Veritas_cymatics

8/4/2019 Veritas_cymatics

1/638 | December/January

Sing sn

wih hcymaSpSound is an invisible

orce that permeates

every aspect o our lives.

With the exception

o music, many man-

made sounds are jarring

while the sounds o

Nature tend to fow

over and around us like

soothing waters, litingour spirit, inspiring us,

exciting us. Yet i we could

see sound our world would be

even more beautiul than we could

imagine. It would be a world lled

with shimmering holographic bubbles,

each displaying a kaleidoscopic pattern on

its surace. o see sound is to open a new

window onto our world, one that has been

veiled in mystery until recently.

When the microscope and telescope were

invented centuries ago, new realms came

into view that were not even suspected to

exista Universe in miniature under the

microscope and a Universe so immense

that centuries o research lie beore us with

the telescope. Now, like the microscope and

telescope that preceded it, the CymaScope

instrument allows us to see a previously

invisible realmthe world o sound

helping us to gain a deeper and uller

understanding o lie and the Universe. Te

CymaScope uses the science o cymatics tomake sound visible, by imprinting sounds

invisible vibrations onto the surace o

ultra pure water to reveal its once-hidden

geometric structures.

Tis new scientic rontier reveals aspects

o Nature every bit as authentic as a fower

or a butterfy, the stars in the heavens or

starsh in the oceansin act, as we will

come to see in this

article, sound is just as much at

work in the

interior o a

star as it is

in the organs

o a starsh

or in the

cells o your

body. Sound

lies at the

heart o everyaspect o Nature,

u n d e r p i n n i n g

all o Creation.

Cymatics will, in the

uture, enable humanity to

understand ar more about the

Universe and our world than was

possible with previous technologies. Te

CymaScope and the science o cymatics

provide a bridge that will lead to signicant

advancements in knowledge.

th Shap f SnBeore looking at cymatics more closely letus dispel the popularly held misconceptionthat sound is a wave. It isnt. All audiblesounds are, in act, spherical in orm orspheroidal, that is to say audible sounds aresphere-like but not necessarily perectlyspherical. For the sake o simplicity wellcall these spheroidal sound spheres soundbubbles.

Our world is teeming with beautiulholographic sound bubbles that envelop us

in shimmering patterns o acoustic energy,

each bubble rushing away at around 700

miles an hour as new bubbles orm rom

the UnIVerSe

cymaisA Bridge to the unseen World

Jthgds chkcht d vs th cSp

Th cSp

by John &Annaliese Reid


2/6December/January | 39

the source o the sound. Whether the sound

is emitted rom your voice or rom some

other source, such as a musical instrument,

this bubble-in-a-hurry leaves a feeting

vibrational imprint on the surace o your

body: every cell in the surace tissues o your

body actually receives sound patterns rom

the bubbles that surround you. However,only low requency sounds can penetrate

the interior o your body. o understand

more ully how your cells respond to the

healing power o audible sounds please reer

to our previous Veritas article, Rediscovering

Te Art And Science O Sound Healing.

a sd td v sd.i dt: D bk

Yet, despite the act that sound is not a

wave, the term sound wave is in generaluse throughout the world, which is rather

amazing when sound waves dont actually

exist! So let us briefy discuss how this

strange anomaly has occurred.

Sound is basically periodic movements

o air molecules bumping into each other.

Tese movements o sound can be described

mathematically and when plotted graphically

the shape o the graph does indeed look like

a wave. However, i we could see audible

sounds shimmering in the air around us we

would see beautiul bubbles, not waves, so

it is misleading to say that sound is a wave.

I what is actually a bubble is described as a

wave it is possible that incorrect conclusions

will be made about the way Nature works.

In the illustration below a slice through a

sound bubble is depicted. Te peaks o the

graph represent the regions o high-pressure

air within the sound bubble, whereas the

mid points o the graph represent the areas

o low-pressure air. Te space-orm o

audible sound is indeed bubble-like whereasthe graphoten reerred to as a sound

waveis merely a mathematical depiction

o the peaks and valleys o sound pressure.

Sn an is

lainship wih ligh

o understand the concept o visual sound

a little more ully it will be helpul to

explore how the vibrating atoms o air that

create sound relate to light and lie. At the

moment o these atomic sound collisions

something quite magical happens: Light is

created.

Light occurs every time the magnetic shellso two vibrating atoms bump against each

other. Te requency o light created in this

way depends on the energy in the collisions,

meaning how ast they bump together. ry

this experiment: Rub your hands vigorously

together. Youll eel warmth. Tis is because

the atoms in one hand are slipping past the

atoms in your other hand, creating heat,

which is just another name or light. Te

light you create by this riction method

is in the inrared part o the spectrum o

electromagnetism, invisible to our eyes but

quite visible to some species o bat, owl,

snake and mosquito.

You create inrared light even when you

speak. Te atoms and molecules in the air

are excited by the vocal olds in your larynx,

creating a tiny pearl o acoustic energy that

rapidly expands out o your mouth and

rushes away at around 700 miles an hour.

Te atoms and molecules o air within

this expanding bubble are bumping into

each other, each collision transerringyour voice vibrations to the nearest atom

or molecule. As these bumps occur they

cause inrared light to be created due to the

riction between the magnetic shells o the

air particles. Te inrared light carries with

it the modulations o your voice that rush

away at the incredible speed o 186,000

miles per second. Unlike the sound o a

voice, which becomes inaudible ater about

one mile, the inrared light created by your

voice rushes out into space where it travels

or eternity, carrying your words or songs tothe stars.

Tus, there is a direct relationship between

sound and light and in act there can be no

light in the Universe without sound because

light is only created when atoms collide with

each other, and such collisions aresound. So

light and lie owe their existence to sound.

the UnIVerSe

Feeling good

vibrations-

a Fun experiment!The Scottish born Alexander GrahamBell moved to Boston with his deaparents in 1870 and became a teachero the dea. He ell in love with one ohis students, Mabel, a young womano 17 years, who had lost her hearingin childhood through contractingscarlet ever. To help Mabel and someo the younger children at his Bostonschool avoid collisions with horse-drawn carriages approaching rombehind, he conceived a simple idea: I

they walked outside holding a balloonthey would eel the sounds made bythe carriages through their fngertips.Alexander realized that the balloonssurace would tremble in sympathywith the sound o the approachingcarriages and alert the children totheir presence. It was this simple ideathat led him to invent the telephonebecause he realized that i the soundo a voice could move a membrane bya tiny amount, that movement couldbe converted into an electric currentuctuating in sympathy with the voicesounds.

Try Alexanders experiment: Hold aballoon very gently in your fngertips(i you have long nails make sure yourskin touches the balloons surace, notyour nails.) Now, bring the balloonclose to your mouth, close your eyesand make a low-pitched oo soundwhile ocusing your attention onyour fngertips. You should easilyeel the sound o your voice throughyour fngers. But apart rom the unyoull have doing this, its a wonderulreminder o the bubble nature osound because a balloon is bubble-

like and you will eel the tremblingo its surace, almost as though youcould see the trembling sound bubblecoming out o your mouth as youspeak.



the UnIVerSe

cymais ay, a

winw in h

univs

Te underlying principle o cymatics is that

the geometry o sound can be imprintedonto membranes and made visible with

special techniques. Te membrane can be a

fexible material, such as latex or your skin,

while other suraces, such as brass or glass

plates, may appear rigid yet they can still

be minutely imprinted by sound. Simply

by sprinkling on a little powder or sand,

provided the membrane is horizontal, the

imprint o sound can be revealed. Te

particulate matter gathers in the areas thatare not vibrating, leaving the vibrating

areas clear o particulate. Cymatic patterns

are, thereore, rather like a photographic

negative, because they represent the inverse

o the sound that caused them to orm.

Below is a typical CymaGlyph created

with sand on the CymaScope that reveals

a undamental requency o 5000 Hertz.

Note the similarity between this cymaticpattern with the structure o a diatom, a sea

creature that rst appeared in the oceans o

the Jurassic period, around 185 million

years ago.

D. Hs J k th ts ppts

th oigin f

cymais

Cymaticsthe study o visible sound

can be traced back at least 1000 years to

Arican tribes who used the taut skin

o drums sprinkled with small grains to

divine uture events. Te drum is one othe oldest known musical instruments

and the eects o sand on a vibrating

drumhead have probably been known

or millennia. However, perhaps the rst

scientist to notice the phenomena was

Leonardo Da Vinci. One day he noticed

dust behaving oddly on a wooden table:

I say then that when a table is struck in

diferent places the dust that is upon it is

reduced to various shapes o mounds and

tiny hillocks. Te dust descends rom the

hypotenuse o these hillocks, enters beneath

their base and raises itsel again around theaxis o the point o the hillock.

Hans Jenny, a Swiss medical doctor

and scientist who studied visual sound

intensively is most widely known as the

Father o Cymatics. Jenny coined the

word kymatik, (cymatic in English)

rom the Greek kyma meaning wave,

to describe the periodic eects that

sound and vibration have on matter

(even though, as we mentioned earlier,

sound is not actually a wave!) His books

are rich sources o cymatic imagery,

which he observed and described in great

detail, although he let scientic andmathematical explanations to scientists

who would come ater him. Jenny

invented the onoscope and was the

rst to suggest that such a device might

one day assist dea individuals to acquire

speech.



the UnIVerSe

a 5000-Htz cgphvs ptt d s

Dt ahdss st

ppd th Jsspd

We used sand in our early research as the

disclosing medium, but we soon discovered

that water, with its highly fexible surace

tension, acts like a super-thin membrane

and reacts almost instantly to any sound,

revealing very high levels o detail.

In the water CymaGlyph below an ultra-

pure tone o 22.2 Hertz demonstrates

archetypal pentagonal geometry creating an

almost 3D view o sound. Tis CymaGlyph

compares remarkably with the structure o

the Campanula fower.

dlphin rsah Applications or the CymaScope arebeginning to emerge in many dierentelds. For example, in collaboration with Jack Kassewitz o SpeakDolphin.com wehave taken the rst steps in unravelingthe mystery o dolphin language. We arecontributing to their research program

by transcribing dolphin echolocationsounds into CymaGlyphs, with each imagerepresenting a type o dolphin picture word.Te image below is that o a CymaGlyphcreated by a baby dolphin calling toits mother. Te call creates a replicablepattern o acoustic energy with a particularmeaning. Te second graphic illustrates thebasic principle: a cross section through thedolphins high requency sound beam ismade visible on the CymaScope.

Dphs s th sd, s hhq sds. Ths ht sds d th cSp.

i dt: D bk

a dphs t ts th d vs th cSp

Signa Sns

f Sas

Another application or the CymaScope is

imaging sounds rom space. We discussed

earlier the concept that all sounds have an

inrared component. When we speak or

sing outdoors our words or song will one

day reach the stars in the orm o modulated

inrared light. But the reverse is also true:sounds rom stars continually bathe the

earth. Oscillating stars have a particular

type o signature and in collaboration with

Proessor Don Kurtz we recently imaged

the sound o a star that he discovered,

known as HR 3831-A. Tis technique

allows us to see the distinctive geometry

o the sounds at work within the atomic

urnace o the star and could provide a

valuable analogue or uture students o

asteroseismology and or outreach projectsin schools and colleges.

Th s st st Hr 3831-a dvs th cSp

cymais in egyp

Most people who have experienced the

acoustics o the Kings Chamber in the

Great Pyramid walk away with a eeling

o awe, in some cases coupled withan impression that the chamber was

designed to reverberate. For a relatively

small chamber the reverberation is

indeed extraordinary; one can literally

22.2 Htz cgph td ekls, -vt th cSp.

cp f, shpt pt stt

o d st th

t hphsd s thtvp s shptts st

.



the UnIVerSe

hear ones own breathing (when the

fuorescent lighting is turned o) and this

experience oten accompanies eelings

o cathedral-like reverence. Tis notion

o design implies a prior knowledge o

acoustics and materials. Te high levels

o reverberation in the chamber are

actually a unction o the fat granitesuraces, their parallel arrangement and

the chambers dimensions.

John Stuart Reid undertook an

experiment in the Great Pyramid in

order to investigate his belie that the

Kings Chamber was designed to be

highly reverberant and that the energy

o any sound made in the chamber is

transerred into the sarcophagus. Reid

has studied Egyptology or decades and

believes that the Kings chamber was

designed to support a rebirthing ritualenacted prior to the pharaohs death

or perhaps aterwards and that vowel

sounds chanted in the chamber were

intended to have an energizing eect on

the sarcophagus and its occupant during

sacred rituals.

cymais

expimn in h

Kings chambReid conducted his cymatics experimentin 1997 with the intent o making

sounds within the sarcophagus visible.

He positioned a speaker inside the

sarcophagus and connected it to an

oscillator, a device that electronically

creates pure tones. Finally, he sprinkled

quartz sand on the surace area o the

temporary latex membrane stretched

across the sarcophagus and turned the

oscillator on. o Reids amazement as

well as the Keeper o the Keys who

accompanied him in the chamber, an

astounding array o ancient Egyptian

hieroglyphic-like images appeared! wo

are shown here and we have many others

on le.

Te simplest explanation or howhieroglyphs came to be imbedded inthe sarcophagus derives rom the highlyresonant crystalline structures imbeddedin the granite that would have bathedthe scribes in sound bubbles duringthe construction o the sarcophagus.Hypothetically, one or more o the

scribes had synaesthetic abilities, thatis, they could see the sounds rom thesarcophagus while it was being worked with tools. Reid postulates that theseminds-eye sound patterns infuencedthe scribes in the development o thehieroglyphic language.

(For those readers interested to learnmore about Reids acoustics research in

Egypt please go to our web site: http://

www.cymascope.com/cyma_research/

egyptology.html)

cymais an h

chakasTe word chakra means wheel or circlein Sanskrit and is based on the ancientEastern model o the body having seven

primary chakras or energy centres. Eacho the seven centres connects subtleenergies with the physical body and theyare receptors that vitalize the body withprana or lie orce energy. Te chakras arealigned rom the base o the spine to thetop o the head. Each chakra possessesspecic purposes and is associated with theunctioning o a particular endocrine gland.In order to maintain emotional, mental,physical and spiritual health, all chakrasmust be unctioning properly and workingharmoniously with each other. When one

or more o the chakras become imbalancedor blocked the result is dissonance incertain aspects o the body. Emotionalimbalance, illness or disease otenmaniest as a result. Just as the cells o ourbodies produce distinct sounds, so too dothe chakras, although science is only justbeginning to investigate this phenomenonusing SQUID magnetometers.

Many healers have used their intuition to

guide them to the sounds o the chakras

and one o the most notable authorities

on this subject is Jonathan Goldman,

renowned sound healer. He devised a

system o chakra sounds that Reid imaged

on the CymaScope and can be used as an

aid in meditation. Astoundingly, when

he imaged the heart chakra it appeared

in the shape o a heartthe image below

has not been retouched except or the

addition o colour.Te study o cymatics is still in itsinancy and innumerable realms within

this sphere o research are waiting to beexplored. Please visit our website orupdates on the latest cymatic insights anddiscoveries:www.cymascope.com

Jh Stt rd std sd th sphs

th hs sts qpt

mst pp hhv xpd

th sts th Ksch th gtPd k th .



The sounds of the seven chakras

made visible with the CymaScope.

The cymatic images can be used

to balance your primary energy

centers. Available in poster format

18 x 24 or a set of eight coasters.

SONIC AGE AMERICA

THE ART & SCIENCEOF VISIBLE SOUND

www cymascope com/shop index html

the UnIVerSe

1. Learn more about the

ascinating history o cymatics:

hp://www.cymcope.com/cym_reerch/hory.hml

2. Learn about sounds role in the

creation o lie on earth:

hp://www.cymcope.com/

cym_reerch/bology.hml

3. Learn more about using

cymatics to decipher dolphin

language:

hp://www.cymcope.

com/cym_reerch/

ocenogrphy.hml

4. Learn more about making the

songs o the stars visible:

hp://www.cymcope.com/cym_reerch/rophyc.

hml

5. Have un conducting your own

cymatics experiments with a

CymaPlate:

hp://www.cymcope.

com/ore/ndex.php?mn_

pge=ndex&cPh=15

CYMatiCsA BrIDGE To ThE unSEEn WorlD

Callto

Action

Autobiographical note

from John Stuart ReidF sts tht spd30 s i t sh th t t sd 1999, v hv t th th sd v d sd tht uvsts. Thsvt d t sh ts sd d t th k Hs J,

Sss stst h hd vsttdts th 1960s.a s t, 2005, i td th stcSp, th s tht i t -t-, as. wh i shd thpttp t t ads , ek ls, h tk d T Fd cSp, s h dt, d v k vt F,t t sd t ppts d ss d pshd hk h th kshp hs, H.g. ws. V gd, td phs ds, s hd p d td cSp. svsth d s d s ths t. w hv cSps sv pvt sh sttts,s sds tht hd th ptt tss t d ptt ss ht.

Autobiographical

note from Annaliese

Shanda Reidi hv stdd t phsphs dts ts th d qtth pt . i hv th t hd sd h thqs v 20 s d hv v tks dtht kshps th utd Sttsd gt bt. i ttd tsppt ps vs, phs, t, t dspt d i -thd Jit whss k tht xpsth ds tppd ss pt, .i t Jh 2005 t tskshp h v att. w th tstd th ts sd tt d p ss cts xptst sh ths s p

nk sp. i t -th, th Jh, st k ts.

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