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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
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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.
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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.
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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.
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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.
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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
.
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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 .
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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.