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Nondual Highlights #2075 - Monday, March 7, 2004 - Editor: Gloria   

  "The eyesight has another eyesight and the hearing another hearing and the voice another voice." - - Thoreau

  "When a communicator becomes stuck on his high level of abstraction, his discourse is often characterized by vagueness, ambiguity, and even meaninglessness. It is as if the link between words and realities has been severed. The would-be communicator then possesses only the words and has lost touch (wholly or partially) with the things they stand for."

- S. I. Hayakawa

  Echoed in all the world's faiths and traditions, Universal matter was created by sound: 'In the beginning was the Word, and the Word was with God', St. John reminds us. Hopi and Navajo traditions even assert that in ancient times shamans would utter words onto sand and create patterns, a concept not dissimilar to the Hindu mandalas which are said to be expressions of the vibration of God. Consequently, the Eastern faiths- Islam in particular- chose sacred geometry to express the image of God, a technique later used in those hymns to sacred geometry, Gothic cathedrals.   Modern science now shows that these geometric rhythms lie at the centre of atomic structures. When Andrew Gladzewski carried out research into atomic patterns, plants, crystals and harmonics in music he concluded that atoms are harmonic resonators, proving that physical reality is actually governed by geometric arrays based on sound frequencies. Even that primeval Hindu sound, the OM, from which is derived our modern term 'hum', when sung into a tonoscope produces the very geometric shapes attributed with 'sacredness'. Perhaps the most important of these shapes is the hexagon, upon which the Egyptian matrix named the Flower of Life is based. This series of outwardly-rotating divisions of the circle accommodate the branches of the building blocks of life, the amino acids.    

  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. (se below) 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.  

  In his research with the tonoscope, Jenny noticed that when the vowels of the ancient 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"? [...]   What Hans Jenny pointed out is the resemblance between the shapes and patterns we see around us in physical reality and the shapes and patterns he generated in his investgations. Jenny was convinced that biological evolution was a result of vibrations, and that their nature determined the ultimate outcome. He speculated that every cell had its own frequency and that a number of cells with the same frequency created a new frequency which was in harmony with the original, which in its turn possibly formed an organ that also created a new frequency in harmony with the two preceding ones. Jenny was saying that the key to understanding how we can heal the body with the help of tones lies in our understanding of how different frequencies influence genes, cells and various structures in the body. He also suggested that through the study of the human ear and larynx we would be able to come to a deeper understanding of the ultimate cause of vibrations.


  In the closing chapter of the book Cymatics,Jenny sums up these phenomena in a three-part unity. The fundamental and generative power is in the vibration which, with its periodicity, sustains phenomena with its two poles. At one pole we have form, the figurative pattern. At the other is motion, the dynamic process. These three fields - vibration and periodicity as the ground field, and form and motion as the two poles - constitute an indivisible whole, Jenny says, even though one can dominate sometimes. Does this trinity have something within science that corresponds? Yes, according to John Beaulieu, American polarity and music therapist. In his book Music and Sound in the Healing Arts, he draws a comparison between his own three-part structure, which in many respects resembles Jenny´s, and the conclusions researchers working with subatomic particles have reached. "There is a similarity between cymatic pictures and quantum particles. In both cases that which appeares to be a solid form is also a wave. They are both created and simultaneously organized by the principle of pulse (Read:principle of vibration). This is the great mystery with sound: there is no solidity! A form that appears solid is actually created by a underlying vibration."(4) In an attempt to explain the unity in this dualism between wave and form, physics developed the quantum field theory, in which the quantum field, or in our terminology, the vibration, is understood as the one true reality, and the particle or form, and the wave or motion, are only two polar manifestations of the one reality, vibration, says Beaulieu.
        In conclusion, I would like to cite Cathie E. Guzetta´s poetic contemplation of where the investigation of the relationship between sound and the arising of various life forms might lead us in the future: "The forms of snowflakes and faces of flowers may take on their shape because they are responding to some sound in nature. Likewise, it is possible that crystals, plants, and human beings may be, in some way, music that has taken on visible form."(5)
  excerpted from:  

  Sacred Geometry  

The word “Mandala,” is rooted in Sanskrit and literally means "Circle," which is the first enclosed archetype of Sacred Geometry. The single point at the center of the circle is called the "Bindu."

It has been suggested that meditational Mandalas were brought to Tibet by the wandering Guru Padma Sambava in the 8th century A.D. The construction and meditation of spiritual Mandalas is an important aspect of Buddhism and Hinduism. Mandalas are to be found all over the orient and always used as a tool to facilitate contemplation and meditation. This process of experiencing Mandala, has the potential of moving the witness into his or her spiritual center. The contemplation of Sacred Geometry through the processes of studying or creating Mandalas (open-eyed meditation) can literally lead the student to enlightenment,

Even though Mandalas are generally thought to be an Eastern invention, it is hard to find a culture (past or present) that has not recognized the symbolic qualities and transcendental potentials of the circle and its various geometries. The circle is the first two dimensional archetype, a metaphysical doorway to God Mind and Oneness.

Black Elk

Long before that great teacher (Guru Padma Sambava) traveled to Tibet with the healing and centering concepts of Mandala, native American Shaman had already discovered that same healing power within the circle. Much of the symbolic geometry of Native American art and ritual is rooted in the balance of the circle and its natural division.... the four directions; North, South, East, and West. The famous Lakota Shaman "Black Elk," called the circle the "Sacred Hoop" (see "Black Elk Speaks" by John G. Neihardt - published by University of Nebraska Press).

excerpts from:

The Sri Yantra, or Yantra of Creation, originated in our pre-history. It has been known in the Hindu and Buddhist traditions and since the Vedic times as the most powerful and mystically beautiful of all yantras (geometric mandalas known as power diagrams).

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