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 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
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.
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.
Hardly surprising, then, to discover crop circle
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.
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
More significantly, he discovered a fifth theorem 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.
subsequently appeared as flattened barley at Litchfield, England, in
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 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.
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.
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.
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.
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.
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
Secrets of the Soil, Peter Tomkins reveals
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.
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
geometry, and now found within the framework of crop circles,
represents the mathematical structure of the soul of the world
the essence of the universe modeled on it.
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 viewer.
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.
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.