How The Patterns Of Om Produce An Incredibly Powerful Healing Mandala

During a demonstration for Napoleon in 1809, Chladni placed sand in a plate attached to a pedestal and drew a bow around the plate, turning the sand into intricate designs, effectively revealing sound waves. In the 1900s, building on Chladni’s work, Hans Jenny studied and documented the effects of sound vibrations on liquids, powders and liquid paste. He placed these substances on a steel plate and then vibrated the plate at different frequencies, noting that a certain vibration frequency would arrange the substance(s) into certain patterns. Jenny also developed the tonoscope for observing the action of the human voice on different materials in different media. This is a simple device in which the researcher can speak without any intervening electroacoustic unit. For example, vibrations are transmitted to a diaphragm on which sand, powder or a liquid are placed as indicators. Speaking actually creates figures on this diaphragm that, as it were, correspond to the sound spectrum of a vowel. The pattern is characteristic not only of the sound, but also of the pitch of the speech or song. Of course, the indicator material and the nature of the aperture are also decisive.

When ‘Om’, the primordial Hindu sound of creation, is chanted into a tonoscope, it forms in the substance the Sri Yantra
, 1 the visual representation of the Om song and the vibration behind the cosmos itself, the ‘sound’ of the ethereal medium or ‘fabric’ of space. Significantly, it exhibits a self-similar/fractal interlaced tetrahedron-within-concentric-circles motif. (Technically, a tetrahedron in itself is not a fractal because fractality is defined by the phi/Golden Ratio, and the tetrahedron is not based on phi, as Dan Winter emphatically instructs.) So we see that the Hindus knew thousands of years ago that sound possesses geometry, or sound in form, is a fundamental truth of reality. The Om song itself is intended to expand consciousness by developing resonance with the cosmos. (Also remember that sound waves exist in three dimensions!)

In Jenny’s Cymatics we find images of his work that demonstrate the increase in geometric complexity in matter that occurs with an increase in vibration: what begins as a relatively simple and sparse pattern will increase in detail and complexity as the pitch increases – while still the same basic theme. This makes some sense because the higher a frequency goes, the more information complexity it can encode, and the more complex the data, shape, or geometry becomes. Frequency determines the shape. As vibrational frequencies shift, they move through harmonic gradations within the ether. These gradations, as noted, operate much like the harmonies of music; they are octave based. Donald Andrews discovered through his research that identical shapes in the size ratio of 2:1 produced the same fundamental note, but with an octave difference.

Jenny’s images have a kind of fractal resemblance to themselves. The shape retains its signature shapes, but repeats them in smaller sizes, creating a more complex and intricate structure as the frequency increases. Jenny’s images repeatedly show how frequency relates to the complexity of a pattern or object. The higher frequencies apparently encode more information, the lower frequencies less; thus, higher frequencies manifest a more complex, sophisticated geometry. Jenny’s figures that roughly resemble humans are an example of this, a microcosm of the larger human form. Our more complex form requires a refined vibrational matrix, provided by the nested subtle energy bodies (etheric, astral, mental, etc.) and chakras that form our overall field. The stick figures were very simple, undetailed shapes that resulted from a single vibration frequency on a flat (2D) surface. We humans exist as a 3D cross-section of higher-dimensional information fields/templates, a much more intricate and complex set of vibrational frequencies that disrupt each other. So we have an infinitely more complex physiology than our stick figure brethren, born from the 2D plane and with a single vibrational frequency.

We are reminded that the solidity of matter is merely a convincing illusion, arising from a matrix of standing wave frequencies that arranges the ‘bubbles’ in the ether or ‘koilon’ into an intelligently coded form. Contemporary sciences are increasingly verifying the age-old cosmogonic vision of vibrant creation through the Creative Word or Cosmic Sound. Alain Daniélou explains this vision:

From the atoms to the universe, each of the cosmic movements has a tempo, a rhythm, a periodicity and can then be compared to vibrations, and therefore to a sound that expresses its nature…[T]The relationships between the vibrations can be compared to the relationships of audible frequencies. All atoms can thus be regarded as the forms of energy that express themselves in a rhythm, and all substances are characterized by a special relationship of rhythms that can be represented by a relationship of sounds.

Jenny’s other experiments with the tonoscope produced mini-landscapes with mountainous terrain, etc., all in a constant state of flux, shifting and changing, but retaining the basic shapes and structures. He also made balls from fine dust that vibrated on the plate, the largest of which were the size of a pigeon’s egg. Sounds affected gas floating in the air by causing a lattice-like pattern at one frequency and a layered laminar structure at other frequencies.

Overall, we can see that energy frequency and wave phase information dictates the resulting physical geometry. Jenny’s work illustrates that matter is actually created and maintained by standing waves which are in turn caused by a certain vibrational frequency or a conglomeration of harmonic frequencies. His work indicates that standing wave fields can create moving/deforming objects, something that seemingly challenges conventional concepts of matter; and yet this offers a rudimentary insight into how the vibratory energy fields of the human body can carry out the seemingly infinite cellular chemical processes in harmony in a way that the orthodox understanding of human chemistry cannot. The vibrational fields encode the constant renewal and regeneration of the basic ‘building blocks’ of the body, while also encoding the other growth and maintenance procedures. There is simply not enough instructional material in DNA to perform this incredibly complicated biological symphony, as we show The Great Illusion (TGI).

Jenny’s work provides a vivid symbolic representation of the mystic’s conception and understanding of creation; the way in which from the silent, formless infinite consciousness underlying all of reality (which we call the aether), vibrational frequencies – sound, or “the Word,” for Bible fans out there – and then physical form can be derived. When the vibration is removed, the physical forms (duality) disappear and all is one again; the illusion of creation, of form and multiplicity diminishes ‘as a cloud melts away in the heavenly realm’. In the coming pages (of TGI) we will see that energy fields that are invisible to most people actually anticipate and guide the physical and chemical formation of all living things.

Brendan D. Murphy is co-founder of Global Freedom Movement
and author of the critically acclaimed ‘stunning masterpiece’ THE GREAT ILLUSION: A SYNTHESIS OF SCIENCE AND SPIRITUALITY
Brendan D. Murphy is a leading expositor of the new paradigm of integrated science and spirituality/sovereignty, and has been called the “Chomsky of the spiritual movement.” He is also a passionate advocate of accelerated conscious evolution through sound-based DNA and kundalini activation.

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