Patterns in Nature

David Pratt
January 2006

Part 2 of 2

Contents
6. Formative power of sound
7. Planets and geometry
8. Planetary distances
9. Solar system harmonies
10. Intelligent habits
11. Sources

6. Formative power of sound

In the late 18th century, German physicist Ernst Chladni demonstrated the organizing
power of sound and vibration in a visually striking manner. He showed that when sand is
scattered on metal plates, and a violin bow is drawn across them, the resulting
vibrations cause the particles to move to the places where the plate is almost
motionless, producing a variety of beautiful, regular, intricate patterns.*
*Joscelyn Godwin makes an interesting comment on this phenomenon: Once, passing by a
crowded dance hall where rock was being played, I could not help perceiving the floor of the
hall in terms of a Chladni plate, and the dancers appeared for all the world like the jumping,
helplessly manipulated grains of sand (1995, p. 246).

Fig. 6.1 Chladni figures. For a video, click here.

A century after Chladni, Margaret Watts-Hughes created images by placing a powder

or liquid on a disk then letting it vibrate to the sound of a sustained musical note. She
experimented with several musical instruments but had most success using her voice.
The particles arranged themselves into geometric shapes, flower patterns (such as
pansies, primroses, geraniums, and roses), or the shape of a fern or a tree. The higher
the pitch, the more complex the patterns produced; a powerful sustained note produced
an imprint of a head of wheat.

Fig. 6.2 Figures generated by the voice of Margaret Watts-Hughes.

In the 1950s the study of wave phenomena was continued by Swiss scientist and
anthroposophist Hans Jenny (1904-1972), who named the field cymatics. Using crystal
oscillators (which allow precise frequencies and amplitudes to be used), he vibrated
various powders, pastes, and liquids, and succeeded in making visible the threedimensional effects of sound. He produced an astonishing variety of awe-inspiring
geometrical and harmonic shapes, including life-like flowing patterns, which he
documented in photographs and films.
Jenny, too, found that higher frequencies produced more complex shapes. A low
frequency produced a simple central circle surrounded by rings, while a higher
frequency increased the number of concentric rings. Even higher frequencies created
shapes resembling petals, butterflies, or crustaceans, zebra patterns, mandala-like
patterns, and images of the five platonic solids. As the frequency rises, the dissolution
of one pattern may be followed by a short chaotic phase before a new, more intricate,
stable structure emerges. If the amplitude is increased, the motions become all the

more rapid and turbulent, sometimes producing small eruptions. Under certain
conditions Jenny was able to make the shapes change continuously, despite altering
neither frequency nor amplitude.

Fig. 6.3 Hexagonal pattern produced by light refracting through a small

sample of water (about 1.5 cm in diameter) under the influence of vibration.
The figure is in constant dynamic motion. (Jenny, 2001, p. 112; courtesy of
Jeff Volk)

Fig. 6.4 A round heap of lycopodium powder (4 cm in diameter) is made to

circulate by vibration. At the same time two centres of eruption rotate at

diametrically opposed points. (Jenny, 2001, p. 108; courtesy of Jeff Volk)

Fig. 6.5 Jenny built a tonoscope to translate the human voice into visual
patterns in sand.
Left to right: oh sound, ah sound, oo sound. (Jenny, 2001, p. 65; courtesy of Jeff
Volk)

More recently, Peter Guy Manners found that an acoustic recording of the Crab
Nebula caused sand to form a pattern strikingly like the nebula itself. As the nearinfrasonic sound was played, the two swirling arms pulled in, forming a tight ball.
Towards the end of the audiotape, the sand became very highly compacted and then
suddenly exploded, throwing sand off the table.
Johns Gospel begins: In the beginning was the Word, and the Word was with God,
and the Word was God. The Egyptian Book of the Dead, contains a parallel passage: I
am the Eternal, I am Ra ... I am that which created the Word ... I am the Word ... The
Hindu tradition teaches that Nada Brahma (the world is sound). The underlying idea is
that everything we see is a divine word or vibration that has solidified and become
manifest, the vibrations originating in the inner, more ethereal realms. All of nature is
essentially rhythmic vibration. Everything from subatomic particles to the most intricate
lifeforms, from planets to galaxies, comprises resonating fields of pulsating energy in
constant interaction. In the poetic words of Cathie Guzzetta:
The forms of snowflakes and faces of flowers may take on their shape
because they are responding to some sounds in nature. Likewise, it is
possible that crystals, plants, and human beings may be, in some way,
music that has taken on visible form. (D. Campbell, ed., Music: Physician for
times to come, Quest, 1991, p. 149)

7. Planets and geometry

If we draw a circle representing the earth which has a mean radius (in round
numbers) of 3960 miles and then draw a square around it, the square will have a
perimeter equivalent to 31,680 miles. If we then draw a second circle with a
circumference equal to the perimeter of the square, its radius will be 5040 miles (using

22/7 as a good approximation to pi (), as the ancients often did) or 1080 miles more
than the smaller circle. Just as 3960 miles is the radius of the earth, 1080 miles is the
radius of the moon. In other words, the relative dimensions of the earth and moon
square the circle!

Fig. 7.1 Earth and moon square the circle. Note that 5040 (the radius of the
outer circle) = 1x2x3x4x5x6x7 (known as factorial 7, also written: 7!) =
7x8x9x10 (or 10!/6!). A quarter of its circumference (also equal to the
diameter of the earth-circle) = 7920 = 8x9x10x11 (or 11!/7!), and the area of
each semicircle = 11!.

Exactly the same proportions and digits (expressed in feet rather than miles) can be
found at Stonehenge (see Michell, 1995, 2001). The outer (sarsen) circle has a mean
radius of 50.4 ft and a circumference of 316.8 ft. This is equal to the perimeter of a
square drawn round the smaller (bluestone) circle, which has a radius of 39.6 ft. This
radius is also equal to the diameter of the circle defined by the inner U-shaped
structure. This is clear evidence that the English foot and mile are at least as ancient
as Stonehenge and, like many other ancient systems of measures, are closely related
to the dimensions of earth, moon, and sun.

Fig. 7.2 Ground plan of Stonehenge. The lintels on top of the stones of the
outer (sarsen) circle were mortised to the uprights and jointed at their ends,
forming what was once a precision-made, perfectly level platform.

Fig. 7.3 Given its slope angle of 51.83, the Great Pyramid, too, squares the
circle. The length of each base side divided by the height equals /2. In
addition, the apothem divided by half the base side equals .

Fig. 7.4

If a tetrahedron is inscribed in a sphere with the apex placed at either pole, the three
corners of the base will touch the sphere at a latitude of 19.47 degrees in the opposite
hemisphere. This latitude marks the approximate location of major vorticular upwellings
of planetary and solar energy. The primary focus of sunspot activity is about 19.5 N
and S. On Venus, there are volcanic regions at 19.5 N and 25.0 S. Mauna Loa and
Kilauea (Hawaii), Earths largest volcanoes, are located at 19.5 and 19.4 N
respectively. On the moon there is a mare-like lava extrusion at 19.6 S. On Mars,
Olympus Mons, possibly the largest volcano in the solar system, is located at 19.3 N.
The Great Red Spot of Jupiter is located at 21.0 S. On Saturn there are storm belts at
20.0 N and S. On Uranus, there are upwellings causing cooler temperatures at 20.0 N
and S, and a dark spot at about 22.5 S. The Great Dark Spot of Neptune,
photographed by Voyager 2 in 1989, was located at 20.0 S, but when the Hubble
Space Telescope viewed the planet in 1994, the spot had vanished only to be
replaced by a dark spot at a similar location in the northern hemisphere.

Fig. 7.5 Jupiters Great Red Spot.

8. Planetary distances
Are the planets of our solar system located at random distances from the sun? The
Titius-Bode law, discovered 1766, suggests they are not. The law is obtained by writing
down first 0, then 3, and then doubling the previous number: 6, 12, 24, etc. If 4 is added
to each number and the sum divided by 10, the resulting numbers give the mean
distances of the orbits of the planets in astronomical units (1 AU = the earths mean
distance from the sun). Uranus, discovered in 1781, fitted the law, as did Ceres, the
largest asteroid between Mars and Jupiter, discovered in 1801. However, the law breaks
down completely for Neptune and Pluto, which were discovered later. Various efforts
have been made to modify the Titius-Bode law to make it more accurate.*
.

*William R. Corliss, The Sun and Solar System Debris, Sourcebook Project, 1986, pp. 34-42

What the Titius-Bode law essentially means is that planetary orbits become
progressively greater by a ratio of approximately 2:1 (the ratio of the octave) with
increasing distance from sun. This is brought out in columns 3 and 4 of the table below,
in which half the distance between Mercury and Earth is taken as the unit of
measurement. Uranus and Pluto have mean orbits close to the exact distances
necessary to complete two further octaves. Neptune is located almost exactly half-way
between Uranus and Pluto, as though to fill in the half-octave position. This may
indicate that it was not an original member of the solar system (theosophy says it was
captured from outside our solar system). Likewise, the Titius-Bode law works for Pluto if
we ignore Neptune.
Mean distance of the planets from the sun
Planet
Calculated
Observed
according to
(in AU)
Titius-Bode law
(in AU)
Mercury
0.4
0.387
Venus
0.7
0.723
Earth
1.0
1.000
Mars
1.6
1.524
Asteroid belt 2.8
2.767
(Ceres)
Jupiter
5.2
5.203
Saturn
10.0
9.539
Uranus
19.6
19.191
Neptune
38.8
30.061
Pluto
77.2
39.529

Perfect octaves
in units of
distance from
Mercury
0
1
2
4
8

Actual units
of distance
from Mercury

16
32
64
(64x1.5=96)
128

15.7
29.9
61.4
(96.8)
127.7

0
1.1
2
3.7
7.8

Due to its ad-hoc nature, the Titius-Bode law is usually dismissed as a numerical
coincidence that has no physical basis. However, the fact that the planets distances
from the sun follow a pattern can easily be demonstrated by plotting the logarithm of the
mean distance of the planets (including the asteroid belt) against their sequential
number (1 to 10). The fact that all the points lie very nearly on a straight line proves that
gravitation is quantized. However, there is currently no detailed mainstream theory that
explains how gravity works and why it should be quantized. The orbits of satellites
around moons show the same quantized spacing, as do the orbits of electrons around
an atomic nucleus (in the Bohr model of the atom).

Fig. 8.1
Figs. 8.1 to 8.6 courtesy of John Martineau (A Little Book of Coincidence, Wooden
Books, 2001)
Curiously, the mean orbital radii of the four inner and four outer planets reflect about
the asteroid belt. For instance, if we multiply together the orbital radii of Venus, Mars,
Jupiter, and Uranus, we get virtually the same value as multiplying the orbital radii of
Mercury, Earth, Saturn, and Neptune (5.51 x 1034 km as against 5.56 x 1034 km).
The spacing of the planets shows many geometrical regularities. For example:

Fig. 8.2 Three circles touching: if Mercurys mean orbit passes through the
centres of the three circles, Venus orbit encloses the figure (99.86%
accuracy).

Fig. 8.3 Left: The mean orbits of Mars and Jupiter can be drawn from four
touching circles or a square (99.995%). Right: A related pattern spaces
Earths and Mars orbits (99.8%).

Fig. 8.4 In this diagram, the smaller and larger circles represent not only the
relative sizes but also the orbits of Mercury and Earth; they are related by a
pentagram (99.1%).

Fig. 8.5 This diagram shows Earths and Saturns relative sizes and orbits;
they are related by a 15-pointed star (99.3%).

Fig. 8.6 Earths and Jupiters mean orbits can be created by spherically
nesting three cubes, or three octahedra, or any threefold combination of
them (99.89%).

9. Solar system harmonies

The 17th-century astronomer Johannes Kepler discovered a remarkable relationship
between a planets mean distance from the sun and the time it takes to orbit the sun:
the ratio of the square of a planets period of revolution (T) to the cube of its mean
distance (r) from the sun is always the same number (T/r = constant). For instance,
measuring T in earth-years and r in astronomical units, we get:
Venus: 0.61521/0.7233 = 1.0002
Earth:
1.0000/1.0000 = 1.0000
Mars: 1.88089/1.5237 = 1.0000

Jupiter: 11.8623/5.2028 = 0.9991

Orthodox science has no real explanation for this, or for the many resonances in
solar system dynamics. For instance, the periods of Jupiter and Saturn show a 2:5 ratio.
The periods of Uranus, Neptune, and Pluto stand in a 1:2:3 ratio. Mars and Jupiter are
locked into a 1:12 resonance, Saturn and Uranus are in a 3:1 resonance, and there is a
2:3 resonance between Mercurys rotational and orbital periods.
What is the nature of such resonances? Abstract mathematical concepts such as
curved spacetime shed no light on the matter. A concrete explanation must be sought
in the behaviour of the dynamic ether filling space, whose vorticular motions cause the
planets and stars to rotate and carry them along in their respective orbits. According to
the ether-science model known as aetherometry, T/r is a constant for all the planets
because it refers to the constant flux of energy that the solar system as a whole extracts
by its primary gravitational interaction with the ether, entailing a nearly constant energy
supply for each of its members.
The speeds of the planets in their orbits represent their pitch-frequencies. Cosmic
chords are produced when planets come into conjunction (or kiss), i.e. stand in a
straight line with the earth and sun. A certain number of regular planetary conjunctions
occur over particular periods of time, and the ratios between these numbers reflect with
considerable accuracy the length ratios necessary to produce the diatonic notes of an
octave, i.e. the seven notes of a musical scale.

Fig. 9.1 Planetary conjunctions as chords (Tame, 1984, p. 239).

The line in this diagram represents an octave, divided into seven intervals by
eight notes. The line could represent the string of a one-stringed musical
instrument. The numbers above the line are the numbers of conjunctions of
each planet with the sun and earth, and those below the line are the
numbers of years involved.

The planets orbits are ellipses with the sun at one of their foci. Their speeds are
therefore variable: they speed up as they approach perihelion (the point in their orbit

nearest the sun) and slow down as they approach aphelion (their greatest distance from
the sun). Following Kepler, Francis Warrain expressed the ratio between the minimum
and maximum speeds of one planet and those of different planets as a musical interval.
The results (only those for the inner planets are given below) rule out chance altogether,
and constitute a powerful argument for the harmonic arrangement of the solar system
(Godwin, 1995, pp. 132-6). Of 74 tones, as many as 58 belong to the major triad CEG.
Harmonies of the planets angular velocities, as seen from the sun
Harmonic number
1 9 5
3 25
Mars
aphelion (l)
l:m = 2:3
C
G
perihelion (m) l:n = 9:20
D E
l:o = 5:12
E
G
m:n = 2:3
C
G
m:o = 3:5
E
G
Earth
aphelion (n)
n:o = 15:16
perihelion (o)
n:p = 3:5
E
G
n:q = 3:5
E
G
o:p = 5:8
E
o:q = 5:8
E
Venus
aphelion (p)
p:q = 24:25
G G#
perihelion (q)
p:r = 5:9
D E
p:s = 1:4
C
Mercury aphelion (r)
q:r = 16:27
C
perihelion (s)
q:s = 81:320
EE+1
r:s = 9:20
D E

27

15

C'
C'
C'

C'
A

The time taken by Venus to seemingly orbit the Earth (i.e. a Venus synod) is currently
584 days, so that 5 Venus synods are equivalent to 8 practical earth-years (of 365
days). Venus has a sidereal orbital period of 225 days, and 13 of these periods equal 8
practical earth-years. In both cases, the numbers composing these ratios are
consecutive Fibonacci numbers, and therefore give approximations to the golden
section: 8/5 = 1.6, and 13/8 = 1.625. Venus rotates extremely slowly on its axis: its day
lasts 243 earth-days, or 2/3 of an earth-year (the same ratio as a musical fifth). Every
time Venus and earth kiss, Venus does so with the same face looking at earth. Over
the 8 years of the 5 kisses, Venus will have spun on its own axis 12 times in 13 of its
years.
Thus, in 8 years Venus has 5 inferior conjunctions (when it lies between earth and
sun) and 5 superior conjunctions (when it lies on the opposite side of the sun). Plotting
either of these sets of 5 conjunctions in relation to the zodiac produces a five-pointed
star or pentagram, the segments of the constituent lines being related according to the
golden section. There is a slight irregularity, for the pentagram is not completely closed,
there being a difference of two days at the top. This irregularity generates a further
cycle, as it means that the pentagram will rotate through the whole zodiac in a period of
about 1200 years. It is interesting to note that the pentagram was associated with the
Babylonian goddess Ishtar-Venus, and that depictions of Venus as a five-pointed star
have also been found at Teotihuacan in Mexico. In theosophy, Venus is said to be

closely connected with our higher mind (manas), the fifth principle of the septenary
human constitution.

Fig. 9.2 Teotihuacan: stellar symbol of Venus dispensing its influence

downwards towards the earth.

Fig. 9.3 The Venus pentagram.

According to theosophy, the key numbers to the solar system lie in a combination of
the year of Saturn and the year of Jupiter, expressed in earth-years (Purucker, 1973, pp.
3-15). About 12 earth-years (11.86) make 1 year of Jupiter, and about 30 earth-years
(29.46) make 1 year of Saturn: 12 x 30 = 360, the number of degrees in a circle and the
number of days in an ideal earth-year. (Theosophy says that an earth-year oscillates
above and below 360 days over very long periods of time.)
The whole process of evolution can be summed up as a descent of divine
consciousness-centres or monads into matter, and their subsequent re-ascent to spirit,
enriched by the experience gained on their aeons-long evolutionary journey. This
process can be symbolized by two interlaced triangles, known as Solomons seal or the
sign of Vishnu, the upward-pointing triangle representing spirit, and the downwardpointing triangle representing matter. Significantly, as Saturn and Jupiter revolve around
the sun, they mark out two interlaced triangles around us every 60 years! The upward
triangle is formed by their conjunctions and the downward triangle by their oppositions.
Once again, there is a slight irregularity: after 60 years the conjunction does not take
place at exactly the same point; there is a gap of 8 degrees, so that the interlaced
triangles slowly rotate through the entire zodiac in a period of 2640 years. There are
432 of these 60-year Jupiter/Saturn cycles in a precessional cycle of 25,920 years.

Fig. 9.4 Conjunctions and oppositions of Jupiter and Saturn.

The sun is the heart and brain of the solar kingdom and the regular sunspot cycle is
akin to a solar heartbeat. The sunspot cycle has a major impact on earth, especially
terrestrial magnetism and the climate. Over the past 250 years its length has varied
irregularly between 9 and 14 years, averaging 11.05 years. Sunspots peak shortly after
Jupiter passes the point in its orbit closest to the sun. (The ideal sunspot cycle is said
in theosophy to be 12 years, so there would be one such cycle for each year of Jupiter.)
The sunspot maximum does not occur exactly in the middle of the sunspot cycle. The
ascending part of the cycle has a mean length of 4.3 years very close to the figure of
4.22 years that would divide the 11.05-year cycle exactly according to the golden
section.*
*Theodor Landscheidt, Solar activity: a dominant factor in climate dynamics, www.john-daly.com/solar/solar.htm.

10. Intelligent habits

To attribute the order, harmonious proportions, and marvellous recurring patterns in
nature to pure chance is absurd. The pagan philosopher Cicero wrote:
If anyone cannot feel the power of God when he looks upon the stars, then I
doubt whether he is capable of feeling at all. From the enduring wonder of
the heavens flows all grace and power. If anyone thinks it is mindless then
he himself must be out of his mind. (On the Nature of the Gods, Penguin
Classics, 1972, 2.55)
However, the traditional theological picture of God as a supreme selfconscious being
who thinks, plans, and creates even managing to make the entire universe out of
nothing is untenable. If he is a being, he must be finite and limited, and have a
relative beginning and end. Whereas if the divine is infinite, it cannot be a thinking
being, separate from the universe, but must be one with it, as taught by pantheism. The
divine essence would then be synonymous with boundless space, or infinite
consciousness-life-substance. And since nothing can come from nothing, it must always
have existed.
Materialistic scientists prefer to attribute the patterned order of the cosmos to laws of
nature, with new ones emerging spontaneously as evolution proceeds. But this
explains nothing, for the word law simply denotes the regular operations of nature the
very regularities that the term is supposed to explain! Patterns in the living world are
sometimes attributed to genetic programmes, but this is merely a declaration of faith,
since all that genes are known to do is provide the code for making proteins not for
arranging them into complex structures. Moreover, it is hard to swallow the conventional
claim that genetic programmes themselves originated by chance.
If some patterns arose through random genetic mutations and natural selection, it
would mean, for example, that the reason the golden angle is widely found in leaf
arrangements throughout the plant kingdom is because it contributed to their survival.

This implies that at one time most plant species did not embody the golden angle but
such a claim can never be tested. What we do know is that life emerged on earth
incredibly quickly, that new and fully functional types of organisms have tended to
appear on earth incredibly quickly, and that there is no evidence whatsoever for vast
periods of trial-and-error experimentation along darwinian lines.
The theosophic tradition, or ancient wisdom, teaches that natures patterns and
regularities are better seen as habits, an expression of its ingrained instinctual
behaviour, of the tendency for natural processes to follow grooves of action carved in
countless past cycles of evolution. For it teaches that all worlds, on every conceivable
scale, reembody again and again. And behind these habits lies an all-pervading
consciousness, the universe being composed of interworking hierarchies of intelligent
and semi-intelligent beings or energy-forms, from elemental to relatively divine. The
order of nature also reflects the essential interconnectedness of all things, and the fact
that the same basic patterns and processes recur on widely different scales.
All monads, or units of consciousness, are said to progress through a series of
kingdoms towards a state of relative perfection in the system of worlds in which they are
then evolving, before passing, after a long rest, into other world systems, on other
planes. Humans, in their present stage of rebellious selfconsciousness, often succumb
to the temptation to misuse their free will for selfish and shortsighted ends, creating
discord and suffering. But it lies within our power to attune ourselves to the fundamental
harmony of our inner, spiritual selves sparks of the universal Self and to become
voluntary coworkers with nature in the great cosmic adventure of evolution.

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Patterns in nature: Contents

Evolution and design
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