>KBWellsjr wrote:
>>
>> Also of interest in the frequency category of 'things' are studies in
>> cymatics. This was the science of vibration on solid objects carried out
by
>> Hans Jenny. Different frequencies in the audio range applied to metal
plates
>> cause materials such as sand (or other small, orderly 'things') to form
>> incredibly complex and natural patterns, like the unfolding of a rose.
>> Different frequencies=different patterns.
>>
>> I have conducted neumerous experiments in cymatics and have found it
>> incredibly interesting. This phenomenon was original discovered by Ernst
>> Chaldni in the 17th century and are sometimes refered to as Chaldni
plates.
>> Any science exhibition hall worth its salt usually has a Chaldni plate
within.
>> Chaldni plates are usually caused to vibrate with a violin bow, as
opposed to
>> an actual audio signal.
>
>Hello Ken and All,
>
>For those of you who are interested, I've included a few paragraphs from
>an article called, "IS SOUND BEHIND THE CREATION OF CROP CIRCLES?"
>
>The URL for the complete article is shown further below.
>
>I might add that crop circles has yet to be of interest to me. Am I
>missing something?
>
>Best regards,
>
>Bob
>
>
>http://www.nh.ultranet.com/~lovely/crop_circles_sound.html
>
>IS SOUND BEHIND THE CREATION OF CROP CIRCLES? <excerpt>
>
>>From an upcoming article in Atlantis Rising magazine by Freddy Silva.
>
>
>In 1967, Swiss scientist Hans Jenny published the first of his
>painstaking studies of the vibrational affects on physical mediums such
>as water, plaster, oil and sand- Cymatics. By transmitting sound in the
>shape of a monitored frequency through these elements he was able to
>capture on film the exact geometric pattern that sound makes as its
>vibrations move through these substances. Changing the vibration altered
>the shape of the geometry captured in the receiving substance- a
>low frequency produced a simple circle encompassed by a ring, whereas a
>higher frequency increased the number of concentric rings around a
>central circle. As the frequencies rose so too did the complexity of
>shapes, to the point where tetrahedrons, mandalas and Pythagorean forms
>could be discernible. Jenny not only managed to solidify sound, he also
>enabled humanity to observe frozen music.
>
>Jenny also provided a physical connection to the creation of crop
>circles since many of the vibrational patterns found in his
>photos mimicked their designs. Some were blatant imitations, such as a
>circle surrounded by concentric rings from the 80s, the tetrahedron at
>Barbury Castle in 1991, the mandalas and spider's web of 1994, even the
>highly structured Pythagorean-based star fractals of 1997. Other photos
>demonstrated the construction geometry encoded within crop circles
>but only visible upon dissection of overhead photographs by compass or
>computer.
>
>But there is yet another coincidence: the relationship between the
>rising complexity of Jenny's cymatic geometries in proportion to the
>rise of dispensed frequency matches the historical sequential
>development of the pictograms. Crop circles began appearing as simple
>circles in the 70s and developed in an exponential curve through the 80s
>and into today's complex pictograms, much in the same way Jenny's work
>shows the increase in design complexity relative to the rise in
>frequency applied.
>
>This coincidence echoes the repeated claims by many
>channelers/mediums/sensitive people at the beginning phase of the
>phenomenon that the Earth is undergoing a change in frequency- a raising
>in the Earth's vibrationary rate, a sentiment also shared in the
>prophesies of native tribes around the world concerning Earth changes of
>this period. Further corroboration comes from NASA whose recent
>soundings of Earth from space record a rise in the frequency 'hum'
>emitted by the planet.
>
><snip>
>