In 1967, the late Hans Jenny, a Swiss doctor, artist, and researcher, published the bilingual book Kymatik -Wellen und Schwingungen mit ihrer Struktur und Dynamik/ Cymatics - The Structure and Dynamics of Waves and Vibrations. In this book Jenny, like Chladni two hundred years earlier, showed what happens when one takes various materials like sand, spores, iron filings, water, and viscous substances, and places them on vibrating metal plates and membranes. What then appears are shapes and motion- patterns which vary from the nearly perfectly ordered and stationary to those that are turbulently developing, organic, and constantly in motion.

Jenny made use of crystal oscillators and an invention of his own by the name of the tonoscope to set these plates and membranes vibrating. This was a major step forward. The advantage with crystal oscillators is that one can determine exactly which frequency and amplitude/volume one wants. It was now possible to research and follow a continuous train of events in which one had the possibility of changing the frequency or the amplitude or both. The tonoscope was constructed to make the human voice visible without any electronic apparatus as an intermediate link. This yielded the amazing possibility of being able to see the physical image of the vowel, tone or song a human being produced directly. Not only could you hear a melody - you could see it, too.

Jenny called this new area of research cymatics, which comes from the Greek kyma, wave. Cymatics could be translated as: the study of how vibrations, in the broad sense, generate and influence patterns, shapes and moving processes.


Interestingly, one of Hans Jenny’s more complex experiments include a spherical vibrating water droplet containing fine particles, these particles then formed into a 3-Dimensional star (or dual) tetrahedron shape with surrounding circles as shown above. I’ve also come across this site, fUSION Anomoly, which purports:a€"

In his research with the tonoscope, Jenny noticed that when the vowels of the ancient internal languages of Hebrew and Sanskrit were pronounced, the sand took the shape of the written symbols for these vowels, while our modern languages, on the other hand, did not generate the same result. How is this possible? Did the ancient Hebrews and Indians know this? Is there something to the concept of "sacred language," which both of these are sometimes called? What qualities do these "sacred languages," among which Tibetan, Egyptian and Chinese are often numbered, possess? Do they have the power to influence and transform physical reality, to create things through their inherent power, or, to take a concrete example, through the recitation or singing of sacred texts, to heal a person who has gone "out of tune"?

occultdesign.blogspot and fusionanomaly


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