MUSIC IN THE FIELDS
by Freddy Silva
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- .
- For over twenty
years the normally quaint and quiet English
countryside has slowly been overrun by a
phenomenon more akin to It Came From Outer Space
than to cream tea. Fields long accustomed to
entertaining wheat, barley, or canola are, with
increasing frequency, playing host to magnificent
pictograms in the form of crop circles: areas of
flattened crop as large as 100,000 square feet
where plants are bent an inch above soil level
and gently laid down in geometrically-precise
pictograms, with no visible signs of damage or
human entry.
- .
- But what
started as a local phenomenon in the environs of
Stonehenge and Silbury Hill has since become a
major British export: to date, some 8,000 crop
circles have been reported worldwide.
- .
- If they had
their way, certain television documentaries would
have you believe that all crop circles have been
nothing more than the work of two simple, elderly
men armed with a plank of wood and a baseball cap
fitted with a ludicrous wire attachment which,
they claim, helped make mathematically correct
circles and ruler-straight lines in total
darkness.
- .
- But in such
programs the meat on the bone of research is
systematically stripped before it reaches the
table. The public is left to be turned off as the
whole phenomenon is explained through human
agency alone. This is why there is so much
disbelief, even hostility, toward crop circles in
the public's mind. Yet despite persistent
attempts, researchers, scientists and hoaxers
have failed to replicate most phenomena
associated with genuine crop circles: plants
bent, not broken or damaged; radically altered
chromosomes; massive depletion of the
groundwater; soil element alterations; major
discrepancies in background radiation and
electromagnetic fields, dowsable and long-lasting
energy patterns; and so on.
- .
- Most disturbing
for hoax theory advocates has been the discovery,
by Emeritus Professor of Astronomy Gerald
Hawkins, of Euclidean geometry and diatonic
ratios present in crop circles features requiring
a understanding beyond basic math and yet to be
found in both controlled man-made designs or in
uncontrolled hoaxes.
- .
- So much, then,
for two guys and a long two-by-four. But what,
then, is causing several thousand square feet of
crop to suddenly lay down in designs of immense
complexity and hypnotic beauty?
- .
- THE GROUND
COMPONENT
- .
- When the stems
of affected plants are cut, a malty fragrance is detected, suggesting
that they have been cooked from the inside. Yet
the stalks remain unharmed. A second observation
reveals that a noticeable amount of ground water
in and around crop circles appears to have
vanished (this is corroborated by the author's
infrared photographic analysis). The soil within
a formation is generally dry, even cracked,
despite overnight rains.
- .
- Exhaustive lab
analysis into hundreds of crop circles from 1991
to 1995 by biophysicist Dr. W.C. Levengood
reveals physical and biophysical changes in
plants inside crop circles. Their nodes are
literally blown open to form expulsion cavities,
an effect unique to crop formations and
reproduced in a lab setting through a very rapid
rate of heating. Levengood also discovered
alterations in the germination and development of
seed embryos, alterations in plant stem node
length and circumference (up to 200% in one
case), and enlarged cell wall pit diameters in
bract tissue actions consistent with the
application of intense heat.
- .
- This leads to
the speculation that the affected plants are
microwaved for a very intense yet brief period.
The groundwater is partly vaporized, partly
sucked into the plant, thereby preventing the
field from catching fire, while the stems are
made supple enough to bend without cracking,
enabling them to be easily manipulated into
precise patterns. But this does not account for
the geometric designs.
- .
- THE GEOMETRIC
COMPONENT
- .
- Look through
twenty 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
visualize 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. 1992), 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 [the "capstone" -CR] 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
cymatic pattern in 5,000 square feet of barley,
leading straight to a smoking gun.
- .
- In 1967, Swiss
scientist Hans Jenny published the first of his painstaking studies
of vibrational affects on physical media such as
water, plaster, oil and sand cymatics. By
transmitting sound in the shape of a monitored
frequency through these elements, he was able to
capture on film the exact geometric pattern that
sound makes as its vibrations move through these
substances. Changing the vibration altered the
shape of the geometry captured in the receiving
substance a low frequency produced a simple
circle encompassed by a ring, whereas a higher
frequency increased the number of concentric
rings around a central circle. As the frequencies
rose, so too did the complexity of shapes, to the
point where tetrahedrons, mandalas, and
Pythagorean forms were discernible.
Jenny
not only managed to solidify sound, he also enabled
humanity to observe frozen music.
- Jenny also
provided a physical connection to the creation of
crop circles, since many of the vibrational
patterns found in his photos mimicked their
designs. Some were blatant imitations, such as a
circle surrounded by concentric rings from the
80s, the tetrahedron at Barbury Castle in 1991,
the mandalas and spider's web of 1994, even the
highly structured Pythagorean-based star fractals
of 1997. Other photos demonstrated the
construction geometry encoded within crop circles
but only visible upon dissection of overhead
photographs by compass or computer.
- .
- But there is
yet another coincidence: the relationship between
the rising complexity of Jenny's cymatic
geometries in proportion to the rise of dispensed
frequency matches the historical sequential
development of the pictograms. Crop circles began
appearing as simple circles in the '70s and
developed in an exponential curve through the 80s
and into today's complex pictograms, much in the
same way Jenny's work shows the increase in
design complexity relative to the rise in
frequency applied.
- .
- This
coincidence echoes the repeated claims by many
channelers/mediums/sensitive people at the
beginning phase of the phenomenon that the earth
is undergoing a change in frequency a raising in
the earth's vibratory rate, a sentiment also
shared in the prophecies of native tribes around
the world concerning earth changes of this
period. Further corroboration comes from NASA,
whose recent soundings of earth from space record
a rise in the frequency hum' emitted by the
planet.
- .
- In his
extensive database, leading crop circle
researcher Colin Andrews notes several accounts
of a trilling sound heard by people prior to
witnessing crop circles forming. The reports
describe a total stillness in the air; the
morning song of birds stops, proceeded by a
trilling sound and the banging together of wheat
heads despite an absence of wind. The crop then
lies down in spiral fashion, the whole episode
lasting no more than fifteen seconds.
- .
- This sound was
eventually captured on magnetic tape and analyzed
at NASA's Jet Propulsion Lab as mechanical in
nature and beating at a frequency of 5.2kHz. The
same sound had been previously heard by a BBC
cameraman while recording an interview near a
crop circle, shortly before crossing the
formation's threshold, which proceeded to render
two $50,000 TV cameras obsolete. Obviously, if
sound is a main component in the creation of crop
circles it can certainly be interacted with.
- .
- The formations'
physical location may play a part in this. In
Dowsing Crop Circles, two decades of collective
research by noted dowsers Richard Andrews and
Hamish Miller, among others, reveals that crop
circles have been materializing over major ley
lines the earth's magnetic energy grid or their
tributaries. Miller had also observed, together
with Paul Broadhurst in The Sun and the Serpent,
how this energy congregates at stone circles and
tumuli. Imagine his surprise to find crop circles
energetically linked to these ancient sites and
their magnetic grid.
- .
- In noted cases
such as the cyclopean triple Julia Set fractal
formation at Windmill Hill in 1996, crop circles
appear over the node point where the male and
female lines intersect and discharge dowsable
patterns of energy. These invisible fingerprints,
which can last up to a year after all visible
signs of the formation have been tilled, were
discovered by Miller to have coherent geometric
structures Teutonic crosses, 9-, 10- and
12-pointed stars, the same geometric patterns
which formed part of esoteric mathematical
teaching in Egyptian, Buddhist, and Arabic
cultures, and since popularized in the West by
Pythagoras.
- .
- This relationship
between geometry, math, and music is especially
important in Buddhist mandalas, whose elaborate
geometries are claimed to be the physical
manifestation of chants which are then used for
meditation. In Arabic culture these relationships
have been meticulously preserved in ceramic tile
design. In both cases, the geometry mirrors crop
circle designs in either their outward appearance
or in their respective construction skeleton
which, in turn, bear a familiarity to Jenny's
photographic evidence.
- .
- It's no
coincidence that a large percentage of crop
circles can be identified with and by ancient
cultures. To this day their histories are honored
through song and music, their healing rituals
performed with sound or rhythm. In Secrets of the
Soil, Peter Tomkins reveals how Hopi natives
danced in a field during a severe drought,
chanting specific notes. By harvest time the only
area in the vicinity to yield a harvestable crop
was the one exposed to their vibratory tones. A
parallel situation exists in England, where
farmers whose fields have played host to genuine
crop circles report an increase in yield and
healthier-looking, pest-resistant plants.
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http://www.atlantisrising.com/issue14/ar14musicfields.html
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