Sacred Geometry, Cymatics (shape of sound), Light &...Crop Circles.

[Dover]

The harmony of the spheres.....

IS SOUND BEHIND THE CREATION OF CROP CIRCLES?



...The geometric component.

Look through 20 years of aerial photos of these agriglyphs and it is hard to deny their melodic precision, their circular forms resplendent with abstract, yet harmonic waves of invisible energy. Hardly surprising, then, to discover crop circle designs flaunting the principles of sacred geometry, either visually or veiled within the construction blueprint, much in the same way ancient esoteric knowledge was hidden within the framework of religious fables or monuments.

In his visionary work, The Sophistication of Agriglyth Geometry, John Martineau was perhaps the first to visualise this coded information in the early phases of the phenomenon; my own dissections of aerial photographs also prove the same to be true of designs in recent years. Even what sometimes appear to be loose or random elements both within and beyond the perimeter of formations- such as small unconnected circles or 'grapeshot', and rectangular boxes- are placed along an invisible matrix of pentagonal and hexagonal alignments based on proportional geometry and Golden Mean ratios.


In Science News (Feb. 92), Prof. Hawkins went a step further by using the principles of Euclidean geometry to prove that four theorems could be derived from the relationships among the elements in crop circles. More significantly, he discovered a fifth theorem from which he could derive the other four. Despite an open challenge, tens of thousands of subscribers to both Science News and Mathematics Teacher were unable to create such a theorem, which Euclid himself had only hinted at twenty-three centuries earlier. It subsequently appeared as flattened barley at Litchfield, England, in 1995.

The sound component.

Ancient Greeks once remarked that "geometry is frozen music". To their Egyptian teachers, sacred geometry and music were inextricably linked since the laws of the former govern the mathematical intervals that make up the notes in the western music scale- the diatonic ratios. Coincidentally, Hawkins' Euclidean theorems had also produced diatonic ratios. So for the first time, geometric theorems were linked with music and crop circles were proved to contain musical notes, which are themselves the by-product of the harmonic laws of sound frequency.


The fields themselves offered blatant clues pointing to a sound component. In 1996 a crop circle demonstrated the combination of two important figures, the 3, 4, 5 triangle and the Golden Mean, which gives us the diagram necessary to produce musical ratios (as exemplified in The Divine Proportion by H.E. Huntley).

Then, an outstanding formation at Goodwood Clatford- which had its plants bent six inches from the top - gave the proverbial nod to sound. For here was a representation of a cymatic pattern in 5000 sq. ft of barley. And it led straight to a smoking gun. ..cont'd

http://www.cropcircleconnector.com/anasazi/sounds1.html

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The Process of Creating Light From Sound


Vaporization of water is crucial to the way crop circles are formed. In the case of plants and their water-filled stems, sound waves are capable of traveling through the liquid like ripples, compressing and expanding it. Because of the accompanying increase in pressure, the velocity of sound in liquid rises, and in the case of water it is extremely rapid (1,480 meters/second to the power of minus 1). This creates heat, tearing apart the water molecules, forming vapor and creating a void inside the plants that collapses the area instantaneously as the energy is released (Blitz 1971).

The action, called vapor cavitation, creates local temperature increases of 5000 degrees-K for a fraction of a second. This is enough to bend stems, particularly around the base, where the greatest concentration of water exists. Such extreme heating may explain the burn marks found on crop circle plants, as well as the missing water and usually dry soil.

..snip..

Labratory experiments exploiting the rapid heating and cooling of infrasonic cavitation to synthesize amorphous iron show that the iron does not crystallize as it cools; instead, it forms an amorphous iron powder like a very soft ferromagnet (Suslick, et al 1991). When Levengood analyzed the curious substance from the crop circle it turned out to be amorphous iron whose magnetization had been sufficient for a small horseshoe magnet to pick up the wheat heads and stems.

There's one more feature of these sonic frequencies that may help us understand the nature of that other anomoly of crop circles, the tubes of light. Light and sound may seem incompatible at first; after all, unlike the transverse electrmagnetic waves that make up light, sound is an acoustic wave comprised of nodes and anti-nodes (peaks and troughs) which travel longitudinally. Light is both wave and particle, and since every particle is in a state of vibration, its very movement creates a sound.

Conversely, sonic frequencies are known to create light. Laboratory experiments show that the high-intensity sound fields responsible for vapor cavitation are capable of emitting visible light (Barber and Putterman 1991; Berthelot 1988). This sound-to-light process is called sonoluminescence, and it is thought to be caused by the production of electrical discharges as water vapor is ionized. And the lower the operating frequency, the greater the effect (Barber and Putterman, 1991).

However, this may not be the only way to get light out of sound. Jonathan Goldman, sound therapist and pioneer in the field of harmonics, was visiting at the Palenque complex in Mexico when he was given access to a temple normally off limits to the public. Inside a pitch-dark chamber deep inside the temple, he was instructed by his guide to tone the chamber with his voice. As he did so, the chamber became noticeably lighter, to the point where coutlines of the other members of Goldman's group could be seen (Goldman 1992).

Certainly there exists a symbiotic relationship between sound and light. As noted earlier, the process of creation as represented by the tetractys requires the presence of both sound and light. In Egyptian cosmology, Atum Ra, the Sun god, is said to have created the Universe with a "cry of light". In Greek philosophy, logos, which means "word" and "sound", constitutes the controlling principle of the Universe as manifested by speech. according to paleolinguist Richard Fester, the owrds logos, loud, light and beginning are all derived from the primal root leg, and its mirror, regh. Therefore, "light", "sound" and "beginning" fundamentally occur at the same moment (Fester 1981).

Sound travels 40 octaves slower than visible light and it travels fastest through copper, the prime material carrier of electricity. The "slowing down" of light frequencies generates the colors of the visible spectrum, which in turn correspond to notes in the music scale. Therefore, sound can be construed to be the material carrier of light.

-- From the book, Secrets In The Fields, by Freddie Silva (pgs. 217-219)