CYMATICS - Visible Sound

http://www.bibliotecapleyades.net/ciencia/ciencia_cymatics02.htm[11/12/2010 4:53:40 PM]

by Fr ank Per r y
2002
f r om Fr anc k Per r y Websi t e

The term Cymat i c s (pronounced sigh-matt-ix) was coined by Dr . Hans J enny (1904 -1972). It is derived from the
Greek word Kyma or ta kymatika meaning: matters pertaining to waves. By the term waves, J enny was particularly wishing
to point towards periodicity or cycles. Dr. J enny was an Anthroposophist (a follower of the
teachings of the Austrian philosopher, occultist, mystic and clairvoyant Rudolph Steiner 1864-
1925).

This work revolves around the ability to demonstrate acoustic phenomenon, which work was
begun in the late 18
th
century by Er nst Chl adni (1756-1827) and then, in the late 19
th
century, developed further by Mar gar et Wat t s -Hughes (using the human voice and
several diaphragms) and then taken a stage further by J enny in the middle of the 20
th
century. The famous Chladni Figures had previously visibly demonstrated the organizing
power of sound and vibration. The method was to take a metal plate and to suspend it as
freely as possible and then to excite it into activity via the use of a violin bow. Most typically,
this was to clamp it at its centre leaving the rest of the plate fairly free to vibrate.

Placing some sand upon the surface and then bowing the plate aroused the sand particles into activity and into very
beautifully organized regular geometric shapes. Bowing the plate at different points excited other harmonics, which further
developed the resulting patterns into different, yet still ordered and repeatable, geometric or mandala-like patterns. Each
single harmonic of the plate when sounded created the same pattern, which increased in complexity as one progressed
along the harmonic series. (The Harmonic Series is the basis of Overtone Singing - for more read my article on this
OVERTONE SINGING)
A vi si bl e sound phot ogr aph by Dr . Hans J enny

The harmonic series, or overtones, is likewise a law of nature that follows a strictly mathematical progression for the
CYMATICS - Visible Sound
http://www.bibliotecapleyades.net/ciencia/ciencia_cymatics02.htm[11/12/2010 4:53:40 PM]
human voice, strings, and brass instruments. This series is predictable and ordered and finds its reflection within the
Cymat i c s 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 - Pyt hagor as (around 600 BC) -
and an entire cosmology was further developed around these musical principles, and published in certain of his writings, by
the 17
th
century English Rosicrucian apologist Rober t Fl udd (1574-1637).
One of t he Cymat i c i mages phot ogr aphed by Dr . Hans J enny

Dr . J enny 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).
Whilst Dr . J enny, as far as I know, didn't apply any of his findings, regarding the effects of sound and vibration upon
physical matter, within the healing realm of sound, yet, nevertheless, he laid a wonderful foundation for that work in respect
of making visible the power of sound and its effects upon the world of form and matter.
"An investigation of the world in terms of c ymat i c s 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.
CYMATICS - Visible Sound
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(From the German edition, Cymatics, Vol. 11.)
I was first introduced to the work of Dr . Hans J enny by Davi d Toop when he and I worked together in the mid 70s and
immediately bought both hardback volumes of these large illustrated books. They each cost 25, even in 1975, primarily
because they were printed in Switzerland, which printed fantastic photographs. These are very hard to come by now but
they have recently been combined into one large hardback volume and published in the USA but available over here in the
UK for only 35 and, whereas the original volumes placed the German and English alongside each other, this new volume
is only in English.
The c over i l l ust r at i on of t he new r el ease of t hi s i mpor t ant w or k w i t h sound

Hans J enny (1904-1972) was indeed a Renaissance man in every sense of the word. A medical doctor, fine artist,
pianist, philosopher, historian, physical scientist and researcher, his insatiable curiosity embraced all fields of human
endeavour, and his substantial talent and acumen helped him master many of them.

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