"What we are reading in
the fields of England and now throughout the world
---------- article follows:
could very well be the book of universal
"...a basic language common to all nature
but only retrievable by the subconscious.
"an underlying code based on sacred
the very same code upon which nature is created."
[The cosmic code
that frames the LOVE Model - CR]
MUSIC IN THE FIELDS
by Freddy Silva
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.
- Issue 14, Atlantic Rising
- 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
- 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
- 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
- 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
- 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
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
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
- 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.
- As Robert Lawlor once wrote in Sacred Geometry,
Both our organs of perception and the phenomenal world we perceive seem
to be best understood as systems of pure pattern, or as geometric
structures of form and proportion. Therefore, when many ancient
cultures chose to examine reality through the metaphors of geometry and
music they were already very close to the position of our most
contemporary science. The musical scale, constructed on the harmonics of
sacred geometry, and now found within the framework of crop circles,
represents the mathematical structure of the soul of the world because
the essence of the universe modeled on it.
- Could it be, by implication, that crop circles
are the universal language?
[the Geometry Of Divinity - CR]
- In them we see the embodiment of musical and
geometrical elements as they give rise to designs of
perfect symmetry, proportion, and
harmony. This may
explain why people just aren't as aroused by man-made formations
regardless of how coherent they look, especially from the air their
ratios are off the mark and fail to activate a harmonic vibration within
- The same applies to a genuine crop circle:
distort or remove just one element and the communication between viewer
and design is short-circuited. It simply becomes a work of art without
meaning. But show people a mere photo of the real thing and their eyes
light up, they become emotional, lightheaded, ecstatic, benevolent,
dizzy, even noxious. In stark contrast, a hoaxed crop circle provokes
apathetic, even negative reactions.
- Perhaps what the viewer recognizes is a basic
language common to all nature but only retrievable by the subconscious.
Our eyes may be attracted to the designs in golden wheat but the real
message is reached at a deeper level, triggered by an underlying code
based on sacred geometry the very same code upon which nature is created,
and whose formulas were zealously guarded by ancient esoterics as the
knowledge of the Godly.
Freddy Silva is a
writer, art director, photographer, and crop circle researcher and lecturer.
He is currently looking for a publisher for his in-depth book on the
phenomenon. For more information and research on crop circles, please visit
his premier web site, The Crop Circular, at
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