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Is Sound Creating Crop Circles?

Extracts from Secrets in the Fields © Freddy Silva, 1997, 2002, 2010.
Presented with permission.

Images © Freddy Silva, Lucy Pringle, Colin Andrews.
Cymatics images from Cymatics: A Study of Wave Phenomena and Vibration
by Hans Jenny. © 2001 Macromedia, and courtesy of Jeff Volk.

During the twilight days of 1998, small articles tucked away in the nether regions of the British press quietly announced that “Unknown Force Was Behind Corn Circles, Claims Hoaxer.” This dramatic U-turn by the surviving member of the infamous Doug and Dave—the English sexagenarians who, since 1991, have misled the world with tales of their crop-flattening prowess with planks of wood—illustrates that the hand of man materialized in crop-circle lore long after the real phenomenon manifested.

Although hoaxers claim to have orchestrated the phenomenon in 1978, unpublished evidence at the time showed approximately 200 reports of crop circles being created around the world throughout the 20th century, with dozens of eyewitnesses reporting crop circles forming in a matter of seconds as far back as 1890. Several highly descriptive accounts were even documented in 1678 by Robert Plot, the then-curator of the Ashmolean Library in Oxford, England.

To date, some 10,000 crop circles have been catalogued in 29 countries worldwide, and their anomalous features continue to defy human replication. They include plants bent an inch above soil; stems lightly burned around the base; the evaporation of ground-water; the crystalline structure of the plants and the soil altered by the rapid application of electromagnetic or sonic frequencies with the pressure of several atmospheres; dowsable, long-lasting energy patterns in and around the designs, not to mention hundreds of effects on the human biological field – such as increased right brain activity, multiple menstruation cycles in women, healing of retinal tumors – many of them scientifically monitored.

So much, then, for two guys and a piece of wood. But thanks to a virtual embargo on media coverage on crop circle research – for the most part due to well-planned debunking by the British military and skeptical articles introduced into the media by fictitious press agencies – a myth has developed that all crop circles have been nothing more than a “prank with a plank.”

By definition, a hoax is a forgery, and a forger requires an original from which to copy. So what is this 'unknown force' that creates genuine crop circles? One answer may lie with sound.


Traditionally, sound is considered to be a prime universal force in the creation of matter. This concept is echoed in all faiths and traditions: “In the beginning was the Word, and the Word was with God,” says not only the Christian Bible, but also the Islamic Q’ran and the Hindu Rig Veda. In a similar way, Hopi and Navajo religious traditions assert that, in ancient times, shamans could utter words onto sand and create orderly geometric patterns. This idea of sound expressing itself in geometric form is seen in the Hindu mandalas, those geometric sand and textile paintings that the Hindu believe are expressions of vibrations from the unseen universe. And because the heavenly realms were believed to be the domain of the Gods, the ancients chose to call these orderly expressions sacred geometry.

Consequently, the Eastern faiths—Islam in particular—chose this sacred geometry to express the image of God in their life – in art, mosques, even the very furniture they lived with. In the 12th century, these geometric principles were encoded in the design of Gothic cathedrals, and their application is now understood to be a kind of spiritual technology which enhances the buildings’ sonic effects, for the singular purpose of creating sympathetic vibrations on the human body. Since the body is itself a series of geometric forms (as exemplified by Leonardo Da Vinci’s famous drawing of the outstretched man), its interaction with other forms of geometry allows for the enhancement of higher levels of awareness while the devotee prays within the cathedral’s sacred space.

Geometry, sound, resonance, and vibration are fundamental to our supposedly physical world. For instance, when the primeval Hindu sound—the OM (from which is derived our modern term “hum”)—is sung into a tonoscope (a device for converting the human voice into visible form) it creates geometric shapes such as pentagrams, hexagrams, even complex mandalas.

Such well-known geometric shapes are also found in the microscopic world of atoms. Thanks to advancements in technology we can now see how atoms are not as solid as once believed, but tiny harmonic resonators whose molecules dance in geometric rhythms around a central node. And these rhythms often trace out the shape of the pentagram and the hexagram. What is interesting is that the geometric relationships and proportions found in the molecular world are related to the vibratory intervals governing the notes of the pure music scale. For example, the gap in the frequency between the notes C (261 vibrations per second) and G (312 vibrations per second) can also be represented geometrically as a pentagram.

Physical reality, it now appears, is governed by geometric arrays that are directly related to sound frequencies.


One of the mathematical minds studying crop circles was the late Prof. Gerald Hawkins. In February of 1992, he published an interesting challenge in Science News. Professor Hawkins had studied the work of Euclid, a Greek mathematician of the third-century BC whose treatises still form the basis of our knowledge of mathematics today. He used the principles of Euclid to prove that four geometric theorems can be derived from the relationships of crop circle designs. More significantly, he eluded to a previously unknown fifth theorem from which he could derive the other four, a theorem that Euclid himself had not even discovered.

Hawkins challenged Science News’ 250,000 readers to come up with this fifth theorem, but no one was able to create it. Needless to say. it came as a shock when the theorem later materialized as a 160,000 sq. ft. crop circle at Litchfield, England, in 1995. Incredibly, the theorem did not appear overtly, but had to be decoded from within the design.

By 1995, crop circles bearing other unmistakable associations with sound began to appear. One contained a curious design feature resembling a ratchet. Connecting all the points of the design reveals a diagram – the Lambdoma– which dates to the ancient Egyptian Mysteries schools. This musical diagram, also known as the Pythagorean Table, defines the exact relationships between the harmonics of musical notes and the mathematical ratios that govern them.

This is accomplished by translating sound frequencies in hertz relative to each musical interval into feet, which generates this circular mandala. But it was a convincing crop circle etched in barley at Goodwood Clatford, England, in 1996 that gave the proverbial nod to sound by reproducing a cymatic pattern.


Cymatics is the study of sound waves and their interaction with physical substances. One of its modern pupils was Swiss scientist Hans Jenny who, throughout the 1950s and ‘60s, captured on film the effects of sound as it interacted with powders and liquids.

He observed that a low frequency produced a simple circle encompassed by rings 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 other geometric forms could be discerned.

Jenny also provided a physical connection to the creation of crop circles, as many of the vibrational patterns captured in his photos mimic their designs: from the simple circle surrounded by concentric rings, typical of early 1980s designs, to the tetrahedron and the complex star fractals of the 1990s.

Visually, then, the connection between crop circles and sound is undeniable. But what evidence links sound and crop circles at a physical level?


Accounts from the 80 eyewitnesses who’ve seen crop circles manifesting describe a trilling sound prior to or during the manifestation of crop circles. This unusual noise, which is described as sounding like a cross between a cicada and a waterfall, was eventually captured on magnetic tape in 1989 during a night watch of a field at Cheesefoot Head, England, by a group of researchers.
It was duly sent to NASA’s Jet Propulsion Laboratory in Pasadena, CA, where it was brought to the attention of Robert Weiss, the man who had previously analyzed the famous Watergate Tapes. He concluded that the noise was not related to any type of bird or insect. In fact, due to its looping, rhythmic nature, it appeared to be of intelligent, mechanical origin. Further, it contained a frequency of 5.0-5.2 kHz.

Later that summer, the trilling sound was captured again, this time by a BBC cameraman while recording an interview inside a crop circle. A few seconds after its appearance, it rendered his $55,000 camera obsolete. According to the technicians who later rebuilt the equipment, the sound frequency had interfered with the circuitry to such a degree that the camera would not work after that episode.
Interestingly, Australian Aborigines have been imitating the crop circle trilling sound for generations. During ceremonies to contact their “sky spirits”, the Aborigines attach a specially-shaped piece of wood called bora to the end of a long string. It is whirled around, creating a noise practically identical to the crop circle sound. Research later revealed that not only have crop circles appeared in Australia, but they are also described in Aboriginal myths, just as their geometries appear in ancient Aboriginal rock paintings.
In the 1950s, American agricultural researcher George Smith found that exposing cornstalks to sound produced a higher heat content in its soil, as well as a slight burnt appearance at the base of the stalks. Such effects are consistent with the effects found in crop circles, where the soil is always noticeably drier—in some cases even baked—than the rest of the field, and the affected stalks are slightly charred just above the soil.
Oddly enough, Smith speculated that particular sound frequencies actually increased molecular activity in plants. Three decades later, tests performed by physicist Dr. W. Levengood have proved that whatever energy is creating crop circles is affecting seed embryo and plant growth by interfering with the plants’ natural growth cycle. This energy also elongates the plants’ nodes and even alters their crystalline structure (the plants’ form at a molecular level).

Levengood has attributed these changes to the plants in crop circles to microwaves. However, microwaves have the ability to render biological systems sterile, and an overdose will even kill organisms. Crop circles plants, on the other hand, remain alive and well.

Conversant with discoveries by Russian scientists throughout the 1930s that certain sound frequencies noticeably affected the growth of both plants and seeds, in the 1960s Mary Measures and Paul Weinberger at the University of Ottawa, Canada, succeeded in accelerating growth in wheat by playing sound to the plants. But the sound also produced a resonant effect in the plants’ cells, thereby affecting their metabolism. And the frequency which created these effects was identical to the crop circle trilling noise: 5 kHz.
Perhaps the greatest connection linking sound to the manifestation of crop circles, however, lies in their greatest anomaly: the permanent bending of the plants' stems. In 1968, laboratory experiments at Temple Buell College, CO, measured the effects of music on plants by subjecting them to different tones. Exposure to heavy metal music made the plants tilt away from the speakers or die, whereas classical music lulled the plants to lean toward the speakers. But in the case of Hindu devotional music, the stems bent in excess of 60° to the vertical and towards the speakers, perhaps the closest anyone has ever come to recreating the right-angle bend found in the plant stems in genuine crop circles.
Interestingly, applications of Indian devotional song to plants during the 1930s at Annamalai University, India, also showed a number of similar biophysical changes to those which occur in plants analyzed by Dr. Levengood, as mentioned earlier.


Sound, then, may be capable of creating crop circles. But how does it achieve those highly complex designs found in crop circles today? This can be achieved by ultrasound.

Ultrasound can be aimed like a laser beam, and such focusing allows for certain kinds of molecules to vibrate while others nearby are left unmoved. This is due to the frequencies inherent in ultrasound – frequencies the MHz range which, thanks to their very narrow wavebands, have the ability to hone in on a specific area.

Evidence of such high frequencies have been detected inside crop circles since 1991 by the researcher Paul Vigay, whose custom-built electronic device has measured readings which generally range between 260 and 320 MHz. Vigay’s research also found that, since 1996, the frequencies detected inside crop circles have increased to 640 MHz, even 1.2 GHz, which coincides with the increased geometric complexity of the designs themselves. This mirrors Jenny's experiments, which show that a relationship exists between the complexity of cymatic geometries and the dispensed sound frequencies. In other words, the higher the frequency, the greater the geometric intricacy.

The high frequencies common to ultrasound are known to affect states of awareness in humans, and visitors to crop formations often report an inability to properly perform analytical or left brain functions. In fact, a number of Japanese scientists who’ve conducted monitored EEG tests inside crop circles show how there is a tendency for the intuitive or right brain to be far more active in people when they are within the space of a crop circle. It is interesting to compare this effect with Neolithic sacred spaces, namely standing stones and stone circles, which have a long history of association with altered states of awareness. Experiments to monitor energy fields in standing stones during the 1970s in England by Dan Robbins revealed that these sacred stones emit ultrasonic frequencies.

Because ultrasound operates within a specific bandwidth, it can be used as a sensitive tool that prevents damage to sensitive tissue, again by focusing its frequencies on a specific area rather than the whole. Consequently, it is today used in healing, particularly in the treatment of muscular ailments. The parallel to crop circles lies in the way the delicate plants have been manipulated with and yet show no visible signs of damage. What’s more, hundreds of people have reported being healed after interacting with crop circles – either by visiting one or by looking at a photograph. This includes a long-time sufferer of Parkinson’s, who experienced the complete absence of shaking, and a person with a 99% malignant eye tumor, who saw the tumor shrivel away after ingesting the seeds from a crop circle.

Below 20 Hz, sound becomes infrasonic. Such low frequencies influence biological processes because they resonate physical objects at the molecular level. Experiments throughout the 1980s at Princeton’s P.E.A.R laboratory demonstrate that, when combined with high air pressure, the acoustic power of infrasound can boil water inside a hollow cavity in one nanosecond (called “vapor cavitation”).

As water heats it expands. In the case of crop circles plants, if one looks closely at the affected stems, one can see tiny holes in their nodes (the plant’s “knuckles”), indicating that the boiled water has expanded and blown outwards through the nodes - at which point the base of the stems become as supple as molten glass, enabling the plants to collapse under their own weight into their extreme horizontal position.

The rapid boiling of the water tallies with Levengood's discovery of microscopic blow-holes in the plants' cell wall pits which indicates a rapid boiling of water inside the plant has taken place. The low frequencies of infrasound can tear water molecules apart, atomizing them into a fine mist. Farmers in both England and Canada have witnessed columns of mist rising from within newly-arrived crop circles, suggesting this process is indeed at play in the fields.
The lower the operating frequency of infrasound, the greater its effect on physical elements. Below 18 Hz the acoustic pressure formed by infrasound is known to disrupt chromosomes. Every summer, plants from crop circles and normal agricultural plots are sent to Dr. Levengood. The samples are blind-tested so as to conceal their exact origin, a standard scientific protocol to prevent the tampering of laboratory tests. And after thousands of tests, Levengood consistently finds unmistakable disruption to the chromosomes of plants taken from crop circles.


The ancients once held sound to be the prime creator of matter in the Universe, yet we have had to wait, in modern times, for individuals such as Hans Jenny to provide a measured understanding of what sound looks like and how it behaves. Given our knowledge of how sound can not only influence plants and the molecules of the physical world but also the awareness of a human being, is it possible that, in the crop circles, we are witnessing energy forms capable of arousing the spirituality in humanity?

Sound, when modelled into music, becomes a powerful carrier for social change – the effects of Handel's music is believed to have reversed the state of morality in Victorian England, just as the anarchic overtones of Punk corralled disillusioned youth into fighting an establishment that held no tolerance for those who stepped outside its rules. It is through music that human experiences are celebrated and carried forward from generation to generation.

Perhaps it's no coincidence that a large percentage of crop circle designs can be identified with, and by, ancient cultures who to this day honour their histories through song and music, their healing rituals performed with sound. This relationship is applied in Buddhist mandalas, whose elaborate geometries are used to alter states of consciousness. Certainly it is no coincidence that crop circle designs mirror these intricate patterns, just as they bear an uncanny familiarity to Jenny's materializations of sound.

If sound is one of the formative principles behind crop circles, they are not only leaving behind physical clues in the plants, but also creating a change in awareness on those whose antenna is extended and receptive to their tune. There is no doubt that our present worldview is undergoing tumultuous change, and at such times, the collective subconscious of humanity reaches out for guidance. Because our thoughts are electromagnetic pulses which transcend time and space, it is possible that our request has been received, and information is manifesting in fields around the world.

Using sound as a foundation of crop circles is the most direct form of communication, because sound is capable of affecting the resonant fields within intercellular processes down into the genetic levels, even down into the subatomic levels. Suggestive and rhythmic commands aimed at people while they listen to music is already an efficient method of absorbing information and knowledge. Coupled to ultrasonic frequencies, this technique can alter brainwave patterns, inducing the mind into a meditative and receptive state.

Text © Freddy Silva 1997, 2002, 2010.
Presented with permission.
No reproduction without prior permission.

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