Watch intricate patterns in a model of a violin (made out of white pinewood) using sound. This video is a DIY physics experiment. The frequencies shown are A5 (880 Hz) and F6# (1480 Hz).
Hidden can track your missing device's location, take photos of the person using it and screenshots of what they're up to. All without them knowing you're watching.
So this experiment is the Chladni plate experiment. I used a tone generator, a wave driver (speaker) and a metal plate attached to the speaker. First add sand to the plate then begin playing a tone. Certain frequencies vibrate the metal plate in such a way that it creates areas where there is no vibration. The sand "falls" into those areas, creating beautiful geometric patterns. As the frequency increases in pitch the patterns become more complex.
Hidden can track your missing device's location, take photos of the person using it and screenshots of what they're up to. All without them knowing you're watching.
Cymatics is the study of the effects of sound vibrations on physical matter. When I was introduced to the pioneering work of Dr. Hans Jenny in 1977, it provided the visual evidence that proved the physical power of sound and music. This study has always been a featured part of my lectures and workshops. Now, with 'sound made visible,' it was possible to demonstrate astonishing effects on solids, liquids and gases.
John Stuart Reid and Erik Larson improved upon Dr Jenny's tonoscope with their new CymaScope (TM) When we met at a Cymatics Therapy Conference, John offered to see what images the recording I made in 1981 while I chanted Inside the Great Pyramid would produce.
As you will see, and hear, the results were simply amazing. Note: I filmed the events on my hand-held digital video camera. The sound quality was not nearly as good as the CD, so we overdubbed as much of the pure CD sound as possible in post-production.
I highly recommend visiting John and Erik's website www.sonic-age.com as well as www.cymaticsource.com for the actual DVDs and books by Dr. Hans Jenny.
This fantastic video by Vi Hart shows you what the math of music looks like in a visual representation — or, should that be
"what visual frieze patterns sound like when turned into music"?
Frieze patterns are symmetrical repeating patterns that show up in architecture, art, and even our model of DNA. According to Hart, this video is:
A visual and musical expression of mathematical symmetry groups. The transformations done to the video are equivalent to the transformations done to the notes.
There are certain amount of vibrational patterns, which are found at different levels:
a time of day, an organ, a color, a plant: one sound.
The sound image of octaves is a law of nature.
In the water sound set by Kymat a water wave surface becomes filmed while being played with music or specific frequencies and tones.
So create beautiful sound structures and forms you can find everywhere in nature.
Es existieren gewisse Schwingungsmuster, die sich auf verschiedenen Ebenen wieder finden; eine Tageszeit, ein Organ, eine Farbe, eine Pflanze: Ein Ton.
Das Klangbild der Oktaven ist ein Naturgesetz.
In dem Wasserklang Set von Kymat wird eine Wasserwellenoberfläche abgefilmt, während sie mit Musik oder bestimmten Frequenzen und Tönen bespielt wird. So entstehen wunderschöne Strukturen und Klangformen die man überall in der Natur wiederfinden kann
Download: High resolution geometric backgrounds. Meditation background. Yoga Flyer background. Zen print.
'80 mesh - the shape of sound' is a project that investigates fragmentation, reconstruction and repetition generated through the morphogenetic possibilities of sound waves - visualized through the modeling of fine grain sand. the work was curated by ravenna-based cultural association marte and born from a collaboration under the artists group CaCO3 - coordinated by daniele torcellini. the multidisciplinary artwork - informed by the research of the german physicist ernst chladni - is a device composed of three 50 x 50 cm metallic plates that are placed horizontally alongside each other, with a quantity of garnet sand (80 mesh references the particles size) homogeneously dispersed over the plates. the dishes were electrically linked to the sound waves produced by an onde martenot - an early electronic musical instrument invented in 1928 with a similar sound to a theremin - played by ratsimandresy. a transducer converted the electrical signals of the waves into mechanical impulses, and the sand, due to the oscillations of the plates, produced many different structures in response to the wavelengths of the sound. the forms produced were either strictly regular, symmetrical or would gradually grow to become more and more complex - the higher the frequency, the more detailed the patterning. some wavelengths defined sharper forms than others, due to the resonant frequencies of the plates. during a ten day residency, ratsimandresy played a fifteen minute long piece that followed a strictly formalized procedure. the plates were mapped in order to discover the resonant frequencies of each and a selection of those frequencies were used to create a sequence of forms as a way to represent the personal choice of the musician. this means the composition was not realized from notes but from the generated forms and, specifically, from a sequence of forms. the composition consists of three voices, one for each plate.
Music is a good thing. But what we did not know until we started with the research for this piece: Music is also a pretty damn complex thing. This experimental animation is about the attempt to understand all the parts and bits of it. Have a look. You might agree with our conclusion!
Sound produces shapes when transmitted through liquid. It has long been accepted that sound is simply a wave when in fact, it is much more. It extends outwards in a three dimensional sphere or beam containing geometric patterns and shapes. Everything around us is vibrating and the frequency of every object gives it form. Cymatics, the study of visible sound/vibration, has much to teach us about the world around us and how all of creation is interconnected.
The astrophysical parameters of a planet are, in part, that which create its astrological characteristic (psychophysiological resonance). An example chart of Earth's Harmonic Spectrum is presented below. Earth's astrophysical parameters are shown translated to their corresponding alpha brain wave frequencies, audio frequencies, and light (color) wavelengths. The fundamental frequencies of a planet are derived from the planet's astrophysical parameters such as diameter, circumference, rotational velocity, orbital period, etc. These frequencies generally have very long wavelengths, thus they lie in the very low frequency (ELF) and ultra-low frequency (ULF) range. Planetary harmonics govern natural long-term biological growth patterns, monthly and yearly biological processes, and daily brain and psychophysiological function.
First, let's explore the basics of harmonics in color and sound. Brainwaves and audio frequencies are measured in frequency, were as light is measured by its wavelength (the inverse of frequency). The higher a frequency the shorter its wavelength. The unit of measure commonly used for light is the Angstrom (Å). One Angstrom = 10 to the minus 10th meter (a very short wavelength). The visible octave of light extends from 7000 Å (red) to 4000 Å (violet)--red having a longer wavelength than violet.
The mid-audio octave is six octaves up from the alpha brain wave octave, and the visible octave of light (color) is 40 octaves up from the mid-audio octave.
Fibonacci number. In mathematics, the Fibonacci numbers are the following sequence of numbers:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, ...
By definition, the first two Fibonacci numbers are 0 and 1, and each remaining number is the sum of the previous two. Some sources omit the initial 0, instead beginning the sequence with two 1s.
In mathematical terms, the sequence Fn of Fibonacci numbers is defined by the recurrence relation
with seed values
Golden ratio
In mathematics and the arts, two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger one equals the ratio of the larger one to the smaller. The golden ratio is an irrational mathematical constant, approximately 1.6180339887.[1] Other names frequently used for the golden ratio are the golden section (Latin: sectio aurea) and golden mean.[2][3][4] Other terms encountered include extreme and mean ratio,[5] medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,[6] golden number, and mean of Phidias.[7][8][9] The golden ratio is often denoted by the Greek letter phi, usually lower case (φ).
The figure on the right illustrates the geometric relationship that defines this constant. Expressed algebraically:
This equation has as its unique positive solution the algebraic irrational number
At least since the Renaissance, many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. Mathematicians have studied the golden ratio because of its unique and interesting properties
From Wikipedia, the free encyclopedia:
http://en.wikipedia.org/wiki/Fibonacci_number
http://en.wikipedia.org/wiki/Golden_ratio
Introduction To Sacred Geometry
A lively video featuring artist Charles Gilchrist and his creations in which he speaks about the ancient spiritual discipline known as Sacred Geometry.