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Cymatics Shows that all form can be affected by sound and vibration.” It is now understood that energy, as identified by Quantum Physics, vibrates at its own unique frequency or tone. Cymatics states that by adding or modifying a vibrational frequency or tone, form can be affected.

Dr. Jenny's methodology was meticulous, well doumented, and totally repeatable. His fascinating body of work offers profound insights into both the physical sciences and esoteric philosophies. It illustrates the very principles which inspired the ancient Greek philosophers Heraclitus, Pythagoras and Plato, on down to Giordano Bruno and Johannes Kepler, the fathers of modern astronomy. "In the beginning was the word..." takes on a whole new meaning while looking at these experiments!

Dr. Jenny took the idea of the Chladni plate but went on to excite it using precisely measured vibrations (cps - Hertz) and amplifications (volume) via a piezoelectric effect using a crystal oscillator and then to cover the plate with various substances and finally to document his results in both photographs and films. He researched this phenomena for 14 years. The results are truly awe inspiring, breathtaking, most inspiring and enlightening. The films in particular are most stimulating. By filming the experiments, we are able to see instances of when forms arise out of chaotic substance and then return back again into what we might term the Virgin Space of Repotentialisation only to come forth again forming the same pattern (providing the tone remains the same). Here we see cyclic phenomenon taking place, where all is in constant movement. Even the regularly formed geometric patterns are shown to be comprised of numerous particles constantly moving within those patterns - like an army of ants walking backwards and forwards along a straight line (demonstrating the Particle / Wave phenomenon).

These cymatic video clips above and below are truly awe-inspiring, not only for their visual beauty in portraying the inherent responsiveness of matter to sound, but also because they inspire a deep recognition that we, too, are part and parcel of this same complex and intricate vibrational matrix.

The harmonic series, or overtones, is likewise a law of nature that follows a strictly mathematical progression for the human voice, strings, and brass instruments. This series is predictable and ordered and finds its reflection within the Cymatics phenomenon. For instance, the first overtone is known as the Octave, whilst the next overtone is a perfect Fifth and the following overtone is a Fourth. Each overtone produces an interval that gets progressively smaller as the process moves along until they are so close together that the human ear cannot detect the difference. Each succeeding Octave is also divided up in an arithmetic series. That is to say that the first Octave produces One interval (known as the Octave) and in the next Octave we find Two intervals, whilst in the next higher Octave we find Four intervals and the next Octave Eight intervals and so on. The interval of an Octave is when the note upon which the whole series begins is reached again only vibrating at twice, four times, eight times - and so on - its original speed. Therefore, if we begin on the note C the next Octave is also called C but it is vibrating twice as fast as the original C. If the first tone is vibrating at 250 cycles per second (cps) then the Octave vibrates at 500 cps, the next Octave at 1,000 cps (4 times the original speed) and so on. The introduction of this Law into Western music is attributed to the great Sage of Samos - Pythagoras (around 600 BC) - and an entire cosmology was further developed around these musical principles, and published in certain of his writings, by the 17th century English Rosicrucian apologist Robert Fludd (1574-1637).

"An investigation of the world in terms of cymatics throws an interesting historical light on earlier philosophies resting upon mathematical order and the relationship of sounds, musical tones and words (Heraclitus, Pythagoras, Archytas, Plato, Aristoxenos, down to Kepler and many others). Connections are revealed between such philosophies and the knowledge of cymatic phenomena independently acquired through modern scientific research."

”Now it is beyond doubt that where organization is concerned, the harmonic figures of physics are in fact essentially similar to the harmonic patterns of organic nature.... In the first place, we have the certain experience that harmonic systems such as we have visualized in our experiments arise from oscillations in the form of intervals and harmonic frequencies. That is indisputable. ... If biological rhythms operate as generative factors at the interval-like frequencies appropriate to them, then harmonic patterns must be necessarily forthcoming.” (From the German edition, Cymatics, Vol. 11.)

We wish to thank MACRO media and Jeff Volk, Series Producer, for letting us use clips of the CYMATIC SOUNDSCAPES part IV video.