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NEWSCIENCENEWSCIENCENEWSCIENCE und Schwingungen mit ihrer Struktur und Creative Vibration Dynamik / Cymatics: The Structure and What did Hans Jenny Dynamics of Waves and Vibrations. find in his investiga- In this book Dr Jenny, like Chladni 200 _ tions? In the first place, years earlier, showed what happens when — Jenny produced both the one takes various materials like sand, Chladni figures and spores, iron filings, water and viscous sub- Lissajous figures in his stances and places them on vibrating metal experiments. plates and membranes. What then appears He discovered also are shapes and motion patterns which vary that if he vibrated a from the nearly perfectly ordered and sta- plate at a specific fre- tionary to those that are turbulently devel- quency and amplitude— oping, organic and constantly in motion. vibration—the shapes Jenny made use of crystal oscillators and and motion patterns an invention of his own, the tonoscope, to characteristic of that set these plates and membranes vibrating. vibration appeared in This was a major step forward. The advan- _ the material on the plate. tage with crystal oscillators is that one can If he changed the fre- determine exactly which frequency and uency or amplitude, amplitude/volume one wants. It was now the development and possible to research and follow acontinu- pattern were changed as ous train of events in which one had the well. He found that if possibility of changing the frequency or the he increased the fre- The vowel A resonating in sand. amplitude or both. uency, the complexity The tonoscope was constructed to make of the patterns increased; the number of — ments that arose. With the help of iron fil- the human voice visible without any elec- elements became greater. If on the other ings, mercury, viscous liquids, plastic-like tronic apparatus as an intermediate link. hand he increased the amplitude, the — substances and gases, he investigated the This yielded the amazing possibility of | motions became all the more rapid and tur- _ three-dimensional aspects of the effect of being able to see the physical image of the bulent and could even create small erup- vibration. vowel, tone or song a human being pro- __ tions where the actual material was thrown In his research with the tonoscope, Jenny duced directly (see right). Not only could — up into the air. noticed that when the vowels of the ancient you hear a melody, you could also see it! The shapes, figures and patterns of languages of Hebrew and Sanskrit were Jenny called this new area of research motion that appeared proved to be primari- pronounced, the sand took the shape of the Cymatics, which comes from the Greek _ ly a function of frequency, amplitude and _ written symbols for these vowels, while our word kyma, meaning "wave". Cymatics _ the inherent characteristics of the various modern languages, on the other hand, did could be translated as the study of how materials. not generate the same result! How is this vibrations, in the broad sense, generate and He also discovered that under certain possible? Did the ancient Hebrews and influence patterns, shapes and moving conditions he could make the shapes __ Indians know this? Is there something to rocesses. change continuously, despite his having — the concept of "sacred language", which = altered neither fre- both of these are sometimes called? What fy Te TN, ws . ampli alities d se "sacred Id aces" YAN ws quency nor ampli- qualities do these "sacred languages", i 2% tude! among which Tibetan, Egyptian and \ rl “s Sy When Jenny _ Chinese are often numbered, possess? Do ia el o : . experimented _ they have the power to influence and trans- with fluids of var- form physical reality, to create things ious kinds, he pro- _ through their inherent power or, to take a duced wave concrete example, through the recitation or ea oe oC - ee Pa motions, spirals singing of sacred texts, to heal a person ‘4 i’ and wave-like pat- who has gone "out of tune"?* “ 3 i me © terns in continu- An interesting phenomenon appeared wie «. ee eee 7 Ss, me “i i ; é P i PP ae en = = ous circulation. when he took a vibrating plate covered In his research — with liquid and tilted it. The liquid did not with plant spores, yield to gravitational influence and run off he found an enor- _ the vibrating plate, but stayed on and went mous variety and on constructing new shapes as though complexity, but nothing had happened. If, however, the even so there was oscillation was then turned off, the liquid a unity in the began to run, but if he was really fast and shapes and got the vibrations going again he could get dynamic develop- _ the liquid back in place on the plate. Lissajous figures und Schwingungen mit ihrer Struktur und Dynamik / Cymatics: The Structure and Dynamics of Waves and Vibrations. In this book Dr Jenny, like Chladni 200 years earlier, showed what happens when one takes various materials like sand, spores, iron filings, water and viscous sub- stances and places them on vibrating metal plates and membranes. What then appears are shapes and motion patterns which vary from the nearly perfectly ordered and sta- tionary to those that are turbulently devel- oping, organic and constantly in motion. Jenny made use of crystal oscillators and an invention of his own, the tonoscope, to set these plates and membranes vibrating. This was a major step forward. The advan- tage with crystal oscillators is that one can determine exactly which frequency and amplitude/volume one wants. It was now possible to research and follow a continu- ous train of events in which one had the possibility of changing the frequency or the amplitude or both. The tonoscope was constructed to make the human voice visible without any elec- tronic apparatus as an intermediate link. This yielded the amazing possibility of being able to see the physical image of the vowel, tone or song a human being pro- duced directly (see right). Not only could you hear a melody, you could also see it! Jenny called this new area of research Cymatics, which comes from the Greek word kyma, meaning "wave". Cymatics could be translated as the study of how vibrations, in the broad sense, generate and influence patterns, shapes and moving processes. ments that arose. With the help of iron fil- ings, mercury, viscous liquids, 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 when the vowels of the ancient languages of Hebrew and Sanskrit were pronounced, the sand took the shape of the written symbols for these vowels, while our modern languages, on the other hand, did not generate the same result! How is this possible? Did the ancient Hebrews and Indians know this? Is there something to the concept of "sacred language", which both of these are sometimes called? What qualities do these "sacred languages", among which Tibetan, Egyptian and Chinese are often numbered, possess? Do they have the power to influence and trans- form physical reality, to create things through their inherent power or, to take a concrete example, through the recitation or singing of sacred texts, to heal a person who has gone "out of tune"? An interesting phenomenon appeared when he took a vibrating plate covered with liquid and tilted it. The liquid did not yield to gravitational influence and run off the vibrating plate, but stayed on and went on constructing new shapes as though nothing had happened. If, however, the oscillation was then turned off, the liquid began to run, but if he was really fast and got the vibrations going again he could get the liquid back in place on the plate. Lissajous figures 44 = NEXUS The vowel A resonating in sand. www.nexusmagazine.com FEBRUARY — MARCH 2006