibrations, Basilius Press, 1967, p. 10

* Beaulieu, John: Music and Sound in the Healing Arts, StationHill Press, 1987, p. 40

* Guzzetta, Cathie E.: Music Therapy: Nursing the Music ofthe Soul, in Music: Physician for the Times to Come,Campbell, Don (Editor), Quest Books, 1991, p. 149

http://www.rmcybernetics.com/projects/DIY_Devices/homemade_cymatics_display.htm

A DIY Cymatics Display

Piezoelectric Cymatics Experiment --- A simple vibratingplatform can be made from a piezoelectric sounder mountedon a plastic tube. The piezo sounder can be connected to a

signal generator or even a PC sound card. By placing a smallamount of powder or fluid on the sounder, various patterns

and motions can be seen depending upon the appliedfrequencies.

This image shows a pattern formed by a fine powder vibrating


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at a single, mid audio range frequency. Depending upon thesize of your sounder and the materials used, the patterns will

emerge at a range of frequencies.

Sometimes a pattern will only remain stable at one exactfrequency, whereas other patterns will emerge over a broadrange frequencies. By mixing signals together more complexpatterns can be formed. If you don't have signal generatorshandy try using classical music as it contains a great deal ofharmonics and mathematical ratios within the sounds. Other

types of music may work too, but the drum beats tend todestabilize the patterns.

Cymatics in a coffee cup ... ...

...

Different materials will respond in different ways to thevibrations due to varying density or particle size and shape.

Materials can also be separated or made to flow through each


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other.

Diagram of Cymatics Display deviceThis diagram shows a flatPiezo sounder glued to the top of a small section of tubing for

support. The connecting wires should be supported byattaching them to the tube. It is important that the wires are

not tight as they may prevent the piezo sounder fromoscillating fully. The wires can then be connected to an signal

generator such as the DIY signal generator, power pulsemodulator, or even a PC headphone output.

There should only be a pinch of powder such as salt placed onthe sounder to see the effect. The sound should be adjusted

whilst watching the surface to see how it responds. Make surethe sounder is as level as possible otherwise the powder will

slide off before any patterns are formed.

You may notice that a certain frequencies the powder willjump into the air quite suddenly, destroying any patterns. Thisoccurs due to resonance, and turing down the volume should

allow you to form patterns at the resonant frequencies.

Liquids will form patterns with a very high resolution. Highaudio frequencies can create very fine pattern, barley visible

to the naked eye. A laser beam, reflected by the vibratingsurface can be used to magnify the effect. The reflected laserbeam can produce an image on a screen, which will represent

the vibrating surface.

The projected images can look like 3D holograms, and it isoften quite difficult to see how the projected pattern relates to

the actual pattern on the reflective material.

You can make much larger versions of this project using aspeaker with a flat playe replacing part of the cone. Details areshown in the comments section below. To drive a speaker you

will need an amplifier to give a good supply of power to thespeaker. An alternative is to use a high power signal generator

such as a power pulse controller.

If the piezo transducer is driven at very high, or ultrasonicfrequencies, and with a large amplitude it is possible to

'atomize' liquids such as water. This creates a fine mist thatresembles steam in appearance. Such mists are actually tinydroplets suspended in the air yet they behave as if they were

all part of a single dense fluid medium.

Some patterns will only form at specific frequencies, soadjustments need to be made quite slowly in order to observe

the effect.


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At certian frequencies the surface used will resonate, and thiswill produce very pronounced movements. It's even possible to

cause all your particles to leap up and off the surface. A simple test may be to add a pinch of salt to the surface, thenbrifly sweep through your frequency range. If at no point do

the salt particles leap up, or make any large motion, youshould assume that the vibrations are too weak, or that the

material is damping the standing waves.

Also, square waves will cause harmonic vibrations too. Thismeans for example; Your square wave input is 1 kHz, you willsee 2 kHz, 3 kHz, etc as vibrations, but the harmonics are of

lower amplitude. These harmonics may help or hinder thepattern formation.

With a sine wave, you have more precise control, but you willonly see simple cricles as the pattern.

I noticed one particularly interesting effect when using saltparticles on a piezo sounder. Very occasionaly a lone saltcrystal would begin to move along the surface, gradually

disintegrating and leaving a trail behind it.

http://www.harmonyera.com/1.2.research.htm

Cymatics Videos

http://www.harmonyera.com/HJenny01.ram 2 minutes // 6.9 megs

http://www.harmonyera.com/HJenny02.ram 1 minute // 2.9 megs



www.wikipedia.org

Ernst Chladni


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Ernst Florens Friedrich Chladni, November 30, 1756 – April3, 1827) was a German physicist and musician.

Chladni was born in Wittenberg. His important works includeresearch on vibrating plates and the calculation of the speed ofsound for different gases. For this some call him the "Father of

Acoustics". He also did pioneering work in the study ofmeteorites, and therefore is regarded by some as the "Father of

Meteoritics" as well.

One of Chladni's most well known achievements was inventinga technique to show the various modes of vibration in a

mechanical surface. Chladni repeated the pioneeringexperiments of Robert Hooke of Oxford University. On July 8,

1680, Hooke had been able to see the nodal patternsassociated with the modes of vibration of glass plates. Hookeran a bow along the edge of a glass plate covered with flour,

and saw the nodal patterns emerge.

Chladni's technique, first published in 1787 his book,Entdeckungen über die Theorie des Klanges ("Discoveries in

the Theory of Sound"), consists of drawing a bow over a pieceof metal whose surface is lightly covered with sand. The plate

is bowed until it reaches resonance and the sand forms apattern showing the nodal regions . Since the 20th century it

has become more common to place a loudspeaker driven by anelectronic signal generator over or under the plate to achieve a

more accurate adjustable frequency.

Variations of this technique are commonly used in the designand construction of acoustic instruments such as violins,

guitars, and cellos.

Google Search Results ---

Chladni patterns for violin plates Chladni patterns show the geometry of the different types of

vibration of violin plates. This site has an introductoryexplanation of modes of vibration and ... www.phys.unsw.edu.au/jw/chladni.html


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Chladni patterns for guitar plates Chladni patterns show the geometry of the different types ofvibration of the guitar top plate. This site has an introductory

explanation of modes of ... www.phys.unsw.edu.au/music/guitar/guitarchladni.html

Ernst Chladni - Wikipedia, the free encyclopedia Nov 11, 2008 ... Hooke ran a bow along the edge of a glass

plate covered with flour, and saw the nodal patterns emerge. en.wikipedia.org/wiki/Ernst_Chladni

Chladni patterns in vibrated plates Chladni patterns are a classic undergraduate demonstration.

You can visualize the nodal lines of a vibrating elastic plate bysprinkling sand on it: the ...

www.physics.utoronto.ca/nonlinear/chladni.html

Chladni Plate Chladni patterns can also be formed by using circular or

rectangular metal plates on a mechanical driver controlled by asignal generator. ...

www.physics.ucla.edu/demoweb/demomanual/acoustics/effects_of_sound/chladni_plate.html

Satori: Chladni patterns May 2, 2007 ... In any case, hearing about this led me towonder what "cymatics", and "Chladni patterns", are.

Wikipedia and YouTube to the rescue, ... www.satori.org/2007/05/chladni_patterns.html

rogerbourland.com » Blog Archive » Chladni patterns video May 30, 2006 ... I found an excellent example of Chladnipatterns on YouTube. You’ll see sand scattered on a plate.

The plate is likely on top of a speaker, ... rogerbourland.com/blog/2006/05/30/chladni-patterns-

video/

Chladni Patterns File Format: Microsoft Powerpoint - View as HTML

The plates vibrate at pure, audible pitches, and each pitch hasa unique nodal pattern. Chladni took the trouble to carefully

diagram the patterns, ... www.nhn.ou.edu/~johnson/Education/Juniorlab

/Presentations/Chladni_F2001.ppt

&c...

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Subpages (4): Cymascope Cymatics Links Margaret Watts-Hughes thephonoscope, phoneidoscope and the eidophone

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